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HISTORICAL 
 
 LITERARY AND ART1STICAL 
 
 (TRAVELS IN ITALY 
 
 A COMPLETE AND METHODICAL 
 
 GLIDE FOR TRAVELLERS AND ARTISTS 
 BY 31. VALERY 
 
 LATE LIBKAELAX OF THE ROTAL LIBRARIES OF VERSAILLES AND TRIANOX 
 
 atithor of J'ornges en Corse , a I'lle d'Elbe el en Sardaigne 
 
 Translated 
 
 v/ith the special approbation of the author from the second corrected and improved e 
 
 BY C. E. CLIFTON 
 
 wra a @®pa©iy>§ orhdisj em® <& E©A®=KiftiP ®t? otoly 
 
 Milan Cathedral. 
 
 PARIS 
 
 BAUDRY'S EUROPEAIV LIBRARY 
 
 3 , QDAI MALAQCAIS , NEAR THE PONT DES ARTS 
 
 1852 
 
PREFACE. 
 
 It is difficult to make but one tour in Italy ; and he who has no 
 wish to return is scarcely worthy to have been there at all. I have 
 visited it four times. Though there are many and ingenious works 
 on Italy, it appears to me that none of them can serve as a guide to 
 travellers of the present day. The Travels ofLalande, full of infor- 
 mation once correct, now belong to the past; and since the epoch 
 of their publication, the history of art has made undeniable progress : 
 the opinions of M. Cochin, which he perpetually thrusts forward, 
 appeared of doubtful accuracy to a great artist, more than forty 
 years ago 1 . The description which I publish has profited by this 
 progress , and is supported by the recent and best authorities , 
 Lanzi for painting, and Cicognara and Quatremere for sculpture and 
 architecture; the impressions and research of facts alone are mine. 
 If it have no other merit, this book may become a kind of portable 
 library , and be of service as a methodical catalogue of the vast 
 museum of Italy. The literary effect is occasionally diminished by 
 these indications, but I have thought it my duty to prefer accuracy 
 and usefulness. I have found it impossible to pass over in silence 
 the names of so many noble painters , full of elegance and variety , 
 in the second rank of the Italian schools , but who assuredly would 
 be in the first of any other. The fire-side reader may skip this no- 
 menclature of paintings and statues, a kind of recitative that I have 
 
 1 Letter of Girodet written from Florence, May, 1790. See his OEu vres posthumesi 
 torn, 11 , p. 363. 
 
oals 
 
 [eiesli 
 iiov 
 
 II ♦ PREFACE. 
 
 at least endeavoured to enliven by incidental details relating to th 
 artist and the anecdotical history of the art. 
 
 As to the historical and literary part , for which a life past in the j 
 midst of books had better prepared me, I have written under th< u«hk 
 belief that the reform effected in history in our days, that the systen «$$ 
 of the true, the painting of particulars, might be likewise extendec 
 to a traveller's narrative, to which the principles of the picturesque 
 school seemed to me peculiarly applicable. The memorable events rljourn 
 the great personages, the poetical reminiscenses of Italy, are therel vri t, 
 fore interwoven with my account of places and monuments. WheroLjt 
 incriptions were characteristic, 1 have not shrunk from giving them 
 many a time have they revealed to me some touching misfortune , 
 or some superior talent left in obscurity and neglect. In examining 
 libraries, 1 have endeavoured to make the history of books bear on 
 the history of men, and to render bibliography instructive and phi- 
 losophical. The statistical data are drawn from local and official 
 sources, and without going to excess, 1 thought they might present 
 new views , and sometimes supply the place of longer dissertations 
 on the country. Welcomed by my colleagues the librarians, acquaint 
 ed with most of the Italian literati, I have derived invaluable assis- 
 tance from their obliging answers to my different inquiries. In fine, 
 I have attempted to restore to the poets, the artists, the literati, and 
 all the persons I have introduced , their true Italian physiognomy, 
 too often distorted by the idle fancies of the English, the sentimen- 
 tality of the Germans, or the philosophical spirit of the French. 
 
 Twelve years' unintermitted sludy of Italy, from the period of 
 my first journey, has procured me such a mass of facts, that I have 
 been compelled to omit a considerable number less intimately 
 connected with my description, to prevent my book assuming an 
 inconvenient size. These facts, these details, these pictures of 
 manners will find a place in a volume of Varietes italiennes, about 
 to appear , and will form a supplement to the Travels for sedentary 
 readers. 
 
PREFACE. in 
 
 Italy , which was before so easy of access by the new roads , has 
 ecently become still more so by the starting of numerous steam- 
 boats; which will be for that country like the cheap public con- 
 /eyances which afford a rapid communication between the different 
 ^quarters of large cities and thus destroy the distance. This in- 
 teresting tour, in which study is a pleasure, and pleasure a study, is 
 now no more than an easy promenade. I devoutly wish that my 
 journal, which has swelled into a laborious work, after having been 
 written under the glorious sky of that country, in places illustrated 
 by its great men, within sight of its chefs-d'oeuvre, may help others 
 to see it better and love it more; for without loving, it is impossible 
 to know it well. 
 
»u™ « C t.,.^u 6Ut a«u j-uiiip-iiie-ijoio, i mis om apology Tor letters did not suit 
 which were formerly at the Chartreuse. | the paradoxical (raptures of Rousseau 
 
 raptures of Rousseau. 
 1 
 
TRAVELS IN ITALY. 
 
 BOOR THE FIRST. 
 
 GENEVA.-GLACIERS.-BANKS OF THE LAKE. 
 
 CHAPTER I. 
 
 Privilege or the earlier travellers.— Dijon.— Tombs 
 of the dukes of Burgundy. — House of Bossuet. — 
 Dissertation proposed by the Academy of Dfjoii on 
 the revival of the arts and sciences.— Dole. — Saint 
 Cergues. 
 
 Had I (ravelled in the days of Mon- 
 taigne, I might have been allowed, like 
 him , from the beginning of my journey, to 
 give the particulars of every stage and of 
 my several resting-places ; to speak with- 
 out offence even of the cheer I had met 
 with and the wine I had drunk ; as well 
 as to relate the news, incidents, stones, 
 and marvels 1 had learned on the way. 
 But the prodigies of modern civilisation, 
 the great roads and the newspapers, no 
 longer permit, and have in fact almost 
 proscribed, this part of a traveller's nar- 
 rative. My adventures would appear 
 common-place, my news out of date, and 
 my astonishment ridiculous. This pecu- 
 liarity of the olden limes cannot be tole- 
 rated now ; at the present day, to keep 
 faith wilh the public, a voyage must be 
 indeed a book. It has been attempted, 
 but in vain, to make the delicacy of 
 French taste conform to the frivolous 
 gossip and puerilities of certain English 
 travellers. I will, however, confess that, 
 during my first journey, such was my 
 curiosity to see and know, that I often 
 lost the diligence dinner, notwithstand- 
 ing its importance, that I might visit the 
 monuments of the place. 
 
 At Dijon, I went to the museum to see 
 the tombs of the two dukes of Burgundy, 
 John Fearnought and Philip-the-Buld, 
 which were formerly at the Chartreuse. 
 
 Each mausoleum is surrounded by a 
 basso-relievo in marble, on which the 
 obsequies of the princes are represented. 
 In spite of the painful emotions intended 
 to be excited by such a ceremony, it is 
 easy to trace, under the frock and in the 
 features of these monks, all the passions 
 and feelings of the human breast por- 
 trayed with a truth and reality altoge- 
 ther admirable. 
 
 I sought the house in which Bossuet 
 was born, and was somewhat disappoint- 
 ed when I found it to have all the ap- 
 pearance of being recently built. It is 
 occupied by a small booksel!er ; and is 
 covered with placards like the columns in 
 the Palais-Royal. The house ofCrehil- 
 lon, on the contrary, is very extensive, 
 and serves at present as bread-depot for 
 the troops. In the interior was a mill, 
 of I know not what kind, which made 
 almost as much noise as the thunderclap 
 of Atre'e. As to Piron's house, I did not 
 look for it; there is a certain degrada- 
 tion of talent that produces an absolute 
 indifference for the memory of an author. 
 
 Independently of the learning forwhich 
 the society of Dijon has always been dis- 
 tinguished, this town is, as it were, the 
 mightiest source of French eloquence : 
 Bossuet belongs to it by birth, and Rous- 
 seau by talent. It is well known that 
 the program of its Academy, on the ef- 
 fects of the revival of the arts and scien- 
 ces, fired the genius of this writer ; yet 
 Diderot gave him a good hint, if the anec- 
 dute told by Marmontel be true : the af- 
 firmative was the pons asinor.m, and 
 this old apology for letters did not suit 
 the paradoxical raptures of Rousseau. 
 
GENEVA. 
 
 [ Book I. 
 
 Ddle reminded me of a pleasing inci- 
 dent, related in the interesting Memoirs 
 of Brienne ; it is a battle scene in which 
 French honour and bravery are beauti- 
 fully displayed. "At the period of the 
 king's conquest of Frauche-Comte," says 
 Brienne, " the great Conde" standing with 
 Villeroi on the bank of the ditch of Dole, 
 where their fathers in the preceding wars 
 had not been very successful, this prince 
 said to Villeroi :— 'Marquis, we must 
 here retrieve the honour of your father 
 and of mine.' The ditch was wide and 
 dry, and the passage consequently very 
 dangerous. The attack was fierce and 
 bloody. The marquis, who commanded 
 the Lyonnese regiment, passed first, and 
 gained the top of the bastion; he effected 
 a lodgment there, and cried out from 
 afar : ' Prince, my father is satisfied ; what 
 says yours? '— ' We will endeavour to 
 content him,' said the prince laughing 
 in the midst of the fire, and in a moment 
 after he was on the rampart." 
 
 On this road to Italy are Montbar, 
 Genlis/ Dijon, Coppet, Ferney, Geneva, 
 places with which are associated the 
 names and reminiscences of some of the 
 brightest ornaments of literature, and 
 which seem naturally placed in the way 
 to such a country. 
 
 The sudden appearance of the lake 
 and the Alps from the height of Saint 
 Cergues, at three leagues from Geneva, 
 is one of the finest views of nature that 
 I have ever seen. It is impossible not to 
 be dazzled by the magnificence, bril- 
 liancy, and grandeur of such a spectacle. 
 At times long lines of clouds overtop 
 the mountains, of which they have the 
 form and almost the colour, seeming like 
 other Alps suspended, extending and 
 surmounting them. 
 
 CHAPTER II. 
 
 Geneva; ils merit and distinction. 
 
 I had intended only to pass through 
 Geneva, but I was induced to stay; for 
 I found in that city literary acquaintance, 
 
 ' The estate from which Madame de Cenlis took 
 her name is in Picaidy, near Noyon ; the chateau 
 is now demolished. 
 
 * It is proved by the passport returns that twenty- 
 live thousand foreiyuers pass through Geneva every 
 vear. 
 
 3 Within the last ten years the aspect of Geneva 
 has been almost entirely renovated. The city has 
 
 a relish of civilisation, a kind of moral 
 dignity and general good sense, in short, 
 a certain gravity that pleased me. I 
 loved its public spirit without pride, its 
 patriotism without hatred, and even ils 
 stiff originality of character in the midst 
 of such crowds of foreigners.* 
 
 The town is small, black, old, and 
 indifferently built; the population is only* 
 twenty-eight thousand souls, yet I could 
 not perceive the slightest trace of pro- 
 vincialism in tone or manner. 3 
 
 This singular attraction of Geneva, 
 combined with the beauties ofits position, 
 appears moreover to have been felt by 
 persons whose pursuits and destinies were 
 widely different : fallen princesses, sons 
 of kings, powerful ministers, court ladies 
 overcome by ennui, and men noted for 
 success in courts, have successively so- 
 journed at Geneva. I myself have met 
 elegant women there who might have 
 occupied some of the grand mansions of 
 the Maine or Normandy, and who pre- 
 ferred to live at an inn or hire apartments 
 at Geneva, disregarding the smallness of 
 the rooms, the simplicity of the furniture, 
 the absence of an antechamber, and the 
 horrors of the staircase. This distin- 
 guishing feature, this indisputable su- 
 periority of Geneva, proceeds, in my 
 opinion, from its being placed in the 
 centre of the most polished nations, 
 from its being a kind of European tho- 
 roughfare for the travellers who visit 
 them, and from its social state. This 
 scientific, commercial, and manufactur- 
 ing city must naturally escape the dis- 
 agreeables of small towns : neither the 
 same aristocratic haughtiness, nor the 
 equally noisome self-importance of wealth 
 can exist there; and the upstart vanity 
 of our authorities would be difficult in a 
 state where the civil list granted to 
 the chief does not exceed a hundred louis 
 d'or. This first magistrate of the republic 
 is chosen from the citizens indiscrimi- 
 nately, and the admirable example of 
 professor Delarive has been pointed out 
 to me, who, a short time after having 
 been first syndic, gave a gratuitous course 
 
 been enlarged in the interior by two suburbs re- 
 claimed from the lake : the houses have risen three 
 or four stories; and there are some of seven or eight 
 which overtop the chapels and steeples. The popu- 
 lation has increased to thirty-one thousand Inhabi- 
 tants, a great number or whom are Intruders and 
 
 foreigners who have corrupted the national cha- 
 racter and even the accent. 
 
Chap. III.] 
 
 GENEVA. 
 
 of lectures on chemistry as applicable to 
 the industrious arts, which were attended 
 by the manufacturing population of Ge- 
 neva. 
 
 The opulence of the Genevese has 
 covered the banks of the lake with charm- 
 ing abodes ; but I prefer from my heart 
 those which have remained Swiss : the 
 Corinthian porticoes, th£ colonades, the 
 pavilions, and all the Grecian architecture 
 of some of these villas are much less 
 pleasing to me. 
 
 At the villa of colonel Favre is the 
 admirable eolossal group of Venus and 
 Adonis, an effort of Canova's youthful 
 genius; it was executed for the marquis 
 Salsa di Berio, of Naples, but retouched 
 all over by the artist when the group 
 passed through Rome on its way to 
 Switzerland ; for grace and dignity it is 
 said to equal the noblest productions of 
 his maturer years. 
 
 One Sunday, I met at the gates of 
 Geneva two battations of the civic guard 
 which were returning from Conches, 
 where they had been target-shooting for 
 prizes. Every body, without distinction 
 of rank or fortune, makes part of this 
 guard, the appearance of which is superb. 
 Assuredly, if the sight of some companies 
 of the battalion of Saint Gervais, supping 
 and dancing in the public square of that 
 quarter, left such a vivid impression on 
 the mind of Rousseau when a child, and 
 which he has so eloquently described, 
 he would not have been less struck with 
 the appearance of this civic force of 
 unpaid soldiers, whom an advanced state 
 of civilisation, with the comfort and 
 increased dignity produced thereby, 
 must have rendered superior to the old 
 companies of Saint Gervais: his father 
 might still say, as he embraced him : 
 "Jean-Jacques, love thy country! " The 
 talent of Rousseau is never more ad- 
 mirable than in the description of popular 
 emotions and patriotic sentiments. This 
 simple note of the "Letter to d'Alembert," 
 presents a piciure full of life, warmth, 
 and truth. 
 
 ' An agreeable traveller, M. Valout, had forgotten 
 this circumstance when, oa visiting the house of 
 Housseau's father in 1819, he asked for the «hamber 
 In which Jean-Jacques was born. After mounting 
 the dark and narrow stair of this miserable house, 
 aud seeking In vain for sonretraee of the great man, 
 
 CHAPTER III. 
 
 nouse of Jean-Jacques.— statue.— Condemnation 
 of his Emile. 
 
 I wished to see the house in which 
 Jean-Jacques is said to have been born. 
 It is occupied on the ground floor by a 
 faiseur d'outils (tool-maker), as his sign- 
 board indicates : a Parisian workman 
 would not have failed to take the title of 
 fabricant (manufacturer); I am sure 
 Rousseau would prefer tbe sign of the 
 Genevese artisan. This house, notwith- 
 standing the inscription, is not precisely 
 that in which Rousseau was born, as his 
 birth took place while his mother was 
 on a visit, 1 but it was the residence of his 
 father. It was there that he passed with 
 him the first years of that infancy already 
 so sensible and impassioned, when, after 
 they had spent the night together in read- 
 ing romances, his father, hearing the 
 swallows twittering their orisons, quite 
 ashamed, said to him : " Let us go to bed ; 
 I am more of a child than you." 
 
 On again visiting this spot in 1827, I 
 found that Rousseau's house had been 
 pulled down and replaced by a large 
 handsome house of freestone, at which 
 workmen were still employed. The love 
 of comfort and the spirit of property are 
 regardless of the memory of the past, 
 and, with the exception of the little bust 
 in the botanical garden, there did not 
 then exist at Geneva, after the lapse of 
 less than half a century, the slightest 
 vestige of Rousseau. 
 
 A bronze statue, beautifully executed 
 by M. Pradier, an able Genevese sta- 
 tuary, has at length been erected to 
 Rousseau by subscription, on the little 
 shady platform called the lie des Bar- 
 ques, near to where the Rhone issues from 
 the lake. It was inaugurated on the 
 24th of February, 1835. 
 
 I saw in the front of the town-hall, at 
 the foot of the tribunal from the top' of 
 which the sentences of condemned per- 
 sons are read, the place where Emile 
 was burnt by the hand of the public exe- 
 cutioner. This infamous sentence, which 
 was given without trial and even before 
 
 he only foand a workman, who showed him two 
 chambers, and said to the disconcerted traveller:— 
 " It Is one of those two, make jour choice ! "—Gale- 
 rie tithographiee de monseignevr le due d'Orleans, 
 tome II. 
 
GENEVA. 
 
 [ Book I, 
 
 the Look had reached Geneva, followed 
 with the interval of a week only, the 
 execution done at Paris by the hangman 
 at the foot of the great staircase. 1 Vol- 
 taire, seltled in his estate of Les Delices, 
 seconded by attorney-general Tronchin, 
 and for once in unison wilh the parlia- 
 ment and the Sorbonne, was the active 
 and secret instigator of these proceedings. 
 "It is true that the credit of M. de Vol- 
 taire at Geneva," writes Rousseau, from 
 Yverdun, to madame de Boufflers, "has 
 greatly contributed to this violence and 
 precipilation. It is at the instigation of 
 M. de Voltaire that they have revenged 
 the cause of God on me." — "I reached 
 here yesterday," he again writes from 
 Motiers-Travers to Mouitou, on the 11th 
 of July, "and shall take breath until it 
 pleases MM. de Voltaire and Tronchin to 
 pursue me and have me expelled." Vol- 
 taire causing Emile to be burnt at Ge- 
 neva and procuring an order to be issued 
 for the apprehension of its author — per- 
 secuting, from the height of his chateau, 
 the poor. inGrm, suffering, and fugitive 
 Jean-Jacques, presents a rather unphilo- 
 sophical compound of the Epicurean and 
 inquisitor. 
 
 CHAPTER IV. 
 
 Temple of Saint Peter.— Protestant preaching. 
 
 On passing through Geneva, at a sub- 
 sequent period, I applied to that town the 
 method I had followed in Italy of collect- 
 ing historical information during my 
 researches after works of art. 
 
 The front of the temple of Saint Peter 
 is an excellent work of Count Benedetto 
 Alfieri Bianco, a clever architect whom 
 Alfieri called his uncle, although he was 
 a Roman, and of a collateral branch of 
 his family. In the interior, against the 
 wall, between two little columns and be- 
 neath a narrow half-demolished pedi- 
 ment, I observed the epitaph of Agrippa 
 d'Aubigne" ; * an eccentric character, a 
 kind of Sully withamorose, satirical, and 
 scoffing humour; but, as a writer, full of 
 vigour and genius. The grand-daughter of 
 d'Aubigne\ the daughter of that Constant 
 d'Aubigne who had betrayed his father, 
 has since been seated near to the throne 
 of France : one would think that she 
 
 1 Emile was burnt at Pails the tlthof June, 17G2; 
 at Geneva on the <8th. 
 
 might have restored the ashes of her 
 grandsire to his country, unless the deau 
 were included in the revocation of the 
 edict of Nantes. The marble mausoleum 
 of Henry de Rohan in the temple of Saint- 
 Peter, Avhich was destroyed by the revo- 
 lutionary ignorance of 1794, has been 
 restored. This famous chief of the pro-, 
 testant party under Louis XIII., the au-* 
 thor of the Perfect Captain, was an able 
 writer and a skilful warrior. The duke 
 is in complete armour, and his armorial 
 bearings are painted on the wall; the 
 aristocratic pomp of this monument 
 forms a singular contrast wilh the nudity 
 of a reformed temple, which is so strik- 
 ing at Saint Peter's; but it does honour 
 to the wisdom of the present magistrates 
 of Geneva. 
 
 Among the sepulchral stones and epi- 
 taphs, which cover the walls of this tem- 
 ple in considerable numbers, I remarked 
 one to the memory of a baron of Kaunitz, 
 who died at Geneva in 1608 at the age of 
 fourteen years, and who was lord of 
 Austerlitz (Dominus in Austerlitz). 
 Though there be nothing there but what 
 is very simple, one cannot see without 
 emotion this terrible and glorious name 
 placed on the tomb of an infant who died 
 at so great a distance from his country. 
 
 Among many sermons that I heard at 
 Geneva there was one that seemed to me 
 exceedingly fine; it was preached by 
 M. Touron on occasion of the September 
 fast. This discourse showed that consi- 
 derable progress has been made in the 
 preaching of the protestanls, which seems 
 now to approach more nearly to the ca- 
 tholic manner. This superiority is pro- 
 bably neither in the men nor the orators, 
 but in the form of the discourse. Under 
 Louis XIV. protestantism was combated 
 by the thunders of Bossuel, Fenelon, and 
 the writers of Port-Royal, and in strug- 
 gling to maintain its ground under the 
 blows of such powerful adversaries, its 
 eloquence became controversial. Not- 
 withstanding some fine inspirations due 
 to exile, persecution, and misfortune, its 
 refugie style was heavy, languid, and 
 without imagination. In the following 
 century protestantism could not escape 
 the general decline of Christian doc- 
 trines, and its eloquence was chilled by 
 the coldness of those moral virtues which 
 
 * The castle or Crest, where lie lived, is still (o lie 
 seen at Jussy, two leagues from Geneva. 
 
Chap. VI.] 
 
 GENEVA. 
 
 but animated by that enthusiastic reli- 
 gious zeal, which is the strongest of hu- 
 man passions. When we recollect Cal- 
 vin's first arrival at Geneva, we cannot 
 help being struck with the sudden ascen- 
 dency that he acquired ; this simple pro- 
 fessor of theology, come by a mere 
 chance, and maintained at the public 
 expense, possesses all the authority of a 
 master; if he retires, it is only to come 
 back more powerful and terrible; he dic- 
 tates, to the magistrates the judgments 
 they are to give, and, though the advo- 
 cate of free discussion, punishes his anta- 
 gonists with death. > 
 
 In the quarter of Saint Gervais, I went 
 to see a small enclosure made some few 
 years since, at the extremity of which is 
 a marble tablet attached to the outside of 
 the church wall, bearing the names of 
 the seventeen citizens who perished in 
 the defence of their country during a 
 nocturnal attack made by the duke of Sa- 
 voy in 1602. A small plot of grass en- 
 closed by an iron railing breast-high, some 
 names inscribed against the wall, are the 
 only monument erected to the memory 
 of these courageous citizens, these ple- 
 beian Manlii, who had not even the 
 geese of the Capitol for them; but this 
 simple monument, so popular and na- 
 tional, is more touching than the superb 
 equestrian statues, gilt or bronze, of the 
 condottieri, that decorate the squares 
 and churches of Italy. The letter which 
 Henry IV. wrote to the Genevese on the 
 subject of this remuement, generously 
 offering them his protection, with that 
 vivid, princely, and military eloquence 
 of which he is the inimitable model, has 
 associated the memory of the Escalade 
 with the history of France. 
 
 CHAPTER VI. 
 
 Museum.— Theatre.— Conservatory. 
 
 The patriotism of the Genevese has re- 
 cently endowed their city with a mu- 
 seum ; the very walls of the edifice are 
 a present, for they were built with the 
 money bequeathed by the Misses Rath, 
 the daughters of the general of that name, 
 who died in the service of Russia. 
 Though only ten years have elapsed, it 
 possesses already considerable riches. 
 
 Jacques Gruet, beheaded ; Michael Servelus, after his recantation, to make the amende hona- 
 >urnt ; Valentine Gentllis, condemned to die, and, | Table ; Bolzec, banished. 
 
 alone were advocated from its pulpits. 
 The preaching of the present day, pru- 
 dently abstaining from the controversies 
 with which it was formerly entangled, 
 invigorated by sentiments of religion, the 
 desideratum of the enlightened minds 
 and generous hearts of our epoch, is 
 perfectly evangelical. The sermons of 
 M. Touron, like the Discours farniliers 
 d'un pasteur de campagne, by M. Cel- 
 Jerier, would be excellent parish lectures. 
 The latter, in which the imitation of 
 Massillon is very perceptible, possess all 
 the unction and spirituality of which 
 protestantism is capable. 
 
 The services of the reformed church 
 did not seem to me destitute of dignity or 
 devoid of charms: the excommunication, 
 pronounced by the minister from the 
 pulpit against those who communicate 
 unworthily, was full of awe; the singing 
 of the psalms and the simple music with 
 which they are accompanied have a 
 touching effect, and if the verses are bad, 
 habit and piety, that sweet preoccupation 
 of the soul in its aspirings after God, 
 would scarcely perceive it or find fault 
 with them. 
 
 CHAPTER V. 
 
 Falace of Clotilde.- Calvin.— Scalade. 
 
 In my researches into the past of Ge- 
 neva, I even went to examine the Gothic 
 arcade of the Bourg-du-Four, one of the 
 city gates, through which every body 
 passes without noticing it; it is said to be 
 the gate of the palace of Clotilde, the 
 daughter of Chilperic, king of Burgundy, 
 and the wife of Clovis. It was there 
 that, seated with her sister, she was 
 exercising hospitality to travellers, when 
 she received from the Gaul Aurelian, 
 disguised as a beggar, the ring of the 
 king of the Franks and his first proposals 
 of marriage. It is strange to find this 
 tradition of the woman who converted 
 the Franks to Christianity in the city of 
 Calvin, as if it were destined to be the 
 source of religious revolutions of the 
 most opposite character. 
 
 In a little square I saw the hall, now 
 occupied by the Consistory, in which 
 Calvin assembled his first disciples, when 
 he was only a poor wandering fugitive, 
 
GENEVA. 
 
 [Book I. 
 
 Among the paintings of the Genevese 
 school in the Rath museum may be re- 
 marked : the portraits of Saussure and of 
 Tronchin, by Saint-Ours ; the expressive 
 portrait of Madame d'Epinai, by Liotard, 
 painted in 1758, when she came to Gene- 
 va an invalid ; two large landscapes 
 by Delarive; Hornung's Death of Cal- 
 vin, which has effect, but is deficient 
 in local physiognomy; /too landscapes, 
 by Huber ; a winter landscape by Top- 
 fer. David victorious, in bronze, is by 
 M. Chaponiere, who, with M. Pradier, 
 does honour to the chisel at Geneva, 
 
 In spite of Rousseau's philippic, a 
 theatre has long existed at Geneva. A 
 conservatory of music has been created 
 within the last three years; it has pro- 
 duced some promising pupils, and Listz 
 gave lessons there in 1836. The ancient 
 severity of manners in the town of Cal- 
 vin is daily diminishing, and this kind 
 of Lycurgus, both writer and orator, 
 would not see without displeasure that 
 all the refinements of Attic taste are now 
 succeeding to the rigorous discipline 
 which he established. 
 
 CHAPTER VII. 
 
 library. — Reading society. — Taste for reading 
 among the people of fieneva.— Manuscripts of 
 Dr. Colndel. — Autograph letters of Voltaire, Rous- 
 seau, and Bonaparte ; literature oT tbe latter. 
 
 I devoted several days to an examina- 
 tion of the public library, which contains 
 forty thousand volumes and about five 
 hundred manuscripts. There exists in 
 this library a most precious work of art, 
 Petitot's great enamel of Alexander in 
 the tent of Darius. The building devoted 
 to the library is a horrid place which has 
 very much the appearance of a barn. It is 
 well supplied with editions of the fifteenth 
 and sixteenth centuries, but there is a 
 deficiency of modern works ; except the 
 Description of Egypt, there are scarcely 
 any of the best works that have appeared 
 
 1 The reading society has no other funds than 
 those derived fromthecontribulions of its subscri- 
 bers; its library now contains more than thirty 
 thousand volumes, among which, it is true, there 
 are many sets incomplete. The number of members 
 was three hundred and twenty in 1836; there were 
 more than four hundred in 1831 and 1832. Foreign- 
 ers are readily admitted to the reading society , in 
 1836, there were a hundred and seven Trench, a 
 hundred and three English, afly-lwo Italians, fifty- 
 one German, twenty-two Russians or Poles, twenty- 
 
 d u ring the last twenty years. The reading 
 society is a well regulated institution ; it 
 receives the literary and scientific jour- 
 nals, the different reviews, and principal 
 new publications, and is, I think, the 
 cause of the unmerited neglect of the 
 library. • Francis dc Bonnivard, the 
 prisoner of Chillon, a was the founder of 
 this library, to which he gave his ma-* 
 nuscripts and books in the year 1551. 
 It was afterwards increased by the be- 
 quest of Ami Lullin, professor of eccle- 
 siastical history, who had acquired a 
 portion of the rare collection of counsellor 
 PCteau, the other part of which was 
 bought by queen Christine, who sent it 
 to the Vatican. Thus was the library of 
 this counsellor of the parliament of Paris 
 strangely destined to be divided between 
 Rome and Geneva. 
 
 I was struck with the great bulk of the 
 loan book, and was then informed by 
 M. Pictet Deodati, the librarian, whose 
 attentions were truly indefatigable, that 
 every citizen of Geneva, without ex- 
 ception, had a right to the use of the 
 books in the library. I looked over this 
 loan book with curiosity. It did not 
 contain, like ours, the names of idlers 
 reading at random without taste or love 
 of study ; nor were the somewhat graver 
 fantasies enregistered there, of those 
 restless triflers who seek in our phar- 
 macies of the soul vain remedies for 
 imaginary evils; nor did it contain the 
 names of those literary sharpers, who 
 make books from books on all sub- 
 jects indifferently, nor of those editors, 
 writers of the stall and the shop, whose 
 talent is only a kind of handicraft, and 
 whose long compilations do not present 
 one original idea, nor twenty pages of 
 their own composition; but instead of 
 these I found the names and very legible 
 signatures of useful citizens and artisans. 
 These come in person one day a week to 
 change the works they have read for 
 others; though there are nearly two 
 thousand volumes in circulation, it never 
 
 six Americans, fifteen Dutch, and one Turk. The 
 society seems, however, to be on the decline by ihe 
 president's report made in the month of January 
 1837, and the expenditure has exceeded the receipts 
 lor some years past. 
 
 '' By a siugular inadvertence, Lo'-d Byron, in- 
 stead or celebrating the captivity of that intrepid 
 and temperate priest, liounivard, the real prisoner 
 of Cbillon, lias sung the adventures of Imaginary 
 heroes see post, chap. xvi. 
 
 
Chap. VII. ] 
 
 GENEVA. 
 
 happens tbat one is lost. Thus, this 
 library is not only public but popular. 
 "This taste for instruction gives to the 
 people of Geneva a sort of gravity and 
 comprehension truly remarkable, which 
 is not found elsewhere. In the clock 
 manufactories, as in the veille'es of com- 
 mon work-people, the best reader is 
 chosen, and the audience agree to do his 
 or her share of work so long as thus 
 employed. In this manner that intel- 
 lectual life, that esteem for the efforts 
 of the mind and of thought, which, with 
 all our means of publicity and all our 
 literary agitation, are so little known in 
 France, are much more widely dissemi- 
 nated at Geneva . I remember that I had 
 the good fortune to meet M. do Cha- 
 teaubriand there, who had come from 
 Lausanne to pass two days at Geneva, 
 and he was pleased, as we relumed from 
 our ride, to take me back to my inn. 
 When I got out of the carriage I was 
 surprised to see my hostess, generally so 
 full of business, standing still before the 
 door; she soon followed me, aud asked if 
 the gentleman in the carriage was not 
 M. de Chateaubriand. I said that it was, 
 and I showed some astonishment at her 
 knowing M. de Chateaubriand ; she 
 sharply replied — " Oh! sir, who does 
 not know M. de Chateaubriand ?" I 
 mentioned this incident to a Genevese, 
 who from his profession is a perfectly 
 competent judge of the Genevese man- 
 ners, and he was not the least surprised 
 at it. He even assured me that if the 
 passage of M. de Chateaubriand had been 
 suspected at the time, all the street der- 
 rierele Rhone would have been crowded. 
 In 1826, I examined at my leisure, at 
 the house of the late doctor Coindet, a 
 very curious collection of autograph 
 letters, which is at the present time in 
 the hands of his eldest son. M. Coindet 
 possessed, with various letters of Voltaire 
 and Rousseau, the manuscript of Emile, 
 which however had no doubt been re- 
 written from a former copy, perhaps that 
 in th?, library of the Chamber of Deputies, 
 which has many more erasures. The 
 manuscript of ft]. Coindet presents rather 
 corrections of style than any real changes, 
 and it is well known to what an extent 
 Rousseau laboured his works. One of 
 
 * I have since, in my (ravels in Corsica, dis- 
 covered several of Napoleon's letters, of a date pre- 
 vious to this ; they are addressed to his family, and 
 are now in the hands of M. Broccini of Ajaccio. One 
 
 the most remarkable pieces of this col- 
 lection is a letter from Rousseau's father 
 to Madame de Warens, in which he 
 expresses his disapprobation at his son's 
 wasting time in literary occupations ; in 
 this letter of the old clock-maker of 
 Geneva may be observed some rude 
 features of his son's genius. There is the 
 same energy, the same haughtiness, if 
 there cannot be said to be the same 
 elevation, of sentiment. Inthe collection 
 of M. Coindet, there was also, in five 
 folio pages, one of Calvin's doctor's bills ; 
 lavements are almost as reite'res therein 
 as in that of M. Fleurant. Among the 
 treasures of M. Coindet was a packet of 
 lettres de cachet, surreptitiously taken 
 from the Bastille when it was destroyed, 
 documents unworthy of the signature of 
 Louis XIV. and Colbert, as in them 
 these great men degrade themselves to 
 the occupation of jailers, even prescribing 
 the visits the prisoners may receive, and 
 the number of turns to be allowed them 
 on the terrace. 
 
 At the house of M. Cherbuliez, a 
 iearned bookseller, I saw, in frames, a 
 letter of Voltaire, two autograph letters 
 of Rousseau, and one of Bonaparte, the 
 three men, perhaps, who have exercised 
 the most violent influence over mankind. 
 Voltaire's letter is only an insignificant 
 note of the 16th of March, 1776, addressed 
 to M. Duval de Gex; he sends to him a 
 letter written by the fermiers-gene'raux 
 to M. Trudaine, respecting a person 
 named Chabot, whom he patronised; the 
 letter is not in his hand, but is signed by 
 him. Rousseau's two letters, written 
 fron Motiers, are addressed to M. de 
 Beauchateau; one is of the 1st of October, 
 the other of the 17th of November, 1763; 
 in the first he invites him to dinner in 
 very affectionate terms and with much 
 good nature ; in the latter he speaks in a 
 touching manner of the suffering state of 
 his health :— " Without the hope of 
 another life," says he, " I should have 
 but little to say in favour of this." Bona- 
 parte's letter is of the 29lh July, 1786, 
 and is addressed to M. Barde, the pre- 
 decessor of M. Cherbuliez. It is one of 
 the earliest of his now existing letters. ■ 
 The letter to M.Rarde is badly spelt, but 
 not so illegible as his writing when em- 
 
 of them was written during his childhood, at the 
 age of eleven, a short time after his going to 
 Brienne. 
 
8 
 
 GENEVA 
 
 Book ( 
 
 peror ; its style is very ordinary, and 
 affords little presage of the great man ; it 
 relates to the purchase of certain histories 
 of the island of Corsica and the pretpnded 
 Memoirs of Madame de Warcns and 
 Claude Anet, as a sequel to the con- 
 fessions of J.- J. Rousseau. ' — " J'en- 
 tendt vot re reponse," writes Bonaparte. 
 " pour vous envoyer Vargent a quoi 
 cela montera." He directs M. Barde to 
 address his answer to M. de Buonaparte, 
 officer of artillery in the regiment of La 
 Fere in garrison at Valence. However 
 little the interest of this piece, it is im- 
 possible not to feel some emotion on 
 seeing obscurely exposed, in the corner 
 of a bookseller's shop, and bearing the 
 marks of its ancient classification among 
 other business letters, this letter whose 
 characters were traced by a hand so 
 powerful, which was one day to give so 
 many other signatures so widely differing, 
 from the treaties dictated in the capitals 
 of Europe, to the abdication accepted at 
 Fonlainebleau and tiie will of Saint 
 Helena. 
 
 Bonaparte's stay at Valence is the sub- 
 ject of a very pretty anecdote related in 
 the Memoirs of a contemporary.* At 
 the period of the journey to Erfurth, Na- 
 poleon, having at his table the emperor 
 Alexander and the princes of the Confe- 
 deration of the Rhine, corrected an error 
 which the prince primate made respect- 
 ing the date of the Golden Bull. "When 
 I was a simple second lieutenant of ar- 
 tillery, "said he, on beginning hisphrase, 
 and on remarking a movement of interest 
 and surprise on the part of his guests :— 
 " When I had the honour," he resumed, 
 "of being a simple second lieutenant of 
 artillery, I remained three years in gar- 
 rison at Valence. I was not fond of 
 company and lived very retired. For- 
 tunately I lived near a bookseller ; I read 
 over and over again all the books in his 
 library during those three years, and I 
 have forgotten nothing." If one calls to 
 
 1 These memoirs had just appeared at Chambcry ; 
 the first are the work of M. Doppet, then a physician, 
 and subsequently an Indifferent general replaced at 
 the siege of Toulon by Dugommier j be was lbe 
 author of Political and Military Memoirs, nud died 
 In 1S00; the latter were by bis brother, a barrister. 
 
 2 Memoirs ol M. de Eausset, vol. i. p. 324. 
 
 3 Bonaparte was a great novel-reader ; one of bis 
 most Illustrious generals, a most veracious man, 
 has related, that when he was called into his pre- 
 sence at Marligny, al the moment ot passing the 
 Great Saiut Bernard, he caught a glance of the book 
 
 mind the divers literary judgments of 
 Bonaparte, his letters, and his procla- 
 mations, one might be tempted to think 
 on the contrary, that, w ith the exception 
 of chronology, his memory was rather 
 detrimental to him, as being the source 
 of all that is false and exaggerated in them. 
 His instinct w as better than his learning, 
 and the gifts of nature than his acquire-- 
 ments. He could appreciate Corneille, 
 Moiiere, Racine, and the great writers 
 of the age ofLouisXIV.; save some par- 
 tial errors on Fenelon, La Fontaine, 
 Lesage, and madarnede S6vigne\ and he 
 was perhaps too much shocked with the 
 tinsel of some of Yoltaire's pieces. His 
 military eloquence was brilliant, but 
 nearly always imitated and too highly 
 coloured ; the historical and sentimental 
 common-places that he mixed with it 
 were sometimes very ludicrous. Some of 
 bis letters addressed to his w ife, soon 
 after their marriage, have recently ap- 
 peared ; notwithstanding the depth of 
 his feelings, they are written in the very 
 worst style of novels. 3 The literary 
 taste of Bonaparte was correct, but not of 
 a high order; in the plan of a portable li- 
 brary of a thousand volumes which he 
 sent to M. Barbier, his librarian, Emile 
 is formally excluded, while I have re- 
 marked on one of his travelling catalo- 
 gues, the Lettres a Emilie sur la mytho- 
 logie, and the poems in prose of Florian ; 
 in the section of epic poets in the plan of 
 this portable library, Napoleon had or- 
 dered Lucan and the Henriade, without 
 thinking of Virgil, Camoens, or Milton. 
 The tales and romances of Marmontel 
 were among the books that he carried into 
 the East with him, the catalogue of which 
 he himself made out. 4 He had an equal 
 antipathy for Rousseau and Voltaire. 
 When he passed through Geneva in 1800, 
 and showed much politeness to its citi- 
 zens, after making complaisantinquiries 
 about Saussure, Bonnet, and Senebier, 
 he said nothing of Jean-Jacques. Elo- 
 
 that Bunaparte had in bis hand when he entered, 
 the room ; It was the Adventures of Guzman d'Al 
 furache. 
 
 4 Bourrienne's Memoirs, vol. il. p. 50 el te$ 
 M. de Bourrieune appears, however, to judge th» 
 friend of his childhood too severely when he says. 
 — " I never knew a man more insensible to the 
 beautiful in poetry or prose. The finest works of 
 our literature were to him nothing more than an 
 arrangement of sonorous words, void of sense, 
 which, according to him, only pleased the ear. 
 
Chap. VIII. j 
 
 GENEVA. 
 
 quent reproacheshavebeenmade against 
 Napoleon's taste for the lower kind ot 
 literature, but it was the consequence of 
 his first acquaintances in the revolution, 
 and his good sense vainly struggled to 
 get rid of it. 
 
 Geneva appears to me deserving of 
 reproach for an error in opinion that I 
 will take advantage of this opportunity to 
 mention. At the corner of every street, 
 may be seen portraits and apotheoses of 
 Napoleon. I remember that, on my ar- 
 rival at Geneva, in pursuance of the active 
 habits I had contracted, and to which I 
 adhered in all my travels, I began to 
 explore the city almost immediately on 
 my arrival ; having asked the way to the 
 parade, a person who was going thither, 
 (it being Sunday) proposed to conduct 
 me. After thanking him for his obliging 
 offer in a suitable manner, I thought 
 proper to congratulate this citizen of Ge- 
 neva on the independence of his country. 
 He received my compliment rather 
 coldly; and I afterwards found a similar 
 feeling among persons of more inform- 
 ation. This Genevese Bonapartism sur- 
 prised me exceedingly. In my early youth 
 I had known, under the empire, some 
 distinguished Genevese, and I had closely 
 observed their opposition to the proceed- 
 ings of that epoch, and the dissatisfaction 
 of the government on account of it. I 
 have not forgotten, as one of the richest 
 mecdotes of the censorship, that a 
 number of the Bibliotheque britanni- 
 jue, an excellent journal published at 
 aeneva, was then suppressed or menaced 
 with suppression, on account of an ex- 
 ract from an English life of Sir Thomas 
 More. An allusion was found in it to 
 .he affair of the pope, and Geneva was 
 llmost censured as papist. Bonaparte 
 tbhorred Geneva and the Genevese, and 
 lis witty answer cannot have been for- 
 gotten, when, on being invited to pass by 
 ieneva, he said that he did not know 
 ■nough English for that. This Gene- 
 
 1 See his letters, so felicitously translated into 
 Tench by Madame de Stecfe. 
 3 He died on the i:jlh February 1832. 
 
 3 One of the first botanists in Europe. 
 
 4 Aulhor of the History of the Italian Republics 
 I the Middle Ages, a partial work, but abounding 
 ,-iih information; it ought to be read, as a neces- 
 Ijry complement to a voyage In Italy. 
 
 5 M. Dumont has published and rendered read- 
 ble the reveries of the Civil and penal Legislation 
 f Jeremy Benlham; be died at Milan in September 
 J29. 
 
 vese Bonapartism is connected with the 
 remembrance of good administration, 
 and some commercial advantages, but i* 
 is not the less an error. The impulse 
 given by France towards a sort of social 
 improvement might be useful to other 
 nations less advanced, but could not be- 
 nefit Geneva ; this enlightened city has 
 need of no one to teach it civilisation. 
 
 CHAPTER VIII. 
 
 Society of Geneva. 
 
 During the summer the society of Ge- 
 neva is pretty generally dispersed among 
 the villas of its environs. I could only 
 catch a glimpse of it, although favoured 
 with the obliging attentions of M. de 
 Bonstetten, formerly the friend and lite- 
 rary confidant of the youthful Muller,' at 
 that time advanced in years, but still full 
 of fire, grace, and imagination . a But I can- 
 not recall without a pleasurable interest 
 the evenings that I past with some of the 
 ministers. It appeared to me that peace, 
 union, and domestic happiness reigned 
 there ; the wives of these pastors and theo- 
 logians have a kind of unpedantic gravity 
 full of sweetness. The other ladies of 
 Geneva whom I met with conversed well 
 and with ease ; a few commercial terms 
 were occasionally mixed with their ex- 
 pressions, but I never saw any instance 
 of that affectation of refinement with 
 which I have heard them reproached. 
 
 In winter the society of Geneva is of a 
 very superior kind ; as it comprises such 
 men as De Candolle, 3 SismondM Du- 
 mont, 5 Maurice, 6 Rossi, 7 Hess, 8 Cha- 
 teauvieux;g such shining intellects, and 
 sturdy combatants, that cannot be found 
 elsewhere united within so small space. 
 Sharp must the pains of exile be, since 
 Madame de Stael could not be consoled 
 or forget her sorrows in the range of such 
 society. 
 
 Geneva is singularly placed as a con- 
 
 6 Formerly professor, maitre des requetes, and 
 prefect of France. 
 
 7 Professor of Roman law at the Academy of Ge- 
 neva, a jurisconsult of the highest distinction, and 
 author of the Treatise on penal taw, published in 
 1829; he is now professor of political economy at 
 the College of France. 
 
 8 Author of an interesting lire of Zuinglius. 
 
 9 Author of Leltres nouvelles sur I'ltalie, and of 
 Letlres de Saint-James. 
 
10 
 
 FERNEY. 
 
 [Boor I. 
 
 trast on the road lo Italy ; this city, the 
 seat of philosophy, industry, commerce, 
 and liberty, utterly differs from the poe- 
 tic soil of Italy, the country of the arts, 
 of historical recollections, and absolute 
 power. 
 
 CHAPTER IX. 
 
 Ferney. 
 
 The visits to Ferney do not now excite 
 the emotion, agitation, and ecstacy that 
 were the order of the day some sixty 
 years ago. The curiosity of the traveller, 
 sometimes childish and ridiculous, • has 
 succeeded to the ardent fervour of the 
 pilgrims of old : every body admires the 
 talents and genius ofVoItaire, but there is 
 no man of sense that does not blame his 
 abuse of them. This celebrated chateau, 
 this portico of a scoffingand sceptical phi- 
 losophy, is but a small house of a style of 
 architecture at once meagre and clumsy. 
 On the front are represented divers em- 
 blems of philosophy and the arts, painted 
 during the lifetime of Voltaire, with al- 
 lusions to his various works. The thea- 
 tre, situated In the court, was so badly 
 built, that time has already destroyed it. 
 The famous church opposite, which bore 
 the scarcely religious inscription, Deo 
 crexit Voltaire, is but a narrow chapel 
 incapable of holding two hundred per- 
 sons. The drawing-room and bed-cham- 
 ber are still, as is well known, in the 
 same state as in Voltaire's time. The 
 drawing-room is small and ugly, and 
 filled with ten arm-chairs and a little 
 console. The frightful daub so humo- 
 rously described by Madame dc Genlis is 
 still there : it represents the Temple of 
 Memory, and Voltaire, led by France, of- 
 fering his Henriade to Apollo ; the kind 
 of toga in which Voltaire is clothed re- 
 sembles a dressing-gown, and France, as 
 to her look and dress, has an air hardly 
 decent; the enemies of Voltaire are in a 
 corner, overthrown and making horrible 
 grimaces. In the bed-chamber is the 
 earthen mausoleum, spit half through, 
 in which Voltaire's heart was enclosed, 
 and which from its material, colour, and 
 degraded appearance, is more like a 
 
 1 The beil and window curtains of Voltaire's 
 chamber, are almost In pieces, great numbers of 
 travellers bearing away a shred every day unper- 
 celved. 
 
 2 Ferney lias reverted to the Bude family, of 
 
 cracked stove than a tomb. Those em- 
 phatic words, so little resembling his 
 style, which he would never have written 
 in his life, are still lo be read thereon :— 
 "My manes are consoled, since my heart 
 is in the midst of you." A small detach- 
 ed plate, on the middle of this strange 
 monument, bears the more generally 
 known inscription :— "His spirit is eve- 
 ry where; bis heart is here." On the* 
 sides of this tomb are strangely enough 
 placed the portraitsof pope Clement XIV. 
 and his Iandress,and those of the empress 
 Catherine and her chimney-sweeper. 
 On the side where the bed is, are the por- 
 traits of Frederick, Lekain, and Madame 
 du Chatelet, and near the only window 
 of the room, are some small and very in- 
 different engravings representing certain 
 illustrious characters, among whom 
 friendship and a community of philoso- 
 phical sentiment have given a place to 
 Marmontel, Helvetius, Diderot, and the 
 duke of Choiseul. Close to this room 
 was his study, which is now a servant's 
 bed-room ; and beyond that the library, 
 now a somewhat extensive orangery. In 
 the park is the great elm planted by the 
 hand of Voltaire; it was struck by light- 
 ning in 1824, and its effects are still vi- 
 sible in the dead boughs at its top. The 
 park is flat, but presents several new and 
 well planted avenues of an agreeable 
 aspect, which form an effective contrast 
 with the somewhat insignificant remains 
 of the chateau." 
 
 There is still living at Ferney an old 
 gardener who has seen Voltaire; he 
 speaks of him in an interesting manner, 
 and without the cant usual to that sort 
 of contemporaries. He has preserved a 
 morsel of Voltaire's dressing-gown, his 
 white silk cap with gold flowers, and his 
 great box walking-stick. Leaning on the 
 latter, the good fellow represents in a 
 very natural manner some of the scenes 
 in the life of Voltaire, his passionate do- 
 mestic oulbreakings, his love of frighten- 
 ing the little boys that came in his 
 way, etc. Voltaire was always called 
 monseigneur, and would have taken of- 
 fence if any of his people or dependants 
 omitted doing so; he rode out every day 
 in a carriage with four horses. In spite 
 
 whom Voltaire bought it. The present proprietor 
 Is M. Bude de Boissy, a descendant of the famous 
 Guillaume Bude, whose wife, with a part of Ills 
 children, retired 1° G eneva and embraced Cal- 
 vinism. 
 
 
Chap. XL 
 
 COI'PET.-SALEVE.-BOSSEY. 
 
 il 
 
 of his beneficent conduct to the residents 
 on his estates, he was a lord strict enough 
 and even hard towards poachers '. This 
 same gardener still shows a register con- 
 taining the seals of divers persons who 
 had written to Voltaire. These seals en- 
 abled him to refuse the letters that he did 
 not want to receive, and which he sent 
 back without opening to save the postage ; 
 there are epithets written by the side of 
 them, some of which are not very flatter- 
 ing for these tiresome and indiscreet cor- 
 respondents. Among the prints in the 
 chamber of this gardener, is one given 
 him by Madame Denis, representing 
 Voltaire in various costumes ; in one of 
 these he is disguised as a woman with a 
 round cap; the effect of this old monkey- 
 like countenance with such a headdress 
 cannot be described. It is also probable 
 that Voltaire, after corresponding with 
 the femme de chambre of the duchess of 
 Choiseul, a had a fancy one day to take 
 the costume. 
 
 Of all the places that hare be<:n inha- 
 bited by celebrated men, Ferney is one of 
 those which most disappoint the expec- 
 tations ; ignorance of the beauties of 
 nature has never, perhaps, been carried 
 to such an extent : this park, at the foot 
 of the Jura, has not a single undulation 
 of surface, and one can hardly get a sight 
 of the lake of Geneva or the Alps. 
 
 CHAPTER X. 
 
 Coppet. 
 
 1 visited Coppet, the asylum of the 
 fugitive Bayle, where he sojourned while 
 engaged in the education of the children 
 of count de Dhona : it was also the retreat 
 
 ' Tbe following anecdote of Voltaire, which, 1 
 believe, has never been printed, was communicated 
 to me by a person worthy of credit who bad known 
 him personally. " A poacher was caught and taken 
 before Voltaire. ' The rogue must be defended,' 
 said he, after throwing himself back in his easy- 
 chair, and he named Wagniere as his counsel, w ho 
 refused, however, from I know not what motive, 
 aud M. Mailly-Chateaurenaud, then Yoltaire's second 
 secretary, under the name of M. Esprit, and subse- 
 quently deputy of Franche-Comie at the States-ge- 
 neral, was ordered to replace him. In the midst of 
 bis pleading, M. Esprit slopped suddenly, and said 
 he wanted a volume to read a quotation, that this 
 volume was in the library of M. de Vollaire, and 
 that he could And it in a moment; the high justi- 
 ciary ollowed him to go for it. On his return, as 
 he Sept turning over the leaves in vain without 
 
 of Necker, and for ten years the Siberia 
 of Madame de Stael. The chateau had 
 just been arranged with care and simpli- 
 city ; it has nothing extraordinary and is 
 badly piaced, enjoying no view of the 
 Alps, which is intercepted by the naked 
 heights of the Voirons. The park is 
 planted at the entrance with evergreens 
 and has a dull aspect ; there is, however, 
 a very pretty rivulet which might have 
 been turned to advantage, though it now 
 only serves to turn a mill. This taste in 
 preference of the useful was visible 
 throughout the estate, as well as in the 
 life of its proprietor, a young man worthy 
 of respect and regret, who was attached 
 even to the illusions of virtue, and whose 
 conscience was a more certain guide than 
 his doctrines, which we may be allowed 
 to decline following, though we cannot 
 refuse them our esteem, z 
 
 CHAPTER XI. 
 
 Saleve.— Bossey. 
 
 Saleve is not a fine mountain, but this 
 calcareous rock is to the Genevese what 
 the Palatine or the Janiculum was to the 
 Romans. To free nations mountains are 
 the liveliest expression, and, as it were, 
 the type, of their country : Montmartre 
 might be held sacred by a moral and 
 patriotic nation. This mountain which 
 is so reiche, as it is termed at Geneva, 
 on the outside, has in the interior ex- 
 tensive tracts of grassland, shady groves, 
 smiling vallies, and productive pastures ,* 
 it seemed to me on entering it that I 
 could discover some analogy with the 
 Genevese character, rough at first sight, 
 but full of merit and sterling qualities. 
 
 speaking, Voltaire lost his patience and asked what 
 book it was. ' It Is your Philosophical Dictionary,' 
 coolly repIied-M. Chateaurenaud , '1 am looking for 
 the word Humanity there, and I And you have for- 
 gotten it.' Voltaire was struck by Ibis remark, and 
 dismissed the poacher with a present of six francs." 
 It is a fact that the word Humanity is not in tbe 
 Philosophical Dictionary ; and Voltaire might have 
 profited by this occasion to add it. 
 
 2 See the Letters of the Marchioness of Deffand. 
 
 3 BaroD Augustus de Stael, w ho died in the au- 
 tumn of 1827. A notice of his life, prefixed to his 
 Miscellaneous Works, published at tbe beginning of 
 1827, is attributed to the Duchess de Broglie ; It is 
 interesting, and very affecting, from the elevation 
 of thought, the noble sentiments, and that bind of 
 fraternal piety w hich. inspired it. 
 
SALEVE.-BOSSEV.-GtIDES. 
 
 [Book i 
 
 On the declivity of the mountain, at 
 the spot where the view is the finest, is 
 an inscription on the dilapidated walls 
 of a house called the hermitage, which 
 perhaps it was once in reality; it is almost 
 effaced, but might well have been the 
 motto of a hermit : Nasci, pati, mori. 
 The abbe" Delille, in his harmonious 
 verses in imitation of Gray, 
 
 Ah I si d'aucunami vous u'bonorez Iacendre, elc. 
 
 lias said of the inhabitants of the 
 country : 
 
 Nailre, souffrir, mourir est loute leur kisloire. 
 
 When on the Saleve I did not forget 
 the inspired verses of Lamartine: 
 
 Te souviens-tu du jour oil gravissant la ciiuo 
 Du Saleve aux flancs azures, 
 
 and this mountain of Savoy was to 
 me a poetic mountain. 
 
 I had previously been to see Bossey, 
 the abode of Rousseau's infancy. It was 
 there, he said, that he acquired " so pas- 
 sionate a taste for the country that it never 
 left him," and which, indeed, is the better 
 part of his talent. The situation of Bos- 
 sey at the foot of Saleve is solitary, the 
 prospect rather fine, but not very remark- 
 able; and I think that the force of first 
 impressions, the generally cheerful life 
 of a country minister, the company of 
 his cousin, the power of children to 
 amuse themselves almost everywhere, 
 and the melancholy of the rue du Che- 
 velu, have given to Bossey half its merit. 
 The parsonage of M. Lambercicr, now- 
 pulled down, was situated in a hollow, 
 and was abandoned by the present ca- 
 tholic curate on account of its insalubrity. 
 The celebrated walnut-tree, the protege 
 of Rousseau, had been cut down, and 
 lay for sale in the middle of the road ; it 
 was felled in consequence of serious 
 injury from a storm, towards the end 
 of 182G. On seeing the two trees plant- 
 ed by Voltaire ■ and Rousseau thus 
 smitten by heaven, with an interval of 
 only two years, ( the tradition of Rous- 
 seau's walnut-tree, is, however somewhat 
 doubtful ) might not bigotry be tempted 
 to find therein a presage? The holm- 
 tree of Socinius at Scopetto, near Sienne, 
 from which I believe he has even dated 
 
 ' See Chapter Ix, ante. 
 
 some of his writings ( ex ilice scopel- 
 tiana ), was cut down about the ,'am„ 
 time by the proprietor of the ground, a 
 scrupulous character, who was also 
 incommoded by the curiosity of travellers, 
 and the pilgrimages of the Polish sectaries 
 of Socinius. The destruction of these 
 .trees planted by scepticism can scarcely 
 affect any one ; then- shade must be op- 
 pressive, and the air one breathes there 
 is a withering and dispiriting blast, 
 which is truly that shadow of death 
 spoken of in Scripture. 
 
 CHAPTER XII. 
 
 First torrent.— Picturesque in individuals.— Guides 
 and valets Ue place. 
 
 In my journey through the corner of 
 Switzerland and Savoy that I had plan- 
 ned to take in my road to Italy, I made 
 use of Keller's map only, and found it 
 truly excellent. This map accurately 
 points out by signs the waterfalls, rocks, 
 torrents, and most remarkable points of 
 view : your impression of each object 
 remains free and spontaneous, and you 
 escape, by the information the map af- 
 fords, the diffuse descriptions, the bad 
 style, the epithets, the dull enthusiasm, 
 and oratorical display of the guide-book 
 makers. 
 
 1 shall never forget the effect produced 
 on me, inexperienced traveller as I was, 
 by the first torrent I saw in the Alps. 
 At first I could not tell what that ap-' 
 pearance of vapor was on the top of the 
 mountain; my Parisian servant was not 
 less surprised. Is it not, in truth, a stri- 
 king image of a revolution? At first no 
 one knows what to make of it, nor how 
 it will finish; we must draw near to hear 
 the noise and contemplate the ravages of 
 the torrent. 
 
 The picturesque, which nature pre- 
 serves in such grand and terrible fea- 
 tures, is gradually disappearing, moreand 
 more, and in different manners, among 
 men. TheGenevese postilion who drove 
 me to Sallenche wore a fine black frock- 
 coat, gloves, and a round hat, while the 
 Savoyard who took us to Chamouny had 
 a kind of blue livery, with gold edging 
 and a scarlet collar. Thus was I accom- 
 panied in the bosom of the mountains by 
 the neat simplicity of a free and commer- 
 cial state, and the show and finery of 
 monarchy and ciladine servitude. On 
 
liar. XIII. 1 
 
 GLACIERS. 
 
 n 
 
 the morrow I experienced another dis- 
 appointment. Having started at break 
 of day for Montanvers, I found myself 
 in the company of goatherds who were 
 conducting their charges to the moun- 
 tains. I was anxious to bring back some 
 of their songs for the ladies of Paris ; on 
 my return I asked my hostess, a genuine 
 Savoyard, whohad never quilted her na- 
 tive valley, to procure me some of them. 
 After giving herself considerable trouble, 
 in the evening she brought me a trouba- 
 dour's romance in good French,which her 
 daughter had copied out on a sheet of fool- 
 scap in a good round hand ; and although 
 this good woman took much pains and 
 greatly interested herself in the research, 
 I could not get hold of the least song of 
 these mountaineers. I then learned, that 
 the French armies in their invasions, 
 having disseminated among the people 
 the smutty couplets of the streets of Paris, 
 the clergy had since laboured to replace 
 them by versions from the psalms. Thus 
 in the conflict between these two kinds 
 of song, the popular airs have disappear- 
 ed. The picturesque in individuals, after 
 which I longed, presented itself to me 
 for the first time in the gown and beard 
 of the capuchin of Sion 1 and the hats of 
 the Valaisian women. 
 
 The rivalry and local jealousies which 
 exist in both great and little towns, of 
 which vanity is nearly always the foun- 
 dation, is met with even in the bosom of 
 savage nature : the guide of the Frozen 
 Sea speaks derogatorily and with disdain 
 of the diminuliveness of the glacier of 
 Bossons ; * and the guide to the latter, in 
 vaunting its resplendent whiteness, the 
 transparency of its alabaster pyramids 
 and the crystal of its springs, is almost 
 epigrammatic on the discoloured hue of 
 the Frozen Sea. I have since remarked 
 the same pretensions between the cice- 
 roni of Vesuvius and the Solfatare. The 
 one treats the Solfatare as a tiny volcano 
 1 long since extinct; the other, more justly, 
 details the curious effects, the utility, 
 and salutary properties of his ancient 
 volcano, and jeers at the eternal smoke 
 of Vesuvius. These mountain guides 
 arc full of candour, simplicity, and intel- 
 I ligence : placed close to the wonders of 
 nature, they speak of them without af- 
 fectation, and are far removed from the 
 [ emphatic descriptions of the keepers of 
 
 1 See Chap ut, post. 
 
 our parks and gardens, or the domestic 
 erudition of the servants in our country 
 mansions. The valet de place, or rather 
 the valet out of place, as Alfieri has it, 
 of the Italian towns, is not much better ; 
 and were it not for the assistance that 
 his lavish use of the title of excellensa 
 affords him, he would find great diffi- 
 culty in keeping up the conversation 
 and finishing his periods. The cicerone 
 of Pompeii is interesting ; but this man, 
 who lives in some sort in the midst of 
 the ancients, is still-close to nature. 
 
 CHAPTER XIII. 
 
 Glaciers.— Saiat Francis de Sales at the glaciers. 
 
 It would be an act of temerity to give 
 a new description of places so often, so 
 eternally described, and which have been 
 observed by Saussure, and sung by 
 Hallcr, Delille, Fontanes, and Byron. 
 Besides, I will own that, save in the first 
 moments of astonishment and curiosity, 
 I had too faithful a recollection of the ar- 
 ticles written by M. de Chateaubriand 
 against mountains. This divertisement 
 ended by seeming to me a fatigue, and 
 after having passed a whole day in climb- 
 ing Montanvers, descending to the Frozen 
 Sea and the source of the Arveron, then 
 re-ascending to the cross of Flaissiere, 
 whence the view of the Frozen Sea is 
 much more complete, I found these places 
 sad and desolate instead of sublime ; na- 
 ture there appeared to me shorn of part 
 of her charms. The water of the foun- 
 tains is sometimes too hard ; the inevi- 
 table monotonous rhododendrum is an 
 inodorous rose with a pale uneven leaf. 
 Every thing undergoes a change on these 
 heights ; even the violet loses its mo- 
 desty, and, instead of concealing itself 
 humbly in the grass, becomes a large 
 handsome flower overtopping it, and os- 
 tentatiously exhaling a faint perfume 
 from its lofty stem. I recalled the ad- 
 mirable verses which Virgil puts in the 
 mouth of a friend deceived by his mis- 
 tress :— 
 
 Tu procui a palria ( nee sit mihi credere tanlum ) 
 Alpinas, ah I dura nives. ... 
 Me sine sola Tides ! ah, te ne frigora laedant 1 
 Ah 1 libi ne teneras glacies secet aspera planlas . 
 
 And I saw in them a true picture of 
 
 1 The finest, but no the largest, of the glaciers. 
 2 
 
COL DE BALItfE. 
 
 Book 
 
 the glaciers. What modern poet would 
 have failed to indulge in a reverie on 
 this lover in the midst of rocks and 
 snows? but being obliged to follow at- 
 tentively the steps of my guide among 
 these precipices, my feet suffering from 
 the flints, I found such musings abso- 
 lutely impossible. 
 
 The discovery of the valley of Cha- 
 mouny is constantly, but erroneously, 
 ascribed to Pococke and Windham, two 
 English travellers. More than a century 
 before, it had been visited by Francis de 
 Sales, and charity had preceded curiosity 
 in this secluded retreat of savage nature. 
 Notwithstanding the incompetency of 
 the historiau, it is impossible to read 
 without emotion the details of this visit 
 to the glaciers, so different in its nature 
 from those which fashion has since 
 rendered customary. " It having been 
 reported that Francis was at the abbey 
 of Six, people came from all quarters to 
 greet him. He there received, among 
 others, the deputies and inhabitants of a 
 valley situated at three leagues' distance, 
 who informed him of the disaster that 
 had recently befallen them. As the 
 province is full of very high mountains, 
 the summits of two of them became 
 loosened, and in falling crushed several 
 villages, a number of inhabitants, and a 
 great quantity of cattle, which are the 
 sole riches of the country. They further 
 informed him, that being reduced by this 
 accident to utter poverty, so as to be 
 unable to pay their taxes, they applied to 
 the duke of Savoy's chambre des comptes 
 to have them remitted; but they had 
 done so in vain:— that they had reason 
 to believe the authorities were not per- 
 suaded that the evil was so great as 
 represented, or that they were thought 
 to be less poverty-stricken than they 
 really were. They therefore entreated 
 him to send and have every thing verified 
 on the spot, so that on the report which 
 should be made to him, he might write 
 in their favour. 
 
 "Francis, who had a most feeling heart 
 for the misfortunes of others, was deeply 
 affected by the calamities of these poor 
 people, and offered to set off that very 
 hour to go and comfort them, and render 
 them whatever services lay in his power. 
 This they opposed, representing that the 
 country was impracticable and so rough 
 that a horse could not go thither. The 
 holy prelate asked them if they had not 
 
 come from thence, and they answered 
 that they were poor people used to such 
 fatigues.—' And I, my children,' replied 
 Francis, * am your father, obliged to pro- 
 vide for your consolation and your neces- 
 sities.' Accordingly, whatever entreaties 
 they could make, he set off with them on 
 foot, and he was a whole day in going 
 the three leagues from the abbey of Six 
 to the valley. The mischief proved* to 
 be greater than they had represented. 
 The inhabitants were reduced to extreme 
 want and had scarcely the appearance 
 of men : they were destitute of every 
 thing, ciothes, houses, and food. Francis 
 mingled his tears with theirs, gave them 
 all the money he had with him, and 
 promised to write in their favour to the 
 duke himself. He did so, and obtained 
 for them all that he asked." « At Mon- 
 tanvers they show the Englishmen's 
 stone, that is, the place where Messrs. 
 Windham and Pococke seated them- 
 selves : how different would be the 
 feelings of the traveller, could he con- 
 template and follow the traces of Francis 
 de Sales, and the path trod by him in 
 the midst of these rocks ! 
 
 CHAPTER XIV. 
 
 Col do Balmc. 
 
 On the door of the church at Ar- 
 gentine, a very small village in a vale 
 at the foot of a glacier, is the following 
 touching inscription, full of piety and 
 truth : Populum pauperem salvum fa- 
 des. 
 
 I passed the Col de Balmc, the view 
 from which, extending on one side over 
 the valley of Chamouny, Mount Blanc, 
 and the lofty pyramids surrounding it, 
 and on the other over the province of the 
 Valais and the chain of the Alps from 
 Mount Saint Gothard to the Fork, is 
 truly magnificent and immense; which 
 is not every where the case in the midst 
 of the peaks of the Alps, as some of them 
 are overtopped by others. The descent 
 from the Col de Balme is through a su 
 perb forest of larch, which, from the 
 strength, size, and disorder of its vegeta- 
 tion, resembles rather a virgin forest of 
 North America than a thoroughfare fre- 
 quented every year by artists and people 
 
 ■ Life of saint Francis cfe Sa.let, by Maisollier, 
 book v. 
 
Chap. XVI.] 
 
 BEX.-CHILLON. 
 
 15 
 
 of the fashionable world. They were 
 then occupied in building a little pavilion 
 on the summit of the Col de Balme, 
 which may be convenient enough, though 
 I do not like it there : a calvary or reli- 
 gious house seems better adapted to 
 these high mountains than the kiosk of 
 a restaurant. 
 
 CHAPTER XV. 
 
 Saint Maurice; Hermit.— Marligny. 
 
 Saint Maurice at the bottom of its ra- 
 vine, and Martigny in the plain, present 
 traces of the Roman domination and of 
 the French during the Empire ; but these 
 traces of the two most powerful societies 
 that have ever existed, appear weak 
 beside the might and majesty of na- 
 ture which surrounds and overwhelms 
 them ; and the ruins of walls and towers, 
 once Roman military posts, with the re- 
 pairs done to the bridge by our engineers 
 at the time of our prefect, sink into in- 
 significance before the rocks, grottoes, 
 and caverns that you have contemplated. 
 
 At a quarter of a league from Saint 
 Maurice is the field in which the Theban 
 legion, with Maurice, its chief, was mas- 
 sacred ; these martyred warriors had for- 
 saken their idols and were decimated for 
 the sublime insubordination of their 
 faith :— 
 
 Fui ieux dans la guerre, Us souffrent nos bourreaux, 
 Et, lions au combat, ils meurent en agneaux.' 
 
 Not far from this place, half way up 
 the mountain, among the rocks, is the 
 habitation of a blind hermit. Notwith- 
 standing his seventy years, the elevated 
 position of his dwelling, and the narrow- 
 ness of the path that leads to it, the old 
 man can find his way very well without 
 aid. Contrary to the ordinary practice 
 of hermits in poems and romances, this 
 one was not very resigned ; he had never 
 known like them the grandeurs and fickle- 
 ness of fortune ; he was a poor peasant, 
 who had lost his sight at the age of nine 
 years, and, to live rent-free, had retired 
 twenty years ago to this rock, which was 
 
 1 Polyeucte.— Tbe fact of the massacre of 6,600 
 soldiers of tbe Tbeban legion by order of Maximian, 
 on tbe 22nd of September in tbe year 302, is well 
 defended and proved by a learned Valaisian of the 
 last century, Pierre Joseph de Rivaz, still in repute 
 as a mathematician, In a wort of merit which 
 
 well lined with fir planks and not in the 
 least damp. The robe of this hermit was 
 only an old surtout fastened round his 
 waist by a leather girdle. He descended 
 every day to Saint Maurice, where he 
 lives in winter ; in short, far from being 
 so poetical as some enthusiastic Parisian 
 travellers had depicted him to me, this 
 hermit from necessity had been long 
 anxious to find some house of refuge, and 
 he would have been on roses in the Hos- 
 pice des Manages at Paris. 
 
 CHAPTER XVI. 
 
 Bex.— Aigle.— Haller.— Villeneuve.— Chillon. 
 
 The salt-springs of Bex have doubtless 
 the grand merit of utility, as there are 
 no other in Switzerland; and they yield 
 annually to the government of Vaud, to 
 which they belong, from fifteen to twenty 
 thousand quintals of salt, after having 
 formerly produced fifty thousand ; but 
 the toilsome visit to these subterraneous 
 caverns is less interesting to persons un- 
 skilled in science or political economy. 
 Nature loses much on being viewed by 
 lamp-light ; she requires the sun and 
 the stars to light up her wonders. The 
 vaulted galleries hollowed out in the 
 rock, the drains, the well, the reservoir 
 and boilers of Bex, produce moreover a 
 sad contrast, when one has just come 
 from contemplating the brilliant effects 
 of the rainbow formed over the green- 
 sward by the dazzling cascade of Pisse- 
 vache, well-deserving a more decent ap- 
 pellation, and the enchanting sites of the 
 valley of the Rhone. These works ge- 
 nerally occupy from thirty to forty work- 
 men, a species of water Cyclops, at two 
 francs a day. But if I did not sufficiently 
 appreciate this kind of industry, I did 
 not by any means regret the excursion, 
 for the road to the springs is altogether 
 wild and romantic. 
 
 The barren melancholy valley of Aigle 
 is besprinkled with the huts of wander- 
 ing shepherds, driven from place to place 
 by the avalanche and torrent. 
 
 The chateau of the village of Roche 
 derives its celebrity from its having been 
 
 Roussean has eulogised. His Eclaircissements sur 
 le marhjre de la legion Thibeenne et sur I'epoque de 
 la persecution des Gaules sous Bioclttien et Maxi. 
 mien, published after bis death, at Paris, in 1779 
 are a real masterpiece of sacred erudition and his- 
 torical criticism. 
 
16 
 
 CLARENS. 
 
 Book I. 
 
 six years the residence of the great Hal- 
 ler, then bailiff of Aigle and director of 
 the salt-springs of Roche. 
 
 Villeneuve is admirably situated ; it 
 dates from the time of the Romans, who 
 were defeated in its neighbourhood by 
 the Helvetii. 
 
 The rock, the white walls, and the 
 gothic turrets of the castle of Chillon, 
 which rises solitarily above the lake, are 
 extremeiy picturesque. It was formerly 
 the residence of the bailiffs ofVevey, and 
 was built by Peter, duke of Savoy, sur- 
 named the Little Charlemagne ; it is now 
 used as a depot for arms and powder, 
 and is occupied by a few gendarmes. 
 The captivity of Ronnivard, the death of 
 Julie, the poem of Byron, seem to confer 
 glory on this military storehouse. Lord 
 Byron avows that he did not know the 
 history of Bonnivard when he wrote his 
 Prisoner of Chillon, though it is in a 
 manner imprinted in the vaults of the 
 castle, where the dungeon in which he 
 was imprisoned some three centuries 
 ago is shown, with the iron ring to 
 which he was fastened and the maikof 
 his chain near a pillar on which Byron 
 himself has since engraved his name, 
 and also the pretended truces of his steps. 
 Byron's poem, although very fine, is but 
 an imitation of the imprisonment of Ugo- 
 lin and his sons in the walled tower of 
 Pisa. The sufferings of Bonnivard were 
 not less dreadful ; they well deserved to 
 be sung on their own account, and it is 
 to be regretted that the poet has only 
 honoured them with a tardy sonnet and 
 a brief note. On the front of the Don- 
 jon, towards the lake, may be seen in 
 great letters the words liberte, patrie ; 
 a noble device when properly understood, 
 but which 1 like better treasured in the 
 heart's core than scrawled on walls. 
 
 CHAPTER XVII. 
 
 Clareus.— Topography of the Nouvelle Uelotee. 
 
 As I approached Clarens, I called to 
 mind the burning pages of Julie; but 
 what was my astonishment at coming 
 upon a little naked unsightly port, badly 
 
 Pronounced Montron. 
 
 a In Paul et Virginia we also meet with names 
 
 ot places by no means blgb-soundingor harmonious, 
 
 such as the mountain and the river of (lie Trois 
 
 Slumelles, the mountains Longut and Piterboth ; in 
 
 situated near an almost dried up torrent 
 full of pebbles 1 The baron d'Etange 
 could never have had a house among 
 those huts ; I even have my doubts whe- 
 ther it could have been possible to cele- 
 brate the marriage of La Fanchon there : 
 M. de Wolmar could hardly have de- 
 voted himself to his agricultural experd 
 ments in such a place, nor could the iri- 
 of Julia's garden ever have floweresi 
 there. Such is the privilege of genius ; 
 it gives a being to what we well know 
 never could have existed, and impresses 
 it with an unperishable charm ; nor is 
 the existence which it creates weakened 
 even by a Yiew of the reality : the grove 
 of Clarens, that everlasting memorial of 
 love and its joys, lost nothing of its en- 
 chantment in my eyes from the mourn- 
 ful aspect of the place. It seems that 
 the euphony of the name of Clarens was 
 Rousseau's motive for preferring this 
 place, in neglect of probability, to the 
 chateau of Chatelard or the village of 
 Montreux, ■ for his scene of action. 
 This scrupulous and timid distrust of his 
 talent was without foundation, Rous- 
 seau might even have preserved to Julia 
 d'Etange her original name of Julia 
 d'Orsenge without rendering his pictures 
 less touching; for passion is capahle of 
 ennobling every thing, and Walter Scott 
 is not so difficult respecting the names, 
 occasionally very vulgar, of his heroes. » 
 
 The inhabitants of Clarens have given 
 to the least filthy corner of their village 
 the name of Bosquet ; it is a heap of large 
 stones covered with ivy and briars. A 
 crafty dairywoman, in order to sell her 
 milk, butler, and eggs, had contrived to 
 furnish, according to the Nouvelle He- 
 lo'ise, certain chambers of the Chatelard, 
 which she showed to sentimental tra- 
 vellers as Julia's dressing-room, and the 
 apartments of the baron d'Etange. But 
 the speculation not succeeding, the esta- 
 blishment was broken up. 
 
 Lord Byron devotes several stanzas 
 of Childe Harold to celebrate Clarens. 
 He says : — 
 
 " Clareus! by heavenly feet thy paths are trod,— 
 Undying Love's, who here ascends a throne 
 To which the steps are mountains.'' 
 
 the description of a tempest, the air resounds with 
 the cries of the paille-en-cu (certainly, this might 
 have been given paille-en-queue), the [regales, the 
 coupeuis-4'eau; the sailors fasten themselves It) 
 table), lonnewx, and cages a ponies, 
 
Cuap. XVIII.] 
 
 VEVEY. 
 
 17 
 
 With all the credulous enthusiasm of a 
 tourist, he admits this topography of 
 the Nouvelle Helo'ise, although Rous- 
 seau himself has declared, on two occa- 
 sions, that it was grossierement alte're'e.' 
 But it is impossible to advert to the note 
 which accompanies these stanzas with- 
 out the deepest indignation. Lord By- 
 ron pretends that a small wood, which 
 also bore the name of Bosquet de Julie, 
 has been cut down by the monks of St. 
 Bernard, the proprietors of the soil, and 
 converted into a vineyard for these mi- 
 serable drones of an execrable super- 
 stition * Truly one might suppose that 
 there was question here of one of those 
 Indian sects in which credulity is allied 
 withcruelty ! Protestant austerity might 
 break forth against the luxurious idleness 
 and sensuality of the monks of Citeaux 
 or the canons of the Holy Chapel. But 
 the priest of Saint Bernard who, beyond 
 the forests and the clouds, braves the 
 midnight darkness and the hurricane, 
 preceded by his dog, in search of ;he tra- 
 veller bewildered in the snows, terror- 
 struck and ready to die ; who revives 
 the frozen dying one with some drops of 
 wine from his calabash (the produce, 
 perhaps, of that vineyard which causes 
 so much horror to Byron); this watchful 
 and hospitable hermit of an icy Thebaid ; 
 this martyr of the air and the tempest, 
 who intrepidly makes his residence on 
 those summits where conquerors only 
 venture to pass ; in a word, this humble 
 hero of Christianity and of charity well 
 merited to be spoken of in another tone. 
 
 CHAPTER XVIII. 
 
 Vevey.— Jean-Jacques.— Ludlow. 
 
 It is at the charming town of Vevey 
 that we meet with the true memorials of 
 the Nouvelle Helo'ise, and the trace of 
 , the adventurous boyhood of Jean Jac- 
 ques and of his first impressions ; it was 
 indeed there that Julia dwelt, and that 
 madame dc Warens was born. "When 
 the ardent desire of that sweet and 
 happy life which ever evades me, but for 
 which I was born, comes to inflame my 
 imagination, it is always in the country 
 of Yaud, near the lake, in those eharm- 
 
 i See the two prefaces of Julie. 
 3 II is true that vines have been planted at Clarens 
 by toe monks of Saint Bernard, and that, from the 
 
 ing fields, that it reposes. I want an or- 
 chard on the banks of this lake, and no 
 other ; I want a sure friend, an amiable 
 wife, a cow, and a litlle boat. I shall 
 never enjoy perfect happiness on lite 
 earth till I have all these. I laugh at 
 the simplicity w ith which I have several 
 times gone into that country for the sole 
 purpose of seeking this imaginary hap- 
 piness. In this journey to Vevey, as I 
 followed that delightful shore, I gave 
 myself up to the sweetest melancholy : 
 my heart aspired with ardour after a 
 thousand innocent felicities; my soul 
 melted, and I sighed, and wept like a 
 child. How often, stopping to weep at 
 my ease, and seating myself on a large 
 stone, did I amuse myself in watching 
 my tears as they fell into the water! 
 
 "I went to Vevey and lodged at La 
 Clef, and during the two days that I 
 staid there without seeing any one, I 
 contracted an attachment for that town 
 which has accompanied me in all my 
 wanderings, and which at last made me 
 fix the heroes of my romance there. I 
 would candidly say to those who have 
 taste and feeling: — "Go toVevey, visit the 
 country, examine the localities, sail on 
 the lake, and then say whether nature 
 has not made this beautiful country 
 for a Julia, for a Saint Clair, and for a 
 Saint Preux ; but do not seek them there." 
 From the peevish advice in the conclud- 
 ing passage, I confess that I should 
 readily appeal, so much urbanity, polite- 
 ness, and good-breeding did I remark in 
 the small number of the inhabitants that 
 I had occasion to meet with. Even th e 
 landlord of the inn is a traveller, having 
 been to China with Lord Macartney. 
 
 But besides the tender and pathetic 
 reminiscences of fiction, Vevey presents 
 some striking mementos of history : its 
 cathedral holds the tombs of two Eng- 
 lishmen, celebrated in the revolutions of 
 (heir country, Edmund Ludlow and An- 
 drew Broughton, the former, one of the 
 judges of Charles I.; the second, the per- 
 son who read to him his death-warrant. 
 Some few years ago the inscription, 
 Omne solum forti patria, was still to be 
 seen over the house where Ludlow had 
 resided, but some of his descendants have 
 since had it taken down and carried to 
 
 barrenness of the spot, it was impossible to do so 
 without making an artificial soil; this is a new 
 benefit due to this religious community. 
 
 2 
 
IS 
 
 LAUSANNE. 
 
 [ Book I. 
 
 England. Ludlow was a violent but 
 sincere republican, and the enemy of 
 Cromwell; he survived the restoration of 
 Charles II., and the revolution of 1688. 
 On hearing of the latter, this old friend 
 of liberty hastened home, after an exile 
 of twenty-nine years, and being nearly 
 seventy years old; he appeared joyfully 
 and proudly in the streets of the ca- 
 pital, and showed himself lo the people 
 who, he thought, must recognise him ; 
 he fancied that he was assisting at the 
 triumph of the cause he had so faithfully 
 served, and again offered his services to 
 go to Ireland to combat the tyrant. But 
 this emigre of the republic, this member 
 of the Kump, was also a remnant of 
 other times : on returning to his former 
 scene of action, he did not perceive that 
 a legal monarchy had for ever cured his 
 country of popular illusions; a certain 
 and inevitable result, in every age, of 
 the progress of public opinion. Being 
 threatened with arrest as one of the mur- 
 derers of Charles I., Ludlow was obliged 
 (o conceal himself and leave his country 
 again ; he returned to Vevey, and died 
 there in 1696, at the age of seventy-three 
 years. Uis tomb was erected by bis 
 widow, who loved him with a deserved 
 affection ; it is surmounted with a long 
 and beautiful inscription detailing his 
 titles, places, and the chief events of his 
 life, so agitated and reprehensible, but 
 neither degraded nor meriting con- 
 tempt. 
 
 CHAPTER XIX. 
 
 Lausanne.— View.— Cathedral.— Castle— Gibbon's 
 I) mse. 
 
 Lausanne from its aspect might be 
 called the Swiss Byzantium, but the op- 
 posite shore would not be that of Chal- 
 cedon ; for the lofty vegetation of Evian 
 and its wild banks have also their beauties. 
 The admirable site of Lausanne forms a 
 striking contrast with the ugliness of 
 the streets. In spile of the abundance 
 of reading-rooms and milliners, and the 
 species of civilisation that these impor- 
 tant establishments presage, thelown is 
 shocking, and ill-built ; one would say 
 that it is an assemblage of guinguettes 
 in which all the wine of the many vine- 
 yards in its neighbourhood is destined to 
 be consumed ; in such random confusion 
 are the houses, gardens, and terraces, 
 ihat they form a kind ol labyrinth where 
 
 one is always obliged to go up or down. 
 The entrance of the houses is peculiarly 
 hideous. When one thinks of I he gene- 
 rally prosperous condition of this country 
 and of the distinguished persons who 
 reside at Lausanne, it seems as if there 
 must be some mania to produce this ex- 
 cess of negligence. 
 
 The cathedral, which was begun ia 
 1000 and finished in 1375, and the castle, 
 anciently the palace of the bishops and 
 bailiffs, after the lapse of nearly three 
 centuries under a protestant republic, 
 still retain a catholic and Savoyard 
 appearance. The remains of a great 
 number of kings, queens, princes, lords, 
 bishops, and prelates, fill the cathedral. 
 There is interred Amadeus VIII. , first 
 duke of Savoy, and for a moment pope, 
 under the name of Felix V.; he abdicated 
 this double sovereignty, and seems, by 
 his actual place of sepulture, to have 
 carried his oddities and inconstancy 
 even beyond death. Every thing in this 
 reformed church has still an air of Catho- 
 licism, and the wooden seats, which the 
 love of comfort belonging to the present 
 religion has established there, seem to 
 be only a temporary arrangement. The 
 protestant worship, in the midst of 
 these old and black basilics, looks like an 
 upstart installed in an antique manor- 
 house ; there is an indescribable air of 
 newness and embarrassment about him. 
 and he has not the noble dignity o( the 
 legitimate lord. 
 
 I visited the garden and house of Gib- 
 bon. I remembered the kind of fare- 
 well that he addressed to his book when 
 he had just written the concluding lines. 
 This scene is more pathetic and touching 
 than belongs to this historian, erudite, 
 indeed, but diffuse, and withoutelevation 
 or gravity ; "It was on the day, or rather 
 night, of the 27th of June 1787, between 
 the hours of eleven and twelve, that I 
 wrote the last lines of the last page, in a 
 summerhouse in my garden; Afterlaying 
 down my pen I took several turns in a ber- 
 ceau, or covered walk of acacias, which 
 commands a prospect of the country, the 
 lake, and the mountains. The air was 
 temperate and the sky serene ; the silvery 
 orb of the moon was reflected from the 
 waters, and all nature was silent. I 
 will not dissemble the first emotions of 
 joy on the recovery of my freedom, and 
 perhaps the establishment of my fame. 
 Hut my pride was soon humbled, and a 
 
Chap XX.] 
 
 LAUSANNE. 
 
 19 
 
 sober melancholy was spread over my 
 mind by the idea that I had taken an 
 everlasting leave of an old and agreeable 
 companion, and that whatsoever might 
 be the future fate of my history, the life 
 of the historian must be short and pre- 
 carious." Certainly, the historian who 
 has fulfilled his ministry with integrity 
 must experience profound joy. Of all 
 kinds of writing, history is that most in- 
 timately connected with human actions. 
 Gibbon was unmindful of a part of his 
 duties when he spoke disrespectfully of 
 the courage of the first Christians ; when, 
 after eighteen centuries had passed, he 
 persecuted these victims of their faith 
 with his irony, and wrote epigrams on 
 their tombs. 
 
 CHAPTER XX. 
 
 Society.— Pietists.— Environs. 
 
 Wine and strangers make the prin- 
 cipal trade of Lausanne ; but the produce 
 of the former is far less uncertain than 
 the letting of houses. The residence of 
 foreigners gives to the polished, natural, 
 amiable, and cordial manners of its so- 
 ciety an air of cosmopolitism, agita- 
 tion, and unsettledness ; visits are made 
 and returned incessantly, and the even- 
 ings are passed in abundant collations at 
 each other's houses. The. conversation 
 of the ladies is witty and literary. It is 
 possible that on the latter point the opi- 
 nion of Lausanne is somewhat too in- 
 dulgent and prepossessed. No one ima- 
 gines all the great French authors known 
 and admired in this town, whose names 
 have scarcely been heard at Paris. I 
 had my share of this extreme favour, 
 and will take good care not to speak ill 
 of it, since I was indebted to it for the 
 success of Sainte Perine with certain 
 distinguished persons who had a right to 
 be severe. 
 
 There exists in the society of Lausanne 
 an aristocratic decorum, and a distinc- 
 tion between the different classes still 
 more decided than at Geneva," where 
 every one is exactly what his works make 
 him. The exclusives of the Rue de la 
 
 1 The Pietists existed a longtime before, for Addi- 
 son alludes to them in his Travels. Rousseau speaks 
 of the Pietists of the province ofVaud : — "You have 
 not seen the Pietists,'' writes Saint Preux to Julia, 
 (letter vn., part vi.,|" but you read their books/' 
 He adds in a note that these Pielisls were "a kind 
 
 Bourg are very superior to those of the 
 upper town, having grown more disdain- 
 ful by their connection with the great 
 lords that emigration drove to Lausanne ; 
 and St. Preux, notwithstanding his soul, 
 his love, and his eloquence, would be a 
 nobody there, quite unable to get a footing 
 in this Faubourg Saint Germain of a 
 little town in a small republic at the foot 
 of the Alps. 
 
 Lausanne was again,' some forty years 
 since, the nucleus of the mystical and 
 spiritual opinions of the Pietists, a strange 
 mixture of inspired, elevated, and subtile 
 errors, taken from various ages, and 
 uniting at once the fatality of predestina- 
 tion, the ecstacies of Platonic love, and 
 the sensations of magnetism; it was a 
 kind of ascetic protestantism, which pro- 
 ved that the reform effected was insuf- 
 ficient longago to the religious wants and 
 ardour of certain minds. The opinions 
 of the Pietists are still held by some per- 
 sons, otherwise very respectable; but, 
 like all illusions, they are weakened, 
 modified, and have now become a vague 
 and varying religionism which each 
 understands and practices as he pleases. 
 
 If the interior of Lausanne is frightful, 
 the impression produced is soon effaced 
 when one gains the heights and the en- 
 virons, where he finds delightful and 
 extensive houses inhabited by wealthy 
 Swiss or foreigners of distinction. Were 
 I not afraid of falling into the novel style, 
 it would be difficult not to attempt a 
 description of the impression I received 
 in a charming garden, 1 a veritable cor- 
 beille of roses ; I heard there the exqui- 
 site voices of some women singing Swiss 
 airs ; it contained even some Roman an- 
 tiquities, and a column taken, according 
 to the inscription, from the house of 
 Titus on the Aventine mount, which was 
 well placed and had a good effect. 
 
 The parade of the Signal, noted for its 
 view, is as the belvedere and panorama 
 of Lausanne. The forest of Roveria is 
 one of the finest I have seen; between 
 trees of giant growth, intersected by deep 
 ravines, are immense views of the lake 
 and mountains of Chablais ; it is Swiss 
 nature in all its strength and ruggedness, 
 
 of madmen who had the fantasy to be Christians 
 and follow the Gospel to the letter, something like 
 the metUodists In England, the Moravians in Ger- 
 many, and l he Janseuists in France, etc." 
 2 ie Jardin is the name of M. de L**" 's residence. 
 
V01TURIN. 
 
 [Booiil 
 
 as the pincta of Ravenna, which I have 
 since visited, is Italian nature in all its 
 splendour. 
 
 CHAPTER XXI. 
 
 Lake. 
 
 After passing some days at Lausanne 
 I took the steamboat for Geneva. I shall 
 not undertake a detail of this voyage, 
 which is almost as adventurous as that 
 from Paris to Saint Cloud by sea. There 
 were many English on board ; from the 
 multitude of eye-glasses and telescopes 
 directed to every point of the coast, and 
 the vehemence of their discussions, one 
 might have thought we were in the South 
 Seas, on the eve of making, some new 
 discovery. In spite of the conventional 
 enthusiasm, I will still avow that the 
 absence of islands appears to me to give 
 the lake of Geneva a sad and monotonous 
 aspect ; there are but few barks to be met 
 with on it, and the two steamboats, 
 starting always at a certain time, give 
 but little animation to this great sheet of 
 water.' 
 
 CHAPTER XXII. 
 
 At Geneva I made an arrangement 
 with a voiturin who was to conduct me 
 to Milan. This humble mode of tra- 
 velling is indeed the most commodious 
 in Italy. It is true that one has not 
 always bon souper, bon gite et le reste ; 
 but the voiturin undertakes for the whole 
 of the expense, and one is not troubled 
 about the necessaries of life. Duclos, 
 with the dignity of men of letters in his 
 time, received wine, oil, chocolate, and 
 ether provisions from the ministers and 
 noblemen with whom he lodged; but 
 those usages are now out of vogue, and 
 though the regimen of some of the voi- 
 turin's hostelries is rather spare, it is 
 still preferable to extending those pa- 
 rasitical habits even to the highways. 
 There are moreover some inconvenien- 
 ces, such as fairs and feasts of towns or 
 villages, the passage of rivers or torrents, 
 in which the experience of the voiturin 
 is very serviceable. This species of Men- 
 tor in smock-frock and cap is nearly 
 
 * The lake or Geneva and its banks form lue sub- 
 ject of a small but excellent work by an old friend of 
 wine, Professor C. I.. Munget, a distinguished Ge- 
 
 always a very good fellow, and I can say 
 that mine, Mariano Marini, was excel- 
 lent. His mode of life is also very agree- 
 able : joyfully received and welcomed 
 by his hosts, and held in consideration 
 all along the road on account of the 
 money he expends and the kind of train 
 he brings with him, this perpetual tra- 
 veller is a true citizen of the world. He, 
 traverses all the great capitals, but still 
 preserves his jargon, his manners, aud 
 his primitive character. An habitual 
 spectator of the wonders of art or the 
 beauties of nature, his almost stoical in- 
 difference contrasts with the astonish- 
 ment and enthusiasm of the travellers he 
 conducts ; slow as he is, he has no object 
 in travelling but to reach his journey's 
 end; he is of a positive turn of mind, 
 and his little stages, indicated and written 
 down beforehand, are as irrevocable as 
 the decrees of destiny. 
 
 Should the merit of my favourite voi- 
 turinsseem thereby somewhat lessened, 
 I should think myself deficient in im- 
 partiality, the paramount duty of the 
 traveller as well as the historian, if I did 
 not say a word or two respecting the 
 sagacity of their horses, and of the habits 
 and singular acquaintance with the great 
 roads that they ultimately acquire. A 
 master-voiturin of Rome, I have been 
 told, had engaged to conduct from that 
 city to Paris a numerous English family 
 with all their baggage. He had no one 
 at liberty but a new hand who had never 
 been that road. But the mare Julie was 
 there, and the master recommended the 
 driver to follow her directions respecting 
 the stages and the hours of starting, 
 which she indicated by certain motions, 
 flutterings, or the shaking of her bells ; the 
 man was prudent enough to conform to 
 thisadvice, not imitating the muleteers of 
 the duke of Vendome, who, he said, were 
 always wrong in their disputes with the 
 mules. The journey was very favour- 
 able, and Julie, harnessed to a splinter- 
 bar before the other four, led the human 
 load from Rome to Paris. 
 
 In your treaty with the voiturin, a 
 written contract which ought to be 
 worded with as much precision as the 
 lease of a house, or an agreement with a 
 publisher, there is an important varia- 
 
 nerese; a third and new edition of It was published 
 In 1837. 
 
Chap. XXV.] 
 
 VALAIS. 
 
 tion which I must mention : instead of 
 breakfast (collazione) and of dinner 
 {pranzo ) which in general exposes you 
 to having only a middling cup of coffee 
 in the morning and a late and unwhole- 
 some supper, you must stipulate for two 
 repasts ( due pasti ) ; then you can de- 
 mand soup in the morning, and a good 
 dinner, that will allow you to wait till 
 night. The poet's precept is very appli- 
 cable in the case of a voiturin's agree- 
 ment :— 
 
 D"ud mot mis en sa place enscigna le pouvoir. 
 CHAPTER XXIII. 
 
 Thonon.— Ripaille. 
 
 In beginning my road to Italy, over a 
 corner of Savoy, I nearly completed my 
 circuit of the lake of Geneva. The road 
 toThonon is along the banks of the lake. 
 This little town is celebrated in the his- 
 tory of Francis de Sales, by the courage 
 with which this illustrious saint opposed 
 the violence of a regiment sent by the 
 duke of Savoy to coo vert the inhabitants, 
 and by the pious deception he made 
 use of, as Fenelon did in Poitou in 
 more recent times, to divert this dra- 
 goonadc. 
 
 At twenty minutes from Thonon is 
 Ripaille, neglected by all who scour 
 Switzerland and Italy, which has given 
 an energetic expression to two langua- 
 ges, the French and Italian. ' This cloister 
 of pleasure and repose which witnessed 
 in Amadeus the double abdication of the 
 sovereignty and the pontificate (the only 
 instance of disgust and disdain of the 
 two powers), after having been for some 
 time a manufactory, is now a large and 
 well managed farm belonging to a French 
 woman. The church is made use of as 
 a barn, and the seven towers that Ama- 
 deus built for himself and the six knights, 
 his companions and friends, are now 
 almost destroyed. The promontory of 
 . Ripaille, encircled with large trees which 
 conceal it on the side towards the road, 
 is a delicious solitude, and one can very 
 well conceive the pleasant life that this 
 joyous retreat afforded, and the devout 
 epicurism of the hermits that inha- 
 bited it. 
 
 « The Italians say an&are a Mpagtia; and tbe 
 reucu (aire ripaillt. 
 
 CHAPTER XXIV. 
 
 Meillerle.— Saint Gingolph. 
 
 The postilion now cracks his whip over 
 the rocks of Meillerie, and makes that 
 peculiar kind of "hissing that it is im- 
 possible, as remarks the author of the 
 Expedition nocturne autour de ma 
 chambre, to describe by any ortho- 
 graphical combination— gh! gh! gh! in 
 the same places which once resounded 
 with the impassioned accents and the 
 despair of Saint Preux. But these banks, 
 though the high road passes by them, 
 have not yet lost their melancholy and 
 savage aspect. 
 
 Saint Gingolph, near Meillerie, with 
 its orchards gradually sloping down to 
 the banks of the lake, and the kind of 
 phenomenon of its forest of walnut-trees, 
 is one of those charming places that the 
 strange rudeness of its name has excluded 
 from the Nouvelle Belo'ise, though a 
 part of the action must necessarily have 
 passed there. One half of the village 
 belongs to Savoy, the other to the Va- 
 Iais ; a little brook, which falls from the 
 mountain, separates the monarchy from 
 the republic. Saint Gingolph, small as 
 it is, still offers a pretty exact image of 
 the character of the two governments ; 
 the part belonging to the monarchy is 
 the most extensive, and contains the 
 church ; industry, represented by a ma- 
 nufactory of nails and wire, is on the 
 republican side. 
 
 CHAPTER XXV. 
 
 Valais.— Sion.— Portraits.— Capuchins.— Brieg.— 
 Road of the Simplon. 
 
 The environs of Sion, the melancholy 
 capital of the Valais, are magnificent. 
 The heights which overlook it are cover- 
 ed with villages, churches, and oratories 
 of a brilliant whiteness. At the entrance 
 of the town, above the river and the 
 rocks, may be perceived the ruins of the 
 castle of Seon, whence the baron of 
 Thurn, in 1370, precipitated his uncle 
 Guichard, bishop of Sion, while he was 
 reciting his prayers ; an atrocity that the 
 pious Valaisians revenged by driving 
 the baron from the country after a bloody 
 battle. The Tourbillon, a ruined castle, 
 encumbered with vegetation, in the 
 midst of rocks and precipices, command- 
 ing an admirable prospect, preserves la 
 
VALAIS. 
 
 [BOOKI. 
 
 its rude gallery the series of portraits of 
 all the bishops of Sion from the year 600, 
 powerful and almost sovereign pontiffs, 
 who were too often mixed up with the 
 wars and revolutions of the neighbouring 
 states. Among them is the portrait of 
 that cardinal of Sion, the warlike Mat- 
 thew Schirmer, the worthy ally of pope 
 Julius II., and so fatal to the French 
 armies in Italy. The cathedral is dedi- 
 cated to the Yirgin; it is an old Gothic 
 church, and contains many tombs of 
 Valaisian families, with other funereal 
 monuments. 
 
 As I have previously remarked, the 
 rencontre of a Capuchin, near Sion, 
 charmed me. The good father was on 
 a large cart of the country loaded with 
 grass and hay, seated familiarly in the 
 midst of the peasants ; he presented me 
 at last with that picturesque of indivi- 
 duals which I had hitherto sought for in 
 vain. Montaigne loved the Capuchins, 
 and despite the anathema of the philoso- 
 phers, I own that I prefer them to other 
 religious orders; they have often de- 
 fended their country, as was seen at Sa- 
 ragossa, and, I believe, in the Valais 
 during the war of 1798, and they have 
 never raised troubles by intrigues. For- 
 merly one often found men of parts 
 among them ; and several have been good 
 poets and learned orientalists; il Cappu- 
 cino (who was not always, it is true, a 
 very worthy Capuchin) is one of the great 
 masters of the Italian school. The Capu- 
 chins have a character and physiognomy 
 which is not generally found among 
 other monks; they love gardens, and 
 their churches are commonly filled with 
 shrubs and flowers, and they know how 
 to choose, as well as poets and painters, 
 admirable prospects and localities for the 
 sites of their convents. In an econo- 
 mical point of view, I am not aware that 
 they are very disadvantageous. Notwith- 
 standing the Capuchins, the Valais seems 
 pretty well cultivated. Their mendicity 
 is said to be very offensive; but if, with 
 all our civilisation, we have neither been 
 able to abolish nor even to repress men- 
 dicity, I am not sure that a system of 
 begging, as orderly and courteous as that 
 of the Capuchins, is not preferable to 
 the licensed vagabondage of our police. 
 Resides, these mendicants are not lazy 
 like ordinary beggars. The Capuchins 
 manufacture pretty articles of hardware, 
 which, as a great master says, are exe- 
 
 cuted with a certain perfection peculiar 
 to them (con una certa finite sza cap- 
 puccinesca) ; • they are ever active in 
 case of fire, and they perform clerical 
 duties. At five o'clock in the morning 
 of the day after my arrival at Sion, 
 I went to the convent of the Capuchins, 
 situated in a fine meadow outside the 
 town; they were saying mass, and every 
 body was standing, even an old German 
 Capuchin of more than eighty, who could 
 hardly get down the stairs to reach the 
 church. It is said that the Capuchins 
 arc enemies of liberty, but I do not 
 think so ; they have always existed in the 
 Valais, a republican and even demo- 
 cratic state. I own that my Italian tour 
 has somewhat sunk the Capuchins in my 
 estimation, as will be seen on the subject 
 of the convent of Assise ; but, at the risk 
 of being thought inconsistent, I have de- 
 termined not to suppress the favourable 
 and very sincere impression first re- 
 ceived. 
 
 The traveller will make a stop at 
 Brieg, a picturesque town at the foot of 
 the Simplon, in a smiling vale on the 
 banks of the Rhone. The roofs of its 
 houses and churches, covered either with 
 shining slates, or sheets of polished me- 
 tal, have a silvery brilliancy, and the 
 tin globes surmounting the four enor- 
 mous towers of the castle of the Stock- 
 alper family give a somewhat oriental 
 character to this trading town, the best- 
 built in the Valais. 
 
 It is impossible to speak too highly of 
 the road over the Simplon. Some bold 
 eulogists of the past, however, pretend 
 that the appearance of Italy was still 
 more sudden and extraordinary, after 
 one had, with infinite labour, traversed 
 the Alps on foot or on a mule. It is 
 true that there is no more difficulty in 
 passing them now in the fine season than 
 in going from Paris to the Bois de Bou- 
 logne. I did not observe the ruin with 
 which some travellers seem to threaten 
 the road of the Simplon. Four years 
 only were required for these immense 
 works. The part extending to the gal- 
 lery of Algaby was executed by French 
 engineers, and the rest by Italian. It is 
 pretended that this last half of the road 
 offered the greatest difficulties, and that 
 it surpasses the other in solidity and 
 grandeur. The wild and solitary valley 
 
 « Manzonl, I promessl Spsol, cap. xxxvl. 
 
Chap. I.] 
 
 DOMO D'OSSOLA. 
 
 23 
 
 af Gondo, which gives ils name to the 
 most considerable of these galleries, was 
 the fruit of eighteen months' labour day 
 and night ; it bore an inscription in 
 these words : Mrc, Italo, 1805. It 
 ieems as if it would have been easy to 
 find an inscription somewhat more noble 
 than this unique and vaunting allusion 
 to money, without giving way to decla- 
 mation of which such a monument has 
 no need. At the sight of all these muti- 
 lated rocks overthrown by powder, and 
 af this daring breach made by art in the 
 lofty fortifications with which nature had 
 
 defended Italy, I but little understood 
 the story of Hannibal's vinegar, notwith- 
 standing Livy, Appian, and the reasons 
 given by the good Dutems. Bonaparte 
 had decided on the founding of an hos- 
 pital on the platform of the Simplon, 
 which was to be a kind of branch esta- 
 blishmentofthatof Saint Bernard. This 
 was a grand idea, like all that he held 
 with respect to religion, and the ruins of 
 the deserted foundations of this hospi- 
 table edifice give rise to feelings of deep 
 regret. 
 
 BOOK THE SECOND. 
 
 ENTRANCE OF ITALY. 
 
 CHAPTER I. 
 
 Domo d'OssoIa.— Aspect of Italy.— Passport.— Dom 
 Bourdin. — Mines. 
 
 It would be difficult to paint the en- 
 chanting aspect of the valley of Domo 
 d'Ossola from the bridge of Crevola ; 
 ind when one emerges from the galleries 
 jf the Simplon, those long, damp, obscure 
 •averus, the eye, tired of rocks, forests, 
 glaciers, torrents, and cascades, revels 
 n the contemplation of nature in all her 
 erenity and gracefulness, after having 
 )eheld her iu her most rugged garb. 
 )ne would say that this new land smiles 
 in the traveller, invites him to enter, 
 md decks herself out to receive him; 
 ounds of joy seem to proceed from a 
 Jistauce; and the festoons of the vine 
 langing around the trees give to the 
 ountry an appearance of festivity ; some- 
 imes the branches of a tree are inge- 
 liously parted above the trunk, and the 
 ine interlacing them formsareal antique 
 ase covered with grapes, as those sculp- 
 ured ones which embellish gardens and 
 alaces. The meeting of some proces- 
 on, the songs of the people, the lively 
 nd spirited expression of the counle- 
 
 1 Tbe Hisloire lilteraire de la Congregation de 
 ■linl-llaur says that Dom Bourdin was born at Seez 
 Normandy. The aulhority of the passport 
 r oyage d'llalie el de quelr/ues endroits d'Atle- 
 agne, fait es annees 1695 el 1696, p. 89) seems to 
 e decisive. I shall do good service to Dom Boux- 
 
 nance, the glaring colours of the dresses 
 worn by the women, the size and solidity 
 of the buildings,— in fact, every thing 
 combines to inform us that we are in 
 Italy. The magic of the name deepens 
 tbe impression on the senses ; " Italy ! " 
 I repeated involuntarily, " this, then, is 
 Italy ! " 
 
 When dom Bourdin, a Benedictine, 
 travelling in Italy in the year 1696, 
 entered Domo d'Ossola, after having 
 passed three days in crossing the Simplon, 
 which is now effected in a few hours, 
 the Spanish governor who examined his 
 passport, having ascertained that Dom 
 Bourdin was from Franche-Comte, told 
 him haughtily that his province would 
 soon be under the king of Spain's govern- 
 ment again. > The humble monk tells 
 us that his only answer to this governor 
 was that God gave and took away crowns 
 as it pleased him. The Piedmontese 
 gendarme who took my passport in the 
 same town was less enthusiastic than the 
 Spanish commandant of Dom Bourdin. 
 There was not left, however, any con- 
 quest to be taken from France, and I 
 should rather have been tempted to de- 
 mand tbe return of Nice and Savoy. 
 
 Domo d'Ossola possesses some old 
 
 din by restoring him to Franche-Comte, as he will 
 thereby Dnd a place in the literary history of that 
 province on which my learned and indefatigable 
 brother, M. Weiss, librarian of the town of Besan- 
 £on, is now engaged. 
 
■a 
 
 LAGO MAGGiORE. 
 
 I Book II. 
 
 mines of sulphurated iron containing 
 a portion of gold, and others of sulphur- 
 ate of lead mixed with gold and silver; 
 among them are the celebrated mines 
 dei Cani, 'which retain noble and curi- 
 ous traces of their having been worked 
 by the Romans. 
 
 CHAPTER II. 
 
 Borromean isles. 
 
 The successive stages, steps, ter- 
 races, arcades, balustrades, and rows of 
 vases and statues, and all the symme- 
 try of the Borromean isles, which would 
 be extravagant any where else, are not 
 displeasing there, but form a contrast 
 beside the awful irregularity of the 
 Alps which enclose and overlook tbem. 
 The gardens, rather built than planted, 
 of Isola Bella, resemble a large pyra- 
 mid of verdure, rising out of the water 
 with half its base cut away. Rousseau 
 for some time thought of placing- the 
 action of Julia in these isles, but he 
 rightly judged that they contained too 
 much art and ornament for his charac- 
 ters. Such an abode requires the loves 
 of princes, and lovers like La Yalliere 
 or Mademoiselle de Clermont. 
 
 Isola JVJadre is little frequented ; to 
 this it is indebted fir that natural sim- 
 plicity which its neighbour has lost. 
 
 The palace of Isola Bella is magni- 
 ficent, but not in good taste; it was 
 erected in 1671 by Count Vitaliano Bor- 
 romeo, who transformed this rock 
 into a garden. There are some paintings 
 of the Chevalier Tempesta scattered 
 through the apartments. Being con- 
 demned to death for the murder of 
 his first wife in order to marry a person 
 he loved, Tempesta was saved by Count 
 Borromeo, who concealed him in his is- 
 land. These paintings are seventy-five 
 in number, for the most part landscapes 
 and pastoral scenes; one might say 
 that the painter endeavoured to forget 
 his crime in contemplating the quietude 
 and innocence of the fields. The por- 
 traits of Tempesta and his sec nd wife 
 are also there, placed opposite each 
 olher ; there is an expression of cruelty 
 in the beauty of the latter, which makes 
 one feel that she was his accomplice. 
 Despite the merits of the pictures, 
 
 one feels a kind of horror in this mu- 
 seum by a single man, at the reflection 
 that it is the work of crime and the 
 passions. 
 
 In the gardens of Isola Bella I saw 
 the two largest laurels in Europe ; they 
 might almost be taken for two -of the 
 trees in the Champs-Elyse"es. These two 
 laurels seem more particularly an em- 
 blem of glory. Their origin is unknown -, 
 they were planted by nobody; they 
 existed before the present gardens were 
 made, and of themselves had taken 
 root in the rocks. It is said that in 
 one of the first Italian campaigns, Bo- 
 naparte, when at Isola Bella, engraved 
 the word baltaglia on the largest of 
 these laurels. An Austrian soldier af- 
 terwards made a sabre-cut at the tree, 
 as if to erase the word ; the bark has 
 been taken away by an Englishman, 
 and now the glorious strokes traced by 
 the conqueror's hand are scarcely le- 
 gible. 
 
 Beside the arislocratic and almost 
 princely sumptuousness of Isola Bella 
 are the hard-earned comforts of Isola 
 Pescatore ( Isella ). There every inha- 
 bitant has a small house, with a boat 
 and a net, his small aquatic estate. The 
 population of this island is truly ex- 
 traordinary, and confirms the remark 
 of Montesquieu on the propagation of 
 nations living on fish ; its circumference 
 is less than half a mile, yet it contains 
 more than two hundred persons. Its 
 aspect however is not unpleasing; the 
 village steeple, the tiny houses of the 
 fishermen, their nets hung in festoons to 
 dry, are grateful to the eye which has 
 just been gazing on the monumental 
 pomp of the palace and gardens of the 
 Borromean isles. 
 
 CHAPTER III. 
 
 Lago Maggiore.— Fete.— Slorm. 
 
 The Vevbano steamboat, which starts 
 from Sesto Calende and goes to Ma 
 gaclino, traverses the whole length of 
 the Lago Maggiore. In the passage the 
 boat passes over the territory of three 
 dilTerent states, Lombardy, Piedmont, 
 and Switzerland. The Gazette de 
 Lausanne and the Courrier Suisse, 
 said to be independent papers, are read 
 on board the Kerbano. 
 
:hap. iv.] 
 
 ARONA.-COLOSSUS. 
 
 25 
 
 This majestic lake offers a double 
 spect : on the side of Lombardy, it is 
 ounded by fertile plains, and verdant 
 ills, of no great elevation, ornamented 
 Kith new houses ; the towering Alps are 
 n the other shore, which is wild, and 
 ristles with rocks covered with con- 
 ents, chalets, and old fortifications. In 
 his latter portion, of which the Bor- 
 iomean isles, situated in the middle of 
 ie lake, may be called the limit, rises 
 siajestically the rock of Caldiero, in the 
 levenlh century the retreat of the deacon 
 irialdus, a martyr to his sermons against 
 mony and the concubines of the clergy. 
 Mivia, the mother of Widus, the infa- 
 bous archbishop of Milan, was so carried 
 way by her maternal affection, that, 
 ssisted by two priests, she assailed 
 ; rialdus in his hermitage ; they cut off 
 is ears, nose, lips, and hands, and last 
 f all inflicted a secret mutilation, to 
 hich these infuriated wretches super- 
 ided the most indecent sarcasm. 1 What 
 strange and horrible history of mar- 
 rdom instigated by a woman ! Oppo- 
 se the coast of Canero, which is so 
 larvellously sheltered from storms, are 
 vo picturesque forts in ruins ; in the 
 eginning of the fifteenth century they 
 ere the resort of the five brothers Maz- 
 ndini, a species of pirates who defended 
 lemselves there for two years against 
 par hundred men of the army of Philip 
 aria Visconti, duke of Milan; when 
 bliged to surrender through want of 
 ovisions, they were all thrown into 
 iie water with stones fastened round 
 leir necks. 
 
 I was present at the f6te given on the 
 
 I ke to the king of Sardinia, when he vi- 
 
 ted the Borromean isles, in September 
 
 [ J28. Painted triumphal arches, with the 
 
 alian tinsel and customary Latin, had 
 
 I >en erected where his majesty was to 
 
 (iss. The appearance of Isola Bella when 
 uminated in the evening presented a 
 ost extraordinary coup d'ceil. The 
 I ansparencies and theatrical decora- 
 lans were well suited to an island so 
 I mmetrical and artificial; and the roses 
 Sanquirico seemed more natural there 
 i an those of spring. This night scene 
 as infinitely superior to the pompous 
 f irangues and receptions of the morn- 
 
 Dicentes: Proedicator castitatis hactenus 
 isti, el tu castus eris. B. Andrea, vita S. 
 ialdi, cap. xxix, quoted by Giuliniin bis Memo- 
 
 ing. A multitude of illuminated boats 
 in the shape of dragons, or of temples 
 with Corinthian columns ornamented 
 with foliage, crowded round the blazing 
 island, and the enthusiasm of the Mi- 
 lanese for sights of this kind was at its 
 height. Unfortunately bad weather came 
 on and deranged the fete, and the night 
 was one unceasing tempest; it might 
 have been said that the vast sheets of 
 lightning and the old Alpine thunders 
 were indignant at the feux de joie and 
 the new luminaries that disturbed their 
 solitude and seemed to parody their ma- 
 jesty; the lightning replied to the rockets 
 and the thunder to the crackers; and 
 this contrast, which must have annoyed 
 those in full-dress, added still more to 
 the curious effect of the sight. The end 
 of the day was less agreeable than the 
 beginning; at Sesto Calende we were 
 obliged to await the inspection of our 
 passports by the police, as well as the 
 searching of our boxes by the officers of 
 customs, and all this on board the boat 
 belonging to the steamer, exposed to a 
 tremendous rain. 
 
 CHAPTER IV. 
 
 Arona.— Colossus. 
 
 I did not content myself with merely 
 viewing from the road the colossus of 
 Saint Charles Borromeo, which stands 
 on the hill of Arona : as a brother giant 
 I owed him a visit; for if I have not exact- 
 ly the genius of Leibnitz or Fielding ( al- 
 though like others I have occupied myself 
 with philosophy and have also written 
 my Novel ), I am at least endowed with 
 the high stature of those great men. 
 I should have been inclined to penetrate 
 into the interior of this bulky statue of 
 Saint Charles, and, seating myself in 
 the long nose of the saint, as other 
 travellers have done, give way to me- 
 ditation; but my height was an obstacle 
 to mounting the stairs, so I could have 
 nothing more to do with the colossus : it 
 is thus that mutual superiority occasion- 
 ally prevents intimacy. 
 
 rie spettanti at governo ed alia descrizione 
 della citta e della campagna di Milano tie' se- 
 coh bassi. 
 
26 
 
 CONVENT. 
 
 ! BOOK II. 
 
 What an advantage it is to have a po- 
 sition ! This colossus of Saint Charles, 
 holding the book of his synodal consti- 
 tutions in one hand, and with the other 
 giving his blessing, — a statue twenty-one 
 metres and a half in height, the 
 head and hands of bronze, the rest 
 wrought copper, — a kind of Egyptian 
 monument, erected at the close of the 
 seventeenth century, visible for miles 
 round, is visited by every body, while 
 the churches and paintings of Arona, so 
 interesting with respect to art, are neg- 
 lected. The vast collegiate church of 
 Saint Mary has at its entrance a Nativity. 
 which dates from the very commence- 
 ment of the revival of sculpture in Italy. 
 In the chapel of the Rosary, recently 
 beautified, are some good paintings of 
 Morazzone, a vigorous artist of the se- 
 venteenth century. The parochial church 
 boasts an excellent painting in six com- 
 partments, combining the style of Peru- 
 gino, Leonardo, and Gaudenzio Vinci, 
 and dated in the year 1551, also a Na- 
 tivity, one of the first essays of the ce- 
 lebrated painter and decorator Appiani. 
 On the steeple, supposed to be of the 
 tenth century, is an image of Christ on 
 the cross, enveloped in his tunic, as was 
 then customary. 
 
 The wealthy and commercial town of 
 Arona is well situated ; it has a safe port 
 and a small dockyard, and contains two 
 thousand two hundred inhabitants ; I 
 recall with pleasure the memory of the 
 kind hospitality I experienced there when 
 I attended the fete of the Borromean 
 isles. 
 
 CHAPTER V. 
 
 Lombardy. 
 
 Sesto Calende, on the Ticino, eight 
 leagues from Milan, is the entrance of 
 Lombardy. The immense, melancholy, 
 and monotonous plain of Lombardy 
 forms a contrast with the lively, spirited, 
 and almost French ardour of its inhabi- 
 
 1 M. de Bourrienne, an author who appears very 
 correct about Bonaparte, does not mention this in- 
 cident in bis Memoires; I have been assured of its 
 truth by the clavendier or the Hospital of the Great 
 Saint Bernard, a man of singular merit. It Is pro- 
 bable that H. de Bourrienne is a more certain au- 
 
 tants and the events of its stormy his 
 tory. 
 
 CHAPTER VI. 
 
 Entrance of Italy by the Great Saint-Bernard and 
 the valley of Aosta.— Great St. Bernard.— Convent. 
 
 The road to Saint Bernard has been 
 passed over and described a thousand 
 times. Certainly without diminishing 
 the glory of the passage effected by our 
 army with its cannon and the heavy 
 baggage of modern armies, or wishing to 
 lower the admiration that this grand mi- 
 litary achievement must inspire, one still 
 feels that this mountain has in all ages 
 been the road for the invaders of Italy, 
 and that it was possible to pass it. The 
 little valley where our soldiers encamped 
 is still shown, and the spot where Napo- 
 leon, being thrown by his mule, must have 
 perished without the help of his guide. ' 
 This mountaineer was asked to follow 
 the first consul, but he refused, because 
 he said, he was building a house that 
 Bonaparte paid for : this house he still oc- 
 cupies, while his less prudent companion 
 in danger has lost his palaces. The chil- 
 dren and inhabitants of this part of the 
 Alps have an appearance of strength and 
 health that is pleasing to behold ; they 
 are nearly all landowners, and their well 
 cultivated property reminds one of the 
 fields overhanging the abyss in the let- 
 ter of Saint-Preux. 
 
 I was prevented by bad weather from 
 reaching the hospital before night. If 
 I missed some few fine prospects, I cer- 
 tainly lost nothing of the display of cou- 
 rage and virtue on the part of the monks, 
 a spectacle far nobler than the scenes 
 that surround them; for it appertains to 
 the greatness of man. In correcting the 
 abusive mistake of Lord Byron on the 
 subject of the priests of Saint Bernard, 
 1 only described them according to their 
 fame ; I was not less touched on viewing 
 them closely- These men, nearly all 
 Valaisians, join to varied learning the 
 
 thority respecting the cabinet, the Luxembourg, the 
 Tuileries, and Malmaison, than the passage of the 
 mountains. As an instance of this, be pretends 
 that the sun rarely or never penetrates toMartigny, 
 whereas, on the contrary, it Is very troublesomo 
 there. 
 
Chap. VI.] 
 
 CONVENT. 
 
 27 
 
 Christian and ecclesiastical politeness of 
 the religious orders and the simplicity and 
 hospitality of mountaineers ; as priests 
 they are edifying, intelligent, and free 
 from narrow prejudices; their mountain 
 being continually traversed by the poor, 
 the peasantry, traders of different coun- 
 tries, wealthy travellers, authors, poets, 
 men of science, artists, and ladies of dis- 
 tinction, they obtain sufficient informa- 
 tion respecting worldly affairs. From 
 the number of inhabitants, or beggars, 
 who leave a country, they are enabled to 
 judge of the wealth or poverty of that 
 state; their charitable statistics on this 
 point may be less uncertain than those 
 of the government or certain celebrated 
 authors. The convent receives the Bi- 
 bliotheque universelle de Geneve, a very 
 instructive journal; the Gazette de Lau- 
 sanne, and some scientific works. I re- 
 gretted that I could not examine the 
 library, which was all in confusion, not 
 from negligence, but on account of works 
 then in progress for raising the edifice a 
 story higher. The most hardy adversary 
 of monastic vows would be somewhat 
 embarrassed here : what other men than 
 monks could have lived here, for more 
 than eight centuries, r under such a cli- 
 mate? Charity with them supplies the 
 place of that love of country which peo- 
 ples the frozen regions of Iceland and 
 Greenland. Tell men who have families 
 logo and live on Saint Bernard, and you 
 will soon see what a difference separates 
 philanthropic institutions from the works 
 of religion. 
 
 All the part describing the Great 
 Saint Bernard is excellent in M. de Saus- 
 sure, instead of copying it, one can only 
 attempt after him to give some of one's 
 own impressions. One of the most for- 
 cible that I felt was the effect of the 
 morning prayers in the church of the 
 convent. The Laudate Dominum, am- 
 nes gentes, accompanied by the organ, 
 was still more solemn there, and the 
 misericordia seemed verily confirmed 
 on the venerable men who sung it. The 
 charitable Catholicism of these religious 
 men certainly appeared to me a more 
 beautiful example to the protestants ad- 
 jacent, than that of one of our bishops 
 whose little diocese I had crossed two 
 days before. 
 
 * The present convent was founded as early as 
 tue vear 962, 
 
 One of our most illustrious captains, 
 Desaix, is interred in the church of the 
 Great Saint Bernard. If the column 
 erected to his memory on the plain of 
 Marengo has disappeared, his coffin is 
 better protected by religion on the moun- 
 tain of a free state. This French tomb 
 is the most elevated in the world; it 
 stands on this lofty point above the clouds, 
 as an advanced monument of our glory; 
 and the sepulture of the hero it encloses 
 is well nigh an apotheosis. 
 
 The tomb of Desaix has no inscription, 
 notevenhis name : it is said thatNapoleon 
 promised to compose one. If the cares of 
 government made him forget this pro- 
 mise, perhaps he remembered it in his 
 exile, when, thinking of the many and glo- 
 rious lives sacrificed in his cause", he must 
 have envied the victorious mausoleum of 
 Desaix on the summit of the Alps — he, 
 whose remains were about to be hidden 
 in the bosom of the wave-beaten rock 
 on which he was a captive. The epitaph 
 of Desaix by his brother in arms of Egypt 
 and Marengo would have been a sacred 
 and imperishable monument, doing more 
 honour to Napoleon with posterity than 
 all his creations and proclamations of 
 princes and kings of which nothing re- 
 mains. 
 
 Notwithstanding the while marble of 
 which it is made and the great owl in the 
 centre, the tomb of Desaix is naked : it 
 is a pity that it has no Christian emblem ; 
 a cross would seem better placed there 
 than the melancholy and classical bird 
 of Minerva. 
 
 I did not omit going to see the cele- 
 brated dogs of the hospital. One of them 
 had been hur*. ; it was in fact nothing 
 more than a kick from a mule ; but I 
 loved to ennoble the wound of this poor 
 animal, and to suppose that he had re- 
 ceived it in one of his perilous excursions 
 to succour humanity. In his article on the 
 dog, Buffon has forgotten the blindman's 
 dog; his omission of those of Saint Ber- 
 nard is equally blameable and still more 
 difficult to explain. The pompous au- 
 thor of the Epoques de la Nature might 
 easily overlook the vulgar dog of the 
 blind in towns, but he might have met 
 with, and he ought not to have omilted 
 this dog, so noble in stature— this watch- 
 ful host of the mountains, companion of 
 the fatigues, the dangers, and almost of 
 the charity of his masters— this dog, in a 
 word, the most respectable of his species. 
 
38 
 
 VALLEY OF AOSTA. 
 
 [Book II. 
 
 In a corner of the convent, I observed 
 lying on the ground a superb slab of 
 black marble. From a Latin inscription 
 thereon, I found (hat this stone had been 
 devoted by the Valaisians to Napoleon, 
 as the restorer of their republic, which, 
 however, in contempt of treaties, this 
 stubborn destroyer of republics ultima- 
 tely made a prefecture. 
 
 On a little plain in front of the convent 
 are some ruins, among which many me- 
 dals have been found, the ex voto offer- 
 ings of devotees and pilgrims of the olden 
 time. It is not known whether the 
 building was a temple to Jupiter or an 
 hospital; most likely it was a temple, for 
 I can hardly imagine a pagan hospital in 
 so horrible a place. 
 
 The Swiss society of the Amis des 
 Sciences naturelles is to hold a meeting 
 at the hospital of the Great Saint Ber- 
 nard in July next. Never has a learned 
 society held its sittings so high. The 
 convent will lodge these new and nume- 
 rous Saussures, and while elsewhere a 
 kind of jealous enmity subsists between 
 the cloister and science, here it will be 
 well received, treated as a welcome 
 guest, and admitted to the hearth and 
 banquet of the house. 1 
 
 CHAPTER VII. 
 
 Valley of Aoslu. — Aosta. — Calvin's column. — Cathe- 
 dral.— Tomb of Thomas II. — Saint Peter and Saint 
 Orso.— Antiquities.— Arch of Augustus.— Cretins. 
 
 The valley of Aosta, despite its beauty, 
 variety, and Us rich vineyards,' docs not 
 present the smiling contrast observed on 
 entering Italy by Domo d'OssoIa. This 
 valley retains for some distance the prin- 
 cipal features of Alpine nature, such as 
 torrents, forests, rocks, cascades, preci- 
 pices, at the bottom of which is the rum- 
 bling Dora. The antiquity of this mili- 
 tary road, previously perceptible in going 
 up the Great Saint Bernard, is still more 
 so in the descent; and this narrow 
 valley presents at every step the rcdoubt- 
 
 1 This meeting took place on the 21st of July 1829; 
 it wascomposed Of eighty-six persons, among wbom 
 were several learned foreigners, such as the Ger- 
 man Baron deBueh, known by his geological works, 
 and MM.Bouvard and Micbaui, French naturalists. 
 There were twositlings, on the 21st and22nd, under 
 the presidentship of the Canon Biselx, rector of 
 i.iuviy, in wliich several sclentllic papers were 
 read ; and on the 23d, says a journal, the whole 
 
 able traces of the two most warlike 
 people in history, the Romans and the 
 French. 
 
 The valley of Aosta, the banks of the 
 Dora, and the impressions they produce 
 are eloquently painted in the different 
 works of Count Xavier de Maistre, a sen- 
 timental military writer, who is, as it 
 were, the bard "of this little country. 
 Aosta has 6,400 inhabitants. 
 
 In the centre of the public square is a 
 stone column, surmounted by a cross, 
 erected, as the inscription shows, in 
 commemoration of Calvin's second flight 
 from the city of Ao=ta, on his return from 
 Italy, in the year 1541. Might not one 
 suppose, on seeing this singular column, 
 that there was question of the repulse of 
 some mighty conqueror, instead of the 
 hasty retreat of an insulated wanderer, 
 whose whole strength lay in his doctrines. 
 
 The antique cathedral, restored in the 
 fifteenth century, contains the tomb of 
 one of those brave and skilful captains of 
 the house of Savoy, duke Thomas II. ; it 
 is a noble mausoleum of white marble, 
 and from the superiority of the work- 
 manship must be regarded as of the close 
 of the fourteenth century or the begin- 
 ning of the fifteenth. There are some 
 good frescos in the sumptuous chapel of 
 Saint Grat, erected in the sixteenth cen- 
 tury by the marquis Roncas d'Aosta, 
 minister of state. An ancient consular 
 diptych in ivory, of the year 406, is the 
 oldest in existence that bears a date, and 
 is placed in the first rank of (hose fragile 
 and curious monuments of antiquity. 
 
 The collegiate church of Saint Peter 
 and Saint Orso is reckoned the oldest 
 church in the valley. On the arched 
 roof of the choir, some antique paintings 
 in the Byzantine style, of the beginning 
 of the thirteenth century, represent the 
 apostles. In the sacristy is a fine missal, 
 ornamented on almost every page with 
 the arms of the Challant family, the most 
 illustrious in the valley, as- well as with 
 some rich miniatures of good taste. 
 
 The population of Cretins and Albinos 
 
 company descended, equally pleased with the zeal 
 and unanimity of the members of the society, and 
 the manner in which the monks of Saint Bernard 
 had done the honours of their convent. 
 
 2 Tbe most esteemed w ines of the valley are those 
 of Donasso and Arnazzo, and among tbe liner n lues, 
 tbe torelia of Salnt-Plerre and the malmsey of 
 Aosta. 
 
Chap. VIII.] 
 
 INNS. 
 
 who inhabit the valley of Aosta, forms a 
 singular contrast with the beauty of the 
 site and the grandeur of the Roman 
 antiquities found there, such as the arch 
 of Augustus, the bridge, the gate, the 
 pretorian palace, the amphitheatre, and 
 the theatre. I saw some of these wretch- 
 ed monsters under the arch of Augustus, 
 and the human species seemed to me there 
 much more degraded and decrepid than 
 the monuments of eighteen centuries. 
 
 CHAPTER VIII. 
 
 The Foi'e$//ere.— Englishmen.— Inns. -Registers. 
 
 Scarcely have you entered Italy, in- 
 vested with your cha«acter of forestiere 
 ( foreigner ), before you find the conduct 
 and manners of the various classes of its 
 inhabitants totally different : the higher 
 orders are very obliging, hospitable, and 
 good-natured ; to the populace, on the 
 contrary, the foreigner, notwithstanding 
 the ceremonious formalities with which 
 he is overwhelmed, is nothing less than 
 a prey, a kind of booty at which every 
 one runs, and endeavours to bear off his 
 share to the best of his means ; the little 
 half-naked urchin runs after the carriage 
 crying out carita, until the period when, 
 grown to manhood, he can take his ca- 
 rabine and beg more nobly; iheperfidus 
 caupo is no less cunning than in the days 
 of Horace ; in short, voiturins, valets de 
 place, postilions, chamberlains, boat mas- 
 ters, all seem eager to bring about, in 
 detail, a restitution to Italy of the tribute 
 that invaders have but too often levied 
 theie ; aadinthis respect none fail in the 
 duties of a citizen. Some of the autho- 
 rities do not disdain to join the league ; 
 the everlasting and expensive visa of 
 passports are but an indirect tax on the 
 curiosity of travellers ; and in some se- 
 condary towns, such as Ferrara, Reggio, 
 Placentia, the price of tickets at the 
 theatres has been doubled to foreigners 
 for some years past, with the consent of 
 the municipality. Independently of the 
 paid services, the servants of the houses 
 where you are received, the custode, the 
 officer of customs, the gendarme, in fact 
 every body holds out a hand ; it is not 
 what one buys that costs dear, but what 
 one is perpetually obliged to give; and 
 even the poet of the locanda ( inn ), the 
 author of a sonnet on your happy arrival, 
 
 in which he has made the Tiber and 
 Arno rejoice for the thousandth time, 
 also asks for a donation. 
 
 The forestiere must, therefore, be re- 
 signed, and come to the determination 
 of not being too minute in his accounts, 
 or he will find the pleasures of travelling 
 diminished : the struggle would not be 
 equal, so great is the instinct and craft 
 of these people for getting money. 
 
 The English, by reiterated complaints 
 and boisterousness, have contributed to 
 the improvement of the Italian inns, and 
 may even claim the glory of having re- 
 formed them ; they are in general very 
 tolerable now, and I think them even 
 better than in France. The register, 
 which the severity of the police obliges 
 every hotel to keep accurately, is a book 
 which I have often perused, nor is it 
 destitute of its peculiar matter for medi- 
 tation. The different names of all the 
 travellers who pass, show the agitation, 
 often very vain, of this world's things ; 
 sometimes they recall the caprices of for- 
 tune, and reveal the forgotten existence 
 of adventurous persons, once celebrated 
 and powerful, and whose old palaces 
 were to thern but a kind of hostelry. 
 The column condizioni of the inevitable 
 register is to numbers of persons very 
 difficult to fill up; they do not know 
 exactly what they are, so uncertain are 
 the fortunes of many in our days; so in- 
 complete and temporary is the social 
 order on some poiuts, notwithstanding 
 its improvements. The Italians gene- 
 rally take the title of nobile ; that of 
 gentilhomme, or man of quality, is not 
 taken by any Frenchman, although the 
 Charter acknowledges a nobility, and 
 even that there are two kinds ; the names 
 of rentier and proprietor are certainly 
 pleasant enough, but they are somewhat 
 common. The eta (age) is another po- 
 sitive question which, for the ladies, is 
 embarrassing at a certain epoch; the 
 number of ladies of thirty-eight who travel 
 can hardly be imagined ; one would think 
 it the best age for that enjoyment; the 
 difficulty is sometimes complicated by 
 the proximity of some charming girl, 
 who already begins to be interesting, and 
 proves that it is a considerable time since 
 her mother was in the same circumstan- 
 ces. But the best chapters are the names 
 of your friends, who, like you, are tra- 
 vellers; it seems that in finding and 
 following their traces, you diminish the 
 
 3. 
 
30 
 
 SEASON FOR VISITING ITALY. 
 
 [Book II. 
 
 sadness of separation, and that ibis sort 
 of apparition restores them to you, as in 
 the rencontre sung in the same place by 
 the poet : 
 
 Plollus et Vaiius Slnuessae, Virgiliusque 
 Occurrunt, anlmao quales neqne candidiores 
 Terra tulit, neque quis me sit devincllor niter, 
 
 Nil ego conlulerim jucuudosanus amico. 
 CHAPTER IX. 
 
 On toe 6eason for visiting Italy. 
 
 Though winter is the usual season for 
 travelling to Italy, I will advise no one 
 to follow this custom, unless going under 
 the advice of a physician. The winter 
 does not suit that fine country ; its aspect 
 is then but little different from that of 
 our provinces : there is nearly the same 
 humidity and the same cold ; the rivers 
 are overflowed, heavy and continued 
 rains obscure the sky and inundate the 
 fields ; the trees arc dwarfish and look 
 still worse when stript of their verdure, 
 and the vine, which twined around them 
 gracefully, is nothing but a species of rep- 
 tile clinging to them, black and tortuous. 
 The orange-trees seem charged to do the 
 honours of the country alone, and to re- 
 call some of its charms; but, despite the 
 beauty of their fruit, there are not so 
 many of them as is supposed, nor are they 
 indeed higher than those of Versailles 
 and the Tuileries. When I left Italy, 
 generally towards the end of the year, 
 and most frequently in very foul weather, 
 while crowds of foreigners were going 
 thither in elegant equipages, in my 
 tenderness for that country, I thought 
 with pain of the first impression these 
 strangers would receive; I was tempted 
 to cry out to them on the road that it 
 was not Italy, the real Italy, that they 
 saw. The poor English ladies' maids, 
 cruelly exposed on seats before and be- 
 hind, especially inspired me with true 
 pity ; probably they had read the Myste- 
 ries of Vdolpho, in which, amid a thou- 
 sand horrors, is such a smiling descrip- 
 tion of Italy in spring; how great must 
 have been their disappointment on be- 
 holding it thus ! But if nature loses her 
 glory, the monuments of art are scarcely 
 more to be recognised ; they are made 
 for the light and the sun of summer, and 
 not for the fogs of winter. What num- 
 bers of pictures, basso-relievos, chefs- 
 
 d'oeuvre of the best masters, disappear 
 then in the obscurity of this dull season 
 and the somewhat sombre light of the 
 churches of Italy ! A singular instance 
 of this disagreeable effect of an Italian 
 winter occurred to two Englishmen at 
 Rome in 1828; they arrived on the 10th 
 of November, and set off on their return 
 on the 11th, to the great regret of their; 
 banker, M. Torlonia, with whom they 
 had a credit of more than a hundred 
 thousand franks. At the same period I 
 also knew a young Frenchman at Rome, 
 who, like others, had come to Italy in 
 winter; on leaving Paris, he was fearful 
 of his enthusiasm for that illustrious land, 
 though when I saw him it was very se- 
 date. This disappointed traveller had 
 caught cold on the road j he was a dilet- 
 tante, and the music he had heard was 
 indifferent; Turin and Florence, which 
 he had merely passed through, seemed 
 to him, as regards the streets and people 
 in them, nothing more than chief towns 
 of a province, and the little shops of the 
 Corso, or the hotels of the Piazza d'Es- 
 pagna, where he had stopped, were but 
 little calculated to excite that admiration 
 which he at first, feared being obliged to 
 restrain. 
 
 The great number of foreigners who 
 flock to Italy in winter also deprive the 
 country of a part of its physiognomy ; the 
 distinguished natives seem as it were to 
 disappear, lost in the midst of this exotic 
 bustling society ; one can only catch a 
 glimpse of them, and it is less easy to 
 gain their friendship or to derive advan- 
 tage from their information, borne away 
 as they are by the whirlpool. As to the 
 popular feasts and pilgrimages to Nostra 
 Signora del Monte, delta Grotta, dci Fiori, 
 they have altogether ceased, and I have 
 the bad taste to prefer them to the pom- 
 pous routs of bankers or ambassadors. 
 The foreigner, or countryman whom 1 
 prefer and try to find in Italy is some 
 artist, a painter or architect, sketching 
 views, examining monuments on the spot 
 instead of looking at them on paper, 
 working, studying, and loving the long 
 days, a cheerful companion in mountain 
 excursions and the horrors of the lo- 
 canda, or a passenger like yourself on 
 board the rapid bark wafted to many a 
 shore famous in fable or history. Such 
 is the happy companionship that 1 wish 
 to every real traveller; and certainly he 
 will find it more agreeable than that of 
 
Chap. XI.] 
 
 YERCELLI. 
 
 51 
 
 the fashionables who only cross the Alps 
 for the Scala of Milan, the Cascine of 
 Florence, the Corso of Rome, the Chiaja 
 of Naples and other frivolous rendez- 
 vous of European vanity. Italy, the 
 inexhaustible source of mental enchant- 
 ments and fanciful musings, is for such 
 people no more than a spectacle to be 
 gazed at, a kind of race or theatrical re- 
 presentation, to which they travel post, 
 -with no object but to show themselves, 
 to see who is there, and talk of what they 
 saw. At the period chosen by these vi- 
 siters, the beautiful solitudes of Vallom- 
 brosa, Mount Cassino, the Camaldoli, are 
 almost inapproachable; and a person 
 would return with a very imperfect idea 
 of Italy, who had not been able to con- 
 template them. 
 
 It is, besides, my opinion that different 
 countries ought to be viewed with the 
 climates peculiar to them ; the hoary 
 Winter to Russia, the sun to Italy. The 
 summer is not so oppressive there as ge- 
 nerally supposed ; there is always an air, 
 and the inhabitants are much cleverer 
 than we at protecting themselves from 
 the heat. Italy doubtless owes its repu- 
 tation for intolerably hot weather to the 
 English and travellers from the North; 
 but the temporary inconvenience it causes 
 for a few hours in the day is amply com- 
 pensated by the brilliancy and purity of 
 the light, the magnificence of the morn- 
 ing and evening, and the charms of 
 night. 
 
 CHAPTER X. 
 
 |!vrea.— Bridge.— Caslle.— Prisons of Italy.— 
 Cathedral.— Mosaic. 
 
 Before reaching the road from Turin 
 to Milan we come to Ivrea, which has a 
 fine aspect at a distance, but is ill-looking 
 within : the Roman bridge of a single 
 arch, thrown over the Dora from the rocks 
 on its banks, and the castle composed of 
 four lofty towers joined by a high brick 
 wall, have an imposing mien and seem 
 in harmony with their picturesque loca- 
 lity. The castle is a frightful prison, 
 which bears no resemblance to the hu- 
 mane penitentiary establishments of Ge- 
 neva and Lausanne. It must have been 
 very difficult to effect an escape from 
 those ancient fortresses, and the jailers 
 of the old rock no doubt kept a much 
 stricter watch than the philanthropic 
 
 managers of the new houses. This great 
 prison, at the entrance of Italy, reminded 
 me of the important part occupied by 
 prisons in her history ; independently of 
 the political imprisonments common to 
 all nations and countries, never has any 
 land had so many nor such illustrious 
 captives; poets, literati, historians, ar- 
 tists, whenever they have attained a 
 certain degree of celebrity, have nearly 
 all been confined. It seems as if a pri- 
 son was in the destiny of every one that 
 surpasses his fellows, and that it then 
 becomes an accident, an ordinary event 
 of life : it is to glory what ostracism at 
 Athens was to popularity, or what the 
 bowstring is at Constantinople ; one 
 might say that it becomes a natural con- 
 sequence. The prisons of Italy are a part 
 of its monuments, and if their traditions 
 were less vague, they would not be with- 
 out their grandeur, since they have re- 
 ceived such inmates as Tasso, Machia- 
 velli, and Galileo. 
 
 The cathedral possesses at the high 
 altar, the relics of Saint Warmond Ar- 
 borio, bishop of Ivrea, about the year 
 1001, and in the sacristy a picture by 
 Perugino, Saint Joseph kneeling before 
 the Infant Jesus, ivith the Virgin on 
 his right, and Saint Warmond on his 
 left, leaning on the shoulder of the 
 Canon abbot Ponzone d' Aseglio, who 
 ordered this fine piece. A curious piece 
 of mosaic in white, red, and black stones, 
 framed in the wall of the seminary, and 
 apparently of the twelfth century, repre- 
 sents the five liberal arts of that time, 
 Grammar, Philosophy, Dialectics, Geo- 
 metry, and Arithmetic. 
 
 CHAPTER XI. 
 
 Vercelli.— Invasion of the Barbarians.— SI. Andrew. 
 —Mausoleum of T. Oallo.— Duomo.— Eusebius's 
 book of the Gospels. — Saint Christopher. — Fresco 
 by Gaudenzio Ferrari.— Noble example of the 
 Marquis de Leganez.— Saint Julian.— library.— 
 Archives. 
 
 It was in the plains of Vercelli that 
 Marius overthrew the Teutonic and 
 Cimbrian army which several Roman ge- 
 nerals had previously repulsed. The 
 ancient invasions of the barbarians were 
 natural, as the sun and abundance must 
 have attractions for such people ; where- 
 as nothing but the infatuation of the last 
 years of the Empire could have induced 
 
33 
 
 VERCELLI. 
 
 [Book II. 
 
 the chief of a civilised people to make 
 conquests in the North, a solitary fact in 
 the history of distant expeditions. The 
 wars of Charlemagne had at least the 
 pretext of converting the Saxons to Chris- 
 tianity, or rather he yielded to the grand 
 necessity for repressing in person the in- 
 cessant inroads of the barbarians. '.' He 
 had no wish," says Mdzeray, "to possess 
 the ice and rocks or the North." 
 
 One must go back to the epoch of the 
 great Roman captain to enliven this dull 
 and tedious road from Turin to Milan, 
 which, on this side, does not present the 
 imposing and majestic aspect of the 
 Alps. 
 
 Vercelli has some delightful walks and 
 a few palaces. The ancient castle or ducal 
 palace, where the blessed Amadeus IIF. 
 died, is converted into barracks. At the 
 Tizzoni palace, now Casa Mariano, the 
 property of a Jew merchant, is a superb 
 fresco by Bernardino Lanino, a great Mi- 
 lanese artist of the sixteenth century, re- 
 presenting the Assembly of the gods, in 
 the style of the Farnesine fresco, a bril- 
 liant decoration of an antique hall now 
 turned into a granary. 
 
 The vast church of Saint Andrew, 
 surmounted with four steeples, of a fine 
 demi-gothic architecture, built in 1219 
 by Cardinal Guala de Bicchieri, legate 
 in England the year before, has been as- 
 certained to be from the same design as 
 a church at Winchester, the plan of 
 which, probably, Bicchieri brought away 
 with him, as well as the 12,000 marks of 
 silver, a sort of booty with which history 
 reproaches him. This church has been 
 recently restored in its primitive style at 
 the expense of an association of pious 
 persons. On the curious mausoleum of 
 Thomas Gallo, first abbot of the monas- 
 tery of Saint Andrew, who died in 
 1246, a fresco of that day, the oldest pic- 
 ture of Vercelli, and one of the most in- 
 teresting in Italy for the history of the 
 infancy of the art, represents him in his 
 theological chair; among his six scholars 
 is Saint Anthony of Padua, distinguished 
 by a glory ; at the bottom of the mauso- 
 leum a contemporary basso-relievo in 
 stone shows Gallo kneeling before the 
 Virgin and Infant Jesus, while his pro- 
 tector. Saint Denys the Areopagite, stand- 
 ing, affecliouately lays his hand on Gallo's 
 head. 
 
 The interior of the majestic Duomo 
 is by the great Bologuese architect of the 
 
 sixteenth century, Pellegrini, sarnamed 
 the Reformed Michael Angelo by the 
 Carracci, and the exterior by Count Be- 
 nedetto Alfieri Bianco, the first architect 
 of Piedmont. The silver tomb of the 
 blessed Amadeus of Savoy, given by king 
 Charles Felix in 1823, is from the design 
 of a clever artist of Turin, S. Sevesi. 
 The choir, in sculptured wood, of the 
 year 1822 and by Ranza, an architect of 
 Vercelli, is an ingenious construction 
 which holds together without a single 
 nail and can be taken down in a day ; a 
 precautionary measure of the canons, as 
 the first choir was burnt by the French 
 who were lodged in the church in 1798. 
 I saw in the treasury the celebrated book 
 oftheGospels said to be copied by the hand 
 ofEusebius, the first bishopof Vercelli in 
 the fourth century, and which Lalande 
 gives for the autograph of Saint Mark, 
 although it is a Latin version, and the 
 apostles wrote only in Greekand Hebrew. 
 This manuscript, formerly sealed with 
 the bishop's seal and never opened but by 
 his permission, the covering of which it 
 was only permitted to kiss kneeling, was 
 shown to me without ceremony by one 
 of the choristers : it is in very bad con- 
 dition, and I think one may venture to 
 wish it a more attentive librarian. I 
 also remarked an autograph letter of 
 Saint Francis de Sales to the duke of 
 Savoy, dated from Annecy, the 17th Fe- 
 bruary 1615, on the canonisation of 
 Amadeus III.; it is elegantly written, 
 and would deserve a place in the edition 
 of the complete works of this amiable 
 and kind hearted saint. 
 
 Saint Mary Major, called the Ma- 
 donna grande, a church of the last cen- 
 tury, has replaced the ancient church of 
 the time of Constantine, which was a 
 remarkable monument; the remains of 
 its portal, presenting a very curious as- 
 tronomical basso-relievo, are preserved 
 in the gardens of the Gatlinara palace. 
 
 Saint Christopher, the ancient church 
 of the Vmiliati, is recommended by the 
 paintings of Gaudenzio Ferrari, a distin- 
 guished assistant of Raphael, and chief 
 of the Milanese school. The frescos, 
 some of which have been retouched a 
 few years since by an incompetent hand, 
 representing divers subjects of the Life 
 of Jesus-Christ and Saint Mary Mag- 
 dalene, a large and pleasing composition, 
 remarkable for the beauty of the heads 
 and the graceful expression of the little 
 
Chap. XII. ] 
 
 NOVARA. 
 
 angels, are perhaps the most excellent 
 work of this artist. The best preserved 
 is the Adoration of the Magi. The 
 fresco of the Martyrdom of saint Ca- 
 therine, considerably damaged, contains 
 the portraits of Gaudenzio Ferrari, of his 
 master Jeronimo Giovannone, and of his 
 ablest pupil Bernardino Lanino, of Yer- 
 cejli. These paintings, which were or- 
 dered in 1532 by Fra Angelo de'Corradi, 
 recall a noble action of the young marquis 
 de Leganez, a Spanish general, who died 
 in 1711, in exile at Paris, after having 
 been imprisoned as an Austrian at Vin- 
 cenncs. When he besieged and took 
 Vercelli in 1638, he forbade his bom- 
 bardiers to fire on the church of Saint 
 Christopher, lest the masterpiece of 
 Ferrari should be injured, an act almost 
 unknown, but which equals that of De- 
 metrius Phalereus protecting the painter 
 Protogenesand making war on the Rho- 
 dians and not on the fine arts. 
 
 At the church of Saint Julian, a pathetic 
 Passion of Jesus Christ, by Bernardino 
 Lanino, might well be attributed to Gau- 
 denzio Ferrari, if the author had not 
 apposed his name. 
 
 The church of Saint Paul has the paint- 
 ing of the Madonna delle Grazie, for 
 the raising of the siege of Vercelli in 1553 
 by the French troops, under the command 
 of the duke ofBrissac; it is one of the 
 best and largest of Lanino's paintings. 
 
 The library of Vercelli, the Agnesi- 
 ana, contains twelve thousand volumes. 
 The archives, long neglected, though 
 containing diplomas and documents to 
 as far back as the eighth century, have 
 been recently confided to the enlightened 
 management of a distinguished Pied- 
 montese, professor Baggiolini, who. had 
 earned his livelihood as a schoolmaster, 
 one of (hose talented Italians, as I myself 
 have witnessed, whom adverse fortune 
 prevents from gaining celebrity. 
 
 CHAPTER XII. 
 
 Novara. — Duomo. — Capitulary Archives. — Library. 
 — Fra ftestor Denis. — Saint Mark. — Saint I'eter 
 at rosario. — Fra Duleino.— Saint Gaudenzio.— 
 Steeple. 
 
 Novara isan old dirty Spanish town, but 
 
 This name is derived from the resemblance of 
 the holes where pigeons make their nests, whether 
 In walls or dovecotes, to the little niches intended 
 
 by the Romans to hold the urns of the samefamily. | ceremonies 
 
 it has some rich and beautiful churches. 
 The noble and elegant baptistry, once 
 a columbarium, » belongs to the best 
 days of Roman architecture. 
 
 The antique portico of the Duomo, a 
 kind of lapidarian museum, presents a 
 curious collection of votive altars, in- 
 scriptions, and funereal urns. The 
 church is old and ugly, but has several 
 paintings very remark.ible; in the chapel 
 of Saint Benedict, the Christ, saint Gau- 
 denzio, saint Benedict, and the Mag- 
 dalene at the foot of the Cross, the heads 
 ofwhich,supposed by Gaudenzio Ferrari, 
 are exquisite ; in the chapel of Saint 
 Joseph, the Sibyls, the Eternal Father, 
 and the other poetic and sublime frescos^ 
 unfortunately damaged, by Bernardino 
 Lanino ; on the cupola the elaborate 
 frescos of Giuseppe Monialto ; in the 
 chapel of the Three Magi, a Nativity, by 
 an unknown author, which has been 
 deemed worthy to be attributed to Titian, 
 Corregio, or Paris Bordone; in the sa- 
 cristy, the imposing and graceful Mar- 
 riage of saint Catherine, by Gaudenzio 
 Ferrari ; a Last Supper, varied, by 
 Caesar da Sesto, the best pupil of Leonardo 
 di Vinci, the friend of Raphael, who de- 
 licately said to him :— ' ' Is it not strange, 
 that with a friendship like ours we reci- 
 procally show each other so little regard 
 in painting, and contend so much one 
 against the other?" 
 
 Among the documents of the capitu- 
 lary archives, are some of the oldest in 
 Italy : the Life of St. Gaudenzio and 
 other Saints of Novara, written in 700, 
 and the petition addressed in 730 by' 
 Rodoaldo di Gansingo to the bishop Gra- 
 zioso to obtain the consecration of an 
 altar erected by this Rodoaldo to Saint 
 Michael. A precious consular diptych, 
 of ivory, gives the names of some ancient 
 bishops, and has this singular inscription : 
 —Ajraldus sublevita indignus domui 
 precepto Arnaldisine manibus fecit oc 
 opus. 
 
 The library of the seminary, public 
 three days a week, has about twelve 
 thousand volumes. Among the edi- 
 tions of the fifteenth century may be re- 
 marked the Dictionarium alphabetico 
 ordine of Fra Nestor Denis, a scholar of 
 
 The columbarium contained the remains of a great 
 number of bodies in a small space; it was not 
 lighted, except by the lamps used during the funeral 
 
34 
 
 NOVARA. 
 
 [ Book II. 
 
 Novara, the first author of a dictionary, 
 less known thanCalepino who succeeded 
 him, and, like others, plundered him 
 without acknowledgment. The dedica- 
 tion of the dictionary is addressed to 
 Louis-the-Moor; it contains a splendid 
 eulogium in hexameter verse of that 
 prince, who, though criminal, was a pa- 
 tron of learning and the arts, and kept 
 at his court Leonardo di Vinci, Bra- 
 mante, and Demetrius Chalcondylas : 
 Louis having heen arrested in disguise 
 near Novara, he was taken to France, 
 and his captivity there must be regarded 
 as a real calamity for literature. 
 
 The church and fraternity of San Gio- 
 vanni decollate, built in 1G36, is in the 
 form of an antique tomb, and is remarka- 
 ble for its singular construction . It rests 
 on four columns of granite without an iron 
 cincture. An Adoration of the Magi, 
 in the choir, is by Charles Francis Nuvo- 
 lone, who acquired and retained the 
 surname of the Guido of Lombardy, 
 an artist full of devotion to the Virgin, 
 who never painted any one of his fine 
 madonnas, so sought after by connois- 
 seurs, without having first performed 
 some act of piety. 
 
 The church of Saint Philip de' Neri 
 lias two recent works of art : the ancone 
 of the choir, painted at Rome somewhat 
 incorrectly by Professor Tofanelli ; and a 
 not ungraceful statue of the Virgin, by 
 S. Prinetti, a sculptor of Novara. 
 
 At the church of Saint Euphemia, the 
 front of which, executed in 1787, has no 
 merit whatever, the Martyrdom of Saint 
 Genes d' Aries, by John Baptist Costa, 
 is deficient neither in expression nor co- 
 louring, although the painter has clothed 
 the registrar of the Roman prefect in a 
 Spanish dress. 
 
 Saint Mark, one of the most regular 
 as well as most elegant churches of No- 
 veza, is farther distinguished by its paint- 
 ings. The Virgin, the Infant Jesus, 
 and Saint Anne, by what author is un- 
 certain, from its originality and soft na- 
 tural expression, has had the merit of 
 being attributed to Camillo Procaccini. 
 The Procession made at Milan by Saint 
 Charles Borromeo for the cessation of 
 the plague, is by Moncalvo, a good pain- 
 ter of the country in the sixteenth cen- 
 tury, who has also painted on the cupola 
 and' the gallery of the choir an Eternal 
 Father and Saint Mark carried to Pa- 
 radise by the angels; compositions at 
 
 once vigorous, correct, and graceful. 
 The Martyrdom of Saint Mark is ani- 
 mated and poetic; it is by Daniel Crispi, 
 one of those great old Italian masters, 
 whose fame does not equal their merit, 
 and who are scarcely known out of their 
 country. 
 
 In the small church of Saint Charles : 
 — an Immaculate Virgin, a new work 
 by S. Jacopo Conca, who seems to con- 
 tinue the family of the indifferent and too 
 much lauded painters to which he belongs; 
 a Deposition from the Cross, by Cezano, 
 a clever artist of Novara, a man of letters 
 and courtier, who enjoyed the favour of 
 Cardinal Frederick Borromeo ; a little 
 Sacred 'JHeart, by the celebrated Andreo 
 Appiani, one of the few sacred subjects 
 treated by this painter of the triumphs 
 of Napoleon, his inspirer and his hero; 
 a large Martyrdom of Saint Agnes, 
 which formerly served as ancone at the 
 church of the nuns of that saint, by Gilar- 
 dini, an artist of the last century, rather 
 clever at this kind of work. 
 
 Saint Peter al Rosario was formerly 
 a convent of powerful Dominicans, who, 
 in 1307, condemned the famous here- 
 siarch of Novara, Fra Dulcino, head of 
 the sect of the Gazzari, a barbarous sort 
 of Saint Simonians, for having preached 
 the community of goods and women. 
 Dulcino was burnt with his concubine 
 the beautiful Marguerite, a nun that he 
 had abducted from her convent; they 
 both showed extraordinary intrepidity 
 amid the horrors of their execution. 
 Dulcino was taken, after being defeated 
 at the head of five thousand sectaries, on 
 Maunday Thursday, in a pitched battle; 
 this is the warlike monk for whom Dante 
 represents Mahomet so interested, when 
 he makes him say : — 
 
 Or di' a Fra Dolcin dunque cue s' armi, 
 Tu che forse vedrai il sole in breve, 
 S' egli non vuol qui tosto seguitarnil : 
 Si di vivanda, die slrelta dl neve 
 Non rcchi la viltoria al Novarese, 
 Cb' altrimenli acquislar non saria Here. 
 
 The insurrection of Dulcino appears 
 not to have been completely suppressed, 
 as four years after his defeat the cloister 
 of the Dominicans was attacked, while 
 they were assembled, by a band of armed 
 men, who dispersed them after wounding 
 and killing a great number. The exist- 
 ing church, finished in 1618, and pre- 
 
Chap. XIII. 
 
 ROADS IN LOMBARDY. 
 
 55 
 
 senting the architectural contradiction of 
 the Corinthian order at bottom and the 
 Ionic at top, is ornamented wilh some 
 good paintings. A Paradise, composed 
 altogether of Dominicans, on the cupola, 
 and the frescos of the chapel of Saint 
 Dominick, are by Gilardini. TheVirgin, 
 Saint Peter the martyr, and Saint Ca- 
 therine di Siena, on the ancone of the 
 rich chapel of the Rosary, is a fine pro- 
 duction and deservedly praised; it is by 
 Giulio Cesar Procaccini, the ablest of the 
 Procaccini. 
 
 The superb basilick of Saint Gaudenzio, 
 by the architect Pellegrini, is rich in 
 paintings by the best masters of the Mi- 
 lanese school. In the chapel of the 
 Happy-Death, a Deposing of the Cross 
 passes for the masterpiece of Moncalvo; 
 and the different frescos, the Last Judg- 
 ment, of Morazzone, prove the power, 
 grandeur, and truth of his talents. The 
 Guardian Angel, in the chapel of the 
 name, by Hyacinth Brandi, the most 
 celebrated pupil of Lanfranchi, recalls 
 the lofty style of his master. There is 
 some resemblance to Paul Veronese in 
 the Overthrow of Sennacherib, a lively 
 and intelligent composition by Antonio 
 Ranzio, the Novarese painter of the 
 seventeenth century. The ancone in 
 six compartments of the chapel of the 
 middle Madonna was painted, in 1514, 
 by Gaudenzio Ferrari, at the command of 
 the canons of Saint Gaudenzio, -who pa- 
 tronised the arts ; it is his largest work 
 in oil before hisjourney to Rome, and the 
 last of his earlier style ; and, although the 
 colouring is injured, it has his sweet, 
 graceful, and natural expression. The 
 chapel of the Crucifix has an earthen 
 crucifix, by Gaudenzio Ferrari, who was 
 also very clever in this kind of sculpture. 
 The vigorous frescos of the four greater 
 Prophets are by S. Ludovico Saba- 
 telli, a Tuscan, professor in the academy 
 of Milan. The Saint Augustine writing 
 his treatise on the Trinity, in the chapel 
 of Saint Barbe, is an esteemed perform- 
 ance of Giuseppe Nuvolone. The two su- 
 perb doors of the inner chapel of the tomb 
 of Saint Gaudenzio are a solid mixture 
 of cast steel and bronze : the four great 
 bronze statues represent the patrons of 
 the town and diocese of No vara; the 
 Triumph of Saint Gaudenzio in fresco 
 on the cupola, full of imagination, is the 
 masterpiece of Stefano Legnani, a good 
 painter of the Lombard school at the 
 
 beginning of last century, celebrated 
 for his frescos. The tomb of the saint 
 may be compared for magnificence to the 
 most splendid in Italy. The colossal 
 high-aliar is resplendent with marble 
 and bronze ; it was consecrated in 1725, 
 by Cardinal Gilberto Borromeo, bishop 
 of Novara, and suffers from the corrupt 
 taste prevalent at that epoch. The sta- 
 tues of the doctors of the church by 
 Rusca of Milan, from their slender phy- 
 siognomy, look like youthful old men, 
 and the St. Jerome has the appearance of 
 wearing a wig. The statues of S. Binetti 
 are held in higher estimation, especially 
 those of St. Andrew, St. Paul and St. 
 Bartholomew. In the chamber of the 
 chapter, the St. Jerome writing, by 
 Spagnuoletto, has his energy and effect. 
 The oldest document in the archives is 
 the Acts of the life of St. Gaudenzio of 
 the eighth century ; they also possess a 
 consular diptych in ivory, still superior 
 for its workmanship to that of the Duo- 
 mo, and on which are sculptured two 
 Roman consuls giving the signal for the 
 public games. On the outside of the 
 basilic is a St. Peter, a carving of the 
 dark ages, and some Roman sepulchral 
 stones. The steeple, a splendid struc- 
 ture by Count Benedetto Alfieri, finished 
 in 1786, was built with the funds 
 proceeding from a lax of a farthing on 
 every pound of meat sold. On each side 
 of the entrance a Roman inscription is 
 enchased ; one of them perpetuates the 
 memory of a certain Tilianeoreus, who, 
 although questor, owed nothing to the 
 Republic (reipublicce nihil debuit), an 
 unusual circumstance, it appears, among 
 the Roman questors, since it was thought 
 worthy of being transmitted to posterity 
 in an epitaph. 
 
 CHAPTER XIII. 
 
 Iloule.— Bridges.— Roads in Lombardy. 
 
 The road enters Lombardy on this side 
 at Buffalora, on the Ticino : a magnifi- 
 cent bridge has been built there of that 
 fine hard shining stone found in the vi- 
 cinity of Lago Maggiore, In no district 
 has the administration des Ponts et 
 Chaussees been more active or rendered 
 greater services. The numerous rivers 
 and canals on the road can now be passed 
 without inconvenience. Agriculture 
 flourishes in all this part of Italy, and 
 
36 
 
 MILAN. 
 
 [ BOOR III. 
 
 every thing announces general pro- 
 sperity; Austrian domination is there 
 seen on its best side. The roads are real 
 well-managed garden walks ; even the 
 
 grass is pulled up as soon as it appears. 
 The Austrian government, in general so 
 economical and paltry, is nobly liberal 
 in this respect. 1 
 
 BOOK THE THIRD. 
 
 MILAN. 
 
 CHAPTER I. 
 
 Trench aspect or Milan.— Royal palace.— Frescos of 
 Appiani.— Villa. — Archiepiscopal palace. — Foun- 
 tain.— Uomo di pielra.—G^Werj De Cristoforis. 
 —Palace delta Conlabilita.—Til&rini. — House of 
 visrnara.— Porta Orientale. 
 
 It is impossible not to be struck, 
 even in passing, with the appearance of 
 wealth, commerce, and industry of 
 this great city. The population now 
 amounts to a hundred and sixty thousand, 
 but about the middle of the fifteenth cen- 
 lury it was three hundred thousand. 
 Its French aspect, so much increased 
 of late years, was already remarkable 
 in the days of Montaigne. He found 
 that " Milan pretty much resembled 
 Paris, and was greatly like the towns 
 of France." Tasso observed the same re- 
 semblance, during the two years he 
 passed at Paris in the suite of Cardinal 
 d'Este, when he wrote his partial and 
 unjust parallel between Italy and France. 
 The Corso has at present all the magni- 
 ficence of the Rue du Mont-Blanc , and 
 one might imagine one's self on the 
 Boulevards of Paris. 
 
 1 The repairs of the excellent roads of the Lotn- 
 bardo-Venetian kingdom cost 1,500,000 Austrian 
 livres (that is, 52,200 pounds sterling) for fifteen 
 hundred and eighteen Italian miles; rather more 
 than 26f. the English mile. From the report read 
 
 The French aspect of Milan appears 
 still more conspicuous in the palaces 
 of the prince, which are brilliant imita- 
 tions of the imperial palaces of France . 
 but less magnificent. Their number 
 also is nearly the same; independently 
 of the ordinary palace of the viceroy, 
 la villa, with its English garden and 
 its position in the interior of the city, 
 is the EIys£e Bourbon of this bastard 
 Paris ; and Monza, another royal resi- 
 dence three leagues from Milan, reminds 
 one of Sainl- Cloud. The frescos of 
 Appiani, which are seen in these va- 
 rious residences, especially the great 
 fresco of the royal palace of Milan re- 
 presenting the Assembly of the Gods, 
 and the medallion of the principal saloon 
 which presents JYapoleon under the 
 features of Jupiter, are perhaps too 
 much boasted by the Italians; but these 
 showy decorative paintings produce a 
 great effect, and seem moreover pretty 
 much in conformity with the thea;rical 
 glory which they consecrate. 
 
 The different palaces of Milan are 
 rather vast and costly houses than mo- 
 numents; the courts, surrounded with 
 piazzas, have, however, a kind of gran- 
 deur. Despite the lavish use of the title 
 
 to the committee of roads and canals by Baron Pas- 
 quier, on the 6th of October, 1828, the expenditure 
 on the roads of France is 1750 fr. a league (Ml. 
 10s. the English mile); in England the cost Is from 
 
 :;'./. to 61 /. the mile. 
 
lillAP. I. ] 
 
 MILAN. 
 
 of palazzo among the Italians, these pa- 
 laces do not commonly bear so superb an 
 appellation, but, unless devoted to some 
 public service, they are, in general, more 
 modestly called houses. 
 
 The architecture of the court of the 
 Archiepiscopal palace is ingenious. 
 The octagonal building of the stables, 
 >viih its Greek vestibule, a beautiful work 
 of the great Bolognesc painter and ar- 
 chitect Pellegrini, were by Saint Charles 
 deemed worthy of a nobler use, as they 
 indeed are. In the square, in front of 
 the palace, the Syrens of the fountain, 
 by the sculptor of Carrara, Joseph Fran- 
 chi, are reckoned among the best perfor- 
 mances of recent times. 
 
 In the Corsia de' Servi is the antique 
 statue called by the people the Stone 
 Man (Uomo dipietra), the Marforio of 
 Milan, which has been taken for Cicero, 
 Marius, and even Menclozzi, archbishop 
 of Milan in the tenth century; it appears 
 to be a Roman statue, and must always 
 be regarded as one of the most ancient 
 monuments of the town. 
 
 The new De-Cristoforis gallery, fi- 
 nished in 1832, from the elegant design 
 of S. Pizzola, is lined with shops and co- 
 vered in with glass, the first of this de- 
 scription erected in Italy; this commer- 
 cial monument may be compared with 
 the finest of its kind, and, for the richness 
 of its materials (the pavement is of bar- 
 diglio and white Carrara marble) must 
 even surpass them. 
 
 The Durini palace, by Francesco Ric- 
 chini, a Milanese architect, has a ma- 
 jestic arcade. The house of Stampa 
 Castiglioni, now dilapidated, was one 
 of the first works of Bramante at Milan, 
 and the paintings in claro-obscuro on the 
 front were executed by him. 
 
 The court of the seminary, by the 
 Lombard painter and architect, Mcda, 
 is a noble and clever structure. 
 
 The palace della Contabilitd (the an- 
 cient Helvetian college) by Fabius Mau- 
 goni, a Milanese architect of the seven- 
 teenth century, and Ricchini, passes for 
 the finest in Milan : if the front is worth- 
 less, the two courts produce great effect 
 and recall the majesty of the plans of an- 
 tiquity. 
 
 The palace of Erba Odescalchi, the 
 ancient residence of the Sforza Yisconti, 
 is light and elegant ; it is by Pellegrino 
 Tibaldi or some one of his school. 
 
 At the house of Pianca are fourteen 
 
 portraits of the Sforzas in fresco, by Ber- 
 nardino Luini, the Raphael of the Mila- 
 nese school, also five other portraits of the 
 Sforzas in marble, by Professor Marchesi, 
 an able living sculptor. 
 
 Among the Milanese antiquities and 
 curiosities of the house of Origo, there is 
 in the garden a coarse basso-relievo re- 
 presenting, it is said, (he empress, wife of 
 Barbarossa, crowned with her diadem, 
 and occupied in one of the most secret 
 duties of her toilet (in atto didepilarsi), 
 an indecent production, formerly ex- 
 posed to the public gaze, till Saint Charles 
 Borromeo had it taken do>vn from the 
 Porta Tosa. 
 
 The most extensive of the palaces of 
 Milan is that of Marini, remarkable for 
 its fine front, built in 1525 by the skilful 
 architect Galeas Alessi, for the farmer- 
 general of Milan whose name it bears; it 
 is still occupied by the minister of finances 
 and the administration of the customs. 
 At the end of the Slrada Marino is the 
 house of Patellani, the abode of Pelle- 
 grino Tibaldi, in which he died on re- 
 turning from Spain, after having, as it 
 were, founded the art of painting there. 
 
 The ancient house of Bossi, at present 
 Vismara, given by dukcFrancescoSforza 
 to Cosmo, the father of his country, pre- 
 serves on its front two superb figures of 
 armed women, of the richest sculpture, 
 the workmanship of the able Florentine 
 statuary and architect, Micholezzo Mi- 
 chelozzi, who was the first that got clear 
 of the Gothic taste in Lombardy. 
 
 The other principal palaces are those 
 del Goberno, of Brera (palaceof the arts 
 and sciences), and the houses of Serbel- 
 loni, Pezzoli, Belgioso, Cusani, now 
 the casino of the merchants, which has 
 been thought worthy of Palladio; Litta, 
 of very bad taste notwithstanding its 
 magnificence ; Annoni, Melleri, Stam- 
 pasoncino, where there are some very 
 fine paintings; and Triviilzio, once the 
 abode of a noble and amiable family, who 
 had preserved the old baton of marshal 
 of France, not less precious than all the 
 masterpieces of their rich museum and 
 rarities of their library. 
 
 The new gate of Porta Orientale, re- 
 cently finished, the work ofS. Vantini, 
 is superb, and perhaps the finest of those 
 monuments belonging to the revenue and 
 police, placed at the entrance of modern 
 great cities, and a pretty decisive charac- 
 teristic of their kind of civilisation. 
 
3$ 
 
 MILAN. 
 
 IBook 111. 
 
 CHAPTER II. 
 
 Duomo.— Columns.— Slalue of Saint Bartholomew. 
 — Tomb of St. Chnrles.-Mausoleuni ol' Cardinal 
 Caraccioio.— Chapel of Giovanni Jacopo Medici. — 
 Baptistry.— Ambrosia n rite.— Chapel delt' Albero. 
 —View. 
 
 The Duomo, wilh its hundred pin- 
 nacles, and the three thousand statues 
 perched on it, is but an enormous toy, 
 with more boldness and singularity than 
 beauty ; all this marble crowd seems 
 alike in form and expression, and its 
 whiteness, like that of the building, is 
 painful to the eye.' In reality there is 
 no steeple; the temporary tower, a kind 
 of pigeon-house which supplies its place, 
 is ugly and ill-placed. The Gothic of the 
 Duomo is deficient in naivete; being at 
 the same time vague and elaborate, and 
 not the Gothic in all its primitive gran- 
 deur of the cathedral of Cologne. 2 The 
 gates, which are of the Roman order, 
 and by no means in unison with the gene- 
 ral character of the edifice, are decorated 
 wilh fine basso-relievos and ornaments 
 by Cerani and Fabius Mangoni. The 
 two gigantic columns, each of a single 
 piece of red granite, standing one on each 
 side of the principal entrance, were 
 drawn from the quarries of Raveno, near 
 Lago Maggiore ; they are perhaps the 
 highest ever employed in any building. 
 The architectonic painting of the roof, 
 a kind of decoration, doubtless well 
 executed and suitable enough for a new 
 building, has a disagreeable effect in these 
 old monuments where all is commonly 
 so real. Several windowsof stained glass, 
 manufactured at Milan after the solid 
 and economical method of Bertini, have 
 been since repaired, and their effect 
 equals, if it docs not surpass, that.of the 
 old which were destroyed. 
 
 The four evangelists and the four 
 fathers of the Church, in bronze, of the 
 two pulpits, by Francesco Branibilla, 
 notwithstanding some affectation and 
 confusion in the drapery, are figures 
 
 1 Should the edihee be completed, the number oT 
 6latues will amount to four thousand live hun- 
 dred; the front alone has nearly two hundred and 
 lifty. 
 
 a Some persons have supposed that the Duomo of 
 Milan is an imitation of Ibis cathedral ; like all imi- 
 tations, it must fall short of ils model, nor dues ( lie 
 Impression lert on my mind by the Duomo of Milan 
 Contradict this general rule. 
 
 3 Nun me Praxiteles, sett Marcus finxit Agrales. 
 
 sculptured and cast with great care and 
 ability. 
 
 The seventeen basso-relievos of the 
 upper part of the wall surrounding the 
 choir, designed by the same artist, are 
 of a rare delicacy of touch ; he also made 
 the model of the grand and rich taber- 
 nacle of bronze gilt on the high-altar. 
 Over this last is the brilliant reliquary 
 of the Santo Chiodo (one of the nails of" 
 the true cross), a venerated relic, which, 
 on the 3rd of May every year, the anni- 
 versary of the terrible plague of 1576, is 
 carried in procession by the bishop of 
 Milan, in imitation of Saint Charles, 
 after being withdrawn from the roof by 
 some of the dignitaries of the chapter, 
 theatrically raised to the place in a painted 
 machine, in the form of a cloud sur- 
 rounded with little angels. The wooden 
 stalls of the choir are covered wilh su- 
 perb sculptures from (he designs of Pcl- 
 legrino, Brambilia, Figini, and Meda, 
 representing divers incidents of the life 
 of Saint Ambrose, and other bishops of 
 Milan. 
 
 The celebrated slatue, said to be St. 
 Bartholomew, now placed behind the 
 choir, seems to me but little worlby of the 
 chisel of Praxiteles, in spite of the inscrip- 
 tion rather presumptuously engraved be- 
 neath by the artist. 3 This sort ol reality is 
 horrible, nor can I think that the Greeks, 
 who made so many statues of Apollo, 
 ever represented the skeleton of Marsyas.4 
 
 It would be difficult to avoid emotion 
 on seeing in the subterranean chapel the 
 body of Saint Charles, who is in a manner 
 the hero of this country; the memory of 
 this vast, ardent, unbending genius, this 
 kind of governing saint, as also that of 
 his family, is pre-eminent there above 
 that of emperors and kings. 5 The holy 
 archbishop is clothed in his pontifical 
 dress enriched with diamonds; his mi- 
 tred head reposes on a gold cushion; 
 the sarcophagus is of transparent rock 
 crystal, and the features even of the great 
 man may be easily contemplated. It is 
 true that the word humilitas, the family 
 
 4 The antique statue, known by the name of 
 Marsyas, formerly at the Villa Bjrphese, but now 
 in the Hoyal Museum, does not belong to the best 
 times of the art ; it is a Faun hung to a tree by the 
 hands, and does not represent Marsyas skinned. 
 
 5 The Horromeo family was originally from Tus- 
 cany and San-Minialo ; tbeir establishment at Milan 
 dales from the marriage of t'hilip, head of the 
 family, witb Talda, sister oftlie uufortunate Beatrix 
 Tenda, a relation of duke Philip Maria Visconti. 
 
Chap. II ] 
 
 MILAN, 
 
 device of the Borromeo family, which is 
 -written on the tomb, is rather in contrast 
 with so great a display of riches. 
 
 The tomb of Cardinal Federico Bor- 
 romeo, not less worthy of remembrance 
 than his cousin the saint, is less magni- 
 ficent and even too simple. Cardinal 
 Federico ought to have been canonized as 
 well as Saint Charles ; but it seems that 
 the expenses attending the canonization 
 of the latter were so great that the family 
 was obliged to decline this new honour. 
 The interesting Promessi Sposi of Man- 
 zoni, of which Cardinal Federico is, in 
 a sense, the hero, have since made him 
 amends and compensated for the injus- 
 tice of fate. 
 
 Under a glass cover, in a chapel, is the 
 crucifix which was carried in procession 
 by Saint Charles, as the inscription im- 
 ports, during the plague of 1576 ■ this 
 monument of tbe great archbishop's cha- 
 rity is nobly exposed, as a real trophy, 
 on an altar of his cathedral. 
 
 The mausoleum of Otho the Great and 
 Giovanni Visconti, uncle and nephew, 
 archbishops and lords of Milan in the 
 thirteenth and fourteenth centuries, is 
 surmounted by an esteemed work of 
 Brambilla, the statue, seated, of Pius IV., 
 maternal uncle of Saint Charles, one of 
 the benefactors of the cathedral. 
 
 The magnificent mausoleum of Car- 
 dinal Marino Caracciolo, who died in 
 1538, appears to be the last performance 
 of Bambaja, an excellent sculptor of 
 Milan, who first succeeded in working 
 the hard marble of the quarries of Lom- 
 bardy. 
 
 Over a console of flowers interlaced is 
 the statue of the illustrious pope Mar- 
 tin V., seated and giving his benediction, 
 by the famous Jacopino da Tradate, who 
 is also compared to Praxiteles in the in- 
 scription on the high altar, which he 
 erected in 1418, so much does this exagge- 
 rated comparison seem connected with 
 the general lapidary style of the Duomo. 
 
 The southern sacristy exhibits the 
 ruins of the rich and antique treasury of 
 this cathedral. The fine statue of Christ 
 lound to the pillar is by Gobbo ; a great 
 painting of St. Charles blessing the 
 crosses, by Cerano ; two chalices orna- 
 mented with little figures of children 
 and divers groups are of wonderful 
 workmanship ; a gold patine is a mas- 
 terpiece of chasing, attributed to the 
 Milanese Caradosso, and the principal 
 
 group, & Deposing from the Cross, is of 
 admirable expression, notwithstanding 
 the smallness of the figures; lastly, the 
 celebrated Pallium is here preserved, 
 representing the Birth of the Virgin, 
 embroidered by Louisa Pellegrini, a 
 painter in needlework of the earlier part 
 of the seventeenth century, who obtain- 
 ed by her skiil the surname of the Mi- 
 nerva of Lombardy. 
 
 The statue of St. Ambrose is by Cesare 
 Procaccini, equally great as statuary or 
 painter; that of St. Satyrus, by Andreo 
 Biffi, after a model by Brambilla. The 
 great basso-relievo in marble of the 
 chapel of the Presentation, so full of 
 grace, nature, and truth, is by Bambaja ; 
 a fine statue of St. Catherine, by Cris- 
 toforo Lombardo, a clever Milanese ar- 
 chitect and sculptor of the sixteenth cen- 
 tury. 
 
 The chapel of Giovanni Jacopo Medici, 
 marquis of Marignan, has been thrown 
 open by taking down the iron railing that 
 enclosed it ; this alteration allows a much 
 better view of the splendid mausoleum, 
 from the design of Michael Angelo, erect- 
 ed by Pope Pius IV, his brother, to this 
 bold captain, a mixture of hero, corsair 
 and bandit, the unworthy uncle of Saint 
 Charles. The statues and basso-relievos 
 in bronze which adorn it are an esteemed 
 production of Leone Leoni, a good sculp- 
 tor, founder, and engraver of Tuscany in 
 the sixteenth century. 
 
 The Baptistry, by Pellegrino, is ele- 
 gant and graceful ; the great baptismal 
 basin, of porphyry, passes for having 
 belonged to the hot baths of Maximian 
 Hercules at Milan. As in the primitive 
 church, the Ambrosian rite, which is 
 followed in the diocese of Milan and 
 differs in many points from tbe Roman 
 rites, has preserved baptism by immer- 
 sion, This rite not only dates from a 
 period as remote, asis generally supposed, 
 as that of Saint Ambrose, who at most 
 only reformed it, but it seems to have 
 borrowed its pompous liturgy from the 
 ancient ceremonies of the East. 
 
 The chapel dell' Albero, thus named 
 from the superb bronze chandelier in the 
 form of a tree, presented by the arch- 
 priest of the cathedral, Giambattista Tri- 
 vulzio, is ornamented with numerous 
 very pretty basso-relievos by Brambilla, 
 Andreo Fusina, Gobbo, and other excel- 
 lent artists. 
 
 The colossal statues of St. Ambrose 
 
.'.0 
 
 MIIAN. 
 
 [Book III. 
 
 and St. Charles are esteemed productions 
 of two good Italian sculptors of the pre- 
 sent day, SS. Marchesi and Monti of 
 Ravenna. 
 
 From the top of the enormous pyramid 
 of the Duomo, a sort of marble mountain, 
 the view is truly admirable; the culti- 
 vated plains of Lombardy appear an 
 ocean of verdure beneath the azure sky ; 
 the eye discovers at once the Alps and 
 the Apennines, and this immense horizon 
 it like a new and superb panorama of 
 Italy. 
 
 Near the Duomo, in the piazza dei 
 Mercanti, is a colossal statue of St. Am- 
 brose, by the young Milanese sculptor 
 Ludovico Scorzitii ; it was erected in 183i, 
 and is the present of another generous 
 Milanese, S. Fossani. Saint Ambrose is 
 represented in the simple episcopal cos- 
 tume of his day ; the statue is expressive 
 and the drapery good, in spite of the 
 hardness of the marble, which is the 
 same as that of the Duomo ; it nobly 
 replaces a worthless statue of Philip II., 
 formerly placed in the same dark dingy 
 niche, and on the same pedestal as that 
 of the courageous and independent arch- 
 bishop of Milan. 
 
 CHAPTER HI. 
 
 Santa Maria delta Passione. — Mausoleum of Birago. 
 — Chalcondylas. — nostra Signora di San Cetso. — 
 Slatues of Lorenzo Stoldi.— Cupola of Appiani.— 
 Saint Nazarius. — Tiivulzio. 
 
 The design of the front of Saint Ra- 
 phael's church is by the great Pellegrino. 
 Several of the pictures in this church are 
 remarkable : the sublime St. Mattliew 
 of Ambrosio Figini ; St. Jerome, by 
 Cesare Procaccini ; Elijah sleeping, by 
 Morazzone ; Jonah refusing to obey his 
 father, by Cerano. 
 
 The new steeple of Santa Maria dei 
 Servi, is in horrible taste, and the cla- 
 mour of the bells is so annoying that it 
 has diminished the value of the houses 
 near it. The inside of the church is 
 richly decorated : the Virgin with the 
 Infant Jesus and some angels is by 
 Ambrosio Rorgognone; the Baptism of 
 St. John by one of the brothers Catnpi ; 
 the St. Philip Benizzi, by Daniel Crespi , 
 
 1 Lomazzo lost liis sight at the age of thirty-three, 
 If not twenty-three, years; he wrote poetry, com- 
 posed several works, and dictated his Treuiise on 
 Painting, regarded os the most complete in e\\s- 
 
 the Christ in the garden of Olives, by 
 Lomazzo, an illustrious Milanese painter, 
 poet, scholar, geometrician, natural phi- 
 losopher, and distinguished author.whose 
 premature blindness was foretold by Car- 
 dan from astrological calculations ; ■ a 
 beautiful old Assumption, by an un- 
 known author. The paintings of the choir, 
 by Pamfilio IVuvoIone, are very good, 
 and an Adoration of the Magi, in the 
 sacristy, has been thought worthy of 
 Bernardino Luini. 
 
 Santa Maria delta Passione, by the 
 architect Gobbo, with the exception of 
 the ridiculous front by his obscure suc- 
 cessor, is one of the best churches in 
 Milan, and perhaps the richest inpictures. 
 An Assumption in fresco by Pamfilio 
 Nuvolone adorns the cupola. The Dead 
 Christ, and the Virgin weeping, is by 
 Bernardino Luini ; a small Descent from 
 the Cross, by Cesare Procaccini ; a St. 
 Francis, by his brother Camillo. The 
 organ is by Carlo Urbini and Daniel 
 Crespi, who have besides executed the 
 different subjects of the Passion, in the 
 best Titianesque taste, the fine paintings 
 of the nave, and a St. Charles Borromeo 
 breakfasting on bread and water, whose 
 terrible physiognomy would make one 
 think that he is meditating some violent 
 fanatical act. A fine Last Supper is by 
 Gaudenzio Ferrari. The Christ in the 
 garden of Olives, and a Flagellation, are 
 the best works of Talpino. The Infant 
 Jesus escaping from the Virgin's bosom 
 to run into the arms of St. Joseph, is 
 one of the best holy families of Federico 
 Bianchi. The paintings in the sacristy, 
 by unknown authors, are remarkable, 
 and exhibit the beauties of the ancient 
 Lombard style. A St. Monica is by Giu- 
 seppe Vermiglio, reckoned by Lanzi the 
 first painter of Piedmont and one of the 
 best of the seventeenth century. 
 
 The mausoleum of bishop Daniel Bi- 
 rago, erected by the great hospital of 
 Milan, to which he bequeathed all his 
 property, is a noble, elegant, and grace- 
 ful monument by Andreo Fusina, one 
 of the first Lombard sculptors in the 
 fifteenth century. 
 
 The tomb of Demetrius Chalcondylas 
 bears the simple and touching inscription 
 of his pupil Trissino. * The ashes of this 
 
 lence, and even superior to the fragments of Leo- 
 nardo diVimi, which arc collected under that title. 
 » P. M. 
 
 Demetrio Ch.ilrondylie Atbenlensl 
 
Chap. III.] 
 
 MILAN. 
 
 44 
 
 Athenian fugitive among the Lombards— 
 of this first editor of Homer, -who taught 
 Greek to Benedetto Giovio, the brother of 
 Paolo; to Gregorio Giraldi, count Casli- 
 glione, and other learned Italians ; to the 
 German Reuchlin, the English Linacer, 
 the celebrated founders of Grecian learn- 
 ing in their respective countries, — and 
 the gratiludeof Trissino, the first restorer 
 of the tragic art in Europe, show how 
 much is due to this nation, and are, on 
 the threshold of Italy, like an advanced 
 monument of the services she has ren- 
 dered. 
 
 There are some fine paintings at Saint 
 Peter's in Scssate : St. Maur by Daniel 
 Crespi ; several incidents in the life of 
 the same saint, by Moncalvo; an image 
 of the Virgin, under a glass cover, by 
 Bernardino Luini. Atthe chapel of Saint 
 Ambrose, the works of Bernardino da 
 Trevilio and Butinone, painters of the 
 fifteenth century, are remarkable for 
 their perspective ; there is a Virgin at- 
 tributed to Bramante. 
 
 The old church of Saint Stephen Major 
 was the scene of one of the most terrible 
 catastrophes in Italy during the fifteenth 
 century, the murder of Galeas Maria, the 
 unworthy son of the great Francesco 
 Sforza, assassinated in the midst of his 
 guards, the day after Christmas 1476, by 
 three courageous young men, Carlo Yis- 
 conti, Lampugnano, and Olgiati, at the 
 instigation of their master, the gram- 
 marian Colas, of Mantua ; another in- 
 stance of tyrannicide sterile for liberty. 
 \'isconti and Lampugnano were killed 
 in the scuffle, being abandoned by those 
 who were to have seconded them : Olgiati 
 was subsequently arrested and perished 
 at the age of twenty-three by the hand 
 of the executioner ; after the torture, 
 when naked upon the scaffold, ready to 
 be mangled with hot pincers and cut in 
 pieces, the skin of his chest being torn 
 off, he uttered these proud and melan- 
 choly words : Mors acerba, fama per- 
 petual stabit vetus memoria facti. 
 
 The present church of Saint Stephen, 
 embellished by Cardinal Federico Bor- 
 romeo, has some valued paintings : St. 
 Gervase and St. Protase, by Bevilac- 
 qua, ia a tolerably good style, despite 
 
 In studiis litlerarum grascarum 
 
 Eminemissimo 
 
 Qui viiit annos LXXXVII mens. V. 
 
 Et obiit anno Cliiisli MDX1. 
 
 Joaunea Georgius Trissinus, Gasp, Alius, 
 
 the violation of the rules of perspective ; 
 the second good Holy family, by Bianchi; 
 the painting of the Trivulzio chapel, by 
 Camillo Procaccini ; a St. John the 
 Evangelist, by his brother Cesare. 
 
 Saint Barnabas is of a good architec- 
 ture, attributed to the Father Antonio 
 Morigia, a great preacher, afterwards 
 bishop and cardinal. A. Dead Christ is 
 an esteemed work of Aurelio Luini, who 
 has not always preserved the nature and 
 grace of his father Bernardino. The 
 Virgin with the Infant Jesus, St. Ca- 
 therine, and St. Agnes is superb, by 
 Antonio Campi; St. Bartholomew, St. 
 Francis, St. Bernardin, of a beautiful 
 composition, by Lomazzo. 
 
 Santa Maria della Pace, which was 
 converted into a military magazine, and 
 subsequently into a factory, has still 
 some remains of the frescos of Marco 
 d'Oggiono, the pupil and friend of Leo- 
 nardo, of Gaudenzio Ferrari, and other 
 clever painters. At the ancient refec- 
 tory of the convent are a Crucifixion by 
 this same artist, and the copy of the Last 
 Supper, executed at twenty-two years of 
 age by the learned and unfortunate Lo- 
 mazzo, perhaps some little time before 
 his cruel blindness. 
 
 Nostra Signora di San Celso, with 
 the marble columns, fine statues, and 
 sculptures decorating its front, the mag- 
 nificent paintings and frescos of the roof 
 and chapels, the richness of the orna- 
 ments, has already all the grandeur and 
 splendour of the churches of Rome. The 
 majestic court is by Bramante, the front 
 by Galeas Alessi. At the entrance, the 
 two statues of Adam and Eve, by the 
 Tuscan sculptor Lorenzo Stoldi, have the 
 grace and purity of the statues of anti- 
 quity. The two Sibyls of the fronton, 
 the four statues of the prophets, the Pre- 
 sentation of J. C, the angels on the top 
 of the church, are excellent productions 
 of Annibale Fontana. A Repose in 
 Egypt, a very fine picture of Raphael, 
 now at Vienna, must have made the re- 
 semblance greater formerly. The silver 
 cross and six silver candlesticks given by 
 Joseph II. are a feeble compensation for 
 such a loss.' It is not positively known 
 whether the plan of this building is by 
 
 Praeceptori op'imo ct saaclissimo 
 
 Posuit. 
 
 1 This Repose in Egypt has been engraved in a 
 
 superior manner by a pupil of I.onghi. S. Ado Fio- 
 
 ionl, and II procured i,im. in 1329, the gold medil 
 
 4. 
 
42 
 
 MILAN. 
 
 I Book 
 
 Bramante or Gobbo. The Martyrdom 
 of St. Nazarius and St. Celsus, a Des- 
 cent from the Cross, are by Cesare Pro- 
 caccini, who also made the two marble 
 angels putting the crown on the Virgin's 
 head. Two Martyrdoms of St. Cathe- 
 rine are by Cerano. The great painting 
 of the altar is very fine; it is by Paris 
 Bordone, as well as the two prophets and 
 St. Rock painted in fresco, above and 
 below. The Resurrection of the Sa- 
 viour, easy and original, is by Antonio 
 Campi. The St. Maximus, an Assump- 
 tion, the Christ leaving his mother at 
 the moment of the Passion, — a painting 
 which, according to Lanzi, loses nothing 
 by being placed near the best Lombard 
 works in this church, — are by Urbini. 
 The Baptism of Christ, accurate and 
 graceful, with a very fine glory of an- 
 gels, is by Gaudenzio Ferrari; a St. 
 Jerome seated, by Calisto Piazza ; the 
 Conversion of St. Paul, superb, by 
 Moretto, who contrary to his custom has 
 signed it, as if he attached particular 
 importance to this picture ; an Assump- 
 tion, by Camillo Procaccini. A St. Se- 
 bastian is attributed to Correggio. A 
 group of angels well disposed is by Pam- 
 filio Nuvolone. There are some small 
 figures in claro-obscuro executed in per- 
 fection by Giovanni da Monte, a pupil of 
 Titian. 
 
 The frescos on the cupola by Appiani, 
 representing the four Evangelists and 
 the four fathers of the Church, with an- 
 gels and clouds, are one of the most 
 etherial and most boasted productions of 
 this brilliant decorator. 
 
 The statues put in the niches are by 
 the clever Lorenzo Stoldi, with the ex- 
 ception of the St. John by Fontana, who 
 is also the author of the statues and 
 basso-relievos in the chapel of the Virgin. 
 The stalls of the choir, of great beauty, 
 were designed by Galeas Alessi. 
 
 The elegant front of St. Paul's is by 
 Cerano, not less clever in architecture 
 than in painting; the nave is probably 
 by Galeas Alessi. St. Charles and St. 
 Ambrose is one of the irreprochable 
 productions of Cerano, and even superior 
 for colouring to the after-mentioned paint- 
 ings by the Campi, who however are sin- 
 gularly brilliant in this church. These 
 paintings are : the Martyrdom of St. 
 
 at die eitilblllou of the Academy of lino arts at 
 Milan. 
 
 Laurence, the Beheading of St. John, 
 the Fall and the Death of St. Paul ; 
 the Baptism of the same saint; the 
 Miracle of the dead man brought to 
 life, a Nativity, by Antonio ; the Virgin, 
 the Infant Jesus, St. Joseph, and some 
 other figures, by Giulio; the Saviour 
 giving the keys to St. Peter, by Bernar- 
 dino, who does not seem of this family. 
 
 The church of Saint Euphemia, re- 
 markable for its beautiful portico of the 
 Ionic order in front, has : the Adoration 
 of the Magi, by Fernando Porta, an 
 unequal painter and an imitator of Cor- 
 reggio ; a Presentation in the temple, 
 sublime and well designed, by an un- 
 known hand ; and the picture of the Vir- 
 gin, with angels and saints, one of the 
 best works of Marco d' Aggiono. 
 
 The basilick of Saint Nazarius, built 
 in 382, received the body of the saint 
 from Saint Ambrose. Before entering 
 this edifice, you must cross the mauso- 
 leum of Giovanni Jacopo Trivulzio and 
 his family ; opposite the door, and almost 
 midway between the lofty ceiling and 
 the floor, is the tomb of this adventurous 
 Italian,— this celebrated marshal, who 
 created the French militia, and died in 
 disgrace at Chartres or Arpajon as a lord 
 of the French court,— and on it is inscrib- 
 ed the epitaph composed by himself :— 
 Joannes Jacobus Trivultius, Antonii 
 filius, qui nunquam quievit, quiescit. 
 Tace. The other tombs of the family, 
 seven in number, are of the same height 
 The effect of these great suspended stone 
 coffins is very singular ; they really seem 
 as if they aspired to bear even to the 
 skies the "magniflque temoignage de 
 notre ne'ant;"' but these tombs are 
 empty, and in accordance with the rule 
 established by the council of Trent res- 
 pecting burial, Saint Charles had the 
 bones of the Trivulzio transferred to the 
 vaults under the church. At one of the 
 chapels the tomb of Manfred Settala, a 
 mechanician, somewhat pompously sur- 
 named the Archimedes of Milan; a man 
 whose travels and whole life were de- 
 voted to the sciences, letters, and arts, 
 contrasts with the warlike tomb of the 
 Trivulzio. The paintings are : an As- 
 sumption, by Lanzani, and four large 
 and good paintings of Giovanni da Monte 
 in the inner portal ; a very fine Last 
 
Chap. IV. ] 
 
 MILAN. 
 
 43 
 
 supper by Bernardino Lanino, an imi- 
 tation of the one by Gaudenzio Ferrari, 
 his master, at the church della Passione. 
 The chapel of Saint Catherine, ad- 
 joining Saint Nazarius, and built after 
 the design of Bramante, is still remark- 
 able for the expressive and picturesque 
 frescos, executed in 1546, by Bernardino 
 Lanino, representing the Martyrdom of 
 the Saint, and which leave nothing to 
 be wished, except a little more attention 
 to the drapery; by a whim then common 
 among artists, the painter has represent- 
 ed below his master Gaudenzio Ferrari, 
 in bis usual dress, disputing with another 
 of his pupils, J. B. de la Cerva, while he 
 himself in a black cap is attentively lis- 
 tening to them. 
 
 Saint Antony the Abbot is extremely 
 remarkable for its paintings. The roof 
 is by the brothers Carloni of Genoa, able 
 fresco painters of the seventeenth cen- 
 tury, who also worked in the choir with 
 Moncalvo, whose St. Paul the Hermit 
 maintains an honorable rank beside their 
 1 works. A Conception, charming, is by 
 Ambrose Figini; St. Charles with the 
 holy nail, by Foi Galizia, a clever female 
 painter of the early part of the seven- 
 teenth century. A Nativity, the Temp- 
 tation of St. Anthony, are by Camillo 
 Procaccini ; a Descent from the Cross, 
 a Resurrection, by Malosso. The Christ 
 carrying his Cross, is by the younger 
 Palma ; an Annunciation, by Cesare 
 Procaccini, a graceful masterpiece, per- 
 haps too graceful, in which the mutual 
 and almost roguish smile of the Angel 
 and the Virgin appears somewhat out of 
 place. St. Gaetanus, an Assumption, 
 are by Cerano. The Virgin, the Infant 
 j Jesus, St. Catherine, St. Paul, a beau- 
 tiful composition, is by Bernardino 
 Campi : the glory of angels was added 
 by Camiilo Procaccini, An Holy Ghost, 
 judicious, but faint in the colouring, is 
 I by Fiorentino. A Nativity, by Anni- 
 i bale Carraccio, appears scarcely worthy 
 j that great master. The Adoration of 
 the Magi, by Morazzone, has all the ef- 
 fect and luxury of drapery of the Vene- 
 tian masters. 
 
 The sacristy of the church of Saint 
 
 Satyrius, in the shape of a little octagonal 
 
 temple, is famed as a work of art : the 
 
 I architecture, by Bramante, is worthy of 
 
 I him; the heads, larger than nature, and 
 
 | the little children, are the distinguished 
 
 performances of Caradosso, a clever 
 
 sculptor, and highly-spoken of as an en- 
 graver, very much admired by Benve- 
 nuto Cellini, who knew him at Home. 
 The miraculous picture of the Virgin is 
 of the eleventh century; the act of the 
 madman who stabbed this image is by 
 the cavaliero Ferruzzini, a good painter 
 of Ancona, who died at Milan, and who 
 was an imitator of the Carracci and 
 Guido; the Flight into Egypt, by Fcde- 
 rico Bianchi. St. Philip de Neri, pleas- 
 ing and well designed, passes for one of 
 the best paintings of Peroni. In another 
 sacristy are some ancient paintings and 
 a St. Barnabas, attributed to Bellraffio, 
 an amateur and good Milanese painter 
 of the sixteenth century, the pupil of 
 Leonardo. 
 
 CHAPTER IV. 
 
 Saint Sebastian.— Saint Alexander in Zebedia.— Paul 
 Frizi. — Saint Eustorge.— Mausoleum of Saint Peler 
 the Martyr.— George Merula— San la Maria delta 
 Vittoria.— Columns, ctutrcu of Saint Laurence.— 
 Monaster*) Maggiore. 
 
 The church of Saint Sebastian, founr'ed 
 by Saint Charles, from the plans of Pel- 
 legrino, is one of the most splendid ar- 
 chitectural monuments in Milan. The 
 Martyrdom of the saint, by Bramante, 
 is the best of his paintings in this city, 
 and refutes the opinion of Cellini, who 
 said that he had no talent for painting. 
 The Annunciation, the Massacre of the 
 Innocents, by Joseph Montalto, recall 
 the elegance and grace of Guido, his 
 master. St. Charles, St. Philip, a Cru- 
 cifix with the Virgin, St. John and 
 Magdalene, are by Francesco Bianchi 
 and Antonio Ruggieri, painters of the 
 eighteenth century, inseparable artists, 
 who have left a better example of concord 
 and friendship than of taste. 
 
 Saint Alexander in Zebedia, in spite 
 of the abominable taste of the front, is 
 rich and magnificent. Divers incidents 
 in the Life of the saint and of other 
 martyrs, the Trinity, several subjects 
 fromthe Old Testament, on the roof, in 
 the choir, and at thehighaltar, are large 
 and sublime paintings by Federico Bian- 
 chi, Philip Abbiati, and of his expeditious 
 pupil, Pietro Maggi. The paintings in 
 a chapel adorned with exquisite sculp- 
 tures, and two others relating to the 
 Life of St. Alexander, pleasing works. 
 full of expression, although somewhat 
 elaborate, are by Agostino Saint Agos- 
 
u 
 
 MILAN 
 
 [Book III, 
 
 tino, the cleverest cf the three Saint 
 Agostini. A good Nativity, the As- 
 sumption, and a Crucifixion, are by 
 Camillo Procaccini. There is a chape! 
 painted by Ludovico Scaramuccia, a dis- 
 tinguished pupil of Guido and Guercino; 
 he was also a writer on the arts, being tt.e 
 author of the book entitled Le Finezze 
 de' pennelli italiani{on the superiority of 
 the Italian pencil). The Beheading of 
 St. John the Baptist, the Adoration 
 of the Magi, very fine, in the sacristy, are 
 by Daniel Crespi : the roof, composed of 
 graceful little angels, is by Moncalvo. 
 Saint Alexander contains a splendid 
 tomb, erected to the memory of the ce- 
 lebrated mathematician and natural phi- 
 losopher Paul Frisi by Count Pietro 
 Verri, a noble Milanese, like this Barna- 
 bite, a partisan and propagator of new 
 notions on social improvement. 
 
 Saint Eustorge, uniformly restored by 
 Ricchini, is one of the oldest churches in 
 Milan. On the outside, at the entrance, 
 is the pulpit, a kind of large stone gal- 
 lery, from which, according to the in- 
 scription, Saint Peter the Martyr refuted 
 the heretics of his lime. These religious 
 traditions are touching; no one knows 
 what has become of the pulpits of Bos- 
 suet and Massillon ; the religious faith of 
 ihe middle ages was less indifferent and 
 ungrateful to its great men than the ra- 
 tionalism of our enlightened civilisation. 
 The mausoleum of this saint, executed 
 by Giovanni di Balduccio of Pisa, is a 
 very curious remnant of the art in the 
 fourteenth century. It is the master- 
 piece of one of those primitive artists 
 who were so full of nature and truth; 
 the Gothic Caryatides which represent 
 the different virtues of the saint and sup- 
 port the whole structure, arc a combina- 
 tion of boldness and grace ; the oddity of 
 some of the details belongs to the epoch 
 and not to the artist, and this work would 
 be perfect if imagination at that period 
 had been regulated by taste. The archi- 
 tecture of the chapel of Saint Peter, 
 founded by Pigello Portinari, a clerk of 
 Cosmo di Medici, seems by Mithelozzi : 
 a painting of the lime represents the 
 pious and industrious founder kneeling 
 before the saint; the ceiling is one of the 
 fine frescos of the elder Civerchio. A 
 mausoleum ornamented with columns 
 supported by lions, of the close of the 
 thirteenth century, was devoted by Mat- 
 thew Yisconti the Great to one of his 
 
 sons, Stephen, who by his courage had 
 contributed to retrieve his father's for- 
 tune. The altar of the first chapel, in 
 three compartments, representing the 
 Virgin, the Infant Jesus, St. James 
 and St. Henry, is a good painting by 
 Ambrosio Borgognonc : the head of the 
 last saint is the best. The very fine roof 
 of the chapel of Saint Vincent is by Carlo 
 Urbini. The chapel erected in 1307 by 
 Cassone Torrione, in which his son Mar< 
 tin reposes, has a Beheading of St. John, 
 in good keeping, although executed by 
 the hands of three painters, Cesare, Ca- 
 millo, and Antonio Procaccini. There 
 are some fine frescos by Daniel Crespi in 
 the chapel of the Annunciation. The 
 bodies of the three Magi, which are still 
 worshipped at Cologne, were in a chapel 
 at Saint Eustorge, whence they were 
 taken, in the invasion of Federico Bar- 
 barossa, by the archbishop of Cologne 
 who accompanied the conqueror. On 
 the wall of this chapel is a basso-relievo 
 in marble of the Passion, a work of the 
 fourteenth century, author unknown, 
 which is destitute of neither simplicity 
 nor grace, and shows that the arts at that 
 early period had made great progress in 
 Lombardy. The coffin which held the 
 doubtful and pompous relic still remains 
 atSaintEustorgewiththestrange inscrip- 
 tion : — Sepulchrum trium Magorum. 
 Near the sacristy is the tomb of George 
 Merula, the pupil and mortal enemy of 
 Philelphus; Ihe adversary of Politian, 
 Calderino, and Galeotti Marzio ; one of 
 the best and most disputatious scholars 
 of the revival of the arts, who treated 
 printing as a barbarous invention (bar- 
 barum inventum), a paradox since main- 
 tained by other Morulas less erudite 
 that this laborious critic and historian. 
 The tomb of this good hater was, how- 
 ever, erected to his memory by a friend, 
 his pupil, the poet Lancinus Curtius : 
 the inscription he has put thereon is even 
 somewhat touchiug. 1 
 
 The church of Santa Maria della 
 Vittoria owes its name to the victory 
 gained near it by the Milanese over the 
 emperor Louis the Bavarian. Though 
 not finished on the outside, it is of beau- 
 tiful architecture, and thought to be by 
 Bernini. There are two remarkable 
 
 ' Visi aliis inter spinas, mundique procellas. 
 Nunc hospes ccell Merula vivo niibi. 
 Lancinus Curiius t. amicus posult. 
 
Chap. V.] 
 
 MILAN. 
 
 45 
 
 I paintings : St. Charles administering 
 \the communion to persons smitten with 
 Ithe plague, by Giacinto Brandi; and 
 [St. Peter delivered from prison, a 
 [painting executed at Rome, where the 
 author, Ghisolfi, an excellent perspective 
 painter, was attending the lessons of 
 Salvator Rosa. The angels supporting 
 this painting are an excellent production 
 of Antonio Raggi, called the Lombard, 
 a clever pupil of Bernini. 
 
 The sixteen antique columns of Saint 
 Laurence, uniform and placed abreast, 
 exhibit a superb wreck and prove the 
 grandeur, the importance, and the magni- 
 ficence of Milan in the olden lime. These 
 beautiful columns, probably transferred 
 from some antique edifice to their present 
 position, are even higher than those of the 
 Pantheon : one might really imagine 
 them erected there as a portico to the 
 ruins and ancient monuments of Italy. 
 
 The present church of Saint Laurence 
 was rebuilt by Saint Charles from the 
 bold and noble designs of Martine Bassi. 
 The Baptism of Christ by Aurelio 
 Luini seems worthy of Bernardino ; the 
 Assumption is by Rivola, one of the best 
 pupils of Abbiati. The chapel of Saint 
 Anthony was painted by Federico Bian- 
 chi, Lcgnani, Molina, Vimercati, the last 
 a clever pupil of Ercole Procaccini. A 
 Visitation, by Bianchi, is altogether 
 worthy of this favoured disciple of Cesare 
 Procaccini. The chapel of Saint Aquila 
 has a martyrdom otSt. Hippolytus and 
 St. Cassian, by Ercole Procaccini. In 
 the sacristy, Jesus Christ appearing to 
 St. Thomas, by Giambattisla della Cer- 
 va, expressive, animated, and harmoni- 
 ous, is one of the best paintings of Gau- 
 denzio Ferrari's school. 
 
 Saint George al Palazzo, an old 
 church restored, takes its title, it is said, 
 from the ancient palace of Trajan or 
 Maximian having been in Us Yicinity. 
 There is a St. Jerome by Gaudenzio 
 Ferrari. The different subjects of the 
 Passion, painted by Bernardino Luini 
 and his pupils, present a happy effect of 
 light. The countenance of the Saviour 
 in the Flagellation is admirably affecting. 
 
 Over the portal of Saint Sepulchre, the 
 Dead Christ between the Marys, a fresco 
 by Bramantino, the favorite pupil of Bra- 
 
 mante, has a wonderful effect in the per- 
 spective : the legs of the Saviour, from 
 whatever point they are viewed, seem 
 turned towards the spectator, the first in- 
 stance of this kind of tour de force which 
 has since been so frequently attempted. 
 In the subterranean oratory, made fa- 
 mous by the fervent meditations of Saint 
 Charles, the Christ crowned with thorns 
 is an admirable work of Bernardino 
 Luini. I Some statues of burnt clay, by 
 Caradosso, representing the Virgin in 
 a swoon at the sight of her dead son, 
 with the Marys and some saints, form a 
 very pathetic scene. 
 
 On the heavy front of Saint Mary 
 Porta, the basso-relievo in marble of 
 the Crowning of the Virgin is a fine 
 work by Carlo Simonetta, who has also 
 in the interior a good Magdalene, to 
 whom an angel is administering the 
 communion. There is a St. Joseph 
 by Ludovico Quaini, a distinguished 
 pupil and imitator of Guercino and Cig- 
 nani ; the Adoration of the Magi in the 
 chapel of the Madonna is by Camillo 
 Procaccini. 
 
 The church of Saint Maurice, or the 
 Monastero Maggiore, the marble front 
 of which, simple and in good taste, is at- 
 tributed to Bramantino, has many admi- 
 rable frescos of Bernardino Luini ; the 
 principal of them represent the Apostles, 
 the Flagellation of the Saviour, and 
 divers incidents in the lives of Martyrs. 
 The Adoration of the Magi, at the high 
 altar, by Antonio Campi, a Deposing 
 of the Cross, by Piazza, are excellent 
 performances. 
 
 CHAPTER V. 
 
 Saint Ambrose. — Ancient and modern pulpits. — 
 Serpent. — Paliolto. — Mosaic. — Anspert, — Chapel 
 of Murcellina. — Missal. — Monastery. 
 
 The church of Saint Ambrose, the 
 oldest monument of Christian antiquity 
 at Milan, erected in 387, by the great 
 saint whose name it bears, presents a 
 real chaos of architecture ; these works 
 of various and remote ages compose a 
 shocking medley : the Italian architects 
 are too often guilty of the fault of not 
 paying attention to the primitive cha- 
 
 1 Six precious frescos of this great master, his 
 sons, and pupils, are preserved in an adjacent house, 
 now the liin of the Cross of Malta ; they were taken 
 
 thither in 1786 from the oratory of the hospital of 
 the Holy Crown, which was removed at that lime. 
 
46 
 
 MILAN. 
 
 [Book I nM 
 
 racier of the edifices when repairing 
 them, which is never the case with good 
 architects in France. ■ Before the church 
 is one of those spacious courts which the 
 architects of the middle ages had already 
 imitated from those of antiquity, and 
 which are found before many of the Ita- 
 lian churches. It was there that, during 
 the existence of paganism, the profane 
 remained, and where, in aftertimes, the 
 rigorous public penances of the early 
 ages of the church took place. There is 
 something religious in the aspect of these 
 old porticoes, and they nobly separate 
 the sanctuary from the tumult of cities. 
 Some portions of this portico of the ninth 
 century evince a taste and imagination 
 singularly remarkable at that epoch. I 
 regretted that, according to some anti- 
 quarians, the present gates are not those 
 which Saint Ambrose shut against, Theo- 
 dosius, after the massacre of Thessalo- 
 nica, * when liberty had fled to religion 
 for refuge; when the remonstrances and 
 acts of its ministers, men elected by the 
 people, were the only resource, the only 
 opposition against absolute power and the 
 violence of the emperors. With these tra- 
 ditions before us, it is easy to conceive why 
 the republican conspirator of Milan, por- 
 trayed by Machiavel, at the moment of 
 delivering his country from the tyrant Ga- 
 leas, in company with hisaccomplicesin- 
 voked Saint Ambrose, after having heard 
 mass and contemplated his statue. 3 
 
 In this church there is an immense old 
 pulpit of marble, opposite to the modern 
 one; it is pretty much like the gallery 
 used by the Romans, in which the orators 
 had room to walk about. It struck me, 
 while contemplating it, that in form 
 as well as independence, the Christian 
 pulpit had replaced the suggestum of 
 earlier days. These old pulpits are in 
 much better taste than the kind of deal 
 box suspended in our churches, above 
 which rises a man who twists and agi- 
 tates himself and seems ill at ease in so 
 narrow a space. Were not one habi- 
 tuated to this manner of preaching.it 
 would appear a very singular exhibition. 
 
 In the nave of Saint Ambrose is placed 
 
 For instance, the beautiful restoration of the 
 Louvre by MM. Percler and Fontaine, of the palace 
 of Fontainebleau by Fleurtaud, and even the works 
 of the Palais-Royal M. Fontaine could easily have 
 surpassed the Indifferent architecture of these 
 buildings, but he has made the new constructions 
 correspond vt lib the old. 
 
 on a column the famous brazen serpe 
 that some have gone so far as to take f 
 the one Moses raised in the desert, or 
 
 :.. 
 
 least made of the same metal, and rfjtiM 
 which the learned have discussed at sue 
 a prodigious length. The populace a*4W 
 persuaded that it will hiss at the end ••«»( 
 the world ; and the sexton one day i i«A 
 dusting it having somewhat deranged i ini* 
 the alarm become general when the om vj * 
 nous reptile was seen turned toward W" 
 the door; it was necessary to put it rigt 
 immediately, in order to allay the t«r b&W 
 rors of those who already thought the Vh 
 heard it. om al 
 
 Such is theantiquily of the monument itfjt! 
 of this church, that the father Allegranz; Jtfi 
 pretended to recognise in the great sar m 
 cophagus of white marble placed undei ustdil 
 the present pulpit, the tomb of Stilicor H 
 and his wife Serena. On a pilaster is an wtti 
 antique portrait of SaintAmbrose, which, ftol 
 according to the inscription, a barbarous 
 Latin quatrain, was taken from life; the] 
 marble of the countenance is black, thai 
 head attire and the garment of a lighter 
 shade. Saint Ambrose, being born in 
 Gaul, must have been white, and it !«_,„, 
 difficult to image to one's self the bees de- <tm 
 positing their honey in the mouth of this fres 
 species of blackamoor. 
 
 The celebrated gold Paliotto of the 
 altar, give by the archbishop Angilberto 
 Pusterla, a wonderful production of a 
 Lombard artist of the tenth century, the 
 goldsmith Volvino, is deemed worthy to 
 be compared to the finest ivory diplychs 
 which the sacred museums boast. 
 
 Beyond the choir two large slabs of 
 while marble, covered with inscriptions, 
 point out the burial place of the emperor 
 Lewis II., a conqueror and lawgher, 
 who died in 875, and that of the illus- 
 trious archbishop of Milan, Anspert. his 
 contemporary, the founder of Saint Am- 
 brose, a charitable, active, and enligh- 
 tened pontiff, full of courage and inde- 
 pendence 
 
 Effector voti, propositiijue tenai, 
 
 as his epitaph says, 4 and who seems to 
 
 ■ It is said that these gales are only of the ninth 
 century. 
 
 3 see the address of Giovanni Andreo to the statue 
 of Salut Ambrose, booli vii. of the History of Flo- 
 rence. 
 
 4 The verses preceding this give u good sketch of 
 the character of Anspert : 
 
 ft., 
 
 Rrl 
 
 If II 
 
 I % 
 
 I'm 
 
 ltd 
 
 Tl 
 
 We 
 
-II 
 
 AP. V. ] 
 
 MILAN. 
 
 4? 
 
 te the Saint Charles Borromeo of the 
 -fo ddle ages. 
 
 ^aThe curious mosaic of the choir, re- 
 oiesenting the Saviour on a golden 
 uclrone embellished with precious stones, 
 arid beside him Saint Gervase and Saint 
 'O'otase, appears to be the work of some 
 "reek artists of the eleventh century. 
 i-Ujnolher mosaic, of the ninth century, is 
 roij'ry curious : Saint Ambrose has fallen 
 'I Icep while saying mass, and a sacristan 
 'A striking him on the shoulder to waken 
 '■ m and show him the people waiting. 
 ilfhat a singular moment for the artist 
 
 make choice of in the life of this great 
 
 flint! It is known that Fenelon fell 
 
 a Jeep during the sermon ; Saint A mbrose 
 
 ' deep standing before the altar is still 
 
 ss edifying. On the external wall of 
 
 ie choir, the Christ in his agony sup- 
 
 orted by two angels, an affecting fresco, 
 
 ne of the best paintings of this basilic, 
 
 tough attributed to both Luini, and 
 
 anino, appears to be by Ambrosio Bor- 
 
 ognone. 
 
 The chapel of Saint Satyr or of Saint 
 'ictor in ciel oVoro, thus called from the 
 nlique and brilliant gilt mosaic which 
 ■ urmounls it, has some lively and spirited 
 escos, representing the Shipwreck of 
 ft. Satyr and the Martyrdom of St. 
 r ictor, the work of Tiepolo, the last 
 f the great painters of the Venetian 
 chool, to whom Bettinelli dedicated his 
 oem on painting, in which he praises 
 iim for having revived the masterpieces 
 nd the golden age of his art. 
 The rich chapel near it has : St. Am- 
 brose receiving the viaticum, one of the 
 lestworksof AndreoLanzani; the chapel 
 f Saint Sebastian, the Saint unbound 
 rom the stake, a beautiful production of 
 Lmbrosio Besozzi. 
 
 The chapel Marcellina, formerly Saint 
 latherine's, has been since decorated 
 villi all the elegance of modern art by 
 he Marquis Cagnola, • a celebrated Mi- 
 mese architect, author of the arch of 
 he Simplon ; the statue of the saint in 
 larble is a beautiful work of Pacetti. 
 tut has not the painter of the embellish- 
 icnts thought proper to place large 
 gures from Herculaneum on the roof, 
 
 Die jnrct Anspertus, nostra: clarissimus urbls 
 Antistes, uta, voce, pudore, fide, 
 •£qui sectator, turba> prelargus egenee. 
 
 be other verses of the epitaph recapitulate the 
 •inctpal acts of this great man's life, who is for- i 
 
 which form a strange contrast with the 
 holiness of the place and the modest air 
 of the saint ! One of these figures carries 
 a lamb on its head, and in this whimsical 
 picture the Iamb of the bacchanals may 
 have beeu often taken for the paschal 
 Iamb. 
 
 The chapel of Saint Bartholomew 
 has that saint and St. John before 
 the Virgin, by Gaudenzio Ferrari. 
 Near them, the Dead Christ with the 
 Virgin, the Magdalene weeping, and 
 other figures, is but a superb wreck of 
 a painting by the same artist. In an 
 adjoining chapel, the Madonna dell' 
 ajuto is a good painting of the Luini 
 school. At the entrance of the sacristy 
 are two remarkable frescos : Jesus dis~ 
 puting with the doctors, by Borgo- 
 gnone ; the Virgin, the Infant Jesus, 
 St. Ambrose and St. Jerome, of the 
 old Milanese school. In the chapel 
 beyond, a Nativity, by Duchino, is gra- 
 cious, well drawn, and full of morbi- 
 dezza; the figures around and the roof 
 are by Ercole Procaccini. On the altar 
 of the chapel of Saint Peter, the Christ 
 giving the keys to the saint, is a dis- 
 tinguished work by the daughter of Cor- 
 nara. The paintings on the cupola of 
 the last mentioned chapel, by Isodoro 
 Bianchi, are fine. 
 
 The Missal preserved in the archives of 
 the basilic of Saint Ambrose, a vellum 
 manuscript of the end of the fourteenth 
 century, is splendid and curious : the 
 chief ornament is a rich miniature re- 
 presenting the coronation of Giovanni 
 Galeas Visconti, as first duke of Milan. 
 Among the ambassadors and persons of 
 importance who attended Galeas in the 
 procession and assisted at the ceremony, 
 may be remarked a bishop of Meaux in 
 the quality of ambassador of the king of 
 France. 
 
 The vast monastery built by Lewis the 
 Moor from the plans of Bramante, an 
 edifice of an architecture at once striking 
 and noble, a real monument, and one of 
 the most splendid of its kind, is now a 
 military hospital. In the refectory a 
 vast fresco representing the Marriage 
 of Cana, is the masterpiece of Calisto 
 
 gotten in most or the historical dictionaries. It is 
 there remarked that be rebuilt the walls of the 
 town, and restored the antique columns of Saint 
 Laurence. 
 ' Died August 24, 1833. 
 
48 
 
 MILAN. 
 
 Book lit. 
 
 Piazza, a clever imitator of Titian and 
 probably bis pupil. This composition 
 has however one strange peculiarity; the 
 artist has put six fingers to the hand of 
 a woman on the right side of the 
 painting. 
 
 CHAPTER VI. 
 
 Saiol Victor.— Santa Maria (telle Grazie.— Ccr-naru- 
 lum. — Saint Angelo. — Count Firmian. — Saint 
 Mark. -Church of the Garden.— Saiut Fidclls. 
 
 Saint Victor al corpo, a fine majestic 
 church, is of the architecture of Galeas 
 Alessi. On the cupola St. John and 
 St. Luke are superb compositions by 
 Bernardino Luini; the roof of the choir 
 is by Ambrosio Figini, who has also 
 painted a beautiful St. Benedict, in a 
 chapel; the roof of the centre and a 
 St. Bernard, on the door, are by 
 Ercolc Procaccini ; a good Saint Peter 
 is by Gnocchi. In the splendid chapel 
 of Aresi, from the designs of Quadri, the 
 statue of the Virgin and the prophets, 
 by Vismara, are esteemed. The last 
 chapel on the right has three fine paint- 
 ings by Camillo Procaccini, representing 
 certain scenes in ihe life of Saint Gre- 
 gory ; the Virgin, and St. Francis, 
 by Zoppo, a painter correct in colour- 
 ing, but too imaginative; St. Paul the 
 Hermit, by Daniel Crespi ; St. Ber- 
 nard Tolomei, by Pompe Batoni, a 
 Roman painter of the last century, 
 who contributed to the reformation of 
 taste; St. Benedict, St. Bernard, St. 
 Francis, and St. Dominick, near the 
 entrance, pass for the best works of the 
 Cavalicro del Cairo. Santa Maria delle 
 Grazie scarcely retains the shadow of 
 her primitive beauty. The majestic cu- 
 pola, the choir, and the semicircular 
 chapels of the sides are by Uramante. 
 The remains of the Flagellation, and of 
 other paintings of Gaudcnzio Ferrari, 
 still bear witness of their ancient per- 
 fection; a St. John the Baptist is at- 
 tributed to Count Francesco d'Adda, a 
 noble amateur or the sixteenth century, 
 who imitated Leonardo Vinci; the fine 
 frescos on the cupola of Ihe choir belong 
 to the school of this great master. In 
 
 ■ The faithfulness of this copy has been much 
 diluted. The clever Roman mosaist, Hafaelli, has 
 had the good sense to approach nearer the original. 
 
 ' Cardinal Frederick contided its preservation to 
 a pupil or Giulio Cesarc rrocaccini, Andrea Uiancbl, 
 surnamed Yeapino. 
 
 the sacristy the anonymous paintings re- 
 presenting subjectsfromtbe Old and New 
 Testaments, are curious, and particularly 
 remarkable for the end of the fourteenth 
 century and the beginning of the fif- 
 teenth. 
 
 The Ccenaculum, by Leonardo Vinci, 
 placed in the refectory of the old mo- 
 nastry of Santa Maria delle Grazie, is 
 not so difficult to be recognised as 1 
 should have thought ; through the mists 
 of ruin that envelope it, and the bung- 
 ling retouching it has undergone, one 
 may still discover the spirit, expression, 
 variety, and life of this admirable compo- 
 sition. The enthusiasm that it caused 
 in the victorious Francis I., may easily 
 be conceived, who, as he could not carry 
 it to France, took the author with him 
 and cultivated his friendship, though at 
 that period he was advanced in years. 
 Parini, an ingenious and elegant Italian 
 contemporary poet, would have himself 
 carried in his latter days, before the Coe- 
 naculum; he said that a man capable of 
 such a conception could have produced 
 a poem ; the sight of these fine paintings, 
 in spite of their damaged condition, ex- 
 cited and fed the pious musings which 
 alleviated his sorrows, and, if death had 
 not intervened, he would have described 
 and explained them. A mosaic of the 
 Last Supper, after an oil copy by Bossi, 
 placed in the pinacotheca of Brera, al- 
 though executed in 1809 at the expense 
 of the Italian government, has been sent 
 to Vienna : ■ S. Gagna, an esteemed 
 painter, made a new copy of it, in 1827, 
 for the king of Sardinia. This lardy 
 homage of kings, conquerors, and em- 
 perors, seems some reparation for i he 
 barbarous abandonment in which the 
 Dominicans had formerly left the Carna- 
 culum, of which the great Cardinal Fe- 
 derico Borromeo already regretted that 
 he had only found some slight remains 
 which he endeavoured to save j » and of 
 revolutionary outrages inflicted in 1797 
 on this masterpiece of Leonardo, when 
 the apartment which contains it served 
 as a stable and granary. 
 
 Saint Thomas in terra amara, an in- 
 auspicious surname of doubtful origin, 3 
 
 3 It is supposed by some to be derhed from the 
 punishment inflicted by Giovanni Maria Viscouli on 
 a priest of this church, whom he had interred alhe 
 for refusing to bury a person whose family were 
 not able to pay the expenses, nonevcr, the name 
 appears to he of older date. 
 
CflAtvVI.]- 
 
 MILAN. 
 
 J 9 
 
 has been recently embellished with an 
 elegant pronaos. The fine St. Charles 
 with angels is by Cesare Procaccini. 
 
 The ancient gothic church of Santa 
 Maria del Carmine, has a portal of rich 
 composition, attributed to Ricchini. In 
 the Grst chapel, the Virgin with the 
 Infant Jesus and several saints is by 
 Camillo Procaccini. The statue of the 
 Virgin, with the angels, is an excellent 
 work of Volpi. In the chapel of Saint 
 Anne, a fine fresco by Bernardino Luini 
 represents the Virgin, the Infant Jesus, 
 and some saints. 
 
 Saint Simplician, Gothic, has an An- 
 nunciation, by Bernardo da Trevilio, 
 the friend of Leonardo, the architecture 
 and perspective of which are clever, but 
 the figures and drapery of a miserable 
 taste ; St. Benedict is by Talpino ; 
 two subjects from the Old Testament, 
 in (he chapel of the Corpus Domini, are 
 by Camillo Procaccini. The paintings of 
 the dome are admired ; the two great 
 paintings of the chancel, by Francesco 
 Terzi, a Bergamese artist of the sixteenth 
 century, though somewhat dry in the 
 designing, are effective in the colouring. 
 The Crowning of the Virgin, in the 
 choir, is an excellent fresco by Am- 
 brosio Borgognone. 
 
 Santa Maria incoronata, composed 
 of two churches, has some fine basso- 
 relievos of the fifteenth and sixteenth 
 centuries; the frescos of the roof are by 
 Ludovico Scaramuecia ; the lateral fres- 
 cos, by Ercole Procaccini and Montalto. 
 There is a fine mausoleum of Giovanni 
 Tolentino, who died in 1517; it bears a 
 touching epitaph, expressing his fare- 
 well to his wife and children. ' 
 
 Saint Angelo, a majestic church, which 
 was for a lime converted into an hospital, 
 still has some good paintings: the Mar- 
 riage of the Virgin, by Camillo Procac- 
 cini, who has also done the ceiling of 
 the choir and the three paintings which 
 adorn it ; the side fresccs are by Barab- 
 bino; the Virgin surrounded by saints, 
 by Caravaggino ; the Christ between the 
 two thieves, by Bramantino; a head of 
 the Saviour, a small fresco, from its 
 beauty attributed to Bernardino Luini. 
 
 The architecture of the church of Saint 
 Bartholomew is magnificent, but defi- 
 
 1 Toga et armis vale Tydea conjux, valete Iiberl, 
 nee In delnecps conjux nee vos eiilis libcii Joannis 
 Tollentinalls senat. com. eq. q. MDXVII. 
 
 » One of tUcui, Pagano della Torre, who died in 
 
 cicnt in taste. The illustrious Firmian, 
 who for twenty -three years conducted the 
 government of Lombardy in so wise and 
 paternal a manner, reposes in this church ; 
 the mausoleum of this friend of letters, 
 arts, sciences, and humanity, is a supe- 
 rior production of the sculptor Franchi. 
 
 Saint Mark is superb. Several of its 
 paintings have great reputation : the 
 Virgin, and the Infant Jesus who is 
 presenting the keys to Saint Peter with 
 a politeness somewhat singular, is by 
 Lomazzo ; a St. Barbe, the colouring of 
 which is beautiful, by Scaramuecia. 
 
 The chapel of the Crucifix has some 
 esteemed frescos by Ercole Procaccini, 
 Montalto, and Busca; ^Crucifixion, by 
 the last-named, with the Virgin, Mag- 
 dalene, and St. John, weeping, is very 
 moving. At the Trotty chapel are a 
 St. Augustine, by Talpino, and some 
 fine frescos, by Stefano Legnani. The 
 rich high-altar has been tastefully em- 
 bellished by professor Jocondo Alber- 
 tolli. The two great pictures by Ca- 
 millo Procaccini and Cerano, placed in 
 the choir, opposite each other, are very 
 beautiful; the one by the latter artist is 
 generally preferred, the Baptism of St. 
 Augustine. In the sacristy the Virgin, 
 the Infant Jesus, St. Syrus, and St. 
 Joseph, an excellent production of An- 
 tonio Campi, bears the date of 1569. 
 
 The little church of Saint Joseph, in a 
 plain but good style of architecture, by 
 Ricchini, has the Death of the Virgin 
 by Cesare Procaccini ; a Holy Family, 
 by Lanzani ; St. John the Baptist, by 
 Montalto. The church of Saint Mary of 
 the Garden, now turned into a storehouse 
 for the city, is famous for the height and 
 reputed wonders of the arches support- 
 ing the roof, a singular structure of the 
 fifteenth century, but extolled beyond its 
 merits. 
 
 Saint John alle case rotte (of the de- 
 molished houses) occupies the site of the 
 palace of the Della Torre family, for- 
 merly popular chiefs of the Milanese, de- 
 magogues who grew into despots, => whose 
 residence was pulled down in a riot in 
 1311. The present building is by Ricchini, 
 and the roof in compartments is very fine. 
 
 The church of Saint Fidelis, unfi- 
 nished, is a splendid monument of Pello- 
 
 i2-'ii, seems to have been really loved by tbc Mila- 
 nese, who erected him a tomb in the cemetery of 
 the convent of Chiaravalle. See post, book iv. ch. li. 
 
50 
 
 MILAN. 
 
 [Boos III. 
 
 grini. With an architectural extrava- 
 gance altogether Italian, the richness of 
 the front is continued with even greater 
 splendour along the lateral wall of the 
 edifice. The St. Ignatius is by Ce- 
 rano ; a Transfiguration, by Bernardino 
 Campi ; a Piety, by Peterzano, one of 
 Titian's pupils, as his signature proudly 
 testifies {Titiani discipulus). The paint- 
 ings of the choir are great and good works 
 of the brothers Santi-Agostini. The ma- 
 jestic columns of polished, red granite 
 from the quarries of Baveno, like the two 
 gigantic pillars of the dome, are of a 
 single stone : Milan is one of the richest 
 of the Italian cities in this kind of mag- 
 nificent rarities. 
 
 CHAPTER VII. 
 
 Splendour of the Altors.— Closing of the churches In 
 Italy.— Benches.— Hangings. 
 
 The sumptuousness of the Italian 
 churches, until one becomes used to it, 
 appears truly wonderful . The altar and 
 even the pulpit are sometimes set with 
 agates and other precious stones. It 
 must be difficult to speak in the midst 
 of all these riches, and eloquent words 
 must be requisite to touch an audience 
 thus dazzled. I much fear that the pre- 
 cept of Horace may be often applied to 
 the sermons delivered in these pulpits, 
 
 Segnius Irritant animus deniissa per aurem, 
 Quam qua? sunt oculis subjecta lidelibus. 
 
 Nevertheless, I have never shared the pre- 
 judices of the economists against sump- 
 tuousness in altars. This sumptuousness 
 tends to neither corruption nor dissipa- 
 tion like that of the world, but it is con- 
 servative and useful. There are some 
 ornaments^ also which can be appro- 
 priated to no other purpose, such as 
 precious stones ; it would be difficult to 
 put these objects of national pride in 
 circulation ; then, is it not better to place 
 them on an altar, where they add to the 
 majesty of religion and excite neither envy 
 nor hatred, than to make them ornaments 
 for the forehead of a courtisan or the 
 sword of a despot? 
 
 The churches of Italy are generally 
 shut for some hours in the middle of the 
 day, namely, from twelve to four or 
 five. There are none open during the 
 whole day but the cathedrals, such as the 
 Duomo of Milan, Saint Mark of Venice, 
 
 Saint Peter of Rome, and other basilics. 
 This regulation of closing the churches 
 has something of protestantism about it; 
 it seems opposed to the religious manners 
 of the Italians as well as to catholic 
 usages; it is, moreover, inconvenient to 
 travellers, who frequently have but little 
 time to visit these churches, partly tem- 
 ples, partly museums. The entrance of 
 strangers is annoying to the worshippers, 
 and not less disagreeable and painful to 
 themselves. One feels uncomfortable 
 and confused at finding oneself standing 
 alone, guide-book in hand, in the midst 
 of a crowd of persons kneeling and pray- 
 ing, occupied in counting the columns of 
 vert antique, Carrara marble, and lapis— 
 lazuli, surrounded by half naked beggars. 
 If you enter in the middle of a sermon, 
 the embarrassment is not less ; the fire 
 of the orator, the echoing bursts of his 
 voice amid the silence of his auditory, 
 the fierce and animated expression of his 
 countenance, contrast strangely with the 
 cool indifference and somewhat awkward 
 air peculiar to persons who are gazing 
 around as if seeking for something. 
 
 How many limes has the piety and 
 fervour of the worshippers appeared to 
 me the better part ! And how vain the 
 restless curiosity of the traveller beside 
 the sublime simplicity of the believer! It 
 would be adviseable to leave the morning 
 to the services of worship; for noon, the 
 time of closing, is the precise moment 
 when the light is the most favourable for 
 the paintings. Despite Italian indo- 
 lence, a more serious consideration aught 
 to put an end to this injudicious practice ; 
 independently of the frequent need of 
 prayer that the soul experiences, how 
 many faults, crimes even, have been pre- 
 vented by fortuitously entering a church! 
 It is said that every body sleeps at that 
 hour, but the unhappy and evil-doers 
 sleep not, and the passions do not know 
 a siesta. 
 
 At a period when there has been so 
 much talk of ultramontanism, our clergy 
 would not do amiss to copy the Italians 
 in the benches and the cleanliness of their 
 churches ; France is the country perhaps 
 where the Deity is worst templed, and 
 our negligence on that point is a dis- 
 credit to our high civilisation. 
 
 But there is one excess of zealous at- 
 tentions that I will take care not to pre- 
 scribe, since itisone of the greatest vexa- 
 tions for the traveller. I allude to the 
 
Chap. VIII.] 
 
 MILAN. 
 
 5t 
 
 mania which possesses the Italians for 
 hanging their churches on holydays. On 
 the eve of such days, the upholsterer, 
 armed with his hammer and ladders, 
 takes possession of the monument ; curi- 
 ous inscriptions, tombs of great men, all 
 disappear under his hangings; magnifi- 
 cent columns of granite and Carrara 
 marble are smothered under his tinselry ; 
 and there may be seen hanging on the 
 front or to the vaulted roof of some old 
 basilic, or elegant temple of Bramante, 
 Palladio, or Michael Angelo, long strips 
 of various stuffs, yellow, white, pink, etc., 
 as at the shop fronts of our linendrapers. 
 This ludicrous embellishment, applied 
 wilh such bad taste, is the same to archi- 
 tecture as paint is to the human face. I 
 have even seen Saint Peter's decked out 
 in this showy manner; it is true that the 
 vastness of its vaults made the uphols- 
 terer's task difficult enough, and that 
 the little square bits of crimson cloth 
 that he had put up against the walls were 
 hardly perceptible. The noisy labours 
 of this artisan sometimes not being com- 
 pleted when the fete begins, are an- 
 noyingly continued during the services, 
 while on other occasions, he is in such 
 haste that he begins to take down his 
 finery before they are concluded, lest the 
 brilliancy of such fine colours should be 
 lost. 
 
 CHAPTER VIII. 
 
 Preaching. 
 
 The jests of some travellers on the 
 grimaces, exaggerations, and buffooneries 
 of the Italian preachers appeared to me 
 unmerited. Withtheexception, perhaps, 
 of some popular sermons, their preaching 
 is in general quiet and familiar ; but, 
 though inclining to a species of gossip, 
 it has at least the merit of being applicable 
 and practical. Notwithstanding the great 
 crucifix in the pulpit, these sermons are 
 but little less cold than our own ; but the 
 musical language and animated phy- 
 siognomy of the speaker give them 
 an appearance of warmth and vivacity. 
 If among the orators of the Italian pulpit, 
 there is none to oppose to the four emi- 
 nent ones of France, the style of their 
 panegyrics seems preferable to ours : they 
 have neither the same dryness nor mo- 
 notony ; they are more ornate and 
 poetic, like their other sacred harangues ; 
 and this kind of embellishment is not un- 
 
 suitable to the marvellous histories of the 
 greater part of the saints of both sexes. 
 Besides, the end of the preaching in the 
 two countries is essentially different ; in 
 Italy faith and errors in conduct are com- 
 mon ; there are but few properly called 
 libertins ( freethinkers ), and the Confe- 
 rences of M.Frayssinous, although trans- 
 lated, will be less serviceable than at 
 Paris. The preacher must combat the 
 passions and frailties of the upper classes, 
 and the excesses, and the impetuous, 
 degraded appetites of the populace j while 
 argumentative preachers are necessary 
 for the more moral, but more incredulous", 
 population of France. 
 
 The reformer of the Italian pulpit was 
 the father Segneri, a Jesuit and contem- 
 porary of Bourdaloue ; but this Roman 
 missionary, who was so powerful over the 
 people of the provincial towns and villa- 
 ges, when named theologian ofthe palace 
 and preaching at the Vatican, fell short 
 of himself, and regretted his former pro- 
 miscuous audience, nor has he impressed 
 on his reform the correct literary taste of 
 our orators of the age of Louis XIV., 
 addressing an elegant and polished court. 
 The genius of the Italian language, being 
 less precise, less didactic, less regular, 
 and far more metaphorical than the 
 French, must always be better adapted 
 for popular eloquence. I have heard some 
 very good judges criticise the purism on 
 which some ofthe modern Italian prea- 
 chers pride themselves, who, instead of 
 modulating harmonious and frigid ser- 
 mons, would have done better had they 
 remained missionaries. 
 
 The natural simplicity and unrcstrain 
 edness of the Italian character may be 
 found even in their sermons; the au- 
 dience, notwithstanding the solemnity of 
 the place.hears without surprise effusions, 
 avowals, and confidences, all personal to 
 the orator ; and this description of sym- 
 pathy produces in men of talent the efTects 
 ofanewandmovingeloquence. Ayoung 
 preacher, Fra Scarpa, of Padua, after 
 having with success preached at Rome 
 during Lent some years ago, entreated 
 his audience to join their prayers to his 
 for the welfare of his mother ; that was 
 the only reward he asked for his labours, 
 nor was it the only time that he had in- 
 troduced the subject of his beloved mo- 
 ther in the pulpit. After one discourse 
 by this true orator, a collection was made 
 for the poor, and, as it frequently hap- 
 
MILAN. 
 
 [Book I 
 
 pens in Italy, the country people, who 
 had no money, were seen to throw into 
 the purse their rings and ear-rings, ordi- 
 nary jewels, it is true, and of but little 
 value, but the sacrifice of them showed 
 to what an extent their owners were 
 capable of having their feelings wrought 
 upon. One can scarcely conceive a si- 
 milar movement among our peasants of 
 Gonesse or Villejuif. 
 
 1 was fortunate enough to know at 
 Rome one of the men who confer the 
 greatest honour on the Italian pulpit, the 
 reverend Fra Jaba\ol, procureur-general 
 of the Dominicans of the Minerva, a 
 Frenchman by origin, who would even 
 have shone in France; he died in 1837. 
 An ardent and most evangelical orator, 
 Fra Jabalot was besides an able lo- 
 gician ; I was told that he had learned 
 English in three months, that he might 
 translate a very fine sermon on faith, 
 hope, and charity, delivered at the dedi- 
 cation of the catholic chapel of Bradford, 
 in Yorkshire, by Mr. Baines, bishop of 
 Siga, a very excellent and most lucid 
 recapitulation of the chief proofs of the 
 truth of Catholicism, and throughout full 
 of the tenderest charity towards the pro- 
 testants. The Italian translation of Fra 
 Jabalot is very correct, and it evinces 
 that the original author, in more than 
 one respect, resembles his eloquent in- 
 terpreter. 
 
 CHAPTER IX. 
 
 Ambrosian Library.— Petrarch's Virgil.— Palimp- 
 sesli. — Letters and hair of Lucrezia Borgia.— Mys- 
 terious catalogue. 
 
 I went several times every year to the 
 Ambrosian Library, which was shown 
 me by the abbes Mazzucchelli,- Bentivo- 
 glio, and Mancini, director, subdirector, 
 and clerk ; men full of learning, modesty, 
 and politeness. It contains sixty thou- 
 sand printed volumes, and about ten 
 thousand manuscripts. 
 
 The famous Yirgil of Petrarch, in which 
 is his impassioned note on Laura, after 
 
 » An apoplectic attack had produced on the abbe 
 Mazzucchelli, in his latter days, a most extraordi- 
 nary effect; It had untaught him how to read. I 
 went one evening to his house, the day previous to 
 one ofray visits to the library, whither he no longer 
 went ; however, on the morrow he would be there, 
 but he acknowledged that he could not even spell 
 the name of I'etrarca, and to his death this learned 
 librarian was unable to read. 
 
 his death belonged to Galeas Visconti, 
 fifth duke of Milan, as may be seen by 
 his name, now almost effaced, written 
 on the leaf detached in 1795 by the abbe 
 Mazzucchelli. 2 
 
 Another inscription by Petrarch, less 
 noticed, regards the death of his natural 
 son Giovanni, at the age of twenty-five, 
 canon of Verona, who had robbed his 
 father and given him much trouble. ' 
 This Virgil seems the depository and 
 confidant of Petrarch's sorrows. The 
 curious miniatures, by the celebrated 
 painter of Siena, Simon Memmi, as we 
 are informed by a Latin distich, repre- 
 sent Virgil seated, invoking the muses, 
 and jEneas in a warrior's costume ; a 
 shepherd and husbandman typify the 
 Bucolics and the Georgics, and Servius, 
 the commentator, is drawing back a thin 
 curtain to indicate his explaining and 
 removing the difficulties of the Latin 
 poet. Though rather incorrect in the 
 design, these miniatures, very probably 
 executed from the ideas of Petrarch, a 
 friend of the artist's, are deficient in 
 neither originality, colour, nor truth: 
 the figure of iEneas is one of the best. 
 An inhabitant of Pavia succeeded in 
 abstracting this precious volume, and 
 in concealing it when that town was 
 taken and the library carried away by 
 Louis XII., in 1499; three centuries 
 after it did not escape the commissioners 
 of the republic : if it had made part of 
 the literary booty of the monarchy, it 
 would have remained with us like" the 
 Sforzeide and other valuable articles of 
 the same library now deposited in the 
 Bibliotheque du Roi, and so well des- 
 cribed by the good, learned, and cver- 
 to-be-regretted Vanpraet ; but this pil- 
 lage by the revolution had not twenty 
 years' date ; that kind of political pres- 
 cription which renders every thing lcgw 
 timate was not acquired, so the volume 
 was taken back in 1815. The marginal 
 notes of Petrarch, and those on the 
 bottom of the pages, seem rn the same 
 handwriting as the note on Laura ; but 
 
 * A fac simile of the eight lines of Petrarch's note 
 is given in the edition of the Rime, published at 
 Padua by Professor Marsand 1 1819-20, 2 vol. ) ; it is 
 followed by some historical remarks and very accu- 
 rate criticisms, in w hlch the professor rectifies se- 
 veral errors committed by the writers who hud 
 previously given the text. See 1. 1, p. 358. 
 
Giup. IX.] 
 
 MILAN. 
 
 53 
 
 these lengthy and numerous notes, with 
 quotations from other ancient authors 
 and critical collations, must be little 
 worthy of this erudite poet, since S. 
 Mai has not thought them of sufficient 
 importance to publish: Perhaps they 
 are of Petrarch's youth, when his father 
 snatched from him, and threw into the 
 fire, the Virgil he was secretly reading, 
 instead of studying the Decretales. 
 
 The Josephus, translated by Ruffin, a 
 priest of Aquilea, but which Muratori 
 for good reasons thinks the work of one 
 of the literati employed by Casssiodorus 
 to translate from the Greek the works of 
 antiquity, is perhaps, with the Gregorian 
 papyrus of Monza, the most singular of 
 the manuscripts written on papyrus and 
 on both sides; according to Mabillon, it 
 is now about twelve hundred years old. 
 
 A Greek manuscript of a life of Alexan- 
 der, without the author's name, thought 
 by Monlfaucon to be Callisthenes, at 
 first inspired me with unfeigned respect. 
 I only knew Gallisthenes by the Lysi- 
 maque of Montesquieu, that admirable 
 portrait of Stoicism, of which Gallisthe- 
 nes is as the hero and representative. 
 The life of Alexander by a man of such 
 talent and virtue, who had been so 
 cruelly the victim of Alexander's wrath, 
 seemed to me a veritable monument. 
 The learned de Saint-Croix has since 
 demonstrated that Callisthenes was only 
 a rebellious courtier; being Alexander's 
 historiographer, he had servilely main- 
 tained his pretensions to divinity by a 
 thousand fables, and subsequently, not 
 thinking himself adequately rewarded, 
 he became a conspirator. The History 
 of Alexander, attributed to Callisthenes, 
 copies of which are not scarce, S. Mai 
 having published it, is nothing in fact 
 but a long and wearisome romance full 
 of improbabilities and absurdities. 
 
 I could not suppress a species of lite- 
 
 1 The manuscripts of Saint Colbmbnn de Bobbio 
 amounted to seven hundred in number; half of 
 them were sold to Cardinal Frederick ; the rest 
 went to the Vatican. 
 
 2 Every body has read the elegant translation of 
 the Ilespublica by M. Yillemain, with his eloquent 
 preliminary discourse. The learned labours of Pro- 
 fessor Le Clerc, in reality the first editor of Cicero's 
 complete works, on the Fragments, increased by 
 these new discoveries, are almost a creation, from 
 the order and connection which he has effected 
 among these scattered shreds, so confusedly thrown 
 .ogelher in preceding editions. Another French 
 professor not less distinguished, M. Cousin, has 
 
 rary emotion, on seeing, in a large square 
 wooden chest, the celebrated palimpsesti 
 of the pleadings of Cicero for Scaurus, 
 Tullius, and Flaccus,— on the writing of 
 which the poems of Ledulius, a priest of 
 the sixth century, had been transcribed, 
 — as well as several unpublished sen- 
 tences of the discourses against Clodius 
 and Curio, till lately covered over wilh 
 a Latin translation of the acts of the 
 council of Chalcedon; the first discoveries 
 of S. Mai, and the prelude of his suc- 
 cessful labours. In contemplating these 
 old sheets, black and calcined, perforat- 
 ed in some parts by the action of oxyge- 
 nised muriaticacid, I loved toseemodern 
 science rushing to the rescue of ancient 
 eloquence and philosophy, and chemistry 
 stripping off and annihilating the ignoble 
 text which concealed a sublime original. 
 It was impossible not to be struck at the 
 sight of this second species of ruins, and 
 this determined searching, if one may 
 be allowed the expression, of the monu- 
 ments of thought and genius, relics of 
 the greatest orator of Rome, found again 
 after more than ten centuries, under the 
 Gothic lines of a versifier of the middle 
 ages and the protocol of ecclesiastical 
 decrees. The palimpsesti of the Ambro- 
 sian Library proceeded in part from the 
 monastery of Saint Colomban de Bobbio, 
 situated in the recesses of the Apennines, 
 where, as well as at mount Cassino, a 
 mass of precious manuscripts were stor- 
 ed ; » in those barbarous times the cloister 
 and the mountains were the asylum of 
 letters ; these learned remnants, publish- 
 ed, annoted, translated by clever writers 
 and experienced editors of our times, 
 are gloriously promulgated through- 
 out the civilised world; and Cicero, in 
 his eloquent orations, is again listened 
 to by a greater number than ever heard 
 him in the forum or the Comitia. 2 
 The manuscripts of the Ambrosian also 
 
 found in the manuscripts of the Ambrosian many 
 various readings to the commentary of Proclus on 
 the first Alclbiades. See tomeii.et lii. of his edition 
 of Proclus, published in 1820. Though the ground 
 has been passed over by such librarians as Muratori, 
 who has given four quarto volumes of his Anecdota 
 ex Ambrosiance bibliolh. codicibus, and S. Moi, the 
 Ambrosian may still furnish new discoveries of an- 
 cient authors. As to the moderns, what might not 
 be the importance, for the history of the revival of 
 letters which has yet to be written, of the collection 
 forming more than twenty volumes of manuscript 
 letters, in Latin and Italian, of a great number of the 
 literati and illustrious personages of the sixteenth 
 
54 
 
 MILAN. 
 
 ' Book HI. 
 
 afforded S. Mai at a later period a 
 part of his happier and more complete 
 discovery, the Letters of Marcus Aure- 
 lius and of Pronto,— found under a 
 history of the council of Chalcedon, 
 which also came from the monastery of 
 Saint Colomban de Bobbio, — a curious 
 monument of Roman manners, history, 
 and literature, in which the young prince, 
 so enamoured of philosophy, so virtuous, 
 pure, and gentle, appears very superior 
 to his master, who remained a sophist 
 and rhelorician, notwithstanding the 
 praise he had formerly obtained and the 
 celebrated inscription beneath his statue: 
 Rome, the mistress of the world, to 
 Fronto, the king of orators! 
 
 But there is a manuscript less imposing 
 than these palimpsesti, namely, ten let- 
 ters from Lucrezia Borgia to cardinal 
 Bembo, at the end of which is a piece of 
 Spanish verse by the latter, breathing an 
 exalted spirit of the purest Platonism; 
 the answer of the lady is much plainer, 
 and she accompanied it with a lock of 
 her flaxen hair. Thus does the bottom 
 of this mysterious portfolio, this strange 
 pedantic medley of poetry, philosophy, 
 and sensualism, offer a striking charac- 
 teristic monument of the corruptness of 
 Italian manners in the sixteenth cen- 
 tury. 1 This lock of a lady's hair, in a 
 great library, in the midst of old ma- 
 nuscripts, is a striking singularity ; one 
 would scarcely have expected to Gnd it 
 there, and it seems strange to confide 
 the custody of such a charge to the doc- 
 tors of the Ambrosian Library.* 
 
 I perused the manuscript of Philelphus 
 De Jocis etSeriis, a collection of serious 
 and humorous epigrams, epistles to 
 princes and nobles, which consist of ten 
 thousand verses equally divided into ten 
 books; of this manuscript, said to be 
 unique, the first book and part of the 
 
 century ? We are indebted to M. Renouard for the 
 edition of the Letlrcs de Paul Manitce, published 
 at Paris in 1834. 
 
 ' The verses of Bembo are printed in the folio 
 edition or his works; Venice, 1729, t. ii. p. 54. Yo 
 pienso si me mwiese. The letter ol Lucrezia Borgia 
 is given verbatim at the end of Foscolo's Essays on 
 Petrarch, p. 253 of the Italian translation of S. Ca- 
 millo Ugoni, to whom we are indebted for tliepub- 
 llcalion of this singular document. 
 
 » The librarians of the Ambrosian have the title 
 of doctors ; but, although priests, they ore relieved 
 by the founder of a part or their ecclesiastical func- 
 tions, to enable them to attend more closely to their 
 duty In the library. 
 
 tenth are wanting ; but S. Rosmini has 
 made them sufficiently known. 3 The 
 Joca et Seria remind us much more of 
 the licence of Horace than of his simplici- 
 ty, grace, and judgment ; and Philelphus, 
 a necessitous suppliant, a badly paid pen- 
 sioner, a scheming father/ has not, in 
 his panegyrics, the address, ease, and 
 almost familiarity of the opulent and 
 voluptuous flatterer of Augustus and 
 friend of Maecenas. 
 
 One manuscript, which forms a con- 
 trast with the violent and abusive man- 
 ners of Philelphus as a man of letters, is 
 a kind of elegy entitled Lamento or 
 Disperata, composed by Virginia Ac- 
 caramboni, on the murder ofher husband 
 by banditti; this unhappy woman her- 
 self perished with her brother by the 
 hand of Ludovico Orsini, her brother- 
 in-law. 
 
 The seventy miniatures, the remains 
 of a fine manuscript of the Iliad in 
 uncial letters, published by S. Mai and 
 printed in the royal office at Milan, have 
 that kind of artless fidelity which be- 
 speaks their great antiquity, and they are 
 one of the monuments which prove the 
 unintermitted study of the pictorial arts 
 in Italy. 
 
 The five large volumes of flowers so 
 pleasingly painted, appear to be by 
 Giamballista Morando, an artist of the 
 early part of the seventeenth century. 
 
 I should have liked to find at the Am- 
 brosian the sketches of some new plays 
 which Saint Charles Borromeo had en- 
 gaged the provost of Saint Barnabas to 
 examine, and on which he had himself 
 written marginal notes. These dramatic 
 criticisms of Saint Charles would be a 
 curiosity at this day; one can scarcely 
 conceive the licentiousness of the first 
 Italian farces. 5 It is very likely that the 
 manuscripts of these comedies were be- 
 
 3 Vita di FileKo. See the various rejected quota- 
 tions in the Monwnenti inedili ot the three volumes. 
 
 4 It appears that one of the daughters of Philel- 
 phus was particularly anxious to get married, for 
 he is continually begging a dowery for her, whether 
 he address his verses to Francesco Sforza, the du- 
 chess Bianca Maria his wife, Genlilis Simonetta, 
 knight of the Golden Fleece, or even Gaspardo dl 
 Pesaro, the duke's physician. 
 
 Nam sine dote quldem, quam multumponderctau- 
 Nulla placere pulet posse puella vlro. L rum, 
 
 Non genus «ut probllas in sponsa qurcrilur: aurum 
 na?c facit, et formam comprobat esse bonam. 
 
 5 Sec the work entitled I sentimenti di San Carol 
 
Ciup. IX.] 
 
 MILAN. 
 
 55 
 
 queathed by Saint Charles, •with his 
 other books, to the chapter of Milan, the 
 library of which was suppressed in 1797, 
 when, probably, they were lost in the 
 confusion. 
 
 It is, moreover, particularly difficult 
 to make researches at the Ambrosian. 
 Would it be believed that its illustrious 
 founder, cardinal Federico Borromeo, 
 has forbidden the making of a catalogue? 
 It is said that it cannot be effected with- 
 out a dispensation from Rome. The 
 existing apology for a catalogue is truly 
 a mere cipher; the authors are arranged 
 by their Christian names, which in Italy 
 certainly have more importance than 
 with us ; in this list there is a crowd of 
 Johns, Jameses, and Peters, and to find 
 Petrarch, one must look for Francis. 
 To increase the perplexity still more, 
 there is no title on the backs of the books ; 
 the aspect of these nameless volumes co- 
 vering the walls of the immeuse hall, is 
 somewhat intimidating, and were it not 
 for the good fame of the founder, one 
 might think ill of all this occult science. 
 The librarians, however, know pretty 
 well what they have and what they 
 have not; but they only consult their 
 memory, and the catalogue is purely 
 traditional. It is not easy to explain the 
 prohibition of cardinal Federico ; he 
 had sought and collected at great expense 
 books and manuscripts in all Europe and 
 even in the East, had appointed learned 
 men to explain and publish them, had 
 attached to the Ambrosian an excellent 
 printing-office no longer in existence, 
 and yet he timidly concealed a part of 
 these very discoveries; it is impossible 
 to show at the same time more zeal and 
 love for learning, and to take more pre- 
 cautions against it. 
 
 Of the physico-mathematical manu- 
 scripts of Leonardo Vinci, there only 
 remains now at the Ambrosian a single 
 volume, which is of great size, called the 
 Codice Atlantico, containing machines, 
 
 Borromeo intorno agli spellacoli, Bergamo, 1759, 
 In quarto, which I read at Milan, aad which I re- 
 gret is not to be found in (he libraries of Paris. 
 
 1 The numerous manuscripts of Leonardo Vinci 
 are now dispersed : the Tiivulzio library has some 
 of them; fourteen small Tolumes and some loose 
 sheets of the same kind are in the library of the 
 lnstitut at Paris, and have been well described in 
 the essay read to the first class in 1797, by M. J. B. 
 Venlnri (Paris, Duprat, 1797), who has remarked 
 that Leonardo Vinci had pointed out the molion of 
 the earth, before Copernicus, from the fall of heavy 
 
 figures, caricatures, and notes collected 
 by Pompeo Leoni. The letters are 
 written from right to left, in the Eastern 
 manner, and can only be read with a 
 mirror. Like his worthy rival Michael 
 Angelo, LeonardoVinci was also scholar, 
 sculptor, architect, engineer, chemist, 
 mechanician, and man of letters; with 
 such men the multiplicity of accomplish- 
 ments, instead of injuring each other, 
 seems, on the contrary, to extend and 
 strengthen them. The sight of this sin- 
 gular manuscript, with its reversed cha- 
 racters, proves by its manner, how the 
 influence of the East was reflected on 
 Italy in Leonardo's age, and to how great 
 an extent the genius of Italy was indebt- 
 ed to it for warmth and brilliancy.' 
 
 There is a small but rich museum in 
 the Ambrosian library, in which may be 
 seen the cartoon of the School of Athens, 
 the first simple and sublime sketch of 
 that immortal composition. M. de Cha- 
 teaubriand, standing before that paint- 
 ing, said, "I like the cartoon as well." 
 And the latter, having been carefully 
 restored, seems likely to outlast the paint- 
 ing, which is daily falling to decay. A 
 portrait of Leonardo Vinci, in red crayon, 
 done by himself, is a true patriarchal 
 countenance; the features are calm and 
 mild, notwithstanding the bushiness of 
 the eyebrows and the vast exuberance of 
 beard and hair. Several charming paint- 
 ings by Bernardino Luini, such as the 
 young St. John playing with a, lamb, 
 the Virgin at the rocks, which were 
 brought back from Paris, are also at the 
 Ambrosian; there is likewise a very fine 
 fresco of the Crowning with thorns, 
 which in my opinion has less reputation 
 than it merits: its figures pass for the 
 portraits of the deputies of Santa Corona, 
 a charitable institution to which these 
 premises originally belonged. 
 
 A monument has been erected at the 
 Ambrosian to the ingenious Milanese 
 painter and writer, Joseph Bossi ; the de- 
 bodies. The most important of Leonardo's ma- 
 nuscripts is the one which belonged to the library 
 of king George III., given by his son to the British 
 Museum; this manuscript offers divers figures, 
 heads of horses and other animals, subjects in op- 
 tics, perspective, artillery, hydraulics, mechanics, 
 and some drawings with the pen, among which is 
 a sketch of his own Last Supper, regarded by Ca- 
 nova as more precious than any thing else he had 
 seen in England. There are also some of Leonardo's 
 manuscripts in Earl Spencer's library. 
 
56 
 
 MILAN. 
 
 [Book III. 
 
 sign and basso-relievos are by SS. Palagi 
 and Marches!, and the bust, which is 
 colossal, is a work of Canova's, full of 
 life and expression. 
 
 CHAPTER X. 
 
 Library of Brera.— Observatory.— Oriaui. 
 
 The library of Brera is principally 
 composed of the old library of the Je- 
 suits, and others proceeding from con- 
 vents and religious houses suppressed 
 in 1797, of a part of Haller's books, 
 Count Firmian's, and the small but pre- 
 cious collection bequeathed by cardinal 
 Durini. The cabinet of medals occupies 
 a very handsome apartment; it has a 
 numismatic library tastefully selected by 
 the conservator, S. Cattaneo; this ar- 
 rangement is very convenient for stu- 
 dents, as they are not obliged to have 
 recourseto the great library for the books 
 they may require, and which probably 
 might not be in their places. The li- 
 brary of Brera has only a thousand ma- 
 nuscripts, among which are the famous 
 choir books of the Chartreuse of Pavia ; 
 but it contains a hundred and seventy 
 thousand volumes, and is the best fur- 
 nished of all the Italian libraries with 
 modern books of science, natural his- 
 tory, and voyages. The great number 
 of readers is another resemblance be- 
 tweeri Milan and Paris, and in crossing 
 the great hall with its superb book- 
 shelves, one might almost fancy oneself 
 at the library in the rue de Richelieu. 
 
 The elegant palace of Brera was for- 
 merly a college ; its architecture is by 
 Ricchini, except the front by Piermarini. 
 In one of the porticoes, among other 
 illustrious Milanese, is the bust of Parini, 
 with an inscription which is exceeding- 
 ly touching, when we remember that it 
 was there that this excellent poet per- 
 formed the duties of a professor, and 
 formed youth to eloquence and virtue. 
 
 The observatory of Brera, founded in 
 1766, after the plans of the learned Father 
 Boscovich, and well supplied with the 
 best of instruments, has been ornamented 
 in these latter days by the discoveries of 
 the great astronomer and mathematician 
 Barnabas Oriani, who for more than fifty 
 
 It is said that Oriani was fond of pointing out 
 at Linlcrno near Milan, (see liv. iv chap, i.) a little 
 wall at which he had worked when a mason. 
 
 years assiduously watched the stars 
 there ; he was a man not less superior by 
 his virtues and simplicity than hisgenius.' 
 Oriani was created count and senator by 
 Napoleon, but he continued a scholar and 
 a priest. He died at the age of eighty, 
 on the 12th of November 1832, and divided 
 his property into two portions, one for 
 charitable purposes, the other for the 
 advancement of science. 
 
 CHAPTER XI. 
 
 Trlvate libraries.— Trivulzio library.— Verses by 
 Gabrielle d'Estrces. 
 
 In Milan there are many remarkable 
 private libraries ; as the Fagnani, which 
 has a fine collection of Aldine editions; 
 the Melsi, rich in Italian works of the 
 fifteenth century; the Reina, i Litta, Ar- 
 chinto, Trivulzio. By a kindness ol 
 which I shall preserve a lasting memory, 
 I obtained access to the last mentioned, 
 which does not count less than thirty 
 thousand volumes and about two thousand 
 manuscripts. A minute detail of the 
 Trivulzio library , transmitted by its owner 
 to M. Millin, was inserted in the in- 
 nales encyclopediques, of 1817, t. VI. ; 
 but it is not exactly correct now, a part 
 of the books having passed into another 
 branch of the family, and the enlightened 
 zeal of the last marquis Jacopo Trivulzio, 
 who died in 1831, one of those Italians 
 that have accorded the noblest encourage- 
 ments to letters, having been continually 
 making additions to the part which re- 
 mained. Lady Morgan has likewise 
 given a description of some articles; such 
 as the book of Hours, or primer for the 
 useoftheyoungMaximilian, son of Louis 
 the Moor, with some beautiful vignettes 
 by Leonardo Vinci, — characteristic pic- 
 tures, which are a kind of portraiture of 
 princely education at that epoch ; in one 
 of them the young duke is represented 
 on horseback^ contemplated by the ladies 
 (il principe contemplato dalle donne) 
 The Trivulzio library is rich in manu- 
 scripts and early editions of Dante, Boc- 
 caccio, and Petrarch. A very fine ma- 
 nuscript of the last is of his own time, 
 and may be in his own hand, as the 
 writing is exactly like the note in the 
 Virgil at the Ambrosian ; the Paduan 
 edition ( 1472 ) is ornamented with charm- 
 ing miniatures of Mantegna's school. 
 Lady Morgan mentions an edition of the 
 
Chap. XII. ] 
 
 MILAN. 
 
 same poet, printed, as she informs us, 
 only fifteen years after his death, a slight 
 oversight of half a century. There is a 
 beautiful manuscript on vellum, which 
 her ladyship preferred describing, though 
 the little she. says is inaccurate; it is the 
 oration of Isocrates to king Nicocles, 
 ■with some charming verses by Gabrielle 
 dEstrees, to whom the manuscript had 
 belonged, after having been at first 
 Henry II. 's, to whom it was dedicated 
 when Dauphin. These are some of Ga- 
 brielle's verses : 
 
 De vraye amour aultre amour reciprocque 
 C'est le parfaict de son plus grand desir; 
 Mais st l'amour de l'aultre amour se mocque 
 Pour ung amour trop moings digne choisir, 
 C'est ung ennuy qni ne donne loysir, 
 Temps ne repos pour tronver reconfort. 
 Le desespoir est pire que la mort, 
 Et jalouzie est ung vray desespoir. 
 foy rompue, o trop apparent tort ; 
 Pour tous me fault pis que mort reeepvoir. 
 
 From the place where these almost 
 unknown verses are found, they are 
 doubtless authentic and of the time, an 
 advantage that some other more cele- 
 brated verses have not, like the Adieux 
 de Marie Stuart, printed, I believe, for 
 the first lime, in Monnet's Anthologie, ' 
 or the verses of Henry IV., Wens, au- 
 rore. These verses confute the tradition 
 of her intellectual inferiority, and what 
 is more, they are honourable to her as a 
 lover and a sensible woman : why should 
 not the infidelities of Henry IV. have in- 
 spired this bitter expression of unfeigned 
 grief at that love qui de l'aultre amour 
 se mocque? The fact of Gabrielle's 
 having read the discourse of Isocrates 
 concerning the administration of a king- 
 dom, proves that this royal mistress 
 meddled with state affairs, and, perhaps, 
 that she had sought arguments against 
 Sully in the Athenian rhetorician. 
 
 The Trivulzio library possesses many 
 manuscripts bearing the arms of Mathias 
 
 1 They are also inserted at t. ii. p. 126, No. 878 of 
 the Bibliolheca Roveriana, whence the book has 
 passed into the Trivulzio library, but we readers of 
 catalogues pay but little attention to such trifles. 
 The following Terses, written on the first page of a 
 blank leaf at the beginning of the book, are more 
 to our taste as they prove the bibliographic fact : 
 
 Co livre est amoy Gabrielle, 
 Qui voudrois bien avoir l'esprit 
 Et le scavoir semblable a celle 
 Qui l'a mis icy en eseript. 
 
 Corvin, to whom they previously belong- 
 ed ; I remarked among the manuscripts 
 eight autograph madrigals and ten sonnets 
 of Tasso, which were first published at 
 Venice in 1827 ; the treatise on architec- 
 ture addressed to Francesco Sforza by 
 Averulino or Filarete of Florence, a cle- 
 ver pupil of Donatello, the architect of Hie 
 grand hospital of Milan, is a manuscript 
 on cotton paper, of which there only ex- 
 ists one other copy at the Magliabecchi- 
 ana of Florence; 2 an unpublished treatise 
 on music composed by the priest Flo- 
 rentio, and dedicated to cardinal Ascanio 
 Sforza, a charming manuscript, on the 
 frontispiece of which Leonardo Vinci, 
 who had been recalled to the court of 
 Ludovico Sforza as musician, is repre- 
 sented holding in one hand a lyre, a kind 
 of large mandoline, an instrument of his 
 own invention. One of the last curious 
 acquisitions of the marquis Trivulzio was 
 a first clear copy (Cabozzo\ in good pre- 
 servation, of the. Dictionary ofCalepin, 
 the original of which I have since sought 
 in vain at Bergamo, where it formerly 
 was at the convent of the Augustines, 
 now turned into barracks. It is impos- 
 sible to hold in too great esteem those 
 dauntless individuals that first broke up 
 the desert fields of science. The name 
 of Calepin which has been disfigured by 
 latinizing it, was Galepio, an anciSnt and 
 illustrious family, as were many other 
 names of scholars at the revival of letters. 3 
 This name has become immortal, as it 
 has added a word to the language, and that 
 word has been employed by Boileau. 
 
 CHAPTER XII. 
 
 Austrian domination.— Schools.— Printing, book- 
 trade. — Liberty of conscience. — Improvemeut. 
 
 Notwithstanding the accusation of the 
 Edinburgh Review and the general opi- 
 
 2 The genius of Filarete was singularly fertile 
 and exuberant ; it is he of whom it was said that he 
 would have liked to rebuild the world and would 
 have thought he had improved it. Vasari does not 
 seem to think very highly of this architectural trea- 
 tise : — E commeche alcuna cosa buona in essa 
 si ritrovi, e per lo piu ridicola e tanto scioccu, 
 che per avventura e nulla piu. 
 
 3 Lascaris, Bessarion, Francesco and Hermolao 
 Barbaro, Poggio, Bude, etc. 
 
58 
 
 MILAN. 
 
 [BOOK UI. 
 
 nion, the absolute government of Austria 
 is not a gouvernement d'obscurantisme 
 in the ordinary acceptation of the word. 
 After Scotland, perhaps, popular educa- 
 tion is more encouraged, and more widely 
 spread there than in any country in Ku- 
 rope. The Scotch parish schools are known 
 and praised by eyery body, but there 
 has been little enough said of the Aus- 
 trian. These schools, founded by Maria 
 Theresa, were extended in 1821 to the 
 Lombardo-Venetian kingdom ; and every 
 parish, however small, must have its 
 school or contribute to the support of 
 that which admits its children. * The 
 effects of this general education are very 
 perceptible in Lombardy, and one may 
 hope to see a very fine expression of the 
 late emperor's realised there. When 
 advised to establish an extraordinary ju- 
 risprudence for that province, on ac- 
 count of the too great mildness of the 
 Austrian laws, he refused ; he contended 
 that his code would some day become as 
 beneficial there as in Austria by the pro- 
 gress of civilisation, and nothing more 
 was required but its advancement: — 
 '* When the people can read, " said he, 
 <l they will no longer kill." 
 
 In spite of the literary piracies inevi- 
 table in a country divided into little 
 states like Italy, the book-trade and 
 printing flourish in Lombardy, and at 
 Milan more books are published than at 
 any other town in Italy. 9 The works 
 printed by the Typographic Society of 
 Italian Classics are in general remark- 
 able for clearness and accuracy. The 
 
 1 By the returns of 1830, out of two thousand two 
 hundred and thirty-seven parishes in Lombardy, 
 only one thousand one hundred and seventeen were 
 destitute of schoolmasters. Elementary instruction 
 was there extended to one hundred and seventy- 
 seven thousand eight hundred and eighty-six chil- 
 dren. The number o( children received in the 
 schools of the Venetian provinces in 183V was se- 
 venty-eight thousand nine hundred and seventy- 
 seven. 
 
 2 The number of works published in Italy in 
 1836 amounted to three thousand two hundred and 
 sixty-four. Their subdivision and classification fur- 
 nishes the scientific and literary statistics of the 
 country : five hundred and twenty-two appeared at 
 Milan; two hundred and ninety-seven at Venice 
 (one thousand six hundred and thirty-one in the 
 Lombardo-Venetian kingdom); two hundred and 
 eleven at Turin (four hundred and fifty-four in 
 Sardinia); at Parma and in the duchy, one hundred 
 aiiueleten; at Modena and in the duchy, thirty- 
 four; one hundred and twenty-five al Rome (three 
 
 History of the campaigns and sieges 
 made by the Italians in Spain, from 
 1808 to 1813, by S. Vacani, dedicated 
 to the arch-duke John, and printed in 
 1823 at the Royal Office of Milan, not- 
 withstanding some typographical pecu- 
 liarities, is very superior to the books not 
 long since printed with the old-fashioned 
 letter of the Royal Office at Paris. The 
 Fragments of the Iliad, proceeding from 
 the same press, and published in 1819 
 by S. Mai, from a manuscript in the 
 Ambrosian, with the figures apparently 
 of the sixth century, whilst the scholia 
 are dated in the thirteenth only, are 
 also a very beautiful book. Among the 
 publications by private individuals is 
 a work entitled Famiglie celebri 
 d' Italia, published by Count Pompeo 
 Litta, which is at once magnificent and 
 national. The Collection of ancient 
 Greek historians translated into Ita- 
 lian, about sixty volumes of which have 
 already appeared, is a good specimen of 
 typography; some parts of this collec- 
 tion are held in esteem. The publi- 
 cation of the complete works of Ennius 
 Quirinus Visconti, the archeological 
 and literary parts of which are edited 
 by Doctor Labus and the plates execu- 
 ted by S. Palagi, would do honour 
 to the best French house in the trade. 
 As to liberty of conscience, I doubt 
 whether it is anywhere more religiously 
 respected ; there is not the least sem- 
 blance there of priestly interference 
 in government, and, by an unneces- 
 sary exertion of aulhorily, the preachers 
 
 hundred in the Roman State); twenty-seven at 
 Lucca ; one hundred and two at Florence (one hun- 
 dred and fifty-one in the grand duchy); two hun- 
 dred and sixty at Naples (five hundred and fifty- 
 six in the kingdom). Of the three thousand two 
 hundred and sixty-four works, six hundred and 
 fifty-one were theological ; one hundred and eighty 
 on jurisprudence, fifty-six of which were criminal 
 trials in the Two Sicilies ; three hundred and eighty 
 on geography, history, archeology, and mythology; 
 one hundred and twelve biographical ; seventy-five 
 philosophical ; seventy-two on political economy 
 and government ; sixty-one mathematical ; ono hun- 
 dred and thirteen on physics and chimistry ; two 
 hundred and ninety on medicine and surgery ; 
 thirty onliterary history; seventy-one on philology; 
 four hundred and thirty-five poetical; one hundred 
 and eighty-two romances, tales, and novels , five 
 liundredand fifty essays, theses, and incidental Writ- 
 ings, and one hundred and twelve theatrical pieces. 
 Fifty Italian works were printed abroad, chiefly a 1 
 Paris and La 
 
Chap, XIII. ] 
 
 MILAN. 
 
 have been interdicted from declaiming 
 against heresy. The jubilee of J 825 
 was in a manner subjected to a block- 
 ade in the Austrian states ; it was for- 
 bidden to be celebrated, and in despite 
 of Italian fervour, in the Lombardo- 
 Venetian kingdom, passports were re- 
 fused for pilgrimages to Rome. While 
 the infamous Ghetto, that species of 
 pestilential bagnio founded by fanati- 
 cism, still defiles some of the finest 
 cities of Italy, the government of the 
 Lombardo-Venetian kingdom consults 
 its delegates on the state and means 
 of ameliorating the lot of the men 
 that are elsewhere condemned to it; the 
 emperor, a religious prince, himself 
 visited, in 1828, the house of refuge 
 and industry at Mantua, and the Chan- 
 cery of Vienna officially congratulated 
 the Israelite society of that city on its 
 beneficent zeal. 
 
 The introduction of infant schools 
 took place in 1835. In the month of 
 May 1837 there were four of them, re- 
 ceiving more than three hundred chil- 
 dren; and this number was then about 
 to be doubled. Singing is taught in 
 them, and the children execute moral 
 and religious melodies, which some- 
 times are not without benefit to their 
 parents also. The administration courts 
 the assistance of new and different means 
 of social improvement ; vaccination is 
 generally practised ; 1 a savings' bank, 2 
 and a Ore assurance company have 
 been established at Milan ; the spirit 
 of association is progressing every clay; 
 the land registry office, which is con- 
 tinued uninterruptedly, occupies the old 
 convent of the Jesuits, and statistical 
 professorships have been founded at 
 Pavia and Padua. This foreign go- 
 vernment is doubtless rigorous on some 
 points, but it is not that rough, severe, 
 and savage despotism admired by the 
 abbe Galiani. 
 
 1 In the bills of mortality at Milan there is not a 
 single death from small pox during the years 1822 
 and 1823; the number for the following years is 
 Tery small. The physicians in Lombardy who dis- 
 tinguish themselves by their zeal in propagating the 
 cowpox are rewarded by prizes of 400, 500 or 600 fr. 
 
 2 The deposits in the Lombard Savings-bank 
 were in 1831, 1,133,943 francs; the sum total of the 
 deposits and interest amounted to 3,545*896 francs 
 in 1832. 
 
 CHAPTER XIII. 
 
 Military College. 
 
 The military college of Milan, in- 
 tended for the children of the soldiers 
 in the eight Italian regiments, is a well 
 conceived establishment, and might 
 serve as a model for others. It was 
 begun in 1802 by general TheuliS, then 
 minister of war, whose portrait may 
 still be seen under the vestibule. 3 The 
 pupils are three hundred in number, 
 and fifty of them are sons of citizens 
 paying a small annual sum. The titles 
 of the other children are the services, 
 the wounds, or the death of their fa- 
 thers on the field of battle ; difference 
 of religion is no obstacle, provided the 
 religion is acknowledged by the state, 
 and the tolerance of the Austrian go- 
 vernment on that point is well known. 
 I have visited this young military colony 
 with extreme pleasure several times ; 
 it is under the management of colonel 
 Young, a man of great capabilities, who 
 treats these young soldiers with paternal 
 care .- their highly improved gymnastic 
 exercises ( which the able director has 
 composed by selecting from the different 
 methods whatever was best) are appli- 
 cable to warlike operations, such as the 
 passage of rivers, precipices, assaults of 
 forts, etc.; the course of instruction con- 
 sists of writing, arithmetic, the German 
 and Italian languages, geography, his- 
 tory, topographical drawing, etc. Si- 
 milar institutions, to the number of 
 fifty-one, exist for the other regiments 
 of the Austrian army; they must attach 
 the inferior officer and the soldier to his 
 colours, since in his absence neglect and 
 want no longer threaten his family. It 
 is probable that these establishments 
 are one of the causes which have pre- 
 served this same army from destruction 
 
 3 General Theulie, of French origin, was born at 
 Milan, and was a barrister in that city when the 
 French army arrived there. He then entered the 
 service, and commanded the first Cisalpine legion. 
 This much esteemed man was killed by a cannon 
 shot at the siege of Colbert in 1807. Foscolo in- 
 tended to write his memoirs, and had collected con- 
 siderable materials for that purpose. Marocco the 
 barrister has published a panegyric of Theulie. 
 
MILAN. 
 
 Book 111. 
 
 during twenty years of defeat and mis- 
 fortune. 
 
 The military college is one of those 
 establishments founded by good sense, 
 justice, and humanity, which leave the 
 most pleasing impression on the mind 
 of the traveller. Other states support 
 at a vast expense schools for pages, 
 young ladies, and brilliant officers ; 
 there the soldier's orphan serves his 
 apprenticeship, to his father's trade ; 
 there he is taught honour, order, obe- 
 dience, to love his prince and his coun- 
 try, and those military virtues, which 
 are so simple, resigned, and intrepid. 
 Such a creation would have been worthy 
 of Louis XIV.; he who had opened so 
 noble an asylum for the old age of 
 our soldiers was worthy to prepare the 
 gymnasium of their infancy. 
 
 CHAPTER XIV 
 
 Pinacoleca of Brera.— Milanese school.— Raphael's 
 
 Sposaliiio. — Uncrciuo's Agar. — Expositions. — 
 Pino, Longhi, and Palagi collections. 
 
 The splendour of Florence, Bologna, 
 and Rome, and long-existing reputation 
 of their museums, perhaps cause that 
 of Brera to be too much neglected, 
 which was begun no farther back than 
 1805. If it has no great Titians, and 
 is also destitute of other masterpieces, 
 it possesses some admirable paintings 
 of the first masters of the Milanese 
 school, such as Gaudenzio Ferrari, its 
 chief ; Bernardino Luini, Bramantino, 
 and others of this productive school, so 
 distinguished for simplicity, expression, 
 force, and the marvellous gift of per- 
 spective. 
 
 The Marriage of the Virgin, a 
 charming work of Raphael's youth, is 
 a painting which in after years he would 
 not have done so well in doing it belter: 
 talent, when arrived at perfection, at 
 times loses something of its simplicity 
 and grace. Raphael was twenty-one 
 years old when he gave Lo Sposalizio; 
 Voltaire composed his UEdipus at the 
 
 1 For instance, the lino verse 
 
 Jcunc,ct dans 1'ac.ehcureux qui meconnalt la ctainle, 
 
 which Voltaire replacod, in the later editions, hy 
 the common verse, 
 
 same age, — brilliant essays which thus 
 early revealed all the grandeur of their 
 future compositions, and >\hich after- 
 thought variations could only weaken 
 and disfigure. 1 The Agar dismissed by 
 Abraham, by Guercino, is one of his 
 finest works. This painting electrified 
 Byron, according to the account of his 
 shrewd cicerone at the museum of Brera.* 
 A head of the Eternal Father, hy Luini, 
 breathes fhe simple, antique, and sub- 
 lime spirit of the Bible. His little 
 painting of JYoah's drunkenness, not- 
 withstanding some traces of the four- 
 teenth century (vestigia ruris), is one of 
 his best performances. The other re- 
 markable paintings are St. Peter and 
 St. Paul, by Guido ; the graceful Dance 
 oftoinged Loves, by Albano; the Woman 
 taken in Adultery, by Agostino Carracci; 
 the Woman of Samaria, by Annibale: 
 the Canaanilish woman, byLudovico; 
 ihe Virgin, St. Petronio and other 
 saints, by Domenichino; the Adoration 
 of the„Magi, by the elder Palma ; the 
 Moses taken out of the water, a simple 
 and harmonious masterpiece by Gior- 
 gione ; the St. Mark preaching in 
 Alexandria, a vast and lifelike compo- 
 sition by Gentile Bellini, to which, from 
 his residence at Constantinople and in 
 the Levant, he has been enabled to give 
 an oriental colouring ; the portraits of 
 the Dukes of Urbino, by Fra Bartolom- 
 meo; the St. Mark and other saints, 
 in several compartments, by JVlanlegna ; 
 the Annunciation, attributed to Peru- 
 gino, though in reality by Francesco 
 JFrancia ; St. Peter the martyr, by Co- 
 negliano ; a Crucifixion, by Jiramanlc; 
 an admirable Head of an old man, by 
 Titian. There is an interesting though 
 somewhat ordinary painting by Giovanni 
 Sanli or Sanzio, the father and first 
 master of Raphael, a poor painter, but 
 a man of good sense, who felt that his 
 lessons were insufficient for such a pupil, 
 and accordingly lost no time' in consigning 
 him to Pcrugino. 'i he different paintings 
 of herds and shepherds, by Londonio, 
 the Milanese painter of the last century, 
 are very natural. 
 
 An-dcssus dc so;i age ■ au-dessus de la crainte. 
 
 - Letter of M. H. Be] le to Madame llelloc on Lord 
 Byron, and Byron's Lite, vol. iv. chap. v. 
 
Chap. XIV. j 
 
 MILAN. 
 
 By chance I had the good fortune to 
 be present, in 1827 and 1828, at the ex- 
 hibition of the works which had disputed 
 (he prizes offered by the Brera academy 
 of fine arts, as well as at that of olher 
 pictures by artists and dilettanti. These 
 two exhibitions gave a favourable idea 
 of the present state of the Italian school. 
 ,S. Palagi, of Bologna, 5. Hayez, or Ve- 
 nice, would not be disowned by the 
 masters of those two schools. S. Palagi 
 exposed a fine copy of Giorgione's Cesar 
 Borgia; in the original the bastard of 
 Alexander VI. has his hand onhis poniard, 
 and in the back-ground are seen a war- 
 rior and a woman who seem to be his 
 intended victims. This last doubtless 
 alludes to the story of those nuns of Ca- 
 pua, who wilhdrew into a tower at the 
 time the city was sacked by Borgia's 
 army, and of whom, according to Guic- 
 ciardini, he chose, after a minute exami- 
 nation, forty of the handsomest to send 
 to his seraglio at Rome. The copy being 
 intended fort Count Borgia, the artist, 
 from delicacy, had thought proper to 
 suppress the poniard, the woman, and 
 the warrior ; this disarmed, inoffensive 
 Borgia lost part of his terrible physiog- 
 nomy, in spite of the merit of its exe- 
 cution. There might not, perhaps, be 
 any great cause to boast of such an an- 
 cestor, were it not that, by a strange 
 contradiction, names made famous by 
 vice or even crime become in course 
 of time titles of nobility. A charming 
 subject, J\'eu>ton discovering the refrac- 
 tion of light in soap bubbles which a 
 child is blowing, presented some fine 
 details-, the woman and child were grace- 
 ful, but the figure of Newton was wiihout 
 character or genius.; V'eturia and the 
 Romanladies going to meet Coriolanus, 
 in Ihe camp of ihe Vokcians, was anolher 
 good painting by S. Palagi ; with respect 
 to costume, however, it was somewhat 
 deficient : the dress of these Roman ma- 
 trons, who at that period were still ruslic, 
 was by far too elegant and refined. The 
 paintings of S. Hayez, representing the 
 Death of Clorinda, at the moment of 
 her being baptised by Tancrede; Ihe 
 Meeting of Mary Stuart and Leicester, 
 as she is proceeding to her execution, a 
 subject taken from Schiller, and the mo- 
 ment of her ascending the scaffold, pro- 
 duced a strong sensation. Italy has not 
 escaped that taste, that craving after a 
 reform in arts and letters, which tor- 
 
 ments some spirits in France; and the 
 bold and even capricious talent of S. 
 Hayez, reckoned by his admirers the 
 first Italian painter now living, belongs 
 to the new school. The Voting Toby 
 restoring his father's sight, by S. Diolti, 
 was also an interesting picture. The 
 Subterranean Chapel of the families 
 of Verona, and other interiors by S. Mi-- 
 gliara, were quite in vogue, and indeed 
 they are charmingly natural and very 
 picturesque paintings. There were also 
 some Roman banditti at the Brera exhi- 
 bition, but they were not so good as 
 those of M. Cogniet and Leopold Robert. 
 Two basso-relievos by S. Marchesi, one 
 showing the Sepulchral monument of 
 Lord Dungarvon's daughter, the other 
 representing Ihe Vision of a mother on 
 the loss of her seven children, were full 
 of grace and feeling. The colossal group 
 by the same artist representing the Piety 
 of S. Giovanni di Dio, founder of the 
 congregation of the Fatebene fratelli, 
 and destined for their convent, excited the 
 ardent, admiration of the Milanese, and 
 seemed a work of merit. 
 
 The exhibition of 1828 presented no- 
 thing by SS. Palagi and Hayez, but there 
 were many and excellent pictures by S. 
 Migliara, such as Ihe Condemnation of 
 Jacques Molay, the Castle of the Inno- 
 minate, several paintings of Gothic in- 
 teriors by S. Moja, his happy imitator 
 and almost rival ; two landscapes by S. 
 Gozzi, [he senior Italian landscape- 
 painter, and like our Boguet, always 
 graceful and vigorous, notwithstand- 
 ing his eighty years ; a superb pencil 
 drawing by S. Anderloni, after one of 
 Raphael's Holy Families, now in the 
 Stafford gallery in England, and of which 
 there are several copies in existence at 
 Rome and Naples, taken by his pupils. 
 In sculpture there were some important 
 works •• an Apollo sleeping, executed 
 after an earthen model of Pacelti, by 
 S. Cacciatori, his pupil ; the model of the 
 lornb erected to the noble Melzi, at Bel- 
 laggio. by his nephew, the work of S. 
 Nesti of Florence, and another cenotaph, 
 dedicated by the inhabitants of Chiari, a 
 large village four leagues from Milan, to 
 the clever lapidarian writer Morcelli, 
 their proyost; * a distinguished pcrform- 
 
 1 The provost is a kind of superior rector ; (here 
 are four clergymen at Chiara, v. ho arc ecciesias-' 
 tically subject to the provost. 
 
 (J 
 
62 
 
 MILAN. 
 
 Book IK. 
 
 ance of S. Monti of Ravenna. This vast 
 and splendid monument, erected by 
 husbandmen to a learned and virtuous 
 priest, is a new proof of the popularity 
 of the arts in Italy ; such an idea would 
 never enter the heads of our peasants who 
 most respect their clergyman, and I am 
 not aware that a single individual has 
 here received a like honour from his pa- 
 rishioners. The divers plans of a calhe 
 dral before a large square surrounded by 
 piazzas, announced that architecture also 
 was well studied at Milan. 
 
 The finest private collection of paint- 
 ings at Milan, that of general Pino, was 
 still for sale in 1828; it contained a great 
 Titian, Moses defending the daughters 
 of Jethro ; the Woman taken in Adul- 
 tery, by Poussin, St. Joseph and a 
 child, by Guido ; and an admirable 
 Christ bearing the Cross, by Sebastian 
 del Piombo. 
 
 The gallery of Longhi was of no great 
 extent, but was composed with the taste 
 that might be expected of so clever an 
 artist, who is besides distinguished as a 
 poet and writer. I saw at his house in 
 the same year a very fine drawing of 
 Michael Angelo's Last Judgment, by 
 S. Minardi of Rome, which he had begun 
 to engrave, a work that he left nearly 
 finished, and which, with the fine copy 
 by Sigalon, will make known and pre- 
 serve, in some degree, that masterpiece, 
 which has suffered so much from the 
 ravages of time and man, and is seen to 
 such disadvantage. 1 
 
 The collection of S. Palagi is rich in 
 Egyptian antiquities, and contains also 
 divers Etruscan and Greek monuments, 
 which make it a real museum. 
 
 CHAPTER XV 
 
 Beccaria.— Punishment or death. 
 
 In the strada di Brera is a handsome 
 hotel which was inhabited by Beccaria, 
 whose medallion and those of eight other 
 celebrated Milanese of bolh sexes are 
 seen on the front. 2 Beccaria, a genius 
 
 1 Longhi died on the 2nd of January, 1831. at Ihc 
 age of 65 years. 
 
 - Namely : Lecchi, Giulini (the historian of Mi- 
 lan); Agncse (a celebrated female mathematician); 
 Frisi, Verri, Parini, Domenico Balestrieri (who trans- 
 lated Tasso into Milanese); Fumagaili. A nation, 
 
 full of paradox in his passionate love of 
 virtue and humanity, a philosopher, 
 whose opinions were daring and rash 
 while his life was prudent, virtuous, and 
 peaceable, has recently acquired parti- 
 zans in the old and new worlds; his 
 principles on the punishment of death 
 have regained favour with the friends of 
 enlightenment. But, notwithstanding 
 the superior merit of some discourses 
 and essays, I think that the instinct of 
 self-preservation which prescribes the 
 destruction of the homicide, the con- 
 science of men, and that simple lex ta~ 
 lionis, anterior to all positive laws, will 
 always be stronger with the people than 
 all arguments: nor do I think that such 
 an innovation can be compared to civil 
 liberty, religious toleration, the abolition 
 of slavery, and other just and natural 
 improvement. 
 
 CHAPTER XVI. 
 
 Monti. — Pindemonte. — Manzoui. 
 
 When I saw Monti, he was almost 
 crushed benealh his sufferings, but still, 
 despite his infirmities, his physiognomy 
 was noble and his look full of poetry. 
 He spoke in an interesting manner of 
 the Italian language and literature, and 
 of the derivation of the former from the 
 Provencal ; he appreciated the laborious 
 researches of M. Raynouard, and alluded 
 to a work on the same subject, to which 
 he had begun to devote himself, aided by 
 Perticari, whose dealh interrupted the 
 undertaking. 3 He asked ine for news 
 of Botta, the first historian of Italy, as 
 himself was the first poet. The affection- 
 ate and assiduous attentions (hat he re- 
 ceived from his daughter, the widow 
 of the generous Perlicari, and the grace 
 and talents of this young lady, reminded 
 me of one of Milton's daughters under 
 an Italian sky. 
 
 I was subsequently acquainted, at 
 Verona and Venice, with Ippolito Pinde- 
 monte, another great contemporary poet 
 
 which, under a foreign domination, has counted 
 such characters, and which in onr own limes has 
 Manzoni, lias certainly received no ordinary endow- 
 ment. 
 
 3 Respiting these researches, sec (he twelfth 
 chaylcr of the Difesa of Dante, (>y Perlicari. 
 
Chap. XVli.] 
 
 MILAN. 
 
 63 
 
 that Italy lost about the same time.i It 
 is impossible to see such monuments dis- 
 appear -without feeling a profound emo- 
 tion ; these superior persons were also 
 excellent men, plain, religious, and sin- 
 cere. 
 
 S. Manzoni, who, though differing on 
 some theoretical points, seems called to 
 succeed them, is recommended by the 
 same qualities of the heart and by prin- 
 ciples perhaps still more exalted. His elo- 
 quent treatise Sulla Morale cattolica is 
 a new proof of the might of Italian ge 
 nius, always on a level with the great 
 principles of civilisation, in spite of the 
 obstacles which embarrass it. Such cha- 
 racters do singular honour to Italy, if, as 
 we think, literary characters are a toler- 
 ably just expression of public manners, 
 representing them with not less fidelity 
 than their works. 
 
 In the same years 1828 and the same 
 month, died also at Ravenna the cele- 
 brated F. Cesari, orator, theologian, 
 grammarian, critic, biographer, burles- 
 que poet, commentator and translator 
 of Horace, Terence, and Cicero. I had 
 visited him at Verona, his country -, he 
 was a quick, ardent, restless elderly man, 
 a really complete abbate, very obliging, 
 eccentric in his dress and deportment ; a 
 determined Cruscantist, Cesari pretend- 
 ed to make Cicero speak precisely as he 
 would have expressed himself in Italian in 
 the sixteenth century. 2 Notwithstanding 
 his whims, irritability, and deficiency of 
 judgment and taste, his admirers were 
 numerous, and his loss was blended, in 
 the patriotic and literary regrets of the 
 Italians, with that of Monti and Pinde- 
 monte. 
 
 CHAPTER XVII. 
 
 La Scala. — Theatre.— Italian female singers. — Bow- 
 ing to the public. —Decorations. —Ballet. — La 
 Scala, society of Milan.— Camevalone. 
 
 In 1826 I did not see La Scala at the 
 season of its splendour. At that time 
 
 1 Monti was born on the 19th of February 1757, 
 and died on the 9th October 1828 ; Pindemonte, who 
 died on the 17th of November, was born in the same 
 year as Monti : if they differed in talent, the one 
 being harsh, impassioned, and brilliant; the other 
 gentle and melancholy, their course was perfectly 
 equal. Scarcely had a month elapsed after the dealh 
 of Monti, when a subscription was opened in Italy 
 to raise him a monument in one of the squares of 
 Milan. Verona was not less grateful towards Pin- 
 
 there was no opera ; the performance 
 consisted of a kind of tragedy called 
 Dirce, written by the actor who played 
 the principal character; both the piece 
 and the actors were exceedingly bad, and 
 indeed this time I went for nothing but 
 to see the theatre, which seemed to me 
 more spacious and lofty than magni- 
 ficent. La Scala has accommodation 
 for more than four thousand spectators ; 
 it was embellished in 1830, and has, at 
 all events, the chief merit of a theatre of 
 that kind, namely, that of being perfectly 
 resonant, notwithstanding its immensity, 
 this advantage is principally owing to the 
 form of the roof, a clever construction by 
 Piermarini, a pupil of Vanvitelli, and the 
 restorer of good architecture in Lombardy 
 in the last century. 
 
 1 have since been present, in Septem 
 ber 1827, at some brilliant representa- 
 tions of Mose and the Ultimo giorno cli 
 Pompei, a chef-d'ceuvre of Pacini. This 
 opera had immense success at Milan ; 
 peopled returned from the country, and 
 some even came from distant towns to 
 hear the Ultimo giorno and madame 
 Meric-Lalande, a French singer then 
 very much liked in Italy. I found in 
 the register of an inn the name of a 
 prince, grandson of Louis XIV., and 
 like him an admirer of the opera ; he 
 had written that he came to Milan, with 
 his attendants, to hear the grand opera 
 of the Last day of Pompeii. The piece 
 was wonderfully executed by Rubini 
 and Tamburini ; madame Meric-La- 
 lande, who is even lauded as a tragedian, 
 appeared to me affected. It is true that 
 affectation seems customary and almost 
 insisted on among the actresses of the 
 Italian theatres ; the grimaces, finical ges- 
 tures, and conlorsions of the Italian fe- 
 male singer are shown in every part of 
 her person : the arms, fingers, and feet 
 of these harmonious puppets, especially 
 at the end of the air, start into mo- 
 tion simultaneously with the voice, to 
 increase the effect. The perpetual salu- 
 tations of the actor add still more to 
 
 demonte ; his memory is to receive the same ho- 
 nour there, and his old and worthy friend, the ba- 
 roness Silvia Curtoni Verza, is at the head of the 
 subscription. 
 
 2 For instance, he makes him say V uovo di 
 Pasqua,inun credo, un vespro siciliano, etc., ex- 
 pressions which he defends in the preface intro- 
 ducing his translation of the second volume of 
 Letters. Milan. 1826. 
 
64 
 
 MILAN. 
 
 [BOOK 11/. 
 
 this defect of truth. As soon as the actor 
 receives applause, forgetting his part, in 
 the middle of the most touching scenes, 
 he advances towards the pit, places his 
 hand on his heart, and bows respectfully 
 over and over again ; I have seen Tan- 
 crede less occupied with saluting his 
 native land than in bowing to the public. 
 The first woman's parts at La Scala were 
 played by French actresses, for madame 
 Comelli, now madame Rubini, was there 
 and sung in Mose; I have since heard a 
 madame Casimir at Venice. Verger and 
 Duprez, excellent singers, are French- 
 men ; the latter, a favourite tenor, since 
 engaged at our grand Opera where he 
 has obtained such brilliant success, is a 
 pupil of that excellent and impassioned 
 master of song, Choron, director of 
 the school of religious music, a useful 
 establishment which was wrongfully 
 neglected and suffered to fall in 1830 
 owing to its epithet of religious. Neither 
 are tnglish actresses rare in Italy ; I 
 have seen them take the first parts at 
 Turin and Genoa, and madame Cori 
 Palloni, an English lady favourably re- 
 ceived by the public of La Scala, was 
 prima donna in 1828. Foreign invasion 
 extends even to the stage. 
 
 They played in 1828 la Prova d' tin' 
 opera seria, an old work, the music 
 and words of which are by Gnecco ; 
 it is a very amusing picture, a kind 
 of Comic Romance of the singing troops 
 of Italy, and I was delighted with it. 
 The opera buffa, which in France, beside 
 (he scenes of Moliere, seems only an un- 
 meaning buffoonery, appeared to me in 
 Italy, on the contrary, gay, natural, and 
 true ; it is a plant of the soil that dete- 
 riorates when transplanted. The deco- 
 rations of La Scala are magnificent, and 
 superior for effect, if not for painting, to 
 all i hat is elsewhere seen. I remember 
 nolhing so astonishing as the eruption of 
 Vesuvius in the Last day of Pompeii, 
 by S. Sanquirico. There was, however, 
 in the last act, a trifling circumstance 
 sufficiently ridiculous : on one of the 
 pillars of the forum was a large transpa- 
 rency with these words .- Si representa 
 col velario ; this scene-shifter's erudition 
 would have been hissed at Paris, and 
 properly loo The passing of the. Red 
 Sea in Mose, so feebly given at our 
 grand opera, had not been executed ; but 
 it was not caused by timidity on the 
 part of such clever persons : all the ma- | 
 
 chinery of the theatre was employed in 
 the preparations for Vesuvius, and the 
 sea, which in nature produces and feeds 
 rolcanos, could not be represented be- 
 cause of the volcano of La Scala. 
 
 Ballets have an action and interest in 
 Italy which we knew nolhing of before 
 the charming Somnambule. They gave 
 at La Scala in 1827 a ballet entitled Zaifa, 
 which I expected to find very bad; I 
 imagined it difficult by gestures and ca- 
 pers to render the feeling and passion of 
 such a piece; the ballet, however, was 
 well got up, and presented a fine spec- 
 tacle ; it was there that I first had the 
 pleasure of admiring the aerial graceful- 
 ness of Taglioni, since called to reform 
 the stiff and starched motions of our an- 
 cient opera, and to replace them by her 
 natural, elegant, pure, and almost poet- 
 ical dancing. In the year following I 
 saw a long and tedious ballet entitled 
 Agamennone, a kind of dancing parody 
 of the piece by Alfieri and Lemercier, 
 which was represented in the Italian 
 style, between the two acts of Ceneren- 
 tola and la Prova d'uri opera seria, to 
 give the singers a little repose : thus 
 were all the horrors of the palace of 
 Argos diversified with the mad tricks of 
 Don Magnifico and Maestro Campanone, 
 two humorous characters marvellously 
 well played by Lablache. Tragic ballets 
 are performed in Italy in great num- 
 bers, these serious pantomimes being 
 more easily got up on account of the 
 small number of subjects for the dance, 
 as well as the mimic talent natural to the 
 Italians; Gioja, the Italian Gardel, has 
 composed a ballet on the Death of 
 Casar;l was present in 1828 at Bo- 
 logna at the representations of his Ga- 
 brielle de Vergy, and they promised a 
 ballet entitled Atreo for the ensuing 
 season. 
 
 La Scala is all the society of Milan . 
 and people really know 7 not how to pass 
 the evening if there be no performance, 
 for tbey have not there, as at Florence, 
 Rome, and Naples, a corps diplomatique 
 to give receptions. Notw iihstanding the 
 great fortunes and generally easy circum- 
 stances of the inhabitants, no one thinks 
 himself obliged to be at home. The 
 practice of receiving visits at the theatre, 
 so injurious to the spirit of society, is not 
 to be eradicated in Italy : every lady is 
 a queen in her box, and like Caesar she 
 will prefer the first place in that lilllfi 
 
bkP. XVHI.1 
 
 MILAN. 
 
 65 
 
 empire to the second in a drawing- 
 room. 
 
 The out-of-door life at Milan is merry. 
 Its brilliant carnival, called Carnevalone, 
 is prolonged to the Saturday after Ash- 
 Wednesday, and during those four days, 
 in spite of the solemn warning of the 
 Church, balls, masquerades, and every 
 species of carnival extravagance are kept 
 up with greater spirit than before. 
 
 CHAPTER XVIII. 
 
 Comic actors in Ilaly. — Italian Theatre.— Nota.' 
 Philo-dramatic theatres. — Fantoccini. 
 
 There is one observation lhat has struck 
 me in visiting the various theatres of 
 Italy ; which is, that if the lyrical depart- 
 ment shows symptoms of decline, the 
 performance of comic pieces seems to 
 have attained a high pitch of perfection. 
 Were the several actors of that country 
 united, who are now dispersed and belong 
 to different companies, they would com- 
 pose probably the best comic troop in 
 Europe. Demarini was an excellent co- 
 median, ' Vestri is very natural and 
 lively; Bon, an esteemed dramatic au- 
 thor, is original and piquant; Modena is 
 noble and pathetic; Dominiconi is full of 
 warmth ; signoras Marchionni, Luigia 
 Bon, Internari, Pasqualini, Belloni-Co- 
 lombelli, Polvaro-Carlotta, have sensi- 
 bility, grace, and delicacy, and I doubt 
 whether there exists a more genteel sou- 
 brette than signora Romagnoli. It is 
 true lhat none of these actresses equal 
 mademoiselle Mars, but the talent of that 
 inimitable actress would be scarcely 
 adapted for Italian comedy and the cha- 
 racters it represents. The Italian man- 
 ners being all exterior, if one may be 
 allowed the expression, and generally 
 uniform in the higher class, seem hardly 
 suitable for the scenes and action of 
 comedy. There is not sufficient variety 
 and contrast in their vanities to require 
 a lesson -, the satire of reason, the first 
 
 1 He died in 1830. 
 
 2 The Tattling of the Ladies. 
 
 3 The thirteenth and fourteenth editions of Note's 
 Comedies appeared about the same time at Florence 
 and Milan. M. Baudry gave an elegant and correct 
 edition of them in Paris, in 1829 ; la bonna ambi-^ 
 
 principle of the vis comica, would be loo 
 strong and too serious for people so habi- 
 tually indifferent; and the negligence and 
 indolence of individuals are less comic 
 than the pretensions, disappointments, 
 and annoyances of our social state. The 
 difference of dialects is another obstacle 
 to the improvement of the Italian stage : 
 the pieces which are written in these 
 dialects, are the only merry and popular 
 ones, but they are not intelligible to the 
 whole nation ; the others, written in the 
 book style, a kind of dead language not 
 resembling the vernacular tongue, cannot 
 supply those spirited and natural expres- 
 sions which excite the laugh peculiar to 
 good comedy, sudden and free, Ions, 
 hearty and communicative. The duke 
 of Modena's company played in 1827 at 
 the Re theatre, a very pretty comedy of 
 Goldoni, / Pettegolezzi delle Donne, 2 
 with an ensemble that we might wish 
 some royal companies to imitate. . In 
 this comedy one of the characters was 
 a ridiculous Frenchman, too common in 
 the pieces of Goldoni ; but this Parisian 
 en perruque of the last century was but 
 little like those of our day, who are more 
 in favour in Italy. The antipathy for the 
 French is of the preceding century. Ac- 
 cording to Addison, it was very strong, 
 particularly among the lower classes ; 
 Louis XIV., so admired by Europe, was 
 odious to them : the Genoese had not 
 forgotten the bombardment of their city; 
 the Venetians were dissatisfied with the 
 alliance between the French and the 
 Turks; the Romans with the menaces 
 made to Innocent XI., Naples and Milan 
 by the humiliation inflicted on their sove- 
 reigns. The Germans were greatly pre- 
 ferred to the French. 
 
 Nota, the modern Goldoni of Ihe Italian 
 stage, was, like him, a lawyer ; 3 the bar 
 may become a good dramatic school, if 
 declamation and prolixity be carefully 
 avoided; the legal exposition of facts 
 demands the same perspicuity as the 
 drama ; Ihe peroration is the denotimenl : 
 action and intrigue even are necessary to 
 the two kinds of composition ; Ihey com - 
 bine eloquence, passion, and humour : 
 
 2iosa, translated in French, and from the French 
 into Russian, has been played at Moscow, on the 
 occasion of the emperor Nieolas's coronation. Some 
 of Nola's pieces are inserted in the translation oi 
 the Thedlres Strangers. 
 
 .G. 
 
66 
 
 MILAN. 
 
 [Book III, 
 
 the pleadings of Beaumarchais are the 
 best of his pieces. The comedies ofNota 
 are sensible, regular, natural, interesting, 
 well conducted, and written with purity, 
 an advantage which he has over Goldoni ; 
 but they are deficient in originality and 
 gaiety, and the characters are somewhat 
 superficially drawn. La Fiera (the Fair), 
 perhaps his best work, has some excellent 
 scenes, a spirited dialogue, true cha- 
 racters, and a moral object. L'Atrabi- 
 lare is another good comedy of Nota's, 
 but its hero has some similarity with the 
 Misanthrope and the Tyran domesti- 
 que. 
 
 It is singular enough that, at the mo- 
 ment when imitations from the foreign 
 siage are recommended incessantly as the 
 only resource of our exhausted dramatic 
 literature, the foreign theatres only exist 
 on translations and imitations of the 
 pieces produced on our stage, and even 
 of those least to be recommended. Our 
 melodramas, it is said, become sublime 
 in Germany, thanks to the nebulous 
 genius of the language; our most ordi- 
 nary comic operas are stock pieces in 
 the theatres of England and Italy; and 
 in the private theatres at Turin, Flo- 
 rence, Rome and Naples, it is our vaude- 
 villes that are sung and played by com- 
 panies composed of the most illustrious 
 foreigners. The French stage, though 
 so depreciated in France, is still univer- 
 sal. 
 
 The Italians of the present day are 
 strongly attached to theatrical repre- 
 sentations, and philo-dramatic or pri- 
 vate theatres exist even in the smallest 
 towns ; sometimes this taste appears a 
 real mania ; at Bologna, during carnival, 
 there have been as many as thirty of 
 these theatres. They also afford an 
 opportunity for beneficence when pay- 
 ment is required, for the receipts are 
 bestowed as a portion on some poor 
 girl, or employed in charitable actions. 
 
 I was taken to the filodrammatico 
 theatre of Milan, an establishment ex- 
 ceeding well conceived, and skilfully 
 managed, which has existed for more 
 than thirty years. The performances 
 take place once a week in a charming 
 private theatre painted by Appiani , 
 which is almost as large as our great 
 ones, and, iike all those of Italy, ar- 
 ranged in a manner infinitely more 
 commodious and agreeable. Actors who 
 have appeared in public are not after- 
 
 wards allowed to play on this stage, and 
 the company ( if such a name may he 
 applied to them ) is composed of young 
 men engaged in trade or in the public 
 offices, and of girls or young women 
 belonging to respectable families of the 
 city. Independently of the ease and 
 grace acquired by this description of 
 exercise at once domestic and public, 
 such an establishment must also conlri- 
 bute to raise the profession of dramatic 
 artists in public opinion ; as it occasion- 
 ally associates with this class persons 
 of liberal education, whose powers have 
 there an opportunity of revealing them- 
 selves; it may again increase the mass 
 of talent by opening the theatrical career 
 to a greater number. The filodram- 
 matico theatre has already become 
 very illustrious in this way; it wit- 
 nessed the first attempts of the artist, 
 who, with Talma, has most excelled in 
 our days in the tragic art; it was on 
 this tranquil stage, in the presence of 
 friends, relations, and a few strangers 
 whom Italian courtesy had conducted 
 thither, that signora Pasta gave the 
 prelude to her high theatrical renown. 
 There is one observation on the sub- 
 ject of the filodrammatico theatre 
 that I must by no means omit : that a 
 private theatre subsisting more than 
 thirty years is a fact honourable to the 
 moral character of a nation, and evinces 
 an absence of petty jealousies truly pro- 
 digious, of which perhaps no other people 
 is capable, 
 
 These particulars respecting the Ita- 
 lian stage would still seem to me incom- 
 plete, were I to pass over the Fantoc' 
 cini, who are, though I dare scarcely 
 acknowledge it, the performers that I 
 visited the most. In consequence of the 
 prejudice existing in France, at first I 
 went to the opera only, and these 
 wooden actors then appeared to me the 
 most natural I had seen in Italy. It is 
 a fact that they had not the sensitiveness 
 and gratitude of the actors at La Scala, 
 for they never bowed to the spectators, 
 amid the well merited applause that they 
 elicited. Were I the director of the 
 Fantoccini, I would have them bow 
 for some time and very profoundly too, 
 that the parody might have the effect 
 of abolishing such a ridiculous practice. 
 The performances of the theatre of Gi- 
 rolamo or Fiando generally consist of 
 a grand piece and some ballets. The 
 
Sap. XIX.] MILAN. 
 
 former are sometimes a little too pathe- 
 tic; for multiplicity of adventures and 
 exaggeration of sentiment and language, 
 they might be called melodramas in 
 miniature ; but the dances and panto- 
 mimes are lively and animated, and 
 the decorations perfect. Girolamo, a 
 Milanese buffoon, is an indispensable 
 part in all the grand pieces : this half- 
 Sancho, half-Sosie, is ugly and cow- 
 ardly, a glutton and a babbler; as soon 
 as he appears all the audience is in a 
 roar of laughter, nor is there a more 
 national or popular personage in the 
 world. I well remember the transports 
 that he excited in a grand piece called 
 Alcesla, or the descent of Hercules into 
 hell ; Girolamo, armed with a little 
 halberd, was the companion of Hercules, 
 who dragged him down in his descent 
 very much against his will ; the terrors 
 of this reluctant but merry Pbiloctetes, 
 in Charon's boat, at the sight of Cer- 
 berus, and before Pluto, were excellent 
 buffooneries. As at La Scala the ballet 
 came between the acts of this interest- 
 ing spectacle, probably to allow a little 
 repose to the interlocutors of the Fan- 
 toccini, who, however, do nothing but 
 speak, though in a clear and well ac- 
 cented tone. The Fantoccini are one 
 of the best theatrical undertakings in 
 existence ; there are neither freaks of 
 fancy, caprices, indispositions, extra- 
 ■ ordinary gratifications nor leave of ab- 
 ! sence : I do not think that there has ever 
 been either vacations or any of those 
 performances which are but little belter; 
 i this active and indefatigable troop is 
 i always at its post. 
 
 e? 
 
 CHAPTER XIX 
 
 Great Hospital.— Of great hospitals.— Nariglio 
 canal. 
 
 Italy possessed the first and the larg- 
 est hospitals in Europe. The founding 
 of the one at Milan represents very 
 
 1 The average number of patients was one thou- 
 sand eight hundred and thirty-six, at an annual 
 expense of 614, (Al Austrian livres (528,080 fr.) the 
 
 well the history and revolutions of the 
 Italian states in the fifteenth century. 
 This foundation is due to Francesco 
 Sforza, — the victorious usurper of the 
 duchy of Milan, the first Italian captain 
 of his day, and the illegitimate son of 
 Jacopo Attendolo, a peasant; — to his 
 wife Bianca Visconti, a natural daughter 
 of the last duke ; and to the voluntary 
 contributions of the people, who for a 
 moment had attempted to establish their 
 independence and form themselves into 
 a republic. The partial foundation of 
 a hospital by a cruel and warlike prince 
 such as Sforza, seems a sort of amends t'o 
 humanity. 
 
 The Great Hospital of Milan, partly 
 by Antonio Averulino or Filarete, is 
 one of the finest edifices of its kind. 1 
 The Waviglio canal, a fine hydraulic 
 structure partly erected by Leonardo 
 Vinci, passes by it, and serves as a 
 river to carry away all the filth. The 
 portico on the right on entering is by 
 Bramante, and the vast court in the 
 centre by Ricchini. The church is of 
 good taste, and has a beautiful Annun- 
 ciation by Guercino. 
 
 The vast foundations for which we 
 are indebted to the piety of long past 
 ages, certainly admirable for the faith, 
 repentance, or patriolism which they 
 put us in mind of, are not perhaps 
 without inconveniences in practice •• the 
 number of patients is too great for 
 them to be equally tended ; moral dis- 
 eases, a kind of depravity more incur- 
 able than the ills of the body, are 
 engendered by the crowding together 
 of so many unfortunate wretches ; branch 
 houses containing three or four hun- 
 dred patients seem preferable to these 
 palaces. 
 
 The Great Hospital of Milan has no 
 Sisters of Charity, but some attempts 
 have been made recently to introduce 
 them. The period of our domination 
 would have been a favourable occa- 
 sion, and it is to be regretted that it 
 was not taken advantage of; among 
 many honourable traces left in Italy 
 by France, the Sisters would not now 
 be the least useful, nor the least affect- 
 ing. 
 
 daily cost of each patient was 78 centimes, which is 
 something less than that of the hospitals of Parts. 
 
MILAN. 
 
 I Book HI. |j 1P j 
 
 CHAPTER XX. 
 
 Arena.— Arco della Pace. 
 
 The Circus or Arena, intended for 
 races and naumachy, is capable of 
 holding nearly forty thousand spectators, 
 and is truly an antique monument — 
 this work of the French, and of the 
 clever Italian architect Ludovico Gano- 
 nica, is wanting in Paris. Perhaps 
 there is no more worthy ornament of 
 a great city than these arenas destined 
 to receive the people, where they may 
 sit to be amused by (he spectacle of 
 games, in which agility, strength, and 
 address bear off the prize. But I think 
 it would be requisite to make some 
 changes in the order established by 
 Augustus, who had thrown back the 
 women to the farthest seats, wilh the 
 exception of the Vestals, the empress, 
 and ladies of the imperial family and 
 of the chief patricians. French polite- 
 ness would never consent to this rude 
 etiquette of the Roman emperors. Cer- 
 tainly we do not claim, under Chris- 
 tianity and the ease of our civilisation, 
 the panem et circenses that the 
 haughty Rome lavished on the people 
 she had conquered. Such coarse plea- 
 sures would not suit us ; there are 
 now other generous illusions to satisfy, 
 and the ennobled race of man has a 
 right to something better than such 
 combats. 
 
 1 Voyage en Italic, by M. Siraond, t. i. p. 19. 
 
 2 Except the capitals, which are of Carrara mar- 
 ble, Ihearch is entirely of the fine marble of Creosla, 
 found in the mountains near Milan, by the archi- 
 
 The Gate of the Simplon, now the Arco 
 della Pace, at the end of the immense 
 Piazza darmi, is now nearly complete, 
 The statue of Peace, as on the arch of 
 the Carrousel, succeeds to that of Na- 
 poleon ; the car is drawn by six bronze 
 horses, a greater number than was 
 customary among the ancients ; four 
 other horses mounted by figures of Fame 
 are placed at the angles. The figure 
 of Peace and the horses are truly su- 
 perb, and honour the talent of (he 
 sculptor S. Sangiorgio, and the skill of 
 the founders, the brothers Manfredini, 
 who seem to have recovered the method 
 of the ancients. The rich ornaments 
 executed under the direction of the 
 clever artist S. Moglia, surpass, for 
 taste and effect, those which were 
 previously selected. The brilliant basso- 
 relievos, three of which have been 
 boldly decided by a traveller to be su- 
 perior to those of the Parthenon, 1 are 
 by Pacetti and SS. Monti of Ravenna, 
 Monti of Milan, Acquisli, Pizzi, and 
 Marchesi. One of the basso-relievos 
 represents the emperor Francis enter- 
 ing his capital in triumph after Napo- 
 leon's fall. The arch of Peace, all dazzling 
 with marble 2 and sculpture, is the 
 largest which the moderns have con- 
 ceived. It has cost three millions and 
 would amount to more than double at 
 Paris ; and. if it yield in height to the 
 Arc de l'Etoile, it is infinitely more 
 magnificent. 
 
 tect of the monument, the marquis Cagnola, who 
 was succeeded, on his death, by S. Pevcrelli, his 
 pupil. The eight columns are each a single atone. 
 
I'UAP.l./ 
 
 LINTERNO. 
 
 BOOK THE FOURTH, 
 
 ENVIRONS OF MILAN. — PAVIA,— COSMO, 
 
 1 
 
 CHAPTER I. 
 
 Eterno — Petrarch's house; his treatise On the 
 remedies against either fortune.— Popularity of 
 the first men of letters. 
 
 Near Garignano, about half an hour's 
 de from Milan, are Ihe remains of a 
 nail house inhabited by Petrarch, 
 hich were discovered some years 
 SO. 1 Nothing of his time now re- 
 tains, except the two columns of the 
 )urt on which his cipher is legible, 
 te windows, the floor, and the vaulted 
 )ofs of two chambers that overlook 
 te country. The present proprietor is 
 
 Milanese, who is pretty careful of 
 te preservation of all these vestiges 
 f the poet. The Italians are not in 
 aneral so barbarously negligent in 
 mt respect as ourselves. Petrarch's 
 ouse was situated in a deep valley 
 hich then bore the somewhat inat- 
 aclive name of the Inferno, which he 
 filh some ostentation converted into 
 Jnterno, in memory of Sfcipio, the 
 ero of his Africa. Such privileges 
 o not belong to literature, except at 
 
 1 The Adda does not pass I<y I.interno, as is slated 
 i Ging-uene {Hist. litt. d'ltalie, II, 408), it runs on 
 e other side of Milan, at ten leagues from Lin- 
 rno. We are indebted lo the researches of Pro- 
 
 early epochs, and perhaps no where 
 but in Italy. Hamilton could not change 
 the name of the giant Moulineau into 
 that of Pontalie; that bank of Ihe Seine, 
 in spite of the countess of Grammont, 
 still retains the name of the ingenious 
 and methodical possessor of the ram. 2 
 The men of letters at the period of the 
 revival of learning, Petrarch, Danfe, 
 Boccaccio, like the philosophers, ora- 
 tors, and poets of antiquity, being known 
 by the people and artisans with whom 
 they mixed and conversed in the streets 
 or their work-shops, had a much great- 
 er, and much more direct influence, 
 than that of court authors or academi- 
 cians. 
 
 The details given by Petrarch of Ihe 
 life he led at Linterno are curious, and 
 offer a new instance of that singular 
 popularity. " I have taken for the 
 summer a countryhouse in the environs 
 of Milan ; it is truly delicious, the air 
 is very pure... I continue here my 
 ordinary course of life, and am freer 
 and less disturbed by the annoyances 
 of the town. I want for nothing, and 
 the peasants rival each other in bring- 
 ing me fruits, fish, ducks, and game of 
 all kinds. Near it there is a fine 
 
 fessor Marsand and the marquis J. J. Trivulzio for 
 having ascertained and determined tho true posi- 
 tion of Linterno. 
 2 7> Belier, by Hamilton. 
 
10 
 
 CASTELLAZZO. 
 
 rBOOilY. 
 
 Charterhouse recently built, where I 
 can enjoy al any time the innocent 
 pleasures that religion affords. At first 
 I wanted to take up my abode in the 
 interior of the cloister, and the good 
 monks consented to it, and appeared 
 even to desire it; but I ultimately de- 
 cided that it was better only to live 
 near the convent, that I might assist at 
 all their holy exercises : their door is 
 always open to me, a privilege granted 
 to but few." Such was the high re- 
 nown that Petrarch enjoyed, that while 
 monks and peasants were so prepos- 
 sessed in his favour, the proud Mala- 
 testa, lord of Rimini, not content with 
 having sent a painter that he might 
 have his portrait, being infirm, had 
 himself carried to his house at Linterno, 
 into those very chambers that I saw 
 filled with heaps of Indian corn, and 
 which were, then occupied by the hus- 
 bandmen of a Milan lawyer. 
 
 Petrarch retired to Linterno in 1355, 
 seven years after Laura's death; and he 
 there composed some of the sonnets in 
 which he deplored her loss. It was 
 there also that he wrote his treatise On 
 the remedies against either fortune, a 
 kind of dry nomenclature of the good 
 and evil things of life, divided into books 
 and chapters ; the first book, which is 
 devoted to the good things, has one 
 hundred and twenty-two chapters, while 
 the second, which treats of our ills, 
 exceeds that number by ten ; it is a long 
 dissertation in dialogues between the 
 moral beings personified, as Joy, Hope, 
 Reason, Pain, and Fear, — a philoso- 
 phical treatise full of moral sentences, 
 maxims, quolations, witty remarks, 
 names of celebrated persons taken from 
 mylhology or history, which will never 
 dry up a tear, because it belongs more 
 to the author and scholar than to man 
 and misfortune. 1 This treatise was de- 
 dicated to Azzo dc Correggio, the fallen 
 sovereign of Parma ; who, one day a 
 wanderer, another a captive, always in 
 jeopardy, must have found it a cold 
 comforter. 
 
 1 In the chapter of the book of Misfortunes, De 
 impvdica uxore, Reason, who in this book combats 
 Pain and Fear, as she did Joy and Hope in tho first, 
 gives forconsolation some of Montaigne's arguments. 
 — "Pudicitia insignis imperiosas ellicit matronas; 
 nihil metult qnse sibi nihil est conscia. lluic malo 
 
 CHAPTER II. 
 
 Charterhouse of Garignano. — Slaronno. — Castol- 
 lazzo. — Chiaravalle. — Pagano delia Toro. — 
 Guillelmina. 
 
 The Charterhouse of Garignano, with 
 its vaulted roofs and painted walls, co- 
 vered with Carthusians, the best of 
 Daniel Crespi's works, seems peopled 
 and full of life ; it is Le Sueur magni- 
 fied, and in fresco. The Resurrection 
 of the Doctor is especially admirable 
 for its remorse, grief, and despair, 
 whereas the painting by Le Sueur on 
 the same subject is cold and feeble. 
 Byron could scarcely tear himself away 
 from the Damned of Crespi. '' We 
 saw him excited even to horror," re- 
 lates his faithful and discreet companion: 
 " out of respect for genius, we silently 
 remounted our horses and rode on to 
 wait for him at a mile from the Charter- 
 house." 2 The Duke of Calabria dis- 
 covering the Hermite while hunting, 
 is another of those paintings much 
 and justly boasted. Notwithstanding its 
 neglected condition, few monuments 
 have still a more superb effect than 
 this edifice, now only the parish church 
 of a village. 
 
 The church of Nostra Signora di Sa- 
 ronno, independently of its venerated 
 image of the Madonna, is a wonder of 
 art ; the choir and cupola are reputed to 
 be by Bramante. The numerous frescos 
 of Bernardino Luini, in Raphael's man- 
 ner, and in good preservation, are in the 
 rank of his best productions ; he has 
 painted himself under the guise of a 
 venerable old man standing among the 
 rabbins in the Dispute with the Doctors. 
 There are also some other paintings of 
 value : the Last Supper, by Camillo 
 Procaccini; St. Martin and St. George, 
 by Gaudenzio Ferrari ; his slight fres- 
 cos, diversified, on the cupola, present- 
 
 igilur hoc saltern boni inest ; esse jam molesla 
 minus incipiet, minusquo insolens; la?sa enim 
 consoientia faemineum premit animi tumorem, et 
 saepe obsequentior to reliquis Tiro est, qua; se m*. 
 minit impudieam." 
 2 Stendhal's Lord Byron in Italy. 
 
 I St 
 
 s 
 
 ■X 
 
Jhap. 11.1 
 
 CASTELLAZZO. 
 
 n 
 
 ng a choir of angels, great and small, 
 singing or playing on instruments ; St. 
 Sebastian and St. Roch, by Ferrari's 
 ilever pupil, Cesare Magno; and several 
 ncidents from the Old Testament, 
 gracefully treated by Bernardino La- 
 aino. A chapel recently repaired pre- 
 sents a Deposition from the Cross, a 
 basso-relievo by Marches!. In the sa- 
 cristy, the Glory of the Virgin, with 
 St. James, St. Charles, and St. Am- 
 brose, by Cesare Procaccini, has the 
 sublimity of the school of the Carracci, 
 bis masters, whom he left on account of 
 Ian offensive expression of Annibal J s, 
 lifter having struck the latter in his 
 Tury. 
 
 ; Castellazzo is an old Italian manor of 
 ihe Arconati family, at present the pro- 
 perty of the marchioness Busca, much 
 less visited than the house of Simonetta, 
 which stands at a short distance from 
 it: the echo of the latter, which repeats 
 la pistol shot thirty-six times, being much 
 more to the taste of certain travellers 
 ihan the fine basso-relievos of Bambaja, 
 ihe remains of the mausoleum of Gas- 
 ton de Foix. The tomb of this young 
 hero is strangely dispersed ; one part of 
 the sculptures which adorned it is at 
 ithe Ambrosian, another at Brera; Giu- 
 iseppe Bossi had some of its fragments; 
 there are also portions of it in the houses 
 i of Trivelli and Biglia, in the chapel of 
 prince Belgiojoso's villa, near Pavia; 
 and Cicognara, who had even found 
 some of it as far off as Paris, thought 
 that there were still more. The eulo- 
 gium of Vasari, who found that these 
 marble basso-relievos had the appearance 
 of wax-work, may very well be applied 
 I; to those at Castellazzo, whieh are, I 
 'believe, the most considerable portion, 
 land which independently of numerous 
 rornaments of exquisite taste, represent 
 \ Gaston's entry into Milan, the Tak- 
 ing of Brescia, of Bologna, the 
 Battle of Ravenna, the Funeral pro- 
 cession of Gaston, etc. Some of the 
 figures are only rough-hewn, owing to 
 the precipitate retreat of the French 
 from Italy in 1522 and the establishment 
 of Francesco Sforza's aulhorily. Nearly 
 all the heads of these basso-relievos 
 were broken off, and that on the very 
 eve of the sale, when they passed into 
 
 I J According to the inscription, it was in 1712 that 
 Count Giuseppe Arconati formed the collection of 
 Bambaja' s basso-relievos which are still seen there. 
 
 the hands of Count Giuseppe Arconati. 
 after the demolishing of the old church 
 of Saint Martha's monastery, where they 
 stood. It is said that a nun had en- 
 gaged herself that they should be ad- 
 judged to a purchaser whom she pro- 
 tected ; incensed at seeing Count Arco- 
 nati obtain the preference, in Ihe night 
 she committed these ravages. The first 
 tomb erected by the army to Gaston de 
 Foix in the cathedral of Milan, against 
 the high altar, and composed of arms 
 and standards taken at Ravenna, was 
 destroyed by the Cardinal of Sion, at 
 the head of his bands; the second, two 
 centuries after, 1 was fated to be muti- 
 lated by a nun. 
 
 At Castellazzo is a fine colossal statue 
 of Pompey, brought from Rome, which 
 pretends, as well as that of the Spada 
 palace, and no doubt with as good 
 grounds, to the honour of having seen 
 Caesar fall at its feet. 2 An inscription 
 taken from Pliny, which is much admi- 
 red by the antiquarians, notices the 
 vast conquests rather than the great 
 actions of Pompey, his thirty years of 
 warfare, and the twelve millions one 
 hundred and eighty-lhree thousand men 
 whom he had taken, defeated, subjected, 
 or slain ; a sort of statistical account of 
 his glory which leaves a chilling sen- 
 sation, because these pompous feats 
 have no hold on the soul, or the nature of 
 man. 
 
 Three miles from Porta Romana are 
 the church and monastery of Chiara- 
 valle, the Italian Clairvaux, founded by 
 Saint Bernard, which is not now quite 
 worthy of its name, the atmosphere 
 there being much darkened by fogs occa^ 
 sioned by the irrigating of the neigh- 
 bouring ricefields. The steeple, which 
 Lalande thought of an absurd and 
 dangerous Gothic, is much rather rich 
 and bold. Some basso-relievos on wood 
 by G. Garavaglia, masterpieces of the 
 kind, representing the life of Saint 
 Bernard, adorn the ancient stalls of the 
 monks; but now the church is only a 
 common parish church not kept in very 
 good order, and there are in it, though 
 half destroyed, some large frescos by 
 the brothers Fiammenghini, artists of 
 the seventeenth century, full of fire but 
 exaggerated. At the top of a staircase, 
 
 2 After Giuseppe Bosse's opinion, quoted by Ci- 
 cognara (Stor. dellasculi. lib. v. cap. y), this status 
 is a Tiberius. 
 
11 
 
 MONZA. 
 
 Book IV. 
 
 the Virgin, the Infant Jesus and 
 some angels, a beautiful fresco covered 
 with glass, shamefully restored, is by 
 Bernardino Luini. A bust of Saint 
 Bernard, very fine, formerly in the 
 convent library, is now in the church: 
 the features are gentle, almost graceful, 
 and form a contrast with the rigour, 
 power, irresistible eloquence, and agi- 
 tated life of this great hermit. 
 
 A small stone in the wall of the ce- 
 metery of the convent of Chiaravalle 
 poinls out the burial-place of Pagano 
 della Torre, podesta of Milan, who 
 died in 1241. So mean a monument 
 to such a personage, of so great a family, 
 — a monument creeled by the people, 
 whose affection La Torre had merited, 
 if the epitaph, which for once appears 
 sincere, may be credited, — shows a 
 republican simplicity perfectly antique. 
 This tomb is for the middle ages like 
 the stone slab of the Scipios, and both 
 are more worlhy of respect than the 
 splendid mausoleums, the master-pieces 
 of art, which succeeded them. 
 
 In the cemetery of Chiaravalle, in 
 1-282, the heretic Guillelmina was in- 
 terred as a saint, and afterwards ex- 
 humed in 1300 as a witch, and burnt 
 with two of her living followers; she 
 had pretended to found an apostlcship 
 of women, lo have successors of her 
 own sex, like Saint Peter, and to re- 
 place Ihe Roman ponliticate by a female 
 papacy. One of the two sectarians burnt 
 with the corpse of Guillelmina was the 
 abbess Maifreda, a nun of the order 
 of ihe Umiliale, whom she had ap- 
 pointed her vicar, with the same powers 
 as the vicar of Jesus-Christ, but who was 
 only the first martyr of these lamentable 
 follies. 
 
 CHAPTER 111. 
 
 Monza.— Theodolinda.— Iron crown.— Archives.— 
 Hector Visconli.— Palace. 
 
 Greco, on the road to Monza, has 
 some fine frescos by Bernardino Luini, 
 discovered a few years since. Monza, 
 a small well-situated town, with its 
 rich basilic, oilers the oldest and most 
 numerous vestiges of Ihe Lombards ; 
 this old basilic, founded by queen 
 
 Theodolinda and exhibiting in every 
 part traces of her life, seems as if it 
 were the temple of the Italian Clotilda, 
 who, like the queen of the Franks, 
 converted her husband to the catholic 
 faith. 
 
 The history of this queen of Ihe 
 Lombards of the sixth century contains 
 some natural and touching particulars. 
 So great was Ihe popularity of Theodo- 
 linda that at the death of Antaris, her 
 first husband, the chief men of the 
 nation invited her to choose a second 
 whom l hey promised to recognise as 
 their king. Theodolinda fixed her 
 choice on Agigulphus, duke of Turin, 
 who was worthy of such an honour. 
 The queen, without communicating her 
 intention to him, simply invited him 
 to come to her court. She went as far 
 as Lomello to meet him, and thero 
 having ordered a cup to be brought, 
 she drank half of its contents and 
 presented it to him to drink the rest. 
 The duke of Turin, on returning the 
 cup, kissed the princess's hand with 
 great respect. " That is not, said 
 1 heodolinda, blushing, the kiss that I 
 have a right to expect from him whom 
 I intend lo be my lord and master. 
 The Lombard nation has empowered 
 me to choose a king, and it is you that 
 it invites, by my mouth, to reign over 
 it and me." Agigulphus's gold crown, 
 which the canon Frisi has described in 
 his Historical Memoirs of Monza, 
 was taken to Paris in 1799 and put in 
 Ihe cabinet of medals in the great 
 Library; it was stolen in 180i, and 
 melted down by the thieves. How 
 strange the fate of this Lombard crown, 
 lo be conferred wilh such ingenuous 
 grace, and to fall and come to its end 
 by felon hands at Paris! After Ihe 
 affecting marriage of Theodolinda and 
 Agigulphus, it is disagreeable to see 
 them so grossly deceived by the crafty 
 muleteer in Boccaccio's novel, which 
 has been imitated by La Fontaine. 1 
 The reliquary of queen Theodolinda, a 
 toilet cabinet of the middle ages, con- 
 tains her crown, sapphire cup, perhaps 
 the one she presented to Agigulphus, 
 her fan of red parchment, and her 
 comb, which, from the present tasle of 
 ladies for the Goihic, would be still a 
 near approach to the fashion. 
 
 1 Giorn. III. nor. iv. : La Font., Cont. liv. II. 
 
, ChAP. ill.} 
 
 MONZA. 
 
 The iron crown, the real wonder of 
 Monza, is enclosed in Hie upper part of 
 a iarge cross placed in a chapel of the 
 cathedral; it is rarely seen but at a 
 certain distance, and during the short 
 service which always accompanies its 
 exposition. The canons afterwards show 
 an imitation of the true crown, which 
 you may handle and contemplate at 
 your ease, as well as the very costly, 
 but sometimes very insignificant, pre- 
 sents made by sundry sovereigns to 
 this cathedral ; such, for instance, are 
 certain little loaves of gold and silver 
 presented through cardinal Caprara at 
 Napoleon's coronation as king of Italy. 
 I confess that I preferred to all this 
 
 frich and modern jewellery the gradual 
 of Saint Gregory, a fine purple ma- 
 nuscrit, * given to the cathedral of 
 Monza by that great pope, who was 
 the friend and confidant of the amiable 
 Theodolinda ; and particularly the fa- 
 mous papyrus containing a statement 
 of the relics that he sent her, a frail 
 
 1 venerable monument of twelve 
 centuries, the real king of papy- 
 rus, as the canon Frisi enthusiastically 
 ays, who dethrones without pity an- 
 ither papyrus belonging to the marquis 
 ilaffei. 
 
 In my first journey I only saw the 
 iron crown at a distance ; a close in- 
 spection has since been allowed me, 
 is well as of the iron circle it encloses, 
 which, as every body knows, is made 
 >f one of the nails used in the Passion. 
 I had been presented to the archpriest 
 und the chapter by an ecclesiastic at- 
 ached to the Ambrosian library, who 
 svas passing his vacation at Monza, 
 he place of his birth. The hierophant 
 )f the temple was a good sort of man, 
 out no great genius. I could not par- 
 ion him for the disorder and filthy 
 :ondition of his archives, which have 
 io catalogue but an inventory of the 
 objects restored by France, in which the 
 itles are mutilated. 
 
 A series of medallions painted on the 
 circular vault of the church of Monza, 
 •epresents the princes who have been 
 irowned with the iron crown, from 
 \gigulphus, the beloved husband of 
 
 1 The letters of Saint Gregory's gradual are in 
 ;old and silver: the latter are almost effaced, bnt 
 hose of gold are in better preservation. 
 
 2 M. de Sismondi says that at one and the same 
 
 Theodolinda, to Charles V. After th;5 
 last no brow has dared to bear it till 
 Napoleon. 
 
 Among the historical mementos 
 which abound at Monza, is a painting 
 representing the solemn reception gi- 
 ven to Henry III, by Saint Charles 
 Borromeo. May they, in that chapel 
 which contains one of the instruments 
 of our Saviour's Passion ( the chapel 
 del San Chiodo), have repented to- 
 gether of the Saint Bartholomew mas- 
 sacre, if it be true that this illustrious 
 saint was privy to it! 
 
 The remarkable paintings of this 
 basilic are : the ceiling, by Isidore 
 Bianchi; the frescos near the high altar, 
 by Montalto and Cesare Procaccini ; 
 a St. Gerard on a column, by Ber- 
 nardino Luini; the Visitation, by Guer- 
 cino. 
 
 The so badly kept archives contain 
 an antique and curious collection of 
 bulls and papal briefs, and diplomas 
 of the emperors, bound at Paris, and 
 bearing the arms of the empire. One 
 of the celebrated ivory diptychs repre- 
 sents Boetius in prison, comforted by 
 Elpis, a distinguished Sicilian lady, his 
 first wife, holding a ten-stringed lyre, 
 or according to some interpreters, by an 
 allegorical figure of Poetry. 
 
 In the cemetery appertaining to the 
 church is a strange corpse, that of 
 Hector or Astor Visconti, exhumed 
 after about three centuries and found 
 entire. Hector Visconti, one of the 
 many bastards of Benarbo, 2 received 
 the surname of the. Fearless soldier; 
 being blockaded in the castle of Monza, 
 he defended himself there against the 
 troops of duke Philip Maria, until, as 
 he was leading his horse to the well, 
 a fragment of rock thrown by a balista 
 broke his leg, and killed him. The 
 body of Hector Visconti has since been 
 put in a niche under one of Ihe arcades 
 which surround the cemetery : were 
 it not for its whiteness the dried corpse 
 might be taken for an armed mummy 
 standing upright ; and this brave knight, 
 leaning on his old iron sword which bears 
 his cipher, seems still to be facing the 
 enemy. 
 
 time Benarbo had thirty-six children, and eighteen 
 women pregnant by him. (Hist, des Rep, it., 
 ch. ui.) 
 
T4 
 
 PAVIA. 
 
 TBOOK IV. 
 
 The palace of Monza is noble and re- 
 gular, and one of Piermarini's best 
 performances. The chapel passes for 
 a masterpiece. In the rotunda of the 
 orangery are the Adventures of Psy- 
 che, celebrated frescos by Appiani, 
 which began his reputation. The gar- 
 dens and hot-houses are vast and mag- 
 nificent; as is also the park, which is 
 crossed by the Lambro, and is nearly 
 three leagues in circumference. 
 
 The remains of the palace of Fede- 
 rico Barbarossa at Monza have become 
 public properly; the residence of this 
 humbled and restin" emperor is now a 
 store-house for the town. 
 
 CHAPTER IV. 
 
 The Charterhouse of Pavia. — Tomb of Giovanni 
 Galeas Visconti. — Arts encouraged by the monas- 
 teries. — Francis I. at the Charterhouse. 
 
 It is impossible to contemplate the 
 lustre, richness, and ornaments of the 
 Charterhouse ( Certosa) of Pavia, with- 
 out becoming an admirer of its ancient 
 masters, and feeling oneself almost a 
 Carthusian. Splendour like this is the 
 most innocent of all, as it is due to the 
 culture and improvement of the soil : 
 " The only conquest," as one writer 
 felicitously expresses himself, " which 
 does not increase the number of the 
 unhappy." 1 The sumptuousness of the 
 world, by which people are so dazzled, 
 seems less deserving of respect than 
 that of these magnificent recluses. The 
 Charterhouse was suppressed by Jo- 
 seph II. ; at a subsequent period the 
 Directory stripped it even of the lead 
 on the roof: all these philosophic ra- 
 vages, this ungrateful violence towards 
 the benefactors of the country, this 
 destruction of a national and religious 
 monument and miracle of ait, do not 
 inspire less abhorrence and compassion 
 than any other ruin. 2 
 
 For the repairs of the Charterhouse, 
 which is not irretrievably injured, 
 5000 livres are now assigned, but a 
 French architect would do but little 
 with (hat sum. It must also be al- 
 
 1 Melon, Essai politique sur le commerce. 
 
 2 The taking off the lead gare admission to the 
 rain, which has done much damage to several parts 
 of the church and injured the paintings; many 
 
 lowed that the climate of Itaiy is less 
 destructive than ours, and that the 
 materials are of better quality and 
 cheaper. 
 
 The comfortable retreats of the an- 
 cient monks may still be seen, to the 
 number of twenty- four; they are of a 
 single story, with a fountain and small 
 garden. ,-■ 
 
 Spatio brevi 
 
 Spem longam reseces. 
 
 The Gothic church is by a builder 
 whose name is unknown. The elegant 
 front, adorned with exquisite sculptures 
 by the first masters of the fifteenth cen- 
 tury, seems to be by Borgognone, no 
 less skilful as an architect than good as 
 a painter. The small columns beneath 
 the ogive have been reckoned worthy of 
 Bambaja ; the basso - relievos near the 
 principal entrance are supposed to be 
 by Gobbo; they represent a Visitation, 
 a Miracle, a funeral Procession, and 
 are masterpieces for grace, nature, and 
 truth. 
 
 The splendid tomb o? the founder of 
 the Charterhouse, Giovanni Galeas 
 Visconti, finished in 1562 by Cristo- 
 foro Romano, is placed in the church. 
 It is such a monument as ought to be 
 erected by characters like these monks, 
 to whom death always present, sup- 
 plied the place of ambition, memory, 
 and meditation. The tomb of Gio- 
 vanni Galeas has always been empty ; 
 it was not finished till one hundred and 
 sixty years after his death ; during this 
 long interval, the place where his re- 
 mains had been temporarily deposited 
 was forgotten, and, like the Egyptian 
 kings spoken of by Bossuet, this duke 
 of Milan has never enjoyed his se- 
 pulchre. 
 
 Behind this mausoleum are the fi- 
 gures in demi-relievo of Louis the 
 Moor and his wife Beatrice, attributed 
 to Gobbo ; the figure of Beatrice is one 
 of the cleverest performances of the 
 time ; the chill of death alone has 
 extinguished the expression of her fea- 
 tures. 
 
 Despite the spoliation of 1798, the 
 Charterhouse of Pavia still presents some 
 remarkable paintings ; for instance, there 
 
 paintings also were carried away in 1798; the Gra- 
 dual of the Carthusians is in the Brera library, bat 
 as was usual with such amateurs of books, it fcaj) 
 been stripped of its rich covering. 
 
BAP. IV. ] 
 
 PAVIA. 
 
 75 
 
 $ tare on the interior of the front the fresco 
 of the Assumption, by Giuseppe Procac- 
 cini ; the Virgin adoring the Infant 
 Jesus, in Montagna's style, is by Am- 
 brosioFossano; andSf. Veronica show- 
 fing the Saviour's winding-sheet to a 
 number of women, by Camillo Procac- 
 t cini. The flowers in hard slone, a rich 
 and brilliant mosaic, which embellish the 
 front of this altar and several others, are 
 the workoftheSacchi family, established 
 at the Charterhouse, which, from one 
 generation to another, has always fol- 
 lowed the same occupation, and remained 
 there in succession for three centuries. 
 The monastic orders, by their uninter- 
 rupted duration, have afforded and se- 
 cured to the arts more certain and per- 
 manent encouragement than all the 
 governments. The painting in six com- 
 partments, of the year 1496, by Macrin 
 d'Albe, a good old Piedmontese painter, 
 who made the first approaches to the 
 modern style, is esteemed for the truth 
 of its colouring, Two frescos from the 
 Life of St. Syrius, by Antonio Busca, 
 repeat the same countenances, and prove 
 the indolence and eccentricity of the 
 author. The Virgin, her Son, St. Peter 
 and St. Paul, a picture now become 
 dull and much damaged, is by Guercino. 
 An Annunciation, by Camillo Procac- 
 cini, by its arrangement and attitude of 
 the heads, recalls his clever imitation of 
 Parmegiano. The ceiling of the new 
 sacristy is by Alessandro Casolani, a 
 painter of Siena in the sixteenth century, 
 who was esteemed by Guido. An As- 
 sumption, the upper part of which, of 
 beautiful expression and colouring, is by 
 Gobbo, and the lower part, precise and 
 true, by Bernardino Campi. The Christ 
 before the high-priest is one of the best 
 works of Paggi, a Genoese painter of the 
 sixteenth century. An Annunciation is 
 by Cesare Procaccini, and a Virgin, the 
 Infant Jesus, two saints and three 
 angels full of grace playing on instru- 
 ments, by Bartolommeo Montagna, a 
 pupil of Giovanni Bellini, a painter of 
 the middle of the fifteenth century ; he 
 was of Venetian origin but born at 
 Vicenza, as it has been proved by a dis- 
 tinguished man of that town, Count 
 Leonardo Trissino, whose information 
 and literary tastemake him worthy of the 
 oame. The old sacristy has a St. Martin, 
 y Bernardino Luini, and a superb St. 
 Ambrose, by Fossano. At the altar of | 
 
 the Relics, Christ in the midst of the 
 elect is by Danielo Crespi. The frescos 
 of the choir were the last and finest 
 paintings of this great artist, who, before 
 the age of forty, was carried off, as well 
 as his whole family, by the plague of 
 Milan in 1630. The brazen gates of the 
 tabernacle are by Francesco Brambilla; 
 the stalls, a precious piece of inlaid work 
 of the year 1486, are by Bartolommeo di 
 Pola. A basso-relievo by Denis Bussola, 
 the Massacre of the Innocents, is regard- 
 ed as one of the best sculptures in the 
 church for nature and expression. A Vir- 
 gin surrounded with angels adoring the 
 Infant Jesus, by Perugino, is admirable. 
 
 The little court called the court of the 
 Fountain, near the grand court, is de- 
 corated with works in stucco, which are 
 not surpassed in beauty and elegance by 
 the finest works in marble. 
 
 Brantome informs that when Francis I. 
 after his defeat was taken prisoner in the 
 Charterhouse park, he desired to be con- 
 ducted to church to perform his devotions, 
 and when there, the first object that pre- 
 sented itself to his eyes was this inscription 
 from the Psalms : Bonum mihi quia 
 humiliasti me, utdiscam justificationes 
 tuas. It was a great and affecting lesson, 
 such as religion alone could give to the 
 king who had lost all except honour. t 
 
 Some persons have received from the 
 Charterhouse an impression different 
 from mine; they found it rich and pretty, 
 but not remarkable for grandeur; the 
 situation, instead of combining the hor- 
 rors generally attributed to monasteries 
 of this sort, is exposed, flat, and mono- 
 tonous. But the Carthusians of Pavia, 
 being husbandmen, were doubtless more 
 attentive to the quality of the land, than 
 to its picturesque appearance. As to the 
 impression produced by the building, it 
 is owing, I believe, to the fact of those 
 persons having visited it on their return 
 from Italy, and after my several voyages 
 I can easily conceive it. Nevertheless I 
 thought it incumbent on me to attempt 
 a relation of what I felt on surveying this 
 monastic splendour, before I became ac- 
 customed to it. 
 
 Among the many projects for employ- 
 ing the buildings of the Charterhouse, 
 there is one which seems feasible and 
 
 ' This so often quoted expression of Francis I. U 
 perhaps fictitious, as it is not in the original of the 
 letter written to his mother the queen-regent. 
 
PA VIA. 
 
 Book IV. 
 
 very excellent; that is, to convert it into 
 an asylum for aged and infirm priests, 
 and for country clergymen no longer able 
 to eontinuetheirlaborious ministry. Such 
 an establishment would become like the 
 Invalides of the priesthood; it would be, 
 wilh the Invalides of the army, the most 
 venerable place on the earth. ' 
 
 CHAPTER V. 
 
 Pavia.— University. — library.— Colleges. 
 
 Pavia struck me by the singular con- 
 trast which exists between some cf its 
 ancient monuments, the remnants of the 
 middle ages, when it was the seat of the 
 kings of Lombardy or the capital of a 
 republican stale, and the modern and 
 scientific aspect of its university, * with 
 its museum of natural history, its cabinets 
 of experimental philosophy and anatomy, 
 and its botanical garden. The museum 
 of natural history has had the honour, 
 rather uncommon to this kind of esta- 
 blishment, of inspiring the small but 
 beautiful poem of Mascheroni, in which 
 Daphnis calls the attention of Lesbia to 
 the productions of nature with which it 
 is enriched. 3 The number of students 
 is fourteen hundred : these youths have a 
 distinguished appearance, and are noted 
 for their ardour and capacity. As in 
 university towns, the crowd of idlers 
 and curious persons who are usually 
 found in large capitals, do not interfere 
 with the lessons, each feels that every 
 one goes there to study. If Pavia lost 
 some years ago many of its most cele- 
 brated professors, such as Tamburini, 
 Volta, and Scarpa, 4 it still owned some 
 able masters, such as the professor of 
 mathematical and experimental philoso- 
 phy, S. Configliacchi ; of natural history, 
 Brugnatelli ; of botany, Morelti; of mi- 
 neralogy and zoology, Zandrini ; of 
 general chemistry and pharmaceutics, 
 Marabelli ; of anatomy, Panizza, the 
 worthy successor of Scarpa, and corres- 
 ponding member of the Academy of scien- 
 ces at Paris ; of medical clinics and the- 
 rapeutics, del Chiappa; of pure elementary 
 
 Leltres Persanes, let. Ixixv. 
 ' Although founded, as It is said, by Charle- 
 magne, this university had greatly declined. Maria 
 Theresa remodelled it, and its organisation doesnot 
 In reality belong to a more remole period than the 
 middle and close of Ibe last centurv. 
 
 mathematics and surveying, Bordoni, a 
 great mathematician; of'ecclesiastic law, 
 Prina ; of Roman law, as related to the 
 common law, Beretla ; of mechanics, 
 Rorgnis; of political sciences, Lanfran- 
 chi. IV o one is allowed to follow the 
 university courses without having pre- 
 viously been at the Lyceum. The course 
 of instruction is divided into three parts, 
 viz. : the faculty of politico-legal studies, 
 mcdico-chirurgico-pharmaceutical stu- 
 dies, and philosophical studies, which 
 nearly correspond with our faculties of 
 law, sciences.and ietlers.notwithstanding 
 the title of philosophical given to the last. 
 
 The course of the faculty of politico- 
 legal studies lasts four years ; the follow- 
 ing are the professorships : statistics, 
 introduction to politico-legal studies ; 
 natural law, private and public; crimi- 
 nal law; Roman law, as compared with 
 the common law ; ecclesiastical law ; 
 Austrian universal civil law, and its 
 differences with the French civil law; 
 commercial law; maritime law; political 
 sciences and the penal code, and judiciary 
 procedure. 
 
 The course of the faculty of medico- 
 chirurgico-pharmaceutical studies con- 
 tinues five years ; the professorships are : 
 mineralogy ; introduction to the study of 
 medicine and surgery ; practical ana- 
 tomy; botany; zoology; comparative 
 anatomy and physiology; general che- 
 mistry ; animal and pharmaceutical che- 
 mistry ; introduction to the study of 
 theoretical surgery, pharmaceutical die- 
 tetics, materia medica; general pathology; 
 etiology and semeiosis; midwifery; theo- 
 retical surgery : use of instruments and 
 theory of bandages: materia medica and 
 treatise on poisons ; general pathology ; 
 hygiene and general therapeutics ; prac- 
 tical medical instruction at the patient's 
 bed-side ; special therapeutics of the acute 
 internal maladies; veterinary art; foren- 
 sic medicine ; theoretical instructions on 
 the diseases of the eyes; public hygiene 
 (polizia medicate ). 
 
 The course of the faculty named philo- 
 sophical studies lasts two years: one part 
 of its courses is not necessary to obtain 
 
 3 Lesbia was the Arcadian nams of Grlsmondi 
 Suardi of Bergamo, a woman whose genius as a 
 poet was pure, noble, harmonious, but somen hat 
 diffuse. 
 
 4 He died October 31, (832, ;>t-'ed cigbly-live yen.;. 
 
Chap. VI.] 
 
 PAVIA. 
 
 77 
 
 the grade of doclor. The obligatory 
 courses are : religious instruction ; theo- 
 retical philosophy ; pure elementary ma- 
 thematics; latin philology; moral phi- 
 losophy; mathematical aud experimental 
 physics. The following courses are not 
 obligatory : universal history ; natural 
 history; rural economy; pedagogy; his- 
 tory of Austria; historical sciences; ar- 
 cheology and numismatics; diplomatics; 
 classical Latin literature; Greek philo- 
 logy; criticism; Italian literature and 
 language ; history of the fine arts ; his- 
 tory of philosophy ; German language ; 
 heraldry. 
 
 By this table one may judge of the 
 professorships of the. university ofPavia 
 and the extent of its education; it will 
 confirm the remark that we have pre- 
 viously made on the pretended obscu- 
 rantisme of Austria : in this list there 
 is a course of statistics, which we have 
 never had, and courses in pedagogy and 
 diplomatics in actual progress; real nor- 
 mal and charter schools. As to the in- 
 struction, I have been informed by some 
 of the most distinguished professors that 
 it is neither compulsory nor restricted ; 
 the salaries have been augmented, and 
 are even higher now than they were 
 under the French government, which had 
 already made some additions to them; 
 they are at least as high as those of the 
 professors of the academy of Paris, and 
 it is well known that living in Italy is 
 far less expensive. 
 
 The ancient library of Pavia, establish- 
 ed by the Sforza family, and chiefly by 
 duke Galeas, with the advice of Petrarch, 
 was successively despoiled by Louis XII. 
 in 1499, and in 1526 by Marshal Lautrec ; 
 the great library of the rue Richelieu is 
 indebted to it for the finest editions of 
 the fifteenth century, of which it now lias 
 the richest collection in the world. The 
 present library of the University was 
 founded by Count Firmian, and it has 
 received the greater part of Haller's 
 books. Being intended for educational 
 woiks, it has scarcely any ancient manu- 
 scripts except those proceeding from the 
 suppressed monastery of Saint Peter in 
 del d'oro, and with all its fifty thousand 
 volumes, it contains but few scarce works. 
 Its collection of the memoirs of all the 
 
 1 Dante has some fine verses on (he burying of Giuso in Cleldauro, ed essa ria martiro, 
 Bostius in saint Peter in del Woro : I E da esilio venne a questa pace. 
 
 scientific societies and academies in the 
 original text, is the largest and most 
 complete in Italy. The portfolios of the 
 professors are carefully preserved there, 
 and must form an interesting compila- 
 tion. An under-librarian's place was 
 vacant about the middle of 1826, and 
 was about to be competed for, as are all 
 literary functions in the Lombardo-Ve- 
 netian kingdom. This method, which 
 might be thought the best, and which 
 appears to me very good for nominations 
 to offices of a secondary nature, is how- 
 ever offensive to the Italians, and I have 
 heard it reprobated by men of enlight- 
 ened minds. 
 
 There are three free colleges at Pavia, 
 namely, the Caccia, Borromeo, and 
 Ghislieri colleges ; the two first are fa- 
 mily foundations and are still supported 
 by the founders' munificence. Such 
 foundations are by no means rare in 
 Italy; perhaps aristocracy has no nobler 
 attribute than this perpetual benefit of 
 education conferred on successive gene- 
 rations who must naturally become at- 
 tached to these same families. The Cac- 
 cia college receives from twenty-five to 
 thirty pupils, all from Novara, the coun- 
 try of the Caccia family ; the Borromeo, 
 thirty-six ; and the Ghislieri, sixty, and 
 twelve boarders. The finest of the esta 
 blishments is the Borromeo college, 
 founded by Saint Charles, as well as a 
 great number of the first schools ofLom- 
 bardy. With its imposing front, vast 
 porticoes, the elegance of its architecture, 
 the brilliant frescos of Federico Zuccari, 
 representing the History of Saint Char- 
 les, which cover the walls and ceiling of 
 the great hall, this superb edifice seems 
 rather a palace than a college. 
 
 CHAPTER VI. 
 
 Towers.— Boeiius.— Malaspina house.— Museum. 
 
 I experienced numerous historical dis- 
 appointments at Pavia : I went to the 
 church of Saint Peter in ciel d'oro to 
 look for the tomb of Boetius, that really 
 great man, minister, scholar, orator, 
 philosopher, poet, musician, and martyr 
 to the public welfare and the truth in 
 an age of barbarism ; « it was no longer 
 
 io corpo ond' ella [I'aninw saiifa] fu cacciata, giace 
 
 (PARAD. X. 127. 
 
 
78 
 
 PAVIA. 
 
 [Book IV 
 
 there : the church had been suppressed 
 thirty years, and I beheld it then encum- 
 bered with the forage of a Polish regi- 
 ment. The body of Boetius had been 
 put in the cathedral, but, in the language 
 of the day, there were no funds to build 
 him a tomb. Certainly the Liutprands 
 and Othos, those princes of the middle 
 ages that we look on as barbarians, some 
 eight or ten centuries ago, had erected 
 and magnificently enlarged the mauso- 
 leum of Uoetius; they had not yet, to 
 avoid rendering honour to virtue, adopt- 
 ed this eternal and invincible argument 
 of our civilisation. 1 The tomb of Liut- 
 prand was at first placed in the church of 
 Saint Adrian, but some time after it was 
 carried to the basilic of Saint Peter in 
 ciel d'oro; in his will he desired that he 
 might be interred at the feet of Boetius, 
 that when he ceased to exist he might 
 not seem to cease testifying his respect 
 for that illustrious man. The coffin of 
 this great king, as we are informed by a 
 learned Pavian,* was supported by four 
 small marble columns; his statue in royal 
 robes was placed above. The decision of 
 the council of Trent caused the coffin to 
 be taken down, as it was then decreed 
 that the burial-place of saints only should 
 be above the surface of the earth. The 
 ashes of Liutprand were deposited at the 
 foot of a pilaster in the choir; the ori- 
 ginal epitaph w hich told of his piety and 
 valour, the wisdom of his laws, his con- 
 quest of the Boman state, and his victories 
 over the Saracens in France when he 
 flew to succour Charles Martel, the tak- 
 ing of Bavenna, Spoleto, and Benevento 
 —all these signs of glory had disappear- 
 ed, and nothing was left on his fallen 
 
 i The tomb of Boelius was erected in the church 
 of Saint Augustine by the king of the Lombards, 
 I.Iulprand, about 726; the emperor Otho III. erected 
 another and a magnificent one in marble with a very 
 remarkable inscription composed by Gerbert, after- 
 wards pope under the name of Sylvester II, [Noli- 
 zie appartenenti alia storia delta sua pallia 
 raccolle ed illustrate da Giuseppe Iiobolini, gen- 
 titvomo pavese. Pavla, 1826 etseq. ; torn. i. 210, 
 and ii. 86.) Gerbert was one of the most learned 
 men of his day, but he did not invent clocks as 
 some have supposed (V. Gallia Christiana, torn. %.); 
 he was born In Auvergne, and may be added to the 
 illustrious Auvergnats mentioned by M. de Cha- 
 teaubriand in his Voyage a Clermont. 
 
 * Notizie appartenenti alia storia della sua patria, 
 raccolte ed illustrate da Giuseppe Kobolini, vol. i. 
 p. !)'.. 
 
 ' Petrarch, alluding to the birth of nn illegiti- 
 mate son previous to that of this daughter, avows 
 
 tomb but the words, Here are the bones 
 of king Liutprand; this simple inscrip- 
 tion was one day destined to be itself 
 ignobly smothered over with trusses of 
 hay, and I sought it in vain. 
 
 Pavia, called in the olden times the 
 City of a hundred Towers, has but two 
 now standing. One of those now thrown 
 down, from its extravagant structure, - 
 was called the point downwards ( pizzo 
 in giu). The tower which bears the 
 name of Boetius is modern ; the tradition 
 even of his imprisonment in a tower can 
 be traced no farther back than Jacopo 
 Gualla, an historian of the fifteenth cen- 
 tury. As to the site of the palace of the 
 Lombard kings, probably near the church 
 of Saint Michael, Iwasinformed by a learn- 
 ed man whom I consulted that there were 
 fourteen opinions on the subject, without 
 counting his own, I believe; so I had 
 not the courage to look for its locality. 
 
 In front of the Malaspina house are 
 the busts of Boetius and Petrarch, men 
 greatly differing in fortune, genius, and 
 character, whom chance alone could have 
 brought intojuxta-posilion. An elegant 
 inscription by Morcelli, placed beneath 
 the bust of Boetius, informs us that it 
 was near that spot where he was im- 
 prisoned, and composed his book on the 
 Consolations of Philosophy. The in- 
 scription on Petrarch's bust states that 
 he came to pass the autumns within the 
 walls of that house, the residence of his 
 son-in-law Brossano, architectural sur- 
 veyor to Galeas Visconti, and husband 
 of his natural daughter, a trifling inci- 
 dent, but somewhat crude, which sadly 
 disconcerts our imaginings respecting the 
 fidelity of Laura's bard.^ This daughter 
 
 himself, with a sort of Italian simplicity singular 
 enough, how he bad thought of escaping from the 
 passion which enslaved his mind and formed his 
 torment, by yielding to propensities somewhat less 
 plalouie. hut he pretends that in spile of these 
 indulgences he never really loved any but Laura, 
 that he was always conscious of the disgraeefulness 
 of such habits, and ultimately ridded himself of 
 them in his fortieth year. Carol, lib. I. Ep. 12, el 
 Epist. ad Post, quoted by Foscolo, Essays on Pe 
 Irarcli, XIII. 
 
 On the death of a child of this daughter's, Petrarch 
 composed some natural and touching Lalln verses, 
 which he had engraved on ils.lomb : 
 
 \ix rnundi novus hospes iter vitasque volanlis 
 
 Attigeram tenero limina dura pede; 
 Franclscus genilor, genitrli Fruncisca, fecutus 
 
 Hos, de fonte sacro nomen idem tenui. 
 Infons formosus, solauien dulce parenlum. 
 
Chap. VII. ] 
 
 PAVIA. 
 
 TO 
 
 is the one who, in the absence of her 
 father-in-law and husband, so cordially 
 received Boccaccio when he visited Pavia, 
 and notwithstanding his fifty-five years, 
 his obesity, and pitiful appearance, he 
 did not think it prudent to lodge in her 
 house lest her reputation might be com- 
 promised. Marquis Ludovico Malas- 
 pina, who died in 1835, above eighty 
 years of age, had erected at his own 
 expense and from his own designs, a no- 
 ble but plain edifice destined to receive 
 his valuable collection of prints, and his 
 paintings, among which there are not 
 only some of the best Italian masters, 
 but several of the Flemish school, as well 
 as a quantity of antique works and the 
 inevitable Egyptian museum, fortunately 
 not very extensive. The front is deco- 
 rated with a basso-relievo presenting 
 the figures of Raimondi, Raphael, and 
 Michael Angelo, by S. Monti of Ra- 
 venna, who also executed the statue of 
 the Genius of the Arts, placed opposite 
 the entrance-door. This handsome and 
 useful foundation is besides an academy 
 of the fine arts; it will perpetuate at the 
 iame time the memory of the taste, ta- 
 lents, and patriotism of its generous 
 founder. 
 
 CHAPTER VII. 
 
 Church of Saint Michael.- Cathedral. —Tomb of 
 Saint Augustln.— Bridge. 
 
 The Gothic church of Saint Michael, 
 me of the oldest monuments of Christian 
 intiquity, seems to be of the sixth cen- 
 ;ury : « among the basso-relievos sculp- 
 ured on the exterior of this old basilic, 
 nay be remarked an Annunciation, in 
 ivhich the child is already grown, ac- 
 cording to the Arian doctrine. The 
 coarse expressive sculpture of Saint Mi- 
 hael is moreover suited to such a sect, 
 rvhich seems to have infused into Chris- 
 ianity the conquering, destructive, and 
 nartial spirit of Islamism. In another 
 lasso-relievo, is an angel playing on a 
 /iolin, from which the great antiquity of 
 
 Nunc dolor, hoc uno sors mea laeta minus, 
 laetera sum fell?, et vera? gaudia vitce, 
 
 Nadus, et a?terna?, tarn cito, tam facile, 
 ol bis, luna quater flexum peragraverat orbem. 
 
 Obvia mors, fallor, obvia vita fuit. 
 (e Venetum terris dedit urbs, rapuilque Papla : 
 
 Nee queror, hinc ccelo reslituendus eram. 
 This opinion of d'Agencourt, of Malaspina, in 
 
 that noble instrument may be inferred. 
 The frescos representing the Virgin's 
 coronation, the Four doctors of the 
 Church, and the painting over the altar 
 of the Virgin, are curious productions of 
 Andrino d'Edesia, a painter of Pavia, 
 contemporary with Giotto. A St. Se- 
 bastian, and a St. Luke, by Moncalvo, 
 are good. 
 
 The vast majestic church del Carmine 
 is of the fourteenth century. Several 
 of its paintings are esteemed, namely : 
 a Crucifix, by Malosso; St. Anne, by 
 Moncalvo ; St. Sebastian and divers 
 saints, a painting in six compartments, 
 inscribed with the name of Bernardino 
 Cotignola, a painter of the sixteenth cen- 
 tury, whose works are scarce. 
 
 Santa Maria Coronata, commonly 
 called de Canepanova, of a plain but 
 noble architecture, is by Bramante ; it 
 contains some fine paintings : Jael and 
 Sisera; David and, Abigail, by Mon- 
 calvo ; a Judith, an Esther, by Tiarini, an 
 excellent painter of the Bolognese school ; 
 Rachel at the well ; the Hebrews 
 marching towards the land of promise, 
 by Camillo Procaccini ; and two other 
 subjects from the Old Testament, by his 
 brother Cesare. 
 
 At Saint Marino, a Holy Family is 
 attributed to Gaudenzio Ferrari ; St. Je- 
 rome and the Virgin, to his illustrious 
 pupil Bernardino Luini. 
 
 Saint Francis has two good pictures : 
 a St. Matthew, by Bernardino Campi; 
 a St. Catherine, by Procaccini. 
 
 Of the throng of deceptive remains 
 which abound in Italy, Pavia, perhaps, 
 possesses two of the most brilliant and 
 best imagined . The first is the pompous 
 pretended tomb of Saint Augustine, for- 
 merly standing in the church of Saint 
 Peter in ciel d'oro, and now in the 
 cathedral. The sculptures which orna- 
 ment it, consisting of fifty basso-relievos, 
 ninety-five statues, in all four hundred 
 and twenty figures, without including 
 animals, are a singularly remarkable 
 piece of workmanship of the close of the 
 fourteenth century, and the most con- 
 
 his Guide of Pavia, and of Rosmlni, in the Histon; 
 of Milan, has been recently contradicted by San- 
 Quintino(fle(/' italiana archiletlura durante la do- 
 minazione longobarda, Brescia, -1829). According 
 toSan-Quintino, Pavia and the old church of Saint 
 Michael were burnt in 92'i by the Hungarians ; so 
 that the present church can only be of the end ol 
 the eleventh century. 
 
so 
 
 COSMO. 
 
 (Book IV. 
 
 siderable of that epoch. The second 
 counterfeit remnant in the cathedral is 
 the lance of Roland, a sort of oar pointed 
 With irqn, suspended from the ceiling. 
 This cathedral is a monument of no 
 great importance ; it has been recently 
 repaired, and the old Gothic is nearly 
 hidden by the new constructions. There 
 are some paintings, however, not desti- 
 tute of merit, as those of the high altar, 
 by Carlo Sacchi, a Parian painter of the 
 seventeenth century and a clever colo- 
 rist; at the altar of the Rosary, the 
 Mysteries, by Antonio Solari, surnamed 
 Zingaro, who was born at Venice and 
 not in the Abruzzi, as some have sup- 
 posed ; a St. Syrus and two other paint- 
 ings near it, the best works of Carlo 
 Antonio Rossi, a pupil and follower of 
 Procaccini ; a Flagellation; the Virgin 
 and the Marys, by Danielo Crespi. 
 
 The covered bridge over the Ticino, 
 supported by a hundred columns of gra- 
 nite, with its elegant front on the side 
 towards the town, is a monument of the 
 fourteenth century, which, with the 
 waterworks of the same period, still 
 bears witness to the grandeur and utility 
 of the public works at Pavia under the 
 republican government. 
 
 CHAPTER VIII. 
 
 Varese.— Madonna del ModIc— Italian Catholicism.. 
 —Cosmo.— Cathedral. — JEtfes Jovice. — Lyceum. — 
 Library. -Casino.— Theatre.— Tower of Baradello. 
 
 Before returning to Milan, in 1827, 
 I visited Cosmo. The road, on leaving 
 Seslo Calende, differs completely from 
 the flat and monotonous one leading to 
 Milan. This corner of Lombardy, being 
 nearer the Alps, is picturesque and full 
 of variety. The road passes by Varese, 
 a rich and pretty town, of a joyous aspect 
 and well peopled, near the lake of its 
 own name; it has a theatre, a casino, 
 and some splendid villas, where Italian 
 magnificence is already displayed. A 
 part of the road passes under some 
 beautiful trellis work, belonging, I be- 
 lieve, to the gardens of the neighbour- 
 ing villas, and the view from thence 
 commands all the country to a great 
 distance. The octagonal baptistry of 
 the principal church is a monument 
 remarkable for its antiquity, and is 
 a remnant of the Lombards. In an 
 elegant Utile church, the Adoration of 
 
 the Magi appears to be the last work of 
 the old age of Camillo Procaccini, as 
 we are informed by this pathetic inscrip. 
 tion of the time :—Hic Camilli Procac- 
 cini manus inclitw ceciderunt. The 
 figure of the Virgin has but little grace- 
 fulness and is the weakest part of the 
 painting, which is not, however, des- 
 titute of a sort of variety. 
 
 Near Varese is the famous Madonna 
 del Monte, whose fete the maidens of the 
 neighbourhood were then going to cele- 
 brate (it was in the month of September 
 on the eve of the Nativity of the Virgin). 
 The whole district had that air of joy, 
 which the Catholicism, enlivened by or- 
 naments, ' of the inhabitants of Italy 
 gives to the popular manners of the 
 country. The prospect from the Ma- 
 donna del Monte is varied, immense, 
 and magnificent, extending from the 
 chain of the Alps where Mont-Rose raises 
 its towering summit, as far as Milan. The 
 church and the fourteen chapels, built 
 by the roadside, have some good paint- 
 ings of the best Lombard masters of the 
 fourteenth century. 
 
 I committed the fault of not going 
 to Lugano, which its lake, the frescos of 
 Luini, and its Gazette of the Ticino, 
 render worthy of a visit from the lovers 
 of nature, the arts, and liberty. 
 
 I was delighted with Cosmo : its posi- 
 tion in a species of valley on the banks 
 of the lake and its many towers render 
 it picturesque. The marble cathedral 
 erected by the people is a vast and beau- 
 tiful monument of the era of the revival. 
 Rodari, an able architect and sculptor of 
 the close of the fifteenth century, too 
 little known, executed the elegant gal- 
 lery, the chandeliers of the altar of Saint 
 Lucy, the exquisite pilasters of the organ, 
 the graceful ornaments of a little door, 
 the Christ in his mother's arms, and 
 some other excellent statues. On the 
 outside wall are the remains of an in- 
 scription relative to Pliny, which has 
 been quoted by Gruter and the divers 
 editors of the Latin Epistolary, although 
 it contains nothing very interesting for 
 history. The baptistry is attributed to 
 Bramante. The Nativity, the Adora- 
 tion of the Magi, the Virgin, St. Je- 
 rome and some saints arc by Bernardino 
 Luini ; a Flight into Egypt, the Espou- 
 sals of the Virgin, by Gaudenzio Fer- 
 rari. 
 
 ' D'ornemenls egaye.— Boutir. 
 
up. IX.] 
 
 COSMO. 
 
 The church of San Fedele, the oldest 
 i the town, is of characteristic architec- 
 ire. There are some fine frescos attri- 
 uted lo Camillo Procaccini, and the 
 lapel of the Crucifix is of good archi- 
 jcture. 
 
 The jEdes Jovice presents, under the 
 estibules, the porticos of the court and 
 le staircase, a real museum of antique 
 ascriptions. The device of the Giovio 
 unily is several times repeated on the 
 'alls, Fato prudentior minor, a parody 
 f that somewhat obscure verse of the 
 ireorgics , on the foresight of ravens : 
 
 Aut rerum fato pvudentia major 
 
 motto of a destructive fatalism, little 
 forthy of a scholar and philosopher, 
 ^he Mdes Jovice was the abode of 
 lount Giambattista Giovio, great nephew 
 f Paolo Giovio, a man of erudition, and 
 ulhor of the Letter e lariane, somewhat 
 stentatiously surnamed the Varro of 
 k>smo. The library contains ancient 
 nanuscripls, some of which are slill un- 
 tublished ones of Paolo Giovio, Bene- 
 letto Giovio, Ihe second scholar of this 
 lamily, and of the count Giambattista. 
 
 A magnificent lyceum was founded in 
 > 824. On the front are busts of the il- 
 ustrious literati of Cosmo from Ihe two 
 Minys down to Carlo Gaston Rezzonico, 
 si learned critic and tolerably brilliant 
 >oet of the last century ; busts, which 
 ire strangley enough surmounted by that 
 of Saint Abbondio, which would be more 
 v.uitably placed in the chapel, and its 
 present position might now be occupied 
 ■)y the bust cf Volta, the honour of 
 Cosmo. The library of the lyceum had 
 ii good beginning, and is already exten- 
 sive. It is decorated with a large statue 
 by Bernino of St. Isidore keeping his 
 \jxen. So perpetually laboured is the 
 italent of this artist, that not only is the 
 : air of the saint devoid of every shade of 
 rusticity, but even the calves are formal 
 and have also, in their way, a smack of 
 affectation. 
 
 j Cosmo has a superb literary casino. 
 I This establishment of an Italian town of 
 fifteen thousand souls, is superior to all 
 those of the same kind in Paris. 
 
 The new front of the theatre is a noble 
 piece of architecture, and the interior is 
 pretty handsome; but the players were 
 
 execrable, and I cannot forget a certain 
 Rosina, one of the most affected Italian 
 singers that I ever heard. This worst 
 of the Italian actors is not, however, cold 
 or dull like that of our provincial per- 
 formers : thanks to the language and the 
 physiognomies of the country, it is hearty, 
 boisterous, expressive, and animated. 
 
 On an eminence near the road, is to 
 be seen still standing the tower of Ba- 
 radello, another monument of the intes- 
 tine broils and revolutions of Italy in the 
 middle ages. It is there that Napoleon 
 della Torre was confined in an iron cage 
 until he perished, after nineteen months 
 of torment ; this perpetual chief of the 
 Milanese was made prisoner by the army 
 of the archbishop of Milan, Otho Vis- 
 conti, whom he had expelled; a defeat 
 which overthrew the power of the Tor- 
 riani and brought about the sovereignty 
 of the Yisconti. Voltaire ridiculed these 
 cage stories ; it is clear, however, that the 
 inhabitants of Cosmo shut up in three 
 iron cages Napoleon della Torre and five 
 of his relatives taken with him, because 
 he had inflicted the same punishment on 
 one of their countrymen. The tower of 
 Gabbia, which is still in existence at 
 Mantua, and retains its cage ; and the 
 tower of Placentia, which has also a 
 cage, assert this barbarity ; it even lasted 
 more than two centuries. The impri- 
 sonment of the six Torriani took place in 
 t277; the same captivity is frequent at 
 the end of the fifteenth century : the 
 duke of Nemours and cardinal La Balue 
 underwent it, and Comines confesses 
 that he had an eight months' taste 
 of it. 
 
 CHAPTER IX. 
 
 Lake. — Greek names.— Factory-convent. — Plinlana. 
 Melzi villa.— Fiume Latte.— Frate nuns.— Grave- 
 dona. —Baptistry. — Musso palace. — Sommariva 
 villa. — Basso-relievos of Thorwaldsen. — Villa 
 d'Este. — Vico. — Odescalchi Villa. — Elm. — Paolo 
 Giovio. 
 
 It is difficult to describe the variety 
 and the enchanting localities of the lake 
 of Cosmo ; with its woods, rocks, and 
 cascades, the mildness of the air, and 
 the olive and citron groves that reach 
 down to its banks, it presents an image, 
 
82 
 
 COSMO. 
 
 (BOOK IT. 
 
 as it were, of Switzerland and Italy com- 
 bined ; Greece even seems to be there, 
 and she has given some of her harmo- 
 nious names to sundry places in the en- 
 virons : for instance, Lenno, Nesso, 
 Lecco, Colonia, Corcnno, which natu- 
 rally remind one of Lemnos, Naxos, 
 Leucadia, Colona, and Corinth. This 
 number of Greek names is a proof of the 
 emigration of Ihe Pelasgians into the 
 north of Italy, and ihe name of Cosmo, 
 too, bespeaks a Greek derivation. The 
 Pelasgians were originally from Ar- 
 cadia, ' and on these beauteous shores 
 they found the freshness and charming 
 solitudes of their native vales. 2 
 
 In spite of the singular, and perhaps 
 rather cold, epithet of the great master, 
 Lari 3/axime, 3 the lake of Cosmo does 
 not present, like some others, a great 
 plain of monotonous water; on the con- 
 trary, the scene appears to close, reopen, 
 and renew itself every instant ; its little 
 slraits produce the effect of a succession 
 of lakes, and the headlands which they 
 form present admirable views of diffe- 
 rent kinds. I went over it several times 
 with infinite pleasure, as well as its en- 
 virons, and I could have wished to so- 
 journ longer there. It would not be 
 very expensive to live in this delightful 
 country ; at Balbianino, one of the best 
 situations on Ihe lake, I was shown a 
 very pretty house then let to an English 
 family for fifty Milanese crowns a month, 
 a little under 250 fr. 
 
 On an agreeable acclivity, near the 
 point of Torno, a pretty village which 
 rises in the form of an amphitheatre, 
 may be seen the ruins of an old mona- 
 stery, for the borders of'lhe lake are all 
 covered with chapels, churches, and 
 
 1 It would be easy to make a lengthy note on the 
 origin of the Pelasgians ; it is said now that they 
 came from the land of Canaan; I have adhered to 
 the opinion of D' Anyille, Freret, and Barlhelemy. 
 
 2 According to Strabo, Pompey sent into this 
 country, after it was ravaged by the Rhetians, five 
 hundred Greeks of distinguished families to re- 
 people it. 
 
 3 Oeorg. II. 159. Some injudicious commenta- 
 tors had pretended to discover two lakes in the 
 tori maxime, namely, the lake of Cosmo and Lago 
 Maggiore, a reading rightfully rejected by Iloyne. 
 
 4 Pliny the Elder pretends that Ihe periodical 
 flow takes place every hour : In Comensi. juxta 
 l.artum lacum, fons largus horis singulis temper 
 intumesatacresidet,u. 103 : and Pliny the Younger 
 makes it three times a day, lib. iv. ep. 30. 
 
 5 The ma*t satisfactory explanation of this phe- 
 
 convents, which have a very pictu- 
 resque effect when viewed from the 
 water. The monks of Torno belonged 
 to the timiliati, an order devoted to 
 manual labour, and whose convents, 
 numerous in Lombardy and on the banks 
 of the lake of Cosmo, were woollen 
 manufactories; the workmen lived there 
 with their wives and children, subject 
 to certain regulations. It appears that 
 the trade at Torno was so flourishing, 
 as to cause a relaxation of discipline 
 among the umiliati from Ihe increase 
 of their wealth, and that it was found 
 necessary to suppress this factory-convent 
 in 1571. 
 
 I went down to Ihe Pliniana, the 
 most noted spot on the lake. The Pli- 
 niana was not, as is supposed, the abode 
 of Pliny, but takes its name from (he 
 famous fountain observed by the Elder 
 Pliny and described by the Younger, 
 whose letter, which may be read on 
 the wall, totally differs from the pas- 
 sage in his uncle's Natural History.* 
 On seeing the abundant and impetuous 
 issue of this fountain, the periodical 
 flowing and ebbing of which is still a 
 mystery, 5 I was struck with the might 
 and unchangeableness of nature, al- 
 ways the same though ages pass away, 
 and the admirable order which she 
 preserves amid the wreck of all things 
 human ; science examines, and reason 
 loses itself in researches ; but ever- 
 teeming nature lives, creates, and re- 
 news. The present palace of Pliniana, 
 a massy and formal square building, 
 was erected in 1570 by Anguissola, one 
 of Ihe four chief nobles ofPiacenza, who 
 poniarded the tyrant Pietro Ludovico 
 Farnese, and threw his body out of the 
 
 nomenon is probably that given in a note to Le- 
 maire's Classiques latins: the ebb aud flow, says 
 the nolc, may be produced by the agency of a 
 siphon or tube formed by nature running through 
 the clay and the rock. The follow ing pleasing pas- 
 sage from Pliny's letter, in which ho ingeniously 
 compares the ebb and flow of the fountain to the 
 guggling of a bottle, makes a near approach to the 
 conjecture of the siphon: — "Spiritus ne aliquis 
 occullior os foutis et fauces modo laxat, modo in- 
 cludit, prout Hiatus occurrit, aut decessit expulsus? 
 Quod iu ampullis ceterisque generis ejusdem vidfr 
 mus accidere, quibus non hians, nee slatim patens 
 exitus. Nam ilia quoque, quanquam prona et ver- 
 gentia, per quasdam obluctantis animcB moras 
 crebris quasi singultibus sistunl, quod effun- 
 dunt." i.iv. iv. p. 80. 
 
lllAP. IX.] 
 
 COSMO. 
 
 window. This nobleman died from ter- 
 ror, after Laving discovered the project 
 3f an assassin, who had been long con- 
 cealed under monastic habits in a convent 
 near Cosmo, awaiting an opportunity to 
 surprise him. At every step, even in 
 the bosom of this sweet and smiling so- 
 litude, one meets with the fearful remi- 
 niscences which characterise the history 
 and manners of the Italians at various 
 • epochs. Baradello had been the prison 
 of him, w ho migljt almost be called the 
 ICsesar of Milan, > Pliniana became the 
 asylum of the Brutus of Piacenzia. 
 
 Notwithstanding the authority of Paolo 
 Giovio, the point of Bellaggio must have 
 been the Comcedia of Pliny. 2 There 
 also doubtless is the molli curvamine 
 ■which embraced it. Pliny's description 
 of the two villas that he preferred to his 
 olher houses on the lake of Cosmo is a 
 perfect parallel; it has all the symmetry 
 and the peculiar elegance of that kind of 
 •writing: letters so skilfully composed are 
 rather a book addressed to the public 
 than a correspondence. A singular ana- 
 logy exists between Pliny and Sacy, his 
 translator, a rare occurrence, as those 
 kinds of union are most frequently suffi- 
 ciently ill-sorted ; both were men of great 
 uprightness of character, of a gentle and 
 amiable disposition, living in elegant, 
 polite, and talented society, and born at 
 an epoch of subtilty and decline. 
 
 At Bellaggio the villa of Melzi, ele- 
 gantly embellished by that illustrious 
 Italian, has some paintings by Appiani, 
 and is also remarkable for its gardens and 
 fine prospect. A beautiful group of 
 Dante led by Beatrice, is the work of 
 Professor Comolli, a clever statuary, pa- 
 tronized by Melzi ; he also executed 
 Melzi's sepulchral monument which 
 stands in the chapel. 
 
 The torrent called i7 flume latte, which 
 rushes in foam through the rocks, falls 
 into the lake, and gives its name to the 
 village situated at its feet, reminded me 
 of the cascade of Pissevache, near Mar- 
 tigny. A comparison of these two po- 
 
 1 See the end of the preceding chapter. 
 
 3 Pliny gave the names of Comcedia and Tragcedia 
 to two of the villas he possessed on the lake of 
 Cosmo ; it is probable that Tragcedia was at Lenno, 
 on the other side of the late, nearly opposite, on 
 account of the severe aspect and the rocks of which 
 Pliny speaks in the description of this villa, which 
 shod il like a buskin ; whereas Comcedia, which 
 touched the shore, had only sandals. Lib. ix. ep. 7. 
 
 pular metaphors, intended to produce the 
 same impression, shows all fhe difference 
 between the genius of Italy, and ( if one 
 may say so ) the genius of Switzerland. 
 In this manner may words at times serve 
 to distinguish the character and spirit of 
 nations. The flume latte is dry in winter, 
 and commences to flow in spring, as it 
 is picturesquely painted by Arici, in 
 these correct and well-turned verses : 
 
 Entro al capaci 
 Rivolgimenti d'lntentato speco 
 Arida tace al verno atra sorgenle, 
 E al primo uscir di primavera, intenso 
 Romor di venti e fremiti e procelle 
 Assordan l'antro, come se di mille 
 Edifizi iaggiu fosse il frasluono 
 E la ruina e un mar chiuso e II tremolo; 
 Poi sgorga. 3 
 
 Capuana, theSerbelloni villa, a superb 
 abode in by-gone times, is now deserted ; 
 but it still retains its rivulet, cascades, 
 evergreens, and its view. 
 
 Near to the branch of Lecco, which 
 has not the animated and varied aspect 
 of the Cosmo branch, but is sad and so- 
 litary, stands Varena, favoured with so 
 genial a climate, that, besides its pines, 
 oaks, laurels, cypresses, and numerous 
 olives, the aloe and even the plants of 
 Syria will flourish there. 
 
 The bottom of the lake is superb; it is 
 shut in by the Rhetian Alps which wit- 
 nessed the first exploits of Drusus, 
 
 Yidere Rhsetis bella sub Alpibus 
 Drusurn gerenlem Yindcliei— 
 
 mountains whichsubsequently gave equal 
 renown to great captains of modern 
 times, from the duke of Rohan, the de- 
 termined conqueror of the Valteline, to 
 Macdonald, the vanquisher of the icy fogs 
 and the Grisons. 
 
 On returning by the left, Domaso and 
 Gravedona meet the view. On the 
 mountain between these two small towns 
 the women wear a large gown of brown 
 woollen with a hood like that of the 
 Capuchins : these ladies are also called 
 
 3 L'Origine delle fonti. Milan, 1833. Ariel died 
 at Brescia, his native place, on the 2nd of July 1836, 
 aged fifty-three years. He was a good didactic and 
 descriptive poet, but in lyrical composition he par- 
 tially failed, and in epic totally. The Commenlarj 
 which he published as secretary of the Athenaeum 
 of Brescia are distinguished for purity and elegance 
 of style, and the art of expressing with perspicuity 
 the most abstruse ideas of science and philosophy. 
 
u 
 
 COSMO. 
 
 [Book IV. 
 
 (rate. They adopt this slrauge costume 
 in consequence of a vow made by their 
 mothers, which they religiously observe. 
 But coquetry loses nothing by it; this 
 humble dress does not entirely conceal 
 either their elegant forms or pretty faces; 
 and among the rich, gold, coral, and lace 
 occasionally shine on the robe of the good 
 fathers. 
 
 Gravedona has some importance with 
 respect to art. Its antique and curious 
 baptistry presents on the outside some 
 hieroglyphics and unintelligible basso- 
 relievos ; and the miraculous fresco of the 
 Madonna, as the old annalists relate, 
 threw out such a brightness for two days, 
 in 823, that it moved the son ofCarloman 
 to almsgiving and prayer. At the church 
 of Saint Gusmeus and Saint Matthew, a 
 fine Martyrdom of the two saints, pas- 
 ses for a performance of Guercino, and 
 the ceiling of the choir, by Pamfilio 
 Nuvolone, offers a Glory of Angels with 
 exquisite countenances. The marble pa- 
 lace formerly belonging to the dukes of 
 Alvitto, is of a noble architecture, and 
 has a very fine effect when viewed from 
 the lake. Some arm-chairs in the great 
 hall, bearing the names of the cardinals 
 of the time, have given rise to an opinion 
 that it was once proposed to assemble 
 there the general council, afterwards held 
 at Trent ; a grand Christian consultation, 
 which passed eighteen years in drawing 
 up the doctrines and formulas of our 
 faith, and which might have offered its 
 religious reminiscences to make a new 
 contrast with those of literature, politics, 
 and war, associated with the lake of 
 Cosmo. 
 
 Lower down are discovered the ruins 
 of the stronghold of Musso, an ancient 
 fortification hollowed out perpendicularly 
 in the rock by the indefatigable Giovanni 
 Jacopo Trivulzio. Musso was defended 
 with singular audacity by the famous 
 Giovanni Jacopo Medici, » whose sisters 
 Clarissa and Margaret ( the latter after- 
 wards the wife of Count Borromeo and 
 mother of Saint Charles ), shared his 
 perilous adventures and stimulated the 
 women to augment the fortifications. 
 Francesco Sforza, after ordering the 
 murder of Ectore Visconti, warned to 
 get rid of the instruments of that crime, 
 Medici, and another captain named Poz- 
 xino. The latter was killed ; Medici had 
 
 ■ SeeLlv.m, cli.ii. 
 
 received orders to repair to the castle of 
 Musso ; however, while making the pas- 
 sage he suspected Sforza's intentions, and 
 opened the letter entrusted to his charge, 
 by which he was convinced of the fate 
 that awaited him. He immediately re- 
 placed this letter by another enjoining 
 the governor to transfer to him provi- 
 sionally the command of the fort: and 
 from this rock he braved all the attacks 
 of Sforza both by land and water, became 
 the terror of his race, pillaged all the 
 environs, took possession of the Valteline, 
 and did not consent to make peace until 
 he had obtained, besides the payment of 
 35,000 sequins, the sovereignty of Lecco 
 for himself and his descendants, and the 
 possession ofMeleguano, another fortress 
 between Milan and Lodi, in exchange for 
 the one he occupied. It is painful to 
 behold such men stained by crime; as it 
 restricts the admiration their prodigious 
 courage inspires : how great would their 
 glory have been, if instead of being im- 
 pelled by their own danger and personal 
 interest, they had been actuated by pa- 
 triotism and honour! 
 
 Cadenabbia and Tremezzine, situated 
 on the same side, in the middle of the 
 lake, for position, climate, and their 
 many beautiful villas, are the Baise of this 
 little Mediterranean. The Sommariva 
 villa, although of the bad architectural 
 taste of last century, is one of those 
 splendid seats that would not have been 
 disdained by the luxurious and voluptuous 
 Romans, so severely reprehended by 
 Horace, an Epicurean and poet who had 
 little right to appeal to Romulus, the 
 Elder Cato, or ancient usages. There 
 may be seen an exact copy of Jocond, 
 by Leonardo Vinci, many pleasing pain- 
 tings of modern Italian and French pain- 
 ters, as well as the Palamedes, of Canova, 
 a statue which was accidentally broken 
 when nearly finished, but which was ad- 
 mirably repaired by the artist ; the model 
 of his pathetic Magdalen, and the beau- 
 tiful basso-relievos of the Triumph of 
 Alexander by Thonvaldsen, ordered by 
 Napoleon for the Quirinal palace, and 
 which Pliny, at his early period loo 
 zealous a partisan of museums, would 
 not, if now living, have failed to comprise 
 in the list of those statues expelled and 
 sent into the exile of villas. 
 
 I went down to the villa d'Este, wl ich 
 was inhabited for three years by the 
 princess of Wales. Her cipher may still 
 
Chap. IX. ] COSMO. 
 
 85 
 
 be seen in the drawing-room, and in the 
 theatre that she had built there. This 
 villa bad previously belonged to general 
 Pino ; on the flankof the eminence which 
 commands it, he had built walls and 
 battlements so as to give a tolerably good 
 imitation of Tarragona, of which he had 
 gained possession. These military traces 
 still remain, and they nobly divert one's 
 thoughts from dwelling on the memory 
 of the little Caprea of the English prin- 
 cess. 
 
 At the town of Vico, on returning to 
 Cosmo, is the Odescalchi villa, the most 
 extensive of the many villas on the bor- 
 ders of the lake, and an abode of almost 
 princely splendour, but which struck me 
 as melancholy despite its late magni- 
 ficent embellishments. All the rich 
 wainscoting of this palace are less grate- 
 ful to my taste than the shade of the su- 
 perb old elm planted at its gate on the 
 bank of the lake, with its stone bench, 
 whence one can enjoy so delightful a 
 view of Cosmo, the lake, and the moun- 
 tains. At Vico, in the house called 
 Gallia, now the property of the Fossani 
 family, was the museum, or the gallery 
 
 1 See, in his letters, the candid immodesty of his 
 confessions on this subject [Letlere, p. 12; 1'irabo- 
 schi, t. tii. part ill. p. 905-6), and what he says of 
 his penna d'oro in his letters to Henry 11. king of 
 France, aid to Giambattista Gastaldo. {Lett., p. Si, 
 35; Tiraboschi, ibid.) Cassandra Giovio, a lady of 
 the family of Paolo Giovio, probably his great-niece, 
 born at Cosmo in 1541, seems to offer a perfect con- 
 trast with this writer and even with Giambattista 
 Giovio, the dull but erudite author of Ihe Lettere- 
 lariane, of which we have already spoken. Cassan- 
 dra has left a few poetical compositions, graceful 
 and full of feeling : such is this slanza from a poem 
 she wrote at the age of eighteen, on the day of her 
 marriage with Gerouimo Magnocavallo :— 
 
 Poiche m' bai colta, Amor, a*' lacci tuoi, 
 1' benedico il giorno, e lora, e r anno; 
 Ma tu che tutto in cielo e.ln terra puoi, 
 E se' d' alme gentll dolce tirann.i, 
 Deh ! fa ch' lo piaccia sempre agll occbi suol, 
 Occhl cagion del mio soave affanno ; 
 Che se qual io con lui, sempr' ei Ca meco, 
 Tu non sarai detlo incostante e cieco. 
 
 (Donne piii illuslri del regno lombardo-veneto, 
 Milan, 1828, p. 47.) 
 
 a Lib i. ep. iii. " Only endeavour," says Pliny, 
 \to have a better opinion of yourself; do yourself 
 Justice, and you will receive it from others," 
 
 of Paolo Giovio, the voluptuous asylum 
 of that court prelate and man of letters, 
 who, while passing his life in attendance 
 on princes, or in the seclusion of his 
 museum, must have resided but very 
 rarely in his diocese of Nocera. Besides, 
 there is little to interest in the recollec- 
 tions of Paolo Giovio; this priest, nay, 
 bishop, notwithstanding the elegance of 
 his style, was but a venal and diffama- 
 tory writer.' Paolo Giovio pretended 
 to have built his palace on the site of 
 one of Pliny the Younger's villas. Ac- 
 cording to Benedetto Giovio, the Odes- 
 calchi villa is on the same spot as the 
 delightful Suburbanum of Pliny's mo- 
 dest friend, Caninius Rufus, 2 wilh its 
 gallery where an eternal spring pre- 
 vailed, its impenetrable shade of plane- 
 trees, its canal with verdant banks ena- 
 melled with flowers, and that lake which 
 served as a basin to receive its waters ; 3 
 for the memory of Pliny is predomi- 
 nant over all these shores : he has be- 
 stowed his name on one of the steamboats 
 of the lake, and though more than se- 
 venteen centuries have elapsed, he is 
 still the glory of the country. 
 
 Pliny invited him to write, but Caninius Rufus 
 appears to have preferred a prudent silence : it is 
 sometimes a great advantage to have done notliing. 
 as it is said, and not to have given the measure of 
 one's strength. Pliny's reasons, moreover, seem 
 rather singular : " All other possessions change 
 masters thousands and thousands of times, but the 
 productions of your mind will be always your 
 own." It appears that Caninius Rufus yielded to 
 the persuasions of Pliny; for, in a letter from the 
 latter, the fourth of book viii, we learn that he was 
 engaged in the composition of an epic poem in 
 Greek verse on Trajan's expedition against the 
 Dacians. 
 
 3 Both the French translator of Pliny and the 
 Italian have mistaken the sense in rendering lacus 
 by basin, as the author of the Leltere lariane has 
 demonstrated ; it is the lake itself, as the present 
 aspect of the places still proves. This miscontruc- 
 tion is not the only one that our visit to the coun- 
 try enables us to correct; in the same passage ilia 
 portions, verna semper, does not seem rightly ren- 
 dered by portico where reigns an eternal spring, 
 but by alley arched over by trees : thus the delight- 
 ful avenue of holms leading from Albano to Castel- 
 gondolfo is still called the Gallery. A French trans- 
 lator of Catullus has bestowed the usual epithet 
 of tranquille on the lake of Garda, which is the 
 most agitated of all the Italian, lakes. 
 
M 
 
 BERGAMO. 
 
 [Book V, 
 
 BOOK THE FIFTH. 
 
 BERGAMO.-BRESCIA.-VERONA.-VICENZA. 
 
 CHAPTER I. 
 
 Vaprio. ~ Colossal Virgiu. — Bergamo. — Fairs. — 
 Duomo.— Santa Maria Maggiore.-Colleoni cha- 
 pel.— Italian military genius. 
 
 On tbc road from Milan to Bergamo 
 isYaprio, where there isto be seen, at the 
 palace of Caravaggio, a colossal Virgin 
 painted in fresco, and which, according 
 to Vasari, appears to be by Leonardo 
 Vinci instead of Brarnante. The head 
 reaches to the first floor, the rest of the 
 body is hidden by a staircase, and has 
 disappeared among the new buildings 
 subsequently erected. An expression 
 of modest bashfulness is predominant in 
 this figure despite its enormous propor- 
 tions, so very unsuitable for such a sub- 
 ject. 
 
 Most recent travellers have forgotten 
 or neglected Bergamo, a town remark- 
 able for monuments, aspect, and posi- 
 tion, which occupies the top and sides of 
 a steep hill and extends along its base. 
 Its old established and splendid fair 
 (which existed as early as 913) was just 
 over when I arrived ; but enough was 
 left to allow one to judge of its impor- 
 tance. The square building that it oc- 
 cupies is one of the principal monuments 
 of the town, and contains five hundred 
 and forty shops with four great halls at 
 the corners. Fairs were the means of 
 exchange in the middle ages, and they 
 owe their origin to the devotional prac- 
 tices, pilgrimages, and indulgences 
 granted by the popes in those times, and 
 though they may seem to belong to the 
 infancy of commerce, they are still ser- 
 viceable to trade. The fair of Bergamo 
 is the principal vent for the cloths ma- 
 nufactured at Cosmo and the silks of 
 Lombardy.' Commercial science does 
 not seem to have kept pace with the 
 intellectual sciences : in Italy I have 
 
 « The Bergamese merchants sell these goods in 
 london, where several of them have warehouses ; 
 their fortunes are immense. Zurich also carries 
 
 several times met on the road the car- 
 riage loaded with goIdthatM. Rothschild 
 sends, I believe, every month to Naples ; 
 it seemed to me that such a proceeding 
 was somewhat retrograde since the dis- 
 covery of bills of exchange, an excellent 
 invention due to the Jews when they 
 were driven from France by Philip 
 Augustus and Philip-the-Long, when, 
 instead of being courted, respected, and 
 a la mode, they were obliged to hide the 
 effects and property they left there, and 
 to give foreign merchants and travellers 
 private bills on the persons to whom 
 they had confided their wealth. 
 
 The Duomo, an old church of the Lom- 
 bard Arians, has been restored at various 
 times, and last in the middle of the se- 
 venteenth century. An elegant St. Be- 
 nedict is by Previtali of Bergamo, one 
 of the best pupils of Giovanni Bellini, and 
 it has the magic colouring of that school. 
 A Crucifixion and the great baldachin 
 of the high altar are the work of Gio- 
 vanni Paolo Cavagna, a clever painter 
 of Bergamo, at the end of the sixteenth 
 century ; St. Fermus and St. Rusticus 
 in prison is by Cignaroli, a celebrated 
 Veronese looked upon as a prodigy in 
 his time, to whom the emperor Joseph II. 
 said that he was come to Verona to see 
 the two greatest wonders of the ancient 
 and modern world, the amphitheatre and 
 the first painter of Europe. The St. 
 Vincent, in the chapel of that name, is 
 by Carlo Ceresa, a painter of Bergamo 
 in the seventeenth century, who had 
 studied the models of a better era. The 
 second sacristy has some remarkable 
 pictures; three small ones by Lorenzo 
 Lotto, a Venetian long resident at Ber- 
 gamo, a pupil of the Bellini and grace- 
 ful imitator of Leonardo; the Christ 
 risen, by Morani ; a Deposition from 
 the Cross, by young Palma, and St. The- 
 resa, by Antonio Balcstra, a good painter 
 
 on this trade advantageously; there is a colony of 
 Its denizens established at Bergamo, where thej 
 have a chapel and minister. 
 
Chap. I.] 
 
 BERGAMO. 
 
 87 
 
 of Verona, of the end of the seventeenth 
 century, a pupil of Carlo Maratti, and 
 like his master, not exempt from affecta- 
 tion. The antique baptistry, brought 
 from the neighbouring church of Santa 
 Maria Maggiore, and since become a 
 kind of oratory, is an old and barbarous 
 monument of an uncertain date. 
 
 The finest church of Bergamo, Santa 
 Maria Maggiore, with its lions of red 
 marble supporting the columns of the 
 front, displays the first traces of the 
 former power of Venice. The fresco of 
 the Assumption, by Cavagna and Ercole 
 Procaccini, is majestic, full of life, and in 
 Correggio's style. The St. Roch and 
 the St. Sebastian, by Lolmo, an es- 
 teemed Bergamese painter of the six- 
 teenth century, are in the taste and 
 drawing of the fourteenth. The Pas- 
 sage of the Red Sea is by Luca Gior- 
 dano ; a Deluge, by Liberi, has energy 
 and variety. There is a fine painting in 
 this church by Talpiuo, of Bergamo, the 
 pupil and imitator of Raphael ; the frescos 
 of the roof, on the left of the high altar, 
 are a remarkable performance of Cyrus 
 Ferri, a Roman painter, the companion 
 of Pietro de Cortone and his cleverest 
 pupil. Above the little door is a small 
 fresco, much injured but still beautiful, 
 by Giovanni Cariani, who with Cavagno 
 and Talpino forms the triumvirate of the 
 best Bergamese painters. 
 
 The Colleoni chapel, founded by a 
 famous warrior who is buried there, has 
 an elegantly ornamented front. The 
 hero is mounted on a great horse of gilt 
 wood, placed on the top of his superb 
 mausoleum, a monument of interest for 
 the history of art, by Amadeo, a Pavian 
 artist of the fifteenth century, who also 
 executed the three statues of the altar 
 and some of the sculptures on the front. 
 Colleoni, who first made use of field ar- 
 tillery and invented ordnance carriages, 
 belongs to the great school of the Sforzas, 
 Braccios, Carmagnols, and Maltestis, 
 who founded the art of war in Europe, 
 and who prove that military genius, once 
 the glory of Italy, has never been extinct 
 among the. Italians. The Colleoni cha- 
 pel contains a large painting, represent- 
 ing the Battle in which Joshua stopped 
 the sun, by Giuseppe Crespi, called 
 Spagnuolo, a fantastical painter of the 
 Bolognese school in its decline ; and a 
 Virgin full of grace, by Angelica Kauff- 
 man, which forms a strange contrast 
 
 with the capricious and confused boldness 
 of the Joshua. The frescos of the roof 
 are by Tiepolo, and the Mattathias by 
 Cignaroli. 
 
 The church of Saint Erasmus is orna- 
 mented with a painting dated 1538, by 
 Colleone.a good painter of Bergamo,who, 
 being neglected and despised in his own 
 country, left it to attach himself to the 
 court of Spain : just before his departure, 
 the unfortunate artist, conscious of his 
 talent, painted on the front of a house 
 a horse which has been much praised by 
 some writers, and added these words— 
 Nemo propheta'm patria. 
 
 The church of Saint Andrew is re- 
 markable for its paintings. The Virgin, 
 her Son, and some saints, is an exqui- 
 site work by Moretto. The three fine in- 
 cidents from the life of the saint, on 
 the roof, by Padovanino, are highly ef- 
 fective, and perhaps this painter, so noted 
 for his skill in foreshortening, never 
 displayed a more astonishing example 
 of it. 
 
 Saint Alexander in colonna, a church 
 of the fifteenth century, has a rich and 
 novel cupola, and many beautiful paint- 
 ings, principally in the three sacristies. 
 A Last Supper, of good design and co- 
 louring, though somewhat tinctured with 
 the dryness of the fourteenth century, is 
 by Caligarino, who from a shoemaker 
 became an artist in consequence of the 
 compliment paid him by his clever com- 
 patriot, Dossi, ofFerrara, on the shoes 
 which he carried him appearing painted. 
 A St. John Baptist, which has been at- 
 tributed to the elder Palma, is by the 
 younger; and in the oratory near the 
 first sacristy is a good painting by Gio- 
 vanni Jacopo Gavazzi, dated 1512. 
 
 Saint Bartholomew has a delightful 
 Madonna, one of the best works of 
 Lotto ; the next painting on the left is 
 attributed to the elder Palma ; but it 
 may possibly belong to the younger. 
 The sacristy contains five of Bramanti- 
 no's works ; three of Lotto's ; a youagSt. 
 John, a masterpiece of Guercino or Ce- 
 sare Gennari, is wrongly attributed to 
 Bassano. 
 
 Saint Alexander della Croce has many 
 fine paintings ; a Deposition from the 
 Cross, by Cignaroli; an Assumption, 
 by Bassano ; the St. Anthony the Abbot, 
 by Talpino ; the Coronation of the Vir- 
 gin, by Moroni, and the two side pain- 
 tings, attributed to Andrea Schiavone, 
 
Mt 
 
 BERGAMO. 
 
 I BOOK V. 
 
 a happy imitator of Titian : in the sa- 
 cristies, St. Nicholas of Bari, by the 
 elder Palma ; a Crucifix, by Previtali ; 
 another by Moroni ; four little saints, by 
 Brarnantino, and other works of the best 
 Bergamese masters. 
 
 The little oratory of Saint Jesus has, 
 under a glass cover, an extraordinary 
 painting of Christ carrying his cross, 
 the only work at Bergamo by the cele- 
 brated and prolific painter Giambattista 
 Castello, called il Bergamesco, who died 
 in 1570, court painter at Madrid. 
 
 Santa Maria delle Grazie has the 
 St- Diego of Francesco Zucco, a good 
 Bergamese painter, and pupil of the 
 Campi, the rival of his clever compa- 
 triots Talpino and Cavagna; the paint- 
 ing of the high-altar is by the latter. 
 
 At Santa Maria del Sepolcro is the 
 St. Sigismund, one of Previtali's master- 
 pieces. 
 
 CHAPTER II. 
 
 School at Santa Grata.— Library. — Municipal patrio- 
 tism of the Italians. — Carrara school.— Painting 
 perpetual in Italy. — Singers of Bergamo. — Old 
 palace. — Tasso's Bergamese origin. — Palazzo della 
 Podestadura.— Harlequin. 
 
 The small church of the Benedictine 
 nuns of Santa Grata, with its gilding 
 and tasteful ornaments, has all the bril- 
 liancy of a drawing-room. It contains 
 a much-admired painting, which has 
 been at Paris, the Virgin in an aureola 
 and several saints beneath, the master- 
 piece of Talpino, thought worthy of 
 Raphael by Yasari. This Bergamese 
 convent of Benedictines, having been 
 suppressed by an imperial decree given at 
 Compiegne (one might call it a capitulary 
 of the time of Charlemagne ) on the 251h 
 April J 810, was not suffered to revive, 
 as most of the other women convents in 
 Lombardy, except on the condition of 
 becoming a girls' school, so stubborn and 
 unchangeable is the Austrian govern- 
 ment in its system of schools. 
 
 The old convent of the Holy Ghost is 
 converted into a house of industry. 
 The church offers some fine celebrated 
 paintings : St. Anthony of Padua 
 performing a miracle to convert a 
 heretic, a painting of amazing effect, is 
 not by Dominico, but Giovanni Viani his 
 father, a pupil of Guido ; the Madonna 
 
 by Lotto, in which the little St. John 
 playing with a lamb shows a joy so 
 lively and natural, is a charming figure, 
 that, as Lanzi says, neither Raphael nor 
 Correggio would have surpassed- The 
 Daniel in the lions' den and the St. 
 Francis, by Cavagna, placed on each 
 side this picture, sustain their dangerous 
 proximity tolerably well. 
 
 The library of Bergamo has forty-five * 
 thousand volumes, the gift of private in- 
 dividuals. The Carrara school of paint- 
 ing and architecture was likewise found- 
 ed by the generous man whose name it 
 bears, Count Jacopo Carrara. The 
 Italians evince a love of art and of 
 their native towns truly estimable, since 
 it is habitual, and if its exercise be un- 
 productive of glory, it has at least the 
 advantage of being useful. This feeling 
 impels them to a sort of partial benevo- 
 lence somewhat singular. I was some- 
 times surprised at the favour accorded to 
 certain plays, as well as to certain actors 
 and actresses : but I learned that it 
 was because the author or performers 
 were of the town; noslro Veronese, 
 noslro veneziano, nostro ferrarese, bo- 
 lognese, etc. , is an expression of every- 
 day use, to designate some compatriot 
 artist or writer. The Carrara school 
 contains many paintings attributed to 
 various masters ; a portrait of Raphael, 
 supposed to be by himself, seems worthy 
 of him for the sweet and noble expres- 
 sion of the physiognomy. Among other 
 portraits are seven by Van-Dyck, two 
 by Titian, one by Pordenone, one by 
 Giorgione, one by Albert Durer, and one 
 by Holbein. The Galatea is by Orbetto; 
 a small painting of Christ between the 
 two thieves, of 1456, by Vincenzo Foppa, 
 is affecting and clever for that epoch ; its 
 inscription, Vincenllus Brixiensis fecit, 
 decidedly proves that this illustrious 
 painter belongs to Brescia, and not to 
 Milan, as Lomazzo and his followers 
 have pretended. Four Bacchanals, 
 three of which are copied from Titian, 
 arc by Padovanino; a St. Catherine is 
 by Lotto; the Virgin, the Infant Jesus 
 and four saints by the elder Palma ; a 
 Holy Family, by Parmegiano; a Nep- 
 tune, by Rubens; two Piety s and a 
 Magdalen are by Annibale and Agostino 
 Carracci. A cabinet of prints, a collec- 
 tion of medals, and a pretty good number 
 of plasters, likewise make part of the 
 Carrara school. It is astonishing that, 
 
i Chap II. ] 
 
 BERGAMO. 
 
 s9 
 
 with so many helps and such means of 
 study, the Italian school has not attained 
 a greater eminence in the last three cen- 
 turies. Possibly this multitude of such 
 i perfect models is an obstacle to origin- 
 I alily and truth ; artists, instead of looking 
 within to their own resources, turn to 
 ' things without, and w ander in a vague 
 ■ and sterile imitation; and instead of ex- 
 pressing nature, they ape Titian, Ra- 
 phael, orGiulio Romano ; copying and re- 
 peating instead of creating. The art then 
 i becomes a kind of trade, an easy, regular, 
 and continuous occupation which recalls 
 1 the remark made w ith singular self-gra- 
 1 tulation by Scipio Mallei, that if they 
 paint badly in Italy, at all events they 
 are always painting. 1 The musical ly- 
 ceum directed for forty years by Mayer, 
 the clever Bavarian composer, is another 
 institution of art honourable to Bergamo. 
 By a kind of miracle, this little town 
 alone, has produced a greater number 
 of emineut singers than any city in Italy ; 
 hence has escaped during thirty years 
 past that flight of warblers, those har- 
 monious tenors who have enchanted Eu- 
 rope, from Monbelli, Davide father and 
 ' son, to the incomparable Rubini. 
 
 Under the portico of the Palazzo vec- 
 chio della rayione, or palace of justice, 
 is a great statue of Tasso in Carrara 
 marble. The father of the bard of the 
 Gierusalemme was of Bergamo; misfor- 
 tune and proscription had obliged him 
 to quit the land of his birth, and to be a 
 wanderer in Italy and France, for ad- 
 versity is traced back and seems here- 
 ditary in this poetic family : Ludovico 
 Tasso, the maternal uncle, who was to 
 Bernardo in the stead of a father, had 
 been murdered in his house by robbers. 
 This statue of Torquato seems to protest 
 against the injustice of fate, which de- 
 prived the inhabitants of Bergamo of the 
 honour of such a compatriot; it is an 
 expression of illustrious regret and noble 
 sorrow, a partial appropriation of the 
 great man whom they lost, after passing 
 among them the first days of his infancy. 
 Bergamo, the primitive country of Tasso, 
 
 » Verona illuslrala, part, in, fol. 143. 
 
 * See his beautiful sonnet on Bergamo : Terra, 
 che 'I Serio bagna, etc. Rime, part, n, 448, and the 
 liHt. inerlile, Ixxrii, Ixxxvi, cxxxi, and others, pub- 
 lished at Pisa in (827. 
 
 3 "Pensa che questa vita e simile ad una Bera so- 
 leane e popolosa, nella quale si raccoglie grandis- 
 slma turba di mercaati, di ladri, di giacatori ,• 
 
 seems worthy to have given him birth, 
 by the interest it ever continued to take 
 in him. When he was detained in the 
 hospital of Saint Anne, the town sent a 
 petition to the duke of Ferrara in his fa- 
 vour, which was presented by one of its 
 first citizens ; there was also sent as a 
 present at the same time a lapidary in- 
 scription interesting to the house of Este, 
 which its sovereigns had long coveted. 
 After his deliverance, Tasso went to Ber- 
 gamo, was visited by the magistrates, 
 enthusiastically welcomed by his friends, 
 his admirers, and the lovely dames ; and, 
 although it was fair time, his presence 
 was quite an event. Tasso has more 
 than once spoken of Bergamo as being 
 really his country, in his sonnets, dialo- 
 gues, and letters, 2 and the comparison 
 he has made of the miseries of human 
 life to the perplexities of a great fair may 
 be regarded as a reminiscence of this 
 town. 3 
 
 The civic palace {della Podestadura), 
 is one of the finest palaces planned by 
 Scamozzi, but the upper part, which is 
 not by him, and the statues over it, are 
 in very bad taste. The great hall offers 
 several remarkable paintings : St. An- 
 drew d'Avellino celebrating mass, by 
 Talpino; a Virgin, the Infant Jesus, 
 with several saints overhead, and two 
 Venetian magistrates kneeling below, 
 by Felice Brusasorci, a noble and graceful 
 painter ; the great Ccenaculiim, by Bron- 
 zino. The same piece contains also nu- 
 merous portraits of cardinals and other 
 illustrious Bergamesc. The council- 
 chamber is not less curious : there are 
 a portrait of Bembo, by Titian ; the 
 Adulterous woman, by Talpino ; a ceiling 
 by Francesco Bassano, and the original 
 designs of the great architect, the au- 
 thor of the plan, so badly followed, of 
 this very palace della Podestadura. 
 
 It is the commonly received opinion 
 that Harlequin sprung from the Tallies 
 near Bergamo, but German criticism and 
 erudition have just found him an Etrus- 
 can genealogy.* 
 
 chi piimo si parte, meglio allogia : chi plii indugiai 
 sistanca, ed invecchiandodivien bisognosodi molte 
 cose; e uioleslato da' nemici, e circondalo dall' in- 
 sidie; al Dne muore iofelicemente." Letter to bis 
 kinsman the cavalier Enea Tasso, of Bergamo, 
 cxxxlx of the Lett. ined. 
 
 4 see Schlegel's Course of dramatic lileraturt, 
 lesson YI1 !. 
 
 8. 
 
w 
 
 ISEA. 
 
 [Book V 
 
 CHAPTER III. 
 
 Gorlago.— Tower of Telgate;— of Palazzolo.— View. 
 —Mount Coccaglio.^-Fnio santo.— Caslleof Cale- 
 plo.— Vale of Calepio.— Ancient towers.— Lake of 
 Isea.— Lovera.— Cenolapb by Canova.— Orrldo del 
 Tinazzo. — Pisogna.— Iron foundry.— Cascade. — 
 Tavernola.— Monle d'lsota— Foursisters hermits. 
 —Isea. — Predora— Odd ruin.— Sarnico.— Monteo 
 chio.- Vengeance by dishonoured maidens. 
 
 The lake of Isea and its environs, 
 (hough nearly always neglected, are 
 worth a visit. This corner of Upper 
 Italy is distinguished for his natural 
 hcauties, its works of art, and the pro- 
 ductions of industry. 
 
 At the village of Leriate, the principal 
 church has a fine picture by Morone. 
 The greater part of the churches of these 
 villages have good paintings by Lom- 
 bard or Venetian masters. 
 
 The church of Gorlago, embellished 
 with stuccos and gilding, possesses some 
 valuable old paintings. There is a hall 
 in this same village, painted in fresco, a 
 grand and splendid work by an un- 
 known author, which is worthy of a 
 palace. 
 
 Telgate begins that chain of flourish- 
 ing villages which occupy the vale of 
 Calepio. The tower is of great anti- 
 quity. 
 
 A vast steeple ornamented with ele- 
 gant basso-relievos by S. Marchcsi, has 
 been erected on the top of the rock of 
 Palazzolo. From this species of watch- 
 tower the view extends afar all round 
 the country, embracing the Duomo of 
 Milan and the tower of Cremona. 
 
 Mount, Coccaglio, above the villages of 
 the same name, offers another marvel- 
 lous prospect. Up two thirds of the as- 
 cent is an ancient monastery now be- 
 come an immense cellar, where the 
 sweet and rather pleasant wine of the 
 country, known by the name of vino 
 santo, is prepared and stored ; this 
 wine, which every body makes at home, 
 is dearer and held in higher esteem than 
 all the most boasted foreign wines. Be- 
 side the grand Loggia is a chamber oc- 
 cupied by prince Eugene in the campaign 
 of 1706, where, after seeing the greater 
 part of that army which was going to 
 deliver Turin file off, he dictated to his 
 secretary a letter for the emperor, begin- 
 ning with these words :— " I write to you 
 from the finest point of view there is in 
 Italy." On the door of this historical 
 
 chamber these three words, unnecessarily 
 enough, are inscribed : Intra, vide, ad- 
 mira. 
 
 The castle of Calepio, which is not the 
 ancient manor house of that family, but 
 the palace built in 1430 by Count Trus- 
 sardo Calepio, rises majestically on the 
 steep bank of the Oglio, which foams 
 along at its feet. The vale of Calepio 
 enjoys the mildest temperature, and" 
 some of its enormous mulberry trees 
 are anterior to the introduction of silk- 
 spinning. The numbers of antique towers 
 covering the neighbouring hills for- 
 cibly recall the cruel dissensions of the 
 Guelphs and Gibelines; some of these 
 towers maintain their primitive eleva- 
 tion, but the most part have been lowered 
 into houses, a sign of the defeat of their 
 occupants. 
 
 Among the numerous boroughs and 
 villages which border and embellish the 
 shores of the lake of Isea, at once so 
 smiling and sweet, so well cultivateu and 
 so wild. Lovera and Pisagna are the 
 principal. Lovera, an ancient borough, 
 injured in the wars between the Guelphs 
 and Gibelines, was more especially the 
 victim of Pandolfo Malatesla, lord of 
 Bergamo, who to chastise its rebellion, 
 repaired thither wilh his army in the 
 first days of October 1415 : he took it, 
 ordered the inhabitants to quit, and al- 
 lowed them no more time than a candle 
 would last that he had ordered to he 
 lighted ; he afterwards sold the houses 
 and land. Lovera has two great and 
 rich churches adorned with paintings, 
 and a fine cenotaph by Canova, one of the 
 repetitions of that of Volpato, • devoted 
 by Count Tadini to his son, a young man 
 of great promise, who was crushed by the 
 ruins of an arch. At Castro, near Lo- 
 vera, is a narrow abyss, where the torrent 
 justly called the Orrido del Tinazzo pre- 
 cipitates itself with a roaring noise. Pi- 
 sagna, a small trading town, has a large 
 square with a piazza opposite the lake, a 
 modern church of the Corinthian order, 
 and a fine iron foundry in a most pictu- 
 resque spot at the foot of a majestic cas- 
 cade. 
 
 The Fenaroli palace, at Tavernola, 
 enjoys from its terrace one of the finest 
 prospects of the lake, particularly at 
 sunrise. But the wonder of the lake of 
 
 ' Cicognara has pointed out three repetitions of 
 this cenotaph ; the one here alluded to mast be the 
 fourth. 
 
Chap. IV.] 
 
 BRESCIA. 
 
 91 
 
 Isea, which distinguishes it from the 
 five other lakes of Lombardy, although 
 the smallest, is the high mountain, monte 
 d'Isola, which shoots up from its bosom ; 
 a mountain crowned by the sanctuary of 
 the Madonna and adorned at its base by 
 yineyards, woods, fields, and meadows 
 with fort Martinengo, its battlements and 
 tower, once a kind of telegraph of the 
 Guelphs and Gibelines. At the foot of 
 this superb peak crouch, scarcely rising 
 above the water, two little islands which 
 enhance its majesty. The chronicles of 
 the convent of Conventuals relate that 
 four maiden sisters, seized with a holy 
 enthusiasm, resolved to seclude them- 
 selves and live alone on four of the 
 highest points on the borders of the lake 
 whence they might be able to see each 
 other : the monte d'Isola was one of the 
 retreats of these maiden hermits who 
 were actuated only by the pure senti- 
 ments of love to God and mutual affec- 
 tion. 
 
 Isea, the principal port on the lake, 
 takes its name, it is said, from a temple 
 of Isis, a proof of its antiquity. By the 
 side of a rugged rock advaucing into the 
 lake, Predora shows its abundant vege- 
 tation of orange and lemon trees. A 
 tower, one half of which has been de- 
 molished from top to bottom, owes its 
 extraordinary ruin to the hostility of two 
 brothers, one aGuelph.the other a Gibe- 
 line, to whom it had fallen in heritage ; 
 the first wished it to stand, the second 
 to be pulled down. Sarnico, a populous 
 trading borough, with a spacious square, 
 stands close by where the rapid and 
 noisy Oglio issues from the lake. 
 
 The summit of Montecchio, formerly 
 the site of a monastery, is now occupied 
 by a beautiful villa hidden by a wood of 
 evergreens. The view, at once smiling, 
 varied, and extensive, is one of the most 
 splendid in the country. The ruined 
 castle was, in the thirteenth century, the 
 theatre of an event, noticed and sung by 
 Alfieri, 1 which furnishes another proof 
 of the energy of that age and also of the 
 women of the country. Montecchio was 
 then held by two brigand chiefs, Tizzone 
 and Giliolo, from whose violence the 
 whole country suffered, and near Isea 
 resided two young orphans, Tiburga and 
 Imazza, daughters of Girardo Oidofredi 
 whom they had recently lost. Tizzone 
 
 « See the following chapter. 
 
 and Giliolo, conscious that their proposals 
 to marry their neighbours would not be 
 accepted, made a forcible entrance dur- 
 ing the night, with their men, into the 
 villa of these noble ladies, and violated 
 their persons. But Tiburga and Imazza, 
 instead of bashfully deploring their in- 
 juries and killingthemselves like Lucre- 
 tia and other heroines of the same kind, 
 flew to Brescia, raised the inhabitants to 
 avenge the outrage, and, followed by an 
 armed band, with thirteen women who 
 had assumed cuirasses and military habi- 
 liments like themselves, laid siege to the 
 rock of Montecchio. The defence was 
 obstinate; but at last Tiburga, having 
 placed a ladder, met Giliolo in the breach, 
 the very man who had dishonoured her, 
 smote off his head with her sword, and 
 showed it to her companions in arms, 
 crying out : — "God has given me the 
 victory ; so may the wicked perish ! " 
 Tizzone, after the taking of the fort, was 
 discovered and taken in a subterranean 
 hiding-place by Tiburga, whom he 
 wounded with his lance, but she plunged 
 her poniard in his heart. The bodies 
 of Giliolo and Tizzone were thrown into 
 the Oglio, and Imazza and Tiburga mo- 
 destly retired to their villa, became the 
 wives of two brave inhabitants of Brescia, 
 and began a long posterity who reli- 
 giously preserved the arms which their 
 two ancestors had used so courageously. 
 
 CHAPTER IV. 
 
 Brescia.— Antique temple.— Statue of Victory.— Bro- 
 letlo palace. — Brigitla Avogadro. — Women of 
 Brescia.— Bayard"s house. 
 
 Brescia is a wealthy trading town of 
 nearly forty thousand inhabitants ; it has 
 some fine paintings and noble edifices; 
 but its various merits partially escaped 
 me on my first journey, owing to the 
 discovery of an antique temple, which I 
 have since visited every year and watched 
 its excavations w ith great interest. Doc- 
 tor Labus had endeavoured to restore the 
 inscription on the pediment, of which 
 some few letters only remained ; he was 
 of opinion that Vespasian erected a mo- 
 nument in the town of Brescia, probably 
 on account of the succour that it af- 
 forded him when he seized on the em- 
 pire after defeating the forces of Vitel- 
 lius. This was but a conjecture, but the 
 doctor has since had the rare antiqua- 
 
y-2 
 
 BRESCIA. 
 
 [Book V 
 
 rian triumph of seeing his hypothesis 
 confirmed by the finding of a portion of 
 the original inscription. When I first 
 contemplated these beautiful marble co- 
 lumns which had been buried so long, 
 I could not suppress my veneration lor 
 a soil which is equally productive of the 
 wonders of art and the blessings of na- 
 ture, where one need only dig to draw 
 from its bosom chefs-d'oeuvre or illus- 
 trious mementos of antiquity ; a soil not 
 less prolific of fruits, than teeming with 
 monuments. 
 
 In the grand hall of the Gymnasium 
 there were exposed sixteen figures dis- 
 covered only some days before, among 
 which, was a superb statue of Victory, 
 perhaps the largest and finest of all those 
 in bronze : in the following year this 
 statue had become an image of Fame, 
 and in accordance with this change, a 
 kind of large oval tablet of disagreeable 
 effect had been placed in her arms, on 
 which she appeared to be writing. This 
 Fame of 1827 had not probably attained 
 her last metamorphosis. In the absence 
 of interests, principles, and discussions 
 of a graver kind, the Italians turn the 
 natural inconstancy of our judgments 
 and opinions upon their statues and mo- 
 numents, of which they are ever chang- 
 ing the names, attributes, and destina- 
 tions. As a consequence of that artistic 
 and municipal patriotism, spoken of in a 
 
 1 The carroccio was a four-wheeled car drawn 
 by four pair of oxen. It was painted red, and the 
 oxen drawing it weie coTered down to their feet 
 with red cloth : a mast, also painted red, rose from 
 the middle of the car to a great height, and was 
 surmounted by a gilt globe. The flag of the town 
 floated on high between two white sails; lower 
 down, towards the middle of the mast, a Christ 
 placed on a crucilix with extended arms seemed to 
 bless the army. The councils of war were held on 
 this carroccio, and the military chest, the sur- 
 geon's stores, and a part of the booty were kept 
 tbero. It was not allowed to go out till authorised 
 by a public decree, and was always accompanied 
 by some hundreds of veterans armed with halberds 
 and lances. A platform was set apart on the front 
 for some of the most valiant soldiers whose duty it 
 was to defend it; behind, another platform was oc- 
 cupied by the musicians with their trumpets. 
 Divine service was celebrated on the carroccio be- 
 fore it left the town, and there was often a chap- 
 lain attached to it, who accompanied it to the held 
 of battle. The loss of the carroccio was reckoned 
 the greatest ignominy which could befall a town; 
 all the choice men of the army were therefore se- 
 lected for the guard of the sacred car, and the 
 decisive strokes were generally made in Its vicinity; 
 It was the rem esse ad triarios of the Romans or 
 
 preceding page, and which is to be found 
 throughout Italy, the town has made 
 great sacrifices and a considerable outlay 
 in order to establish a museum of anti- 
 quities on the very ruins of the disco- 
 vered temple. This museum, consisting 
 of monuments withdrawn from the 
 earth, independently of the statue of 
 Victory and other bronzes, contains se- 
 veral basso-relievos, trunks, and frag- 
 ments of statues in marble, tasteful or- 
 naments, many articles in glass and 
 earthenware, a fine mosaic pavement, 
 and about four hundred inscriptions, the 
 greater part of interest for the history of 
 Brescia and even of Italy. 
 
 I have since passed several days at 
 Brescia, and inspected every thing mi- 
 nutely under the guidance of one of its 
 most distinguished inhabitants, whose 
 attentions were truly indefatigable. The 
 revolution of 1797 and the converting 
 the old palace of Broletto to another use, 
 as hotel of the prefecture, at present the 
 seat of the delegation, a law court and 
 prison, have nearly effaced all that was 
 interesting in an historical point of view. 
 I should have wished to find there the 
 high mast of that carroccio ' won from 
 the Cremonese in 1191, in the bloody 
 field of Rudiano, a symbol of the mili- 
 tary and religious liberty of the repub- 
 lics in the middle ages, which the de- 
 magogues of the last century destroyed, 
 
 the chargo of the vieille garde. The carroccio was 
 devised by Erlhert, archbishop of Milan, during 
 the war of the Milanese with the emperor Conrad- 
 the-Sallc : it was like the ark of the covenant to the 
 tribes of Israel. This singular standard completed 
 the military system of the Lombards at that epoch; 
 it was necessary to augment the importance of the 
 infantry belonging to towns by rendering it formi- 
 dable, in order to oppose it to the cavalry of the no- 
 bles : the carroccio gained Ibis object ; the infantry 
 w hen obliged to subject its movements to those of a 
 heavy car drawn by oxen, acquired a more weight, 
 solidity, and self-confidence; retreats were effected 
 more slowly and consequently in belter order, and 
 flight, otherwise than disgraceful, became impos- 
 sible. "It is not irrelevant to observe,''' says M. do 
 Sismondi," that the oxen of Italy have a more 
 lightsome gait and are much quicker than in 
 France; so that their pace is better adapted to the 
 march of infantry." [Hist, des Rep. Hal. du Moyen 
 age, chap, vi.) The use of artillery was one of the 
 chief causes for discontinuing the carroccio, which 
 only figured afterwards in certain cereruouies. lu 
 Tassoni's Secchia rapita there is an exact and poetlu 
 description of the carroccio :— 
 
 Ecco il carroccio uscir fuor delta porta 
 
 Tutto coperto dor, etc. 
 
 Cant, t. p- 98, 
 
Chap. IV.] 
 
 BRESCIA. 
 
 'ii 
 
 with the portrait of Brigitta Avogadro, 
 who, leading the women of Brescia armed 
 with cuirasses and lances, valiantly re- 
 pulsed the redoubtable Piccinino, in the 
 assault he made on their town in 1412. 
 The ladiesof Brescia have left off fighting, 
 but they seem still to be somewhat fiery, 
 if we may judge of them from the sati- 
 rical verses of Alfieri : — 
 
 Veggio Bresclane donne ioiquo speglio 
 
 Farsi de' ben forbili pugnaletti, 
 
 Cui prova o amante inhdo, o sposo veglio. 
 
 A Brescian of the family of the brave 
 ; Brigitta, count Ludovico Avogadro, has 
 I teen singularly calumniated on the 
 French stage by Du Belloy, who has 
 almost made him the traitor of his rhy- 
 ming melodrama of Gaston et Bayard, 
 whereas the count's enterprise was ho- 
 nourable, having only for its object the 
 : deliverance of his native country from 
 foreign invasion and the re-establishment 
 of legitimate authority in Yenice. It is 
 true that the plain and unassuming 
 I Bayard is almost as miserably parodied 
 i in that piece, he being represented as a 
 mere braggadocio. 1 The execution of 
 Avogadro and his two sons, and the 
 ; frightful pillage of Brescia for seven days 
 were crimes arising from the victory of 
 Gaston, who is so sensitive and sympa- 
 thetic in Du Belloy's verses. Histo- 
 rical tragedy, which seems capable of 
 endowing the art with more comprehen- 
 siveness, nature, and truth, has hitherto 
 evinced but little fidelity in France. The 
 Cid, like Gaston, was cruel; but how 
 boundless the distance between such 
 works, and is it not a kind of dramatic 
 blasphemy and sacrilege to compare them 
 for a single moment? 
 
 The memory of Bayard and the friend- 
 ly zeal of a guide so well acquainted 
 with the history of Brescia, made me 
 anxious to find the house which received 
 the illustrious knight when, being wound- 
 ed, after having the first passed the 
 rampart on foot and repulsed that master 
 Andrea Grilti who cried to his men in 
 his Italian tongue; "Let us hold on, my 
 friends; the French will soon be tired, 
 they have won only the first point; and if 
 
 1 So strange was the manner of understanding 
 patriotism at the end of the last century, that 
 Bayard's chain, which had devolved by right of in- 
 heritance to his collateral descendants, was pre- 
 sented, in 1789, by Its possessor to Larlve in a mad 
 
 that Bayard was disabled, the rest should 
 never come nigh ; a "—he said to the 
 lord of Molart: — " Companion, push on 
 your men, the town is won; as for me 
 I can go no further, for I am a dead man," 
 and then two of his archers took off their 
 shirts and tore them to stanch the bleed- 
 ing of his wound. According to the not 
 improbable conjectures thrown out in 
 the notes to Gambara's Geste de' Bres- 
 ciani, Bayard, being wounded in the New 
 Market, must have been carried into the 
 house of the Ccvola or Cigola family, 
 situated in that square. At that period 
 there were only three families of note 
 who had houses in the New Market, one 
 of which, the Maggi, had no daughters 
 at that time ; and the other, the Confa- 
 lonieri, was opposed to the French and 
 had lost one of its members in the battle. 
 One of theCigolafamily, on the contrary, 
 was an esquire to the king of Frauce, and 
 Calimere Cigola had a wife and two 
 daughters at that very epoch. This Ca- 
 limere Cigola appears besides to have 
 been an arrant egotist and coward, as on 
 the assault "he fled to a monastery," 
 leaving his wife at the house, "under 
 the protection of Our Lord, with two fair 
 daughters that she had, who w ere hidden 
 in a loft under some hay." Bayard, 
 after assuring his hostess that she had 
 " in her house a gentleman who would 
 not plunder it, " asked her where her 
 husband was : " I bedoubt me much," 
 said she, " that he be in a monastery 
 where he has great acquaintance; " and 
 when he came, he made him " fare 
 jovially," saying to h'm, that he must 
 not be melancholy, and that he had lod- 
 ged none but his friends." It was there 
 that Bayard kept his bed a month or five 
 weeks, longing " to be at the battle, and 
 greatly fearing it would be given before 
 he was there." The scene of Bayard 
 taking farewell has been painted and 
 narrated a thousand times, and is known 
 by everybody. But the habitual surprise 
 and astonishment inspired by so natural 
 and simple a fact as his refusal of the 
 ducats for having protected a lady and 
 her daughters, proves that such conduct 
 was then an exception, and that for a 
 long time this mode of acquiring money 
 
 fit of enthusiasm induced by witnessing that ac- 
 tor's personation of Bayard in Du Belloy's piece, 
 and this manner of disposing of it be fancied was 
 rendering homage to the memory of his ancestor. 
 8 lamtiQim rttt loyal serviteur, ch. i. 
 
to 
 
 BRESCIA. 
 
 [BOOK V. 
 
 had been usual with military men : Sully 
 himself relates that at the sacking of 
 Villefranche he gained a purse of a thou- 
 sand crowns in gold by saving the life of 
 an old man who was pursued by five or 
 six soldiers. The noble disinterestedness 
 and generous compassion of the French 
 officer are part of those national qualities 
 for which we are indebted to the reign 
 of Louis XIV. ; but the glory of Bayard 
 is not less, as he preconceived and fore- 
 stalled them. 
 
 CHAPTER V. 
 
 Palace of the Loggia.— PoliJIcoI incendiarism.- An- 
 cient symptoais of heresy.— Library.— Cardinal 
 Qulrlni. 
 
 The finest edifice of Brescia is the mu- 
 nicipal palace of the Loggia. It is much 
 to be regretted that this palace was con- 
 sumed by fire in 1575, when the great hall 
 of the palace, which Palladio thought ad- 
 mirable, wasdestroyed, as well as the three 
 vast paintings executed by Titian at the age 
 of ninety-two ; one of Ihem was the forge 
 of the Cyclops, engaged in the manufac- 
 ture of fire-arms, a subject most appro- 
 priately placed in the guildhall of Brescia, 
 a town which has ever been famous fol- 
 ks fowling-pieces. Notwithstanding the 
 antipathies to ordered subjects, it is seen 
 by Titian's letters, that this great painter 
 exactly conformed to the magistrates' 
 instructions, and had the extraordinary 
 resignation to make no changes. Titian's 
 fecundity is prodigious : independently 
 of his numerous masterpieces still extant, 
 the paintings of Brescia are not the only 
 ones he has lost by fire. An admirable 
 picture of the Battle of Cadora between 
 the Venetians and the Imperialists, 
 placed in the grand council-room, was 
 burnt in the conflagration of the ducal 
 palace. The burning of the palace of the 
 Loggia does not appear the effect of 
 accident, but premeditated design; the 
 Venetian government was accused of it; 
 such an act, it was alleged, was the only 
 means it had of depriving them of the 
 
 ' This humane act or Trajan's is also the subject 
 or a basso-relievo in marble, which Dante has placed 
 in his Purgatory (x, 701, because it is pretended, as 
 Ginguene says {Ilist. tilt, d'liat. n. I50|, that Saint 
 Gregory was so touched by it that be asked and 
 obtained the good emperor's deliverance from hell. 
 The tradition or this iucideut seems popular in 
 Italy. 1 have seen a representation of it In a church 
 
 rights and liberties granted by the em- 
 perors Conrad, Henry VI., and Henry VII., 
 and guarantied by the doges Francesco 
 Foscari and Leonardo Loredano, the 
 titles of which were in the public archives. 
 What a strange scruple of power is this 
 political sophism ; how perfectly worthy 
 of the Italian governments of the six- 
 teenth century ! In the council chamber 
 are eight frescos by Giulio Campi, pre-, 
 viously placed in the room where the 
 doctors or judges of the colleges held 
 their sittings, and which, for that reason, 
 all represent instances of good and im- 
 partial justice. These are two of them : 
 Trajan on the point of setting out on 
 a military expedition, dealing justice 
 to a mother for the murder of her son 
 who has been slain by soldiers ; ' and 
 Seleums, king of the Locrians, author 
 of the law condemning adulterers to 
 the loss of both their eyes : his son Aris- 
 teus, being found guilty of this crime, 
 was on the point of being acquitted by 
 the magistrates, and all the people peti- 
 tioned for his pardon ; but Seleucus, at 
 the same time a father and a king, 
 plucked out one of his son's eyes and one 
 of his own, that the law might have the 
 two eyes it exacled. Over the door is a 
 Nativity byMoretto; below on each side 
 St. Faustin and St. Giovite, by Foppa, 
 as well as the fine painting of Christ and 
 Veronica over the fireplace. In the 
 room before this, a large painting repre- 
 sents the condemnation, in 1810, of the 
 priest Giuseppe Beccarelli by thepodesta, 
 the captain, the cardinal bishop of the 
 town, and the Dominican inquisitor, the 
 last act of the inquisition at Brescia. 
 The heresy of Beccarelli, if he has not 
 been slandered by the Jesuits, who were 
 jealous of the prosperity of a college he 
 had founded, seems to have been a kind 
 of Platonism, and of mysticism mixed up 
 with spirituality and sensualism ; he 
 preached, said his accusers, that provided 
 the soul were united to God by prayer, 
 the body might do what it pleased .- he 
 was condemned to the gallies, but his 
 punishment was commuted by the senate 
 
 at Verona, Saint Thomas Cantuariense ; but it is not 
 recorded by any historian deserving of credit ; both 
 Baronius andBellarmin treatitas rabulous. Others 
 attribute Saint Gregory's compassion for Trojau to 
 his admiration of that emperor's forum, a new and 
 curious proof of the injustice of reproaching this 
 great man with being a mortal foe to the arts and 
 monuments of antiquity. ( see Book jut. chap, ivll.) 
 
IHAP. V.] 
 
 BRESCIA. 
 
 85 
 
 who suspected he was the victim of jea- 
 ousy, and he died in prison at Venice. 
 The weak and tender Beccarelli, if he 
 was not culpable, and the theologian 
 Giovanni Ducco, archbishop of Coron 
 and legate in Germany, -who was strip- 
 ped of his honours by Pope Sixtus IV. 
 for writing too freely on the abuses of 
 the Roman court, and who died at 
 Brescia, his native place, where his tomb 
 is seen in the church of Saint Nazarius 
 and Saint Celsus, were at all events 
 far from the power and excesses of 
 that Arnaud of Brescia ( as if the name 
 of Arnaud, both in France and Italy, 
 must needs remind us of doctrinal dis- 
 putes and persecution ), that Arnaud, the 
 pupil and friend of the lover of Heloisa 
 and antagonist of Saint Bernard, who 
 i was ten years master of Rome, and finally 
 i perished at the stake before the Corso; a 
 ikind of apostle, tribune, and martyr, one 
 i of the first and most terrible innovators, 
 whether political or religious. 
 
 The library <?f Brescia has twenty-eight 
 thousand volumes. The celebrated ma- 
 nuscript of the Four Evangelists, of the 
 sixth or seventh century, on purple 
 vellum, is in a very good state of pre- 
 servation : it has been explained by the 
 learned Bianchini. The oldest edition is 
 the second of Saint Augustine ( Rome, 
 1468 ), which is scarce and much sought 
 after. The first edition of Petrarch 
 ( Venice, 1470 ) has some pretty minia- 
 tures attributed to Mantegna's school. 
 There is also a fine Coran ; this book is 
 common in the Italian libraries ; they 
 were brought by (he Greeks when driven 
 from Constantinople , perhaps through 
 one of those inadvertences to which 
 flight and fear are liable. The original 
 drawings of the Monumenta antiqua 
 urbis et agri Brixiani, by the able and 
 learned Sebastiano Aragonese, are cu- 
 rious and scarce. The most precious 
 monument of the library is a great cross 
 given by Didier, the last king of the 
 Lombards, to his daughter Ansberg, ab- 
 bess of the convent of Saint Julia of 
 Brescia, the sister of Adelghis and of 
 that touching Ermengarda who is so 
 pathetically portrayed in Manzoni's tra- 
 
 1 The diptych of Boetius, which cardinal Qnirini 
 had illustrated by divers literati, is not in the li- 
 brary ; it belongs to the cavalier Nicolas Fe of 
 Brescia. The public library possesses another re- 
 
 gedy. The cross of the holy abbess is 
 enriched with cameos representing the 
 choir of the Muses, Pegasus, the three 
 Graces, and other mythological subjects, 
 some of which are scarcely decent. This 
 costly cross of Greek workmanship seems 
 of itself to compose, as it were, the ca- 
 binet of medals and engraved stones of 
 the Brescia library. A charming mi- 
 niature of the Virgin and her son on 
 lapis lazuli is said to be by Titian: it is 
 supposed to have been the medalion of 
 Charles V. Notwithstanding the beauty 
 of this gem, it seems of less price than 
 the simple chain of Bayard, for it has 
 never felt the beating of a noble and ge- 
 nerous heart. 
 
 The library of Brescia was the gift of 
 one of its bishops, Cardinal Quirini, J to 
 whom Voltaire addressed those elegant 
 stanzas — 
 
 Quoi ! vous voulez done que je chante 
 Ce temple orne par vos bienfaits ? etc. 
 
 It was also to this cardinal that Vol- 
 taire addressed his dissertation on an- 
 cient and modern tragedy which is pre- 
 fixed to Semiramis. In this essay, after 
 having so many times spoken of Shak- 
 speare with admiration, he qualifies Ham- 
 let as the fruit of the imagination of a 
 drunken savage. The false judgments 
 of Voltaire are nearly always connected 
 with some jealous rivalry which is soon 
 betrayed by the indiscretion of his self- 
 love. He refused to believe in the de- 
 votedness of the citizens of Calais, be- 
 cause of some bad verses by Du Belloy 
 and the noise made by his play ; in this 
 instance it is evident that on the point of 
 introducing the shade of Ninus on the 
 French stage, he could not conceal from 
 himself how far his accessible and fami 
 liar shade was inferior on its estrade, by 
 daylight, in the midst of the Babylonian 
 court, to the ghost of the English poet, 
 appearing at midnight, by moonshine, 
 on the platform of the castle of Elsinore 
 near the rock-bound shore of the bellow 
 ing sea. 
 
 A great number of autograph letters, 
 forming seven large bundles, written to 
 
 garded as modern, the ivory figures of which are 
 perfectly intact and are full of grace and volup- 
 tuousness. 
 
BRESCIA. 
 
 [Book V. 
 
 Cardinal Quirini, were also bequeathed 
 by him to the library of Brescia. As 
 the cardinal bad relations with d'Agues- 
 scau, Cardinals Noailles and Fleury, 
 Montfaucon.DoraCalmet, and the scho- 
 lars and literary characters of the latter 
 half of the age of LouisXIV., this corres- 
 pondence must be curious to examine; a 
 part has no doubt been extracted in the 
 historical commentary that Quirini has 
 written on bis own life,' but this portion 
 is inconsiderable, and he must have 
 experienced that feeling of embarrass- 
 ment and reserve natural to every man 
 obliged to speak of himself throughout 
 three large volumes, an embarrassment 
 against which men have since become 
 well hardened. 
 
 CHAPTER VI. 
 
 Old Duomo ;-new oue.— Saint Afra.— Popular lite- 
 rature.— Marcello.- Real and grand music. -Work 
 of Saint Lube.— Anachronisms of painting.— Mar- 
 tinengo mausoleum. 
 
 The old Duomo of Brescia, one of the 
 most ancient monuments of Italy, was 
 mistakenly supposed a pagan temple, on 
 account of the great number of idolatrous 
 emblems found in it, and which were 
 barbarously doomed to destruction by 
 the town council on the 19th of April 
 and the 25th of May 1456. It appears 
 that the Lombards erected the edifice 
 about the middle of the seventh century. 
 Two relics are religiously preserved 
 there : a large piece of the cross, which 
 was given in 1149 by Pope Eugene III. 
 to Manfredi bishop of Brescia, and af- 
 terwards purchased of the Venitians who 
 had received it from his heirs; and the 
 small standard, a real oriflamme, as it 
 is called at Brescia (croce d'orofiamma) 
 carried in the crusade in 1221 by bishop 
 Albert, who planted it on the walls of 
 Damietta which he had seized upon at 
 the head of fifteen hundred Brescians : 
 after so glorious an exploit, Albert was 
 named patriarch of Antioch, a singular 
 instance of an ecclesiastical dignity being 
 conferred in reward for military cou- 
 rage. The old Duomo has some good 
 works : in the chapel of the croce d'o- 
 rofiamma, the two great paintings by 
 
 ' Commentarim de rebus perlinentibui ad Aug. 
 Mar. S.R.E. cardinalctn Quirinum. Brixis, 1749, 
 cum appendice, 1750, three laige vols , 8vo. The 
 work was continued by Fadrc Federlco San Vital:, 
 
 Ga.jdini and Cossale (uie latter was a 
 good painter and an unfortunate man 
 who perished in his old age by the hand 
 of his son) ; two statues of Faith and 
 Charity, by Vittoria, an artist of Trent, 
 who gained his celebrity at Venice ; the 
 fine mausoleum of Domenico Domenici, 
 bishop of Brescia, by an unknown author; 
 a St. Martin, by Pietro Rosa, a clever, 
 pupil of Titian, who died young; the 
 Passover of the Hebrews, the Sacrifice 
 of Abraham, a superb Elijah, and a 
 David, by Moretto, likewise one of 
 Titian's pupils, and a charming painter, 
 whose numerous pictures at Brescia, 
 says Lanzi, have induced more than one 
 amateur to visit the town. 
 
 The present new Duomo, a work of 
 the sixteenth century, was, like that of 
 Pavia, rebuilding when I saw it. The 
 Italians arc a people of masons, and 
 have an impatient ardour for building 
 which impels them to be ever throwing 
 down and re-erecting their edifices ; a 
 pitiable mania in such a country, so 
 abounding with reminiscences and cu- 
 rious monuments oftnepast. 
 
 The churches of Brescia are rich, and 
 interesting in an artistic point of view. 
 At Saint Peter in Oliveto, St. Lorenzo 
 Giustiniani between Saint John and the 
 Divine Wisdom, is graceful and full of 
 morbidezza; the Virgin crowned by 
 God the Father, with Saints Peter and 
 Paul, and the figures of Peace and Jus- 
 tice, at the high-altar, is a noble and 
 majestic composition ; the two superb 
 frescos of St. Peter and St. Paul, and 
 of Simon the Magician, are by Moretto ; 
 St. Theresa kneeling before the Redeem- 
 er bound to the Pillar, is by Cappu- 
 cino ; the Ecstasy of the same, vivid and 
 natural, is by Angelo Trevisano. The 
 choir is ornamented with four majestic 
 paintings from the history of Moses, by 
 Ricchino. Moreno's countryman and 
 pupil. The Victory gained in 1629 by 
 the Carmelite monk Jesus Maria over 
 the duke palatine of the Rhine, passes 
 for one of the best paintings of the Ca- 
 valier Celesti, a pleasing easy painter, 
 few of whose works have preserved their 
 primatire beauty owing to the compo- 
 sition of his colours and the affectation 
 of efket in claro-obscuro. A Bearing 
 
 a Jesuit, and forms in all five volumes. Some of 
 cardinal Quirini's manuscripts have come Into the 
 possession of our Sociele des bibliophiles , it seems 
 that they contain nothing worth extracting. 
 
I, ICIIAP. VI] 
 
 BRESCIA. 
 
 97 
 
 of the Cross, is a valuable picture by 
 Paolo Zoppo, a clever imitator of the Bel- 
 lini, who embellished a great quantity 
 of books with his miniatures, and died 
 of grief at Desenzano, through having 
 broken a crystal basin on which he had 
 painted the sacking of Brescia by Gaston, 
 a long and beautiful work tnat he meant 
 to present to the Doge Gritti. 
 
 The church of Santa Maria di Cal- 
 chera offers a noble, touching, and pic- 
 turesque painting by Bomanino, the 
 Bishop Appollonius administering the 
 communion to the people. The Christ 
 betiveen St. Jerome and St. Dorothea 
 seems a fresco by Morctto. A Visita- 
 tion with a fine landscape and forms 
 and colouring in Titian's style, is by 
 Calisto Piazza. The Christ at the Pha- 
 risee's table, and Magdalen at his feet, 
 is another masterpiece of Moretto. 
 
 At Saint Eupheruia, the St. Maur is 
 one of (he best productions of Ghiti, a 
 good painter of Brescia in the seventeenth 
 century. The Virgin with the Infant 
 Jesus and the little Saint John, adored 
 by the Saints Benedict, Paterus, Euphe- 
 mia and Justine, by Moretto, is noble 
 and graceful. St. Benedict visiting 
 St. Scolastica passes for one of the good 
 works of Santo Cattaneo ; a head of an 
 old man is remarkable. 
 
 Saint Afra has some admirable paint- 
 ings. Despite the resolution I had 
 adopted in my first journey not to oc- 
 cupy myself too much with pictures.it 
 was impossible not to yield at the sight 
 of Titian's Adulterous woman. Paint- 
 ing carried to that height of perfection- 
 becomes eloquence ; it is an intellectual 
 art which is understood and enjoyed 
 by all those to whom its exercise is not 
 completely foreign. This beautiful fi- 
 gure is the truest and most touching 
 expression of woman's frailty and re- 
 pentance. The Martyrdom of St. Afra 
 is one of the first and best preserved 
 chefs-d'oeuvre of Paoio Veronese; but 
 the saint's habiliments are too showy 
 for a scaffold, such theatrical costume 
 being out of place there. It is supposed 
 that one of the trunkless heads placed 
 in a corner of the picture is the portrait 
 of Paolo Veronese: Cristoforo Allori, the 
 painter of Judith, in the Florence gal- 
 lery, likewise gave his own portrait in 
 the severed head of Holophernes. "We 
 may recognise even in these artist's 
 freaks something of the gloomy genius 
 
 of the Italians in the fifteenth and six- 
 teenth centuries. The Virgin and her 
 Son, by Cesare Procaccini, is the most 
 Correggio-like of bis numerous altar- 
 pieces : Saint Latinus, Saint Chartes, 
 and the Angels have, however, a gayer 
 and more wanton air than properly be- 
 longs to them. St. Apollonius baptis- 
 ing, and St. Faustin and St. Giovite 
 giving the eucharist in the night to 
 the first Christians, by Francesco Bas- 
 sano, is magical in its expression, co- 
 louring, and effect. The figures of the 
 two last saints, and the Martyrdom of 
 St. Felix, are by the younger Palma. A 
 Transfiguration is by Tintoretto. 
 
 At Saint Barnabas, the Christ in the 
 manger is a charming work, and the 
 only one at Brescia, of Savoldo, an able 
 painter of that town, and one of the best 
 of the sixteenth century; he was a noble 
 amateur who presented his paintings to 
 the churches, after finishing them off 
 leisurely and carefully, and never fati- 
 guing himself by too extensive composi- 
 tions. The two small paintings of St. 
 Boch and St. Sebastian, by Civerchio, 
 one of whose paintings placed in the 
 public palace so much excited the admi- 
 ration of the victorious French that they 
 sent it to Louis XII. ; and a Last Supper, 
 inthe sacristy, by Foppa, are very good. 
 
 Saint Alexander has some remarkable 
 paintings; an Annunciation is one of 
 the fine monuments of ancient painting. 
 The Christ dead betiveen St. Alexander 
 and St. Paul, with a view of Calvary 
 covered with excellent little figures, pas- 
 ses for a masterpiece of Civerchio. The 
 Virgin worshipped by St. Honorius, 
 and other saints, is one of the most es- 
 teemed works of GeronimoBossi, Mo- 
 retto's imitator. 
 
 Among the paintings of the church of 
 Saint Dominiek, may be distinguished, 
 on the roof, the Saint and St. Francis 
 praying to Christ, by Fiamminghino ; 
 the Virgin, Magdalen, and St. Peter 
 the martyr at the foot of the Crucifix, 
 one of the best productions of Gandini, 
 in the style of Paolo Veronese and the 
 younger Palma; two paintings of the 
 latter, Pius V- returning thanks to 
 God and the Virgin for the victory 
 over the Turks on St. Justine's day, 
 in the year 1 571 ; the Souls in Purgatory 
 praying for deliverance. 
 
 Saint Nazarius and Saint Celsus de- 
 serves a visit for the singular and beau- 
 
 9 
 
J8 
 
 BRESCIA. 
 
 [Book V. 
 
 tiful painting by Titian, divided into five 
 compartments. St. Francis, St. Ni- 
 cholas, St. Michael, a painting by Mo- 
 retto, bears its trying neighbourhood with 
 honour. This church is still further 
 indebted to this excellent artist for the 
 Christ between Moses and Elias, and 
 some small paintings in the sacristy, 
 which also possesses a superb St. Bar- 
 bara, attributed toLactantiusGambara, 
 a famous painter of Brescia, and clever 
 imitator of Titian. 
 
 The church of Saint Francis, which 
 has some good paintings such as the 
 St. Peter, by Gandiui ; the St. Francis 
 and other saints, by Romanino; a Mo- 
 ther praying to St. Anthony, by Fran- 
 cesco Maffei, and especially a Sposalizio, 
 by an unknown author, « recalls a sin- 
 gularly characteristic literary incident. 
 It was there that, on the 24th of June 
 1425, Bartolommeo Baiguera read his 
 Itinerarium Italia to the people after 
 prayers, as Herodotus read his history 
 before assembled Greece, another primi- 
 tive, artless, and poetical itinerary. Be- 
 fore the invention of printing reading in 
 public was frequent ; it is probable, there- 
 fore, that literature was more popular 
 then, than when it became necessary to 
 learn reading, and even writing, prepa- 
 ratory to its cultivation : the verses of 
 Dante were sung, better or worse, by ar- 
 tisans, who have paid little or no atten- 
 tion to them since. In our days were a 
 book of travels in Italy to be read to the 
 congregation after the sermon, it would 
 appear a terrible scandal. 
 
 Santa Maria dei miracoli is rich 
 and elegant and has a superb and Titian- 
 like St. Nicholas by Moretto, with a One 
 Presentation, of the year 1594 by Cossalc . 
 
 Saint John presents some admirable 
 pictures by Moretto and Romanino, which 
 seem to dispute the superiority in taste, 
 gracefulness, expression, and truth; such 
 in particular are the altar-pieces of the 
 Confraternity of the Holy Sacrament. 
 Their other chefs-d'oeuvre are : by Mo- 
 retto, the Massacre of the Innocents, 
 an excellent Trinity, with the Virgin, 
 the saints Gregory, Augustine, Monica, 
 and some little angels ; a large painting 
 of St. John the Evangelist, with the 
 saints John the Baptist, Augustine, and 
 Agnes adoring the Virgin in the clouds: 
 
 1 Tbe painting is signed Francisci de Pralo Ca- 
 ravagensis opus 1547 ; probably it is by Fran- 
 
 an Old man holding a musical instru- 
 ment; the Forerunner baptising on the 
 banks of Jordan : Zacharias blessing 
 St. John the Baptist and Elizabeth, 
 who is mourning her son's departure for 
 the wilderness; the Hebrews gathering 
 manna; the Prophet Elijah wakened 
 by an Angel; — by Romanino : a Last 
 Supper; the Besurrection ofLazarul; 
 the Adoration of the Holy Sacrament, 
 on the roof; a superb Sposalizio. A 
 small painting of the Burial of Christ is 
 the only work existing at Brescia of 
 Giovanni Bellini, one of the first and 
 greatest masters of (he Venetian school. 
 In the baptistry another delightful little 
 picture, perfect in the colouring, repre- 
 sents a Crucifix. St. Blaise, and St. 
 Barbara; it appears to be by Ferramola, 
 and may have been finished by Moretto. 
 
 The church of Santa Maria delle 
 Grazie is magnificent but in bad taste ; it 
 contains some good pictures by Brescian 
 artists, pupils and followers of Titian; a 
 St. Barbara, by Rosa; St. EYancesco 
 Begis by Brentana, an artist who lost 
 nothing of his originality and warmth by 
 the study of Tintoretto ; St. Martin, by 
 Maffei, St. Jerome and an aged matron 
 worshipping the Virgin, one of the 
 best of Ferramola's works, a clever pain- 
 ter, the Brescian Pindar of the arts, who 
 was protected and even favoured by 
 Gaston amid the sack of his natal town; 
 three paintings, each perfect in its way, 
 by Moretto, St. Anthony of Padua, a 
 Virgin with St. Martin, St. Boch, and 
 St. Sebastian, one of bis youthful per- 
 formances, and a Nativity. 
 
 In a little chapel beside the choir of 
 the church del Carmine, a tomb has been 
 erected at the expense of the town, to the 
 poet and musician Marcello, a Venetian 
 patrician, who died while captain or first 
 magistrate of Brescia. The psalms of 
 Marcello, whichare still admirable though 
 more than a century has passed away, 
 and which procured him in his time the 
 surname of the Prince of Music, in con- 
 junction with such examples as Handel, 
 Scarlatti, and Pergolese, prove that true 
 and grand music, that powerful revelation 
 of the pathetic and beautiful by means 
 of sounds, is an art as well as poetry, 
 eloquence, painting, and statuary, and 
 not, as some have pretended, a talent as 
 
 ceseo da Pralo, a Florentine artist of tbe sixteenth 
 century, mentioned by Lanzi and extolled by Vatarl. 
 
Chap. VII.] 
 
 transient and changeable as the fashion. 
 The same church del Carmine, which has 
 an Annunciation by Ferramola, and a 
 fine ceiling by Sandrini, possesses one of 
 those old pictures attributed by popular 
 credulity to St. Luke, which have always 
 brought to my recollection Cicognara's 
 observation, namely, thathad it been true 
 that this apostle was a painter, as he lived 
 under Augustus, his work must have 
 been of rather better taste. 
 
 Saint George has a graceful Nativity 
 
 j by Brescianino, a pupil of Gambara, who 
 
 I seems to have died young, his paintings 
 
 being few in number. In the sacristy, a 
 
 St. George on horseback killing the 
 
 dragon, the first painting of the old 
 
 ' church, is a brilliant old picture very 
 
 extraordinary for its era ; it seems to be 
 
 '< by Montorfano, a Milanese painter of the 
 
 fifteenth century. 
 
 Saint Joseph has some excellent paint- 
 . ings : a Mother of grief, St. Paul, St. 
 Jerome, St. John, St. Catherine, and 
 Magdalen, by Romanino; the Martyr- 
 dom of St. Crispin and St. Crispinian, 
 the masterpiece of Avogadro, a Brescian 
 painter of the last century ; the Pente- 
 cost, by Moretto; St. Joseph, St. Roch, 
 and St. Sebastian, a majestic work of 
 Mombelli, before his talent became ener- 
 vated by excessive refinement. In this 
 church I remarked the tomb of a Lautrec, 
 who was slain on the field of battle at the 
 skirmish of Roncadella in 1705; he was 
 the last of that chivalrous race, of which 
 Italy seems to be the glorious tomb. 
 
 Many paintings in the churches of 
 Brescia already present those strange 
 anachronisms of the Venetian school. 
 At Saint Clement's, which numbers five 
 of Moreno's pictures, his noble and grace- 
 ful figures of the saints Lucy, Agnes, 
 Agatha, Cecilia, and Barbara; Melchi- 
 zedeckand Abraham; Saints Paul, Je- 
 rome, and Catherine ; St. Ursula and her 
 companions ; his superb piece at the 
 high-altar, one of the finest paintings in 
 Brescia, exhibits Pope Saint Clement 
 wearing the tiara, which was not used 
 till a hundred years after. At Saint 
 Faustin and Giovite, a church adorned 
 with a graceful Nativity by Gambara, a 
 St. Apollonius, and a Resurrection, by 
 his master Romanino ; Tiepolohas repre- 
 sented the R.oman governor who orders 
 the martyrdom of the saints, in a Turkish 
 costume, and, though in Trajan's time, 
 smoking his pipe. The subject of another 
 
 BRESCIA. 
 
 99 
 
 picture by Cossale is the apparition of the 
 patron saints of Brescia when the town 
 was assaulted by Piccinino. The tradi- 
 tion runs that they appeared upon the 
 walls and threw the enemies' bullets 
 back at them. Without disrespect to 
 Faustin and Giovite, we may believe 
 that the exploits of Brigitta Avogadro and 
 her worthy companions were as great a 
 prodigy, and contributed as much to the 
 safety of the place. 
 
 The mausoleum of Martinengo, is a 
 national and military monument of Bres- 
 cia; it is the burying place of Marco 
 Antonio Martinengo della Palata, a va- 
 lorous master at arms, who beat the 
 Spaniards near Cremona, in 1526, and, 
 although wounded by two musket shots, 
 took prisoner with his own hand the 
 terrible Ludovico Gonzaga, surnamed the 
 Rodomonte, for having, at Madrid, stran- 
 gled in his embraces, a Moor of gigantic 
 stature who had challenged him to 
 wrestle. Martinengo was carried home, 
 and died of his wounds three days after 
 the victory. Magnificent funeral honours 
 and this mausoleum were decreed him ; 
 but, strange to say, except his arms, 
 which are an eagle, there is nothing on" 
 the monument to recall his memory; the 
 marble medallions and bronze basso- 
 relievos which embellish it represent the 
 Passion of Jesus-Christ, and other 
 sacred subjects, without bearing the least 
 relation to the brilliant and hardy exploit 
 of the hero. 
 
 CHAPTER VII. 
 
 Pio luogo della congrega.— Charitable establish- 
 ments and philanthropical institutions.— Galleries. 
 Group in ivory. — Canapo-Santo.— Inscriptions and 
 fountains of Brescia. 
 
 The Pio luogo della congrega apos- 
 tolica is a well conceived charitable es- 
 tablishment which has existed nearly 
 three centuries. Its object is to assist 
 persons of respectable birth who have 
 come to want : the relief is apportioned 
 every week by the managers, who visit 
 the unfortunate families in person. The 
 spirit of association is of long dale in 
 Italy ; it was developed under the in- 
 fluence of religion, and the bishops of 
 Brescia were the first and principal be- 
 nefactors of Pio luogo della congrega. 
 This spirit of association proceeding from 
 Christianity exerts itself with zeal, deli- 
 cacy, kindness, and humility. The phi- 
 
.00 
 
 BRESCIA. 
 
 [Book Y. 
 
 lanthropic institutions of free and com- 
 mercial states, being adapted to their 
 peculiar state of civilisation, are of a 
 character totally different : their consti- 
 tution has something of.the precise, se- 
 vere, calculating, but still brilliant and 
 ostentatious, regime of a banking-house. 
 If we admire the order of their accounts, 
 and the extent of their correspondence, it 
 is not the less strange to see some of the 
 beneficent societies of London, even the 
 Bible Society, giving every year fetes, 
 dinners, concerts, and even balls. The 
 Pio luogo della congrega deserves imi- 
 tation elsewhere ; such a society would 
 be most excellent after the vicissitudes 
 which have taken place in the fortunes 
 of such numbers of persons so variously 
 situated ; never perhaps were there 
 more examples of unforeseen misfortune 
 which shrinks from the public gaze, and 
 that poverty which pines in secret is not 
 ihe least deserving of compassion. 
 
 The galleries of Brescia are pretty nu- 
 merous. The first is that of Count Lec- 
 tin : the Virgin, the Infant Jesus, and 
 some saints, by Calisto Piazza, is reckon- 
 ed one of the best paintings in Brescia ; 
 an Assumption, by Gambara, is also 
 very fine, and the collection of portraits 
 curious. The Martinengo-Collconi gal- 
 lery has a portrait of the queen of Cy- 
 prus, Cornaro, by Titian, admirable for 
 truth, but the physiognomy, though ex- 
 pressive, is singularly vulgar. The gal- 
 lery of Count Paolo Tosi declares the 
 taste and splendour of the owner : a 
 small painting of Christ giving his bless- 
 ing is attributed to Baphael; numerous 
 paintings by the best living or contem- 
 porary artists, as Landi, Migliara, Pa- 
 lagi, Diotti, Hayez, Granet, a bust of 
 Eleonora d'Esle, by Canova, a Ganymedes 
 by Thorwaldsen, make this gallery a kind 
 of Brescian Luxemburg. 
 
 The residence of Lactantius Gambara, 
 who may be called the national painter 
 of this town, was behind the bishop's 
 palace ; the artist had embellished his 
 house with paintings both within and 
 without; those on the outside having 
 
 ' The question was whether Van-Obstal should 
 he allowed to demand, alter the expiration of Ihe 
 year and a day for the executor's arrangements, 
 the price of a monument he had executed, as a 
 workman claiming the payment of his labour or 
 things furnished. The young orator demonstrated 
 that his client professed a liberal art, which ought 
 to raise him above the class of simple artisans. 
 
 been spoiled by his enemies, he replaced 
 them by new ones which represented 
 Time trampling down Error; Truth was 
 descending from heaven with Apollo ar- 
 companied by the Muses and Minena; 
 in the centre was Atlas bearing the 
 globe on his shoulders, with the motto 
 indefessus labore. This colossal Atlas 
 is scarcely perceptible now ; the other 
 figures have suffered much injury from 
 the air; but the small figures in compart- 
 ments in the doorway are in perfect 
 preservation. One of the rooms in the 
 Scaglia house is decorated wilh the Wed- 
 ding of Pirithous and Hippodamia. 
 The ceiling and walls of a chamber be- 
 side the residence of the Counts Valotti, 
 present Charity, Faith, Hope, Chastity, 
 and Temperance, very well executed. 
 The house of the Cavalier Sabatti has a 
 spacious room painted all over in fresco 
 by himself in 15G8, and representing the 
 Deluge. The marvellous frescos of the 
 convent of Saint Euphemia, exhibiting 
 divers incidents of the Old and New 
 Testaments, are nearly destroyed by time 
 and the conversion of the edifice into 
 barracks. Lastly, this indefatigable ar- 
 tist painted a whole street ; he there re- 
 presented, in forty-eight compartments, 
 scriptural, fabulous, and historical sub- 
 jects, works full of case, variety, and 
 imagination, but their preservation has 
 been sadly neglected. 
 
 Signor J. B. Bondi is the possessor of 
 a singular curiosity ; it is the Sacrifice 
 of Abraham, a group in ivory, which Ci- 
 cognara informs us is the largest existing 
 in any country. The composition is bad, 
 the expression very weak, the attitude 
 of the heads deficient in nobleness, the 
 hair, beard, and folds of the drapery in 
 bad style ; but there is some talent in the 
 fleshy parts. The artist was a Belgian, 
 a celebrated sculptor in ivory, named 
 Gerard Van Obstal, for whom the fifth 
 son of the president Lamoignon pleaded 
 with success, then a common barrister, 
 and afterwards for thirty years "king 
 and tyrant of Languedoc under the name 
 of intendant," as Saint Simon says.i 
 
 The academy of painting and sculpture to show 
 their gratitude to M. de Baville printed his speech, 
 and offered him, through Lcbrun, to bave'his bust 
 made by Girardoa and his portrait taken by Cham- 
 pagne. The orator refused these honours, but 
 wished the academy to offer them to his father, the 
 fust president, v ho accepted them after a long re- 
 sistance. 
 
V]HAP. VIII.] 
 
 LAKE OF GARDA.-SERMIONE. 
 
 401 
 
 ilVan-Obstal was one of Ihe founders of 
 he Paris academy of painting, an insti- 
 ution of little note, which does not ap- 
 Dear to have been very favourable to the 
 art in France, as it was precisely from 
 .he moment of its dissolution that our 
 >chool, having more liberty, seemed to 
 become more extensive and take a higher 
 character. 
 
 The Campo-Santo of Brescia, begun 
 in 1815, is a grand and beautiful monu- 
 ment of its kind, which does honour to 
 its architect, S. Vantini. The tombs are 
 I erected against the wall in the form of 
 the ancient columbaria. The tomb of 
 s Marco-Antonio Deani, a pious and cha- 
 ritable Franciscan known by the name 
 of Pacifico, one of the most celebrated 
 preachers of the day, who refused a bi- 
 shopric offered him by Pius VII., and 
 only asked him to reestablish his order 
 at Brescia that he might end his days 
 there, bears an inscription by Doctor 
 Labus, his countryman and friend. By 
 an Italian artist's fantasy, of sufficiently 
 bad taste, the busts painted on the ceiling 
 of the chapel are portraits of persons of 
 the society ofBrescia:all these male and 
 female saints attired a la mode form a 
 kind of circle, and seem much more out 
 of place in heaven than they would in 
 a drawing-room. A separate spot is al- 
 lotted to suicides : Plato enounces the 
 same opinion in his laws. The protes- 
 tants have also a burying-place apart, 
 but the grievous wrong of interring exe- 
 cuted criminals among them existed for 
 some time; a disgraceful mixing of those 
 who do evil with those who think in- 
 correctly which has been very properly 
 reprobated by S. Guiseppe Nicolini, a 
 good poet of Brescia, the translator and 
 biographer of Byron, in his Meditation 
 on the feast of All Souls, s 
 
 It is a singular circumstance that 
 Brescia is the town which has more in- 
 scriptions and fountains than any other 
 in Italy, Rome excepted. The number 
 
 1 B mal pensati e mal fattor confusi. 
 
 II due novem'ire, Meditazione, 
 Brescia, 1824. 
 
 Cesare Aricci, another distinguished poet of Bres- 
 cia, has also composed a poem on the Campo Santo, 
 and it is one of his best productions. 
 
 * See also chap. i. of this book. The exportation 
 of silks for England from 4815 to 1834 amounted 
 to 28,930,000 livres; from 1800 to 1814 it was only 
 ii. 794,000 lures, The Mount delle Sete a well 
 
 of public fountains is seventy-two, and 
 there are more than four hundred belong- 
 ing to private individuals; by means of 
 these a supply of pure refreshing moun- 
 tain water, almost equal to that of 
 Rome, is distributed throughout the town. 
 The discovery of the superb temple of 
 Brescia has recently added to this kind 
 of approximation, if such be permitted, 
 with the Eternal City. 
 
 How singular are the conquests of in- 
 dustry! the silk which is produced in 
 abundance round about Brescia is pur- 
 chased by the English, and these Britons 
 separated from the world now bear 
 away the richest produce of the fields ad- 
 jacent to the country of Virgil. > 
 
 CHAPTER VIII. 
 
 Lake of Garda.— Sermione.— Steamboat.— Isle of 
 Lecchi.— Malsesine. 
 
 One of those tempests frequent on the 
 lake of Garda, 
 
 Fluctibu} el fremilu assurgens, Benace, Marino, 
 
 did not permit me the first time to visit 
 the coast of Sermione and the grottoes 
 of Catullus. As I stood on the shore, con- 
 templating them in the distance, in that 
 sort of reverie peculiar to disappoint- 
 ment, I was struck with the idea that the 
 first poets of ancient and modern Italy 
 and of France, sprung from the north, 
 as Catullus, Virgil, Petrarch, Dante, Boc- 
 caccio, Ariosto, and the seven or eight 
 great poets that honour our literature, 
 as if the poetical genius had still more 
 need of meditation and reason, than of 
 the brilliant light of the sun and the sen- 
 sations it produces. 3 
 
 The setting of the sun after the storm 
 displayed, on the shores of the lake of 
 Garda, a singularly superb effect of light. 
 At his rising on the morrow, the east 
 lavished other wonders : the sombre py- 
 ramids of the Alps were distinctly out- 
 lined on a sky still faintly coloured, but 
 
 organised trading company and discounting bank, 
 established at Milan in 1836, is calculated to extend 
 and equalise this exportation to the advantage of 
 the producers. 
 
 3 Horace and Ovid are exceptions among the 
 Latin poets. Tasso's father was from Bergamo; 
 his son seems, by accident, to have been born at 
 Sorrento, as we have seen. The first contemporary 
 poets of Italy, Alfleri, Monti, Cesarotti, Ippolito 
 Plndemonte, Manzoni, Silvio Pellico, and Grossi, 
 belong also to the north, of Italy. 
 
 9. 
 
102 
 
 LAKE OF GARDA.-SERMIONE. 
 
 [Book V 
 
 of admirable purity, and a few clouds 
 gilded by the first rays of the sun seemed 
 like the fringe of these magnificent hang- 
 ings. The Monte Baldo, a picturesque 
 and fertile mountain, surnamed the 
 Garden oflhe Alps, whose lofty summit 
 by a gentle and majestic sweep is united 
 with the Tyrolian Alps, overlooks this 
 almost boundless scene. It was impos- 
 sible not to be enraptured atsuch a sight: 
 these are the voluptuous moments of a 
 traveller's life, which is always rather 
 cheerless and uncomfortable when one 
 journies alone. 
 
 I have since visited the peninsula, or 
 rather the rock, ofSermione and the vast 
 ruins which cover it. The olive accords 
 well with these ruins, and their charm- 
 ing position still recalls that venusta 
 Sirmio which its poet was so happy to 
 see again on his return from Bilhynia 
 and Thynia.» But after reading Ca- 
 tullus attentively it is difficult to recog- 
 nise his dwelling in the ruins bearing 
 his name : that palace was perhaps the 
 one belonging to Manlius; the house of 
 him who composed his epithalamium 
 would be adjacent, that house which he 
 received with a field and even a mistress, 2 
 and which was rendered more disagree- 
 able by its mortgages than all the winds. 3 
 Catullus, notwithstanding his talents, 
 was already a kind of courtier poet, al- 
 though the manners of Rome were not 
 then so relaxed, nor had Maecenas sanc- 
 tioned literary adulation. He often, 
 muchtoooften, speaks of his poverty, and 
 rails against the race of protectors whom 
 he curses : 4 all this, certainly, is but 
 little in character with the powerful 
 Roman, who possessed the great and 
 beautiful structures of Sermione, with 
 their bath, a separate edifice, their lofty 
 pilasters, and the immensity of their 
 subterraneous vaults. The rank of Ca- 
 tullus's father and the distinguished fa- 
 mily to which he belonged have been 
 adduced; but he would uot be the only 
 instance of a well-born man sinking into 
 a debauched and servile poet. The con- 
 ventional manners of the Romans could 
 not indeed sanction the loose tone of Ca- 
 tullus, nor the licentiousness and infamy 
 of his poems. He has written both epi- 
 
 1 Catull. Carta,, xxxi., 5, {2. 
 
 * Id., Ixvill., 41, 67, 8. 
 
 * Id., xxvi., 5, 
 4 Id., xxvlli. 
 
 grams and epithalamiums, two opposite 
 kinds, but which it is not surprising to 
 find in the same author, as malice can 
 very well amalgamate with vileness. 
 Such is, however, the power of glory; 
 no one knows the name of the opulent 
 patrician who owned this superb palace, 
 and after ages have thought they ho- 
 noured its ruins by decorating them with 
 the name of a poet. 
 
 Sermione reminds us of some events 
 oi modern times. By a singular destiny, 
 this peninsula, the abode ol the bard 
 who sung of Lesbia and her sparrow, 
 was given by Charlemagne to the monks 
 of Saint Martin of Tours to bear the ex- 
 penses of their wardrobe ; for it seems 
 that these monks liked to be better clothed 
 than their saint. The fort of Sermione, 
 with its battlements and antique towers, 
 erected by the Scaligers, the sovereigns 
 of Verona, has a fine appearance from 
 the lake. When the Austrians evacuated 
 the retrenchments of Sermione in 1797, 
 the French general who took possession 
 of them gave a fete in honour of Catullus; 
 but in the midst of the poetical toast and 
 drinking songs, the inhabitants came to 
 complain of the depredations they suf- 
 fered from a detachment of our troops. 
 Probably these brave fellows had un- 
 consciously imitated rather too much, 
 the lax morals oflhe poet they celebrated. 
 Afler two thousand years the memory 
 of Catullus proved useful to his country, 
 as a narrative of that period pompously 
 apprises us. The disorderly detachment 
 was immediately dispersed among the 
 inhabitants of other villages, good folks 
 who counted no poets among their an- 
 cestors, who, it appears, had never writ- 
 ten any thing but prose. 
 
 A steamboat now runs the whole length 
 of the lake of Garda ; assuredly it is 
 not less rapid than the old ship devoted 
 to Castor and Pollux by Catullus; but 
 previously to its boat existence it had 
 not, like that, delivered oracles :— 
 
 I'baselus ille 
 
 navium eelerrimus. 
 
 Cylorio iu jugo 
 
 Loquente saepe sibilura edidit coma.* 
 
 5 Journal historique des operations mililairesdu 
 sttge de Peschicra, el de I'attuque de$ retranche- 1 
 ments de Sermione, par F. Ut-uin, at) ix, p. <I0. 
 
 6 Catull. Carui. IV, 
 
Chap. VIII.] 
 
 LAKE OF GARDA. SERMIONE. 
 
 103 
 
 After two thousand years, such is the 
 truth of Virgil's verse, that a double 
 machine has been found necessary for 
 this boat, to subdue the fluctibus el fre- 
 mitu tnarino of [he Latin poet. The 
 boat of lake Garda has none of those 
 learned and national names common to 
 steamboats of other lakes, such as the 
 Verbano of Lago Maggiore, the Lario, 
 and Ihe Plinio of the lake of Cosmo; it 
 takes the respected name of the archduke 
 Regnier. One does not meet here the ele- 
 gant company of the above-mentioned 
 lakes, but tradesmen, peasants, sawyers, 
 and loads of packages. The day I was on 
 this boat it coasted along the Brescian 
 shore, which is very superior to the Ve- 
 ronese. It starts from Desenzano and 
 goes to Riva and Torbola, small towns 
 at the extremity of the lake. They 
 scarcely stop any where now, as I had 
 done previously, but on the fertile bor- 
 ders of the riviera of Salo, covered with 
 olives, vines, and citrons, which have an 
 absolutely enchanting aspect from the 
 lake. Towards the middle the lake 
 narrows, becomes wild, and presents a 
 succession of grottoes, steep rocks, a fine 
 cascade ( the Ponale ) and lofty moun- 
 tains ; it is a Scolch loch under an Italian 
 sky. 
 
 A letter of Bonfadio, addressed to 
 Plinio Tomacello, contains a description 
 of lake Garda, which Ginguene" extols 
 as charming and faithful, though he 
 does not appear to have ever visited the 
 country. 1 Bonfadio's description is rather 
 insipid and exaggerated, and he well 
 deserved the castigation inflicted by the 
 lash ( frustra ) of the burlesque Baretli ; 
 the dreams of Platonism, in vogue in the 
 sixteenth century, are absurdly enough 
 mixed up with this description of a lake 
 in the north of Italy. 
 
 Cardan, a man of parts whose name 
 has wrongfully become synonymous with 
 atheism, tells us in the narrative of his 
 life, 2 that he narrowly escaped ship- 
 wreck at the entrance of lake Garda. 
 The situation of an atheist in a tempest 
 must be horrible, were it possible for one 
 
 1 Hist. litt. d'ltal. t. VIII. p. 323, 51*. Ginguene 
 places Gazano, Bonfadio's native place, near the lake 
 of Salo. There is no such lake , Salo is a small 
 town ; the Riviera di Said, where Gazano stands, 
 is that part of the shore of lake Garda which lies 
 adjacent : in the same manner we say in French la 
 Riviere de Gdnes. 
 
 2 See chap. xxx. 
 
 to exist under such circumstances, which 
 I do not think, for the danger would 
 compel belief. The history of Cardan, 
 a kind of Confessions, which often do 
 him no great honour, disproves his re- 
 puted atheism, as there is in it a chapter 
 on his religious feelings, which even con- 
 tains a short prayer. 3 
 
 The isle of Lecchi, which is only an 
 Italian mile in circumference, is one of 
 the embellishments of the smiling part of 
 lake Garda ; Dante thus speaks of this 
 solitude : 
 
 Luogo e nel mezzo la dove '1 Trentino 
 Pastore e quel di Brescia e '1 Veronese 
 Segnar poria, se fesse quel cammino.* 
 
 A monk of the family of Count L. Lec- 
 chi, who now inhabits this island, found- 
 ed there about the beginning of the six- 
 teenth century, a theological school of 
 great reputation. So fervent was the 
 passion then for the study of divinity, 
 that, to accommodate the multitude of 
 his disciples, he was obliged to have the 
 seats raised so as to form an amphitheatre, 
 in the centre of which he delivered his 
 lectures. Some authors pretend that 
 Pope Adrian VI., whom they suppose 
 the same person as Ludovico Rampini, 
 one of the pupils of P. Francesco Lecchi, 
 was born at Renzano, near Said ; a con- 
 jecture peculiar to the Italian literati, 
 which seems to have but slight founda- 
 tion : this pedagogue of Charles V., this 
 pope void of taste for the arts,— the un- 
 worthy successor of Leo X., who, on ar- 
 riving at Rome, turned away in disgust 
 from the sight of the Laocoon, as from a 
 profane divinity — this gloomy and rigo- 
 rous pontiff seems more likely to have 
 been born at Utrecht amid the fogs of 
 Holland, than under an Italian sky. 
 
 In the wilder part, near the extremity 
 of the lake, is Malsesine, a large town on 
 the Veronese coast. The embattled go- 
 thic castle, of several stories, with an old 
 tower, rises picturesquely from the rocks 
 on the water's edge. It was there that 
 
 3 The twenty-second. The arrangement of these 
 Memoirs of Cardan is whimsical enough : instead 
 of following chronological order, they are divided 
 into collective chapters separately treating of his 
 friends and enemies, his pleasures and pains, his 
 travels, lawsuits, regimen, style of dress, etc. 
 
 * Inf. xx. 69. 
 
194 
 
 an agent of Venice tore and ihrew away 
 the drawing that Goethe was making of 
 these ruins; and where, without the se- 
 curity of a gardener who had served at 
 Frankfort, the poet's country, he would 
 have had much difficulty in escaping the 
 persecution of the podesta and his grasp- 
 ing secretary. The borough of Malse- 
 sine, the country and residence of two 
 good poets, Giambatlista Spolverini and 
 Bullura, has inspired them with some 
 verses. Spolverini, in his poem of the 
 Riseide, which he composed at Malse- 
 •ine, invites his Amaryllis to repair thi- 
 ther .— 
 
 Amarilli gentil, vieni qui, dove 
 Tra il marmifero Torri, e la pescosa 
 Torbole, 're degli altri allero monte. 
 La soggetta Malsesine, 1' amala 
 Primogenita sua Baido vagheggia, 
 Fiso in lei la selvosa antica faccia 
 immobilinente e le canule ciglia. 
 
 And Buttura, who sojourned long wilh 
 u», wished to die in his native town : 
 
 Salve : mi scuote il seno 
 Di Malsesine mia 1' aspetto, e l'oprc 
 Liete rieordo di mia nuova elale. 
 
 Mi terrei fortunato 
 Lasciando mil memoria al borgo umile 
 Oye apersi, e desio chiudere i giorni. 
 
 Opposite Malsesine, on the Brescian 
 coast, is the small village of Limone, 
 where the Tyrolian Andrew Hofer em- 
 barked a prisoner. When Europe had 
 yielded, this mountaineer alone defended 
 his country against the arms of Napo- 
 leon. He was delivered to his impla- 
 cable enemy, who had ostentatiously 
 accorded favour to certain aristocrats, 
 but could not pardon the rustic heroism 
 of Hofer. An inhabitant of Limone 
 who had witnessed his removal, gave 
 me a few particulars respecting it. Ho- 
 fer, calm and resigned, was accompa- 
 nied by a young man, the son of a phy- 
 sician of Gratz, who would not leave 
 him, so great admiration had he for his 
 courage and virtues. This Vendean of 
 the Alps was fettered like a robber ; and 
 as the little bark which held him crossed 
 the lake, its waters were unusually agi- 
 tated, as if indignant at participating in 
 such a murder s he was landed at the 
 fortress of Peschiera, and taken thence to 
 Mantua, where he was shot. Hofer was 
 
 ITALIAN TYROL. J BOOKY. 
 
 one of those rare and illustrious victims 
 who, like the favourites of fortune, appear 
 but at long intervals; the former acquire 
 by sacrifices, imprisonment, calumnies, 
 and death, a glory not less eminent, and 
 much purer, than the latter can ever at- 
 tain by success, power, and dominion. 
 
 CHAPTER IX. 
 
 Italian Tyrol. — Madonna of the Inviolata — Lake 
 of Loppio. — Roveredo. — Dante's verses : Qual' 
 e quella ruina. Valley of the Adige. 
 
 Near Riva, a small fortified town at 
 the point of the lake, is a church of the 
 Inviolata, which, with its pictures and 
 cupola resplendent with marble and gild- 
 ing, seems like a lingering ray of Italy 
 in a poor and mountainous country. 
 The miraculous image of the Virgin was 
 shown me by a Franciscan of the con- 
 vent, a jovial fellow who was almost in- 
 toxicated, and exhibited the first traces 
 of German manners by the side of Italian 
 magnificence. The Franciscan , never- 
 theless, very devoutly lighted two small 
 candles on each side the tabernacle, be- 
 fore he uncovered the image of the ma- 
 donna and recited his prayer. 
 
 The road across the mountains from 
 Riva to Roveredo, is exceedingly pictu- 
 resque. The limpid rock-bound lake of 
 Loppio, with its islands, has a thousand 
 particulars that one cannot too highly re- 
 commend to artists. 
 
 Roveredo is a pretty town, wilh a Ger- 
 man aspect ; it is entirely devoted to ma- 
 nufactures and commerce, and has neither 
 the loitering inquisitive travellers, the mo- 
 numents, nor the external appearance of 
 Italian towns. 
 
 Between Roveredo and Ala, another 
 small town of the Tyrol, is lo Slavino di 
 Marco, a fallen mountain, or kind of 
 avalanche of stones, which it is now said 
 that Dante meant to designate, much 
 more than the Chiusa, by .-— 
 
 Qual' e quella ruina che nel flanco, 
 Di qua da Trento, l'Adice percosse, 
 per tremuoto o per soslegno mance, 
 CUe da cima del monte. onde si mosse, 
 Al piano, e si la roccia discoseesa, 
 Ch' alcuna via darebbe a clii su fosse ? 
 
 One can scarcely conceive now what lo 
 Slavino may have been; but after visit- 
 ing the Chiusa, which is farther down 
 on the same road, I should incline to re- 
 
ClIAP. X. ] 
 
 VERONA. 
 
 405 
 
 turn lo the opinion of the first commen- 
 tators and Maffei, by again recognising 
 the Chiusa, as the famous ruin : it gives 
 a good idea of a vestibule of hell, of the 
 entrance to that circle where the violent 
 were punished, by the immense succes- 
 sion of rocks it presents, which the road 
 made bv the French has mutilated with- 
 out destroying their formidable aspect. 
 
 From Roveredo to Verona, the road 
 descends the valley of the Adige, a garden 
 traversed by a torrent and enclosed by 
 mountains 
 
 CHAPTER X. 
 
 Feschlern. — Verona. — Scaligers, — Can Grande.— 
 Uomeo and Juliet. 
 
 The direct road to Verona passes 
 through the fortress of Peschiera, erected 
 at the spot where the Mincio issues from 
 the lake :— 
 
 siede Peschiera, bello e forte arnese 
 
 Da fronteggiar Brescia nl e BergamascliI, 
 
 Onde la riva intorno piu discese. 
 
 Verona, with its old tower-flanked 
 walls, its embattled bridges, its long 
 wide streets, and its reminiscences of the 
 middle ages, has an imposing air of gran- 
 deur. Such a city was fit to be the ca- 
 pital and abode of this Can Grande della 
 Scala, 1 the Augustus of the middle ages, 
 who welcomed to his court Dante and 
 other proscribed poets and authors. 
 Boccaccio cites Can Grande as one of the 
 most magnificent lords that Italy ever 
 knew. a One of the refugees whom he 
 received has given a particular account 
 of his noble and ingenious hospitality. 
 "Different apartments were assigned to 
 them in the palace according to their 
 respective conditions ; he appointed ser- 
 vants to each, and a well served table. 
 Their several apartments were indicated 
 by symbols and devices : Victory for the 
 
 * The etymology of the name of this illustrious 
 family is very uncertain. The historian Villaui, 
 like a true Florentine merchant., believes in good 
 earnest that it proceeds from the circumstance of 
 the Scaligers' ancestors having been ladder-makers. 
 
 a Giorn. i no?, vn. 
 
 3 Sagaclus MuciusGazata, the historian of Reggio, 
 quoted in part by M. de Sismondi, Hist, des Rep. 
 Hal. ch. xxvlil. 
 
 4 Parad. can. xvii. AS, el seq. At last, however, 
 Dante's spirit could not endure the mannerof living 
 In the palace of Can Grande, nnr the insolence of 
 
 warriors, Hope for the exiles, the Muses 
 for the poets, Mercury for the artists. 
 Paradise for the preachers. During 
 meals, musicians, jesters, and conjurers 
 performed in these apartments, the rooms 
 were ornamented with paintings (by 
 Giotto) relating to the vicissitudes of for- 
 tune (probably after the inspirations of 
 Dante, his friend) : and the lord of La 
 Scala occasionally invited some of his 
 guests to his own table, particularly 
 Guido di Castello di Reggio, who, for 
 his sincerity, was called the simple Lom- 
 bard, and Dante Alighieri, then a most 
 illustrious man, who charmed him with 
 bis genius." 3 This hospitality accorded 
 to Dante has been immortalised by the 
 celebrated verses of the poet, the finest, 
 and most pathetic that ever exile in- 
 spired : — 
 
 Quel si parti Ipolito d'Atene 
 
 Per la spietata e perfida noverca, 
 Tal di Fiorenza partir ti conviene. 
 
 Queslo si vuole, e queslo gii si cerca; 
 E tosto verr& fatio a clii cid pensa 
 La dove Cristo tutlo di si mercu. 
 
 Tu lascerai ogni cosa diletla 
 
 Piu caramente ; e questo e quello slrula 
 Che l'arco dell' esilio pila saetta 
 
 Tu proverai si come sa di sale 
 
 II pane altrul, e com' e duro calle 
 
 Lo scendere e '1 sallr per I'altrui scale. 
 
 E quel che piu ti gravera le spalle 
 
 Sara la compagnia maivagia e scernpu 
 Con la qual tu cadrai in questa valle. 
 
 Lo primo tuo rifugio e '1 primo ostello 
 Sara la cortesia del gran Lombardo, 
 Che 'n su la scala porta il santo uccello.'' 
 
 The tombs of the magnificent lords of 
 Verona, a species of long Gothic pyramids 
 
 his courtiers. It is very possible that the latter had 
 destroyed the effect of their master's benevolent in- 
 tentions. Poggio gives us, in his Facetias, the poet's 
 answer to these courtiers, wno had placed nothing 
 but bones before him one day when he dined at 
 Can Grande's table :— ■' Versi omnes in solum Dan- 
 tem, mirabantur cum ante ipsum soluuimodo ossa 
 conspicerentur- turn ille: Minimum inquit, miruin 
 si canes ossa sua comederunt ; ego nutem non sum 
 canis." Facetiw, p. 67. Tiraboscbi relates the 
 anecdote of that buffoon whose grirnsces and jokes 
 were not relished by Dante, though they had ob- 
 
106 
 
 VERONA. 
 
 [Book V. 
 
 surmounted by the equestrian statue of 
 each prince, are some of the most curious 
 monuments of the town, but these old 
 tombs, in the open air, are in a situation 
 too noisy and confined. The most splen- 
 did of them, and one of the finest of the 
 fourteenth century, is not that of Con 
 Grande, but of Can Signorio, his third 
 successor, heir of the brother of Can 
 Grande II., whom he had publicly assas- 
 sinated on horseback in the middle of the 
 street, near his palace, ' who, when 
 at the point of death, ordered his younger 
 brother Alboin to be strangled in his pri- 
 son ; wishing to assure the succession to 
 his bastards Antonio and Bartolommeo, 
 the former of whom, as soon as he mount- 
 ed the throne, caused the other to be 
 poniarded. Never were so many in- 
 stances of fratricide brought within so 
 small a space as in this chapel ; and fable 
 has recounted fewer horrors of the hos- 
 tile brothers of Thebes, than history re- 
 cords of those of Verona. Petrarch no 
 doubt alluded to all these catastrophes 
 when he too lightly wrote that Verona, 
 like Acteon, was torn by its own dogs. = 
 To divert my thoughts from this fearful 
 subject, I sought information respecting 
 the loves of Romeo and Juliet :— 
 
 Flos Veronensium depereunt juvcnum,' 
 
 a verse of Catullus, applied to much less 
 honourable loves, and that one would 
 imagine Shakspeare had imitated :— 
 
 Verona's summer bath not such a flower ; 
 
 which passage M. Emile Deschamps has 
 naturally rendered by 
 
 C'esl la plus belle fleur du priutemps de Virone. 
 
 tallied great success at the court. Being asked by 
 Cane, or more likely by his brother and predecessor 
 Alboin, why be alone despised the man whom every 
 body else admired, he answered : " It is because a 
 similarity of manners is the foundation of friend- 
 ship." Although the remark has escaped the many 
 voluminous commentators on tbe Divina Commedia, 
 I know not whether the phrase lo sctndere e 7 
 salirper I'allrui scale be not a jeu de viols in allu- 
 sion to the annoyances that Dante experienced with 
 the lords of La Scala. 
 
 1 The arcade under which Can Signorio com- 
 mitted this murder, took and retained the name of 
 Votlo barbaro; It joins the Piazza de' {Signori, 
 where the Scaligers lived. 
 
 ■■> Bpist. senil. 3 Cam. C. 2. 
 
 4 The Archduchess Maria Louisa of Pafma. 
 
 5 It is extraordinary that Dante, to whose genius 
 the pathos of the story of Romeo and Juliet was so 
 suitable, has said nothing about them, though he 
 
 I saw in a garden, said to have once 
 been a cemetery, the pretended sarco- 
 phagus of Romeo's bride. This tomb 
 was the object, at the same time, of ex- 
 cessive honours and strange indignities. 
 Madame de Stael, and a very learned 
 antiquary whom I knew at Verona, re- 
 garded it as really that of Juliet. A great 
 princess 4 has had a necklace and bracelets, 
 made of the reddish stone of which it is' 
 composed ; some illustrious foreigners 
 and handsome ladies of Verona wear a 
 small coffin of this same stone, and the 
 peasants in whose garden this poetical 
 sarcophagus stood in 1826 used it to Mash 
 their lettuce in. It is now religiously 
 preserved in the orphan asylum. 
 
 According to a popular but erroneous 
 tradition, the Capelletta takes its name 
 from the family of the Capulets, and some 
 enthusiastic travellers have lately taken 
 drawings of both the interior and exterior. 
 The memory of the loves of Romeo and 
 Juliet has been renewed in Italy by Eng- 
 lish travellers ; Shakspeare's play has 
 made it popular. Thus do Dante and 
 Shakspeare seem to meet at Verona, the 
 one by his works, the other by his mis- 
 fortunes; and the imagination delights 
 in bringing together these two great ge- 
 niuses, so tremendous, so creative, and 
 perhaps the most astonishing of modern 
 literature. 5 
 
 CHAPTER XI. 
 
 Amphitheatre.— People inhabiting the monuments. 
 —Arch of Gavlus. 
 
 The amphitheatre of Verona, now the 
 finest and best restored of those edifices, 
 
 speaks so eagerly of the Montagues and Capulets ; 
 Vleni a veder Monlecchi e Cappelletti. 
 
 (Purg. vl. fo0.| 
 A poetess, or more probably a poet of the time 
 concealed under the name of Clithia, celebrated It. 
 This Utile poem in four cantos, printed in (553, had 
 become scarce ; it has been reproduced by s. Ales- 
 sandro Torri in his notes to the novel of Lulgi da 
 Porlo. ( Pisa, 1831. ) The novellicrs and Italian his- 
 torians who have related the adventure of Romeo 
 and Juliet, which happened in i303 or 1304 under 
 Bartolommeo della Scala, the son of Albert, are later 
 by more than two centuries. See the novel of Ban- 
 dello, t. iv. nov. ix. A French translation of the 
 novel of Romeo and Juliet, by Luigi da Porto, fol- 
 lowed by some scenes translated from Shakspeare's 
 Juliet, is due lo a learned writer, M. Delfcluae, who 
 has compared the play with tbe novel. Paris, 1829, 
 ln-12. 
 
Chap. XL] 
 
 VERONA. 
 
 10? 
 
 has undergone many vicissitudes in its 
 destiny : it has been thrown down by 
 earthquakes, destroyed by barbarians, 
 made a receptacle for the filth of the 
 town, and even assigned as a residence 
 for prostitutes, nor were any regulations 
 made for its restoration and keeping in 
 repair till the sixteenth century. In the 
 next, it was cleared of the constructions 
 that encumbered it, and the ditches of 
 the citadel were filled up with their ma- 
 terials. The long continued neglect of 
 the amphitheatre seems to explain the 
 cause of its not being mentioned by 
 Dante, who had lived at Verona, and was 
 always so eager to bring forward the 
 wonders of Italy. It seems difficult to 
 believe, as some have pretended, that, 
 the form, ascending seats, and vomitoria 
 of the amphitheatre, having suggested 
 the idea of the circles and distribution of 
 his hell, this great poet never spoke of 
 the monument lest his strange plagiarism 
 should be discovered. 
 
 The first time that I saw this vast 
 circus, there was a small puppet-show 
 built with planks in the centre, which 
 formed ah odd contrast with the beautiful 
 marble seats and the Egyptian solidity 
 of the vaults and arcades that surrounded 
 it. Thus, in the history of nations, a 
 magnificent scene is often occupied by 
 ludicrous personages. I afterwards at- 
 tended a rather childish spectacle in this 
 same arena : pigeons had been trained 
 to perch themselves on a pistol and sit 
 motionless while it was fired ; they also 
 discharged a small cannon, and then let 
 off crackers while soaring in the sky. 
 The intrepidity of these pigeons, carrying 
 thunderbolts like the eagle (which is said 
 to be cowardly), was little to my taste; 
 
 1 According to Saraina Torello, an esteemed Ve- 
 ronese antiquarian, the amphitheatre of Verona 
 Will hold twenty-three thousand one hundred and 
 eighty-four ; Maffei reduces it to twenty-two thou- 
 sand. 
 
 2 Despite all the researches of the learned, the 
 period of the foucdallon of the amphitheatre re- 
 mains uncertain. 
 
 3 In Sachetti ( nov. cxiv ) this scene passes at Flo- 
 rence ; it is also said that Dante somewhat eccentri- 
 cally reproached a muleteer, who was likewise 
 singing his Dirina Commedia, with adding to his 
 verses a hoarse am to slimuiate his mules: Ma 
 quell' arri non celb posiio ! (The same, nov. cxv.) 
 The poems of Dante and Boccaccio were commonly 
 accompanied with music and dancing, from which 
 practice are derived the nsmes of Sonnets, Chansons 
 [Canzoni), Ballads \Ualiata\. This accompani- 
 
 boldness is not becoming in graceful 
 beings, and I preferred the tender and 
 unfortunate pigeons of La Fontaine to 
 these warlike ringdoves. When full of 
 people, the amphitheatre must offer a 
 superb coup d'ceil, if I may judge of it 
 by the number attracted by the pigeon 
 performances. This coup d'ceil was 
 given in the last century to the emperor 
 Joseph II., and in 1822 to the sovereigns 
 assembled at Verona; Pius VI. also en- 
 joyed it when he passed through this city 
 on his way to Vienna. But I think that 
 this Father of the Faithful, blessing twenty- 
 thousand Christians' from the top of 
 this arena of some Roman emperor, 2 
 must have been a grander and more 
 affecting sight than all the pomps of 
 worldly princes. 
 
 The outside of the amphitheatre is 
 inhabited by the poorer classes of the 
 town. It appears to me however that 
 travellers are sometimes too indignant 
 against the occupying ancientmonuments 
 in this manner; for it detracts less from 
 the picturesque of these ruins than would 
 the residence of classes more elevated or 
 the practice of genteeler trades : the 
 forge, with its flame sparkling at night 
 in the bottom of the amphitheatre of 
 Verona, has a finer effect than the lights 
 which illuminate brilliant apartments, or 
 the gas of some new shop or coffee-house. 
 It was probably an ancestor of this arti- 
 san, a tenant of these ruins, to whom 
 Dante in exile at Verona said, as he 
 threw his tools into the street : — "If 
 you do not wish me to spoil your 
 things, do not spoil mine : you sing my 
 verses, but not as I made them ; they 
 are my tools, and you spoil them for 
 me." 3 
 
 ment was even applied to lyrical pieces and those of 
 amorous and mystical metaphysics, as may be seen 
 by the One canzone of the Convilo which Casella. 
 the friend and music-master of Dante, sings to him 
 at his request in Purgatory, to his great delight :— 
 
 Amor cbe nella mente mi raglona, 
 Comincio egli allor si dolcemenle 
 Chela dolcezza ancor dentro mi suona. 
 
 (C.H,H2-H5. ) 
 
 Petrarch bad a musical voice, and accompanied his 
 verses on the lute which be bequeathed to his friend, 
 maestro Tomas Bombasius of Ferrara ; his Africa 
 even was sung at Verona. An incident very like 
 that of Dante and the blacksmith is related by the 
 biographers of Ariosto. lie entered the shop of a 
 potter who was singing, in a mutilated form, the 
 
108 
 
 VERONA. 
 
 [ Book V 
 
 The arch of Gavius, the tomb of that 
 illustrious family, was till some thirty 
 ^ears ago, another precious relic of an- 
 tiquity. Its fluted columns and elegant 
 capitals which now bestrew the earth, 
 and will soon disappear beneath the filth 
 of the Cittadella, are one of those wrecks 
 brought about by civilisation, which are 
 not less numerous and much more com- 
 plete that those of barbarism. This 
 monument, after escaping so many ra- 
 vages, was destroyed in 1805, when the 
 citadel near it was put in a state of de- 
 fence. S. Pinali, a patriotic Veronese 
 architect and distinguished antiquarian, 
 the possessor of some valuable original 
 drawings by Palladio, so vehemently 
 bewailed the loss of this national ruin 
 that the French Viceroy of Italy decreed 
 its re-erection . Some proposed to remove 
 it to a spot where they said it would be 
 belter placed, as if these old Roman 
 tombs, forcenturies embedded in the soil, 
 could be shaken and uprooted so easily. 
 Five months only were asked for this fine 
 job, and the probability now is that it 
 can never be executed 
 
 CHAPTER XII 
 
 Uiiropurls.— Porta del Palio. 
 
 The illustrious Veronese architect San 
 Micheli seems almost the builder of his 
 town : every thing was done by him, — 
 gates, bridges, palaces, fortifications, 
 chapels, and tombs. As the Marquis de 
 MatTei has said, the genius of Vitruvius 
 seemed to have passed into this great 
 artist. 1 There has been, however, a 
 general mistake in attributing to him 
 the invention of angular bastions ; Leo- 
 nardo Vinci had previously ascertained 
 the necessity of this arrangement which 
 
 verses of the xxxnd Stanza or the first canto or Or- 
 lando •— 
 
 Ferma, Baiardo mio, deb ferma il piede, 
 Che P esser senza te troppo mi uuoce, 
 ond brohe several vases. The potter asked the 
 reason of his wrath : " A cui Lodovico, Eppure non 
 mi sono rieattato a dovere : io Dnalmente non ho 
 (he intrantl poch vosi del valore appena d' un 
 soldo ; voi mi avete guastali i raiei versi, che senza 
 paragons costano molto piii." 
 
 ' According to Galiani and Solienl, who were 
 Interested judges, V truvius was o Formia; ; he 
 has Just been include *in the collection of medals 
 
 has been since adopted by all engineers, 
 and the ramparts of Verona were not 
 constructed till 1527, eight years after 
 his death.* The superb ramparts built 
 by San Micheli, which the peace has 
 destroyed, were masterpieces of military 
 architecture : the demolition was one of 
 the articles of the treaty of Luneville; 
 but we may judge by the remnants of 
 the bastion of Espagna and the bastion 
 dclle Boccare, which is still entire, of 
 the strength and solidity of those con- 
 structions. Of late years Verona has 
 been again considerably fortified by 
 Austria, without making any ado 
 about it. 
 
 The Porta del Palio, 3 another of San 
 Micheli's miracles, as Vasari expresses 
 it, recalls one of those numerous national 
 festivals celebrated in the cities or Italy 
 during the middle ages. The Verona 
 races, instituted in 1207 in honour of 
 the victory gained by the podesta Azzo 
 d'Este over the enemies of the city, have 
 long ceased, but they will live for ever, 
 since Dante has been their Pindar, and 
 has compared his master Brunetto La- 
 tini to one of the conquerors : — 
 
 E parve di coloro 
 
 Che corrono a Verona 'I drappo verde 
 Per la campagua, e parve di cosloro 
 Quegli che vince e non colui che perde. 
 
 The Porta del Vescovo-a-S.-Toscana 
 is associated with neither such glorious 
 nor such poetic reminiscences, but the 
 name and figure of the governor Teo- 
 doro Trivulzio are sculptured on it; it 
 was he that first introduced the culture 
 of rice into the country of Verona in 
 1522 ; and though less renowned than the 
 indefatigable Giovanni Jacopo Trivulzio, 
 he was a much greater benefactor to 
 mankind. 
 
 of celebrated Neapolitans, which is published at 
 Naples under the direction or S. Taglioni. 
 
 % See the Essay on the physico-matlicmalicaC ipa 
 nnscripts of Leonardo Vinci, by J. B. Venturl. 
 Leonardo Vinci's acquaintance with practical mili- 
 tary architecture was very extraordinary, it we 
 may judge by a memoir which be addressed to 
 Ludovlco Sforza about 1490. In attaching towns he 
 engages to make a gallery under the ditches full of 
 waier : might not one truly say that the Thames 
 tunnel was already under discussion? 
 
 3 Palio, a piece or cloth given as a prlie to those 
 who won the race. 
 
 4 Inf. c. xv., 120-12'.. 
 
Cuap. XIII.] 
 
 VERONA. 
 
 109 
 
 CHAPTER XIII. 
 
 Saint Zeno. — Cathedral. — PaciDco.— Pope Lucio.— 
 Mchesola's mausoleum.— Biancbini.— Saint Anas- 
 *asia.— Thesis maintained by Dante.— Pellegrini 
 chapel. 
 
 The churches of Verona are numerous, 
 i magnificent, and replete with reminis- 
 icenccs. There, as in many other Italian 
 (towns, the principal church is not the 
 [cathedral, but the' church of some po- 
 pular saint, powerful in word rather 
 i Lhari eloquent, a benefactor to the coun- 
 try, whose temple, is generally the most 
 national monument of the place. It is 
 ! hus that Saint Zeno, Saint Anthony, and 
 paint Pelronius, are really the first chur- 
 ches of Verona, Padua, and Bologna, 
 *'ery superior to the cathedral with its 
 itled archbishop and lazy canons. The 
 oldest portions of Saint Zeno are of the 
 linth century. By a kind of miracle 
 his church has hitherto escaped the 
 everlasting labours of the artists of 
 Cosmo, as Algarotti designated the ma- 
 sons who came from that town, and its 
 lppearance is still singularly venerable. 
 The bronze doors presenting grotesque 
 emblems, are of curious workmanship. 
 The church, spacious, majestic, and 
 gloomy, contains the statue of the saint, 
 vho seems in a roar of laughter; it is 
 nade of red Verona marble, and the co- 
 our gives the visage a rubicund appear- 
 ance, and adds still more to his jovial 
 tir. This Christian Zeno seems to con- 
 rast with the austerity of the stoic chief. 
 lis tomb also exhibits some fantastic 
 igures of the earlier times, and near it, 
 .mong the arabesques of the archivolt of 
 me of the choir staircases, is one repre- 
 cnting two cocks carrying a fox sus- 
 lended to a stick, 
 
 !onteux commeun renard qu'une poule aurait pris, 
 
 n unknown allusion, a profound allegory 
 f the middle ages that La Fontaine 
 ould doubtless have explained. 1 Tie 
 reat wheel of Fortune, by Brislolto, a 
 Veronese sculptor of the eleventh cen- 
 ury, a precious piece of workmanship, 
 uggested by the rapid rise and fall 
 
 i Grosley found some similar ligures on the 
 losalc compartments of the pavement of Saint 
 iark, the work of the abbot Joachim, a fan ous 
 isionary of the eleventh century. According to the 
 istorians and people of Venice, said he, these 
 gures are n prophetic emblem of the victories of 
 
 of the princes of that epoch, is now con- 
 verted into a window in the front, and 
 is not very well seen in its lofty position. 
 Three finished paintings, the Virgin, the 
 Infant Jesus and some angels ; the 
 Apostles Peter, Paul, and John; St. 
 John Baptist, St. George, St Benedict 
 and a bishop, are by JMatUegna, who 
 has likewise painted in the cloister a 
 very tine fresco of the Infant Jesus 
 standing and blessing the universe, a 
 touching and noble picture that nothing 
 but the genius of Christianity could have 
 inspired. 
 
 Beside the church is a curious ancient 
 tomb, the subject of a thousand fables : 
 the inscription makes it that of Pepin, 
 king of Italy, the son of Charlemagne ; 
 but this inscription is modern, which 
 may caution travellers against so egre- 
 gious an error. The fine steeple of 
 Saint Zeno, of the year 1045, is more- 
 over distinguished by the quality of 
 the stone and the remnants of Roman 
 antiquities therein enchased. 
 
 The cathedral appears to have been 
 finished about the close of the tenth cen- 
 tury. It seems as if Boland and Oliver 
 were standing sentry at its doors; Ihey 
 are sculptured standing erect on the 
 Gothic pilasters of the front, amid a 
 thousand symbolical figures of griffins, 
 lions, birds, fruits, hunters, prophets, 
 and warriors; they wear turned-up mus- 
 tachios and naked swords as at Ronces- 
 valles, and there also is Durandal,* for 
 its name is still legible ; but the singular 
 suits of armour of the two knights are of 
 different kinds. Over the door are the 
 figures of the three queens who contri- 
 buted to the foundation of the church, 
 Berlrade, the mother ot Charlemagne, 
 his wife, and his daughter Ermengarde, 
 the wife of Didier, princesses who have 
 since become the three divine vir- 
 tues, and over whom are written the 
 three words faith, hope, and charity. 
 This last virtue, charity, as well as an 
 antique basso-relievo representing the 
 Adoration of the Magi, is half-covered 
 and nearly effaced by the archbishop's 
 arms. 
 
 There is one tomb which confers a 
 
 Charles VIII. and Louis XII., tings of France, over 
 Ludovico Sforza, who had seized the duchy of Milan 
 and maintained his tenure less by force than sub- 
 tlety.— Observations oil Italy, vol. n. p. 77. 
 
 3 Dtirindarda, and not Durindqna, as in Ariosto, 
 c. xi. 50; xxiii. 78. 
 
 10 
 
110 
 
 VERONA. 
 
 { Book V. 
 
 lustre on Verona; it is that of its arch- 
 deacon Pacifico, who died in 846, re- 
 nowned for the theological victories of 
 his youth, his commentary on the Bible, 
 the first ever composed, and especially 
 for his skill in astronomy and mechanics. 
 The long, barbarous, and somewhat 
 unintelligible epitaph, which bepraises 
 even the beauty of his countenance, 
 attributes to him the invention of the 
 night-clock, by which is meant one strik- 
 ing the hours. 
 
 The tomb of Pope Lucius III., who 
 was driven from Rome and died at Ve- 
 rona in 1185, is curious. A quaint an- 
 tique quatrain, followed by a charac- 
 teristic inscription, recounts the pontiff's 
 adventures.' How strange that the 
 spiritual power of the popes, so strong 
 and daring abroad during the middle 
 ages, encountered no where more resis- 
 tance than at Rome itself ! » Lucius had 
 scarcely time to seat himself, so sudden 
 and violent was the insurrection against 
 his authority. It is said that he was the 
 first elected by the cardinals alone, who 
 then arrogated to themselves the right 
 of chosing the pope to the exclusion of 
 the people and clergy. 
 
 The frescos of the high altar, repre- 
 senting subjects from the history of the 
 Virgin, were executed by Moro, a Ve- 
 ronese painter, from drawings by Giullo 
 Romano : the Assumption is admi- 
 rable. 
 
 Titian's Assumption, brought back 
 from Paris, is interesting, if it be true 
 that he has painted San Micheli under 
 the features of the apostle in the centre, 
 with his face turned towards heaven, 
 and one hand on the sepulchre. 
 
 The painting of the chapel of Saint 
 Anthony is by Balestra, and a Transfi- 
 guration by Cignaroli, his pupil. In 
 the sacristy of the canons, an Assump- 
 tion and a St. Charles with a crucifix , 
 are esteemed works of Ridolfi, a painter 
 and writer of the seventeenth century, 
 who contrived to avoid, in his paint- 
 ings and biographies of the Venetian 
 
 ' Luca dedlt luceirj tibt, Lucl, pontiQcatum 
 Ostia, papaluoi Roma, Verona mori. 
 Immo Verona dedit lucis libi gaudia, Roma 
 Exilium, euros Ostia, Luca mori, 
 
 Ossa Lucil III Tout. Max. cui Uoma ob invidiam 
 pulso Verona tutissimurn ac grnlissimuoi pertu- 
 glum fuit, ubl convenla Cbrislianorum aclo, duni 
 pra'clara multa molitur, e vita excess! t. 
 
 artists, the false taste prevalent in Italy 
 at that epoch. 
 
 In the chapel called the Madonna 
 del Popolo is an antique tomb of Julius 
 Apollonius and his wife, with an inscrip- 
 tion purporting that he had destined it 
 during his life to his beloved spouse 
 Attica Valeria, that he might one d;ij 
 be placed by her side; this loving couple, 
 were succeeded in their tomb by Saint 
 Theodore, bishop of Verona. Near this 
 spot is an enormous fish bone, a strange 
 instrument for an executioner, which, 
 according to the popular belief, served 
 to decapitate the holy martyrs Fermus 
 and Rusticus. 
 
 The mausoleum erected to Nichesola, 
 bishop of Bellona, by Francois Gervais, 
 a Frenchman, canon of Verona, drawn 
 and sculptured, according to tradition, 
 by Sansovino, appears worthy of that 
 grand artist. 
 
 A monument was consecrated, in pur- 
 suance of a public decree, to Francesco 
 Bianchi, whom the learned prelate, 
 Gaetano Marini, regarded as the first 
 man of letters in the eighteenth century ; 
 the inscription relates, and truly, that 
 the meekness and modesty of this asto- 
 nishing man, at once natural philo- 
 sopher, mathematician, botanist, anti- 
 quary, astronomer, and even poet, — 
 who has so highly honoured Verona and 
 Italy, equalled his vast acquirements. 
 
 Over the door leading from the ca- 
 thedral to the archbishop's residence is a 
 pulpit from which the deacon formerly 
 read the Gospel to the congregation ; an 
 Annunciation is sculptured there. In 
 accordance with the ancient practices, 
 the Virgin is represented simply stand- 
 ing, and not prostrate and in prayer, as 
 she has always been painted in later 
 days. 
 
 Saint Anastasia, a church built during 
 the sovereignty of the Scaligcrs, with its 
 sculptured doors, majestic columns, lofty 
 nave, cupola, and choir, is a monument 
 of the magnificence of those princes as 
 well as of tne epoch. The chapel of Janus 
 
 *.H is remarked by Macbiavel on the subject or 
 the public penance imposed by Pope Alexander on 
 Uenry II. after the murder of Thomas a Deckel, a 
 sentence to which in our days the meanest citizen 
 would be ashamed to submit, that this same pope 
 could not make the Romans obey him, nor would 
 they even allow him to live in Rome. Istor. fto- 
 rent. lib. I 
 
Chap. XIII.] 
 
 VERONA. 
 
 m 
 
 Fregose, a Genoese and general in the Ve- 
 netian service, who died in 1565, erected 
 by his son Ercole, is a monument half 
 altar half mausoleum, and one of the 
 most remarkable in Italy; from the in- 
 scription it appears to be by Danese Cat- 
 taneo, an artist and poet of Carrara, 
 whose thirteen cantos on the Amor di 
 Marfisa delighted the youth of Tasso, 
 and who was the master of Geronimo 
 Campagna, a great sculptor and archi- 
 tect of Verona. 
 
 There are some good paintings at Saint 
 Anastasia : a very fine St. Vincent, by 
 Count Rotari, an artist of graceful talent, 
 who was painter to Catherine II. and 
 died during the last century in Russia ; 
 near it is a fresco by an old and unknown 
 author, part of which is in a good state 
 of preservation ; the Christ dead and 
 bewailed by the Marys, is attributed by 
 Vasari to Liberale, but is by his great 
 disciple Francesco Carotto, a clever Ve- 
 ronese artist of the end of the fifteenth 
 century ; a Deposition from the cross 
 and other old paintings of the Pellegrini 
 chapel, and particularly the fresco of St. 
 George, by Vittorio Pisanello, a cele- 
 brated Veronese master of the first epoch 
 of the Venetian school ; two paintings of 
 the Holy Ghost descending on the 
 Apostles, by Giolfino, the friend, pupil, 
 and guest of Mantegna. The chapel of 
 the^ Rosary is of good architecture, and is 
 said to have been executed from a design 
 left by San Micheli. A fine old painting 
 at the altar represents the Virgin, the 
 Infant Jesus, and the saints and mar- 
 tyrs Peter and Dominick, at her feet 
 Martin II. della Scala and his wife Tad- 
 dea da Carrara ; this cruel and faithless 
 prince, the successor of Can Grande I., 
 may be called the Tiberius of the Vero- 
 nese Augustus. In the sacristy, the 
 noble and elegant altar-piece represent- 
 ing several saints, is by Felice Brusa- 
 sorci, as also the small portraits of Domi- 
 nican saints on the wall; a graceful 
 Assumption is by Orbetto. 
 
 A stone cenotaph and bust had just 
 been erected in this church, in 1828, to 
 the poet and improvisatore Lorenzi of 
 Verona, by Ippolito Pindemonte and the 
 archduchess Beatrice d'Este, an homage 
 offered to talent by grandeur and friend- 
 ship. These private monuments, so 
 
 Naurragus hinc fugio; Christum seqnor : is mihi 
 solus 
 
 common in Italy, are among the noblest 
 decorations of their temples; it is a 
 touching manner of honouring the friends 
 they regret or the great men they ad- 
 mire. Pindemonte composed, on the 
 subject of erecting this monument, some 
 verses on the death of Lorenzi, in which 
 his pious and resigned muse seems rather 
 more sceptical and independent. These 
 verses were the last Pindemonte wrote, 
 and they seem, like the song of the ex- 
 piring swan, to be the dying inspiration 
 of this tender and melancholy poet. 
 
 The baptistry of the church of Saint 
 John in Fonte, with its eight faces, on 
 which divers sacred subjects are coarsely 
 sculptured, is a curious Christian anti- 
 quity, in which the patriotism of Maffei 
 found traces of nobleness. 
 
 Saint Helena contains some old monu- 
 ments, and especially the fragments of an 
 old mosaic, the origin of which has be- 
 come involved in uncertainty by multi- 
 plied researches. It has also the tomb 
 of a cardinal Teodin, Pope Lucius's com- 
 panion in exile, and that of a pious, 
 learned, and unfortunate Veronese, 
 Leonardo Montagna, who died in 1485 ; 
 his epitaph is simple and affecting. ■ 
 The best painting, the celebrated St. 
 Helena, by Felice Brusasorci, is of ex- 
 traordinary beauty. It was in this 
 church that Dante, in January 1320, 
 when poor and in exile, maintained in 
 Latin, before a numerous audience, a 
 thesis on land and water, a strange sub- 
 ject for this great poet to discuss, and a 
 singular means of turning his talent to 
 advantage. This public sitting in a 
 church, which belonged to the manners 
 of the day, and was regarded as a mark 
 of honour for aim who was to be heard, 
 confirms a remark in a preceding chapter 
 on the popularity of science and litera- 
 ture before the invention of printing, 
 when they were neither studied nor 
 taught in the closet, but propounded be- 
 fore the crowd and for every body. 
 
 Saint Euphemia has the fine Verita 
 mausoleum, a capital work by San Mi- 
 cheli. The old church, which had been 
 repaired and renovated, dated from the 
 Scaligers. It was then given to the her- 
 mits of Saint Augustine of the monastery 
 of Montorio, who established themselves 
 there ; they acquired also several gar- 
 sit dui, sitque comes, sitque perenne bonum 
 
 MCCCCLXXXY. 
 
112 
 
 VERONA. 
 
 [ Hook V. 
 
 dens and houses adjoining as well as (he 
 right to enclose a street leading down to 
 the Adige : it appears that the latter pro- 
 ceeding was oirensive to some parties, 
 and the wall of the monks was thrown 
 down in the night; but they rebuilt it, 
 and their tenure was maintained. There 
 are several tombs of literary men in this 
 church : that of Renaud de Villefranehe, 
 the grammarian, one of Petrarch's nume- 
 rous correspondents; that of Antonio da 
 Legnago, a counsellor of the Scaligers, 
 "learned and of repute in his day," says 
 Maffei ; those of Pietro dal Verme, and 
 his son Lucchino ; a famous warrior to 
 whom Petrarch addressed his treatise 
 On the duty and qualifications of those 
 who command, a sort of manual for mi- 
 litary chiefs, in which he several times 
 mentions good fortune as their chief-me- 
 rit. The form of this red marble tomb 
 pretty much resembles that of Petrarch, 
 which I have since seen at Arqua. The 
 tomb of Fracastor is not at Saint Euphe- 
 mia, as some have asserted, but that of 
 his friend Rhamnusio is there. The best 
 paintings of the church arc : St. Paul 
 before Ananias, one of the best works 
 of Giambattista dal Moro,a fresco which, 
 on the demolition of the wall it first oc- 
 cupied, was carefully removed at great 
 expense and placed over the door ; the 
 Virgin with St. Roch and St. Sebas- 
 tian, by Domenico Brusasorci ; and es- 
 pecially two Virgins, by Carotto. 
 
 The church of Saint Bernardin, which 
 is decorated on the outside with frescos 
 by Cavazzola, sumamed the second 
 Paolo Veronese, by Farinati, called the 
 third, and by GiolQno, contains : the 
 superb St. Francis, by Francesco Mo- 
 ronc, and another painter unknown, who 
 did the beautiful aureola ; frescos by 
 Giolfino, which are still full of life, des- 
 pite the injuries of time, and which offer 
 a view of ancient Verona ; a Virgin, 
 perfect, by Francesco Monsignori, of 
 Verona, one of the best pupils of Man- 
 tcgna. The chapel of the Cross seems a 
 gallery of the best works of Veronese 
 
 • This stone peculiar lo the environs of Verona, 
 says M. Quatremere de Quincy, is the most valuable 
 kind known, after white marble, for w hileness and 
 lineness, and at the same time better adapted by its 
 firmness, to be worked by the chisel : it is called 
 bronzioe, because when wrought it sounds like 
 bronze. Histoire de la vie el Ui s ouvrages des plus 
 cilebres arcliitectes, t. l. p. 160. Paris, 1S30. 
 
 * It was at first somewhat blunderingly slated in 
 
 masters of the good era. But all this 
 magnificence nearly escapes attention 
 beside the Pellegrini chapel, a master- 
 piece of San Micheli, of itself a little 
 temple. If, with respect to style and 
 eloquence, some few pages are sufficient 
 to give the measure of superior mind-, 
 as may be seen by the A ventures d' A no- 
 torious, the Reverie of Rousseau, Paul" 
 et Virginie, Rene, le Lepreux, it ought 
 to be the same in the fine arts : the Pel- 
 legrini chapel displays all its author's 
 genius. Though erected three centuries 
 ago, such is the skill of its disposition, 
 the beauty of the light, and the singular 
 quality of the stone,' that it still seems 
 quite new, and one feels inclined to ask 
 what immortal contemporary has just 
 finished such a captivating wonder. 
 
 CHAPTER XIV. 
 
 San Fermo.— Mausoleums of the Turriani, Bren- 
 zoni, and Alighieri.— Saint Sebastian.— Thomas a 
 Becket.— Santa Maria in Organo.— Sacristy -Saint 
 George.- Kicovero. 
 
 The church of San Fermo presents the 
 celebrated mausoleum of the Turriani; 
 but this fine monument was stripped by 
 the war of its bronze basso-relievos and 
 the two genii placed on each side. One 
 might have supposed that these tombs 
 would be respected in all these ravages. 
 Nothing is known of the fate of the two 
 genii; the eight basso-relievos of An- 
 drea Riccio are most clumsily enchased 
 in the wooden door of the hall of the 
 Cariatides at the Royal-Museum. a These 
 Turriani, who are here so magnificently 
 entombed, were neither princes nor fa- 
 mous warriors, but good physicians and 
 skilful anatomists, who had merely been 
 successful professors at Padua, Ferrara, 
 and Pavia : one of them, Antonio, son of 
 Geronimo, the anatomist, assisted Leo- 
 nardo Vinci in more truly expressing the 
 different parts of the human body. Out- 
 side the church is the tomb of Aventino 
 Fracastor, ancestor of the great Gero- 
 nimo, the physician of Can Grande I., and 
 
 the Catalogue des commissaires francais de ITDS, 
 that the subject of these basso-relievos was the his- 
 tory of Mausolus, king of Caria, and they were 
 again similarly explained in 1813. This notion 
 was subsequently refuted by Cicognara, who thinks 
 that the subject of these basso-relievos is the life, 
 slckuess, and death of Geronimo de la Torre. (Stor. 
 del. Scult., t. iv. p. 292 et seq.) M. de Clarac has 
 since added, in his Musie de sculpture, t, i. p. 400 
 
Chap. XIV.] 
 
 VERONA. 
 
 •US 
 
 inside are those of Francesco Pona, an- 
 other celebrated physician, of several 
 others of the same profession, and of 
 Francesco Calceolari, a botanist, author 
 of the Iter in Baldum. San Fenno 
 seems to be the Saint Denis, or West- 
 minster of the faculty. A singularly 
 elegant tomb, one might almost call it 
 graceful, perpetuates the memory of the 
 Veronese historian Torello Saraina; this 
 monument was erected by his townsmen 
 as an acknowledgment of his learned 
 researches. Few towns have had a better 
 share of historians than Verona; Saraina 
 is still esteemed ; Maffei owes his glory 
 to his Verona illustrata; and Count 
 
 I.Persico, by his excellent Description of 
 Verona and its province, has shown 
 
 , himself a worthy successor of these na- 
 
 f tional annalists. The mausoleum of the 
 Brenzoni, a good work of the fifteenth 
 
 I century, which elicited the approbation 
 of Vasari, is adorned with paintings on a 
 gold ground by Pisanello. But the little 
 altar of the Aligeri, as they pronounce 
 it at Verona, with all its simpl.city, is 
 far otherwise imposing by its name alone. 
 The poetical arms of this family seem 
 worthy to have been chosen by Dante; 
 they are a wing or on an azure field. 
 The last descendant of Dante, Francesco 
 Alighieri, who was a very learned man, 
 a good judge of architecture, and the 
 best interpreter of Vitruvius, though his 
 manuscript translation is perhaps now 
 lost, erected near this altar the tombs 
 of his two brothers, Pietro and Ludovico, 
 the former well-versed in Greek and 
 Latin literature, the latter an able juris- 
 consult : it is pleasing to observe that, 
 even to the last, a family so celebrated 
 for mental powers has not been unfaith- 
 ful to the intellectual arts, and that when 
 genius fell away, its members never 
 ceased to cultivate science. ' 
 
 Over the principal door is a Cruci- 
 fixion, a natural old picture by an un- 
 known author ; which, from the two 
 nails put in the feet, must be anterior to 
 Cimabue, who first restricted himself to 
 one. Thus, according to Maffei, Verona 
 both preceded and excelled Florence in 
 
 et seq., some reasonable explanations to Cicogna- 
 r; s critique. M. Quatremere thinks that the basso- 
 relievos represent the vicissitudes of human life, 
 Intermingled with both Christian and Pagan Ueas 
 and allegories. {Joum. des tavants, dec. 1817.) 
 
 ■ The wife of Pietro Alighieri was a Frisoni, a 
 uoble family of Verona j she had one daughter Gi- 
 
 the pictorial art. These disputes for 
 glory are continually recurring in Italy, 
 and they arc inevitable among so many 
 old and beautiful monuments. There 
 are still some good and old paintings at 
 SanFermo: the Prophets and other noble 
 figures, of the year 1396, by Stefano of 
 Zevio, or Verona ; the Adoration of the 
 Magi in the chapel degli Agonizzanti, 
 by Pisanello ; a Nativity, by Orbetto ; the 
 Conception of the Virgin, by Carolto; 
 a Piety, effective, by the Cavalier Barca, 
 an artist of the seventeenth century, well 
 deserving notice ; the Virgin, Infant 
 Jesus, and St. Christopher, perfect, by 
 Monsignori; the same with St. Peter and 
 St. Francis, by Dal Moro ; the Christ 
 with his mother and Magdalen, by Do- 
 inenico Brusasorci. A good Crucifix in 
 bronze is by Giambattista of Verona, a 
 sculptor much praised by Vasari. 
 
 Saint Sebastian is one of the most 
 splendid churches of Verona ; its front, 
 from the design of San Micheli, remained 
 long unfinished to the great affliction o f 
 Veronese patriotism, and has been but 
 recently completed. The high altar is 
 by the celebrated Padre Andrea Pozzi, 
 of Trent, Jesuit and architect, who, 
 with his brother the Carmelite, like- 
 wise an architect, was one of the most 
 zealous corrupters of taste in Italy towards 
 the end of the seventeenth century : this 
 altar has however been greatly extolled. 
 Among the many paintings, the Saint 
 suffering martyrdom, gracefully sup- 
 ported by an angel, passes for one of 
 Brentana's best works. On the ceiling, 
 the same, by Parolini, is pleasing and 
 well composed. A Moses on the ceiling 
 of the sacristy is by Farinati ; also a 
 Judith, a superb and fantastical work, 
 in which he has even ventured to put 
 cannons in the siege of Bethulia. 
 
 Santa Maria della Scala shows the 
 literary glory of Verona at very different 
 epochs, and under manners greatly 
 changed : it was built in 1338, by a vow 
 of Can I., and it contains the very simple 
 tomb of Maffei, its historian, antiquary, 
 and poet, who died in 1755. At the 
 altar delle Grazie is an old fresco of the 
 
 nevra, « ho was married in 1549 to Marc Antonio 
 Serego; from that epoch the name or Alighieri is 
 conjoined wilh that o Serego; and till within some 
 few years, it was borne by a very amiable lady, 
 the countess Serego Alighieri, whom I had the 
 honour to know, and whose premature death ex- 
 cited universal regret at Yerona. 
 
 10. 
 
Mi 
 
 VERONA. 
 
 [Book V. 
 
 Virgin, and below Alberto and Martino 
 dellaSeala, nephews of Can I. An As- 
 sumption at the high altar is by Felice 
 Brusasorci ; the Virgin with the seven 
 founders, is one of the best performances 
 of Rotari ; an expressive St. Mary Mag- 
 dalen, is by Coppa, a pupil of Guido 
 and Albano The Virgin and some 
 saints, over the little door on the right, 
 are light, graceful, and picturesque 
 paintings by the Cavalier Barca. 
 
 By a singular coincidence, at the church 
 of Saint Thomas Cantuariense, there is 
 the tomb of John Baptist Becket, a mem- 
 ber of the saint's family. Bossuethaslefta 
 magnificent eulogy of the archbishop of 
 Canterbury; speaking of the Church, he 
 said that Becket defended even the out- 
 works of that holy city. The plan of 
 Saint Thomas was by San Micheli. who 
 lived in its immediate neighbourhood. 
 His house still exists, and is remarkable 
 for its beautiful entrance; a plain inscrip- 
 tion on the pavement ofthe church points 
 out where he was interred ; it recapitu- 
 lates his immense labo.rs, and its unvar- 
 nished tale has a kind of eloquence arising 
 from the truth of its statements. ' There 
 are some fine paintings in this church. 
 St. Magdalen, St. Martha, and a choir 
 of angels, is by Orbetlo. St. Job, St. 
 Boch, and St. Sebastian ; the Infant 
 Jesus on his mother's knees playing 
 with the little St. John, a painting in 
 Raphael's manner, and even attributed 
 to Garofolo, is by Carotto; the St. Je- 
 rome, full of thought ; the Virgin, St. 
 Anthony the abbot, St. Onuphre, by 
 Farinati Such is the beauty of the latter 
 saint, naked and sealed, that he has been 
 regarded as an imitation of the antique 
 torse. 
 
 The oldest Christian antiquity of Ve- 
 rona, and even of all the Venetian pro- 
 vinces, is perhaps the church of Saint 
 Nazarius and Saint Celsus, for it may 
 possibly be of the sixth century. The 
 grottoes adjacent served for retreats to 
 the first Christians, and may be called 
 the catacombs of Verona The monas- 
 
 San Micheli appears to have been not loss esti- 
 mable for bis social qualities, than worthy of ad- 
 miration for bis talents. So fervent was the piety 
 of Ibis architect amid all his occupations, that be 
 never undertook any work without having a solemn 
 mass said to invoke aid from on high. Vasari, who 
 knew him, records an incident that proves hi9 
 singular conscientiousness, Reing harassed by the 
 remembrance of a connection which he formed in 
 
 tery is partly demolished and is occupied 
 by a soap-boiler ; this manufacturer is a 
 friend of the arts, and has had the paint- 
 ings of the seventh century which are 
 still visible drawn and engraved; these 
 old paintings, coarsely executed in a kind 
 of cellar, represent the apostles, somi' 
 martyrs, and the soul of the just depart- 
 ing this life, assisted by the archangel 
 Michael, and may be called the first 
 fruits of the brilliant Venetian school, 
 which did not revive till four centuries 
 later. The paintings of the present 
 church are numerous; we may remark: 
 the frescos of Falconetto, -who became a 
 great architect from chagrin,' through 
 the first of these frescos not having 
 procured him the praise he expected ; 
 divers incidents from the life of St. 
 Blase, St. Sebastian, and St. Julian, 
 by Monsign ri; the Nativity, the Cir- 
 cumcision, the Adoration ofthe Magi, 
 the Presentation in the temple, by the 
 younger Palma; on the shutters ofthe 
 organ, are some Angels, gracefully ex- 
 pressed, by Domenico Brusasorci, whose 
 harmonious songs one ?eems to hear ; a 
 Conversion of St. Paul, lively and ex- 
 pressive, by Bernardino India, an imitator 
 of Giulio Romano : according to a tra- 
 dition peculiar to painters and now 
 generally adopted, the saint is on horse- 
 back, although Scripture is silent on that 
 point; a fresco of Adam and Eve, one 
 of the best works of Farinati ; a Carrying 
 of the cross, in fresco, by Giambattista 
 dal Moro; a Descent ofthe Holy Ghost, 
 superb, by Carmeri, the clever assistant 
 of Paolo Veronese. 
 
 Santa Maria in Organo is a wonder 
 of art: the beautifal Corinthian front, 
 from the design of San Micheli, would 
 be, if it were finished, a model of sacred 
 architecture. The altars and walls of 
 its twelve chapels are covered with 
 paintings by the first masters : St. Fran- 
 cesco, the Boman, much injured, by 
 Guercino ; the Passover of the Hebrews, 
 a Last Supper, Pharaoh drowned, and 
 other picturesque frescos, by Giolfino; 
 
 his youth, at MonteOascone, with the wife or a 
 statuary, and knowing that this woman, who was 
 in straitened cir umstances, had a daughter of 
 whom he thought it possible ho might be father, 
 he sent ber fifty gold crowns as a marriage portion. 
 It was in vain that the mother attempted to allay 
 his scruples by assuring bin of his error, he 
 Obliged ber to keep the sura. 
 a Sec poit, book vn.cliap. vli. 
 
3BAP, XIV. ] 
 
 VERONA. 
 
 IIS 
 
 some beautiful landscapes by Domenico 
 Brusasorci . A wooden chandelier, in the 
 chapel of the Holy Sacrament, the carv- 
 ings on the wainscot of the choir, and es- 
 pecially the sacristy, by Fra Giovanni, an 
 Olivetan monk of Verona, are perfect. 
 I observed among these last the Coli- 
 seum, the tomb of Augustus, and other 
 , Roman antiquities which did not seem 
 quite suitable subjects for a sacristy ; 
 tbey are another instance of the freedom 
 of the arts in Italy before the council of 
 i Trent. This sacristy was mentioned 
 i ; by Vasari as the finest in Italy : the 
 superb St. Francis, one of the chefs- 
 d'oeuvre of Orbetto, has since added to 
 its magnificence ; it contains other charm- 
 j ing landscapes and views by Brusasorci ; 
 isome excellent frescos and portraits of 
 Olivetan monks, by the Moroni, cele- 
 I brated painters of Verona in the fifteenth 
 I century ; among which may be noticed 
 I the portrait of the clever Fra Giovanni, 
 I executed in a superior manner by Fran- 
 I cesco Morone, who probably lived at the 
 period of nis admirable labours. 
 The antique church of Saint Stephen 
 I offers one of those old stone seats des- 
 tined for the earlier bishops, which may 
 I have suggested the idea that it once was 
 a cathedral ; this stone bears but little 
 resemblance to the white satin on the 
 episcopal throne of our bishops. Among 
 the excellent paintings of Saint Stephen, 
 may be remarked : the Virgin, the In- 
 fant Jesus, St. Peter, and St. Andrew, 
 by Carotto, the two first between St. 
 Maur, St. Simplicius, and St. Placidia, 
 by Giolfino ; a St. Stephen, the Eternal 
 Father, a Christ bearing his cross, the 
 Adoration of the Magi, by Domenico 
 Brusasorci ; the Execution of the forty 
 martyrs, one of the most brilliant mas- 
 terpieces of Orbetto, which is singularly 
 i detrimental to two good paintings near it, 
 ! the Massacre of the Innocents, by Pas- 
 cal Ottino, and the Five Saints Bishops 
 of Verona, by Bassetti. 
 
 The church of Saint George Major is 
 one of the finest of the revival : some 
 attribute it to San Micheli, others to 
 Sansovino, and it is worthy of both : but 
 what belongs to San Micheli is the 
 skilful daring with which the sides are 
 supported in order to lay the cupola on 
 
 1 San Micheli bad another nephew of greater ce- 
 lebrity, and on his ownsltfc, Giovanni Ceronimo. 
 See post, chap. xxr. 
 
 the cross-aisle of the nave. The superb 
 high-altar is by his nephew Bernardo 
 Brugnoli.' Saint George abounds in 
 admirable paintings : there is the picture 
 of the saint, by Paolo Veronese, which 
 has been brought back from Paris ; it is 
 perhaps the best preserved of his works 
 and the finest painting in Verona, 
 remarkable for the excessively rich 
 dress of its personages, the best clothed, 
 I believe, in the whole realm of paint- 
 ing. An Annunciation, St. Roch and 
 St. Sebastian, the Christ praying in 
 the garden, his Resurrection, a Trans- 
 figuration, St. Ursula, prove the va- 
 riety of Carotto's talent. A St. John 
 baptising the Saviour, by Tintoretto, is 
 full of vigour. The Martyrdom of St. 
 George, in four parts, by Geronimo 
 Romanino, is spirited, varied, and ter- 
 rible. The Apostles delivering a de- 
 moniac, by Domenico Brusasorci ; the 
 Virgin in a glory, and Saints Benedict, 
 Romuald, Anthony the Abbot, Maur, 
 and Bernard, and especially three ar- 
 changels, by Felice; iheVirgin,St. Lucy, 
 andSt.Cecilia, by Moretto, areexcellent. 
 A charming little picture by Geronimo 
 Dai Libri, called by Lanzi the jewel of 
 this church, (giojello di questa chiesa) 
 represents the Virgin sitting between 
 St.Augustin and Lorenzo Giustiniani ; 
 three little angels below are singing and 
 playing on instruments; they forcibly 
 recall the verses of Dante, the last of 
 which is so precise and beautiful, as the 
 conclusions of his various cantos gene«= 
 rally are : — 
 
 Tale immagine appunto mi rendea 
 Ci6 ch' io udiva, qual prender si saole 
 Quando a cantar con organi si stea: 
 Ch' or si or no s' intendon le parole. 1 
 
 Geronimo Dai Libri, as well as his 
 father, took his surname from his sin- 
 gular ability as a miniature painter in 
 music and prayer-books; he was the 
 master of Don Giulio Clovio, the clever- 
 est artist in this department, who was 
 also a pupil of Giulio Romano. The 
 masterpiece of Dai Libri, as we learn 
 by a very legible inscription, is of the 
 29th of March 1526, and not 1529, as 
 Lanzi states. On one side wall of the 
 choir is an immense painting of the 
 
 2 Vvrgat. Cant. ix. p. «2, US. 
 
U6 
 
 VERONA. 
 
 [Book V. 
 
 Hebrews gathering manna, a kind of 
 pictorial poem : the invention of the 
 whole and the execution of the upper 
 pnrt are due to Felice Brusasorci; Or- 
 betto and Ottino, his clever disciples, 
 did the lower part. Opposite is the 
 Miracle of the Loaves and Fishes, 
 not less vast in its dimensions, nor less 
 poetic, by Farinati, an extraordinary 
 artist whose talent was developed in his 
 old age ; he has painted himself under the 
 form of an old man, for, according to the 
 inscription on the painting, he was then 
 seventy-nine, and he was aware that his 
 age must increase the admiration. 
 
 One of the most remarkable paintings 
 in Verona, the Mater Dolorosa, the 
 maslerpiece of Orbetto, formerly at the 
 church of Mercy, is now at the. Ricovero, 
 a refuge for mendicants, and hospital 
 receiving about four hundred indivi- 
 duals ol both sexes, which seems to be 
 well-conducted. The Mater Dolorosa 
 has only three characters : Christ dead, 
 Nicodemus supporting the body, the 
 Virgin weeping; but the two last figures 
 are extremely pathetic, and the draw- 
 ing, colouring, and arrangement of the 
 whole, are perfect. 
 
 CHAPTER XV. 
 
 Town library. — Chapter library. — lnstllules of 
 Gaius.— Manuscript of Maffei's Merope.— Theatre. 
 —Museum of inscriptions. 
 
 The library of Verona contains about 
 ten thousand volumes ; it was founded in 
 1802, and has therefore neither ma- 
 nuscripts nor rarities. The real library 
 is that of the Chapter, which was aug- 
 mented and almost founded by the ce- 
 lebrated archdeacon Pacifico towards the 
 middle of the ninth century. It was in 
 this library that Petrarch was first en- 
 raptured with the sight of Cicero's Fa- 
 miliar Letters, the manuscript of which 
 with a copy in his hand are at the Lau- 
 rcntian ; it was there also S. Mai disin- 
 terred his Ancient Interpreters of Vir- 
 gil, printed at Milan, and that M. 
 Niebuhr discovered the commentaries 
 on the Institutes of Gaius, since pub- 
 lished at, Berlin by Messrs. Goeschen, 
 Bekker, and Holweg.' Perhaps there 
 
 ■ These fragments were not altogether unknown. 
 Maffel mentions them, and likewise the laborious 
 canon Dlonisi, who left his rich library, contain in 
 
 are other treasures still buried in this 
 rich library, that only await the labours 
 of future scholars. Twenty-six epistles 
 of Saint Jerome were written over the 
 Institutes; the characters are still more 
 effaced than those of Cicero's Orations at 
 the Ambrosian. Between the text of 
 the Institutes and the Tracts of Saint 
 Jerome is another writing which ex-*. 
 tends over a quarter of the manuscript; 
 it also presents some Epistles and Me- 
 ditations of St. Jerome; the same parch- 
 ment has consequently been scratched 
 and polished twice. Sometimes, how- 
 ever, the ink preserves its brilliance, and 
 proves that the ancients knew very well 
 how to make it. This palimpsestus was 
 onlarge paper; Hie Roman amateurs 
 were not less sensible than ours to the 
 width and beauty of the margin, as may 
 be seen by several passages in the letters 
 of Pliny and Cicero. Like Montesquieu, 
 Gaius combined literary pursuits with 
 legal studies; his commentaries are 
 precious monuments of ancient jurispru- 
 dence, written with perspicuity, elegance, 
 and purity, and they make us acquainted 
 with the doctrines and opinions of the 
 Roman jurisconsults anterior to the codes 
 of Justinian and Theodosius: they are 
 vastly superior to the institutes of the 
 former emperor, a mere undigested, in- 
 consistent, and contradictory compila- 
 tion pirated from them by his despicable 
 minister Trebonian and his assistants. 
 
 The chapter library did not escape the 
 library pillage of 1797 ; several manu- 
 scripts and scarce editions have not been 
 seen since. These violent acquisitions 
 and compulsory restitutions are equally 
 injurious to learning. The library has 
 at present sixteen hundred Greek and 
 Latin manuscripts, several of which ap- 
 pear of the fourth, fifth, and sixth centu- 
 ries; above fifty from the tenth to the 
 twelfth century, are remarkable for the 
 beauty of the parchment and charac- 
 ters. 
 
 Verona also possesses some good pri- 
 vate libraries; but the number, like that 
 of its picture galleries, has diminished 
 within some few years. The library of 
 the late Gianfilippi, which was sold in 
 1829, amounted to about thirty thousand 
 volumes. I believe the catalogue of this 
 
 a valuable collection of editions of Dante, to the 
 Chapter library. The publication of the butltuttt 
 Is no less honourable to i'De Prussian literati. 
 
:bap. xvi. 
 
 VERONA. 
 
 Ml 
 
 ast disorderly heap of books, purchased 
 without discrimination by its former 
 assessor, has not yet appeared. The 
 :hief part of them have passed into the 
 )Ossession of persons of Verona. At 
 signor C****'s, a distinguished amateur 
 »f books, I saw the manuscript of Scipio 
 tfaffei's Merope, which came from the 
 irchives of Verona. It appears that 
 ome uncertainty had arisen respecting 
 he authenticity of this manuscript, and 
 he delegate had thought it his duty to 
 :ertify it by apposing the stamp of the 
 lelegation and his signature on almost 
 very page; it is assuredly the best au- 
 henticated tragedy in the world. Maf- 
 ei's manuscript is exceedingly full of 
 :rasures, much more so probably than 
 Voltaire's masterpiece. 
 
 In the court and under the peristyle of 
 he theatre (this peristyle is by Palladio), 
 s the collection of Etruscan inscriptions 
 ind Greek and Roman basso-relievos, 
 brmed by Maffei, and given by him to 
 tiis native town ; a museum which the 
 honor's friends resolved to call Maffeian, 
 though he had named it the Verona mu- 
 seum. The erudition of this good man 
 was so lively, devoted, and persevering, 
 that it may almost be called patriotism. 
 Over the door of the theatre may at last 
 be seen the bust voted to him by the Aca- 
 demy as well as the inscription to his 
 honour, which he constantly refused 
 while living, and even had it effaced 
 when his fellow-citizens had put it up in 
 his absence, a rare instance of the since- 
 rity of this kind of modesty. How many 
 monarchs and conquerors have fallen 
 before statuary honours, and after a 
 feigned resistance, have prudishly con- 
 sented to accept immortality ! The mar- 
 quis Maffei did not deserve the mean 
 trick played him by Voltaire, who, after 
 dedicating to him his Merope, wrote, 
 under a fictitious name, a pamphlet 
 full of quibbles and abuse against the 
 Italian Merope : as if some few imita- 
 tions could diminish the merit of such a 
 masterpiece .Voita ire would ha ve been far 
 otherwise enraged could he have known 
 Alfieri's admirable piece, less showy and 
 pompous than his own, but truer and 
 more Grecian. Maffei showed himself 
 
 1 ludovleo Canossa, noted for his uprightness 
 and diplomatic talents, had been the pope's legate 
 In France and England. It was in the Jailer coun- 
 try that he had the singular interview with Eras- 
 mus, without knowing him, which Roscoe relates 
 
 more generous towards another Italia u 
 poet, Count Torelli, a distinguished 
 writer of the sixteenth century, and also 
 the author of a tragedy of Merope, in- 
 serted by Maffei in his Selection of Italian 
 tragedies, in spite of the personal in- 
 terest he might have in its suppression. 
 The rich Verona museum, after being 
 long exposed to the injuries of the air, 
 has been better arranged recently through 
 the municipal zeal of Count Geronimo 
 Orti. 
 
 CHAPTER XVI. 
 
 Canossa palace; — Gran Cuardia; — Guasta Verza ; — 
 Pompel;— Bevilucqua ;— Ridolfi;— Giustl.— Forna- 
 
 rina ol Verona Palace delta Ragione.—Pinaco- 
 
 teca. — Custom-house. — riazza delle Elbe.— Paint- 
 ing of streets in Italy. — Campo Santo.— Casino 
 Gazola.— Congress. 
 
 The finest of the many palaces of Ve- 
 rona, the masterpiece of San Micheli, the 
 famous Canossa palace, once the abode 
 of kings and emperors, whence the view 
 of the Adige is so beautiful, has on its 
 frieze, a singular ornament scarcely per- 
 ceptible amid its magnificent architecture; 
 it consists of a multitude of mitres, placed 
 there by the order of Ludovico Canossa, 
 bishop of Bayeux, who erected the palace. 
 It is singular enough to see Italy indebted 
 for one of its finest palaces to a bishop of 
 Normandy. 1 
 
 The vast palace called delJa Gran 
 Guardiam the fine Piazza della Bea, is 
 not by San Micheli, though such is the 
 common opinion, but it reminds one of 
 his style : experienced judges detect ar- 
 chitectural inaccuracies in it that such a 
 man as he would never have committed. 
 It appears to be from the design of Do- 
 menico Curtoni, one of his nephews. 
 
 The Guasta Verza palace, indubitably 
 by San Micheli, is of the most elegant 
 and graceful taste, whereas his other 
 palace, Pompei della Vittoria, though 
 smaller, is remarkable for its plain and 
 sturdy front. That of the Bevilacqua pa- 
 lace, also by San Micheli, but unfinished, 
 appeared to Maffei somewhat licentious 
 [alquanto licenziosa), so much richness 
 and profusion were there in the commix- 
 tion of its columns. The precious mu- 
 seum which for more than two centuries 
 
 in his life of leo X., chap. xn. Ultimately be set- 
 tled in France under Francis II., whose confidence 
 lie gained, and was named by bim bishop of 
 Bayeux [vescovo di Baiusa, as he rather oddly gar;.' 
 his signature). 
 
U8 
 
 VERONA. 
 
 [Book V. 
 
 conferred celebrity on the Bevilacqua 
 palace is no longer in existence ; its beau- 
 tiful Venus, Pan, and Bacchus, its busts 
 of emperors, and its superb Livia, have 
 passed into Bavaria : the Augustus and 
 Caracalla (very scarce) brought back 
 from Paris, only passed through Verona 
 on the road to Munich to rejoin the other 
 chefs-d'oeuvre. 
 
 The Ridolfi palace deserves a visit for 
 its pompous Cavalcade of Pope Cle- 
 ment VII. and Charles V. at Bologna, 
 at the coronation of the latter ; it is an 
 immense and beautiful ceiling, the mas- 
 terpiece of Domenico Brusasorci, the Ti- 
 tian of the Veronese school, one of the 
 best works of this kind, and very curious 
 for its portraits and costumes. 
 
 Thegreat.Giusti palace, finished about 
 the close of the sixteenth century, was 
 described, as well as its garden, by that 
 indefatigable writer and physician, Fran- 
 cesco Pona, of Verona, in a scarce little 
 book oddly entitled II Sileno, Verona, 
 1626, in-8vo. This palace has become a 
 military lodgment, occupied by the Aus- 
 trian commander and his troop. Its 
 beautiful gallery, which was enriched 
 by the principal remnants of the Molino 
 Museum of Venice, was sold by the go- 
 vernment about 1825. The garden is 
 still frequented; its prospect, grotto, 
 echo, and labyrinth, are in repute at Ve- 
 rona ; but it is melancholy ; its continually 
 recurring steps, formerly used for drying 
 cloth, recall the time when the woollen 
 manufacture was followed by nobles, and 
 not thought derogatory. Andrea Scotto, 
 author of an Itinerario d : Italia, of the 
 year 1600, relates that the trade in wool 
 and silk was so extensive at Verona, that 
 nearly twenty thousand persons thereby 
 gained a livelihood. 
 
 The galleries of Verona are not now 
 very remarkable; several have even been 
 sold recently. At the ancient Maffci 
 palace (which has a winding staircase 
 truly unique for height and boldness), 
 there was a beautiful Fornarina for sale 
 in 1828, belonging to Signora B*", su- 
 perior even, it was said, to those of the 
 Tribune and the Barberini palace. Such 
 at least was the opinion of the grand 
 duke of Tuscany Cosmo III., who seem- 
 
 ■ See also, on the admiration that this Fornarina 
 Inspired in Appiaui and Clcognara, the passage of 
 a letter by Count Pei'slco, quoted in the notes of 
 Hie Italian translation of M. QuatremeredeQuincy's 
 
 ingly must be a partial judge, and of S. 
 Pinali, in his letter addressed to the pub- 
 lisher of the Journey to Cosmo, first pub- 
 lished at Florence in 1828. Cicognara, 
 though he greatly admired the Fornarina 
 of Verona, did not think it by Raphael ; 
 in his opinion it had not that great pain- 
 ter's peculiar softness of outline, and he 
 thought it might rather be attributed Jo 
 Giulio Romano or some one of his 
 school. ■ 
 
 The ancient palace delta Ragione has 
 on one side a basso-relievo representing 
 the figure of a Dominican, which has 
 caused it to be attributed with some 
 foundation to Fra Giocondo, a good Ve- 
 ronese architect of the fifteenth century, 
 one of the architects of Saint Peter's, who 
 brought into France the principles of 
 good architecture, and built the Pont 
 Notre-Dame at Paris, sung by Sannaz- 
 zaro. On the arch near this palace is 
 the statue of Fracastor, and on the arch 
 of the Yolto barbaro » that of Maffei. 
 The Annunciation, in bronze, on the 
 front, is by Geronimo Campagna, a clever 
 sculptor of Verona in the sixteenth cen- 
 tury. 
 
 The spacious old council chamber, as- 
 sociated with patriotic recollectionswhich 
 ought to be held sacred, has been trans- 
 formed by means of thin plaster parti- 
 tions into four rooms intended for the 
 new Pinacoteca. The greater part of 
 the paintings are bad, with the exception 
 of a Deposition from the cross by Paolo 
 Veronese, whose chefs-d'eeuvre are not 
 numerous in the town that he honoured 
 by taking its name; it is almost the same 
 with Urbino, the country of Bramanle 
 and Raphael, which possesses neither 
 house nor painting by these great mas- 
 ters. Another remarkable painting, by 
 an unknown author, in this unlucky 
 Pinacoteca, represents the uniting of 
 Verona to the republic of Venice, an act 
 perfectly voluntary, a rare thing in the 
 history of unions. 
 
 The custom-house of Verona seems, 
 by the noble simplicity of its architecture, 
 a kind of forum, and one is almost olTend- 
 ed at finding nothing but packages, por- 
 ters, and officers. This edifice of such 
 good taste, which had for architect Count 
 
 Ilisloire de la vie el des ouvrages de Raphael, by 
 F. Longhena, Milan, 18i9, p. 329. 
 2 See ante, chap. x. note 5. 
 
Chap. XVI.] 
 
 VERONA. 
 
 H9 
 
 Alessandro Pompei, is nevertheless of the 
 middle of last century, an epoch when 
 the prevailing taste was detestable. One 
 would think that the ascendent of the 
 monuments of San Micheli and Palladio 
 has influenced the architecture which 
 succeeded them, and that when within 
 view of such examples, it was impossible 
 to go astray. 
 
 On the Piazza delle Erbe is a column, 
 erected in 1524, and formerly, according 
 to a decree of the grand council, a debtor 
 had only to touch this column, to find 
 shelter from the pursuit of his creditors; 
 a singular expedient, proving that it was 
 already felt necessary to prevent the 
 rigours of imprisonment for debt, so 
 terrible in free states, which our improved 
 legislation is attempting to correct. ■ 
 The Venetian lion, an excellent work 
 which surmounted this column, was 
 broken in 1797. The statue of Verona 
 [Madonna Verona) in the same square, 
 formerly had a sceptre and a crown to 
 show that this city was once an imperial 
 and royal residence, but these were 
 broken off in 1797, and it is now covered 
 with an arena that gives it altogether 
 the air of a statue of Cybele, an emblem 
 of the fecundity of the earth, which does 
 not seem ill placed in the centre of a 
 market. The statue holds in its hand 
 that noble and harsh inscription, the an- 
 cient device of the republic of Verona : 
 Est justi latrix urbs hme et laudis 
 amatrix. 
 
 Painting in reality runs along the 
 streets in Italy. M antegna executed two 
 frescos on the bouse of the painter Giol- 
 fino, his friend, with whom he had lived 
 as a guest; a poetic and not uncommon 
 manner with the artists of the fourteenth 
 and fifteenth centuries, of acknowledging 
 hospitality. Mantegna's frescos are now 
 scarcely to be recognised : having first 
 been barbarously whitewashed, an un- 
 skilful cleaning followed, and when I saw 
 them they were again half covered by a 
 large green Venetian blind. 
 
 The Campo Santo of Verona was fi- 
 nished in 1833; it is the work of S. Bar- 
 bed, architect of the town, and, with its 
 piazzas, temple, pantheon, and chambers 
 
 1 See post, book vn. chap. vi. 
 
 2 This casino was always very small; the garden 
 is in the bad taste prevalent in the last century, 
 w ilh its aviary and stone statues ; but the vegeta- 
 tion is pretty good, and the view of the Adige 
 pleasing. 
 
 of anatomy and of pathology, is the most 
 imposing and best conceived of all recent 
 erections of the kind in Italy. Pinde- 
 monte, who now honours this pantheon, 
 could no longer eloquently lament the 
 confused and barbarous sepulture estab- 
 lished in the first, the philosophic Campo 
 Santo of Verona, created under the 
 French administration : 
 
 Indislinte 
 
 Son le fosse fra loro, e un' erba muta 
 Tulto ricuopre : di cadere Incerto 
 Sovra un diletto corpo, o un corpo ignoto, 
 Nel cur il pianto stagneria respinto.— 
 
 The name of Verona is connected with 
 memorable events of our own days, it 
 was for some time the asylum of an au- 
 gust exile and his faithful companions; 
 but these noble refugees did not And 
 there the hospitality of the lord of La 
 Scala, and in their deep sorrow, they 
 could not have accepted his joyous con- 
 solations. The Gazola casino, almost 
 sunk into a cottage, and now occupied 
 by gardeners, 2 saw the commencement 
 of that reign at once so long and so short, 
 which succeeded that of a captive infant 
 king. 3 This reign, begun in a foreign 
 land, was destined to have a peaceful 
 conclusion at the Tuileries, amid a people 
 who were astonished at having ultimately 
 found the benefits of order and liberty. 
 
 Verona became one of those rendez- 
 vous of kings and emperors, grand poli- 
 tical consultations, which the disquietude 
 and agitation of Europe have rendered 
 frequent in our days. Confines, an able 
 judge in matters of business, was no 
 partizan of such meetings : " Two good 
 princes," says he, "who wish to be friends, 
 should never see each other, but send 
 good and prudent people to each other." 
 This opinion, which Confines supports 
 by the history of his own time, is not 
 true now. One of the benefits of civili- 
 sation is the improvement of the moral 
 character of sovereigns. If Greece was 
 abandoned at Verona, perhaps her mis- 
 fortunes were less owing to the senti- 
 ments of the princes than the practices 
 of those good people so much recom- 
 mended by Comines. 
 
 3 Louis XV11I. was at Verona when he learned 
 the death of Louis XVII, and published the mani- 
 festo by which he declared that he neither could 
 nor would change any part of the old French con- 
 stitution, a rash engagement of which the Chart 
 was afterwards a noble and Just contradiction. 
 
120 
 
 GARGAGNAGO. 
 
 [ Book V. 
 
 The impression that Verona leaves is 
 notless vivid than its first sight is striking; 
 it contains fine monuments of various 
 epochs, of antiquity, the middle ages, 
 and the revival; such as the amphitheatre, 
 the chapel of the Scaligers, and the 
 palaces of San Micheli and Palladio; in 
 short, this town, the Austrian head- 
 quarters of the Lombardo-Venelian king- 
 dom, numbering forty-six thousand in- 
 habitants, still produces the effect of a 
 fine capital. 
 
 CHAPTER XVII. 
 
 Environs.— Gargagnago, residence of Dante. 
 
 I have rambled through the environs 
 of Verona, and its hills, which rise am- 
 phitheatrically and are commanded by 
 the Alps, present an aspect at once 
 joyous and majestic. Several points of 
 the Veronese territory recall events con- 
 nected with the literary and poetical 
 history of the revival, as well as the 
 finest feats of arms of contemporary 
 glory. 
 
 On visiting Gargagnago, the abode of 
 Dante, I did not experience the disap- 
 pointment sometimes produced by places 
 inhabited by celebrated men, a disap- 
 pointment that I fell at Ferney, and 
 later, too, at Vaucluse. Dante wrote 
 his Purgatory at Gargagnago, perhaps 
 during his exile ; the Inferno was begun 
 at Florence in the midst of factions; and 
 the Paradiso in Frioul, at the castle of 
 Tolmino, and under that tranquil grot 
 which the traveller still frequents. Thus 
 do the three parts of this immortal poem, 
 the work of Dante's whole life, seem in 
 keeping with. the misfortunes and situa- 
 tion of the poet. Like the Homer of an- 
 tiquity, this Homer of modern times has 
 taken words from the dialects of the dif- 
 ferent countries where wayward fate had 
 thrown him. There is nothiDg left at 
 Gargagnago of Dante's time, but the air 
 and the site ; the latter, composed of lofty 
 mountains, is grave and solitary, and one 
 feels there a sort of harmony with the 
 genius of the bard by whom it was in- 
 habited. 
 
 1 We learn from De Thou that he practiced me- 
 dicine gratuitously : one of his most pathetic pieces 
 Is an epistle on the death of liis two children, ad- 
 dressed to one of the three brothers Torriaoi, his 
 friends :— 
 
 I cannot reflect on my visit to Garga- 
 gnago without sorrowful emotions This 
 old manor of Dante was then the resi- 
 dence of a distinguished lady whose 
 death I have already lamented. The 
 countess Serego-Alighieri had formed, 
 at Gargagnago, a library of the rarest and 
 best editions of this great poet, and had 
 the intention of erecting a monument to, 
 him ; truly was she most worthy to bear 
 his name, for her devout admiration of 
 him, the elevation of her mind, and the 
 ardour of her Italian feelings. Three 
 laurels consecrated toMonti.Pindemonte, 
 and the improvisatore Lorenzi, were 
 planted by her at the poetical fete that she 
 gave in 1820, to Monti and Lorenzi, who 
 had mutually wished to be acquainted 
 with each other. In the recital of my 
 short voyages, I love to mingle the re- 
 miniscences of women with those of 
 illustrious men, and the ever-new im- 
 pression of nature's beauties, the wonders 
 of art, and all the enchantments which 
 enraptured me : this recollection still 
 moves me with delight amid my sorrows, 
 
 CHAPTER XVIII. 
 
 Incufti.— Fracastor's house.— Fracastor.— Rivoli. — 
 Battle. 
 
 I visited the house where Fracastor 
 formerly lived, situated on the hill of 
 Incaffi at the foot of Monlebaldo, between 
 the Adige and lake Garda. Fracastor is 
 now but a name, yet he was one of the 
 first men of his day : natural philosopher, 
 astronomer, great as a physician and a 
 poet, he is a new instance of the affinity 
 that ever since Apollo has seemed to 
 exist between the two arts in which he 
 excelled, — between the inspiration of the 
 poet and the coup d'ail of the physician. 
 Fracastor's pure and honourable life still 
 adds to our admiration of his talents; 
 generous, feeling, ever ready to aid, ' he 
 enjoyed at Incaffi the two blessings of the 
 soul, letters and friendship. Fracastor's 
 house, internally much injured, is let at 
 ten crowns to some peasants who inhabit 
 it; but the walls are good and some 
 traces of its better days are still visible ; 
 for instance, a kind of wooden ladder 
 
 Batte, aiiimos quando trlstes, curasque levare 
 Musa potest 
 
Chap. XV111. 1 
 
 GARGAGNAGO. 
 
 121 
 
 affords the means of reaching the second 
 floor, while the wall beside it is a polished 
 and shining stucco; the place of the 
 library and the wooden chair of Fracastor 
 are preserved : the latter pretty much 
 resembles Arioslo's arm-chair shown at 
 Ferrara, and proves that men of letters 
 at that period were not very indulgent 
 in their habits. It appears, however, that 
 Fracastor was not inattentive to comfort 
 in his arrangements, for there is a fire- 
 place in every room of the house, a kind 
 of luxury at that time. The loop-holes 
 made in the walls between the chambers 
 and the staircase, over the door, for the 
 purpose of watching and repulsing the 
 Bravi, acquaint us with the violence and 
 troubles of that period : the house of this 
 poet and physician was quite a miniature 
 citadel. The view is tolerably extensive, 
 but to survey the whole of lake Garda, 
 you must ascend for some minutes; and 
 I confess that I prefer the views that it 
 requires some exertion to find to those 
 which perpetually present themselves to 
 our eyes until we at last think no more 
 about them. 
 
 Fracastor resided at lncaffi when he 
 was summoned to Trent to be the 
 physician of the council. How many 
 times must he have regretted, amid the 
 tumult of theological disputes, and even 
 the balls and banquets of the reverend 
 fathers, his woods, his books, and his 
 calm retreat! It was at lncaffi, during a 
 plague which ravaged Verona, that he 
 composed that chaste poem, though its 
 title has small claim to the epithet, * a 
 charming work, which has no other fault 
 than that of being addressed to Bembo, 
 and of containing frequent elogiums of 
 that corrupt, grovelling man, who was 
 much more worthy of the subject than 
 the verse. 
 
 I was enraptured while reading Fra- 
 castor 's verses at lncaffi ; he is the Vir- 
 gil of that beautiful spot, which after 
 three centuries still retains the same 
 aspect. It must, however, be acknow- 
 ledged that Montebaldo, and the borders 
 of lake Garda, with the translucid azure 
 
 1 The Syphilis. A very inferior poem on the 
 same subject had preceded Fracastor's : it was by 
 Giorgio Sommaripa, a Veronese, and was printed 
 at Venice, w ilh other minor poems, in 1487. This 
 very scarce book was pointed out toBossi (notes on 
 
 of its restless waves, are very superior to 
 the watery plain and slimy marsh of 
 Mantua. 
 
 Fracastor's imitation of Virgil con- 
 sists not merely in form and externals, 
 an imitation of words and sounds, like 
 that of most modern Latin versifiers; his 
 verses have real warmth and feeling, 
 with the enthusiasm of a mind at once 
 captivated with the beauties of nature 
 and zealous of its country's welfare. One 
 might fancy it a distant but full-toned 
 echo of the pipe and lyre of the Roman 
 poet. Perhaps the patriotic verses of 
 Fracastor, inferior in expression to those 
 of Virgil, are even superior in sentiment : 
 he embraces all Italy in his complaints, 
 in his lamentations, in bis desolation ; 
 his grief is not that wealth-lamenting 
 and somewhat selfish sorrow of the 
 shepherd-courtier, Tilyrus, who is so 
 easily comforted after Octavius restores 
 his property, and all whose sympathy 
 goes no further than to offer a night's 
 lodging on the leaves {fronde viridi) to 
 the fugitive shepherd. 
 
 Independently of the beauty of its de- 
 tails, Fracastor's poem is distinguished 
 by the merit of invention = the episode 
 of the young man Mho fell a victim to 
 the new contagiou is very affecting, and 
 I doubt whether our descriptive poets 
 have any prettier verses than these on 
 the citron-tree and lemonade : — 
 
 Serf neque carminibus neglecla silebere noslris 
 Hesperidum decus, et Medarum gloria, citre, 
 Sylvarum : si forte sacris cantata poetis 
 Parte quoque hac raedicam non dedignabere Musam. 
 Sic tibi sit semper viridis coma, semper opaca. 
 Semper flore novo redolens : sis semper onusta 
 Per viridem pomis sylvam pendentibus aureis. 
 Ergo, ubi nitendum est caecis te opponere morbi 
 Seminibus, vi mira arbor cythereia praestat. 
 Quippe illam Cytherea, suum dum plorat Adonim, 
 Munere donavit multo, et virtutibus auiit. 
 
 Ippolito Pindemonte has written a 
 very fine epistle on Fracastor, like him- 
 self a Veronese : it is a happy inspira- 
 
 the history of the Life and pontificate of Leo X.vn. 
 323-4) by S. Francesco Testa of Vicenza, a deeply- 
 read bibliographer, whose activity, learning, and 
 kindness I can never forget. 
 
 11 
 
123 
 
 AZZANO. 
 
 tion of the verse and sentiment of that 
 poet. 
 
 My morning walk to Fracaslor's house 
 and its environs is one of my sweetest 
 and most vivid reminiscences. The rock 
 of Minerbe, on the other side of lake 
 Garda, struck by the first rays of the 
 sun, seemed like a block of rose coloured 
 granite. From the rock which crowns 
 the height of Affi, I commanded on one 
 side all the lake; on the other the valley 
 of the Adigo, and before me were the 
 lofty mountains of the Tyrol. It was at 
 the foot of this eminence in the battle of 
 Rivoli, that the Austrian general Lu- 
 signan was defeated and taken, despite 
 the beauty of his name , by those gene- 
 rals of the French republic, young and 
 new masters in the art of war, van- 
 quishers of the tacticians of the old school, 
 who were beaten probably in all the 
 rules. I had beneath me the battlefield 
 of Rivoli, a confined valley, a victorious 
 Thermopylae, in which any other army 
 would have surrendered without the in- 
 trepid firmness of its chief, who that very 
 evening went to defeat and take Provera 
 under the walls of Mantua. Those were 
 the bright days of Napoleon. I dis- 
 covered, on visiting during the day the 
 field of battle and the immortal plat- 
 form, the traces of three cannons of our 
 battery, a glorious furrow, which the 
 earth now bedecked with turf and flowers 
 seems proudly to preserve. 
 
 The battle of Rivoli is one of the 
 first feats of arms in the military his- 
 tory of the world; the admiration it 
 excites is redoubled on seeing the lo- 
 cality, which makes one better able 
 to appreciate the rapidity, the cou- 
 rage, and constancy of the combatants : 
 to increase the prodigy of this day, it 
 was two Italian generals, Bonaparte and 
 Massena, who triumphed in Italy, if not 
 for Italy. 
 
 I had an opportunity at Rivoli of con- 
 versing with a man who has a sort of ce- 
 lebrity in the country; it was Mosca, a 
 notable name, though belonging to a 
 smuggler, which was the trade he prac- 
 tised at the time of the battle. Mosca 
 was consulted by Bonaparte respecting 
 the roads; he carried him on his shoul- 
 ders to a steep passage of Mount Saint 
 Mark, on the borders of the Adige; 
 he would not ask any thing for his ser- 
 vices and was only rewarded with a small 
 
 I Book V. 
 
 pecuniary present and permission to 
 carry on his smuggling rather more 
 easily. Mosca retired some twenty-five 
 years ago after thirty years' business, and 
 was when I saw him a merry old man of 
 eighty-three ; he had purchased a small 
 estate, which produced him corn and 
 wine, and I found him working in the 
 fields. Mosca could neither read nor 
 write; in his account of the action, he 
 frankly confessed that he advanced or 
 retreated according to thechances of battle, 
 and, like Moliere's Sosie, he might very 
 well have taken 
 
 Lu peu tie courage 
 Pour uos gens qui se batlaieul. 
 
 Notwithstanding his bit of an exploit, and 
 his good fortune in military matters, 
 Mosca did not seem a strong partisan of 
 the French, and he remained attached 
 to the ancient regime of the Venetian 
 government. 
 
 CHAPTER XIX. 
 
 Aizano— The great Isotta.— Literary ladies in Half. 
 
 Azzano was the abode of the great 
 Isotta Nogarola, a learned lady, well- 
 skilled in philosophy and theology, and 
 famous for her dialogue on the fault of 
 our first parents, in which she pleads for 
 Eve against Adam, who is defended by 
 her brother, before the podesta Nova- 
 gero, who gives his decision. The scene 
 takes place in the morning at Azzano, 
 and the lawyers and judge, as was then 
 the usage, take their arguments from 
 Aristotle, Cicero, Hippocrates even, Ovid, 
 and the Fathers. Isotta has composed a 
 Latin elegy in honour of Azzano, the 
 name of which she poetically traces back 
 to the Sicilian nymph, Cyane, charged 
 by Ceres with the care of her daughter, 
 a trust of which she acquitted herself 
 badly enough, and after the abduction of 
 
Chap. XIX. ] 
 
 AZZANO. 
 
 123 
 
 Proserpine, fled into Italy. Isotta's elegy 
 concludes with a prayer for the prospe- 
 rity and honour of the Nogarola family, 
 a prayer which seems to have been heard 
 as regards the latter part of it ; » she 
 also, in the ordinary formula, wishes that 
 Azzano may have a mild temperature, 
 clear fountains, flowery meads, and pure 
 streams ; but is there not something 
 sordid in her desire to see them roll 
 along the rich sand of the Pactolus, and 
 does it not recall the verse of Petit- 
 Jean? 
 
 Mais sans argent l'bonneur n'est qu'nne maladie. 3 
 
 The ancient manor of Isotta is nothing 
 now but a new-built mansion, with an 
 English part, great meadows, and a fine 
 river, which also is of recent creation. Its 
 avenue still exists ; it is closed by an old 
 iron palissade, and some decrepit old 
 oaks near it appear to be its contempo- 
 raries. The portrait of Isotta is in one 
 of the rooms of the house ; her features 
 are broad and strong ; her mien some- 
 what vulgar ; she is clothed in black and 
 white, and, except the veil, her costume 
 is not unlike that of a gray nun : beneath 
 is a Latin inscription purporting that it 
 is doubtful whether she was more admi- 
 rable for learning or conduct.^ This 
 portrait is, however, more than two 
 centuries posterior to Isotta, as it bears 
 the date 1666. In the university library 
 at Bologna, I saw another portrait with 
 the same physiognomy, which was for- 
 merly in the library of Cardinal Filippo 
 Monti. It is very probable that Isotta 
 
 1 General Nogarola, who died in 1827, although 
 an enemy of the French, was a generous enemy ; 
 be saved several at the massacre of Verona in 1797. 
 "History," says M. Daru, "owes him this honour- 
 able testimony." (Hist, of Venice, book xxxvi, A.\ 
 
 * The other works of Isotta are : Letters, unpub- 
 lished Discourses, which have passed from the 
 Ambrosian to the Bibliotbeque royale of Paris; 
 latin discourse to bishop Ermalao Barbara ; Elo- 
 giumof St. Jerome ; Latin letter toLudovico Foscari. 
 
 3 The great part of the Italian women then fa- 
 mous for their learning, were not less illustrious 
 for their strict principles. Some even seem not quite 
 free fron a kind of affectation and mania; such 
 is the famous Veronica Gambara, of Brescia, born in 
 the same century with Isotta : she lost her hus- 
 band in her youth, and wore mourning for him to 
 the day of her death; her apartment continued 
 hung wilh black; her carriage was always of the 
 same colour, and her horses were always the black- 
 est she could procure. 
 
 4 she died at the age of thirty-eight. Some bio- 
 
 has not been flattered in these after-date 
 portraits: she must have been handsome, 
 since her former master, the learned 
 Matteo Bosso, who had taken holy orders 
 and been named canon after finishing 
 her education, declined returning to the 
 Nogarola family whose friend he had 
 long been, that he might not be exposed, 
 as one of Bessarion's correspondents 
 rather singularly informs us, to the dis- 
 tractions that the charms of his pupil 
 might produce. 
 
 The great Isotta Nogarola, although 
 she did not reach an advanced age, 4 
 obtained a high celebrity by her learning 
 and writings : one of her chief works 
 was a discourse addressed to Pope 
 Pius II. and the princes assembled at 
 Mantua, inviting them to a crusade 
 against the Turks ; 5 she was honoured 
 by the praisesof Ermalao Barbaro, Mario 
 Filelfo, and excited the admiration of 
 Cardinal Bessarion, who went from 
 Rome to Verona to pay her a visit. 
 Such a suffrage conferred sufficient 
 glory. Amid the grand intellectual move- 
 ment of the revival, the women were 
 neither destitute of zeal nor ardour; 
 queens, princesses, and ladies of noblest 
 birth enthusiastically pursued the new 
 studies. The first Greek book printed 
 in Italy, the grammar of Constantine Las- 
 caris, was composed by a lady, the 
 daughter of Duke Francesco Sforza, wife 
 of prince Alfonso, afterwards king of 
 Naples. 6 Ariosto has given a poetical 
 but incomplete list of the illustrious 
 women who loved, cultivated, and pa- 
 tronised letters. 7 This high origin of 
 
 graphers make her ten years older ; although ladies 
 in general remain stationary at thirty-eight for 
 some years, one can hardly suppose such a weakness 
 on the part of so rational and philosophic a person 
 as Isotta. 
 
 5 The princess Ippolita Sforza about to be spoken 
 of, even went to Mantua and pronounced a dis- 
 course on the same subject before the pope, which 
 was formerly at the Ambrosian, and has been pub- 
 lished by Monsig. Mansi (t. II, 192), a discourse 
 which Pope Pius II. answered with great courtesy. 
 
 6 Milan, Dionisi Paravlsino, 1476. Ippolita 
 Sforza was not less learned in the Latin tongue; she 
 transcribed nearly all the Latin classics. In the 
 library of the convent of the Holy Cross of Jerusa- 
 lem at Rome, may be seen a flue copy in her hand 
 of Cicero de Seneolule, with a great number of 
 thoughts collected by herself. 
 
 7 Orland. fur., c. xlvi. str. 3 et seq. See also the 
 work of Slgnora Ginevra Canonici Fachini, of Fer- 
 rara, already mentioned : Prospetto biograftco 
 delle donne italiane rinomate in litteratura, which 
 
124 
 
 MADONNA DI CAMPAGNA. 
 
 [ Book V. 
 
 science seems to have preserved to it a 
 kind of dignity with the Italian ladies, 
 that it has not elsewhere; their educa- 
 tion is profound when they have any, and 
 has not the pedantic character of our 
 Femrn.es Savantes or of the blue-stock- 
 ings of England. This knowledge, con- 
 nected as it is with the discovery of an- 
 tiquity, has something great and virile 
 about it; it does not date from the hotel 
 of Rambouillet, and has not been immor- 
 talised by ridicule from its birth. The 
 country, the aspect of the places, the 
 names that they bear, and the reminis- 
 cences they suggest, all combine to 
 render the learning of ladies less extra- 
 ordinary, and their Latin seems less a 
 learned language than a dialect of the 
 mother tongue. I have known some of 
 these doctors of Verona, Padua, Venice, 
 and Bologna, they were women of good 
 society, amiable, lively, and natural, who 
 were once beautiful and loved pleasure; 
 they were, perhaps, less agitated, less 
 harassed, and less impassioned than Co- 
 rinne, but they had not fewer charms of 
 character or intellect. 
 
 CHAPTER XX. 
 
 Bridge of Vela.— The original type of tbe Infernal 
 bridges of Christian poets. 
 
 The natural bridge of Veja, in the 
 mountains of the Veronese country, is 
 one of the most curious things I have 
 ever met with. One might say that na- 
 ture, too, has not feared to give her spe- 
 cimen of architecture (as Scamozzi calls 
 this bridge) in the very country which, 
 fromVitruviusto San Michcli, Scamozzi, 
 and Palladio, seems the land of the most 
 eminent architects. The majestic arch 
 of the bridge of Veja is composed of rock, 
 and its river, a limpid cascade which 
 never fails, flows between the young 
 shrubs on its turfy banks, glides over an 
 immense stone polished by its waters, 
 bordered with a bed of moss, and forms 
 lower down a charming fountain. This 
 savage bridge is decorated with light fes- 
 toons of verdure which hang down pic- 
 turesquely, swaying in the breeze be- 
 neath its arch. The neighbouring val- 
 
 !s preceded by a very sensible refutation of Lady 
 Morgan's erroneous opinions respecting tbe ladies 
 of Italy. 
 
 lies, that must be passed before reaching 
 it, are really infernal, so far as aridity and 
 desolation can make them. Danle ram- 
 bled over these mountains ; it is very pro- 
 bable that the bridge of Veja gave him 
 the idea of the bridges in his Inferno, of 
 which the bridge thrown over chaos by 
 Milton, between heaven and earth, is a 
 grand imitation. Considered as the ori- < 
 ginal type of the bridges in the hell of 
 Christian poets, a new machine which is 
 not found in the descriptions of Tartarus, 
 the bridge of Veja would thus evidently 
 have a rare poetical importance. We 
 have already remarked, on the subject of 
 Romeo and Juliet, that Shakspeare is io 
 be met with at Verona ; Milton is found in 
 its environs. How strange that the ge- 
 nius of the first English poets should 
 have the source of its inspiration at the 
 foot of the Alps in a province of Italy ! 
 
 By the side of the bridge of Veja is a 
 subterranean grotto, a long and lofty 
 cavern formed by rocks. If Dante ever 
 visited it, and if the cicerone who con- 
 ducted him had the same profusion of 
 torches, throwing out as black a smoke 
 as ours, he might have drawn from this 
 expedition a scene of demons for his 
 poem; but the muddy pool of the grotto 
 (which lam not unacquainted with) was 
 far removed from that river of hell sup- 
 plied by the tears of all the unhappy. 
 
 CHAPTER XXI. 
 
 Tempio delta Madonna di Campagna.— Daylla.— 
 Historical eibumatlons. 
 
 On one side of Verona is the Tempio 
 della Madonna diCampagna, a charm- 
 ing structure by San Michell and his 
 worthy nephew Giovanni Geronimo. 
 The historian Davila, also an able war- 
 rior, by a catastrophe which seems to 
 associate him with the personages of his 
 history, not a solitary example of this 
 bloody epoch, was assassinated by a 
 musket shot not far from the Tempio 
 della Madonna. His tomb was disco- 
 vered in 1822 by the exertions of Count 
 Persico, then podesta ; it is in the church, 
 and the old inscription Henrici Cathe- 
 riniDavila cineres, 1631, has been res- 
 tored. The second baptismal name of 
 Davila, the godson of Catherine de' Me- 
 dici, explains his apology and justifica- 
 tion of her life and conduct ; an eloquent 
 
Chap. XXIII. ] 
 
 COLOGNOLA. 
 
 125 
 
 and fanatical historian, « he treats the 
 massacre of Saint Bartholomew with in- 
 difference, and bitterly censures the ad- 
 miral, who, according to his account, 
 seems to have been treated pretty nearly 
 in conformity with his merits. This dis- 
 covery of Davila's tomb may be put in 
 juxtaposition with other remarkable dis- 
 interments that our days have witnessed. 
 Charles I. reappeared in England after 
 the death of Louis XVI. ; James II. was 
 found again at Saint- Germain. One 
 would say that these dead had returned 
 out of curiosity, awakened by the noise 
 of events similar to those of which they 
 had been witnesses or victims. Thus, did 
 the historian of the Saint Bartholomew 
 massacre appear after the murders of 
 September and the proscriptions of the 
 Terror, as if to be convinced that the 
 passions of man, whether they bedeck 
 themselves with the names of religion or 
 liberty, are at all periods equally violent 
 and cruel. 
 
 The cupola of the temple where the 
 historian of the French civil wars re- 
 poses, became, in the Italian campaign, 
 a kind of military observatory for our 
 victorious captains; but when I ascended 
 to it, there was nothing to be heard but 
 the musket volleys and cannon of the 
 Austrians who were fightingasham battle 
 on the plain oiCatnpo-fiore. 
 
 CHAPTER XXII 
 
 Areola.— Obelisk. 
 
 Areola is one of those names that vic- 
 tory has rendered magical, one of those 
 places that bear witness to the greatest 
 efforts of French courage. The blunder 
 of the general, if such there were, was 
 here repaired and covered by the intre- 
 pidity of the soldier. The obelisk erected 
 
 i The siege of Paris, book xi. of the History of 
 the French civil tvars, is very fine; in book x. the 
 Imprecations of nenry III. against Paris, shortly 
 before his death, when he was riding along the 
 heights of Saint-Cloud, are remarkable for a spice 
 of declamation ulmost modern ; tbey might very- 
 well have proceeded from the mouth of some of 
 thase foreign chiefs whom we saw on the same 
 spot in 18)5, when Saint-Cloud was the Prussian 
 quarter-general : — 
 
 " Parigi, tu sel capo del regno, ma capo troppo 
 grosso e troppo capriccioso : e necessario die 
 I'evacuazione del sangue tl risani, e liheri tutto 
 II regno dalla tua frenesla; spero che fra pocbi 
 giorni qui saranno uon le mura, non ie case, ma 
 le vesllgie sole di Parigi," 
 
 on the bank of the Alpon » in memory of 
 the battle of Areola is still standing, but 
 despoiled of its inscriptions. The iron 
 crown and imperial N have disappeared, 
 and their traces inspire less regret. It is 
 Bonaparte, the general of the army of 
 Italy, and not the king of that same 
 Italy that we seek at Areola ; the captain 
 there is much above the prince, and the 
 oak crown of the triumphal Romans 
 would have been better on this monu- 
 ment than the Gothic crown of the Lom- 
 bard kings. 
 
 Beside the mutilated obelisk stood a 
 withered and broken tree, which seemed 
 to associate nature's mourning with that 
 of glory. A company of harvest-women 
 were at work in the adjacent fields ; one 
 of them, armed with her sickle, would 
 explain to me this great bailie of three 
 days, given after Martinmas, when the 
 waters of the Alpon were much higher 
 than I saw them, for the torrent had then 
 dwindled into a tiny stream. 
 
 The small bridge of Areola is still of 
 wood and without parapets, but it has 
 not the grand proportions conferred on 
 it by our patriotic engravings ; a stone 
 bridge might have been built at the erec- 
 tion of the monument, which, in its im- 
 perial and military magnificence, seems 
 somewhat selfish. A village bridge is not 
 without its value even beside the most 
 glorious and best merited obelisk. 
 
 CHAPTER XXIII. 
 
 Colognola. — Bonfadlo.— Illasi.— Amateur architects. 
 —Pantheon.— Purga di Bolca. — Fossiles. 
 
 Colognola was the abode of Bonfadio 
 and the theme of his song ( de villa Co- 
 loniola ). The house in which he was 
 received, probably by some Spanish lord, 
 
 (Magnee Alcon silvis cognitus Hesperiae, ) 
 
 2 Bonaparte seems to have answered the reproach 
 of injudiciously choosing his point of attack, and of 
 not passing the Alpon at bis mouth the first or se- 
 cond day of the battle as be did on the third; the 
 French had suffered some reverses for eight days 
 past, be could not expose himself in the plain with 
 thirteen thousand men against thirty thousand, 
 and the equilibrium was only partially established 
 between the armies on the third day by the succes- 
 sive advantages of the two first. Mcmoires pour 
 servir a I'histoire de France sous Napoleon, ecrita 
 a Sainte-Belene, par les tjeneraux qui out portage 
 sa caplivtii. T. l e , written by General Montholoa. 
 p. 19. 
 
 11. 
 
126 
 
 COLOGNOLA. 
 
 [Book V. 
 
 is near the great Portalupi villa. The 
 small garden is more properly a terrace, 
 whence the view is very fine, extending 
 over all the valley. But yew-trees and 
 cypresses have succeeded to the hazels 
 under whose shade Bonfadio received 
 from his Phillis that platonic kiss, a cold 
 and refined pleasure, not at all resem- 
 bling the acre baiser of Julie. Besides, 
 cypresses are plentiful in the Veronese, 
 and therefore lose, as in Greece, their 
 funereal character ; this fine tree also 
 yields a good return to the proprietor. 
 I had some trouble to find this house 
 of Bonfadio; the people of the village 
 always directed me to that of the Signor 
 Bonifacio, and this fact appeared to me 
 a fresh instance of the little popularity of 
 literary names, since literature has be- 
 come a closet study. 
 
 The letters of Bonfadio, though rather 
 elaborate, are interesting for the philo- 
 sophic and literary passion that they 
 breathe : " II pensar e il vivcr mio," he 
 writes to Benedetto Bamberti, a friend of 
 Paul Manutius : his letters to the latter 
 arc the finest eulogy of that great prin- 
 ter : " Troppo occupata, e faticosa in vero 
 " e la vita vostra : ne so a che fine cio 
 " facciate : per arrichire ? non credo : 
 " perche voi non misurate le ricchezze 
 "con la storta regola del volgo, e dei 
 ' beni di fortuna, secondo i desiderj 
 " vostri avete assai : e se le cose vera- 
 " mente sono di chi le usa bene, siete un 
 "gran signore... E poiche avete indriz- 
 •' zatoilcorsodellanobileindustria vostra 
 " a si bel fine, non bisogna che piegate 
 " punto; benche per giudizio mio oramai 
 " potreste talor riposare. Andava gli 
 " anni passati la lingua latina rozza, e 
 "come forestiera smarrita. II padre 
 " vostro la raccolse in sua casa, e la ri- 
 " dusse a politezza principiandoleun bel- 
 " lissimo edifizio..." He counsels him 
 not to leave his house nor even his bed 
 on account of the wind. "Mentre che 
 "dura qucsto tempo, non uscite, non 
 " dird di casa, ma non uscite diletto; 
 " ponete nel conservarvi maggior cura 
 "che fin' ora non avete posto; avete 
 " troppo grand' animo : 1' ingegno e 
 "maggiore; ma le forze ove sono? vi- 
 " viamo, messer Paolo, viviamo." Some 
 features of manners in those days will 
 appear singular now. " Questo verno 
 " ho letto il primo della Politica d'A- 
 ' ristotele in una chiesa ad auditori 
 " attempati, e piii mercantichescolari... 
 
 " Mori il vescovo di Consa mio padrone : 
 "era un giovane il piu robustoch'io 
 " conoscessi mai ; affrontava gli orsi, ed 
 " ammazzava i porci selvaggi ; era un 
 " Achille." 
 
 Not far from Colognola are the cha- 
 teaux of the Counts Pompei, an old Ve- 
 ronese family : that of Count Alessandro, 
 built in 1737, is of his own architecture, 
 as the inscription announces. The Ve- 
 netian school of architecture is distin- 
 guished by one peculiarity, namely, that 
 it has produced besides clever architects 
 by profession, a considerable number of 
 amateurs, belonging to the more elevated 
 classes of society, and altogether worthy 
 of the name of artists by their proficiency 
 and the style of their buildings. Count 
 Alessandro Pompei, the editor of San 
 Micheli, is in the first rank of these illus- 
 trious amateurs. The chateau of Illasi 
 was his first attempt; soon after there 
 arose, in the environs of Verona, similar 
 palaces from his designs for the marquis 
 Pindemonte and Count Giuliari, palaces 
 which are like traditions of Palladio's 
 style, and Verona itself is indebted to 
 him for its splendid customhouse. 
 
 At Santa Maria delle Stelle is a sub- 
 terranean apartment called by the pom- 
 pous name of Pantheon, the subject of 
 numerous doubtful notices by the Vero- 
 nese antiquarians ; this antique monu- 
 ment is paved in several places with a 
 fine many-coloured mosaic, in which the 
 following inscription in Roman letters is 
 perfectly legible, Pomponim AristochicB 
 alumnai, placed on a pedestal under a 
 coarse basso-relievo representing the 
 death of the Virgin ; for this cave of 
 Trophonius, as it is called by the canon 
 Dionisi, became a chapel in 1187, dedi- 
 cated by Pope Urban III. to Mary and 
 St. Joseph. The latter, by a whimsical 
 anachronism, holds in his arms the Infant 
 Jesus in the basso-relievo of Mary's death. 
 
 The valley of Ronca, about fifteen 
 miles from Verona, is celebrated through- 
 out Europe for its shells, and likewise 
 for a quarry of calcareous schistus full 
 of fossile skeletons of fish, peculiar to 
 distant seas, of species unknown or ex- 
 tinct; these fish heaped together at the 
 foot of the mountain Purga di Bolca, 
 certain proofs of the revolutions of our 
 globe, victims and wrecks of remote 
 catastrophes, curious monuments, na- 
 ture's antiquities, investigated and ex- 
 plained in our days by her learned aud 
 
Chap. XXIV.] 
 
 VICENZA. 
 
 127 
 
 ingenious interpreters, > and which a 
 great contemporary Italian poet has 
 sung : 
 
 Queste scaglie incorrotte, e queste forme 
 Ignote al nuovo mar manda dal Bolca 
 L'alma del tuo Pompei patria Verona." 
 
 CHAPTER XXIV. 
 
 Montebello.— Vicenza.- Basilic- Library.— Read- 
 ing society.— Olympic theatre.— Olympic academy 
 of the sixteenth century. — ralladio's house.— 
 Talace.— Churches. 
 
 I stopped one night at Montebello and 
 was horribly lodged, as this large village 
 was then crowded with a numerous de- 
 tachment of Austrian infantry on the 
 march, but it reminded me of a victory, 
 and one of the new historical names be- 
 longing to France. 
 
 Vicenza derives its glory from the 
 birth and palaces of Palladio, whose taste, 
 at the very period of the decline, has 
 been constantly transmitted and main- 
 tained. But the fllthiness of Jie town, 
 which contains thirty thousand inhabi- 
 tants, and the ugly shops of the place de- 
 tract from the beauty of its monuments. 
 An ordonnance de police would be 
 there singularly useful to art. 
 
 The public palace called the Basilica is 
 a vast and magnificent restoration which 
 began and extended the reputation of 
 Palladio. This ancient Gothic structure 
 renovated without any incongruity by so 
 able a master, has become a model of 
 taste, accuracy, and purity. In this pa- 
 lace there are some masterpieces of ar- 
 tists of the Venetian school. The half- 
 moon representing : the two Rectors of 
 the town at the Virgin's feet, under a 
 rich pavilion with Saint Mark, a ma- 
 jestic composition, and one of Bassano's 
 best; the Podestd Yincenzo Dolfin, 
 with Peace, the town of Vicenza, an 
 old man, and Fame dispersing the 
 Vices, a painting of the same size, by 
 Giulio Carpioni, is ideal and true; the 
 Martyrdom of St. Vincent, by night, 
 in the tyrant's presence, one of the good 
 works of Alessandro Maganza of Vicenza ; 
 the Virgin, Sts. Monica and Mary 
 Magdalen adoring the Infant Jesus, 
 with a beautiful landscape ; the Virgin 
 
 1 See the last edition of Cuvier's Recherclies sur 
 les ossements fossiles, t. iv. p. 218 et 6eq., and the 
 Description geologiqne des environs de Paris, by 
 
 presenting her son to Simeon, by Bar- 
 tolommeo JMontagna ; a St. Catherine ; 
 the Virgin weeping over the dead Christ, 
 with St. John and Mary Magdalen, by 
 Marescalco, a graceful painter of Vicenza 
 at the beginning of the sixteenth century ; 
 the Adoration of the Magi, grand, by 
 Fogolino ; the Virgin, Infant Jesus, 
 Sts. James and Jerome, by Conegliano ; 
 the Virgin in the air surrounded by an- 
 gels and cherubim, with God the Father 
 above, and an apostle and St. Jerome 
 below, by Giovanni Speranza, of Vi- 
 cenza, pupil of Mantegna. 
 
 The Loggia of the Prefettizio palace, 
 now occupied by the delegation, is a 
 monument by Palladio. It has some 
 good paintings by Antonio Fasolo, a 
 painter of Vicenza in the sixteenth cen- 
 tury, an imitator of Paolo Veronese, 
 namely : Mutius Scoevola burning his 
 hand; Curtius riding into the gulf; 
 and Horutius Coccles fighting on the 
 bridge ofSublicius. 
 
 The library of Vicenza, called the 
 Bertoliana, from the name of its founder, 
 Count Giovanni Bertolo, a celebrated ju- 
 risconsult and councillor of the Venetian 
 republic, contains thirty-six thousand 
 volumes and about two hundred manu- 
 scripts. 
 
 One the of five vellum copies of Orlando 
 Furioso, Ferrara edition, 1532, is adorn- 
 ed with the portrait of Ariosto, after a 
 drawing attributed to Titian. This edi- 
 tion, the eleventh, was the last published 
 during Ariosto's life; he corrected the 
 proofs of it, and it is pretended that it 
 caused his death, so dissatisfied was he 
 with the printer, and he wrote to his 
 brother Galasso that he was mal servito 
 in questa ultima stampa e assassi- 
 nato. 
 
 A reading society has j ust been fou nded 
 at Vicenza. The number of members is 
 more than a hundred and twenty; it 
 proves that the«Vicentian youth, noted 
 for its love of pleasure and fetes, knows 
 how to combine therewith a taste for 
 reading and solid converse. 
 
 The Olympic theatre of Vicenza, built 
 from Palladio's designs after his death, is 
 a noble, elegant, and curious monu- 
 ment. It has the form of an ancient 
 theatre; the stage even is like those of 
 
 the same and si. A, Brongniart, inserted in this 
 last edition, t. ji. p. 4^6 et seq. 
 » Mascheronl. Invito a Lesbia. 
 
428 
 
 VICENZA. 
 
 [Book V. 
 
 two theatres discovered at Pompeii two 
 centuries after, and which this great man 
 had divined. The members of the Olym- 
 pic academy, who had it erected, repre- 
 sented there in the sixteenth century, the 
 dramas of Sophocles and Euripides, 
 translated into Italian verse, barren 
 imitations which left Italy without a 
 tragic stage till the time of Alfieri. The 
 inauguration of the Vicenza theatre was 
 performed by the Olympic academy of 
 tbe town, who performed the Greek 
 OEdipus translated by Orsato Justi- 
 niani, a Venetian noble. Ludovico 
 Groto, himself a dramatic author and 
 blind, personated OEdipus, at least dur- 
 ing the last act, when OEdipus comes on 
 the stage after plucking out his eyes. 
 I do not think that Groto's infirmity 
 added to the perfection of his play ; it 
 must, on the coutrary, have injured that 
 sort of ideal, which is the first condition 
 of the imitative arts, and he was doubtless 
 belter inspired by that admiration, nay 
 passion, that the learned of the revival 
 felt for the chefs-d'eeuvre of antiquity. 
 It was at Vicenza, according to Voltaire, 
 that the Sophonisba of Trissino was per- 
 formed in 1514 ; we are told by the same 
 authority that Trissino was a prelate, and 
 even an archbishop, although he had 
 been twice married and had had four chil- 
 dren. The Italian Sophonisba was the 
 first of our regular tragedies," and Vi- 
 cenza is therefore the cradle of the triple 
 unity. 
 
 The little house, said to have been 
 Palladio's, is a chef-d'oeuvre, but it was 
 not his property as is commonly believed ; 
 he built it at the order of the Cogolo fa- 
 mily of Vicenza, and perhaps he after- 
 wards occupied it as tenant; it was only 
 surnamed little as compared with the 
 other larger palaces that he had built 
 there. 
 
 The palaces erected from Palladio's 
 designs are, the Chiericato palace; the 
 celebrated Tiene palace, some parts of 
 which only have been executed ; the 
 Porto -Barbaran palace, to which some 
 embellishments in bad taste have been 
 added that do not belong to the illus- 
 trious architect; the Folco palace, called 
 Franceschini, of such majestic simpli- 
 city; theValmarano palace, one of his 
 best chefs-d'oeuvre ; the Trissino palace 
 
 dal Velio d'oro which he did at twenty 
 years of age. 
 
 The Trissino palace, one of the finest 
 in Vicenza and Scamozzi's masterpiece, 
 built from his designs while he was at 
 Rome, appeared even then the work of 
 an artist who had nothing to learn. The 
 Cordellina palace is by Calderari, a 
 good architect of Vicenza at the end of , 
 last century, a restorer of the art and 
 one of those noble amateurs of whom 
 I have spoken already. Only a third of 
 the palace is finished, but if completed, 
 its magnificence would not be unworthy 
 of the neighbourhood of Palladio's pa- 
 laces. 
 
 The churches of Vicenza are rich in 
 paintings; and most of the masterpieces 
 of painting and architecture which adorn 
 this town are due to its native artists. 
 The cathedral possesses, by Bartolommeo 
 Monlagna, the Virgin, the Infant Jesus , 
 and some saints ; a fresco of St. Joseph 
 and other saints adoring the Infant 
 Jesus ; by his brother Benedetto, the 
 Eternal Father, the Christ, the Holy 
 Spirit, the Virgin and St . John Baptist ; 
 by AIcssandroMaganza, the Virginwith 
 the Infant Jesus, Sts. John, Paul, and 
 Gregory, one of his best works. The 
 Miraculous Draught of Fishes; the 
 Conversion of St. Paul, by Zelotti, one 
 of the first painters of the sixteenth cen- 
 tury, whose reputation is inferior to his 
 merit, have been deemed worthy of 
 Paolo Veronese, his companion, coun- 
 tryman, and friend. In the choir is 
 Noah's Sacrifice, one of the most dis- 
 tinguished works of Liberi. The ora- 
 tory of the Duomo, has some good paint- 
 ings by Maganza. The Virgin em- 
 bracing the Saviour in the temple, by 
 Andrea Vicentino, is remarkable; the 
 statues are of the Vittoria school, and 
 the best are at the altar. 
 
 The outside of the church Santa- 
 Corona promises little ; but there is 
 much within. The Saint, Sts. Mary 
 Magdalen, Jerome, Monica;and Mar- 
 tin, in pontifical robes, is a noble com- 
 position by Bartolommeo Montagna. 
 There are two other masterpieces, the 
 Baptism of Christ, by Giovanni Bellini ; 
 the Adoration of the Magi, by Paolo 
 Veronese. 
 
 The same subject at the little church 
 
 * Notwithstanding the disputes or the learned, It cellal, played at Florence before Leo X., was only la 
 appears the liosmunda of Giovanni Bernardo Rue- i tbe year 1515. 
 
Chap. XXV. ] 
 
 VICENZA. 
 
 129 
 
 of Saint Dominick is a clever imitation 
 of Paofo Veronese, and the good works 
 of Maganza. 
 
 The Poor Hospital, adjoining the 
 church of Saint Peter, presents an ele- 
 gant funereal cippus by Canova, who 
 hasembellishedsomany-rich and splendid 
 abodes. It is sacred to the memory of 
 the Cav. Trento; the female figure en- 
 graving the name of this beneficent man 
 on the column bearing his bust, repre- 
 sents Felicity, an odd subject and too 
 cheerful for an hospital. The church 
 has some fine paintings by Maganza, 
 among which may be distinguished the 
 St. Benedict, with St. Placid and St. 
 Maur, and a king in the act of presenting 
 his son to them : the Christ giving the 
 keys to St. Peter, by Zelotti, is excel- 
 lent. 
 
 The church of Saint Stephen ought to 
 be visited for its Virgin on a throne, with 
 Sts. Vincent and Lucy beside her, and, 
 below, an angel playing on a harp, a 
 work incomparably graceful and sweet, 
 and one of the elder Palma's best. 
 
 Santa Croce has an admirable Depo- 
 sition from the cross, by Bassano. 
 
 At Saint Rock there is an admirable 
 Raphaelesque Madonna between two 
 saints, by Marescalco, one of the best 
 paintings in Vicenza; its St. Sebastian 
 is of truly ideal beauty. 
 
 CHAPTER XXV. 
 
 Capra easiao.-CricoIl.— Trisslno.— Nostra Siguora 
 del Monte. 
 
 Without the walls of Vicenza is the 
 celebrated Capra casino, a masterpiece 
 of Palladio, which a peer of Great Bri- 
 tain, Lord Burlington, an admirer of his 
 genius, and himself an architect, has 
 imitated in his park at Chiswick. Per- 
 haps that delicate rotunda, which har- 
 monises so well with the bright sky and 
 living light of Italy, may not match so 
 well with the misty atmosphere of Eng- 
 land. The skilful architecture of Pal- 
 ladio is attended with so much conve- 
 nience when applied to modern wants 
 and usages, that he has found a second 
 home in the country proverbial for its 
 love of comfort, and the first English ar- 
 chitects seem to have naturalised his 
 
 1 Tbe chief of these architects are Inigo Jones, 
 the English Palladio, Christopher Wren, James 
 Glbbs, and Chambers, cited by M. Quatremere de 
 
 plans by their multiplied imitations. > 
 The views from the four fronts of the ca- 
 sino, are admirable for their variety, a 
 variety which exhibits the character of 
 Italian nature. 
 
 Cricoli, one mile from Vicenza, is a villa 
 built from the plan of Trissino, the au- 
 thor of Sophonisba, a rural abode, still 
 belonging to his descendants, in which 
 he drew together the literary men of his 
 time. It has a tower at each of its four 
 corners, and there is something noble in 
 the style ofKhe architecture. Like Pom- 
 peii, Vicenza contains the house ofea tra- 
 gic poet ; but that of the ancient city, 
 carefully preserved by the ashes ot\Ve- 
 suvius, is less damaged, after the lapse 
 of seventeen centuries, than the house 
 of the modern tragedian, which now ap- 
 pertains to a large farm and is degraded 
 into a barn. Trissino, however, render- 
 ed architecture a more meritorious ser- 
 vice by being the friend and Maecenas of 
 Palladio, whom he conducted to Rome, 
 than by his villa of Cricoli. Though he 
 may have left no performance of super- 
 eminent worth, it is evident that Tris- 
 sino, an orator and poet both epic and 
 tragic, was one of the most ardent cham- 
 pions of letters and arts in an age when 
 they were so very numerous. 
 
 Near Vicenza is the church Nostra 
 Signora del Monte, whose statue, of 
 Greek workmanship, is overloaded with 
 drapery. Some paintings are excellent : 
 the Virgin holding the body of Christ 
 in her arms, and with Saints Peter, John, 
 and Mary Magdalen, by Bartolommeo 
 Montagna ; the Virgin and Infant 
 Jesus in the sky with angels ; the por- 
 trait of the rector Francesco Grimani 
 struck with »he rainbow, and below Jus- 
 lice, Charity, Peace, Plenty, Prudence, 
 and Hope, who is introducing some mer- 
 chants and many poor, with women and 
 children, a vast and beautiful composi- 
 tion by Giulio Carpioni. The Virgin 
 setting the Infant Jesus on a pedestal 
 off which an idol has been thrown, 
 with Saint Joseph and three angels, is by 
 M6nageot, a French painter, who con- 
 tributed towards the end of last century 
 to the restoration of our school ; an affect- 
 ing present made by the artist to the 
 town of Vicenza, in remembrance of the 
 asylum he found there during the trou- 
 
 Quincy, Bistotre de la vie et des ouvrages lies plm 
 celebres arcliilectes, t. u. p. 5, 
 
430 
 
 SETTE COMUNI.-ASIAGO. 
 
 I Book v. 
 
 bles in France. In the refectory of the 
 convent are : the Adoration of the 
 Magi, a chef-d'oeuvre of Benedetto 
 Montagna, and the wonderful painting 
 by Paolo Veronese, representing Christ 
 in a traveller's dress seated at St. Gre- 
 gory's table. Mount Berico, on which 
 the church of Nostra Signora stands, has 
 almost grown into a monument, and the 
 path to its summit is al! under stone ar- 
 cades. In this long structure, which is 
 not the only one of the kind in Italy, 
 there is a perseverance of art perhaps 
 unique, and which belongs to this country 
 alone. 
 
 CHAPTER XXVI. 
 
 Sette Comuni.— Of their Cimbrian origin.— Asiago. 
 — Society.— Inhabitants.— Fair.— Ancient usages.— 
 Popular election of the priest.— Ferracino.— Mer- 
 lin Coccajo.— Per ubbidirla. 
 
 I spent four days in going over the ce- 
 lebrated Sette Comuni, tribes of real 
 mountaineers but little known, species 
 of Alpine Batuecas, that some learned 
 men and travellers have been inclined 
 to imagine of Cimbrian and Teutonic 
 descent.' This genealogy seems to have 
 somewhat annoyed the inhabitants of 
 the Sette Comuni, for about the middle 
 of last century they charged one of their 
 compatriots to procure them information 
 respecting it, and his work was executed 
 at their expense. The historiographer 
 of these villages has written an excellent 
 book, but unfortunately the first volume 
 only has appeared ; 3 he neither admits 
 the fabulous antiquity, nor the etymolo- 
 gical romance on which it is founded, 
 and he regards the whole population as a 
 
 ' Marzagaglia, a learned Veronese of the fifteenth 
 century, and master of Antonio Scaliger, was the 
 first partisan of the Cimbrian origin, soperscveriog- 
 ly defended by Maffei and supported by Marco 
 Tezzo of Verona, author of the book de' Cimbri Ve- 
 ronese Vicentini. In 1708 Frederick IV., king of 
 Denmark, pretended to recognise some words of 
 their language. Betlinelli consented to the belief 
 that these villagers were only the remains of a Ger- 
 man colony brought thither by the Othos. In our 
 days M. Bonsletten alone has readopted the CJmbrigq 
 origin. Malte-Brun, in an arlicle on the Tyrol and 
 Voralberg {Annates des Voyages, t. Till), pretends, 
 following the opinion of Baron normayr, the latest 
 historian of the Tyrol, that these mountaineers were 
 probably only carpenters and others artilicers in 
 wood proceeding from the Tyrol, and that the word 
 zemberleut, which tn Tyrolian signifies workmen 
 in wood, may have given birth to the tradition re- 
 
 mixture of different German hordes who 
 at various epochs fled to these rocks for 
 refuge. 
 
 From Vicenza to Marostica, the road 
 is a continual ascent through fields 
 of flints. Marostica has produced some 
 learned men, and of Ihem, the celebrated 
 Prospero Alpino, a physician, traveller, 
 and great botanist, was the person who 
 introduced coffee into Europe, which, in 
 spite of Madame de Se'vigne', was no more 
 destined to be forgotten than Racine. 
 
 From Marostica to Asiago, the chief 
 place of the Sette Comuni, the journey 
 is a true mountain excursion and none 
 of the smoothest, which can only be ac- 
 complished afoot or on mules. But the 
 views in these mountains are beautiful ; 
 the Brenta becomes visible there, and as 
 the traveller climbs the steep, his eye 
 commands a greater portion of its course. 
 Below the Sette Comuni are the Ber- 
 gonze hills, very interesting in a geolo- 
 gical point of view, which were studied 
 attentively by a learned Vicentian of the 
 first rank, Count Marzani, who died in 
 1836, aged fifty - six ; he ascertained 
 that the strata of tertiary calx, gravel- 
 stone, and basalt alternated as many as 
 twenty-two and even twenty-five times. 
 Before reaching Asiago the road passes 
 through a forest of pines intersected with 
 rocks, and the savage aspect of the town 
 gives it a pomp well suited to such a 
 capital. On the road, and not far dis- 
 tant, are the ruins of the old government 
 house of the Sette Comuni, which was 
 overthrown by an avalanche, the sole con- 
 spirator against this state, the only ene- 
 my, the only barbarian which ever ven- 
 tured to assault and destroy such a 
 palace. 
 
 ceived among these supposed Clmbrians. A learned 
 philologer whom I consulted at Milan, Count Cas- 
 tiglioni, a great authority in the northern tongues, 
 who has conversed with several of these moun- 
 taineers, thinks that their dialect is only tho cor- 
 rupted German of Suabia. I regret not having been 
 able to procure Count Giovaunelli's work on the 
 Suabian origin of the Veronese and Vicentian vil- 
 lages, which was printed at Trent in 1820, and has 
 been vehemently combatled by Professor Stoffella 
 of Koveredo, although, in these questions, it is al- 
 ways requisile to keep on one's guard against the 
 national prepossessions and patriotic feelings of the 
 writer. 
 
 » Uemnrie istoriche de' Selle Comune Vicentini, 
 opera posluma dell'ab. Agostlno dal I'ozzo, Vicenza, 
 1820, in-8vo, published by the representalives of 
 Rotzo, one of the seven Vicentian villages, the birth- 
 place of dal I'ozzo, who died at Padua in 4798. 
 
Chap. XXVI.] 
 
 SETTE COMUM.-ASIAGO. 
 
 131 
 
 Asiago is not without a sort of rustic 
 dignity ; its streets are well laid out, and 
 is has several fountains with wooden taps. 
 The church is solidly built; it contains 
 the tombs of some old families of the 
 country, covered with large slabs of 
 marble, and the steeple, with its clock 
 by the great Ferracino, » rises proudly on 
 the flattened top of'the mountain, which 
 is clothed with no vegetation but grass. 
 
 It seems that strangers rarely frequent 
 theSette Comuni, for my arrival in their 
 capital was quite an event : my chamber 
 at the inn was filled with a curious 
 crowd in the evening, and in accordance 
 with the Italian fashion, they first ho- 
 noured me with a visit, as at Rome and 
 Florence. The gendarme, whose zeal 
 was less flattering, also came to ask for 
 the everlastingpassaporfo; this military 
 personage had not yet either arms or 
 uniform, simply carrying the police staff. 
 
 The society of Asiago is composed of 
 seven or eight officials living at the inn 
 or coffee house : these are the judge, the 
 police magistrate, their two deputies, and 
 three lawyers. These last have plenty 
 of occupation, for the natives of the Sette 
 Comuni are very litigious. The cle- 
 verest of these lawyers, but recently es- 
 tablished at Asiago, had found on his 
 arrival sixty causes on questions of pro- 
 perty, rent-claims for money, wheat, 
 Turkey corn, etc., and the population is 
 under four thousand. When I visited 
 him I could not suppress my astonish- 
 ment at the quantity of papers piled up 
 in his office. Shepherds and manufac- 
 turers, — theSette Comuni are famous for 
 their straw hats, which are even carried 
 to Paris ; their tobacco is good and their 
 timber excellent for building, — these men 
 have neither the innocence of the former, 
 nor the good faith and integrity that 
 ought to characterise the latter. 
 
 Although the day of my arrival at 
 Asiago was a Sunday, the costume of the 
 female peasants struck me as by no means 
 pleasing; they wear large round hats, 
 like the men's, and their dark-coloured 
 habits are ugly, differing but little from 
 those worn on the plain. Instead of 
 mountain airs and songs, I was unable, 
 as at Chamouny, to procure any thing 
 but some dull German canticles. The 
 dialect of the Sette Comuni is daily 
 growing obsolete, as their primitive man- 
 
 i Se post, and in the next chapter. 
 
 ners have imperceptibly passed away. 
 How singular that the only work printed 
 in this savage tongue is the Doctrine of 
 the Jesuit Bellarmin which was attacked 
 by Bossuet and suppressed by Maria- 
 Theresa as contrary to the temporal 
 power ! It will perhaps appear strange 
 to engage in bibliographic researches in 
 the bosom of these mountains where 
 stones and grass are far more abundant 
 than books; but it is an old habit not 
 easily laid aside, and I must, therefore, 
 crave the reader's indulgence. On the 
 second day that I passed at Asiago one 
 of the four great annual fairs was held ; 
 the merchandise consisted of coarse ha- 
 berdashery and vast quantities of those 
 frightful round hats common to both 
 sexes ; the cattle fair, outside the town, 
 on a grassy eminence surrounded by huge 
 fragments of rock, was more picturesque. 
 
 Under the "Venetian government the in- 
 habitants of the Sette Comuni did not 
 pay tribute; they had the right of elect- 
 ing their magistrates, were governed by 
 their own laws, and enjoyed other privi- 
 leges besides, of which smuggling was 
 not the least; report says that they can 
 scarcely resign themselves to the loss 
 of the latter, which they exercise to the 
 extent of their power. 
 
 Notwithstanding the universal decline 
 of the picturesque in manners, a some 
 old usages still subsist in this country; 
 if, like certain mountaineers of Auvergne, 
 these people no longer marry exclusively 
 among themselves ; if they no longer ma- 
 nufacture their cloth ; if the merry mus- 
 ketry of their wedding-feasts is no more 
 heard; in a word, if their joyous cere- 
 monies are nearly lost, like the ancient 
 Germans, they still assemble to weep 
 over the tomb of their dead, for whom 
 they wear mourning a whole year, con- 
 sisting of a heavy frock of black cloth, 
 which they never relinquish however 
 hot the weather may be. At the proces- 
 sion of Rogation week, which they rather 
 pompously call giro del mondo (going 
 round the world), they make a half-way 
 repast; for there is something bacchic 
 and German in the otherwise very fer- 
 vent devotion of these mountaineers; 
 and on the last day, the young maidens 
 present to their lovers one, two, or three 
 eggs, according to the degree of their at- 
 tachment. 
 
 2 See Boot i. ch. in. 
 

 132 
 
 BASSANO. 
 
 Book V. 
 
 The clergyman of Asiago is still 
 elected by the people, who vote by 
 ballot with a red or white ball ; the red 
 is affirmative, the olher negative. The 
 priest had been elected in this manner 
 about a month before (September, 1828). 
 The bishop proposes four candidates, and 
 in this case the one chosen was third on 
 the list ; the choice, however, is not ab- 
 solutely restricted to the four thus named. 
 Amid the extensive levelling of the Aus- 
 trian administration, religion only has 
 preserved to the Sette Comuni some ves- 
 tiges of their ancient rights. 
 
 The sonnet has penetrated even into 
 the bosom of these mountains : one of 
 them was placarded at Asiago in honour 
 of the archpriest Montini, who had 
 preached the Lent sermons in the parish 
 of Saint James, and it expressed the ge- 
 neral gratitude in the name of the paro- 
 chial deputation. 
 
 Asiago is the country of one of the 
 most clever modern Latin poets, Gio- 
 vanni Costa, professor and director of 
 the celebrated college of Padua, called 
 the seminary, who died in 1816, in the 
 eightieth year of his age. His Carmina, 
 which have gone through several edi- 
 tions, and his fine translation of Pindar 
 in three vols. Uo, ought to render his 
 name illustrious. 
 
 On returning to Vicenza by Bassano, 
 across One mountains and superb rocks, 
 at the foot of which a broad torrent rolls 
 along its foaming waters on their way to 
 join the Brenta, I found against the outer 
 wall of the church at Solagna, the tomb 
 of Ferracino, that simple and touching 
 inscription on which recalls his singular 
 genius. * 
 
 On the banks of the Brenta, in the 
 bosom of a smiling valley, I saw in the 
 church of Campese the mausoleum of 
 Merlin Coccajo, born near Mantua, an 
 elegant Latin poet, the Virgil of the ward- 
 robe, and the first of writers in the ma- 
 caronic style, who appeared to me little 
 worthy of inhabiting such places : 
 
 d. o. M. 
 
 Barlholomseo Ferracino 
 
 Venetae Reip. Mechanico 
 
 Inveniendi ingenio perRciundi solerlia 
 
 Nalura unice magislra 
 
 Machinalori Archimedis oemulo 
 
 Jo. Baptista parenli optimo 
 
 Bartholomajus avo dulcissimo 
 
 Piis cum lacrumis 
 
 M. P. 
 
 Campese, la cui fama all' Occidente 
 E ai termini d'Irlanda e del Catajo 
 Stende il sepolcro di Merlin Coccajo. 8 
 
 The inhabitants of the Vicentine have 
 an affirmative formula which Ihey repeat 
 incessantly, it is per ubbidirla to obey 
 you ) ; it was ever the chorus of the very 
 intelligent guide whom I took at Maros- 
 tica to go over the Sette Comuni; if I 
 spoke to him of a rock or torrent, he 
 failed not to reply to me by his eternal 
 per ubbidirla, and I am not quite cer- 
 tain that when I met with the tombs of 
 Ferracino and of Coccajo , he did not tell 
 me these dead bodies were there per ub- 
 bidirla. 
 
 CHAPTER XXVII. 
 
 Clttadella.— League of Cambrai.— Bassano.— Birlh of 
 Bassano.— Bridge.— Brocchi.— Publications of Bas- 
 sano —The Bassanians. 
 
 The road from Vicenza to Bassano 
 passes by Cittadella, the ditches, gates, 
 and loopholed walls of which, although 
 in ruins, have a fine effect. This remote 
 part of the Venetian State forcibly recalls 
 the recollection of its former power and 
 the vicissitudes of its fortune ; at times 
 you observe on the summits of a moun- 
 tain an old fort of red brick, a memento 
 of the reign of the Scaligers, or of the 
 league of Cambrai ; of that league , the 
 most formidable which was formed in 
 Europe against a people, from the fall of 
 the Roman Empire, to the coalitions 
 against France ; but amidst its dilapida- 
 tion and abandonment, these ruins still 
 retain a sort of independence and gran- 
 deur. 
 
 Bassano, an animated and commercial 
 place, has 12,000 inhabitants, noted for 
 their wit, intelligence, and politeness. 
 Two of its manufactures evince an ele- 
 gant and distinguished industry, the 
 
 Vixit annos LXXXV. M. IV. D. VI. 
 Obiit IX cal. janT. A. MDCCLXXVII. 
 
 2 Secchia rapita, cviii, 24. The word Mac- 
 caronee is derived from the Italian Macaroni 
 composed of a mixture of flour, cheese, butler, and 
 other ingredients ; a passage in the piece by Merlin 
 Coccajo, entitled Merlini Cocaii apologia in sui 
 exeusationem, confirms this derivation. 
 
Guap. XXVIII. 
 
 ASOLO. 
 
 i35 
 
 first, of porcelain, is that of the marquis 
 iGinoro, near Florence, the only one I met 
 with in Italy ; the second, of straw hats 
 which rival those of Tuscany. This 
 pleasant town, formerly called Little 
 Venice, derives a lasting renown from its 
 great painter Jacopo Bassano, the rival 
 of Titian and Gorreggio, esteemed, en- 
 vied, and admired by Annibale Carracci, 
 Tintoretto, and Paolo Veronese. 
 
 At the oratory of Saint Joseph is the ce- 
 lebrated Nativity by Bassano, bis finest 
 picture, and perhaps the most remark- 
 able of modern paintings for the force of 
 its tints and its lights and shadows. It 
 was presented by Bassano to his native 
 town, a patriotic homage which makes us 
 esteem the author not less than we admire 
 the chef-d'eeuvre. 
 
 The famous bridge over the Brenla is 
 Ithe work of a villager of the Bassano, 
 Ferracino, a sawyer, a peasant of genius, 
 |a self-taught mechanic, and one of the 
 iimost skilful engineers of the last century. 
 It was also from Bassano that came one 
 iiof the most learned contemporary geo- 
 logists, the illustrious Brocchi, whoso 
 .happily opposed Cuvier in his chef-d'eeu- 
 j vre of the sub-apennine fossil conchy- 
 liology, — the. best work that has ever ap- 
 peared on the fossil shells of any country. 
 Brocchi began his career, like most 
 i other distinguished writers in Italy, by 
 : poetry, and archeology ;— he was actively 
 employed by the French administration 
 as inspector of mines, and after losing his 
 place he travelled over southern Italy 
 and Sicily ; obliged for a livelihood to 
 enter the service of the viceroy of Egypt, 
 , this Italian, full of ardour, and in the 
 : prime of his life, died of fatigue in the 
 desert. He bequeathed to his country 
 his manuscripts and rich mineralogical 
 collection, now one of the greatest cu- 
 riosities of Bassano, with the Nativity 
 and the bridge, monuments of the active 
 or scientific genius of the fellow-country- 
 men of Brocchi. 
 
 The numerous publications of Bassand, 
 although devoid of typographical beauty, 
 have not been without utility, since they 
 were pretty correct and moderate in 
 price. The printing-office of Bimondini 
 Brothers, which at one time gave employ- 
 ment to from fifteen to eighteen hundred 
 workmen, is now in a languishing con- 
 dition ; it has had as many as fifty presses 
 at work, but at present there are o 
 more than three or four. 
 
 Such is the variety, the fecundity of 
 the painting of the Bassanos, of those ar- 
 tists so united and intelligent in the di- 
 rection they gave their school, which 
 has, as Montaigne said of his Latin, over- 
 flowed even into the villages and as far as 
 the territory of Asolo and Castelfranco. 
 
 Among these rustic masterpieces, may 
 be remarked : 
 
 In the parish church of Borso, a Vir- 
 gin on a throne with two little angels 
 above it, and below St. Zeno, and St. 
 John the Baptist, a work in the original 
 style of Jacopo; 
 
 In the church of Saint Zeno, a ma- 
 jestic figure of the saint in a sitting po- 
 sition, by the same; 
 
 In the church of Fonte, St. John the 
 Evangelist in a cloud with an eagle, 
 holding a pen in his hand, an inspired 
 figure; and below two bishops, one hav- 
 ing a black beard and the other a white 
 one, with two graceful Virgins by the 
 same ; 
 
 In the church of Poiana, the Martyr- 
 dom of St. Laurence, an animated pic- 
 ture, remarkable for the effect of the 
 flames amid the darkness of the night, by 
 Francesco, son of Jacopo; 
 
 Near Trebaseleghe, in the small coun- 
 try church of Saint Fiziano, the Saint in 
 pontifical robes seated, St. Francis, and 
 St. Sebastian, and above the Virgin in 
 the midst of a cluster of little angels, a 
 noble and natural work, with a fine 
 landscape, by Leandro, another son of 
 Jacopo, and his faithful pupil. 
 
 CHAPTER XXVIII. 
 
 Asolo.— Asolani.— Cathedral.— Cenotaph of Canova. 
 — Bragadino palace.— Aquaduct.— Falieri palace. 
 —Chateau of queen Catherine Cornaro. 
 
 Asolo, a small ancient fortified town 
 containing two thousand inhabitants, is 
 in a delightful situation on a well-wood- 
 ed mountain, commanded by an an- 
 cient castle. The prospect is really ad- 
 mirable for its grandeur and variety. 
 So fine a specimen of nature ought to 
 have inspired ideas a little less insipid 
 than those of Bembo's Asolani, consisting 
 of dialogues on love between the cour- 
 tiers of Cornaro, queen of Cyprus, assem- 
 bled in her garden, a kind of little Tus- 
 culana full of gallantry and conceits ; in 
 spite of their title and the general opi- 
 nion, I have since easily satisfied myself 
 
 12 
 
134 
 
 ASOLO. 
 
 [Book V. 
 
 as to the fact that they were not written 
 at Asolo. 1 
 
 The cathedral of Asolo presents one 
 of the finest works of Damini, St. Peter, 
 St. Nicholas (bishop), Saint Catherine, 
 and St. Prosdocimus baptising some 
 nobles of Asolo, richly dressed, and 
 attended by their pages. A Virgin in 
 the midst of graceful little angels, with 
 St. Anthony the Abbot, and St. Basil, 
 is a youthful work of Lotto, then the 
 too timid pupil of Giovanni Bellini. 
 
 In the hall of the municipal council, 
 a Genius weeping before the bust of Ca- 
 nova was dedicated to the great artist 
 by his friend, cousin, and fellow artist 
 Manera d'Asolo, who died through grief 
 at his loss. Another incident adds. to 
 the religious interest which this elegant 
 cenotaph inspires; the marble was a 
 long time at Rome in Canova's studio ; 
 he had commenced working it, but did 
 not proceed on account of a flaw. 
 
 At the extremity of Asolo, the ancient 
 Bragadino palace is well deserving a visit 
 for its extensive view, obtained by cut- 
 ting through a hill, and for the numerous 
 anonymous frescos, which ornament the 
 rich front and exterior walls. On the 
 front is a very animated representation of 
 a great battle, in which the standard of 
 one army is red, and that of the other 
 blue, yellow, and white ; and Solomon 
 receiving the Queen ofSheba, whose 
 head reminds one of the majestic grace 
 given to his women by Paolo Veronese ; 
 the young ladies and pages of the queen's 
 suite have a very charming effect. 
 
 The ancient aqueduct is an admirable 
 work. This long open gallery pierced 
 through the rock of the hill, the extremity 
 of which has not beeu discovered, conducts 
 to the fountain the small but precious 
 stream of the only spring in the neigh- 
 bourhood. 
 
 The Falieri palace at the Pradazzi, 
 near Asolo, possesses the most cele- 
 brated production of Canova's youth, and 
 which was considered as the dawning of 
 his glory, the group of Orpheus and 
 Eurydice, which he presented to his 
 first benefactor, the Venetian senator 
 Falieri. He was sixteen years of age 
 when he completed the Eurydice and 
 
 1 M. Renouard, in his excellent Annates de i'im- 
 Vrimene tfes Aide, t.iil, p. 45, has not escaped 111 is 
 error as to the place where the Asolani were com- 
 posed. Bembo wrote thein at the court of Ercole 
 d'Este, duke of Fcrrara, and they were dedicated to 
 
 nineteen when he finished the Orpheus, 
 and his rapid progress may be easily 
 observed. The remembrance of this 
 first attempt was always cherished by 
 Canova, since, when he was bedecked 
 by Pope Pius VII. with the title of mar- 
 quis of Ischia, he took for his arms the 
 lyre of Orpheus, and the serpent of 
 Eurydice, blended together. Canova had ' 
 the good taste never to sign his name 
 otherwise than Antonio Canova. A 
 yearly income of 3,000 Roman crowns 
 (16,000 fr.) was annexed to the mar- 
 quisate of Ischia, situated between Cas- 
 tro and Canino ; the artist made a pre- 
 sent of it to the academy of Saint-Luke, 
 to the Archeological Academy, and to 
 that of the Lincei; he founded three 
 prizes, for painting, sculpture, and ar- 
 chitecture, » ith a pension of three years 
 for the laureats ; the prize called anony- 
 mous was increased ; assistance was ac- 
 corded to aged, infirm, or necessitous 
 artists resident at Rome. A marquis of 
 Ischia (the island), Inigo d'Avalos, is ce- 
 lebrated by Ariosto (Orlando, xxxm, 
 29). Some verses of the poet might al- 
 most apply to the artist who succeeded 
 to the name of the great seignor : 
 
 Quel gran marchese, 
 
 Che avra si d' ogni grazia il ciel cortese. 
 
 Catherine Cornaro, queen of Cyprus, 
 whom the policy of the Venetians com- 
 pelled to abdicate, appears to have sought 
 diversion when deposed from her throne, 
 in the sovereignty of wit, and the con- 
 versations on sentimental metaphysics 
 then so much in vogue : one might call 
 it the hotel of Rambouillet, or the court 
 of Sceaux at the foot of the Alps. I had 
 the curiosity to visit the remains of her 
 ancient residence, which, being distant 
 from the high road, was accessible only 
 by the most horrible paths. This castle, 
 in which such subtile discussions took 
 place, where gallimatias was the not un- 
 frequent product of want of employment 
 and ennui, is now a farm house. But 
 the traces of queen Cornaro are there 
 imprinted on all sides : four columns of 
 the front still remain ; the barn, which 
 must have been the drawing-room, has 
 its ceiling ornamented with elegant ara- 
 
 bis wife the celebrated Lucrczia Borgia. See the 
 article Bembo, in Iiayle, and the Life and Pontificate 
 of Leo X., by Roscoe. Dissertation on Lucrezia 
 Borgia. 
 
Chap. XXIX.] 
 
 POSSAGNO. 
 
 1SS 
 
 besques, and the granary which is over 
 it, and is of the same size, is decorated in 
 a similar manner. The paintings on the 
 outside are very singular. The queen 
 is there represented riding on her hus- 
 band bridled and saddled like a palfrey; 
 la regina col suo marito, said an old 
 woman to us in triumph; in another 
 part she is represented as the goddess 
 Diana hunting the wild boar. On one 
 side of one of the principal doors is 
 Apollo in the costume of a troubadour, 
 and with pointed shoes, pursuing Daphne 
 already half metamorphosed into a laurel, 
 and on the other side is represented a 
 cardinal as a hermit, with the aureola 
 of a saint, a kind of Saint Jerome clad 
 in purple, who tears out his heart and 
 offers it bleeding to Jesus Christ on the 
 cross. Over the same door is the lion 
 of Venice, the connection between these 
 latter paintings presents a faithful image 
 of the poetical and religious life of the 
 captive queen of Cyprus. 
 
 The chapel still exists, and contains 
 many small frescos of excellent taste, 
 mingled with armorial bearings in the 
 style of those in the castle ; this building 
 alone retains its primitive destination, 
 and whilst the pomp of royalty, the va- 
 nity of wit, and the regrets of power have 
 disappeared from the place, prayer has 
 remained. 
 
 CHAPTER XXIX 
 
 Possagno.— Temple by Canova.— Metopes.— Piety.— 
 Painting of Canova.— His tomb.— His house." 
 
 About four miles from Asolo, on a 
 small elevation at the bottom of a valley 
 commanded by a triple range of moun- 
 tains, is the temple raised by Canova, 
 near Possagno, a village containing four- 
 teen hundred inhabitants, where he was 
 born. Marbleiscommoninthesemoun- 
 tains, and one would say that it was to 
 give it animation that this great artist 
 entered the world at their foot. Part 
 of the riches of Possagno consists in the 
 abundance of a stone precious by its qua- 
 Uiy and by the diversity of uses to which 
 it is applicable. Canova's family was 
 engaged in the working of this quarry. 
 
 The apparition of this pompous mo- 
 nument of art in the bosom of savage na- 
 ture, in the midst of woods and rocks, 
 is marvellous. The portico, composed of 
 eight fluted columns of the ancient Doric 
 order, is similar to that of the Par- 
 
 thenon, the vestibule to that of the tem- 
 ple of Theseus, the cupola resembles that 
 of the Rotunda, and, as in all the temples 
 of antiquity, the light only enters by the 
 doors and the roof, which has an opening 
 of sixteen feet in diameter. This church, 
 dedicated to the Trinity, was built from 
 designs of the Venetian architect Selva, 
 but which were in several instances cor- 
 rected and changed by Canova. Through 
 an absurd and very ancient custom at Pos- 
 sagno, females alone have the privilege 
 of entering the church by the great door ; 
 this portico of the Parthenon is thus de- 
 voted to the particular use of the female 
 peasants, and it has been necessary to 
 open two side doors for the men. 
 
 The church, begun in 1819, was not 
 finished until 1830, aud not brought into 
 use for divine service until 1832. The 
 death of Canova, which happened in 
 1822, must have contributed to these 
 delays. His heirs have been accused of 
 evincing indifference towards the com- 
 pletion of a monument which would 
 prodigiously decrease the amount of their 
 inheritance ; but it appears that the charge 
 is unfounded, and that the work from 
 some details in the construction could 
 not proceed more rapidly. Such was 
 the benevolence of Canova, and such 
 the noble use he always made of his 
 riches, 1 that when at the close of his life 
 he wished to construct the church of Pos- 
 sagno, his resources were found to be 
 insufficient, and he was obliged to resume 
 the most profitable of his labours, and 
 with the same fatigue to which indigence 
 alone had at first condemned him. The 
 expense of the building has been a mil- 
 lion, and the interest of a capital of 
 113,437 fr. 66 c, is set apart for repairs. 
 
 It is difficult to reflect on the destina- 
 tion of this edifice without experiencing 
 some emotion ; this Grecian temple erect- 
 ed in a village in the Alps, this monu- 
 ment dedicated to the service of God by 
 one man, who intended to make it his 
 tomb, and built it in his native village. 
 The glory of Canova is more affecting on 
 this spot; the European sculptor here 
 shows himself only as a citizen and a 
 Christian. No city monument will ever 
 be more national or popular than the 
 temple of this hamlet. The inhabitants 
 came of their own accord, to assist the 
 
 1 During one of tbe disastrous years of the French 
 occupation of Borne, Canoya devoted 440,000 francs 
 to charitable purposes. 
 
436 
 
 POSSAGNO. 
 
 [ Book V. 
 
 two or three hundred workmen who 
 were daily employed there; on holy- 
 days, at an early hour in the morning, 
 men, women, young and old, rich and 
 poor, animated with the same zeal, the 
 priest at their head, and singing sacred 
 hymns, proceeded to the neighbouring 
 mountain to fetch the marble necessary 
 for the construction of the temple ; they 
 drew it in triumph, and in their rustic 
 enthusiasm they had inscribed on their 
 waggons the words religione, patria, 
 Canova, who had come to Possagno, 
 ordered vehicles to be made for the use 
 of the young girls, who employed them- 
 selves in bringii g the lighter materials ; 
 these maidens, to the number of some 
 hundreds, joyfully yoked themselves two 
 and two to the carriage ; they were 
 dressed in their holyday clothes, and 
 had their hair ornamented with flowers. 
 On the day of the ceremony of laying the 
 first stone, they claimed and obtained 
 the honour of going to fetch the water 
 from a distant fountain. The sculptor 
 of the Graces, of Psyche and of Hebe 
 was pleased to dress with his own 
 hand after the antique one of those ex- 
 tempore naiads, and with all the taste 
 which distinguishes his female mytho- 
 logical figures. The new fashion so 
 charmed the other villagers that this 
 Grecian head-dress still continues to be 
 worn on Sundays. An indemnity of 
 1,000 fr. was granted by Canova to the 
 girls of Possagno, during the continuance 
 of the works. His brother has since 
 continued this act of generosity ; a sum 
 of 60 Koman crowns is every year de- 
 voted as a dowry for three of the poorest 
 and most virtuous; the choice was left 
 to the churchwardens, who, embarrassed 
 by the number of candidates, and by the 
 dissatisfaction evinced by the unsuccess- 
 ful, succeeded in having the sum divided 
 into six portions. The multitude of can- 
 didates may be explained by the fact, 
 that any age from sixteen to forty-five 
 was eligible. 
 
 Some censorious spirits have blamed 
 the erection of such a monument in 
 such a small secluded village, but this 
 monument will attract strangers to the 
 place ; it has given it roads, and made it 
 a thoroughfare ; for when I visited it, 
 there was no access but by difficult foot- 
 
 ■ A bold bridge, of a single arch of forty yards 
 span, has been thrown across between two rocks, 
 
 paths, through the dried-up bed of tor- 
 rents; the foundation of the church by 
 Canova is as a magnificent and eternal 
 benefaction bequeathed by him to his 
 obscure and needy country.' 
 
 The seven metopes of the portico, re- 
 presenting different scripture subjects, 
 (their models, noble, graceful works of 
 Canova, are in the interior), were exe- 
 cuted in marble by some of the first 
 pupils of the Venetian Academy of Fine 
 Arts. The interior of the building has 
 an air of simplicity rather harsh and 
 naked, Canova not having been able to 
 execute some works with which he had 
 intended to decorate it. A Piety, a marble 
 group of his later years, which he could 
 not complete, and which was skilfully 
 cast in bronze by the Venetian founder 
 Ferrari, offers a delicate and striking ex- 
 pression of the artist's talent. The 
 head of the Christ, according to the lively 
 expressions of Pietro Giordani, resembles : 
 " la bellezza, la bonta, il valbre, la man- 
 " suetudine, e come fu benigno alia sem- 
 " plicita dei poveri e alia innocenza dei 
 " fanciulli, pietoso alia miseria degli in- 
 " fermi, severo coll' arrogante dovizia 
 " dei signori e colla superbia e a vara 
 " dominazione deisacerdoti : non timido 
 " insegnatore del doversi amare con sin- 
 " cerita netta d'ogni superstizione Iddio, 
 '' cui la misericordia e piu gradita che il 
 " sacrificio, e che commando di amare e 
 * v tollerare gli uomini come fratelli, e nou 
 " usaresenonmisuratamentelericchezze 
 " tiranne del mondo." 
 
 The last chef-d'eeuvre of Canova is 
 worthily placed at Possagno; for it is the 
 point of departure, still more than his 
 works, which makes the glory of the man. 
 
 At the grand gallery is the Apparition 
 of the Eternal to the three Marys, and 
 to the disciples, near the dead Christ, a 
 capital picture by Canova, which he 
 painted in 1797, and retouched in 1821. 
 Never did talent fall into a more deplo- 
 rable error. The upper part of the 
 painting represents the Eternal Father in 
 the semblauceof asun, as Louis XIV. was 
 represented, and his bended arms hang 
 across this sun; the Holy Ghost, under 
 the ordinary form of a dove, shedding 
 luminous rays from the beak, and an 
 angel, who has nothing either heavenly 
 or divine in his appearance, although of 
 
 oyer a torrent at the point called // sallo di Cres- 
 pmo, in order to facilitate the approach to rossagno 
 
Chap. XXX. ] 
 
 MASER. 
 
 <57 
 
 One form, is blowing a trumpet with a 
 theatrical air. In spite of the bad colour 
 of the whole painting, and the poverty 
 of invention and composition, the lower 
 part is much superior to the ideal ; and 
 some traces of the sculptor's skill may 
 be recognized in the draperies. 
 
 Some good paintings of the Italian 
 masters ornament the temple of the great 
 contemporary artist. They are : a fine 
 and touching Madonna delU Grazie in 
 a double compartment by Pordenone ; 
 the Virgin in the midst of an aureola of 
 angels, and below St. Sebastian, St. 
 Francis, St. Roch and St. Anthony, an 
 agreeable picture by Andrea Vicentino ; 
 Christ in the garden of Olives, by 
 young Palma, a pathetic piece, and one 
 of the best of his too numerous works ; 
 and St. Francis de Paule, refused by 
 the sailors and passing the straits of Mes- 
 sina on his cloak with his two acolytes, 
 by Luca Giordano. The twelve figures of 
 the Apostles, a fresco by M. Demin, not- 
 withstanding their too rapid execution, 
 are noble and effective, and happily re- 
 place the statues which Canova did not 
 live to execute. 
 
 The marble tomb of the founder of this 
 splendid monument is very simple, it was 
 raised by bis brother the bishop ofMindo, 
 who, as the following touching inscription 
 indicates, is to rejoin him there : — 
 
 JOH. B. EPISCOPUS MYNDENSIS 
 ANT. CANOVA FRATRI DULCIS- 
 SIMO ET SIBI V1VENS. P. C. 
 
 In the village is the small house which 
 was inhabited by Canova, the beau ideal 
 of an artist's residence from its elegant 
 simplicity, simplex munditiis : his works 
 are framed in the different rooms. A large 
 hall contains all the plasters ; it forms a 
 Canova museum, and the sight of this 
 multitude of works, so great, so noble, 
 or so graceful, soon makes one forget the 
 wretched painting of the immortal sta- 
 tuary. 
 
 CHAPTER XXX. 
 
 Maser.— Manini palace.— Cliapel.-Stuccos of Vit- 
 toria. — Olympus or Taolo Veronese. 
 
 The pretty village of Maser, ten miles 
 from Possagno, possesses one of the most 
 complete and most finished wonders of 
 art, which the good Lanzi, who might 
 faave described it, has compared to the 
 
 villa of Lucullus; this is the Manini Pa- 
 lace, built by Palladio, ornamented with 
 stuccosby Vittoria, and painted by Paolo 
 Veronese when in the flower of his age. 
 
 Palladio returned from Rome when he 
 was employed at Maser by the illustrious 
 Daniele Barbaro, patriarch of Aquilea, 
 the learned commentator of Vitruvius, 
 and the friend of the first literary men of 
 his time. The elegant chapel, a small 
 round temple, shows the inspiration of 
 antiquity. The interior is delightfully 
 overrun by statues, grotesque heads, 
 and arabesques in stucco by Vittoria, 
 which will bear comparison with the 
 best works in marble, and which have 
 left no room for painting. The latter 
 art, banished to beneath the portico, does 
 not there appear ill-placed ; on the ceiling, 
 the Resurrection of Christ, by Pelle- 
 grini, shows some very skilful fore- 
 shortening ; the Virgin and St. Joseph 
 has, fantastically, for a pendant, Fame 
 showing the portraits of the noble founder 
 of this chef-d'oeuvre. 
 
 The palace, which is situated on a de- 
 clivity, has in front a flight' of steps 
 extending the whole width of the front. 
 The genius of Palladio and Paolo Ve- 
 ronese bursts forth in the great hall. 
 
 Amongst the personages placed in the 
 brilliant balcony, painted on the ceiling, 
 is one which excites general admiration ; 
 an old woman pointing out to a young 
 female a fine child who holds back a 
 spotted dog, which is ready to fly at > 
 another child who is reading ; near this 
 are a young man and a parrot ; all these 
 figures are life itself. The child with the 
 dog, and the young woman, are said to 
 be portraits of Paolo Veronese and his 
 mistress. A singular optical illusion is 
 here observed; w hen the spectator places 
 himself under either of the children ,• the 
 old woman and the young one instead of 
 looking at the child, have their eyes 
 directed towards himself. A lunette 
 poetically unites Ceres and Bacchus, as 
 the emblem and source of life ; one of the 
 nymphs of the goddess is gently placing 
 a little child on a bed of wheat sheaves; 
 Bacchus is pressing the juice from a 
 bunch of grapes into a cup ; his retinue 
 of wanton nymphs forms a strong 
 contrast to the group of modest nymphs, 
 the attendants of Ceres. The lunette 
 opposite shows Venus reclining inde- 
 cently enough by the side of her aged 
 partner, with a long smiths' implement 
 
 12. 
 
158 
 
 CASTELFRANCO.-CONEGLIANO 
 
 [Book V. 
 
 in his band, and Flora followed by a 
 lovely train of nymphs and little chil- 
 dren, wearing flowers in their dresses, 
 or carrying little baskets. But the richest 
 of all these compositions is the octagon 
 in the centre of the ceiling, a sublime 
 work, where are represented Olympus 
 surrounded by the four elements, Plenty, 
 Love, Fortune, and lastly, the figure of a 
 female who appears a great admirer of 
 Etruscan vases, as she is leaning on one 
 and has another at her feet. 
 
 The four rooms adjoining the hall, are 
 covered with numberless allegorical fi- 
 gures, of very ambiguous meaning. The 
 eight elegant figures standing separate, 
 which Algarotti took for the Muses, ap- 
 pear to be only simple musicians. The 
 two closed doors opposite each other ex- 
 hibit two charming figures, the one a 
 young valet in a Spanish dress, cap in 
 hand as if waiting to receive orders ; the 
 other a fair little girl, full of elegance and 
 animation. It is impossible to conceive 
 a more pleasing antechamber. 
 
 Maser was the dwelling place of the 
 last of the hundred and twenty Doges of 
 Venice, JVIanini,' who so miserably abdi- 
 cated ; the luxuries of his villa, the fear of 
 losing it, or of seeing it laid waste, contri- 
 buted perhaps to his want of character 
 and resolution ; for this weak man was 
 not a traitor, and he loved his country. a 
 
 CHAPTER XXXI. 
 
 Castelfranco.— Saint Liberal.— Picture by Giorglone. 
 —Frescos by Paolo Veronese.— Academy of the 
 Flloglotti —Conegllano.— Duomo.— Saint Flore.— 
 Picture of Conegllano. 
 
 Castelfranco, a pretty town, is the 
 country of the great painter, Giorgione, 
 Titian's rival; he died at the age of 
 thirty-four, in despair at having been 
 betrayed by his mistress, whom his pupil 
 Luzzo di Feltre had seduced. 
 
 The church Saint Liberal, with its 
 noble, harmonious cupola, presents an 
 humble imitation of Palladio's Redentore 
 at Venice. The architect Preti was of 
 Castelfranco, as well as the greater 
 
 * Some cbronologlstsonlyreckou one bundred and 
 nineteen Doges, because they exclude the usurper 
 rielro Barbolano of the Centranlco family, who 
 v/ae, In 1026, the twenty-eighth doge. 
 
 * The election of the first Dogo was in the year 
 797; Manlnl was deposed In 1796, so that we find 
 fulfilled the prophecy of the excellent Florentine 
 
 number of the artists who have decorated 
 this church, which is a real museum, the 
 sacristy alone containing more than forty 
 paintings. There is Giorgione's cele- 
 brated picture of the Virgin, called 
 by Algarotti the magnificent painting of 
 Castelfranco, the production of his youth, 
 the bold first step of a career destined to 
 be so steady and rapid. The fine, the 
 superb Saint Liberal, armed as a knight 
 and holding his banner unfolded, pla- 
 ced near the throne of the Virgin, 
 passes for the portrait of Giorgione ; it 
 contrasts strongly with the pious and me- 
 ditative air of the Saint Francis opposite, 
 which is believed to be the portrait of 
 his brother. The details even are ex- 
 quisite, and the trees of the landscape 
 in the background, where a fine castle 
 and an elegant little temple may be dis- 
 tinguished, appear to be agitated by a 
 gentle breeze. After the chef-d'oeuvre of 
 Giorgione, comes the Presentation of the 
 Virgin, by the younger Palma, a pleas- 
 ing picture, but of that bluish tint which 
 he was so fond of giving his paintings ; 
 Christ descending into purgatory, to 
 deliver the patriarchs and prophets, re- 
 markable for the touching confusion of 
 Adam, and particularly of Eve, a rich 
 composition by Ponchino of Castelfranco, 
 who took holy orders and afterwards be- 
 came a canon. An Assumption, not- 
 withstanding the difficulty of the subject 
 for sculpture, is interesting from the 
 fact of its author Torretti, who had his 
 studio at Pagnano, a village of the 
 Trevisan where he was born, being the 
 first master of Canova, and because the 
 little tower (monogram of Torretti) under 
 Saint Liberal, passes for the work of the 
 young Antonio. Such was the immense 
 popularity of Canova in Italy, and the 
 honour attached to the smallest trace of 
 him, thaton his passingthrough Pagnano 
 afterwards, this public inscription was 
 dedicated to him : 
 
 SALYETE. I.OCA. NCLL1S. BEATIOIU 
 
 QUAE 
 
 A. CANOVAM 
 
 PD1DIACAE. AIITIS. CLEMENTA. DISCENTEM. 
 
 VIDIST1.S. SALVETE. ITEUUM. ITEKUMQCE. 
 
 poet of the sixteenth century, Louis Alamannl, 
 who said in his second satire that the liberty of 
 Venice would not last a thousand years : 
 
 Se non cangi pensier, 1' un secol' solo 
 Non contera sopra II millesioi' anno 
 Tua llberta, che va fugendo n volo. 
 
Chap. XXXII. 1 
 
 TREVISA. 
 
 139 
 
 The statues of Faith and Charity by 
 S. Zandomenighi of Venice, recall to mind 
 the morbidezza of Canova. 
 
 The sacristy has received the three 
 superb frescos of Paul Veronese, Time 
 and Fame, Justice, and Temperance, 
 successfully transferred on canvas, for- 
 merly at the neighbouring palace of the 
 Soranza, of the architecture of San Mi- 
 cheli, barbarously demolished, in spite 
 of its massive strength, and which was 
 cited by Vasari as one of the largest, 
 finest, and most convenient country re- 
 sidences. The calm, healthy appear- 
 ance of Temperance, whose attention is 
 directed to a vase of water, well expresses 
 the good effects of the virtue which she 
 represents. Some other paintings in 
 this sacristy are also remarkable. The 
 Marriage of St. Ann and St. Joachim, 
 by Beccarruzzi, a painter of the sixteenth 
 century, well expresses the kind of ten- 
 derness felt by an old couple, who per- 
 haps knew each other too late, and 
 presents a fine landscape. The St. Sebas- 
 tian of the younger Palma, is expres- 
 sive and the foreshortening good. The 
 two tall figures of St. George and St. Li- 
 beral clad in brown armour have a very 
 martial air. The Supper at Emmaiis 
 is by Paolo Piazza of Castelfranco, a 
 pupil of Bassano, who became a Capuchin 
 monk at Bome, and under the name of 
 Padre Cosmo was a painter of great ori- 
 ginality, as may be judged from the 
 bustle which prevails in the kitchen 
 where dinner is preparing. The Amours 
 of Cleopatra, which Padre Cosmo paint- 
 ed at the Borghese palace, was a subject 
 less befitting his pencil as a monk. The 
 skilful painters of Castelfranco showed 
 themselves subject to exalted passions ; 
 Giorgione died of amorous despair, Pon- 
 chino and Piazza embraced the conven- 
 tual life. 
 
 Castelfranco has two other fine chur- 
 ches; St. James the Apostle, by the 
 clever Venetian architect Massari, where 
 is to be seen a good painting of the 
 Saint, by Damini, of Castelfranco, of 
 whom it has been said, doubtless with 
 exaggeration, that if he had not died so 
 young he would have equalled Titian ; 
 and the church of Saint Mary, which 
 contains twelve exquisite little paintings 
 by this same Damini. 
 
 The small and elegant theatre was so 
 well arranged that it served in the mor- 
 ning for the annual sitting of the Academy 
 
 of Castelfranco, called the Academy of 
 the Filoglotti, where are produced the lo- 
 cal panegyrics, dissertations, and verses, 
 which latter are said to be occasionally 
 rather harsh. 
 
 Conegliano deserves a visit from the 
 traveller for its charming environs, and 
 for several of its paintings. 
 
 The Duomo presents a Virgin on an 
 elevated throne, and St. John the Bap- 
 list, St. Nicholas the bishop, Saint Cathe- 
 rine, St. Apollonia, St. Charles Borro- 
 meo, and St. Joseph, and at the foot of 
 the throne two little angels, by the ex- 
 cellent painter of the town, Cima, called 
 Conegliano ; the painting bears the date 
 of 1192; though in a damaged state, the 
 artist's gift of relief and perspective may 
 be recognised; this patriotic painter only 
 demanded 412 livres 12 sous for this 
 chef-d'ceuvre. St. Mark, St. Leonard, 
 and St. Catherine, in a chapel of the 
 church, doubtless belong to the best 
 days of the art. 
 
 On the ceiling of Saint Boch, a lively 
 and harmonious composition by M. De- 
 ntin representsin two groups the Saint, 
 and St. Dominick, carried to Paradise 
 by Angels ; the dog of Saint Boch, who 
 wants to follow his master, is playfully 
 stopped by two little angels; the dog of 
 St. Dominick, with his accustomed flam- 
 beau in his mouth, also endeavours to 
 follow his master, but two other angels 
 execute the same task with him, and one 
 of them takes away the torch. 
 
 The fine church of Saint Martin has a 
 soft and rural Nativity by Beccaruzzi, 
 a native of Conegliano. 
 
 San Fiore, the neighbouring hamlet to 
 Conegliano, deserves a visit; its ancient 
 and small parish church possesses the 
 best preserved work of Conegliano, a 
 valuable painting in eight compartments, 
 the principal of which is occupied by a St. 
 John the Baptist, dry, swarthy, stand- 
 ing on the trunk of a tree, an admirable 
 expression of the austere repentance that 
 he preached. 
 
 CHAPTEB XXXII. 
 
 Trevisa.— Duomo. — Procession of Dominlci. — Mys- 
 teries of the Rosary of P. Bordonne.— Frescos of 
 Pordenone.— Annunciation of Titian.— Saint Ni- 
 cholas.— Architecture of the convents of Safnt 
 Dominick.— Fra Pensabene.— Portraits of Domi- 
 nicans. — Saint Theonistes. — Saint Leonard.— 
 Saint Gaetau.— San Giovanni del Battesimo. 
 
 Trevisa is ill-built and ill-paved, but 
 
140 
 
 TREV1SA. 
 
 [Book V. 
 
 still of importance as regards the arts. 
 The school of Trevisa forms a brilliant 
 branch of the Venetian. 
 
 The Duomo, although modernised, is 
 still of an imposing appearance. Three 
 chapels are by the Lombardi, father and 
 son, able Venetian sculptors and archi- 
 tects of the fifteenth century ; their sim- 
 plicity and purity render more conspi- 
 cuous the false taste of the works of the 
 last century. The contrast is still further 
 shown by the beautiful tomb of Zanetli, 
 bishop of Trevisa, by the Lombardi : the 
 eagle with extended wings, surrounded 
 by a wreath of flowers, greatly excited the 
 admiration of Canova. The tomb of 
 Pope Alexander VIII. (Ottoboni), who 
 was a canon of the cathedral, by the 
 Trevisan Comino, is horribly heavy. 
 
 The Virgin on a throne, ornamented 
 with beautiful crimson curtains, holding 
 the infant Jesus, and beside her St. 
 Sebastian and St. Roch, is by Geronimo 
 Vecchio, of Trevisa, painted in 1487 ; it 
 has all the languishing colouring and 
 dignified grace of that painter. The 
 Assumption by Penacchi, an artist of 
 Trevisa of the sixteenth century, not- 
 withstanding the stiffness of the drape- 
 ries, produces a pleasing impression : a 
 group of angels carrying up the Virgin 
 is perfectly Mantegnesque. A long Pro- 
 cession by Dominici, another painter of 
 Trevisa of the same century, who died 
 young, is extremely curious : all the 
 small figures arc natural, true, and full 
 of life, and exhibit the contemporary 
 portraits of the authorities of the city. 
 A whimsical inscription put at the bottom 
 brings to our recollection the peculiar 
 estimation made of this picture by Ca- 
 nova, the rival of Phidias. The vault 
 of Saint Liberal, where his tomb stands, 
 is an ancient, bold, and solid construc- 
 tion. The St. Justine, transparent, and 
 well preserved, by Bissolo, a good Vene- 
 tian artist of the sixteenth century but 
 little known, has a sort of liveliness about 
 it, notwithstanding the sword that pierces 
 the bosom of the chaste martyr: the canon 
 on his knees praying w ith such an earnest 
 pious air, is said to be the portrait of the 
 person who ordered the picture. 
 
 A Virgin silting with the infant Jesus 
 on one knee, supposed to be by Sanso- 
 vino, is of the finest times of sculpture. 
 
 The able Trevisan painter, Paris Bor- 
 done, has decorated the Duomo with 
 three masterpieces. The grand St. Lau- 
 
 rence strikes by the beauty and ce- 
 lestial expression of the saint's head, the 
 flesh of St. Jerome, the foreshortening 
 of St. Sebastian, and the excellent ar- 
 rangement of the whole. The Nativity 
 presents the most happy contrast : the 
 Infant Jesus who is looking with an air 
 so loving and so happy at his mother, re- 
 presented in a chaste and noble attitude ; 
 a shepherdess full of grace and simpli- 
 city offering to Christ two doves, and the 
 almost speaking figure with the ebon 
 beard and hair, the portrait of Aloisa 
 Rovero, who ordered the picture. The 
 Mysteries of the Rosary, a small picture 
 in six divisions, is exquisite and elegant, 
 and may be considered a sort of minia- 
 ture display of the author's peculiar 
 qualities. St. John the Baptist, by Vit- 
 toria, expresses penitence : the effect is 
 still increased by the statue being from 
 the quarries of Istria, better adapted by 
 its dark grey colour for a subject of this 
 kind than the most brilliant marble. 
 The Cross carried by the angels, by 
 Amalteo, a good painter of the Venetian 
 school, with the figures of St. James 
 major, St. Diego, St. Anthony the abbot, 
 and St. Bernardin, is a noble, graceful, 
 and animated composition : the land- 
 scape is a view of Motta, a town of the 
 Trevisan, where the artist resided : the 
 colouring has not the ordinary vivacity 
 of Amalteo, who was upwards of fifty- 
 nine when he executed it. The Holy 
 winding Sheet, held by three bishops 
 followed by priests holding torches, 
 and shown to the adoration of the faith- 
 ful, by Francesco Bassano, is rich, broad, 
 and true. Pordenone, a powerful artist, 
 surnamed the Michael Angelo of the Ve- 
 netian school, has painted two superb 
 frescos; the Epiphany, which, notwith- 
 standing some exaggeration, is bold and 
 majestic ; there is a foolish vain inscrip- 
 tion indicating that it was ordered by the 
 canon Brocardo Malchiostro, whom we 
 shall hereafter have occasion to mention. 
 The Eternal Father surrounded by a 
 multitude of little angels entwined and 
 descending to the earth, a fresco in 
 the cu ola, is wonderfully lively and 
 airy. 
 
 But the finest of the pictures of the 
 Duomo is the Annunciation by Titian 
 when young, admirably expressive, true, 
 and natural, both in the perspective and 
 drapery ; the only fault is, his having in- 
 troduced the canon Malchiostro, who, 
 
&CHAP. XXXII.] 
 
 TREVISA. 
 
 m 
 
 because he ordered it, had the whimsical 
 pretension to figure in it. 
 
 The church of Saint Nicholas, the finest 
 in Trevisa, dates from the year 1300, and 
 has the Gothic grandeur of the mona- 
 steries of Saint Dominick . The architect 
 belonged to the middle ages, but of 
 his name we are ignorant, as we are of 
 many others, builders of vast basilics, 
 and immense monuments of that period, 
 characterised by the strength and dura- 
 bility of its works.' These singular and 
 religious artists were more anxious about 
 their salvation than their fame. Thus in 
 architecture, the middle ages truly ap- 
 pear, as some one has observed, to be the 
 epoch of great men now unknown. Saint 
 Nicholas owes its foundation to the zeal 
 and bounty of Pope Benedict XI., who 
 was born in the Trevisan ani belonged 
 to the convent. 
 
 As at the Duomo, an altar by the 
 Lombardi, notwithstanding its exiguity, 
 shews strikingly the false taste of the 
 last century, exhibited in an enormous 
 altar by the celebrated P. Pozzi. The 
 tomb of Count Agostino d'Onigo of Tre- 
 visa, a senator of Rome (which does not 
 mean that he was a Roman senator), is 
 another excellent work of the Lombardi. 
 
 The Apparition of Christ, by Giovanni 
 Bellini, shows by its morbidezza that 
 the old master had the good sense to 
 approach the manner of his two great 
 pupils, Giorgione and Titian. In the 
 lower part of the picture are the contem- 
 porary portraits of the bishop, the podesta, 
 and the prior of the convent; all members 
 of the pious Monigo foundation, that 
 charitably helped poor females, several 
 of whom figure among the portraits and 
 are full of life. The St. Christopher 
 carrying the Infant Jesus on his shoulder 
 is of the colossal size of thirty -four feet, 
 independently of his legs which are in 
 the water ; it dates from the year 1410, 
 is a most able fresco by Antonio, of Tre- 
 visa, and interesting as regards art. The 
 Virgin on a throne with St. Thomas 
 d'Aquin, St. Jerome, St. Liberal, St. 
 Dominick, St. Nicholas the bishop, 
 Benedict XL, and on the steps of the 
 throne a little angel playing on the lyre, 
 is an immense, elegant, and majestic 
 composition, and was for a length of time 
 supposed to be by Sebastiano del Piombo, 
 
 ' The architects of the churches Saint Anastasia 
 of Verona, Saint Augustine of Padua, recently 
 
 but was found from the registers of the 
 conventtobe-byamonk, Fra Marco Pen- 
 sabene, a Venetian, the great artist of the 
 cloister, who must have been one of 
 Giovanni Bellini's best pupils, though 
 spoken of by none, notwithstanding his 
 pretty interesting name of Fra Pen- 
 sabene. 
 
 The hall of the chapter, painted in 
 1352 by Thomas ofModena, represents a 
 gallery of celebrated Dominicans, each 
 bending over his little desk, reading or 
 meditating, some wearing spectacles ; 
 figures with little of the ideal, and totally 
 destitute of variety, but natural and true. 
 
 The church of Saint Theonist, now ap- 
 pertaining to a girls' school, presents on 
 the arched roof, a Paradise, in which 
 the soul of the saint enters triumphantly, 
 a fresco by the Venetian Fossati and the 
 figures by Guarana; it is remarkable for 
 the ornaments and perspective ; an As- 
 sumption by Spineda, a noble and able 
 artist of Trevisa, the imitator and almost 
 the rival of Palma, for drawing and 
 delicacy of colouring; and a Magdalen 
 at the foot of the cross, with the Virgin 
 and St. John, a work after the manner 
 of Titian, by Jacopo Bassano, who after- 
 wards adopted a style of his own and was 
 also chief of a school. 
 
 The church of the Scdlzi ( or bare- 
 footed Carmelites), by its form and ex- 
 treme cleanliness, invites the soul to 
 devotion. Notwithstanding it has under- 
 gone a fatal restoration, we recognise the 
 original touch of Paris Bordone in the 
 Virgin with the Infant Jesus, St. John 
 the Baptist, and St. Jerorne; the latter, 
 half-naked and covered only with the 
 cardinal's purple, is presenting his hat 
 to the Infant Jesus, who takes it as a 
 plaything. 
 
 The church of Saint Augustine, of an 
 elliptic shape and good architecture, has 
 a Virgin, St. Joseph, and a saint, which 
 brings to our mind the lively manner of 
 Andrea Schiavone. 
 
 Saint Leonard contains the Glory o, 
 the saint, a fresco of fine colouring by 
 GiambattistaCanaletto,and an old Virgin 
 with the Eternal Father, St. Bartho- 
 lomew, and St. Prosdocimus, perhaps by 
 Jacopo Bellini, the worthy father of 
 Giovanni and Gentile ; the retouching has 
 injured the Virgin, but as regards the 
 
 destroyed, Saint Jobn and Paul of Venice, are not 
 known. 
 
U2 
 
 TREVISA. 
 
 [Book V. 
 
 Eternal Father, the saints, and chiefly 
 the little angels, it is a fine, noble, and 
 graceful work. Another retouching has 
 destroyed the figure of St. Sebastian, 
 with St. John theBaptist and St. Erasmus, 
 by Giovanni Bellini ; but the St. Erasmus 
 remains untouched, and has preserv- 
 ed all the charming characteristics of the 
 artist. 
 
 The front of the church of Saint Gio- 
 vanni del Tempio, or Saint Gaetan, is 
 worthy, from its purity and chastencss, 
 of its date, 1508, which is inscribed on it, 
 and it shows the style of the Lombardi ; 
 but with the exception of a small gallery 
 with a cupola, the interior, horribly 
 modernised, is not at all in conformity 
 with such an exterior. 
 
 The steeple of Saint Martin indicates 
 that the building is of a very ancient date. 
 An Assumption by Spineda is much 
 esteemed ; likewise St. Martin giving 
 alms, and a Trinity by Orioli, a prolific 
 painter and poet of the seventeenth cen- 
 tury, born at Trevisa, to which he con- 
 fined his natural but almost uncultivated 
 talents. 
 
 At Saint Andrew, the Virgin, St. 
 John, Chrysostome, St. Lucy and below 
 a little angel playing on the harp, in spite 
 of its dilapidated state, exhibits the sim- 
 plicity and taste of Gentile Bellini. 
 
 The most ancient church of Trevisa is 
 that of San Giovanni del Battesimo, 
 which possesses a Baptism of Christ, by 
 Spineda, and a St. Apollonius, by 
 Francesco Bassano. 
 
 The small church of Saint Gregory has 
 the picture of the Saint habited in his 
 pontifical robes, one of the masterpieces 
 of the younger Palma. 
 
 CHAPTER XXXIII. 
 
 Mont-de-Piete.-The Dead Christ, by Glorglone. 
 
 The Mont-de-Pi&e* (where money is lent 
 by the State on pledges) of Trevisa has 
 still its celebrated Dead Christ, by Gior- 
 gione, painted for this establishment, a 
 most magnificent proof of its antiquity 
 and richness. Christ is supported in a 
 sitting posture by angels on the long mar- 
 ble stone of the sepulchre. The paleness 
 and sunken appearance of the dead body 
 is wonderfully contrasted with the fresh- 
 ness, strength, and agility of the angel, 
 who has started to the opening of the 
 tomb to which he clings with one hand, 
 
 and with the other holds the corner of 
 the crimson cloth, placed under the body 
 of Christ. In spite or the injury of time, 
 the retouchings, and the bad light it is 
 placed in, it will ever be admired for 
 boldness of foreshortening, the play of 
 the light, and the terror blended with 
 compassion that it inspires. 
 
 One of the rooms of the Mont-de-PieHe" 
 displays a Miracle of the loaves and 
 fishes, a small, curious, and unnoticed 
 fresco full of life, with a charming land- 
 scape ; this fresco, although much da- 
 maged, obtained the suffrages of two 
 good judges, S. Missirini, and Count 
 Cambray Digny, a Tuscan architect, ori- 
 ginally from Picardy ; they were both of 
 them at Trevisa in 1831, and may be 
 said to have in some manner found it out. 
 An old clerk told these gentlemen that 
 tradition attributed it to Ludovico Fiu- 
 micelli, a native ofTievisa, who too early 
 abandoned the study of painting for that 
 of architecture and fortification, but S. 
 Missirini has no hesitation in believing it 
 to be worthy of the able Venetian master 
 Bonifacio. In the same room are also 
 the rich Epulon and Moses striking the 
 rock, presenting two animated land- 
 scapes, by Ludovico Pozzo, a Flemish 
 artist, long resident at Trevisa, and rather 
 posterior to Fiumicelli. 
 
 Such was the fecundity of art in Italy 
 in the sixteenth century that it is to be 
 found even in an establishment to aid the 
 indigent, where it shines amid the pledged 
 garments of the poor, making a Mont- 
 de-Piete" almost a museum. 
 
 CHAPTER XXXIV. 
 
 Library.— Theatre. — Pola palace. — Ancient Dofflnl 
 palace. — Hospital,— Bridge. 
 
 The chapter library was founded by a 
 liberal and noble Trevisan, Count Azzani 
 Rambaldo Avogaro, a celebrated anti- 
 quary, the friend of Muratori, a canon 
 zealous for the literature and history of 
 his country. He resuscitated the old 
 academy of the Solleciti, which for a 
 length of time had ceased to deserve its 
 name. The correspondence of Avogaro 
 with the learned of different countries is 
 preserved in this library, and forms 
 no less than 26 folio volumes. 
 
 The Onigo theatre, a good substantial 
 building of stone both inside and out, 
 harmonious in its construction, was ar- 
 
■ HAP. I.] 
 
 VEMCE. 
 
 U3 
 
 ranged internally by one of the Galli 
 Bibiena, who were famous in Europe 
 during the last century for their taste and 
 skill in decoration, and without whose 
 aid it seemed hardly possible to celebrate 
 a marriage, a victory, or a princely pro- 
 cession. 
 
 The Pola palace, built by the Lom- 
 bards notwithstanding the ruined state 
 of the staircase, is worth notice for its 
 noble front and vestibule. 
 
 An honest shopkeeper occupies the 
 ancient Dolflni palace, remarkable for 
 the richness of its front, though the ar- 
 chitect Pagnossini of Trevisa flourished 
 when architecture was on the decline in 
 Italy. In the arched roof of the principal 
 saloon, now a warehouse, there is a 
 Triumph of.Bacchus, a fresco of a yel- 
 lowish tint, with some fine foreshorten- 
 ing, by Dorigny, a Parisian artist, one 
 of Lebrun's pupils, who came to Italy 
 when young and established a school ; 
 he lived at Trevisa, and died at Verona, 
 at the advanced age of eighty-eight, 
 
 having for many years infested the Ve- 
 netian school to the utmost of bis power. 
 
 The gate of Saint Thomas, which dates 
 from 1518, has been held worthy, from 
 the beauty of its front and its solid con- 
 struction, to be attributed to PietroLom- 
 bardi, as also the statue of St. Paul which 
 surmounts it. 
 
 The civil hospital of Trevisa is worth a 
 visit, on account of two pictures in ihe 
 director's new apartment : the Nativity, 
 full of grace and nature, by Caprioli, an 
 artist of the Modena sehool of the fifteenth 
 century ; and the Holy family, a master- 
 piece combining the graceful, natural, 
 and expressive, by the elder Palma. 
 
 A fine brick bridge in a good state of 
 preservation, notwithstanding its three 
 centuries, is thrown across the Sile of 
 which the poet Dante has sung, 
 
 Dove Sile a Cagnano s' accompagna, 
 
 and which river waters the beautiful 
 country of Treyisa. 
 
 BOOK THE SIXTH. 
 
 VENICE. 
 
 CHAPTER I. 
 
 Venice.— lis decline.— Venice on terra liima. 
 
 It would be difficult to describe the 
 impression Venice produces on its first 
 appearance ; the multitude of domes, 
 steeples, palaces, columns, rising out of 
 the bosom of the waters, looks at a dis- 
 tance like a city under water and pro- 
 duces a feeling of surprise and fear. 
 One can scarcely imagine that to be the 
 end of his journey and the destined 
 place of his sojourn. Rotterdam, it is 
 said, is not less extraordinary ; it may be 
 so, but 1 cannot imagine that Holland 
 ever resembled Venice : if commerce 
 was the soul of the two states, in the 
 one it was simple, grave, unassuming, 
 austere, and economical ; in the other 
 brilliant, pompous, dissolute, the friend 
 of pleasure and the arts. Liberty in Ve- 
 nice was the oppressive privilege of a 
 
 class of nobles ; in Holland it extended 
 to all classes. The paintings of Cana- 
 letto have so familiarised us with the 
 harbour, the squares, and monuments of 
 Venice, that when we penetrate into the 
 city itself, it appears as if already known 
 to us. Bonington, an English artist of a 
 melancholy cast, has painted some new 
 views of Venice, in which is most per- 
 fectly sketched its present state of deso- 
 lation; these, compared with those oT 
 the Venetian painter, resemble the pic- 
 ture of a woman still beautiful, but worn 
 down by age and misfortune. All those 
 gondolas, hung with black, a species of 
 floating sepulchres, look as if they were 
 in mourning for the city ; and the gondo- 
 lier, instead of singing the verses of 
 Ariosto and Tasso, 1 is neither more nor 
 
 1 These verses were, it is well known, only a 
 Venetian translation; the gondoliers did not un- 
 derstand the text. 
 
m 
 
 TREVISA. 
 
 IBoou VI. 
 
 less than a poor boatman with but little 
 poetry in his composition, whose only 
 song is a harsh screaming ah eh at the 
 turning of each calle, ■ to avoid the danger 
 of collision with other gondolas that are 
 not immediately visible. This aspect of 
 Venice has a something in it more gloomy 
 than that of ordinary ruins : nature lives 
 still in the latter, and sometimes adds to 
 their beauty, and although they are the 
 remains of by-gone centuries, we feel 
 they will live for centuries to come, and 
 probably witness not only the decay of 
 their present master's power, but of suc- 
 ceeding empires too : here these new 
 ruins will rapidly perish, and this Pal- 
 myra of the sea, retaken by the avenging 
 element from which it was conquered, 
 will leave no trace behind. No time 
 ought to be lost in visiting Venice, to con- 
 template the works of Titian, the frescos 
 of Tintoretto and Paolo Veronese, the 
 statues, the palaces, the temples, the mau- 
 soleums of Sansovinoand Palladio totter- 
 ing on the very verge of destruction. 
 
 I visited Venice three different times, 
 at intervals of about a year; and at 
 each visit was forcibly struck with its 
 rapid decline. A skilful observer who 
 was living there then calculated that it 
 might go on for sixty years more in this 
 manner. I cannot avoid acknowledging 
 that the description I gave of Venice on 
 my first visit, to be accurate now, must 
 be reduced in some of its features. The 
 population formerly was one hundred 
 and ninety thousand, at the end of the 
 last century it was but one hundred and 
 fifty, and is now not more than one 
 hundred and three, out of which forty 
 thousand are dependent on the charity 
 of the rest. The number of gondolas, 
 formerly six thousand five hundred, was 
 in 1827 six hundred and seventy-eight. 
 Comines pretended when he was there 
 they amounted to thirty thousand {il s'en 
 finiroit trente mille). 
 
 In the midst of its destruction Venice 
 found a man full of zeal, taste, and 
 knowledge, who has collected, and ren- 
 dered imperishable in some degree the 
 grandeur and magnificence of its monu- 
 ments. In the work entitled Fabbriche 
 piii cospicue di Venezia, by Cicognara 
 
 ' The catle are tbe streets, the passages of Venice, 
 of which there are two thousand one hundred and 
 eight; the number of houses twcnly seven thou- 
 sand nine hundred and eighteen, and of bridges 
 three hundred and six. 
 
 and the members of the academy of fine 
 arts of Venice, which is the first and only 
 complete work on this fine city, is a 
 faithful and precious inventory of all its 
 masterpieces, some of which even since 
 its publication are no longer in existence. 
 Another excellent work, a collection of 
 Venetian inscriptions by S. Cigogna, 
 will also be the means of preserving re-« 
 collections of what Venice was, and 
 which the author has nobly dedicated to 
 his country. 
 
 Some years ago a bold plan was pro- 
 posed by a zealous Venetian in order to 
 prevent the ruins of his native city ; * this 
 was to join Venice to the continent, a 
 project already formed by Marco Fosca- 
 rini, an enlightened Doge of the last 
 century, at the epoch which preceded 
 the fall of the republic. A road of com- 
 munication was proposed to be made on 
 the narrowest point of the lagoon, the 
 length of which does not exceed two 
 miles and a half; the materials to make 
 this road might be easily procured in the 
 mud of the marshes and the gravel of 
 the neighbouring rivers; it was suggested 
 that it should be planted with trees, 
 paved for foot passengers, and edged by 
 two parallel canals, with drawbridges for 
 the defence of the city : the expense 
 would not exceed a million and a half of 
 florins (156,000 pounds). Not contesting 
 the material advantages that Venice 
 might immediately gain by its being join- 
 ed to terra firma, the more particularly 
 since the permission granted for a rail- 
 road between Milan and this city, I do 
 not know, if it were carried into effect, 
 Whether such a change would not be to 
 the imagination at least a different spe- 
 cies of destruction, since it would lake 
 from the queen of the Adriatic her pecu- 
 liar character and wondrous aspect. 
 
 CHAPTER II. 
 
 Piazza of Saint Mark.— Pigeons.- Coffee-bouses.— 
 Pili. 
 
 The Piazza of Saint Mark has not its 
 like in the world, the East and West are 
 there brought into each other's presence : 
 on one side the Ducal palace with the in- 
 
 1 See Memoria sul commercio di Venezia, e sul 
 mezzi d'impedirne il decadimento, letta at veuelo 
 Ateneo dal socio ordinarlo Luigi Casarioi, segre- 
 turio dell' inclita congregazione cenlrale. Venezia 
 1823, in-8°. 
 
Chap. II. J 
 
 VENICE. 
 
 147 
 
 dented architecture, the balconies, and 
 galleries of Arabian monuments, and the 
 church of Saint Mark with its angular 
 front and lead-covered cupolas, remind 
 the beholder of a mosque at Constanti- 
 nople, or Cairo; on the other side regular 
 arcades with shops similar to the Palais- 
 Koyal at Paris. The same contrast is to 
 be found among the men : there are 
 Turks, Greeks, and Armenians, some 
 lying down, others taking coffee and 
 sherbet, under large awnings of different 
 brilliant colours, resembling tents ; some 
 smoking perfumes in their long amber- 
 tipped pipes of* rose-wood, a crowd of 
 indolent and majestic automata, while 
 European travellers, and others occupied 
 with their business, are hurriedly passing 
 to and fro. 
 
 The infinite number of pigeons that 
 cover the piazza of Saint Mark, the cupola 
 of the church, and the roofs of the Ducal 
 palace, add also to the Oriental aspect of 
 these monuments. In a country where 
 the ruling power, though slow in action, 
 is ever on the watch, one would prefer the 
 conveyance of letters by these birds. 
 These pigeons have been in Venice from 
 its earliest days. It was the custom on 
 Palm Sunday to let fly from above the 
 principal gate of Saint Mark, a number 
 of pigeons wilh small rolls of paper 
 tied to their feet, which prevented them 
 from continuing in the air, and as they 
 fell they were caught by the crowd, who 
 began fiercely to dispute the prizes the 
 moment Ihey were loosed. This was a 
 species of distribution to the public rather 
 less jgnoble than ours. It sometimes 
 happened that the pigeons got rid of 
 their impediments and sought an asylum 
 on the roofs of Saint Mark and the Ducal 
 palace, near to those awful Piombi where 
 human captives bemoaned a lot far more 
 unhappy ;' here they rapidly increased, 
 
 1 During the government of the Republic a person 
 belonging to the city granaries fed the pigeons 
 every morning on the piazza of Saint Mark and the 
 Piazzetta. When Venice was taken in 1796, these 
 slate pensioners were no longer supplied, and have 
 since been indebted to the compassionof the Ve- 
 netians for their subsistence. Consult the work 
 of Madame Justine Itenier Michiel on the origin 
 of Venetian fetes. Venice, 1817, 5 vol. 8vo, an agree- 
 able and learned work, one of the best books that 
 has been published on the history of Venice. I 
 met with the authoress, a very amiable woman, 
 
 and such was the interest they excited 
 that to comply with the wishes of the 
 public it was decreed that they should 
 not only remain unmolested but be fed 
 at the expense of the state. 1 
 
 Venice still palpitates in the piazza of 
 Saint Mark; this brilliant decoration costs 
 a million annually in repairs ; while other 
 distant quarters, some of which possess 
 magnificent palaces, are left to fall into 
 ruins : this corpse of a city, to use the 
 expression of Cicero's friend, is already 
 cold at the extremities, the life and heat 
 remaining are confined to the heart. 
 
 The Florian coffee-house, under the 
 arcades Procuralie JYuove, in the old 
 lime of Venice was a species of institu- 
 tion ; it has not survived the decline and 
 Tall of the city. This celebrated coffee- 
 house, like the other great coffee-houses 
 in the piazza of Saint Mark, Quadri, 
 Leoni, Suttil, etc., is however open the 
 whole night in all seasons, and, in fact, 
 is never shut. Florian was formerly the 
 confidant and universal agent of the Ve- 
 netian nobility. The Venetian who alight- 
 ed there, had news of his friends and ac- 
 quaintances ; was informed when they 
 would be back and what they had done in 
 his absence ; there too he found his letters, 
 cards, 2 and probably his bills ; in short, 
 every thing of moment had been done 
 for him by Florian, with care, intelli- 
 gence, and circumspection. Canova 
 never forgot the more essential services 
 he had received from Florian at the 
 commencement of his career, when he 
 wanted to become known ; and he 
 remained his friend through life. Flo- 
 rian was often tormented wilh the gout 
 in his feet, and Canova modelled his leg 
 and foot so that the shoemaker could 
 take his measure without putting him to 
 pain. This leg of a coffeehouse-keeper 
 appears to me no less honourable to Ca- 
 
 nolwithstauding the deafness which afflicted her 
 when advanced in years. She died at Ihe age of 
 seventy-eight in the year 1832. Madame Michiel 
 also translated Shakspeare, and defended Venice in 
 the most patriotic manner against M. de Chateau- 
 briand. 
 
 2 The visiting cards in Italy are commonly orna- 
 mented with emblems and monuments : I received 
 cards at Verona on which was an engraving of the 
 amphitheatre ; the Venetians have on theirs the 
 bridge of the Rialto, the front of Saint Mark, the 
 columns of the Piazzetta, etc. 
 
 13 
 
144 
 
 446 
 
 VENICE. 
 
 [Book VI. 
 
 nova than his Theseus, it is pleasing to 
 2stecm him as a man whom we have 
 sdmlred as an artist. 
 
 At the extremity of the piazza there 
 are three pili or flag-masts which form- 
 erly bore the glorious standards of Saint 
 Mark, now replaced by the Austrian 
 flag. The pedestals of these masts are 
 in bronze, by Leopafdo, and possess the 
 elegance and taste of the Grecian artists. 
 Independently of the great pains taken 
 by the artist, they are so beautifully po- 
 lished that the figures have all the ap- 
 pearance of having just quitted the work- 
 shop; whereas they have been there 
 upwards of three centuries, exposed to 
 the injury of the air, the African siroccos, 
 and to the misty saline spray of the 
 raging Adriatic. 
 
 CHAPTER III. 
 
 Church — Baptistry. — Bronze gate. — The Virgin 
 della Scarpa.— Pala d'oro.-Uislorical stones.— 
 Horses.— Lion of Saint Mark. -Campanile.- log- 
 gietla.— Treasury. 
 
 The basilic of SaintMark, begun about 
 the end of the tenth century by the doge 
 Orsolo, is of chequered architecture, a 
 mixture of Greek and Roman, but more 
 especially Gothic. A description of the 
 mosaics, sculptures, basso-relievos, and 
 arabesques with which it is ornamented, 
 would be endless. There are brilliantly 
 blended Grecian elegance, Byzantian 
 luxury, and the talents of the Venetian 
 masters. On seeing these splendid com- 
 partments, the golden arched roofs, the 
 pavement of jasper and porphyry, the 
 five hundred columns of black, white, 
 and veined marble, of bronze alabaster, 
 vert antique, and serpentine, one would 
 feel inclined to take this christian temple, 
 except that is is somewhat too gloomily 
 lighted, to be a palace of the Arabian 
 Psights. Religion has preserved all these 
 riches, which might have been dissipated 
 in the speculations and enterprises of a 
 commercial and navigating people. The 
 v recks of the magnificence of ancient 
 Rome ornament the cathedrals of the mo- 
 dem city, its successor. Saint Mark has 
 collected the costly spoils of Constan- 
 tinople. Italy thus embraces the ruins 
 of these two imperial cities. 
 
 The benilier, or holy-water vase, a 
 work of ihe fifteenth century, of por- 
 phyry, is supported by an antique altar 
 of Grecian sculpture, ornamented with 
 
 dolphins and tridents. One of the bronze 
 doors of the baptistry, covered with the 
 figures of saints and Greek inscriptions, 
 appears to have been brought from the 
 basilic of Saint Sophia. The mosaic, of 
 the eleventh or twelfth century, on the 
 wall, represents the Baptism of Christ, 
 and is a warm animated composition. 
 St. John the Baptist, in bronze, placed 
 over the font, by Francesco Segala, is 
 one of the good statues of the sixteenth 
 century. I remarked in this chapel of 
 the baptistry, against the wall, the tomb 
 of the doge Andrea Dandolo, who died 
 in 135i, an intrepid warrior and skilful 
 politician, the friend of Petrarch and the 
 oldest historian of Venice, as his ancestor 
 was its greatest hero. The name of 
 Dandolo is so nobleand great that I loved 
 to repeat it under the vaulted roofs of 
 Saint Mark, and had not my respect for 
 the solemnity of the place prevented me, 
 1 should have made it re-echo there, as 
 an illustrious traveller did that ofLeo- 
 nidas on the ruins of Lacedemon ; but 
 Ihe echo of Saint Mark would doubtless 
 have died away as speedily as that of 
 Sparta, although the heroic acts of the 
 Venetian warrior are less ancient by 
 fourteen centuries. 1 must confess that 
 my feelings were very different when, as 
 I looked at the bronze door of the vestry 
 behind the altar, a work that occupl I 
 thirty years of Sansovino's existence, 
 I saw there in relievo the almost living 
 head of Aretino beside those of Titian 
 and the author, both of them his friends. 
 I could perceive in it all the presump- 
 tion of his talent and disposition; a man 
 who made a trade of calumny, who 
 praised for a certain price, and who may 
 be considered the representative of the 
 licentious and ancient manners of Ve- 
 nice. The friendship between Titian, 
 Sansovino, and Aretino, if it does but 
 little honour to the two artists, must 
 have contributed in an extraordinary 
 degree to the good taste and splendour 
 of Venice. These three men aided each 
 other by mutual counsels, and the superb 
 gate of Sansovino is a kind of monument 
 of their close and constant union. Titian 
 could not always escape the importunate 
 pecuniary demands of the grcedj author, 
 nor his calumnies when the money was 
 not forthcoming.' The four Evange- 
 
 ' See Ihe following passage from one of Arellno's 
 loiters to Hie clulie of Florence, doled October, (5i5 : 
 '■ La nun poca quaulila di danari cue M. Tiziauo si 
 
Chap. III.] 
 
 VENICE. 
 
 U7 
 
 lists of bronze in tbe choir, are also by 
 Sansovino, and are considered as some 
 of his finest works, also an altar behind 
 tbe high altar, ornamented with basso- 
 relievos in marble and bronze gilt. 
 
 The Zeno chapel, the altar, and the 
 monument of the Cardinal are the inesti- 
 mable works of Pielro and Antonio Lom- 
 bardo, and Leopardo. Here is also the 
 celebrated statue of the Virgin cast by 
 Alberghetti, with the cognomen of della 
 Scarpa, because the Virgin has shoes on. 
 The altar, the statue of St. James, and 
 other masterpieces of Leopardo, are both 
 noble and graceful. The finest of the 
 numerous columns of Saint Mark in white 
 and black porphyry, is in the oratory of 
 the Cross, nearest the altar on the epistle 
 side. The twelve Apostles, the Virgin, 
 and St. Mark, in marble, placed above the 
 architrave which separates the body of 
 the church from the choir, are by ihe 
 brothers Jacobello and Pietro- Paolo 
 dalle Slassegne, excellent Venetian artists 
 of the latter end of the fourteenth cen- 
 tury, pupils of the Pisa school, who seem 
 worthy of a more advanced epoch. The 
 great chandelier of Saint Mark, notwilh- 
 slanding the oddness of its base, is con- 
 sidered as one of the most remarkable 
 works of its kind for the taste and nature 
 of the figures, and the elegance of the 
 ornaments. 
 
 The Pala d'oro, a species of mosaic 
 in gold and silver on enamel, placed 
 above the principal altar, is a curious 
 monument of art belonging to the Greeks 
 of the Lower-Empire, and of that pros- 
 perity — that military and commercial 
 civilisation of the Venetians which pre- 
 ceded the poetical and literary civilisa- 
 tion of other Italian cities. Ordered at 
 Constantinople by the republic towards 
 the end of the tenth century, the Pala 
 d'oro was augmented and enriched at 
 Venice in the three following centu- 
 ries : it exhibits, symmetrically enchased 
 among its numerous ornaments, a series 
 of pictures representing subjects from 
 the Old and New Testaments, the life of 
 Saint Mark, the Apostles, the angels, 
 and the prophets, with Greek and Latin 
 
 ritrova, e la pure assai avidila che tiene (ii accre- 
 scertn, causa ch' egli non dando cura e obbligoche 
 si abbia con amico, ne a dovere die si convenga a' 
 parent!, solo a quello con islrana ansia attende die 
 gll promette gran cose.'' 
 
 1 Cicagnara was tbe first who gave a detailed 
 account of tbe Pala d'oro in the Fabbriche di Vene- 
 
 inscriplions that are almost barbarous ; 
 the figures are stiff, plain, and sin- 
 gular, but the ensemble has something 
 dignified in it : one might compare it to 
 an old poem or some ancient chronicle, 
 interesting as regards the period to 
 which it belongs, but which it would 
 be irrational to take as a model after the 
 masterpieces of the great artists. 1 
 
 If the fickle and conquered people of 
 Venice appear to have forgotten their 
 history, the stones and monuments are 
 indelibly impressed with it, and no- 
 where perhaps is the historical aspect 
 of a place less defaced than there. A red 
 marble pavement without any inscrip- 
 tion near to the sixteenth arcade, recalls 
 the most ancient recollections of Venice. 
 It was there that Narses when he suc- 
 ceeded Belisarius built the ancient church 
 of Saint Geminian, destroyed in the 
 twelith century, when the canal on the 
 edge of which it stood was filled up. 
 Every year the doge and senate vi- 
 sited the new church of Saint Geminian, 
 pulled down in 1809, a and they were 
 reconducted with great pomp to this 
 identical stone, the original limit of the 
 piazza of Saint Mark. Not far from 
 thence, in a retired street, there is a small 
 white stone marking the spot where 
 Boemondo Tiepolo, the Catiline of Ve- 
 nice, perished ; he was killed by a pot of 
 flowers that a too curious old woman ac- 
 cidentally threw down from her window, 
 in leaning forward to see him as he was 
 going, at the head of the conspirators, to 
 seize the Ducal palace and overthrow 
 the Great council, a flower-pot which has 
 effectually saved Venetian liberty, as the 
 Catiline Orations did Rome and tbe 
 senate, immediately after the defeat of 
 Tiepolo's party, the council of Ten was 
 created; a formidable institution, also 
 due to the old woman's flower-pot. In- 
 dependently of the mementos of glory 
 and conquest which abound in Saint 
 Mark, certain squares of red marble, 
 under the vestibule, still mark the spot 
 of the famous interview where a dis- 
 sembled reconciliation was affected be- 
 tween Alexander III . and the emperor 
 
 zia, although a work of that kind belongs less to 
 the history of architecture than that of painting. 
 Tbe description is remarkable for its scrupulous 
 accuracy. 
 
 a See post, chapters XIV. and XXIV. This elegant 
 church occupied the present hall and staircase of 
 the Royal palace. 
 
148 
 
 VENICE. 
 
 [Book VI. 
 
 Frederick Barbarossa, throughlhe media- 
 tion of the victorious Venetians. 
 
 Saint Mark presents a collection of re- 
 lics of the greatest antiquity, the various 
 mementos of conquest and revolutions. 
 Before the entrance of the church, on the 
 right, near the Piazzetta, are. two pillars 
 covered with Coptic and hieroglyphic 
 characters, said to have originally be- 
 longed to the temple of Saint Saba, at 
 Saint Jean d'Acre. According to anti- 
 quaries, the porphyry group, at the 
 angle near the door of the Ducal palace, 
 represents Harmodius and Aristogiton, 
 the furious assassins of Hipparchus, the 
 Athenian tyrant. The four famous horses 
 of Corinth, or of the Carrousel, have 
 resumed their former position on the 
 tribune, over the principal door. Never 
 was a trophy of victory more modestly 
 placed, or worse, for they are scarcely 
 perceptible. Won at Constantinople, 
 brought back from Paris, these Greek or 
 Roman steeds ■ are associated with the 
 two grandest instances of taken towns 
 that history record. 
 
 The lion of Saint Mark is replaced on 
 his column, but mutilated. He ought 
 never to have left it; though insignificant 
 as a work of art, at Venice it was a public 
 and national emblem of its ancient power. 
 It is venerable on the piazza of Saint 
 Mark, but on the esplanade of the Inva- 
 lides it was only a superfluous mark of 
 the bravery of our warriors, less noble 
 than all those*tallered flags taken on the 
 battlefield and suspended in the nave of 
 the church. It was, moreover, a singu- 
 larly ill-judged and odious act of a rising 
 republic to humiliate, and spoil of the 
 vestiges of their past glory, such old 
 republics as Venice and Genoa. The 
 Sacro Catino, * and the Lion of Saint 
 Mark, were there patriotic monuments 
 worthy of respect ; elsewhere they sunk 
 into mere shop or cabinet curiosities, the 
 prey of ruthless conquest. 
 
 The Campanile of Saint Mark is a bold 
 structure, and one of the solidest and 
 most elevated in Italy or even Europe ; 
 it was begun in the tenth century, but 
 not finished till the sixteenth. The chief 
 builder was the illustrious maestro Buono, 
 a great Venetian architect, who is some- 
 
 1 Clcognara regards these horses as a Roman 
 work of .Nero's lime; the Cav. Musloxidi pretends 
 that they are Greek from the Island of Chios, and 
 that they were carried to Constantinople in the 
 tilth century by order of Theodoaius. The metal 
 
 times confounded with other artists of 
 the same name; he died in 1529. The 
 ascent to its summit is by path, a real 
 foot-pulh of brick, smooth and without 
 steps. The sea, Venice rising from its 
 bosom, the resplendent verdure of the 
 fields on terra firma, the hoary tops of 
 the Frioul Alps, the crowd of islets grace- 
 fully grouped around this imposing city, 
 present a point of view which may almost 
 be called a prodigy. 
 
 The Loy'yietta, at the foot of Saint 
 Mark's steeple, is of rich and elegant 
 architecture, by Sansovino ; the four 
 bronze statues of Pallas, Apollo, Mer- 
 cury, and Peace, by the same artist, are 
 held in estimation, as are also the orna- 
 ments by Titian Minio, his clever pupil, 
 and those of Geronimo Lombardo of 
 Ferrara. one of the first sculptors of the 
 sixteenth century. The marble basso- 
 relievos are exquisite, especially the Fall 
 ofHella from the ram ofPhryxus, and 
 Tethys aiding Leander. In the interior 
 is a Nostra Siynora, another beautiful 
 work of Sansovino. 
 
 My eagerness to examine Saint Mark's 
 Gospel, which was not in the library, as 
 I had been informed, induced me to 
 solicit admission to the treasury,— an 
 intrigue stimulated by the curiosity of a 
 traveller and amateur for which I have 
 no blush, and which was crowned with 
 success. The Gospel, now almost moul- 
 dered to dust, is enclosed in a frame ; 
 the damp has so far destroyed it, that 
 only a few straggling letters can be with 
 difficulty perceived The ecclesiastics 
 who showed it to me pretended, how- 
 ever, in opposition to Montfaucon, that 
 it was on parchment and not papyrus, — 
 though which is correct cannot be easily 
 decided now. This manuscript is in 
 Latin, and was taken by the Venetians at 
 Utina in 1420. Notwithstanding all the 
 miracles attending its transfer to Venice, 
 it is impossible to regard it as authentic, 
 since, as before observed, the apostles 
 wrote only in Hebrew and Greek. 3 The 
 part of the treasure deposited in Saint 
 Mark's ( the other part, consisting of vases 
 and pateras of hard Oriental stones 
 mounted in gold and silver, is at the 
 Mint ) may be reckoned, I believe, one 
 
 was analysed at Paris, and ascertained lo be pore 
 copper, instead of Corinthian brass as gcneially 
 stated, and as it was natural lo suppose, 
 
 2 See hook xix. ch. vii. 
 
 3 See book II. ch. xi. 
 
Chap. IV.] 
 
 VENICE. 
 
 449 
 
 of the most extensive reliquaries in the 
 world— a kind of glass-covered charnel- 
 house, seen by the glare of candles and 
 torches : there are exhibited some of the 
 too numerous pieces of the true cross, 
 with the nail, sponge, and reed used in 
 our Saviour's passion ; the knife he used 
 at the last supper, with some Hebrew 
 characters on the handle so nearly effaced 
 thu t Moutfaucon could not decipher them ; 
 some earth from the foot of the cross 
 impregnated with the divine blood ; the 
 humerus of Saint John Baptist; num- 
 berless relics of Saint Mark; a superb 
 silver cross, presented by the empress 
 Irene, wife of Alexis Comnenes, to the 
 church of Constantinople; and especially 
 two admirable chandeliers, chefs-d'oeu- 
 vre of the Byzantian goldsmiths, which 
 alone would ample repay a visit to the 
 treasury. All these spoils proceed from 
 the taking of Constantinople ; that vast 
 pillage of the wrecks of antiquity, of 
 saints' bones and modern jewels — a bar- 
 barous conquest, as it even tore from the 
 people the objects of their faith and ve- 
 neration. 
 
 CHAPTER IV. 
 
 Ducal palace. — Government of Venice. — Calen- 
 dario's figures and capitals. — Allegorical paint- 
 ings. — Kape of Europa, by Paolo Veronese. — 
 Pregadi.— Tilian's St. Christopher.— Ceiling by 
 Paolo Veronese. — Council of Ten. — Lions mouth. 
 — Stale inquisitors. — Grand council. — Portraits of 
 the doges. — Tintoretto's Glory of paradise. 
 
 The Ducal palace, by its architecture 
 and stern gloomy aspect, gives no bad 
 representation of the ancient government 
 of Venice : it is as the Capitol of aristo- 
 cratic power ; its origin even is surrounded 
 with terrors; the doge who begun it, 
 Marino Faliero, lost his head, and the 
 architect Filippo Calendario was hung as 
 a conspirator. 1 The names, too, of some 
 parts of it, are in unison with the impres- 
 sion it produces : the Giants' Stairs, a 
 superb structure, witnessed the coro- 
 nation of the doges, and the Bridge of 
 Sighs has the shape of a large sarcopha- 
 gus suspended over the sea. A palace, 
 a prison, and a tribunal, one might say, 
 if the word centralisation were not ri- 
 diculous applied under such circum- 
 stances, that the ducal palace had fur- 
 nished the first and most terrible example. 
 
 1 See tte iialian Miscellanies. 
 
 It is impossible, however, not to per- 
 ceive that a singular exaggeration prevails 
 in all the narratives concerning the ty- 
 ranny of the old Venetian government. 
 For instance, we are told by a recent 
 traveller that the reservoir of fresh water 
 for the use of the city was placed within 
 the limits of the ducal palace, and the 
 nobles had thereby obtained the means of 
 making their rebel subjects perish with 
 thirst. It is a fact that there are two fine 
 bronze cisterns, of the sixteenth century, 
 in the centre of the palace court; but 
 there are others in the various squares of 
 the city, and every house has one to 
 itself. The accusations against the Ve- 
 netian government, which was admired by 
 Commines, were redoubled towards the 
 close of its existence, at an epoch when, 
 probably, they were least merited. It 
 was long the fashion to extol its consti- 
 tution, the wisdom of its laws, and the 
 incorruptibility of its justice, which was 
 even frequently invoked by foreigners, 
 as it has since been to write on the con- 
 stitution, finances, and commerce of 
 England. 
 
 Notwithstanding the heavy forbidding 
 appearance of the Ducal palace, it has 
 some elegant details, and in some parts 
 is remarkable in an artistic point of view. 
 The capitals of the Tuscan columns in 
 the front, ornamented with foliage, 
 figures, and symbols, original master- 
 pieces, of a taste at once bold and pure, 
 and so interesting for the history of art, 
 are chiefly by Calendario, the Michael 
 Angelo of the middle ages, equally 
 eminent as a sculptor and architect, 
 whose foundations of the Ducal palace on 
 the unstable soil of Venice arc still a 
 miracle for solidity. The Loggietta is 
 one of the most frequently mentioned 
 works of Alessandro Vittoria ; the prin- 
 cipal door, called della Carta, and its 
 statues, are excellent works of Maestro 
 Bartolommeo; there are eight beautiful 
 Grecian statues on the clock front ; the 
 Adam and Eve, on the inner front, are 
 esteemed; the small front to the left of 
 the Giants' Stairs, by Guglielmo Berga- 
 masco, is of superior architecture; the 
 two colossal statues of Mars and Nep- 
 tune on the Giants' Stairs, are by San- 
 sovino, but of his latter years; and the 
 Golden Staircase, magnificently embel- 
 lished by Sansovino, is ornamented with 
 stuccos by Vittoria. 
 
 The by-gone glory and splendour of 
 
 13. 
 
150 
 
 VENICE. 
 
 {Book VI, 
 
 Venice are conspicuous in every part of 
 the Ducal palace : immense paintings by 
 Titian, Tintoretto, Paolo Veronese, and 
 other able masters, recall the grand 
 events of its history ; these beautiful 
 paintings seem to breath a species of 
 patriotism. Venice ever stands forth in 
 them as the emblem of might, grandeur, 
 and beauty ; she is a powerful goddess 
 who breaks the chains of the bondsman, 
 and receives the homage of subjugated 
 cities; she is seated in heaven' amid the 
 saints ; she is represented sitting between 
 Justice and Peace; she is encircled by 
 the Virtues, crowned by Victory, or ap- 
 pears in the clouds amid a throng of 
 deities : allegory there loses its ordinary 
 coldness, as it serves to express a feeling 
 of patriotic pride. 
 
 I observed in one of the first rooms 
 ( that of the stuccos ) a portrait of Hen- 
 ry III. by Tintoretto ; he has not that 
 exaggerated childish air generally, and 
 improperly, given him : when he was 
 called to reign in Poland, Monlluc bad 
 caused his portrait (o be exposed to the 
 public view, that his mild and noble 
 physiognomy and majeslic stature might 
 win him the affection and respect of his 
 new subjects. It was on the occasion of 
 his passing through Venice when return- 
 ing rrom Poland, that Tintoretto sketched 
 his portrait ■ on board the Bucentaur, 
 where he had gone with the king's at- 
 tendant. The curious narrative by the 
 Parisia n Claude Doron, revised by Pibrac, 
 of the fetes attending this passage, relates 
 that "the people, atthe sight of this king 
 so young in years, calling to mind his 
 noble deeds, thought him a second Alex- 
 ander, and called him the wonder of 
 the world." Henry III., in his youth a 
 hero, may have been feeble, inconsistent, 
 and ridiculous on the throne of France; 
 but, like all the princes of the Vaiois 
 family, he was neither deficient in intel- 
 lect nor courage; he died at forty, when 
 apparently recovering himself; he had 
 already regained his warlike ardour, as 
 may be seen in Davila, and, had he 
 reached (he ordinary age of man. it is 
 not unreasonable to believe he would 
 have again displayed himself in reality a 
 king. 
 
 The hall of Four Doors is by Palladio: 
 
 ' Tintoretto did die portrait in crayons at first, 
 pninted it in oil directly after, and obtained the 
 king's permission lo Qnish it from lite. 
 
 over its superb doors, supported by ele- 
 gant columns and adorned with Eastern 
 marble, are four beautiful statues by 
 Giuliodal Moro, Francesco Castelli, Cam- 
 pagna, and Alessandro Viltoria. The 
 Faith of the doge Marino Grimani is a 
 grand intellectual composition, full of 
 warmth and energy, by Titian. The 
 Doge Grimani kneeling before the Vir-, 
 gin, St. Mark and other saints, by the 
 Cav. Contarini, had, as well as its neigh- 
 bour, Titian's chef-d'oeuvre, the honour 
 of being taken to Paris. The Doge Ci- 
 eogna receiving the Persian ambas- 
 sadors; the Doge giving audience to 
 some ambassadors, are by Caiietlo 
 Caliari, the eldest son and cherished 
 pupil of Paolo Veronese, who publicly 
 declared that he wished to be surpassed 
 by him; this young and talented master 
 died at the age of twenty-five, a prey to 
 bis love of study. The Arrival of Hen- 
 ry III. at the port of Lido, a vast paint- 
 ing by Vicentino, is interesting from the 
 circumstance of its preserving the trium- 
 phal arch erected on that occasion from 
 a design by Palladio. The ceiling of this 
 ball of Four Doors was also designed by 
 him; the stucco ornaments, executed by 
 Vittoria and other able artists., are by 
 Francesco Sansovino, and the frescos 
 by Tintoretto. 
 
 The Rape of Europa, a masterpiece 
 by Paolo Veronese, is in the room called 
 anti-collegio : having been varnished 
 and restored at Paris by a process totally 
 unsuited to the works of this great pain- 
 ter, which only require a slight washing, it 
 has lost its transparency and lustre ; but 
 its grace and expression are still left : 
 Europa is in the S r enetian costume ; aud 
 but for the majesty of the god, which 
 transpires even through his bull's head, 
 one might think that she is flying through 
 the lagoons like another Bianca Capello. 
 This same room also contains other chefs- 
 d'oeuvre, four paintings by Tintoretto : 
 Mercury and the Graces.; Vulcan's 
 Forge ; Pallas expelling Mars ; and 
 Ariadne crowned by Venus; by I3as- 
 sano, Jacob's return to the land of Ca- 
 naan; a fresco by Paolo Veronese, on 
 the ceiling; and over the splendid door, 
 by Scammozzi, three statues by Vittoria. 
 
 The painting over the door of the room 
 called colleyio, and the three others to 
 the right are by Tintoretto. Over the 
 throne is the grand painting by Paolo 
 YttMMM!*^, in which, amid so many admi- 
 
Chap. IV.] 
 
 VENICE. 
 
 Vo\ 
 
 rable details, the Venice in the shade is 
 so beautiful . He also painted the ceiling, 
 which is richly ornamented by Antonio 
 da Ponlc, and the fire-place adorned with 
 pilasters of vert antique and statues by 
 Campagna. A Venice is by his son, 
 whose genius promised so much, and the 
 tapestry representing the adventures of 
 Jupiter is reckoned a very precious work 
 of 1540. 
 
 The hall of the Pregadi remains as it 
 was ; the senators' stalls are very well 
 preserved. The respect that such an 
 ancient assembly ought to inspire is sin- 
 gularly diminished by the ignominy of 
 its last sittings, when the powerless laws 
 of Venice no longer obviated the evils 
 arising from an hereditary aristocracy, 
 and when, according to the prophetic 
 remark of Montesquieu on this, kind of 
 government, " people had sunk into a 
 spirit of carelessness, indolence, and neg- 
 lect, which left the state powerless and 
 inert." Is it not singular that this learn- 
 ed senate, which listened to and com- 
 posed so many and such long harangues, 
 never produced an orator, though De- 
 mosthenes and Cicero, painted in ca- 
 maieu by Giambattista Tiepolo, are still 
 in the place of its sittings, the former 
 crowned/the second speaking? The li- 
 berty of modern republics does not seem 
 to inspire eloquence; neither the aristo- 
 cratic liberty of Venice, nor the demo- 
 cratic of Florence or Siena, has produced 
 any of those men, numerous in the re- 
 publics of antiquity, who aroused a whole 
 people by their words. It is true that 
 the Venetian orators had no public forum, 
 and it is that which makes men eloquent. 
 
 The hall of the Pregadi has some re- 
 markable paintings : the Election of St. 
 Lorenzo Giustiniani as patriarch of 
 Venice ; on the ceiling, the Mint, by 
 Marco Vecellio, the nephew and pupil of 
 Titian, who has best maintained the 
 honour of that name; the Redeemer 
 dead, the Doge Pictro Loredano before 
 the Virgin, the octagon of the ceiling, 
 by Tintoretto: the Doge Francesco Ve- 
 nieri before Venice, the Doge Pascal 
 Cicogna kneeling, the League ofCam- 
 brai, by the younger Palma ; likewise the 
 Doges Lorenzo and Geronimo Priuli 
 adoring the Saviour, one of his best 
 works. 
 
 In the chamber near the chapel is the 
 celebrated composition of the Buyers 
 and sellers driven out of the Temple, by 
 
 Bonifazio, a clever imitator of Giorgione, 
 Palma, and Titian, which, for effect, 
 life, and colouring, would guarantee his 
 immortality. Two paintings, St. Louis, 
 St. Gregory, and St. Margaret, St. 
 Gregory and St. Andrew are by Tinto- 
 retto. The statue of the Virgin, on the 
 altar of the chapel, is a chef-d'eeuvre by 
 Sansovino. On a small staircase adjoin- 
 ing,, the St. Christopher of Titian, ad- 
 mirable for character and expression, is 
 the only fresco of that great master now 
 in Venice, a solitary figure escaped from 
 the ravages of time and the elements. 
 
 The hall of the council of Ten exhibits 
 no trace of its former occupants; it is to 
 be made the emperor's picture gallery. 
 This ceiling, painted in camaieu by Paolo 
 Veronese and other Venetian artists, is 
 perhaps the most magnificent in Italy. 
 One of the ovals of this ceiling represents 
 an old man sitting near a handsome 
 woman: a charming production of Paolo 
 Veronese, which seems rather oddly 
 placed in the council chamber of the Ve- 
 netian decemvirs. These last did not 
 pass away violently and abruptly like the 
 decemvirs of Rome. We can neither 
 imagine the attempt of Appius at Venice 
 nor the revolution which ensued in con- 
 sequence : the members of the council of 
 Ten blended prudence with ambition and 
 severity, and while we see the women 
 of Rome mixed up in the principal events 
 of its history, those of Venice, except the 
 courtisans, » had no influence, nor does 
 there exist a single instance of their em- 
 pire. Other fine paintings adorn the 
 council chamber of the Ten. IhaReturn 
 of the doge Sebastiano Ziani is an es- 
 teemed work of fceandro Bassano. The 
 Congress held at Bologna by Pope Cle- 
 ment VII. and Charles V., a vast com- 
 position, remarkable for the lifelike and 
 profound expression of the emperor's 
 countenance, is by Marco Vecellio; and 
 a large Adoration of the Magi, by 
 Aliense, an artist born in Greece, in the 
 island of Milo, full of imagination and 
 ease, which qualities he sometimes abu- 
 sed, though in this instance he has shown 
 more prudence and attention. 
 
 In the hall of the Bussola, the Sur- 
 render of Bergamo is by the last men- 
 tioned master ; the Doge Leonardo Dona 
 before the Virgin, by Marco Vecellio; 
 and ihe ceiling, by Paolo Veronese, who 
 
 * See postt chap. xxh. 
 
452 
 
 VENICE. 
 
 [Book VI. 
 
 has also painted an Angel driving away 
 the Vices, on the ceiling of an adjoining 
 apartment, formerly the saloon of the 
 chiefs of the Ten. 
 
 The hole alone remains of the mouth 
 of denunciations; it was not into the 
 lion's mouth, as is commonly supposed, 
 and as some drawings represent it, but 
 under, that informers dropped their let- 
 ters. The lion's head is gone ; and it was 
 scraped in 1797, like all the other lions 
 of Saint Mark. 
 
 The hall of the tribunal of Stale In- 
 quisitors, when I visited it in 1828, was 
 converted into a pretty room fresh paint- 
 ed in the Italian style, which forms a con- 
 trast with the terrible reputation of the 
 inquisitors. I have since had the extreme 
 satisfaction of correcting my prejudices 
 respecting them : it is sweet to find some 
 oppressors the less in history. It is to be 
 regretted that an enlightened and con- 
 scientious historian like Daru should 
 have given credit to the pretended sta- 
 tutes of the State Inquisition, discovered 
 by him in manuscript in the Bibliotheque 
 du Roi, which are regarded as apocry- 
 phal at Venice by all men of education, 
 and as fabricated by an ignorant enemy 
 of the republic The State Inquisitors, 
 guardians of the laws, silent tribunes 
 beloved by the people, who, even to the 
 close of last century, celebrated their 
 triumph by fetes, defended the multitude 
 against the excesses of aristocratic power ; 
 this tribunal was the opposition of Ve- 
 nice; an opposition in conformity with 
 that sort of mysterious government, and 
 which, as Montesquieu had already said, 
 violently brought back the state to 
 liberty. 
 
 The wainscoting of the ancient hall of 
 the great council presents a portion of 
 the collection of the doges' portraits, 
 painted by Tintoretto, Leandro Bassano, 
 and the younger Palma. In the. place 
 where Marino Faliero should have been 
 painted, is the famous inscription in a 
 frame on a black ground : Hie est locus 
 Marini Falethri, decapitati pro crimi- 
 nibus, a deadly menace held out to power 
 in its very palace. The subsequent part 
 of the collection is in the Balloting cham- 
 ber : a the portrait of Manini, the last 
 
 ' See on Ibis subject tue \?o: !; of Count Dom. 
 Tiepolo, entitled Discorsi sutla stortu vcueta, cioe 
 reltifieitziont tli utcuni equivoci riscontralti n tin 
 Storm ill Vcneziu del signore Daru; Udina, 1828, 
 oiiitii rcctlUcution, p. 08 et seq. 
 
 doge, who abdicated, is not there, for the 
 portraits of the doges were not executed 
 till after death. Notwithstanding the 
 purpose entertained of placing Manini 
 there, he does not deserve it : the chief 
 of a slate who suffers it to perish through 
 his own weakness, if he is not so cul- 
 pable, is often as fatal to his country as the 
 ambitious aspirer who pants after sove- 
 reignty. It is true that in the genera! 
 decay of Venice, the doge's authority had 
 declined with every thing else; the first 
 magistrate of the republic was then only 
 a mere shadow, an obedient puppet 
 charged to appear in public and hold 
 levees in pompous robes, and I believe 
 his principal function was the espousing 
 of the Adriatic. 
 
 The doge Manini may, however, excite 
 our compassion ; he fainted away at the 
 moment of taking the oath of allegiance 
 to Austria, after the peace of Campo 
 Formio; if he wanted strength of mind, 
 he was at least sensible to the loss of 
 his country's ancient liberty, and he 
 became great in his grief. 
 
 The vast paintings which cover the 
 walls and ceiling of the great council 
 chamber, independently of their beauty, 
 have also an historical interest, as a 
 great number represent the religious, 
 military, or political events which then 
 had the most influence on the destinies 
 of European nations. The immense 
 painting of (he Glory of Paradise, a 
 work of Tintoretto's old age, so greatly 
 admired and extolled by the Carracci, 
 though it seems all confusion, would be 
 still a chef-d'eeuvre, if it had not suffered 
 so much from time and its restorers. 
 This great artist also painted the Ambas- 
 sadors presented to the emperor at Pa- 
 via; and on the ceiling, the Prince of 
 Este routed by Vittorio Loranzo ; the 
 Victory of Stefano Contarini on lake 
 Garda; the Venice among the deities; 
 the Doge da Ponte receiving the depu- 
 tations from the toivns; ihnVictory of 
 J. Marcello over the Aragonese ; the 
 Defence of Brescia, by Francesco Bar- 
 bato. His son and best pupil Domenico, 
 who would be more known were it not 
 for his father's glory, painted the Naval 
 Combat in which Otho, the emperor's 
 
 » There ore sevtiity-s.ii portraits in tbeGrstrooui, 
 tbirty-eigut in tbe second. 
 
Chap. V.] 
 
 VENICE. 
 
 m 
 
 son, was taken prisoner by the Venetians, 
 a vast composition, curious for the form 
 of the arms and the nava! manoeuvres; 
 and the Second conquest of Constanti- 
 nople. The Pope giving Otho permis- 
 sion to return to the emperor his father ; 
 the First conquest of Constantinople by 
 Dandolo ; the Venice seated, on the 
 ceiling, so remarkable for the undraped 
 pails of the slaves; the fine Naval vic- 
 tory won on the Po by Francesco 
 Bembo, are by the younger Palma. The 
 Emperor Frederick Barbarossa before 
 Alexander III., by Federico Zuccari, is 
 a celebrated work of this chief of a de- 
 clining school, which he did in 1582, 
 and retouched in 1663. The Return of 
 the doge Andrea Conlarini after the 
 victory gained, over the Genoese ; on 
 the ceiling, the Apotheosis of Venice, 
 are admirable paintings by PaoJo Vero- 
 nese, as well as the Defence of Scutari 
 and the Taking of Smyrna. 
 
 In the Balloting chamber is a triumphal 
 arch dedicated to Francesco Morosini, the 
 Peloponesian, which is embellished with 
 six allegorical paintings, a magnificent 
 work of Lazzarini, the best painter of 
 Venice in the seventeenth century. The 
 Universal Judgment is one of the mas- 
 terpieces of the younger Palma. The 
 Battle of Zara; the greater part of the 
 doges' portraits, are by Tintoretto. The 
 Victory of the Dardanelles, by Pietro 
 Liberi, is remarkable for the naked slave, 
 which shows the painter's skilful drawing 
 and which has procured this battle pic- 
 ture the name of the Slave of Liberi. 
 
 The Gallery leading to the Giants' 
 Stairs contains one. of those fine dead 
 Christs, by Giovanni Bellini. 
 
 CHAPTER V. 
 
 Saint Hulk's library.— Petrarch's donation.— Bcssa- 
 ricn's letter and donation.— Manuscripts.— Book of 
 the Gospels. — Attavanlc's miniatures. — Amadio's 
 Plants.— Manuscript of Fra Paolo's History of the 
 council of Trent;— of Guarini's Pastor fulo.— Fva 
 Mauro's map of the world.- Librarians of Saint 
 Mark. — Museum. 
 
 The hall of the Great Council has re- 
 ceived Saint Mark's Library: these books 
 are, I believe, the most magnificently 
 lodged of any in the world; but the 
 grandeur and beauty of the paintings 
 which surround them, and the antique 
 statues placed in the middle of their 
 apartment, throw them into the shade, 
 
 and they have only the appearance of 
 accessories. The library of Saint Mark 
 counts sixty-five thousand volumes, and 
 about five thousand manuscripts. Pe- 
 trarch really laid its first foundations, 
 as he expresses himself in a letter respect- 
 ing the donation of manuscripts that he 
 sent to Venice; it was a noble acknow- 
 ledgment for the hospitality he had found 
 there during the plague." Only a very 
 small number of the manuscripts pro- 
 ceeding from Petrarch's stock are now 
 in Saint Mark's ; it is said that they re- 
 mained forgotten in a small room near 
 the bronze horses, where they were 
 spoiled. But the learned librarian of 
 Saint Mark, Morelli, has demonstrated 
 that the Venetians did not deserve Gin- 
 guen^'s reproach of having suffered Pe- 
 trarch's library to perish; he had only 
 given some few works; at his death, 
 twelve years after the donation, Petrarch 
 did in reality leave a very precious li- 
 brary, but it was dispersed, as is evident 
 from the manuscripts preserved in the 
 Vatican, the Laurentian, the Ambrosian, 
 the Bibliotheque du Roi, and not one 
 ever reached Venice. The man whose 
 literary liberality still lives and shines at 
 Saint Mark's among so many noble do- 
 nors, such as the Grimani and Conla- 
 rini, is Bessarion. Although inserted in 
 some erudite collections, the letter in 
 which he announces to the doge and the 
 senate the present of his manuscripts to 
 Saint Mark's, may not be devoid of in- 
 terest here; it portrays at once this illus- 
 trious man and the epoch of the revival, 
 when books, on appearing, were hailed 
 with such a lively enthusiasm ; it also 
 contains a very fine panegyric of the 
 Venetian government, without the con- 
 cetti of Petrarch's letter, written on a 
 like occasion; in which he said that if 
 Venice were environed with waves salsis, 
 it was defended by counsels salsioribus. 
 
 "To the most illustrious and invincible 
 prince Cristoforo Mauro, doge of Ve- 
 nice, and the most august senate, Res- 
 sarion, cardinal and patriarch of Con- 
 stantinople, sends greeting: 
 
 " From my earliest youth I have applied 
 all my attention, efforts, and zeal, to the 
 collecting of books on the different scien- 
 ces. In my boyhood I transcribed many 
 with my own hand, and the little money, 
 that a thrifty frugal life afforded me, 
 
154 
 
 VENICE. 
 
 [Book Vlj 
 
 1 devoted to the purchase of others. It 
 seemed to me that there did not exist in 
 the world an article more useful, a trea- 
 sure more precious : books, indeed, con- 
 tain and present us with the words of 
 the sages, the examples of antiquity, its 
 manners, laws, and religions; they live, 
 converse, and speak with us; they give 
 us instruction and consolation, and jay 
 before our eyes the remotest objects as 
 if actually present. Such is their power, 
 their dignity, their majesty, their divi- 
 nity even, that if they did not exist we 
 should all be ignorant barbarians; there 
 would remain no trace or memory of the 
 past ; we should have no acquaintance 
 with things human or divine, and men's 
 names would be buried with their bodies 
 in the tomb. Although 1 have ever been 
 occupied in searching for Greek books, 
 my zeal and ardour redoubled after the 
 ruin of Greece and the ever-to-be-lamenl- 
 cd taking of Constantinople, and I de- 
 voted all my powers to collect them ; 
 I feared, I trembled that so many excel- 
 lent works, so much of the labour and 
 midnight toils of great men, so many 
 lights of the world, might be exposed to 
 
 imminent destruction 
 
 To the utmost of my abilities, I have, 
 in all cases, preferred merit to quantity, 
 being satisfied with a single copy of each ; 
 I have therefore obtained nearly all the 
 books of the learned Greeks, especially 
 those which were scarce and difficult to 
 find. I nevertheless regarded all my 
 exertions as insufficient, unless I pro- 
 vided that the books collected with so 
 much difficulty were so disposed of in 
 my lifetime, that at my death they could 
 neither be sold nor dispersed, but that 
 they might be established in a secure and 
 convenient place, for the use of learned 
 Greeks or Latins. Of all the Italian 
 towns, your illustrious city appeared 
 to me most suitable for the purpose. 
 What country could offer a safer asylum 
 than yours, ruled in equity, obedient to 
 the laws, and governed by integrity and 
 wisdom; where virtue, moderation, gra- 
 vity, justice, and loyalty, have fixed their 
 abode ; where power, although very great 
 and extensive, is also equitable and mild ; 
 
 1 Amyot translated live books of ilio history or 
 Diodorus Siculus from a manuscript in Saint Mark; 
 a manuscript Iliad of the tenth century served 
 DAnse de Villoison to give his celebrated folio 
 edition, Venice, 1788; the manuscripts of Proclus 
 supplied M, cousin with various readings for his 
 
 where liberty is exempt from crime and 
 licence ; where sages govern, and the 
 good command the wicked; where in- 
 dividual interests are unanimously and 
 unreservedly sacrificed to the public 
 welfare ; merits which give ground to 
 hope (as I really do) that your state may 
 increase from day to day in strength and 
 renown? I also felt that I could not, 
 chose a place more convenient or agree- 
 able for my countrymen than Venice, 
 whither flock nearly all the nations of 
 the world, and particularly the Greeks, 
 who resort thither from their provinces 
 and land there, and for whom it is like 
 another Byzantium. Could I, indeed, 
 chose more appropriate objects for such 
 a gift than those to whom 1 am attached 
 by numerous benefits received? what city 
 could I prefer to that which I chose as 
 my home after Greece had lost its liberty, 
 and in which I have been so honourably 
 received? Knowing that 1 am mortal, 
 feeling the advances of age, and afflicted 
 with numerous diseases, to prevent all 
 possibility of accident, I intend giving 
 all my Greek and Latin books to the ve- 
 nerable library of Saint Mark, of your 
 
 illustrious city, that you, 
 
 your children, and descendants may sec 
 how deeply I was penetrated with your 
 virtue, wisdom, and kindness, that you 
 may derive abundant and perpetual ad- 
 vantages from my books, and impart the 
 enjoyment of them to those who delight 
 in good studies. I therefore address to 
 you the deed of gift, the catalogue of the 
 books, and the bull of the sovereign 
 pontiff, praying God to grant your repub- 
 lic all possible prosperity, and that it may 
 be blessed with peace, tranquillity, re- 
 pose, and perpetual concord. From the 
 baths of Viterbo, the last day of April 
 1468." 
 
 Bessarion's present has not been fruit- 
 less ; for more than three centuries 
 the learned of all Europe have gone to 
 consult his manuscripts : the French 
 literati have not neglected them, from 
 Amyot to Villoison and M. Cousin.' The 
 laboursof the Aldi.the firstprintcrsofthe 
 (heck, and multiplicity of their editions, 
 have extended Bessarion's boon. Thus 
 
 edition. So persevering and judicious have his 
 researches been, that he brought to light several 
 Greet manuscripts that even Morelli failed to dis- 
 cover, and it is desirable that the list of them should 
 be published us a supplement to the catalogue of 
 the latter. Henri Etienne, who had been honour- 
 
Chap. V/| 
 
 VENICE. 
 
 15$ 
 
 has this great man contributed to the 
 typographical glory of Venice, and the 
 advantages she must have derived from 
 that extensive, trade. How deeply it is 
 to be regretted, that the formality of de- 
 positing a copy of each work, very legi- 
 timate in such cases, was not then pre- 
 scribed! Had it been so, Saint Mark 
 would now possess an unique Aldine 
 collection complete, which would be pre- 
 cisely where it ought. 1 The library of 
 Saint Mark possesses many unpublished 
 manuscripts of Bessarion, and his master 
 Gemistus Plethon, the father of Plalonism 
 in Europe, a whimsical character, whose 
 Greek, in the opinion of the learned, is 
 dry, abrupt, and vulgar; nor did he 
 speak so elegantly as in lh% Lascaris of 
 M Villemain. Gemistus Plethon, as 
 well as his pupil, repaired to Italy for 
 the council of Florence, the real epoch 
 of the literary and philosophic emigra- 
 tion of the Greeks into Italy, and not, as 
 generally supposed, the taking of Con- 
 stantinople, which only sent thither gram- 
 marians and rhetoricians. The two 
 beautiful Arabic manuscripts on silk 
 paper presented by Bessarion, of which 
 the Venetians were so proud, have not 
 rc-appeared at Saint Mark's, nor the 
 precious Bible called La Magontina, 
 now recognized as of 1456, and which is 
 believed to have issued from the presses 
 of Guttenberg. 
 
 The book of the Gospels, which is 
 nearly a thousand years old accord- 
 ing to Morelli, is one of those books 
 
 ably received at Venice, gave his Diogenes Laertes 
 of J570 and his Xenophon of 1581, with corrections 
 made from the manuscripts of Bessarion. 
 
 1 The younger Aldus, who died at Rome, had 
 intended to bequeath to the republic of Venice his 
 extensive classical library, which he had inherited 
 from his forefathers : but it was, as well as his 
 other property, seized by the public authority ( la 
 censura apostolica) and his many creditors. The 
 library was divided between the latter and his ne- 
 phews, after having been previously examined and 
 despoiled of a number of articles by order of the 
 pope, who doubtless did not bear away the least 
 valuable. See M. Renouard's Annates de Vlmpri- 
 meriedes Aide, t.iii. p. 20S, and Morelli, Delia pub- 
 blica Libreria di San Marco, p. 5S-*. The deposit 
 of a copy of all works printed in the Venetian stale 
 was not commanded by a decree of the senate till 
 1603. The most considerable library of Aldine edi- 
 tions ever collected, was that of M. Renouard, sold 
 retail in London, in 1828. 
 
 which would suffice for the glory of 
 any library less rich in ancient manu^ 
 scripts. 
 
 The celebrated manuscript of the 
 Lombard laws, called the laws of 
 Previsa, is one of the most precious 
 known. 
 
 A curious manuscript was discovered 
 in 1826 by a learned Prussian professor, 
 Charles Witte, and published by him in 
 the Anthology of Florence ; 2 it is the 
 canzone of Dante on the death of the 
 emperor Henry VII., and other unpub- 
 lished pieces, which reveal new and 
 touching details, relative to the sorrows 
 of the poet's exile, his tender love for his 
 country in Ihe midst of its civil discords, 
 the illusion of his hopes, and that pas- 
 sionate appeal, that kind of idolatry for 
 the foreigner, 3 so extraordinary in a 
 man possessing a genius so elevated 
 and proud, but which showed him in 
 the phantom of the Roman empire, and 
 that of Charlemagne, a means of in- 
 dependency and of grandeur for Italy, 
 far preferable to the republican and 
 persecuting anarchy of which he was 
 the victim. Perhaps also the chivalrous 
 and feudal manners of the German 
 warriors of the middle ages were less 
 repugnant to the generous minds of 
 that epoch, than the practices of Roman 
 policy, and the vices and simony of cer- 
 tain popes. 
 
 A manuscript of the book of Ihe an- 
 cient African author, Marcian Capella, 
 whimsically entitled : On ihe marriage 
 
 2 See No. LXIX. We are also indebted to M. Witte 
 for the publication of the interesting collection of 
 the letters of Dante with notes, printed at Breslau. 
 and which appeared in 1827, under the rubric of 
 Padua, in Svo, 107 pag. 
 
 3 In one of the unpublished sonnets of the ma- 
 nuscript of Saint Mark, Dante goes so far as to com- 
 pare the emperor to the Holy Sepulchre : 
 
 Tomato e '1 sol, che la mia mente alberga, 
 E lo specchio degli occhi onde era ascoso, 
 Tornato e '1 sacro tempio e prezioso 
 Sepolcro, che'l mio core e V alma terga. 
 
 In the canzone he makes this fine eulogium oa 
 Henry VII : 
 
 Nol vinse mai superbia ue avarizia, 
 Anzi 1' avversita '1 facea possente, 
 Che magnanimamente 
 Ben contrastasse a chiunqne il percosse. 
 
156 
 
 VENICE. 
 
 [Book VI. 
 
 of Philology and Mercury, presents 
 lively, brilliant, and poetic miniatures 
 by Attavante, a Florentine artist of the 
 fifteenth century, representing the as- 
 sembly of the gods, and the different 
 attributes of the arts and sciences. 
 
 The manuscript of the fifteenth cen- 
 tury of the work de Simplicibus by 
 Doctor Benedetto Rini or Rinio, of Pa- 
 dua, is singularly remarkable. The four 
 hundred and thirty-two plants drawn 
 by Andrea Amadio, a Venetian painter, 
 have all the striking beauty and grace 
 of the flowers of Redoute. A collec- 
 tion of this kind, so well executed, 
 shows the taste at that time, and also 
 the progress of botany and natural 
 sciences in Italy, further confirmed by 
 the important works which were print- 
 ed there, such as the primitive editions 
 of Pliny and Aristotle published in the 
 same century at Venice, and the cu- 
 rious Herbarius Patavie, printed at 
 Mayence in 1484. 
 
 The council of Chalcedon, a folio 
 manuscript of the fourteenth century, a 
 gift of Bessarion, is doubtless very vene- 
 rable ; but 1 confess that I was more 
 curious about the History of the Council 
 of Trent, a manuscript corrected by the 
 hand of its celebrated author. The copy 
 is by his pupil and secretary Fra Ful- 
 genzio Micanzio, who succeeded him as 
 consulting theologian of the Republic. 
 The corrections which are very nume- 
 rous, are interlineary and marginal. 
 This manuscript is in perfect conformity 
 with the first edition published in London 
 in 1619, by Marcantonio de Dominis, 
 with the exception of the title, and the 
 preface added by this Dalmatian apostate 
 the unworthy countryman of St. Jerome; 
 the true title is : Isloria del Concilio di 
 Trento di Pietro Soave Polano, an 
 anagram of Paolo Sarpi Vencto. Pere 
 Le Courayer, the French translator of 
 the History of the Council of Trent, 
 presents one of those extraordinary re- 
 semblances of character, talents, and 
 destiny with its author, which are so 
 rarely met with; i both were worthy 
 monks, good writers, and bold thinkers, 
 and were persecuted for their opinions. 
 The portrait of Fra Paolo, believed to be 
 by Leandro Bassano, is in the library; 
 
 1 See Book IV., ch. U. 
 
 his look is full of expression and viva- 
 city, and one may there observe the 
 turbulent genius of this theologian of 
 the republic, of this Bossuet of the li- 
 berties of the Venetian church, but 
 who has not the calm and solemn judg- 
 ment of the theologian of Louis XIV., 
 or of the orator of the assembly of the 
 clergy in 1682. 
 
 Twelve letters by Tasso (published at 
 Venice in 1833 by S. Gamba), addressed 
 to. his friend Luca Scalubrino, are in- 
 teresting, inasmuch as he speaks in 
 some of them, of the composition of his 
 Gerusalemme. 
 
 The autograph manuscript of the 
 Pastor Fido of St. Mark's is anterior to 
 that of the library of Ferrara, which 
 appears almost a fair copy. 2 The ma- 
 nuscript of Saint Mark is much corrected, 
 and full of additions, and passages sup- 
 pressed ; one may thus judge of the ex- 
 cessive labour which this poem must have 
 cost its author. 
 
 The manuscript of the two treatises on 
 goldsmith's work and sculpture, by Ben- 
 venuto Cellini, is most curious; it ap- 
 pears to have been the author's rough 
 sketch, from which the printed text 
 was compiled. Several fragments have 
 been published by Morelli, and by Ci- 
 cognara and Camba. A new and com- 
 plete edition of these treatises would 
 probably be interesting for the history 
 of the art. 
 
 Amongst the printed works, we ad- 
 mire the superb copy on vellum of the 
 Florence Homer (1488), retaken in 1815 
 from our Royal Library and magnifi- 
 cently bound with the arms of the Em- 
 pire ; the line copy in vellum, of the 
 Rhetoric of Guillaume Fichet a Sa- 
 voyard, who became doctor of the Sor- 
 bonne, and rector of the university of 
 Paris. This rare and choice edition, one 
 of the first books printed at Paris, 
 and, though without date, of the year 
 1471, is due to the three German part- 
 ners, Ulric Gering, Martin Crantz. and 
 Michael Friburger, who first practised 
 the art of printing there. The copy in 
 vellum of the library of Venice was sent by 
 the author to Cardinal Bessarion, who is 
 there depicted sitting under a canopy, with 
 Fichet before him presenting the work. 
 
 - See post, book VII., ch. xli. 
 
Chap. VI. 
 
 VENICE. 
 
 157 
 
 The different books and manuscripts 
 given or bequeathed to St. Mark, as has 
 been already seen by the letter of Bes- 
 sarion, show the' esteem and reputation 
 in which the Venetian government was 
 then held. Venice was worthy of such 
 gifts from the facility with which its lite- 
 rary treasures were constantly accessi- 
 ble; the mystery of- its policy and ar- 
 chives did not extend to these learned 
 communications. 
 
 The celebrated map of the worid by 
 Fra Mauro, a Camaldolite monk of 
 St. Michael in Murano, formerly in this 
 convent, drawn in 1460, and described 
 and explained in our days by Cardinal 
 Zurla, another learned Camaldolite of 
 the same convent, is a most curious mo- 
 nument of cosmography. It is there 
 seen that this cloistered d'Anville of the 
 fifteenth century was acquainted with 
 all that the ancient and modern authors 
 had written before him on geography ; 
 the Cape of Good Hope is there pointed 
 out, although it was not then discovered, 
 and Africa "itself in its general form, dif- 
 fers but little from the reality. 1 
 
 The first historical names of Venice 
 figure amongst the librarians of Saint 
 Mark; several have attained the dignity 
 of Doge ; the library appears the road to 
 dhe palace ; a novel and imposing example 
 of the union of letters with the knowledge 
 of affairs, even under an aristocratic go- 
 vernment. 
 
 The museum of antiquities annexed to 
 the library of Saint Mark possesses some 
 precious morceaux, works of the best 
 times of Greece ; the fair and lascivious 
 Leda; the little group of the Carrying 
 off of Ganymede, the eagle of which is so 
 spirited; two Muses; the group of a 
 Faun and Bacchus ; the statues of Ulys- 
 ses, Love, Plenty, Diana, and the Dead 
 Soldier. A young female, in whose hand 
 the restorer has placed a ridiculous 
 pitcher, to convert her into an Hebe, is, 
 in the antique part, of admirable pro- 
 portions. There is also to be noticed 
 the basso-relievo, called Niobiade ; two 
 others representing little children ; a 
 
 1 The author of the article Fra Mauro in Ibe Bio- 
 grapliie has even remarked that in the interior 
 of Africa, as represented in this map of the world, 
 Is the name of Dafur (Darfour), a country since 
 unknown to De-lisle, d'Anville, and all the other 
 geographers of Europe, until Bruce, who was the 
 first that heard of this country, discovered and ex- 
 plored by Browne. It is to be regretted howeverthat 
 
 very fine colossal foot, the almost colossal 
 heads of a male and female faun of ex- 
 quisite workmanship, and above all the 
 superb cameo of Jupiter Egiochus (co- 
 vered with the aegis), found atEphesus in 
 1793, and brought back from Paris to 
 Venice in 1815. Amongst the medals, 
 there is a very fine one representing 
 Cardinal Domenico Grimani ; on the re- 
 verse are Philosophy and Theology ; it is 
 of 1493, and by the Venetian Vitlorio 
 Camelio, an adroit counterfeiter of an- 
 tique medals,— an illustrious forger, 
 whose clever imitations have tormented 
 and mystified more than one antiquary. 
 
 CHAPTER VI. 
 
 Piombi.— Pozzi.— Different ages of the prisons. 
 
 The loss of liberty is the oldest and 
 worst of misfortunes; and the histories of 
 prisoners are most replete with touching 
 interest. The Venetian Casanova, the 
 prisoner of the Piombi, is one of the first 
 heroes of these tales ; he who refused to 
 read the Consolation of Boetius during 
 his captivity, because it pointed out no 
 means of evasion. I saw the window by 
 which he escaped with such adventurous 
 boldness ; the chamber was then occupied 
 by the graceful pigeons of Saint Mark of 
 which mention has been made. The 
 prisons of Venice, the subject of so much 
 declamation, towards the end of the re- 
 public, had become antiquated like every 
 thing else. Just as in France, where the 
 Bastile was scarcely stronger than the 
 monarchy. The Piombi, of much later 
 date than the Pozzi, which had been long 
 tenantless when the republic fell, were 
 only the upper parts of the ducal palace 
 just under the leads, and the prisoners 
 passed the periods of their imprisonment 
 there without injury to their health, even 
 after a detention of ten years, there 
 being a current of air sufficient to coun- 
 teract any excess of heat. Howard, who 
 must be allowed a competent judge, ac- 
 knowledged the salubrity of the Venetian 
 prisons. No prisoner there was ever load 
 
 the map of Fra Mauro has been engraved so very 
 inaccurately in the description by Cardinal Zurla. 
 (See a curious letter relative to the chief deviations 
 it presents, written from Warsaw, June C, tSSU, to 
 M. de llammer, by Count Joseph Sierakowsky, who 
 had collated it with the original, but who was 
 wrong in believing that the latter had been taken 
 to Vienna. 
 
VENICE. 
 
 [ Book VI. 
 
 with irons, a privilege perhaps unique 
 in the history of prisoners : if many were 
 confined there for life, it was owing to 
 the punishment of death being more ra- 
 rely inflicted in Venice than elsewhere. 1 
 These terrible Piombi are new delightful 
 and much sought afler apartments (in 
 Italy apartments in the upper stories are 
 generally preferred), and a president of 
 the court of appeal in Venice, Count 
 Hcsenberg, an impartial man, who has 
 occupied them, has stated in a journal 
 that he wished many of his readers might 
 not be worse lodged. 
 
 The Pozzi formerly consisted of several 
 stories, two of which are still in existence. 
 I have gone through these ancient dun- 
 geons (eight are on a level with the court 
 of the Ducal palace, and nine on the story 
 above), the majority are still boarded 
 round with planks which had been put 
 up in order to prevent humidity, and the 
 ancient bedstead, similar to those used 
 by theTrappists, is in the middle of some 
 of them.' The vulgar opinion that these 
 cells are under the canal is erroneous, 
 though asserted as fact by Nicolini in 
 his tragedy of Foscarini, when speak- 
 ing of this prison; nor have boats ever 
 passed over the heads of the guilty par- 
 tics confined in them. It is very pro- 
 bable that the Pozzi of Venice were not 
 more horrible than the other dungeons of 
 the period ; every age and regime have 
 their peculiar prisons, in accordance with 
 the various degrees of civilisation ; but 
 the impenetrable prisons ofdespotism are 
 always cruel ; the forts of the Empire 
 were not inferior to the ancient donjons ; 
 at an era of reason, liberty, and industry, 
 prisons are changed into a sort of work- 
 shops; subject to continual inspection and 
 superintendence, they are merely the 
 instrument of the impassive magistrate 
 who enforces the law. 
 
 CHAPTER VII. 
 
 1 lie Royal ralace.— The Great nail.— Exposition of 
 tlie products or Venetian industry. — Zecca. 
 
 The celebrated Procuratie Nuove, the 
 
 most important work of Scamozzi, are 
 
 now the Royal Palace; and, certainly, 
 
 here is hardly any building more noble, 
 
 irnple, or varied. The ancient library 
 
 1 On the arrival of the French in (797, Ihe regis- 
 ter of condemnations for state crimes haying been 
 
 forms part of it. This masterpiece of 
 Sansovino, this ediGce which, according 
 to Palladio, was (he richest and most 
 ornamented that had been cu-nstrucled 
 since the ancients, which Aretino 
 found above envy (this was, certainly, 
 plating it very high), was erected by de- 
 cree of the senate, in front of the Ducal 
 palace, for the reception of books ; so* 
 great and so splendid was the hospitality 
 Venice ever accorded them. 
 
 The condition of artists was rude in the 
 sixteenth century ; they appear to have 
 been subjected to a rigid responsibility, as 
 is seen by numberless examples. Scarce- 
 ly had Sansovino achieved his marvel- 
 lous work, when, the arched roof falling 
 in, he was cast into a dungeon, deprived 
 of his employment as architect of the re- 
 public, and condemned to a fine of one 
 thousand ducats. He was delivered, re- 
 instated, and reimbursed by the exer- 
 tions ot Titian, and especially of Aretino; 
 a trait which proves that the latter, in 
 spite of his vices, was not incapable of 
 aiding in a generous action, and of fulfil- 
 ling the duties of friendship ; the mean- 
 est minds have sometimes, in the events 
 of life, a sort of readiness to oblige from 
 which other virtues of a purer kind think 
 themselves dispensed. 
 
 The two superb and colossal Cariatides 
 at the entrance are by Villoria, who also 
 executed the stucco ornaments of the 
 magnificent staircase. The first hall, de- 
 corated by Scamozzi, presents a ceiling 
 by Crislol'oro and Slefano Rosa, two 
 skilful artists in this department : in the 
 centre, a figure of Wisdom, crowned 
 with laurel, although of the extreme old 
 age of Titian, is full of grace and life. 
 
 The great hall has two remarkable 
 paintings by Tintoretto : the first is the 
 Carrying away of tlie body of St. Mark 
 from the Sepulchres of Alexandria, by 
 two Venetian dealers who concealed it 
 beneath slices of fresh pork, in the hope 
 that, at this abhorred sight, the .Mussul- 
 man custom-house officers might let it 
 pass without searching. The second re- 
 presents St. Mark saving a Saracen 
 from shipwreck ; a beautiful painting, 
 which displays the charity and noble 
 spirit of the saint. The magnificent ceil- 
 ing has seven compartments, each enclos- 
 ing three ovals : it was painted in corn- 
 
 opened, their number amounted to fourteen since 
 the beginning of the century. 
 
Chap. VIII.] 
 
 VENICE. 
 
 159 
 
 petition by the first masters of the six- 
 teenth century, and Paolo Veronese bore 
 oft' the prize "for his figures of Honour 
 deified, Music, Geometry, and Arith- 
 metic. The portraits of sages, placed 
 between the windows and the angles of 
 Hie ball, are by Schiavone and Tinto- 
 veito. 
 
 The exhibition of the products of Ve- 
 netian industry, for 1827, was held in 
 this superb hall. There was nothing 
 there of much importance, and this in- 
 dustry, once so famous, appeared ordi- 
 nary enough. Straw hats, in imitation of 
 the Florence fabric, were the most re- 
 markable article. This importation is 
 said to be very useful and successful; 
 these hats are as fine as those of Florence 
 and cheaper, but somewhat whiter and 
 more flimsy. They are manufactured by 
 a house of Bassano. I remarked several 
 bottles of a wine of very fine colour, but 
 which appeared oddly placed amongst 
 manufactured goods. During the four 
 exhibitions which took place from 1823 
 to 1831, M. Berlan had obtained nine 
 gold and silver medals, for his different 
 mechanical instruments. In 1831, the 
 silk from the fine agricultural establish- 
 ment of M. Maupoil, at Dolo, between 
 Padua and Venice, appeared of a superior 
 quality ; the worms there are fed on the 
 mulberry-tree of the Philippine Islands, 
 cultivated with success by the skilful di- 
 rector. Independently of the ancient 
 and celebrated manufactures of glass, 
 crystal, and pearls, Venetian industry 
 has its spinning mills, sugar refineries, 
 tan-pits, and manufactories of wax, 
 drugs, silks, and gold-leaf. These es- 
 tablishments, including that for straw- 
 hats at Bassano, occupy nine thousand 
 work-people, and yield an annual profit 
 of about six hundred thousand pounds 
 sterling. 
 
 The third part of the Royal Palace 
 also offers some admirable paintings : in 
 the octagon room, the Adoration of the 
 Magi, St. Joachim driven out of the 
 Temple, by Tintoretto ; in the chapel, 
 the Eternal Father, xvith the Saviour 
 on his knees, by Carlelto Caliari; the 
 celebrated Ecce homo, by Albert Durer; 
 the Dead Christ, and two friends 
 weeping, by Paris Bordone. In three 
 rooms of the governor's apartments, Ve- 
 nice surrounded by Hercules, Ceres, 
 
 1 See post, chap, sxiii. 
 
 and some genii, is one of the first mas- 
 terpieces of Paolo Veronese, who, also, 
 did the Adam and Eve repentant, the 
 Institution of the Rosary, and the 
 Christ's agony in the Garden. The 
 Christ's Descent into Purgatory, is by 
 Giorgione, and the Passage of the Red 
 Sea, in the earlier style of Titian. 
 
 The Zecca (Mint), near the ancient 
 library, is another chef-d'oeuvre of San- 
 sovino. Such is its skilful distribution, 
 that, after nearly three centuries, it is 
 still applicable to the purposes of the pre- 
 sent coinage. 
 
 Over the cistern in the court is an 
 Apollo, which enjoys a sort of popu- 
 larity in Venice, although the sculptor, 
 Danese Cattaneo, pupil of Sansovino, 
 and a distinguished poet, is not much 
 known. This Apollo is fantastically 
 enough seated upon a globe placed 
 above a little mountain of gold, and 
 holds in his hand an ingot also of gold. 
 But for the rays emanating from his 
 head, the god of music and of song, who 
 in other respects has not a very noble 
 air, might be taken for the god of riches 
 only. He ought to be accompanied by 
 statues of the Moon and of Venus, the 
 forme-r silver, the latter copper, so as to 
 indicate the three kinds of money. The 
 celebrity of the first Venetian ducats or 
 sequins, so esteemed for the puruy of the 
 gold, and which are still at this day the 
 money preferred in the East, is as an- 
 cient as the year 1284 : many of the 
 pieces pretending to a greater antiquity 
 are apocryphal ; the genuine, which de- 
 termine the commencement of a well 
 authenticated series, bear the religious 
 legend Christus imperat. 
 
 CHAPTER VIII. 
 
 Grand canal.— Saint Martha.— Venetians.— Palace.— 
 Venetian nobility. 
 
 The grand canal, bordered by magni- 
 ficent marble palaces, erected in the 
 course of ten centuries by the best ar- 
 chitects, would be, if paved, the finest 
 street in the world. These palaces of 
 different ages exemplify the progress of 
 Italian art, and form a vast, majestic, 
 and instructive gallery of architecture. 
 By a whimsical refinement of luxury and 
 grandeur, the mud-buried pilework of 
 some is composed of the precious wood 
 of Fernambuca : so that the foundations 
 
160 
 
 were neither less splendid nor less costly 
 than the marble and columns of the 
 6umptuous superstructure. 
 
 The morrow of my first arrival at Ve- 
 nice, in July, was the festival of Saint 
 Martha, a popular holy day. Some il- 
 luminated barks, full of musicians, passed 
 along the grand canal during the night ; 
 and although few in number, they pro- 
 duced an effect truly enchanting, and 
 gave an idea of the long-past pleasures 
 of this fallen city. The feast of Saint 
 Martha, which lasted till daylight, was 
 celebrated at one extremity of the city, 
 in a quarter bearing her name. Tables 
 were set out, and jovial parties quaffed 
 their wine in the boats and on shore; it 
 was like a marine Vaugirard or Cour- 
 tille. Notwithstanding the lively joyous- 
 ness of that multitude, there was neither 
 strife nor disorder. So generally well 
 disposed are the people of Venice, that 
 even in the time when Saint Martha was 
 in all its glory, the Venetian government 
 never made a display of police force 
 there, and the safety of each individual 
 was under the safeguard of the universal 
 pleasure. All that is good in the Italian 
 character is complete at Venice; gay, 
 fickle, agitated, thoughtless, it appears 
 yet more amiable from the grace, soft- 
 ness, and originality of the dialect. 
 
 The stillness of Venice has, I think, 
 been singularly exaggerated; after Rome, 
 there is no part of Italy where the sound 
 of the bells is more astounding, and the 
 cries of the people are exceeded by none 
 but the Neapolitans. Madame de Stae'l, 
 who has made so many ingenious and 
 profound observations, pretends that not 
 even a (ly is to be seen in this place ; 
 the conopeum ' placed over the beds but 
 too well proves the contrary. 
 
 There is a soft and melancholy plea- 
 sure in gliding along the grand canal, in 
 wandering amid those superb palaces, 
 those ancient aristocralicdwellings,Avhich 
 bear such fine names, and are the me- 
 morials of so much power and glory, but 
 are now desolate, shattered, or in ruins. 
 These Moorish windows, these balconies 
 whence, the fair Venetian, shut up like 
 the Eastern dame, but volatile as the Eu- 
 ropean, appeared to her lover, as he re- 
 luctantly retreated in his gondola, are 
 
 ' A gauze curtain to keep off the flies and gnats, 
 In tlie Venetian language zenzat/cra. 
 » The French in 1810 formed u public garden, 
 
 VENICE. [ Book Vt 
 
 now dilapidated, without glass, or rudely 
 boarded ; some few of them which are in 
 good condition only bear the inscription 
 of certain administrative or financial au- 
 thorities of Austria, or the national arms 
 of some indolent consul. In the midst of 
 this destruction, the gardens, (a singular 
 circumstance!) supply the place of build- 
 ings at Venice; it is just the reverse of* 
 Paris, and I recollect that when seeking 
 for the house of Titian, I only found in 
 its place the wall of a garden, in a Utile 
 blind alley ostentatiously called the Strait 
 of Gallipoli. 9 
 
 The desertion of the Venetian palaces 
 began in the last century with the fall of 
 the republic, when the degenerate pa- 
 tricians preferred lodging in a casino 
 near the Piazza of St. Mark, to inhabiting 
 the ancient palaces of their fathers, too 
 great for their littleness. Gambling, 
 celibacy, and the species of social sel- 
 fishness which they produce, had ener- 
 vated the manners of the Venetian 
 nobility. What public morals could be 
 expected from the senator, who, clothed 
 with his toga and the pompous insignia 
 of his dignity, had acted in person as the 
 croupier at the pharao table ; or from 
 those patricians, one of whose privileges 
 was to open gaming-houses, and who 
 attended there in their magisterial robes? 
 We are told that they unanimously re- 
 nounced this lucrative privilege, when 
 gaming was abolished, some time before 
 the fall of the republic ; but it is probable 
 that the mischief was done, and it was 
 too late for them to return to the exercise 
 of more serious and elevated sentiments. 
 The gaming of the Venetians, pretend the 
 defenders of its ancient regime, aided the 
 dcvelopement of moral courage; they 
 were renowned for the almost stoic im- 
 passibility with which they lost or won 
 the most enormous sums. That kind 
 of daring which risks a fortune on a 
 card may show firmness or energy in 
 individuals, but it must be the ruin of 
 society, and the habit of relying on chance 
 is particularly injurious in a political 
 point of view. As to celibacy, which 
 was repressed and punished a'mong the 
 Romans, it was then at Venice as one 
 of the privileges of the elder branch, of 
 the talented or ambitious member of each 
 
 which still exists; but it is neglected, and little fre- 
 quented, the Venetians preferring their ancient and 
 central promenade of the piazza of Saint Mark. 
 
Chap. IX.] 
 
 VENICE. 
 
 164 
 
 family, and marriage became one of the 
 charges of a younger brother or of the 
 least promising. It is just the reverse of 
 the plan pursued by great families in 
 monarchical states. But these different 
 kinds of celibacy, -which were neither the 
 holy celibacy of religion, nor the philo- 
 sophic celibacy of study, nearly approxi- 
 mated that which springs from liber- 
 tinism. 
 
 The Venetian patriciate may be re- 
 garded as the most ancient and the most 
 national in Europe, since it originated 
 with the founders of the republic, and 
 preceded by many centuries the ancestors 
 of the oldest aristocracies. « But these 
 haughty patricians, who allowed every 
 body to assume what title he chose, did 
 not in general take any themselves, and 
 I know not what French author once 
 upon a time composed a dissertation, to 
 prove that in fact they were not gentle- 
 men. > In the choir of the church of the 
 Charterhouse at Florence is to be seen 
 the tomb of a patrician of Venice, the 
 inscription of which expresses the noble 
 regret athaving been compelled to change 
 his title for one conferred by the grand 
 duke of Tuscany. 
 
 CHAPTER IX. 
 
 Ttevlsan palace.— Foscari.— Mocenigo.— Lord By- 
 ron. — Pisuni palace.— Of poelic truth. — raolo Vero- 
 nese. — Barbarigo palace. — Death of Titian. — Gri- 
 mani palace (at Saint Lake).— Bridge of the Itialto. 
 — Micheli, Corner, Pesaro, Vendramini, and Man- 
 fiini palaces. 
 
 The Trevisan palace, covered with 
 Grecian and Egyptian marble, although 
 it has no object of curiosity in the in- 
 terior, merits notice ; its elegant archi- 
 tecture of the school of the Lombardi, 
 marks the epoch of the revival of taste. 
 
 The Bario palace is in the same style 
 and possesses the same, kind of interest. 
 On it may be read these words : Genio 
 
 1 The Conlarini, according to some authors, de- 
 rive their name irotn the word contadini, peasants, 
 or villains. 
 
 3 See the justificative documents of the Uisloire 
 de Venise by M. Daru. 
 
 i These letters, which are sometimes more affec- 
 tionate and tender than seems natural in Frederick, 
 soon became those of a hard and severe master; he 
 tljus anuounced to him his accession to the throne, 
 "My dear Algarotti, my lot has changed. 1 expect 
 you with impatience, do not Jet me languish." Ttvo 
 years afterwards he reproached him for his self 
 sufficiency, and dryly asked bim, if it yyerecouve- 
 
 urbis, Joannes Darius, a patriotic in- 
 scription which the present ruin of Venice 
 renders more touching. 
 
 The Giustiniani-Lolin palace had a 
 choice library, some fine paintings, a 
 considerable number of valuable engrav- 
 ings, various collections formed with 
 greattaste by Doctor Aglietti, a celebrated 
 physician of Italy, who published a fine 
 edition of the complete works of Algarotti, 
 in which are inserted the letters written 
 by Frederick during twenty-five years to 
 this Italian Fontenelle, the originals of 
 which existed at the Giustiniani-Lolin 
 palace. 3 Doctor Aglietti some "years 
 since by an act of great delicacy enriched 
 these collections with a fresh curiosity. 
 He and Doctor Z... had professionally 
 attended Cicognara during his last illness, 
 the latter bequeathed to the two doctors, 
 his friends, whatever article of his effects 
 they might prefer; Doctor L... chose a 
 small antique head ; Doctor Aglietti the 
 pen of the historian of sculpture in Italy . 4 
 
 The ancient Foscari palace is in ruins, 
 but its majestic and melancholy aspect is 
 in unison with the reflections it suggests : 
 the observer feels that it must have been 
 the residence of that unhappy family, 
 fallen from power, punished by impri- 
 sonment, exile, and death, the Stuarts 
 of aristocratic families. 
 
 The Mocenigo palace on the grand 
 canal was occupied by Lord Byron. I 
 have heard much of his several- years' 
 residence at Venice, and of the scenes 
 which took place at this palace, 3 and I 
 have seen with regret that esteem is not 
 the inseparable companion of glory. By- 
 ron may however deserve some indul- 
 gence on account of his abundant charities, 
 which were quite equal to his dissipation 
 and shameful licentiousness. The life 
 of Venice, that life of quietude, pleasures, 
 night-studies, and reading, must, how- 
 ever, suit the taste of a poet. Few cities 
 have been sung more frequently, or 
 
 nient to make an engagement with him. (Letter of 
 the 10th September, 1742.) Never perhaps was ihe 
 anger and contempt of Frederick against Voltaire 
 vented with such sharpness as in these letters. See 
 the letters of the 12th September 1749, tub January, 
 and 261b. May 1754. 
 
 4 Aglietti had an apoplectic fit on the 4th August 
 1S29, and lingered till the 3rd May 18.16; he was se- 
 venty-nine years of age. His collection of engravings 
 is now the properly of S. Giovanni Papadopoli of 
 Venice. 
 
 5 Sec, on this subject, his Memoirs, w bich, how- 
 ever, do ugt tell all, vol. HI. ch. xvli. 
 
 14. 
 
<62 
 
 VENICE. 
 
 [Book VI. 
 
 better than Venice : Petrarch called it 
 la Cittd d'oro : the classic verses of San- 
 nazzaro, in which he sets forth iis supe- 
 riority over Rome, are well known : 
 
 Mam homines dices, lianc posuisse Deos, 
 
 the fine sonnet of Alfieri : 
 
 Ecco, sorger dall' acque to veygo altera 
 La canula del mar saggia reina 
 
 the romantic strophes of Childe Harold, 
 and some pieces of several of our young 
 poets. Amongst the fine paintings of the 
 Mocenigo palace is the sketch of the cele- 
 brated Glory of Paradise, painted by Tin- 
 toretto, now preferable even to the pic- 
 ture, which is to be seen in the ancient 
 hall of the Great Council, since it has 
 not had the misfortune to be retouched. 
 
 The Pisani palace ( at Saint Paul ) 
 contains the valuable painting of Paolo 
 Veronese, the Family of Darius at the 
 feet of Alexander; the females are dress- 
 ed as Venetian ladies, the Hero of Ma- 
 cedon wears the costume of a general of 
 the republic. In spite of the incor- 
 rectness of these costumes, this chef- 
 d'eeuvre is full of charms. Poetic truth, 
 the only true, the only durable in 
 works of art, the only truth which comes 
 from the soul and responds to it, does 
 not confine itself to chronology, and dif- 
 fers entirely from that external and 
 common reality, to which every body 
 may attain, and of which some people are 
 much too proud. The picture by Lebrun 
 on the same subject is, excepting the full 
 bottomed wigs, more regular than that of 
 Paolo Veronese; but certainly it cannot 
 bear comparison with it. On seeing the 
 dwarf, the monkey, the burlesque- scenes 
 which this great painter generally intro- 
 duces in his most important compositions, 
 and which arc seen in his Family of 
 Darius, his admirable, his poetic picture 
 appears like a comico-heroic painting : it 
 is Ariosto on canvas. 
 
 The Barbarigo palace bears imprinted 
 on it the traces of Titian, who lived in 
 this family, preferring the residence in 
 his dear Venice to the proposals made 
 him by the popes Leo X. and Paul III., 
 and to the honours pressingly offered 
 him by Philip II., a strange suitor, re- 
 jected by the painter. ■ At the Barbarigo 
 
 ' See Bonk XII. cli. iv. 
 
 palace is to be seen his celebrated Maq- 
 clalen, less ideal than true, found at his 
 house at the moment of his death and 
 which perhaps may be regarded as the 
 original of his several Magdalens : a 
 Venus, spoiled by the scarf which the 
 scruples of a Barbarigo had thrown over 
 her bosom, and which has since been 
 scraped off; a St. Sebastian, his last 
 work, on which he was employed when 
 the horrible plague of 1576, which af- 
 terwards ravaged Milan, carried him off, 
 full of health, at the age of ninety-nine 
 It would appear that nothing less than 
 such a catastrophe could destroy this im- 
 mortal artist, and that otherwise he would 
 never have died. The last moments of 
 the honoured, opulent, and centenary 
 life of Titian, were frightful ; he expired 
 on the same couch as his cherished son 
 and pupil Horace, who could not close 
 his eyes; a band of robbers, taking ad- 
 vantage of the dispersion of the magis- 
 trates, forced his house, pillaged it, and 
 carried off from before the glazing eyes of 
 the artist even his most treasured works, 
 which he would not sell at any price! 
 As soon as the communications were 
 again open, his second son Pomponio, a 
 priest of most disreputable character, 
 came post from Milan, sold almost for 
 nothing the furniture, jewels, and paint- 
 ings which had escaped the robbers, or 
 which had been recovered by the hands 
 of justice ; and like a second pillager, 
 dissipated his inheritance in a few months, 
 and blushed not to dispose of the small 
 patrimonial house of Cadore, leaving the 
 last resting place of his glorious father 
 tombless and unknown. 
 
 The Barbarigo palace possesses two 
 other curious and remarkable works of 
 the great masters. The Susannah is a 
 prodigy of Tintoretto, it presents a park 
 with poultry, rabbits, and other domestic 
 animals which this mettlesome painter 
 has executed and finished with exquisite 
 taste; it might be likened to Bossuet 
 relating the dream of the princess Pa- 
 latine. The group of Dedalus and 
 Icarus, by Canova, in his most youthful 
 days, a true and natural composition, 
 indicates the return to a better taste, but 
 has not yet the elevation which the talent 
 of the ai List was destined to attain, and 
 which Rome was to impart. 
 
 The Grimani palace ( at Saint Luke), 
 one of the most extraordinary chefs- 
 d'oeuvre of San Micheli, who had to 
 
Chap. IX.] 
 
 VENICE. 
 
 163 
 
 remedy the irregularity of the ground : 
 this palace, one oflhe most magnificent 
 and elegant of Venice, remarkable for 
 the pure and noble taste of its front, ves- 
 tibule, and lower story, is now the Aus- 
 trian post-office. The delegation resides 
 at the Corner palace in the Ca grande, 
 a superb edifice, oneofSansovino's finest 
 works. 
 
 The ancient Farsetti palace, now the 
 hotel della Gran Bretagna, has on one 
 of the staircase landings, two small bas- 
 kets of fruit in marble, executed by Ca- 
 nova at fourteen years of age for his first 
 and constant protector, the patrician 
 Faiieri, a precocious attempt evincing a 
 certain dexterity and delicacy of chisel 
 acquired at his father's, who was enga- 
 ged in the selling and cutting of the fine 
 Possagno stone. 
 
 The celebrated mercantile bridge of 
 the Rialto, by the Venetian architect of 
 the sixteenth century, da Ponte, is showy 
 and substantial, and carries back the 
 mind to the origin of Venice, its festivals 
 and prosperity. The wanderers who 
 were the first inhabitants of the kind of 
 islet with which it communicates, and 
 the name of which it bears, — those men, 
 compared by Cassiodorus to birds that 
 build their nests on the waters, doubtless 
 had no idea that they were founding a 
 powerful republic which was one day to 
 have dominion over Italy, to take Con- 
 stantinople, to resist the league of kings 
 and emperors, to monopolize the com- 
 merce of the world, and to last fourteen 
 centuries. 
 
 The Micheli palace (dalle Colonne) 
 offers some magnificent tapestries from 
 designs by Raphael. A handsome ar- 
 mory contains the suits of armour worn 
 by the illustrious doge DomenicoMicheli 
 and other crusaders his companions. 
 In another room are. the books and pon- 
 tifical ornaments of Cardinal Barbarigo, 
 holy and peaceful relics contrasting with 
 the arms of those warriors. 
 
 The Corner della Regina palace was, 
 for a most singular reason, unoccupied 
 in 1828 : its last proprietor had bequeath- 
 ed it to Pope Pius VII., as a token of his 
 high estimation of that pontiff's virtues, 
 and its usufruct had been ceded to some 
 .eclesiastics engaged in education, who 
 wanted to let it, but were too scrupulous 
 o accept the offer of certain rich Jews 
 >vho had proposed to become their te- 
 ams. These worthy priests did not, 
 
 like the Roman emperor and our own 
 age, think it impossible for money lo 
 have an ill odour. 
 
 The Pesaro palace was forsaken by its 
 master a short time after the republic 
 was no more ; he has not since returned 
 to it, wishing to avoid the sad spectacle 
 of his conquered country. The owner 
 of this marble palace, one of the largest 
 and finest in Italy, occupies apartments 
 in London ; from the ceiling in one of his 
 rooms, he has simply suspended a draw- 
 ing of his former dwelling, which makes 
 those who behold it marvel at his con- 
 stancy. 
 
 The palace of Vcndramini-Calergi, by 
 Pietro Lombardo, for taste, richness, 
 and magnificence, is not inferior to the 
 most exalted in Venice. There may be 
 seenTullius Lombardo's two fine statues 
 of Adam and Eve, which were formerly 
 a part of the doge Andrea Vendramini's 
 mausoleum, at the church of Saint John 
 and Paul, but have since been decently 
 replaced by two female saints. 
 
 The Manfrini palace is noted for its 
 rich gallery of the different schools, and 
 its curiosities. The Virgin and Infant 
 Jesus, and the. Christ at Emmaus are 
 by Giovanni Bellini ; a Descent from the 
 Cross, the pearl of the gallery, and one 
 of the finest and least injured copies of 
 that masterpiece, is admirably pathetic 
 and collected; the corpse of the Saviour 
 bears the imprint of his incorruptible and 
 divine nature; the portrait of Ariosto, 
 lifelike and poetic; that of Queen Cor- 
 naro, by Titian ; the latter differs from 
 the portrait at Brescia : the expression 
 of the physiognomy is vulgar in one and 
 prudish in the other; which last is probably 
 the better likeness. A Woman playing 
 on the guitar; the celebrated painting 
 called the Three Portraits are by Gior- 
 gione, who seems triumphant there. This 
 last masterpiece drew from Byron se- 
 veral stanzas of admiration in his Vene- 
 tian tale of Beppo, two verses of which 
 are not, however, very accurate, as Gior- 
 gione was never married.' Moses strik- 
 ing the rock is by Bassano; Ceres and 
 Bacchus, by Rubens ; the Sacrifice of 
 Iphigenia, by Padovanino ; an Ecce 
 homo, a Flight into Egypt, by Agostino 
 Carracci ; two superb portraits, one by 
 Rembrandt, the other by Paolo Vero- 
 
 1 'T is but a portrait of his son and nife, 
 And self, but such a woman 1 love in life 
 
 (St. xii.) 
 
164 
 
 VENICE. 
 
 [Book VI. 
 
 nese; a Shepherd, by Murillo;the Vir- 
 gin presenting the Infant Jesus to Si- 
 meon, by Giovannid'Udina. Pordenone's 
 portrait of himself is perfect ; Petrarch's 
 portrait, by Jacopo Bellini, is any thing 
 but pleasing; Laura's portrait, by Gen- 
 tile Bellini, is very Gne ; a Circumcision, 
 by Fra Sebastiano del Piombo; a Lu- 
 cretia, by Guido. The works of the old 
 pointers, Cimabue, Giotto, and Man- 
 tegna, are very judiciously placed to- 
 gether in one room. 
 
 TheGiustiniani palace (at the Zattere) 
 has a library rich in national manu- 
 scripts, several pieces of Grecian sculp- 
 ture, a cabinet of medals, and a gallery, 
 which has Padovanino's Ganymede for 
 its chief masterpiece. 
 
 CHAPTER X. 
 
 Douses of Teolocbi-Albrizzi aud Cicognara. 
 
 The houses of Teotochi-Albrizzi and 
 Cicognara, but a short distance from 
 each other, equal palaces by their inha- 
 bitants. Like Aspasia, Signora Albrizzi 
 was a Greek, and like her, too, the friend 
 of illustrious men differing in genius and 
 talent, whom she has succeeded in por- 
 traying, with faithfulness and ingenuity, 
 in a style impregnated with all the grace 
 of her sex. 1 In the centre of her draw- 
 ing-room is a bust of her compatriot 
 Helen, a figure full of charms and volup- 
 tuousness, presented to her by Canova, 
 as an acknowledgement of his gratitude 
 for the description of his sculptures given 
 by Signora Albrizzi; this bust has been 
 sung by Byron :— 
 
 lu this beloved marble view, 
 
 Above the worts and thoughts of man, 
 What nature could, but would not, do, 
 
 And beauty and Canova can ! 
 Beyond imagination's power, 
 
 Beyond the hard's defeated art, 
 With immortalily her dower, 
 
 Behold the Uelen of the heart ! 
 
 The head-dress has the form of a trun- 
 cated egg, a felicitous allusion to the 
 birth of Leda's daughter. 
 
 Signora Albrizzi, whose amiable me- 
 
 See tier agreeable work entitled Rilratti. 
 Eisais de Palingenesie sociale, by M. Ballanche ; 
 Paris, Didol,t827. 
 
 5 Three busts of Beatrix by Canova aie now in 
 existence : Cicognara's ; Madame K'***'s, on which 
 
 mory I shall always cherish, died in 
 1836, aged sixty-six, after a long illness, 
 which had neither impaired her lively 
 imagination nor the attractions of her 
 mind ; during this illness the Memoirs 
 of Madame Lebrun, her contemporary 
 and friend, were read to her, and they 
 brought to recollection her Venice of 
 forty years past, with its joyous plea-^ 
 sures, its beautiful religious music, and' 
 its good society of French emigrants : in 
 this manner did the authoress of the 
 Iiitratti find her pains alleviated by the 
 narrative of our great portrait-painter. 
 
 Cicognara possessed Dante's Beatrix, 
 another of Canova's chefs-d'oeuvre, given 
 by him to this amiable, learned, excel- 
 lent man, his worthy and partial friend, 
 as a friend ought always to be, whatever 
 Plato's proverb may say to the contrary. 
 A writer who unites elevated thought 
 with delicacy of feeling, thus relates, in 
 an important work, the origin of this 
 figure: a "An artist of pre-eminent 
 renown, a statuary who not long since 
 shed so great a lustre on the glorious 
 country of Dante, and whose graceful 
 fancy had been so often exalted by the 
 masterpieces of antiquity, one day saw, 
 for the first time, a woman, who seemed 
 to him a living apparition of Beatrix. 
 Full of that religious feeling which genius 
 ever imparts, he immediately required 
 the marble ever obedient to his chisel to 
 express the sudden inspiration of that 
 moment, and the Beatrix of Dante 
 passed from the vague domain of poesy 
 into the reality of art. The feeling which 
 resides in this harmonious countenance 
 is now become the new type of pure and 
 virginal beauty, which, in its turn, gives 
 inspiration to artists and poets." This 
 woman is a French lady celebrated for 
 the charms of her person and her noble 
 character. It is some honour for France 
 to have revealed to the first statuary of Ita- 
 ly the conception of that mysterious ideal 
 beauty sung by her greatest poet. The 
 calm enthusiasm of this admirable figure 
 has often been reproduced, but most fre- 
 quently in a very imperfect manner.* 
 In Cicognara's house there were also two 
 gigantic busts : the first, of Cicognara, by 
 
 he has put a crown of olive and inscribed with bis 
 
 own band these verses of Dante : — 
 
 Sovra candido vel cinta d'ollva 
 Donna m'apparve 
 
 The third is In England. 
 
 
Chap. XI.] 
 
 VENICE. 
 
 165 
 
 Canova, and his latest work ; the second, 
 of Canova, by his clever pupil Rinaldo 
 Rinaldi, after the original so admirably 
 sculptured by Canova himself ' 
 
 CHAPTER XI. 
 
 Griiuani palace (at Santa Moria Formosa).— Cor- 
 niani d'Algarotti.— Spirit of Venetian society,— 
 Last Venetian lady. 
 
 The family portraits of the Grimani 
 palace (at Santa Maria Formosa) com- 
 pose a fine gallery of paintings by Titian, 
 Paolo Veronese, and other able masters. 
 This palace is worthy of Rome or Naples 
 for its multitude of antique statues, in- 
 scriptions, and bronzes. The Venetian 
 nobility, trading with Greece and the 
 Levant, first began to make a display in 
 antique collections. There are to be re- 
 marked at the Grimani palace an infant 
 Hercules, a most beautiful Grecian bust, 
 the colossal statue of Marcus Agrippa, 
 transferred by a singular fate from the 
 vestibule of the Pantheon amid the waves 
 of the Adriatic; an obscene group of So- 
 crates and Alcibiades, in which the for- 
 mer is not even the very equivocal 
 friend of the young Alcibiades. A 
 chamber decorated by Sansovino is mag- 
 nificent. The Institution of the Ro- 
 sary, a celebrated painting by Albert 
 Durer, contains his portrait and his 
 wife's. The Story of Psyche, on the 
 octagonal ceiling, by Francesco Salviati, 
 was regarded by Vasari as the finest work 
 in Venice, the exaggerated eulogium of 
 a friend, though the painting certainly 
 has some good points. A Cupid is by 
 Guido; a Purification, by Gentile Bel- 
 lini ; and the painting of the elegant cha- 
 pel, Christ crowned with thorns, by the 
 elder Palma. 
 
 Canova's Hebe is at the house of 
 Heinzelmann. This charming though 
 somewhat elaborate figure is one of the 
 most famous and most popular master- 
 pieces of its author; he has repeated it 
 with slight variations as many as four 
 times ; = it has been worthily sung by 
 Cesarolti and Pindemonte, and the follow- 
 
 ' The bust of Cicognara, since Ms death, on the 
 5th of March 1834, has been taken to Ferrara, his 
 country, which also claimed the body of the illus- 
 trious deceased. The sale of the collection of en- 
 gravings and nielles was announced for the month 
 of February that year ; the learned catalogue was 
 
 ing pleasing verses of the latter are far 
 superior to the sonnet of Cesarotti :— 
 
 O Canova Immortal, che indietro lassl 
 L'italico scarpello,e il greco arrivi: 
 Sapea che i marini tuoi son molli e vivi : 
 Ma chi visto t'avea scolpire I passi? 
 
 The palace of Corniani d'Algarotti 
 presents two curious collections, differ- 
 ing in kind, but both bearing some ana- 
 logy to the scientific and literary name 
 recalled by its appellation : the first is 
 composed of more than six thousand 
 specimens of stones and minerals of Lom- 
 bardy and the ancient Venetian pro* 
 vinces ; the second is a dramatic library, 
 comprising all the pieces played at Ve- 
 nice from the establishment of the first 
 theatre in 1636 to our own times. The 
 house of Goldoni, who flourished se- 
 venty-one years after, was calle de'Non- 
 boli. A few weeks' sojourn at Venice 
 is sufficient to produce the conviction 
 that the real Italian comedy must have 
 originated or rather beeu regenerated 
 there (Machiavel and Ariosto still main- 
 tain the supremacy over the Italian dra- 
 matists) ; for the spirit of society survives 
 there amid the decay of all beside. This 
 famous and longlived society is still wor- 
 thily represented by the heroine of the 
 Biondina, the countess Benzoni, dis- 
 tinguished for the gracefulness, simpli- 
 city, and piquancy of her wit ; it was this 
 lady who, with the familiarity of the 
 Venetian dialect, told Byron certainhome 
 truths to which he listened with delight, 
 and perhaps never heard them save in 
 that burlesque language : this lady, still 
 so full of vivacity, so unaffected and 
 cheerful, may be called the last of the 
 Venetian dames. 
 
 The Contarini palace, replete with the 
 ancient and glorious reminiscences of 
 that family which became extinct at the 
 beginning of this century, is decorated 
 with frescos by Tiepolo, and four admi- 
 rable paintings of Luca Giordano, one 
 of which is Eneas carrying his father 
 Anchises. 
 
 drawn up in French by two Venetians, SS. Alessan- 
 dro Znneti and Carlo Albrizzi. 
 
 2 Of the three oilier Debes of Canova one (Jose- 
 phine's) belongs to the emperor of Russia, another 
 to Lord Cawdor, and the third to the marchioness 
 Guiccierdini of Florence. 
 
\r,c, 
 
 VENICE. 
 
 [Book VI- 
 
 CHAPTER XII. 
 
 Aldus.— Printing a manufacture.— Present state or 
 priming in Venice. 
 
 1 deeply regretted not being able to 
 find any certain trace of one dwelling, 
 Imean that of Aldus Manutius,' in which 
 he assembled that veritable typographic 
 academy, composed of the most learned 
 characters,' who spoke nothing but Greek 
 when engaged in the examination and 
 discussion of the classics. The press of 
 Aldus Manutius and his son would now 
 be a real monument; it was the only 
 treasure that the former of these great 
 men left to the second, after devoting his 
 fortune and profits to the discovery and 
 purchase of old manuscripts in Greek 
 and Latin, and occupying his whole life 
 in deciphering, completing, correcting, 
 and publishing them. 3 It is easy to con- 
 ceive with what almost poetical enthu- 
 siasm the discovery of this all-powerful 
 ait must inspire a man so learned as the 
 elder Aldus, and so passionately attach- 
 ed to that reviving antiquity, which he 
 thus saw rendered indestructible and 
 universal. The rather strange inscrip- 
 tion over the door of his chamber shows 
 the extraordinary ardour of his applica- 
 tion : Quisquis es, rogat te Aldus etiam 
 atque etium: ut, si quid est quod a se 
 velis, perpaucis agas, deinde actutum 
 abeas , nisi tanquam Hercules, defesso 
 
 ' In 1828 an honorary inscription was put on an 
 old house, No. 2013 in the Campo de San Agoslinn ; 
 granling that the tradition be not very positive, 
 there can bo no doubt that the residence of Aldus 
 Manutius was thereabout : some letters sent to the 
 latter by Marco Musuro bear the address appiesso 
 Sanclo Augustin dove se stampa. 
 
 2 Marco Musmo, Bembo, 4ngelo Gabrielli, Andrea 
 Navagero, Daniele Rinieri, Marino Sanulo, Bene- 
 detto Hamberti, Battista Egnazio, Fra Cioeondo the 
 architect. 
 
 3 When Paul Manutius setted at Home, in 158*, 
 he transported his printing-oflice tliither: part of it 
 was, however, left at Venice, under the direction of 
 his son Aldus; nor did it remain inactive, as may 
 be inferred from the number of editions published 
 every year during his absence, among which are 
 several of his own works — Annates de I'Impiimerie 
 des Aides, by M. Renouard, vol. III., p. 155, 150, 100. 
 
 4 See Annibal Caro, Lett. burlevoK; tell, xxxi., 
 and on the lie and laboursof Paul Manutius, a letter 
 of Bonfadio's, quoted ante, book V. chap, xxiii. 
 
 5 The reader will recollect the excellent work of 
 Count Darn, entitled, iY'olfoiw stutistiqiies sur In li- 
 bmiric, pour tcrvir a la discussion de la loi sur la 
 presse en 182", which notions were founded on the 
 lill'tioarapliie de ta France. It results from this 
 
 Atlante, veneris suppositious h\t- 
 meros. Semper enim crit quod et tu 
 agas, et quotquot hue attulerint pedes. 
 —"Whosoever thou art, Aldus en- 
 treats thee again and again, if thou hast 
 business with him, to conclude it briefly, 
 and hasten thy departure ; unless, like 
 Hercules to the weary Atlas, thou come 
 to put thy shoulder to the work. Then, 
 will there ever be sufficient occupation 
 for thee, and all others who may come." 
 Paul Manutius appears to have been no 
 less indefatigable than his illustrious fa- 
 ther, as we may learn from the re- 
 proaches of his friends.'' Printing at 
 that period, instead of being merely an 
 honourable manufacture of great pro- 
 duce, 5 sold to curious and eager, rather 
 thun delicate consumers, was a liberal, 
 an admirable art, which was discovered 
 late, 6 but seems to have had no in- 
 fancy. The clearness of the impression, 
 and the beauty of the ink? and paper of 
 the first printers have not been surpassed. 
 Printing-offices now are merely book 
 factories, and the same nicety and even- 
 ness of working cannot be expected from 
 the pressman who prints a thousand 
 sheets a day. The editions of Nicolas 
 Jenson, Vindeline of Spire, of the Aldi, 
 and others, were moreover printed in 
 smaller numbers. Some of Cicero's 
 works, such as the Epistolw familiares, 
 published by Paul Manutius, were re- 
 printed almost every year. The elder 
 
 useful document that the number of volumes print- 
 ed in France, in the year 1825, was between thir- 
 teen and fourteen millions (more than four hundred 
 thousand issued from (be presses of MM. Firmin 
 Didot alone) w tilcli produced in trade a real value 
 of 33,750,000 fr. and afforded employment and sub- 
 sistence lo thirty-three thousand seven hundred 
 and fifty persons. A still more precise return of 
 the productions of the French press has appeared 
 in a valuable miscellany (Revue des Deux-Mondes, 
 t. VI. p. 68); according to this table the number of 
 sheeu printed In 1835 was one hundred and twenty- 
 live millions. 
 
 d When we consider the perfection attained by 
 the ancients In the art of coining and their ac- 
 quainlnncev, ith moveablecharacters, it is astonish- 
 ing that printing escaped their observation. It was 
 invented at the epoch of the emigration of Grecian 
 learning into Italy, just at the lime when most 
 needed, and doubtless for that very reason. 
 
 7 The excellent ink of Mcholas Jenson and olher 
 Italian printers of the lifleen III century was procured 
 from Paris, as in these latter days that f Bodoni. 
 This ink has a bright jet n bich our present ink has 
 not; but It is pretended that age produces it, and 
 that some centuries hence ours will be as flue. 
 
Chap. XIII.] 
 
 VENICE. 
 
 167 
 
 Aldus slates in the preface or his Euri- 
 pides (1503) that he was commonly ac- 
 customed to work a thousand copies. 
 This extraordinary man, for the beauty 
 and usefulness of his editions, must be 
 put in the first rank of those propagators 
 of thought; he invented the octavo form, 
 and printed the first Virgil (in 1501) with 
 which one could ramble in the groves. 
 Aldus united to his talents and vast ac- 
 quirements a most estimable character, 
 very different from his contemporary 
 Tomas Junte of Florence, who, according 
 Varchi, "was only a dealer whose ava- 
 rice was equal to his riches, and more 
 interested in the profit than the honour 
 of his rinting-office." 
 
 If the glory of the olden days of Ve- 
 netian printing be irrevocably past, the 
 press, now chiefly devoted to religious 
 works, translations of the classics, or li- 
 terary publications, is by no means unpro- 
 ductive. I have now before me the Elenco 
 (catalogue) of the volumes printed and 
 published in Venice and the Venetian 
 provinces during the year 1826; the 
 number amounts to eight hundred and 
 twenty-one, of which six hundred and 
 ninety-six thousand seven hundred and 
 ten copies were printed. Two hundred 
 and twenty-four articles are marked 
 gratis, equivalent to the ne se vend pas 
 of the Bibliographie, and they amount 
 to fifty-six thousand six hundred and 
 fifty-four pieces and volumes. The co- 
 pies given by the author are much 
 more profusely distributed in Italy than 
 in Fiance, and this kind of presents is 
 considered one of the chief social obli- 
 gations of a writer. The five hundred and 
 ninety-seven volumes with their six hun- 
 dred and forty thousand and fifty-six co- 
 pies for sale, represent a value of 1,354,4.70 
 Austrian livres ( 47,135Z. 10s. ). The 
 printing-office known by the name of 
 Alvisopoli, at Venice,' under the ma- 
 nagement of S. Bartolomeo Gamba, has 
 reprinted the Universal Biography in 
 Italian, at twelve hundred copies; and 
 the work of that learned bibliographer 
 entitled Serie dei testi di lingua italiana 
 e di altri esemplari del bene scrivere, 
 published in 1828, is very satisfactory as 
 regards the typographical execution. 
 
 1 This ofDce derires ils name from tbe little vil- 
 lage of Alvisopoti, in which the senator Alviso 
 ILudovico) Mocenigo, an eccentric character, had 
 the fancy to establish a printing-office about thirty 
 years ago. Alvisopoli was a fief of bis illustrious 
 
 CHAPTER XIII. 
 
 Academy of Fine Arts. — Venetian school. — Tilian's 
 Asmmplioii.— Paintings. — Bronzes. — Models. — 
 Vanity of a brother ol' the Confraternity of Charity. 
 
 The Academy of Fine Arts is an ex- 
 cellent institution, chiefly due to the zeal, 
 information, and patriotism ofCicognara, 
 who Mas named its president in 1808. 
 This academy has become an inestimable 
 asylum in the midst of the dispersion and 
 decay of so many chefs-d'oeuvre. It has 
 already collected many works from the 
 oppressed churches and convents, and 
 will doubtless be still serviceable in the 
 advancing ruin of Venice. This rich 
 collection of more than four hundred 
 paintings consists almost entirely of works 
 by the great masters of the Venetian 
 school — a school, admirable rather for its 
 adherence to nature and truth than the 
 ideal, for brilliancy of colouring, bold- 
 ness, and the picturesque rather than 
 purity of drawing, which our young 
 school imitates, just as ihe new school of 
 poetry, tired of contemplating the models 
 of antiquity, turns toShakspeare. These 
 means of regenerating art appear very un- 
 certain; talent would find in meditation 
 a more productive and certain resource. 
 
 Amid the decay of Venice, the disco- 
 very of Titian's masterpiece, the Assump- 
 tion, which he executed before the age 
 of thirty, is a kind of compensation for 
 so many losses. By some strange chance 
 this blackened painting had been long 
 thrust aside and almost hidden in the 
 top of the church Dei Frari, when Cico- 
 gnara had himself raised up to it, wash- 
 ed one corner with spittle, and, being 
 sure of its author, offered a newer paint- 
 ing to the clergyman, who was delighted 
 with the change. This painting is per- 
 haps the most extraordinary for effect : 
 the mystery of the head of the Father, 
 the brilliancy and softness of ihe group 
 of the Virgin, and thirty little angels 
 near; her ethereal, heavenly grace ; the 
 marvellous contrast of light and shade, 
 and the conception of the whole, are dif- 
 ferent merits that cannot be described. 
 
 Gentile Bellini's painting, representing 
 the piazza of Saint Mark about the end 
 of the fifteenth century, at the moment 
 
 family: the establishment was too expensifeinsucli 
 a place to support itself more than two years; 
 Alviso Mocenigo was obliged to transfer it to Yenice, 
 but retained its primitive name, by which it is 
 now called. 
 
VENICE. 
 
 [Book VI. 
 
 of a procession passing, is full of nature 
 and life, and of great curiosity for the 
 costumes of the time and ihe aspect of 
 ancient Venice. The Supper at Em- 
 maus, by Giovanni Bellini, of the na- 
 tural size, with costumes of the time and 
 a Turkish ambassador, is superb. The 
 celebrated Purification, Carpaccio's 
 masterpiece, had it more colouring in 
 the flesh and greater softness of outline, 
 would be worthy of the greatest masters 
 for grace and pathos. The old Simeon 
 figures between two priests in the cos- 
 tume of cardinals; the child in the centre 
 tuning its lute is divine. 
 
 The SI. Lorenzo Giustiniani sur- 
 rounded by saints is a masterpiece of 
 Pordenone : the figures of St. Augustine 
 and St. John Baptist are admirable; the 
 undraped parts of the latter exhibit the 
 greatest chastity of design, and St. Au- 
 gustine's arm seems to protrude from the 
 canvas. The Rich Epulon, by Boni- 
 fazio, is of extraordinary beauty. 
 
 The Slave delivered by St. Mark, a 
 masterpiece of Tintoretto, is one of the 
 wonders of this grand Italian school. 
 What life, what variety of expression in 
 the physiognomy of those executioners 
 who see the bonds break asunder from 
 their captive extended on the ground ! 
 The saint crosses the heavens with his 
 face turned towards the beholder, and 
 he looks downwards to superintend his 
 miracle; his immense beard allows 
 only a small portion of his body to be 
 seen, foreshortened, which seems really 
 suspended in the air. 
 
 The Marriage of Cana, a rich, ele- 
 gant, animated painting in the style of 
 Paolo Veronese, is Padovanino's best 
 work. The Virgin on a throne with 
 the Infant Jesus] St. Joseph and other 
 saints, by Paolo Veronese, was, with 
 many of its neighbours, thought worthy 
 of a journey to Paris. The Ring of St. 
 Mark, Paris Bordone's masterpiece, pre- 
 sents an architecture and basso-reiievos 
 perfectly true in the colouring and very 
 cleverly" composed. Three other of Ti- 
 tian's works are respectively admirable : 
 the Presentation of lite Infant Jesus, 
 of his early youth, distinguished by the 
 architectural richness of the temple front, 
 and the marvellous perspective of the 
 
 • Opcrediscultura edi plaslica d'Anlonlo Canova 
 descrilte da Isabella Albrlzzi nata Teotochi ; Fisa, 
 I8I2-'i, 4 vols. 8vo, [>t. 
 
 ediGces in the back-ground; the pro- 
 digious St. John Baptist in the desert, 
 so full of sublimity and inspiration, that 
 one feels be lived on locusts, with the 
 deep, gloomy, and rugged landscape, and 
 the old woman's head, that is supposed 
 to be the portrait of his mother. He has 
 also done some heads and emblematic 
 figures, exquisite morceaux, which bor-* 
 der the cornice of the chief room for the 
 sittings of the Academy. 
 
 A basso-relievo of marble gilt, over 
 the door, represents the Virgin, the 
 Infant Jesus, and other figures. This 
 astonishing work of 1345 is expressive, 
 simple, and graceful, and bears witness 
 to the antiquity and perfection of the art 
 at Venice. A small tabernacle door in 
 bronze, formerly at the church of the 
 Servi, and believed to be by Donalello, 
 is in the purest taste. The four basso- 
 relievos attributed to Andrea Riccio are 
 works full of fire, activity, and imagina- 
 tion, particularly the basso-relievo re- 
 presenting Constantine's battle near the 
 Tiber, and his triumphant entry into 
 Rome. There are many other bronzes 
 not less precious; such are the elegant 
 basso-relievos of the ancient mausoleums 
 of the Barbarigo family, by an unknown 
 author, and the superb basso-relievo of 
 Briamonte's tomb, by the Venetian Vit- 
 torio Camelio. 
 
 The model of Theseus vanquishing the 
 Minotaur, a work of Canova's youth, is 
 remarkable as a return to the antique; 
 this chef-d'eeuyre, so eloquently des- 
 cribed by Signora Albrizzi, 1 and so well 
 sung by Pindemonle, 8 is to be seen at 
 the Academy of Fine Arts. 1 he statue, 
 executed for a public square at Milan, 
 at the expencc of the Italian government, 
 is now, by right of conquest, in the 
 garden of the People ( Volksgartcn) at 
 Vienna, where a splendid building is 
 devoted to it. Pindemonte's poem be- 
 gins with the following touching com- 
 plaint on Italy being despoiled of the 
 Theseus :— 
 
 Ciunque in me terma lo sguurdo, e quesla 
 Molle rreia spirante, e quesle mira 
 Degne dun semldeo forme leggiadre, 
 Non si compianga, se tai forme in duro 
 Marino inlagliale, c lucide, e polite, 
 Daio di vagtieggiar Don gli e sull' Islio. 
 
 a Tesco die uccide il cenlauro qual vedesl ndl' 
 Acadernia dl Belle Aril dl Yenezia ; Pisa, <82fi. 
 
Chap. XIV. i 
 
 VENICE. 
 
 *6tf 
 
 Canova's chisel is exposed below the 
 porphyry urn containing his hand, and 
 formerly his heart also, but that is now 
 deposited in the church dei Frari.' Ve- 
 nice seems to multiply the traces and 
 reminiscences of Canova, as if to supply 
 that crowd of immortal artists who were 
 once ber glory. 
 
 The model rooms of this Academy, 
 though not of more than thirty years' 
 existence, are reckoned the finest in Eu- 
 rope : there are preserved the models of 
 the Parthenon and Egina marbles, the 
 generous gifts ofCicognara, who received 
 them from the kings of England and Ba- 
 varia. The Academy also possesses the 
 1 famous collection of original drawings 
 i of the old schools, formed by the Cav. 
 Bossi, among which may be remarked 
 seventy by Leonardo Vinci, several by 
 ' Michael Angelo, and as many as a hun- 
 dred by Raphael. 
 
 The Academy of Fine Arts is the old 
 Confraternity of Charity. The ceiling of 
 the grand hall is connected with a sin- 
 gular anecdote. The brother Cherubino 
 Ottale, who had engaged to gild it at his 
 own cxpence, being unable to obtain 
 permission of the brotherhood to have 
 an inscription stating that they were in- 
 debted to him for that magnificence, 
 ordered a little angel with eight wings 
 to be placed in the middle of every 
 square, so that the name of Cherubino 
 Ottale is repeated a thousand times in 
 that way : a Frenchman could not have 
 imagined a better expedient than this 
 device of Venetian vanity. 
 
 CHAPTER XIV. 
 
 Churches.— Clergy.— Saint Zacharlas.— Saint George 
 of the Greeks.— Greek service.— Saint Francis of 
 the Vine. — Saint Peter.-Suint John in Bragora. 
 
 The number of churches was consi- 
 
 tderable at Venice; the ecclesiastical po- 
 pulation was in greater proportion there 
 than in the first catholic states; 2 it is 
 thence evident that, notwithstanding the 
 
 1 This band, according lo a legally executed deed, 
 Is to be remitted lo the archpriest of the temple of 
 Posagno and placed with the rest of Canova's re- 
 mains, in case the Venice Academy of Fine Arts 
 should be suppressed or transferred to another city. 
 
 1 According to the returns of the committee 
 named by the Venetian government in 1708, for 
 :be purpose of repressing the excessive wealth of 
 !he clergy, which Daru has carefully copied, the 
 number of ecclesiastics aruounled to forty-live thou- I 
 
 quarrels of the government and clergy 
 with the court of Rome, the devotion of 
 the people was an insurmountable ob- 
 stacle to a rupture. The clergy were 
 wealthy and popular (the people elected 
 the rectors), but excluded from the go- 
 vernment and public offices of the re- 
 public; another proof of the beneficial 
 effects of maintaining a separation be- 
 tween political and religious duties; and 
 except in very few instances, the clergy 
 always acted in unison with the civil 
 power against the spiritual. 
 
 The liberties of the Venetian church 
 approach much nearer to the Greek 
 schism, which is ever submissive to au- 
 thority, than to the seditious spirit of 
 reform. It is very singular that divorce 
 was one of these privileges; it was 
 equally permitted in Poland, by means 
 of preconcerted pretexts of nullity . I have 
 been told that the princess C***, now re- 
 tired into a convent at Rome, at her 
 daughter's marriage went up to the altar 
 before the ceremony, and in the presence 
 of the whole congregation gave her 
 daughter two slaps, which she received 
 with the utmost indifference; some per- 
 sons but little acquainted with these cus- 
 toms ran up to the princess greatly ex- 
 cited, when she gave this simple expla- 
 nation : "Those slaps are proofs which 
 may aid in procuring my daughter's di- 
 vorce in case she be unhappy with her 
 husband; she Mill be able to say that I 
 forced her." It is not easy to figure to 
 one's self the countenance of the bride- 
 groom during this strange scene of ma- 
 ternal tenderness and foresight. 
 
 The tolerance for which Venice has 
 been commended, was doubtless owing 
 to the exclusion of the clergy from the 
 civil administration, but it seems to have 
 diminished subsequently when the re- 
 public was declining : the virtuous Maf- . 
 fei was exiled for certain opinions in his 
 book on usury, and the same penalty was 
 inflicted on a patrician, who had visited 
 Voltaire and Rousseau in his travels. 
 
 sand seven hundred and seventy-three, which gives 
 one person of the clergy for every fifty-four in- 
 habitants, while in France the proportion was one 
 to a hundred and Qfty, and in Spain one to seventy- 
 three. Dy the statistical tables of the Venetian pro- 
 vinces published by S. Quadri in 4827, the clergy 
 are now no more than one to two hundred and 
 sixteen; and in France, there is now only one to 
 elgh! hundred and thirty-three. 
 
 15 
 
476 
 
 VENICE. 
 
 fBooK VI 
 
 The churches of Venice possess the 
 twofold interest of glorious reminiscences 
 of distant periods, and wonders of art 
 due to the great Venetian masters. 
 
 The old church and monastery of Saint 
 Zacharias dale from the beginning of the 
 ninth century; they were founded by the 
 emperor Leon, but the zealous Vene- 
 tians ' pretend that, despite the imperial 
 eagles he placed there, the Greeks never 
 exercised authority over Venice. Saint 
 Zacharias, until the latter da;s of the 
 republic, was the. spot of one of the oldest 
 and most pompous Venetian fetes. Pope 
 Benedict III., after visiting the church 
 and convent in 855, granted them a great 
 number of relics and indulgences, and 
 every year at Easter the doge attended 
 the services and the procession. The 
 abbess Morosini and the nuns of that 
 rich monastery, flattered at receiving the 
 chief of the stale, made him a present of 
 a kind of republican diadem, called corno 
 ducale, of inestimable value; it was of 
 gold surrounded with twenty-four. large 
 pearls ; on the top glittered a superb 
 eight-faced diamond; a brilliant ruby of 
 enormous size was in front; the cross, 
 composed of precious stones and twenty- 
 four emeralds, surpassed all the rest. 
 It was decreed that such a costly present 
 should be used at the coronation of the 
 doges; but that the nuns to whom they 
 were indebted for it might not be deprived 
 of the sight of these wonderful jewels, 
 it was determined that every year on the 
 day of the procession to Saint Zacharias, 
 il should be withdrawn from the public 
 treasury, carried on a salver and shown 
 to all the sisters of the convent by the 
 doge himself. Some years after, in 868, 
 a catastrophe contributed to render this 
 ceremony still more majestic; it was 
 decreed that the procession should go no 
 more on foot to Saint Zacharias, but in 
 gilded barks; for the doge Gradenigo, 
 who, amid the frenzy of parties, had re- 
 commended moderation and thereby set 
 every body against him, was attacked 
 and murdered on leaving the church. 
 
 The choir of the church of Saint Za- 
 charias is rich, elegant, and magnificent. 
 Nostra Signora and some saints, St. 
 Zacharias; the Virgin and some saints , 
 a painting which has been retouched 
 clumsily and too much; the demilunes 
 
 1 See Count Tiepolo's Grst rectification of the 
 History of Venice, p. W. 
 
 representing the Martyrdom of St. 
 Procul, the Descent into purgatory, 
 and Christ washing the Apostles' feet; 
 the Angel speaking to Zacharias ; the 
 four small paintings at the high-altar, are 
 by Palma; the Birth of John Baptist is 
 by Tintoretto. In one chapel three 
 altars of wood, ornamented wilh gilded, 
 carvings, have some valuable and scarce 
 paintings by Giovanni and Antonio Mu- 
 ranesi, of the year 1U5; the Circumci- 
 sion is by Giovanni Bellini; ihe Virgin, 
 the Infant Jesus and four saints, by 
 the same, a celebrated picture brought 
 back from Paris, has been so renovated 
 and spoiled, that it scarcely retains any 
 original traits of that illustrious founder 
 of the colouring of the Venetian school. 
 The statue of Saint John Baptist is by 
 Viltoria. He sculptured his own bust 
 and monument: below, on the pavement, 
 a black stone marks the burial place of 
 this chaste and productive statuary, the 
 cleverest of Sansovino's pupils and the 
 last great artist of the sixteenth century. 
 
 The elegant church of Saint George of 
 the Greeks is of Sansovino's architecture. 
 The Greek service which I attended had 
 a singularly mysterious character : the 
 priests are concealed in the sanctuary, 
 only appearing at intervals for certain 
 prayers, when the curtains are undrawn. 
 The effect of this poutiffless temple was 
 extraordinary, there being only two 
 young clerks singing monotonous hymns 
 in the choir. Women are not admitted 
 into the sanctuary of the Greek churches, 
 no.r are animals suffered to enter, except 
 cats, which are necessarily tolerated for 
 the purpose of destroying the mice. 
 
 The high-altar of Saint Laurence, de- 
 corated with niarbie, bronze, statues, and 
 superb columns of Porto Venere, is a 
 magnificent work of Campagna. The 
 best painting is a Crucifixion by Bal- 
 thazar d'Anna, a painter of the close of 
 the sixteenth century, praised for morbi- 
 dezza and strength of clare-obscure. 
 
 The front of the Confraternity of Saint 
 George of the Sclavonians is by Sanso- 
 vino. An oratory has some good paint- 
 ings by Carpaccio, representing certain 
 incidents of the Life of Jesus Christ, of 
 St. George, and St. Jerome, executed 
 between 1502 and 1511. The three saints 
 on a gilt ground, at the altar, are older, 
 and seem of the fourteenth century, 
 
 Saint Francis of the Vine is a fine 
 church, the architecture by Sansovino 
 
Cba?.xv„i 
 
 VENICE. 
 
 171 
 
 and the front by I'alladi\ Two great 
 bronze statues of Moses and Paul by 
 Titian Aspetti, before the church, have 
 been justly censured, and their vast pro- 
 portions render the defects still more 
 striking : in particular, the Hebrew legis- 
 lator's two rays of fire, covered over with a 
 kind of hood, are extremely singular. On 
 the holy-water vases, the St. John Baptist 
 and St. Francis a" Assise; on the altar of 
 a chapel, St. Anthony, St. Roch, and 
 St. Sebastian, are by Vittoria; the Sa- 
 viour, the fir gin, and certain saints ; 
 ■ the Virgin in an aureola, Ihe Flagel- 
 lation of Christ, by Palma ; the Virgin 
 adoring the Infant Jesus, a good paint- 
 ing of the beginning of the fifteenth cen- 
 tury, is by Fra Antonio of Negroponto; 
 the Virgin, the Infant Jesus, and some 
 saints, by Giovanni Bellini ; the Saviour 
 and the Eternal Father, by Geronimo 
 Santa Croce, who flourished towards the 
 close of the good century and adhered to 
 its style ; Nostra Signora in the midst 
 of angels, and another very beautiful in 
 the midst of saints, are by Paolo Vero- 
 nese. A copy of his Last Supper arbi- 
 trarily given by the republic to Louis XIV. 
 (who had requested it of the Servites but 
 
 I met with a refusal ) has been well exe- 
 cuted by Valentin Lefevre. The Giusti- 
 niani or Prophets' chapel, covered with 
 marble sculptures, is one of the most bril- 
 I liant monuments of art of the fifteenth cen- 
 tury, but its various authors are unknown. 
 <• The altars of Saint Francis of the Vine 
 < were loaded with those dolls, common 
 | on the altars of Italy, which mask the 
 view of so many chefs-d'oeuvre. 
 
 The old spacious church of Saint Peter 
 was the cathedral of Venice, from the 
 first ages of the republic to the year 1807, 
 when the patriarchal see passed to the 
 basilic of Saint Mark. A very antique 
 marble pulpit, in the form of a bench, is 
 believed by Ihe common people to have 
 been used by Saint Peter in the church 
 of Antioch ; many learned persons are 
 of opinion that it was once the seat of 
 some African chief; it bears an inscrip- 
 tion in Arabic characters, which have 
 been supposed two verses of the Koran. 
 Saint Peter contains some fine and cu- 
 rious paintings : the Plague of the Ser- 
 pents, by Liberi; St. Lorenzo Giusti- 
 niani distributing alms, the masterpiece 
 of Gregorio Lazzarini ; Nostra Signora 
 and the souls in purgatory, one of Luca 
 
 Giordano's best works ; a mosaic in the 
 shape of a picture, a fine performance 
 of Arminio Zuccato, from a design by 
 Tintoretto ; St. Peter and St. Paul, by 
 Paolo Veronese, and the Martyrdom of 
 St. John the Evangelist, by Padovanino, 
 too freely retouched by Michael Schia- 
 vcne. The steeple, rebuilt in the fifteenth 
 century, is magnificent. 
 
 The church of Saint Joseph has only a 
 small number of paintings and monu- 
 ments, but they are by the greatest mas- 
 ters .■ the Archangel St. Michael and 
 the senator Michael Bruno is by Tin- 
 toretto ; a Nativity, by Paolo Vero- 
 nese ; the mausoleum of the senator Ge- 
 ronimo Grimani, by Vittoria ; and the 
 superb one of Doge Marino Grimani and 
 his wife, the architecture by Scamozzi, is 
 decorated with bronzes, statues, and other 
 sculptures by Campagna. 
 
 The church of Saint Martin is sup- 
 posed to have been built by Sansovino. 
 The elegant tabernacle of the grand 
 chapel is embellished with paintings by 
 Palma ; a little old painting in good style 
 represents the Annunciation; Ihe bap- 
 tismal fonts are a very delicate work of 
 Tullius Lombardo ; a Last Supper, by 
 Santa Croce, is of extraordinary merit. 
 
 Saint John in Bragora has the Saint* 
 Veronica, the Christ washing the Apos- 
 tles' feet, and the Christ before Pilate, 
 by Palma; the Saviour, of Titian's 
 school ; the Virgin, St. Andrew, and 
 St. John Baptist, on a gold ground ; a 
 Resurrection of the year 1498, one of 
 the best paintings of that era, by Barto- 
 lommeo "Vivarini ; St. Andrew, St. Je- 
 rome, St. Martin, perhaps the first 
 attempts of Carpaccio; a Last Supper, 
 by Paris Bordone ; Constantine and St. 
 Helene supporting the cross, by Cone- 
 gliano, and his superb Baptism of Jesus 
 Christ, which has suffered from un- 
 skilful retouching. 
 
 The ceiling of the elegant church of 
 Santa Maria delta Pietd is an excellent 
 work of Tiepolo. 
 
 CHAPTER XV. 
 
 Saint George Major. — Doraenico Micheli. — The 
 Salute.— Revolutions of taste.— Sansovino's mau- 
 soleum. — Saint Luke.— Arelino. 
 
 Saint George Major is one of Palladio's 
 
tn 
 
 VENICE. 
 
 [Boos VI. 
 
 miracles, which would have been fault- 
 less had he lived lo complete it. Beside 
 the door are the four Evangelists in stucco 
 by Vittoria. The chief paintings are : the 
 Nativity, by Bassano; the Martyrdom 
 of several saints, the Pirgin crowned, 
 a Last Supper, the Manna in the De- 
 sert, (he Resurrection, the Martyrdom 
 of St. Stephen, by Tintoretto; the Mar- 
 tyrdom of St. Lucy, by Leandro Bas- 
 sano. One of the treasures of this church 
 is a wooden crucifix given by Cosmo, the 
 father of his country, when he fled for 
 refuge lo Venice ; it is the work of Mi- 
 chellozzo Michellozzi , his friend, and 
 faithful companion in exile. He had 
 employed this able artist to build him a 
 library, which he filled with books, and 
 left to the Benedictines of Saint George; 
 such was Ihe dying gift of a Medici. L 
 
 At the high altar, four bronze statues 
 of the Evangelists, by Campagna, sup- 
 port an enormous globe on which the 
 Bedeemer stands, a beautiful harmo- 
 nious composition, which nobly expresses 
 the triumph of the Gospel — a master- 
 piece of art compared lo the Jupiter 
 Olympus of Phidias, and rightly placed 
 over the pulpit of Saint Peter, by Ber- 
 nini. On one of the pilasters is an in- 
 "scription which seems to carry the doc- 
 trine of indulgences to an indefinite 
 extent, as it says that the absolute par- 
 don of all his crimes is accorded to eve- 
 ry personwho shall visit that church ; 2 
 this eloquent inscription is of the period 
 of the Saint Bartholomew massacre, and 
 breathes but too strongly the pontifical 
 spirit of that day. Beside the church, in 
 a small corridor but little worthy of such 
 a monument, is the tomb of Doge Dome- 
 nico Micheli, both Ihe Saint Bernard 3 
 and Godfrey of the Venetian crusades, 
 
 1 The first book in manuscript of the History or 
 Venice, begun in Latin by Paolo Paruta, said by 
 Ginguene [Hist. lilt, d'llalie, viii. 320) to lie still 
 in the library of Saint George, is no longer there. 
 When Ihe convent was suppressed, this library 
 was almost given up lo pillage : a part went to 
 Padua, where it was dispersed, and the resl was 
 sold by auction ; not a single work reached the li- 
 brary of Saint Mark. 
 
 2 Quisquis criminibus expiatis 
 
 Slatas precans preces 
 
 ad 
 
 XII Kal. Aprilis 
 
 £des hasce supplex 
 
 the victor of Jaffa, the conqueror of Je- 
 rusalem, Tyre, and Ascalon, who com- 
 pelled the emperors of the East to res- 
 pect the Hag of his country, transported 
 from the Archipelago Ihe two granite 
 columns of the Piazzetta, ravaged Ihe 
 coast of Dalmatia, and had these words 
 for his epilaph — Terror Grcecorumjacet 
 hie- 
 
 The sumptuousness of the Salute, 
 which is destitute of neither majesty nor 
 grandeur, and the multitude of orna- 
 ments with which this temple is over- 
 loaded, announce the decline of Venetian 
 architecture. The revolutions of taste 
 are apparently the same in all the arts. 
 San Micheli precedes Palladio, as Lucre- 
 tius precedes Virgil; Corneille, Bacine; 
 Bourdaloue , Massilion; energy comes 
 before purity; bad taste, which deems 
 itself good, succeeds, and produces Se- 
 neca, Claudian, Marini, Longhena, the 
 architect of the Salute. This church, 
 notwithstanding its richness, is especially 
 interesting for the paintings by Titian at 
 various periods of his life, an artist 
 always productive, always new. These 
 are : the eight small ovals of the choir, 
 where are represented the Evangelists 
 and the Doctors, one of whom is a por- 
 trait of Titian ; the Descent of the Holy 
 Ghost, painted in his fixty- fourth year; 
 in the sacristy, the little St. Mark in the 
 midst of four saints, one of the scarce 
 works of his youth, remarkable for the 
 softness of the light and the delicacy of 
 the flesh of the St. Sebastian ; and (he 
 Death of Abel, the Sacrifice of Abra- 
 ham, David killing Goliath, the finest 
 works in the Salute, admirable for the 
 execution of (he naked parts, and truly 
 prodigious when we recollect that the 
 study of anatomy was not tolerated in 
 
 I in iscrit 
 
 Is 
 
 Veniam scelerum 
 
 Maximam consequuturum 
 
 Se sciat 
 
 Gregorius XIII. 
 
 Pont. Max. 
 
 Sacro cam diplomale 
 
 Tribuit. 
 
 3 The speech by which he persuaded tho Vene* 
 tians to undertake another crusade has been pre- 
 served by the historians and is given by Dani lu 
 his History of Venice (liv. II. 40 ). 
 
 
Chap. XVI. ] 
 
 VENICE. 
 
 «73 
 
 Italy at that epoch. The three last chefs- 
 d'oeuvre are stowed away near the ceil- 
 ing of the sacristy in a bad light, and so 
 high as to be lost. The Presentation, 
 the Assumption, the Birth of the Vir- 
 gin, arc estimable works of Luca Gior- 
 dano, who has not here given way to 
 his fatal expedition. Nostra Signora 
 delta Salute is by Padovanino ; the Mar- 
 riage of Cana, new and varied, is by 
 Tintoretto; a Samson, by Falma ; Ve- 
 nice before St. Anthony, by Liberi. 
 
 The bronze chandelier of the high- 
 i altar, the work of Andrea d'AIessandro, 
 more than six feet in height, is, after that 
 of Padua, 1 the finest in the Venetian 
 state; but it is far inferior to the latter, 
 notwithstanding the infinite grace of many 
 portions, particularly of the upper part. 
 
 The mausoleum of Sansovino, with his 
 bust by Yittoria, the most eminent of his 
 pupils, was originally at the church of 
 Saint Geminian, but at the unhappy de- 
 molition of the latter in 1807, it was first 
 transferred to the church of Saint Mau- 
 rice, and temporarily in 1822 into the 
 chapel of the patriarchal seminary of the 
 Salute, behind the deal benches of the 
 scholars; it is to be taken back to Saint 
 Maurice, a repetition or imitation of 
 Sansovino's masterpiece, which can never 
 equal its model. The ashes of this great 
 artist, a wanderer while living and a fu- 
 gitive from the sack of Rome, have had 
 no settled resting-place for more than 
 twenty years; and the builder of so many 
 admirable churches, tombs, and monu- 
 ments, the founder of a celebrated school, 
 awaits their last asylum. 
 
 The library of the seminary, a splen- 
 did edifice, once the convent of the Sa- 
 lute, contains about twenty thousand 
 volumes; I saw a letter there signed by 
 Charles V., and addressed to Pope Ju- 
 lius II., on the reunion of the Greek and 
 Latin churches. 
 
 Saint Luke has at the high altar the 
 Saint writing the Gospel, by Paolo 
 Veronese. Aretino was interred at Saint 
 Luke's : one is in a manner surprised 
 at feeling disgust near a tomb. On the 
 wall is his portrait, by Alviso dal Friso, 
 nephew and pupil of Paolo Veronese; but 
 there is no trace of his sepulture, which 
 very probably disappeared when the 
 church was renovated, at the close of the 
 sixteenth century. The priests of the 
 
 ' See post, book vit. cU. iii, 
 
 parish have transmitted from one to 
 another that Aretino, when near his 
 death, having received extreme unction, 
 laughed as he pronounced this verse, 
 which Italian buffoonery perhaps renders 
 less impious than it appears : 
 
 Guardatemi da' topi, or che son uuto. 
 
 This priestly anecdote, perhaps no truer 
 than some philosophical anecdotes on the 
 end of celebrated men, would contradict 
 the tradition which makes Aretino to die 
 on the spot, after falling headlong out of 
 his chair, in a fit of laughing at the recital 
 of the tricks and adventures of his worthy 
 sisters, Venetian courtesans. Whichever 
 may be true, the end of the cobbler of 
 Arezzo's bastard is sufficiently in keeping 
 with his birth and the disorders of his life. 
 
 The elegance of the church of Saint 
 Lucy, by Palladio, is still more con- 
 spicuous after one has contemplated the 
 tasteless splendour of the neighbouring 
 church of the Scalzi. The Saint going 
 up to heaven; several actions of her 
 life: St. Joachim; St. Anne and other 
 saints; the Virgin beside the manger ; 
 St. Thomas Aquinas and angels; some 
 other paintings, one by Palma ; a St. Au- 
 gustine is by Leandro Bassano, and the 
 marble bust of Bernardo Mocenigo, by 
 Yittoria. 
 
 The church of Saint Andrew, atone 
 extremity of Venice (too often shut), has 
 a St. Augustine and angels, by Paris 
 Bordone ; and, above all, the St. Jerome 
 in the desert, thought to contain the 
 finest specimens of the naked that Paul 
 Veronese ever executed, but the damp 
 has unfortunately injured it. 
 
 CHAPTER XVI. 
 
 The Redentore.— Italian plagues.— Titian's grave.— 
 Monument to Canova. 
 
 It would be difficult to express the 
 deep sensation produced by the sight of 
 the church of the Redentore, the chef- 
 d'eeuvre of that immortal artist, Palla- 
 dio, the Virgil, Racine, Fenelon, and 
 Raphael of architecture. The elegance, 
 lightness, and purity of the edifice are 
 combined with solidity; and after more 
 than two centuries, it stands immovable 
 a.id still young amid the waves. The 
 light of the Redentore, due to its beau- 
 tiful architecture, has a wonderful effect, 
 
 15. 
 
474 
 
 VENICE. 
 
 [Book VI 
 
 especially in the evening; and the prayer 
 of the Capuchins, to whom this magni- 
 ficent temple has been restored, is, at 
 that hour, one of the most religious 
 church scenes, as well as the most poetic 
 and picturesque that can be imagined. 
 
 The Redentore has some fine paint- 
 ings : the Flagellation, the Ascension, 
 by Tintoretto ; Nostra Signora and some 
 saints; a Descent from the Cross, by 
 Palma ; the Baptism of Jesus Christ, by 
 Paolo Veronese. 
 
 In a closet of the sacristy is a small 
 painting by Giovanni Bellini, the Virgin 
 with the Infant Jesus sleeping on her 
 knees between two angels playing on 
 the mandoline, a painting of astonishing 
 grace and expression. Bellini, Titian's 
 master, explains his pupil, as the paint- 
 ings of Perugino in the Cambio of Peru- 
 gia explain Raphael. This church is 
 also indebted to this great primitive 
 painter for the Virgin with St. John 
 and St. Catherine, and an admirable 
 Virgin with the Infant Jesus and two 
 saints. Although the high altar, loaded 
 with ornaments, proves the decline of 
 taste, it is remarkable for its crucifix and 
 two statues of St. Francis and St. Mark, 
 beautifully executed in bronze by Cam- 
 pagna. 
 
 The Redentore, as well as the Salute, 
 is a monument erected after the cessation 
 of a plague : it is difficult to account for 
 so much splendour after such ravages ; 
 that mal qui repand la terreur seems 
 at Venice and Florence to produce the 
 most brilliant wonders of art. The 
 plagues of Venice were caused by its ex- 
 tensive dealings with the East, in the then 
 flourishing slate of its commerce; those 
 were the days of its glory. The other 
 towns of Italy also celebrated the termi- 
 nation of a plague by the erection of 
 temples and chapels; and while our dread- 
 ful cholera obscurely died away in the 
 mendacious bulletins of the police, the 
 men of those times of faith loved to show 
 the evidence of their gratitude towards 
 the Divinity by superb public monu- 
 ments. It ought also to be remarked to 
 the honour of Italian and Christian civi- 
 lisation in the fifteenth and sixteenth 
 centuries, although the princes and great 
 men were so vicious and criminal, that 
 none of the terrible plagues which then 
 desolated Italy excited among the people 
 those outrages and murders arising from 
 fear or stupid credulity, of which our 
 
 great cities in the nineteenth century, 
 with all their improvements and pro- 
 gress, were the theatre when the same 
 cholera afflicted them. 
 
 The church belonging to the hospital 
 of Incurables, attributed to Sansovino, 
 was cleverly constructed for the use (A 
 an establishment intended for the teach- 
 ing of music. St. Ursula and her com- 
 panions is a fine painting by Tintoretto; 
 a Crucifix is supposed to be by Paolo 
 Veronese. The ceiling of the grand 
 chapel is a good fresco by Angelo Ro'ssi ; 
 on the church ceiling is the Parable of 
 the wise virgins, an excellent work by 
 Padovanino ; a Paradise, by S. Peranda 
 and Maffei; and the Parable of the man 
 without a wedding garment, by Cap- 
 puccino. 
 
 The church of Saints Gervase and 
 Protase (San Trovaso) is rich, elegant, 
 and ornamented ; it is like a Greek tem- 
 ple consecrated to the Christian Orestes 
 andPylades. asM, de Chateaubriand has 
 surnamed them. The balustrade of an 
 altar on the left, by an unknown artist, 
 is a very highly finished work : the little 
 angels are full of grace, but badly pla- 
 ced. In the wall on the Gospel side, 
 are two precious antique basso-relievos 
 brought from Ravenna, enchased therein 
 by the architect of the church, Pietro 
 Lombardo, which some have even ven- 
 ture to suppose the work of Praxiteles. 
 An old painting on a gilt ground, by an 
 unknown author, in the manner of the 
 fourteenth century, represents St. Griso- 
 gon on horseback. The Annunciation, 
 the Birth of the Virgin, the Virgin, 
 St. John Baptist, and other saints, are 
 by Palma; St. John and Magdalen, a 
 fine St. Anthony the abbot, the Last 
 Supper by Tintoretto, to whom is also 
 attributed the Christ washing the apos- 
 tles' feet ; the Crucifix with the three 
 Marys is by his nephew Domenico. 
 
 The church of Saint Sebastian, finished 
 in 15i8, from the plans of the clever 
 Venetian architect Scarpagnino, saw 
 the rise and growth of Paolo Veronese's 
 glory. On his return from Rome, he 
 was confined for some juvenile fault in 
 the now almost demolished convent of 
 Saint Sebastian; the superior foresaw 
 his talents and employed the compulsory 
 leisure of the captive. The first perform- 
 ances which attracted notice were the 
 ceilings of the sacristy and church : the 
 latter, the History of Esther and Mor~ 
 
Chap. XVI.] 
 
 VENICE. 
 
 175 
 
 decai, in three compartments, now much 
 injured, excited such admiration that it 
 procured him the most honourable orders 
 from the senate. In order to preserve 
 the work of Paolo Veronese, a decree of 
 the council of Ten forbade those who 
 might copy it to erect scaffolds, and 
 ordered them to work on the ground. 
 The great artist is interred in the church 
 covered with his superb paintings, but 
 which themselves are changed, nay, 
 destroyed. The principal of these chefs - 
 d'eeuvre are : two Martyrdoms of the 
 saint ; the Martyrs Sts. Mark and 
 Marcellin encouraged by St. Sebastian. 
 There are two simple and precise in- 
 scriptions to Paolo Veronese ; one beneath 
 liis bust, the other on his tomb, 1 a mo- 
 nument of the grief of his sons and 
 brother, a family homage justified by the 
 wrecks of the beautiful works before 
 your eyes. The St. Nicholas is of the 
 vigorous and productive old age of Titian, 
 who executed it at the age of eighty-six; 
 Vasari thought this painting life itself: 
 the rochet was light, the gown flowing, 
 but it is nearly destroyed by its barbarous 
 restorers. The Virgin with St. John 
 Baptist and St. Charles, is by Palma ; 
 the Plague o [the serpents, by Tintoretto. 
 The mausoleum of Livius Podacataro, 
 archbishop of Cyprus, a great scholar, 
 and the friend of Bembo, is a work full 
 of simplicity, richness, majesty, and va- 
 riety, by Sansovino. The statue of the 
 Virgin with the Infant Jesus and St. 
 John Baptist, by Tomaso Lombardo, 
 his pupil, is superb ; St. Mark, St. An- 
 thony, and the bust of Marcantonio 
 Grimani, were sculptured by Vittoiia. 
 At the church of Nostra Signora del 
 Carmelitani is a precious painting cf the 
 Presentation of the Infant Jesus to old 
 Simeon, by Tintoretto, in Schiavonc's 
 style, and which Yasari, by mistake, 
 supposed to be by the latter master. 
 Like Bossuet, * Tintoretto was careless, 
 bold, and fiery, but, like him, could be 
 mild and pleasing : the women of this 
 painting are admirable for grace and 
 delicatcness. An Annunciation, the 
 Miracle of the loaves and fishes, the 
 Virgin in a glory, are by Palma ; 
 a Nostra Signora della Pietd, in the 
 
 ' Under the bust Is written : "Paulo Calintio 
 Veronensi piclori, nalurae remulo, arlis miraculo, 
 
 •,u|>erililL'salisfamavicturo;"tlieepilopli is: ''Paulo 
 Caliai'io Yeron. plctoii celebcrrimo lilit, el fienedic. 
 
 good Venetian style, is perhaps by Co- 
 rona ; a superb and imposing painting of 
 St. Liberal, magnanimously causing the 
 deliverance of two men condemned to 
 death, is by Padovanino ; a St. Nicholas 
 surrounded with angels and saints, fan- 
 tastic and original, by Lotto; St. Albert 
 giving the benediction with the cross, 
 St. Theresa, are by Liberi. The marble 
 mausoleum of general Jacopo Foscarini, 
 over the great door, is magnificent. 
 
 The best paintings of Saint Barnabas 
 are : the Saint in pontifical robes sur- 
 rounded by other saints, a fine work by 
 Darius Varottari (the father), Padova- 
 nino's master, which would be sufficient 
 for his glory ; a Holy Family, by Paolo 
 Veronese ; St. James, St. Diego and St. 
 Anthony the abbot, excellent paintings 
 by the elder Palma. 
 
 The church of Saint Pantaleon is 
 adorned with fine paintings and good 
 sculptures : St. Pantaleon healing an 
 infant; St. Bernardin become a knight 
 Hospitaller, are by Paolo Veronese; the 
 latter is of his old age ; the Martyrdom 
 of the saint, one of his miracles, are by 
 Palma; the ceiling of the high altar, and 
 especially that of the church representing 
 the Life of the saint, are vigorous paint- 
 ings by Fumiani, a Venetian artist of the 
 seventeenth century, praised for his com- 
 position and tasteful drawing. In the 
 chapel of Nostra Signora diLoretto, the 
 Croivning of the Virgin is the work of 
 Vivarini, of the year UU. An Adul- 
 terous woman is esteemed the best and 
 most Giorgione-like work of Roch Mar- 
 coni, a good pupil of Bellini, and the 
 finely executed marble altar is of the 
 middle of the fifteenth century. 
 
 The church of the Tolentini is interest- 
 ing with respect to art : the architecture 
 is by Scamozzi ; the grandeur of the front, 
 by Andrea Tirali, an artist of the seven- 
 teenth century, has been impaired by 
 some additions peculiar to the ill taste of 
 that epoch. Among the paintings are : 
 the model of the St. Mark, Tintoretto's 
 chef-d'oeuvre, att he Academy of the Fine 
 Arts; Saint Andrew Avellino, the Ado- 
 ration of the Magi, St. Gaetan sur- 
 rounded by the Virtues, by S. Perand;:, 
 a pupil of Palma, whose poetic style he 
 
 froler plenliss. et sibi, postetique. Deeessil XII 
 Kalearl. Maii MDLXXXVIII." 
 
 1 Sco ante, chap. n. 
 
176 
 
 VENICE. 
 
 [ Book VI. 
 
 has adopted ; two paintings representing 
 certain incidents in thelife of the saint, 
 by Padovanino; a Beheading of John 
 the Baptist, by Bonifazio ; the Virgin 
 in a glory; another on the ceiling; the 
 Redeemer, the Virgin and St. Peter ; 
 St. Apollonia and St. Barbara; the 
 Annunciation, the Visitation, by Pal- 
 ma; St. Lorenzo Giustiniani distri- 
 buting the valuables of the church 
 among the poor; a One work by Cap- 
 puccino, who has also a St. Anthony 
 over the pulpit; the Martyrdom of St. 
 Cecilia, by Procaccini ; an Annuncia- 
 tion, by Luca Giordano. There is one 
 monument singularly curious for its 
 whimsicality, the grand marble mauso- 
 leum ofthe patriarch FrancescoMorosini, 
 by Filippo Parodi, a famous sculptor of 
 the end ofthe seventeenth century, a too 
 highly lauded pupil of Bernini. The 
 figure of Time chained, the naked parts 
 of the skeleton, the ensemble and the 
 details of the composition, have some- 
 thing of frenzy in (hem. 
 
 Saint James dall' Orio has some splen- 
 did paintings : St. Sebastian, St. Roch, 
 and St. Laurence, by Marescalco; the 
 ceiling, the St. Laurence and other 
 saints , by Paolo Veronese ; the Mira- 
 cle of the loaves and fishes; the Christ 
 strengthened by an angel, excellent; the 
 Christ in the sepulchre, the Christ as- 
 cending mount Calvary, the ceiling and 
 ■walls of the sacristy, by Palma; the St. 
 John Baptist preaching, a remarkable 
 painting by Bassano ; the Four Evange- 
 lists, by Padovanino ; the Beautiful 
 Madonna and some saints, by Lorenzo 
 Lotto; a Last Supper, a good work in 
 the style of the older Palma. 
 
 The church of Santa Maria Mater Do- 
 mini, the architecture by the Lombard!, 
 was finished by Sansovino. The statues 
 of St. Peter, St. Paul, and St. Andrew 
 are remarkable; the Finding of the 
 cross, by Tintoretto, is superb; the Last 
 Supper, by the elder I'alma or Boni- 
 fazio, very fine. 
 
 One of the best executed basso-relievos 
 in Venice is over one of the small doors 
 ofthe Fran; it represents the Virgin, 
 the Infant Jesus and two angels; the 
 author of this masterpiece of taste, na- 
 
 1 A subscription was first opened in 1794, and 
 Canova gratuitously presented t tie plan of t lie 
 monument ; the fall of Hie republic prevented t tie 
 execution. This very pluu has since served, yvitu 
 
 ture, and narmony, is unknown; per- 
 haps it is by Nicholas of Pisa or some of 
 his pupils. Amid the multitude of ele- 
 gant, magnificent tombs adorning this 
 superb temple ofthe Frari, an inscrip- 
 tion of two lines on the pavement points 
 out the spot where Titian reposes, but 
 the fact is somewhat uncertain; for if 
 Titian, though a victim of the plague, 
 were buried at the Frari, the senate 
 having excepted his body from being 
 destroyed with the other infected dead 
 (a singular funereal honour done to the 
 remains of this great painter ), the place 
 where he was buried is not positively 
 known, and the inscription is long pos- 
 terior to his death. For more than 
 thirty years past, continual proposals 
 have been made and much anxiety shown 
 for the erection of a monumentto Titian, 
 but hitherto without effect; it seems that 
 the present would be a very seasonable 
 opportunity to realise this desirable ob- 
 ject, since the discovery and resurrection 
 of his masterpiece, the Assumption. 1 
 
 Above the door of the sacristy is the 
 mausoleum of general Benedetto Pesaro, 
 one of the most remarkable of this 
 church : a statue of Mars, by Boccio da 
 Montelupo, coldly executed, is cited for 
 the skill displayed in its sculpture. The 
 monument ofthe Orsini, by an unknown 
 author, of the end of the fifteenth cen- 
 tury, is remarkable for its elegant sim- 
 plicity. A statue of St. Jerome, on the 
 fourth altar, a striking performance, by 
 Vittoria, is said to present the head of 
 Tilian. The majestic choir of the Frari 
 has some beautiful stalls in wood ofthe 
 year 1 J-68, which are a perfect specimen 
 of wainscolting and carving. The St. 
 John Baptist, placed over the holy-water 
 vase, is one ofSansovino's masterpieces; 
 he executed it when more than seventy- 
 five years of age, at the same time as his 
 two colossuses of Mars and Neptune, on 
 the Giant's stairs, to which this little 
 figure is far preferable. Some paintings 
 are remarkable: a Presentation ofthe 
 Virgin in the temple, by Giuseppe Sal- 
 viati; the painting in three compart- 
 ments representing the Virgin and four 
 saints, by Giovanni Bellini ; the same 
 and some saints , St. Mark surrounded 
 
 some trlfiing alterations, for the line mausoleum 
 of the archduchess Maiia Christina; It Is also the 
 model of the monument erected to Canova in Ihis 
 same temple of the Frari. 
 
Chap. XVII. ] 
 
 VENICE. 
 
 177 
 
 by saints, by B. Vivarini ; St. Francis 
 before the pope, by Palma; St. Am- 
 brose on horseback dispersing the 
 Arians, by J. Contarini ; and especially 
 the Virgin, St. Peter, other saints, and 
 some personages of the Pesaro family, 
 a fine work bv Titian, in which some 
 negligences in'lhe drapery are cleverly 
 managed so as togive effect to the figures. 
 The monument sacred to Canova, a 
 huge pyramid of Carrara marble contain- 
 ing his heart, is completed. Never did 
 i talent receive such exceeding homage : 
 England supplied a fourth part of the 
 j expense, amounting to 8000 sequins 
 :, (4080Z.); France and Germany contribut- 
 ;! ed another quarter; America (South, not 
 the industrious and mercantile North) 
 subscribed 40 sequins; Italy, and prin- 
 cipally the Venetian towns, made up the 
 rest; notwithstanding the hyperbole 
 common to monumental inscriptions, 
 the words on this tomb, ex consolatione 
 Europe universce, fall short of the truth; 
 it was really erected at the expense of 
 the whole world. 
 
 CHAPTER XVII. 
 
 Church and confraternity of Saint Roch.— Staircase. 
 —Luxury of tlie confraternities— Saint Paul.— 
 Carmagnola.— Saint John Chrysostom — Saint Sa- 
 viour.— The Saints Sebastian.- Old age of Venetian 
 artists. — Statues of writers or captains.— Saint 
 Moses.— Law.— Venetian Athenaum.— Saint Ste- 
 phen.— Jlorosini. 
 
 The church and confraternity of Saint 
 Roch are other wonders of art due to the 
 plagues of Venice, as we are informed 
 by an inscription placed over the rich 
 and elegant high-altar of the former. 
 The Annunciation, a grand painting of 
 the Probatica piscina, St. Roch in the 
 desert, and other incidents in the Life 
 of St. Roch. in the greatchapel, remark- 
 able paintings, St. Roch before the 
 pope, are by Tintoretto ; a fresco of St. 
 Sebastian, a fine painting in two parts 
 representing St. Martin on horseback, 
 and St. Christopher with the Infant 
 Jesus, by Pordenone, The Eternal Fa- 
 ther in the midst of the angels, a demi- 
 lune, is by Andrea Schiavone. Above it 
 is Titian's famous painting of Christ 
 
 * See the next chapter. 
 • a The character and incident of the Jew Shylock 
 n the Merchant of Venice are borrowed from the 
 irst novel [Mb day) of the Pecorone ; the harsh- 
 
 dragged along by an executioner, which 
 makes a profound impression by the ap- 
 proximation and sublime coutrast of the 
 two countenances. Vasari, though so 
 prejudiced against Titian, avows that 
 this Christ has produced more alms than 
 the author gained in his whole life. A 
 copy in basso-relievo is beside it, in 
 which they have added a beard and 
 mustachios to the executioner, without 
 adding an iota to his formidable appear- 
 ance. Just as in writing, high-sound- 
 ing epithets, instead of strengthening the 
 thought, enervate and weaken it. The 
 statue of St. Roch, over the rich, elegant, 
 and majestic high-altar, is a beautiful 
 work of Maestro Buono, an excellent ar- 
 tist of the fifteenth century, who was 
 also the architect of the grand chapel and 
 two small ones near it. St. Sebastian 
 and St. Pantaleon stand one on each 
 side of St. Roch, two excellent little 
 statues by Giovanni Maria Mosca. 
 
 The establishment of the Venetian 
 confraternities and the splendour of their 
 palaces,' especially of the confraternity of 
 Saint Roch, one of the richest buildings 
 of modern architecture, give a favour- 
 able idea of the old government; as there 
 can be no doubt of the easy circumstances 
 and happiness of a people which spon- 
 taneously erects such monuments at its 
 own cost. The staircase of these mer- 
 chants of Venice, of these Antonios,* a 
 magnificent work completed by Scarpa- 
 gnino, is superior to that of Versailles, 
 and by a singular refinement, a strange 
 excess of sumptuousness and profusion, 
 the steps are sculptured on the under 
 surface as well as the upper. On the 
 landing halfway up the stairs are two 
 paintings, the first Titian's Annuncia- 
 tion, in which the flight of the angel 
 is so light and rapid, and the wings, 
 drapery, and hair extremely fine; the 
 second, Tintoretto's Visitation. One of 
 the first chefs-d'oeuvre of the latter, the 
 immense, original, and sublime Cruci- 
 fixion, is in the room called the Albergo, 
 in which also, over the door, is his por- 
 trait painted by himself, with the com- 
 partments of the ceiling, representing 
 the six great companies of Venice. The 
 upper room is also entirely by him, and 
 the worth of this great painter cannot be 
 
 ness of Shylock, and bis hatred of the Christians, are 
 not expressed with less en rgy by Ser Gli vanni of 
 Florence than by the English poet. 
 
478 
 
 VENICE. 
 
 [Book VI. 
 
 appreciated elsewhere than at Venice. 
 Three statues, St. Rock (over the altar 
 of th« lower room); St. John Baptist, 
 and St. Sebastian, are by Campagna. 
 Among the carvings in wood, an art 
 now lost, which decorate this same room, 
 are some by Michael Angelo, who 
 seems to have sculptured all nature, 
 wood, stone, marble, brass, and even 
 snow, as is proved by the ephemeral sta- 
 tues that he executed at the command of 
 Pictro Medici, the unworthy successor 
 of Lorenzo.' 
 
 The steeple of* Saint Paul has sculp- 
 tured on its base a singular monument 
 of Venetian history, consisting of two 
 lions, one of which is threatened with 
 strangulation, from being entwined in 
 the coils of a serpent, and the other has 
 a man's head in his paws. The perform- 
 ance, below mediocrity with respect to 
 art, is little worthy of the fifteenth cen- 
 tury. Notwithstanding the incredulity 
 of tome well-informed persons, I confess 
 my inclination to discover in these fi- 
 gures an allusion to the conspiracy of 
 Philip Visconto, duke of Milan, whose 
 arms were a snake, and of Count Car- 
 magnola, who was condemned to be de- 
 capitated for that crime. It is not un- 
 reasonable to suppose that the sight of 
 this coarse basso-relievo in the midst of 
 the market of Saint Paul was one of the 
 means employed by the government to 
 excite the people against the conspirators. 
 The doubtful guilt of Count Carmagnola 
 is the subject of Manzoni's tragedy of 
 that name, a bold and distinguished 
 work, ranked by Goethe among the 
 chefs-d'eeuvre of the modern drama, but 
 in my opinion his Adelchi is before it. 
 
 In the church, St. Peter receiving the 
 keys, St. Peter in the midst of the 
 apostles; at the high-altar, the Conver- 
 sion of St. Paul, are by Palma ; the 
 bronze statues ol'St. Anthony the abbot, 
 and St. Paul, by Vitloria; the Assump- 
 tion, the Last Supper, by Tintoretto ; 
 and the Marriage of the Virgin, by 
 Paolo Veronese. 
 
 Saint Sylvester contains the Baptism 
 of Jesus Christ, the Christ in the gar- 
 den, by Tintoretto ; a grand Last Supper, 
 by the elder Palma; the Adoration of 
 the Magi, by Paolo Veronese, and a St. 
 
 ' " Sculpture," remarks M. Qualreniere de Quincy, 
 "was Iheo far from conlining itself to the use of 
 one substance only; it brought under contribution 
 
 Thomas of Canterbury in the midst of 
 several saints, a very fine work of Gero- 
 nimo Santa Croce. 
 
 Saint John the Almoner is of Scarpa 
 gnino's architecture. The chief paint- 
 ings are : the Miracle of the manna, of 
 Corona's early years; the Martyrdom 
 of St. Catherine, Constantine carrying 
 the cross, by Palma; St. Catherine and 
 other saints, by Pordenone ; and Titian v s 
 celebrated St. John giving alms, a 
 masterpiece lost in darkness, behind an 
 enormous tabernacle, which only permits 
 a glimpse of the saint's head. In this 
 manner does Italy uselessly lavish and 
 squander away her finest works without 
 ever seeming impoverished. 
 
 The church of Saint James of Rialto 
 has some fine sculptures : a colossal St. 
 Anthony abbot in bronze, by Campagna ; 
 St. James, by Vitloria. 
 
 The Cornaro chapel, a remnant of the 
 old church of the Holy Apostles, is of 
 rich, elegant architecture. Two mau- 
 soleums of the Cornaro family are mag- 
 nificent; the church has a Last Supper, 
 a good work and the only one at Venice 
 by Cesare of Conegliano ; the Miracle of 
 the manna, by Paolo Veronese ; the 
 Guardian angel, by Cappuccino. 
 
 Saint. John Chrysostom, by the archi- 
 tect Tullius Lombardo, has some good 
 works both in painting and sculpture : 
 St. Jerome, St. Charles, and St. Louis, 
 by Giovanni Bellini; St. John Chrysos- 
 tom and other saints, a superb painting 
 by Sebastian del Piombo, that some have 
 even thought by his master Giorgione, 
 who probably assisted him in the inven- 
 tion; St. John Chrysostom; four small 
 paintings, attributed to the Vivarini, 
 and the Apostles in the Ccenaculum, a 
 very fine basso-relievo by Tullius Lom- 
 bardo. 
 
 The church of Saint Saviour encloses 
 many noble tombs : such as the magni- 
 ficent mausoleum of Andrea Dolfini and 
 his wife, reputed to be by Giulio dal 
 Moro, with two busts by Campagna; 
 that of Doge Francesco Venieri, one of 
 Sansovino's chefs-d'oeuvre, and that of 
 Queen Cornaro, which has a basso-relievo 
 representing her in the act of offering 
 her crown to the Venetians, a vast, 
 naked, inscriptionless mausoleum, that 
 
 wood, marble, clay, bronze, and the different me- 
 tals." Journal des Savants, Dec. 18IG 
 
Chap. XVII.] 
 
 VENICE. 
 
 seems to speak of abdication. On one of 
 the altars erected by Vittoria, are two of 
 his statues, St. Roch and St. Sebastian ; 
 the last very natural and graceful. By- 
 the-by, I have been often singularly 
 struck on calling to mind the multitude 
 of Saints Sebastian that 1 saw in Italy, 
 and with the merit and beauty of the 
 greater number. It is probable that the 
 contrast of the immobility and suffering 
 of the body, with the ardour and sublime 
 enthusiasm of the soul and its heavenly 
 hope, is one of the most touching and 
 poetical subjects that art can offer to the 
 eye. Bernini himself could not escape 
 its pathos, and his St. Sebastian, in the 
 catacombs at Rome, is a very fine work. 
 Despite its fatal retouching, the Annun- 
 ciation shows the variety of Titian's ta- 
 <ent : the angel stooping, with his arms 
 crossed on his breast, differs totally from 
 the aerial and almost haughty angel of 
 St. Roch ; the work of the artist's old age 
 being regarded by his enemies as beneath 
 him and attributed to another, in his 
 indignation he has written the word 
 fecit twice over after his name. The 
 Transfiguration, energetic and full of 
 imagination, is also of Titian's old age; 
 he painted it rapidly, and it is evident 
 that only his sight was weakened. He 
 executed" the famous Last Supper of the 
 Escurial between the age of eighty and 
 eighty-seven : one would say his "talent 
 had neither slackness nor decrepitude. 
 Sansovino was also an octogenarian when 
 he sculptured with his own hand the 
 two beautiful statues placed one on each 
 side of Francesco Venieri's monument. 
 The great artists of Venice, like her 
 first captains, Bandolo, who took Con- 
 stantinople, and Carlo Zeno, whodeliver- 
 ed Cyprus, both at eighty years of age, 
 seem to have vanquished lime, and Saint 
 Saviour is, as it were, the theatre of this 
 prodigious triumph. The celebrated 
 organ of this church is the first to which 
 a chromatic fingerboard was adopted, 
 an important progress of modern music, 
 due to Italy. 
 
 On the front of the church of Saint 
 Julian, the architecture of which is by 
 Sansovino and Vittoria, is a much es- 
 
 1 Ilangone bad composed, for Pope Julius ill., 
 a whimsical treatise on the means of living to more 
 loan one hundred and twenty years, from which 
 circumstance it came to be reported that be died at 
 
 that age. 
 
 teemed bronze statue by Sansovino ; it re- 
 presents the celebrated physician Thomas 
 Rangona of Ravenna, surnamed the phi- 
 lologue, for his erudition ; he settled at 
 Venice, and died there when above 
 eighty,' after devoting a part of his im- 
 mense wealth to the judicious recon- 
 struction of the church. The monu- 
 ments of Venice, like those of Florence, 
 are chiefly sacred to writers and military 
 chiefs; it is evident that the glorious days 
 of these republics were an era of war 
 and literature : this population of statues 
 is composed of neither emperors nor 
 kings, as at Rome or in the great states 
 of modern times; they are all persons 
 ennobled by their own deeds, and made 
 famous by their books or their battles. 
 The life of literary men of that age, often 
 unsettled and necessitous, is not without 
 a species of honour, importance, and 
 lustre, which they no longer possess amid 
 the popularity, ease, and prosperity they 
 now enjoy. 
 
 Saint Julian has many paintings by 
 Palma : the Assumption of the Virgin, 
 St. John the Evangelist arid other 
 saints, Jesus Christ in the garden, the 
 Apotheosis of the saint; Jesus Christ 
 strengthened by the angels, a Last 
 Supper, are by Paolo Veronese ; several 
 statues, basso-relievos, and excellent or- 
 naments by Vittoria. A marble group 
 of the Dead Christ supported by angels, 
 by Campagna, has a soft natural expres- 
 sion, and is beautifully executed. 
 
 The churches of Venice unite the ex- 
 tremes of good and bad taste in architec- 
 ture. The chasteness of the Redentore 
 is a most perfect contrast with the exces- 
 sive refinement of the front of Saint 
 Closes. The paintings are : the Virgin 
 with the Infant Jesus, and Christ wash- 
 ing the apostles' feet, by Tintoretto; the 
 Invention of the cross, by Liberi; the 
 Last Supper, by Palma. At the entrance 
 of the church a small stone points out the 
 place where Law is interred; his body 
 was transported thither from Saint Ge- 
 minian, in 1808, by a brave and loyal 
 French general, his great nephew, born 
 in India, who then commanded at Ve- 
 nice, 2 a circumstance that seems to add 
 
 a General Law de Laurlston, afterwards a peer, 
 minister, and marshal of Trance. 
 
180 
 
 VENICE. 
 
 [Book VI. 
 
 to the adventurous destiny of the Scottish 
 minister. Montesquieu met with Law 
 at Venice. " He was," says he, " the same 
 man ; his mind always occupied with 
 schemes, and his head full of calculations 
 and values real or representative. He 
 played often, and tolerably high, though 
 his fortune was very small." It is a pity 
 that we have no other guarantee for the 
 following anecdote and high eulogium it 
 passes on our parliaments, than d'Alem- 
 bert and his copiers. Montesquieu hav- 
 ing asked Law why he did not attempt 
 to corrupt the parliament of Paris, as the 
 English minister had that of London : 
 " That's a very different case," replied 
 Law; " the English senate m.skes liberty 
 consist in doing what it pleases ; the 
 French in doing its duty : interest may, 
 therefore, induce the one to wish what 
 it ought not to do; but it is seldom that 
 it impels the other to do what it ought 
 not to wish." One of the advantages cf 
 publicity and constitutional government 
 is that of rendering impossible the return 
 of the system and the vast changes of 
 fortune that it produced. 
 
 The elegant and simple church of Saint 
 Fanlin is of the Lombardi school; the 
 choir by Sansovino. The paintings are : 
 the Dead Christ, by Palma ; a Virgin 
 with the Infant Jesus, by Giovanni 
 Bellini ; the Crucifixion, reckoned one of 
 Corona's be'st works. 
 
 The ancient Confraternity of Saint 
 Jerome is converted into the Venetian 
 Athenseum, a literary society distinguish- 
 ed by the science and labours of its 
 members. ThisediGce, built by Vittoria, 
 offers some beautiful and curious works: 
 Apollonius and Nicholas Massa, busts 
 by Vittoria ; on the first floor, the ceiling 
 in thirteen compartments, painted by 
 Palma, as also the eight compartments 
 of the ceiling on the second floor, repre- 
 senting divers incidents in the life of Saint 
 Jerome, beginning with his election as 
 cardinal. St. Jerome receiving the of- 
 ferings is by Tintoretto ; the Triumph 
 of the Virgin, by Palma; with the por- 
 traits of the author, Titian, and other 
 famous artists. 
 
 The high altar of Saint Stephen, the 
 chandeliers and statues that adorn it, are 
 magnificent; the small statue of Charity, 
 over the holy-water vase, by Giovanni 
 Maria Mosca, is of extraordinary ele- 
 gance; the statues of St. Jerome and St. 
 Paul are by Pietro Lombardo; a bronze 
 
 basso-relievo, the Virgin and Infant 
 Jesus, and some figures, by an unknown 
 author, is very fine ; the mausoleum of 
 the physician Jacopo Luriani, a work of 
 theshteenth century, isof excellent taste; 
 the two small chandeliers of the grand 
 chapel (especially that of the year 1577) 
 are of the best "in Venice. But I was 
 still more struck with the tomb of Moro- 
 sini, a large stone placed in the centre 
 of the church, embellished with simple 
 bronze ornaments, presenting the ducal 
 cap and the trophies of his victories over 
 the Ottomans, with this inscription alone : 
 Francisci Mauroceni Peloponesiaci Ve- 
 netiarum Principis ossa, 169i. Not- 
 withstanding the victories of this great 
 captain and his death from fatigue and 
 exhaustion at Napoli di Romania, like 
 Lord Byron, I could not forget that he 
 blew up the Parthenon, and my profane 
 regret was for the Greek temple and the 
 statue of Minerva. 
 
 At the church of Saint Vidal, the 
 Saint on horseback is a superb work by 
 Carpaccio. 
 
 Santa Maria Zobenigo with its pre- 
 posterous front, another monument of 
 that Venetian bad taste already alluded 
 to, which came after the good, and, as 
 usual, was worse than the bad taste pre- 
 ceding it; this church has a Visitation, 
 by Palma ; the busts ofGiulio and Giiisti- 
 niani Contarini, by Vittoria ; the Saviour, 
 the Conversion of St. Paul, by Tinto- 
 retto; four small paintings by Vivarini ; 
 a Last Supper, by Giulio dal Moro, who 
 also sculptured the statue of the Redeemer 
 in the sacristy. 
 
 CHAPTER XVIII. 
 
 Santa Maria Formosa.— Venetian marriages.— Fes- 
 tival delle Marie— Santa Maria dei Miracoli.— 
 Saint John and Pau!.— Tombs of Venice.— Bra- 
 gadino.— Vcndramini and Valieri mausoleums.— 
 '1 Mian's Martyrdom of Saint Peter. --Ancient li- 
 brary of Saint John and Paul.— Colleoni monu- 
 ment.— Confraternity of Saint Mark; -of Mercy.— 
 Santa Maria dell' Orto. — Marietta. 
 
 The first Venetians, like the Romans, 
 attached great political importance to the 
 married state. Every year, on the least 
 of the Purification, nearly all the mar- 
 riages of the city were celebrated together 
 in the same church, that on the small is- 
 land of Olivolo, now Santa Maria For- 
 mosa. When the constitution was set- 
 tled, the dogeship instituted, and po- 
 

 Chap. XVIII.] 
 
 VENICE. 
 
 pulation and wealth had increased, it 
 was decreed that twelve young maidens, 
 selected from the most virtuous and 
 beautiful, should be portioned at the 
 public expense and conducted to the 
 altar by the doge in his state robes and 
 followed by his retinue; the government 
 carried their delicate attentions so far as 
 to adorn them with gold, pearls, and 
 diamonds, that the self-love of these 
 rosUres might not be wounded by the 
 rich attire of the brides; but after the 
 ceremony they laid aside this bor- 
 rowed splendour and retained only the 
 portion. 
 
 A catastrophe that happened in Qil 
 gave still greater solemnity to this 
 fiete in after years. During the pre- 
 vious night, certain pirates of Trieste 
 succeeded in placing an ambuscade un- 
 perceived behind the island of Olivolo, 
 and in (he morning, hastily crossing 
 the canal, they leaped ashore sword in 
 hand, rushed into the church at the 
 moment of the nuptial benediction, 
 seized the intended brides in their bril- 
 liant dresses and carrying their arcellas, 1 
 dragged Ihem to the boats, leaped on 
 board with them, and fled with all speed. 
 This rape, however, did not turn out 
 like that of the Sabines, and the piratical 
 Romulus of the Adriatic had not the 
 same success as the founder of the Eternal 
 City. The ravishers being pursued to the 
 lagoons of Caorlo by the Venetian bride- 
 grooms with the doge at their head, were 
 attacked while in the act of sharing the 
 women and the booty, totally defeated, 
 and all thrown into the sea. The small 
 port on the coast of Friuli where this 
 action was fought immediately took the 
 name of Porto delle Donzelle (port of 
 the Maids) which it still retains. The 
 f^te delle Marie, - to which the return 
 
 1 Tlie portion of each bride, which she carried 
 » ilh her in a small box called arcella. 
 
 - The origin of the name delle Marie is un- 
 known : it may probably be derived, as Siguora 
 ', Siichiel conjectures, from the greater part of girls 
 carried away being called Maria, a name still very 
 common in Venice, but more so formerly ; or, in- 
 deed, from their deliverance taking place on the 
 day of the Purification of the Virgin and being ce- 
 lebrated at Santa Maria Formosa. 
 
 3 The origin of these presents is an interesting 
 incident of the middle ages : when the affianced 
 lamsels were carried off. the corporation of ca- 
 iQllari (carpenters), who formed the principal po- 
 
 of the betrothed and their eventful mar- 
 riage gave rise, was celebrated annually 
 at Santa Maria Formosa until the latter 
 days of the republic, but the weddings 
 were discontinued : the doge merely went 
 to the church accompanied by the nobles : 
 the priest met them and presented them 
 in the name of his parishioners, with 
 gilded :-traw hats, flasks of malmsey, and 
 oranges. 3 
 
 The twelve cuirasses of gold mount- 
 ed with pearls, formerly worn by the 
 dowered brides, are no longer in exis- 
 tence ; they were sold in 1797, to meet 
 the urgent necessities of that epoch ; the 
 pearls, carefully preserved in the treasury 
 during the French administration, have 
 since defrayed the expenses attendant on 
 the repairs and conservation of Saint 
 Mark. With these jewels disappeared 
 the last traces of the national and poe- 
 tic fe^te delle Marie, which, as well 
 as the event that gave rise to it, would 
 have been a subject worthy of the pencil 
 of the great Venetian masters; such 
 a painting would be very properly pla- 
 ced at Santa Maria Formosa, and I 
 should have preferred finding it there 
 instead of the St. Barbara, though a 
 very fine work, and the chef-d'oeuvre of 
 the elder Palma. The saint is the por- 
 trait of his daughter Violante, whom Ti- 
 tian passionately loved, and whose like- 
 ness he inserted in many of his works, 
 where it is known by the appellation of 
 Titian's mistress. 
 
 The Virgin dei Setti dolori is also 
 by Palma : and he supplied the designs 
 of the Mosaics on one of the chapel 
 ceilings. 
 
 Santa Maria dei Miracoli is truly 
 worthy of its name for the purity, ele- 
 gance, and grace of its architecture, by 
 Pietro Lombardo, and its charming 
 
 pulation of the parish of Santa Maria Formosa, 
 having furnished the greatest number of boats, and 
 especially contributed to the success of the pursuit, 
 these brave men were offered any recompense they 
 might desire. They only solicited the honour of 
 receiving the dogeintheirparish churchou the day 
 of the festival just instituted. The doge, struck at 
 such disinterestedness, and wishing to afford them 
 an opportunity of asking more, pretended to raiso 
 some difficulties with respect to the possibility of 
 his visit, and said to them : — " If it should rain?" 
 — " We will give you hats to shelter you."—" And if 
 I were thirsty ? "— " We would give you something 
 to drink." 
 
 16 
 
182 
 
 VENICE. 
 
 Bouk VI. 
 
 arabesques. The marble statue of the 
 Virgin, over the principal door, seem* 
 scarcely worthy of the clever Venetian 
 sculptor of the fifteenth century to whom 
 it is attributed, who adopted the antique 
 name of Pyrgoteles, a celebrated artist 
 ol Alexander's time. It appears from 
 Morelli's researches, that Pyrgoteles was 
 of Greek extraction, and of the Lascari 
 family of Venice. In the church are the 
 statues of St. Clair and St- Francis, 
 by Gampagna. 
 
 Saint John and Paul is one of the vast 
 basilics of the middle ages, with win- 
 dows, at once brilliant and sombre, a 
 national monument full of the magnifi- 
 cent mausoleums of doges, generals, and 
 great men of Venice, and the Saint 
 Denis of a republican aristocracy. The 
 immense size of these tombs almost 
 startles one; it seems almost presumption 
 for man to occupy so much space in the 
 house of the Lord. The rival vanities 
 of the patrician families explain the ex- 
 travagance of such sepulchres, which is 
 not, however, the useless profusion of 
 the world of fashion, but has power- 
 fully promoted the developement and 
 splendour of art. 
 
 The Mocenigo family, which has given 
 as many as seven doges to the republic, 
 three of whom repose in Saint John and 
 Paul, stands in the highest rank of these 
 illustrious patricians. 
 
 The mausoleums of the doges Pietro 
 and Giovanni are among the best works 
 of Pietro Lombardo and his sons ; Gio- 
 vanni Mocenigo's has some statues, 
 which from their grace and majesty 
 seem imitations of the antique. One 
 of the tombs in this church, that of 
 Marcantonio Bragadino, who was flayed 
 alive by the Turks, after his glorious de- 
 fence of Famagosta, contains only his 
 skin, which was purchased by his fa- 
 mily of ttie vile pacha, his murderer 
 rather than conqueror. 1 The end of 
 Bragadino, like that of many other Ve- 
 netian generals who fell into the power 
 of the infidels, seems a kind of martyr- 
 dom ; it is deeply moving to contemplate 
 the martial relic of the Venetian hero, 
 the inscription showing his horrible fate. 
 
 • The defence ol' Famagosta cost the Turks fifty 
 thousand men (more than seventy-fire thousand, 
 according to the abbe Mariti. in his Voyage to 
 
 Among many superb mausoleums col- 
 lected in Saint John and Paul since the 
 destruction of several churches, that of 
 Doge Andrea Vendramini, a work of the 
 Leopardi school, stands pre-eminent; it 
 is the finest in Venice and one of the 
 most considerable structures of its kind. 
 The election of Andrea Vendramini to 
 the dogeship was a species of revolution •• 
 Vendramini was a new man ; he was Ihe 
 descendant of a banker elevated to Ihe 
 patriciate, after the war of Chiozza 
 in 1381, as one of Ihe thirty citizens 
 who had shown the greatest devotion 
 to the republic when surrounded with 
 dangers : as Daru rightly says, this is Ihe 
 purest source from which nobility can 
 descend. 
 
 The grand mausoleum of Valiero by 
 Longhena, exhibits, by its tasteless splen- 
 dour, a perfect contrast with the Ven- 
 dramini mausoleum; the doge's caps are 
 profusely scattered about it, and oddly 
 surmount the two escutcheons; this aris- 
 tocratic cap (corno ducale) bears how- 
 ever a pretty close resemblance to the cap 
 of liberty on a man's head. 
 
 Another remarkable mausoleum is 
 that of Alviso Micheli, a celebrated 
 orator, who died in 1589 while ad- 
 dressing the senate, as the inscription 
 states. 
 
 The painting at Saint John and Paul 
 is not inferior to the statuary. The Vir- 
 gin, the Infant Jesus and saints was 
 one of Ihe fine works of Giovanni Eel- 
 lini, but it is spoiled, almost destroyed 
 by the restorers. 
 
 The painting in nine compartments 
 representing the Dead Christ, the An- 
 nunciation, St. Christopher, is a fa- 
 mous production of Ludovico or Barto- 
 lommeo Vivarini ; the St. Augustin 
 seated is a good painting by the latter, 
 and his best in oil. Jesus Christ on 
 the Cross, the Magdalen and St. Tho- 
 mas, is in Liberi's first style. St. John 
 the Baptist, the Manna falling from 
 heaven, are by Lazzarini; one of the 
 chapel ceilings in five compartments, 
 the Virgin crowned in Paradise, very 
 fine; the Crucifix and some saints; the 
 Resurrection of Jesus Chust, by Palma; 
 
 Cyprus). See, in Dam's History of Venice, a re- 
 lation of Bragadino's sufferings, and the perfidy of 
 Mustapha, book xxvii. IV. 
 
HAP. XVIII. ] 
 
 VENICE. 
 
 163 
 
 (he Saviour in the midst of the apostles, 
 excellent, is by Roch Marconi. The 
 great Crucifixion, by Tintoretto, is su- 
 perb ; his Virgin receiving the homage 
 of Venetian senators, is nobly expres- 
 sive. There are also of his another Cru- 
 cifixion and the Virgin giving crowns 
 to Sts. Dominick and Catherine. A 
 Holg Alliance of the princes of that 
 epoch, by his nephew Domenico, a beau- 
 tiful composition, contains Pope Pius V., 
 Philip II., Doge Alviso Mocenigo, and 
 behind, their respective generals Marc- 
 antonio Colonna, John of Austria, and 
 Sebastiano Venicri. The Holy Trinity, 
 the Virgin and some saints, the Pope 
 Honorius III. confirming the Domi- 
 nican order, are distinguished works by 
 Leandro Bassano, who also painted the 
 Virgin and St. Francis, the immense 
 Exhumation of a corpse, and an Annun- 
 ciation. Vittorio Capello kneeling be- 
 fore St. Helen, esteemed, is by Den- 
 tone; St. Dominick calming a tempest, 
 by Padovanino. The sacristy ceiling by 
 Marco Vecellio is very remarkable, and 
 a Nativity by Paolo Veronese. But the 
 masterpiece surpassing all these paint- 
 ings is Titian's Martyrdom of St. Peter 
 the Dominican, a composition full of 
 poetry, expression, and pathos; a scene 
 of murder by a robber, in a lonely 
 wood, but neither ghastly nor bloody ; 
 the trees have even a touch of ideal 
 beauty. The contrast between the terror 
 of Saint Peter's companion, and the 
 heavenly hope which illumines the coun- 
 tenance of the latter, is admirable. In 
 such a work there is a kind of intrinsic 
 power which attains the object of the art 
 without an effort; that is not the kind of 
 painting that may be learned, rather cor- 
 rectand regular than vigorousand grand ; 
 Titian seems to create paintings, while 
 others make them. A decree of the se- 
 nate forbade the Dominicans of Saint 
 John and Paul, under pain of death, to 
 sell this marvellous painting ; its sur- 
 passing excellence justifies and explains 
 such an attack on the rights of property. 
 This painting was among the works of 
 art made booty of by our triumphant 
 armies; at Paris it was transferred from 
 the wood to canvas, and is the greatest 
 operation of this clever new invention, 
 
 ' See ante, cli. xvi. 
 
 i Ilist. litt. dllalie, t. m., 159. The De Viris 
 itlu&tribus was printed In Venire, In 1547, under 
 
 which has in a manner restored Its co- 
 lour and life. 
 
 A mong the other pictures of Saint John 
 and Paul, there is one by Giambatlista dal 
 Moro, which represents St. Mark assist- 
 ing at the maritime levy of Venice with 
 the three inquisitors of state : the Vene- 
 tians made a recruiting officer of Saint 
 Mark, as the conscription law has since 
 become an article of faith in the cate- 
 chism of the Empire and that of Aus- 
 tria. 
 
 At the entrance of the sacristy are the 
 busts of Titian, the elder Palma, and the 
 younger, whose tomb is near. This 
 little bust, over a sacristy door, is the 
 only monument erected to Titian; ' it is 
 due to his pupil the younger Palma, who 
 bad purposed consecrating a magnificent 
 mausoleum to his memory in Saint John 
 and Paul; and is at least fitly placed 
 among the great men of Venice. 
 
 The chapel of the Rosary, notwith- 
 standing its rich ornaments, shows the 
 decline of taste; Voltaire's verses on the 
 chapel of Versailles might, very well be 
 applied to its showy defects and their 
 admirers. The four fine statues placed 
 at the corners of the altar, Sts. Justine 
 and Dominick, by Vittoria; Sts. Rose 
 and Thomas, by Campagna, form a real 
 contrast with the bad style of the sculp- 
 ture of the succeeding age. 
 
 There has been no library at Saint 
 John and Paul since the suppression of 
 the monastery ; whoever wishes to see 
 the manuscript of the De Viris illustri- 
 bus by Guglielmo Pastrengo, must go 
 to Saint Mark, where it now is, as Gin- 
 guene" informs us.* The author, a great 
 jurisconsult, and a dear friend of Pe- 
 trarch's, to whom he lent many a ma- 
 nuscript out of his rich library, may be 
 regarded as the father of those innume- 
 rable biographies which have so prodi- 
 giously multiplied since, and, as long as 
 the world and the love of that nothing 
 called fame shall endure, will not cease 
 to appear with their everlasting inevit- 
 able errors. 
 
 The Colleoni monument, on one side of 
 Saint John and Paul, was erected with 
 the money bequeathed for that purpose 
 by that general. The ordering of his 
 own statue does not appear very noble 
 
 (he false title of De originibut rerum. 
 is scarce. 
 
 This book 
 
m 
 
 VENICE. 
 
 [Book VI. 
 
 on the part of such an aide captain, who 
 might have merited it by his talents and 
 services.' The inscription however dis- 
 sembles this origin, as it simply states 
 that the statue was erected ob militare 
 imperium optime gestum. The Corin- 
 thian pedestal of this monument, the 
 work of Leopardo, is the first in exis- 
 tence for the elegance and good taste of 
 the ornaments; the statues of princes are 
 inferior in this point to that of this con- 
 dottiere. It is the work of Andrea da 
 Yerrocchio, a Florentine, one of the first 
 artists of his time, a painter, sculptor, 
 and architect, the master of Perugino 
 and Leonardo Vinci. The history of 
 his statue, related by Vasari, portrays 
 the passion, jealousy, and self-love, the 
 independence and activity of the artists 
 of that epoch : when Verrocchio had 
 finished the horse, he learned that the ex- 
 ecution of the figure was about to be 
 conceded through favour to Vellano of 
 Padua, who was patronised by certain 
 patricians. In his indignation he broke 
 the head and legs of the horse, and pri- 
 vately fled to Florence. The Venetian 
 senate immediately let him know, that 
 if he ever dared to show himself there 
 again, it would be at the peril of his 
 head ; he replied that he would take 
 good care of that, since the Signoria 
 could not replace his head if once cut off, 
 so easily as he could repair that of the 
 horse he had broken. This answer was 
 favourably received, and Verrocchioob- 
 tained permission to return; he recom- 
 menced his work with such ardour that 
 he was seized with an inflammation of 
 the lungs, of which he died, andLeopardo 
 was charged with the clearing and cast- 
 ing of the statue. 
 
 The rich front of the Confraternity of 
 Saint Mark is worth notice : the archi- 
 tecture is by Pietro Lombardo; two 
 lions, divers incidents of the Saint's life, 
 excellent basso-relievos, are by Tullius; 
 and the statues placed above the pedes- 
 tals, the columns and the arch of the great 
 door, by Maestro Bartolommeo, the 
 author of the Delia Carta door in the 
 Ducal palace, are curious and expressive 
 works of the fourteenth century. 
 
 Over the door of the ancient confra- 
 ternity of Mercy, an edifice devoted to 
 
 1 Lord Byron, In the preface lo Faliero, speaks of 
 Hip stalue now In the square of Saini John and 
 Paul as that of a forgotten warrior, without even 
 giving his name; Colleoul, one of the founders of 
 
 the military service, of which Sansovino 
 is the reputed architect, is a grand and 
 noble figure of the Virgin welcoming the 
 faithful, who are praying at her feet, a 
 chef-d'eeuvre of this same Maestro Bar- 
 tolommeo. 
 
 The Jesuit's church is splendid. The 
 principal paintings are : St. Francis 
 Xavier 'preaching, by Liberi; the In- 
 vention of the cross, the Virgin, in- 
 fant Jesus and some saints, the ceiling, 
 by Palma; the Circumcision, the As- 
 sumption, by Tintoretto; the Martyr- 
 dom of St. Laurence, by Titian, returned 
 from Paris, admirable for the triple ef- 
 fect of the light ; the mausoleum of Doge 
 Pascale Cicogna, by Campagna; and over 
 the principal door, that of Giovanni, 
 Priamo, and Andrea Lezze, which is 
 magnificent. 
 
 The old and oft-renovated church of 
 Saint Catherine has some good and cu- 
 rious paintings : the Angel and Tobias, 
 perhaps by Titian, or his clever pupil 
 Santo Zago ; the six paintings of the 
 grand chapel by Tintoretto ; the Espou- 
 sals of St. Catherine, a charming work 
 by Paolo Veronese ; the Virgin in 
 childbed, in the first manner of the Ve- 
 netian school ; the. Miracle wrought by 
 St. Anthony on a miser ; the Body of 
 the saint being carried to heaven, the 
 Saint before the Virgin, by Palma. 
 
 In the church of the Abbazia are : a 
 St. Christina crowned, St. Peter and 
 St. Paul, by Damiano Mazza, a great 
 pupil of Titian's, who died in the flower 
 of his age; his works are energetic and 
 brilliant, but not very numerous; the 
 Angel Raphael, Tobias, St. James, St. 
 Nicholas, anexcellent painting by Cone- 
 gliano. 
 
 The spacious old church of Santa Ma- 
 riadelV Orto is now almost in ruins; ihe 
 grass begins to grow on the pavement, 
 the damp has effaced the paintings, the 
 ceiling is destroyed; to add to all these 
 disasters, in 1828, the steeple, an elegant 
 construction of the fifteenth century in 
 the Oriental style, was struck by light- 
 ning, and broke down the roof in its fall. 
 But what grandeur and magnificence 
 survive amid these ravages ! Over the 
 middle door is an enormous block of 
 porphyry; in a corner of the church, 
 
 the art of war In Europe, did not merit either the 
 pool's neglect or contempt. See booh v. cb. i. and 
 above, eh. It. 
 
Chap. XIX. 
 
 VENICE. 
 
 there hangs against the wall, without a 
 frame, the celebrated Presentation of 
 the Virgin, one of Tintoretto's principal 
 chefs-d'oeuvre : two immense paintings 
 of his youth, the Prodigies that will 
 precede the last Judgment, and the 
 Worshipping of the golden calf, cover 
 the sidewalls of the grand chapel, works 
 distinguished by force, fire, and daring, 
 though the first has been severely criti- 
 cised by Vasari for exaggeration and 
 picturesque extravagances. Beside this 
 powerful painting, the wings of the 
 angels in St. Peter contemplating the 
 cross arc admirable for lightness and 
 transparency: and the St. Agnes rais- 
 ing the son of Sempronius the Roman 
 prefect, another excellent painting by 
 the same great master, which has been 
 taken from our Gallery of the Louvre to 
 be reinstalled in these ruins. It is in 
 the chapel of the ancient and illustrious 
 family of the Contarini, beside the busts 
 of several of these noble personages; 
 thus we find in this secluded church 
 and almost under its wreck, signal ves- 
 tiges of artistic glory and of the by-gone 
 splendour of Venice. 
 
 I regretted not finding at Santa Maria 
 dell' Orto any traces of the tombs of Tin- 
 toretto and his daughter and pupil Ma- 
 rietta Robusti, whom he had the misfor- 
 tune to lose at an early age. Marietta 
 was a great portrait painter, and more- 
 over remarkable for her personal attrac- 
 tions and her accomplishments in music 
 and singing, which she owed to the les- 
 sons of the Neapolitan Giulio Zacchino, 
 the Cimarosa of bis time. Marielta was' 
 invited to the courts of Philip II, the em- 
 peror Maximilian, and the archduke 
 Ferdinand, but her father could never 
 consent to part with a daughter whom 
 he idolized; he married her to a Venetian 
 jeweller, a sensible disinterested man, 
 who preferred his wife's painting the 
 portraits of his fellow-tradesmen and 
 friends rather than of the rich and great. 
 The death of Marietta was a public 
 loss at Yenice, and Tintoretto wished 
 her to repose at Santa Maria dell' Orto 
 amid his own chefs-d'oeuvre, which he 
 seemed in a manner to consecrate to her 
 memory. 
 
 Beside the grand and beautiful works 
 of Tintoretto, there are also many re- 
 markable paintings : the Saint John 
 Baptist and some saints, by Cone- 
 gliano, which it is not easy to quit, in spite 
 
 of some harshness, so much truth is there 
 in the attitude of the heads, the colour- 
 ing, and the perspective ; St. Vincent, 
 St. Helen and other saints, by the elder 
 Palma, very much damaged ; and the 
 Virgin with the Infant Jesus, a va- 
 luable painting by Giovanni Bellini. 
 
 At the church of Saint Martial are : 
 the Saint wilhother saints by Tintoretto; 
 and Titian s celebrated painting of To- 
 bias guided by the angel, the first work 
 really worthy of him, which he did when 
 about thirty ; for his talent, which was, 
 as we have seen, to endure for so long a 
 period, does not seem, like that of many 
 great masters, to have been very preco- 
 cious. Some writers fancied the figure 
 in the back ground praying in a wood to 
 be John the Baptist, and they did not 
 fail to animadvert on the anachronism; 
 the abbe Moschini, like a zealous Vene- 
 tian, defended his compatriot, and recog- 
 nised therein young Tobias's father. 
 
 The church of Saint Felix, in the style 
 of the Lombardi, with gales elegantly 
 adorned with marble ornaments, has the 
 St. Demetrius, by Tintoretto; the Sa- 
 viour, St. Felix, and some portraits, 
 by Passignano.and two allegorical statues 
 of Giulio dal Moro. 
 
 CHAPTER XIX. 
 
 Archives.— Council of Ten. — Inquisitors of State.— 
 Autograph consultations by Fra Paolo. — Statistics 
 originated at Venice.— Yillelaid's correspondence. 
 
 Amid the partial destruction of Yenice, 
 asylums have been opened for its various 
 monuments: such was the Academy of 
 Fine Arts for a great number of its paint- 
 ings, the archives, which are established 
 in the old convent of the Frari and ap- 
 parently confided to very good hands for 
 classification, will also be a refuge for 
 the deeds and documents of its history. 
 These archives, consisting of eight mil- 
 lions six hundred sixty-four thousand 
 seven hundred and nine volumes or port- 
 folios, distributed into two hundred and 
 ninety-eight rooms and corridors, may 
 be regarded as the most voluminous hi 
 the world, and are assuredly one of the 
 most enormous piles of written paper 
 which have been hitherto collected. 
 
 A part of the archives of the Council of 
 Ten was consumed in the fire of 1508 ; 
 copies of the judgments exist, but the 1 
 depositions were joined to the originals 
 
 16. 
 
VENICE. 
 
 [Book VI. 
 
 only. I remarked a sentence of 1419, 
 pronounced against four Minorite monks 
 who had run naked through Venice, 
 followed by ihe populace ; they were 
 merely requested to be more modest for 
 the future. The fragments of the ar- 
 chives of the Inquisitors of state are very 
 few in number. One part was destroyed 
 long since through state policy, another 
 when the republic fell ; the rest nearly 
 all disappeared in the confusion ; this 
 section of the archives has now a nominal 
 rather than an actual existence. 
 
 The duty on salt, a subject so warmly 
 discussed by economists, was appro- 
 priated at Venice to the payment of ar- 
 tists. In this part of the archives might 
 be found some curious particulars respect- 
 ing the price of the chefs-d'oeuvre of the 
 great Venetian masters. To prosecute 
 this kind of research is not now very easy, 
 and it is necessary to procure a previous 
 permission from Vienna. 
 
 The autograph registers of Fra Paolo's 
 consultations as theologian of the com- 
 monwealth, have but few erasures. This 
 monk displays an almost parliamentary 
 tact in his discussions with the court of 
 Rome. But Fra Paolo, notwithstanding 
 his information and piety, did not escape 
 the spirit of the age in which he lived, 
 and his policy sometimes too closely re- 
 sembles (hat of Machiavel.' 
 
 The science of statistics appears to have 
 originated in Venice, and at an early pe- 
 riod. The speech of Doge Tomaso Moce- 
 nigo on the situation of the republic, 
 pronounced in 14'20, during the war with 
 the duke of Milan, is regarded as a model 
 by a very able modern writer on statis- 
 tics, S. Quadri, of Venice. The expo- 
 sitions of the situation of the Empire 
 under Napoleon were a good custom 
 which might be advantageously conti- 
 nued. A passage of the historian Sanuto, 
 quoted by Daru, proves that there existed 
 at Venice from the year 1425 a kind of 
 
 1 In particular, remarks Daru, when be says in 
 his book entitled Opinione in qual modo debba 
 governarsi la republica veneziana, "that poison 
 ougnt lo do the hangman's duly." hist, of 
 Venice, xxix. 14. 
 
 1 Sloria delta stalislica, e prospello statislico 
 delleProvincie Venete. Venice, I824H826, two vol. 
 
 3 See the Histories of Daru and Delta, where this 
 loiter is inserted verbatim. Vl.'lelard, a cousin of 
 the ancient senator of that name, has composed 
 several tragedies since his fatal mission, among 
 which Is one entitled Constant/ n et la primitive 
 
 domesday-book, and that the invention 
 could not be attributed to the Florentines, 
 as Sismondi supposed, who placed it 
 in 1429. I saw in the archives a statis- 
 tical account of the Venetian slate for the 
 year 1780, it was extensive, and the ar- 
 rangement good. It is probable that such 
 works were not as well executed at that 
 epoch in other countries. Thegenius<of 
 statistics is not extinct at Venice; the 
 Statistics of the Venetian Provinces, 
 and the seventy-two synoptical tables ac- 
 companying it, by S. Quadri, are esteem- 
 ed, and S. Adrian Balbi, one of the 
 learned Europeans who have followed 
 this kind of research with most zeal and 
 success, is a Venetian. 
 
 I perused the correspondence of the 
 French secretary of legation, named Vil- 
 letard, who in 1797 was charged with 
 effecting the change of government ; an 
 ingenuous negocialor and sincere friend 
 of liberty, who hoped to serve her cause 
 by his manoeuvres, the candid Villelard 
 said, in one of his despatches to the mu- 
 nicipality of Venice : " The general will 
 never yield on the ■ democratisation , " 
 and it was to him that Bonaparte soon 
 after addressed that terrible letter, an 
 unheard-of compound of egotism, con- 
 tempt, banter, and fury,— the death- 
 warrant of Venice. 3 
 
 CHAPTER XX. 
 
 Arsenal.— Ltous of Athens.— Bucentaur.-Armour 
 of Henry IV.— Emo. 
 
 The arsenal of Venice was one of its 
 tfonders ; 4 and its most glorious and 
 useful monument; the fleets which it 
 constructed, in combatting and repelling 
 the continual invasions of the Turks, 
 preserved the civilisation of Italy and the 
 south' of Europe. His, at this day, only 
 a magnificent testimony of the decline of 
 Venice. How it differs in its solitude 
 
 eglise, on le Fanatisme politique, a very scarce 
 piece, of which, through caprice, only two copies 
 are s-ald lo have been printed. He died at the age 
 of Hfty-flve on Ihe "lb July, 1825, at Charenton : 
 during his whole life he had only passed from one 
 kind of madness to another. 
 
 4 Begun iu 4304. Andrea of Pisa was not the 
 sole architect, as Is afllrmed In Ihe Enriictopidie, 
 I. I. p. 'i'i ; he at most but participated in it, as is 
 proved by ihe learned authors nclte fahbricche pin 
 cospicue di Tenexia, 
 
Chap. XX. 
 
 VENICE. 
 
 181 
 
 from that arsenal so admirably painted 
 by Dante, who in his description has in- 
 troduced the naval technicalities and 
 rendered them harmonious, poetic, and 
 imitative ; so great were the descriptive 
 powers of this prodigious genius ! 
 
 Quale nell' Arzaua tie' Veneziani 
 Bolle 1' inverno la tenaoe pece 
 A rimpalmar li legni lor non sani 
 
 Che navicar non ponno ; e 'n qnella vece, 
 Chi fa suo legno nuoro, e chi ristoppa 
 Le cosle a quel che piu viaggi fece; 
 
 Chi ribattc da proda, e chi da poppa, 
 Allri fa rami, ed altri yolge sarte, 
 Chi Serzeruolo ed arlimon rintoppa. 
 
 ThG population of the arsenal, which 
 was once sixteen thousand workmen, did 
 not amount in the seventeenth century, 
 as appears from the voyage of the prince 
 of Tuscany, afterwards Cosmo III., to 
 more than Ihree thousand ; and towards 
 the end of the republic but two thousand 
 five hundred, reinforced on extraordi- 
 nary occasions by the artisans and fac- 
 chini of the town. 
 
 At the entry are the two colossal marble 
 lions, brought from Athens by Morosini; 
 they are of Greek workmanship, praised 
 by the learned, who cannot however de- 
 termine Iheir epoch. One of the lions 
 is in a rampant posture, and has two 
 serpentine inscriptions on his mane, ap- 
 parently Runic, which, according to the 
 Cav. Mustoxidi, were placed by the Va- 
 ranghi, a mixture of the northern tri- 
 bes, who, about the tenth century, 
 formed the guard of the Byzantian em- 
 perors. 
 
 The statue of St. Justina, by Cam- 
 pagna, is over (he superb gate, a kind of 
 triumphal arch ornamented with sculp- 
 ture by some pupils of Sansovino Above 
 the interior gate of the vestibule is a 
 small statue of the Virgin by this great 
 artist. 
 
 Many different mementos of Venice 
 arc to be found in the arsenal : there 
 is the pretended leathern helmet of 
 Attila, and the sort of clumsy harness 
 for his horse ; the veritable helmets of 
 
 1 Neither of the two swords of Henry IV. which 
 ire in the cabinet of medals of the royal library 
 ;an bo this sword; they were deposited there8/Zo- 
 re"al, yearV (April 25, 1797), and the entry of the 
 French into Venice was on the 16th of May in the 
 
 Venetian crusaders, the companions of 
 Dandolo; the arms, and flowing stan- 
 dards of brilliant colour, taken from 
 the Turks at the battle of LepantO; 
 and some frightful instruments of tor- 
 ture employed by the Inquisition. In 
 one of the rooms was a small unfi- 
 nished model of the Bucentaur, a kind 
 of cabinet curiosity, exposed to the dust, 
 or destined to be placed under glass, 
 which was never intended to ride pom- 
 pously on the sea covered with flowers 
 like a recent bride, amid the roar of 
 cannon, the flourishing of music, and 
 the hymeneal hymn of the Adriatic, an 
 ancient Venetian song, which ended in 
 being understood by no one, though its 
 fantastical sounds were religiously pre- 
 served. It is thus that the superstitious 
 patriotism of Rome respected the verses 
 of the Salians, which in the days of Ho- 
 race had become unintelligible. In spite 
 of its ornaments and gilding, the Bucen- 
 taur was but an indifferent vessel, since 
 it had never witnessed a storm; and the 
 commander of the arsenal, who was by 
 right of office its captain, swore that the 
 waves should be calm during the cere- 
 mony of which it was the inert and os- 
 tentatious theatre. 
 
 But there is one monument which to 
 a Frenchman is worth all the monu- 
 ments of Venice, thearmour of Henry IV., 
 given by him to the republic ; the sword 
 unhappily is wanting, that sword, said he 
 in his letter to the senate, which he had 
 carried at the battle of Ivry ; it disap- 
 peared in 1797, at the fall of the republic, 
 when the armour passed from the Ducal 
 palace to the arsenal. Notwithstanding 
 my persevering inquiries among persons 
 the best acquainted with the contempo- 
 rary history of Venice, it was impossible 
 for me to discover any trace of this noble 
 sword. 1 The plain and solid armour 
 of Henry IV. forcibly recalls the beau- 
 tiful verse of the Henriade upon the 
 arms of his soldiers. 
 
 Leur fer et leurs mousquets compasaient leurs 
 parures. 
 
 same year ; they belonged to the ancient garde- 
 meuble de la couronne : the first is a dress sword 
 with cameos ; the other, described as a battle sword, 
 is perhaps in reality but a hunting knife. 
 
188 
 
 VENICE. 
 
 Boor VI, 
 
 Opposite the armour of Henry IV. is 
 the cenotaph erected by the senate of 
 Venice to the high-admiral Angelo Emo, 
 who died at Malta in 1792, one of the 
 fust and best executed works of Ca- 
 nova. i In the midst of the universal de- 
 generacy of Venetian morals, Emo proved 
 himself a citizen. It was he who, after 
 the dispersion of his fleet by a tempest at 
 Eleos, and the loss of two vessels, a dis 
 aster in which Kmo, having fallen inlo 
 the sea, narrowly escaped drowning, came 
 to Ihe senate and said, " Allow my pro- 
 perly to be employed in repairing the 
 losses the republic has just experienced.'' 
 This great man might probably have 
 prevented the ignominy of the last mo- 
 ments of his country ; courage and ho- 
 nour, extinct in the councils of the re- 
 public, still survived in the arsenal ; and, 
 as if the element which first afforded re- 
 fuge to the founders of Venice, was ever 
 to animate, excite, and reinvigorate their 
 descendants, the last of the" Venetians 
 was a sailor. 
 
 CHAPTER XXI. 
 
 Theatres — Saint Benedict. — La Fenice.— S. Peruc- 
 cbinl ;— Bnratti.— Carnival. 
 
 The theatres of Venice are neither des- 
 titute of charms nor splendour. I saw 
 represented, in 1828, at the old St. Be- 
 nedict theatre, a national and very lively 
 comedy of the advocate Sografi, le Donne 
 avvocate. A young man paid his ad- 
 dresses to three Italian girls, and pro- 
 mised to marry them : in order to support 
 their claims, they went before the judge ; 
 the Venetian gained the cause, and es- 
 poused her lover, after having pleaded 
 with eloquence and in the Venetian dia- 
 
 1 Canova, always disinterested when there was 
 question of patriotic monuments, put do price on 
 his work. The senate decreed him an annuity of 
 one hundred ducats ; besides which he received a 
 gold medal of the value of one hundred sequins, 
 presenting the mausoleum of Emo, and on the re- 
 verse an inscription very honourable to the artist. 
 The payment of the pension having experienced 
 some interruption in 1797, at the fall of the republic, 
 Bonaparte, who was by chance informed of it, w rote 
 
 lect. The piece was played with spirit 
 and to nature. 
 
 La Fenice is one or the first theatres 
 of Italy and the largest; it holds about 
 three thousand persons. By means of a 
 drawbridge thrown over an adjoining 
 court, the scene can be considerably 
 lengthened, and on certain occasions a 
 jet d'euu shoots up, raising its crest to 
 the ceiling. I have not been present at 
 this kind of prodigy, which must be more 
 fantastic than effective. La Fenice, burnt 
 down in 1836, is already tastefully rebuilt. 
 Of the four grand operas which are re- 
 presented here during the theatrical sea- 
 son ( from the 26lh of December to the 
 20th of March ), two are generally new 
 and composed by Ihe best masters. Ope- 
 ras are occasionally performed in the 
 spring and in autumn, and our most 
 celebrated dancers have appeared upon 
 this stage. It was at La Fenice that 
 S. Locatelli made the first essays of his 
 astro-lamp, and there this theatrical lu- 
 minary arose for the first lime. The 
 experiment tried since at our Grand 
 Opira obtained some credit for the in- 
 ventor, but it is probable that this mode 
 of lighting will never be practised there. 
 The new system throws a brighter light 
 upon the scenery and the decorations, 
 but leaves the audience in comparative 
 darkness : the worthy S. Locatelli, ac- 
 customed to the negligence, the freedom 
 the absence of vanity in Italian women, 
 did not doubt in his own mind that the 
 ladies of Paris would resign themselves 
 to the obscurity into which he plunged 
 their beauty and their attire. 
 
 It is impossible to speak of the music 
 of Venice wilhout recalling to mind the 
 Venetian airs of Perucchini, so lively, 
 natural, and graceful, which accompany 
 so well the poetry of Pietro Buratti, a 
 popular Anacreon, author of more than 
 seventy thousand verses, a poet admirable 
 for fire and originality. These little pieces 
 are truly chefs-d'oeuvre. 2 
 
 to Canova expressing his interest for him and as- 
 suring him of his protection. After the cession of 
 Venice to Austria, the pension was restored to 
 him when at Vienna, but under the strange con- 
 dition of choosing that city for his residence : he 
 nevertheless obtained a dispensation from it, hav- 
 ing offered to direct gratuitously, while at Rome, 
 his favorite abode, some of the imperial pupils. 
 - Buralli, deceased Oct. 20, 1832, aged somewhat 
 less than sixty years, had also translated i "enai 
 
Chap. XX111. 1 
 
 VENICE. 
 
 189 
 
 The carnival of Venice, though still 
 the longest in Italy ( the amusements 
 commence the day after Christmas, and 
 Ihe masked balls on twelfth-day), is barely 
 the shadow of what it was formerly ; this 
 kind of institution misses the ancient 
 rigorous government of Venice, which it 
 seemed to mitigate. At the present day 
 this brilliant carnival is only composed 
 of the people, the higher class scarcely 
 joining in it, and there are not six hundred 
 masqueraders wandering in gondolas, or 
 in the square of St. Mark and Ihe Piaz- 
 zelta. 
 
 CHAPTER XXII. 
 
 Courtesans. 
 
 The celebrated beauties, noticed by 
 Montaigne and Rousseau, philosophers 
 of the same school, which it is not sur- 
 prising to find there, are one of the by- 
 gone peculiarities of Venice. The French 
 police had already extinguished the two 
 lights that formerly shone at Ihe windows 
 of these courtesans, who were entirely 
 suppressed by Austria in 1815, at the 
 very moment of the restitulion of ihe four 
 famous bronze horses, and when they 
 remounted their original place. The an- 
 cient courtesans of Venice formed an in- 
 stitution which really served the cause of 
 liberty, either by detecting sometimes 
 important secrets, or ruining men whose 
 fortunes might have rendered them dan- 
 gerous. Therefore, Ihe senate, who 
 towards the end of the last century had 
 endeavoured to disperse them, was obliged 
 to recall them by a decree; they des- 
 cribed them in this document under the 
 name of noslre benemerile meretrici .• 
 they were inviolate and sacred, and had 
 their indemnity and endowment. * The 
 
 f senate, in order to divert the young men 
 also from politics, and to maintain its 
 
 i'lto ihe Venetian dialect. This smart passage from 
 one of his letters, cited by his biographer S. Para- 
 via. frankly explains the style that he had chosen : 
 Alieno della cosi delta bella societa per quelle 
 noie mortali che non ue vanno mai scompaguate, 
 io viveva con tali uomini che non davan luogo a' 
 »ersi che fra i bicchieri. et li volevan conditi di sali 
 corrispondentl all' ottuso loro palato. Bisoguava 
 dunque di necessita rinforzar la dose per essere in- 
 leso e gnstato. Ecco il vero motivo del genere 
 prftscelto a quello che piu si confaceva alia tempra 
 della mia anima, capacissima per interval]! delle 
 
 power, took on itself the care of sup- 
 plying the houses of the courtesans with 
 the most beautiful women, whom it re- 
 cruited in Epirus and the islands of ihe 
 Archipelago. "At Venice," says Mon- 
 tesquieu, " the laws force the nobles to 
 be moderate. So accustomed are Ihey 
 to parsimony, that none but the courte- 
 sans can make them part with their mo- 
 ney. Advantage is taken of this medium 
 for the support of industry ; the moit 
 contemptible women expend without dan- 
 ger, whilst their tributaries lead a life 
 of Ihe greatest obscurity." The most 
 eunning Venetian courtesans would, I 
 believe, have had some trouble to extract 
 any thing from the new masters of Ve- 
 nice, who are much more niggardly than 
 the ancient Venetian nobles. 
 
 CHAPTER XXIII. 
 
 Environs.— Islands— Isle of Hurano.— Saint Michael. 
 —Exhumation of Fra Paolo.— The monk Euse- 
 bius. — Morelli. — Emiliana chapel.— Saint Peter 
 and Paul.— Dome.— Looking-glasses, crystal, and 
 pearls of Venice. 
 
 I visited, in September 1828 , the 
 church of St. Michael in Murano, where 
 I expected to find the body of Fra Paolo, 
 which was to have been transferred Ihere. 
 It had been discovered in the month of 
 July, in the demolition of an altar of ihe 
 ancient church of the Servites. At the 
 death of Fra Paolo, the senate, owing to 
 the threats of Urban VIII., had not dared 
 to erect the monument which had been 
 decreed, on account of his immense popu- 
 larity, to this extraordinary man, theo- 
 logian, historian, mathematician, and 
 anatomist, 2 and the marble was with- 
 drawn from the studio of the sculptor. 
 Grosley, in 176i, was struck with the 
 nudity of this tomb, without epitaph or 
 any kind of inscription ; we see by this 
 
 piu dolci emozioui. Che s' ella mi domauda la 
 spiegazione di questo fenomeno, io non saprei da 
 altro ripeterlo che dalP infinita debolezza del mio 
 caraltere che prendeva in gioventu le abitudiui di 
 chi mi attorniava." 
 
 1 Funds were assigned them ; ever since the 
 year 1400, the courtesans have inhabited the calle 
 called C'd Rarnpana, from the neighbouring palace 
 of the illustrious family of that name, from whence 
 proceeds the injurious denomination of caram- 
 pana. 
 | 2 see post, book vn. chap. ii. 
 
190 
 
 VENICE. 
 
 [Book VI 
 
 how it came to be forgotten. The exist- 
 ing monument was erected at the expense 
 of the city, by no means a rare occur- 
 rence.' The sort of resurrection of Fra 
 Paolo may be likened to the exhumation 
 of other celebrated dead of whom we 
 have previously spoken : * in default of 
 men, our age produces at Jeast some 
 illustrious remains. 
 
 The inscription on the sepulchre of 
 the monk Eusebius, by Aldus Manulius. 
 encrusted on a slab of marble ornamented 
 by pretty sculptures, is curious and cha- 
 racteristic. 3 Such is the merit of the 
 arabesques and ornaments which deco- 
 rate the front, the doors, the choir of 
 Saint Michael in Murano and the grand 
 chapel, that the Venice Drawing Aca- 
 demy has not judged them less fit than 
 theantiqueto form the taste of its pupils, 
 and has consequently taken a great 
 number of models. 
 
 A simple stone, upon the pavement, in- 
 dicates the spot where reposes Morelli, 
 the late learned librarian of Saint Mark. 
 The epitaph, composed by his pupil, his 
 friend and worthy successor, the abbe 
 Betlio, simply recapitulates the labours, 
 the services, the renown, the dignities of 
 this great bibliographer, and that readi- 
 ness to oblige, the duty and first quality 
 of men placed at the head of great lite- 
 rary treasures. 
 
 The Emiliana chapel adjoining the 
 church, is a small temple of the com- 
 mencement of the sixteenth century, 
 abounding with taste and elegance. 
 
 The church of Saint Peter and Paul 
 offers some remarkable paintings : St. 
 Blase seated, surrounded by saints, by 
 Palma; a fine Annunciation, by Porde- 
 none ; St. Jerome in the Desert, by 
 Paolo Veronese ; a Descent from the 
 Cross, of a character at once grand, ex- 
 pressive, and original, by Giuseppe Sal- 
 viati ; the Virgin upon her throne, 
 With the infant Jesus and saints, a cu- 
 rious work of the Vivaiini; the Virgin, 
 
 ' The body of Fra Paolo is now at Saint Michael 
 in Murano; upon the siab cf while marble bor- 
 dered with bardigtio (sky-coloured marble of Car- 
 rural, is this inscription, by S. Emmanuel Cigogna : 
 
 Ossa 
 
 Pauli Sarpil 
 
 Tbeol. Keip. venetae 
 
 Ex aede Servorum 
 
 buc translata 
 
 A. MDCCCXXVIll. 
 
 Decreto publico. 
 
 two angels, ana the doge Barbariqo 
 kneeling, a large celebrated painting by 
 Giovanni Bellini ; St. Agatha in prison, 
 visited by St. Peter, a correct and sub- 
 lime composition, by Benedetto Caliari, 
 the brother, the assistant and the friend 
 of Paolo Veronese : the Martyrdom of 
 St. Stephen, by Leandro Bassano; an 
 Assumption, by Marco Basaili, a bril- 
 liant artist, of Greek origin, of the com- 
 mencement of the sixteenth century ; the 
 Virgin, some saints, and the senator 
 Lorenzo Pasqualigo, by the elder Palma; 
 and the Baptism of Jesus Christ, by 
 Tintoretto. 
 
 The ceiling of the church of the An- 
 gels, by Pennachi, enjoys some reputa- 
 tion : in the centre is the Crowning of 
 the Virgin ; around, thirty-four com- 
 partments present figures of apostles, 
 prophets, and angels ; the colouring of 
 this ceiling is much better than the 
 design. 
 
 The church of Saint Donatus, called 
 the Duomo of Murano, is of a Greco- 
 Arabian architecture of the twelfth cen- 
 tury : the pavement of the temple is in- 
 laid with elegant mosaic-work of the 
 same epoch, and ten columns of Greek 
 marble support the nave. The pair-tings 
 are interesting: a demilune representing 
 the Virgin with the infant Jesus, and 
 some figures, is a good performance by 
 Lazaro Sebastiani, of the year 1484 ; the 
 ancon of carved wood painted, of 1310, 
 representing Bishop St. Donatus, with 
 the two small figures of the podesta 
 Memmo and bis wife, is curious for 
 the costumes. A mosaic of the Virgin 
 appears to be nearly as ancient as the 
 temple. The Descent of the Holy Ghost 
 in the Cenaculum, by Marco Vecellio, 
 is fine. 
 
 The island of Murano still contains the 
 manufactures of looking-glass, crystal, 
 and pearls, for which Venetian industry 
 was formerly renowned; but the two 
 first cannot, at the present day, compete 
 
 ' See ante, book v. chap. xxi. 
 
 3 Lector, parumper sisle, rem miram leges 
 Hie Eusebl hlspanl monaehi corpus situiu esl, 
 Vir uudecumquc qui fuit doclisslmus, 
 Nostraeque vitas exemplar admirabile. 
 Morbo laborans sexdecim tolos dies, 
 Edens, bibens nil prorsus et usque suos maaens 
 Deum adllt. Hoc scires volebam. Abi et vale. 
 Ann. D. MD1X. feb. tetat. suae LI sacrae militias iYli. 
 
:uap. xxv. 
 
 VENICE. 
 
 1M 
 
 } jfith the fabrics of France and England. 
 ; jThe Venetians learnt the art of glass- 
 naking from the Greeks, who were very 
 ; J ealous of their secret, which they had pre- 
 ' lervedfrom antique tradition. The sand 
 j |<f Tyre, which gave the transparency to 
 ' I he glass of the ancients, might also have 
 i Teen employed by the Venetians when 
 lhey made the conquest of the same 
 ''■bores. The manufactories of large 
 
 ■ I arnished pearls, to the number of three, 
 ; j ave closely preserved the secret of this 
 
 heap and showy fabrication, which 
 
 ■ [llows to the moderately rich the splen- 
 | our and luxury of the wealthy. But 
 1 bis frivolous industry, like that of works 
 
 : ] f fashion, cannot prove a sure resource 
 nr a state, since it does not provide for 
 jea! and durable wants. The exporla- 
 
 • lions of these articles are trifling, and 
 I ncertain ; nor has the trade been suffi- 
 
 : lent to prevent the ruin of Venetian 
 Commerce. 
 
 CHAPTER XXIV. 
 
 Isle of Torcello —Saint Fosca.— Lido. 
 
 The charming isle of Torcello is still 
 emarkable for its monuments. The 
 )uomo bears the impress of the East and 
 f the middle ages : the front, the roof, 
 nd the pavement are inlaid with precious 
 losaics representing symbols and cir- 
 umstances of sacred history j marble 
 olumns support the nave; the holy 
 /ater vaseappears to have been aheaihcn 
 Itar, and a marble pulpit rises behind 
 ie choir, in the midst of semi-circular 
 teps. The magnificence of this temple, 
 )unded in the year 1008, by bishop 
 >rso Orseolo, bears testimony to the an- 
 ient wealth of Venice and the splendour 
 fits monuments even before the achieve- 
 tent of its superb old basilic. 
 
 1 The churches of Saint Geminian and of Saint 
 jhn the Almoner, by Sansovlno and Scarpagniuo, 
 ere, according to the opinion of Cicognara, only 
 Dilations of the small temple of Saint Fosca. The 
 seful aDd curious work published in 1825 by Mr. 
 obert, superintendent of the Saint-Genevieve li- 
 rary, under the title of Fables inedites des sue, 
 nt e el xiv s siecles, el Fables de La Fontaine, rap- 
 rochees de celles de tous les auleurs qui avaienl, 
 vani lui, traite les mimes sujels, w ithoul diminisb- 
 ig the glory of La Fontaine, indicates the obscure 
 )odels of the Fables clioisies,mises en vers, as he has 
 imself entitled his immortal collection. The pretty 
 iece of Brueys is only a feeble imitation of the an- 
 ent popular farce of Patetin, by Pierre Blancliet. 
 
 The neighbouring small temple of 
 Saint Fosca, a work of the ninth century, 
 whose materials were taken from the 
 ruins of Roman edifices, is one of those 
 primitive monuments of barbarous times, 
 imitated, renovated, and restored with 
 elegance, like certain literary master- 
 pieces of the epochs of civilisation." At 
 Saint Fosca is interred the skilful painter 
 Cappuccino, who, having escaped from 
 his convent, found an asylum at Venice 
 against the pursuits of his order. The 
 tomb has for inscription these words : 
 Bernardus Strozzius, pictorum splen- 
 dor, Liguriw decus, a flattering eulo- 
 gium in the vicinity of the great Vene- 
 tian masters. 
 
 A writer of a lively imagination has 
 given a poetical description of the Lido* 
 it would be hazardous to risk another 
 defcription after his, that all the world 
 has read. It is, however, to be regretted 
 that it contains nothing on the castle of 
 Saint Andrew, a masterpiece of military 
 architecture, by San Micheli, monument 
 of a victory, which, in its desolation, 
 breathes still the strength and ancient 
 warlike magnificence of Venice. 3 
 
 It was upon the firm and solitary bank 
 of the Lido, that Byron look his daily 
 ride. Had he died at Venice, it was his 
 wish to have reposed there near a certain 
 stone, the limit of some field, not far 
 from the little fort, so as to escape, by a 
 wild caprice, his native land, too heavy 
 for his bones, and the abhorred funeral 
 obsequies of his relatives. 
 
 CHAPTER XXV. 
 
 The isle of Saint Lpzaro.— Armenian Convent.— 
 Mechitar.— Mover. — Moonlight at Venice. 
 
 The little island of St. Lazaro, the 
 most graceful of those that rise out of 
 
 ~ M. Charles Nodier, Jean Sboijar. 
 
 3 The most remarkable monument of San Ml- 
 cheli's science, says M. Quatremeie de Quincy, Is 
 the fortress of Lido. It had been reckoned impos 
 sible for htm to give a firm foundation to such an 
 enormous mass in a marshy, soil, continually as- 
 sailed by the naves of the sea and the ebb and flow. 
 He effected his purpose, however, and with great 
 success. In constructing it, he made use of the 
 stone of Istria, so well adapted to resist the weather. 
 The mass is so well fixed that it might be takeu for 
 a hewn rock. Hisluire de la vie et des outrages 
 des plus citebres architectes, t. 1. 16). 
 
192 
 
 VENICE. 
 
 Book VI 
 
 the bosom of the lagoon, is inhabited by 
 the Armenian monks, an affable and la- 
 borious sect, who publish, in the Arme- 
 nian tongue, good editions of the most 
 useful and esteemed books, and devote 
 Ihemselves to the education of their 
 youthful compatriots.' With its convent, 
 lyceum, and printing-office, this house 
 might reclaim the most passionate enemy 
 of monastic institutions. The abbot-ge- 
 neral and archbishop, Placidus Sukias 
 Somcl, of Constantinople, is an accom- 
 plished prelate whose manners possess a 
 kind of oriental dignity not destitute of 
 grace or mildness. The library, to which 
 has been added a cabinet of natural phi- 
 losophy, counts about ten thousand vo- 
 lumes and four hundred oriental manu- 
 scripts, principally Armenian ; like every 
 thing else, it is in perfect order. Lord 
 Byron, during the winter, went there 
 for some hours every morning, in order 
 to take Armenian lessons of Dom Pas- 
 quale the librarian ; Byron, dissatisfied, 
 tired of the world, and satiated with 
 most things of this life, sought to pene- 
 trate the difficulties of an Eastern idiom ; 
 he found no interest but in difficulties, 
 and this impetuous poet studied a grave, 
 cold, and historical literature of transla- 
 tions and polemics.* 
 
 The Armenian monks called Mechita- 
 rists take this name from their founder, 
 the abbot Mechitar of Pelro, born at Se- 
 bastcin Armenia, who, in the year 1700, 
 assembled at Constantinople several 
 monks his compatriots, after which he 
 established himself at Modon, whence he 
 passed with his congregation to Venice 
 after the loss of the Morea by the repub- 
 lic, which generously accorded to him 
 
 1 Two first-rate edilions of the Chronicle of Eu- 
 sobius have been given after the Armenian manu- 
 script io the library of the convent of the isle of 
 Saint Lazaro; one at Milan, in 1818, a quarto vo- 
 lume, by S. Mai, and P. Zohrab, an Armenian who 
 treacherously separated himself from Ihe other 
 monks : ihe edition printed Ihe same year at Ihe 
 convcu 1 . two volumes folio, and published by P. 
 J. B. Aucher, Is infinitely preferable; the monks 
 hud sent one of their body as far as Constantinople, 
 In order to compare afresh their Eusebius with 
 the manuscript of which it was a copy. The Ar- 
 menian monks have also conceived the project of 
 giving a complete collection and critical editions of 
 the writers of their nation from the fourth cen- 
 tury, the most brilliant epoch and Augustan age of 
 Armenian literature, to Ibe fifteenth century since 
 this time there appears to have been no original 
 productions. These monks have already prepared 
 lor the press all that remains of the authors w ho 
 
 for ever the isle of St. Lazaro for a re- 
 treat. 
 
 In the sacristy is the tomb of Coun 
 Stephen Aconz Kover, a noble Hunga 
 rian, archbishop of Sinnia, and the third 
 abbot-general, who resided sixty-seven 
 years at the monastery and died in 182i, 
 after having enlarged and perfected the 
 Armenian institution, at this day a tri- 
 bunal of language. This illustrious 
 abbot, poet, and scholar, author of a good 
 universal geography of which eleven vo- 
 lumes have appeared, the two others 
 having perished in a fire at Constanti- 
 nople, taught his dialect to the French 
 orientalist Lourdet, who died in 1785, 
 whilst on his return from Venice to Paris 
 where Kover was also called, and where 
 he w ould have professed but for the trou- 
 bles of the revolution. 
 
 It is through error that an esteemed 
 historian and a celebrated traveller 3 have 
 regarded the Armenian monks as here- 
 tics ; they have always been good catho- 
 lics, and only deviated from the Roman 
 "church in a small number of rites. Des- 
 pite its religious liberties and its com- 
 mercial spirit, Venice never admitted to- 
 leration, and Comines had already re- 
 marked and praised, the reverence which 
 the Venetians bore to the service of the 
 Church. 
 
 The return to Venice at night, by 
 moonlight, is one of ihe finest scenes ol 
 Italy. The silence cf the city and the 
 oriental aspect of Saint Mark and ttte 
 Ducal palace, have atthis hour something 
 enchanting and mysterious, and the 
 pale splendour reflected on the sra and 
 ihe marble palaces contrast with the 
 black gondola gliding solitarily over the 
 
 have written from the fourth century to the com- 
 mencement of the eleventh. Hut such an under- 
 taking still requires much time, labour, research, 
 and outlay, which do not permit the hope thai 
 the publication will soon take place. Three vo- 
 lumes of a small portable collection of Ibo selected 
 works, executed with much care, appeared in (820, 
 1827, and 1828, as if to yive, remarked M. Saint- 
 Martln {Journal des Suvants, July I82tl), a fore- 
 taste of the grand collection. P. Ciakciak has re- 
 cently published a second edition of his Armeiiian 
 ant Italian Dictionary, which has been bi^lii> 
 spoken of by orientalists. 
 
 3 For want, said he, or something llinly In break 
 his thoughts against, he tortured himself with \ - 
 meuian. Byron laboured at the English pat l of an 
 English-Armenian grammar published at the ion- 
 venl of Saint Lazara. Stem., vol 111. cu -p wit 
 and ix, and vol. IV., chap. vn. 
 
 3 M. Darn, Lady Morgan. 
 
Chap. XXVI. 1 
 
 VEMCE. 
 
 195 
 
 waters. These palaces are no longer 
 brilliantly illumined, as heretofore, in 
 the days of pleasure, sports, and dissipa- 
 tions of this brilliant city, and the moon, 
 called by artists the sun of ruins, is parti- 
 cularly suited to the grand ruin of Ve- 
 nice. 
 
 CHAPTER XXVI. 
 
 Isle of Sainl Clement.— Malamocco.— Republican 
 halreds.-Murazzi.— Chioggia.— Origin and end of 
 Venice. 
 
 It requires a day to see the Murazzi, 
 situated about eighteen miles from Ve- 
 nice. At the isle of St. Clement there 
 was formerly a convent of Camaldules, 
 whose small detached houses, with a 
 garden, are yet to be seen. These pious 
 men, surrounded by the waves, were 
 doubly anchorets. A Madonna, with 
 her lighted lamp, as in the cross-road of 
 a town, was fixed upon one of the posts 
 that marked the route across tne canals, 
 and her pious glimmering light almost 
 touched the sea, in the midst of which 
 it w as thrown. We pass before the isle of 
 Malamocco, that illustrious shore which 
 witnessed the heroic efforts of the Vene- 
 tians in the war ofChiozza, when, in one 
 of those fits of hatred peculiar to repub- 
 lics, more implacable and more violent 
 than the enmity of kings, as being the 
 mutual abhorrence of one people for an- 
 other, Genoa thought it possible to anni- 
 hilate her rival. Venice, like Rome 
 when Hannibal was at its gates, displayed 
 that aristocratic patriotism, the most 
 constant and firmest of all, which will 
 never suffer a country to be degraded by 
 shameful treaties, and whose proud bear- 
 ing is noble and glorious, as it isdisplayed 
 in the midst of dangers and sacrifices. 
 
 The Murazzi are not a simple military 
 causeway, like the jelly of Alexander or 
 ofRicheiieu, much more celebrated, as 
 are the works of conquerors or of despots ; 
 they form the rampart of a great city, 
 for centuries theseatoffreedom. Neither 
 is this marble bank the polders, of wood, 
 fascines, and clay, of Holland, which must 
 rather resemble the palisade of beavers, 
 than the magnificent work of the Vene- 
 tians. The so much admired inscription 
 ausuromano, wreveneto, did not appear 
 to me deserving its reputation ; indepen- 
 dently of the vicious mixture of the plain 
 and the figurative, this vain-glorious allu- i 
 
 sion to money, like thai of the Simplon,' is 
 not very noble. After all, the famous in- 
 scription was perhaps only proposed, for 
 it is impossible to discover it. The most 
 ancient of the thirty-eight inscriptions in- 
 dicating the epoch when the different 
 parts w ere successively executed, though 
 simple, is not the less imposing, since it 
 proves the fourteen centuries of free ex- 
 istence enjoyed by the republic : Vt sacra 
 ckituariaurbis etlibertatis sedes perpe- 
 tuum conserventur colosseas moles ex 
 solido marmore contra mare posuere 
 curatoresaquarum. An. Sal. MJJCCLI. 
 ab urbe con. MCCCXXX. The Mu- 
 razzi, formed of enormous blocks and 
 supported on piles, rise ten feet above 
 high-watermark, for the length of 5,267 
 metres; the construction occupied thirty- 
 nine years.and the outlay was 6,952,440 fr. 
 In some places the marble,polished, worn, 
 and wasted by the waves, becomes some- 
 what spongy, and its brilliant whiteness 
 gives it the appearance of petrified froth. 
 Never was there an example of restraint 
 more striking for meditation : on this 
 side of the Murazzi is a tranquil lake; 
 on the other, is the sea, whose long rei- 
 terated billows roll up and break them- 
 selves against the foot of iheir steps. The 
 Murazzi are only of Ihe middle and end 
 of the last century ; il is difficult to be- 
 lieve that a State capable of such gigantic 
 works could so soon be annihilated : it is 
 easier to curb the fury of the waves 
 than to arrest the machinations of the 
 wicked. 
 
 The smiling coast of Chioggia de- 
 serves to be visited for the character of 
 its lively, original, laborious, and nume- 
 rous population, whence Titian derived 
 his expressive but not too ideal heads ; 
 Goldoni, the sallies of the w rangling and 
 noisy personages of his Gare chiozzotte; 
 and the unfortunate Leopold Robert, the 
 melancholy scene of his Fishermen of the 
 Adriatic. 
 
 When I returned from the Murazzi to 
 Venice, in the autumn of 1827, there 
 was not a single vessel in quarantine at 
 the lazaretto. This vast deserted enclo- 
 sure, no longer animated by commerce 
 or war as in the time of the republic, 
 recalled the menaces of the prophets 
 against Tyre: "How art thou destroyed 
 that wast inhabited of sea-faring men, 
 the renowned city, which was strong in 
 
 1 See boob i., chap. xxt. 
 
 17 
 
154 
 
 PAULA. 
 
 Book VII. 
 
 'he sea?.... The isles that are in the sea 
 shall be troubled at thy departure."' 
 Venice began with Attila and ended 
 with Bonaparte ; this queen of the Adri- 
 atic, whose empire flourished fourteen 
 
 centuries, was born and expired in the 
 midst of storms more violent than thqse 
 of the sea which encompassed her, and the 
 terror of the two conquerors respectively 
 produced her origin and her fall. » 
 
 BOOK THE SEVENTH. 
 
 PADUA -FERRARA. 
 
 CHAPTER I 
 
 Banks of the Brenta.— Foscarl palace.— I'adua — 
 lis extension. 
 
 I will confess that the banks of the 
 Brenta, before reaching Padua, seemed 
 to me far from deserving tbe praise 
 lavished on them. Near the viceroy's pa- 
 lace they are disfigured by a long em- 
 bankment or towing path supported by a 
 great wall of brick; in other parts the 
 gardens which border them, with their 
 yoke -elm hedges, well-trimmed trees, 
 and symmetrical alleys, are real parson- 
 age gardens. It is true that many fine 
 palaces have already disappeared, and 
 the destruction now prevailing at Venice, 
 began long since on the borders of the 
 Brenta. In their actual stato, I think 
 them altogether inferior to the hanks of 
 the Seine near Surcsne, or on the Saint- 
 Germain road. 
 
 The Foscari palace, near the little in- 
 salubrious village of Malcontenta, has 
 hitherto escaped the ravages of time and 
 man; it is one of Palladio's most elegant 
 chefs-d'oeuvre. 
 
 Padua appeared to me a great, long, 
 melancholy-luoking town, although I 
 arrived first there in June, during Ihe 
 celebration of a kind of Olympic games 
 in honour of Saint Anthony, and even 
 met the bronzed triumphal car of the 
 victorious jockey, who was parading the 
 streets amid the shouts of all the raga- 
 
 1 Kzoliiel, cap. jexvi., n, 18. 
 
 ■ The free port, decreed ihe 20th of February, 
 1829. and opened ihe 1st of February, (830, has 
 somewhat reanimated ihe languishing remains of 
 Venetian commerce, which attained its greatest 
 developement In the fourteenth t ».d fifteenth cen- 
 
 muflins that surrounded him. This town, 
 however, is every day gaining what Ve- 
 nice loses; the population amounts to 
 forty-four thousand; but, with ihe single 
 exception of the Pedrocchi coffeehouse, ^ 
 its prosperity is plain and without display- 
 
 CHAPTER II. 
 
 University.— Vertebra of Galileo.— Library.— ampler 
 library.— Botanical garden.— Academy of Scieures, 
 Letters, and Arts.— Ladies of ibe Academy. 
 
 The organisation of the university of 
 Padua is the same as that of the univer- 
 sity of Pavia ( except that the latter has 
 no faculty of theology ), and the profes- 
 sorships are : theology for the use of 
 parish priests {pastorale)', ecclesiastical 
 history; moial theology; biblical archeo- 
 logy; introduction to the books of the 
 Old Testament ; Hebrew exegesis and 
 language, and oriental tongues : biblical 
 hermeneutics; introduction to the books 
 of the New Testament; Greek language; 
 exegesis of (he New Testament ; doctrinal 
 theology. This ancient university, which 
 arose in the beginning of the thirteenth 
 century, and had as many as six thousand 
 students in the sixteenth and seventeenth, 
 numbered no more than fourteen hun- 
 dred and thirty-seven in 1832 ; it is still 
 •distinguished, however, by able profes- 
 sors. For instance, Rachctti, professor 
 of law ; Santini (like Michael Angelo, 
 born at Capresa, a village, near Arezzo,, 
 
 turles, and began to decline nilb the seventeenth; 
 this free port, vtiihout arresting the destiny of Ve- 
 nice, has nevertheless bad Hie advantage ol pre- 
 serving to the people of the lagoons their ancient 
 maritime and manufacturing character. 
 3 See pott, chap. 'II. 
 
Chap. II.] 
 
 PADUA. 
 
 <M 
 
 professor of astronomy, and his very able 
 deputy Conti ; Calullo, professor of na- 
 tural history. Under the marble peristyle, 
 now dreadfully damaged, are the armo- 
 rial bearings of many professors and 
 students ; this elegant peristyle has been 
 included in Palladio's unpublished works, 
 but incorrectly; it may more safely be 
 attributed to Sansovino; to judge from 
 the exterior, Ibis university would appear 
 the most aristocratic in the world. In 
 the vesiibule is a good marble statue of 
 the celebrated Helena Lucrczia Cornaro- 
 Piscopia, who died in 1681 aged thirty- 
 eight; an illustrious lady learned in the 
 Spanish, French, Latin, Greek, Hebrew, 
 and Arabic languages, who sang her own 
 verses with an accompaniment by herself, 
 lectured on theology, astronomy, mathe- 
 matics, and received the degree of doctor 
 in philosophy from the university. He- 
 lena Piscopia was very handsome ; she 
 wore the habit of the Benedictine order, 
 the severe rules of which she always 
 followed, although her parents had, 
 without her knowledge, procured a dis- 
 pensation from a vow of virginity which 
 she had rashly made at the age of eleven, 
 and notwithstanding the offers of mar- 
 riage from several of the highest nobles. 
 In the cabinet of natural history is a 
 vertebra of Galileo enclosed in a mean- 
 looking little pedestal of varnished wood, 
 executed at the expense of the abbe" Me- 
 neghelli, under whose rectorship its 
 installation took place ;• in the account 
 published concerning it by the worthy 
 rector, he ingenuously flatters himself 
 with not having been able to find a better 
 model for his pedestal, surmounted with 
 the bust of the immortal astronomer, 
 than that on which the divine Canova 
 placed the lyre of Terpsichore. The ver- 
 tebra is the fifth lumbar ; it was purloined 
 by the Florentine physician Cocchi, who 
 in 1737 was charged with the translation 
 of Galileo's bones to the church of Santa 
 Croce in Florence ; after becoming by 
 inheritance the property of Cocchi's son, 
 it belonged to the patrician Angelo Qui- 
 
 1 The reclors of the university, chosen from 
 among the professors, are only appointed for a 
 jear. This custom was established during the re- 
 public, niul has never been interrupted. 
 
 * Ilist. of Venice, book xi. Dam, who hod ap- 
 plied bimself during the last year of his life to 
 laborious researches respecting Galileo and his con- 
 demnation, states In a note to his poem entitled 
 Astronomy (the 14th of canto it.| that the Jesuits, 
 
 rini, the mathematician Vivorio of Vi- 
 cenza, and lastly to doctor Thiene, his 
 physician, who presented it to the uni- 
 versity of Padua. The finger of Galileo, 
 obtained in a similar fraudulent manner, 
 is exhibited at the Laurentian. — How 
 singular was the destiny of this great 
 man's body! imprisoned by envy while 
 living, and torn in pieces through admi- 
 ration when dead. The Italians from 
 enthusiasm practise a kind of burglary 
 towards the remains of the illustrious; 
 and at Arqua, near Padua, the place of 
 Petrarch's burial, may still be seen the 
 rent in his tomb made by the Florentine 
 who succeeded in tearing off one arm. 
 The vertebra of Galileo is not however 
 ill placed at the university of Padua. 
 For eighteen years he held the profes- 
 sorship of philosophy there, and to retain 
 his services the Venetian senate had 
 tripled his salary ; it was in presence of 
 the doge and the chiefs of the state that, 
 in 1609, he made his first experiments 
 with the telescope and pendulum. How 
 much, rightly remarks Mr. Daru,musthe 
 not have regretted that hospitable land 
 where the inquisition would not have 
 extorted a disavowal of the new truths of 
 which he was the declared advocate ! a 
 
 The theatre of anatomy was erected in 
 1594, when Fabricius d'Acquapendente 
 occupied that chair. The first idea of it 
 seems to belong to the celebrated Fra 
 Paolo, who was both architect and anato- 
 mist, and made the important discovery 
 of the venal valvules. In the vestibule is 
 the bust of Morgagni, consecrated to him 
 while living by the German nation. 
 There is a collection of extraordinary 
 foetus, which were prepared and classed 
 by this great anatomist. 
 
 The cabinet of natural history is a fine 
 creation of great utility due to the French 
 administration. 
 
 Among the presents made to this ca- 
 binet by the learned Acerbi, formerly 
 Austrian consul in Egypt, is a fine mum- 
 my unwrapped, with a hieroglyphical 
 inscription, proceeding from the necro- 
 
 who were great sticklers for the doctrine of Aris- 
 totle and the Peripatetics, were opposed to Galileo 
 at the university of Padua, respecting the spots is 
 the sun; "so that," he adds, ''to the shame of 
 feeble humanity, it is not impo.-sible that a philoso- 
 phical party spirit might contribute as much as 
 religious intolerance to the persecution the philo- 
 sopher experienced at their hands," see book x. 
 
PADUA. 
 
 I Book VII. 
 
 polis of Thebes; il is supposed to be. four 
 thousand years old ; the skull presents a 
 remarkable prolongation beyond the oc- 
 capital cavity, which is much deeper than 
 in the skulls previously seen. I am in- 
 debted for the following conjecture to 
 my ingenious friend Doctor Edwards, of 
 the Institute, known by his important 
 work on the physiological characters of 
 the various races of man as connected 
 with history : " This great prolongation 
 of the hinder part of the head is not 
 found in the races of Europe, eastern 
 Asia, or those of America in general, nor 
 even in the negro race, in which however 
 this part is more developed : the Carib- 
 bean race, nevertheless, exhibits it in a 
 high degree. This shape is tbe farthest 
 removed from the ordinary form, except 
 that of some heads found in the Cordil- 
 lera mountains. It may then be regarded 
 as of the lowest order. It would be very 
 interesting to discover such heads in the 
 tombs of Egypt ; such a fact would prove 
 that this shape indicates an epoch when 
 civilisation had hut just commenced." 
 
 In the room of the medical section are 
 three good paintings, the Marys at the 
 sepulchre, by Darius Varotari ; a well 
 preserved fresco ; the Virgin and infant 
 Jesus; the two latter by unknown au- 
 thors of the sixteenth century. 
 
 Tbe observatory, supplied with good 
 instrumcnts.hasobtained renown through 
 Galileo's discoveries; it is erected on the 
 lop of a high lower, wbich, in the days 
 cf the brave and cruel tyran Eceelino, 
 was a dreadful prison. A Latin distich, 
 over the door, felicitously expresses this 
 fact and itsnew scientific appropriation. ' 
 
 The University library contains seventy 
 thousand volumes; and, as it is solely 
 devoted to educational purposes, the 
 manuscripts have been sent to Saint 
 Mark. The library is placed in the very 
 spacious ancient hall of the Giants and 
 Emperors; the walls are covered with 
 portraits of great Romans from Romulus 
 to Caesar, who is immediately followed 
 by Charlemagne. It is said that some of 
 these bad figures were executed on Ti- 
 tian's designs, a part of the art in which 
 he did not excel. Above Ihese extremely 
 well preserved figures, are the principal 
 exploits of the personages, fine paintings 
 
 ' MCCXL1II. 
 
 0.U8B quondam infernas lurris ducebat ad umbras, 
 Nunc Venelum aasplcils pandit nd asira viom. 
 
 by Domenico Campagnola, a pupil of 
 Titian, who, with Tintoretto, Paris Bor- 
 done, and others of his clever disciples, 
 had the honour of making him jealous ; 
 by his assiduous companion Gualtieri, 
 StefanodeH'Arzere, a good fresco painter 
 of Padua in the sixteenth century, and 
 perhaps even by Titian, to whom is at- 
 tributed the portrait of Cardinal Zaba-' 
 rella, among the illustrious Paduans. A 
 full length fresco portrait of Petrarch, of 
 the same epoch, is more suitably placed 
 in a library, as this great poet was cer- 
 tainly one of the first and most intrepid 
 readers known, and even died sitting in 
 his library with his head bent over a book. 
 
 A small miniature of the Virgin, full 
 of grace and elegance, is preserved in 
 this library : it was painted by the abbot 
 of Latran, Felice Ramelli, and is greatly 
 extolled by Delia Vale, Vasari's com- 
 mentator. 
 
 A copy, without either frontispiece or 
 preface, of the scarce Quadragesimale of 
 (he famous Fra Paolo, printed at Milan 
 in 1479, has furnished S. Federici, the 
 under-librarian, with various readings 
 which hud till then escaped the numerous 
 commentators of Dante. It is seen by 
 these sermons of Fra Paolo that the Di- 
 vina Commedia was quoted in the pulpit, 
 and that its verses were at times piously 
 parodied lo amalgamate with the sermon. 
 
 The chapter library has only about 
 four thousand volumes, but it contains 
 some tine old manuscripts and scarce 
 editions of the fifteenth century, The 
 most ancient manuscript is a Sacramen~ 
 tarium of the eleventh century, in good 
 preservation, and the most ancient print- 
 ed book is the Rationale, by Guillaume 
 Durand (Mayence, 1459). The manu- 
 scripts of Petrarch's library, who was a 
 canon of the chapter, were the beginning 
 of this library, which was increased by 
 the books of Sperone Speroni. In an 
 adjoining room, six paintings, two of 
 them, a Madonna, and a trinity, and 
 the other four certain incidents of the 
 Life of St. Sebastian, are remarkable 
 specimens of ancient painting; they 
 were executed in 1367 by the Venetian 
 Nicaletto Semitecolo; the proportions of 
 the figures are elegant, the naked is well 
 executed ; the style is different from 
 Giotto's, and if the drawing be inferior, 
 the colouring is equal to him. 
 
 The Botanical garden of Padua, found- 
 ed by the Venetian senate in 1545, is 
 
Chap. III.]' 
 
 PADUA. 
 
 197 
 
 probably the oldest in Europe. 1 It still 
 occupies the same spot; and an old 
 Eastern planetree with a knotted trunk 
 and short but still verdant boughs,, has 
 stood there ever since its creation. I 
 could not contemplate it without a sort 
 of veneration ; I fancied there was some- 
 thing learned in this contemporary of so 
 many illustrious professors, whose stone 
 statues were only a few paces distant, 
 whom it had received under its shade, 
 and it seemed to me a kind of patriarch 
 among the scientific trees of botanical 
 gardens. The garden of Padua, without 
 having the splendour of our fashionable 
 greenhouses, is sufficient for the pur- 
 poses of instruction; I was informed 
 in 1827 that it contained from five to six 
 thousand species, and the number is in- 
 creasing every year. The warmth of 
 Italy begins at Padua to show itself in a 
 very perceptible way : the magnolias 
 have no occasion for shelter nor mats 
 during winter; they seem to flourish as 
 well there as those I have sinee seen in 
 the open air in the English garden of 
 Caserte, and many were as high as great 
 lime-trees. 
 
 The pursuit of the sciences, letters, and 
 arts was always eagerly followed at 
 Padua. Its celebrated old academy of 
 the Ricovrati vecened women, a custom 
 which the French Academy has been 
 often inclined to imitate : under Louis 
 XIV. Charpentier supported the admis- 
 sion ofmesdames Scudery, Beshoulieres, 
 and Dacier; in the last century, the 
 candidates of d'AIembert f were, it is 
 said, mesdames Necker, d"Epinay, and 
 de Genlis ; in our days, the same propo- 
 sition would be nothing strange, and the 
 poetical talents of certain ladies would 
 make them very worthy and agreeable 
 academicians. 
 
 I had the honour of attending the 
 
 1 Doctor Smith is mistaken ia making it begin 
 In 1533 [Doctor Smitlt's In trod. Diicowse to the 
 transactions of the Linn, soc, p. 8.); he probably 
 confounded its foundation with that of a bo- 
 tanical professorship at the university, which took 
 place precisely in the year 1533. See also Book xi., 
 chap. xiii. on the date of the foundation of the bo- 
 tanical garden at Pisa. 
 
 2 The Academy of Sciences, tetters, and Arls of 
 Padua, formed in 1779 by the junction of the Rico- 
 vrali academy and an Academy of agriculture, pub- 
 lishes certain Memoirs or notices, the collection of 
 which, from 1788 to 1825, forms seven quarto vo- 
 lumes, and contains many excellent papers : such 
 are the Medico-chirurgical memoirs of teopoldo 
 
 yearly meeting of the Academy of Padua 
 in 1826, I observed in the immediate 
 vicinity of its members several amiable 
 ladies, some of whom in other times 
 might have joined the academy of the 
 Ricovrati, and some young people. A 
 very well written report, perhaps rather 
 too long, was made by the secretary re- 
 specting the labours of the academicians, 
 who do not seem idle; » in short, except 
 the competition, the prizes for virtue and 
 works beneficial to morals, it was almost 
 the Institute. 
 
 CHAPTER III. 
 
 Cathedral.— Charles Guy Patin.-^Sperone Speronl. 
 — Manuscripts. — Baptistry. — D'Hancarville. — • 
 Santo.— Dogs.— Chandelier. — Cesarotti.— Trea~ 
 sury. — Messone. — Cloister.— Scvola. — Statue of 
 Gattamelata.— Condottiei i. 
 
 The different churches of Padua are 
 its first and most interesting monuments. 
 The Duomo, finished last century, is of 
 indifferent architecture. The primitive 
 plan was sent by Michael Angelo; but 
 during the two centuries occupied in 
 the building, it must have been strangely 
 altered by the divers generations of ar-r 
 chitects. On the right of the entrance 
 stands the tomb of Charles Palin, a 
 French physician, who, being suspected 
 or having dispersed a scandalous paper, 
 and being obliged to fly on account of 
 his bad notions, went to Padua and pro- 
 fessed surgery there ; he was the last son 
 of the witty and impassioned Guy Patin, 
 whose correspondence is such a gay, 
 amusing, and true commentary on Mo- 
 liere. Charles maintained the honour 
 of his medical name by his science and 
 talents. Sperone Speroni is also in- 
 terred in this church ; he was a great 
 orator, philosopher, and poet in his day, 
 
 Caldani, Ludovico Brera, Fanzago, Gallint, and 
 Monlesanto; those or Marco Carburi on Chemistry ; 
 a Memoir on the Metaphysics of equations by 
 Pietro Cossali, on the Vibrations of the drum by 
 Jordano Riccati ; the Memoirs of Simon Stratico on 
 the course of rivers, on the diffraction of light ; 
 one by Assemani on Arab coins; by Cesarotti on 
 academical duties, by lppolito Pindemonte, on 
 English gardens, and by Geronlmo Polcastro, on 
 extempore poetry. The volumes of the Memoirs 
 of the Academy of Sciences, Letters, and Arts, have 
 not iiilherlo appeared at any determined Interval ; 
 but after 1830 a volume was to appear every two 
 years. 
 
 17, 
 
498 
 
 the friend of Ronsard and master of 
 Tasso, and was honoured with a statue 
 at his death ; his masterpiece, however, 
 the tragedy of Canace, once so applauded 
 and admired, is barely readable now. 
 The inscription on Speroni's tomb was 
 composed by himself; it is remarkable 
 for a certain mixture of complacency, 
 self-love, and vanity, pretty characte- 
 ristic of his kind of glory and the man- 
 ners of the age. He speaks therein very 
 plainly of his three daughters and the 
 generations they gave him, although I be- 
 lieve he was never married. The mo- 
 nument was erected by one of them, 
 GiuliaSperona, who is buried near him.' 
 
 There is an elegant monument, of the 
 beginning of the sixteenth century, which 
 was erected by (he Venetian senate in 
 honour of Pietro Barrochi, bishop of 
 Padua. It is in such good taste that it 
 seems by Tullius Lombardo. 
 
 The bust of Petrarch, as canon of the 
 cathedral, placed opposite one of the side 
 doors, is very fine, though not by Ca- 
 nova, as some have pretended, but by his 
 pupil Rinaldo Rinaldi of Padua. 
 
 The sacristy of ihe canons presents some 
 fine and curious paintings; a half figure 
 of the Saviour with Aaron and Mel- 
 chizedech beside him; the Four protec- 
 tors of Padua, and Cherubim, in two 
 triangles, by the clever Domenico Cam- 
 pagnola ; a very fine Virgin with the 
 infant Jesus on her knees, an excellent 
 copy of Titian by Padovanino, if it be 
 not original ; St. Jerome and St. Fran- 
 cis, by Palma ; the Journey into Egypt, 
 the Adoration of the Magi, by Fran- 
 cesco Bassano, so perfect as to have been 
 thought worthy of his father; the Christ 
 carrying his cross, by Padovanino ; a 
 Virgin, charming, by Sassoferrato, the 
 painter of the little Madonnas [madon- 
 nvne); a St. Anthony, lifelike, by Fo- 
 
 Sperone Speroni 
 
 nacque 
 
 nel MP di XII d' aprile 
 
 uioii 
 
 nel MDLXXXVIll dl II di Glugno. 
 
 Vivendo si feee 1' iufrascrillo epilafio : 
 
 A Messere Spnrone Speroni dulli Alvarotli, tilosofo 
 et cavalier padovano, il quale, amando con ognl 
 cura, che dopo se del suo mime fusse mernorla, die 
 blmen neili nniml de' virlni, so non pi u ollre, cor- 
 le.'emenle per ftlcun tempo si conservasse, in vul- 
 gar nostro idioma con v;irio slile siuo all' oslrcmo 
 parld, et scrisse non uilgarmente sue proprie cose, 
 tit era letlo ed tidito. 
 
 PADUA. [BOOK VII, 
 
 rabosco ; the large Cavalcade of a pope, 
 attributed to Domenico Brusasorci ; a 
 Group of Angels, by Liberi, and a very 
 remarkable old portrait of Petrarch. 
 The gilt silver vase of the sacristy, used 
 in the ceremony of confirmation, is co- 
 vered with figures in rather profane alti- 
 tudes; it has been explained by Lanzi, 
 as also theGreek inscription, from which 
 it appears to be one of the vases in which 
 artists' colours were prepared and kept. 
 This sacristy possesses two antique ma- 
 nuscripts very well preserved; one is a 
 book of the Gospels of 1170, the other 
 of the Epistles of 1259. The Missal on 
 vellum paper, printed at Venice, in 1491, 
 with rich miniatures, is also a very fine 
 book. 
 
 The little church under the choir has 
 the tomb of St. Daniel, remarkable for 
 its beautiful bronze basso-relievos by 
 Titian Aspetti. 
 
 The baptistry, a structure of the twelfth 
 century, near but not joining the cathe- 
 dral, is much more curious and charac- 
 teristic. It was built by Fina Buzza- 
 carina, wife of Francesco Carrara the 
 elder, and contains some admirable 
 paintings by Giotto's pupils, worthy of 
 himself, and skilfully retouched ; they re- 
 present various subjects out of the Old 
 and New Testaments, with some histo- 
 rical portraits, such as that of the pious 
 founder praying to the Virgin, several 
 of the Carrara family and of Petrarch. 
 Near the door is an excellent bronze 
 basso-relievo of the Beheading of John 
 the Baptist, by Guido Lizzaro, a clever 
 founder of the beginning of the sixteenth 
 century. The old diptych of the altar, 
 of the fourteenth century, representing 
 several incidents of the saint's life, is a 
 beautiful and curious monument of its 
 kind. 
 
 The episcopal palace, near the Duomo, 
 
 Vivetle anni I.XXXI1X, mese I, giorni XIII. Mori 
 podre dl una Hgliola, die li rimase di Ire cho 
 n' liebbe, et per lei avo di assai uepoti ; ma avo, 
 proavo, et atlavo a descendenti delle altre duo, tuttl 
 nobili, et bene stanli femlne et maschi, utile lor 
 patrie honorate. 
 
 The following Inscription, formerly on tbe pave- 
 ment of the church, is now on the base of the mo- 
 nument : 
 
 Al gran Sperone Speroni 
 
 suo pudre 
 
 Giulia Sperona de' Contl 
 
 MDI.XXXXVIII. 
 
Chap. HI.] 
 
 PADUA. 
 
 199 
 
 is interesting with respect to art : the 
 
 very elegant frescos of the old chapel are 
 by Jacopo Montagnana, an excellent 
 Paduan artist, supposed to have been a 
 pupil of Giovanni Bellini; his altar-piece 
 in three compartments is admirable. 
 The prelate's apartments evince the libe- 
 rality of his taste: his library is rich ; 
 there are many paintings by the great 
 masters of various epochs. Over the 
 library door is a portrait of Petrarch 
 praying to the Virgin, reckoned the most 
 authentic likeness of this great poet ; for 
 if the various portraits of Dante resem- 
 ble each other, his are all different. 
 This portrait was painted on the wall of 
 the poet's house at Padua, which was 
 pulled down in 1581 when the cathedral 
 was enlarged ; the Cav. Giambattisla 
 Selvalico, professor of canon law at the 
 university, had it cut out of the wall and 
 carried to his house, to insure its pre- 
 servation; in 1810 it was put up in the 
 archbishop's palace by the marquis 
 Pietro Selvatico, under the advice of his 
 friend Giovanni de Lazara. This por- 
 trait has been engraved and is prefixed 
 to Marsand's edition of the Rime, which 
 we have already mentioned several times. 
 The Virgin on a throne, holding the 
 infant Jesus by the hand, and two 
 angels, by Gregorio Schiavone, a good 
 pupil of Squarcione,' has been praised 
 by Lanzi. The great painting of the 
 Plague of 1631, a masterpiece of Luca 
 of Reggio, which recalls the sweetness 
 of his master Guido, is less animated 
 and pathetic than the description of the 
 author of ihe PromessiSposi. The Christ 
 appearing to St. Margaret, by Da- 
 mini, is touching. A good painting re- 
 presents the young Napoleone, cardinal 
 Stefano's nephew, killed by falling off 
 his horse and resuscitated by St. Domi- 
 nick. A gold patine, on which is an 
 engraving of Christ in the midst of the 
 Apostles, is an exquisite work by Va- 
 lerio Belli, a very clever artist of Vicenza 
 in the sixteenth century. 
 
 At Saint Nicholas, a small parochial 
 church near the Duomo, is the tomb of 
 d'Hancarville, the author of the Recher- 
 ches respecting the origin, spirit, and 
 progress of the arts of Greece, and also 
 respecting the Hamilton vases, a French- 
 man of great parts and systematical eru- 
 dition, who died at Padua on the 9th Oc- 
 
 See po»t. 
 
 tober 1805, and not at Rome in 1799 or 
 1800, as stated in several historical dic- 
 tionaries. The epoch of his birth is pro- 
 bably given with equal inaccuracy. The 
 parish register of deaths, of the lOlli Oc- 
 tober 1805, imports that theburon d'Han- 
 carville died on the previous day, of a 
 fever, at one o'clock in the morning, 
 after an illness of two months, and having 
 received all the sacraments, at the age 
 of about (circa) eighty-six years; his 
 birth must consequently have occurred 
 in 1719, instead of 1729 as the dictiona- 
 ries assert. There are some persons of 
 Padua, intimate friends of d'Hancarville, 
 who affirm that so far back did his me- 
 mory extend that he must have attained 
 that advanced age. Cicognara has given 
 fragments of his unpublished disserta- 
 tions on Raphael's paintings at the end 
 of chapter II. , book vn. of his History of 
 Sculpture. The titles of several others 
 of these same unpublished dissertations 
 are enumerated in the notes of the Ita- 
 lian translation already mentioned of 
 Quatremere de Quincy's History of the 
 life and works of Raphael, by Francesco 
 Longhena. I cannot here pass over un- 
 noticed a charming portrait of d'Hancar- 
 ville by Signora Albrizzi in her Ritratti. 
 
 Saint Anthony, il Santo, as from his 
 popularity this thaumalurgus has been 
 surnamed for six centuries, is the chief 
 and most ancient wonder of Padua. The 
 architecture, by Niccolo Pisano, has some- 
 thing imposing. Over the principal door 
 are, one on each side of the name of 
 Jesus, the two fine and celebrated figures 
 ofSt. Rernardin and St. Anthony, painted 
 by Mantegna, as he himself informs us 
 in an inscription.' 
 
 The guardianship of the interior of 
 this temple has been for some years past 
 somewhat singularly entrusted to some 
 Dalmatian dogs, of the shepherd species, 
 which have well fulfilled their charge 
 against all but the despoilers of 1797. 
 The two present guardians of the Santo, 
 some years ago, surprised a domestic of 
 the Sografi family who had remained at 
 bis devotions one night after the doors 
 were closed ; they took up their positions 
 one on each side, ready to seize him if he 
 made the least movement, and kept him 
 thus in custody till the morning. 
 
 The chapel of the saint, one of the 
 richest in the world, by the architects 
 
 a Andreas Mantegna optumo favente numiue per- 
 fect), mcccclij. xi Kal. sextil. 
 
200 
 
 PADUA. 
 
 [ Book VII. 
 
 Jacopo Sansovino and Giovanni Maria 
 Falconetto, is ornamented with pleasing 
 arabesques by Matteo Allio and Gero- 
 nimo Pironi, and with eiquisite basso- 
 relievos by Campagna, Tullius and An- 
 tonio Lombardo, and Sansovino. Among 
 the last is a very fine one of a republican 
 subject, which seems rather strangely 
 placed on the tomb and among the divers 
 incidents of Saint Anthony's life : it is 
 Mutius Scaevola haughtily burning his 
 hand for having missed Porsenna.' A 
 different and less noble subject, but still 
 better executed, is the miracle of the 
 young girl who fell into a slough and was 
 resuscitated by Saint Anthony, a basso- 
 relievo by Sansovino. The stucco orna- 
 ments of the ceiling are extremely ele- 
 gant, by the clever artist, Titian Alinio, 
 of Padua, who was also the author of the 
 Redeemer and the twelve Apostles; the 
 majestic altar, the doors, the four angels 
 holding the chandeliers, and the superb 
 statues of St. Bonaventure, St. Louis, 
 and St. Anthony, are by Titian As- 
 pelti, who must not be confounded with 
 the preceding artist. One of the three 
 lamps of massive gold melted down 
 in 1797 to pay the war assessment, was a 
 present from the Grand Turk to Saint 
 Anthony. 
 
 In the chapel of the Holy Sacrament, 
 the basso-relievos and the four angels 
 sculptured by Donatello are valuable 
 works. A Crucifixion, of extraordinary 
 beauty and in perfect keeping, is by Da- 
 roini. The frescos of the chapel of Saint 
 Felix, by Jacopo Avanzi and Aldighieri, 
 great painters of the fourteenth century, 
 but almost unknown, and five antique 
 statues of the altar, are verj remarkable. 
 The Martyrdom of St. Agatha, by 
 Tiepolo, in one of the chapels, has been 
 praised by Algarotti for its fine spirited 
 expression, although the drawing be not 
 irreproachable. 'J he St. Louis giving 
 alms, in another chapel, by Rotari, is 
 harmonious and pleasing. 1 observed in 
 the chapel of Saint Prosdocimus, the se- 
 pulture of the Capodilista family, a noble 
 and pleasing chivalrous motto in French, 
 Leal Desir. This ancient Paduan fa- 
 mily derives lustre from Gabriele Capo- 
 
 1 This act of.Mulius Scaevola seems to have suited 
 the tasie of Italian artists of the sixteenth century : 
 it may be teen on the triumphal arch erected at 
 Rome on occasion of the coronation of Leo X.; it is 
 Dear the pope's arms and a sacrifice offered by 
 Shepherds. See the Chronicle of the Florentine 
 
 dilisla, a pilgrim tolhe Holy Land in 1458, 
 who also wrote his Itinerary, now a 
 scarce book. The Beheading of John 
 the Baptist, in his chapel, by Piazzetta,a 
 bold imitator of Guercino, "extolled for 
 the effect of light and shade, is horrible 
 to behold, as also the Flaying of St. 
 Bartholomew, at the next chapel, by 
 Pitloni, one of the octogenarian painters' 
 of the Venetian school.* At the Orsato 
 chapel is Liberi's St. Francis receiving 
 the stigmata, the very expressive head 
 of which is said to have been done in one 
 night. The antique chapel of the Ma- 
 donna Mora is curious : the marble fi- 
 gure is a Greek work, but its beauties 
 cannot be perceived on account of the 
 enormous vestments in which it is muf- 
 fled. Some other paintings and sculp- 
 tures of Saint Anthony are worthy ol 
 remark : the Descent from the Cross, by 
 Luca of Reggio, is natural and of good 
 colouring. The Redeemer, a fresco ol 
 AJantegua's school, under a glass, is in 
 pretty good condition. Another fresco 
 of the Virgin and the infant Jesus, 
 larger than nature, with St. Jerome ana 
 St. John Baptist, a work of the begin- 
 ning of the fifteenth century, recalls 
 Giotto's manner. The Virgin on a pe- 
 destal, and below Sts. Peter, Paul, Ber- 
 nardin, and Anthony, is a fine composi- 
 tion by Antonio Boselli, an able Berga- 
 mese painter of the sixteenth century. 
 The Crucifix surrounded by prophets, 
 and Sts. Sebastian, Gregory, Bona- 
 venture and Ursula, by llontagnana, is 
 elegant and true. A saint in marble, 
 over the holy-water vase, is by Pyrgo- 
 teles. The Burial of Christ, on a door 
 of the chapel of Relics, by Donatello, a 
 famous basso-relievo of clay gilt, which 
 was worthy of being cast in bronze, not- 
 withstanding its beauties, is somewhat 
 exaggerated. 
 
 The choir and the high-altar are an 
 assemblage of chefs-d'oeuvre of the great- 
 est masters. The great bronze chandelier, 
 by Andrea Riccio, the Venetian Lysip- 
 pus, is the most beautiful in the world. 
 It cost the artist ten years' labour; and 
 every part will bear a comparison w itu 
 theantique chandeliers, but the ensemble 
 
 physician Giovanni Jacopo Penui, quoted In the ap- 
 pendix to the Life and Pontificate of Leo X., by 
 Unscoe, chap. vil. See posJ, another painting on 
 the same subject at Saint Laurence of Cremona, 
 book ix.. chap, xiiv 
 * See post, book vi., chap, xvll. 
 
Chap. UK] 
 
 PADUA. 
 
 301 
 
 is inferior ; the richness and multiplicity 
 of so many elegant particulars are inju- 
 rious to the real beauty of the work. 
 The four statues of the protectors of Pa- 
 dua, the Virgin and the infant Jesus, 
 and'lhe great bronze crucifix, are admi- 
 rable works of Donatello, and the stone 
 statues are by Campagna. . 
 
 II Santo contains some illustrious 
 mausoleums of patricians, generals, dis- 
 tinguished foreigners, and professors. 
 The monument consecrated by the pa- 
 trician Querini to Bembo is associated 
 with the first names in letters and the 
 arts. The bust of Danese Cataneo ob- 
 tained the elogium of Aretino ; it is pre- 
 tended that Titian and Sansovino contri- 
 buted to its perfection by favouring the 
 artist with their counsels ; the architec- 
 ture of the monument, by San Micheli, 
 has a noble simplicity ; the inscription is 
 by Paolo Giovio. The marble mausoleum 
 of Alessandro Contarini, procurator of 
 Saint Mark, executed under the direction 
 of San Micheli, is full of grandeur; the 
 figures of the chained slaves, by Vittoria, 
 placed as cariatides and excellently dis- 
 posed, are vigorous; and the little wing- 
 ed figure on the top of the monument, by 
 the same great artist, extremely graceful. 
 Another splendid tomb is that of the 
 professor of elocution Octavio Ferrari , a 
 copious and fluent rhetorician , whose 
 digressions were said to be more es- 
 teemed than the subject of his lectures ; 
 and such was the amenity of his manners 
 and speech as to procure him the fine 
 title of peace-maker. We are informed 
 by the inscription that this professor of 
 Padua had a pension from Kouis XIV., 
 and was a knight of the equestrian order 
 of Christina; the more illustrious Cesa- 
 rotti , who was pensioned and knighted 
 by JNapoleon , has for his monument only 
 a small red stone with the half-effaced 
 inscription ; — Ossa Melchioris Cesarotti 
 
 1 At last a monument was erected in 1833 to Gas- 
 pardo Gozzi through the exertions of Professor 
 Meneghelli ; the sculptor, S. Giuseppe Petrelli, has 
 represented the. genius of literature overwhelmed 
 with sorrow, seated before the bust of Gozzi, with 
 this inscription beneath : — 
 
 Honori 
 
 Gaspari. Gozzii. Viri. Litteratissimi 
 
 Cujus. Ciuercs. In. Hoc. Sacello 
 
 Patavini anno 1808. Notwithstanding 
 the poetical talent of Cesarotti, his trans- 
 lation of the Iliad is inferior to Monti's 
 and impregnated with the false taste and 
 frivolity peculiar to the French and Vol- 
 tairian imitation of the Italian authors of 
 the last century; the simplicity and an- 
 tique colouring are still farther departed 
 from than in Pope's translation : for in- 
 stance, he fancied he was making the 
 girdle of Venus more agreeable and be- 
 coming by transforming it into a neck- 
 lace. The translation of Ossian , Cesa- 
 rotti's best work , is very superior to his 
 Iliad ; as a critic, Cesarotti has been justly 
 praised ; but it is surprising that a lover of 
 truth, like Sismondi , could proclaim him 
 the first poet of his time. Another cele- 
 brated Italian writer, philosopher, poet, 
 and critic, Count Gaspardo Gozzi , eldest 
 brother of the eccentric and merry Carlo 
 Gozzi, is interred at Saint Anthony : neg- 
 lecled by the declining government of 
 Venice, he died indigent, and has not even 
 an inscription. It is difficult to explain 
 such literary indifference in a town like 
 Padua , and beside the sumptuousness of 
 some of its mausoleums. * 
 
 The treasury of Saint Anthony, an im- 
 mense heap of relics, was despoiled of 
 a portion of its riches at the time of the 
 French invasion in 1797. There are ex- 
 hibited the saint's tongue still unchanged 
 in colour, which , though less eloquent , 
 has moved more men than that of the 
 Roman orator ; and the collection of his 
 sermons corrected by himself, written in 
 a legible and even elegant hand. 
 
 The ceiling of the sacristy, represent- 
 ing St. Anthony's entry into heaven, 
 is a fine fresco by Liberi , unfortunately 
 too distant ; the wood work of the cup- 
 boards is by the brothers Cristoforo and 
 Lorenzo Cauozzi ; the latter both painter 
 and sculptor, a fellow disciple and rival 
 of Mantegna, famous for this kind of 
 
 Antonivs. Meneghelhs 
 
 Voti. Pvblici. Interpres 
 
 M. P. 
 
 Ann. MDCCCXXXV. 
 
 Gozzi died in the house of Count Leopoldo Ferrn, 
 in the faubourg of the Vignali: S. Meneghelli ob- 
 tained permission from the present proprietor to 
 place on the outside wall another inscription, allud- 
 ing So the residence and end of Gozzi. 
 
PADUA. 
 
 work ; a Crucifix , and other ornaments 
 in steel wrought with singular ingenuity 
 by an artisan of Padua , were superin- 
 tended by the painter Antonio Pelle- 
 grini. 
 
 Among the numerous tombs of the 
 cloister of Saint Anthony , I remarked 
 lhat of a great nephew of Ariosto , a boy 
 of thirteen years , illustrious , says the 
 inscription , by the name of his ancestor 
 (Adolescentulo nomine avito claro); 
 that of a Frenchman , Arminius d'Orbe- 
 san , baron of La Bastide, a young war- 
 rior deceased in 1595 , at the age of 
 twenty : after a touching Latin inscrip- 
 tion * , comes this quatrain , which is 
 destitute of neither harmony nor poe- 
 try : 
 
 N'arrcse de tes pleurs ma sepulcrale ceudre, 
 Puisque un jour eternel d'un plus beau ray me luit, 
 Mais benis le cercneil, oil tu as a descendrc ; 
 Mr il n'est si beau jour qui ne meine sa nuit. 
 
 In the cloister of the Presidenee is at 
 great sarcophagus surmounted oy me 
 recumbent statue of a warrior, with a 
 fine Latin inscription composed by Pe- 
 trarch a . 
 
 The Scuola del Santo (the confrater- 
 nity of Saint Anthony) , near the church , 
 presents, on the first floor, some fine and 
 curious frescos by Titian, or of his school ; 
 the subjects are taken from the history 
 of the saint , and these are esteemed the 
 best preserved works of lhat great pain- 
 ter. Two, especially, are admirable ; 
 they equally remind us of the jealous 
 violence of husbands at lhat period , and 
 Saint Anthony's singular compassion for 
 their wives : one represents a woman 
 poniarded by her husband and brought 
 to life again by the saint ; in the other, a 
 wife very much suspected by her husband 
 has her honour vindicated by the child 
 to which she has just given birth recognis- 
 ing its true father, who is greatly moved 
 
 1 Gallus eram, Patavi morior, spes unaparentutu, 
 Flcelere ludus, equos, armaque cura fuit . 
 Nee quarto in lustro mihi prsevia Parca pepercit. 
 Hie tumulus , sors haec , pax sit utriquo : vale. 
 Miles eram magnus factis, et nomine Mannus, 
 Uonatos, quos fama vocat, celebratque velusti 
 Sanguinis aiutores habui; manus inclyta bello 
 Dexterltasqne loiuienia fuit , uec gratia clar» 
 
 [BOOK VII. 
 
 thereby, a miracle for which he returns 
 thanks to Saint Anthony. Two frescos 
 by an unknown author also exhibit him, 
 the first , fearlessly remonstrating with 
 the tyrant Eccelino, who falls at his feet, 
 swears that he will retire, and imme- 
 diately quits Padua, which he did not 
 venture to revisit till after the saint's 
 death : in the second he appears to the 
 blessed Lucas Belludi, lo whom he an- 
 nounces the delivery of his country from 
 the same Eccelino : as the protector of 
 women and the redoubled enemy of a 
 tyrant, Saint Anthony is set off to the 
 best advantage in this Scuola. 
 
 Some other paintings, many of which 
 represent the saint's odd miracles, are to 
 be remarked : the Saint setting the fool 
 of a young man, by Titian ; ' 
 
 Saint Anthony dead and recogniseda 
 saint by the joyful shouts of children; 
 
 The Miracle of the glass thrown on 
 the pavement from a window without 
 breaking , which converted the heretic 
 Aleard j 
 
 ^be Child thrown into a copper of 
 boiling water and resuscitated by the 
 saint ; 
 
 The Bashful child not daring to ash 
 for cakes, of Titian's school ; 
 
 The Opening of the saint's tomb , 
 which offers near the body the portraits of 
 Jacopo Carrara and his wife Costanza , a 
 good painting by Contarini; 
 
 St Francis and St. Anthony in clare- 
 obscure , one on each side the altar ; 
 
 The Child brought to life by the 
 saint , very fine , by Doraenico Campa- 
 gnola. 
 
 A painter of the last century, named 
 Antonio Buttafogo , has not feared to re- 
 present the Death of the saint beside 
 such works; the painting is of 1777; but 
 the temerarious artist might have spared 
 himself the trouble of dating it. 
 
 In the small under-ground chapel, the 
 Virgin, the Infant Jesus, St. Benedict 
 
 Defuerat fotmae, dubiique peritia Martis ; 
 Dum pia justitiaj fervens amor induit arma, 
 Nil metuens multis late victricia campis 
 Signa tali , mtiltos potui meiuisse triumphos: 
 Florenlina mihi generosse stirpis origo, 
 Cara domus Patavum, sedesque novissima busti 
 Conttglt exiguo fessutn sub rnarmore corpus, 
 Reddita mens coelo, nomen servate sequent*. 
 
Our. IV. 
 
 PADUA. 
 
 205 
 
 and St. Jerome, a work in Titian's style, 
 by Padovanino, has been clumsily re- 
 touched and is lost through neglect. 
 
 The fine bronze equestrian statue, by 
 Donatello, representing the Condottiere 
 Gattamelata, in the square before the 
 church of Saint Anthony, is the first 
 founded in Italy and by the moderns. 
 However able this general may have 
 shown himself, the chief of a mercenary 
 band of soldiers does not seem to deserve 
 the honour of such a monument. With 
 combatants of his description war loses a 
 portion of its heroism, and is only another 
 species of speculation and traffic. These 
 Condottieri, in the pay of different slates, 
 are well known to have taken care of 
 themselves and prolonged the hostilities ; 
 their manoeuvres on the field of battle 
 were very often only simple evolutions, 
 and their campaigns grand parades. The 
 fact related by Machiavel, respecting the 
 battle of Anghieri, which was won by 
 the bands in the Florentine service over 
 those in the pay of Milan, • although 
 denied by Scipio Ammirato and other 
 writers, docs not destroy the reasoning 
 of the Florentine publicist on the infe- 
 riority of such troops and their inability 
 to defend their country. The French 
 soldiers, who knew nothing of this kind 
 of exercise and arrangement, could easily 
 outdo such enemies and conquer Jtaly 
 col gesso.-' Perhaps the origin of the 
 phrase faria francese ought to be as- 
 cribed to the terrible surprise that they 
 excited among such prudent men? Is it 
 not singular that these stormy republics, 
 so jealous of their liberties, Athens, Car- 
 thage, Venice, and Florence, ended by 
 entrusting foreigners and barbarians to 
 defend them! to such an extent is that 
 sort of social egotism, produced by false 
 civilisation and the craving after plea- 
 sure, fatal to true patriotism ! So much 
 are wealthy, commercial, reasoning na- 
 tions less capable of great sacriGces than 
 those which are poor and insulated, reli- 
 gious, and of primitive manners. 
 
 ' 1st. fiorent. lib. v. After four hours of close 
 combat, (here was only one man killed, and be lost 
 Ms lire through falling from his horse and being 
 trod underfoot by the horses of theprelcnded an- 
 tagonists. 
 
 CHAPTER IV. 
 
 The Annunziata.— Hermits.— Servl. — Ruzzante.— 
 Saint Francis.— Squarcione. — Saint Benedict.— 
 The countess of Rosemberg. — Carmelites. — 
 Stellini. 
 
 The church of Saint Gaetan, of noble 
 and simple architecture, by Scamozzi, 
 injured by the affectation of certain or- 
 naments of the last century, has three 
 paintings by Palma, the Annunciation, 
 the Purification, the Resurrection of 
 Christ, and an admirable figure of the 
 Virgin addolorata, attributed to Titian, 
 and worthily. 
 
 The church of Saint Andrew contains 
 the tomb of a learned scholar of the last 
 century, Domenico Lazzarini da Murro; 
 the Greek inscription is affecting : — 
 "Here reposes Domenico da Murro, 
 Alas! how far is he from Ancona, his 
 country!" At the high-altar, the Virgin, 
 the Infant Jesus, St. Andrew, St. Tho- 
 mas de Villeneuve, and other figures, is 
 by Possenti, a clever Bolognese painter 
 ofthe middle ofthe seventeenth century, 
 a pupil of Ludovico Carracci, who died 
 at Padua of a musket shot fired by a 
 rival lover. In the sacristy are three 
 remarkable paintings : the Holy Trinity, 
 St. James, and St. Jerome, by Santa 
 Croce ; IheVirgin. the Infant Jesus, and 
 the Apostles, by Giuseppe Salviati, and 
 a very good Resurrection of Christ, by 
 an unknown author. 
 
 The architecture of the church of Saint 
 Lucy is simple and well-conceived, alto- 
 gether free from the bad taste of the last 
 century. A little painting of the Virgin, 
 half-length, is a precious work by an 
 unknown author; it is placed over a 
 wooden crucifix, by Bonazza, a Paduan 
 artist of the last century, clever in that 
 kind of work; in the sacristy, Ike St. 
 Joseph holding the infant Jesus in his 
 arms, who is turned with an affectionate 
 air towards St. Anthony of Padua and 
 St. Francis d'Assise, is by Nicholas Re- 
 nieri, a Flemish painter, of the earlier 
 half of the sixteenth century, who settled 
 at Venice ; his style is at once soft and 
 vigorous, and unites the manner of his 
 country with that of Italy. 
 
 a Willi chalk : the words used by Alexander VI. to 
 express the rapidity ofthe invasion of Charles VIII., 
 who seemed to have only to mark his lodgings like 
 a quartermaster. 
 
201 
 
 PADUA. 
 
 [Book VII. 
 
 The little church of the Annunziata 
 nell' Arena,' of the beginning of the 
 fourteenth century, is singularly charac- 
 teristic. Beside it stood the old palace 
 of the Foscari, which was demolished 
 between my visit of the year 1827 and 
 that of 1828, and a mean looking house 
 was being built on its site. This so- 
 litary spot consequently combined, on 
 my first visit, the ruins of antiquity, the 
 middle ages, and the revival. The walls 
 of the Annunziata are covered with 
 vast frescos, consisting of the strange 
 figures of the Virtues and Vices by 
 Giotto.* and particularly the celebrated 
 Last Judgment, which is said to have 
 been executed from the inspirations of 
 Dante, his friend. 3 Though oppressed by 
 five centuries, this grand composition is 
 perhaps the best preserved of his works, 
 and the upper part has some details full 
 oftaste, gracefulness, elegance, and truth. 
 The paintings of the choir representing 
 the Life of the Virgin, by Taddeo Bar- 
 tolo, one of Giotto's pupils, much praised 
 by Vasari, prove, notwithstanding their 
 inferiority, that he was not unworthy 
 his illustrious master. 
 
 The magnificent marble tomb of Enrico 
 Scrovigno, founder of the Annunziata, 
 with his statue recumbent, is behind the 
 altar ; his statue erect stands near the 
 sacristy ; beneath is this inscription : 
 Propria figura domini Henrici Scro- 
 
 1 Notwithstanding tbe jealous pretence of Maffei 
 that Padua bad not an amphitheatre, it seems cer- 
 tain that It possessed one (and even two, if wu may 
 believe Count Stralico, the editor of Vitruvius, who 
 discovered another in Hie Prato delta valle) and 
 that its ruins are still usible in front of tbe An- 
 nunziata. D'nancarville had composed a Disser- 
 tation on this subject. which remained unpublished, 
 as also a considerable number of his resenrcbes 
 now in the hands of an Englishman, Mr. Wolsteri- 
 holme Purr, who purposed publishing them in 
 Luglaud, but who was still at Padua in 1830. 
 
 [ D'Hancarville had commenced a Dissertation 
 nn these figures which was left a mere sketch at 
 bis death; his ingenious explanation of the Pru- 
 dence was unpublished until given by Cicognara, 
 book in., chap. vii. of his History of Sculpture. 
 
 1 Benvenuto d' Iniola, an early commentator of 
 Dante, relates a witty reply made by Giollo to Danle, 
 who was his guest at Padua, very much like that of 
 the Roman painter Malllus, told by Macrobllis : 
 Dante, when examining the frescos of the Annun- 
 ziata, asked Giotto why bis children, who closely 
 resembled himself in being ill-favoured, were so 
 link' «ikc bis paintings, tbe latter beiug beautiful, 
 the former ugly : Quia piiujo de die, sed fingo de 
 noete, replied Giotto. The bad looks of Giotto are 
 the subject of one of Boccaccio's novels (Gjoih. vi., 
 
 i vigni militis de Harena. Scrovigno 
 was a wealthy citizen of Padua who had 
 been admitted into the Venetian nobi- 
 lity in 1301, two years previous to his 
 founding the Annunziata. Vanity would 
 be beneficial and almost worthy of re- 
 spect, if it always produced such monu- 
 ments. 
 
 The church of the Hermits is one of the' 
 most curious in Padua. The plan was by 
 a monk of that order, Fra Giovanni, a 
 great architect of the thirteenth century, 
 public engineer of Padua. It presents 
 two elegant antique lombs of princes of 
 the Carrara family, the ancient sove- 
 reigns of Padua, with an inscription by 
 Petrarch ; 4 another tomb near them is 
 that of the learned professor of law Be- 
 navides, inferior in neither grandeur nor 
 magnificence, which, in his passion for 
 monuments, this Paduan Mecaenas had 
 erected during his life, by the Florentine 
 sculptor Ammanato ; 5 some great frescos 
 by Mantegna or of his school, half des- 
 troyed; a well preserved fresco, one of 
 his masterpieces; bis Martyrdom of St. 
 Christopher, full of life and expression, 
 in which he has painted himself and his 
 master Francesco Squarcione, under the 
 guise of two soldiers standing near the 
 saint; other singular frescos by Gua- 
 riento, a celebrated painter of the four- 
 teenth century, clumsily retouehed,which 
 cover the choir, and are said to repre- 
 
 now.S),ln which be is thus magnificently eulogised: 
 " Kbbe uno ingegno dl lanta eccellenzia, cbe niuna 
 cosa dalla natura, madre di tulte Ie cose, e opera- 
 trice col cominuo girar de' cleli, fu cbe egli con lo 
 stile, e con la peuna, ocol pennello non riipignesse 
 si simile a quella, cbe non simile, anzi plu tosto 
 dessa paresse, in tanlo, cbe molte voile nelle cose 
 da lui fatte si truova, cbe il visivo senso degli 
 uomini vl prese errore.'' lie moreover says that 
 Giotto was a fine talker (bellisimo favellatnre). 
 The novels of Sacbeili justify this last qualification: 
 lilt y contain several anecdotes and repartees of 
 Giotto, which show his satirical, independent 
 temper, and even the singular licence of bis opi- 
 nions. See A'«r. lxiii. and ixxv. 
 
 4 ]t is inserted in Scardeone"s work, De antuiui- 
 tuleurl/is fatavii, Basil., 1560, folio, p. US? ; but, 
 instead of cum (orel horrendus hoslibui itle sut's, 
 there is the egregious blunder of cum floret. 
 
 5 Such was Benavides' love for the arts and 
 sciences and their professors, that on the reverse 
 of a mediil to bis honour, which lie had ordered 
 tbe noted Cavino to engrave, he put tbe portrait or 
 the latter and that of Alessandro Bassauo, a cele- 
 brated antiquarian, his accomplice in tbe fabrica- 
 tion of antique medals, of such exact imitation, that 
 tbey were long tbe despair of other antiquarians, 
 and procured Cavino the title of Trincc uf forger i. 
 
Chap. IV.] 
 
 PADUA. 
 
 205 
 
 sent ihe planets, among which Mercury 
 is seen dressed as a monk, and holding 
 a book in his hand, as the god of elo- 
 quence ; St. Peter, St. Paul, Moses, and 
 Joshua, in fresco, larger than life, reck- 
 oned the best works of the vigorous 
 pencil of Stefano dell' Arzere; on the 
 altar of the chapel painted by Mantegna, 
 seven figures of burnt clay, full of grace, 
 nature, and simplicity, surmounted by 
 an elegant frieze, by Giovanni of Pisa, 
 or perhaps his master and companion 
 Donatello ; the Virgin on an elevated 
 throne, with the infant Jesus in her 
 arms, and at her feet St. James, St. Au- 
 gustine, St. Philip, and the doge Grilli 
 holding the city of Padua in his hand, a 
 grand composition, excellent in design 
 and colouring, by Fiumicelli ; the St. 
 John Baptist in the desert, by Guido, 
 full of the noble expression peculiar to 
 him ; Jesus Christ showing his wound 
 to St. Thomas, one of Padovanino's 
 chefs-d'oeuvre. In the sacristy, is one 
 of Canova's funerary cippi, so much dis- 
 tinguished for elegance and variety, that 
 of Prince William George Frederick of 
 Orange, remarkable for the pathos of the 
 figure and the merit of the drapery. 
 
 There is a small cemetery belonging to 
 the church of the Hermits; it contains 
 the marble tombs of a German lady, the 
 baroness Louisa Deede, by Canova, and 
 of another person of the reformed faith; 
 these proteslant tombs are perhaps nearer 
 a church than any other, and the latter, 
 through a laudable toleration, is built in 
 the very wall of the Hermits, and I be- 
 lieve has a front in the church. 
 
 At Saint Canziano, the Miracle of the 
 miser by St. Anthony, a work of Da- 
 mini, contains the portraits of the famous 
 anatomist Geronimo Fabricius d'Acqua- 
 pendente and that of the author. The 
 Death of the Redeemer and the Marys 
 weeping, excellent figures in clay, by 
 Andrea Riecio, have, most unluckily been 
 coloured : one feels, on seeing them, to 
 what an extent reality is inferior to the 
 true. 
 
 The church of the Servi of Santa Maria 
 ' is as old as the fourteenth century ; it 
 was founded by Fina Buzzacarina, wife 
 of Francesco Carrara the Elder, on the 
 site of the demolished house of the con- 
 spirator Nicolao Carrara, who wanted to 
 betray Padua to Can delta Scala. Many 
 of its paintings and mausoleums are re- 
 markable ; the Virgin in the midst of 
 
 angels, and at her feet St Jerome, St, 
 Christopher and ot er saints, is a natural 
 and sublime composition of the fifteenth 
 century, author unknown. It is uncer- 
 tain on what grounds the miraculous 
 statue of the Virgin has been attributed 
 to Donatello. In the sacristy, the paint- 
 ing of the Virgin holding the dead 
 Christ, is by Andrea Mantova, a noble 
 and clever amateur, pupil of Luca of 
 Reggio. The Virgin, St. Paul, St. Au- 
 gustine, St. Mary Magdalen, St. Ca- 
 therine, is a good work by Stefano 
 dall' Azzere ; the Virgin appearing to 
 the founder of the Servi order; the 
 Ardingo Bishop of Florence invest- 
 ing him with the black gown, are 
 by Luca of Reggio. The bronze basso- 
 relievos of the mausoleum of Paolo of 
 Castro and his son Angelo, jurisconsults 
 and professors, are perhaps by Vellano, 
 a pupil little worthy of Donatello and 
 much too highly spoken of by Vasari. 
 In one place an angel is seen taking a 
 book to these doctors, to whom the in- 
 scription gives the ridiculously lofty title 
 of monarches sapientia. The tomb of 
 Heraclius Campolongo, a celebrated 
 physician in his day, who died in 1606, 
 is at once grand and elegant. 
 
 The small church of Saint Daniel is of 
 the eleventh century, but it has been 
 modernised. It is a matter of regret 
 that no traces remain of the tomb and 
 honorary inscription decreed to Angelo 
 Ruzzante surnamed Beolco, from his 
 taste for agriculture and the rearing of 
 cattle. Beolco, celebrated for his come- 
 dies in the rustic dialect of Padua, played 
 them with such talent as to be compared 
 to Roscius by Sperone Speroni. Not- 
 withstanding his success, Beolco was 
 poor when he died, in 1542, at the age 
 of forty, and was honoured with a mag- 
 nificent funeral at Saint Daniel at which 
 his admirer, the canon Scardeoae, the 
 historian of the illustrious Paduans, seems 
 to have assisted. If the monument of 
 the Paduau poet and actor still existed, 
 it would do credit to Italy, for having 
 granted honours to Beolco and a burial, 
 which were refused to Moliere's ashes in 
 France more than two centuries after 
 
 The spacious church of Saint Francis 
 is not destitute of interest with respect 
 to art and literary associations. The 
 tomb of the illustrious Florentine scholar, 
 orator, politician, and warrior, Barto- 
 lommeo Cavalcanti, who went into vo- 
 
 18 
 
2« 
 
 PADUA 
 
 [Book VII. 
 
 luntary exile after the loss of his coun- 
 try's liberty, and died at Padua in 156-2^ 
 is in excellent taste, aid the sarcophagus 
 recalls the boldness of Michael Angelo. 
 The mausoleum of Pictro Roccabonella, 
 a celebrated Venetian professor and phy- 
 sician, surmounted by a bronze statue 
 of him writing, is by Vellano, completed 
 by Andrea Riccio. Over the elegant 
 altar of (he chapel della Crociera, is the 
 Ascension, by Paolo Veronese ; the 
 apostles are by Damini, and were painted 
 in 1625, those by Paolo Veronese having 
 been cut out and stolen, as we are in- 
 formed by an inscription commemorat- 
 ing that strange robbery. An admirable 
 St. Francis receiving (he stigmata, is 
 by Luca of Reggio. In the chapel of 
 Saint Gregory, the Saint interceding 
 for some souls in purgatory, a fine 
 painting by Palma, is unfortunately con- 
 cealed by an image of the Virgin, an 
 object of popular veneration. The basso- 
 relievos of the altar, erected at the ex- 
 pense of the archpriest Rartolommeo 
 Sanvito, with his statue kneeling, are 
 good works of the sixteenth century. 
 The Virgin on a throne, with St. Peter 
 and St. Francis beside her, a valuable 
 basso-relievo in bronze, is a work ofYel- 
 lano, finished by Riccio. The portico of 
 Saint Francis was formerly famous for its 
 paintings in clare-obscurc representing 
 the Lifeof 'the Saint, by Francesco Squar- 
 cione; being faded, they were white- 
 washed over in the last century, and Alga- 
 rotti has even humorously pretended in 
 one of his letters that this was subsequent 
 to a chapter held on the subject by the 
 monks. A lay-brother of the convent, 
 of good education and a lover of the arts, 
 discovered the continuation of these 
 paintings in a small cloister adjoining, 
 then used as a woodhouse. 1 hey are 
 now nearly lost; but the compartment 
 least injured, representing St. Francis 
 kneeling before the pope on his throne, 
 surrounded by a crowd of cardinals, 
 still bears witness to the skill of the old 
 Venetian master, chief of a celebrated 
 school at Padua, which numbered as 
 many as one hundred and thirty-seven 
 pupils, among whom it had the honour 
 of forming Mantegna; a strict master as 
 to the principles, and who already treated 
 the school of Giovanni Bellini as corrupt. 
 Saint Clement has one of Luca of 
 Reggio's best works : the pope of that 
 name surrounded by angels. The Christ 
 
 giving the keys to Peter in presence of 
 the angels, by Damini, suggests the imi- 
 tation of Padovanino. 
 
 The grand church of Saint Benedict 
 the Elder has some fine paintings: St, 
 Benedict and some monks, by Darnini ; 
 the Christ in the air, St Peter dic- 
 taling the gospel to St. Mark, St. Je- 
 rome, St. Dominick and St. Thecles,, 
 by Domenico Tintoretto ; the grand paint- 
 ing of Moses striking the rock; the 
 Blessed Giordano Forzate tracing the 
 plan of the neighbouring monastery 
 with his stick, by Padovanino; Nostra 
 Signora di Loretto, the Empress Helen 
 and Ludovico Gonzaga, by Luca of Reg- 
 gio. Saint Benedict contains the tomb 
 of a literary Englishwoman of some cele- 
 brity in the last century, Justine Wynne, 
 countess of Ursins and of Rosenberg, a 
 monumental tribute of affection from her 
 brother Richard Wynne. who consecrated 
 it to her on the win of September 1791, 
 the year of her death. The countess of 
 Rosenberg has written a description in 
 French of the senator Angelo Quirini's 
 villa of Allichiero, then rich in statues 
 and antiquities, and the very scarce book 
 entitled les Morlaques, a picture in 
 poetical prose of the almost unknown 
 manners of those inhabitants ofDalmalia. 
 The frivolous count Benincasa has been 
 often mentioned as the t einturier of this 
 erudite lady, an impossible partnership 
 which M. Nodier has very well refuted. 
 
 The vast church of the Carmelites 
 possesses a charming painting by Pado- 
 vanino, the Mother of Sts. James and 
 John praying to the Saviour ; some good 
 paintings by his father Darius Varotari, 
 near the organ and high-altar ; St. 
 Prosdocimus, St. Daniel and St. An- 
 thony of Padua, a Virgin in fresco by 
 Stefano dali' Arzere; a little elegant 
 picture by Bissoni, a Paduan painter of 
 the seventeenth century; the Virgin, 
 the infant Jesus, and the blessed Si- 
 meon Stoch, and another great and good 
 painting, by the same, the Virgin pre- 
 senting the Carmelite habit to the 
 founder of the order. The Scuola del 
 Carmine, near the church, has sonn 
 frescos by Domenico Campaguola, the 
 Adoration of the Shepherds, of the 
 Magi, the Circumcision, which are of 
 this artist's best ; an admirable St. Joseph 
 visiting St. Anne, by Titian, and a small 
 painting of the Virgin with the infant 
 Jesus, by him or the elder Palma. 
 
Ciup. V.] 
 
 PADUA. 
 
 20T 
 
 Santa Croce has some esteemed paint- 
 ings and two pretty good figures of 
 angels, by Antonio Bonazza, a tolerable 
 sculptor of the last century ; this derives 
 an especial interest from being the burial- 
 place of P. Jacopo Slellini, a monkof im- 
 mense information and capacity ; poet, 
 orator, geometrician, theologian, phy- 
 sician, chemist, scholar, and especially 
 philosopher, who, to use Algarolti's ex- 
 pression, could have undertaken to give 
 instruction during-the same day in all 
 human sciences ; he was a kind of Paduan 
 Socrates, but his opinions are now nearly 
 forgotten in Italy, a fact which proves that 
 the creations of thought and reason will 
 always have a more limited existence 
 than the works of art or poesy. 
 
 The little church of the Dimesse, of 
 elegant and harmonious architecture, is 
 reputed to be from the plans of Alga- 
 rotti. The Magdalen, St. Anthony, 
 St. John Baptist and St. Prosdocimus, 
 is a fine painting in Liberi's first, style. 
 
 CHAPTER V. 
 
 Saint Jusllne.— San Giovanni dl Verdara.— Buona- 
 mico.— Professors of the sixleenlli century.— 
 Morgagnl.— Seminary.— Forcelllni. 
 
 Saint Justine, with its eight open-work 
 cupolas, the highest of which is sur- 
 mounted by the saint's statue, is a su- 
 perb monument ; though more than three 
 centuries have passed since its erection, 
 this church still appears quite new. The 
 architect was a Benedictine, Geronimo 
 of Brescia. In the principal chapel is an 
 excellent painting by Paolo Veronese, 
 the Martyrdom of St. Justine; but Jesus 
 Christ, the Virgin, St. John and the 
 angels above have much less the appear- 
 ance of descending from heaven than 
 falling down heavily : a fault of this kind, 
 so opposed to the aerial manner of that 
 great painter, cannot certainly be attri- 
 buted to him ; it must be thrown on the 
 prior of the convent, who had the pre- 
 sumption to correct the drawing of Paolo 
 Veronese and teach him perspective. 1 
 
 The various chapels have also some 
 
 1 This prior of Saint Justine was 1'. Giulinno de 
 Careol, ofPlacenlia; Algarotti, in his Letters, gives 
 a humorous imaginary dialogue between liim and 
 the artist on the subject of this correction. Jt has 
 however been since ascertained that the change of 
 the colours into a deeper shade has much increased 
 the fault of perspective. 
 
 fine paintings: the Conversion of St. 
 Paul, the Martyrdom of James the Less, 
 superb compositions by the heirs of Paolo 
 Veronese; 3 an agreeable and touching 
 Ecstasy of St. Gertrude, by Libert; a 
 vigorous Martyrdom of St. Gherardo 
 Lagredo, by Loth ; the Death of St. 
 Scholastica, perhaps too graceful ; the 
 Martyrdom of St. Placidus, noble and 
 elegant, by Luca Giordano; St. Bene- 
 dict receiving St. Placidus and St. 
 Maur at the gate of his monastery, 
 one of Palma's best works; the same 
 saint showing his rules to several prin- 
 ces and princesses, by Claudio Ridolfl, 
 highly spoken of, and with justice as 
 regards its invention, grace, richness, 
 and careful execution ; St. Cosmo and 
 St. Damian withdrawn from the sea; 
 their Martyrdom, good works by Ba- 
 lestra ; a grand and pathetic painting of 
 the Mission of Ihe Apostles, by Bissoni; 
 the Miracle of the holy Innocents, very 
 elegant, by Damini ; the Martyrdom of 
 St. Daniel, by Antonio Zanchi, a con- 
 temporary of the two last painters; it is 
 one of his best performances, and re- 
 markable for the composition, drawing, 
 and truth of the flesh. The statue of 
 Rachel with one son in her arms and 
 another dead at her feet, by Giuseppe 
 Comino, is held in considerable estima- 
 tion; the figures, larger than life, of the 
 Dead Christ, the Virgin, and St. John, 
 by Filippo Parodi, notwithstanding their 
 cleverness and pathos, announce the 
 pupil of Bernini. The figures and sym- 
 bols taken from the New Testament 
 which adorn the stalls of the choir are 
 the excellent work of a Frenchman of 
 Rouen, Richard Taut iguy, who also did 
 the fine stalls of the choir in the Duomo 
 of Milan, an extraordinary character, 
 whose life at Padua was a continued 
 scene of strife and madness ; of the abbe* 
 Euihichius Cordes of A ntwerp, one of the 
 fathers of the council of Trent, a theolo- 
 gian and friend of the arts, who directed 
 the labours of our fiery countryman; 
 and of Andrea Campagnola, a good sculp- 
 tor, but little known, who has executed 
 burnt clay models of these fine wood re- 
 
 2 Many paintings executed by his relations after 
 his death are signed the heirs of Paolo Veronese; 
 who were his son Carlelto and his brothers Bene- 
 detto and Gabriele. The whole family occasionally 
 worked together at the same painting. 
 
208 
 
 PADIA 
 
 [Boob VII. 
 
 iicvos. At Saint Jusiine is the tomb of 
 I he learned Piseopia Cornaro, who has 
 a statue at the University, 1 a bust at 
 Saint Anthony, and appears like the muse 
 of Padua. 
 
 The celebrated old library of Saint 
 Jusiine is no longer in existence; in 1810 
 it was sold and frittered away by the 
 administration, and is now dispersed; 
 the chief part of the more precious arti- 
 cles has passed from the library of S. 
 Melzi into England; its shining shelves 
 of wood from Norway and India are at 
 the University library, and the cloister 
 is converted into a fine large hospital for 
 invalids. Our writers of literary history 
 must in consequence henceforth re- 
 nounce their continual references to the 
 manuscripts in the library ol Saint Jus- 
 tine. 
 
 The church delle Grazie has a fine 
 expressive painting by Damini, St. Do- 
 minick bringing to life a drowned girl ; 
 the Dominican convent, to which this 
 church formerly belonged, is now 7 an 
 asylum for orphans and mendicants. 
 
 The church of Saint Sophia, which has 
 been supposed the ancient cathedral, 
 encloses various remains of antiquity : 
 such as the fantastical figures painted on 
 the great door, and especially the apsis, 
 anterior to 1000, constructed of materials 
 proceeding from Roman edifices. The 
 Christ put in the tomb is one of the best 
 paintings of Stefano dall' Arzere ; a Ma- 
 donna, in fresco, of the fourteenth cen- 
 tury, is a curious work; the old seats 
 which were formerly used by the priests 
 during the service merit the attention of 
 the learned. Saint Sophia contains the 
 tomb of one distinguished man, theCav. 
 Mabil, a native of Paris, professor for 
 nearly thirty years at the university 
 of Padua, translator of Titus Livius, all 
 Cicero's Letters, Scipio's Dream, the Life 
 ofAgricola, Horace, Phaedrus, and ol' 
 Quillet's strange poem oflheCallipe'die, 
 in blank verse, with learned notes. In 
 conversation Mabil was excellent and 
 lull of wit; he was the friend of Foscolo 
 and Cardinal Maury ; he held office under 
 the French administration, and died 
 more than octogenarian on the 2oth Fe- 
 
 i See above, cliap. [I. 
 
 1 I'etnis Aloy. Mabil Eqv. Cor. Ferreae Orlglne 
 Guilds SexeonU llaliam Parenlib. Deduetus lblq. 
 Sede Apud Venetos FauMis Ominib. Firmata Post 
 \8rlo> Hernia Cn«is Fain ModoPurente vodo Ti.c- [ 
 
 bruary 183(5 ; his epitaph, composed by 
 himself, happily paints his active and 
 agitated life. 1 
 
 The Ognissanti church, of a naked ar- 
 chitecture, has an Assumption by Palma ; 
 the ancon in three compartments at the 
 entrance of the sacristy, representing the 
 Virgin, the Infant Jesus, and beside 
 him St. Sebastian and another saint," 
 is a precious wreck of painting in 
 Squarcione's style. 5 A painting full of 
 life and expression, the most remarkable 
 in the church, is the Virgin in a glory, 
 with St. Maur and St. Agnes below : 
 Morelli attributes it to Bassano, but it 
 seems rather by his pupil Bonifazio. 
 The follow ing epitaph, a sort of political 
 epigram on a tomb, probably by one of 
 oui refugee compatriots, is not void of ori- 
 ginality : Cajetanus Molinus X. V. olim 
 aristocraticus, nunc realista, unquam 
 democraticus, civis semper optimus, 
 obiit tertio Id. Dec. MDCCXC VII. 
 
 SaintThomas.orthe Philippines, is re- 
 markable for its paintings: the Virgin in 
 the midst of the Magi, in w hich the child 
 leans gracefully towards St. Joseph, St. 
 Anthony of Padua and the little St. John; 
 St. Philip oflS'eri and St. Charles Bor- 
 romeo, in a demilune near the organ; 
 the Visit of St. Elizabeth, the Birth of 
 Jesus Christ, the Presentation at the 
 Temple, the Crowning with tJiorns, the 
 Ascension, the Descent of the Holy 
 Ghost, and the Assumption of the Vir- 
 gin, are fine works by Luca of Reggio, 
 rather difficult to discover on the ceiling. 
 A Piety, by the priest Stroifi, bears a 
 happy resemblance to the manner of 
 Cappuccino, his master. Saint Theresa, 
 St. Justine, are by Francesco Minorello, 
 the ablest pupil of Luca of Reggio, and 
 almost his rival; St. Prosdocimus, St. 
 Daniel, St. Agnes, a Nun; the Virgin 
 appearing to St. Philip; the same saint 
 carried to heaven by angels, in the re- 
 fectory, by Liberi. In the adjoining 
 oratory, the Virgin on a throne with 
 the infant Jesus, is a good painting by 
 an author unknown. 
 
 San Giovanni di Verdara contains 
 some tombs of artists and celebrated 
 writers, with some fine paintings. The 
 
 henle Tandem Sub Extremo Vilas Limine .Non per 
 Ignayiam Transacts Coudltorlum Hnece Mini Mu- 
 rituro Parandura Curavl Anno MDCCCXXXVI. 
 Stalls Mea? I.YXX1V. 
 1 Seethe preceding chapter. 
 
CHAP. V.] 
 
 PADUA. 
 
 209 
 
 mausoleum of Andrea Riccio, who made 
 the famous chandelier ofthe Santo, was 
 surmounted by his portrait in bronze, 
 said to have been lifelike, but it was 
 barbarously lorn away : bronze, a metal 
 which that artist had so cleverly wrought, 
 was a fitting and sacred ornament on 
 his tomb. Another great artist, Luca 
 of Reggio, one of Guido's best pupils, a 
 noble, graceful, and expressive painter, 
 who passed the greater part of his life at 
 Padua, is interred in this church.' An 
 elegant monument, though only an in- 
 ferior imitation of Bembo's mausoleum 
 at the Santo, has been consecrated to 
 Lazzaro Buonamico, one of those great 
 professors of the sixteenth century, one 
 of those renowned and influential men 
 that were eagerly sought after and court- 
 ed by princes and cities, whose life, 
 widely differing from the peaceful exis- 
 tence of their successors in Fiance and 
 Germany, was full of adventures and 
 catastrophes,;* and who by their lessons 
 more than their works contributed so 
 much to the glory of modern letters. 
 The monument erected in 15ii to the 
 professor of law Antonio Rossi is of ca- 
 pricious taste; but the bust, by an un- 
 known author, is a precious work. The 
 paintings are : a very graceful Nativity, 
 by Rotari; the Virgin, the Infant Jesus, 
 St. Anthony and St. Bernardin; a great 
 and noble Crucifixion, by Stefano dell' 
 Arzere; the two former with St. John 
 Baptist and St. Augustine in an agree- 
 able landscapejin the sacristy aMadonna, 
 very fine, in a smiling rural scene, with 
 St. John Baptist and St. Anne, by Don 
 Pietro Bagnara, a canon of Saint John 
 de Latran, a feeble but graceful imitator 
 of his master Raphael. On the last paint- 
 ing the pious artist has inscribed these 
 words, which are also found on several of 
 his works : Orate Deum pro anima 
 hujus pic tor is. Saint Augustine giv- 
 ing the book of his Constitutions to 
 the monks of his order, is by Luca of 
 Reggio. , 
 
 In the small church of Saint Maximus 
 there are only three paintings, byTiepolo, 
 which are excellent; the recumbent 
 statue of Giuseppe Pino, who died in the 
 flowerofhisage, in 1560, isa workworthy 
 
 • The Inscription, which says that he died in i652 
 at the age of forty-nine years, is erroneous ; his 
 will, lodged in the archives of Padua, was made at 
 Borghosehiavino in the presence of Francesco Mi- 
 uoiello. his pupil, and Is dated February 5, 1654. 
 
 of that epoch. Saint Maximus has on? 
 illustrious tomb, that of Morgagni, a 
 pious and learned man, who, in an 
 ecstasy of admiration for the author of 
 nature, one day, while dissecting, threw 
 down his knife and cried out : " Oh ! 
 that I could but love God as I know 
 him! " 
 
 The small church of Saint Matthew is 
 justly proud of two chefs-d'oeuvre of 
 Padovanino : the Saint stabbed by a 
 Gentile and an Annunciation. 
 
 Saint Joseph has preserved some cu- 
 rious frescos, executed in 1397, as we 
 are informed by an inscription in Latin 
 verse, by Jacopo of Verona, a great 
 artist ofthe fourteenth century : the Ado- 
 ration ofthe Magi presents the portraits 
 of several princes of Carrara; some men 
 of greater fame in the present day are 
 represented among the spectators of the 
 Funeral of the Virgin, known by the 
 names of Dante, Petrarch, and Boccaccio; 
 there too is seen the celebrated physician, 
 philosopher, and heretic, Pietro d'Abano, 
 called in his time the Great Lombard, 
 and perhaps the figure holding a cap in 
 his hand may be the painter himself. 
 
 In Saint Fermo is the great and superb 
 Crucifix of wood, by an unknown artist, 
 highly spoken of by Padre della Valle, 
 Vasari's commentator, as one ofthe finest 
 things in Padua, but the violent agony 
 of Christ as there represented seems 
 rather the suffering of a man than a God, 
 The picture of the Virgin with John 
 the Evangelist, St. Francis d'Assise 
 and Giovanni Bagnara, called the 
 Long, who built the elegant altar where 
 the painting is placed, is by Minorello, 
 and worthy of his master Luca of Beggio. 
 A small painting of St. Peter and St. 
 John Baptist is curious from its anti- 
 quity. 
 
 The college of Padua, called the Se- 
 minary, is justly celebrated for its print- 
 ing-office, its Latin, and its library. The 
 presses are eight in number and seem to 
 have work enough. The library has 
 about fifty-five thousand volumes, eight 
 hundred manuscripts, and the valuable 
 collection of prints, a legacy to the 
 Seminary in 1829 from general mar- 
 quis Federico Manfredini, a man of ex- 
 
 * Buonamico was at Rome when the troops of 
 the constable of Bourbon sacked that city; he nar- 
 rowly escaped with his life, and lost all his boots 
 and manuscripts. 
 
 18. 
 
SIO 
 
 PADUA. 
 
 [Book VII. 
 
 tensive knowledge, formerly the go- 
 vernor of Leopold's sons, and a great 
 friend of Morghen. This collection, im- 
 properly classed by nations instead of 
 epochs, is difficult of access, or rather 
 almost buried, on account of some en- 
 gravings of a licentious character. The 
 library of the seminary contains some 
 rare flrst editions of the Florence Homer, 
 and the Venice Pliny ; a copy of the third 
 edition of the same, on vellum paper (Ve- 
 nice, 1472); another Pliny with marginal 
 notes by an unknown person (Venice, 
 Bernardino Benalio, 1497); Cicero's 
 Letters, the first book printed at Venice; 
 some line manuscripts of Petrarch and 
 Dante. An autograph Letter from Pe- 
 trarch to his physician and friend Gio- 
 vanni Dondi, 1 De quibusdam consiliis 
 medicince, is curious; ! it is dated from 
 Arqua, and may be regarded as a very 
 sensible little treatise on hygiene; Pe- 
 trarch was seventy years old when he 
 wrote it. After the common places on 
 the necessity of yielding lo time, as every 
 thing in nature does, Petrarch consents 
 to abandon the use of fish and salt meat ; 
 but he defends his regime of fruits and 
 vegetables, the habit contracted in his 
 boyhood of drinking nothing but pure 
 water, and that only once a day, and of 
 strictly fasting one day a week on bread 
 and water. Dondi, on the contrary, 
 wanted him to take wine, and spirits ; to 
 eat partridge and pheasant, and opposed 
 his fasts, notwithstanding the example of 
 the hermits of the Thebaid cited by Pe- 
 trarch. 3 There is also in the library a 
 copy of the Dialogues of Galileo, with 
 notes by himself: the alterations were 
 given in an edition of his works printed 
 
 ' Son of Jacopo, a physician and astronomer, 
 and maker or tbe famous clock placed in the palace 
 lower at Padua, Id 1344. Giovanni was also at the 
 same time an astronomer and physician. He In- 
 vented and executed with his own hands another 
 clock put up iu Hie library of Giovanni Galeas Yis- 
 conti at I'avi.i. Hence did the Dondi family derive 
 the name of tleyli Orolcgi. 
 
 '' It wes published In (80S by the professors of 
 the Seminary at Padua, but a hundred copies only 
 were printed. This Idler, the tirst of book mi. of 
 ihe Seniles, as printed In I lie different editions of 
 Petrarch, is full of egregious errors, which are 
 pointed out and corrected at the end of the volume 
 In the Seminary edition. 
 
 3 I'elrarch was not less prejudiced against me- 
 decine and lis professors than Montaigne, Moliere, 
 and Housseau. See in the Senit. lib. in. the 
 Epistles I and s, addressed to Giovanni of Padua, a 
 
 at the Seminary (1745, in four volumes 
 quarto). 
 
 I could not contemplate without a 
 feeling of respect the manuscript in ten 
 folio volumes of Forcellini's great Latin 
 Dictionary, a monument of the learning; 
 perseverance, and modesty of that holy 
 and erudite priest. < It is true that we 
 can scarcely expect to find the scnlh 
 menial and pathetic prefatory to a folio 
 Latin lexicon ; nevertheless I know no- 
 thing more affecting lhan the words of 
 Forcellini, addressed to ihe pupils of the 
 Seminary at Padua, in which he reminds 
 them, wilh great simplicity, of the time, 
 application, and efforts that he devoted 
 to his work for nearly forty years; Ado- 
 lescens manum admovi; sencx, dum 
 perficerem, factus sum, ut videtis. 5 I 
 asked to see the authors he had used in 
 his researches ; they were worn almost 
 to destruction, so many limes had he 
 turned their leaves over and over again. 
 
 The church of the Seminary, a good 
 building of the early part of ihe sixteenth 
 century, has some fine paintings: ihe 
 celebrated painting by Bassano repre- 
 senting Christ dead, and carried to the 
 tomb by torchlight by Joseph and Nico- 
 demus; the expression of grief in the 
 Virgin and Ihe olher women is admi- 
 rable ; Ihe painter has made Ihis master- 
 piece almost a family picture : the old Jo- 
 seph is himself, the Virgin his wife, one 
 of the Marys his daughter ; the Virgin 
 on a throne with the infant Jesus, and 
 below the Sts. Peter, Paul, John the 
 Baptist, Catherine, and two angels, one 
 of Bartolommeo Alontagna's best works; 
 the Adoration of the shepherds, by 
 Francesco Bassano, or bis brother Lean- 
 
 celebrated physician. An inhabitant of that town 
 offered to raise n statue to Petrarch at his own ex- 
 pense In the I'rato delta Valle (See the next chap- 
 ter), but on the condition of inscribing thereou 
 tin se words : 
 
 Francisco Pelrarcbae 
 Medicorum bosll lufensissimo. 
 
 This strange proposal was not accepted. 
 
 4 The third ediliou of Forcellini's Dictionary, 
 begun in 182" and finished In 18:ii, was superin- 
 tended by the abbe Giuseppe Furlanetlo, or the Se- 
 minary of Padua, whom I have had Ihe honour of 
 vlsiling, a gentleman every way worthy, from his 
 learning mid diligence, of completing that impor- 
 tant work. The new edition, in four large 'iln vo- 
 lumes, presents more lhan ten thousand rorreo» 
 lions and about live thousand new words. 
 
 5 T»t,us hUinitatts Lexicon, 1. 1, nvi. 
 
Chap. VI.] 
 
 PADUA. 
 
 311 
 
 dro, is excellent; ihe Virgin, the In- 
 fant Jesus, St. Jerome, and other saints, 
 a painting unfinished, but very much 
 esteemed ; the author was Lamberto 
 Lombardo, a painter of Liege, for some 
 time resident at Venice, who did several 
 of the landscapes in the paintings or Ti- 
 tian, his master and model, and likewise 
 in those of Tintoretto; a great Cruci- 
 fixion, which, despite the injuries of 
 time, from its pathos and abridged in- 
 scription, may possibly be by Paolo Ve- 
 ronese. 
 
 CHAPTER VI. 
 
 Palace del Capitanio.— Palace of tbe Podesla.— 
 Saloon.— Lapis vititperii.— Prisoners for debt — 
 Belzoui. — Italian travellers.— Prato delta valle. 
 -Gates. 
 
 The architecture of the palace del 
 Capitanio, by Falconetto, is majestic. 
 Under the portal are some colossal frescos 
 by Sebastiano Florigei io, a clever painter 
 of the beginning of the sixteenth century, 
 and pupil of Mailino of Udina. So noble 
 and elegant are the staircase and its cu- 
 polas, that it has been erroneously in- 
 cluded among the unpublished works of 
 Palladio; it appears to be by Vincenzo 
 Dolto, a good Paduan architect of the 
 end of the sixteenth century, whose edi- 
 fices sometimes recall the grace of that 
 great master. 
 
 Some parts of the exterior of the Po- 
 desla palace have been thought worthy 
 of Palladio. The statue of Justice hold- 
 ing a naked sword, at the entrance, by 
 Titian Minio, is inferior to the elegant 
 and aerial winged figures of the front, 
 also attributed to him. The rooms of 
 the Podesta palace contain some good 
 paintings of the Venetian school, some of 
 which relating to the history of Padua, 
 are particularly flattering to municipal 
 authority ; the Rector of the town, Ca- 
 valli, accompanied by St. Mark, and 
 the four Protectors of Padua, present- 
 ing himself before the Saviour, a chef- 
 d'oeuvre of Boinenico Campagnola ; an- 
 other great painting of the Virgin with 
 St. Mark and St. Luke, by the same; the 
 Hector Maximus Valieri giving up the 
 keys of the town to his brother Sigis- 
 mund, by Damini; the League concluded 
 
 1 Ginyuane lias erroneously stated ( article on 
 I'ietro d'Abano, in the Biographie universelle) thai 
 tbe figure; of Plelro d'Abano, destroyed by Ihe 
 
 between Pius V., the king of Spain, and 
 Doge Ludovico Mocenigo, by Darius 
 Varotari ; a great painting of Jesus Christ 
 between Justice and Plenty with Sts. Pros- 
 docimus and Anthony, who present to 
 him the rectors Soranzo, by Palma; a 
 small Flagellation of Jesus Christ, by 
 Orbetto ; a Bacchanal, by Francesco Cas- 
 sano, a vigorous artist of the seventeenth 
 century ; Two cocks fighting, by his son 
 Agostino Cassano, who excelled in ani- 
 mals; Lot and his daughters, by Liberi; 
 an Adulterous woman, very fine, by Pa- 
 dovanino; his portrait by himself, the 
 altitude of which combined with various 
 objects there represented show that this 
 charming painter was also a lover of 
 letters and the sciences; a Last Supper, 
 one of Piazzelta's best works. The 
 bronze medallions of Fracastor and An- 
 drea JXavagero are highly finished per- 
 formances of the clever and perfidious 
 Cavino. 
 
 The saloon, formerly the audience 
 court of the palace of Justice ( pa- 
 lazzo della Ragione), is only used when 
 the lottery is drawn; it is certainly the 
 most spacious temple that Fortune ever 
 had, and it is far from being surpassed 
 by the Bourse of Paris. Neither West- 
 minster nor the hall of the old palace at 
 Florence are even so large as this im- 
 mense room, the greatest construction of 
 the kind in Europe ; its famous roof is 
 another proof of the daring genius of Fra 
 Giovanni, the architect of the church of 
 the Hermits. 
 
 The frescos of the upper part, divided 
 into thirty-nine compartments offering 
 many subjects taken from the life of the 
 Virgin and Scripture history, with many 
 astrological figures, were imagined by 
 the famous Pietro d'Abano, and executed 
 by Giotto, and perhaps by other painters 
 still older ; ' they have been retouched se- 
 veral times, in the last instance in 1762 
 by Francesco Zannoni, an incomparable 
 artist for this kind of work, and capable 
 of disarming the most inveterate enemies 
 of restorations. A very well executed 
 monument has been erected to Titus Li- 
 vius ; it contains his supposed coffin : on 
 either side are the two small bronze sta- 
 tues of Minerva and Eternity with the 
 Tiber and Brenta under them, while the 
 bones of the Latin historian are over a 
 
 burning of tbe saloon in 1420, were repainted by 
 Giotto ; be died nearly a century before, in 1336. 
 
2i2 
 
 PADUA* 
 
 I Book VII 
 
 door not far distant. There may be 
 biended with love of country such a spirit 
 of exaggeration and superstition that we 
 are no longer touched thereby, because 
 it closely approaches charlatanism and is 
 at variance with both good sense and 
 truth. The monument of Sperone Spe- 
 roni, with his bust, is of 1591. There is 
 another monument, which differs from 
 these two literary ones; it is sacred to 
 the memory of the marchioness Lucrezia 
 Dondi d;ill' Orologio, a lady worthy of 
 her baptismal name, who because she 
 would not yield to the passion of a lover, 
 was assassinated in her chamber in the 
 night of November 16, 1654. 
 
 In the saloon is now kept the stone 
 (lapis vituperii) seen by Addison at the 
 town hall, by which any debtor was de- 
 livered from the pursuits of his creditors, 
 on swearing, after having been seated on 
 it bare-breeched three times by the officers, 
 before the assembled crowd, that he had 
 not the value of five francs. It is a kind 
 of stool of black granite, not in the least 
 worn ; this usage had not been followed 
 for twenty-four years when Addison 
 was there in 1700. From the intre- 
 pidity with which certain debtors of our 
 times show their faces, one might very 
 well believe, that they would hardly 
 blush to show the rest, and the stone 
 would be much more in request. Such 
 stones existed in the middle ages in se- 
 veral Italian towns, such as Verona, Flo- 
 rence, • Siena; the only difference was 
 in the ceremonial. 4 The debtors' stone 
 of Lyons was also often cited. This 
 practice gave the French tongue a fami- 
 liar expression, which continued in use 
 even after the reign of Louis XIV., as 
 may be seen by this phrase ofSaint Simon 
 on the decree of the council of stale, 
 which definitively diminished one half 
 per annum the shares and bills of the 
 Mississipi company : "Cela fit, ce qu'on 
 appelle en matiere de finance et de ban- 
 queroute, montrer le cul." Notwith- 
 
 ' In the burlesque hell of his Matmantile I.ippi 
 lias introduced the Florentine ladies who, by I heir 
 extravagance in dress, had brought their husbands 
 to the debtors' stone : 
 
 Donne, rhe feron gla per amblzione 
 D' apparlr gioiellate e luccicanti, 
 Dere il cul al uiarilo In su! laslrone. 
 
 Caul, vt, ":t. 
 
 ' At SWna, these debtors paraded round the 
 
 standing the oddity of this proceeding, 
 it was not so very unreasonable, as it 
 supplied a means of escaping those 
 eternal prisoners for debt, one of the 
 embarrassment of our civilisation and 
 jurisprudence; and such an exposure to 
 ridicule and shame was perhaps more 
 beneficial than some of our decrees for 
 declaring people insolvent. 
 
 Over two fine Egyptian statues in gra- 
 nite, with lions' heads, given by Belzoni 
 to his native town, is the medallion in 
 Carrara marble of this courageous but 
 unfortunate traveller, by Rinaldo Ri- 
 naldi. If the Italians, owing to the po- 
 litical weakness produced by the division 
 of their country, can no longer conquer 
 the world, they discover it; the first navi- 
 gators were Italians, Marco Polo, Colum- 
 bus, Vespucio, Giovanni and Sebastiano 
 Gabotto, Verazani, Pietro della Valle, 
 GemelloCarreri; in our day, Belzoni as- 
 cended the Niger, and Beltrami, going 
 toward Hudson's Bay, discovered the 
 sources of the Mississipi and the communi- 
 cation between the Frozen Sea and the 
 Gulf of Mexico. Italian genius, ever 
 adventurous and intrepid, has only 
 nged its element and direction. 
 
 So vast are the dimensions of the saloon 
 that a charming Jete was given in it in 
 December 1815, to the emperor Francis 
 and his daughter Maria-Louisa, under 
 the skilful superintendence of Japelli, 
 architect, of Padua : the saloon was me- 
 tamorphosed into a garden, with a ball 
 room and a receiving room for their ma- 
 jesties : the trees were planted in the 
 ground and formed thick illuminated 
 masses; a small opera was performed, 
 and there were even undulations of sur- 
 face in this within-doors garden. 
 
 The Prato della valle, a celebrated 
 square and promenade, is a kind of Pan- 
 theon in the open air, where are exposed 
 the statues of the Paduan great.from that 
 of Antenor the Trojan, reckoned its 
 founder by Virgil, down to Canova. 3 
 
 square for three mornings while the palace bell 
 was ringing; they were attended by sbirrl, and 
 very nearly naked ; the last day, they struck the 
 stone like the debtors of Padua, and pronounced 
 the following formula required by law : " 1 have 
 consumed and dissipated all ray goods; and now 
 I pay my creditors in the way you behold.'' 
 
 3 Canovu's statue was erected to him during his 
 life, in 1796, by the procurator of S.iint Mark, 
 Antonio Capello. To avoid an infringement of the 
 established rule, which did not allow the statues 
 
Setup, vil.] 
 
 PAIU'A 
 
 There are two statues by this great ar- 
 tist; one of Giovanni Poleni, the work 
 of his youth: he began it when twenty- 
 two, and returned expressly from Rome 
 to finish it somewhat too hastily, so 
 great was his longing to revisit that ca- 
 pital of the arts which he had only caught 
 a glimpse of, but enough for its master- 
 pieces to show him what true sculpture 
 was; the other statue is that of Antonio 
 Capello. It was originally intended to 
 put statues of Paduans only in the Prate 
 delta Valle ; but it was found necessary 
 to have recourse to other illustrious Ita- 
 lians, and even foreigners, as Padua, 
 i with all its merits, could not supply 
 enough great men to furnish this vast 
 enclosure; the trees therein are low and 
 loo few in number, and the canal round 
 it seemed to me almost dry in summer. 
 Two of the gates of Padua, those of 
 Saint John and Savonarola, are by the 
 great old architect Falconetto. The 
 former, which proves the popularity that 
 ihc celebrated Dominican ofFlorence en- 
 joyed even at Padua, from which he ori- 
 ginally sprung, has been justly praised 
 Iby Vasari, Maffei, Temanza; and the 
 i erudite commentator of Vitruvius, the 
 i marquis Poleni, who has given the plan 
 ■ if it, esteems it one of the most perfect 
 models of city gates. The more orna- 
 mented gate del Portello, attributed to 
 juglielmo Bergamasco, is almost a tri- 
 umphal arch. 
 
 CHAPTER VII. 
 
 fappafnva house. — Fall of angels. — Capodilista, 
 GiuslinlanI, and Falconetto houses.— L. Cornaro. 
 I — I-azzara and Venezze houses. — Colossus of Arn- 
 manato. — Statues.— redrocchi coffeehouse. 
 
 (The palaces of Padua, after Venice, 
 appear but little curious or magni- 
 ficent. The house of the honourable 
 •ounts Trenlo Papafava, the finest in 
 Padua, presents a horrible group of sixty 
 lemons interlaced together in the form 
 if a pyramid. This fall of the angels, a 
 work of the last century, by Agostino 
 L r asoIato, whimsically imagined and com- 
 posed, is admirable for its mechanism 
 ind workmanship. A Last Supper, an 
 
 old fresco by Stefano dall' Arzere, is 
 remarkable for the beauty of some heads 
 and their closeness to nature. The new 
 frescos of mythological subjects which 
 cover the walls of a room in the countess 
 Alessandra's apartment, together with 
 an Aspasia, are pleasing performances 
 by Signor Demin, one of the best living 
 painters of Italy , especially in fresco, 
 who for a long time remained unknown 
 at Padua, and was called to Rome by his 
 fellow-countryman of Rellona, Pope 
 Gregory XVI. In the garden is the 
 remnant of an antique column, proceed- 
 ing from the ruins of a basilic discovered 
 when the foundations of the Pedrocchi 
 coffeehouse were laid. 
 
 The Capodilista house possesses the 
 huge fragments of a wooden horse by 
 Donatello, the most stupendous in exis- 
 tence, and which might be taken for 
 the remains of that of Troy, brought 
 thither perhaps by the Trojan Antenor, 
 whom we mentioned above as the founder 
 of Padua. There were many of Dona- 
 tello's works in this town; and he was 
 so much beloved that the inhabitants 
 wished him to settle there and become 
 their fellow-citizen; but the artist, with 
 rather more than ordinary prudence, 
 feared the effect that such excessive par- 
 tiality might have on his talent. 
 
 The house of Giustiniani al Santo is 
 a celebrated edifice constructed in 152+ , 
 as the inscription informs us, by the Ve- 
 ronese architect Giovanni Maria Falco- 
 netto, a great artist, formed by the study 
 of Vitruvius and ancient monuments ; he 
 was the first that introduced into this 
 country a good architectural taste, pre- 
 vious to the school of Sansovino and Palia- 
 dio. Falconetto died ten years after in 
 this very house, the guest of his patron 
 Count Ludovico Cornaro, a distinguished 
 writer, and author of the famous Discorsi 
 delta vita sobria, for whom he built it. 
 The discourses of Cornaro, begun when 
 more than eighty, and finished in his 
 ninety-fifth year, were practised by him 
 from the age of forty-six; till then he 
 had always been sickly, and his adhering 
 to this system prolonged his existence to 
 ninety-nine years. The severe ascetic 
 regime he prescribes, is nownoimng but 
 
 )f living men lo he placed- in the Prato, Canova 
 las represenied in the act of making the statue of 
 mother Antonio Cajiello, an able negociator and 
 general nf the sixteenth century, likewise procu- 
 
 rator of Saint Mark, and ancestor of the one v\ho 
 creeled the statue; the Inscription praises and 
 adroitly designates Canova without naming him. 
 
214 
 
 PADUA. 
 
 [Book VII. 
 
 a kind of hygeian Utopia, but it had 
 many followers so late as Louis XIV., and 
 Saint-Simon states that it was followed 
 by two worthy friends of Fenelon, the 
 dukes of Chevreuse and Beauvilliers; it 
 bad, however, killed many others, and 
 among them the celebrated minister of 
 slate Lyonnc. Such is the elegance and 
 harmonious construction of Falconetto's 
 work, and its beautiful loggia that, ac- 
 cording to Maffei. it served as model to 
 Palladio for the Capra casino. The ex- 
 cellent stucco basso-relievos of the small 
 saloon and other rooms, are probably by 
 Falconotto. and there are some charming 
 frescos painted from Raphael's cartoons, 
 by Domenico Campagnola. 
 
 A distinguished Paduan lawyer, Doctor 
 Piazza, has thirteen precious basso-re- 
 lievos by Canova in the rich collection he 
 has formed, and which he patriotically 
 intends leaving to the town : the Offering 
 of the Trojan women, Socrates parting 
 from his family, Socrates drinking the 
 hemlock, Socrates dying. Justice, Good 
 Works, the Good Mother, Death of 
 Priam, Briseis delivered to the heralds 
 by Patroclus, the Return of Telema- 
 chus, the Dance of the sons of Alci- 
 nous, Hope, and Charity; sculptures 
 very well described by the Abbe Mene- 
 ghelli, who has been equally successful 
 in explaining their artistic merits and 
 rendering their respective expression and 
 effect. 
 
 Some ingenious and original construc- 
 tions by Japelli embellish the not very 
 extensive garden of the Baron Treves, an 
 opulent and magnificent Jew ; they con- 
 sist of a summer-house, a pagoda on the 
 top of a rock, a rich aviary, an alchemist's 
 laboratory with all the emblems and im- 
 plements of the cabalistic art, a superb 
 hot-house in the form of a tent, and a 
 gothic hall of a chapter of knights. 
 
 The house of the late Count Giovanni 
 de Lazara ■ (at San Francesco), a man 
 of distinguished taste in letters and the 
 arts, is almost a museum of painting, 
 sculpture, and antiquities. It contains 
 Etruscan and Roman inscriptions, dis- 
 cussed by the learned ; a precious papyrus 
 mentioned by Gaetano Marini ; the ar- 
 morial bearings of Eccelino, the old 
 tyiant of Padua, with a fine inscription 
 by Lanzi. The gallery presents paintings 
 by Carletto Caliari, Tintoretto, Padova- 
 
 1 Died the nth of February, 1833. 
 
 nino, Marconi, the younger Palma ; some 
 works of the ancient masters of the Ve- 
 netian school ; an Angel, a small painting 
 by Guarien'.o, with a St. Jerome and 
 Madonna by Squarcione. The collec- 
 tion of Italian copperplate engravings of 
 the fifteenth century and of the beginning 
 of the sixteenth is very valuable. Four 
 bronzed figures of burnt clay are models 
 of busts of Giovanni Mazzn, founded by 
 theAlberghetti for general Schulemburg; 
 and a too much extolled sculptor of the 
 last century, Francesco Bertozzi, bas 
 executed the two basso-relievos of the 
 four elements. 
 
 The Venezze house, built by the illus- 
 trious professor Renavides and now oc- 
 cupied by the prince of Aremberg, has 
 some remnants of frescos by Gualtieri 
 and Domenico Campagnola. There are 
 two remarkable works byAmmanato: 
 the immense colossus of Hercules, com- 
 posed of eight parts skilfully joined 
 together, a naked and bold performance 
 of his youth ; and the superb garden 
 gate, resembling a triumphal arch, and 
 decorated with statues of Jupiter and 
 Apollo. 
 
 Although I pay more attention to the 
 monuments of the past than of the pre- 
 sent moment, I cannot possibly pass over 
 in silence a structure which was in active 
 progress the last time I was at Padua. 
 This elegant and spacious edifice, the 
 work of Japelli, to whom the town is in- 
 debted for its new slaughter-houses, an- 
 other excellent building differing in kind, 
 was executed for the owner of the Pe- 
 drocchi coffeehouse, who purposed trans- 
 fering his business thither. It is also 
 intended to serve as an assembly-room 
 and casino, and will certainly be one of 
 the most magnificent in the world : all 
 the columns, the walls, and pavement 
 are marble ; there is not even a bit of 
 stucco, and unless a person were ap- 
 prised of the reality, such a building 
 would appear to him much more like a 
 palace or temple than a coffeehouse. The 
 cost will be 6000 pounds sterling ; but a 
 Parisian architect would not get through 
 it with iO.OOOZ. It is a fact that the 
 works are singularly managed ; there is 
 neither master-mason, contractor for 
 joiners' or smiths' work, nor other 
 powers; there are only the architect who 
 gives orders in the morning, and the 
 master who pays at night. This beau- 
 tiful construction, with its capitals and 
 
Chap. VIH.l 
 
 every individual part executed and fi- 
 nished off with the utmost nicely, will, 1 
 believe, be finished without leaving a 
 i single account to settle, a prodigy which 
 probably has not been seen since the 
 time 
 
 Qu'aui accords d'Ampbion lespierres se mouvaient, 
 El sur )es mur> Uiebuins en ordre s'elevalent. 
 
 An antique basilic was found while 
 I digging the foundations ; part of its marble 
 was used in pa\ing this lemonade shop, 
 so frequently may the vestiges of Italy's 
 jlden glory be found where least ex- 
 Dected.' 
 
 CHAPTER VIII. 
 
 :ataio.- Euganean hills.— Arqua.— Petrarch's house 
 aud tomb. 
 
 Arqua, four leagues from Padua, is 
 :elebrated as the burial-place of Petrarch. 
 )n the road is a great picturesque manor- 
 iouse called Cataio, formerly noted for 
 he paintings of Zelotti and its museum 
 pf antiquities. The Cataio now belongs 
 
 the duke of Modena, to whom the last 
 narquis Obizzi bequeathed it with his 
 ther property, a vainglorious legacy, 
 \ hich the marquis thought would make 
 im seem a relative of the house of Este. 
 i rare book by Giuseppe Bctussi of Bas- 
 ano, entitled : Ragionamento sopra il 
 'atajo luogo del Sig. Gio. Enea Obizzi; 
 nPadova, per Lorenzo Pasquati, 1573, 
 
 1 8vo, was singularly mistaken by Len- 
 let-Dufresnoy, in his Supplement "to the 
 lethod of studying History, for a work 
 n Cathay or China, and classed accord- 
 
 ig'y- 
 
 Ihe situation of Arqua amid the Eu- 
 
 anean hills, so often sung, but little 
 
 own, is delicious. a Childe Harold and 
 
 s notes contain a poetical and minuie 
 
 scription of the site ; but, while describ- 
 
 ig the beauty of the orchards of Arqua, 
 
 c ad of its little groves of mulberry-trees 
 
 I ad willows, interlaced with festoons of 
 
 > Tbe Pedrocchi coffeehouse was 0nisbedirH83i. 
 
 Japelli made an Artesian well there in 1832, a 
 I scovery which, according to the editor of the 
 
 ioa Vilnwius (1830-32), S. Qulrico VivianL, and 
 I e researches of M. Arago, was well known to the 
 I cients. M. dc Lamanlne was inclined to think 
 I 3t the three famous Wells of Solomon in the plain 
 I Tyre were of this description. 
 |.' Tbe Euganean bills, celebrated hy all poets 
 '■in Petrarch to Cesarotti, Foscolo, and Cesare 
 
 ■i 
 
 ARQUA. 215 
 
 vines, it would perhaps have been just to 
 mention (in the notes at least ) its excel- 
 lent figs, which enjoy a well merited 
 reputation in that country. 
 
 Petrarch's house is at the end of the 
 village ; that house, in which he received 
 the frequent and familiar visits of Fran- 
 cesco Carrara, sovereignof Padua, isnow 
 inhabited by peasants and much da- 
 maged : 
 
 O di pensier soavemenle mesti 
 Solitario ricovero giocondo; 
 Di quai lagrime amare II petto inondo, 
 Sel veder eh'oggi Inonorata resti. 3 
 
 On the walls of the chambers are some 
 coarse paintings relating to his love, taken 
 from the first canzone ; he is seen lying 
 under a tree, and making a brook with 
 his tears; the adventure of Laura, who, 
 being surprised by Petrarch when bathing 
 in a fountain, splashed the water about 
 with her hands to conceal herself from 
 his view, is so oddly represented that one 
 would think she was, without much re- 
 gard to modesty, throwing water in his 
 face, though he continues to approach her 
 with imperturbable gravity; he appears, 
 too, almost metamorphosed into a stag; 
 it is Acteon in archdeacon's robes. The 
 little white cat loved and sung by Petrarch 
 may be seen, stuffed, in a niche; but I 
 do not believe it the real one; it looks 
 quite new, and I have learned that, as 
 sentimental strangers were always eager 
 to possess some portion of this illustrious 
 cat, it was renewed every year, like the 
 laurel at Virgil's tomb, when the season 
 for travellers drew near. Some enthu- 
 siastic admirers of Petrarch maintain the 
 authenticity of the cat, and Tassoni, who 
 so severely handled Petrarch in his com- 
 mentaries, wrote the following pretty 
 verses on Arqua and this animal : 
 
 E '1 bel colle d' Arqua poco in disparte, 
 
 Che quinci il mente e quindl il piun vagbeggia; 
 
 Dove giace colui, nellc cui carte 
 
 L' alma fronda del sol Mela verdeggia ; 
 
 Arrici, abound with excellent hot springs, varying 
 in heat from twenty-four to eighty degrees (Keau- 
 mur). Bathif,r;-houses have been established at 
 Abano and at the springs of Monte Orlone, San 
 Pielro Monlagnone, Moutegrotto, San Barlolommeo, 
 Santa Elena, near llattaglia. These hills are more- 
 over a very inleresling geological study. Count da 
 Itio's mineralogical cabinet, at Padua, is curious 
 as far as concerns the Euganean bills. 
 3 Alfieri, Son. LVI1I. on A'viua. 
 
246 ARQUA. 
 
 E dove la sua gatla lu seeca spoglia 
 r.iiarda dui topi aucor la dolta soglia. 
 
 A questa Apollo gia fe' privllegi, 
 CUe rimanesse ioconlro al tempo intalta, 
 E clio la fama sua con varj fregi 
 Elerna fosse in millc carnji falta : 
 Onde i sepolcri de' superbi regi 
 Vince di gloria un' insepolla gatta. 
 
 fBooK VII. 
 
 A register (codice) is kept in the house 
 to receive the names of visitors, and their 
 thoughts, if they happen to have any. 
 This volume has even been printed ; but 
 I doubt whether the desire of creating 
 enthusiasm ever prompted a less felicitous 
 expedient. Our grenadiers and voltigeurs 
 have also been to -write their names in 
 this book, but they are neither fools not 
 ridiculous. Granting that they did nor 
 exactly know what Petrarch was, it is 
 evident that they were impelled by a kind 
 of instinctive passion for glory, though 
 their comprehension of it was not very 
 complete : this sentiment is touching 
 because it is true, and in it lies the secret 
 of their victories. 
 
 I confess, however, that I am no great 
 partisan of those eternal inscriptions 
 which so many travellers seem to think 
 almost obligatory. It appears to me that 
 the multitude of vulgar names, which 
 crowd around the tomb of a great man, 
 or on the walls of his dwelling, intrude 
 on the calm of the grave and the silence 
 of the retreat where he lived. It is, 
 besides, a want of respect in mediocrity 
 thus to assume familiarity with genius, 
 and rush into its very sanctuary. Such 
 homage is offensive, almost sacrilegious; 
 the worshipper at this shrine must not 
 be too far below the divinity, nor make 
 with it a too striking contrast. This 
 inscribing vanity, like that of the world, 
 has its selfishness and vandalism; the 
 lodges of Raphael, the frescos of Giulio 
 Romano at Mantua, and of other great 
 masters, already so much injured by age, 
 are still farther spoiled and disfigured by 
 the list of all these proper names. 
 
 Petrarch's tomb, erected to his memory 
 by his son-in-law Brossano, is on the 
 other side of Arqua facing the church. 
 Petrarch is perhaps, with Voltaire, the 
 
 < See bis Canzooi, 2 and *, 
 
 Spirlo genii! che quelle membra reggt. 
 llalia rula, beuche '1 parlor sia indaruu. 
 
 " Whenever I address your majesty on affairs 
 partaking of the serious," be writes to Frederick, 
 
 greatest literary character of modern 
 times; courted by kings and republics, 
 popes and universities, a friend of the 
 cardinals, great lords, and the sham chi- 
 merical tribune of modern Rome, he held 
 absolute sway over that empire of letters 
 which he had in a manner founded, 
 whilst Voltaire extended and renewed it. 
 If Petrarch had already the vanities and 
 weaknesses of a man of letters properly 
 speaking, he raises himself by his attach- 
 ment, his enthusiasm for his country, by 
 the profound pity he felt for its misfor- 
 tunes,' and his affecting friendship for 
 Boccaccio ; Voltaire, on the contrary, was 
 the enemy of Jean-Jacques; he threw 
 ridicule on his country as on every thing 
 else, and made a jest of its reverses." 
 Greatly resembling each other in their 
 manner of life, both guests of a philoso- 
 phical king (Petrarch of the good Robert 
 of Naples, a somewhat freer liver than 
 Frederick), beloved by illustrious women, 
 tormented by the spleen of critics, hold- 
 ing with their contemporaries, even the 
 most eminent, an immense correspon- 
 dence which makes their letters like 
 annals of their day, transporting their 
 widespread fame to a thousand different 
 places, their death presents a singular 
 contrast : Voltaire expires in the middle 
 of Paris, overwhelmed with glory, sur- 
 rounded by the homage of the Academy, 
 amid the clamour of theatrical applause 
 and the acclamations of the people ; 
 Petrarch died peacefully in his asylum 
 at Arqua, the gift of the Paduan tyrant, 
 which he preferred to the tumultuous 
 life of a citizen of Florence. 
 
 Petrarch's real or metaphysical love 
 for Laura is perhaps one of the most con- 
 troverted and least explained questions 
 in history. Professor Marsand, of Padua, 
 editor of the best edition of Petrarch, and 
 collector of a curious library of nine 
 hundred volumes about that celebrated 
 man (which in 1830 was added to the 
 king's private library at the Louvre), after 
 making the life of Petrarch his study for 
 twenty years, has re-adopted the opinion 
 of Laura's celibacy ; he pretends, not- 
 withstanding the imposing authority of 
 
 "I tremble like our regiments at Rosbach.'' And 
 in another place : " They fled like tbe French be- 
 fore your majesty.". . . "1 wauled," said he again 
 to Frederick, " tbe king of Prussia for ray master, 
 and the English people for my fellow-citizens," and 
 many other such expressions.— Correspond, of tun 
 kingof Prussia. Let. LIX,LXXXIII, CXIV,CXXII,CXXIX. 
 
Chap. IX.] 
 
 ROViGO. 
 
 217 
 
 totil) ; 
 
 tart.' "* 
 .French^ 
 
 Tiraboschi, Baldelli, Ginguene% and the 
 author of the remarkable article on Laura 
 in the Bioqraphie univcrselle, that no au- 
 thentic proof of her marriage with Hugues 
 de Sade can be adduced. I own that I 
 would willingly yield to an opinion so 
 much in conformity with the spirit and li- 
 terary manners of the time, and that I 
 should rejoice to see such a poetical cha- 
 racter delivered from those eleven chil- 
 dren so indelicately bestowed on her by 
 the vanity of the abbe" de Sade. Despite 
 her high birth so much boasted by Pe- 
 trarch, Laura may very well have been no 
 extraordinary person ; he even tells us 
 that she was so much occupied in house- 
 hold affairs as never to pay any attention 
 to poetry or literature : 
 
 E non cur6 giatnmai rime ne versi. 
 
 Petrarch, from his labours, discoveries, 
 encouragements, and sacrifices, must be 
 regarded as the real creator of letters in 
 Europe. When I contemplated on the 
 hill of Arqua the vast sepulchre of red 
 marble, supported by four columns, in 
 which his ashes repose, I fancied it less 
 the receptacle of mortal remains than a 
 monument erected to the intellectual 
 powers, a trophy attesting the triumph of 
 civilisation and learning over barbarism 
 and ignorance. 
 
 CHAPTER IX. 
 
 Kovigo.— Khodiginus. — Ponte di Lagoscuro.- Cus- 
 tom-house.— Cus'om-bouse criticism! 
 
 Rovigo is a small and rather noisy 
 town, with a great square in which stand 
 several tall red masts. One of the first 
 men of the revival, the celebrated CajJius 
 Rhodiginus, whose Italian name was 
 Ludovico Celio Richerio, his Latin name 
 being derived from that of his country 
 (Rhodigium), is interred in the cloister 
 of Saint Francis. Rhodiginus was called 
 the Varro of his time by Julius Caesar 
 Scaiiger, whom he had the honour of 
 calling his disciple; his Antiques lec- 
 tiones, printed by Aldus (157G) first 
 made him known throughout Europe : 
 he was patronised by Francis I., and 
 died of grief at the age of seventy-five 
 on learning his defeat and capture at 
 Payia. An Austrian officer, perhaps 
 
 some learned student of the German 
 universities, on passing through Rovigo, 
 was indignant at finding the tomb of so 
 great a scholar without inscription, and 
 drawing his sword, he traced with its 
 point these admiring words : Hie jacet 
 tantus vir ! This would have been still 
 more natural in one of our countrymen, 
 for Rhodiginus was always a very de- 
 voted partisan of the French. I did not 
 see the statue which it had been pro- 
 posed to raise in his honour at Rovigo, 
 and of which this laborious scholar was 
 worthy. 
 
 The library of the academy de' Con- 
 cordi of Rovigo, was augmented in 1832 
 by the precious library of the abbe" Gnoc- 
 chi, a donation from that erudite gentle- 
 man, when he became librarian of the 
 Concordi. This library, with the addi- 
 tion of the fine pinacoteca of Count 
 Casilini, presents a whole that would not 
 disgrace a metropolis. 
 
 The Po is the limit of the Papal states ; 
 it is passed at Ponte di Lagoscuro, where 
 there is only a simple ferry-boat (a trifling 
 fact that may enable one to form an opi- 
 nion of the accuracy of Italian designa- 
 tions, as well as of the prosperity of the 
 country). 
 
 On the frontiers of the Papal slates, 
 the restrictions and annoyances respect- 
 ing the entrance of books are extreme ; 
 a prelate even did not escape when I 
 underwent them a second time in 1827. 
 One of the officers with whom I had to 
 do was, however, very kind and polite, 
 and felt that species of embarrassment 
 which a reasonable man must feel when 
 engaged in a ridiculous business, ren- 
 dered necessary by superior orders ; for 
 he was watched by other persons far 
 inferior to himself. A very severe edict 
 of the legate of Ferrara was placarded 
 in the custom office, where the lamp of 
 the Madonna was burning amid weights, 
 scales, punches, stamps, and all the im- 
 plements of the trade; a singular and 
 offensive mixture of devotional practices 
 and fiscal proceedings. The literary 
 baggage that I took with me, for my re- 
 searches, was sealed, preparatory to an 
 examination by the censors at Bologna. 
 This custom-house criticism must after 
 all be of little service; it was not, indeed, 
 very easy to explain to the officers what 
 Horace, Virgil, Dante, Petrarch, and 
 other great authors were ; I found no- 
 thing better to say of ihem than that, 
 
 19 
 
218 
 
 being compatriots, ttiey ought to bo 
 treated accordingly. ' 
 
 CHAPTER X. 
 
 Ferrara .--Castle.-Palacede/ilfaui'jfrafo.-infrepidi 
 — Benee of France.— Reform in Italy. 
 
 Ferrara is dull, solitary, and deserted, 
 but still breathes a kind of courtly gran- 
 deur and magnificence ; • the castle 
 especially, occupied by the legate, with 
 its bridges, towers, and elegant balustra- 
 des, retains in its exterior a fairylike air 
 in accordance with its poetical recollec- 
 tions ; I was much struck by its aspect on 
 the evening of my arrival, as I contem- 
 plated it by moonlight, which was re- 
 flected in its broad and brimming moat. 
 My visit to the apartments on the morrow 
 completely dissipated the illusion : they 
 had been fresh painted by an artist and 
 dilettante of Ferrara ; and as I looked 
 around inquisitively for some traces of 
 the sojourn of the princely house of Este, 
 the custode apprised me with an air of 
 self-complacency that there was not a 
 single corner left untouched by his High- 
 ness. Could I have suspected such a 
 disappointment, I think I should have 
 despised the castle like Michael Angelo. 
 when, as he passed incognito to Ferrara 
 during the siege of Florence, on being 
 invited by Duke Alfonso to lodge in the 
 palace, he proudly chose to remain at 
 his inn. 3 Some remnants of fine paint- 
 ings still subsist, however, on the ceilings 
 of the antichamber and the saloon of 
 Aurora ; they are by Dosso Dossi, a great 
 painter of Ferrara in the sixteenth cen- 
 tury, celebrated by Ariosto in his Or- 
 lando, as one of the first painters in 
 Italy. 
 
 The palace del Magistrato, the resi- 
 dence of the gonfalonier, or holy stan- 
 dard-bearer, has some admirable paint- 
 ings : arabesques and small figures on a 
 
 FERRARA. [Book VII. 
 
 gold ground ; Noah's Ark, by Dosso 
 Dossi; four pictures in dare-obscure, 
 representing divers incidents in ihe life 
 of Pope Saint Silvester; the Twelve 
 Apostles, the Prayer in the Garden, 
 the Resurrection of Christ Aha Descent 
 of the Holy Ghost, by Garofolo, ilie 
 friend of Ariosto, the Raphael of Fer- 
 rara, and one of that great master's best 
 pupils; two famous ovals present the 
 Martyrdom of St. Maurelius, by Cosme, 
 a Ferrarese artist of the fifteenth cen- 
 tury, painter at the court of Borsod'Este; 
 a St. Bruno, by Guercino; the Manna 
 in the desert ; the Wedding- feast, by 
 Agoslino Carraccio; a Manger, by Orlo- 
 l.ino, of Ferrara, an imitator of Raphael; 
 the Nativity of the Virgin; that of 
 Christ; an Assumption, by Bastianino, 
 also of Ferrara, a pupil anil imitator of 
 Michael Angelo, for whom he fled his 
 paternal home at the age of fifteen. 
 
 The ancient academy degli Intrepidi, 
 which in 1803, after existing two cen- 
 turies, became the Ariostca academy, 
 and in 1814 the cientific and literary 
 academy degli Ariostei, holds its sittings 
 in the palat'e del Magistrato. The last 
 transformation of the Intrepidi seems an 
 improvement ; the scientific researches 
 of provincial academies, as that of Fer- 
 rara may now be called, must be pre- 
 ferable to their poetry, as they collect 
 and publish facts. 
 
 Near the Arioslean hall is a small 
 j room, and three others looking into the 
 garden, in which, according to the learned 
 guide of Ferrara, Doctor Antonio Frizzi, 
 Calvin was concealed, when in his wan- 
 derings he found an asylum with the 
 duchess Renee, wife of Ercoie }I., the 
 protectrixof the literary men and scholars 
 of her day. It was there that he secretly 
 expounded his doctrines to this princess, 
 the heretical daughter of Louis XII. and 
 the stern Anne of Brittany, to the learned 
 and beautiful Olimpia Fulvia Morata, 
 Francesco Porto Centese, and other cour- 
 
 1 See on the same subject, book xm. chap. i. 
 
 2 The decay of Ferrara has, however, been exag- 
 gerated by some recent travellers. The trade in 
 corn Is pretty considerable; and if it be no longer 
 precisely la cilia bene avventuro>.a of Ariosto [Oil, 
 cant, xini. si. 55), it is still in some degree la gran 
 donna ttel Pb of Tassoni [Srech. rap. cant. v. st. 37) ; 
 the population, which under the French govern- 
 ment was twenty-three thousand seven hundred. 
 Is now nearly thirty-two thousand, including the 
 suburbs. Under the dukes of the house of Este, It 
 
 amounted to sixty thousand. The Jews form about 
 a third of the present inhabitants; they are com- 
 pelled to live In a separate quarter ; but it i; Hie 
 tinesl, and not In the least lllie the infected Glullo of 
 Home. 
 
 3 Michael Angelo consented, however, to accom- 
 pany the duke, who wished to show him his paint- 
 ings, and it was then, on seeing the paintings of Ti- 
 tian, that he uttered these memorable words : " Che 
 non avea crednto che 1' arte potesse giungere a tanto, 
 e che solo Tiziano era degno del nome di plttore !' 
 
Chap. XI.] 
 
 i&:rrara. 
 
 219 
 
 tiers, who, being one day surprised by 
 the duke, took flight with their apostle. 
 Some months after Calvin, Marot, like- 
 wise banished from France, came to 
 Ferrara; and he, too, in his turn was 
 expelled by the duke, a singularly jealous 
 husband, whose wife never gave a ren- 
 dezvous to any but sectarians. Renee 
 was an heroine, 1 and could not be per- 
 suaded to re-embrace the Roman faith by 
 the inquisitor sent from France for that 
 purpose, notwithstanding all the perse- 
 cutions she suffered, lamented by Marot 
 in his fine verses to Margaret of Navarre, 
 her sister : 
 
 Ha Marguerite, escoute la souffrance 
 Du noble cueur de Renee de France. 
 
 When we consider the religious deter- 
 rnination of the duchess of Ferrara and 
 her domestic martyrdom (she having been 
 parted from her children by her husband), 
 the Calvinism of the women and the men 
 of talent in this little court, the ardour 
 of their proselytism (Ren6e had con- 
 verted the French general of Henry II. 's 
 army, in the war with Tuscany, Jean de 
 Parthenai, lord of Soubise), it is impos- 
 sible not to believe that the reformation 
 carried its attacks against Rome into the 
 very heart of Italy. 2 In France, at that 
 epoch, a part of the princes of the blood 
 and the nobility had embraced protes- 
 tantism ; it therefore appears to have had 
 many chances of success. However, 
 even if the inquisition had not so vio- 
 lently suppressed it in Italy, I do not 
 think it would ever have been firmly 
 established. The Italians might applaud 
 the poetical invectives of Dante and 
 Petrarch against the Roman court, the 
 Iribunitian declamations of Savonarola, 
 
 1 On the death of her husband , Renee hastened 
 her departure from Italy to revisit her country ; she 
 displayed a high character during our civil wars, 
 her house was an asylum for the proscribed, and 
 this former mistress of the castle of Ferrara died in 
 the gothic manorhouse of Montargis. Ginguene 
 is in error when, speaking of Renee's Calvinistic 
 opinions (Hist. litt. d'lt. iv. 97), ho regrets that 
 these unintelligible doctrines carried trouble into a 
 peaceable court and rendered miserable the end of 
 a life so usefully employed In (he cultivation and 
 encouragement of learning : at the period of Cal- 
 vin's visit and preaching at Ferrara, in 1535, Renee 
 was only twenty-five; she returned to France in 
 1559 and lived till 1575. 
 
 2 See the curious work already cited, book v. 
 
 the free discussion of Fra Paolo, but they 
 could never have conformed in practice 
 to the dull austerity of the reformed 
 doctrines, which are altogether opposed 
 to the manners, customs, and spirit of 
 that nation. 
 
 CHAPTER XI. 
 
 Cathedral.— Madonna.— Pilgrim.— Lilio Giraldi. — 
 Saint Francis.— Echo. — House of Este. — Pigna.— 
 Saint Benedict.— Saint Dominick.— Celio Calca- 
 gnini. —Santa Maria del Vado, — Ferrarese 
 school.— Saint Andrew.— Capuchins. — Gesu. — The 
 duchess Barbara — Pericolanti. 
 
 The cathedral, of the twelfth century, 
 has been renovated within, but still retains 
 the Gothic character of its exterior : Us 
 front is covered with uninjured basso- 
 relievos representing the life of Jesus 
 Christ, the Last Judgment, the seven 
 mortal sins, with numberless emblems, 
 sacred, profane, grotesque, and even 
 something more ; over the left-hand door 
 is a colossal antique bust of Greek mar- 
 ble, venerated as the Madonna of Fer- 
 rara, one of the Madonnas of Italy cele- 
 brated in the old chronicles of the town ; 
 and on the same side is the statue of Al- 
 bert d'Este, in a pilgrim's dress, who 
 returned from Rome in 1390 and 
 
 Rapporta de son auguste enceinte 
 Non des lauriers cueillis au champ deMars, 
 Mais des agnus avec des indulgences, 
 Et des pardons et de belles dispenses, 
 
 deeds and bulls that are seen in sculpture 
 there. 
 
 The paintings are fine and curious : the 
 Apostles Peter and Paul; a Virgin, 
 full of majesty, on a throne surrounded 
 with saints ; an Assumption, are by 
 
 chap. v. History of the progress and suppression 
 of the Reformation in Italy. According toM'Cric, 
 the reformation had spread even into Calabria and 
 Sicily, whither some refugees from the country of 
 Vaud had retired. The new opinions found parti- 
 sans at that time among a great number of literati 
 and even Italian divines. L. Bossi (notes to the 
 translation of the Life of Leo X. t. xii. p. 246-7) 
 mentions twenty of them, some of which the Eng- 
 lish author does not cite, as : Jacopo Broccardo of 
 Venice, Gian Leone Nardi of Florence, Simone Si- 
 moni of Lucca, Jacopo Acconzio of Trent. Francesco 
 Calvi, a learned bookseller of Pavia, eulogised by 
 Erasmus and Andrea Alciat, seems to have been 
 chiefly instrumental in disseminating protectant 
 books in Italy. 
 
220 
 
 FERRARA. 
 
 [Book VIL 
 
 Garorolo. The picture at thealtar or the 
 IIo!v Sacrament is by Parolini, in artist 
 of some merit who died in 1733, the last 
 painter of Ferrara; the angels of this 
 chapel and several other statues of an- 
 gels, saints, and seraphim in the church 
 are by Andrea Ferreri, a sculptor of the 
 last century, elaborate, but occasionally 
 graceful. In the choir, the Last Judg- 
 ment, a fresco by Bastianino, the best of 
 the Last Judgments after that in the Six- 
 tine chapel, of which it is an able and 
 superb imitation, has been impaired by 
 a late bungling restoration. The artist, 
 like Dante and Michael Angelo, has put 
 his friends in heaven and his enemies in 
 hell ; a young woman is even to be seen 
 there Mho had refused his hand, while 
 the one who consented to espouse hint, 
 placed among the elect, is malignly gaz- 
 ing at her. An Annunciation, a St. 
 George, are by Cosme ; as well as some 
 admirable miniatures which embellish 
 the twenty-three volumes of choir books, 
 presented by the bishop Bartolommco 
 of Rovera ; large and brilliant volumes 
 compared, and even preferred to those of 
 Siena, an elogium sufficient to give an 
 idea of their magnificence. Near there 
 is the sepulchral stone of Urban III., 
 who occupied the throne of Saint Peter 
 but for a moment, and died of grief on 
 learning the disasters of the second cru- 
 sade. 1 
 
 The five bronze statues of an antique 
 altar, the Christ on the cross, the Vir- 
 gin, St. John, St. George, and St. Maurc- 
 lius, seemed the work of Bindelli, of Ve- 
 rona, and of Marescotti, a clever artist 
 of the close of the fifteenth century, 
 whose works are very few in number, 
 but highly esteemed; Marescotti was a 
 rnonk of the Gesuati order, founded in 
 1367 by Saint Giovanni Colombini of 
 Siena, and suppressed in 1668 by Cle- 
 ment IX. Donatello, when summoned 
 from Venice to estimate the value of the. 
 statues, found them very valuable, and 
 fixed the price at 16 II golden ducats. A 
 
 i Tbe news of tbe taking of Jerusalem could not 
 have caused the dentil of Urban 111., as some have 
 said : his death took place on tbe 20th of October, 
 and Jerusalem surrendered to Saladin on tbe 12th 
 only. There can be no doubt that he died on learn- 
 ing the loss of the battle which preceded that dos- 
 ing catastrophe. 
 
 * The inscription Is dated I5S0, which explains 
 the mistake of those who make Glraldl die that 
 very year, whereas according to De Thou he did 
 
 St. Catherine, at the fifth altar, is an- 
 other of Bastianino's works. 
 
 The inscription belonging to the tomb 
 of Lilio Giraldi, the celebrated mytbolo- 
 gist, remains in the cathedral, though the 
 monument has been transferred to the 
 Campo Santo : this inscription, written 
 by himself, alludes to his wretchedness,: 
 
 Nihil 
 
 Opus fetenle Apolline,* 
 
 says he, in his pagan language, which 
 seems rather strange in a church. .lon- 
 taigne does himself honour by the feeling 
 manner in which he speaks of Giraldi's 
 end : "I hear, with great shame at our 
 age, that two persons most eminent in 
 learning have died before our eyes in a 
 state of starvation, namely LiliusGrego- 
 rius Giraldus in Italy, and Sebastianus 
 Castalio in Germany; and I think there are 
 a thousand men who would have offered 
 them most advantageous conditions, or 
 assisted them where they were, had 
 their necessities been known. The world 
 is not so generally corrupted, that I 
 should not know a man who would most 
 anxiously wish to employ the means that 
 have fallen to his share, as long as 
 fortune grants him their enjoyment, 
 in putting beyond the reach of want 
 rare and remarkable men, in any kind 
 of excellence, whom fortune sometimes 
 pushes to extremities." 3 This page may 
 be adduced in contradiction of Montai- 
 gne's reputed selfishness ; and his implied 
 regret at not having been able to suc- 
 cour merit is both noble and affecting. 
 
 The celebrated echo of the church of 
 Saint Francis repeats sounds as many as 
 sixteen times, and from every part of the 
 building. There are admired paintings 
 by Garofolo ; Ihe Appreliension of Christ, 
 very much injured; the Virgin, the In- 
 fant Jesus, St. John Baptist, and St. 
 Jerome, divine in expression; a Holy 
 Family in repose, natural and elegant; 
 a superb Resurrection of Lazarus ; the 
 
 not die till 1552; it is not improbable that Giraldi 
 composed It two years before his death. 
 
 i Cta. xxxtv. 0» a defect in our police. Mon- 
 taigne, as well as De Thou, who stales Giraldi lo 
 have died very poor, does not appear well informed 
 on Ibis subject; Giraldi received assistance in his 
 latter days from the duihess Renee, and, according 
 to Tiraboscbi, he left at his death a sum of about 
 ten thousand crowns. 
 
Chap. XI. 
 
 FERRARA. 
 
 224 
 
 Massacre of the Innocents, heart-rend- 
 ing and pathetic. One of the white- 
 v.'ashers who have as it were overrun all 
 the churches of the Papal states, had let 
 fall from his brush large spots of white 
 on one of these masterpieces, badly placed 
 and half destroyed. A very fine Holy 
 Family is by Ortolano ; a Flight into 
 Egypt, very graceful, by Scarsellino; a 
 Deposition from the cross, the Resur- 
 rection and Ascension are great and 
 good works of Mona, a Ferrarese, as 
 unequal and disorderly in talent as in 
 character, who assassinated one of Car- 
 dinal Aldobrandini's courtiers, and was 
 obliged inconsequence to end his days in 
 a far country. There is one monument 
 more remarkable for marbles than taste, 
 the mausoleum of the marquis De Villa, 
 of Ferrara, an illustrious warrior, the 
 intrepid defender of Candia, who died 
 in 1G70. Among some tombs of Ferra- 
 rese literati, that of the learned Giam- 
 battista Pignais conspicuous; he was the 
 historian of the princes of Este, the fa- 
 vorite and secretary of Duke Alfonso, 
 whose amorous poetical effusions ad- 
 dressed to their mistress, Tasso, his 
 enemy and rival in love, had the weak- 
 ness to comment on, and compare, per- 
 haps maliciously, to Petrarch's Canzoni. 
 The decay of Ferrara is perceptible at 
 Saint Francis. This church was founded 
 by Ercole I., and contains several tombs 
 of the princes of Este, a family repeated- 
 ly sung by Tasso and Ariosto, whose only 
 reward was ingratitude. The earliest 
 personage of the house of Este, Adalbert, 
 flourished in the beginning of the tenth 
 century. Alberto Azzo II. was mediator 
 between Gregory VII. and Henry IV., 
 at the humiliating submission of the latter 
 in the court of the castle of Canossa 
 Azzo II. had by his first wife Canizza, 
 of the Guelphs of Swabia, one sod, 
 Guelph IV., who was called into Ger- 
 many to take possession of his maternal 
 inheritance; he there established a 
 branch of the house of Este, from which 
 Ihe princes of the present royal family of 
 England are descended. 
 
 The church and monastery of Saint 
 Benedict are among the finest edifices 
 
 1 Tbe following bappy retort of Calcagnini to 
 Paolo Giovio, his enemy, is ou Fecord. Wben tbey 
 were together oneday at the table of Leo X., Giovio 
 asked him, among other ill-natured questions, If 
 he thought himself more learned than Caelius ltho- 
 digiuus : "Oh! as for that," replied Calcagnini, 
 
 of Ferrara : the monastery was success 
 ively converted into barracks by the 
 Auslrians, Russians, and French, and 
 afterwards into a military hospital ; the 
 church was long shut up, but was re- 
 opened in 1812 for parochial service. The 
 pictures are justly celebrated; a portrait 
 of St. Charles was painted while he so- 
 journed with the Benedictines; a Christ 
 on the Cross, with St. John and other 
 saints, is by Dosso Dossi ; a Circumci- 
 sion, of good colouring and fine inven- 
 tion, by Luca Longhi, a clever artist of 
 the sixteenth century ; the Martyrdom 
 of St. Catherine, graceful in the drawing 
 and divine in expression, by Scarsellino. 
 The fantastic painting of St. Mark, by 
 Giuseppe Cremonesi, has passed for a 
 chef-d'oeuvre in the estimation of certain 
 connoisseurs, so complete is the illusion 
 produced by the perfect imitation of the 
 leaves of the great volume on the Evan- 
 gelist's knees. In the vestibule of the 
 old convent refectory may be seen, on 
 the ceiling, the celebrated Paradise, with 
 thechoir of virgins, arnongwhom Ariosto 
 wished to be painted, that he might 
 always be in that paradise, not being, as 
 he said, very sure of reaching the other. 
 Ariosto's head alone was done by Uosso 
 Dossi ; what artist did the rest is un- 
 known. 
 
 The grand statues on the front of Saint 
 Dominick are by Ferreri. The Bead 
 man raised by a piece of the true cross ; 
 and especially the Martyrdom of St. 
 Pietro di Rosini, are fine works by Ga- 
 rofolo. The picture at the altar of Saint 
 Vincent, full of warmth, is by Cignaro'i. 
 TheSr . Dominick, St. Thomas Aquinas, 
 are excellent; they are by Carlo Bonone, 
 a prolific and vigorous painter of the end 
 of the sixteenth century, surnamed the 
 CarraccioofFerrara, whose works Guer- 
 cino passed whole hours in contemplaiing, 
 when he came to this town from his re- 
 treat at Cento. 
 
 Over the door of the library in the 
 convent of Saint Dominick is the broken 
 bust and dilapidated tomb of Caelius Cal- 
 cagnini, a poet, scholar, antiquarian, mo- 
 ralist, professor, ambassador, wit, « and 
 astronomer, one of the first who maia- 
 
 "it is quite another affair than deciding whether 
 tbe silurus is tbe same as the sturgeon ;" \Queslo 
 e ben ultra a dire, eke U siluro sia la slorione), an 
 error committed by Paolo Giovio in his book De 
 Piscibus romanis. Calcagniui's answer procured 
 him, three years after his decease, one of those 
 
 t9 
 
222 
 
 FERRARA, 
 
 [ Book VII. 
 
 tained the earth's movement round the 
 sun, whose praises have been sung by 
 Ariosto, his fellow-traveller in Hungary 
 in the suite of Cardinal Ippolito d'Este. 
 
 11 dotlo Cello Calcagnin lonlana 
 Kara la gloria, e '1 bel nome dl quella 
 Nel regno di Monese, e In quel di Juba, 
 In India, e Spagna udir cou cuiara luba. 
 
 Calcagnini had left his books and instru- 
 ments to the convent, and even after 
 death he was unwilling to be separated 
 from them : -the inscription on the tomb 
 is truly philosophic : Ex diuturno studio 
 in primis hoc didicit : mortalia omnia 
 contemners et ignorantiam suam non 
 ignorare. It is surprising that with 
 such moral sentiment Calcagnini could 
 be the enemy of Cicero, and so bitterly 
 depreciate his tract De Officiis ; his ri- 
 diculous notions on this subject created 
 him many enemies in his lifetime. The 
 injustice of this writer towards Cicero 
 was also tainted with a kind of ingrati- 
 tude, as he owed his first name to the 
 Roman orator, as he himself relates in a 
 scene sufficiently descriptive of the spirit 
 and manners of the learned at the period 
 of the revival. Calcaghino or Calca- 
 gnini, his father, was reading Cicero at 
 the moment they came to announce 
 the birth of Caelius, and he was then at 
 this passage of the letter to the curule 
 edile M. Caelius, ego de provincia dece- 
 dens quwstorem Cwlium proposui ; 
 "Very well," said he; "then to me also 
 is born a Ccelius." Calcagnini, like other 
 scholars, pretends that a presage of his 
 future passion for books and literature 
 might have been found in an incident 
 which occurred at his baptism; he then 
 seized the book of the ritual so firmly 
 with his little hand that the priest and 
 midwife had some trouble to take it 
 away." 
 
 The church of Saint Paul contains 
 works by able masters : the choir was 
 painted by Scarsellino and Bonone, rivals 
 who shared the suffrages ofthcirFcrrarcse 
 compatriots. Adjoining the del Carmine 
 chapel is one the ceiling of which is by 
 
 satires thai Glovio published under the title of 
 panegyrics. 
 
 1 The number of volumes amounted to three 
 thousand live hundred and eighty four, but most 
 of them are now dispersed. Calcagnini also be- 
 queathed fifty golden crowns for the repairs of the 
 library, and to furnish the chains, benches, and 
 desks then In use. The old mule that had carried 
 
 the former; also a Nativity, and the 
 Descent of the Holy Ghost, one of his 
 first masterpieces. A Resurrection of 
 Christ is by Bastianino. Three tombs 
 are interesting : the first, that of Giam- 
 battista Dossi; the second, of the unfor- 
 tunate Bastaruolo; the third, of Antonio 
 Montecatino, a celebrated professor of 
 the Peripatetic philosophy in the sixteenth 
 century, the counsellor and favorite "of 
 Duke Alfonso, with his bust, an excellent 
 performance of Alessandro Vicentini. 
 
 Santa Maria del Vado, perhaps the 
 oldest church in Ferrara, is celebrated in 
 the religious traditions of the town for 
 the miraculous bursting forth of blood 
 from the host at bigh mass on Easter 
 Sunday 1171, in such quantity as to cover 
 the ceiling of the church, at that time 
 very small ; a miracle which converted 
 the prior Pietro, whose faith had failed 
 at the moment of consecration. This 
 instance of priestly unbelief in the middle 
 ages, and even at the altar, is not the only 
 one : the Miracle of Bolsena, one of 
 Raphael's beautiful paintings in the 
 chamber of Heliodorus at the Vatican, 
 expresses the same fact. The remarkable 
 paintings are : the choir, badly retouched ; 
 the Marriage ofCana, a celebrated pic- 
 ture; the Visit of the Virgin to Saint 
 Elizabeth, her Crowning, a Paradise, 
 the Miracle of the Host, on the ceiling, 
 excellent works, have been compared to 
 the cupolas and ceilings of Correggio and 
 the Carracci ; a copy of Garofolo's As- 
 cension, which is at Rome ; the half- 
 figures on the pillars, one of which, the 
 Saint Guirini, presents the likeness of the 
 not too delicate author of the Pastor 
 Fido, almost his namesake ; a Sposalizio, 
 are by Bonone : death prevented his fi- 
 nishing this last work, which, by Guido's 
 advice, was confided to Chenda, the last 
 pupil of Bonone's school, an artist who 
 worked but little for churches and gal- 
 leries, greatly preferring the glory he 
 acquired by his decorations for public 
 fetes, especially tournaments, then so 
 much in vogue. One of the latter, held 
 at Bologna, caused the premature death 
 
 him In his travels was confided to his favourite 
 pupil Monferrato, with a recommendation to bis 
 care. 
 
 * See his Dialogues entitled Equftatio, not from 
 their treating of horsemanship, but because tbey 
 contain divers literary conversations between per- 
 sons travelling on horseback. 
 
Ciup. XI. 1 
 
 FERRARA. 
 
 of Chenda ; on that occasion he was only 
 partially applauded, and so much did he 
 lay the affront to heart, that he could not 
 survive it, but took poison. The two 
 Nativities of the Virgin and of Christ are 
 good works by Mona. A Presentation 
 of the Virgin at the temple, on the 
 ceiling ; Christ appearing to St. Ger- 
 trude, are by Croma, an able painter of 
 Ferrara. The superb painting of Dosso 
 Dossi, St. John the Evangelist contem- 
 plating" the mysterious woman of the 
 Apocalypse, has been strangely disfigured 
 by the application of long green drapery, 
 enveloping the previously half-naked body 
 of the saint, which, if we may judge by 
 the beauty of the hands and feet, must have 
 been singularly excellent in shape. The 
 Christ visiting St. Elizabeth is by 
 Pane.Ui.the Ferrarese master of Garofolo, 
 who in his turn profited by the progress 
 his pupil had made at Rome under Ra- 
 phael. The Render to Cwsar that which 
 is Cwsar's and that which is God's to 
 God, in the Varano chapel, is a talented 
 performance by the elder Palma; opposite, 
 the great painting representing Justice 
 and Power, contains the famous Latin 
 enigma of Alessandro Guarini, which 
 many learned mensinceCrescimbeni have 
 sought in vain to unriddle. The Miracle 
 by St. Anthony, which vindicates a M r o- 
 man's honour by the means of a child to 
 which she has just given birth, is one of 
 the most esteemed paintings of Carpi, a 
 pupil of Garofolo. 
 
 Santa Maria del Vado encloses the 
 tombs of some illustrious literati and 
 artists : of Titus Vespasian Strozzi, cele- 
 brated as a Latin poet, but abhorred as a 
 minister; < of his son Ercole, a still better 
 poet, who condescended so far as to write 
 Italian verses, that he might be under- 
 stood by his mistress, Barbara Torelii; 
 he was ranked by Ariosto in his Orlando 
 among the first poets, and perished by 
 the hand of a nocturnal assassin, a power- 
 ful and unpunished rival, supposed lobe 
 Diske Alfonso I. A plain stone points 
 out the grave of Garofolo; there also 
 repose Ortolano, Diclai Baslianino, and 
 Bonone, clever masters of the shining 
 and prudent school of Ferrara, which 
 seems to have drawn its inspiration from 
 the poetic and literary taste of that city, 
 
 » Strozzi was appointed president of the grand 
 council ofiwelve [Giudice de' dodici Sai'j), by f lie 
 dake of Ferrara; to use Use expression of aconlein- 
 
 and which, by his proximity to Venice, 
 Parma, and Bologna, its short distance 
 from Rome and Florence, gave its artists 
 the opportunity of borrowing from the 
 different schools whatever features and 
 peculiarities they chose. 
 
 The vast church of Saint Andrew, in 
 a low situation, is dilapidated, but still 
 retains some chefs-d'oeuvre of art : the 
 Virgin on a throne, by Dosso Dossi ; the 
 Christ raised from the dead, attributed 
 to Garofolo or Titian ; the Guardian 
 angel, which seems to be descending from 
 heaven, by Bonone ; a St. Nicholas de 
 Tolentino, SiStatue by Alfonso Lombardo. 
 In the refectory, the Ceremonies of the 
 Mosaic law and the Sacraments of the 
 new, a grand composition by Garofolo, 
 though decayed, is still remarkable. 
 
 In the poor little church of the Capu- 
 chin nuns, to my great surprise, I expe- 
 rienced a very agreeable sensation. 
 Instead of the cadaverous odour loo fre- 
 quently found in the churches of Italy, 
 the whole building was perfumed by the 
 multitude of flower vases that covered 
 the altars. The holy maidens grow part 
 of the flowers themselves ; the rest are 
 gifts; these donations, a kind of volun- 
 tary tithe, are affecting acts of piety. 
 The paintings are not numerous, but by 
 the best masters : the Virgin onathrone 
 and other saints ; the same with saints 
 and Capuchin nuns, by Scarsellino; St. 
 Christopher and St. Anthony the abbot; 
 St. Dominick and St. Francis, in the 
 sacristy, by Bonone. The Conception 
 is an excellent small statue by Ferreri. 
 
 ThcchurchoftheTheatines, richly de- 
 corated, has a Purification, by Guercino, 
 a Resurrection of Christ, and a St. 
 Gaetan by Chenda. 
 
 The learned librarian of Ferrara, Ba- 
 rotti, is interred at the Gesu. The 
 Three Japanese Martyrs appear to be 
 by Parolini ; a fine Crucifix is by Bas- 
 tianino; the ceiling of the church, by 
 Dielai, a clever disciple and assistant of 
 the Dossi, and of Bastaruolo, his worthy 
 pupil, a painter that ought to be known 
 beyond the limits of Ferrara, his native 
 place: he perished while bathing in the 
 Po, being at the time in a bad state of 
 health. In the choir is the splendid 
 mausoleum and the bust of the duchess 
 
 purary historian, he was detesled phi del diavolo. 
 Diario Ferrarese, published by Muralorl, Script 
 rer. Untie,, xtiv. m. 
 
224 
 
 FERRARA. 
 
 [BOOK VJI. 
 
 Barbara of Austria, second wife of Al- 
 fonso II., a princess eloquently eulogised 
 by Tasso, both in prose and verse ; 1 she 
 did not deserve her redoutable Italian 
 name of Barbara, as her compassion in- 
 duced her to enlarge the hospital for 
 Foundlings, in order to afford refuge to 
 young girls who, from their personal 
 attractions and poverty, were perico- 
 lanti, as they say in Italy. There are 
 still several convents at Rome of Donne 
 pericolanti. Count Giraud, the Roman 
 Dancourt, has related how his comic 
 vocation was partially revealed to him 
 on seeing a farsetla represented by the 
 Donne pericolanti, who played men's 
 parts with swords by their sides, eo.its, 
 and cocked hats, but without quitting 
 their petticoats Pensions also are grant- 
 ed to vedove pericolanti who are not in 
 convents. Without giving credence to 
 the scandalous chronicle of Rome on the 
 favours lavished on some of these lovely 
 pensioners, though they were not posi- 
 tively in want and had perhaps some 
 experience of the danger, this kind of 
 assistance does not appear very reason- 
 able, nor over moral even ; for if virtue 
 once become like a service and a means 
 of getting money, why should it not yield 
 to a higher salary ? 
 
 The statement that the tomb of Lu- 
 crezia Borgia was placed in the inner 
 church of the nuns of Corpus Domini, is 
 unfounded ; there are indeed some tombs 
 supposed to belong to princes of the 
 house of Este. 
 
 CHAPTER XII. 
 
 1 See Orazione in morle di Barbara d'Austrla, 
 t. xi. of the works, and t. vi. the Canzoni : 
 
 Cantar non posso e d' operar pavento, 
 Alma real ehe al mio signor diletta. 
 
 This archduchess might already very well have the 
 Austrian lip, which would then be three cen lories 
 old. Tasso, when giving the portrait of the 
 daughter-in-law of a countess of Sala, says that she 
 has mi lahhrotto quasi all' Austriaca. Let. ined., 
 p. 18. 
 
 2 Count Balth. Castiglione has written a brilliant 
 panegyric or Cardinal Ippolilo in his book del Cor- 
 tegiano (lib i. p. 25), but he might be endow ed 
 With a courtier's qualities without being an iota 
 
 Library.— Ariosto. — Manuscript of the Geruta- 
 lemme.— Epic head of the Ferrarese.— Verses of 
 Tasso. — Giiarini.— Painting at Ferrara.— Ariosto'9 
 tomb. 
 
 The library of Ferrara dates only from 
 1616, but such has been the importance; 
 and the choiceness of the collections with 
 which it has been successively enriched, 
 that it is hardly surpassed by the finest 
 libraries for manuscripts and rarities, 
 and it may be reckoned the principal 
 monument of the city. The number of 
 volumes is about eighty thousand, and 
 of manuscripts nine hundred. The rooms 
 are beautiful and the volumes in perfect 
 condition. In the first of the three large 
 rooms are the portraits of Ferrarese car- 
 dinals eighteen in number; among them 
 may be remarked that of Ippolilo d'Este, 
 said to be a good geometrician for his 
 day, the unworthy Mecaenas of Ariosto, 
 who was better pleased to see the great 
 poet occupied in his service of gentleman, 
 than in composing verses : 
 
 S' io P ho con laude ne' miei Tersi messo, 
 Dice ch' io P ho fallo a piacere e in ozio, 
 Piii grato fora essergli slalo appresso. 
 
 Ariosto sacrificed the fifteen brightest 
 years of his life to Cardinal Ippolilo : 
 
 Aggiungi che dal giogo 
 
 Del cardinal da Este oppresso fui , 
 
 until the duke Alfonso, his brother, en- 
 gaged him at the salary of 16 s. 8 d- a 
 month. 2 The cardinal's physiognomy 
 and black beard by no means contradict 
 the well known gibe he is said to have 
 uttered when Ariosto presented his poem 
 to him, a word, moreover, in strict con- 
 
 less selfish or vicious on that account. The com- 
 pliments of the lord of Gonzago, one of the inter- 
 locutors of the Cortegiano, scarcely prove more 
 than the tapestry of the wedding pavilion of Brada- 
 mante, which represents the acts of the same car- 
 dinal. (OH. cant. xlvi. st. 85 to 97.) The satires of 
 Ariosto quoted above, notwithstanding their title, 
 have a singulary veridical character; published 
 after his decease, like modern Memoirs or Confes- 
 sions, they present an ingenuous history of the 
 poet's life and a faithful picture of the manners of 
 the time and of the little courts of Italy in the fif- 
 Icenth and sixteenth ceniuries. It is extraordinary 
 that Ariosto, with all the gaiety and wildness of 
 fancy displayed in bis poem, should be in bis satires 
 a practical moralist full of sense and reason i 
 
 
€hap. XII. ] 
 
 FERRARA. 
 
 225 
 
 formity with Italian manners. 1 The 
 custode of the library informed me that 
 Ariosto retorted these impertinent words 
 in answer to the cardinal — Nelgabinetto 
 di Vostra Eminenza; but I must cau- 
 tion travellers generally not to pay too 
 much attention to custode and cicerone, 
 as in this case, there is no man of educa- 
 tion in Ferrara that credits the tradition 
 respecting this repartee. A room more 
 interesting than this gallery of cardinals 
 is that of the Ferrarese authors, from the 
 oldest down to Monti and Gicognara. It is 
 amazing that so much wit, science, and 
 poesy could arise and develope itself in 
 the damp thick atmosphere of this land 
 of mud : Ferrara is a sort of refutation 
 of Montesquieu's theory of climates. The 
 collection of writings, minor pieces, and 
 papers of the Ferrarese authors is nearly 
 complete. There are the manuscripts, 
 fragments of some cantos of the Furioso 
 (as the Italians call Orlando), covered 
 with corrections. Ariosto always re- 
 vised and polished his poem, although 
 he might have sought the advice of Bembo 
 (who had advised him to write iu Latin), 
 Molza, Navagero, and other distin- 
 guished wits of Italy ; he kept the first 
 edition of it in one of his apartments, 
 that he might take the advice of his vi- 
 sitors, a perpetual consultation of very 
 questionable utility, and altogether dis- 
 approved of by La Bruyere. 1 The twenty- 
 first and seven following strophes of 
 canto xi on the invention of gunpowder 
 have fewer erasures ; the strophe 
 
 Come trovasli, o scellerata e brutla, 
 
 has not even a single correction ; but it 
 seems the manuscript here has been 
 transcribed from the first sketch by 
 Ariosto himself, for the passage is very 
 elaborate. It may be observed that the 
 poet showed some independence in this 
 eloquent imprecation against artillery, 
 as the duke Alfonso, a martial prince, 
 
 1 The author of the life and Pontificate ofleo X. 
 translates the Italian word by absurdities, which 
 has not In English the same sense as the French 
 word absurdite, improperly employed by the 
 French translator. The Italian idiotlsm, in spite 
 of Ginguene's attempts and approximations (Hist, 
 lilt, d'llal., t. it. 357), is not translatable. 
 
 2 "There is no work, however accomplished, 
 Hint would not totally disappear under the attacks 
 of criticism, if its author allowed every tensor to 
 tai;e away the part that pleased him least." Ob, i. 
 Des ouvraqes Wespril. 
 
 paid great attention to his cannon 
 foundry and had the finest train then 
 existing. Alfieri, bending reverentially 
 before the manuscript, obtained permis- 
 sion to inscribe the words Vittorio Al- 
 fieri vide e venerb, 18 giugno 1783. 
 The custode, a singularly solemn and 
 pathetic personage, expressing himself 
 con la cantilena romana, shows even 
 the trace of a tear shed by Alfieri, who 
 has dropped but few save in his love 
 sonnets. The manuscript of the Scolas- 
 tica, one of Ariosto's comedies, is very 
 little corrected, but this piece was in- 
 complete when he died, and his brother 
 Gabriele finished it. Ariosto's come- 
 dies, an imitation of the Greek or Latin 
 stage, and particularly of Plautus's pieces, 
 must have cost him infinitely less labour 
 than his brilliant and original epic. Al- 
 though played before Duke Alfonso and 
 by the lords of the court too, they are 
 full of the sharpest satire on the great, 
 the magistrates, judges, lawyers, and 
 monks of Ferrara : with such freedom 
 of opinion, it is not surprising that the 
 author succeeded no better. The ma- 
 nuscript of the satires is in good preser- 
 vation, and curious for the different cor- 
 rectionsin the poet's own hand. Ariosto's 
 arm-chair and inkstand are kept in the 
 library ; the elegance of the latter, in 
 bronze, strikingly contrasts with the 
 homely simplicity of the walnut-tree 
 chair; 3 the inkstand, a present from 
 Alfonso, and said to be cast from a 
 drawing by Ariosto, is surmounted by a 
 little Cupid with the forefinger of the 
 right hand laid on his lips. Several of 
 Ariosto's biographers pretend that this 
 silent Cupid is an emblem of his discre- 
 tion in his love intrigues.* Perhaps 
 there is some exaggeration in attribut- 
 ing to him a quality so eslimable r and 
 so rare, even among poets : Ariosto had 
 two natural sons whom he publicly 
 owned, one by a governess in his father's 
 family, the other by a peasant girl of the 
 
 chap, xviil. on Fracastor's arm- 
 
 See book 
 chair. 
 
 4 SeeBarotti'sZi/e of Ariosto. The Spanish poet 
 Serano wrote the following pretty Latin verses on 
 the Cupid of Ariosto's inkstand : 
 
 Non ego nudus amor, sed sum praeceptor amoris; 
 
 Qui cupies felix esse in amore, sile : [artem 
 
 Hoc quoque, quo melius discas, quam tradiruus 
 
 Noluimus lingua dicere, sed digito. 
 
226 
 
 FERRARA. 
 
 iBooK VII. 
 
 village of Saint Vital del Migliarino, 
 where he had a small estate ; this latter 
 son, his dear Virginio, whom he sent to 
 study at Padua with a recommendation 
 to Bern bo, is the author of the interest- 
 ing Memoirs of his father. As to the 
 mystery he made of his marriage with 
 Alessarldra, a young widow of Florence, 
 whose talent in embroidery he has cele- 
 brated,' though her mind was of no high 
 order, it is very naturally explained by 
 the fact of his enjoying certain ecclesias- 
 tical benefices and rents which be would 
 have lost by publishing it. 
 
 There is" another manuscript in the 
 library of Ferrara not less worthy than 
 Ariosto's of AlGeri's devout inscription ; 
 it is the Gerusalemme, corrected by 
 Tasso's own hand, during his captivity. 
 The words Laus Deo are written by the 
 unfortunate poet at the end of his almost 
 sacred manuscript, which no one can 
 touch without admiration and respect. 1 
 There are a great many suppressed pas- 
 sages in it, and several successive pages 
 are sometimes crossed out. An edition of 
 the Gerusalemme with the variations of 
 this manuscript would be interesting. 
 If amateurs still peruse the first scene of 
 the third act of Britannicut, prudently 
 retrenched by Racine, as advised by 
 Boileau, because it retarded the action, 
 it is very probable the more numerous 
 various readings of the Gerusalemme 
 would present particulars not less pre- 
 cious. Perhaps the worship of Petrarch 
 and Dante, renewed by the Italians of 
 our day, has turned them too much from 
 the attention thatrTasso's glory deserved? 
 Gibbon has remarked that, of the five 
 eminent epic poets that shone on the 
 world's wide stage in the space of three 
 thousand years, it was an extraordinary 
 privilege for so small a state as Ferrara 
 to count two, and at epochs so near 
 together. This observation on the epic 
 superiority of the Ferrarese, refused to 
 great nations, is more strikingly appa- 
 
 i Cos! talora tin bet puipureo nastro 
 Ho vedulo partir tela d' argcnlo 
 Da quella btauca man piii ch' alabastro, 
 Da cui parllre it cor spesso mi senio. 
 
 (Or/, cant, xxiv, s(. C6.| 
 
 Avventurosa man, bcato ingegno, 
 
 Hcata seta, beatissim' oro. \Sonnel. xxvu.) 
 
 1 The words Laus Deo, Deo gratias. Amen, ter- 
 minate many editions of the Qrteenth and sixteenth 
 centuries ; Deo gratias Is at the end of (lie extreme- 
 
 rent, when we contemplate the united 
 manuscript of the bards of Orlando and 
 Rinaldo. We must add that the blind 
 man of Ferrara who preceded them, 
 the author of Mambriano, a kind of 
 burlesque Homer of paladins and ne- 
 cromancers, is one of the creators of the 
 modern epic, and that the poem of Bo- 
 jardo produced that of Ariosto. Among 
 the other manuscripts of Tasso are nine 
 letters, dated from the hospital of Saint 
 Anne; I saw the following verses exhi- 
 bited, written also from his prison to 
 the duke Alfonso, the magnanimous 
 Alfonso ! 
 
 l'iango il morir, ne piango il morir solo, 
 
 Mn il moilo, e la mia fe", che mal rimbomba, 
 
 Che col nome veder sepolta parml. 
 
 Ne plramidi, o Mete, o di Mausolo, 
 
 MI sarla di conforto aver la tomba, 
 
 Ch' allremoli inualzar creden co' corral. 
 
 One must read these verses of Tasso 
 in his own handwriting, at Ferrara, to 
 feel the sorrow, desolation, and anguish 
 that they express. It is very astonishing 
 that Lord Byron did not imitate them in 
 his Lament of Tasso : the tears of genius 
 are assuredly more touching and poetic, 
 than the kind of insensibility and ran- 
 cour imagined by the English author : 
 
 " 1 once was quick in feeliua— that is o'er; — 
 My scars are callous." 
 
 The manuscript of Guarini's Pastor 
 Fido seems subordinate and vulgar be- 
 side those of Ariosto and Tasso. His 
 poem, however, is not deficient in har- 
 mony, elegance, or purity; but this pre- 
 sumptuous imitator of Tasso, 3 without 
 invention or imagination, shows the dis- 
 tance between talent and genius. Gua- 
 rini also met with some untoward vicis- 
 situdes in life, but his court disgrace or 
 domestic troubles have not the interest 
 or glory of Tasso's noble misfortunes. 
 The manuscript of the Pastor Fido was 
 
 ly rare folio edilion of t lie Decameron, without 
 date or imprint, but supposed lo be of 1 109 or 1470 
 and printed at Florence . il is called the Deo gratias 
 Decameron, a very singular title Tor a collection of 
 tales, in some instances licentious. 
 
 5 Especially In Ihe chorus of Ihe fourth acl of the 
 Pastor Fido, which answers lo the lirst chorus of 
 Aminta, and has a like number of strophes; the 
 strophes have each as many lines, the verse Is of 
 the same measure, and Ihe rhymes areexactly the 
 snmeas In Ihe Aminta. 
 
IYB 
 
 Chap. XII. ] 
 
 FERRARA. 
 
 227 
 
 sent by Guarini to his protege Leonardo 
 Salviati, president of the Academy della 
 Crusca, the unlucky reviser of Boccaccio 
 and Zoilus of Tasso, who made some few 
 corrections on the manuscript, chiefly 
 grammatical, to which Guarini did not 
 in every instance accede. The Pastor 
 Fido, notwithstanding certain very Tree 
 passages therein, was played for the first 
 time at Turin, as Tiraboschi informs us, 
 and with almost royal magnificence, at 
 the marriage of Duke Carlo Emanuele 
 with Catherine of Austria ; another sin- 
 gular instance of the licence of theatrical 
 performances in the sixteenth century. 1 
 The jeering argumentation of Henrietta 
 to her pedantic sister : 
 
 !Mais vous ne series pas ce dont vous vous vanlez, 
 Si ma mere n'eut en que de ces beaux coles ; 
 El bien vous prend, ma sceur, que son noble genie 
 Voir, pas vaque toujours a la philosophic. 
 
 And the comic simplicity of Theramenes 
 combatting the scruples of his chaste 
 pupil : 
 
 . Yous-meme, oil seriez-vsus, 
 
 Si loujours An Hope a ses lois opposee 
 D'unepudique ardeur n'eiil brule four Tbesee? 
 
 are drawn from the Pastor Fido. These 
 last words, says Voltaire, are more suit- 
 able for a shepherd that the governor 
 of a prince, although the Greek Hippo- 
 lytus is assuredly but little like a prince 
 royal. Bellarmin however behaved very 
 harshly to Guarini when he visited the 
 Sacred College as deputy from Ferrara, 
 for the purpose of complimenting Paul V. 
 on his accession ; he publicly reproached 
 him with having done as much mischief 
 to the Christian world by his poem as 
 ledii- Luther and Calvin by their heresies. 
 The answer of the poet is said to have 
 been very piquant. The prudent author 
 of his Life, Alessandro Guarini, his great 
 grandson, durst not repeat it; nor is 
 there the slightest trace of it left in the dif- 
 ferent historians of Bellarmin, to whom 
 probably it did not appear flattering 
 enough for the illustrious cardinal. 
 
 Is- 
 
 ![*' 
 
 Tl'JlM 
 
 or Ull 
 ■„ ifii 
 
 ■„ ili; 
 ClIOll 
 
 lirffi 
 
 i>i 
 
 1 Tiraboschi asserts (p. si. of the Life of Guarini, 
 prefixed lo Ibe Pastor Fido) that this representation 
 really took place; Ginguene brings forward some 
 pretty good reasons to prove it was only projected 
 {Hist, lilt, d'llal, vi. 389| ; the first edition of the 
 Pastor Fido of 1590 at least shows that it was de- 
 i dicaled io the duke of Savoy on the occasion of his 
 marriage. 
 
 * Among the best or scarcest is the first, Ferrara, 
 
 Lord Byron mentions, as existing at 
 the library of Ferrara, a letter from 
 Titian to Ariosto, which I deeply re- 
 gretted not being able to find. Arioste 
 and Titian were friends ; they often made 
 the journey from Ferrara to Venice 
 together, when they accompanied the 
 duke Alfonso in his peotte; for the latter 
 frequently visited Titian at home, and 
 took him back with him to Ferrara. 
 The same route is now less poetically but 
 more rapidly traversed by the steamer 
 Othello. The poet and artist must have 
 mutually consulted each other respect- 
 ing their works, and this letter might 
 furnish some curious particulars of a 
 union then so common between writers 
 and artists, which doubtless contributed 
 greatly to their glory. The letter, pre- 
 tended to be Titian's, inserted in the 
 Giornale delle provincie Yenete of the 
 year 1825, is only by his pupil and se- 
 cretary, the Venetian Giovanni Maria 
 Verdizzotti, a clever landscape painter; 
 it is not addressed to Ariosto, but his 
 nephew Orazio. It treats of the Geru- 
 salemme liberata, and is dated in the 
 month of February 1588, being more 
 than fifty years posterior to Ariosto's 
 death, and twelve after Titian's. 
 
 The ancient choir book of the Carthu- 
 sians is now in the library ; it forms 
 eighteen atlas volumes, covered with 
 brilliant miniatures, the work of Cosme's 
 school. A Bible in one volume, appa- 
 rently by the same artists, is equally large 
 and magnificent. 
 
 The library of Ferrara is rich in first 
 editions of Ariosto, having as many as 
 fifty-two. a Bayle and other protestant 
 writers 3 are wrong in accusing Leo X. 
 of having almost at the same time ex- 
 pressed his approbation of ihe profane 
 Furioso by a bull, and anathematised 
 Luther and his books. The pope's bull 
 affixed to the first edition is only a pri- 
 vilege, a guarantee against piracy ; there 
 is no question of excommunicating the 
 critics of the poem, as some have pre- 
 tended, but only those who might print 
 
 Gio. Uazocco del Bondeno. A di 22 aprile ISlC, in 
 quarto, of which our Bibliotbeque possesses a copy 
 that was sent to Francis I. 
 
 3 Bayle, Hist, Diet. art. Leo X.; Warton's nistory 
 of English poetry, vol. xv. p. 4H ; and M. Ch. 
 Villers, who, in his Essay on the spirit and in- 
 fluence of Ltitlier's Reformation, has exeilly copied 
 Bayle. 
 
928 
 
 FERRARA. 
 
 [ Pooc VII. 
 
 ana sell it without the author's consent ; 
 ■it is the act of a prince, not of a pontiff. 
 The anathemas of Leo X., too, against 
 Luther were long subsequent to this first 
 .edition. An anecdote of its publication 
 docs singular honoui to Arioslo : in the 
 agreement concluded with the bookseller 
 Jacopo dai Gigli, of Ferrara, by which 
 he sells him a hundred copies at the 
 price cAlibrar. 60 march, an., about six 
 pounds sterling (for Arioslo seems to 
 have printed his work at his own expense), 
 he stipulates that no copy shall be sold 
 for more than solidorum 16 march., 
 about twenty pence. The price of the 
 bonk and the bookseller's profit were 
 therefore very reasonable, and this exam- 
 ple of consideration for the public and 
 economical amateurs might very pro- 
 perly be recommended to some of our 
 fashionable poets and publishers. 
 
 The library of Ferrara offers a great 
 number of fine editions of the fifteenth and 
 sixteenth centuries, and such rarities are 
 well placed there : Ferrara was one of the 
 most illustrious towns that cherished 
 printing in its infancy ; its first editions 
 closely followed those of Rome and Ve- 
 nice ; it had even an advantage over the 
 greater number of Italian towns to which 
 the first printers were strangers ; its 
 own, AndreaGallo, who printed in 1471, 
 and very correctly, the Commentaries 
 of Servius on Virgil, in folio, and the 
 Achilleid of Statius, the existence of 
 which has been erroneously disputed, 
 was a native of Ferrara. The second 
 printer of Ferrara, Agostino Carncrio, 
 was also very probably of that town ; he 
 first printed the Boccaccio's Theseid, 1 
 with the commentaries of Pietro Andrea 
 de Bassi, another Ferrarese. Such a 
 circumstance announces already a kind 
 of literary glory and prosperity at Fer- 
 rara, though Bassi's commentary is too 
 prolix, the edition inelegant, and this 
 first attempt of ottava rima, said to be 
 created by Boccaccio, was faulty and 
 ungraceful, still far distant from the har- 
 monious octaves of Ariosto and Tasso, 
 which were composed on the same spot 
 that saw the first printed. The follow- 
 ing year 1476, a Hebrew printing-office 
 was established at Ferrara by Duke Er- 
 cole I. Some years after, the elder 
 Aldus, before settling at Venice, had 
 
 • 1475, a very scarce book ; a copy of it in good 
 condition is preserved in ttie Bibllolueque royale. 
 
 attended the learned lessons of tr*am- 
 baltista Guarini at Ferrara ; he was in- 
 debted to this clever master for his 
 ability to publish in after days such ex- 
 cellent Greek editions, and to compose 
 his Greek Grammar, which is still es- 
 teemed. According to the Ricerche 
 bibliorjrafiche sulle edizioni Fcrraresi 
 del sec. XV, of S. Antonelli, under-fi- 
 brarian of Ferrara, published in 1830, 
 more than a hundred editions were given 
 during the first thirty years of the fifteenth 
 century, by nine printers, a number 
 much above the present. One of the 
 chief rarities of the library of Ferrara is 
 the Musculorum humani corporis pic- 
 turata dissectio, by the great Ferrarese 
 anatomist, physician, and surgeon ofthe 
 sixteenth century, Giambatlisla Canani, 
 who had some faint idea ofthe circula- 
 tion of the blood, an undated edition, 
 without imprint, but most likely of 1541, 
 illustrated with plates engraved by the 
 celebrated Geronimo Carpi ; only six 
 copies o( this are known to exist, and our 
 Portal vainly endeavoured to procure one. 
 
 This library, like most others in the 
 Papal states, is behindhand: the annual 
 sum of 200 crowns, about 43L, being 
 insufficient to purchase the most impor- 
 tant works. 
 
 In the second room of the library, 
 which is devoted to readers, called i lie 
 hall of Ariosto, stands his tomb, trans- 
 ferred thither with great solemnity from 
 the church of Saint Benedict, by the 
 French, on the 6th of June, 1801, the 
 anniversary of his death. The patri- 
 monial house of the poet is in the neigh- 
 bourhood ; * the building ofthe univer- 
 sity, and the hall of the library, are those 
 in which he followed the lessons of Gre 
 gorio of Spoleto, his master. Thus is 
 the poet's tomb within the very precincts 
 where he passed his infancy and youth. 
 The mausoleum, at the end of the roct.i 
 against the Avail, is of bad taste ; on each 
 side is a daub of a large green curtain, 
 with roses, doves, corbeilles, helmets, and 
 plumes. The stone covering the bones of 
 Tasso at Saint Onuphrius is preferable, 
 with all its nakedness, to this theatrical 
 decoration, unbecoming the grandeur of 
 a sepulchral monument. The principal 
 inscription, by Guarini, begins by boast- 
 ing Ariosto's talents as a minister and 
 
 * See the following chapter. 
 
Chap. XIII. ] 
 
 FERRARA. 
 
 229 
 
 statesman, claro in rebus publicis ad- 
 ministrandis, in regendis populis, etc. 
 The history of his life proves that he might 
 have merited this elogium ; he certainly 
 had occasion for much coolness in his 
 two missions to Pope Julius II., and 
 especially in the second, when Julius, 
 irritated by Alfonso's alliance with the 
 French, wanted to have his ambassador 
 thrown into the sea. 
 
 Andar piii a Roma in posts non accade 
 A placar la grand' ira di Secondo. 
 
 It is not surprising to see diplomatic 
 skill united with a talent for poetry ; the 
 latter, when cultivated with success, only 
 occupies the short and far-between mo- 
 ments of inspiration, and must there- 
 fore leave time for business. I have seen 
 as ministers in Italy, the two men who 
 throw the greatest literary and poetical 
 glory on our country, 1 and 1 doubt 
 whether they will ever be surpassed in ap- 
 plication, activity, and regularity. That 
 genius made to please, the first talent 
 of negociators, as Voltaire remarks, may- 
 be still farther improved by the graceful 
 language of poesy. 
 
 The inscriptions on Ariosto's tomb 
 have been given many times already; 
 notwithstanding their" lapidary merit, 
 tbey arc very inferior to Alfieri's sonnet, 
 which I would rather have found there, 
 beginning with these ycrses from the 
 Furioso : 
 
 Le donne, 1 cavalier, 1' aroie, gli amori, 
 Le cortesle, I impose, ore son ile ? 
 
 CHAPTER XIII. 
 
 
 Houses of Ariosto and degli Ariosti.— Theatrical 
 performances at the court of Ferrara. — Nicolao 
 Arioslo. — Ariosto's extensive aud.pinute inform- 
 ation.— Parcelling houses.— Guarlni's house. 
 
 The house of Ariosto is now one of the 
 lionumenls of Ferrara. The elegant 
 ascription composed by himself, 
 
 'am sed aptamilii, fed nulli obnoxia, sed non 
 Sordida, parta nieo sed tamen eere domus, 2 
 
 vhich had long disappeared, has been 
 eplaced on the front ; above is the more 
 
 1 MM. de Chateaubriand and rie Lamartine. 
 
 " Ariosto has expressed the same idea in his Orst 
 
 tire : 
 
 pompous inscription of his son Virginio, 
 which is not equal to it : 
 
 Sic domus hffic areosta 
 Propitios habeat deos, olim ut pindarica. 
 
 This resemblance to Pindar's house 
 was partially realised during the late'oft- 
 repeated military occupation of Ferrara, 
 when taken successively by the French, 
 Austrians, and Russians. All these 
 Alexanders at twopence a day imitated 
 the Macedonian hero, and the house of 
 the Fcrrarese Homer seems to have 
 been no less respected than the Theban 
 poet's. On the little covered terrace 
 [loggetta) were written the verses 
 printed with Ariosto's Latin poems, 
 under the title de Paupertate. 
 
 Ariosto's garden was in existence be- 
 fore hisjiouse ; 
 
 11 aimait les jardins, elait pretre de Flore, 
 II l'etait de Pomone encore. 
 
 Ariosto made continual changes in his 
 garden as in his poem : he did not leave 
 a tree three months in a place, says Vir- 
 ginio in his Memoirs ; he attentively 
 watched the developement of the seed 
 sown ; and so restless was his curiosity 
 that he ended by breaking the germ. 
 Sometimes, in the delirium of his mania 
 for agricultural experiments, he con- 
 founded the various plants he had sown; 
 so that on one occasion, after visiting 
 day by day certain caper-bushes (capperi) 
 which charmed him by their fine ap- 
 pearance, his cherished plants ultimately 
 proved to be nothing but elders (sam- 
 buchi). 
 
 Ariosto put up an elegant inscription 
 in his garden, ending with this graceful 
 aspiration : 
 
 et optat 
 
 Non minus hospitibus quam placitura sibl. 
 
 The poet inhabited this house during 
 the latter years of his life, but it is an 
 error to suppose that he wrote the 
 greater part of his works there; he 
 could scarcely have done mote than cor- 
 rect the cantos added to the Furioso, and 
 perhaps put in verse his two comedies of 
 the Cassaria and the Suppositi, which 
 
 Anco fa che al ciel levo ambe le mani, 
 Che abito in casa mia comodamente 
 Voglia tra cittadiiii, o tra villani. 
 
230 
 
 FERRARA. 
 
 [Book VII. 
 
 he had written in prose during his 
 youth. He displayed the same fickle- 
 ness in the arrangement of his house as 
 in the planting of his garden ; he seems 
 also to have encountered as much disap- 
 pointment. : often did he regret that al- 
 terations were not so readily made there 
 as in his poems ; and when some persons 
 pretended surprise that one who had 
 described so many palaces, had not a 
 liner house, he gaily replied that the 
 palaces he built in verse cost him no- 
 thing. 
 
 The traces of Ariosto's residence were 
 shamefully underprized and effaced by 
 the persons who succeeded him as pro- 
 prietors of the house ; they sold the gar- 
 dens which he had so whimsically culti- 
 vated, and the grotto, the scene of his 
 meditations, disappeared. When in 1811 
 the town council of Ferrara, on the pro- 
 position of the podesta, Count Geronimo 
 Cicognara, the worthy brother of Count 
 Leopoldo, determined to purchase the 
 house of the illustrious poet, his chamber, 
 which was recognised by the position of 
 the windows, although the walls had 
 been recently daubed with some miser- 
 able paintings, done over others still 
 worse, was well cleaned and renovated in 
 good taste, and in a manner calculated 
 to heighten the impression of its poetical 
 recollections. Opposite the door, below 
 Ariosto's bust, is the following beauti- 
 ful Italian inscription by S. Giordani, 
 on a slab of Carrara marble : Ludovico 
 Ariosto in questa camera scrisse e 
 questa casa da lui edificata abitb, la 
 quale CCCLXXX anni dopo la morte 
 del divino poeta fu da conte Girolamo 
 Cicognara podesta co' danari del co- 
 mune compra e ristaurata, perclic alia 
 venerazionc delle genii durasse. 
 
 The ancient house degli Ariosti, where 
 Ariosto was brought up, is still to be 
 seen near the church of Santa Maria di 
 Bocche. It was there that in his child- 
 hood, with his four brothers and five 
 sisters, he performed, when his parents 
 were gone out, the fable of Thisbe and 
 other comic scenes arranged by himself. 
 The apartment, as may still be seen, was 
 not ill adapted to this kind of represen- 
 tations; the bottom of the saloon has an 
 open arcade resembling a stage; the 
 chambers adjoining were the scenes and 
 draperies; and whatever habiliments 
 they could get served for costume. In- 
 dependently of the precocious intellect 
 
 these little compositions evince, we mav 
 look on them as an additional proof of 
 the taste for theatrical representations at 
 Ferrara under the dukes Ercole and Al- 
 fonso d'Este. It is very probable that 
 Ariosto's father, Nicolao, who, in 1486, 
 was named captain of the town (or giu- 
 dice de XII savj), was invited to the 
 court theatrical performances, and thaj. 
 he took his eldest son with him, then 
 about eleven or twelve years old ; and 
 perhaps the latter sustained some cha- 
 racter in the representation, as Duke 
 Ercole himself was one of the actors, and 
 that very year, he had played for the 
 first time the Mencechmi of Plautus in 
 the largest apartment of the palace, there 
 being then no theatre. This relish for 
 plays never left Ariosto to his latest day; 
 he not only composed comedies, but di- 
 rected the rehearsals : he presented the 
 plan of a charming theatre, which Duke 
 Alfonso some lime after had erected, 
 opposite the bishop's palace; the theatre 
 was destroyed by fire, an event attri- 
 buted by him to some enemy envious 
 of his dramatic success; this disaster 
 is said to have been a principal cause of 
 his death. ■ 
 
 Arioslolived in the house degli Ariosti, 
 in order to complete his legal studies 
 under the superintendence of his paternal 
 uncles, when Nicolao Ariosto, his father, 
 returning to Ferrara after a long absence, 
 was extremely surprised to find his son 
 independent, dissipated, and much more 
 taken up with poetry and romances than 
 the pursuit of legal acquirements. He 
 often reproached him sharply : one day 
 when he burst forth with greater vehe- 
 mence, the resignation and silence of (he 
 culprit were remarked ; his brother Ga- 
 briele asked the cause, and Ariosto con- 
 fessed that he was occupied at that very 
 moment with a scene for his Cassaria, 
 which he was then composing, and that 
 he intended to introduce the precise 
 words used by his father. This scene, 
 between Crisobolo (the father) and Ero- 
 filo (Ariosto), is the second in the filth 
 act; its truth is by no means surprising, 
 as it is taken from nature and Terence. 
 
 Several walled-up doors of the old pa- 
 lace del Paradiso, now the University, 
 near the house degli Ariosti, gave ad- 
 mittance to Ariosto, who had only to 
 
 ■ "Fattosta," says Baruffaldi, "clie da quel 
 gioruo egli non si riebbe, ne si alzo piu di lello." 
 Vita di L. Ariosto, p. 237. 
 
Chap. XIV.] 
 
 FERRARA. 
 
 951 
 
 cross the street to attend the private lec- 
 tures given by Gregorio of Spoleto to 
 Rinaldo d'Este. He followed these les- 
 sons from the age of twenty-two to 
 twenty-five, when he at last devoted 
 himself entirely to poetry; in after years, 
 he pathetically lamented his master's 
 exile, to whose return he looked forward 
 •with &wh simple, heartfelt joy, and 
 poured forth his grateful acknowledg- 
 ments in the verses addressed to his 
 fellow-disciple, the prince Alberto Pio : 
 
 Io, redibit, qui penitus rude 
 Lignum dolavit me, et ab inullli 
 rigraque mole graliorem 
 Iu speciem banc, Pie, me redegit. 
 
 Io, videbo qui Iribuil magis 
 Ipso parente, ut qui dedit optime 
 Mibi esse, cum tanturn alter esse 
 In popuio dederit frequenli. 
 
 Ylrum, boni Di, rursus amabilem 
 Ampleciar; an quid me esse bealius 
 Potest beatum, mi beate 
 Nuntie qui me liodle bcasli. 1 
 
 Ariosto also attended the public lec- 
 tures of Mario Pannizzato, a celebrated 
 Ferrarese orator and poet, whom he has 
 not forgotten either : 
 
 Veggo 11 Mainardo, e veggo il Leoniceno, 
 II Panizzato 
 
 Ariosto, so brilliant, volatile, and 
 playful as a poet, was an author of pro- 
 found knowledge; besides his favourite 
 poets whom he was ever reading, as Ca- 
 tullus, Virgil, Horace, Tibullus.heknew 
 the historians and philosophers, and had 
 studied astronomy, navigation, and geo- 
 graphy : Paris, with its views, bridges, 
 and island, may still he recognised in 
 the description he has given ; Ginguene 
 remarks that he carried his accuracy so 
 
 i Carmin. lib. it. Gregorio of Spoleto, invited to 
 Milan by Isabella of Arragon, the widow of Gio- 
 vanni Galeas Sforza, to be the preceptor of her only 
 son Francesco, accompanied him when carried off 
 by Louis XII. after the fall of Louis-:he-Moor, his 
 uncle, in i499; Gregorio never returned Io Italy, 
 notwithstanding the ardent wishes of his pupils, but 
 died at Lyons. Ariosto again feelingly recurs to 
 the sorrows of his old master, in his vntb satire : 
 
 51i fu Gregorio dalla sfortunata 
 Ducbessa tolto, e dato a quel figliuolo 
 A chi avea il zio la signoria lovata. 
 
 Di cue vendetta, ma con suo gran duolo 
 Vid' ella tosto : aime percbe del fallo 
 Quel che pecc6 non fu punito solo? 
 
 Col zio II nipole (e fa poco intervalloj 
 
 far as to give to a small town of Brittany 
 (Tre"guier) the name by which it is known 
 in the language of that country ; Scot- 
 land is not described with less fidelity in 
 the episode of Ginevra than in one of 
 Walter Scott's novels. 
 
 On the death of his father, Ariosto 
 quitted the house degli Ariosti, one 
 fourth of which was his heritage accord- 
 ing to Italian usage. This singular di- 
 vision of property in a country where its 
 excessive accumulation is often so fatal, 
 must give rise to abundant lawsuits re- 
 specting repairs between all these petty 
 proprietors of floors, or even chambers. 
 
 The house of Guarini recalls the names 
 of illustrious scholars and the poet Giam- 
 battista, author of the Pastor Fido, who 
 probably throws the former too much in 
 the shade, and whose bust alone in 
 marble stands on a pilaster at the foot of 
 the stairs. It is still inhabited by the 
 marquises Gualengo Guarini, of the same 
 family. On the corner in the street is 
 the ancient inscription : Herculisetmu- 
 sarum commercio — favete Unguis et 
 animis, an inscription, which is neither 
 so elevated nor so natural as Ariosto's 
 distich, parva sed apta mihi, who, in- 
 stead of thus posting bis dependence on 
 the house of Este, on the contrary an^ 
 nounces that he had paid for his house : 
 part a meo sed tamen we domus. 
 
 CHAPTER XIV. 
 
 Tasso's Prison. 
 
 On the walls of Tasso's prison are the 
 names of Lord Byron, Casimir Dela- 
 vigne, and Lamartine's verses on Tasso, 
 written in pencil and dreadfully mangled 
 by the English poet, 2 who must have 
 
 Del reguo, e dell' aver spogliati in tutto, 
 PrljJioni andar sotto il dominio Gallo. 
 Gregorio, a priegbi d' Isabella indutlo, 
 Fu a seguir il discepolo Is), dove 
 Lasci6, morendo, i cari amici in lutto. 
 
 2 I there transcribe them literatim : 
 
 « La le Tasse brul d'un flame fatal 
 a Expiant dans Ies fers sa gioire,et son aniur 
 « Quand il va recevoir la palm trionfal 
 o Descand au noyr seyur. 
 
 Byron was shut up in this prison of Tasso by the 
 porter at his own request; he staid there two 
 hours, making violent gestures, striding about, 
 striking his forehead, or with his head sunk on bis 
 
J32 
 
 FERRARA. 
 
 [Book VII, 
 
 been little capable of appreciating the 
 harmony of the verses addressed to him 
 by our first lyric poet. Notwithstand- 
 ing these poetical authorities, with the 
 inscription Tnyresso alia prigione di 
 Torquato Tasso, at the entrance, an- 
 other inside, and the repairs of this pre- 
 tended prison in 1812 by the prefect of 
 the department, it is impossible to re- 
 cognise the real prison of Tasso in the 
 kind of hole that is shown as such. How 
 can any one for a moment suppose that 
 Tasso could live in such a place for seven 
 years and two months, revise his poem 
 there, and compose his different philoso- 
 phical dialogues in imitation of Plato? 
 In the evening I had an opportunity of 
 consulting several well-informed gentle- 
 men of Fcrrara on this subject, and I 
 ascertained that not one of them believed 
 this tradition, which is equally contra- 
 dicted by historical facts and local ap- 
 pearances. There was enough in Tasso's 
 fate to excite our compassion, without 
 the extreme sufferings he must have 
 experienced in this dungeon; Alfonso's 
 ingratitude was sufficiently painful : 3 
 slight on the part of LouisXIV. hastened 
 the death of Racine, and with such spirits. 
 mental afflictions are much more keenly 
 felt than bodily pains. Madame de 
 Stael, who was ever inclined to com- 
 miserate the misfortunes of genius, was 
 not misled by the legend of the pri- 
 son of Ferrara ; Goethe, according to the 
 statement of a sagacious traveller,' main- 
 tains that the prison of Tasso is an idle 
 tale, and that he had made extensive re- 
 searches on the subject. The perusal of 
 the different lives of Tasso and his cor- 
 respondence, ( the best of them all ) has 
 convinced me that his confinement at the 
 hospital of Saint Anne bears much 
 greater resemblance to what is now 
 called detention in a maison de sante, 
 combined with vexatious annoyances of 
 the police, than to imprisonment in a 
 dungeon. 2 
 
 chest and Ms arms banging down, according to the 
 porter's story, who watched him; and when the 
 lntler went to arouse him from his reverie, Byron 
 gave him his fee, saying : Ti ringrazio, buon 
 vomo ! i pensieri del Tasso stanno ora tutti nella 
 mia inente e nel mio wore. Shortly after bis de- 
 
 GHAPTER XV. 
 
 Palace.— Piazza dl Arioslo.— Campo Santo.— Belrl- 
 guardo. 
 
 The prison and the houses of poets at 
 Ferrara cause the palaces to be neg- 
 lected, though deficient in neither gran- 
 deur, nor historical interest; such is the 
 palace now belonging to the counts 
 Scroffa and the marquis C:ilcagnini, built 
 by Louis-the-Moor in the hope of finding 
 shelter there, against the victorious 
 French; but he lost at once his princedom 
 and liberty, and died in Touraine in the 
 castle of Loches. When in prison he 
 bequeathed this unfinished palace to 
 AntonioCostabili, a noble of Ferrara, his 
 late ambassador at the court of Ercole I., 
 whom he had formerly charged with the 
 superintendence of the building, and 
 who came to visit him in his prison. 
 The present of a betrayed and captive 
 prince to a faithful courtier would have 
 something affecting about it, if Sforza, 
 though a patron of letters and the arts, 
 had not been a cruel usurper, and if the 
 voyage of Coslabili, who at the time was 
 almost proprietor of the palace, was not 
 interested. The house of the counts 
 Avvenli, called Casa delta Rosa, was 
 as the petite maison o'i' Duke Alfonso I. 
 He established there the lady Laura 
 Eustochia Dianti, by whom he "had two 
 sons, Alfonso and Alfonsino. The house 
 of Avvenli took its pleasing surname 
 from the neighbouring church of Santa 
 Maria delta Rosa, and not from the 
 mistress who occupied it ; a mistake that 
 might easily be made. A small palace, 
 of excellent architecture, which an- 
 nounces the epoch of the revival, belongs 
 to the house of Conti Crespi ; it was built 
 from the plans of Geronimo da Carpi, 
 architect and painter, a pupil of Ra- 
 phael. 
 
 The great square, which for some time 
 bore the name of Napoleoni became in 
 1814 the Piazza di Ariosto, a name which 
 took immediately, as at Paris that of the 
 Rue de la Paix : the renown of conque- 
 rors cannot hold out against the glory of 
 letters or the public welfare. The de- 
 parture from Ferrara he composed his lament cf 
 Tasso, which sadly betrays some such inspiration. 
 
 1 M. Ampere, in a letter written from Weimar, 
 the 9th of May, 1827. 
 
 2 See Variites itaiitnnet : Prison du Tussa. 
 
Chap. XVI. ] 
 
 FERRARA. 
 
 235 
 
 magogucs of 1796 removed the statue of 
 Pope Alexander VII. from this same 
 square ; that of Napoleon was served the 
 same : the new statue of the Homer of 
 Ferrara, erected in 1833, will brave all 
 such vicissitudes. 
 
 The Campo Santo, as at Bologna.and 
 other towns, was formerly the Char- 
 treuse. These cloisters where the living 
 were formerly entombed are now become 
 the abode of the dead, and I scarcely 
 know whether the statues, basso-relievos, 
 and inscriptions which now abound there, 
 do not render them less gloomy, more 
 lively, than when they were peopled by 
 the silent phantoms of their earlier days. 
 The Chartreuse was founded by Borso, 
 first duke of Ferrara, a magnificent, li- 
 beral prince, who notwithstanding the 
 austerity of such a foundation, was fa- 
 mous through all Italy for the splendour 
 of his fetes; his tomb, elegantly reno- 
 vated in 1815, is close by the cella con- 
 secrated to the house of Este . The mau- 
 soleum of the duke Venanziano Varano 
 and his wife, by Rinaldo Rinaldini, is 
 very fine. Some other sepultures recall 
 names illustrious in letters or the arts ; 
 such are the tombs of Giglio Giraldi,' 
 Bernardino Barbulejo or Barbojo, rector 
 of the parish of Saint Peter, who, ac- 
 cordingtotheabbe'GeronimoBarufl'aldi, 5 
 taught Ariosto the rudiments, a grave 
 opinion, which Faustini seems to have 
 refuted : such also is the alabaster mo- 
 nument erected by Count Leopoldo Ci- 
 cognara to his first wife. 
 
 The church appertaining to the Campo 
 Santo is of noble architecture and attri- 
 buted to Sansovino, who at the most is 
 only author of the brilliant sculptures of 
 the interior. The twelve paintings of 
 the twelve chapels, representing the 
 different Mysteries, by Roselli, a Ferra- 
 rese painter of the sixteenth century, 
 bespeak imitation of Garofolo and Ba- 
 gnacavailo; a graceful Nativity is by 
 Dielai ; a Deposition from the Cross, 
 
 ' See anle, chap. xi. 
 
 a Vila di L. Ariosto, p. 55. Barbojo was In great 
 repute among the Itallai literati of his day. Giraldi 
 dedicated to him his treatise de Bis tor ia Deorum; 
 Caelius Calcagnini addressed some of his learned 
 dissertations to him; and among the Lectiones an- 
 liquce of Ilhodiginus, the eleventh book is dedicated 
 to him by Camillo Itichieri. 
 
 3 "Ipse, quanquam," says Muret, Cardinal d'Este's 
 favourite, " doctrina mediocri, maguo tainen et ex- 
 celso ingenio, et mirifice dedito studiis nostris. 
 
 the Descent of the Holy Ghost, are by 
 Bastaruolo; the St. Bruno is by Scarsel- 
 lino ; a Last Supper, by Cignaroli ; the 
 Marriage of Cana, St. Bruno praying 
 with other Carthusians, are by Carlo 
 Bonone ; a St. Christopher, in the choir, 
 is by Bastianino ; the Beheading of John 
 the Baptist, by Parolini. 
 
 The delightful villa of Belriguardo, 
 near Ferrara, is no more ; this kind of 
 Academia had for its Plato the cardinal 
 Ludovico d'Este, the brother of Al- 
 fonso II., who, though not profoundly 
 learned, was full of zeal for the advance- 
 ment of science. 3 Its dilapidation com- 
 menced at the end of the sixteenth cen- 
 tury ; but what remains is sufficient to 
 show its extent and ancient splendour. 
 A portion is now occupied by peasants, 
 and the rest by the proprietor of the great 
 farm which lies around. 
 
 CHAPTER XVI. 
 
 Italian society. 
 
 I passed some few days at Ferrara. 
 If the character of a people, as Rousseau 
 remarks, can be better ascertained in 
 second rate towns, than capitals crowded 
 with foreigners, my slay there would 
 give me a very favourable idea of Italian 
 society and character. The politeness 
 and obliging good-nature of the family 
 in which I had the honour to be received 
 are still fresh in my memory. Some 
 persons regret, and with reason, the 
 absence of elderly ladies in our society. 
 In Italy there are some perfectly amia- 
 ble, who are true models; and one of 
 them held the first rank in the fashion- 
 able world of Ferrara. I confess that I 
 found many charms in the company that 
 frequented her house; benignity, ease, 
 and freedom reigned there : notwith- 
 standing Italian vivacity, the ton was 
 perfect ; nor was there any appearance of 
 vanity, outward or inward. In the box 
 
 Itaque domus ipsius Academia quaedam videri po- 
 lerat. Die amat quidem et ipse mirifice homines 
 bonarum artium scienlia excultos : sed sua ei co- 
 mitasdamnoest. Dum enim omnesblande exclpit, 
 cum omnibus humane colloquilur, facilem se at- 
 que obvium omnibus prsebet, excilat quidem ad- 
 mirabiles aruores sui : sed a lam mullis gratiam 
 ipsius ambieiitibus perpetuo obsidetur, ut ei vix ad 
 curandum corpus satis temporis supersit." Epist, 
 lib. H. 23, 
 
23* 
 
 CENTO. 
 
 f Book VII 
 
 at the theatre (where the legate was the 
 most assiduous spectator), a number of 
 opera-glasses were at the disposition of 
 the visitors: etiquette had no dominion 
 there, the house being open, or nearly 
 so, even to passing strangers; and it was 
 usual to attend the conversazione of 
 the evening, or rather night, in a morn- 
 ing dress. 1 
 
 CHAPTER XVII. 
 
 Ceulo.— Guerciuo. -Pievo. 
 
 Cento, the native place of Guercino, 
 is a pretty little town, which the tra- 
 veller will do well to turn aside and visit 
 before he reaches Bologna. There is the 
 artist's house, a real domestic museum, 
 quite covered with his paintings. In 
 Ihe little chapel is an admirable picture 
 of Tivo pilgrims praying to the Vir- 
 gin : the extreme destitution, no less 
 than the fervour of these pilgrims, is 
 painted with great minuteness of detail 
 (even to the patches of the least noble 
 part of their habiliments), without in any 
 way weakening the general effect of this 
 pathetic composition. The ceiling of one 
 room presents a scriesof horses of various 
 breeds ; there is one superb group of two 
 horses; another horse at grass, nothing 
 but skin and bone, is a living skeleton of 
 
 1 This excellent and distinguished woman was 
 signora Marietta Scutellarl, a native of Zara, of 
 Venetian extraction, deceased in 1832, aged eighty 
 years; she was the friend of Canova, who stayed 
 with her when he passed through Feriara, of Motili, 
 Cicognara, Lord Byron, Ihe two Pindemonles, and 
 Foscolo. The town purposed erecting a monument 
 to ber. 
 
 * (iuerciuo showed a great propensity for draw- 
 ing as early as his sixth year; two years later, and 
 before tailing lessons from the painter in distemper 
 of Bastia, a village near Mortena, he painled the 
 Madonna of neggio on the front of Ihe house 
 where he lived ; when this house vtas demolished, 
 in 1790. S. Leopoldo Tungerini, arehpriest ol Cento, 
 caused the portion of the wall presenting the pre- 
 cocious attempt of Guercino to be detached, and it 
 is still preserved in his casino nuovo. At school, 
 Instead of scribbling all over his copybooks, Guer- 
 cino diew oxen, horses, peasants, etc. See the 
 Notizie delta vita e dette opere del cavaliere Gioan 
 Francesco Barbieri dello it Guercino da Cento; 
 Bologna, 1808, in 4lo, a curious new work, com- 
 piled from the original documents and manuscript 
 memoirs of the Barbieri family, now in the library 
 of Prince Filippo nercolani. 
 
 3 The Notizie offer some interesting details re- 
 specting the life, qualities, and pious practices of 
 
 this poor animal. A Venus suckling 
 Cupid is less pleasing than the rest, des- 
 pite its celebrity and the merit of the 
 colouring : Venus is indeed the mother 
 of Cupid, but not his nurse; the imagi- 
 nation will only admit into the arts the 
 things which itself has received and be- 
 come accustomed to. 
 
 Guercino bud forCento that love of lo- 
 cality, if we may so say, of which Italian 
 painters and sculptors have in all ages 
 offered numerous examples; he preferred 
 residing in his native town to the lilies 
 and offices of first painter to the kings 
 of France and England ; he had his 
 scitola there, and remained in the town 
 till driven away by the war between 
 Odoardo Farnese duke of Parma, and 
 Pope Urban VIII., when TaddeoBarbe- 
 rini, nephew of the latter, general of the 
 Pontifical troops, determined on forti- 
 fying Cento. The campaign and opera- 
 tions of these two combatants seem but 
 mean at the present day beside the glory 
 of the fugitive Guercino. The house of 
 Guercino, in its present state, attests a 
 simple, modest, laborious life, which in- 
 spires a kind of respect. This great artist, 
 really born a painter,* the magician of 
 painting, as he has been surnarned, was 
 also a pious, moderate, disinterested, and 
 charitable man; 3 an excellent kinsman, 
 whose comrade and first pupils were his 
 brother and nephews; < beloved by his 
 
 Guercino; be would never receive an order that 
 any one of bis fellow artists might desire or ask 
 for; be rose early, spent an hour In private prayer, 
 attended mass, and then worked till dinner time; 
 to economise bis time, be never went to table till 
 the dinner was served ; and aflerwards he resumed 
 bis labours till sunset; he then went to pray in 
 some church near, and returned to draw till sup- 
 per. Though in his later years he had renounced 
 this meal, he was always present to keep his family 
 company. Guercino seera9 to have been very sub- 
 ject to abseuee of mind : one night, w hen drawing 
 with his hat on by mistake, be approached too 
 near the lamp, and set lire to his hat before he 
 was aware of it ; on another occasion, while me- 
 ditating a small painting, he sat down on his pa- 
 lette, and did not discover Ihe Inadvertence till on 
 rising to execute his thought, the palette fell to Ihe 
 ground. Guercino was surprised and could not 
 help laughing; but changing his dress, he bad an- 
 other palette prepared and quietly resumed his 
 work. 
 
 ■i Paolo Antonio Barbieri, a flower and fruit 
 painter; Benedetto and Cesaro Gennari, his sister's 
 sons. Paolo Antonio Barbieri also kept the register 
 of bis brother s orders Isee post, book viii., ch. ix.) 
 and managed Iho Household affairs; bis death was 
 so great an affliction to Guercino, that he wished 
 
Chap. I.j 
 
 BOLOGNA. 
 
 335 
 
 roaster German, praised and recom- 
 mended by Ludovico Carracci, he seems 
 to have escaped the enmity too frequent 
 among such rivals. The house of Gucr- 
 cino is not however devoid of magnifi- 
 cence; it is easy to conceive that he 
 might there receive and regale, ad uno 
 squisito bancketto, those two cardinals 
 who had come to the fair, when his most 
 distinguished pupils served at table, and 
 in the evening performed una bella corn- 
 media, i an extemporised proverb, with 
 which their eminences were enraptured. 
 Christina also visited Guercino at Cen» 
 to ; and, after admiring his works, that 
 queen wished to touch the hand thai 
 had produced such chefs-d'oeuvre. 
 
 The church of the Rosary is called at 
 Cento the Galerie, a profane title, par- 
 tially justified by ils appearance and the 
 arrangement of the paintings. Guercino 
 is not less resplendent there than at home. 
 The church is full of his paintings : he is 
 said to have given the design of the front 
 and steeple, and to have worked at the 
 wooden statue of the Virgin } he is con- 
 sequently visible there as a painter, 
 
 sculptor, and architect, but especially tti 
 a Christian. A chapel founded by him 
 bears his name ; he bequeathed a legacy 
 for the celebration of mass there, and 
 left a gold chain of great value to the 
 image of the Virgin of the Rosary. This 
 pious offering was stolen about the middle 
 of last century by a custode of the 
 church : 
 
 Ladro alia sagrestia de' belli arredl, 2 
 
 a double sacrilege in the town illustrated 
 by this great painter, where his memory 
 is still popular and venerated. 
 
 At the high-altar of the church of 
 Pieve, very near Cento, is an admirable 
 Assumption, by Guido, full of life, va- 
 riety, movement, and expression. This 
 painting was to have been taken away 
 in 1797, but it was prevented by the 
 people, who began to rise when the in- 
 tended abstraction was reported; the 
 spoliators, to make their number com- 
 plete, were forced to take another paint- 
 ing by the same artist. 
 
 BOOK THE EIGHTH. 
 
 BOLOGNA. 
 
 CHAPTER I. 
 
 Bologna.— Its distinction. 
 
 When I arrived at Bologna on my first 
 visit to that city, it was in August, on 
 the evening of the festival of Saint Domi- 
 nick, at the moment the relic of that saint's 
 head, enclosed in a rich silver shrine, 
 
 to be bnried near him in the church of San Salva- 
 tore of Bologna. Nol'izie, p. 37, 44. 
 
 1 Notizie, p. 43. 
 
 2 Dante, Inf. xxiv. 138. 
 
 8 A letter of the learned professor An! 115 Janus 
 Parrhasius, of the year 1506, addressed to Trissino 
 
 was being carried in procession through 
 the streets • flags were flying from the 
 windows, and every body was keeping 
 holyday; but this fSte had more of the 
 religious sensualism of Italy than true 
 piety, and was conducted without order 
 or magnificence. The accent of the popu- 
 lace, though I was prepared for it, seemed 
 to me rude and harsh ; s the large, uniform 
 houses, all whitewashed, were devoid of 
 
 already mentions the raucidamBononensium In- 
 quacitatem. See t. x. p. 166 of the Italian transla- 
 tion of Roscoe's Life and pontificate of Leo X., by 
 L. Bossi, the letters published by the translator, 
 which were communicated to him by the Trissino 
 family. 
 
236 
 
 BOLOGNA. 
 
 [Book VIII. 
 
 character ; in short, such a bustling tur- 
 moil of forges, spinning-mills, and fac- 
 tories ' could scarcely announce that 
 learned Bologna, the alma mater stu- 
 diorum, as it was of yore surnamed, that 
 Bologna which Salodet showed to Beraldo 
 as tutta involta nei travagli, 2 nor 
 indeed that town so literary and intel- 
 lectual, to use a modern phrase. 
 
 This 6rst impression produced by the 
 common-place appearance of the town 
 was soon effaced. Bologna is still justly 
 regarded as one of the most illustrious 
 cities of Italy; though it w ,s never the 
 residence of a court, and has long ceased 
 to be a seat of government , 3 it is not 
 surpassed in civilisation by the first ca- 
 pitals : it has the dignity of science, and 
 still exhibits, in manners, spirit, and 
 opinions, something of its ancient device 
 7/berfas, whichit has retained. 4 Bologna 
 is said to have been the town preferred 
 by Lord Byron to all others in Italy; 
 without asserting this choice to be per- 
 fectly correct, it is easy to conceive its 
 cause. 
 
 CHAPTER II. 
 
 University.— Professors. — Female doctors. — Anti- 
 ques. — Library. — Agrario garden. — Botanical 
 garden. 
 
 The university of Bologna, well known 
 to be the oldest in Italy, witnessed some 
 of the finest discoveries achieved by the 
 mind of man, 5 and was still honoured 
 before the civil troubles of 1831 with 
 celebrated masters : such were the signors 
 Yaleriani, professor of political eco- 
 
 i Silk spinning-mills are numerous at Bologna 
 In the quarter of Porta Stiera : a cloth factory was 
 established in 1823 by two Frenchmen in the spa- 
 cious buildings of the ancient college of nobles del 
 Porto or the Academy degli Ardenti, ear the Na- 
 viglio canal ; the new machines have been intro- 
 duced there, and the cloths are reputed of the best 
 quality. 
 
 3 It Cortegiuno, lib. II. p. <9't. 
 
 3 It was in I50G that Bo ogna gave Itself a second 
 time to Julius II. 
 
 4 The discourse of S. Giordani, delivered at the 
 Casino of Bologna in the summer of 1815, on the 
 restoration of the three legations lo the Holy See, is 
 singularly remarknole for independence and dig- 
 nity, it may be regarded as one of this writer's 
 happiest efforts. 
 
 5 The first dissection of a humau body in the 
 fourteenth century ; galvanism. 
 
 6 The professorship of political economy, which 
 was not an obligatory study, was suppressed on 
 the death of s. Yaleriani in (828. 
 
 nomy ; 6 Tommasini, of the theory and 
 practice of medicine ; Orioli, of natural 
 philosophy ; Mezzofanti, of Greek and 
 oriental languages; Schiassi, of archeo- 
 logy. 7 Bologna possessed the five new 
 Faculties, the professorhips of which 
 were : for the faculty of divinity, the 
 chairsof sacred theology, moral theology, 
 the Holy Scriptures, ecclesiastical history, 
 sacred eloquence; for the faculty of law, 
 the chairs of canonical institutes, Roman 
 and civil institutes, the law of nature and 
 of nations, of criminal institutes, public 
 ecclesiastical law, canonical texts.Roman 
 and civil law ; for the faculty of medicine 
 and surgery, the chairs of physiology, 
 general pathology and semeiotics, theo- 
 retic and practical medicine, politico- 
 legal medicine, chemistry, botany, phar- 
 macy, therapeutic, hygiene and materia 
 medica, human anatomy, comparative 
 anatomy and veterinary medicine, theo- 
 retical surgery, midwifery ; for thefaculty 
 of sciences (or philosophy), the chairs of 
 logic and metaphysics.morals, algebra and 
 geometry, introduction to the differential 
 calculus, transcendent mathematics, phy- 
 sics, mechanics and hydraulics, optics 
 and astronomy ; for the faculty of letters, 
 (or philology), the chairs of rhetoric and 
 poetry, of history, archeology, Greek lan- 
 guage, Hebrew, Syriac-Chaldaic, and 
 Arabic. 8 This statement shows the 
 extent of the medical studies and their 
 superiority over the other branches of 
 instruction. The gastritis system was 
 first propounded at Bologna, and S. 
 Tommasini anticipated M. Broussais. 
 It is true that this system was much more 
 
 1 S. Tommasini has returned to Parma as cli- 
 nical professor; S. Orioli, whose interesting lec- 
 tures on antiquities have attracted all the literati 
 and first artists of Paris, is professor of philosophy 
 and physics at (he university of Corfu ; S. Mezzo- 
 fanti, summoned lo Rome, has been made prefect 
 of the Vatican and cardinal; S. Schiassi has ob- 
 tained permission to retire. At lie present time, 
 the marquis Angelleli, Signors MagislrinI, Medici, 
 Mondini, Alessandrini, professors of Greek and 
 history, transcendent mathematics, physiology, 
 anatomy, comparative anatomy and veterinary 
 medicine, are men of learning and very able pro- 
 fessors. 
 
 8 By a decree of the 2nd of September 1833, the 
 professorships of logic, metaphysics, morals, and 
 the elements of algebra and geometry were sup- 
 pressed in the universities of the Roman states. It 
 appears that the ancient order of things is to be re- 
 established; additions will be made to the univer- 
 sity buildings, and Malvezzi palace has been bought 
 for that purpose. 
 
Chap. II.] 
 
 BOLOGNA. 
 
 237 
 
 rational there than with us, the situation 
 of Bologna at the foot of the Apennines 
 rendering inflammation of the lungs and 
 acute nervous maladies of frequent occur- 
 rence. The professors of the university 
 of Bologna are much belter paid now 
 than in Lalande's days, when they had 
 only a hundred crowns a year, the city 
 having granted them an addition to their 
 salary ; but most of them would find more 
 liberal treatment abroad : they prefer 
 remaining in their native city, and their 
 teaching is an act of patriotism. 
 
 The University of Bologna is embel- 
 lished with that profusion of art common 
 in Italy ; the front is by Pellegrini, and 
 the fine spacious court by Bartolommeo 
 Triachini, a Bolognese architect of the 
 middle of the sixteenth century. The 
 paintings in the cabinet of natural philo- 
 sophy, by Nicolao dell'Abate, are grace- 
 ful, and the fine frescos of Pellegrini in 
 the Loggiato were thought worthy of 
 imitaiion by the Carracci. Tbis learned 
 university has not, therefore, been foreign 
 to the progress of painting. 
 
 In the middle of the court, the Her- 
 cules at rest is a singular work by Angelo 
 Pio, a sculptorof the seventeenth century, 
 whose works are numerous and of some 
 repute, thanks to the small number of 
 good productions at that epoch. Not- 
 withstanding the merit of the professors 
 to whom statues have been erected in this 
 court and in the staircase, such as Gal- 
 vani, Gaetano Monti, Cavazzoni Zanotti, 
 and the talentsof LauraBassi and Clotilda 
 Tambroni, the first of whom held the 
 professorship of philosophy, the second, 
 of the Greek language (all these profes- 
 sors are of the last or present century), 
 Bologna might have shown there some 
 of its ancient masters. I should have 
 been much better pleased to see the fea- 
 tures of that Novella d'Andrea, daughter 
 of a famous canonist of the fourteenth 
 century, so learned that she acted as her 
 father's substitute, and so handsome, that 
 in order not to distract the attention of 
 the students, she had, according to Chris- 
 tina de Pisan, a little curtain before her, 
 
 1 The author of the Prospelto biografico delte 
 Donne ilaliane rinomale in litteralura, already 
 cited, pretends, after Facciolati [Fasti gymn. Vat. 
 p. I. p. 351, supported by the somewhat doubtful 
 authority of Giulio Cesare Croce, a poet of the six- 
 teenth century only, that it was Bettina, another 
 learned daughter of Andrea, who supplied her 
 father's place; but Facctolatl, being a Padiian, is 
 
 probably over the holy canons, when 
 lecturing. » The ladies of Bologns are 
 still remarkable for learning ; the univer- 
 sity has conferred the degree of doctor 
 on two ladies, one being doctor of laws, 
 the other of surgery, and one may almost 
 apply to the latter the good Buverney's 
 eulogiurn of Mile. Delaunay, to the effect 
 that she was better acquainted with the 
 human body than any other lady in 
 France. Ginguene" thinks it contrary to 
 nature for women to leach : " We could 
 hardly allow women to assume the habit 
 of the Nine ; how should we then suffer 
 them to take a doctor's coslume ? " 
 This French exaggeration is founded on 
 utter ignorance of the ancient manners 
 and customs of Italy : "Isthere any harm 
 in knowing Greek? " a question to which 
 Corinne puts an excellent answer in the 
 mouth of her ingenuous compatriots : 
 " Is it wrong to earn a living by one's 
 own exertions? Why do you laugh at 
 such a simple affair?" 
 
 The Museum of Antiques contains the 
 celebrated fragment of the mystic mirror 
 called the Cospiana patera, representing 
 the Birth of Minerva, who issues armed 
 cap-a-pie from Jupiter's brain, whilst 
 Venus is caressing him; a really en- 
 graved plate, which Dutens, had it come 
 to his knowledge, might have brought 
 forward as an argument in support of 
 his system on the discoveries attributed 
 to the moderns, though known, at least 
 in part, by the ancients. A second mir- 
 ror different from the former, and in 
 relief, representing Philoctetes healed by 
 Machaon, has also the names of the fi- 
 gures in Etruscan characters. A bronze 
 foot larger than nature, and a Bacchic 
 marble vase found at Caprea, are re- 
 markable, as well as the fragments of 
 the marble trunks of the two Venuses, 
 and an Isiac table of black basalt, dug 
 out of Mount Aventine in 1709. A set 
 of Boman weights of black stone is cu- 
 rious : some metal weights of the middle 
 ages ; one of Charlemagne's time bears 
 the inscription Pondus Caroli. A bronze 
 statue of Boniface VIII. , erected in ho- 
 
 rather suspicious, since Bettina, married to Gio- 
 vanni da Sangiorgio, a canonist of Padua, died and 
 was interred at Saint Anthony. We see in Tira- 
 boschi (Sloria delta letl.italMb. n.8) that Milancia, 
 wife of Andrea, was also advantageously consulted 
 by him; why should not his two daughters have 
 been capable of replacing him ? the canon law 
 seems to have been so familiar to all those ladies I 
 
238 
 
 BOLOGNA. 
 
 [Book VIII. 
 
 nour of that pope by the Bolognese in the 
 year 1301, the work ol the sculptor, or 
 rather of the chaser Manno, one of their 
 compatriots, bespeaks Ihe infancy of the 
 art : the figure is destitute of expression, 
 nobleness or character, and pretty much 
 in accordance with the idea generally 
 formed of that pontiff. The model of 
 Giovanni Bologna's Neptune is inferior 
 to the monument; ■ it is just the contrary 
 with the model of Benvenulo Cellini's 
 Perseus, which I have since seen in the 
 cabinet of bronzes at ihe Florence gal- 
 lery ; the difference is sufficiently, ex- 
 plained by the excessive refinement pe- 
 culiar to the talent of the latter, who 
 must have injured his work by loo much 
 labour. The cabinet of medals, we are 
 informed by competent judges, is rich, 
 chiefly in Greek pieces from Sicily and 
 Roman coins. 
 
 The university library has eighty thou- 
 sand volumes and four thousand manu- 
 scripts. The building it occupies is due 
 to Benedict XIV., who not only left all 
 his own books to the library ( part in his 
 lifetime, the rest at his decease), but also 
 requested Cardinal Filippo Monti, like 
 himself a Bolognese, to follow his exam- 
 ple : from any other pontiff this applica- 
 tion might have borne the appearance of 
 an order; it is likely enough that Monti 
 acceded with greater readiness to the 
 good-nature and patriotism of this excel- 
 lent pope. It is one of the merits of 
 most Italian libraries to have some illus- 
 trious donor or benefactor : Lambertini 
 still lives in the library of Bologna, as 
 Bessarion at that of Saint Mark. Such 
 recollections impart to these libraries a 
 sort of character, physiognomy, and in- 
 terest which raises them above the many 
 which have been founded or augmented 
 by spoliations, conquest, or even by ho- 
 nest purchases, benevolent subscriptions, 
 or the compulsory deposit. Among the 
 printed works may be remarked: a Lac- 
 tantius of Subiaco (1465); a copy of the 
 first edition (now scarce) of Henry VIII. 's 
 famous book against Luther, dedicated 
 to Leo X.,» with autograph signature 
 Henricus rex, an energetic religious 
 pamphlet in defence of Saint Thomas. 
 
 1 See post, cliap. vm. 
 
 ' Asscrtio septem sacramentorum adversus Murti- 
 mim Lullierum. Lond.,in icdibus Pynsonianis, 1512. 
 A highly embellished copy of this work had been 
 previously £enl by Henry VIII. to Leo X.; ii Is pre- 
 served in the Vatican, The signature Henricus rex 
 
 for which the royal divine obtained from 
 ihe pope the title of Defender of the 
 faith, strangely retained in the protocol 
 of his heretical successors. The manu- 
 scripts contain : the precious Lactantius, 
 seen by Montfaucon at the convent of 
 Saint Saviour, who thought it only of 
 the sixth or seventh century, though ac- 
 counted by an illustrious Italian scholar,, 
 monsignor Gaetano Marini, to be of the' 
 fifth; the Four Evangelists, an Arme- 
 nian manuscript of the twelfth century, 
 beautifully written, with charming mi- 
 niatures, a small duodecimo volume 
 found in the monastery of Saint Ephrem, 
 near Edessa, proceeding from the library 
 of Benedict XIV., to whom it was given 
 by Abraham Neger, an Armenian ca- 
 tholic ; a manuscript of the Images of 
 Ph ilostrates, a memento of affecting mis- 
 fortunes ; it is in the handwriting of Mi- 
 chael Apostolius, one of the Greek re- 
 fugees from Constantinople, and bears 
 this inscription common to many books 
 transcribed by him : The king of the 
 poor of this world ivrote this book for 
 his bread. It appears that Bessarion 
 could not continue the assistance he at 
 first accorded to his unfortunate country- 
 man. This cardinal had been governor 
 of Bologna : at the era of the revival, Ihe 
 court of Rome seems to have conferred 
 the highest offices on men of learning, 
 and, as in China, the literati were at the 
 head of affairs. Aldrovaudo's two hun- 
 dred volumes of notes and materials have 
 been returned to the university library ; 
 there was something odious in despoiling 
 a city like Bologna of the labours of a 
 man who was an honour to it. This 
 enormous scientific manuscript has not 
 the glory of the poetical ones in the li- 
 brary of Ferrara ; there is a kind of in- 
 feriority in science, inasmuch as the 
 last comers kill their predecessors, and 
 render their works nearly useless : Buf- 
 fon, were it not for his style, would one 
 day be no less forgotten than Aldro- 
 vando. 
 
 The librarian of the university of Bo- 
 logna was the abbe" Mezzofanti, since 
 prefect of the Vatican, famous through- 
 out Lurope for his vast acquirements in 
 
 was authenticated by Simon Assemani, prefect of 
 this library, who compared it with the wrliing of 
 his manuscript. This last was used for the Homaa 
 edition of the same book In 1543; but, beside the 
 London edition, another was published at Ant- 
 werp in 1522. 
 
Chap. HI] 
 
 BOLOGNA. 
 
 239 
 
 languages, of which, including dialects, 
 he knows thirty-two— ten more than Mi- 
 thvidates spoke, to whom this meek un- 
 presuming ecclesiastic has little resem- 
 blance in any other respect. Such ex- 
 tensive learning is truly prodigious ; this 
 philologist and distinguished orientalist 
 is even conversant with several rustic 
 brogues; he is truly an apostle for the 
 gift of tongues as well as piety.' 
 
 The Botanical Garden, the third in 
 Italy, the two first being those of Padua 
 and Pisa, was begun in 1568, and has 
 some fine hothouses; the number of 
 species is said to amount at present to 
 more than five thousand. 
 
 The Agrario garden, created by the 
 French, was very suitably established in a 
 town which, beside ils old titles of learn- 
 ed, mother of studies, already mentioned, 
 had also the surname of fat, from the 
 fertility of its territory. The ancient 
 Palazzino della Viola, erst the pavilion 
 of Alessandro Bentivoglio and Ginevra 
 Sforza, his wife, is now the lecture room. 
 It presents three admirable frescos by 
 Innocente d'lmola, representing Diana 
 and Endymion; Acteon metamor- 
 phosed into a stag ; Marsyas, Apollo, 
 and Cybele : » it is certain that no other 
 agricultural society has such graceful 
 figures in its place of meeting. The 
 agricultural lectures are very little fol- 
 lowed, but this branch of study is not 
 made obligatory by the university regu- 
 lations, although the country is chiefly 
 agricultural. 
 
 ' In the " Detached Thoughts'' of Lord Byron, 
 published at the end of his Memoirs, reflections so 
 true, natural, and pathetic, are the following re- 
 marks on the abbe Mezzofanti : " 1 do not recol- 
 lect a single foreign literary character that I 
 wished lo see twice, except perhaps Mezzofanti, 
 Who is a prodigy of language, a Briareus or the 
 parts of speech, a walking library, who ought to 
 bare lived at the time of the tower of Babel, as 
 universal interpreter; a real miracle, and without 
 pretension too. 1 tried him in all the languages of 
 which I knew only an oath of adjuration of the 
 gods against postilion, savages, pirates, boatmen, 
 sailors, pilots, gondoliers, muleteers, camel dri- 
 vers, velturini, post-masters, horses, and houses, 
 and every thing in post ! and, by heaven ( he puz- 
 zled me in my own idiom." 
 
 2 Two frescos were nearly destroyed in 1767, 
 during some alterations for the purpose of making 
 
 CHAPTER III. 
 
 Gallery.— Carracci .— Domenichino.- Guido,— saint 
 Cecilia. 
 
 The gallery of Bologna, consisting 
 principally of chefs-d'oeuvre of the Bo- 
 lognese school, is an admirable national 
 monument. Ii is an especial glory for a 
 town to have given birth to so many 
 eminent scholars and brilliant artists. 
 
 By a peculiarly happy arrangement 
 some of the most ancient paintings are 
 placed at the entrance of the gallery, 
 thus affording an excellent means of 
 observing and following the progress of 
 the art. As in literature, some fine 
 works of the earlier times placed by 
 themselves precede the rer.l chefs-d'oeu- 
 vre ; the superiority of the latter is not 
 thereby weakened but accounted for. 
 The Virgins of Francia, who founded the 
 Bolognese school, are full of simplicity, 
 but somewhat dry ; gracefulness and 
 freedom of outline, like elegance and 
 perfection in style, can only be attained 
 by practice and study. The Holy Fa- 
 mily, by Innocente d'lmola, a pupil of 
 Francia, is one of finest holy families 
 extant, and already worthy of Raphael. 
 A copy of it was taken in 1826 for the 
 king of Prussia, who is said lo have ex- 
 perienced profound emotion at the sight 
 of this painting, so powerfully did the 
 figure of the Virgin call to mind the fea- 
 tures of his young and noble consort. 
 
 The Carracci are like a tribe of pain- 
 ters, 3 of which Ludovico is the worthy 
 chief ; his Transfiguration is in imita- 
 tion of Correggio and the Venetians, but 
 full of grandeur and inspiration, the only 
 
 some additional chambers in the Palazzino delta 
 Viola. The vicissitudes of that edifice and the 
 paintings o( Innocente d'lmola, are the theme of 
 three discourses byS. Giordani, delivered at the Bo- 
 logna Academy of Fine Arts in the summer of 1812: 
 the first of tberu is very pleasing; see t. vi. p. S of 
 his Ooere, where it may be found. 
 
 3 There are many instances in Italy of a number 
 of painters being of the same name or family. 
 Tintoretto's daughter, Titian's nephew, Francia's 
 son, Manlegna's son, were pupils of their respec- 
 tive relatives; Paolo Veroueso had for pupils bis 
 brother and two sons; Bassano, himself the son of 
 an able painter, his own four sons; the grand- 
 father, father, and two uncles of the Procaceiui 
 were also painters; Elisabetta Sirani, a distinguish- 
 ed painter of the Bolognese school, was pupil of 
 her father, and had moreover two sisters painters. 
 
24J 
 
 BOLOGNA. 
 
 [BOOK VIIL 
 
 good ; in the Conversion of St. Paul, on 
 the contrary, he is himself, and not less 
 admirable. Several of his paintings of 
 sacred subjects show in the landscape a 
 view of Bologna, a patriotic anachronism, 
 which it would be rigorous to blame, as 
 it is honourable to theartist'ssentimeDts. 
 The Communion of St. Jerome is the 
 masterpiece of Agostino, as Domeni- 
 chino's on the same subject is also his 
 chef-d'eeuvre; for there is no such thing 
 as an exhausted subject in the arts any 
 more than in letters; to him who knows 
 how to handle a subject, it is ever new. 
 The Virgin and infant Jesus in a glory, 
 with saints below; St. Catherine and 
 St. Clair, AnnibaleCarracci's best pain- 
 ting, is a perfect imitation of the great 
 masters : the Virgin recalls Paolo Vero- 
 nese; the infant Jesus and the little St. 
 John, Correggio; St. John Evangelist, 
 Titian; and the graceful Catherine, Par- 
 megiano. 
 
 The celebrated Martyrdom of St. 
 Agnes, by Domenichino, is a composi- 
 tion altogether dramatic, exciting terror 
 and pity in the highest degree; every 
 personage contributes to the action : the 
 figure of the saint breathes heavenly 
 hope ; the executioner appears as impas- 
 sive as his sword ; the praetor, confounded, 
 hides his face with his robe ; he is a Felix 
 of pitiful and degraded sentiments, 
 which make him blush; « the soldier on 
 duty is indifferent; the idolatrous priest 
 seems cruel, the woman terrified ; one 
 would almost call them Mathan and Jo- 
 sabeth. The Madonna of the rosary, 
 with its shower of roses, and the sub- 
 lime old man's head, is not inferior to 
 that grand masterpiece, and in despite 
 of the St. Jerome, some have reckoned 
 it the best work of Domenichino ; its per- 
 spective, and especially its colouring, 
 vigour, interest, and purity, make it a 
 line poem of many cantos. The Mar- 
 tyrdom of St. Peter the Dominican, is 
 the same subject as Titian's painting at 
 Saint John and Paul of Venice ; the com- 
 position is somewhat similar, but the 
 details, expression, and landscape are dif- 
 
 1 Coroeille, potyeucle. 
 
 2 Inf., canto xxxiii., ii). 'J tie Massacre of Hie 
 Innocents is described in the Galeriaof Cav. Marini ; 
 the (irst verses ore so full of affectation as to be 
 truly i idiculous : 
 
 Cnr FAI, GCIDO? CHE FAI ? 
 Li MAN, CUE FORME ANGELICUE UU'IGM . 
 
 ferent; it is another imposing proof of 
 the fact that the same subjects may be 
 indefinitely renewed by talent. 
 
 The grief portrayed in Guido's Ma- 
 donna della pietd is not of the earth, | 
 but, if the word may be allowed, of i 
 heaven : this work exhibits the greatest j 
 variety of perfections in its several parts, 
 from the gracefulness of the little angels 
 below, to the affliction of the virgins and 
 the angels weeping above. Though cri- 
 ticised by some connoisseurs, the Mas- 
 sacre of the Innocents seemed to me 
 very pathetic ; the hair of the mother 
 who is fleeing is not so gently pulled by 
 the executioner as some have thought; 
 the beauty of that other mother whose 
 sons arc killed does not weaken the heart- 
 rending expression ; it is a realisation of 
 Dante's verse on the paternal sorrow of 
 Ugolino, which, painful as it may be, 
 can never equal a mother's anguish : 
 
 lo non piaugera, si dentro impieltai.' 1 
 
 The children crying are without conlor- 
 sions or grimace; the dead ones are 
 neither hideous nor false in colouring, 
 but simply inanimate. The Christ in 
 his agony is full of desolation and 
 poetry. The Samson victorious has 
 something of Apollo, but it is not the 
 Pythian conqueror, the God of verse, of 
 the sun and the arts; it is a Jewish 
 Apollo, striding over the prostrate Phi- 
 listines and breaking their heads with 
 an ass's jawbone. The Virgin and the 
 infant Jesus, painted on silk, was for- 
 merly used as the processional banner of 
 the parish church of Saint Dominick, but 
 it has very judiciously been replaced by 
 a copy ; there is a superb St. Francis, a 
 portrait of one of Guido's friends. These 
 portraits of friends are of frequent occur- 
 rence in the works of artists in Italy; 
 they announce a certain goodness of 
 heart, a freedom of character and inter- 
 course which commands our esteem. The 
 Blessed Andrea Corsini, a bishop, in 
 pontifical robes, looking towards heaven, 
 is admirable for faith and piety. The 
 
 Tratta non' ornc svngbigne? 
 
 NON VEDI TO, CHE MENTRE IL SANGDTN0SO 
 STCOL LiE* rANCICI.U RA\ V1YA.NDO TAI, 
 NBOYA MORTK GLI DAI ? 
 
 ne la crudeltade anco pleloso 
 
 Fabro genlll, ben sal, 
 
 Ch' ancor tragico caso e caro oggetto 
 
 !•; che spesso I' horror Yacoldllelto. , tfi»''one,n (7.) 
 
Chap. III.] 
 
 BOLOGNA. 
 
 241 
 
 St. Sebastian is only sketched, but still 
 ii has all his expression of pain and sa- 
 crifice. 
 
 The Assumption, by Lorenzo Sabat- 
 tini; Sts. Nabor and Felix, with Sts. 
 Francis, John the Baptist, Catherine, 
 Clair, and Mary Magdalen, worship- 
 ping the Virgin, in a glory of angels, 
 and crowned by the Trinity, by Orazio 
 Samacchini, we're extolled by the Car- 
 racci, as the best works of those noble, 
 chaste, and graceful painters. The As- 
 sumption, by Simone of Pesaro, is a 
 chef-d'oeuvre of that elegant and cor- 
 rect master; his portrait of Guido in 
 his old age is lifelike. The Baptism of 
 Christ, by Albano, proves that this 
 p.iinlcr of" the graces, the Anacreon of 
 ob of ! the pictorial art, was also capable of great 
 and serious compositions. A Deposi- 
 tion from the cross, by Alessandro Tia- 
 rini, another excellent painter of the Bo- 
 lognese school, has been attributed to 
 Annibale or some other of the Car- 
 racci. The Virgin in the clouds hold- 
 ing her son in her arms, would secure 
 the glory of Cavedone, an energetic imi- 
 tator of Titian, placed by Algarotti in 
 the first rank of Bolognese colourists. A 
 third Martyrdom of St. Peter, by the 
 same painter, is remarkable even after 
 those of Titian and Domenichino; the 
 saint, at the moment the robber repeats 
 his blow, is writing the Credo in Deum 
 on the ground with bis blood. Saint 
 Peter the Dominican was chief of the 
 inquisition at Milan ; it is probable that 
 his deep conviction was not always 
 shared by his cruel colleagues or suc- 
 cessors. This painting and the words 
 written by the saint remind me of the 
 eloquent phrase of a woman who was 
 a firm believer, but opposed to the inter- 
 ference of government in matters of re- 
 igion, "The inquisition is a want of 
 aith." ' The Infant Jesus appearing 
 to St. Anthony, one of the many works 
 !)f Eiisabetta Sirani, a young artist, who 
 lied in her twenty-sixth year, one of the 
 iood female painters of Bologna, has 
 -he taste and elegance of Guido, her 
 master. 2 The William, duke of Agui- 
 aine, kneeling before bishop St. Felix, 
 >y Guercino, has that kind of equal per- 
 
 1 If such a discussion were not rather loo grave 
 or a gallery and about a painting, It might be 
 dded that contemporary facts support the geue- 
 ous thought just cited : the catholic population 
 as particularly increased in countries that eDjoy 
 
 fection which gains esteem, rather than 
 excites praise or acquires renown. His 
 St. Bruno is justly celebrated for the 
 expression of the saint's countenance, the 
 execution of the drapery, the graceful- 
 ness of the angels in the glory, and effect, 
 of light and shade. God the Father, done 
 by Guercino in a single night, and put 
 up in the morning to the amazement of 
 all present, is a superb impromptu 
 painting. 
 
 Among the beautiful productions of 
 the Bolognese school are some master- 
 pieces of other schools; such is the im- 
 mortal St. Cecilia. There is a vast dif- 
 ference between the pious enthusiasm, 
 the mystical frenzy of this patron of mu- 
 sicians and the profane charms of the 
 muse Euterpe. Music, like speech, 
 seems really a gift of God, when it ap- 
 pears under such an emblem. How 
 shall I describe the perfections of such a 
 painting? the ardour, the triumphant 
 joy of the seraphim singing the sacred 
 hymn in heaven, the purity and simpli- 
 city of the saint's features, so well con- 
 trasted with the frivolous and coquettish 
 air of Magdalen? Worthily to render 
 all these beauties, one must be able to 
 exclaim with Gorreggio, when he first 
 contemplated this work : AncK io son 
 pittore ! The Virgin in a glory, with 
 Sts. Michael, Catherine, Apollonia, and 
 John below, by Perugino, is worthy, from 
 its various qualities, of his great pupil. 
 There is also a dash of Raphael percep- 
 tible in the Magdalen in the desert, by 
 Timoleo della Vite, his countryman, 
 friend, and faithful companion, who did 
 this painting for the Duomo of their na- 
 tive town. St. Gregory at table with 
 twelve poor persons, among whom he 
 recognises Christ, is one of Vasari's best 
 works ; it presents a series of portraits of 
 his different protectors and friends, from 
 Pope Clement VII., in the figure of St. 
 Gregory, and the duke Alessandro of 
 Medici, to the butler of the convent of 
 Saint Michael in Bosco at Bologna, for 
 which the painting was ordered. The 
 St. Margaret kneeling before the 
 Virgin and infant Jesus, by Par- 
 megiano, was honoured by the admira- 
 tion of the Carracci and Guido, who 
 
 religious liberty ; within thirty years the number 
 of catholics has increased tenfold in the United 
 States, and is daily become greater in England 
 among the lower classes of large towns, 
 2 See post, chap. yi. 
 
 21 
 
242 
 
 BOLOGNA. 
 
 [Boo* Vlll. 
 
 studied it : the head of the Virgin and 
 the saint's arc sublime and affecting as 
 are all the many Ggures of women that 
 adorn this museum. In this respect 
 the gallery is truly enchanting, and never 
 did beauty appear more exquisite or in 
 greater variety. 
 
 CHAPTER IV. 
 
 Saint Pelronius. —Gales. — Tribolo. — Meridian.— 
 Properzia <le' Rossi.— Plans.— Cathedral.— Bene- 
 dict XIV. 
 
 Saint Pelronius takes precedence of 
 the cathedral at Bologna, as we have 
 already observed. Erected at the period 
 of Bolognese liberty, about the end of the 
 fourteenth century, at the expense of the 
 parish, this church is a monument of the 
 religious magnificence of the republics in 
 the middle ages, and a proof of the emi- 
 nence and importance of their artists : 
 the architect Antonio Vincenzi was one 
 of the sixteen riformatori, and had been 
 ambassador at Venice. 
 
 S^int Pelronius is resplendent with the 
 beauties of art. The Sibyls on the doors, 
 sculptured by Tribolo, the timorous fel- 
 low traveller of Bcnvenuto Cellini,' have 
 the purity and elegance of Raphael's; 
 the prophets, the ornaments of the 
 smaller doors, the basso-relievos of Adam 
 and Eve, especially the figure of the 
 latter spinning, with her first children 
 embracing her knees, and the other fi- 
 gures by Jacopo della Quercia, are ex- 
 cellent works. The Resurrection of the 
 Saviour, by Alfonso Lombardo, over the 
 left-hand door, is admirable for nature, 
 nobleness, and simplicity. In the interior, 
 in the chapel of the Relics, the Assump- 
 tion, a basso-relievo in marble, by 
 Tribolo, is light and aerial. The St. 
 Jerome, the masterpiece of Lorenzo 
 Costa, pupil of Francia, has been spoiled 
 by retouching. Michael Angelo supplied 
 the design of ihe magnificent but sombre 
 painted windows of Saint Anthony's 
 chapel, and these fragile paintings have 
 all his power and expression. The Mi- 
 racles of the Saint, painted in clare- 
 obscure on the walls of this chapel, are 
 superior and graceful works of Geronimo 
 of Trevisa, a painter of the close of the 
 
 ' See his LiTe, vol. I. 278 el seq. 
 1 •' Fiiiiilmenlo alia povern innamorata gioyane 
 ngni cosa riusci perfettissimamenle, eccetto il suo 
 
 fifteenth century. The line St. Anthony 
 raising a dead man, is by Lorenzo Pa- 
 sinelli, an elegant Bolognese painter of 
 the seventeenth century j the large and 
 good Crowning of the Madonna del 
 Borgo, with the superb fresco in per- 
 spective opposite, by Brizzio, an eminent 
 artist who was a journeyman shoemaker 
 until his twentieth year, and became one 
 of the first pupils of the Carracci and an 
 able assistant of Ludovico. At the high- 
 altar, the two statues, St. Francis and 
 St. Anthony, are by Campagna ; and 
 over the reading-desk is a small and 
 graceful statue of David, by Silveslro 
 Giannolli. St. Barbara beheaded by 
 her father, is Tiarini's best work. The 
 St. Michael, an excellent painting by 
 Fiammingo, one of Guido's maslers, 
 explains the chefs-d'eeuvre of his pupil, 
 as it always happens with the paintings 
 of such masters. The St. Roch, larger 
 than life, is one of Parmegiano's best 
 works ; the Twelve Apostles, by Costa, 
 attest his skill in portraying men's coun- 
 tenances. The Paradise and Hell, 
 old paintings of the chapel of Saint 
 Pcti onius, notwithstanding some learned 
 researches, are by unknown authors. 
 
 On one of the pilasters is a statue of 
 Saint Pelronius, regarded as his most 
 ancient likeness, but so much altered by 
 repeated restorations that his true phy- 
 siognomy is scarcely distinguishable. The 
 meridian of Saint Petronius, substituted 
 by Cassini for that of P. Ignazio Danli, 
 and farthercorrected in 1778 by Eustachio 
 Zanotti, another illustrious Bolognese, is 
 a scientificmonumenl lhatconfers honour 
 on Bologna, and contrasts with the recol- 
 lections and splendour of its old basi- 
 lic. 
 
 The apartments called the Residenza 
 della Rev. fabbrica deserve a visit. On 
 the inner door is the bust of Count Guido 
 Pepoli, one of the earlier and best works 
 of Properzia de' Rossi. The works of this 
 unfortunate woman have still higher 
 interest when viewed in conjunction with 
 her touching history. This Bolognese 
 Sappho, a painter, sculptor, musicinn, 
 engraver, died of love at the very moment 
 the pope, having heard of her fame, sent 
 for her to Rome, after the coronation of 
 Charles V. A basso-relievo, her chel- 
 
 iurelicissimo amore." Vasari, Vila cli Properzia tie' 
 Uossi. Vasari relates the forcible reply made to I lie 
 pope when, after the coronation of Charles 
 
Chap. IV. ] 
 
 BOLOGNA. 
 
 243 
 
 d'ceuvre, represents the Temptation of 
 Joseph: it is evident that the artist in- 
 tended there to depict her own misfor- 
 tunes ; Poliphar's wife is charming but 
 melancholy, with something of Ariadne, 
 and appears forlorn rather than forward 
 and wanton. These rooms also contain 
 sixteen original drawings of plans pro- 
 posed by the first architects in the world 
 for completing the church front, a pre- 
 cious collection which it would be very 
 interesting for the art to see published. 
 There are four different plans, all so 
 perfect as to be attributed to Palladio ; 
 under one of them is written in his hand : 
 Laudo ilpresente disegno, animcviption 
 that forbids us to think the design his 
 own, as all the works of this great artist 
 prove that no man was ever more modest 
 and unassuming. One design is by Vi- 
 gnola ; it received the approval of Giulio 
 Romano and CristoforoLombardo; under 
 it is another by Jacopo Ranuccio, his 
 rude rival in the works of Saint Petro- 
 nius, which proves Vignola's vast supe- 
 riority. Other plans are by Domenico 
 Tibaldo, Pellegrini's brother, Baltasarre 
 Perruzzi, Giulio Romano, Cristoforo 
 Lombardo, Geronimo Rainaldi, Vari- 
 gnana, Andrea da Formigine, Alberto 
 Alberti da Borgo San Sepolcro, and one 
 by the good Bolognese architect Francesco 
 Tcrribilia, which was approved by the 
 senate of Bologna in 1580, and has been 
 published by Cicognara. * Cardinal Ge- 
 ronimo Gastaldi, legate of Bologna in 
 1678, offered to finish the front of Saint 
 Petronius in his own manner, bearing 
 all the expenses himself, but on the con- 
 dition of apposing his coat of arms. The 
 fabric deemed it their duty to meet this 
 proposition with a dignified refusal. To 
 gratify his passion for building, the car- 
 dinal then set about erecting the two 
 churches still to be seen near the Porta 
 del Popolo at Rome, a sufficient specimen 
 of the taste and architectural science of 
 this vain and ignorant amateur. 
 
 The colossal statue of Julius II. in 
 bronze, by Michael Angelo, the earnest 
 of his reconciliation with the pope (they 
 having been at variance since the Moses), 
 was before the portal of Saint Petronius. 
 
 w isbed to take Properzia with him : — Sla in chiesa, 
 e yli si (a il funerale. The death of Properzia de* 
 Rossi is the subject of a Rappresenlazione iragica 
 (a kind of prose historical tragi-couiedy) by Pro- 
 fessor Paolo Costa, played with success di Bologna 
 in 1828. 
 
 Julius wished to be represented in the 
 act of reprimanding the Bolognese with 
 his right hand, and bearing a sword in 
 the left. '■ The menacing statue, one of 
 the chefs-d'oeuvre of which we must ever 
 lament the loss, was broken up by the 
 people of Bologna on the arrival of the 
 Bentivoglio and the French; and it seems, 
 considering the martial spirit of the 
 pontiff, to have been very naturally con- 
 verted into a piece of ordnance, by the 
 duke of Ferrara, and baptised the Julian. 
 The works of Michael Angelo have been 
 in other instances singularly exposed in 
 the midst of revolutions, in which they 
 appear as actors, or rather victims ; his 
 David had the left arm broken in the 
 assault made by the people on the palace 
 of the Signoria at Florence, 1527, 3 and 
 his admirable cartoonof the War of Pisa, 
 for a long period a model of drawing for 
 all artists, which, as asserted by Benve- 
 nuto Cellini, he could never surpass, 
 perished in the broils of that same re- 
 public. 
 
 The antique cathedral of Bologna has 
 been rebuilt several times, and modern- 
 ised ; but its new re-construction does 
 not, as usual in such cases, leave room 
 for regret. It is pleasing to find therein 
 traces of the good Lambertini, its ancient 
 bishop, unique as pope, who seems to 
 the priesthood, if I may venture the 
 comparison, what Henry IV, was to 
 royalty. The front is by him; some of 
 his presents are of extraordinary richness ; 
 the urn of the martyr Saint Proculus is of 
 gilt bronze, embellished with lapislazuli; 
 and the tapestries, exhibited on Saint 
 Peter's day, were sent by him from Rome; 
 they are executed after the designs of 
 Raphael Mengs. St. Peter consecrat- 
 ing the bishop St. Apollinarius is a 
 noble composition by Ercole Graziani 
 the younger, a Bolognese painter of the 
 seventeenth century, who also did the 
 St. Ann showing the infant Virgin the 
 Eternal Father in his glory, and the 
 Baptism of Christ : St. Peter appear- 
 ing to Pope Celestine, to order him to 
 elect St. Petronius bishop of Bologna, 
 is by Bigari, another Bolognese artist of 
 the last century, who successfully fol- 
 
 1 See PI. ui. of the plates of the History of Scxilp- 
 lure. 
 
 * When Michael Angelo asked htm whether he 
 should put a book in his left hand he replied, "No, 
 give me a sword ; I am no bookman." 
 
 3 See pojf, booh x. ch. lv. 
 
244 
 
 BOLOGNA. 
 
 Book VIIF. 
 
 lowed both sculpture and architecture, 
 and, from his fecundity and the multi- 
 tude of paintings he scattered over Eu- 
 rope, obtained the title of universal 
 painter. In the chapel of the Holy Sa- 
 crament, the Virgin in the clouds with 
 the infant Jesus, St. Ignatius and an- 
 gels, by Greti, is esteemed. The cathe- 
 dral of Bologna presents some new in- 
 stances of that painting, the fruit of 
 extreme old age, which seems the life of 
 Italian artists, only ceasing with their 
 existence : > the fresco of St. Petronius 
 and St. Pancras was executed by Fran- 
 ceschini in his eightieth year. Ludovico 
 Carraccio was also an octogenarian when 
 he did the Annunciation on the ceiling 
 of the sixth chapel. Were it destitute 
 of talent, a work in so elevated a posi- 
 tion would prove at least an extraordi- 
 nary agility for that age. It was then 
 common, however, to see the most ce- 
 lebrated painters to expose themselves 
 to the danger and fatigue of painting 
 cupolas in fresco. The loot of the angel 
 bowing before the Virgin is twisted ; the 
 ardent, conscientious old man wanted to 
 retouch it, offering to bear the expenses 
 of re-erecting the scaffold, which was 
 refused, and he died of chagrin in con- 
 sequence : to such an extend did these 
 men combine the irritable sensitiveness 
 and sell-love of the artist, to the man- 
 ners and practices of the artisan. In 
 the sacristy, a One painting by this same 
 Carraccio represents St. Peter weeping 
 with the Virgin over the death of Christ, 
 but time has darkened the colouring. 
 The subterranean church, called il Con- 
 fessio, has the Marys weeping over the 
 dead Christ, the work of Alfonso Lom- 
 bardo. 
 
 CHAPTER V. 
 
 Saint James. -Saint Martin . — Beroald. — Salieetli 
 mausoleum.— Oratory.— San Salvalore. — Gueirl- 
 no's monument.— Corpus Domini. — Saint Taul. 
 
 In the church of the Madonna di Gal- 
 liera, on the ceiling of the chapel of the 
 Crucifix, are frescos of the Murder of 
 Abel and Abraham's sacrifice, which 
 are the last works of Angelo Miehele 
 Colonna, an artist much esteemed in 
 this branch of painting, who died at the 
 age of eighty-eight, towards the end of 
 the seventeenth century. The Saint An- 
 
 1 See ante, book v. ill, xiv., and book -?i.cli. »vii. 
 
 thony of Padua is an able work of Ge- 
 ronimo Donnini, pupil of Del Sole and 
 Cignani. In the principal chapel, the 
 Angels adoring the antique miraculous 
 image of the Virgin are an excellent pro- 
 duction of Giuseppe Mazza, a good sculp- 
 tor of the last century, who began life as 
 a painter. The St. Thomas touched by 
 the Saviour is by Teresa Muratori Mo- 
 neta, an excellent musician and painter, 
 a pupil of Del Sole; she hasgiven the an- 
 gels in the sky of this picture with all the 
 talent for which she was so distinguished 
 in that particular. The Infant Jesus 
 in the midst of his kindred, showing 
 the Eternal Father the instruments of 
 the Passion he tvas thereafter to suffer; 
 the figures of Adam and Eve, in oil ; the 
 Cherubim, some fine frescos of the Vir- 
 tues, an Assumption, in the sacristy, 
 are by Albano. St. Philip of Neri in 
 a trance between two angels and the 
 Virgin, is by Guercino. In the sacristy, 
 a St. Philip, two blessed Ghisilieri,\ 
 Conception, are by Elisabetta Sirahi; 
 the Celestial love, and Queen St. Elisa- 
 beth, by her father. The elegant orna- 
 ments on the door of the adjoining 
 oratory are by Ma. Polo, an artist of the 
 earlier part of the sixteenth century; the 
 fresco of the Dead Christ shown to the 
 people, by Ludovico Carraccio. 
 
 At Saint Mary Major, St. John the 
 Evangelist telling St. Jerome what to 
 write; St. Agatha, St. Apollonia, St. 
 Anthony of Padua, are by Tiarini; the 
 latter is one of the latest works of this 
 great painter, who died in his ninety- 
 first year. A fig-tree crucifix is reputed 
 to have been made prior to the year 
 1000. 
 
 The church of Saint Bartholomew di 
 Reno preserves a venerable antique 
 image of the Madonna della Pioggia. 
 An admirable Nativity, by Agostino 
 Carraccio, shows the Virgin suckling, 
 another instance opposed to the assertion 
 of a learned judge, who, I believe, pre- 
 tended that the Virgin had never been 
 painted so. The Circumcision and Ado 
 ration of the Magi, by Ludovico, are 
 still very beautiful. Opposite the stairs 
 leading to the oratory, an excellent large 
 landscape in oil on the wall is the only 
 work in painting of the clever engraver 
 Mattioli; and the St. Bartholomew, in 
 the same oratory, is by Alfonso Lom- 
 bardo. 
 
 At the high altar of Saint Joseoh, the 
 
Chap. V.] 
 
 BOLOGNA. 
 
 245 
 
 Virgin with the infant Jesus on her 
 knees, to whom the little St. John is 
 offering an apple, in the presence of Sts. 
 Joseph, Anne, Roch, and Sebastian, is by 
 Fiammingo. The ceiling of the oratory, 
 oy Colonna and Mitelli, a Bolognese 
 painter, elegant and correct as a de- 
 signer, is very fine. An hospital for men 
 above seventy years old is attached to 
 Saint Joseph, and takes its name; it 
 contains two marble basso-relievos, by 
 Toselli, a statuary of Bologna, who died 
 in this hospital, the tokens of his grati- 
 tude and misfortunes. 
 
 At Saint Benedict, the Virgin on a 
 throne and the infant Jesus, with Sts. 
 Catherine, Maur, Placid, John the Bap- 
 list, and Jerome, is a graceful composi- 
 tion by Lucio Massari, a pupil of the 
 Carracci, whose lofty style he could 
 never attain, but approached much 
 nearer his intimate friend Albano, with 
 whom he lived and worked. The Four 
 Prophets; St. Anthony the abbot beaten 
 by demons, and comforted by Christ, 
 a fine Charity on the ceiling, and the 
 Virtues of God the Father, a St. An- 
 thony, are by Jacopo Cavedone ; St. 
 Francis de Paule is by Gabriele dagli 
 Occhiali, one of Guido's able masters. 
 A Virgin seated, holding the crown of 
 thorns, and conversing with Magdalen 
 on her son's death, is a noble, affecting 
 picture; the Prophets, the Angels, a 
 fresco of St. Charles and St. Albert, are 
 by Tiarini. The sacristy contains the 
 celebrated Crucifixion by Andrea Si- 
 rani, retouched by his master Guido, in 
 which death itself is beautiful. 
 
 At the Madonna del Soccorso, a cru- 
 cifix, previously at the suppressed church 
 of Saint Francis, is reputed to have 
 spoken to P. Giovanni Peciani, in 1212, 
 as stated in the records of the fabric. 
 The Christ shown to the Jewish popu- 
 lace is a famous work of Bartolommeo 
 Passerolti, of Bologna, apupilofVignola, 
 the head of an illustrious school, a rival 
 and enemy of the Carracci, and, in 
 Guido's opinion, the best portrait painter 
 after Titian. In the oratory, is a Birth 
 of the Virgin, copied from mdovico 
 Carraccio ; the frescos were done gratui- 
 tously by Gioacchino Pizoii, a Bolognese 
 painter of the seventeenth century, a 
 proficient in landscape, and the com- 
 panion of Colonna. 
 
 The church of Mascarella, of indiffe- 
 rent architecture, built during the last 
 
 century, preserves some traces of the 
 miraculous life of Saint Dominick: the 
 table on which, in answer to certain 
 prayers, he and his companions, when 
 without food, were served by two an- 
 gels; in the sacristy, his cell, and the 
 image of the Madonna which had spoken 
 to him. An Assumption is by Tiburzio 
 Passerolti, an excellent painter, and the 
 cleverest of Bartolommeo's sons. A St. 
 Dominick, an antique picture, is pre- 
 cious from being so well preserved. The 
 ceiling of the church and the grand 
 chapel, painted by Minozzi and Tesi, 
 have been ably restored by a living artist 
 of Bologna, S. Gaetano Caponeri. 
 
 Saint Mary Magdalen contains the 
 works of many Bolognese masters : the 
 Virgin, St. Onuphre, St. Vital, St. 
 Francis, St. James Intercis, by Ti- 
 burzio Passerotti; a Noli me tangere, 
 by his father ; the Virgin, St. Sebas- 
 tian and St. Roch, by Bagnacavallo, 
 and in the oratory, the cleverly re- 
 stored altar-piece, by Ercole Procaccini, 
 the old and but indifferent chief of the 
 brilliant chief of the Procaccini; the 
 Angel Gabriel, the Virgin, by Giuseppe 
 Crespi. 
 
 Saint Magdalen has the St. Catherine, 
 one of Bartolommeo Passerolti's best 
 works ; a Christ beioailed by the Marys ; 
 the Virgin, St. Joseph, and St. John 
 the Baptist, fine paintings: the former 
 by Giuseppe Mazza; the second by Fran- 
 cesco Monti, a prolific painter of the last 
 century, and clever as a colourist. 
 
 At Saint Mary Incoronata, the Vir- 
 gin, the Infant Jesus, with St. Francis 
 kissing his hand, St. Joseph, St. Gaetan, 
 and a glory of angels, is a beautiful 
 work of Grati, the worthy pupil and 
 friend of Del Sole. 
 
 The greater part of the chefs-d'oeuvre, 
 that were once the glory of the church 
 del Mendicanti, are no longer there: the 
 Madonna delta pieta, by Guido, the 
 St. Matthew, by Ludovico Carraccio, the 
 St. Eloi, St. Petronius, by Cavedone, 
 are at the gallery, and Guido's Job, 
 which accompanied them to France, for- 
 tunately remains there. At the Men- 
 dicanti may still be seen, the St. Ursula 
 of Bartolommeo Passerolti, a Flight into 
 Egypt, with a fine landscape, by Mas- 
 tellata, a Franciscan monk and an able 
 pupil of the Carracci, said by Guido, 
 with too great modesty, to have been 
 born a greater painter an' himself; 
 
246 
 
 BOLOGNA. 
 
 [Book VHl. 
 
 St. Anne adoring the Virgin in a 
 vision; a Crucifix, with the Virgin and 
 St. John, by Cesi, an exquisite painter 
 of the middle of the sixteenth century, 
 from whose works Guido, with his usual 
 humility, pretended to have derived great 
 advantage. Two indifferent paintings 
 by Cavedone represent two odd miracles 
 of St. Eloi : in one the saint seizes the 
 devil by the nose while in the guise of a 
 woman; in the other, he brings back a 
 horse's foot that he had carried to the 
 forge to shoe it more conveniently. 
 
 The church of Saint Leonard has an 
 exquisite Annunciation by Tiarini, and 
 two excellent paintings by Ludovico 
 Carraccio; the Martyrdom of St. Ursula, 
 in the Venetian style, shows the great 
 versatility of this artist's talent; St. Ca- 
 therine in prison : the saint is convert- 
 ing the wife of Maximian and Porphy- 
 rias; her expression is sweet, charming, 
 it attracts and does not sermonise. 
 
 The painting of Francesco Francia, 
 which covers the antique image of the 
 Madonna della Nativita at the church 
 of Saint Vital and Agricola, is noble and 
 graceful : beside it is a Nativity by 
 Jacopo, his son and pupil, which is not 
 unworthy his glorious father. 
 
 The old church of Saint James Major, 
 now heldbj the Augustine hermits, hasan 
 immense vaulted roof of a bold structure 
 and some fine paintings. The following 
 deserve notice : Christ appearing to St. 
 John, by Cavedone ; the Virgin on a 
 throne surrounded by saints, by Barto- 
 lommeo Passerotti, an imitation of the 
 Carracci, and praised by them ; the Mar- 
 riage of St. Catherine, a small Nativity, 
 by Innocenle d'Imola, almost worthy of 
 Raphael; St. Roch smitten with the 
 plague and comforted by an angel, by 
 LuiJovico Carracci ; the four Evangelists 
 and the four Doctors of the Church, by 
 Sabbaltini. The celebrated St. Michael, 
 very much admired by Agostino Carrac- 
 cio, who engraved it, is by his pupil Fiam- 
 mingo, retouched by himself. In the 
 Poggi chapel, constructed by Pellegrini, 
 are two superb paintings of that artist, 
 which were much studied by the Carracci 
 and their school : John the Baptist bap- 
 tising, and the Multi vocati,pauci vero 
 electi, the last especially, of powerful 
 expression and altogether in Michael 
 Angelo's style. The style ofthe celebrated 
 chapel of the Bentivoglio, the old lords 
 and popular chiefs of Bologna, is very 
 
 remarkable : nVirgin, infant Jesus, with 
 angels and saints, a graceful composition 
 by Francia, painter of Giovanni II. Ben- 
 tivoglio, is much admired there. Fran- 
 cia's painting, ofthe year U90, is signed 
 Franciscus Francia aurifex, as if to 
 indicate that his then profession was that 
 of a goldsmith, and not painting as yet. 
 This great artist had attained to manhood 
 before he touched a pencil, and some few 
 years were sufficient to develope his pro- 
 digious talent. The Virgin, St. John 
 the Baptist, St. Francis and St. Bene- 
 dict, by Cesi, very pleasing, is said to 
 have been contemplated for hours to- 
 gether by Guido in his youth. The Mar- 
 tyrdom of St. Catherine, by Tiburzio 
 Passerotti, is completely in the style of 
 his father and master Bartolommeo. The 
 Purification and other lateral figures, by 
 Orazio Samacchini, one of the good 
 painters of the sixteenth century, and an 
 imitator of Correggio, are noble and pa- 
 thetic, but perhaps too elaborate. The 
 famous Crucifix, the miraculous history 
 of which begins in the tenth century, is 
 simply of wood ; there is no body, nor is 
 it bedaubed or illumined like the crosses 
 of Calvaries, which will never be so 
 venerated 
 
 At Saint Donalus, the church of the 
 Malvasia family, an inscription and an 
 image ofthe Virgin commemorates her 
 appearing and the grace she accorded to 
 certain Carmelites who were singing the 
 Salve Regina : the wjrds venerare et 
 colito terminate the inscription, and are 
 a proof of the active and imperative faith 
 of the time. 
 
 Saint Martin Major is not without 
 splendour. There may be seen the mo- 
 nument and bust of Beroald the elder, an 
 eminent Bolognese scholar, one of the 
 most illustrious men ofthe revival : above 
 is an Ascension, the first inferior work 
 that Cavedone executed ; this clever and 
 unfortunate artist was plunged into such 
 excessive affliction by the. death of his 
 son, a most promising young painter, 
 that he lust his talent, and, for want of 
 orders, was reduced to beggary towards 
 the end of his life, and died in a stable 
 at the age of eighty-seven. Some other 
 paintings are remarkable : a graceful 
 Madonna, to whom the Magi are offering 
 presents, by Geronimo da Carpi; the 
 Virgin with the infant Jesus, a Bis/top, 
 St. Lucy, St. Nicholas, by Ami Asper- 
 tini, pupil of Francia, surnamed deidue 
 
Chap. V.] 
 
 BOLOGNA. 
 
 247 
 
 Pennelli, as he held them at once in both 
 hands, one for light tints, the other for 
 obscure; the Christ and St. Thomas, by 
 Zanotti, who was born at Paris, a good 
 painter of the Bolognese school, a prolific 
 poet and writer, historian and secretary 
 of the Clementine academy; a fine As- 
 sumption, by Perugino; the Virgin,her 
 son, and several saints, by Francia; and 
 aiSt.Jeromeimploring divine assistance 
 in the explanation of the Scriptures, 
 by Ludovico Carraccio, who has preserved 
 something of his Dalmatian air to this 
 terrible saint ; and, notwithstanding La- 
 lande's wish to have him made rather 
 less repulsive, he has done well in not 
 giving him the meek, devout, resigned, 
 ceaceful countenance, common to so 
 many other St. Jeromes. The Cruci- 
 fixion, with St. Bartholomew, St. An- 
 drew and the blessed Father Thomas, 
 was one of those agreeable works of Cesi, 
 that the young Guido so much loved to 
 contemplate. The chapel of the Holy Sa- 
 crament was tastefully painted by Maur 
 Tesi, the friend and faithful companion 
 of Algarotti, who cherished him as a son ; 
 he died young, of the same malady as his 
 friend, the victim of his unceasing atten- 
 tions to him. The cloister contains many 
 tombs, among them may be remarked 
 the fine mausoleum of the two Salicettio, 
 a work of 1403, bearing the name of 
 Andrea ofTiesole, an excellent artist, 
 who must not be confounded with Andrea 
 Ferucci. The ceiling and walls of the 
 oratory, formerly the library, were 
 painted by Dentone, and the Dispute of 
 St. Cyril is a celebrated work of Lucio 
 Massari. 
 
 The Madonna di St. Colombano is 
 remarkable for its frescos of the Carraccio 
 school : under the portico, the Universal 
 judgment and the Hell, by Pancotto, are 
 whimsically imagined; the Infant Jesus 
 playing ivith the little St. John, in the 
 midst of little angels, by Paolo Carraccio, 
 was drawn by Ludovico. In the upper 
 oratory are some other good frescos of 
 the Passion cf the same school. The 
 St. Peter going out to weep, by Albano, 
 is perfect. 
 
 Saint George deserves a visit for the 
 Piscina probatica and the Annuncia- 
 tion, by Ludovico Carraccio, and two 
 beautiful works by Camillo Procaccini, 
 near the last-mentioned. The Saint 
 Philip Benizio kneeling before the Vir- 
 gin in the midst of angels, was begun by 
 
 Simon of Pesaro and finished in the lower 
 part by Albano. 
 
 At Saint Gregory, the Baptism of 
 Christ is one of Annibale Carraecio's first 
 oil-paintings ; it already exhibits all that 
 master's vigour, and it clearly proves how 
 profoundly he had studied the Venetian 
 style. The St. George delivering the 
 queen from the dragon is by Ludovico, 
 as also a superb God the Father. 
 
 Saint Mathias possesses an Annuncia- 
 tion, by Tintoretto ; five small paintings 
 by Innocente d'lmola, and a Virgin ap- 
 pearing to St. Hyacinth, a charming 
 production of Guido's youth, done in his 
 twenty-third year. 
 
 The frescos of the chapel called the 
 Oratory, at the church of Saint Roch, 
 show the excessive zeal of the young 
 Bolognese painters of former days; these 
 frescos, representing the different inci- 
 dents of the saint's history, are the work of 
 their ardent emulation and love of glory ; 
 no one received a greater salary than 
 two pistoles : it was like a tournament of 
 painting ; Guercino distinguished himself 
 among his rivals by his accurate but not 
 very noble painting" of St. Roch taken on 
 suspicion of being a spy, and driven to 
 prison by a lusty application of kicks on 
 a certain partof his person. Theeighteen 
 compartments of the ceiling representing 
 the four Protectors of the town, the 
 four Doctors of the church, the four 
 Evangelists, and the six Virtues, by the 
 best Bolognese masters, are also very 
 remarkable : St. Ambrose and St. Au- 
 gustine, by Colonna, have been reckoned 
 worthy of Domenichino. These frescos 
 were cleverly engraved and published in 
 1831 by an artist of Bologna, S. Gaetano 
 Canuti, the inventor of an ingenious 
 method of expressingpainted or sculptur- 
 ed figures with precision. 
 
 At the church of Charity, the celebrated 
 Visitation, enthusiastically extolled by 
 Count Malvasia, is a well composed 
 painting by Galanino, a kinsman and 
 distinguished pupil of the Carracci, whom 
 ill-fortune reduced to the necessity of 
 turning portrait-painter and remaining 
 so. The St. Elizabeth , queen of Hun- 
 gary, in a swoon on Christ's appearing 
 to her, is by Franceschini; the Virgin, 
 Charity, St. Francis, at the high-altar, 
 by Aretusi and Fiorini ; the Virgin, St. 
 Joseph, and St. Anthony of Padua, by 
 Felice Cignani, one of this painter's good 
 works, and worthy of Carlo his father, 
 
248 
 
 BOLOGNA. 
 
 [Book VIII. 
 
 one of ihe best masters of the seventeenth 
 century; the St. Anne, by the elder 
 Bibiena. 
 
 Saint Nicholas and Saint Felix has a fine 
 painting by Annibale Carraccio, Jesus 
 crucified, ihe Virgin and St. Petronhts, 
 St. Francis and St. Bernard. The 
 head over the church door is by Alfonso 
 Lombardo. 
 
 The church of San Salvalore blends 
 richness with beauty. The Image of the 
 Virgin crowned, an old and well pre- 
 served painting, is said at Bologna to be 
 of the year HOC, and anterior to Giotto. 
 The other remarkable paintings are : a 
 Resurrection of the Saviour, fine in the 
 naked parts; Judith going to meet the 
 daughters of Israel with the head of Ho- 
 lophernes, by Mastellata ; the Miracle of 
 the Crucifix ofBeryte by Jacopo Coppi, 
 a Florentine, and pupil of Michael An- 
 gelo ; the Saviour bearing his cross, by 
 Gessi, but it may be looked on as Guidos, 
 since he drew it, retouched it, and did 
 the head; a St. Jerome, by Bonone; a 
 superb Nativity, by Tiarini ; a fine Christ 
 on the cross surrounded by saints, by 
 Innocente d'Imola; a graceful St. John 
 kneeling before Zaccharias, by Garo- 
 folo; and a large Marriage in Cana, by 
 Gaetano Gandolfi, a Bolognese painter, 
 who died in 1802. It is to be regretted 
 that is neither stone nor inscription to 
 the memory of Guercino at San Salva- 
 lore, where he wished to repose near his 
 so much loved brother: « a monument 
 to commemorate his glory and virtues 
 would be at once just and affecting. 
 
 The fine church called Corpus Domini, 
 or Delia Santa, meaning St. Catherine 
 of Bologna, a nun of the Corpus Domini 
 convent, offers another proof of the mar- 
 vellous flexibility of Ludovico Carraceio's 
 powers : the Christ appearing to the 
 Virgin with the patriarchs is full of 
 softness; opposite, the Apostles burying 
 the Virgin is full of force. A St. 
 Francis is by Fiammingo; a Madonna, 
 the Mysteries of the Rosary, two great 
 angels, are good works of Giuseppe 
 Mazza. The St. Catherine, in the sa- 
 cristy, writing her little book on the 
 Seven spiritual weapons to combat the 
 enemies of God, printed about I47i, at 
 F<>rrara or Bologna, was executed by 
 Zanotti at the age of nineteen. The 
 Death of St. Joseph, superb; and the 
 
 1 See book vii. tb. ivll. 
 
 pleasrng frescos on the ceiling of the same 
 chapel are by Franceschini. Through a 
 Iuthern in one of the chapels may be seen 
 in a vault the entire body of the saint, 
 a blackened corpse, pompously attired, 
 with diamond rings, and a crown on his 
 head. 
 
 Saint Paul has some magnificence about 
 it. Setting aside the Inferno, this church 
 is like the Divina Commedia of Dante 
 in painting : the admirable Paradise is 
 by Ludovico Carraccio, and the Purga- 
 tory, by Guercino. The Christ pre- 
 sented at the temple is a good work of 
 AurelioLomi.calledalsoAurelioof Pisa, 
 a painter of the sixteenth century. The 
 Epiphany and the Virgin in the stable, 
 by Cavedone, which received the follow- 
 ing high eulogium from Albano, when 
 he was asked if Bologna possessed any 
 ol Titian's paintings : "No," he replied; 
 "but the two of Cavedone that we have 
 at Saint Paul's may be regarded as 
 such." At the high altar are the statues 
 of St. Paul and the executioner, who is 
 beheading him, a boasted work of Al- 
 ga rdi's. 
 
 At the Celestines, the Christ appear- 
 ing to Magdalen, graceful, is of Lucius 
 Masari's good works; and the beautiful 
 painting of the high altar, the Virgin, 
 St. John Baptist, St. Luke and St. Peter 
 the Celestine is by Franceschini. 
 
 On the principal door of Saint Pro- 
 culus is the Virgin, the Infant Jesus 
 and Sts. Sixtus and Benedict, a fine 
 old painting by Lippo Dalmasio, a Bolo- 
 gnese artist of the fourteenth century, 
 surnamed the Madonna painter, so ex- 
 traordinary was the gift he had received, 
 according loGuido, hisadmirer, of paint- 
 ing them with grace and majesty. The 
 picture of St. Proculus is in oil, as the 
 most competent judges have decided, 
 which proves that discovery to be much 
 older than Vasari pretends. 
 
 CHAPTER VJ. 
 
 Saint Dominick.— Tomb of the Saint.— Nicolao I'i- 
 sano. — Artists' emoluments.— Tombs of Tardea 
 l'epoli and King Enzius, of Guido and Elisabetla 
 Siranl.— Tartagnl mausoleum— Count Marsiglii 
 —Cloister. — Ioquisition of Bologna. — Magnani 
 library.— Closing of libraries iu Italy. 
 
 The square before the church of Saint 
 Dominick presents some singular monu- 
 ments : the statue of the saint, of copper 
 gilt; the handsome funereal monument 
 
'iter 
 
 to- 
 w 
 
 M 
 
 ' •::■ 
 
 luij, 
 1(1- 
 m 
 iii.i' 
 The 
 > the 
 idi 
 
 Chap. VI. J 
 
 BOLOGNA. 
 
 249 
 
 sacred to the learned jurisconsult and 
 excellent writer Passaggieri Rolandino, 
 a great personage of the Bolognese re- 
 public in (he thirteenth century; ■ and 
 the tomb of the ancient family of the 
 Foscherari, now extinct, erected in 1289, 
 by Egidio Foscherari, and ornamented 
 with rude basso-relievos. 
 
 The church is a temple resplendent 
 with the wonders of art and illustrious 
 tombs. At the tomb of Saint Dominick, 
 by Nicolao Pisano, an angel kneeling, 
 full of grace, is by Michael Angelo in his 
 youth, and different from the vigorous 
 and awe-inspiring productions of his 
 riper years : he was paid twelve ducats 
 for this figure. For the small statue of 
 St. Petronius, on the top of the same mo- 
 nument, of the same epoch and character, 
 he was paid eighteen ducats. First rate 
 sculpture seems to have been cheap in 
 those days. When artists make enor- 
 mous profits, it is often a proof of the 
 decline of art, as money* is then the 
 guerdon of those labours of which glory 
 ought to form the chief recompense. 
 The basso-relievos of Nicolao Pisano, 
 representing divers of the saint's mira- 
 cles, are among those primitive chefs- 
 d'ceuvre, full of feeling, nature, and 
 truth; such, particularly, is the story of 
 the Thrown Cavalier, surrounded by 
 his family bewailing his death, and 
 brought to life by Saint Dominick. Ano- 
 ther basso-relievo, of a totally different 
 character, is remarkable for the noble 
 air of the figures and the chastity of the 
 details ; it is St. Peter and St. Paul in 
 heaven receiving a deputation of Do- 
 minicans, and presenting the founder 
 with the book of the constitutions and 
 the baton of command. Nicolao Pisano, 
 the great artist of his age, was one of 
 those extraordinary peerless geniuses 
 that, hold dominion over a whole epoch; 
 in fact, whether we consider his works 
 or his school, he must be regarded as the 
 first precursor of the revival. Below 
 this sculpture of 1200, are the elegant 
 basso-relievos of Alfonso Lombardo, later 
 by three centuries, composed at the epoch 
 of taste, but not eclipsing their old 
 predecessors. The architecture of the 
 brilliant chapel of Saint Dominick is by 
 Terribilia ; the paintings are very fine : 
 
 1 Kolandino had been town-clerk ; lie was chosen 
 to write the answer made to the menacing letter 
 of the emperor Frederick II., who demanded his 
 $on, King Enzins, a prisoner of the Bolognese (see 
 
 the Child brought to life, one of Tiari- 
 ni's masterpieces, procured its author 
 the congratulations of Ludovico Car- 
 raccio. The fresco of Guido, the Recep- 
 tion of the Saint's soul by Christ and 
 the Virgin, amid the melodies of heaven, 
 is admirable for grace and poesy. The 
 Tempest, the Thrown Cavalier, elegant 
 figures representing the saint's virtues, 
 are by Mastellata. St. Dominick burn- 
 ing the books of the heretics, is a 
 beautiful work by Leonello Spada, and 
 the best he has left at Bologna, his native 
 place. 
 
 In the several chapels will be found : 
 a Madonna, surnamed del Velluto, by 
 Lippo Dalmasio ; a St. Antoninus, to 
 whom the Saviour and the Yirgin appear, 
 an elegant but fantastical work by Pa- 
 cini, a pupil and even rival of Annibale 
 Carraccio, who, to characterise the fresh- 
 ness of his undraped parts, said that he 
 seemed to grind human flesh in his co- 
 lours; the Martyrdom of St. Andrew, 
 which advanced the reputation of An- 
 tonio Rossi, a Bolognese paintor of the 
 seventeenth century ; St. Thomas Aqui- 
 nas writing on the Eucharist, by Guer- 
 cino; the St. Raymond crossing the sea 
 on his mantle, an original chef-d'oeuvre 
 of Ludovico Carraccio, and at the high 
 altar, the Adoration of the Magi, very 
 fine, by Bartolommeo Cesi. 
 
 In the sacristy are two rude statues of 
 the Virgin and the saint, larger than 
 life, which, as we are informed by two 
 indifferent Latin verses beneath, were 
 carved out of a cypress that Dominick 
 had planted. This gloomy and funereal 
 tree was a very suitable one for the 
 founder of the inquisition to plant, and 
 he deserved a statue of it. 
 
 The fine tomb of Taddeo Pepoli, by 
 the Venetian Jacopo Lanfrani, erected 
 about the middle of the fourteenth cen- 
 tury, on which a natural piece of sculp- 
 ture represents this popular chief, ren- 
 dering justice to his fellow-citizens whom 
 he governed ten years,— this republican 
 tomb is backed against that of King En- 
 zius, a natural son of the emperor Frede- 
 rick II., deceased at Bologna in 1272, 
 after a captivity of twenty-two years.* 
 Italy alone can present such contrasts so 
 near together. The arms of the Pepoli, 
 
 post and cb. viii). He died at a very advanced age 
 after having been elected rector, consul, and per- 
 petual elder, that is to say, chief magistrate. 
 » See post, chap ii. 
 
250 
 
 BOLOGNA. 
 
 [Book VIII. 
 
 which are displayed on the tomb, were a 
 chess-board, a pretty just emblem of the 
 skilful and cautious combinations neces- 
 sary for political characters in free states. 
 The inscription on the tomb of Enzius is 
 singular, and not a bad portraiture of 
 the municipal pride and savage haughti- 
 ness of the republics of the middle ages : 
 
 lelsiua Sardinia rcgeinsibi vincta minaniern, 
 Vlclrii (jpiivum tonsule ovanle tralilt ; 
 
 >iec pa!i is imperio cedit, nee capitur auro; 
 Sic cane non niagnn saepe tenetur aper. 
 
 In the superb chapel of the Rosary are 
 two tombs which produce a very diffe- 
 rent impression from those containing 
 the remains of Taddeo Pepoli and King 
 Enzius: they enclose the ashes of Guido 
 and his beloved pupil, Elisabetta Sirani, 
 great as a painter, irreproachable as a 
 woman, and worthy of her master for 
 the gracefulness and power of her talents : 
 she died of poison in her twenty-sixth 
 year. This chapel is embellished with 
 admirable paintings representing the 
 fifteen mysteries of the Rosary : the Pre- 
 sentation at the Temple, by Fiammingo ; 
 the Holy Spirit descending on the 
 apostles, by Cesi; the Mary visiting 
 Elizabeth; the Flagellation of the Sa- 
 viour, by Ludovico Carraccio, and the 
 Assumption, by Guido. The ceiling, by 
 Michele Colonna and Agoslino Mitelli, 
 is one of the finest works of these able 
 artists, who were united more than 
 twenty years by a friendship honourable 
 to both. Near this chapel is the mau- 
 soleum of the celebrated jurisconsult and 
 professor Alessandro Turtagni, an ex- 
 cellent work of the Florentine sculptor, 
 Francesco di Simone. 
 
 A monument has been erected in the 
 church of St. Dominick b} the Clemen- 
 tine academy of architecture to General 
 Marsigli, founder of the Institute of Bo- 
 logna, a man renowned for his science, 
 his patriotism, and the untoward vicissi- 
 tudes of his romantic life, as a warrior, 
 traveller, and captive. Marsigli, not- 
 withstanding the rich collections, brought 
 from abroad at great exper.se, which he 
 had given to his country, was always' 
 opposed, says his ingenious paneg\rist, 
 to his name" appearing on a public mo- 
 nument; he could not, however, escape 
 the compliments of the speech delivered 
 at the inauguration of the Institute, in 
 
 * Fonlenelle. Eloge de Marsigli. 
 
 17U, by P. Ercole Corazzi, an Oli- 
 vetan monk, and mathematician of the 
 new company: Fontenelle remarks that 
 " praises refused will return with greater 
 force, and it is not, perhaps, less modest 
 to let them have their course, taking them 
 for what they are worth." The monu- 
 ment in Saint Dominick is another of 
 those homages spoken of by Fontenelle. 
 to which the manes of Count Marsigli 
 must submit, although he wished to be 
 interred without any pomp in the church 
 of the Capuchins. 
 
 The inscription and bust consecrated 
 to Ludovico Carraccio, in the chapel of 
 Saint Dominick, are no longer there; 
 they have been removed to the Academy 
 of Fine Arts, where a monument worthy 
 of this great artist is to be erected to his 
 memory. 
 
 The cloister of Saint Dominick offers 
 many ancient tombs. Two are remark- 
 able : that of Giovanni Andrea Calderini, 
 by Lanfrani, the able sculptor of Taddeo 
 Pepoli's monument, and Bartolommeo 
 Salicetti's, executed in 1+12 by Andrea 
 of Fiesole. Some curious remains of 
 painting show the Magdalen at the feet 
 of Christ, the earliest work, according 
 to Malvasia, of Lippo Dalmasio, the 
 graceful Madonna painter already men- 
 tioned. 
 
 The convent of Saint Dominick, oc- 
 cupied by Dominicans, is the seat of 
 the inquisition; but this awful tribunal 
 is now, at Bologna, very lenient and 
 scarcely known to exist. The inqui- 
 sitor, P. Medici, who died in 1833. was 
 a learned and very respectable Domi- 
 nican, and he himself had addressed ob- 
 servations to the pope, purporting that 
 it was altogether unnecessary to re-esta- 
 blish the inquisition. 
 
 The Magnani library, now belonging 
 to the town, occupies a part of the con- 
 vent of Saint Dominick ; it was be- 
 queathed by the excellent Bolognese eccle- 
 siastic whose name it bears, a man of 
 learning, who was desirous that his li- 
 brary should be serviceable to his young 
 compatriots, and. in particular, that it 
 should be accessible when the others 
 were closed. Such a provision is singu- 
 larly useful and advantageous during 
 the everlasting vacations and innumer- 
 able boh days of most Italian libraries, 
 especially in the Papal states. The Va- 
 tican is not open a hundred da>s a jear. 
 I remember with regret that on one oc- 
 
,„ apartment devoted to the Magnani li- 
 " brarv if superb, consisting of three im- 
 
 Cuap. VII] 
 
 BOLOGNA. 
 
 251 
 
 casion, as I passed through Florence, I 
 could not enter the Laurentian, because, 
 like the rest, it was shut under the pre- 
 text of the feast of Saint Catherine. The 
 
 ■i 
 :■ 
 iid 
 
 hi 
 
 mense rooms, and others smaller ; though 
 recently founded, it has already eighty- 
 three thousand volumes, and a yearly 
 sum of three thousand franks is granted 
 by the city for new purchases. The splen- 
 dour of painting is conspicuous in every 
 part of Bologna, and this library con- 
 tains a Depositicm from the cross, by 
 Barocci, unfinished, but of prodigious 
 effect. The recent legacy of the illus- 
 '■ trious Bolognese professor Valeriani will 
 ■ add to the importance and utility of this 
 ' library, -which will be transferred to the 
 Seuole Pie. The rest of the learned 
 economists fortune, which he left in to- 
 tality to the parish, will be employed in 
 J completing the arcades which unite the 
 orlico of Saint Luke to the Campo 
 Santo. 
 
 On coming out of the convent, under 
 la portico on the left, is a Virgin with 
 \the infant Jesus and St. John, by Ba- 
 jgnacavallo, a valuable work, esteemed 
 Iby Guido, and exposed to the street. 
 
 art 
 
 CI 
 
 r 
 
 M 
 
 i 
 
 CHAPTER VII. 
 
 Saint Lucy.— Manuscript relic— Monks and nuns 
 artists. — Servi.-San Giovanni in Monte— Saint 
 Stephen. — San Bartolommeodi porta Iiavegnana. 
 Santa Maria delta Vita.— Tbe blessed B :onaparte. 
 —Portrait of Louis XIV. on au altar.— Oratory.— 
 Loinbardo's basso-relievos. 
 
 The church of Saint Lucy possess a 
 letter of Saint Francis Xavier, written 
 in Portuguese, which is always exposed 
 on the festival of that saint, and this ma- 
 nuscript relic has received more homage 
 than the greatest chefs-d'oeuvre of lite- 
 rature. One of the finest paintings is 
 the Death of this saint, attended by- 
 angels, a work of Rambaldi, a Bolognese 
 painter of the last ceniury, who was 
 drowned in passing the Taro. In the 
 sacristy is an Immaculate Conception, 
 one of the first works of Fiammingo, 
 when he studied under the Sabattini. 
 
 Over the noble portico of the Ma- 
 donna del Baracano is a Virgin, by 
 Alfonso Lombardo. Some pleasing sculp- 
 tures by Properzia de' Rossi adorn the 
 high altar of this same church of the Ma- 
 
 donna del Baracano, which odd surname 
 seems little suitable to the Virgin or this 
 noble and poetic artist. 
 
 At the church of the Trinity is a St. 
 Roch, by Guercino; the Madonna in a 
 glory, several saints, and some little 
 children placing with the cardinal's hat 
 of St. Jerome, by J. B Jencari, is a 
 work closely resembling the Procaccini. 
 
 Many paintings in the church of Saint 
 Christine are the work of the ancient 
 nuns of the convent to which this church 
 belonged. Paintings by monks and nuns 
 were formerly very common in Italy : 
 the cloister counted some clever and 
 brilliant artists ; in this respect, the mo- 
 nastic life has also degenerated there. 
 Even when these monks and nuns had 
 not the talent of painting, they seem to 
 have had taste enough to encourage the 
 art. The Ascension at the high altar of 
 Saint Christine was ordered of Ludovico 
 Carraccio by the reverend mother But- 
 trigari, and" executed at her expense ; 
 the figures seem too large now, because 
 it was placed higher in the old church. 
 Other nuns also ordered the six figures 
 put between the pilasters, among which 
 are the St. Peter and St. Paul by 
 Guido, in his early youth. 
 
 At the high altar of the church of Saint 
 Catherine di strada maggiore, the 
 Martyrdom of the Saint v\ilh the Lord 
 in a glory, by Gessi, is elegant. 
 
 The majestic portic of the Servi, by 
 Fra Andrea Manfredi, general of the 
 Servites, a great architect of the four- 
 teenth century, has some beautiful fres 
 cos illustrating divers incidents in thr 
 history of their founder St. Philip Beni 
 zio : the Blind man at the Saint's tomb 
 was a masterpiece by Cignani, destroyed 
 by time, or by envy, as some suppose ; 
 the 5aiHf carried to heaven by two 
 angels, by Giovanni Viani, expresses in 
 his features and even in his flight, the 
 idea of celestial beatitude; the Converted 
 harlots are by Giuseppe Mitelli, a gay, 
 spirited painter, pupil of Albano, Guer- 
 cino, and Simone of Pesaro. The church 
 is remarkable for its paintings, its mo- 
 numents, and almost its curiosities. 
 The Virgin giving the habit to the 
 seven founders of the order is one of 
 Franceschini's last works, painted by 
 that brilliant artist when near his eigh- 
 tieth year, nor does his talent seem to 
 have declined. Guercino painted the 
 Eternal Father; Guido executed in one 
 
252 
 
 HOLOGNA. 
 
 [ Book VIII. 
 
 night, by the torchlight, and gratis, the 
 Soul of St. Charles in heaven. The 
 Annunciation, by Innocente d'Jmola; 
 the St. Andrew, the Noli me tangere, 
 by Albano, are admirable. A large and 
 beautiful Paradise, by Finmmingo, is a 
 trifle too elaborate. The Twelve thou- 
 sand crucified, is by Elisabetla Sirani, 
 and a Madtnna by Lippo Dalmasio. A 
 vast Nativity, over the door, is a good 
 fresco, and Tiariui's last work. The 
 monuments of the senator J. J. Grati, 
 and the cardinal Ulisse Gozzadini, are 
 imposing. In one of the chapels a mar- 
 ble jug is shown as having been used at 
 the marriage of Cana ; it was presented 
 by a general of the Serviteswho had been 
 sent to the sultan of Egypt in 1359. A 
 crucifix skilfully constructed of packs of 
 cards, is the work of a domestic of the 
 Grati family : such an application of 
 cards is perhaps unique, and singularly 
 honourable to the dependants of that 
 house. In the cloister is a majestic 
 staircase by Terribilia, and very fine 
 perspective, by Dentone, the cleverest 
 man of his day in that kind of paint- 
 ing. 
 
 The church of the Presentation of the 
 Virgin presents at the altar that very 
 subject painted by Andrea Sirani, re- 
 touched by Guido. In the sacristy arc 
 several drawings by Albert Durer, and 
 the Veronica, a small painting by An- 
 nibale Carraccio. 
 
 The antique church of San Giovanni 
 in Monte was completely modernised in 
 1824. A St. Francis, by Guercino, 
 adoring the crucifix, is admirably effec- 
 tive : the crucifix is on the ground : this 
 downward worshipping is singularly 
 new and profound. An old Madonna, 
 a detached fresco, prior to the year 1000, 
 as proved by several authentic docu- 
 ments; another Madonna, by Lippo 
 Dalmasio, are in strong contrast with the 
 new repairs. The St. Ubald, bishop, by 
 the elder Bolognini, is altogether in 
 Guido's style. 
 
 Saint Stephen, an extraordinary 
 church, formed by the uniting of seven 
 chapels, is one of the oldest and most 
 characteristic in Italy : old madonnas, 
 saints' images and tombs, travellers' ex 
 voto offerings, miraculous wells, which 
 were as the watering places of the ages of 
 faith, Gothic inscriptions : it exhibits on 
 all sides the venerable traces of by-gone 
 centuries. But this curious temple 
 
 ought to be especially visited for its 
 Greek frescos of the twelfth and thir- 
 teenth centuries on the great ceiling of 
 the third church, paintings full of na- 
 ture, life, movement, and expression. 
 In the first chapel, a Father beseeching 
 St. Benedict to intercede for the health 
 of his dying son, is a work of good ef- 
 fect, by Teresa Muratori and her master 
 Dal Sole. In the third is one of Che 
 good antique Crucifixions by Simone of 
 Bologna, a painter of the fourteenth cen- 
 tury, called also da' Crocifissi, from the 
 exceeding pathos with which he trated 
 that subject. 
 
 The painting of the high altar of the 
 church of Saint Michael de' Leprosetti, 
 representing a Madonna crowned by 
 the angels and the archangel saint, who 
 recommends to her protection the city of 
 Bologna then ravaged by the plague, is 
 one of Gessi's chefs-d'eeuvre. 
 
 At Saint Bartholomew di porta Rave- 
 gnana, St.Charles kneeling at the tomb 
 ofVarallo, by Ludovico Carraccio, pre- 
 sents an angel full of grace. An An- 
 nunciation, called the Annunciation of 
 the Beautiful Angel, by Albano, heavenly 
 for expression, a masterpiece that time 
 had almost destroyed, was very skilfully 
 restored to its primitive beauty by an 
 artist of Bologna, S. Guizzardi. A Vir- 
 gin and infant Jesus, by Guido, was a 
 legacy of the canon Sagaci. The frescos 
 representing the Life of St. Gaetano 
 are a fine and rapidly executed work of 
 Cignani's pupiis, done in less than two 
 monlhs, from the drawings of their 
 master, who also retouched them. 
 
 At the entrance of the church of Sanla 
 Maria dellaVita, I experienced a strange 
 impression : in a brilliant chapel, great 
 respect is paid to the bones of the blessed 
 Buonaparte Ghisilieri, transferred thither 
 in 1718 from the neighbouring church 
 of Saint Eligio, when its suppression 
 took place. The painting representing 
 St. Jerome and the said blessed Buona- 
 parte, is an esteemed production of Mi- 
 lani. One may be allowed a little sur 
 prise at seeing this redoubtable name in 
 such a place, a name that seems much 
 rather to belong to the annals of ambi- 
 tion and glory than the legend of saints. 
 The inscription, a meek peace-breathing 
 distich, adds to this contrast : 
 
 Area Bonaparlis corpus lenel lsta beatl : 
 Multos sanavit, sese sanclum esse probavit. 
 
Chap. VIII.] 
 
 BOLOGNA. 
 
 25? 
 
 The relic of the obscure and bless- 
 ed Buonaparte reposes on a rich altar, 
 much lighter for it than the wave-beat- 
 en rock which hides the ashes of Napo- 
 leon. 
 
 At the high altar, and in the taber- 
 nacle, it is singular to find a medallion 
 of Louis XIV., set in diamonds, and 
 painted by Petitol; it is even exposed on 
 the festivals of the Holy Virgin, probably 
 on account of its richness. With all my 
 respect for the great king, I little ex- 
 pected to find his likeness in such a ve- 
 nerated place. This medallion was a 
 legacy of the canon count of Malvasia, 
 who received it from Louis XIV., to 
 whom he had dedicated his Felsina pit- 
 trice. A first medallion was stolen from 
 the courier, and replaced by this one, 
 still more precious. Lebrun, who had 
 received from the same Malvasia his 
 Guide to Bologna, made him a present 
 ot Ihe collection of the battles of Alex- 
 ander, which be bequeathed to the li- 
 brary, where it now is. It is easy to 
 recognise in the smallest facts of this 
 polite era, the feeling of propriety of 
 which the master was the model, and 
 which was not only imitated by the 
 court, but also by the lowest officers in 
 his service. 
 
 The name of Buonaparte and the por- 
 trait of Louis XIV., at Santa Maria 
 della Yita, recall the times of the power 
 and conquests of France; but the con- 
 quests of Louis were rational, natural, 
 and durable; while of Napoleon's dis- 
 tant expeditions, nothing remains but a 
 never-dying fame. 
 
 The oratory della Vila contains one 
 of the first chefs-d'oeuvre of modern 
 sculpture : the basso-relievos of Alfonso 
 Lombardo, which represent the Funeral 
 of the Virgin; the heads of the Apostles 
 have more than once given inspiration 
 to the painters of Bologna, an extra- 
 ordinary honour for statuary, and a 
 proof of their true and noble expres- 
 sion. 
 
 1 See anle, chap, vi. A German, Mr. Ernest 
 Munch, published in 1828 (Louisburg, in 8ra.) a 
 separate biography of King Enzius, apparently in- 
 teresting from the facts and documents it contains, 
 which consist chiefly of the emperor Frederick's 
 :orrespondence with the Bolognese, to obtain his 
 son's liberty, and the poems composed by the latter 
 luring his captivity. Uis mistress was Lucia Ven- 
 lagoli; the Beutivoglio, according to Mr. Muucb, 
 
 CHAPTER VIII. 
 
 Palace of the ancient comune— Palace of the Po- 
 desta.— Fountain.— Palace del Pubblico.— Ponti- 
 fical military force. — Portico of Banchi. 
 
 Some pieces of wall near Saint Petro- 
 nius are the only remains of the ancient 
 common hall of Bologna, the seat of a 
 free state, which, as early as the twelfth 
 century, according to M. de Sismondi, 
 had duly balanced the constitutional 
 powers; had grown powerful, rich, rest- 
 less, glorious; had resisted emperors, 
 taken part in the crusades, subjected 
 Modena, Ravenna, and other towns of 
 Romagna, and at last perished only by 
 the mutual proscription of its citizens and 
 the solicited interference of foreigners. 
 
 The palace of the podesla was the pri- 
 son of King Enzius : handsome, young, 
 brave, and a poet, beloved in his cap- 
 tivity by a gentle fair one of Bologna, 
 who visited him under various disguises, 
 Enzius, another unfortunate prince, like 
 Conradin, of the heroic and romantic 
 house of Suabia, is still popular at Bo- 
 logna. 1 The great hall is still called 
 sala d'Enzio ; its use has singularlv 
 changed : in 1410, the conclave was held 
 there for the election of Pope John XXII. ; 
 it was converted into a theatre in the 
 last century; in 1826, it was a fives' 
 court, and when I saw it in 1838, it was 
 a workshop for the scene-painters of the 
 Opera. The tower called Torrazzo 
 deir Aringo, built for the purpose of 
 watching Enzius, is, like the rest of (he 
 palace, a bold structure, being built on 
 arcades. 
 
 Beside the hall of Enzius are the ar- 
 chives of the town, remarkable for their 
 numerous historical documents, some 
 very scarce; the most important is the 
 bull dello Spirito santo, published at 
 Florence on the Cth of July 1439, by Pope 
 Eugene IV., relating to the unsuccessful 
 attempt to unite the Greek and Roman 
 churches. 
 The Giants' fountain presents the Nep- 
 
 owe (heir origin to these mysterious intrigues. 
 Enzius stands in the lirst rank of the old Italian 
 poets. Bedi, in the notes to his dithyramb, Bucco 
 in Tosca.no, quoles the lirst verses of one of Lu- 
 zius's canzoni, which was among his manuscripts : 
 
 Amor fa come '1 fino uccellatore, 
 
 Cb' alii auselli sguardare 
 
 Si moslra piii ingegriieri d' invescare. 
 
 22 
 
254 
 
 HOl.OGNA. 
 
 [Book VIII. 
 
 tune, Syrens, and other bronze figures, 
 celebrated productions of Giovanni Bo- 
 logna, ordered by Saint Charles Borro- 
 meo when legate in this city. When 
 one considers the burly naked form of 
 Neptune, the grace and voluptuousness 
 of the Syrens, it seems strange that such 
 a monument should be ordered by so 
 austere a saint, and erected in the centre 
 of a public square, in the states of the 
 Church. This fountain has too scanty 
 a supply of water, and it ought, as for- 
 merly, to issue from the breasts of the 
 Syrens. 
 
 The palace del Pubblico is of the close 
 of the thirteenth century. Over the door 
 is the statue of Gregory XIII., another 
 great Bolognese pope, by Alessandro 
 Menganli, an artist whom Agostino Car- 
 raccio ingeniously designated as an un- 
 known Michael Angelt ; it is perhaps 
 also possible that some Bossuet or Cor- 
 neille might be discovered in the world 
 of letters of whom fame has neverspoken. 
 At the revolution of 179G, this bronze 
 pope was metamorphosed into Saint Pe- 
 tronius ; a cross was placed in his hand ; 
 his tiara was changed for a mitre, and 
 over the regenerated statue were written 
 the words Divus Petronius protector el 
 pater ■. Saint Petronius was thus made 
 a democrat at Bologna as was Saint Ja- 
 nuarius at Naples. The staircase a cor- 
 doni of the palace del Pubblico is a grand 
 work by Bramante. l In the great hall 
 of Hercules is a colossal statue of that 
 god, by Alfonso Lombardo, one of the 
 best figures of this kind of the sixteenth 
 century. The fine ceiling of the Farnese 
 hall, painted by Cignani, Scaramuccia, 
 Pasinelli, and the elder Bibiena, has 
 unfortunately suffered more from the 
 injuries of the air than of time. At the 
 bottom of one of the courts is the beau- 
 tiful cistern of Terribiiia. 
 
 The palace del Pubblico is the residence 
 of the cardinal legate, of the senator, and 
 della magistratura. I was forcibly 
 struck on my first visit in 1826, by the 
 martial air of the guard : they were really 
 French soldiers of the Grand Army, and 
 their military physiognomy and musla- 
 chios formed a singular contrast with the 
 tiara, the word pax, and pontifical keys 
 
 1 The stairs a cordone are peculiar to Italy, and 
 are extremely convenient for mounting a sleep as- 
 ceut on horseback or even in a carriage ; they aro 
 formed of brick steps, bordered with a narrow curb 
 
 (hat adorned their caps. The pope has 
 now a standing army of not less than 
 eighteen Ihousand men, including Iwo 
 Swiss regiments of four thousand four 
 hundred, a greater force than any of his 
 predecessors everhad, which costs annual- 
 ly about two million crowns (430,0007.), 
 a quarter of the entire revenue of his 
 stales. » 
 
 Opposite is the portico de' Banchi. of 
 grand and ingenious architecture, by 
 Vignola, who was excessively embar- 
 rassed by the irregularity of the old 
 building. 
 
 CHAPTER IX. 
 
 Fava and Magnani palaces.— On the reform by the 
 Carracci; — Bentivoglio palace. — Piella palace. — 
 Bocchi.— Marescalchi, — Zambeecari,— Bevilacu.ua. 
 — Bacciocchi,— and Hercolani palaces. — Guercino's 
 emoluments. — Malvezzi-Bonfioli, — Sampicri, and 
 Stracciaiuoli palaces. 
 
 The ceilings of Fava palace are re- 
 splendent with the glory of the brothers 
 Carracci : Agostino and Annibale, on 
 their return from Parma and Venice, 
 when they were still friends, painted 
 their first fresco, under the direction and 
 with the assistance of their cousin Lt:- 
 dovico, the Expedition of Jason, in 
 eighteen pictures, works that exeited ihe 
 clamours of the old masters of that de- 
 clining period, of the artists then ex- 
 tolled, titled, in credit, and regarded as 
 the arbiters of taste. Ludovico Carraccio 
 has represented the Voyage of ALncas 
 in twelve paintings ; he had two of them 
 coloured by Annibale, namely, (he Po- 
 lyphemus pursuing the Trojan fleet, and 
 the Harpies. Another ceiling painted by 
 Albano, likewise aided by the c iunse!s of 
 the generous and indefatigable Ludovico 
 Carraccio, exhibits sixteen subjects from 
 the life of ^Eneas; other excellent pieces 
 executed on his designs by his pupils, and 
 the last by Cesi, present similar subjects 
 and continue this kind or .Eneid. The 
 arabesques of a cabinet, four landscapes 
 of the Rape of Europa, are by Annibale 
 Carraccio, in Titian's style. 
 
 The vast Aldrovandi palace, built in 
 1718 by Cardinal Aldrovandi, was still 
 occupied in 1826 by the two brothers 
 
 of granite, or hard stone, and several feet in width, 
 but inclined. The most noted of these staircase*, 
 which are common at Rome and Naples, is that of 
 the Capitol. 
 
Chap. IX.] 
 
 BOLOGNA. 
 
 255 
 
 Aldrovandi, of the family of that illus- 
 trious scholar, but they both died shortly 
 after that time. The rich gallery and 
 extensive library formed by these dis- 
 tinguished men, are now nearly dis- 
 persed. At the extremity of the palace 
 was an important manufactory of Eng- 
 lish earthenware, established by Count 
 Ulis.se Aldrovandi, but it has been re- 
 moved since and does not appear to have 
 answered. 
 
 The Fibbia palace, now the Pallavi- 
 cini, presents a fine apartment ably 
 painted by Santi and Canuti, artists of 
 Bologna. Twelve busts of illustrious 
 Bolognese ladies are by Algardi, at least 
 most of them ; and Colonna painted the 
 chapel with its vestibule. 
 
 At the Tanura palace is the Kiss of 
 Judas, by Ludovico Carraccio, infernal 
 for expression ; Diana bathing, by Agos- 
 tino, is graceful, voluptuous, aerial. A 
 Virgin suckling is an admirable chef- 
 d'oeuvre of Guido. Notwithstanding his 
 usual sweetness, Carlo Dolce has found 
 means, in his fine portrait of St. Charles 
 Borromeo, to express the hard features 
 of the saint. 
 
 The Magnani palace, at present the 
 Guidotti, is of imposing architecture, by 
 Tibaldi. The frescos of the Carracci, 
 representing the history of Romulus and 
 Remus, are worthy to be compared, for 
 colour and elegance, to their celebrated 
 frescos in the Farnese palace, and they 
 are almost as well preserved. The ap- 
 pearance of this wonderful painting de- 
 cided the triumph of the eclectic reform 
 of the Carracci. These able masters se- 
 lected from other schools, and amalga- 
 mated the different manners into an 
 admirable whole, and re-endowed the 
 art with power and truth. 
 
 Under the portico of the Leoni palace, 
 now the Sedazzi, is a fine Nativity, a 
 work of Nicolao dell' Abate, and on the 
 ceiling of the grand hall the History of 
 Mneas, by the same graceful and elegant 
 painter. 
 
 The Bentivoglio palace is spacious and 
 modern : there is no vestige of the old 
 one remaining, a monument of most 
 beautiful architecture which Julius II. 
 instigated the populace to demolish, to 
 revenge himself of Annibale Bentivoglio, 
 as this same mob, on the arrival of Ben 
 
 ! A diploma of the emperor Frederick III , of ilje 
 jear 1462, still preserved in the sacristy of Hie 
 
 tivoglio and the French, afterwards broke 
 the statue of Julius, a chef-d'eeuvre of 
 Michael Angelo. These Vandal-like in- 
 consistent proceedings of the people of 
 Bologna reminded me, though in this 
 case no miracles of art were concerned, 
 of a reply made by one of the Parisian 
 populace, an expression that giyes no in- 
 correct idea of the nature of popular 
 opinions in all ages : when the new statue 
 of Henry IV., as engraved in the Champs- 
 Elysdes, was disengaged and drawn by 
 the people, an enthusiastic lady compli- 
 mented one of the good fellows, who 
 was wiping his forehead : "Oh! as for 
 that matter," replied he coolly, "it was 
 quite another affair when we had to pull 
 down the statue of Louis XV." 
 
 At the Grassi palace is a superb fresco 
 by Ludovico Carraccio, representing Her- 
 cules treading on the hydra, armed with 
 a flambeau instead of a club, a happy em- 
 blem intended to express the unfrequent 
 union of strength and knowledge. The 
 same palace has a singular chef-d'eeuvre 
 of Properzia de' Rossi, the illustrious 
 lady of whom we have spoken above ; 
 it consists of some pretty cameos en- 
 graved on peach stones representing the 
 Passion of Christ, the Virgin, the 
 Saints, the Apostles. The crowd of 
 these little figures is spirited, elegant, 
 and airy; this work seems a charming 
 caprice of art, such as woman only 
 could execute. 
 
 The ancient Bocchi palace, now the 
 Piella, was built by Vignolaat the order 
 of the noble and learned Bolognese 
 Achille Bocchi, who was imprudent 
 enough to thrust his own ideas on the 
 architect. Bocchi assembled in this pa- 
 lace the useful academy which bore his 
 name; he established a printing-office 
 there from which several good editions 
 issued ; the text was expurgated by the 
 academicians; the book of the Symbols, 
 by Bocchi, is cited as curious, and the 
 engravings of the second edition were 
 retouched by Agostino Carraccio. Bocchi, 
 when attached to the illustrious Alberto 
 Pio, prince of Carpi, imperial orator at 
 the court of Rome, obtained the title of 
 knight and count palatine, with the right 
 of dubbing knights, conferring the di- 
 ploma of doctor, and the strange prero- 
 gative of legitimating bastards.' With 
 
 Registro clinpel (the former seat of the flolari col- 
 lege) at Bologna, gives the same right to the cor- 
 
256 
 
 BOLOGNA. 
 
 [Book VIII 
 
 all his honours, he seems lo have known 
 what friendship was, if we may judge 
 by the amiable surname that he assumes, 
 Phileros (loving friend), and which he 
 has prefixed to several of his works. 
 The Bocchi palace presents some learned 
 inscriptions, and among them this verse 
 of the cxx. psalm: "Deliver my soul, 
 O Lord, from lying lips, from a de- 
 ceitful tongue! " a prayer that doubtless 
 escaped Bocchi amid the practices of a 
 life past at court, in public business, and 
 in literature. The ceiling of the room 
 on the ground floor is decorated with 
 good frescos in compartments and ara- 
 besques by Prospcro Fonlana, a pupil of 
 Innocente d'Imola, and master of Lu- 
 dovico and all the Carracci. 
 
 Not far from this literary palace, in 
 the square behind the church of Saint 
 Nicholas degli Albari, may still be seen 
 the house in which Guercino lived, 
 though it is not so interesting as the one 
 at Cento. 
 
 TheMarescalchi palace has been strip- 
 ped of the principal chefs-d'oeuvre of its 
 gallery, and retains nothing worthy of 
 particular notice, except its front in Ti- 
 baldi's style, its vestibule by Brizzio, and 
 its painted chimney-pieces by the Car- 
 racci and Guido; the most remarkable 
 being by the latter artist. Both the gal- 
 lery and the library were formed by 
 Count Ferdinand, formerly minister of 
 foreign affairs for the kingdom of Italy 
 at Napoleon's court, an excellent man, 
 simple-hearted and facetious, who re- 
 mained altogether Italian in the midst of 
 that European court. 
 
 At the Maltioli house, now the Bo- 
 nini, divers Divinities in several com- 
 partments are a beautiful production of 
 Colonna. 
 
 The Albergati Capacelli palace, of the 
 architecture of the illustrious Baltassare 
 Peruzzi, contains some wainscots of the 
 Carracci school, the ceilings of the 
 ground-floor rooms by Gessi. The hill 
 in its front presents a singularly agree- 
 able coup oVceil. 
 
 The gallery of the vast palace of Zam- 
 beccari da S. Paolo is rich in paintings 
 by the Carracci : Abraham at table 
 with the angels; Jacob's Ladder; No- 
 
 rcclor of (be notaries, conDrmed in 1505 by Tope 
 Julius II. This privilege of legitimating bastards, 
 at that time belonging to certain functionaries, 
 and which seems almost Indispensable from ihe 
 
 slra Signora degli Angeli. A Char- 
 les V., by Titian, is admirably true ; six 
 mistresses of Charles II., by Lesly, are 
 charming : those portraits are Hamilton 
 on canvas. 
 
 In the remarkable and superb palace 
 of Bevilacqua is still the room, as an 
 inscription proves, in which the council 
 of Trent assembled, having been trans- 
 ferred thither in 15i7, by the order of the 
 great physician Fracaslor. This room 
 is not so spacious as one might suppose 
 from its having been the place of meet- 
 ing for such an assembly. The street 
 door by which the Fathers came and 
 went is shut up and fastened with an 
 iron bar. The fear of contagion, spoken 
 of by all the historians, seems to have 
 been only a pretext : misunderstandings 
 had taken place between Paul III. and 
 Charles V., and the pope sought to re- 
 move the council to some town in Italy 
 subject to the Holy See. Were this 
 indeed the case, Fracaslor's science must 
 have lowered itself to the papal policy, 
 a weakness that may be excused by his 
 dislike to strangers and his patriotism. 
 
 The observatory erected by genera! 
 count Marsigli, in the palace bearing his 
 name, still exists, a material evidence of 
 the scientific tastes, passion, and habits 
 of that illustrious and unassuming man. 
 
 One of the most magnificent palaces 
 in Bologna is the Banuzzi, or, as now 
 called, the Bacciocchi palace; its prin- 
 cipal front is by Palladio. 
 
 The superb gallery of the Hercolani 
 palace is not less fallen than the Mares- 
 calchi. The library, which contained 
 some precious manuscripts and good 
 books in Greek, Latin, and Italian, is 
 now nearly all sold. I examined the 
 manuscript of the register of Guercino's 
 orders, kept by his brother ; it begins on 
 the 4th of January 1629 (when Guercino 
 was in his thirty-eighth year), and ends 
 in September 1666, three months before 
 his death. At the close of each year is 
 the total of receipts and disbursements 
 (the latter are not mentioned for two 
 years) : the first amount for these thirty- 
 eight years to the sum of 72,176 Bolo- 
 gnese crowns (311,800 fr ), making about 
 1,899 crowns (8,205 fr.) a year ; the ex- 
 
 corrupt morals of the fourteenth and fifteenth cen 
 turies, might be renewed with advantage in our 
 days, now that the increase of natural children is 
 so embarrassing. 
 
CnAP. IX.] 
 
 BOLOGNA. 
 
 257 
 
 penditure is 57,437 crowns (243,807 fr.), 
 or 1,485 crowns (6,415 fr.) a year; the 
 investments of capital amount to 3,250 
 crowns (14,040 fr.), and the purchase- 
 money of two houses and stocks, to 
 9,989 crowns (43,152 fr.). From this 
 we may see the extent and judicious 
 management of Guercino's fortune. If 
 madame de Maintenon, who gives in 
 one of her letters an account of'her brother 
 and sister-in-law's housekeeping ex- 
 penses for the year 1680, found that with 
 9000 francs, they could hire an agreeable 
 house at Versailles, have ten servants, 
 four horses, two coachmen, and a good 
 dinner every day, the 6000 or 7000 francs 
 that Guercino expended every year, 
 though he had no rent to pay, must have 
 procured him, in Italy and some years 
 before, an existence not less comfortable. 
 It is true that his exceeding charity and 
 liberality must have made a good part of 
 the outlay." Perhaps it may not be 
 uninteresting to know the prices of some 
 of Guercino's works ; the admirable 
 Agar, in the Brera museum, was paid 
 70 crowns 1 lib. 8 sol. (333 fr.); the St. 
 Bruno, in the gallery of Bologna, 781 
 crowns (3,373 fr.) ; the St. Jerome start- 
 ing up at the sound of the trumpet, in 
 the gallery of the Louvre, 295 crowns 
 (1,274 fr.). A picture of Angelica and 
 Medoro, singularly enough presented by 
 the town of Cento to Cardinal Ginetti, 
 legate of Ferrara, was paid 351 crowns 
 (1,516 fr.); another on the same subject, 
 ordered with greater propriety by a 
 Frenchman, the marquis Duplessis Per- 
 lin (Praslin), 312 crowns and a half 
 (1,3?,0 fr.); the portraits of the duke and 
 duchess of Modena, of the natural size, 
 630 crowns (2,721 fr.). The price of 
 certain paintings was sometimes paid in 
 provisions ; for instance, one Sebastian 
 Fabri pays in wheat for a St. Bartho- 
 lomew to the value of 432 crowns 
 (1,866 fr.), and a Madonna della Neve, 
 which costs him 62 crowns (267 fr.). 
 It is doubtful whether this patriarchal 
 and primitive system of barter would 
 suit the taste of" our artists in the pre- 
 sent day. 
 The Lambertini, now the Ranuzzi, is 
 
 • See this passage of the Felsina pittrice of Count 
 Malvasia. Guercino was, says he, "amatore de' po- 
 veri, die sempre mai aveva intorno quando usclva 
 di casa, onde pareva il padre di essi; e si prendeva 
 gusto a discorrer con loro. Solle?6 dalie miseiie 
 caolti amici cbe se gli raccommandarono ne' loro 
 
 remarkable for the works of Bolognese 
 painters prior to the Carracci, who, while 
 they surpassed, knew how to appreciate 
 them ; such are the singular ceiling of 
 the upper room by Lauretti ; the Vir- 
 tues, by Sabbatini; the Fall of Icarus, 
 by Samacchini; the Death of Hercules, 
 by Pellegrini, and other paintings already 
 of skilful effect, and honourable to the 
 Bolognese school. 
 
 The Biagi palace has a ceiling by 
 Guido and his school. Another by the 
 same master, the Harpies infesting the 
 table of jEneas, is at the Bianchi palace. 
 The bronze door of the Gozzadini palace 
 is of the most elegant design. The name 
 of this latter palace recalls Betisia Gozza- 
 dini, a famous character in the fabulous 
 history, if we may so say, of the univer- 
 sity of Bologna. I sought in vain, under 
 the porticos, for the desk or little pulpit 
 mentioned by GinguentS, where this lady 
 doctor of laws lectured to ten thousand 
 pupils. Although stenography has in 
 our day given some of our celebrated 
 professors a greater number of disciples, 
 I think it would not be amiss to adhere 
 to the prudent opinion of Tiraboschi 
 respecting Gozzadini, when he observes 
 that the university of Bologna is too rich 
 in glorious and positive facts to require 
 supposititios or uncertain ones. 
 
 The second court of the Malvezzi- 
 Bonfioli palace presents divers subjects 
 from the Gerusalemme Liberata, paint- 
 ed in fresco by Leonello Spada, Lucio 
 Massari, Brizzio, and other able artists. 
 The gallery is rich in paintings of the 
 Bolognese school. The Portrait of the 
 prelate Agucchi, by Domenichino ; a 
 Sibyl, of Guido's youth, are wonderful 
 masterpieces, although the latter seems 
 shaded too heavily. A Beheading of 
 John the Baptist, the favourite subject 
 of Leonello Spada, is perhaps the best 
 of all he made. 
 
 The gloomy Sampieri palace, though 
 its celebrated gallery is sold, has still 
 some fine ceilings and chimney-pieces, 
 by the Carracci and Guercino. 
 
 The imposing old palace of the com- 
 pany of Stracciaiuoli (drapers) of the 
 end of the fifteenth century, now one of 
 
 bisognl, e anco cavallieri, con prestargli danari- 
 Fu amatore tenerissimo de' proprii parenti, ocde a 
 tutli fece fortuna, e maritd le nipoli, e ne fece 
 monache con darle buona dote, con tener conto de' 
 nepoti, de' cognati ; liberale, ed ospitaie in sua casa 
 a sommo segno." 
 
 22. 
 
258 
 
 BOLOGNA. 
 
 [Book VIII. 
 
 those many good inns of Italy called 
 Swiss boarding-houses, is attributed by 
 tradition to the illustrious Francia, well 
 known as a painter, goldsmith, and 
 engraver, and who seems to have been 
 an architect also. 
 
 CHAPTER X. 
 
 Houses of Ilosslni,-and Martinetli. 
 
 Bologna, like Venice, has some houses 
 not less illustrious than her palaces; • 
 such arc the Casa Rossini and the 
 Casa Martinetli. The house of Ros- 
 sini is well placed at Bologna, a town 
 devoted to the arts and the most mu- 
 sical in Italy. 3 This house, built in 
 1825, had its exterior .covered with La- 
 tin inscriptions in large gold letters, 
 chiefly taken from classic authors; the 
 following from Cicero does not appear 
 over modest : Non domo dominus, sed 
 domino domus : the principal part 
 were allusions to the musical glory of 
 the proprietor; I recollect the verses 
 on Orpheus, from the sixth book of the 
 JEneid : 
 
 Obllquitur uumer is septem discrimina vocum, etc. 
 
 on the choirs of musicians in the Elysian 
 Fields : 
 
 Laelumque ehoro Paeana eanenles, 
 
 Inter odoratum louri nemus 
 
 In the interior, a fat Apollo standing 
 is meant for a likeness of Rossini, who 
 was much annoyed by these unexpected 
 embellishments executed by the architect 
 
 i See ante, book vi. cb. x., on the houses of Al- 
 hrlzzi and Cicognara. 
 
 '' The academy de' Filarmonici, founded in 1GGG 
 by Vicenzo Carrali, lias counled the most eminent 
 composers in Europe among its members; the Ly- 
 ceum Filarmonico, created In 1805, something like 
 the Conservatoire of Parts, has a hundred pupils 
 liberally maintained at the expense of the town, 
 this establishment possesses the valuable musical 
 library formed by a learned Bolognese prolessor of 
 music, P. Martini, a Franciscan monk; It consists 
 of seventeen thousand volumes, of a great number 
 of manuscripts excellently classilied, and Is Ihc 
 richest in existence of ils kind. Algarolti, when 
 addressing to Frederick the History of P. Martini's 
 music, singularly eulogises him by saying, "that 
 in the midst of modern corruption, he retained in 
 his comp silions the diguily of the ancient music." 
 [Lett, to can., of the nth April, nci.) Jomelil, 
 
 in his absence, and intended to have 
 them effaced. Such compliments were 
 indeed somewhat out of place at one's 
 own house, and I think that the osten- 
 tatious, but concise inscription : 
 
 Amphlon Thebas, ego domum, 
 
 put by the musician Caffarelli on his 
 palace at Naples, must be preferred to 
 so many quotations.- 
 
 The house of Martinetli unites the 
 Italian splendour of art, English com- 
 forts, and French elegance. It is the 
 abode of a superior woman, celebrated 
 among those members of the higher cir- 
 cles of European society that visit Italy, 
 for her beauty, wit, and unusual acquire- 
 ments. I fancied that Cornelia bore 
 some resemblance in her life, destiny, 
 and accomplishments, to a French lady 
 whose gracefulness and generous cha- 
 racter we have had occasion to mention : * 
 both of them beloved by king's sons, two 
 great artists of France and Italy have 
 chosen them for types of their first chefs- 
 d'eeuvre : the face of Madame R******* 
 revealed to Canova the inspired features 
 of Dante's Beatrix; Signora M*********, 
 under Gerard's pencil, was the model of 
 .Madame de Stael's Corinne. Notwith- 
 standing so much brilliancy, success, and 
 homage, with that kind of glory con- 
 ferred by fashion and fortune, these two 
 ladies have, lived for some few noble 
 friends, the arts, and study ; adversity 
 has since added, with some persons, to 
 their attractions ; freed from a vain and 
 importunate court, their asylum, which 
 was formerly only a palace, is become 
 the temple of taste, learning, and genius. 
 
 Gluck, Mozart, sought the advice of this Franciscan. 
 Gretry relates in his Memoirs, that having a desire 
 to enier the academy </<•' Filarmonici, the rule 
 requiring every candidate to fugue a verse of 
 church music taken at hazard, made him afraid. 
 " Cut the good counsels of the famous P. Martini,' 1 
 says he, "soon gave me asufflclenl insight, and 
 were the great cause ol my success." A lady of 
 distinction in Parisian society, of superior musical 
 talent, was received In tsi'S Into (he academy de' 
 Filarmonici .' t ne countess Merlin hod no occasion, 
 like Grtlry, to have recourse to any person's coun- 
 sels, it was sufficient for her to sing : her letter of 
 admission was presented to her with due ceremony 
 at the Casino, where she had sung, wilhoul her 
 having the slightest idea that such an honour was 
 intended. 
 
 3 De Officiis, i. 39 llwnestuivta is understood). 
 
 < See book vi, ch. x. 
 
Chap. XI] 
 
 BOLOGNA. 
 
 2S9 
 
 CHAPTER XI. 
 
 Opera L'ouse— Conlavalli theatre. -Tabarin. 
 
 The opera house of Bologna is built on 
 the ruinsof the Bentivoglio palace, which 
 was demolished by a riotous mob, the 
 ministers of Julius II. 's vengeance ; and 
 the memory of this pontifical fury forms 
 a singular contrast with the destination 
 of the new edifice. This theatre, built 
 of stone both within and without, is a 
 celebrated work of Antonio Bibiena, an 
 architect who seemed to monopolise the 
 erection of theatres during the last cen- 
 tury; but this is dull-sounding, and far 
 from being in good taste; it has been 
 several times renovated, and once re- 
 cently. The curtain, which represents 
 the marriage of Alexander and Roxana, 
 is a famous production of the best living 
 painter of Bologna, S. Pietro Fancelli, 
 who imitated both the Carracci and the 
 Venetian school, and was himself the 
 son of an esteemed painter of Bologna. 
 
 I attended the performances in Oc- 
 tober 1828. If I were surprised at seeing 
 the ballets of Agamemnon and Zaire 
 at La Scala, I was still more so on 
 beholding Gioja's Gabrielle de Vergy 
 at Bologna. The despair and metrical 
 madness of Gabrielle and Fayel were a 
 spectacle at once fantastic and horrible, 
 the ballet being merely the French piece 
 stripped of its entertainments and bad 
 verses. The opera was Rossini's Assedio 
 di Corinto, followed by Zelmira : Cos- 
 selli, a good actor and excellent counter- 
 tenor, played Mahomet; the actresses 
 were intolerably bad. The opera of Bo- 
 logna had that year attained such mag- 
 nificence in decorations and costumes as 
 to be worthy of comparison with La Scala. 
 S. Ferri and the Bolognese scene-painters, 
 whose talents have since been brought 
 into requisition in our Italian theatre, 
 seem to have chosen a medium between 
 the effect of Sanquirico and the painting 
 of Ciceri; Mahomet's tent and Gabrielle's 
 chamber were fine and pleasing pic- 
 tures. There were horses, as at our 
 opera, and even in greater number; 
 their too numerous evolutions came in 
 ludicrous succession to the dances of 
 knights and ladies in Gabrielle, making 
 a medley of ball and manege as offen- 
 sive as our own. As to the luxuriance 
 of the flowerpots, the baskets, and gar- 
 lands of roses, any one might have 
 
 thought himself, but for the freshness of 
 the decorations, at a French opera of the 
 olden time. I observed that in this sta- 
 tionary state the old opera manners had 
 not been changed. The scenes were ac- 
 cessible and seemed tolerably gay, while 
 the petticoats and corsets had undergone 
 no reform ; only the drawers were white 
 instead of being flesh-coloured. The 
 opera of Bologna attracted crowded au- 
 diences; it was, that year, the best got 
 up in all Italy ; but amid all these pomps, 
 there was only one singer, Cosselli, and 
 madame Adelaide Mersy, a very pretty 
 dancer. 
 
 The Contavalli theatre was built in 
 1814, in a part of the ancient convent of 
 the Carmelites of Saint Martin Major; 
 in fact, the approach to the theatre is by 
 the old convent stairs. 
 
 In 1827 a very lively piece was played 
 at the Corso theatre, imitated from Mo- 
 ratin, called the Donna di falsa appa- 
 renza, a kind of feminine Tartufe; the 
 performance of such a piece in the papal 
 states was rather strange, and proved 
 the existence of a kind of dramatic li- 
 berty at Bologna. 
 
 I attended several representations of 
 Tabarin (the doctor). The Doctor is the 
 popular personage at Bologna, like Giro- 
 lamo at Milan; it is evident, from his 
 Yery ancient title, that he originated in 
 a university town. Tabarin is a fair- 
 spoken cit, who cannot express his 
 ideas in good Italian ; he has always been 
 distinguished by the freedom of his lan- 
 guage on passing events, and was more 
 than once silenced under the French 
 domination : in one instance, alluding 
 to the heavy imposts levied in Italy, 
 called in the Moniteur the Daughter of 
 France, he had remarked that it was 
 commonly the case for the mother to give 
 to the daughter, and not the daughter 
 to the mother. The Tabarin theatre is 
 pretty and has private boxes; they begin at 
 eight o'clock like the great houses, and 
 on the curtain is written the magisterial 
 but unassuming motto of Facile e il cri- 
 ticar, difficil V arte, a translation of the 
 verse 
 
 La critique est aisie, et Tart est difficile, 
 
 so frequently attributed to Boileau, 
 though not his. 
 
 The machinery of the puppets of the 
 Tabarin theatre is inferior to the Fan- 
 
260 
 
 BOLOGNA. 
 
 Book VUL 
 
 loccini of Milan, although the figures are 
 of much larger proportions. In one of 
 the pieces that I saw played, Tabarin was 
 named secretary of state by a king of 
 Egypt; despite the gravity of his title, 
 the whole court laughed at him. The 
 vulgar dialect of Bologna renders his 
 humour almost unintelligible to stran- 
 gers, but it nevertheless seemed to me 
 that Tabarin had not altogether lost his 
 old opposition habits. 
 
 CHAPTER XII. 
 
 Custom-house.— Spanish and Flemish colleges 
 
 Bastards.— Scuole.— Vcnturoli college. 
 
 A tomb from the plans of Giulio 
 Bomano ( that of doctor Boccaferri ), 
 is at the Custom-house, the superb old 
 church of the Minorite friars of Saint 
 Francis. Assuredly no other country 
 than Italy can boast the work of a great 
 master in a place generally so devoid of 
 poesy. 
 
 The Spanish college (collegio reale 
 della illuslrissima nazione spagnuola) 
 merits a visit, although the frescos, by An- 
 nibale Carraccio in his youth, and most 
 of those by Bagnacavallo, have nearly 
 disappeared. An immense fresco by the 
 latter offers remnants full of truth and 
 expression ; it represents the corona- 
 tion of Charles V. at Bologna by Pope 
 Clement VII.; who then beheld, 
 prostrate at his feet, that emperor 
 whose captive he had been ; the face of 
 Charles V., but little injured, is singularly 
 crafty ; the head of the poet Trissino, who 
 had the honour, coveted by the most 
 illustrious princes, of being the pope's 
 Irainbearer, is one of those that have 
 suffered least; he is dressed as a knight, 
 and any thing but a bishop or archbishop, 
 as one might imagine from Voltaire's 
 account. The painting of the Bolognese 
 Bagnacavallo is contemporary with the 
 event it portrays, and is, besides, very 
 curious in an historical point of view. 
 Varchi relates that so great was the 
 affluence of princes and prelates at Bo- 
 logna, that provisions, which were pre- 
 viously very cheap or even given away, 
 sold at high prices, and that for once the 
 lown overflowed with money : a contri- 
 bution raised by the pope on bis precipi- 
 tate departure for want of money and 
 
 credit considerably abated the satisfaction 
 of the inhabitants. There were but four 
 students at this royal college della ilhis- 
 trissima nazione spagnuola. 
 
 The Flemish college, a singular insti- 
 tution, in which are still educated four 
 young men or Brussels chosen by the 
 goldsmiths' company of the parish of Saint 
 Mary of the Chapel in that town, presents 
 a very fine portrait of the founder Jean 
 Jacobs, a Flemish goldsmith, by Guido, 
 his friend. 
 
 The hou?e of Bastards ( Bastardini), 
 formerly a convent of Benedictines, where 
 there is a superb St. Benedict, half- 
 length, by Cesi, has been enlarged. 
 According to the register of births for 
 the some years past, the proportion of 
 natural children at Bologna is about one 
 seventh *. 
 
 The edifice of the Schools (scuole), by 
 Terribilia, once the seat of the university, 
 is one of the finest in Bologna. The edu- 
 cation given gratuitously to the poor 
 children of the town appears of a rather 
 high order, as arithmetic, Latin, singing, 
 and drawing make part of it : the teachers 
 are partly ecclesiastics, partly laymen. 
 A professorship of chemistry and physics 
 as applicable to the arts is to be estab- 
 lished at the scuole, with funds proceed- 
 ing from the legacy of a generous Bolo- 
 gnese, Professor Giovanni Aldini, a 
 profound natural philosopher, who was 
 counsellor of state under the kingdom of 
 Italy. The frescos of Cesi, at the chapel 
 of Saint Mary de' Bulgari, representing 
 the history of the Virgin, the Sibyls, the 
 Prophets, etc., are tasteful and in good 
 preservation: the Annunciation is by 
 Fiammingo. The side building has some 
 very fine paintings by Samacchini, Sab- 
 batini and their pupils. The splendour 
 of art is thus lavished even on these 
 charity schools. 
 
 The Venturoli college, founded in 
 1825, is intended for architectural studies; 
 this college, a benevolent foundation of 
 the architect whose name it bears, sup- 
 ports about eight pupils till their twen- 
 tieth year, but the number was to be 
 augmented. We see from this, that 
 Bologna has not forgotten the glory of 
 her ancient schools, whether in science, 
 letters, or arts, and that she still labours 
 to produce masters not less illustrious. 
 
 i See, on the same subject, book xni, eb. U. 
 
Chap. XIV.] 
 
 BOLOGNA. 
 
 3fil 
 
 CHAPTER XIII. 
 
 Asinelli lower.— View.— La Garlsenda. 
 
 Of all the towers, domes, steeples, and 
 lighthouses that a traveller blessed with 
 a conscience and legs may have to climb, 
 one of Ihe very rudest to ascend is doubt- 
 less the Asinelli tower, its winding stair, 
 a kind of long ladder, is so little practi- 
 cable. This tower, the most elevated in 
 Italy, and even some feet higher than the 
 I vane of the dome at the Invalides, is some 
 times used for astronomical observations; 
 I should not be much surprised, though 
 very sorry, if one of the astronomers who 
 linount it were one day to experience the 
 i accident of La Fontaine's astrologer. 
 
 The view is pleasing : it has neither 
 
 (the immensity of that from theDuomoof 
 
 {Milan, nor the unique horizon of the 
 
 steeple of Saint Mark, but the plain is 
 
 smiling, and the Apennine, on this side, 
 
 instead of its arid summits, only presents 
 
 i succession of pretty well-wooded hills 
 
 :overed with charming villas. 
 
 II The leaning tower near the Asinelli 
 s not so high ; the Garisenda has sup- 
 plied Dante with one of his numberless 
 picturesque images, in which he com- 
 pares the giant who stoops to seize him 
 ind his guide to this tower, when the 
 •Jouds are flying over its battlements : 
 
 Qual pare a riguardar la Garisenda 
 Sotto '1 chinato, quand' un nuvol vada 
 Sovr' essa si, ch' ella in contrario penda ; 
 
 Tal parve Anteo. 1 
 
 The inclination of the Garisenda is not 
 in effect of art, but of the sudden sinking 
 if the soil ; it is amazing that it has since 
 vithstood so many violent earthquakes ; 
 t appears henceforth immovable, like 
 ertain minds that an early catastrophe 
 as much rather surprised than over- 
 vhelmed, and which seem on the con- 
 rary strengthened by the fall. 
 
 CHAPTER XIV 
 
 i Inf., \h.ku 
 
 Environs.— Saint Michael in llosco.— Madonna dl 
 San Lvca.— Campo Santo.— Suicides. 
 
 The church of the Annunsiata has 
 some remarkable paintings .- the Cru- 
 cifix, Magdalen, the Virgin, and Si. 
 Jerome; an Annunciation, byFrancia; 
 the superb St. Francis entranced, by 
 Gessi, whose appellation of the Second 
 Guido is justified by this painting; the 
 Madonna del Monte, by Lippo Dal- 
 masio. Under the beautiful portico out- 
 side the church are frescos representing 
 the Life of the Virgin, which were chiefly 
 executed by Giacomone da Budrio, an 
 easy painter of the Carracci school; the 
 Shepherds ivor shipping the Saviour at 
 his Nativity is by Paolo Carraccio, on 
 the drawing of his brother Ludovico 
 
 The frescos of the Madonna di Mez- 
 zaratta, often much extolled, the work 
 of masters of the fourteenth century, 
 have suffered from the effects of lime, 
 and above all from the alterations and 
 repairs of this antique little church, at 
 present the property of a distinguished 
 Bolognese lady, Signora Rosa Sarti 
 Minghetti. The most celebrated and 
 best preserved of these paintings are : a 
 great Nativity, with a multitude of an- 
 gels, attributed to Vitale; a woman 
 seated and spinning, with two graceful 
 children playing together, and near them 
 a man labouring, figures which perhaps 
 represent^dom and Eve; Noah build- 
 ing the ark; the four subjects from the 
 History of Moses, differing in style, one 
 of which, the Punishment of the rebel- 
 lious, recalls Giotto's heads and is pos- 
 sibly by him. 
 
 Saint Michael in Bosco, situated on a 
 delightful eminence, which Annibale 
 Caro recommended iu his letters to our 
 cardinal of Vendome, Charles of Bour- 
 bon, as a charming retreat "during the 
 heats of summer, was a first rate monu- 
 ment of monastic splendour in Italy. 
 This wonder of art is nothing now but a 
 great desolate pile of buildings, which, 
 since the suppression of the monastery, 
 have been used as barracks and a prison. 
 The frescos of the Carracci and their 
 school have almost disappeared; those 
 walls and ceilings, once so animated and 
 lifelike, are to-day in ruins; some touches 
 
se? 
 
 BOLOGNA. 
 
 [ Book V11J. 
 
 still survive, as if to show to what 
 extent destruction has proceeded. We 
 have here a proof that civilisation equals 
 barbarism in its ravages; being power- 
 less against the passions, it has never, 
 either among the ancients or the mo- 
 derns, exceeded a certain boundary; it 
 neither prevents wars, invasions, con- 
 quests, nor the other calamities of glory, 
 and the bayonet of the Polish soldier of 
 the army of Italy, which has pierced 
 those admirable paintings in a thousand 
 places, was no less destructive than the 
 battle-axe of his ancestors the Huns, in 
 whose steps he trod. 
 
 The superb old library of Saint Mi- 
 chael in Bosco, celebrated for its inge- 
 nious iigures, can no longer be recog- 
 nised : the librarian, the abbe Pepoli, 
 instead of inscribing the titles of the dif- 
 ferent subjects, ordered paintings by 
 Canuti, a clever pupil of Guido, repre- 
 senting the principal writers in discus- 
 sion, each according to the character of 
 his works: the dispute between the an- 
 gelic and the subtile doctors on the uni- 
 versal a parte rei, placed over the 
 shelves of scholastic philosophy, is said 
 to have been regarded, for fire and ex- 
 pression, as the chef-d'oeuvre of this 
 bibliographic painting. 
 
 On mount Guardia, one league from 
 Bologna, is the famous church of the 
 Madonna di San Luca, containing the 
 venerated miraculous picture of the 
 Virgin, painted by Saint Luke, as the an- 
 cient" tradition states, which was brought 
 by a hermit in 1160 from Constantinople 
 to Bologna, where it was deposited in 
 a solitary chapel dedicated to that evan- 
 gelist, and inhabited by a holy maiden 
 of Bologna, named Angela. A magni- 
 ficent arch serves as propylaeum, or en- 
 trance, to six hundred and thirty-five 
 arcades leading from the town to the 
 temple of the Madonna. These porticos 
 prove the extraordinary devotion of the 
 Italians, no less than their tasle for 
 works of masonry j they were built in 
 less than a century, despite the inequal- 
 ities of the soil, with funds supplied 
 by voluntary contributions, donations 
 from corporations and communities, 
 and even the offerings of the domestics, 
 of both sexes, of Bologna. I observed 
 also among the inscriptions commemor- 
 ating the divers founders that a theatrical 
 manager gave a performance, for the 
 
 purpose of devoting the receipts to the 
 erection of some of these pious porticos. 
 
 The magnificence of the present church 
 of the Madonna di San Luca is of the 
 last century. The high altar was rebuilt 
 in 1815; except a Madonna and St. Do- 
 minick, one of Guido's first essays, this 
 church, the object of so much popular 
 devotion and so many pilgrimages, pos- 
 sesses no works by the great Bolognese 
 masters. 
 
 The church of the Scalzi is adorned 
 with good paintings, among which may 
 be remarked the Holy Family, by Pa- 
 sinelli, a lovely charming work of this 
 fiery painter, who, in this case, bears 
 some resemblance to Albano. 
 
 The ancient Chartreuse of Bologna is 
 now the Campo Santo. The church 
 still presents some remarkable works : the 
 Last Judgment, and the two saints ac- 
 companying it, by Canuti ; an Ascen- 
 sion, by Bibiena, which might be sup- 
 posed by Albano, his master; Ihe Christ 
 at table in the Pharisee's house, and 
 Magdalen at his feet, by Andrea Si- 
 rani, a vigorous painter; the Baptism 
 of Jesus Christ, a vast composition in- 
 scribed with the name of his daughter 
 Elisabetta, who executed it in her twen- 
 ty sixth year. The juxtaposition of these 
 two pictures has something affecting, if 
 we remember that Ihe unfortunate end 
 of Llisabetta caused her father's death; ' 
 the Christ entering Jerusalem, the 
 Christ appearing to his mother, after 
 his resurrection, with the host of pa- 
 triarchs, are by Pasinelli ; the Cruci- 
 fixion the Prayer in the garden of 
 Olives, Ihe Deposition from the Cross, 
 by Cesi, with some fine frescos and gilt 
 embellishments by the same. The Christ 
 carrying his cross, a half-length in 
 fresco, is by Ludovico Carraccio ; the 
 same subject, by Lucio Massari, a grace- 
 ful painter, is expressive, varied, and 
 terrible. 
 
 Although the Campo Santo was found- 
 ed in 1801 only, it has already the aspect 
 and character of an older monument, 
 and it may be regarded as quite a model 
 for the cemetery of a large town. Many 
 of the sumptuous mausoleums it encloses 
 are certainly not irreproachable when 
 viewed with an artist's eye, but Ihe 
 
 1 See ante, chap. vl. 
 
OHAP. XiV.] 
 
 BOLOGNA. 
 
 263 
 
 ■whole is magnificent. The inscriptions 
 by the abbe Schiassi are remarkable for 
 the purity and elegance of their Latinity. 
 A separate enclosure is appropriated to 
 the proteslants and Jews, but there is no 
 exclusion in this cemetery : even suicides 
 are not refused; it is the same at Rome, 
 a bull of Benedict XIV. a holy pope and 
 great divine, having declared suicide an 
 act of insanity. If any penalty could be 
 
 inflicted on these unhappy ones, the Si- 
 lesian custom would appear reasonable ; 
 they are there buried face downwards : 
 in this chastisement there is a sort of 
 moral lesson, without the odium of a dis- 
 graceful sentence, of the confiscation of 
 property, or of those punishments in- 
 flicted on corpses by the barbarity of our 
 ancient laws. 
 
264 
 
 PARMA. 
 
 I Book IX. 
 
 BOOK THE NI1NTH. 
 
 PARMA. -MO DEN A -MANTUA. 
 
 CHAPTER I. 
 
 Reno.— Modena.— Ducal palace.— Gallery. -Library. 
 —Museum of Inscriptions.— Autographs. 
 
 The road from Bologna to Modena 
 crosses the Reno. That famous island 
 must have been in the neighbourhood of 
 Sarnoggia, in which the triumvirs met 
 for three days ; where they mutually bar- 
 tered away the lives of their friends and 
 enemies; where, in the frenzy of their 
 cruelty, they even commanded every 
 one, under pain of death, to rejoice at 
 their proscriptions ; where, in short, Ci- 
 cero's head was bargained for during 
 two days, and became the pledge of their 
 union ; this island, diminutive in size, but 
 equal in celebrity to the most noted in 
 history, disappeared in an earthquake : as 
 if nature, benevolent in her anger, had 
 wished to sweep away all vestige of 
 such atrocities. 1 The river itself, the 
 ancient Labinius, has lost its name, and 
 appears there only a kind of straggling 
 torrent in a Geld of gravel. 
 
 The plains adjacent witnessed the 
 dying struggles of Roman liberty; but 
 Antony's defeat at Modena made no real 
 change in the state of affairs; the senate 
 did not take warning from it. and the 
 fate of the consuls Hirtius and Pansa on 
 the Geld of battle was but the prelude to 
 the republican and stoical deaths of Bru- 
 tus and Cassius. 
 
 Modena ■with its porticos has an air of 
 comfort and prettiness. The palace, its 
 gallery, and library are nearly all the 
 town. ThisextensivemagniGcentediGce, 
 with its superb court, is out of propor- 
 tion with the petty state of the sovereign 
 who inhabits it: such is the pomp ever 
 required fromsovereignty.howeversmall 
 it may be. The gallery received nume- 
 rous paintings returned from France, 
 and has been augmented by many fresh 
 
 1 It would be extremely difficult to ascertain 
 exactly tbe position of tbis island, but tbe best-in- 
 formed men of Modena believe It was between tbe 
 
 acquisitions. The principal paintings : 
 Mars, Venus, and Cupid, the Marriage 
 of St. Catherine; the Martyrdom of St. 
 Peter, by Guercino ; two large paintings, 
 the Gne Christ on the Cross and St. 
 Rocli in his prison, by Guido ; the As- 
 sumption ; Venus and Cupid, Flora, 
 by Ludovico Carraccio; Pluto and other 
 divinities, by Annibale; St. Francis 
 presenting floivers to Jesus Christ ; the 
 Virgin in a glory of angels, by Leonello 
 Spada; a superb Garofolo ; the Virgin, 
 St. John the Baptist and St. Lucy; a 
 Christ, by Pomarancio; the Death of 
 Clorinda, by Ludovico Lana, a Modencse 
 master, and imitator of Guercino; se- 
 veral of the best paintings by the two 
 Dossi, such as the Birth of Christ an- 
 nounced to the Shepherds, the Infant 
 Jesus in the manger, masterpieces that 
 have all travelled to Paris; the Aurora 
 carrying o/fCephalus, by Albano ; an 
 Ascension, with the twelve apostles of 
 natural size, by Francia ; the celebrated 
 Circumcision, with colossal Ggures by 
 Procaccini ; a Christ on the cross, by 
 Maniegna, which has above a hundred 
 Ggures; a Holy Family, by Andrea del 
 Sarto ; the Adoration of the Magi, by 
 Palma ; a graceful Nativity, heretofore 
 religiously preserved in the church of 
 Saint Paul, a chef-d'eeuvre of Pellegrino, 
 of Modena, an able painter, and worthy 
 pupil of Raphael, who was assassinated 
 by the relations of a man whom his son 
 had killed. 
 
 The library is the famous old one of 
 the house of Este, whose name it retains 
 {Biblioteca Estense); it was removed to 
 Modena when Cesare d'Este retired 
 thither, after Pope Clement VIII. had 
 stripped him of his dukedom of Ferrara ; 
 so that this prince was deprived of his 
 dukedom as a bastard by a pope whose 
 predecessor in name, Clement VII., was a 
 natural son of Giuliano de' Medici. It 
 
 torrents of Sarnoggia and Lavlno, on an estate con 
 belonging to a family of Bologna. 
 
Chap. 1.] 
 
 MODEM. 
 
 2G5 
 
 appears that in its hasty removal, the li- 
 brary suffered irreparable loss, and was, 
 moreover, neglected by the three or four 
 first successors of the dethroned prince. 
 It was not till the end of the seventeenth 
 century and the beginning of the eigh- 
 teenth that it was put in order and en- 
 riched with printed books and manu- 
 scripts by the exertions of the dukes 
 Francesco II, and Francesco III. This 
 library has been honoured by having for 
 its managers two of the best writers on 
 literary history, Muratoriand Tiraboschi: 
 Muratori was a colossus of learning, and 
 seems to have almost attained glory by 
 his labours; one is surprised to find in 
 him a good parish priest besides, occupied 
 with his poor, the guidance and salva- 
 tion of his parishioners, and the service 
 of his church ; ■ Tiraboschi was a man of 
 sagacious mind, but a prolix writer, and 
 his useful work, the History of Italian 
 literature, is more useful as a book of 
 reference than interesting to read. 
 
 The Modena library amounts to ninety 
 thousand volumes, and three thousand 
 manuscripts. The latter are, for the 
 most part, in good condition. I observed : 
 the Gospel, in the order of the Greek 
 liturgy, of the eighth or ninth ceutury 
 (Montfaucon says the eighth) ; the Mis- 
 cellanea, of Theodore Studite, a Greek 
 manuscript of the fourteenth century, 
 not printed ; numerous miniatures on 
 sundry manuscripts, by the clever Flo- 
 rentine Altavante, several of which have 
 his signature and were part of the library 
 of Malhias Corvin (Attavante being one 
 of the four miniature painters that the 
 magnificence of this king of Hungary 
 maintained at Florence); two superb vo- 
 lumes of the Bible, covered on every page 
 with rich and elegant miniatures of the 
 Mantuan Franco de' Russi and Taddeo 
 Crivelli, for which the Duke Borso d'Este 
 paid these incomparable artists the sum 
 of 1275 sequins, about 600 pounds ster- 
 ling. A manuscript of Saint Jerome's 
 Letters, executed in the year 1157 at the 
 expense of the ladies of Modena, whose 
 names are given at the end of the manu- 
 script; a bibliographic fact, exhibiting, 
 in the middle of the twelfth century, a 
 taste for religious literature and a sin- 
 gular state of civilisation. 
 
 A Ptolemy's Cosmography in Latin, 
 
 ' Muratori was reclor of Santa Maria Pomposa 
 of Modena; be rebuilt tbe church, instituted tbe 
 
 with miniature maps, carefully drawn 
 by a German, Nicholas Halm, in the 
 fourteenth century, is curious, as de- 
 monstrating the extent of geographical 
 knowledge among the ancients ; Africa is 
 covered with towns, and seems to have 
 been better known to them than our- 
 selves, who, for ages past, have only vi- 
 sited its coasts; Switzerland seems also 
 laid down in detail and accurately ; the 
 middle of Europe is in some parts as a 
 desert, and the courses of rivers are very 
 inaccurately indicated. 
 
 The unpublished manuscript of the 
 General History by Flavio Biondo, a 
 writer of the end of the fourteenth cen- 
 tury, is one of the earliest universal his- 
 tories. This work ought to extend from 
 the decline of the Roman empire to the 
 author's days; it was divided into decades 
 like Livy, but only three, with the first 
 book of the" fourth, are now extant. 
 Flavio Biondo's treatise, till now unknown 
 to the learned, De militaris artis et 
 jurisprudential differentia ad III. prin- 
 cipem Borsum Epistola (No. clxviii of 
 the Italian manuscripts) is also imperfect. 
 
 The Collection of Provencal poetry 
 made for the marquis d'Este by his 
 famous troubadour, Maestro Ferrari, of 
 Ferrara, in 1254, did not escape Mr. Ray- 
 nouard's researches; it contains three 
 hundred and forty-five leaves, and one 
 thousand four hundred and seventy-four 
 pieces, some of which are not found 
 elsewhere, and may be reckoned one of 
 the oldest and most curious manuscripts 
 of troubadour poesy; above all, it proves 
 the extraordinary favour that the lan- 
 guage and poetry of Provence enjoyed in 
 the very bosom of the Italian courts. 
 
 A manuscriptof Dante of the fourteenth 
 century, on parchment, perhaps too 
 highly spoken of by Montfaucon, a better 
 judge of Greek and Latin erudition than 
 of Italian literature, to whom it had 
 probably been recommended by Mura- 
 tori, has some curious figures in Giotto's 
 style. The commentary of Benvenuto 
 d'Imola shows the marks made by Mu- 
 ratori at the passages he has mentioned in 
 his Rerum italicarum Scriptores, a vast 
 and laborious monument, the true model 
 for historical collections of that kind. 
 
 The unpublished manuscript in iambic 
 verse, entitled De captivitate ducis 
 
 sociely dclla Caritd, and contributed to the erccllon 
 of a Mont-dc-riele. 
 
 23 
 
266 
 
 MODENA. 
 
 [Book IX. 
 
 Jacobi Tragwdia, by Laudivio, a poet of 
 the fifteenth century, is one of the first 
 dramatic attempts of the revival. The 
 subject is the captivity of the celebrated 
 general Jacopo Piccinnino, imprisoned 
 and assassinated by order of Ferdinand- 
 tbe-Catholic. The piece has five acts, 
 with choruses ; in the fourth act King 
 Ferdinand discusses with the executioner 
 what line of conduct he shall adopt 
 towards Piccinnino, who has surrendered 
 to him on the faith of treaties; the exe- 
 cutioner opines that he ought to be killed, 
 and easily carries the point with the king. 
 The hero is afterwards seen in his prison ; 
 the executioner enters, and declares with 
 regret the order he is charged to execute, 
 and then does his office. 
 
 The beautiful manuscript of the ten 
 Eclogues dedicated by Bojardo to his 
 protector, Ercole I. duke of Ferrara, of 
 the purest and most elegant Lalinity, has 
 been reprinted with notes and various 
 readings in the edition given by Professor 
 Giambattista Venturi ^(Modena, 1820). 
 The author of Orlando innamorato, an 
 epic poet full of imagination, was also, 
 like the great poets of the fifteenth cen- 
 tury, a man of great learning, who had 
 translated Herodotus and Lucian, had 
 even studied the oriental languages, and, 
 for all his high birth, was doctor in phi- 
 losophy and law. 
 
 The manuscripts of Tasso are very 
 numerous; his lyric poems have been 
 printed; his letters, a bulky manuscript, 
 were partly collected by Muratori, or 
 communicated by extracts to Serassi, the 
 historian of Tasso, by his friend Tira- 
 boschi. Some still remain unpublished, 
 but all of them are not worth that trouble, 
 as they merely relate to personal affairs ; 
 we learn from them that this grand poet 
 was punctilious, and much occupied with 
 the counting his shirts, and the inventory 
 of his goods. 
 
 A French manuscript of the fourteenth 
 century, entitled Herbier, presents the 
 plants in miniature; the author is Mr. 
 Urfe, who, by his taste for botany, seems 
 worthy of being an ancestor of the pas- 
 toral author of the Astree. 
 
 The voluminous correspondence of 
 Tiraboschi extends from 1770 to 1794, 
 the year of his death; it is addressed to 
 prelates, cardinals, learned nobles, and 
 most literary characters of his day, and 
 proves the atteution, research, and literary 
 rectitude of this laborious writer. 
 
 The printed works of the Modena li- 
 brary comprise some beautiful and scarce 
 articles. A copy of the Venice Bible 
 (Nic. Jenson, 1476), on vellum-paper, is 
 of a texture and colour superior lo the 
 vellum often used at present. Such a 
 book is one of the many splendid proofs 
 of the perfection of printing at its birth. ' 
 A Horace, on vellum, of the precious 
 Aldine edition (1501), is charming. The 
 collection of Aldine editions is nearly 
 perfect, since the recent acquisitions. 
 
 The primitive editions are very nume- 
 rous, and of the rarest ; in a word, the 
 Modena library offers a rich treat lo 
 amateurs, and deserves to be placed in 
 the first rank of the Italian libraries. 
 
 The Lapidarian museum, begun in 
 1828, contains a great number of inscrip- 
 tions, some noble Roman sarcophagi, 
 and curious monuments of the middle 
 ages and the revival. The Karissimo 
 of an inscription, with a K, would seem, 
 like other instances, lo give an antique 
 origin to the Florentine aspiration. The 
 part of the monuments from the middle 
 ages to the sixteenth century embraces 
 nearly all the art of Modena. The sculp- 
 tures of the antique tomb of Professor 
 Jacopino Cagnoli, of the year 1312, which 
 represent him in his chair, are of a mar- 
 vellous beauty, which maintained the 
 same degree of perfection for nearly half a 
 century. The sculptures of the ancient 
 sarcophagus consecrated by Cardinal 
 Sadolct to his father Giovanni Sadolet, a 
 jurisconsult of Modena, have the grace- 
 fulness and taste of that epoch; the 
 Virgin, the infant Jesus, and the two 
 little angels of the upper part seem to be 
 the last works of Guido Mazzoni, a clever 
 Modenese artist, who executed them in 
 1516, on his return from France. 
 
 At a time when the mania for auto- 
 graph collections has become almost 
 European, Modena has a remarkable one 
 of more than eighteen hundred pieces, 
 written by princes, statesmen, warriors, 
 scientific and literary characters, artists, 
 ecclesiastics, etc. This collection was 
 formed by S. Gaudini, brigadier of the 
 duke's body-guard of nobles, director of 
 music to the court, and composer, a li- 
 beral amateur who permits copies lo be 
 taken, has printed his catalogue, and 
 does not evince that sort of avarice and 
 jealous selfishness too common among 
 possessors of such treasures. 
 1 See book vi. chap. xll. 
 
Chap. II.] 
 
 MODENA, 
 
 267 
 
 CHAPTER II. 
 
 Cathedral.— Stee .e.—Secclu'a rapita.— Saint Au- 
 gustlue.— Muratori. 
 
 The cathedral of Modena, of a Lom- 
 bard gothic, of the end of the eleventh 
 century, is neither so ugly, nor of such 
 bad taste, as represented by the Guide- 
 books and Lalande : the pulpit, of 1322, 
 is regarded as a monument characteristic 
 of the art. Near the altar of relics is 
 interred the elegant but licentious poet 
 Francesco Molza, an inveterate pro- 
 fligate, who died in misery from a malady 
 consequent on his debauchery : the tomb 
 is of nobie simplicity, and has a figure of 
 the Eternal Father, two small angels 
 and ornaments of exquisite taste; it ap- 
 pears to be by Jacopo Tagliapietra and 
 Paolo his son, excellent Modenese artists 
 of the sixteenth century. A splendid 
 mausoleum of Carrara marble, a tolerably 
 good work of the latter days of Pisani, 
 director of the academy of Fine Arts of 
 Modena, has been erected by his daughter 
 to Duke Ercole III., last scion of the 
 house of Este, a good prince, a lover of 
 letters, upright, economical, but by no 
 means niggard in his public works; he 
 died in exile after the loss of his treasury, 
 pillaged at Venice, contrary to the law 
 of nations, by the plunderers of the Di- 
 rectory ; an enlightened man, he looked 
 on feudalism as a more fatal scourge than 
 war or the plague, and, before 1789, had 
 predicted the course of the French revo- 
 lution and the coalitions of Europe ; his 
 only fault was the laxity of his morals. 
 
 The steeple (called la Ghirlandina), 
 of the fourteenth century, is an elegant 
 structure, and, like the cathedral, in- 
 crusted with rich remnants of Roman 
 antiquities. There may still be seen, 
 hanging by its chain, the famous deal 
 bucket taken from the Rolognese, which 
 Tassonihas sung. The Secchia rapita, 
 a charming poem, was unfairly criticised 
 by Voltaire both in prose and verse ; ' 
 it is not easy to conceive how so good a 
 judge could assert that work to be void 
 of imagination, variety, and elegance, 
 whereas they are conspicuous in num- 
 berless passages, and supply the want of 
 invention and interest. It would take up 
 too much time to quote the pretty and 
 
 1 Leller to Panclsoucke, of February 28, 1767, and 
 the lirst canto of the Guerre civile ie Geneve. 
 
 poetical details of the Secchia, and such 
 a multiplicity of animated scenes so 
 truly Italian, and so excellent in dia- 
 logue : the idea, so wittily expressed, of 
 flying to assist the strt nger party, is well 
 rendered by the verse on the Bolognese 
 doctor Baldi.... 
 
 Ch' era astuto come veylio 
 
 E sapea secondar 1' onda corrente. 2 
 
 Stanza 17 of the same canto, the Sirene 
 de' Fossi, allettatrici, seems worthy of 
 Ariosto ; so also is stanza 47 of canto III., 
 Ma dove lascio di Sassol la gente ; and 
 this passage of canto VI., stanza 22 : 
 
 Giandon dalla Porretta era un Pelronio 
 Grande come un glgante, o poco meno. 
 
 Stanza 43, canto VI., Qual fiero toro, a 
 cui di fune ignote, and the 22nd of 
 canto VII., Come nubi di storni a cui la 
 caccia, are of the most energetic and 
 sublime poesy. The song of the blind 
 Scarpinel on Endymion (canto VIII. 
 st. 47-63), Dormiva Endimion tra 
 I'erbe e i fiori, is enchanting for its 
 grace, harmony, and voluptuousness : it 
 is probable that these verses were not 
 unknown to Girodct. Voltaire, in that 
 poem of his which one can hardly name, 
 has borrowed certain licentious parti- 
 culars from the Secchia; the verses on 
 that 
 
 Fanlin, predicateur des grands, 
 
 who 
 
 Confessait et volait !es mourants, 
 
 are taken from the 58th stanza of 
 canto I. : 
 
 Quivi trovar, che'l prele della cura 
 
 Gia confortando ancor gli agonizzanti, etc. 
 
 Perhaps Voltaire had the meanness to 
 depreciate Tassoni's work for the pur- 
 pose of concealing his plagiarisms. How- 
 ever undeniable the poetical merit of the 
 Secchia may be, the poet's mind betrays 
 a kind of inferiority and decay. This 
 court poet, resident in the palace of Duke 
 Francesco I., his pensioner and gentle~ 
 man of letters, speaks jeeringly of the 
 old manners and ancient liberty of 
 his country. The continually recurring 
 wars between Modena and Bologna, so 
 
 2 Cant. ii. st. 44. 
 
268 
 
 REGGIO. 
 
 [Book IX. 
 
 remarkably national and bloody, only in- 
 spired bim with burlesque verses: in- 
 stead of his everlasting and imbecile 
 Potta, a modern bailiff, who is perpe- 
 tually thrust forward to do nothing, a 
 kind of comic personage, a poet truly 
 Italian would have painted one of those 
 popular chiefs, one of those impassioned 
 characters of the middle ages, a jealous 
 defender of his country's honour and the 
 interests of his fellow-citizens. Tas- 
 soni's poetry, pure, correct, and elegant, 
 but without earnestness or enthusiasm, is 
 but a piece of literary buffoonery, a capri- 
 cious play of wit, or the bitter, satirical 
 bursts of his antipathies as an author. 
 
 The great church of Saint Augustine 
 contains the mortal remains of two emi- 
 nent scholars, the boast of Modena, Si- 
 gonio, and Muratori : they were origi- 
 nally buried at Santa Maria Pomposa, 
 the beloved church of the latter, which 
 was suppressed in 1774. Sigonio's tomb 
 was erected to his memory by the last 
 governor of Modena, Ludovico Cocea- 
 pani, of the family of the celebrated pro- 
 fessor of belles-lettres, Camillo Cocca- 
 pani, a contemporary of Sigonio, who 
 had refuted Bendinelli, his haughty an- 
 tagonist. Muratori's tomb is against 
 the wall, near a little door; it has an 
 inscription, but it must be confessed that 
 such a paltry monument is little worthy 
 of a man whose prodigious labours have 
 thrown such a lustre on Italy. Mura- 
 tori's liberal and independent opinions 
 on the fatal effects of the political influ- 
 ence, the ambition of the court of Rome, 
 and the abuse of excommunications, are 
 still obstacles, in the state of Modena, to 
 the erection of a more suitable sepulchre. 
 
 CHAPTER III. 
 
 Theatre.— AlQeri's tragedies. 
 
 The theatre of Modena is built on the 
 foundations of an ancient palace, to which 
 it of course has some resemblance; the 
 form is octangular, and the actors are in- 
 visible to' a great number of places on 
 i both sides of the house. I attended the 
 , ; representation of Alfieri's Agamennone 
 there, and it was very well played : the 
 
 1 Sccchia Itapila, canto vu. 29. 
 
 3 Cia mi fur dolci inviti a empir le carle 
 1 luoehi ameul, d! (he il nostro Reggio, 
 
 house was rather crowded, and the pit 
 (at five pence) was filled with persons of 
 the lower orders; it seemed pretty much 
 in accordance with the verse of the Mo- 
 denese poet : 
 
 quante scorze di eastagni incisi 
 D' intorno copriraa lulta la terra. 1 
 
 Alfieri is now national in Italy, like 
 Shakspeareat London, and I might easily 
 have taken my neighbours of the pit for 
 the English mechanics or sailors drawn 
 together at Covent Garden to enjoy the 
 dramas of the sweet Swan of Avon. 
 Alfieri's tragedies, though beautifully 
 written and admirable to read, arc too 
 regular, formal, and dry when brought 
 on the stage : his imitation of ancient 
 simplicity is exaggerated and false; his 
 four eternal personages, notwithstanding 
 the pathos and even violence of their 
 sentiments, are not sufficient to animate 
 the scene ; so when one of his pieces is 
 played, it is thought a public duty to 
 go, but every body is sated and weary 
 before the performance is over. Besides, 
 I do not think that this passion for Al- 
 fieri, with its pretensions to patriotism,. 
 is of any use whatever now ; the patrio- 
 tism of this great poet is haughty, hateful, 
 outrageous, exclusive ; and is more likely 
 to be injurious to the Italians, mislead- 
 ing, instead of raising and ennobling 
 them. 
 
 CHAPTER IY. 
 
 Reggio.— False tradition respecting Ariosto's house. 
 — Cathedral. — Clementi.— Saint Prosper. — Ma- 
 donna della Chiara. — Library.- Spallanzani mu- 
 seum.— Theatre.— Canossa. 
 
 Reggio is a charming town, of so gay 
 and pleasing an aspect, that if Ariosto 
 were not born there, he ought to have 
 been ; it is altogether worthy of having 
 been il natio nido of that graceful poet.* 
 Notwithstanding its inscription, 3 and 
 the credulity of a celebrated traveller, I 
 could not recognise the little rebuilt house 
 in the Cathedral square, as the house in 
 which Ariosto was born. That poet 
 first saw the light in the castle of Reggio, 
 of which his father was governor, and, 
 as his best biographer, Baruffaldi, has 
 
 11 natio nido mio, n' ha la sua parte. 
 
 [Sat. iv.l i. 
 
 3 See the nineteenth note to Canto it. of chiitte 
 Uarotct, 
 
Chap. IV.] 
 
 REGGIO. 
 
 269 
 
 demonstrated, the false tradition which 
 states his birth to have taken place in 
 camera media primi ordinis erga pla- 
 teas, arose half a century after his death; 
 it originated in the vanity of a Mala- 
 guzzi, one of his mother's relatives, or 
 some friend of that family, who wished 
 to give celebrity to the house she inha- 
 bited. 
 
 The cathedral, although modernised 
 and unfinished, deserves a visit for the 
 works of Clementi, an architect and 
 sculptor, of Reggio, a clever pupil of Mi- 
 chael Angelo and first-rate artist, but 
 little known, yet regarded by Algarotti 
 as the Correggio of sculpture : on the 
 front, from Clementi's designs, are the 
 superb figures of Adam and Eve, and 
 of the saints Grisanti and Venerio, Daria 
 and Gioconda ; in the interior, the tombs 
 of Orazio Malaguzzi, Vincenzio Fossa, 
 and bishop Francesco Martelli, of Che- 
 rubini Sforzani, the statues of St. Cathe- 
 rine, St. Maxime, and St. Prosper, 
 the bronze tabernacle, representing the 
 Triumph of the Saviour, and especially 
 the mausoleum of bishop Ugo Rangone. 
 Clementi is interred near his beautiful 
 works : his portrait, in medallion, is 
 placed over the tomb erected to his me- 
 mory by Francesco Pacchioni, architect 
 and sculptor, of Reggio, a pupil worthy 
 of such a master. In the cathedral are 
 also : a Piety, by the younger Palma ; 
 St. Peter, St. Jerome, an Assumption, 
 the Visitation of the Virgin and the 
 Martyrdom of Sts. John and Paul, by 
 Guercino ; St. Catherine, by Tiarini ; and 
 a large altar-front executed by Rernini. 
 
 The basilic of Saint Prosper has one of 
 the fine frescos peculiar to Northern 
 Italy, the Last Judgment, by Camillo 
 Procaccini, but it is much damaged. 
 Another fresco, by the same, represents 
 Christ in a glory, with St. Prosper be- 
 low ; opposite, St. Venerio, and the four 
 virtues becoming a bishop : Prudence, 
 Charity, Humility, Temperance. St. 
 Anne, and St. Anthony of Padua, are 
 by Tiarini; the Widow of Rain's son 
 brought to life, and the Death of Jezebel, 
 by Bernardino Campi ; and the tomb of 
 Ludovico Parisetti the younger and Giu- 
 lia Zoboli, by Clementi. The steeple, 
 still unfinished, was built and ornamented 
 by the three sons of Pacchioni, Leonardo, 
 Alberto, and Roberto, as well as their 
 father, pupils of Ciementi. 
 
 The finest church of Reggio is the Ma- 
 
 donna della Ghiara, from the designs of 
 the Ferrarese architect, Balbi, and chiefly 
 terminated by Francesco Pacchioni, au- 
 thor of the cupola ; with its dome in the 
 centre, and the four others at the extre- 
 mities, it presents a model of the basilic 
 of Saint Peter in miniature, according to 
 Michael Angelo's plan, before it was 
 spoiled by Carlo Maderne, who reduced 
 it from the Greek to the Latin cross, and 
 destroyed its admirable unity. It con- 
 tains some majestic paintings of the ex- 
 cellent artist of the town, Luca Ferrari, 
 surnamed di Reggio : Adam and Eve, 
 Abraham waiting on the angels, with 
 Sarah in the door-way, smiling at the 
 thought of her posterity ; Rebekah giving 
 water to Abraham's servant ; Rachel 
 at the Well ; an Old woman spinning ; 
 Jacob raising the stone from the well ; 
 a Shepherd playing the flute ; Jael 
 slaying Sisera ; Moses, Miriam and 
 other Israelitish women singing after 
 the destruction of Pharaoh's army ; the 
 figures of Purity, Virginity, Meekness, 
 and Faith ; an Angel holding a bunch 
 of grapes, another a lily, and two a 
 mirror, and several others with divers 
 attributes ; Abigail showing to the an- 
 gry David the provisions she had 
 brought for his army; a Judith ; Esther 
 before Ahasuerus; a Madonna; an An- 
 gel holding a palm ; another an olive- 
 branch, two holding the ark of the 
 covenant ; a Virgin crowned, with di- 
 shevelled hair, contemplating the hea- 
 vens ; an Assumption ; and on the 
 cupola, eight Angels with musical in- 
 struments; and the eight figures, in 
 clare-obscure, of Moses, Joshua, Gideon, 
 Jephthah, Samson, David, Zorobabel, 
 Judas Machabceus, are by Leonello 
 Spada ; Deborah at the foot of a palm- 
 tree ; Samuel consecrated by his mother 
 to the service of the temple; Abishag 
 the Shunamite ministering to David ; 
 an Angel holding an urn; another a 
 rose-bush; another a cup ; another an 
 orange ; David playing on the harp ; 
 Michael the archangel ; Solomon on 
 his throne ; the Virgin and St. Francis ; 
 an Annunciation ; and the rich ceiling 
 of the choir, by Tiarini. The Adoration 
 of the Magi is by the younger Palma ; 
 St. George and St. Catherine, by Ludo- 
 vico Carraccio ; and the Christ crucified 
 comforted by an Angel, and below the 
 Virgin, Magdalen, St. John the Baptist, 
 St. Prosper and a child, of which the 
 
 23. 
 
270 
 
 Christ and Angel only have escaped re- 
 touching, by Guercino. I was conducted 
 over every part of the church of the Ma- 
 donna della Ghiara by some young and 
 merry Franciscans, remarkably clean in 
 their persons, polite in their manners, 
 and very inquisitive with travellers; so 
 sprightly and intelligent were these 
 amiable young monks, that application 
 to sludy might probably have made 
 something of them. 
 
 The public library numbers more than 
 fifty thousand volumes; it has many an- 
 cient and scarce Bibles, many fine edi- 
 tions of the fifteenth and sixteenth centu- 
 ries; an Aldine collection all but com- 
 plete; the collection of the authors of 
 Reggio, very well classified, and all the 
 autograph manuscripts of the great na- 
 turalist Spallanzani, born at Scandiano, 
 a small town in the neighbourhood, who 
 had studied and professed at Reggio. 
 
 Without mentioning the Agricultural 
 society, the Lyceum of Reggio unites 
 three establishments sufficient to show 
 the distinction of that little town. The 
 rich cabinet of natural history, or the 
 Spallanzani museum, purchased by the 
 town in 1801, as well as its books and 
 manuscripts, was formed with the learn- 
 ing to be expected from such a master, 
 aided by circumstances and position ; it 
 has a small endowment, and its riches 
 are gradually augmenting under the en- 
 lightened superintendence of its ma- 
 nager, professor Giuseppe Galliani.who 
 gives lectures on natural history there. 
 The theatre of chemistry and experi- 
 mental physics is well provided, and has 
 assisted in several of the discoveries of 
 the celebrated natural philosopher of 
 Modena, Signor Nobili. The academy 
 of Fine Arts has some able pupils : it has 
 some good paintings, and a fresco by 
 Nicolao dell' Abate, formerly on the front 
 of the Pratonieri house. 
 
 The theatre, a great and solid edifice, 
 was planned as if impromptu, after the 
 destruction of the former one by fire in 
 the carnival of 1740, by the architect of 
 Reggio, Cugini, and it has served as 
 a model for several others in Italy, and 
 even that of Frankfort, which was also 
 built by the clever Cugini. 
 
 I only passed through Reggio ; but I 
 must aver that the town seemed to me 
 singularly clean, gay, and agreeable, 
 aud the inhabitants courteous and full of 
 animation ; I have since easily explained 
 
 REGGIO. f Book IX-. 
 
 to my own satisfaction the careless cha- 
 racter of that general of the Reggians 
 portrayed by Tassoni, who was compos- 
 ing a madrigal when the enemy came 
 upon them, and, being compelled to arm, 
 
 Era stizzato 
 
 Di non aver (inito il madrigale. 
 
 The traveller curious in those histori- 
 cal facts which are rather outrageous 
 than great, ought to repair to a spot 
 twelve miles from Reggio, to visit the 
 remains of the castle of Canossa, the scene 
 of the penance of the emperor Henry IV., 
 at the feet of Gregory VII., in presence 
 of the lady chatellain who acted as me- 
 diatrix, the countess Matilda, Adelaide 
 marchioness of Suse, Henry's mother- 
 in-law, and her son Amedseus; of the 
 marquis Azzo, and a crowd of bishops 
 and nobles. The spectacle of Canossa 
 is described in numberless books, with 
 considerable variations, and it has been 
 depicted by an eloquent writer in a work 
 that has remained loo long unpublished. 1 
 I can only give the aspect of the place 
 and some particulars of its recent history. 
 This fortress, founded in the year 938, 
 on a high rock, was surrounded with 
 three walls, the first, at the foot, the 
 second midway, and the third on the 
 summit; it was at the gate of each wall 
 that the imperial penitent, clothed in 
 coarse raiment and barefoot, though in 
 winter, stopped and fasted a whole day, 
 three several times. The water-courses 
 seem to have contributed to the ruin of 
 Canossa, as may be seen by the heaps of 
 rubbish collected at the north and west; 
 nothing is left entire, except two cisterns 
 on the summit. When the senate of 
 Reggio invited the township of Canossa 
 to join the new republic in 1796, the in- 
 habitants, notwithstanding the opposition 
 of the judge ( giusdicente ) appointed by 
 Count Valentini, lord of Canossa and 
 minister of Duke Ercole III., showed 
 great readiness : the assembly chosen 
 adopted the new political system unani- 
 mously, and sent to the senate as an 
 earnest of their adhesion, a small cannon 
 with three epingares, and the tricolour- 
 ed flag was hoisted, amid the noise of 
 dancing and rural music, in the square 
 of Matilda's ancient lordship. The 
 complete desertion of Canossa occurred 
 
 1 M. ViliemalD, Histoire de Oregoire TIL 
 
Chap. V. ] 
 
 PARMA. 
 
 271 
 
 three years after, when the residence of 
 the judge was transferred to Bianello; 
 the castle was then dreadfully devasta- 
 ted ; the tiles, iron, timber, doors, palis- 
 sades, and even the pavement, were 
 carried off, leaving nothing but the wails. 
 Under the great saloon and the chambers 
 of the judge's dwelling, is a large room, 
 which served, no long time since, as a 
 stable, and vestibule to the three horrible 
 prisons, where there are some traces of 
 ancient paintings and two marble co- 
 lumns. Canossa is still the property of 
 the Valentini family : the eldest and the 
 countess his wife, who went thither with 
 some friends in the autumn of 1835, 
 signified their intention of having some 
 chambers fitted up, so highly were Ihey 
 pleased with the situation and the pro- 
 spect. 
 
 CHAPTER V. 
 
 Parma.— Library.— Infant dukes of Parma.— Mu- 
 seum of Inscriptions.— Velleja. 
 
 Notwithstanding the gloomy aspect of 
 Parma, my sojourn there, thanks to the 
 counsels, attentions, and information of 
 my brother-librarian, S. Pezzana, proved 
 exceedingly agreeable and instructive. 
 
 The library, a very handsome edi- 
 fice, has more than a hundred thousand 
 books and four thousand manuscripts, 
 and is embellished with two gigantic 
 half-figures by Correggio. ltwasformed 
 by the celebrated P. Paciaudi, under the 
 infants Don Philip and Don Ferdinand, 
 dukes of Parma, and opened in 1770. 
 It is extraordinary that a library so re- 
 cently founded should contain such a 
 number of precious articles. How sin- 
 gular that these dukes of Parma, though 
 issued from the Bourbons of the Spanish 
 branch and come from Spain, should 
 have so zealously patronized learning, 
 the sciences and arts ! Condillac wrote 
 his Course of Studies for the infant Don 
 Ferdinand, and Millot composed, for 
 Ihis foreign court, the best historical 
 abridgements that we have even now, 
 ■with our host of epitomes. The friend 
 of Voltaire, M. d'Agental, was, as is 
 
 1 " Prologus ad prseclarlssimum Alcoranl Codicem 
 Kegiee bibliolhecie Parmensis. Parma ex regia 
 typographia," in 8vo, ratber scarce. The copy In 
 the library of Parma is on blue paper; whether 
 other like copies were printed is not known. P. 
 Paciaudi has, however, fallen into one error in his 
 
 well known, minister of Parma at Paris. 
 The library of Parma has been since in- 
 creased by extensive libraries from sup- 
 pressed convents, and in 1816 it received 
 the celebrated one of Professor de' Rossi, 
 for which a splendid apartment has been 
 built; this last library, regarded as the 
 most valuable for oriental manuscripts 
 (after that of Antwerp described by Mi- 
 chaelis, and the more recent, but, it is 
 said, still more considerable one of the 
 duke of Sussex at Kensington), consists 
 of about three thousand four hundred 
 volumes, of which above fourteen hun- 
 dred are Hebrew manuscripts, including 
 seven hundred unpublished biblical ma- 
 nuscripts, and little less than two hun- 
 dred in other languages, which it would 
 be desirable to see pass into another and 
 more frequented establishment, in some 
 town of greater importance than Parma, 
 where it is almost buried. 
 
 There is one curious volume in this 
 library, the Koran, the singular history 
 of which is thus related by P. Paciaudi : « 
 After the raising of the siege of Vienna, 
 the emperor Leopold entered the tent of 
 the grand vizir Kara Mustapha, where 
 this Koran was offered to him; and he 
 sent it as a present, together with other 
 objects found in the camp, to his consort 
 Eleonora. The empress subsequently 
 gave it to her confessor the Jesuit Carlo 
 Cosla of Placentia, who forwarded it as 
 a family monument to his brother and 
 nephews, inhabitants of that town. In 
 1767, when the ducal library was found- 
 ed, Count Jacopo Costa, great-nephew 
 of Carlo, made homage of it to Duke 
 Ferdinand, for the new library. At the 
 end of the Koran is a statement in 
 Arabic, that it was written by Ramasnn, 
 son of Ismahil, in the year 1077 of the 
 Hegira (1(566). Before it came into the 
 possession of Kara-Mustapha, it had 
 belonged to Assan Aga; there are also 
 notes in different characters, at the end 
 of the volume, indicating the birth-days 
 of the five children of the latter person- 
 age. Notwithstanding all the admira- 
 tion and gratitude that Sobieski's vic- 
 tory must inspire, I could not touch the 
 prayer book of this devout Musulman 
 
 description of this Koran : " Tcnuissimis in mem- 
 branis descriptus, aureis Uteris, flosculis, aliisque 
 iibrarils ornamentis prseslans, et theca ex serico 
 villoso, opereque pbrygio decora inclusus;" it is 
 not on parchment, but Turkish paper, very flne, 
 sized on the written part of the page. 
 
272 
 
 PARMA. 
 
 [BOOE IX. 
 
 forsaken by Allah,' without a feeling of 
 respect. The Alcoran of this Turk 
 reminded me that books, in the vicis- 
 situdes of fate, have often appeared on 
 the battle-field ; and have delighted the 
 victors, or consoled the vanquished : 
 this illustrious portion of their history 
 appeared to me full of interest ; Alexander 
 never lost sight of Homer in his cam- 
 paigns ; Plato and Polybius were the last 
 studies of Cato and Brutus, when be- 
 sieged and defeated. 
 
 The library of Parma possesses, if 
 one may say so, two other books of de- 
 votion, the Prayer Book of Henry II., 
 and the Hebrew Psalter of Luther, which 
 form a striking contrast with the Koran 
 of Kara Mustapha. The Prayer Book 
 presents a characteristic and not very 
 edifying feature of manners : at the bot- 
 tom of each page is a crescent, a symbol 
 of Diana, the cipher of Henry's mistress, 
 and his motto : Donee totum impleat 
 orbem; he had this cipher engraved on 
 all the monuments erected in his reign, 
 and it is found on books bearing his arms 
 on the binding, but it seems going rather 
 too far, to mix it up with his prayers. 
 The Psalter, a Basil edition, 151 G, was 
 part of the Rossi collection, and had 
 previously belonged to the learned orien- 
 talist Tychsen ; it has interlinear notes 
 in Luther's handwriting : the volume is 
 much worn; the two first leaves are 
 nearly all torn off: one feels that it must 
 have been exposed to the violence of the 
 hot-headed reformer. 
 
 Among the manuscripts may be re- 
 marked: a very elegant Terence of 14-70, 
 which, as stated in a curious note, 
 was printed from a manuscript written 
 throughout by Petrarch, of the year 1358, 
 another evidence of the learned labours 
 of this great poet; a Dante, printed fifty 
 years after the author's death; a Pe- 
 trarch, very fine, of the beginning of the 
 sixteenth century, supposed, from three 
 fleurs-de-lis in the middle of a laurel 
 crown, placed under the brilliant minia- 
 tures of the first page, to have been taken 
 from Francis I. at the battle of Pavia. 
 A. note in the library catalogue probably 
 gave rise to this conjecture. Perhaps 
 
 1 "Look at the firmament," said the Khan of 
 Crimea to Kara Mustapha at the moment of his 
 defeat, "and see whether God be not against us." 
 The sultan ordered Kara Mustapha to be strangled : 
 his head and the bow-string are preserved at the 
 arsenal of the clvlu mtlltta at Vienna. 
 
 when the catalogue was compiled this 
 manuscript was confounded with another 
 of Petrarch, which, in 1826, was in the 
 possession of Count Ludovico Gattinara, 
 a descendant of the famous jurisconsult 
 Arborio Gattinara, chancellor of Charles 
 V. , and has these words on the first page : 
 Este libro fue del rei Fran, de Francia, 
 el qaal fue preso en la batalla de Pavia ; 
 ahora es de don P. de Vargas, Gov. de 
 Novara por su M d - 1 If the new mili- 
 tary bibliography just- mentioned could 
 be completed, it is very probable that 
 books on love and gallantry would oc- 
 cupy more space than philosophical trea- 
 tises. Francis I. had little reason to 
 regret the loss of Petrarch in his capti- 
 vity; he then stood in need of higher 
 consolation, and the verse of the psalm 
 he read on entering the church of the 
 Chartreuse 3 was more suitable for his 
 situation than the sonnets and canzoni 
 of the poet. The manuscripts of the 
 Parmesan poet Basinio, spoken of by 
 Ginguene, are at the library of Parma, 
 as well as some other of his smaller 
 works. It possesses also the rarissime 
 edition of the collection devoted to the 
 praise of the fair Isotta degli Atti, the 
 mistress and ultimately the wife of Pan- 
 dolfo Malatesla, lord of Rimini, a col- 
 lection in which Basinio seems to have 
 taken the chief part/' But Ginguene, 
 mislead by the first edition of Tiraboschi, 
 erroneously fixes the birth of Basinio 
 about 1421, instead of 1425, the true 
 epoch; Tiraboschi, in accordance with a 
 distich by Basinio, quoted by P. Affo, 
 rectified this error, in his second edition, 
 which contains many corrections and 
 additions unknown to Ginguene". Neither 
 should the French writer have stated 
 that Basinio's works were unpublished, 
 as an edition of his principal poems ap- 
 peared at Rimini in 1794. He has, too, 
 been unmeritedly severe on the Par- 
 mesans in accusing them of negligence 
 for not printing the works of their poet : 
 their publication has been several limes 
 on the tapis ; Paciaudi, at the request of 
 the minister Dutillot, made some re- 
 searches relative to the family of Basinio, 
 which are still preserved in the library ; 
 
 a Memorie dell'Aecad. realedi Torino, vol. xxix, 
 p.226,andNapione, Opusc. dl left., t. II, 1826, p. 1G4. 
 
 3 See ante, hook iv. ch. it. 
 
 4 Trium poetarum elegantissimorum, Porcelil, 
 Basinii et Trebanli Opuscula nunc primum edila, 
 Paris, Christophe Prudbomrac, 1549. 
 
Chap, YT.J 
 
 PARMA. 
 
 275 
 
 it is probable that the work would have 
 appeared but for the disgrace of the mi- 
 nister, and, with him, the librarian. 
 
 The museum of inscriptions has more 
 than twenty thousand medals. The 
 principal article is the celebrated Trajan's 
 table, found at Velleja at different times 
 and in several places, now perfectly 
 restored : this imperial rescript about 
 maintaining the children of (he poor, le- 
 gitimate or not, is curious for the inform- 
 ation it suppiies respecting the Roman 
 administration. The fourth sheet of a 
 senatus-consultum on the particular in- 
 terests of Cisalpine Gaul shows what its 
 splendor was already under the republic. 
 It is a remarkable thing and a proof of 
 the power and prosperity of ancient Italy, 
 that this little town of Velleja, barely 
 known in history, has of itself furnished 
 the lapidarian museum of Parma ; the 
 excavations, begun in 1762 by the canon 
 Costa and P Paciaudi, resumed in 1804. 
 under the French administration, 1 were 
 successfully followed up in 1821; and 
 Velleja, obscurely buried under a de- 
 tached fragment of a mountain, without 
 either a Pliny or a Vesuvius connected 
 with its catastrophe, has become the 
 Pompeii of northern Italy. 
 
 CHAPTER VI. 
 
 Gallery.— Correggio.— Farnese Colossus. 
 
 The new ducal gallery, though not ex- 
 tensive, is select and j udiciously arranged ; 
 it is easy to perceive that much is due to 
 the advice and direction of the clever 
 Toschi, one of the first engravers in 
 Europe, settled at Parma, who seems 
 united to France by his fine copy of the 
 Entry of Henry IV. 
 
 St. Jerome, Correggio's masterpiece, 
 has returned to the town which contains 
 the greatest number of his works and the 
 most important, and may be called the 
 capital of his talent : the saint has really 
 usurped the appellation of this picture, as 
 it contains the Virgin, infant Jesus, 
 Magdalen caressing him and kissing his 
 
 1 Nothing was discovered at that period but the 
 ruins of an unimportant edifice to which they gave 
 the name of Thermae, whereas the true Therm® 
 made part of the first discoveries. Antolini, in Ills 
 work on Velleja, merely calls this building the Mo- 
 reauedifice, from the name of that worlhy Moreau 
 Saint-Miry, formerly gnvcrnor-general of the states 
 of Parma, Placentla, and Guastalla, an honourable 
 
 feet with the tenderest expression of re- 
 spect. Saint Jerome is only one of the 
 other figures, with two angels and his 
 lion. The history of the painting, exe- 
 cuted in 1524, shows that the social po- 
 sition of artists was then very inferior : 
 Briseis Cossa, widow of a gentleman of 
 Parma, who ordered it, notwithstanding 
 the beauty of her Homeric name, only 
 allowed Correggio 47 sequins (about 
 22 I.), and his board for the six months 
 that he worked at it; she had, however, 
 the munificence to add to these fees two 
 loads of wood, some measures of wheat 
 and a fat pig. There have since been 
 offered, by the king of Portugal, 40,000 
 sequins (more than 16,000 I.) for this very 
 masterpiece, to the abbot of the convent 
 of Saint Anthony of Parma, who was on 
 the point of selling it, but the infant Don 
 Philip, at the urgent intercession of the 
 town, took it away and put it in the ca- 
 thedral. It was afterwards transferred 
 to the Academy of painting; and at the 
 period of our illustres pillages * in 1798, 
 the duke of Parma consented to pay the 
 conqueror a million to be allowed to re- 
 tain the old painting of Dame Cossa : 
 the military chest was empty, but the 
 arguments of Monge and Bertholet pre- 
 vailed, and this miracle was transported 
 to Paris, to be brought back in 1815. 
 The other paintings of Correggio are : a 
 Repose in Egypt, known by the name 
 of Madonna della Scodella, one of his 
 finest works, styled divine by Vasari ; 
 his Deposition from the Cross, fine for 
 grief and simplicity, and a refutation, 
 like a multitude of this great painter's 
 other works, of the reproach of affecta- 
 tion and quaintness which has been 
 thrown on him ; the Martyrdom of St. 
 Placidus, and St. Flavia, affecting from 
 the calm and profound faith of the latter 
 saint; Christ bearing his cross, accord- 
 ing to Algarotti, exhibits Correggio's 
 passing from his rather dry imitation of 
 Mantegna to his own style : the figure of 
 the Virgin in a swoon is pathetic; the 
 Virgin with her son inherarms, called 
 the Madonna della Scala, a fresco 
 
 man, but of no great literary attainments, author 
 of voluminous compilations on the colonies and a 
 little book on dancing, dedicated to the Creoles, 
 and printed at Parma, by Bodoni, in ISO), in !6mo, 
 and in i803, in <2mo. 
 
 a An expression of raul-Louis Courier on the 
 spoliation of Italy. 
 
274 
 
 PARMA. 
 
 [ BOOK IX. 
 
 brought from the oratory of that name, 
 demolished in 1812, was originally paint- 
 ed over the old Saint Michael's gate. 
 Though injured by time, this fresco is 
 still ranked with the first of Correggio's 
 works, and this Madonna, larger than 
 life, on the wall of a town gate, exposed 
 to the veneration of artisans and pea- 
 sants, is full of grace, sweetness, and ele- 
 gance. The new Saint Michael's gale, 
 now standing, is by San Micheli, and 
 distinguished for the noble simplicity of 
 its architecture. It was built by Pope 
 Paul III., whose name is inscribed on the 
 frieze, as well as the date 15i5. This 
 gate of Saint Michael seems truly illus- 
 trious, as it was first painted by Cor- 
 reggio, and then rebuilt by San Mi- 
 cheli. 
 
 The St. Jerome writing, by Guercino, 
 has a certain severity of expression more 
 in unison with his Dalmatian extraction 
 and his literary character than the re- 
 signed and quiet mien too frequently 
 given him. Jesus when a child, full 
 length, ready to dispute with the doctors, 
 by Giovanni Bellini, beams with intelli- 
 gence and divinity. 
 
 The colossal Virgin crowned with stars 
 was copied by Annibale Carraccio, from 
 the original of Correggio, which is in the 
 library. 
 
 The Apostles carrying the corpse 
 of the Virgin to the tomb ; the Apostles 
 uncovering the same tomb, and amazed 
 at finding it empty, are two paintings by 
 Ludovico Carraccio, large and uncommon, 
 rather than fine. The Virgin suckling 
 the infant Jesus, Sts. John, Margaret, 
 Augustine, and Cecilia, a small painting 
 by Agostino, is of an expression ex- 
 ceedingly mild, noble, true, and varied. 
 The Virgin, looking towards heaven, 
 the infant Jesus asleep on her bosom, by 
 Vandyck, is an enchanting composition: 
 the Virgin's eyes are full of tenderness; 
 the sleep of the child is charming. Jo- 
 seph of Arimathea, St. John and the 
 three Marys weeping, Jesus taken down 
 from the cross and placed on his mother's 
 knees, was said by Lanzi to be the best 
 of Francia's paintings that he had seen ; 
 such an eulogium will be enough to con- 
 Ney some idea of its marvellous beauty. 
 The Virgin, the infant Jesus in her 
 arms, St. Jerome, St. Bernardin of 
 Feltre, painted by Parmegiano in his 
 eighteenth year, is an able and brilliant 
 imitation of Correggio. Christ entering 
 
 Jerusalem, a sketch painted in oil on 
 paper, formerly one of the finest orna- 
 ments of the palace of Colorno, passes 
 for one of the works of Parmegiano that 
 contain the greatest number of figures. 
 The Virgin with the infant Jesus, St. 
 Joseph, St. Barbara, and a little angel 
 holding in his arms the tower in which 
 that saint was imprisoned, a noble 
 elegant work ; the Virgin, in an aureola 
 upheld by three angels, and Sts. Sebas- 
 tian and Roch, are "by Michelangelo 
 Anselmi, a pupil and exact imitator of 
 Correggio, a native of Lucca, but of an 
 ancient family of Parma, whence civil 
 broils had driven his father. St. Fran- 
 cis receiving the stigmata, in the Car- 
 racci style for the figures and landscape, 
 is one of the best works of liadalocchio, 
 an easy and picturesque painter of the 
 Parma school. A Holy Family with 
 St. Michael, and an angel playing on a 
 mandoline, is a graceful work and among 
 the most esteemed of Geronimo Mazzola, 
 a worthy cousin of Francesco Parme- 
 giano, his youthful companionand fellow- 
 student, and like him of precocious talent. 
 The Virgin between St. Catherine and 
 the little St. John, offering the breast 
 to the infant Jesus, an elegant, pleasing 
 composition, is by Samacchini. The 
 Virgin and infant Jesus appearing to 
 Sts. Augustine and Jerome, by Ron- 
 dani, a Parmesan painter of the sixteenth 
 century and a faithful disciple of Cor- 
 reggio, is nearly equal to the works of 
 his master, and is deemed one of the 
 best paintings of Parma. Jesus Christ 
 in a glory, the Virgin by his side and 
 St. John below, St. Paul and St. Cathe- 
 rine of Alexandria kneeling, is a fine 
 Raphael. 
 
 The Christ buried and wept by his 
 mother, St. John, Magdalen, St. Peter, 
 St. Paul, and St. Catherine, appears to 
 be a copy made by Andrea del Sarlo, or 
 by another excellent artist, of the paint- 
 ing given by Andrea to the nuns of the 
 convent of Lugo in Mugello, -where he 
 had a daughter; the original is in the 
 Florence gallery. The angel of the 
 three Marys by Schidone, seated on the 
 brink of the sepulchre and announcing 
 to them the resurrection of the Saviour, 
 is noble and majestic; the draperies of 
 the women are very good. Schidone, 
 though a pupil of the Carracci, was an 
 ardent imitator of Correggio, who seems 
 to have inspired all the chefs-d'oeuvre 
 
Chap. VII.] 
 
 PARMA. 
 
 275 
 
 to be admired at Parma. Schidone was 
 painter to the court and cherished by 
 the duke Ranuzio I., who gave him a 
 house and lands (presents very superior 
 to Dame Briseis Cossa's rustic donations 
 to his great model ;) but, having a passion 
 for gaming, he died of grief from having 
 lost all in a single night. A copy of Ti- 
 tian's Christ dragged along by an exe- 
 cutioner, though done by this great 
 master, did not seem to me to produce 
 the effect of the model, 1 notwithstanding 
 the beard and mustachios added to the 
 executioner, and the celestial expression 
 of the Christ's countenance. 
 
 The two colossal statues, Hercules and 
 Bacchus, found in 1724 in the palace of 
 the Caesars on Mount Palatine, and put 
 out of sight for a century in a country 
 house of far less historical fame, belonging 
 to the dukes of Parma at Colorno, have 
 been more properly located in the gal- 
 lery. These statues, the largest dis- 
 covered of Egyptian basalt, thoughGrseco- 
 Roman, and said to be of the first times 
 of the empire, do not appear very pure, 
 and are sufficiently opposed to Ihe mate- 
 riam sperabat opus . A colossal Jupiter's 
 head of Carrara marble, detached from 
 an antique bust or statue, is very fine, 
 and was admired by Canova. The best 
 of these different statues found at Villeja 
 is a second Agrippina, a Roman work, 
 though its drapery seems almost Greek. 
 Anexcellent statue, perhaps of a wrestler, 
 has been unluckily restored as if it were 
 a faun, though certainly there is nothing 
 rustic about it. A miniature bronze 
 statue of Hercules, squat, drunken, glut- 
 tonous, vile, is curious, and of the good 
 epoch of art. Among the five or six 
 modern statues is a little St. John the 
 Baptist, by Bernini, choice and pleasing. 
 At the bottom of the gallery is the bust 
 of her majesty the duchess of Parma, by 
 Canova; it is singular enough, that this 
 ornament, so proper for a museum of her 
 creating, was ordered by the troops of her 
 little state. 
 
 1 See ante, book vi. eh. xvii. 
 
 » See Ibe tatter's letter to his cousin Ludovico 
 from Parma, of the 18tb April, 1380 : " >"on potei 
 stare di non andar subito a vedere la gran cupola, 
 chevoi tunte volte mi avete commendato, cd ancoia 
 iorimasi stupefatto, in vedere una cosi gran mac- 
 China, cost ben inlesa ogni cosa, cost beu veduta di 
 sotto in su con si gran rigore, ma sempre con tanto 
 giudizio, e con tanta grazia, ecu un colorlto, cue e 
 
 CHAPTER VII. 
 
 Cathedral.— Italian Gothic— Cupoia.— Baptistry.— 
 Pagan emblems mixed with Christian symbols. 
 
 The cathedral and baptistry of Parma 
 are in the first rank of Italian Gothic 
 monuments; but with the marble that 
 decorates them may also be seen the im- 
 print of Italian taste, preoccupied by 
 contemplating the wrecks of antiquity, 
 and which has not that daring ignorance, 
 the source of the singular beauties and 
 fantastic grandeur of the Gothic edifices 
 of the North. 
 
 The cupola, painted by Correggio, the 
 first of cupolas, cannot be conveniently 
 subjected to a close examination . Though 
 much injured, it is impossible not to ad- 
 mire those superb remnants of painting, 
 not less finished when closely viewed 
 than brilliant at a distance, and that 
 Assumption, so lively, blissful, and 
 triumphant. These frescos, which de- 
 lighted Annibale and Ludovico Carracci,' 
 three centuries after brought back to the 
 true taste the future regenerator of the 
 French school, and began, as we may sav, 
 the great painters of our age. 3 The two 
 paintings of the choir, representing a 
 David and a St. Cecilia, by Cesare Pro- 
 caccini, appear excellent though so near 
 the cupola. 
 
 In the gallery, the Christ in a glory, 
 by Gcronimo Mazzola, an esteemed 
 fresco, but laboured ; the two frescos 
 from the history of Moses in the grand 
 chapel, to the right of the high-altar, 
 by Orazio Jamacchini, do not bear this 
 trying neighbourhood so well ; at the 
 altar, the Assumption with Sts. Thomas, 
 Lucy, John, and Bernard, is a remarkable 
 fresco by Tinti, a Parmesan painter of 
 the sixteenth century, a clever imitator 
 of Correggio and Parmegiano. The St. 
 Agnes appearing to her family, followed 
 by holy virgins, by Michelangelo An- 
 selmi, is of most powerful colouring, 
 though it has been badly cleaned. The 
 frescos of the naye representing the Life 
 
 di vera carne." Uaccolla di Lellere sulla Pittura, 
 Scultura ed Archiltelura, 1. 1 , p. 86. 
 
 3 It iS6tated in an article on David by M. P. A. 
 Coupin, that before his journey to Italy he had 
 not escaped tbe bad taste of the day, and that he 
 was a partisan of Boucher : Soyons Fran^ais! was 
 his reply to those who boasted the superiority of 
 the Italian school. He reached Parma, and the 
 frescos of the cupola began his conversion. 
 
276 
 
 PARMA. 
 
 [ Book IX- 
 
 of Jesus Christ, by Gambara, are perhaps 
 the greatest and the most finished of his 
 performances. A Crucifixion withMag- 
 dalen, St. Agatha, St. Bernard and an 
 angel, by Sojaro, is remarkable for the 
 composition and thickening of the co- 
 lours. 
 
 Under the high-altar is a basso-relievo 
 cf the eleventh century, the Apostles and 
 the Evangelists, a monument of the 
 infancy of art. A Deposition from the 
 cross, another marble basso-relievo, in 
 the wall to the left, of 1170, by Benedetto 
 Anlelami, is a precious piece of primitive 
 workmanship, but part of its curious 
 details are hidden by an unlucky confes- 
 sional. 
 
 The marble tomb of the canon Bar- 
 tolommeo Monlini, deceased in 1507, 
 by Da Grado, of Parma, is of extraordi- 
 nary elegance. The mausoleum of the 
 jurisconsult Bartolommeo Prati, at the 
 extremity of which are seated two women 
 overwhelmed with excessive grief, is a 
 work full of nature and truth, by de- 
 menti. 
 
 A rich cenotaph has been erected to 
 Petrarch in the chapel of Saint Agatha, 
 he was archdeacon and canon of Parma 
 cathedral, likewise canon of Lombez and 
 Padua, ecclesiastical lilies and dignities 
 forming a singular contrast with his fame 
 as a poet and lover. " Petrarch directed 
 his body to be buried in the cathedral, 
 in case he died at Parma, although, as he 
 himself avows, he had resided there but 
 very little, and was at best but a very 
 indifferent archdeacon. 3 
 
 A plain stone points out the burial- 
 place of Agoslino Carraccio, who died in 
 a slate of suffering and wretchedness in 
 the forty-third year of his age, at the 
 convent of the Capuchins, whither he had 
 retired ; an inscription stales that the 
 stone was placed there by two of his 
 friends, Giambattista Magnani of Parma 
 and Giuseppe Guidolti of Bologna. On 
 the same pilaster is another inscription 
 to the memory of Leonello Spada, also a 
 
 ' The abbe de Sade {Memoires pour la vie de 
 PUrarqtie, a, 298) has fallen into several errors 
 respecting Petrarch's archdeaconship aud canonry 
 at raruia. It is not true Hint he obtained from Hie 
 pope the title of canon that he might hold a pre- 
 bendary, which he already enjo\ed in his quality 
 of archdeacon. Petrarch, lilic his predecessor Hid 
 canon Pielro Marlni, who died in 1340, held the two 
 titles and the two prebendaries. P. Ado lus well 
 explained these facts (Ditcorso prctiminure su la 
 
 good Bolognese painter, who was interred 
 close by. 
 
 Near the altar of the Assump- 
 tion is the tomb of the celebrated P. 
 Turchi, of Parma, the first Italian 
 preacher of his day, and tutor to the 
 children of Duke Ferdinand I., whose 
 Lent sermons when a monk were energe- 
 tic, independent, popular, and were es- 
 teemed superior to his episcopal homilies 
 written in the French style. Turchi, 
 after declaiming in these latter against 
 the progress of our arms, died peaceably 
 in his diocese in 1803, a subject of the 
 republic. The finest half of his life is 
 assuredly the earlier; for this capuchin, 
 when speaking before the court, defended 
 the sciences and the dissemination of 
 knowledge, and advocated the abolition 
 of the punishment of death before there 
 was any question of it in political assem- 
 blies or academics. 
 
 A laudatory inscription is consecrated 
 to the memory of Bodoni : the letters are 
 pretty ingenious imitations of those on 
 the frontispieces of his editions ; over it 
 stands his bust taken from life by Pro- 
 fessor Comolli, a Piedmontese, his com- 
 patriot. 
 
 The superb baptistry, entirely of 
 marble, is of the end of the twelfth cen- 
 tury. It is ornamented outside with 
 statues, and basso-relievos presenting 
 incidents from the Old and New Testa- 
 ments, and curious hieroglyphics. The 
 interior is no less characteristic ; the 
 ceiling is covered with Gothic and Greek 
 frescos of the middle ages; Diana and 
 Apollo are there placed in juxtaposition 
 with the history of St. John and thefigures 
 of the prophets, evangelists, and apostles; 
 I there read the Spiritus intus alit, of 
 the sixth book of the iEneid, taken from 
 Plalo, so much was the profane, in those 
 barbarous ages, conjoined with the sacred, 
 so much do the emblems of paganism 
 still seem mixed with those ofchristianity. 
 These frescos, of the year 1260, are re- 
 garded as some of the most curious rem- 
 
 dimoradi Peli area in Parma, p. xivm el tea. of 
 the secoud volume ot the Memorie degli Scrillori e 
 Leltcrati parmigiam), and has even published the 
 text of Pope Clement VI. 's bull nominating Petrarch 
 canon of Parma, an iutere.-ling document for wbieh 
 he was indebted to Gaetano Marini. 
 
 a At si Purtnae rooriar (poni volo) in ecclesia mn- 
 jori, ubi per mullos annos arcbldiaconus fui, iou- 
 tilis et semper fere absens. See his Will. 
 
Chap. Vlli. ] 
 
 PARMA. 
 
 27T 
 
 nants of the ancient style in the north of 
 Italy : the colouring and gilding, after 
 more than five centuries, are still wonder- 
 fully brilliant, and prove that they Mere 
 laid on with extraordinary skill. Other 
 frescos, of purer taste, are of the four- 
 teenth century, and show the progress of 
 the art. Twelve figures by Benedetto 
 Antelami, of Parma, the architect of the 
 baptistry, represent the months of the 
 year with their attributes : two other 
 figures, a young girl crowned with 
 flowers, a grave old man, clothed in a 
 short tunic and holding in his hand a roll 
 covered with astronomic signs, are em- 
 blems, the one of the joyous period of life, 
 :he other of the sad The insulated col umns 
 ore all different as to height, form, and 
 .he marble composing them; the finest, 
 near the high altar, is even of Oriental 
 granite. In the centre is a huge octa- 
 gonal marble basin formerly used for 
 japtising by immersion; within it is 
 iblaced a smaller one also of marble, 
 covered with fantastic arabesques. The 
 : arger one, of a single block, is dated on 
 he brim, 129i, and both of them seem in 
 larmony with the rest of this strange 
 nonument. 
 
 Some time before I was at Parma, the 
 
 earned orientalist Mr. de Hammer 
 
 isited the baptistry, and he drew many 
 
 nferences from its different emblems in 
 
 upport of his system of the worship of 
 
 lithra, or fire; but his conjectures, with 
 
 II their ingenuity, appeared rather too 
 
 peculative. 
 
 The baptistry is not without some good 
 
 aintings beside its old Gothic ornaments : 
 
 tie Christ baptised by John, between 
 
 wo legions of angels, by Filippo Mazzola 
 
 elle Erbette, Parmegiano's father ; a 
 
 }od the Father, by an unknown author, 
 
 ut it appears to be by Hilarion or Mi- 
 
 hele Mazzola, if not by the same Filippo, 
 
 ) much does it seem in the taste of this 
 
 imily ; the Death of St. Octavius, by 
 
 iovanni Lanfranco, greatly damaged. 
 
 he marble tomb of Cardinal Gherardo 
 
 ianchi, founder of the chapter of this 
 
 aptistry, by Da Grado, is also an elegant 
 
 ork of the sixteenth century. 
 
 CHAPTER VIII. 
 
 * The fine copy of Correggio's Nigkt, by the same 
 list, placed in this church, which Mengs judged 
 sufficient compensation Tor tbe original now at 
 
 Saint John.— Cupola.— Saint Francis.— Saint Sepul- 
 chre.— raciaudi.— Italian rectors.— The Annun- 
 ziata. — P. Affo. — Librarians of Parma. — The 
 Capuchios.— Asdente de' Deuti. 
 
 The church and monastery of Saint 
 John the Evangelist were restored in 
 1816 to the monks of Saint Benedict, who 
 devote themselves to the teaching of 
 youth. The exterior of the church is 
 not free from whimsicalness and confu- 
 sion. The tower, the highest in the town, 
 is by another architect and of better 
 taste. The architecture of the interior 
 has a good effect and has been attributed, 
 but erroneously, to Bramante ; authentic 
 documents lodged in the convent prove 
 it to be by Bernardino de' Zaccagni da 
 Torchiera, called also Ludedera. 
 
 The cupola is another of Correggio's 
 miracles; he did it in his twenty-sixth 
 year, and gave, as a prelude to the As- 
 sumptionol the duomo, this superb As- 
 cension, ill-lighted, injured by damp, 
 and blackened by the smoke of tapers. 
 According to Correggio's receipt for this 
 cupola, executed from 1520 to 1524, he 
 was paid 262 golden ducats, or about 
 1,000 crowns; as the custom then was, 
 he received a small horse besides worth 
 8 ducats. The gigantic figures do not, 
 as some have said, exhibit any intention 
 of imitating Michael Angelo, but they 
 simply prove the artist's skill in calcula- 
 ting their effect with the reflected light 
 thrown on them. 
 
 Some fine paintings may still be seen 
 at Saint John : the Christ crowning the 
 Virgin with stars, a clever copy, by 
 Aretusi, of a like work by Correggio, 
 barbarously destroyed by the monks on 
 enlarging the choir ; ■ the arabesques on 
 the ceiling of the nave, Christ bearing 
 his cross, by Michelangelo Anselmi ; 
 St. James at the Virgin's feet, a Transfi- 
 guration at the high altar, the Virgin 
 holding out her hand to St. Catherine, 
 by Geronimo Mazzola, and for grace- 
 fulness, taste, and elegance, worthy of 
 his rousin Francesco (Parmegiano) who 
 painted the arches of the chapels of the 
 Crucifix and Saint Gertrude. A small 
 painting, ihe Virgin, her son, and two 
 angels, by Francesco Francia, is simple 
 
 Dresden, was sold some years ago, and has bten 
 replaced by another and very feeble copy. 
 
 24 
 
278 
 
 PARMA. 
 
 Book IX. 
 
 aud natural ; this great artist seems 
 however to have been surpassed at Saint 
 John by his son Jacopo, author of a 
 Nativity, dated in the year 1519. Over 
 the little door leading into the cloister is 
 a St. John Evangelist about to write, 
 another wonderful fresco by Correggio. 
 
 The stalls of the choir, remarkable for 
 the workmanship and taste of the orna- 
 ments, are the works of excellent artists 
 of the sixteenth century, Zucchi, Pascale, 
 and Giovanni Francesco Testa. ■ 
 
 The cloister still retains some vestiges 
 of its ancient magnificence : the marble 
 decorations of the door were designed by 
 Zucchi, and executed by Da Grado; in 
 the entrance are some frescos by Michel- 
 angelo Anselmi and the Parmesan To- 
 nelli, Correggio's pupil ; the fresco per- 
 spective of the summer refectory is a 
 good work by Geronimo Mazzola ; the 
 four superb statues of the dormitory, the 
 Virgin, Sts. John, Benedict, and Fe- 
 licity, are by Begarelli, and the pedestals 
 of these statues arc due to the able chisel 
 of Da Grado. Begarelli's four statues 
 are of burnt clay painted to imitate 
 marble, because the artist knew not how 
 to work it. So great was the enthusiasm 
 with which the earthen figures of Bega- 
 relli inspired Michael Angelo, that, on 
 passing by Modena, the native place of 
 this sculptor, Correggio's friend, he went 
 so far as to say : Se questa terra diven- 
 tasse marmo, guai alle statue antiche ! 
 The monastery library is not very con- 
 siderable; it was nearly broken up in 
 1810 when the convent was sup- 
 pressed. The moral and philosophical 
 sentences in various languages, that P. 
 Don Stefano Cattani, of Novara, has had 
 inscribed there, are ingeniously selected. 
 
 Of Saint Francesco del Prato only the 
 chapel remains, the church and convent 
 are converted into a prison. But the 
 frescos of its cupola, by Michelangelo 
 Anselmi, are fine, elegant, and well pre- 
 served ; he seems also to have executed 
 about the same time, from 1532 to 1533, 
 and conjointly with Rondani, the three 
 other graceful frescos, the Virgin and 
 infant Jesus, St. Anthony the abbot, 
 and St. Francis d'Assise. In the sa- 
 cristy, the Virgin on a throne with the 
 
 i Zucchi bad engaged to execute lueni for 1020 
 golden ducals; after working nineteen years he 
 died, leaving six stalls lo finish : the great painter 
 Domenicbino came from Bologua to estimate the 
 
 infant Jesus, and St. Francis, St. 
 Macarius and angels, by an unknown 
 author, although injured, breathes 
 the taste aud purity of the Correggio 
 school. 
 
 The church of Saint Anthony displays 
 all the elaborateness of architecture pe- 
 culiar to the last century. A Flight into 
 Egypt, by Cignaroli, is touching, inge- 
 nious, and true; a Christ on the cross, 
 the Virgin, St. John and Magdalen, is 
 a fine fresco by Peroni. The eight Bea- 
 titudes, clay statues, by the Parmesan 
 Callani, are almost of antique purity; 
 the artist had not however seen Rome 
 when he made them, a phenomenon that 
 greatly surprised Mengs and Canova. 
 Under the vestibule is an inscription 
 belonging to a tomb which formerly stood 
 in the old church of Saint Anthony, and 
 in which Pietro Rossi, deceased in K38, 
 directed himself to he interred, pom- 
 pously attired in his gilded clothes, a 
 monument of some curiosity for the 
 history of art. 
 
 Saint Sepulchre, a church of the six- 
 teenth century, has a wooden roof very 
 cleverly constructed, and some excellent 
 paintings: St. Ubald performing amira- 
 cle, a painting full of fire, by (he Florentine 
 Galeotti; a Virgin, very graceful, by 
 Geronimo Mazzola; and St. Catherine, 
 by Leonello Spada, unfinished, but one 
 of his best works. 
 
 The small church of the new Capuchin 
 nuns, formerly Nostra Signora elegit 
 Angcli, is elegant. On the cupola, the 
 Assumption, a fresco by Tinti, is very 
 fine ; the four figures, Moses, David, 
 Gideon, and a prophet, by the same 
 artist, are the last great productions of 
 the Parmesan school. The ceiling has 
 some little medallions, in which are 
 powerful and highly finished paintings of 
 the History of the Virgin and of Christ, 
 by Giovanni Maria Conti. Over each 
 column are extended vast and energetic 
 frescos, in Correggio's style, executed by 
 Bernabei, presenting alternately a prophet 
 and a sibyl. 
 
 The high altar of the church of Saint 
 Uldaric possesses a small Nativity with 
 various figures of shepherds, by Geronimo 
 Mazzola, another masterpiece of this 
 
 value of the stalls completed ; he fixed the price at 
 740 golden crowns, which the monks paid to tbe 
 guardian of tbe artist's daughters. 
 
i Si. 
 
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 : 
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 \\m, 
 pmaj 
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 it lii 
 
 lw sit 
 
 Si (9 
 
 wlki 
 intri 
 
 rasa 
 M 
 
 
 isva 
 
 W 
 
 HI 
 
 'm 
 
 i i 
 
 *i 
 r 
 
 J 
 
 Coap. vino 
 
 PARMA. 
 
 279 
 
 charming painter, whom one must per- 
 petually eulogise at Parma. The stalls 
 of the choir, executed at the expense of 
 the abbess Cabrina Carissimi by Benar- 
 dino Canoccio da Lendinara, are another 
 elegant work in the style of those at Saint 
 John's and of the same epoch. In one 
 room of the monastery is a fresco full of 
 expression, Christ on the cross, by Ar- 
 naldi, a Parmesan painter of the sixteenth 
 century and pupil of Bellini, good in the 
 kind called modern antique : on one side 
 the holy women supporting the Virgin 
 in a swoon; on the other, St. Benedict, 
 another saint and a nun kneeling, pro- 
 bably the munificent abbess Cabrina. 
 
 At Saint Christina, a simple inscription, 
 painted on the wall, shows the place 
 where P. Paciaudi is interred. The 
 learned Theatine, creator of the literary 
 splendour of Parma in the last century, 
 founder of the library and museum "of 
 inscriptions, and reformer of the univer- 
 sity, ought surely to have obtained more 
 honourable burial from the monks of his 
 order of the Saint Christina convent, and 
 it seems that a slab of stone could not have 
 been too much. These monks had been 
 protected by Paciaudi when in power, 
 and were consequently ungrateful and 
 even without decency. It seems certain 
 that the fit of apoplexy of which Paciaudi 
 died in the middle of the night, according 
 to his biographers, was but an attack of 
 dyspepsia : the improviso fato abreptus 
 of the inscription is a brilliant periphrase 
 to express that kind of death. 
 
 The paintingsof Saint Christina, chiefly 
 anonymous, though in the style of the 
 Parmesan school, have nevertheless de- 
 clined from its elegance and simplicity : 
 a St. Gaetan, fantastically holding a 
 silver pen, with St. John Baptist in the 
 sky, pointing with his hand to a passage 
 in a book held by an angel, is fine in some 
 parts. The tomb of the Toccoli family, 
 of the twelfth century, is at once a national 
 monument and a curious specimen of 
 architecture. 
 
 The great church of Saint Vital has 
 two beautiful statues by Maggiani at the 
 allar; the frescos of the choir, the sanc- 
 tuary, a-nd the ceiling, good paintings by 
 Peroni, were unskilfully retouched in 
 1821; St. Felix and St. Philip Neri 
 meeting at Bome, near Montecavalio, is 
 by Caccioli, a painter of the Bolognese 
 school, of repute for his old men's heads. 
 The stuccos of the chapel of the Virgin 
 
 del Riscatto, are a clever work of Luca 
 Beti. 
 
 At Saint Ambrose, the Christ em- 
 bracing his cross is a work of noble 
 simplicity by Tinti, and has his fine 
 colouring. 
 
 A very beautiful Nativity, in the church 
 ofSaintThomas, has been thoughtworthy 
 of Parmegiano : a profile of the saint has 
 unluckily been since introduced among 
 the other figures by some unskilful hand : 
 this unhappy St. Thomas, which is per- 
 haps due to the zeal of some parishioner, 
 forms a disagreeable contrast with them. 
 A pompous inscription in honour of the 
 last rector Geronimo Faelli extols his 
 erudition no less than his piety. When 
 we remember that such men as Muratori 
 and Moncelli were parish-priests, it is 
 impossible to refuse one's assent to the 
 fact that the Italian priests, as well as 
 the Anglican ministers, have a much 
 greater number of learned men among 
 them than ours, and that the good An- 
 quetil, rector of La Villelte, seems a 
 little vulgar beside such names. This 
 inferiority is not perhaps an evil : the 
 works of charity ought to take prece- 
 dence, with a priest, of the labour and 
 inquisitiveness of study. 
 
 The painting of the high altar at Saint 
 Marcellin presents a Virgin, the infant 
 Jesus, angels, St. Jerome, and St. 
 Marcellin, a fine composition by Gero- 
 nimo Mazzola, disfigured by a fatal res- 
 toration, as is too frequently the case at 
 Parma. 
 
 The Annunziata is a large and fine 
 church. The Annunciation, a fresco by 
 Correggio, formerly at the old convent of 
 the Observantine Minorites outside the 
 town, is now but a kind of ruin made by 
 time and the blundering negligence of 
 those who removed it, but connoisseurs 
 can still follow the traces of its pristine 
 beauty. An old painting bearing date 
 1518, by Zaganelli da Catignola, repre- 
 sents the Virgin and her son on a throne, 
 and Sts. Bernard, John Baptist, Francis 
 d'Assise, an extraordinary painting, 
 reckoned more compact, harmonious, and 
 skilful than any other by the same author. 
 There is an inscription at the Annun- 
 ziata in honour of P. Irene Affo, a 
 Franciscan, late librarian of Parma, a 
 scholar, historian, and bibliographer, the 
 worthy successor of Paciaudi and prede- 
 cessor of Pezzana, the present librarian, 
 who continues that succession of excellent 
 
280 
 
 PARMA. 
 
 [Book IX. 
 
 librarians and laborious accurate writers 
 hitherto charged with the management 
 of the Parma library. 
 
 Saint Hilarion contains the tomb of 
 Cav. Rodolfo Tanzi, founder of the 
 Foundling Hospital, formerly adjoining 
 this church, and also of the great hospital. 
 The charitable foundations of this warlike 
 Vincent de Paul of the middle ages, are 
 as ancient as the beginning of the thir- 
 teenth century. 
 
 The church of the Capuchin monks, 
 stripped of the ducal tombs, which are 
 now at the Steccata, ■ and the ehefs- 
 d'eeuvre of the Carracci and Guercino, 
 and other able artists, now removed to 
 the gallery, has nothing remarkable left 
 except a God the Father, by an unknown 
 author, but apparently of Guercino's 
 school ; a Magdalen penitent, by Piltoni ; 
 a St. Louis, and a St. Elizabeth, by 
 Annibale Carraccio; and two miracles 
 by St. Felix, in the choir, by Leonello 
 Spada. 
 
 The assembly-room of the Venerando 
 Consorzio, a congregation of ninety-four 
 priests who perform the service of the 
 cathedral voluntarily without being de- 
 pendant on it, presents a precious paint- 
 ing by Temporello, the Virgin on a 
 throne, the child Jesus hanging round 
 her neck; on her right is St. Hilarion in 
 bishop's robes ; on her left St. John Bap- 
 tist; and in the upper part, the Eternal 
 Father and a host of cherubim. 
 
 The small church of the Holy Ghost 
 has no interest with respect to art. An 
 inscription put up by a rector pretends 
 that Asdenle de'Denti is interred there 
 —that astrologer and cobbler of whom 
 Dante speaks : 
 
 Vetli Asdente 
 
 Che aver inteso al cuojo, ed alio spago 
 Ora vorrebbe, ma tardl si pente. 1 
 
 Saint Theresa is covered with good 
 frescos by Galeotti, representing inci- 
 dents of the saint's life. The architec- 
 tural painting, by Natali, is fine; but 
 the ornaments, by the same, seem rather 
 inferior. 
 
 Saint Bartholomew della Giara has 
 the Martyrdom of the saint, an esteemed 
 work by the abbe 1 Penoni, one of the last 
 good painters of the school of Parma, 
 brother of a rector of this parish, and 
 
 ■ See Ibe following chapter. 
 * Inf., cant, xx, H8. 
 
 himself an excellent parishioner ; his 
 bones repose in the choir among those of 
 the priests. A painting, by an unknown 
 author, in Correggio's style, represents 
 St. Jerome in his grotto, in cardinal's 
 robes, the Virgin, the infant Jesus, St. 
 Bernardin of Feltre, an angel carrying 
 theregulationsoftheMont-dc-PieHe\ foun- 
 ded in 1488, by the latter saint, who first 
 instituted those establishments in Italy, 
 a Franciscan, a philanthropic minister 
 who seemed to fear no ill consequences 
 from the welfare and improvement of 
 the lower classes. Bernardino of Feltre, 
 a famous orator of his time, frequently 
 preached in divers towns of Italy for the 
 founding of Monts-de-Pidte\ in order to 
 relieve the people from the ruinous usury 
 of the Jews, which had produced much 
 misery. The heart and bowels of Bodoni 
 are deposited in a chapel of Saint Bar- 
 tholomew, as stated in an inscription on 
 a marble slab consecrated to his glory. 5 
 The church of Saint Alexander, though 
 not large, is of good architecture ; the 
 whole ceiling is painted in fresco with 
 wonderful skill by Colonna, aided by 
 Dentone, who doubtless composed the 
 graceful figures, as he did for others of 
 Colonna's works. The cupola of the 
 high altar and the sanctuary are covered 
 with^aintings by Tiarini, full of power, 
 effect, and variety. The painting of the 
 high altar is another of Geronimo Maz- 
 zola's chefs-d'oeuvre, which are so nu- 
 merous at Parma. 
 
 CHAPTER IX. 
 
 Steccata.— Parmegiano.-Alessjndro Farnese.— So- 
 vereignly of l'arma. — Destruction or the ancient 
 towns.— Correggio's chamber. — Frugoni.— Ana- 
 chronisms ordered. 
 
 The Steccata, the finest church in 
 Parma built since the revival, will 
 bear comparison with the finest in Italy ; 
 it has been attributed to Bramante and 
 Bramantino, who were not born when 
 it was erected, and it does not appear 
 unworthy of those clever artists, though 
 some exterior ornaments were added 
 during the last century in the false taste 
 of that epoch. Over the principal door, 
 is the Adoration of the Magi, a good 
 fresco by Anselmi ; on the sides, the 
 Descent of the Holy Ghost and a 
 
 J See post, cb. xl. 
 
Chap. IX.] 
 
 PARMA. 
 
 281 
 
 Nativity, by Geronimo Mazzola, are 
 fine. The gallery behind the high 
 altar has the Crowning of the Virgin, 
 in the midst of a host of saints, angels, 
 and patriarchs, a fresco by Anselmi, 
 from a watercolour drawing by Giulio 
 Romano ; on the ceiling is the famous 
 Moses breaking the tables of the law, 
 painted in clare-obscure, and Adam and 
 Eve by Parmegiano. This great and 
 capricious artist had not finished the 
 Adam, though he had taken the money 
 for it, when, being seized with a passion 
 for alchemy, he left off working at this 
 ceiling to prosecute his vain researches; 
 according to the rude usages towards 
 artists then prevailing, he was thrown 
 into prison,- but he contrived to escape, 
 and died shortly after, a solitary wan- 
 derer from one hiding-place to another, 
 at the age of thirty-seven, like Raphael, 
 whose steps he had faithfully followed. 
 
 The cupola, representing the Virgin 
 and Jesus Christ surrounded by angels 
 and saints, is one of Sojaro's fine works; 
 the St. George on horseback, by Fran- 
 ceschini, has the life and boldness of his 
 master Cignani. At the chapel of Saint 
 Anthony of Padua is the tomb of Ber- 
 trand Rossi, son of Troilo VIII., count 
 of San Secundo, and of Bianca Riario, 
 niece of Sixtus IV., a young man who 
 died in his nineteenth year, in 1527, at 
 Valmontone, when making his first cam- 
 paign with the Prince of Orange ; the 
 tomb is in good taste and was erected to 
 him by his brother Giovanni Geronimo, 
 the celebrated bishop of Pavia. In the 
 chapel of Saint Jerome and Saint James 
 is the marble tomb of Sforzino Sforza, na- 
 tural sonofFrancescoII.,duke of Milan, 
 deceased in 1S23 ; its basso-relievos and 
 reclined statue are excellent works by 
 Da Grado. A remarkable inscription 
 commemorates the friendship of Duke 
 Ranuccio I. to Antonio Molinetti, pro- 
 fessor of medicine and anatomy, who is 
 buried in the chapel of Saint Hilarion 
 and St. John. 
 
 In the choir, which has an imposing 
 aspect, is a brilliant painting by Cigna- 
 roli, the Holy Trinity, Sts. Nicholas, 
 Basil, and Gregory. St. John the 
 Baptist in the desert, the Flight into 
 
 1 See ante, book vi. ch. vii. 
 
 s The two last monuments appear of much 
 remoter antiquity than Constnntine : it is seen by 
 au inscription on the lost that Parma, after having 
 
 Egypt by the Fleming John Sons, are 
 fresh and pleasing in the landscape. Two 
 gigantic prophets are by Geronimo Maz- 
 zola, and some groups of little angels 
 have all his gracefulness and ease. The 
 Christ bound to the pillar, a small 
 bronze statue of Jesus risen from the 
 dead, are good works by Spada, and 
 Andrea Spinelli of Parma. 
 
 A subterraneous chapel was made in 
 1823, in order to receive the tombs of 
 the dukes of Parma, which till then were 
 at the Capuchin convent. On the grand 
 stone tomb of Alexander Farnese are his 
 helmet and sword with the single word, 
 Alexander. The body of this rival and 
 conqueror of Henry IV. and Maurice of 
 Nassau, of this great captain who, ac- 
 cording to M. de Chateaubriand, fixed 
 the modern art of war, was first de- 
 posited in the cathedral of Arras, then, 
 as he had desired, at the Capuchin con- 
 vent, and finally at the Steccata : he 
 does not appear to have been less wan- 
 dering and agitated after his death than 
 before. The sepulchres of the Steccata, 
 filled with persons different in race and 
 nation, have not the antique majesty of 
 the sepultures of national princes of the 
 same dynasty. One feels that sove- 
 reignty at Parma is less an hereditary 
 right than an indemnity, a variable po- 
 litical compensation, a kind of annuity 
 of men and subjects. The tomb of Ales- 
 sandro Farnese touches the heart, be- 
 cause it holds a hero; the other tombs, 
 which have, if one may say so, neither 
 ancestors nor posterity, leave one nearly 
 indifferent. 
 
 In the little square beside the Steccata 
 are two milliary columns which, despite 
 their inscriptions, are said to have been 
 erected by the Parmesans to Constanline 
 and Julian. These two rude pillars of 
 white and red marble, with the sar- 
 cophagus and demi-cippus on the steps 
 of the Duomo,» are all that remains of 
 a city once so flourishing : there we see 
 the only wrecks of temples, palaces, fo- 
 rums, basilics, which must have covered 
 the land and embellished this brilliant 
 Roman colony. It is evident from tho 
 example of Parma and many others that ■' 
 in proportion as the modern town became \ 
 
 \ 
 
 the title of Colonia Giulia, took that of Colonia Au- 
 gusta. The sarcophagus belonged to a Lucius Pe- 
 tronius Sabinus, who is supposed, with some 
 reason, to have been a Parmesan. 
 
 24. 
 
considerable, the ancient town was des- 
 troyed and disappeared ; even Rome is 
 only indebted for the preservation of its 
 noble forum to the extension of new 
 Rome in the vast expanse of the Campus 
 Martius. 
 
 The church of Saint Louis became the 
 ducal chapel in 1817. A painting re- 
 presenting the great saint giving to St. 
 Bartholomew of Braganza, a Domi- 
 nican, a piece of the true cross and a 
 thorn from Christ's crown, in presence 
 of Queen Margaret and all her court, is 
 a good work by Peroni. 
 
 Near this church is the celebrated 
 chamber of Correggio, in the old con- 
 vent of Saint Paul. The paintings of 
 this chamber, the first Correggio did at 
 Parma, were ordered by his generous 
 protectress, the abbess Giovanna, daugh- 
 ter of Marco di Piacenza, a Parmesan 
 noble, before the monastery was sub- 
 jected to closure, and when the splendid 
 and independent abbess, named for life, 
 was, like most of them in her time, 
 thrown into the midst of the affairs, 
 pleasures, and vanities of the world. 
 Over the fire-place is a fresco represent- 
 ing Diana in the clouds in a golden 
 car drawn by two white hinds. The 
 ceiling is azure and covered with graceful 
 genii wantoning amid ovals pierced 
 through a vast treillage; beneath, fi- 
 gures painted in camaieu present, face- 
 wise and perfectly naked, the Graces, 
 Fortune, the Fates, Minerva, Adonis, 
 Endymion, figures imitated from the 
 antique and worthy of it, which prove 
 how intensely the author had studied, 
 notwithstanding the uncertainty of his 
 abode in Rome : the three crescents. 
 Giovanna's arms, the crosier, sign of her 
 dignity, placed on the keystone of the 
 vault and surrounded with a gold crown, 
 surmount this voluptuous and pagan de- 
 coration, mixed with profane inscrip- 
 tions in Greek and Latin, 1 and which 
 seem to belong rather to some house of 
 Ilerfulaneum or Pompeii than the ceil- 
 ing of an abbess's closet. 
 
 The ceiling of an adjoining room, 
 bearing the dale of 1514, five years prior 
 to the paintings of the first, and the lofty 
 
 1 Some of the Inscriptions ore as follows, they 
 relate to Giovanna resisting the attempts of the 
 eictesiastical authorities, who wanted to sulject 
 her to the closure : 
 
 Dil bene voitant; 
 
 PARMA. [Book IX. 
 
 device Gloria cuique sua est, is em- 
 bellished with arabesques, by some attri- 
 buted to Araldi, by others toTemperello, 
 as well as some small paintings repre- 
 senting sacred subjects, and escutcheons 
 bearing the arms of the same abbess 
 Giovanna, more suitably placed here than 
 amid the loves and divinities of fable, 
 painted by Correggio. 
 
 At the bottom of the garden are two 
 remarkable frescos, which are also attri- 
 buted to either Araldi or Temperello, so 
 great is the resemblance between these 
 two painters of the Bellini school ; the 
 first represents St, Catherine of Alexan- 
 dria disputing at the age of eighteen, in 
 presence and by order of the emperor 
 Maximin surrounded by a numerous 
 court, against fifty philosophers, whom 
 she converted ; the subject of the other, 
 which is cruelly injured, is the Visit of 
 that same saint to St. Jerome in his 
 grot. 
 
 The old (vecchia) church of the Tri- 
 nity, the name of which declares its an- 
 tiquiiy, olfers, near the sacristy, a fine 
 fresco by Pordenone, which it is now 
 impossible to recognise, owing to one of 
 those unlucky Parma restorations. The 
 Virgin adoring her soil, St. John the 
 Baptist, St. Francis, is a good painting 
 attributed to MoJosso. Here also is the 
 tomb of Frugoni, a famous poet of the 
 last century, whose genius was dissipated 
 in court fetes and the applause of cote- 
 ries; he wrote sonnets, operas, and epi- 
 thalamiums, sung in turns the duke 
 Francis Farnese and the infant don 
 Philip, obtained greater celebrity than 
 he merited in his lifetime, but now ap- 
 pears too much neglected by the Italians. 
 Although the versescomposed by Frugoni 
 in honour of the Farnese family rendered 
 him momentarily suspected to the in- 
 fant, and caused his disgrace, he ulti- 
 mately became as great a favorite at the 
 court of the latter as he had ever been 
 before, and bis emoluments were by no 
 means inferior. The changes of poets 
 recall, under other manners, that Homer, 
 their ancient and unfortunate model, 
 and they seem also, by their songs, to 
 ask hospitality of power. There would 
 
 Omnia virtuli pervia; 
 
 (he adage of Pythagoros : Ignem gladio ne fodiat. 
 Two obscure Greek proverbs seem also an ironical 
 allusion to these quarrels. 
 
Chap. X. ] 
 
 PARMA. 
 
 283 
 
 be little reason or justice in repulsing 
 and condemning them, with all their ap- 
 parent inconsistency, and it seems that 
 indulgent antiquity foresaw this kind of 
 weakness, when it excepted orators, 
 lovers, and poets from the penalties 
 enacted against the violation of oaths. 
 
 The. exterior of the Trinity of Pilgrims 
 surnamed Rossi, scarcely answers to 
 the interior. A Virgin, St. Catherine, 
 St. Francis, St. Charles Borromeo, by 
 Aminado, has almost the freedom of 
 Correggio. Badalocchio has represented 
 on the same canvas the Virgin with her 
 son, Sts. Anne, Joseph, Joachim, and 
 Philip ofNeri. This kind of anachron- 
 ism, with which Italian painters are too 
 often reproached, is rather the fault of 
 the convents, confraternities, or corpo- 
 rations, who ordered, the works : go- 
 vernments have since perhaps been less 
 exacting, but it is doubtful whether their 
 requirements have been as poetic as the 
 saints and blessed spirits imposed on the 
 Italian artists. 
 
 CHAPTER X. 
 
 Ducal palace. — ner majesty's toilet. — Cradle of the 
 king of Rome. — Theatre Farncse. — Fetes of 
 
 Parma.— Palazzo di Giardlno Battle of Parma. 
 
 —Other palaces. — Palace del Coniune. 
 
 The Ducal palace is merely a vulgar- 
 looking great house; the interior, recently 
 fitted up in the modern style, is void of 
 character and consists of apartments only. 
 The toilet and cradle presented by the 
 city of Paris to her majesty Maria Louisa 
 and her son are kept there . ' The public 
 exhibition of this old fashioned corbeille 
 now yellowed with age, of this futile 
 wreck, the frivolous remnant of an em- 
 pire that has left such a glorious and 
 never-dying memory, excites neither 
 interest nor pity. The richness of the 
 materials, of mother-of-pearl, gilt silver, 
 and lapis-Iazuli, forms a contrast with 
 the gloomy palace that holds this magni- 
 ficent gift, and one feels that it was never 
 intended for such a place. 
 
 The theatre Farnese is now a kind of 
 ruin; its pompous inscription, Theatrum 
 
 ' These articles were offered for sale in 1SIG. 
 The drawings and proposals were made at Milan, 
 aud distributed, with Ihe valuation ; but no pur- 
 chaser earns forward. 
 
 a See Buttigll, Nolari, Tlraboschi, Frugoni, Na- 
 
 orbis miraculum, has disappeared. It 
 must however be acknowledged that the 
 number of spectators it is capable of ac- 
 commodating has been singularly exag- 
 gerated ; it was stated as high as fourteen 
 thousand in the descriptions of the fes- 
 tival at the marriage of Prince Edward, 
 son of Ranuccio II., with Isabella d'Este, 
 an error that Tiraboschi has repeated. 
 This number was reduced to ten thou- 
 sand in the narrative of Duke Edward's 
 wedding; Pietro di Lama, author of a 
 recent description of the theatre Far- 
 nese, has still further reduced it, and it 
 cannot be in reality more than about four 
 thousand five hundred. The construction 
 of this immense playhouse is a tolerably 
 good characteristic of the old manners 
 of Italy; it was built by Ranuccio I., in 
 order to give a proper reception to the 
 grand duke Cosmo II. of Medici, who 
 was about to accomplish his vow to visit 
 the tomb of Saint Charles Rorromeo, 
 and it was a bishop, the bishop of San 
 Donnino, Pozzi, who designed the alle- 
 gories. The architect was Giambattista 
 Aleolti, of considerable skill in archi- 
 tecture, military, civil, and hydraulic, 
 and learned in Greek and Latin letters. 
 The theatre Farnese witnessed the su- 
 perb and famous spectacles celebrated at 
 Parma for more than a century, of which 
 some monstrous relations have been 
 published. 3 It seems, in fact, that the 
 history of the fetes of this duchy, always 
 dependent, ceded, or conquered, are 
 more important than its own history, 
 and have found a greater number of his- 
 torians. 
 
 The old Ducal palace (palazzo di 
 Giardino ) deserves a visit for the room 
 containing the delicious frescos of Agos- 
 tino Carraccio on the ceiling, with Cigna- 
 ni's on the walls, the only remains of a 
 multitude of chefs-d'oeuvre that have 
 been barbarously destroyed. One of the 
 compartments of the ceiling, the fifth, 
 left imperfect, offers an interesting cir- 
 cumstance : as Agostino was prevented 
 finishing it by death, the duke would not 
 have it completed by another hand, and 
 instead of figures, he had the artist's 
 panegyric inscribed therein. The four 
 
 poli Signorelli and others : some of these teles 
 were also given at the amphitheatre near the li- 
 brary, now in a ralher bad condition, but it has 
 since undergone some repairs. 
 
284 
 
 PARMA. 
 
 [ Book IX" 
 
 finished compartments represent the three 
 kinds of love, Heavenly Love, Earthly 
 Love, Venal Love ; JEneas going from 
 Troy to Italy, and Venus, Mars and 
 Venus, Cupid and two Nymphs ; Thetis 
 and Peleus. 
 
 The steward of the chateau was a 
 rather singular personage; undisturbed 
 in his office for the last forty years, he 
 had stoically looked on while the various 
 sovereignties of Parma passed away ; 
 ever the partisan of the last comer, "he 
 spoke with extreme circumspection of 
 the future prospects of the state and its 
 returning to the family of its ancient 
 dukes ; ■ his father, whom he succeeded, 
 came from Spain in the train of the in- 
 fant Don Philip, in 1749 : this family 
 really seems a part of the furniture of 
 the palace, and might very well be put 
 in the inventory. 
 
 The garden, in the French style, is 
 extensive, dull, and lonely. At the foot 
 of the terrace is the plain where Marshal 
 de Coigny beat the Austrians in 1733, 
 Goldoni has given a very natural de- 
 scription of the terror of the Parma 
 townspeople during the combat ; he had 
 obtained a close view of the battle, so 
 far as the smoke of the cannon permits 
 the contemplation of those hazardous 
 spectacles, which are not always very 
 well comprehended by their heroic ac- 
 tors. How strange are the dealings of 
 fate I the French, with all their victories, 
 were ten times driven from Italy ; the 
 Austrians, though so often defeated, re- 
 turn and remain. 
 
 The palace of the ancient podesta of 
 Parma, Marquis Fillippo della Rosa 
 Prati, has two masterpieces of art, a 
 marble balustrade by Da Grado, which 
 was unfortunately mutilated at the ex- 
 tremities when removed from the cathe- 
 dral, and especially the painting by 
 Geronimo Mazzola, the Virgin, infant 
 Jesus, St. Catherine and some little an- 
 gels, which adorned the high altar of the 
 suppressed church of the Carmelite 
 friars, a charming work and a happy 
 inspiration from Correggio. 
 
 ' At the deatli of Maria Louisa, the duchy of 
 Parma reverts to the preseut duke of Lucca ; ia 
 rose of his having no son, 1'arma will be reunited 
 to the possessions of the house of Austria, and 
 Placentla to the Sardinian states. 
 
 3 In the Life of Bodoni, by De Lama, is a curious 
 characteristic anecdote. When M. Pierre Didot 
 jr«senteri bis edition or Alflerl's Works to Napoleon, 
 
 The San Vitale palace is magnificent 
 and commodious; it contains some good 
 paintings by Parmegiano, books, pic- 
 tures, and objects of art, proving the he- 
 reditary liberal tastes of the noble fa- 
 mily that inhabits it. 
 
 The small Cusani palace, attributed to 
 Vignola, has not suffered less from the 
 injuries of time than its too frequent re- 
 parations. 
 
 In an apartment of the palace del Co- 
 mune, a colossal Virgin crowned is a 
 valuable wreck of an ancient fresco on 
 the front of the governor's palace, exe- 
 cuted in 1566, by Bertoja, a good Par- 
 mesan painter. This palace has been 
 improperly attributed to Vignola, whose 
 death occurred fifty years before its re- 
 construction by the architects Magnani 
 and Rainaldi : its still unfinished vesti- 
 bule, supported by lofty arcades, is used 
 as a cornmarket, a very important re- 
 quisite in" the centre of a country so fer- 
 tile as the state of Parma. 
 
 CHAPTER XI. 
 
 Theatre.— Bodoni's editions.— University.— College 
 of nobles;— Lalalta college.- Hospital della Ma- 
 ternlla. 
 
 The new theatre of Parma, which was 
 opened on the 16th of May 1829, is not 
 very noble or pure in its architecture, 
 but appears of solid construction and 
 conveniently disposed. The house holds 
 about fifteen hundred persons; on the 
 first floor are a spacious saloon and 
 apartments intended for assembly rooms. 
 
 Rodoni's printing-office was continued 
 by his widow ; and the numerous ma- 
 trices that served to cast his letter may 
 be seen there. If Rodoni's editions, 
 extolled and encouraged by Napoleon and 
 his family, in preference to those of our 
 Didot, which were very superior for 
 elegance and taste, 2 have not maintained 
 their first price, and are every day falling 
 in value, it is because they are incorrect, 
 notwithstanding their splendour, and 
 possess no literary interest or merit; the 
 
 the latter, with whom the Italian poet was no fa- 
 vorite, abruptly exclaimed : " Why speak to me of 
 AIQeri and your editions? Look at Bodoni's Hard, 
 and see how they print in Italy I'' The Bard of 
 the Vlack Forest is a poem in sir cantos by Monti, 
 dedicated to Napoleon, in which the principal 
 events of bis life are celebrated, such as the taking 
 of llm, the Egyptian expedition, the nineteenth 
 
Chap. XI.] 
 
 PARMA. 
 
 28-, 
 
 Homer, Virgil, and Horace, are offered 
 even in the catalogue published at Parma, 
 in 1823, at a reduction often per cent., 
 and considerable discounts are allowed 
 to the purchasers of the various editions, 
 according to the quantity bought. It 
 must, however, be acknowledged that 
 the productions of Bodoni evince consi- 
 derable skill ; his type, though heavy, is 
 even and clear; his paper, which came 
 from Augsburgh, is of exceeding white- 
 ness; but this brilliant manufacture will 
 always be far inferior to the great and 
 useful labours of the Aldi and Estiennes, 
 learned publishers and commentators of 
 the books issuing from their presses : 
 the first is a kind of mechanic art and 
 talent, which may be practiced with the 
 aid of great capital, or the favour and 
 encouragement of princes ; the latter, in- 
 dependent and alone, proceeded from 
 the powers, culture, and application of 
 he mind. 
 
 The university of Parma, occupying a 
 grand majestic edifice ornamented with 
 good frescos, by Sebastiano Ricci, has 
 about five hundred pupils. Some illus- 
 trious professors have belonged to this 
 university, such as Giovanni Bernardo 
 de' Rossi, retired professor of oriental 
 languages, SS. Rasoni 1 and Tommasini, 
 both Parmesans, and counted among the 
 best physicians of Italy. 2 
 
 The college of Nobles, which became 
 ihe Lycaeum under the French adminis- 
 ration, was restored in 181G to the Be- 
 ledictines. The number of pupils is 
 hirty-one; under the Farnese, it amount- 
 id to three hundred. Some celebra- 
 ed men who have thrown a lustre on 
 Italy, made their studies in this college; 
 such as, Scipione Maffei, Cesare Bec- 
 ;aria, Pietro and Carlo Verri, Giambat- 
 islaGiovio. The chapel has some good 
 jaintings by Lanfranco, Leonello Spada, 
 ?rancesco Stringa, Bibiena : in the 
 jreat hall are some very fine frescos at- 
 ributed to Giovanni of Troy, in the 
 tyle of Guido, his master, which a 
 jungling restoration has not perfectly 
 iucceeded in destroying. 
 
 Irumaire, etc. So great was the favour that Bodoni 
 njoyed under the imperial government, that, when 
 n Historical and Critical N'otice of his printing 
 stablishment appeared In March, 1813, on nodoni's 
 ornplalnt to M.de Pommereul, director-general of 
 he book-trade, the prefects of Taro and Genoa were 
 rdered to confiscate all the copies. 
 ' Died, April 12, 1837. 
 I 7 S. Tommasini has since returned from Bologna 
 
 The Laialla college, founded by the 
 canon of that name, is one of those noble 
 institutions common in Italy, and dates 
 as far back as the year 1563 ; but, from 
 some strange delay, two centuries passed 
 before the directions of the donor's will 
 were complied with, and the college was 
 not opened till 1753, under the infant Don 
 Philip. It educates about fifty scholars 
 from the middle class of society. The 
 gallery leading to the theatre is orna- 
 mented with some grand frescos attri- 
 buted to Laltanzio Garobara. At the 
 end of the gallery is a room painted in 
 fresco on the ceiling and ornamented 
 with elegant arabesques, by Bertoja. 
 
 The hospital della Maternita is one of 
 the benevolent foundations of her ma- 
 jesty Maria Louisa, to whom Parma is 
 indebted for a refuge for mendicants, a 
 school of aits and trades, a hospital for 
 the incurable, and a madhouse. "The 
 art of Lucina," says an historian of some 
 particulars of her life, when speaking of 
 the hospital della Maternita, "is there 
 taught, for the purpose of relieving hu- 
 man frailty and instructing midwives." i 
 The number of the latter thus instructed 
 is eight, two of whom are supported by 
 the duchess of Parma. The government 
 of this princess is extremely mild ; she 
 is personally loved, and every body was 
 delighted by the affable manners of Ge- 
 neral Neipperg, deceased in 1829, sur- 
 named the Bayard of the German troops 
 by Madame de Stael, who knew him 
 when Austrian ambassador in Sweden, 
 and justice was rendered to his disinte- 
 restedness as well as the nobleness of 
 his character. The remark of that cari- 
 cature of Potta, by Tassoni, was not 
 therefore very exact : 
 
 II Potta the sapea che i Parmigianl 
 Eran nemici alia Tedescheria. 
 
 The administration, though moderate, 
 seems deficient in order and economy : 
 the imposts are heavy, and the deficit is 
 said to be twenty millions already ; and 
 I have not forgotten being informed by 
 
 to Parma. His opening discourse on his return, -. 
 
 delivered Ihe 7th of December, 1829, is touching j - -. 
 
 and simple ; he principally treats therein of love of '-X 
 
 country and the importance of facts and observa- [: - 
 
 tion in medicine. 
 
 m 
 
 3 Memoires anecdotiques sur Iinterieur du Palais S^ 
 et quelques evenements de 1'Empire, by M. de 
 Bausset, I. iv. 84, 
 
286 
 
 PARMA. 
 
 [Book IX 
 
 the monks, when I crossed the Great 
 Saint Bernard towards the close of 1828, 
 that among the poor and beggars obliged 
 to abandon their country, and to whom 
 they had given refuge, a great number 
 came from the state of Parma. 
 
 CHAPTER XII. 
 
 Petrarch's bouse.— Petrarch Building. — Blind en- 
 thusiast.— Africa. 
 
 The houses of Petrarch are common in 
 Italy ; they are still visited by the curious 
 at Arezzo, Pavia, Linterno, Arqua." A 
 tradition, apparently well founded, 
 points out, as the place of his house and 
 garden at Parma, the site of the Bergonzi 
 house, near the church of Saint Stephen. 
 "I have a country-house in the middle 
 of the town," he writes to Barbato of 
 Sulmone, " and a town in the middle of 
 the fields. When I am tired of being 
 alone, 1 have only to go out, and I find 
 society directly; when weary of the 
 world, I return to my house, and am 
 again in solitude. I here enjoy such re- 
 pose that was never known by philoso- 
 phers at Athens, poets on Parnassus, or 
 anchorets in the silence of their hermit- 
 age amid the deserts of Egypt. O for- 
 tune, I beseech thee to leave in peace a 
 man who conceals himself! Keep aloof 
 from his humble threshold, and pass on 
 to terrify with thy presence the proud 
 gates of royalty." 3 
 
 Petrarch at first only rented this 
 little house; but he soon resolved to 
 purchase and even to rebuild it, so 
 much was he pleased with its situation. 
 His epistle to Guglielmo Pastrengo of 
 Verona naturally depicts his condition 
 at that time, and places him before us in 
 the threefold character of Christian, 
 philosopher, and builder. This simpli- 
 city has somewhat touching in the poet 
 who had just been crowned at Borne, 
 in the friend, counsellor, and favourite 
 of the four brothers of Correggio, the 
 new sovereigns of Parma after over- 
 throwing the tyranny of Mastino della 
 Scala. 3 "Are you desirous to know 
 
 ' See book iv. cb. i. and vi. ; book vn. cli. viii. ; 
 and book xvn. cb. I. The English aiinotator of 
 Cliilde Harold mentions his bouse at Venice, of 
 which lite Venetians and persons best acquainted 
 with Petrarch's life have never heard a word. 
 
 a Carta, lib. iii. ep. 18. 
 
 3 The Corregglos themselves did not long retain 
 
 what I am doing? I am a man, and I 
 work ; what I am thinking of? repose ; 
 what I least expect? repose; where I 
 go? here and there; whither I tend? to 
 death; in what state of mind? without 
 fearing it, and impatient to escape this 
 gloomy prison; in what company? that 
 of men; what is the end of my journey? 
 the grave; and after? heaven, or, if that 
 be forbidden, hell ; and may the celestial 
 powers avert from me that linhappincss! 
 where I am at present? at Parma ; what 
 are my occupations there? I pass my 
 time at church or in my little garden, 
 unless I take a ramble in the woods. 
 Although fortune offers me all her bless- 
 ings, I have not changed my manner of 
 life. I work at my Africa with ardour, 
 without expecting any other return for 
 my labour than a vain glory. True 
 glory, I am well aware, is the reward 
 of virtue. I am building a little house, 
 such as suits my humble lot. But little 
 marble will be seen therein; I should 
 like to be nearer your fine quarries, or 
 to have the Adige bathing our walls. 
 The verses of Horace slacken my ardour 
 for building, and set before me my tomb 
 and final abode : I keep the stones for 
 my sepulchre. If I see a trifling crack 
 in the new walls, I scold the masons : 
 they answer that all the art of man 
 cannot render the earth firmer, that it 
 is nowise surprising lo see new founda- 
 tions sink a little; that human hands 
 can build nothing durable; in short, that 
 my house will outlast me and my de- 
 scendants. Convinced of the truth of 
 what they said, I blushed and said to 
 myself : Fool ! consider the foundations 
 of thy body which threatens ruin! put 
 yourself in surety while it is yet time! 
 this body will fall before thy house; 
 thou wilt soon vacate both of these 
 dwellings. These reflections would make 
 me give up my building, if I were not 
 held back by shame. What would pas- 
 sengers say on seeing those roofless 
 walls? They would laugh at me. I 
 hasten the work to its close, but I do 
 not know my own mind, and am never 
 in accord with myself. One while I am 
 
 the sovereignty of Parma. It was to one of them, 
 Azzo, that Petrarch, with his characteristic faith- 
 fulness In friendship, addressed the treatise De 
 remediis ulriusnue forlunce, a cold and feeble con- 
 solation for such misfortunes. See ante, book iv. 
 chap. i. 
 
Chap. XII. 
 
 PARMA. 
 
 287 
 
 contentwith a small house like the garden 
 of Curius or of Epicurus, or the field of 
 Virgil's old man ; at another, the fancy 
 seizes me of raising my house to the very 
 clouds, of surpassing Rome and Babylon 
 in my structures : my mind is lost in 
 these boundless vagaries. A moment 
 after, I arn more moderate, and hate 
 every thing tinctured with extravagance 
 and pride. My soul floats in these ever- 
 lasting doubts and changes, and knows 
 not how to determine her choice. My 
 only consolation is to see the vulgar sail- 
 ing without a helm on an agitated sea, and 
 making shipwreck. After well weighing 
 everything, I laugh at myself and all that 
 is with me in this perishable world." « 
 
 Petrarch sojourned at Parma three se- 
 veral times,inl341, 1344, andl348; though 
 his visitswere but short, they must have 
 left him some painful reminiscences, for 
 they were marked by the loss of objects 
 exceedingly dear to him ; such as the 
 death of the bishop ofLombez, of P.Dio- 
 nigi, his master, confessor, and friend, 2 
 of Paganino, podesta of Parma, and, 
 particularly, of Laura, who died of the 
 terrible black plague, the cholera of the 
 middle ages. It was at Parma that he 
 received the letter from another friend, 
 Socrates (Ludovico di Stefano), announ- 
 cing to him this last death, which hap- 
 pened on the 6th of April, the anniver- 
 sary of his first meeting with Laura, and 
 the very morning of the day that she ap- 
 peared to him in a dream ; it was there 
 he wrote that touching and impassioned 
 letter, inspired by such miraculous cir- 
 cumstances, which may still be seen in 
 the Virgil at the Ambrosian.3 
 
 If mental sufferings could be alleviated 
 by the enjoyments of self-love and the 
 renown attendant on literary talents, 
 perhaps Petrarch might have been less 
 unhappy in calling to mind the visit he 
 received at Parma from that blind old 
 schoolmaster, who had travelled afoot 
 from his home at Pontremoli as far as 
 Naples, leaning on the shoulder of his 
 
 ' Carm. lib. n. ep. 18. 
 
 2 Dionigi, a poet and scholar, seems, like most 
 lenrned men of his time, not to have escaped the 
 illusions of judicial astrology, which were not 
 only avoided by Petrarch, but even ridiculed. 
 (Senil. lib. i. ep. vl.) Dionigi studied that science 
 Kltb King Robert of Naples, to whom he was at- 
 tached, as may be seen by the verses addressed to 
 the latter, in which Petrarch deplores his loss : 
 
 Solamen vitee quonlaui, Rex optime, perdis 
 
 only son; not finding him there, he re- 
 turned home, and started from thence 
 across the Apennines on his way to 
 Parma. After announcing his arrival by 
 some verses that were not bad {haud in- 
 eptis aliquot versiculis), 4 he had him- 
 self conducted to Petrarch's house, and 
 there, this kind of Homer, a pedagogue 
 and ugly, his countenance being copper- 
 coloured, gave way in his presence to 
 the liveliest transports ; he was lifted up 
 by his son and one of his pupils whom 
 he had brought with him from Pontre- 
 moli, that he might, as Petrarch with 
 considerable self-complacency informs 
 us, embrace the head which had thought 
 such fine things (quw ilia cogitassem), 
 and kiss the hand that had written them 
 {quae ilia scripsissem). During the 
 three days that he passed at Parma, the 
 enthusiasm of this old man was inex- 
 haustible and a source of much amuse- 
 ment to the inhabitants. One day when 
 apologising to Petrarch for his importu- 
 nity, he said: "You ought to let me 
 enjoy a happiness that I have bought 
 by such a painful journey, for I can 
 never have enough of seeing you." At 
 the word seeing, every body laughed, 
 and he turned sharply towards Petrarch 
 and added : "I take you to witness 
 whether it be not true that I, blind as I 
 am, see you, and better too than all those 
 laughers with their two eyes." 
 
 Petrarch composed, or rather compiled 
 at Parma the greater part of his Africa, 
 for he took the liberty of inserting there- 
 in whole passages from the poem on the 
 second Punic war, by Silius Italieus, 
 of which he fancied himself to possess 
 the unique copy, a plagiarism exposed 
 by the discovery of other manuscripts. 
 The Africa, though a long, tedious, 
 languid poem, enchanted King Piobert, 
 to whom, at his request, Petrarch dedi- 
 cated it, and whom he really praises too 
 highly, despite his good qualities, and 
 the classic privilege of flattery accorded 
 to epic poets from time immemorial 5 
 
 Nod mediocre Iua3, quis tecum consulet astra 
 Falorum sccreta movens, aut aule notabit 
 Successus belli dubios, mundique luruullus, 
 Foitunasque Ducum varias? ........ 
 
 (Carm. lib. i. ep. 13.) 
 
 3 See ante, book m. ch. ix. 
 
 4 See Senil. lib. xy. 7. 
 
 5 see the opening of the first book of the Africa i 
 Tu quoque Trinacrii, etc. 
 
188 
 
 PARMA. 
 
 [Book IX. 
 
 CHAPTER XIII. 
 
 Campo Santo.- Mnzza.— Bridge over Ihe Tavo. — 
 Colorno. — Selva I'iana. 
 
 The Campo Santo, composed of nu- 
 merous arcades (Logge), is a fine, useful 
 creation ; it has a small church of an ar- 
 chitecture at once noble and simple. 
 Although its establishment took place so 
 recently as 1817, it already contains some 
 distinguished dead, and among them the 
 celebrated Parmesan lyric poet, Angelo 
 Mazza, nearly a hundred years old when 
 he died in that same year 1817, author of 
 some brilliant verses on harmony, friend 
 of Gaspardo Gozzi, Stellini Cesarotli, 
 Foscolo, Pindcmonte, and the reverend 
 fathers Paciaudi, Alio, and Turchi; but 
 so roughly handled by Monti before their 
 chance reconciliation at the post-house 
 
 The bridge over the Taro, five miles 
 from Parma, terminated in 1821, is built 
 of hewn-stone and bricks on pilcwork ; 
 notwithstanding its twenty arches and 
 magnificent appearance, it does not seem 
 a very well conceived monument : this 
 bridge is rather menaced by the sand 
 and gravel than the water; as it will fre- 
 quently be necessary to clear away the 
 soil brought down by the stream," and 
 which has already encumbered several 
 arches. The toll, to which even the 
 simple foot-passenger and peasant are 
 subjected, is also unworthy a public mo- 
 nument. Four colossal stalues placed at 
 the extremities represent the four tor- 
 rents of the state of Parma. The idea 
 of statues erected to torrents may appear 
 fantastical ; but why shouid they not 
 have them, since so many have been 
 erected to conquerors, another kind of 
 torrents which have certainly caused 
 much more dreadful ravages! 
 
 The vast chateau of Colorno has lost 
 its colossal statues and its fine sketch by 
 Parmegiano, which are now in the gal- 
 lery of Parma. It possesses one of the 
 noblest and most elegant masterpieces 
 ofCanova, in the antique style, the statue 
 
 1 as Monti was changing hordes at Parma, some 
 one told Mazza, whose residence was near the posl- 
 house, and he, mistaking the name for that of his 
 friend rindemonte, eagerly ran lo ask for the tra- 
 veller. Monti hating inquired who was asking for 
 Miu, " Arnionldc," replied Mazza, who bore 
 that Arcadian name, and, recognising Monti, he 
 lidded : "A poet whom you hate." — ' 1 hale no 
 one " replied Monli, " and you much leis than any j 
 
 of Maria Louisa as Concord, ordered by 
 Napoleon when at the height of his glory, 
 and after his fall sent to Colorno by the 
 emperor Francis. This chateau appears 
 somewhat neglected, the duchess of 
 Parma preferring the Casino de' Boschi 
 at Sala, which has a finer view. The 
 gardens of Colorno, now in the English 
 style and no longer possessing the re- 
 gularity poetically sung by Frugoni,* are 
 nevertheless very agreeable, and some 
 tine hothouses have been erected there- 
 in by a German gardener, 
 
 Selva Piana, fifteen miles from Parma, 
 the beloved retreat of Petrarch, whither 
 he retired after being crowned at Rome, 
 presents no vestige of his residence there. 
 The house formerly called Casa alle 
 pendici, from its situation halfway up an 
 acclivity, has almost disappeared in our 
 own days ; it was standing sixty years 
 ago ; at present nothing remains but the 
 woods and the prospect extending to the 
 Alps, and commanding the whole of Ci- 
 salpine Gaul. Such an abode must have 
 inspired a poet, and Petrarch has duly 
 celebrated it : "This immense forest, on 
 a verdant bill, is called Plana, though 
 a steep ascent : the earth there engen- 
 ders beeches with lofty branches to ward 
 off the burning rays of the sun, and 
 young delicate flowers of variegated co- 
 lours; a limpid stream and the cool 
 breezes from the neighbouring moun- 
 tains temper the heats of Cancer and 
 Leo. The summits of the doud-capt 
 
 mountains tower above the forest 
 
 Thousands of birds and animals of va- 
 rious kinds inhabit its sacred shade; a 
 brook rushes down the hill and refreshes 
 the young turf in its wandering course. 
 In its bosom is a flowery bower made 
 by no artist's hand, but created by na- 
 ture, the friend of poets, to give them 
 inspiration : there, the warbling of birds, 
 combined with the murmurs of the 
 stream, invites to grateful slumbers : the 
 grass airords a charming couch; the 
 boughs protect you with their shade, and 
 the mountain shelters you from the sou- 
 other." Tbey immediately embraced, and after 
 exchanging some few words each went his way. 
 Ever after, though still enemies and rivals, tbey 
 treated each olher respectfully, and Uodoui, u 
 mutual friend, neglecled no means of cementing 
 this kind of union. 
 
 1 See his poem entitled the Oi7o Ui Colorno, ad- 
 dressed to Duke Francesco t'uruesc. 
 
Chap. XIV. ] 
 
 PARMA. 
 
 2«9 
 
 them ■winds. The rude swineherd ha 
 never defiled such a refuge with his feel : 
 the peasant points thereat with his 
 mattock or his finger, and the guardian 
 of the woods tremblingly reveres it from 
 the mountain top. The breath there 
 inhales a marvellous perfume; its aspect 
 presents a picture of the Elysian fields, 
 and this secluded spot is the peaceful re- 
 treat of the -wandering muses. I steal 
 away thither and escape the world and 
 society." « 
 
 A decree of the duchess of Parma has 
 directed a monument to be erected to 
 Petrarch's memory on the site of his 
 house at Selva Piana; this monument 
 amid the cottages of the present village 
 will recall from afar the poet's glory and 
 felicity. 
 
 CHAPTER XIV. 
 
 Imitation of the French.— Brescello.— Guastalla.— 
 Lilerary fatigues.— Serraplio of Mantua. — Yirgi- 
 liau aspect. — Blunders of uutraveiled translators. 
 —Fertility of the Serraglio. 
 
 There exists in some parts of Italy, 
 chiefly in the north, a kind of provincial 
 prejudice in favour of France and Paris, 
 and it may even be observed in persons, 
 whose education, capacities, and manners 
 are equal to whatever is most, eminent 
 among ourselves. This prepossession, 
 beside its false judgments and un- 
 grounded admiration of men and things, 
 produces also a sort of awkward imita- 
 tion to be recognised even among the 
 lower orders : they also pride themselves 
 on speaking French, and I have not 
 forgotten that, when I left Parma for 
 Mantua, the landlord of the Grand Hotel 
 Imperial and post-house, in recom- 
 mending me to his brother of the trade 
 at Mantua, said in his letter, that in re- 
 commending such a traveller, il croyait 
 le cadeauliser : and this fine circular was 
 printed on large paper, and perhaps with 
 Bodoni's types. 
 
 Brescello, the Brixillum of the an- 
 cients, once a flourishing Roman colony, 
 now a large trading town on the banks 
 of the Po, is associated with one of the 
 most pathetic scenes of antiquity, the 
 death ofOtho; that emperor, on learning 
 the defeat of his troops by those of Vi- 
 
 ' Carm. lib. n. ep. iO. 
 
 » Experti invicem sumus, ego ac fortuna. Tac. 
 list. lib. ik cap. xlvii. 
 
 tellius, having determined to kill him- 
 self, uttered those noble words which 
 may have been since repeated by numbers 
 of unhappy ones who had never reigned : 
 "I and fortune have tried each other."* 
 
 I saw nothing of Guastalla but its 
 Duomo, which is by no means remarka- 
 ble, and its library. The latter, consist- 
 ing of about six thousand volumes of 
 good books, was bequeathed in 1801 by 
 a townsman Don Marcantonio Maldotti. 
 whose name it bears, though not opened 
 till 1817; it is another instance of that 
 municipal patriotism to which the towns 
 of Italy owe so many useful foundations. 
 
 The learned P. Ado wrote an history 
 of Guastalla. He has devoted four quarto 
 volumes (Guastalla 1785-7) to this town 
 of no very ancient date, and its little 
 duchy. The advertisement of the last 
 volume exhibits the modesty of this monk 
 in a touching manner; he concludes his 
 quoting by an ingenious passage of Eras- 
 mus on the proverb herculei labores, of 
 which laborious writers are sometimes 
 tempted to remind their readers: " Such 
 are these labours that their fruit and 
 usefulness are felt by every body, but 
 none are conscious of the toil save him 
 who bears it. The reader, while perus- 
 ing our works at his ease, does not in- 
 deed perceive that a single word may 
 sometimes have cost us several days. 
 He does not comprehend, or he very 
 soon forgets, the pains that the pleasure 
 he enjoys has cost, and by what fatigues 
 he has himself been spared fatigue." 
 
 The aspect of the Po, which crosses 
 the road at Borgo -Forte, is superb. 
 I know not whether the clearness of the 
 sky after some dreadful weather added 
 to the acutene^s of my feelings, but I 
 fancied that I had then a glimpse of the 
 nature Virgil painted, and that 1 repe- 
 rused his verses in that unique and bril- 
 liant original. The woods bordering 
 the river opposite Brescello, its width, 
 and the rapidity ol'its current still recall 
 the description of its overflowings and 
 the impression received by Virgil : 
 
 Prolult insano conlorquens vortices sllvas 
 Fluviorum rex Eridanus, camposque per omnes 
 Cum slabulis armenta tulit. 3 
 
 In the fertile country, called the Ser- 
 3 Georg. I. 481. 
 
 25 
 
290 
 
 PARMA. 
 
 [Book IX. 
 
 raglio of Mantua, the meadows, the 
 clusters of little trees covered with vine 
 tresses from the very ground, thequantity 
 of willows, the little verdant hedges, the 
 streams that the road crosses as they roll 
 down to the Po, also exemplify and in- 
 terpret the 
 
 Mecuru inter salices lentil sub vile jaceret, 
 
 the Mollia prata, where Gallus wished 
 to be consumed by time with Lycoris, 
 
 Tecum consu merer svo, 
 
 the Arbusta, the Flumina nota of 
 Tityrus and the bush that invited to 
 sleep, 
 
 Sepes 
 
 llyblffis apibus llorem depasta sallcti, 
 Sa-pe levl sornnum suadebit inire susurro. 
 
 The running waters of the marshes, 
 intermixed with vegetation, recall the 
 pathetic passage, 
 
 Kt qualern InfelU amlsit Mantua campum 
 l'ascentem niveos berboso fluuiiue cycuos. 1 
 
 Swans may still be seen there, but in 
 small numbers, and they fly towards the 
 north in the spring. 
 
 In this study of Virgil, made on the 
 spot one One autumn morning, I could 
 almost ascertain the agricultural ac- 
 curacy of the verses that follow those 
 above quoted, and which I cannot refrain 
 from copying : 
 
 INon liquldi gregibus fontes, non graining desunt; 
 i:t, quantum longis carpent armenta dlebus, 
 Lsigua lantum gelldus ros nocte reponet. 1 
 
 The red marble of which this poor 
 shepherd offered a provisional statue to 
 Priapus, is still common in the country : 
 
 Lajvi de marmore tola 
 
 I'uniceo stabls. 
 
 The cattle even retain their antique 
 Virgilian physiognomy : the sheep, ac- 
 cording to a practiced observer of fields 
 and animals, M. Simond, author of a 
 Voyage in Italy, are curve-nosed, lap- 
 
 ' Georg. 11, 19 
 
 2 Ibid. II. 200. 
 La tout ill am pasteurs, la beaute du vallon, 
 La fraicneur des rulsseaux, l'ipaisseur du gazon ; 
 
 eared, and long-legged, as they are 
 represented in some antique basso-re- 
 lievos. The oxen seemed to me of the 
 same mien as those of the Georgics : 
 
 bncula, cocluni 
 
 Suspicleos, patulis captavlt naribus auras.' 
 
 But thisMantuan nature, sweet, simple, 
 productive as the poet's genius, has not 
 the southern and almost oriental bril- 
 liancy that some translators would lead 
 us to believe ; and when we see the four 
 professors of the Mazarine college and 
 the venerable rector Binet render the 
 malo me Galatea petit, by Galatee me 
 jette une Grange, it is easy enough to 
 see those gentlemen were never there. 
 We have already remarked the inaccu- 
 racies of the French translators of Pliny 
 and Catullus on the subject of the lakes 
 of Cosmo andGarda ; the absence of local 
 knowledge seems also to have misled 
 the illustrious translator of the Georgics : 
 in one of the preceding quotations he has 
 added a vallon for rhyme's sake, which 
 is neither in the text nor in the plain of 
 Mantua. At the 27th note of the first 
 book, on the verse : 
 
 Deinde satis fluvium inducit rivosque sequenles.' 
 
 he pretends that this sort of irrigation, 
 out of use in France, is only practised in 
 Italy for gardens, whereas Piedmont 
 and the fields of Lombardy are skilfully 
 inundated in the same way. At note 29 
 of the same hook, he believes that Virgil 
 had Campania principally in view when 
 composing the Georgies ; they, and the 
 Bucolics too, seem much more in accor- 
 dance with the face of nature at Mantua, 
 from which the poet had received his 
 first impressions ; in more than one in- 
 stance he gives the methods of cultivation 
 peculiar to the people living near the 
 Po ; the pictures .of Naples and Cam- 
 pania may be found in the jEneid. P. j 
 Larue's interpretation of the liquefacta- 
 que volvere saxa by exesa imminuta 
 igne, is another blunder of these closet 
 translators, which the sight of the heaps 
 of lava at Torre del Greco would havo 
 subsequently spared him; and one may 
 
 lit lout ce qu'un long jour consomme de pflturo, 
 La plus courle des nuits le rend avec usure. 
 Deluxe. 
 5 Georg. I, 375. 
 
Chap. XV.] 
 
 MANTUA. 
 
 291 
 
 very well imagine why , after the eruption 
 of 1737, it was so tartly censured by the 
 Academy of Naples, then too good judges 
 of the truth of the lique facta. 
 
 Such is the fecundity of the Serraglio 
 of Mantua and the variety of cultures it 
 admits, that land is a good investment 
 for money, and, barring inundations and 
 seasons when there may be too much 
 room to complain of 
 
 .... Fluviorum rex Eridanus, . . . 
 
 the field of Virgil, with its mulherry- 
 trees planted in quincunx, may yield an 
 annual interest of 7 or 8 per cent. 
 
 CHAPTER XV. 
 
 Mantua.— Ducal palace.— Gonzaga. 
 
 Virgil and Giulio Romano seem by 
 their genius the sublime sovereigns of 
 Mantua ; the former reigns in the fields, 
 the latter in the town : if the paintings 
 and beauties of the poet are found, and 
 further developed, in ihe environs of this 
 fine city, the artist has planned, built, 
 painted, and embellished it. "This town 
 is not mine," said duke Federico Gon- 
 zaga, " but Giulio Romano's." It is 
 therefore necessary to vjsit Mantua in 
 order to form a just idea of the power of 
 his talent, and no one can truly estimate 
 his worth until he has seen him there. 
 Mantua unfortunately is not in the direct 
 and unvarying road of the curious who 
 overrun Italy, and consequently misses 
 most of them. 
 
 The ancient ducal palace, called at 
 present Corie imperiale, an old monu- 
 ment, partly rebuilt by Giulio Romano, 
 is spacious, irregular, and characteristic. 
 Though gloomy and deserted, it still 
 breathes the magnificence of thatMarquis 
 of Mantua, Francesco Gonzaga, Fede- 
 rico's predecessor, whose court, as re- 
 presented by the author of the Corte- 
 giano, was rather that of a king of Italy 
 than of the lord of a single town. The 
 Gonzagas, instead of usurping the so- 
 
 1 See, in chap. vh. of Shepherd's life of Poggio, 
 the reproaches addressed by Reggio to Viclorino of 
 Feltro, then tutor of Ibe princes of Mantua, for not 
 having had the courage to convey to duke Francesco 
 Gonznga, Hie letter be had addressed to him in 
 favour of his eldest sou, wounded and taken pri- 
 soner by the troops of Francesco Sfoiza, general of 
 the Florentines, after, running away from home 
 
 vereignty of their country at the expense 
 of its liberty, overthrew the insolent 
 tyranny of the Bonaccolsi family , to which 
 they were allied ; captains, generals, 
 marquises, and dukes of Mantua, they 
 gave an extraordinary impulse to letters 
 and the arts, notwithstanding the small- 
 ness of their state and the frequent wars 
 in which they were concerned. Filelfo 
 professed there, and Victorino of Feltro, 
 the prudent friend of Poggio, ' the origi- 
 nator of infant'? schools and elementary 
 instruction, whose institution called the 
 House of Joy {la Casa giojosa) 2 was then 
 celebrated in Europe ; Mantegna founded 
 bis school of painting there; Leone Battista 
 Alberti, his school of architecture; and 
 those great artists had for successors Giulio 
 Romano and his companion Primaticcio. 
 In the room formerly della Scalcheria 
 (house-steward's), a Venus caressing Cu- 
 pid, before Vulcan, still reveals, through 
 ihe injuries of time, the skill of Giulio 
 Romano's pencil. The portraits in the 
 hall of the ancient dukes, stupidly be- 
 smeared with lime by the demagogues of 
 1797, were carefully cleaned in 1808, and 
 have now nearly all their primitive bril- 
 liancy. Three rooms are covered with 
 tapestry, which, like that of the Vatican, 
 was executed from the designs and admi- 
 rable cartoons of Raphael. The ceiling 
 of the gallery, painted by Giulio's pupils, 
 offers several tours deforce not at all 
 injurious to its beauty ; such are the white 
 horses of Apollo's car, which appear to 
 face the beholder from whatever point he 
 looks at them; a Venus caressed by Cupid, 
 a god Pan, and the nymph Syrinx pro- 
 ducing the same illusion. At the farther 
 end, a vast medallion represents some- 
 thing like a Mtntuan Parnassus : at the 
 foot of the Sacred Mount are Virgil, 
 Castiglione, Merlin Coccajo, Battista the 
 Mantuan, Ludovico Gonzaga, the famous 
 Rodomonte, 3 and other poets. Mantua, 
 which has produced many modern writers 
 and artists worthy of celebrity, had only 
 one illustrious man of antiquity, Virgil ; 
 but it must be allowed that he was enough 
 for its glory. Of the four figures occu- 
 
 and entering the service of Nlcolao Plccinino, the 
 duke of Milan's general. 
 
 2 This name, so happy for a school, was given 
 to the Lyceum of Mantua by prince Gonzaga, whose 
 four sons studied there with the other pupils, 
 who came from various parts of Italy, France, 
 Germany, and even Greece. 
 
 3 See ante, lib. v. ch. vi. 
 
292 
 
 MANTUA. 
 
 [Book IX. 
 
 pying the corners of the same ceiling, is 
 an Innocence of extraordinary perfection 
 for grace and drawing. The loftiest 
 apartment, called del Paradiso, is of 
 good architecture. Among the orna- 
 ments of the two cabinets may be seen 
 the name of Isabella d'Este (Isabella 
 Estensis), who dwelt there in her wi- 
 dowhood : this intrepid princess, was 
 daughter ofErcole of Ferrara and wife 
 of Francesco IV. marquis of Mantua, 
 sung by Ariosto, as well as her husband, 
 a poet and warrior. 
 
 The famous Appartamento di Troja, 
 formerly covered with paintings by Man- 
 tegna and Giulio Romano, representing 
 subjects from the history of Ilion, is now 
 a granary; the wall is cracked in several 
 places, but through the ravages of time 
 and war, one still feels the beauty that 
 such works must have once possessed, 
 and the rival inspiration of Giulio and 
 Virgil at Mantua on the same subjects 
 is extremely interesting. I must not 
 forget a superb Laocoon, a charming 
 Helen carried off by Paris. It is time 
 that the graver came to the assistance of 
 these admirable but decaying frescos. ' 
 
 CHAPTER XVI. 
 
 Academy of Fine Arts.— Museum.— Library.— Bet- 
 tinelli. — Tipografia Virglliana. 
 
 The Mantua Academy of Fine Arts has 
 some valuable paintings, as : the Paradise 
 and the St. Michael by Vianino, a pupil 
 of the Campi ; St. Clair, drawn by 
 Carraccio ; St. Francis, by Rorgani, a 
 Mantuan artist about the close of the 
 seventeenth century, who deserves to be 
 better known ; the Apostles, by Feli, 
 court painter to Cardinal Ferdinand, 
 afterwards duke of Mantua; the Christ 
 falling under the cross, a very pathetic 
 picture, by Fra Geronimo Monsignori, 
 a clever imitator of Leonardo Vinci ; a the 
 Christ bearing his cross, by Francesco 
 Mosca, whose name is signified by a fly 
 placed by him on the hand of one of the 
 figures, which is his own portrait. This 
 
 i In 1827-29 a collection was published at 
 Mantua, entitled Monumenti di Piiiura e Scuitura 
 trascelli in Manlova o net suo lernlorio. It Is to 
 be regretted that the Appartamento di Troja is not 
 In his work, which only contains twenty-four Mo- 
 numents. 
 
 1 The best copy of the Ccnaculnm, according to 
 Lanzi (Stor. pilt. del Italia, iv. to), who has not 
 
 masterpiece, dreadfully injured, recalls 
 the manner of Domenichino, and might 
 induce a belief that Mosca had been his 
 pupil. 
 
 The museum of statues, placed in a 
 long gallery, serves as vestibule to the 
 library. This almost unknown museum 
 is one of the first in Italy, and counts 
 about a hundred and sixty busts, fifty 
 statues, more than eighty basso-relievos, 
 vases, altars, funeral cippi, and other 
 fragments of antiquities. 
 
 The origin of this museum is not very 
 pure : it dates from the booty acquired at 
 the sack of Rome, for the purpose of 
 decorating their villas, by the Gonzagas 
 who served in the army of Charles V., 
 and especially that terrible Ludovico 
 Gonzaga, called Rodomonte, colonel of a 
 regiment of Italians, of whom we have 
 already spoken. 
 
 Several Greek and Roman works in 
 the museum are remarkable, as : a bust 
 of Euripides, the finest and best authen- 
 ticated of his portraits. One of the rare 
 busts of Thales ; a tolerably fine head, 
 supposed Aspasia's by M. Labus, who 
 even thinks it by her protege Phidias ; a 
 head, said to be Virgil's, graceful, effe- 
 minate, and totally free from that vulgar 
 air (fades rusticana) conferred on him by 
 the grammarians who have written his 
 life, and which Visconti pretended to be 
 one of tb,ose numerous Termini of Lares 
 viales or of Genii of public ways; it 
 was for a long time religiously considered 
 at Mantua as a remnant of the statue 
 erected to the poet while living by his 
 fellow citizens, which the glorious Carlo 
 Malatesta, a great patron of letters, was 
 wrongfully accused of having thrown 
 down and cast into the Po or Mincio; 
 four busts of Augustus at different ages, 
 one of which, of Greek marble, was gilt 
 all over; a precious bust of his daughter 
 Julia, cruelly injured by time and res- 
 torers; two busts of Tiberius; one of 
 Caligula, a masterpiece of wonderful 
 preservation ; others of Dbmitian, A- 
 drian, JElius Verus, Antoninus Pius, 
 Marcus Aurelius, Commodus, Septimus 
 
 treated this painter quite fairly in all cases, is that 
 of Fra Monsignori, made for the great library of 
 the Benedictines at Polirone. uearMimtua; on the 
 suppression of the convent it was sold for a loois- 
 d'or to a Frenchman and conveyed to Paris. Mon- 
 signori subsliluted a vestibule with columns for 
 the chamber in which Leonardo bad placed the 
 action. 
 
Chap. XVI.] 
 
 MANTUA. 
 
 293 
 
 Severus, Caracalla ; a medallion of 
 Augustus deified, rare ; the basso-relievo 
 of the Descent of Orpheus into hell, in 
 which Cerberus glares at the trembling 
 Eurydice with such a threatening air; a 
 graceful young Faun, Greek ; another 
 fragment of a small Faun, charming; a 
 Satyr reposing, given as one of the best 
 copies and in best preservation of the 
 Periboetos of Praxiteles ; a Greek altar; 
 a fragment of a statue of Diana, perhaps 
 unique for the nakedness of the goddess, 
 who is not commonly represented in that 
 state except when surprised bathing by 
 Acteon; a statueof Apollo; thecelebraled 
 fine basso-relievo of Medea; the precious 
 basso-relievo called the Supplication, 
 of great antiquity, beautifully executed, 
 -very differently interpreted by antiqua- 
 ries, being given by some as a sepulchral 
 monument, by others for Jupiter making 
 rain. 
 
 The Cupid asleep with two snakes on 
 his bosom is one of Michael Angelo's 
 first attempts at sculpture. There is a 
 report that it was buried by him, and 
 afterwards dug up and sent to Rome, 
 where it was sold as Greek to Cardinal 
 Raphael Riario. ]n this museum there 
 are some Etruscan funeral vases, pro- 
 ceeding from excavations made at Man- 
 tua, which, according to Virgil and the 
 historians, was an Etruscan colony four 
 hundred years before the foundation of 
 Rome : 
 
 Falidicae Manias et Tusci Alius amnis, 
 
 Qui muros matrlsque dedit tibi, Manlua, nomen. 
 
 The library has eighty thousand vo- 
 lumes and a thousand manuscripts. A 
 manuscript of Virgil, not very ancient, 
 was taken away, as we are informed by 
 ai inscription, in the month of Vende- 
 miaire in the seventh year of the repub- 
 lic; it was really abominable to rob 
 Mantua of a Virgil : there, it ought to 
 have been sacred. A copy of the. edi- 
 tion printed at the expense of the Duchess 
 of Devonshire (Rome, 1819), was pre- 
 
 ' This letter has been published for the first time 
 in the instructive work of S. Camillo Ugoni, Delia 
 Letleratura italiana nella secunda meld del aecolo 
 xviii. Brescia, 182), t. n. p. 9. seq. Some portions 
 of it are given in the article of the Melanges de 
 Lilleralure by M. Suard, entitled Voltaire et Betti- 
 nelli, t. i. 25. 
 
 - Independently of the proposal made by Vol- 
 taire to Stanislas of employing 500,000 fr, in the 
 
 sented by her to this library, and a copy 
 of Bodoni's edition was given by Ge- 
 neral Miollis in 1798, noble presents to 
 the poet's country by the civilised and 
 victorious descendants of nations that be 
 called barbarians. 
 
 The Manlua library possesses many 
 manuscripts of P. Bettinelli, among which 
 are several of Voltaire's letters with Bet- 
 tinelli's answers ; these letters of Voltaire 
 are not in Kehl's edition, or have been 
 rewritten for the press. One of them, 
 dated March 24,1760, in reply to Betti- 
 nelli's remarks on some errors relative to 
 Italy and its literature in his Essai surles 
 Moeurs, is extremely curious: "You add 
 still more to my esteem for Italy," says he; 
 "I am more than ever conscious that she 
 is our mistress in every thing ; but since 
 we are now strong lively children, weaned 
 long ago, and able to walk alone, there is 
 little likelihood of my visiting our nurse, 
 except I am made a cardinal." r Vol- 
 taire's correspondence with Bettinelli 
 was kept up for some years after he 
 passed through Ferney as a negociator 
 for King Stanislas, and even, it is said, 
 of P. Menoux; a it appears to have been 
 interrupted in consequence of a letter 
 full of licentious passages, written by 
 the poet. Bettinelli, notwithstanding 
 his information and personal merit, 
 seems one of those literary men of the 
 last century, who were more indebted 
 for their fame to extensive literary con- 
 nections and their correspondence with 
 illustrious characters, than to the superi- 
 ority of their own works : I believe it was 
 he, of whom an Italian wittily said that 
 he had acquired the greater part of his 
 glory through the post-office. Two 
 poems by Bettinelli, in ottava rima, re- 
 main unpublished. One of them, com- 
 posed at Verona in- 1797, and preserved 
 in manuscript at the library of Mantua, 
 bears the title of Europa punita o il 
 secolo XVIII., in twelve cantos; the 
 other, Buonaparte in Italia, in four 
 cantos. It is fortunate for his reputation 
 for independence and consistency, that 
 
 purchase of an estate in Lorraine, that he might 
 end his days in the vicinity of his Marcus Aurelius, 
 a recent historian relates that he had written at 
 the same lime to P. Menoux in terms that seemed 
 to announce his intention of changing principles. 
 Bettinelli was in fact bearer of letters from the 
 Count de Tressan and P. Menoux for Voltaire. 
 Storia detla Letlerature italiana net secolo xtiii., 
 by S. Ant. Lombard!., t. in, 265. 
 
 S5. 
 
9»4 
 
 MANTUA. 
 
 l*OOK IX. 
 
 these poems never appeared, for the hero 
 of the second is not loo well treated in the 
 first. Like his host at Ferney, and his two 
 talented countrymen and contempora- 
 ries, the philosopher Algarolti and the 
 poet Frugoni, Bettinelli undervalued the 
 Divina Commedia : this poem by a 
 proscribed exile, so admirable for faith 
 and enthusiasm, could hardly be felt in 
 an age of peace, indifference, and mock- 
 ery. But I doubt whether the false judg- 
 ments in the Lettere Virgiliane are so 
 forcible as that of a French writer of the 
 same period, who had thus defined 
 Dante : "a tolerably good poet, but a 
 very troublesome fellow." 
 
 The chief printing-office at Mantua is 
 called Tipografia Virgiliana; notwith- 
 standing this fine appellation, in 1827 no 
 Virgil had yet been printed at Mantua. 
 Annibale Caro's translation has indeed 
 been published there, but through some 
 bibliographic fatality, the Latin text is 
 not included. It is said that a Virgil 
 with commentaries is at last to appear; 
 but it is Virgil's Virgil alone that I would 
 have there. The speculation, I believe, 
 would not be unprofitable; for there 
 would be no traveller, colto intelligente, 
 as the guide-books have it, who, instead 
 of filling his pockets with mould or the 
 doubtful pebbles of Pietola," would not 
 prefer a Virgil, of a Mantuan edition. 
 
 CHAPTER XVII. 
 
 Cathedral. — Mantovano.— Saint Barbara. — Saint 
 Andrew. — Mantegna — Forcponaccio. — Precious 
 blood. — Saint Maurice.— Freucli in Italy.— Saint 
 Sebastian.— Saint Gervase. — Saint Barnabas.— 
 Tomb of Giulio Uomano.— Saint Apollonia— Saint 
 Egidio.— Bernardo Tasso. 
 
 The cathedral of Mantua may be 
 ranked with the finest temples of Italy. 
 The interior was rebuilt by Giulio Ro- 
 mano, and the fine proportions of the 
 columns of its naves, the pure and noble 
 style of all its parts, recall the taste of 
 antiquity. An Austrian military engi- 
 neer, director of the fortifications of the 
 place, was charged by the bishop in the 
 last century (1776) with the execution of 
 the front, a heavy mass, too clearly in- 
 dicative of an architect of trenches and 
 bastions. The statues of the Prophets 
 and Sibyls in the principal nave are by 
 
 1 said to be Hie aucient Andes, see post, chap. 
 sua. 
 
 Primaticcio ; the ceiling and cupola are 
 painted by Andreasi and Ghigi, Giulio's 
 pupils ; in the choir may be noticed, a 
 St. John the Evangelist, by Geronimo 
 Mazzola; the Death of St. Joseph, by 
 Cignaroli, and an Immaculate Virgin, 
 by Balestra. On the right in the first 
 chapel is a St. Eloi, so fine, that it has 
 been attributed to Guercino, and is cer- 
 tainly by Possidenti, one of his best pu- 
 pils. Jn the other chapels are a Guar- 
 dian Angel, by Cai;uti, a St. Margaret, 
 by Dominico Brusasorci, and a St. Mar- 
 tin, by Farinati. In the oratory of the 
 Incoronata is an admirable Madonna, 
 by Mantegna, and some fine frescos on 
 the ceiling, by Andreasi and Ghigi. On 
 the altars of the sacristy, may be remarked 
 a St. Thecla, by Geronimo Mazzola; St. 
 John the Evangelist, by Fermo Guizoni, 
 and a Magdalen weeping, by Battista 
 d'Agnolo del Moro, pupil of Giulio. The 
 marble tomb of Alessandro Andreasi, 
 an illustrious Mantuan, orator and poet 
 of the sixteenth century, without having 
 the elegance of the monuments of that 
 period, is of a noble simplicity. The 
 bust, although of stone, well expresses 
 the mental superiority of Andreasi. 
 
 Battista Spagnoli, Mantovano, is in- 
 terred in this cathedral. This Latin 
 versifier, whose poetic baggage is much 
 more bulky than Virgil's, will never have 
 the same glory, though he was prodi- 
 giously admired in his own time. One 
 may still see at Mantua the kind of 
 triumphal arch erected by the eccentric 
 physician and poet Battista Fiera, be- 
 tween his house and the convent of Saint 
 Francis; in the middle is placed the bust 
 of Francesco Gonzaga, a great captain 
 who fought the French at the battle of 
 Val di Taro, and on each side of it are 
 the busts of Virgil and Mantovano; below 
 is this fine, but hyperbolic verse, as it 
 seems to put Mantovano on a level with 
 Virgil : 
 
 Argumentum ulrique ingens, si gecla coissent. 
 
 Gingucne" has erroneously stated that 
 Mantovano abdicated the generalship of 
 his order after he had held it three 
 years, because he found it absolutely im- 
 possible to effect its reformation, a more 
 difficult affair in his opinion than making 
 verses, good or bad : he was named ge- 
 neral of the Carmelites in 1513, and died 
 in 1516; his biographer, P. Florido 
 
Chap. XVII. 
 
 MANTUA. 
 
 Ambrosi, clearly proves that he never 
 gave up his office, and that Leo X. im- 
 mediately appointed his successor. The 
 question whether hisbirth was legitimate 
 or not, once so sharply contested, is now 
 of little import : this monk unfortunately 
 railed at the fair sex, and, what is still 
 worse, composed licentious poems. 
 
 The elegant church of Santa Barbara 
 and its superb steeple were built by Ber- 
 tani, a clever architect and painter, 
 pupil of Giulio, who seems, setting aside 
 the superiority of talents, to have been 
 to Duke Vincenzio Gonzaga what his 
 master was to Duke Federico. In this 
 church adjoining the palace, the obse- 
 quies of the princes of the house of 
 Gonzaga were formerly celebrated. The 
 most remarkable paintings are : a St. 
 Silvester baptising Constantine, a St. 
 Adrian scourged, drawn by Bertani, 
 painted by Lorenzo Costa ; Jesus Christ 
 giving the keys to St. Peter, by his bro- 
 ther Ludovico ; a St. Margaret, by Gia- 
 carollo, pupil of Giulio; the Martyrdom 
 of St. Barbara, an excellent work of 
 Domenico Brusasorci ; a graceful Mag- 
 dalen washing the Saviour's feet, by 
 Andreasino ; the Baptism of Jesus 
 Christ, a fine painting by Aretusi, a 
 Modenese painter and happy imitator 
 of Correggio. The wars of Italy have 
 stripped Santa Barbara of vases and sta- 
 tues not less precious than its paintings ; 
 nothing is now left it but a pretty gold 
 phial and a silver basin, groundlessly 
 attributed to Benvenuto Cellini. The 
 Greek chasing of the basin represents 
 the joyous nuptials of Amphitrite, or 
 some marine festival, in the midst of 
 which a small figure of St. Barbara is 
 strangely introduced. 
 
 The church of Saint Andrew, one of 
 the first and purest works of the revival, 
 is by the great architect Leone Battista 
 Alberti, brought from Florence to Man- 
 tua by Ludovico Gonzaga, a princely 
 patron of letters and the arts, the Au- 
 gustus of 'Mantua, but without a Virgil. 
 By the side stands the old gothic steeple, 
 contrasting its light architecture with 
 this classic model. It is deeply to be 
 regretted that the church was not fi- 
 nished during the artist's lifetime, and 
 that clumsy cupola, erected in the last 
 century and surcharged with ornaments, 
 has destroyed its first majestic simpli- 
 city. Time has nearly effaced the fine 
 frescos of Mantegna and his best pupils, 
 
 with which the front and vestibule of 
 Saint Andrew's were covered. The 
 border of foliage and birds decorating 
 the principal door is an exquisite work 
 due to the chisel of Antonio and Paolo 
 Mola, celebrated Mantuan sculptors, who 
 also executed the pulpit, which is in ex- 
 cellent taste. 
 
 The tombs are the noblest monuments 
 of this temple. The mausoleum of the 
 Marquis Geronimo Andreasi and his 
 wife Ippolita Gonzaga, is attributed to 
 Giulio Romano; it appears worthy of 
 him from the majestic character of the 
 whole and the good taste of the orna- 
 ments, although its architecture is in- 
 correct and the statue of Andreasi but 
 indifferent. Mantegna is interred in the 
 chapel bearing his name, though he 
 consecrated it to Saint John the Baptist. 
 He died in 1505 ; and not, as staled by 
 Vasari and the author of the Life and 
 Pontificate of Leo X., in 1517, the year 
 in which his tomb was erected by his 
 sons. The bronze bust of this creator 
 of Italian painting, and inventor of en- 
 graving, as some pretend, is a wonderful 
 work, full of life, by the Mantuan Spe- 
 randio, one of the. able sculptors and 
 founders of the sixteenth century. The 
 two Holy Families, attributed to Man- 
 tegna and his sons, artists worthy of their 
 father and buried near him, are admi- 
 rable ; a head of St. Elizabeth is of thb 
 most touching expression; it is truly the 
 pregnante annosa of Manzoni's sacred 
 hymn, il nome di Maria. There is one 
 remarkable and fantastic tomb erected 
 in memory ofPietro Strozzi, whose name, 
 as well as that of the artist or artists 
 thatimagined it, is altogether unknown : 
 nothing is known of this Strozzi's history 
 but a clause of his will, by which he be- 
 queaths 400 golden crowns for his osten- 
 tations mausoleum. The style of the 
 caryatides is an affected imitation of the 
 antique; but the ornaments are of the 
 purest taste, and very probably by an- 
 other hand. This monument has been 
 erroneously supposed by Michael Angelo 
 or of his school; it seems rather a capri- 
 cious imitation of Giulio Romano's style. 
 The mausoleum of bishop Giorgio An- 
 dreasi, a scholar and diplomatist, is the 
 chef-d'oeuvre of Clementi: the expres- 
 sion of grief in the two lateral figures 
 that are weeping is admirably touching. 
 A chapel of illustrious Mantuans, less 
 splendid with respect to art, is interesting 
 

 MANTUA. 
 
 Book IX. 
 
 on account of the men whose tombs it 
 holds, and its elegant inscriptions: there 
 repose the learned botanist Marcello Do- 
 nato, the poet Cantelmi, the famous cento- 
 writer Lelio Capilupi, the friend of our 
 Joachim Du Bellay, and the celebrated 
 philosopher and professor Pietro Pompo- 
 naccio. The remains of (he latter were 
 at first deposited in the sepulture of the 
 Gonzaga family at the church of Saint 
 Francis, now with its convent converted 
 into an arsenal, where these remains and 
 the statue of Pomponaccio are still, ac- 
 cording to some recent historians. Pom- 
 ponaccio, like Cardan, may very pos- 
 sibly have been wrongfully accused or 
 praised as an atheist in the sixteenth and 
 eighteenth centuries : the doctrines of 
 his treatise De Immortalitate anim.es 
 differ little from the speculative opinions 
 of the other literati of that epoch, ana 
 his recantation, rather theological than 
 philosophical, and his Christian death, 
 prove the sincerity of his faith, it also 
 betrayed a great excess of zeal for these 
 gloomy notions to catch at this book of 
 Pomponaccio, as when examined at 
 Rome, it was absolved by the inquisition, 
 and escaped the index. 
 
 The clever painters of Mantua seem to 
 have rivalled each other in decorating 
 Saint Andrew with their finest works, 
 such are •• 
 The Annunciation by Andreasi ; 
 The Nativity and the Adoration of 
 the Magi, vast frescos by Lorenzo Costa, 
 nearly obliterated; 
 
 A Crucifixion, energetic in design 
 and colouring, by Guisoni ; 
 
 In the chapel of Saint Longinus, the 
 fine frescos drawn by Giulio Romano, 
 and executed by Rinaldo, his best pupil, 
 and regarded by Vasari as the first 
 painter of Mantua ; 
 
 Other frescos of this same Rinaldo re- 
 presenting the Martyrdom of St. Se- 
 bastian ; 
 
 Four angels by the same artist on the 
 ceiling of a small chapel, unfortunately 
 in a bad light; 
 
 An excellent painting of St. Anne 
 and other saints, by Domenico Brusa- 
 sorci ; 
 
 Two great frescos, the Nativity of 
 the Virgin and the Assumption, drawn 
 by Giulio Romano, painted by his pu- 
 pils. 
 
 The chapel of Saint Longinus an- 
 
 nounces some magnificent relics, those 
 of Saint Gregory Nazianzenus (Gregorii 
 Nazianzeni ossa hie servat lapis) : the 
 inscription on the saint's tomb, Longini 
 ejus qui lalus Christi percussit ossa, 
 is not less strange. 
 
 The most venerated relic of this church 
 and Mantua is the celebrated Blood of 
 Jesus Christ contained in a double phial 
 of cylindrical form, the workmanship 
 of which is highly esteemed and has been 
 attributed to Benvenuto Cellini ; this, 
 however, appears very doubtful, as that 
 artist, who was remarkably vain, men- 
 tioning and alluding to his smallest 
 performances, would not have forgotten 
 that.- in his Life he speaks of the reli- 
 quary only, and the quartan ague he 
 caught while engaged on it .- cursing 
 both Mantua and its duke, who was 
 pleased to be offended, the irascible ar- 
 tist took his departure abruptly. It is 
 more probable that the work of the 
 phials is by Messer Nicolas, then gold- 
 smith to the court. The principal altar 
 of the chapel of the most precious Blood 
 has been rebuilt in these latter years; 
 the two fine statues of Faith and Hope 
 were executed at Rome by Canovas 
 pupils under his direction. 
 
 The church of Saint Maurice has some 
 magnificence, though its front is not in 
 good taste, and its paintings are fine. 
 An Annunciation, by Ludovico Car- 
 raccio, is remarkable •• the angel, how- 
 ever, has a saucy and not too decent 
 air, which is astonishing in this great 
 master. 
 
 The Martyrdom of St. Margaret, 
 by Ludovico or Annibale, is superb .- the 
 countenance of the saint is sweet, firm, 
 and resigned ; the executioner, on the 
 point of beheading her, is superior for 
 design; the heads of the spectators touch- 
 ingly express grief in various manners. 
 Mastellata ha? represented two other 
 executions of the same saint. 
 
 The Martyrdom of St. Felicity and 
 her seven sons is another excellent and 
 tragic painting, by Garbieri, Ludovico's 
 pupil. 
 
 The small church of Saint Sebastian 
 is one of the monuments of excellent ar- 
 chitecture left to Mantua by Leone Bat- 
 tisla Alberti, who built it at the command 
 of Ludovico Gonzaga. The basso-relievos 
 of the Loggia, representing genii sup- 
 porting the arms of the Gonzaga family, 
 
Chap. XY11.] 
 
 MANTUA. 
 
 297 
 
 prove that this great architect, endowed 
 with such variety of gifts, • was also a 
 clever sculptor. 
 
 The Virgin, St. Sebastian, and 
 other saints, a fresco by Mantegna, 
 painted on the front, is seriously injured. 
 TV irregularities of this front must 
 not be laid to Alberli's charge; they are 
 (he fault of those who, after him, were 
 entrusted with its completion. 
 
 The 3Iartyrdom of St. Sebastian, 
 at the middle altar, is one of Lorenzo 
 Costa's best works. 
 
 The church of Saint Gervase has two 
 fine paintings: a St Anthony of Padua, 
 by Canli, a painter of the seventeenth 
 century, of rapid execution, and espe- 
 cially a Descent from the cross, by Ip- 
 polite Costa, a composition remarkable 
 for expression, design, keeping, and vi- 
 gorous colouring. 
 
 San Barnaba presents a considerable 
 number of esteemed paintings ; such 
 are : 
 
 Over the door, a great Miracle of the 
 loaves and fishes, by the same Costa ; 
 
 The Dream of St. Romuald, by Baz- 
 zan 1 . director of the Mantuan Academy 
 of Fine Arts, in Ihe middle of last cen- 
 tury ; 
 
 St. Philip, by Orrioli ; 
 
 The Marriage of Cana, by Maganza ; 
 
 A St. Sebastian, by Pagni, one of 
 Giulio's good pupils. 
 
 In the sacristy, the Virgin and in- 
 fant Jesus, a fresco by Geronimo 
 Monsignori, is a very graceful work: 
 and a fine statue of the Virgin ad- 
 dolorata was executed from Giulio's 
 design by Giambattista ]Mantovano, his 
 pupil. 
 
 Giulio Romano died in the prime of 
 his powers and was interred at the old 
 church of San Barnaba; 2 the marble 
 slab that pointed out his burial-place 
 was destroyed through a barbarous neg- 
 ligence when the new church was built. 
 Tradition has preserved the following 
 epitaph, which was on this stone: 
 
 i See post, book xi. chap. Til. 
 
 2 He was fifty-four years old, as stated by Vasari, 
 and plainly demonstrated by M. Quatremere de 
 Qmney (llisl. de la Vie et des Ouvrages desplus 
 ce'lebres Architecles, i. 220), notwithstanding the 
 opinion of tl.e author of a Notice on Ginlio Ro- 
 
 Romanos moriens secum tres Julius artes 
 Abstulit ; hand minim, qnatuor, uims erat. 
 
 The church of Saint Apollonia offers 
 three remarkable paintings : 
 
 St. Bernardin, St. Peter, and St. 
 Paul, of Titian's school; 
 
 The Virgin and St. Stephen, by 
 Ludovico Costa : 
 
 And, in the sacristy, the Virgin, 
 infant Jesus, St. Martha and St. 
 Magdalen, attributed to Bernardino 
 Luini, but reckoned by better judges of 
 Dosso Dossi'sor Garofolo's school, a work 
 distinguished for its beautiful forms, 
 chaste design, skilful composition, har- 
 monious colouring, and charming land- 
 scape. 
 
 A plain inscription on the pavement, 
 in the church of Sant' Egidio, marks the 
 grave of Bernardo Tasso, father of the 
 author of Gerusalemme, himself a good 
 poet, though his renown has almost dis- 
 appeared in the glory of his son. The 
 nakedness of this sepulture recalls the 
 stone of Saint Onuphrius, and the here- 
 ditary misfortunes of the poets of whom 
 we have spoken seem to pursue them 
 even to the tomb. 3 A marble mauso- 
 leum was erected to Bernardo Tasso by 
 Guglielmo Gonzaga, duke of Mantua, 
 whose secretary he had been ; but it was 
 pulled down shortly after, the Council of 
 Trent having ordered the demolition of 
 all sepulchral monuments raised above 
 the level of the earth, excepting only the 
 tombs of saints. Tasso lamented the 
 destruction of his father's sepulchre in 
 the beautiful sonnet addressed to Cardi- 
 nal Albano : 
 
 Alban, V ossa paterne anco non serra 
 Tomba di peregrini, e bianchi marmi, etc. ! > 
 
 Though it b£ asserted by some histo- 
 rians that Tasso had his father's remains 
 
 mano, included in a slort Description of the palace 
 of Te, printed at Mantua in 1783, according to 
 whom he was only forty-seven. 
 
 3 See post, book v. ch. ii. 
 
 '* Rime, part, u, 127. 
 
2»8 
 
 MANTUA. 
 
 I BOOK IX. 
 
 transported to Ferrara, I could not find 
 them in that town, nor was I able to 
 learn any thing about them from men of 
 great information whom I consulted 
 there. I am inclined to think that they 
 remained at Mantua, as stated by the 
 inscription, which was made in 1696 by 
 a rector of Sanl' Egidio, and is in exceed- 
 ingly bad style. What a singular asso- 
 ciation of the two great poets of ancient 
 and modern Italy ! The cradle of Tasso 
 was opposite Virgil's tomb, and the grave 
 of his father is near the spot of "Virgil's 
 birth. 
 
 CHAPTER XVIII. 
 
 Palace.— Gates.— Bridges.— Citadel. — Towers della 
 Gabbia,—aeUo Zuccaro.— Liberty of the middle 
 ages. — Arco palace, — the Devil's, — Colloredo. 
 
 The palace, gates, and bridges of Man- 
 tua have an imposing aspect. A clever 
 pupil of Giulio Romano erected the vesti- 
 bule and porticos of the palace ; and in 
 one room of the archives, some wrecks 
 of frescos by Mantegna still present the. 
 portraits of the Gonzagas, and on the 
 ceiling the twelve Caesars and some little 
 genii, airy, joyous, and elegant. 
 
 From the bridge of Saint George's 
 gate, very well defended externally by a 
 small scientific work of the French, the 
 view of the lake and the environs is 
 pleasing; it extends to the verdant 
 heights of Cipata, the country of Merlin 
 Cwcajo, and to the fort of Pietola, like- 
 wise built by the French on the site of 
 the ancient Andes, where Virgil is said 
 to have been born ; it therefore presents 
 at the horizon a strange poetical con- 
 trast. 
 
 1 The statue of Virgil is near the Piazza of Bro- 
 letto under a Gothic portico attached to the old 
 palace of the comune. Virgii is represented sitting, 
 with his hands on an open book placed on a kind 
 of desk, on which is inscribed : Yirgilius Mantua- 
 nus poetarum clarissimus : on the base of the 
 
 The bridge dei Mulini, both a road 
 and embankment, last rebuilt in 1752, 
 was the work of a great hydraulic archi- 
 tect of Mantua, Alberto Pitentino, of the 
 twelfth century, the inventor of flood- 
 gates. It was constructed in conse- 
 quence of the patriotic cession, by the 
 nine rectors and three procurators of 
 the town of Mantua, of the greater 
 part of the land they possessed, in 
 order to form the upper lake with the 
 waters of the Mincio.' An inscription of 
 Ihe same epoch which records the fact, 
 is curious: the inhabitants of Mantua 
 are therein called the people of Virgil 
 (populus Virgilianus), and the allu- 
 sion to Paradise, in the conclusion, ac- 
 cords with the spirit and manners of the 
 time. Virgil was declared lord of Man- 
 tua by the popular voice in 1227, under 
 the podestate of Lorenzo Martinengo ; 
 his portrait was put in the arms, on 
 Ihe flags, and coin of the town, and a 
 rude statue, still existing, was erected to 
 him. * 
 
 The gate of the bridge dei Mulini, of 
 the Doric order, is a majestic structure, 
 by Giulio Romano , it leads to the citadel, 
 a kind of second town, but it has not the 
 imposing character, or the picturesque 
 and almost poetic beauties of fortifica- 
 tions seated among rocks or on uneven 
 ground ; it is nothing but a vast fiat as- 
 semblage of trenches, bastions, ditches, 
 presenting to the eye only a dead com- 
 bination of geometrical lines. The cita- 
 del of Mantua, obstinately defended by 
 Wurmser in 1797, heroically besieged 
 and taken by Bonaparte, is as the last 
 and most decisive conquest of the succes- 
 sive invaders of Italy. 
 
 The tower della Gabbia (of the cage) 
 again encloses its terrible iron cage, the 
 instrument of one of those cruel punish- 
 ments inflicted in the middle ages that 
 can no longer be disputed. 2 This cage 
 disappeared in 1796, and was strangely 
 returned to its place in 1814. The tower 
 was built in 1302, by Guido Bonaccolsi, 
 
 monuments the poet's epitaph, Mantua me genuit 
 etc., is written in Gothic characters; and beneath 
 it, are some less elegant contemporary verses re- 
 lative to the erection of the portico. 
 2 See ante, lib. iv. chap. Till, 
 
Chap. XVIII. ] 
 
 MANTUA. 
 
 299 
 
 one of the ancient tyrants of Mantua. 
 An elegant staircase, erected in 1811 by 
 the Marquis Guerrieri, affords an easy 
 ascent to a fine and newly-embellished 
 dining-room contrived on the platform; 
 one may thus enjoy the contrast existing 
 between the gentleness of modern man- 
 ners and the barbarity of the times when 
 the cage was used. The view from the 
 tower della Gabbia is the finest in Man- 
 tua, and, aided by telescopes belonging 
 to the attentive proprietor, extends as 
 far as the Brescian and Veronese hills. 
 The palace of the Marquis Guerrieri 
 possessed a wonderful chef-d'oeuvre of 
 GiulioRomano, mentioned by Vasari; the 
 subject is taken from an antique medal 
 and represents Alexander, of the natural 
 size, holding a figure of Victory in his 
 hand. 
 
 The tower dello Zuccaro, near the 
 Gabbia, is still older. An inscription 
 on the wall of the front states that Man- 
 tua was almost entirely destroyed by fire 
 in 1141, during a struggle between the 
 Arioli (nobles,) and the Ruff, (people), 
 and after a bloody conflict. In the vi- 
 cinity of the Piazza of Saint Andrew, an 
 old tower appertaining to a house once 
 belonging to the Assandri family, now 
 occupied by an apothecary, was levelled 
 to the roof of the house by the people. 
 The same mutilation befell the lowers of 
 other nobles, who, by means of these 
 fortresses, endeavoured to practise their 
 feudal tyranny, despite the authority of 
 the magistrates chosen by the inhabi- 
 tants; so violent, destructive, and 
 nearly allied to anarchy was the liberty 
 of the Italian republics in the middle 
 ages. 
 
 The elegance of the front, vestibule, 
 and court of the fine palace of the counts 
 of Arco, the work of Antonio Colonna, 
 exhibits an happy and not servile imita- 
 tion of Palladio. 
 
 The palace of the Devil derived its 
 strange name from the rapidity with, 
 which Paris Ceresafa built it, and the 
 vulgar opinion that this learned man 
 was a magician; it is now partly devoted 
 to shops, and the superb frieze on which 
 Pordenone had painted some graceful 
 genii, is obliterated by time. The same 
 great artist had represented Ulysses in 
 
 1 See ante, book v. ch. xvi.; book rai. ch. vi. 
 * Garofolo IBenvenuto Tisto da) frequently used 
 
 the island of Calypso on a small house 
 in the neighbourhood, and Mazzola, a 
 figure of Architecture ; these works arc 
 scarcely visible now, but they confirm 
 the remark already made respecting the 
 ancient painting of streets in Italy." 
 
 The exterior of the Colloredo palace, 
 although by Giulio Romano, is rather 
 fantastic than beautiful, but within it is 
 of better taste, and contains many paint- 
 ings by this great artist and his school. 
 
 The gallery of S. Gaetano Susanni, 
 an opulent Jew, and, as well as his son, 
 a patron of the arts, is deserving of a 
 visit; it contains some of Mantegna's and 
 Guido's paintings. A St. John the Bap- 
 tist led by an angel receiving the blessing 
 of the infant Jesus on the knees of the 
 Virgin, is a fine Francia : the intention 
 and loving piety of the little St. John, 
 and the sweet, celestial gravity of the 
 infant Jesus are admirable. A portrait 
 of Countess Matilda, by Parrnegiano, is 
 graceful, elegant, and handsome. 
 
 A distinguished author, S. Alessandro 
 Nievo, possesses an Annunciation, a 
 chef-d'oeuvre by Garofolo, formerly at 
 the convent of the nuns of Saint Chris- 
 topher, the brilliant colouring of which 
 time has not weakened : the Virgin is 
 moving for fervour and modesty ; the 
 attitude of the angel, and the disposition 
 of his vestments are very noble. Some 
 particulars are rather whimsical : for in- 
 stance, under the Virgin's desk a pink 
 in a pot, which in Italian is called ga- 
 rofano, indicates the painter's name and 
 country ; » the architecture, and orna- 
 ments of the porticos are in Bramante's 
 style, and the freshness of the landscape 
 is little in accordance with the nature 
 and localities of Judea. 
 
 The Biondi house presents a cameo 
 painted by Giulio Romano : in the middle 
 is a rock, on which a woman asleep might 
 seem to be Ariadne, did not the calmness 
 of the sea on one side the rock and its 
 agitation on the other, as well as the two 
 vessels on which area number of sailors, 
 either frightened or asleep, render the 
 allegory rather confused. Giulio Ro- 
 mano was a strong partisan of allegory, 
 and this one exhibits the character and 
 force of his great paintings. 
 
 A Virgin, by the elder Palma, re- 
 
 rhe pink as an emblem; and in bis two portraits, 
 at different 3ges, painted by himself, and now in 
 our museum, be holds that flower in his band. 
 
300 
 
 MANTUA. 
 
 [Book IX. 
 
 markable for the effect of the dare-ob- 
 scure anil the expression of the physi- 
 ognomies, is oncofthe beautiful paintings 
 belonging to Count Antonio BeQa. 
 
 CHAPTER XIX. 
 
 Houses of Anllmaco,— Ciulio Romano,— Mantegua, 
 — Bertani,— Castiglione.— Theatre. 
 
 In the midst of a garrison town such 
 as Mantua now is, and after the multi- 
 plied disasters it has suffered, one is rather 
 surprised to find so many traces and 
 reminiscences of literature and art, and 
 Pindaric houses seem pretty numerous 
 there. On the small house of the cele- 
 brated professor of Greek, Marcantonio 
 Antimaco, deceased at the age of se- 
 venty-nine, in 1552, may still be seen 
 the pedantic inscription which he bad no 
 doubt put in practice among his scholars : 
 Antimachum ne longius quceras. 
 
 The most remarkable of these famous 
 houses is that of Giulio Fiomano, an ele- 
 gant dwelling built by himself, in which 
 he received at different epochs Benve- 
 nuto Cellini and Vasari, and where he 
 died loaded with riches and honours by 
 Duke Federico Gonzaga and his brother 
 the cardinal. Notwithstanding his ge- 
 nius, Giulio Romano wus not ashamed of 
 accumulating wealth; he knew well how 
 to obtain his price, and a great number 
 of letters in his handwriting, preserved 
 in the archives of Mantua, show the li- 
 berty with which he declared to duke 
 Federico in plain terms, that if the money 
 were not forthcoming, he would not 
 continue his labours. The front of this 
 house was repaired in 1800; but the 
 original style of his decoration is not 
 changed, and over the door there still 
 remains the little statue of Mercury that 
 he brought from Rome, a Greek work 
 as to the trunk and thigh, repaired by 
 himself and Primaticcio : the rich gro- 
 tesque figures, the festoons and garlands 
 adorning the rams' beads of the frieze 
 are by the latter. When we consider 
 the talents and thrifty turn of Giulio, 
 the statue of the god of eloquence and 
 money seems suitably placed in the front 
 of his house. 
 
 As stated by an inscription on the 
 corner of the Lanzoni palace, Mantegna's 
 house was opposite the church of Saint 
 Sebastian, the front of which he had 
 painted with such marvellous skill. 
 
 The house of the celebrated architect 
 and painter of the sixteenth century, 
 Bertani, has an ornament well adapted 
 for the residence of an architect ; it con- 
 sists of a half column placed on each side 
 the door. On one are traced the rules 
 and measure of the Ionic column; the 
 other, fluted, and embellished with an 
 oak garland, presents the correct and 
 graceful execution of these same rules. 
 
 The house of Count Baltassare Casti- 
 glione, author of the Cortegiano, was 
 demolished some years ago, on the 
 erection of the theatre della Societa, a 
 destination by no means unnatural for 
 the dwelling of such a writer, the chro- 
 nicler of games, festivals, and spectacles. 
 I saw a miserable melodrame repre- 
 sented and applauded in Virgil's native 
 place. The Mantuan performers stated 
 in their advertisement, that they relied 
 on the indulgence of the public and the 
 enlightened taste of the Austrian gar- 
 rison. The prompter, as at Parma and 
 other towns of Italy, read the piece aloud 
 and followed the actors. A person who 
 has no acquaintance with such a custom, 
 really cannot divine the nature of this 
 third character, this kind of echo rising 
 from the earth and issuing from the 
 hollow of an enormous pair of bellows, 
 for such is the form they have thought 
 fit to give the prompter's hole. Facing 
 the spectators, over the curtain, was, as 
 in other places besides, a well regulated 
 dial, for the purposing of enabling scru- 
 pulous classics to ascertain at their ease 
 that the play was within the rules, and 
 not defective in that clockwork unity 
 spoken of by Madame de Stael. 
 
 CHAPTER XX. 
 
 Piazza Virgiliana. — Customhouse. — Market.— 
 Slaughterhouses. — Ghello. 
 
 The Piazza Virgiliana, formerly a kind 
 of marsh, is now, thanks to the outlay 
 made by the town of Mantua, and the 
 enthusiasm of Generai Miollis for the 
 prince of poets, an agreeable promenade 
 planted with trees and supplied with 
 numerous marble benches given by 
 different inhabitants. The draining of 
 this place greatly contributed to the 
 healthiness of the town ; the Austrians 
 have made additions to these works. 
 The insalubrity that heretofore kept vi- 
 siters from Mantua prevented that town 
 
Chap. XXI. ] 
 
 MANTUA. 
 
 SOS 
 
 from becoming so much known as it 
 deserves. The bust and column erected 
 to Virgil in the centre of the Piazza Vir- 
 giliana, Mere at first removed by the 
 Austrians to the extremity, in the hip- 
 podrome, that they might not interfere 
 ■with the parades of the garrison : 
 
 Stirpem Teucri nullo discrircine sacrum 
 
 Sustulerant, puro ut pofsent concurrere caropo.' 
 
 A circus intended for daylight perfor- 
 mances, and which was used for eques- 
 trian spectacles when I visited Mantua, 
 was afterwards built on the same spot; 
 the column was lying on the ground in 
 an alley, and the "bust at the mayoralty. 
 The old monument in the centre of the 
 Piazza might have been preserved or 
 reinstated, as it had never incommoded 
 the evolutions of the French troops, which 
 are certainly as quick in their move- 
 ments as the German. It is sad to see 
 the monument of Virgil at Mantua wan- 
 dering and fugitive before Serjeants and 
 horses. 
 
 Such are the traces still of the ancient 
 magnificence of the Gonzagas and the 
 indefatigable genius of Giulio Romano, 
 that certain edifices, elsewhere very vul- 
 gar, exhibit the beauties of art at Man- 
 tua. The fishmarket was built by him, 
 as well as the shambles, which from their 
 clever arrangement and the proximity of 
 a branch of the Mincio are perfect slaugh- 
 terhouses too; at the customhouse, once 
 the Carmelite convent, there is a door 
 from the designs of Bertani, and another 
 has some elegant sculptures by the bro- 
 thers Mola. 
 
 The Ghetto, ornamented with rich 
 and handsome shops, but little resembles 
 the infected Ghetto of Rome. Although 
 the number of Jews at Mantua does not 
 exceed two thousand, out of the thirty- 
 four thousand inhabitants, they have 
 founded a house of refuge and industry 
 for about fifty persons ; an establishment 
 very well conceived and prudently ma- 
 naged, in which the poor, the aged, and 
 infirm are relieved, and the children 
 lodged, clothed, and fed, (except twelve 
 day-scholars) also receive an excel- 
 
 1 Mn., xn. 770. 
 
 * " It appears," says M. Quatremere de Quincy, 
 " and such Is tbe opinion of historians worthy of 
 credit, that the word Te is an abbreviation, or, if 
 you like, a mutilation of lajetto or tejetto, which 
 means in (he dialect of the country a cutting or 
 
 lent elementary education, such as they 
 well know how to give in the Austrian 
 states, and afterwards learn a trade. 
 This house of industry, established in 
 the beginning of 1825, was honoured by 
 a visit from the emperor in the mouth of 
 May of the same year, and the Jews' So- 
 ciety of Mantua received an official 
 document from Vienna, congratulating 
 them on their zeal in well-doing. The 
 services rendered the house of Austria 
 by the firm of j\**«****** have probably 
 contrlbuied to this kind of favour; hut 
 it must be allowed that such toleration 
 is infinitely wiser than the hardships and 
 vexations of which the Jews are else- 
 where victims. 
 
 CHAPTER XXI. 
 
 Environs.— Te palace. 
 
 Notwithstanding the generally received 
 opinion, the name of the Te palace can- 
 not be derived from the form of i Is ground 
 plan, said to be that of the letter T, as 
 the edifice itself contradicts the etymo- 
 logy. 2 The Te palace is the most me- 
 morable work of Giulio Romano as an 
 architect. The regularity and ingenuity 
 of its architecture contrast strikingly 
 with the imagination, fire, and almost 
 frenzy of some of the paintings within. 
 
 It was both built and painted by the 
 same great artist or his first pupils, and 
 this old stable of the Gonzagas is become 
 a marvellous and unique monument. 
 
 The superb Loggia (vestibule), open- 
 ing on the garden, has its ceiling em- 
 bellished with five frescos in as many 
 compartments, drawn by Giulio Romano, 
 and executed by his pupils, representing 
 the history of David ; the basso-relievos 
 are by Primaticcio. In the adjoining 
 room, this comrade of Giulio Romano 
 and Giambattista Mantovano have also 
 painted, on his drawings, the long suc- 
 cession of winding figures, in imitation 
 of the columns of Antoninus and Trajan, 
 representing the triumph of the emperor 
 Sigisraund when he. created Francesco 
 Gonzaga marquis. The costumes are 
 antique, but the subject is indicated by 
 
 passage made for the drawing off water, and that 
 this local appellation, applied to the ground ou 
 which the palace was afterwards built, lias been 
 cut down by vulgar use into the present name.'' 
 Hist, de la Vie et ties Outrages des plus celebres 
 Arthilectes. 1. 1, 212. 
 
302 
 
 MANTUA. 
 
 [Boor IX. 
 
 the squire placed behind the emperor, 
 having the Austrian eagle on his buckler. 
 
 Scipio returning his captive, Alexander 
 opening the precious casket in which he 
 kept the books of Homer, Caesar in the 
 midst of his lictors, burning the letters 
 found in Pompey's baggage, are also by 
 Primaticeio. 
 
 The most celebrated room, and the 
 feeblest, is the hall of the Giants. Once 
 in this apartment, no issue is visible; 
 you are environed by rocks falling on 
 the giants, wounded, crushed, flying, or 
 vainly defending themselves; the very 
 ground is composed of wrecks, and the 
 ceiling is the Olympus of Jupiter launch- 
 ing his thunderbolts, 
 
 Clari Giganteo ttiumpho. 
 
 This terrible hall of the Giants, like the 
 poetical chambers of Psyche, Phaeton, 
 and the elegant arabesques of the charm- 
 ing casino of the Grotto (so called from 
 its having one for bathing), shows in 
 Giulio Romano the double inspiration of 
 Michael Angelo and Raphael ; there are 
 none abler or more brilliant, and such 
 imitation is not less admirable than crea- 
 tion. Unfortunately these paintings have 
 been retouched, and no longer present 
 more than the composition and drawing 
 of their immortal author. 
 
 CHAPTER XXII. 
 
 Santa Maria delle Grau'e.-Casiiglione 
 
 Five miles from Mantua, on the lake, 
 is the gothic church of Santa Maria delle 
 Grazie, a magnificent ex voto offering 
 consecrated by Francesco Gonzaga and 
 the Mantuans in 1399, on the cessation 
 of the plague which had ravaged their 
 town and nearly all Italy. This temple, 
 which has some good paintings by Lo- 
 renzo Costa, Laltanzio Gambara, Bor- 
 gani, and Fra Monsignori, has a sin- 
 gular aspect. It is completely covered 
 with a multitude of votive pictures, 
 commemorating the succour obtained by 
 the intercession of the Madonna delle 
 Grazie; and large wax figures, dressed, 
 are suspended there, as at Westminster 
 or in the show room of Curtius at Paris, 
 but every one has in addition a rhyming 
 triplet, so superabundant is poetry in 
 Italy. The figures represent certain of 
 the illustrious pilgrims that have visited 
 
 the church, among whom there are even 
 ambassadors from Japan, warriors, and 
 persons rescued from danger by the Ma- 
 donna. Amid the celebrated characters 
 are the figures of Charles V. and his son, 
 of the great pope Pius II., and the con- 
 stable of Bourbon ; the last has for in- 
 scription : 
 
 Jl forte braccio c la cervice altera, 
 
 Cbe a niun volte piegar, Borbonc invltlo 
 
 Quivi urallia a Colei cut in cielo impera. 
 
 Except the three Mantuans, all the 
 iron-clothed warriors with lance in rest, 
 whose votive figures are at Santa Maria, 
 formed part of the constable's terrible 
 army. A Spanish soldier has the follow- 
 ing verses for inscription : 
 
 L* alma volea fuRgir per doppla usclta, 
 Che due colpi spietali in me gia lero ; 
 Ma tu accorresli a tiattenermi in vita. 
 
 These verses have some resemblance 
 to those of his countryman Lucan, 
 whom this Spanish soldier very possibly 
 had read, nor are they of better taste 
 than those of his Pharsalia : 
 
 Dum pugoat ab atta 
 
 Tuppe Catus, Gralumque audax aplustie icleiilut. 
 Terga slmul pariter iiiisjls et pectora tells 
 Transigitur : medio concurril peclorc feirum, 
 Et stetit iacerlus flueret quo vulneie sanguis. 1 
 
 There are also some of the suspended 
 whose cord has broken most oppor- 
 tunely. The skin of a crocodile, said to 
 have been killed by a Manluan in a ditch 
 of the territory of Curtatone, but little 
 distant, is another odd ex voto hung to 
 the roof. The manner of working wax 
 in these large proportions was invented 
 in 1521 by a Franciscan of AcquaNegra, 
 who, having examined the mean little 
 figures offered every day, broke them up, 
 but preserved the impression and recast 
 them of a large size, after mixing there- 
 with some unknown ingredients to give 
 them solidity, whilst by means of another 
 composition he fixed them very firmly 
 on their bases. The expense of keeping 
 the present figures in condition is consi- 
 derable, and they require renovating 
 about every ten years. 
 
 The miraculous picture of the Ma- 
 donna, though attributed to Saint Luke, 
 does not resemble the other figures pve- 
 
 1 Fharsal., lib. in. 585. 
 
Chap. XXII. ] 
 
 MANTUA. 
 
 305 
 
 tended to be by that apostle ; « it is 
 painted on wood and the head and shoul- 
 ders are enveloped with the long veil, a 
 sort of embroidered mantle, still used 
 in Italy. The veneration paid the Ma- 
 donna delle Grazie is extraordinary, 
 and the number of pilgrim* has some- 
 times amounted, at the feast of the As- 
 sumption, to eighty or a hundred thou- 
 sand. 
 
 The church delle Grazie contains the 
 sepultures of several princes of the Gon- 
 zaga family and of illustrious Mantuans. 
 Such is the mausoleum erected by Bar- 
 bara Agnelli to her husband Bernardino 
 Corradi, deceased at the age of thirty- 
 five, July 23, 14-89, the worthy son of 
 the celebrated Ludovico Corradi, lieu- 
 tenant-general of the dukes of Savoy, to 
 whom the emperors Frederick III. and 
 Maximilian I. gave permission to bear 
 the title of Corradi of Austria, a great 
 lord and politician of the fifieenth cen- 
 tury, who nevertheless translated from 
 Greek into Latin the Commentaries of 
 the physician Philotheos on the Apho- 
 risms of Hippocrates. 
 
 One monument is very interesting, 
 the mausoleum of Count Baltassare Cas- 
 tiglione, author of the Cortegiano, the 
 friend and counsellor of Michael Angelo 
 and Raphael, and connected with the 
 most illustrious literati of the revival; 
 the design, in the antique style, is by 
 Giulio Romano ; the epitaph, by Bembo. 
 The marble tomb is surmounted with 
 the statue of Jesus Christ in stucco, 
 stated in the Monumenti illustrid' Italia 
 to have been a heathen statue of Time. 
 Though he died at Toledo, Castiglione 
 wished to be buried at Nostra Signora 
 delle Grazie, near his young consort 
 who had so tenderly lamented his ab- 
 
 1 See ante, book v. ch. vi. ; and post, liook si. 
 chap. il. 
 
 2 See Casliglione's elegant epislle, entitled, Rip- 
 polyta, Batthasari Castiglioni conjugi. Tbis epislle 
 has giveu rise to an opinion that the countess Cas- 
 tiglione cultivated Latin pomry. It is probable, 
 remarks Roscoe {Life and Pontificate of Leo X. ch. 
 xi.), that it contains the sentiments expressed In 
 the countess's letters to her limband. He bad left 
 
 his portrait pointed by Raphael : 
 
 Sola luos vultus referens, Raphaelis imago 
 Picla manu, curas allevat usque meas. 
 
 Hnieego deliclas facio,arrideoque jocorque, 
 Alloquor, et tanquam reddere verba queat, 
 
 A?sensu, nutuque mlhi saepe ilia vldelur, 
 Dleere Telle aliquid, et tna verba loqui. 
 
 sence, whose loss was so bitter an afflic- 
 tion, 2 and to whom he consecrated this 
 touching inscription, which may still 
 be read on the right of the tomb where 
 they repose together : 
 
 Non ego nunc vivo, conjox dulcissima : vitam 
 Corpore namque tuo fata meam abstulerunt; 
 
 Sed vlvam, tumulo cum tecum condar in lslo, 
 Jungenturque tuis ossibus ossa mea. 
 
 Hippolytce Taurella, quae in ambiguo 
 reliquit, utrum pulchrior an castior 
 fuerit. Primos juventce annos vix. 
 Baldassar Castilion insatiabiliter mce- 
 rens posuit anno Bom. MBXX. 3 To 
 confer greater honour on the me- 
 mory of Castiglione, his son went to 
 Rome for the purpose of engaging the 
 ablest artists, and he afterwards, in his 
 old age, obtained a sonnet from Tasso 
 in his father's praise.* The inscription 
 on Castiglione's tomb imports that it was 
 erected to him by his mother, Luigia 
 Gonzaga, who had the grief to survive 
 him (contra votum superstes fllio bene 
 merito). The worthy son of Count Bal- 
 tassare, Camillo, also desired to be in- 
 terred in this noble chapel of the Casti- 
 glione ; he lies near his wife; his sons 
 erected a tomb to his memory, and the 
 inscription which enumerates his titles 
 and offices, states that he had practiced 
 his father's book. 
 
 The celebrated work of Castiglione, 
 instead of being limited to the use of 
 courts, has been extended by the progress 
 of civilisation to the whole human species. 
 The advice he gives respecting conduct, 
 manners, and the necessity of speaking 
 little of one's self, is applicable to all 
 well-bred persons. The beauty and good 
 fame of his court lady are advantages to 
 which every woman in the world may 
 
 Agnoseit, balboque palrem puer ore salutat ; 
 Hoc solor Iongos, decipioque dies. 
 
 See Carmina qui n que lllustr. Poetar. ed. Ven. (548, 
 p. 171, and the Appendix to the Italian translation 
 of Roscoe's Leo X., vol. IX.. no. cxcvi. Raphael's 
 fine portrait of Count Castiglione Is now at the 
 Museum of the Louvre. 
 
 3 This incriptiou is not given in the Vie of Cas- 
 tiglione, by Serassi ; like Hie authors of the Lit. 
 Hist, of Italy and the life and Pontificate of Leo X., 
 who have however spoken much or Castiglione, he 
 has given Bembo's Inscription only. 
 
 4 Lagrime, voce, e vita a' bianclii marmi, etc. See 
 Tasso's letter to Antonio Beffa Negrinl, the 148th of 
 the Unpublished Letters, 
 
MANTUA. 
 
 I Book IX. 
 
 aspire. The Cortegianu has become 
 a pleasing book of morals and literature, 
 which must be acceptable to cultivated 
 minds of all conditions; it paints with 
 fidelity the opinions and manners of the 
 lime, political proceedings, military ha- 
 bits, national prejudices, J disorders of 
 Ihe clergy, the subtle and gallant con- 
 versational galimatias of the little courts 
 of Italy; 2 it contains some shrewd 
 thoughts, 3 and some excellent remarks 
 on taste and style : such is the counsel he 
 gives the Tuscans to regenerate their 
 language which Ihey Mere suffering to 
 perish through delicacy, to readopt the 
 old expressions of Petrarch and Boccac- 
 cio, retained by the artisans and peasants, 4 
 a counsel followed with such ardour by 
 Alfieri more than two centuries later; in 
 
 1 The following passage shows how rude and 
 barbarous France appeared to Italy before Fran- 
 iis [. whom Castiglione styles the father of let- 
 ters 
 
 " Benche i Francesi solamente conoscano la 
 nobilita delle arme, e tutto il resto nulla esti- 
 mino : di modo che, non solamente non apprez- 
 i.ano le lettere, ma le abboriscono, e tutti i 
 litterati tengon per vilissimi uomini, e pare lor 
 dir gran villania a che si sia, quando lo chla- 
 mano clero. Allora il magnifico Giuliano, voi 
 dite il vero, rispose, che queslo orrore gia gran 
 tempo regna tra' Francesi : ma se la buona sorte 
 vuole che monsignor d'Angolem (come si spera) 
 succeda alia corona, cstimo, che si come la gloria 
 dell' arme fiorisce e rispleude in Fraucia, cosi vi 
 debba ancor con supremo ornamento fiorir quella 
 delle lettere." Lib. i. 
 
 The presumption forbidden the courtier by lord 
 Federico gives rise to these curious observations 
 on the familiar liberty of the lords at the court 
 of France, even with the king : 
 
 " Se considerate la corte di Francia, la qual 
 oggidl e una delle piu nobili di cristianita, tro- 
 verete che tutti qtielli che in essa hanno grazia 
 universale tengon del prosunluoso; e non sola- 
 mente 1' uno con 1' allro, ma col re medesimo. 
 Questo non dite gia, rispose messer Federico : 
 anzl in Francia sono modestissimi, e cortesi gen- 
 Mluomini ; vero e che usano una certa liherta, e 
 doraeslichezza senza ceremonia, la qual ad essi e 
 propria, e naturale ; e pero non si dee chiamar pro- 
 sunzione, perche in quella sua cosi fatta maniera, 
 benche ridano, e pigliuo piacere dei prosuntuosi, 
 pur apprczzano molto quelli che loro pajono aver 
 in se valore, e modestia.'' 
 
 2 The unintelligible dissertation of the lord Ma- 
 gnifico on form, matter, etc.. which were so exceed- 
 ingly irksome to the lady Emilia, were probably 
 not altogether unlike some elaborate dissertations 
 of the present day. Lib. hi. 
 
 short, like Dante and Manzoni, Castiglione 
 is of opinion that Italian writers ought to J 
 admit the words of the various dialects, | 
 provided Ihey are harmonious and ei- I 
 pressive, and he repels the pretensions 
 of Ihe Tuscans to impose their idiom on 
 the rest of Italy. 
 
 Among Ihe exterior inscriptions on 
 Nostra Signora delle Grazie, is a very 
 remarkable one of Marius Equicola, a 
 gallant warrior and the best historian of 
 Mantua, which commemorates the noble 
 defence of Pavia by Federico Gonzaga, 
 then only twenty -two years of age; s it 
 is beside the French balls offered ex voto, 
 placed in the church wall ; these balls are 
 small, not having at that time attained 
 the calibre of the bolts of Austerlilz, 
 Wagram, Algiers, and Antwerp. 
 
 3 Sin through ignorance seems pretty clearly 
 defined in this passage : " Pero la virtu si puo quasi 
 dir una prudenza, ed un saper eleggere il bene ; 
 e '1 vizio una imprudenza, ed ignoranza, che induce 
 a giudicar falsamente ; perche non eleggono mat 
 gli uomini il male con opinion che sia male, ma 
 s' inganuano per una rerla simililudine di bene." 
 Lib. iv. 
 
 4 Lib. I. 
 
 5 Celta ferox, Venetus prudens, Elvetius alrox, 
 
 Milite Ticinura einxerat ir.numero 
 JEre cavo ignivomis pila ferrea concita borabis, 
 
 Fulminis in morein, mconia diruerat. 
 Defensor Fedcricus adesl Gonzaga secundus 
 
 Hie fossa, hie vallum, solus hie agger erat 
 Frgo servati tanto duci lo! ingeminamus, 
 
 El Maria; hostiles ponimus hos globulos. 
 Marii .Equicolte in obsidione Papiae IIII 
 
 Idus aprilis MDXX1I volum. 
 
 Marius Equicola has also composed a snail treatise 
 in Latin, translated into French under the title of 
 Apoloqie de Marvs Equicolus gentilhomme Ita- 
 lien contre les mesdisanlz de la nation fran- 
 foise, by Michel Role, official clerk to the cele- 
 brated Renee of France, duchess erf Ferrara (Paris, 
 Serteuas, 1S50, in l2mo.l, a scarce book, dedicated 
 lo Giovanni Lascari, Equicola's master. It contains 
 a learned and warm eulogium of the soil of France 
 and the character and courage of its inhabitants. A 
 copy of this translation, bound in parchment with 
 arabesques in gold of the lime, is preserved In the 
 library recently created at. the palace of Versailles, 
 and it is not ill-placed beside the museum conse- 
 crated to all the glories of France. 
 
Chap. XXIV.] 
 
 CREMONA. 
 
 503 
 
 CHAPTER XXIII. 
 
 Two miles from Mantua is Pietola, 
 which a rather doubtful tradition makes 
 the Andes of antiquity, Virgil's country : 
 
 Manlua musarum domus, atque ad sidera cantu 
 Evecta Andino,et Smyrnseis eemula plectrts. 1 
 
 This tradition has, however, obtained 
 generally; Dante has sung of Pielola 
 
 E quell' ombra genlil per cui si noma 
 Pietola piii che villa Manlovana; 
 
 and it was visited by Petrarch. Another 
 circumstance seems to increase the literary 
 solemnity of this small village ; it was at 
 Pietola, in the ancient palace of the dukes 
 of Mantua, called also the Virgiliana, 
 that Cardinal de' Medici, afterwards 
 Leo X., found a secret asylum when he 
 escaped from the French, who took him 
 prisoner at the battle of Ravenna. During 
 the campaign of Italy, Virgil's name was 
 not less advantageous to the inhabitants 
 of Pietola than that of Catullus had been to 
 those of Sermione ; a they were indemni- 
 fied for their losses, and exempted from 
 the war charges. A festival was celebrated 
 by General Miollis ; but there is no ves- 
 tige now left of the pompous obelisk he 
 erected and his fantastical temple of 
 Apollo, with his figures of male and fe- 
 male saints economically metamorphosed 
 into mythological divinities : St. Chris- 
 topher was converted into Charon ; Mag- 
 dalen, into Venus; St. Ursule, into Mi- 
 nerva, etc. 
 
 The building of the Virgiliana is 
 much decayed, and the gardens have 
 dwindled into something like a neglected 
 kitchen garden, which greatly needs the 
 attentions of the old man of the Galcsus. 
 Besides, I do not know whether the 
 exact realisation of the garden Virgil 
 makes this old man cultivate would not, 
 be the kind of monument best suited to 
 Pietola ; instead of the ridiculous bower 
 
 1 SiliusItalicas,Pum'c, lib. vin. 593. The jealous 
 nationality of Maffei wanted to fix the place or Vir- 
 gil's birth at the foot of the Veronese hills, be- 
 tween the Volla and Cauriana ; another estimable 
 antiquary, S.Viso, Wotizie storiche Uant.) pretends 
 that none of Virgil's verses could relate to either 
 Pietola or Cauriana. 
 
 » See ante, boob ?. cb. vlii. 
 
 of Virgil, a teagarden summer-house, 
 over which, by a singular chance, the 
 Gonzaga arms still remained, I should 
 have preferred the shade of the planetree 
 ministrantem... potantibus umbras.* 
 The nature of the soil does not seem im- 
 proper for this imitation, and the. towers 
 of the citadel of Tarentum {OEbalue 
 turribus arcis), forgotten by Delille, 
 would be well replaced and even sur- 
 passed by the redoubtable fort of Pietola 
 and the fortifications of Mantua. 
 
 CHAPTER XXIV. 
 
 Cremona.— Tower.— Cathedral.— Zodiac. — Baptis- 
 try.- Churches.— Campi.—Vida.— Public palace. 
 —Surprise of Cremona.— Saint Siglsmund.— Plz- 
 zighettone. 
 
 The road from Mantua to Cremona on 
 the banks of the Mincio still retains the 
 Virgilian aspect of the Serraglio, 
 
 Mantua vse miserse nimium vicina Crcmonse, 
 
 and the same fields must have been 
 shared among the soldiers of Octavius. 
 
 The tower of Cremona, which is visible 
 at a great distance, is one of the boldest 
 and most noted among the Gothic towers 
 of Italy. 
 
 The cathedral, finished about 1319, has 
 the grand and fantastical character of the 
 time. On the front are some curious 
 basso-relievos of the thirteenth century, 
 representing the twelve signs of the zodiac 
 reversed, and the labours of the field, 
 regarded by the learned and precipitate 
 M. de Hammer as emblematical of his 
 worship of Mithra, and they have had 
 the honour of figuring under that head 
 among the eighty-six monuments of the 
 same religion which he imagines he has 
 discovered/ but are only another proof 
 of the mixture of pagan and christian 
 ideas, so common on the churches of the 
 middle ages. Over the great door are 
 the figures of the prophets, the work of 
 Jacopo Porrata, of theyear 1274, accord- 
 ing to the inscription. 
 
 3 Georg. iv. 146. The properly attributed to the 
 planetree by botanists, of purifying the air, would 
 render it still more useful on this insalubrious 
 plain. 
 
 4 see the atlas of his Memoire sur le culte de 
 Mithra, sent to the Academy of Inscriptious and 
 Belles-lettres of the Institute of France. 
 
506 
 
 CREMONA. 
 
 Book IX. 
 
 The interior presents some good paint- 
 ings by Cremonese masters : the Pre- 
 sentation in the temple, natural, by 
 Bembo, an artist of the middle of the fif- 
 teenth century ; the Christ on the cross, 
 surrounded with saints, by Malosso, in 
 the best Venetian style ; the Christ before 
 Annas the high priest, true, touching, 
 majestic, by Cristoforo Moretti ; in the 
 choir, a superb Christ, colossal, seated 
 on a throne between four saints, and 
 giving his blessing ; a pleasing and noble 
 Sposalizio; a Nativity of the Virgin, 
 by Boccaccio Boccacino, the Raphael of 
 Cremona. The first of these chefs- 
 d'oeuvre so enraptured Garofolo, that he 
 immediately attached himself to the 
 author, and studied two years under him 
 before going to Rome. As to the two 
 cavaliers, said to represent the dukes of 
 Milan, and apparently forced on the 
 artist, they arc very fine, but somewhat 
 oddly introduced in a Nativity. A 
 Flight into Egypt, poetic, is not without 
 some exaggeration and refinement, al- 
 though by Altobello Melone and of the 
 good epoch. A great and admirable 
 Assumption, a Nativity, which recalls, 
 for its charming effect, the celebrated 
 Night of Corrcggio, are by Sojaro, a 
 worthy pupil and aim st rival of such a 
 master. The Virgin, St. Anthony the 
 abbot, St. John Baptist contemplating 
 the infant. Jesus on the ground, of a 
 sweet heavenly expression, and wonderful 
 colouring, is by Aleni. A Crucifixion, 
 a vast fresco by Pordenone, is extraor- 
 dinary, the characters are in Spanish 
 costume ; in front stands a knight with 
 his sword drawn, who must surpass all 
 those whose heavy blows Froissart and 
 Madame de Sevigne" so much loved. The 
 four frescos, larger than nature, by S. 
 Diotti, especially the last, fiuished in 1835, 
 representing Christ giving the keys to 
 St. Peter, pass for the best works of this 
 master. 
 
 The altar of Saint Nicholas is an es- 
 teemed work of two Cremonese artists, 
 Tommaso Amiciand MabilaF. di Mazo, 
 of the year 1494, as the inscription 
 states. The white marble altar of Sis. 
 Peter and Marcellinus, an unappreciated 
 performance of a great sculptor of Cre- 
 mona of the thirteenth century, Bra- 
 mante Sacchi, is remarkable for the 
 beauty and expression of the figures, the 
 excellence of the perspective, and the 
 elegance of the ornaments, which seem 
 
 worthy of the fifteenth century. The 
 choir books, embellished with miniatures 
 executed in 1484, by Antonio Cicognara, 
 are superb. The baptistry, the third 
 monument of Cremona, after the tower 
 and the cathedral, is not less remarkable 
 for its antiquity and construction. 
 
 Saint Nazarius, where the brothers 
 Campi are interred, clever artists of 
 Cremona, offers some of their master- 
 pieces; such are the two Virgins, one 
 in the clouds, at the high altar, and the 
 other with her son, St. Jerome, and St. 
 Joseph, by Giulio, the eldest, who is as 
 the Ludovico of these Cremonese Car- 
 racci. 
 
 An excellent painting by their father, 
 Galeazzo Campi, the Rosary of the Ala- 
 donna, is at the church of Saint Domi- 
 nick. A Nativity, regarded as an epi- 
 tome of the perfections of painting, is 
 reckoned the best work of Bernardino 
 Campi, who appears to be of a different 
 family from the other painters of that 
 name. A Beheading of St. John, re- 
 markable for variety in the figures, is by 
 his brilliant pupil, Malosso, who in his 
 turn became the chief of the first schooi 
 of Cremona, one of the most renowned 
 in Lombardy. The Death of the Virgin 
 is by Cesare Procaccini. 
 
 The cupola of Saint Abondio is the 
 largest and one of the finest and clever- 
 est works of Malosso , but it was design- 
 ed by Giulio Campi. 
 
 The stuccos of Barberini, representing 
 the Passion of Jesus Christ, at the 
 church of Saint Augustine, are esteemed 
 for their lifelike figures. A Virgin, by 
 S^erugino; a great St. Augustine, giving 
 his rules to several religious orders, full 
 of variety, the masterpiece of Massarotti, 
 arc excellent. 
 
 Saint Peter al Pb is one of the first 
 churches of Cremona, and is attributed 
 to Palladio. The Divine Virtues are 
 by Malosso. 
 
 Saint Laurence has one of those paint- 
 ings of Mutius Scjevola, which has al- 
 ready struck us as a singular subject for 
 a church : i the deed of the haughty Ro- 
 man seems here, at least, to have some 
 analogy with the martyrdom of the saint, 
 a comparison made by Dante : 
 
 Se fosse stato it lor volere Intero, 
 Come lenne Lorenzo In su la grada, 
 E fece Muzio alia sua man severe. 1 
 
 ' See ante, book vii, cl>. 111. ? Parttd. canlo iv. M, 
 
Chap. XXIV. 1 
 
 CREMONA. 
 
 307 
 
 The fine elegant mausoleum of Gio- 
 vanni Antonio Amadeo, a Pavian sculp- 
 tor, is said to enclose the relics of Saint 
 Marius and Saint Martha, deposited there 
 by the abbe" Antonio Mellio, juriscon- 
 sult, who is interred below. 
 
 In the parish church of Saint Victor, 
 Jesus Christ giving the ring to St. Ca- 
 therine, is one of Antonio Campi's good 
 works. 
 
 Saint Pelagia was painted almost 
 throughout by Giulio Campi, at the soli- 
 citation of Geronimo Vida, bishop of 
 Alba on the Tanaro, and prior of the 
 monastery. Near the high altar are 
 two inscriptions by this illustrious Cre- 
 monese poet, whom Ariosto ranks among 
 the great men that have thrown a lustre 
 on Italy : 
 
 II Vida Cremonese, 
 
 D' alta facondia inessiccabil vena. 1 
 
 Vida, who was copied by Tasso, a com- 
 pared by Pope to Virgil, and associated 
 with Raphael : 
 
 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 I 3 
 
 whose Christiad was perhaps imitated by 
 Milton, and his Ars Poetica is annexed, 
 not without honour, to those of Aristotle, 
 Horace, and Boileau.* Vida composed 
 a hymn in honour of Saint Pelagia, pa- 
 troness of this parish, but it is not one of 
 his good works. The prison of Sainte- 
 Pe"Iagie at Paris, with its writers, poets, 
 rich debtors, etc., would be a happier 
 
 1 Orland. canto xlyi. St. 13. 
 The scene of the assembly of demons at the 
 beginning of canto iv of the Gerusalemme, and the 
 speech that Tasso's puts in Pluto's mouth, area 
 literal translation of Vicla's Christiad. 
 
 3 Essay on Criticism, part iii. 
 
 4 If we were surprised at finding that Virgil had 
 never been printed at Mantua, Cremona cannot be 
 accused of the same negligence towards her poet. 
 Vida's Ars Poelica not being printed, the munici- 
 pality obtained the manusciipt, jealous to give the 
 first edition at the public expense. Cremona had 
 been honoured with a printing-office nearly half a 
 century; two Italian printers, Bernardino de Mi- 
 slatis of Pavia and Cesare of Parma had issued 
 there in 1492 the Libro de Balaglie de Tristano e 
 Lancelotto e Ghalaso e delta raina Isota. 
 
 subject, and probably a better source of 
 inspiration. 
 
 The public palace, in the great square, 
 has a singular inscription indicative of 
 its being a court of justice. 5 In the great 
 hall is one of Malosso's best paintings; it 
 represents the Virgin, her son, St. Omo- 
 buono, the patron of Cremona, and the 
 guardian angel of that town. 
 
 Cremona has some picture galleries; 
 the most important belongs to Count Ala 
 di Ponzone, and contains several designs 
 by Michael Angelo. 
 
 The new market, the gates of Saint 
 Luke and Saint Margaret, are good con- 
 structions by S. Voghera, a distinguished 
 architect of Cremona. 
 
 The house where Marshal Villeroy 
 was surprised by Prince Eugene still 
 exists at Cremona. Then began the 
 reversesof the latter days of Louis XIV., 
 murmurs were heard even in the palace, 6 
 and the army with ali France amused 
 themselves with songs on the favourite 
 of the grand roiJ 
 
 The church of Saint Sigismund, one 
 mile from Cremona, is worth a visit. 
 This ancientabbey was founded by Fran- 
 cesco Sforza, and his politic marriage 
 with Bianca Visconti, daughter of the 
 duke of Milan, Filippo Maria, was ce- 
 lebrated there. The frescos by Giulio 
 Campi, which cover the entrances and 
 the ceiling of the nave, are full of fancy. 
 The Ascension of Jesus Christ, by So- 
 jaro, so admirable in every point, seems 
 also, by its colouring, worthy of his 
 master, Correggio, whom he knew how 
 to imitate without copying. The orna- 
 ments and arabesques between the co- 
 lumns are exquisitely elegant. The Jonas 
 thrown on shore by the whale, by Dome- 
 nico of Bologna, is celebrated for its per- 
 
 5 Hie locus odit, amat, punit, conservat, honorat, 
 
 Nequitiem, pocem, crimina, jura, probos. 
 The regimen of each verb is placed beneath it. 
 
 6 Memoires comptets de Saint-Simon, ch. xxh. 
 
 7 Saint-Simon, who has sketched a satirical por- 
 trait of Villeroy, adduces some tolerable arguments 
 in justification of his surprise at Cremona. "It is 
 not for him," says he, " who arrived at Cremona 
 on the eve of the surprise, to know that aque- 
 duct and walled-up gale, nor whether imperial 
 soldiers were already introduced and hidden. , . . 
 he could do nothing better than haste to the great 
 square, nor foresee bis capture at the turniug of a 
 street on going thither." Neither was Villeroy sleep- 
 ing in security at that moment, as asserted by Voltaire 
 [Siecle de Low's XIV. ch. xix.), and often repeated 
 since : "that very morning, at dawn," Saint-Simon 
 
308 
 
 PLACENTIA. 
 
 [Book IX. 
 
 spective. The cupola, a kind of Olympus 
 of saints of the Old and New Testament, 
 one of the first in Italy for variety, num- 
 ber, effect, and keeping of the figures, 
 was painted in seven months by Ber- 
 nardino Campi. This rapid execution 
 appeared so suspicious to the church- 
 wardens, no great connoisseurs, that 
 before paying the artist they exacted 
 from him a certificate by Sojaro and 
 Giulio Campi, as a security for the 
 merit of the work. At the high altar, 
 the Virgin in the clouds holding her son, 
 surrounded by a choir of angels, while 
 below are St. Jerome and St. Chrysan- 
 thus, presenting to him the duke and 
 duchess of Milan kneeling, is a chef- 
 d'oeuvre of Giulio Campi in Titian's 
 style. The countenance of Sforza is 
 characteristic; Bianca's, timid; behind 
 St. Jerome, is his cardinal's hat hung 
 against the wall. The multitude of 
 grand and excellent paintings- at Saint 
 Sigismund's is truly dazzling. 
 
 Pizzighettone, a fortress on the Serio, 
 a confluent of the Adda, was the first 
 prison of Francis I., after his defeat at 
 Pavia : its frowning aspect is still in 
 unison with such a recollection. 
 
 CHAPTER XXV. 
 
 Hacenlla.— Statues.— Ranuccio.— Public palace— 
 l'alace della Citade.Ua. — Library. 
 
 Placentia is extensive and deserted. 
 This town has never recovered from its 
 dreadful pillage by Francesco Sforza, 
 in 1448. Then not only the houses were 
 wasted, but the inhabitants were com- 
 pelled by horrible tortures to deliver up 
 their hidden treasures to the soldiers; 
 women and maidens underwent the ex- 
 tremity of outrage, and ten thousand 
 citizens, reduced to slavery, were sold 
 by auction. This terrible conqueror, 
 whom we have just seen founding a 
 splendid abbey near Cremona, rivalled 
 the excesses of Octavius at no great 
 distance therefrom : many an obscure 
 Melibceus and Meris were then deprived 
 of their heritage : the foreign soldier 
 could also repeat to these sons of misfor- 
 tune, as the veterans of Rome : 
 
 . . . lUec mea sunt, veteres mignae coloni. 
 
 nflirms, " be was dressed and willing in bis 
 chamber." ilbid.) 
 > Tbe *ost was 44,407 crowns, 8 paul s (8,8401) 
 
 Literary fame seems, however, to have 
 been useful at both these epochs, and the 
 author of the Annals of Placentia, An- 
 tonio of Ripalta, who, like Virgil, had 
 been reduced to slavery after the loss of 
 all his substance, including his books and 
 manuscripts, was set at liberty by his 
 master, the general of Sforza's galleys. 
 
 Notwithstanding the desolation still 
 apparent in Placentia, it is not utterly 
 destitute of splendour : the two great 
 equestrian statues facing each other, be- 
 fore the public palace, representing 
 Alessandro and his son Ranuccio Far- 
 nese, maintain that profusion of monu- 
 ments which belongs to Italy alone. 
 These statues, which the traditions and 
 civic patriotism of the Placenlians, who 
 paid for them, 1 still extol, do not. appear 
 of very pure taste ; the horses' heads 
 might be more noble : though not gallop- 
 ing, their tails, their manes, and the gar- 
 ments of the cavaliers are exceedingly 
 agitated by the wind. The artist is Fran- 
 cesco Mocchi, a Florentine, pups! of his 
 father Horace, and not of Giovanni Bo- 
 logna, as stated by Lalande and the tra- 
 vellers who have copied him, in making 
 a Bolognese of the great Flemish sculptor. 
 Such has long been the admiration ex- 
 cited by the horses of Placentia, skil- 
 fully founded at all events, that in a work 
 composed in 1769, by several poets of the 
 town, for the marriage of Duke Ferdi- 
 nand I. with the archduchess Maria Ame- 
 lia, Elisabetta Farnese, queen of Spain, 
 appeared in the fifth canto, and made 
 the following eulogium on the horses : 
 
 II due destrier son questi : a me gli addlta 
 
 La torva Idea dcgli avi niiel sul dorso : 
 
 Ve' come Impazienti alia partita 
 
 Mo\on del pari II pie, sdegnato it tuorso, 
 
 Fuoco glttan le miri, e la partita 
 
 Cliioma sul collo oudeggia lor nel corso : 
 
 Bieca natura li rimlra, e gode 
 
 Soil' arte sol, perclie il nllrlr non ode. 
 
 One of the two personages, Ranuccio, 
 has been diversely judged by history : 
 Muratori and his followers describe 
 him as a gloomy, austere, avaricious, and 
 cruel prince, but little deserving the 
 principi optimo of the inscription. It 
 appears, on the authority of the best his- 
 torians of Placentia, 2 whose works w ere 
 composed long after the Farnese family 
 
 * Poggiali, Hem. slor. di Piacenza, t. X, 532; 
 Afffc, Zecca e Hon. Parmig. 206. 
 
Chap. XXVI.] 
 
 PLACENTIA, 
 
 309 
 
 became extinct, that Ranuccio is too 
 severely treated by the illustrious au- 
 thor ; he was skilled in war, understood 
 the art of government, loved learning, 
 and was cherished by the Parmesans. The 
 famous conspiracy of 1611, which he was 
 accused of planning, even Muratori has 
 not denied ; it is now admitted by all the 
 historians of Parma, and well might Ra- 
 nuccio suspect the faith of his nobles 
 when he called to mind the fate of his 
 great grandfather, whom they assassi- 
 nated, and threw out of the window. 1 
 
 The public palace, of the end of the 
 thirteenth century, is of Gothic architec- 
 ture, majestic and picturesque. The 
 portico of the little square court is much 
 esteemed, as are also the ornaments 
 bordering the windows, in mattone (a 
 kind of bricks), a handicraft of which 
 the secret is apparently lost. 
 
 The Farnese palace, called the palace 
 della Citadella, unfinished, forsaken, di- 
 lapidated, still bears -witness to the genius 
 of Vigoola, and the part completed is 
 sufficient to show what the magnificence 
 of the whole would have been. 
 
 The librarian of Placenlia was ill when 
 I called to see the library, and his deputy 
 had not the key ; consequently I could not 
 obtain access. I wasinformed it contain- 
 ed thirty thousand volumes, and possessed 
 a palimpsestus of the ninth century, its 
 most precious article being the Psalte- 
 rium of the empress Engelberge, consort 
 of Louis II., written with her own hand 
 in the 847 or 57, which had been carried 
 to Paris. 
 
 CHAPTER XXVI. 
 
 Cathedral.— Churches.— Environs. — Santa Maria di 
 Caropagna. — Italian lapidarian inscriptions.— 
 Koad. 
 
 The cathedral, rebuilt at the begin- 
 ning of the twelfth century, is a fine 
 harmonious Gothic structure unfortu- 
 nately disfigured by the modern orna- 
 ments of the choir and sanctuary. Its 
 paintings have some celebrity : the Pro- 
 
 ' A remarkable fact is related by s. A. rezzuna. 
 (Lettera al coate Filippo Linati,' circa le cose 
 delte dal sig. Millin intorno la eitla di Parma, ed. 
 seconda, p. 10.) Duke Ferdinand, after more tban 
 a century and a half, feeling some scruple at pos- 
 sessing the properly of which the conspirators' 
 families had been stripped, charged a learned juris- 
 consult, Giambattlsta Comaschi, also celebrated for 
 a lender conscience, to examine the documents 
 
 phets, the Sibyls of the cupola, the four 
 frescos of the roof, are chefs-d'ceuvre of 
 Guerciuo ; the Circumcision, the Adora- 
 tion of the Magi, St. Joseph sleeping, 
 by Franceschini andQuaini, of Bologna, 
 pupils of Guercino, are very fine ; the 
 four figures, Charity, Truth, Modesty, 
 and Humility, by the former, though 
 done at an advanced age, are elegant 
 and graceful. In the sanctuary, the 
 compartment of the high aitar is one of 
 Camillo Procaccini's good works, but it 
 is outshone by the other three covered 
 with energetic paintings by Ludovico 
 Carraccio. In the choir, the Assump- 
 tion is also by Procaccini ; the archivolt, 
 painted by Ludovico Carraccio, is an 
 admirable imitation of the cupolas of 
 the Duomo and Saint John's at Parma, 
 by Correggio, and its angels, of colossal 
 stature, are well preserved . His two great 
 paintings, the Translation of the body of 
 the Virgin, the Apostles opening her 
 coffin, taken by the French as a war con- 
 tribution in 1797, were not restored to 
 the cathedral in 1815, but were placed in 
 the Parma gallery. An able artist of Pla- 
 centia, the Cav. Gaspardo Landi, one 
 of the best contemporary painters of 
 Italy, has patriotically supplied their 
 places with two paintings on the same 
 subjects. The several chapels present a 
 St. Martin, by Ludovico Carraccio ; 
 frescos by Fiamminghino, the beauties 
 of which are concealed by an obscure 
 position ; a fine Resurrection, and a St. 
 Francis, by Fiamminghini ; the Ten 
 thousand crucified, an energetic and 
 superb painting by Andrea Sirani, is 
 perhaps by Elisabetta, his unfortunate 
 daughter ; a the Saviour, a small Ma- 
 donna, a charming work of Tagliasacchi, 
 a painter of the end of the seventeenth 
 century, whose fortune seems to have 
 been inferior to his merit. 
 
 The tower of the cathedral still pre- 
 serves, fixed in the wall, one of those 
 iron cages of which we have before 
 spoken. 3 The Placentian learned have 
 abundantly discussed the subject of the 
 
 relating to the trial, and this posthumous judge 
 did not doubt the reality of the plot. A like con- 
 viction, adds S. Pezzana, has been felt by all who 
 have perused the same papers, still lodged in the 
 archives of the state, and especially by a dis^ 
 linguished magistrate, S. Francesco Melegari, pre- 
 sident of one of the tribunals at Parma. 
 
 3 See ante, book vm. chap, vii, and xv. 
 
 3 see arile, book iv, ch. viii, and above, ch. ivlii. 
 
 
310 
 
 PLACENTIA. 
 
 [Book IX. 
 
 cage, without coining to any clear un- 
 derstanding ; but it is, at least, another 
 and indisputable proof of the reality of 
 this punishment. 
 
 Saint Francis-lhe-Great is of Gothic 
 architecture, noble and bold. The re- 
 markable paintings are : the Miracle of- 
 the loaves and fishes, by Marini, a 
 clever pupil of Bernardino Campi; one 
 of Malosso's Conceptions, which proves 
 the variety of his talent in such compo- 
 sitions; a St. Francis de Paule curing 
 a little child, by an unknown author, 
 and a fine copy of the Martyrdom of St. 
 Laurence, one of those astounding chefs- 
 d'oeuvre of Titian's old age, buried in 
 the Esourial. 
 
 The church of Saint Anthony, for- 
 merly a cathedral, rebuilt, retains a fine 
 remnant of its old architecture , the 
 northern Gothic vestibule, called the Pa- 
 radise. On the ceiling of the sanctuary, 
 the Eternal Father in the midst of the 
 angels ; an Old man of the Apocalypse 
 holding a fiery sword in his hand, are 
 full of spirit, boldness, and imagination. 
 Guercino admired these paintings : the 
 artist, Camillo Gavassetti, of Modena, 
 deceased at an early age, happily drew 
 his inspiration from Michael Angelo and 
 Raphael. The painting of the high altar, 
 and others in the sanctuary, represent- 
 ing divers 'incidents in the life of St. 
 Anthony of Placentia, are by Robert 
 Lalonge, of Antwerp, called also Fiarn- 
 mingo. In the chapel of the Virgin 
 addolorata, the Nativity by Giulio Pro- 
 caccini, is a graceful composition. Near 
 the great door, an old painting on wood, 
 of the Life and 'Martyrdom of St. An- 
 thony, apparently in the Greek style of 
 the eleventh century, may be regarded as 
 a curious monument of the infancy of art. 
 
 Saint Augustine, a superb -temple^ 
 which some have even erroneously sup-' 
 posed by Vignola, has been an hospital 
 or military magazine for thirty years 
 past, but some of the chief inhabitants of 
 Placentia, justly proud of such an edi- 
 fice, have patriotically maintained it in 
 good repair. 
 
 The 'cloister of Saint John del Canale 
 still retains some old .and expressive 
 wrecks of painting, of the close of the 
 twelfth century, considered as precious 
 monuments lor the history of the art. 
 In «lhe church, a St. Hyacinth is by 
 Malosso; in the choir, a small oval 
 Circumcision, remarkable, by Gervasio 
 
 Gaili, Sojaro's nephew. The chapel of 
 the Rosary is almost another temple: 
 there are two large and esteemed paint- 
 ings by two of the most eminent contem- 
 porary painters of Italy, the Redeemer 
 addressing the women of Jerusalem with 
 Nolite flere super me, by Landi, and 
 Jesus presented in the temple, by S. Ca- 
 muccini, which exhibits the skilful draw- 
 ing of that artist, and contributed at the 
 time to his rising reputation. In the 
 chapel of Saint Catherine is the mauso- 
 leum of Count Orazio Scotti, surmounted 
 by his bust and some little genii, a good 
 monument by Algardi, who has suc- 
 ceeded belter in busts and children than 
 in his enormous Attila of Saint Peter's. 
 
 Saint Sixtus, a rich and elegant church, 
 with a double cupola, is the finest in 
 Placentia. The little children of the 
 frescos in the nave, by unknown au- 
 thors, arc graceful. In the sanctuary 
 are the monuments of the empress 
 Engclberge and Margaret of Austria, 
 natural daughter of Charles V., mar- 
 ried to Duke Ottavio Farnese, and mo- 
 ther of Alessandro, herself an heroic 
 woman. The busts of these princesses, 
 highly valued works, surmount their 
 monuments. The mausoleum of Mar- 
 garet is near; it is enormous, decorated 
 with gigantic statues, and pretty much in 
 conformity with the historical character 
 of the princess, who was said to have 
 a beard like a man. The high altar, 
 inclosing the saint's bones, is of extraor- 
 dinary magnificence. In -the choir, the 
 Massacre of the Innocents passes for 
 one of Camillo Procaccini's good works; 
 the Martyrdom of St. Barbara is by 
 the younger Palma. The Virgin, by 
 Taddeo Zuccari, at the chapel -of Piety, 
 offers a marvellous expression of grief. 
 The paintings in the chapel of the Vir- 
 gin, by unknown authors, are remark- 
 able : a Virgin with the infant Jesus in 
 her arms, has a freshness of colouring 
 in the flesh that reminds amateurs of 
 Titian's Venus. 
 
 At Saint Savinus.alarge church, once 
 Gothic, but rebuilt, is a Virgin dress- 
 ing the infant Jesus, with St. Elisabeth, 
 St. John, and angels : this painting is 
 supposed by Bertoja, pupil of Parme- 
 giano, and it is worthy of that graceful 
 painter. At the chapel of the Holy Sa- 
 crament are three paintings represent- 
 ing favours obtained by the intercession 
 of the Virgin, the work of Giuseppe, or 
 
Cuap. XXVI.] 
 
 PLACENTIA. 
 
 m 
 
 perhaps Pamfilio Nuvolone ; they are at 
 once full of sweetness, vivacity, and 
 harmony. The lower church, con- 
 structed in the tenth century, is inter- 
 esting : among its square columns, or- 
 namented with elegant capitals, is a very 
 beautiful one of alabaster. On the pave- 
 ment, a mosaic in white and black stones 
 offers the signs of the zodiac, with Latin 
 inscriptions in Roman characters, but 
 by the archeologists and some learned 
 mosaists, it is attributed to the Greek 
 artists who came to Venice in the seventh 
 century. 
 I found in Saint Michael, a church not 
 J particularly remarkable, a great picture 
 well painted by the duchess Antonia 
 Bourbon, daughter of Duke Ferdinand, 
 to the present moment a nun at Parma, 
 in a convent of Ursulines ; it represented 
 St. Ferdinand, her grandfather, and was 
 given by her to the church in 1797. The 
 cathedral of Placcntia also possesses a 
 Virgin alia colonna, another painting 
 by that august hand. The cultivation of 
 the arts by a woman of such noble blood, 
 amid the misfortunes of her family and 
 her own, is rather affecting ; one loves so 
 that union of saint, princess, and artist; 
 i!and among the multitude of impressions 
 icaused in Italy by so many paintings, 
 Ithis is perhaps unique.. The duchess 
 (Bourbon of Parma, on the proposition of 
 the French consulta at Rome, was suc- 
 coured by Napoleon, a fact honourable 
 to him and the consulta. 
 
 Santa Maria di Campagna, a church 
 of the Franciscans, near Placentia, has 
 an admirable cupola painted by Porde- 
 none, as well as many other frescos by 
 him, well preserved; they were cleverly 
 finished by Sojaro, who was able to 
 imitate his predecessor's style so well, 
 that they might be supposed by one hand. 
 Among these numerous masterpieces is 
 the fresco of St. Augustin, in which the 
 ; child holding the doctor's book is so full 
 of grace ; the St. George, deemed by 
 Lanzi worthy of Giulio Romano; the 
 Adoration of the Magi, the Birth of 
 Mary. The chapel of Saint Catherine 
 appears the triumph of Pordenone, and 
 
 1 A useful bridge was erected across tbe Trebbia 
 u 1821 : tbe inscription by the learned P. Itamiro 
 ronani,-a Bcnediciiue of Parma, who died on the 
 12th of November 1833, esteemed for bis lapidary 
 :omposi.ttous, presents-an odd assemblage of names, 
 n its allusion to these different engagements : 
 
 displays his double talent of oil and fresco 
 painting; the Marriage of the Saint is 
 a delightful work that Canova, it is said, 
 was never tired of contemplating when 
 he passed throughPlaceniia. Some other 
 paintings are also due to clever artists, 
 such are the Virgins of Israel meeting 
 David after his victory over Goliath, 
 by Ludovico Crespi ; the Apparition of 
 an angel, by Gavassetli ; a St. Francis, 
 by Camillo Procaccini ; a Salutation of 
 the Virgin, in two parts, by Camillo 
 Boccaccino, greatly esteemed. 
 
 The Franciscans of Santa Maria di 
 Campagna had a good library, recently 
 given to their convent by her majesty 
 Maria Louisa ; they did the honougs of it 
 very well, and several were studying 
 there ; but it was not without some sur- 
 prise that, after the collection of the 
 Fathers and other theological works, I 
 remarked a copy of the Encyclopedie, 
 which struck me as a singular present to 
 Capuchins. 
 
 At Pigazzano, on a hill not far from 
 Placentia, is a villager's house, for which 
 S. Giordani, a native of Placentia, has 
 composed the following inscription : 
 
 Buone genti 
 
 Che abiterete questa casa 
 
 La fece per voi nel 1824 
 
 Francesco del conteNicolao Soprani 
 
 Impiegandovi la liberalila usatagli 
 
 In testamento 
 
 Dalla contessa Alba zia paterna 
 
 Poich' e' voile con fatto durabile mostrare 
 
 Che gliagricoltori gll parvero uomini. 
 
 This inscription proves, like most of 
 those by this first of the many new lapi- 
 darian writers in Italian, that the lan- 
 guage, as Perticari pretended, is not, in 
 dignity and precision, inferior to the 
 Latin for the lapidary style. 
 
 I went along the lively, charming road 
 from Placentia to Pavia, which is asso- 
 ciated with the reverses of the most war- 
 like nations in history, the Romans and 
 the French, both defeated near the 
 Trebbia, 1 the former by Hannibal, the 
 latter by Suwarow, two great captains 
 of remote and barbarous countries. 
 
 Trebia 
 
 An ibale Licbtensteinio 
 
 Suwaroflo et Melas victorib. 
 
 Magna. 
 
 Ex. D. augustaia. MDCCCXX1 
 
 Uiilitati populorum 
 
 Ponte imposito 
 
 Felix. 
 
312 
 
 FLORENCE. 
 
 .Hook X. 
 
 BOOK THE TENTH. 
 
 FLORENCE. 
 
 CHAPTER I. 
 
 Road from Bologna lo Florence. — Apennines.— 
 Pratolino.— Aspect of Florence. 
 
 The road from Bologna to Florence 
 crosses the Apennines, which, on that 
 side, have an appearance altogether dif- 
 ferent from the grandeur of the Alps; 
 they present neither the rude sky, 
 nor the harsh green of the firs on the 
 latter ; they neither resound with the 
 roar of torrents or cascades, nor the 
 crashing of the avalanche ; no majestic 
 rivers or limpid streams originate there ; 
 the vegetation is colourless and scrubby, 
 while instead of the bold precipitous 
 peaks of the Alps darting straight up- 
 wards to the skies, the Apennines re- 
 semble a pile of hills heaped on each 
 other : one would almost say they had 
 been built, and like those edifices that 
 the weakness of man requires ages on 
 ages to complete, they also seem to have 
 been interrupted and resumed. 
 
 A very fine storm that I witnessed in 
 August among these gloomy, arid, naked 
 mountains, gave them, however, some 
 animation, and a dash of grandeur; the 
 effect of the rainbow and an Italian sun 
 piercing through the clouds and pouring 
 a flood of light into the valley, was mar- 
 vellous. 
 
 i Dianzl all' ombra di farua occulta e hruna, 
 Quasi giacesti, Pratolino, ascoso ; 
 Or la lua donna lanlo otior t' aggiunge, 
 Che piega allaseconda alia forluna 
 Gli antichi giogbi 1' Apennin nevoso; 
 Ed Atlante, ed Oliinpo, ancor si Iungo, 
 Ne conlin la tua gloria asconde e serra ; 
 Ma del tuo picciol nomc empi la terra. 
 
 Rime, matliigali, 360, i. II. Two other madrigals 
 (359 and 301 1 are inferior to this : 
 
 Qui la bassezza altrut divien sublime, elc. 
 I'ralolin, re de' prali, e re de' cori, etc. 
 
 See also Rime, part. 1,318, 319, 320, 321, 322, 323 
 end 324. 
 3 Montaigne wauled lo go from Bologna to Home 
 
 This road presents some curious na- 
 tural phenomena : noar Pietra Mala, the 
 frontier of Tuscany, is a spring of cold 
 water, called Acqua buja, which takes 
 fire on applying a light, and the little 
 volcano, called Fuoco del legno, with its 
 everburning flame of blue by day and 
 red by night ; phenomena investigated 
 by Volta, who attributes them to the 
 disengagement of oxygen gas. 
 
 Five miles from Florence, on the left, 
 once stood the celebrated villa of Pra- 
 tolino, built by Prince Francesco, son of 
 Cosmo I., there to receive his mistress 
 Bianca Capello. This voluptuous asylum 
 and the enchantress that dwelt therein 
 were repeatedly sung by Tasso.' Mon- 
 taigne visited Pratolino and its grotto 
 containing a mechanical apparatus that 
 made water start suddenly from every 
 part, even from the seats when one sat 
 down, excited his admiration somewhat 
 unduly. 3 The curiosities of Italy seem 
 to have attracted Montaigne's attention 
 in a greater degree than her arts and 
 literature, of which he has scarcely found 
 time to speak in all his travels, so much 
 was he taken up with his own infirmi- 
 ties and the little disasters they pro- 
 duced. The palace, by the great Flo- 
 rentine architect, Bernardo Buontalenti, 
 the friend, master and confident of Duke 
 Francesco, was demolished some years 
 
 through the Marches of Ancona, but being caution- 
 ed by a German who had been robbed by brigand; 
 near Spolelo, he looli the Florence road. Montaigne 
 has given a humorous account of Ihe interested 
 zeal and roguery of the innkeepers whom be en- 
 countered {Voyage, t. II. p. 39 et suiv.). Arrived at 
 Florence, Montaigne was admilled, as well as 
 M. d'lislissnc, to the table of the grand duke and 
 Bianca. The most accurate portrait extant or Ihe 
 latter, is the one lie drew : " Cette ducbesse," says 
 his secretary w ho wrote the narrative o! his travels, 
 "est belle a 1'opinion italienne, un visage agreable 
 el impcrleux, le corsage gros, etdetelins ^ ieur sou- 
 hail, liile lui sembla bien avoir la sufDsance d'avoir 
 engeole ce prince, ct de le tenir 5 sa devotion long- 
 temps... Le Graud-Duc rnetoit asses d'eau ; elle quasi 
 pouint." 
 
Chap. II. ] 
 
 FLORENCE. 
 
 5i3 
 
 ago; » most of the whimsical hydraulic 
 wonders of this Tuscan Marly have dis- 
 appeared ; but the trees, still very fine, 
 survive them. It seems that contem- 
 poraries of this .kind are commonly too 
 much neglected"; trees are even more in- 
 teresting than ruins, since they lived and 
 felt at the same time as the characters 
 they recall to mind. Despite the arti- 
 fices and ambition of the adventurous 
 Venetian, the memory of her amours 
 and unhappy end is fresher under the 
 cool shades of the Pratolino than it could 
 be amid the walls and magnificence of 
 her ancient abode. These trees invite 
 to meditation, and are infinitely prefer- 
 able for the imagination to that squat- 
 ting colossus of the Apennine, which 
 would be more than fifty fathoms high 
 if erect; this inelegant statue represents 
 .Jupiter making rain, and its author's 
 name is unknown. The ostentatious 
 vanities of Pratolino were severely cen- 
 sured by the grand duke Ferdinand II., 
 a learned and philanthropic prince, when 
 he said that with the money wasted 
 there he could have builfa hundred hos- 
 pitals. 1 
 
 The approach to Florence, and its en- 
 virons, display a more forcible expression 
 of Italy, the Italy of letters and arts; 
 nature there appears brilliant and or- 
 nate; the cultivation is perfect; every 
 eminence is studded with charming 
 villas, interspersed with clumps of olive- 
 trees, and such is the abundance of the 
 latter that it may still be said, as in 
 Ariosto's day : 
 
 * Baldinucci, quoted by the Florentine Observer 
 ( vol. vii. p. 27 et seq. ), relates a curious sceue be- 
 tween the poet and tbe architect of Tratolino, which 
 is not given in Serassi's life of Tasso. A few days 
 after the performance of a piece by Tasso at Flo- 
 rence (perhaps the Aminta) with scenery (pro- 
 spettive) and mechanism by Buontalenti,as the latter 
 was entering his house, he saw a well mounted 
 person, in travelling costume, and of imposing air, 
 alfght before his door ; having stopped n moment, 
 the stranger accosted him with — " Are you not that 
 Bernardo Buonlalenti, the author of the much- 
 vaunted wonderful inventions, especially the out- 
 oMhe-way (sivpende) machines contrived for 
 Tasso'slast comedy ? " Buontalenti having modestly 
 answered that it was himself, but that be did not 
 merit so great praise, the unknown, slightly smiling, 
 threw himself on his neck, kissed his forehead, and 
 exclaimed : "You are Bernardo Buontalenti, aud 
 I am Torquato Tasso; adieu, adieu, my friend, 
 adieu 1 " and without giving the thunderstruck ar- 
 chitect time to answer, he re ounted and galloped 
 off; nor was anything more seen of him, despite 
 
 A veder pien di tante ville i colli. 
 Per che" 1 terren vele germogli, come 
 Vermene germogliar suole, e rampolli. 
 
 Se dentro un mur, sotto un medesmo nome 
 Fosser raccolti i tuoi palazzi sparsi, 
 Non tl sarian da pareggiar due Rome. 3 
 
 CHAPTER II. 
 
 Fete of Saint Laureuce.— Florentines.— Fetes of Flo< 
 reuce. — Barberi. — improvisator!. 
 
 The morrow of the day I reached Flo- 
 rence on my first visit was Saint Lau- 
 rence, one of the national holydays of 
 the Florentines. Notwithstanding some 
 little occasional excesses, this calm or- 
 derly people appeared to me but little 
 like the obese Etrurian, the fat Tyrrhe- 
 nian (obesus Etruscus, pinguis Tyrrhe- 
 nus) of Catullus and Virgil, or those 
 drunken gluttons of musicians driven 
 from Rome for their intemperance, and 
 who only returned on the condition of 
 eating their fill in the sacrifices where 
 they played on the flute : 
 
 Inflavit quum pinguis ebur Tyrrbenus ad aras. 
 
 Nor was it less different from that republi- 
 can and furious people, who ate the 
 bleeding bodies of Guglielmo di Scesi and 
 his son, given up by the tyrant duke of 
 Athens. But if the people of Florence 
 have no longer tne seditious spirit and 
 hatred of the nobles, the inconstancy and 
 political vices so frequently the subject 
 of reproach from its successive poets 
 and historians/ it still retains the sterling 
 
 the most assiduous search made by order of tbe 
 grand duke, whom Buontalenti had informed of the 
 illustrious poet's appearance. 
 
 2 The expense amounted to 782,000 crowns. Wi- 
 lizia, Memorie degli Arcbitetti, t. 2. 
 
 i Rime, cap. xvi. 
 
 4 SeeDante. "Ilpopolodi Roma, ''rightly observes 
 Machlavel, " godera i supremi onori insieme coi no- 
 bi;i desiderava, quello di Firenze per essere solo nel 
 governo senza che i nobili ne participassero com- 
 batteva. E percbe il desiderio del popolo romano 
 era piu ragionevole, venivano ad essere le offese ai 
 nobili piu sopporlabili; talche quella nobilta facil- 
 mente e senza venire air armi cedeva... Ball' aliro 
 canto il desiderio del popolo florentino era ingiu- 
 roso ed ingiuslo; talche la nobilta con maggiori 
 forze alle sue difese si preparava, e percift al saugue 
 ed all' esilio si venivade'eittadini." (Istor. fiorent. 
 lib. in.) " La natura le Fiorentini," saysVarchi, "6 
 d' esser rare volte d' accordo tra di loro." (Stor. fior. 
 lib. xiv. ') Among other instances of their revolu- 
 tions, we may mention, that, being unable to 
 agree In the choice of a gonfalonier, they elected 
 
 27 
 
514 
 
 qualities of the olden times.' I have 
 frequently passed through Florence, and 
 once remained there six weeks, and all 
 that I saw has tended to confirm the good 
 opinion 1 had formed of it ; I fancied a 
 resemblance in more than one respect to 
 the moral people of Geneva, such were 
 the order, good sense, economy, taste, 
 and commercial intelligence. The fiery 
 austere Savonarola, the catholic refor- 
 mer of Florence, was a kind of Calvin. » 
 The Florentine nobility, like the higher 
 classes of Geneva, comprises some zea- 
 lous advocates of social improvement and 
 the diffusion of knowledge, 3 and to it may 
 be ascribed the flourishing condition of 
 the schools for mutual instruction and the 
 establishment of saving banks. 1 ' Some 
 other features of less importance seem 
 
 Jesus Christ, as tbe Athenians, when after abolish- 
 ing royalty, they declared Jupiter the only king of 
 Athens, or the Poles, who rrealed the Virgin queen 
 of Poland. See also the satires of Filelfo, and the 
 first scene of D. Garzia d'Alflerl on i leggeri abitator 
 di Flora. 
 
 1 The anonymous author of the Life of Leo X., 
 given In the appendix to the last volume of Boscoe's 
 work, thus eulogises the Florentines : Magis enim 
 pecuniae ac vi lev conimodis quarn inaniints livjus- 
 modi officii* student. Dante, praising the old 
 manners of his country, calls it : 
 
 Sobria e pudica 
 
 E vldl quel di Nerll e quel del vecehio 
 
 Esser contend alia pelle scoverta, 
 
 E le sue donnc al fuso ed al pennecchlo. 
 
 [Parad. can. xv. ) 
 
 Boccaccio, in his line letter on exile to Pino di 
 Kossi, stigmatises the economy of tbe Florentines us 
 abominable avarice: '' Vabbominevole avurizia 
 de' Fiorenllni" It seems that the Florentines have 
 always been parsimonious lo a certain extent. It 
 is said that the splendour and atlendance exacted by 
 the court of Signora Eiisa Bacciocchi from people so 
 accustomed to frugality made the French govern- 
 ment singularly galling to them. Tbe Austrian 
 economy must be more in conformity with Floren- 
 tine habits. 
 
 2 See book i. cb. ii.; and hereafter ch. xi. on 
 Savonarola. 
 
 3 The Florentine Observer inserts, from Manni's 
 Sigilli, the characteristic will of that rich mer- 
 chant of Florence who condemned to a thousand 
 gold florins any of his sons who, from the age of 
 sixteen to thirty-tive, should pass a year without 
 dealing or practising some trade, "per unum an- 
 " num vagabundus exstitet it, et si neque mercator, 
 " neque arlifex fuerit, neque aliquant a item licilam 
 " et honcstam leceiit realiier." T. iv. p. 180. 
 
 4 Dcspile some untoward circumstances, the 
 saving-bank of Florence exhibits a satisfactory re- 
 sult, according to the report read to the bank 
 committee, on the Stb of May, 18S0, by its president, 
 tbe murquls Cav. Cosmo ttidoiu, an enlightened 
 
 FLORENCE. [Book X. 
 
 to coutinue the analogy : the guttural 
 harshness of the Florentine accent re- 
 minds one of the slow drawling tone of 
 the Genevese, and the money of these 
 two cities, badly coined and light, con- 
 trasts disagreeably to the traveller with 
 their distinguished civilisation. 5 Both 
 of them attract and detain illustrious 
 strangers in their bosom ; their progress 
 is perceptible, and the population of 
 Florence, which was only 82,739 in 1818, 
 amounted to 97,648 in 183G. 
 
 This feast of Saint Laurence, inferior, 
 it is true, to that of Saint John the 
 Baptist, the chief festival of Florence, 
 was far removed from the joy and splen- 
 dour of the ancient feasts of the nobles 
 in the time of the republic, which made 
 the old historian, Goro Dati, say, that it 
 
 man, a learned experimental philosopher and che- 
 mist, the benevolent founder of a village school of 
 eighteen scholars on one of his estates. It is true 
 thai the Florentine spirit must be singularly In- 
 clined to adopt this kind of establishment, as it 
 hi longed to the ancient manners of the town. 
 The number of deposits was 7138 in 1834, and 7861 
 in 1833. 
 
 5 TbeZecca Vecchia (the old mint), on the bank 
 of the Arno, is now a silk-spinning mill. The cur- 
 rency of Florence has been highly esteemed at 
 various epochs. Villani, quoted by the Florentine 
 Observer (vol. T. p. 207 1, relates an anecdote of a 
 dey of Tunis, who, being struck witti the beauly 
 of the new florins of Florence, Inquired of certain 
 Tisan traders, then very mi nerous in his stale, 
 what those Christians and Florentines were who 
 had such florins : 'They are tbe Arabs of our 
 country," was the answer. The dey, harbaiian as 
 he was, did not want penetration, and replied : 
 " But this is no Arab coin ; let us see yours;" so 
 that they knew not what to say. ne then ordered 
 a Florentine trader lo be brought before him, and 
 demanded some account of these Florentines, who 
 were the Arabs of the Pisans, and he learned that 
 Pisa was not half so populous, rich, or powerful as 
 Florence, and that it had no gold coin. The value 
 of these florins seems to have changed, as maybe 
 seen by the bitter reproaches that Dante addressed 
 lo Ills tickle countrymen 
 
 Quante volte del tempo cbe rimembre, 
 
 Leggl, monete, officii e costume 
 
 Hal tu mulato, e rinnovalo membre ? 
 
 {Purgat. can. vi. 145.) 
 
 Tbe money bearing the effigy of Duke Alexander, 
 engraved by Benvenulo Cellini, has been likened 
 to the medals of tbe Augustau age. its redoulable 
 legend, Has nisi periturus mihi adimat nemo, was 
 subsequently used on Cromwell's coin. In the 
 seventeenth century, the piastre of Cosmo III. 
 must also have been very fine, if ne may Judge by 
 Its pleasing legend, so different from the preced- 
 ing : ipsa »t<» custos forma decoris erit. 
 
 
Chap. III.] 
 
 FLORENCE. 
 
 315 
 
 seemed as if the earth was a paradise : 
 che pare che quella terra sia il para- 
 diso % nor was it more like the strange 
 divertisements given by Pope Pius II. 
 in 14-59, with the tournament and grand 
 bail at which he assisted, and that arena 
 in which were seen the rare gigantic 
 girafe, and as many as ten lions, the de- 
 generate combatants of the Roman circus, 
 whose wrath it was impossible to arouse ; 
 it was not even a shadow of that pom- 
 pous and somewhat dull ceremony which 
 Montaigne witnessed under the grand 
 duke Francesco I. in 1580. The prin- 
 cipal pleasure of the fete was the Barberi 
 horse race, a sight that entertained me 
 as little as Montaigne, and which I found 
 not very worthy of the excitement it 
 caused. Though without riders, the 
 horses are not particularly fast, and it is 
 most probable that they would be outrun 
 at the races of Newmarket or our Champ 
 de Mars. 
 
 The Florentine improvisatori did not 
 shine much on this occasion; they seem 
 to have relinquished the barrel of former 
 days, the tripod which they used to 
 mount, and they only declaim now to 
 amateurs in drawing-rooms : some poor 
 devils only, a kind of mountebanks or 
 strolling singers, delivered responsively, 
 aud accompanied by a guitar, certain 
 moral common-places, such as to know 
 whether it was better to have an ugly or 
 pretty wife, etc., or some trivial stories 
 not easily understood by a foreigner. 
 The prince of contemporary improvisa- 
 tori, Sgricci, was living at Florence, a 
 pensioner of the grand duke. I had 
 admired him at Paris, like every body 
 else, as much at least as the breathless 
 rapidity of his utterance permitted me ; 
 I was surprised to find some heavy 
 charges brought against him at Florence ; 
 injustice was pushed to the extent of 
 contesting the reality of his extemporary 
 poems. It seems that it is with impro- 
 visatori as with the prophets, the ancient 
 sacred improvisatori, who were more 
 successful abroad than in their own 
 country. 1 Notwithstanding Sgricci's ta- 
 lents, extemporaneous composition must 
 have declined at Florence from its palmy 
 state in the sixteenth century, when there 
 existed in that city a literary society 
 
 ' Sgricci died at Florence in August, 1836. 
 2 See ante, book v. cb. xix. 
 5 There are nine escutcheons : the monogram 
 of Christ elected gonfalonier in 1527, is oddl? 
 
 charged by Leo X. to confer the title of 
 poet on the ablest improvisatori and to 
 crown them. Under Sixtus Y., Fra 
 Filippo, an Augustine monk, was as the 
 Homer of the improvisatori ; though 
 almost blind from bis infancy, he became 
 an illustrious theologian, philosopher, 
 orator, and poet. An ear-witness, the 
 erudite Matteo Bosso, the correspondent 
 of Bessarionandthe prudent, scrupulous 
 master of the great Isotta, 2 states that he 
 heard him extemporise in a marvellous 
 manner at Verona, where hewas preach- 
 ing the Lent sermons at the time. One 
 of the subjects that he treated in sing- 
 ing, and accompanying himself on the 
 guitar, was the panegyric of the three 
 illustrious Lombards, as they were then 
 called, Catullus, Cornelius Nepos. and 
 Pliny the younger. On another occa- 
 sion, he analysed, in a similar way, all 
 the natural history of Pliny the elder; 
 and it is asserted that he omitted nothing 
 of importance contained in the thirty- 
 six books extant. The decay of this art 
 appeared to me a matter of indifference ; 
 such feats, a kind of magnetism of the 
 brain, which seems rather a shock of the 
 senses and convulsion of the nerves than 
 an inspiration of the mind, have little to 
 do with the poetic honours of Italy. 
 
 CHAPTER III. 
 
 Palazzo Vecchio. — Democracy of Florence.— Council 
 chambers.— Imprisonment of Cosmo.— Hall of 
 audience. — Portraits. — Bandinelli's Hercules; 
 Michael Angelo's David. — Piazza. — Loggia de' 
 Lauzi.— Orgagna.— Statues. 
 
 Florence may be called the capital of 
 the middle ages, and its frowning, solid, 
 picturesque old palace, erected at the 
 close of the thirteenth century, in the 
 days of its prosperity, ornamented with 
 the escutcheons of its different governors 
 painted in fresco under the battlements, 3 
 and surmounted by its bold and lofty 
 belfry, is singularly characteristic. The 
 architect was Arnolfo di Lapo ; 4 the 
 Palazzo Vecchio was skilfully rebuilt 
 by Michelozzo, under the direction of 
 Cosmo de' Medici, and again renovated 
 within for the use of Cosmo II. by Va- 
 sari, in such wise, says the latter, that 
 
 placed between the implements of a wool-carder 
 and the arms of Napoleon. 
 4 See post, en. ix. 
 
316 
 
 FLORENCE, 
 
 [Book X. 
 
 if the original architects revisited the 
 world they wo:tld not recognise their 
 own work. An incident connected with 
 its first construction gives us an idea of 
 the passions and influence of the Flo- 
 rentine democracy at that time : when 
 the foundations were being laid, the 
 people -would not allow them to extend 
 over the ground deGled by the house of 
 the Uberti and other factious persons de- 
 molished by the populace, who had also 
 expelled the owners, detested as nobles 
 and Ghibelines, and the symmetry of 
 this palace of the seigniory, who had 
 ordered its erection, was sacrificed to 
 such a desire. 
 
 Immediately after crossing the thresh- 
 old ol this stern palace, one is struck 
 with an agreeable contrast frequently 
 met with in the interior of other Flo- 
 rentine palaces : the portico is formed of 
 columns of stuccowith a gold ground, the 
 ceilings are covered with arabesques of 
 Raphael's school, and a porphyry foun- 
 tain of the most elegant architecture rises 
 in the centre of the court. 
 
 The immense council-chamber, exe- 
 cuted by Cronaca, to whom it was ac- 
 corded through the interest of his friend 
 Savonarola, further reminds us of the 
 republican manners and habits of this 
 stale, and its mode of government : a 
 thousand citizeus deliberated there on 
 public affairs; they formed, as it were, a 
 permanent council of state, while the 
 first magistrate held office for two months 
 only. Such was the rapidity with which 
 I his spacious hall, then less lofty, was 
 constructed, that Savonarola said the 
 angels aided as masons. The arched 
 roof, and two great walls are now cover- 
 ed with easy and ordinary paintings by 
 Yasari, representing the war with Pisa 
 on one side, and that against Siena on 
 the other. At the four corners are the. 
 under-mentioned paintings, the first 
 and most, interesting of them is allied 
 with a fact singularly honourable to the 
 
 1 The list of powers or princes of whom these 
 Florentines were ministers, will probably appear 
 no less singular than the fact itself; they were, 
 France, England, the Uing of Bohemia, the em- 
 peror of Germany, the republic of llagusa, the 
 lord of Verona, the grand khan of Tartary, the 
 king of Naples, the king of Sicily, the republic of 
 lisa, the lord of Camerino, the grand-master of 
 Saint. 1o hn of Jerusalem. The Florentine Observer,': 
 .speaking of the Ciraldi palace, quotes a passage' 
 from Marmi's manuscript Diurio, at the Mavruc- 
 iclliana library, to the effect that several Florentine 
 
 spirit and civilisation of a people : it re- 
 presents the reception of the twelve am- 
 bassadors sent by the different powers to 
 Boniface VIII. for the celebrated jubilee 
 of 1300, all of whom were Florentines; 
 the pope was so struck with such a ren- 
 counter, and the fact of this assembly of 
 Florentines governing the universe, that 
 he said they were a filth element.' The 
 painting is by Ligozzi, an able imitator 
 of his countryman Paolo Veronese, as 
 also the Coronationof Cosmo by PiusV., 
 placed at the opposite extremity; the 
 two other paintings are the election of 
 Cosmo I., by Cigoli, and his taking the 
 mantle of the military order of Saint 
 Stephen, by Passignano. There are 
 several remarkable statues in this hall : 
 Cosmo, the father of his country; 
 Giovanni de' Medici; Cosmo I. ; a 
 group of Clement VII. crowning Char- 
 les V.; Leo X.; Duke Alessandro; and 
 above all, Adam and Eve, by Bandi- 
 nelli; the Victory, a noble and vigorous 
 unfinished statue, by Michael Angelo, 
 which was to make part of the mauso- 
 leum of Julius II., and a fine macble 
 group of Giovanni Bologna, Virtue sub- 
 duing Vice. 
 
 I was curious to visit the site of the 
 tower called Barberia, and not Alber- 
 ghettino, as the historians have followed 
 each other in asserting, where the fiery 
 and eloquent Rinaldo degli Albizzi, who 
 had acquired the mastery in the elec- 
 tions of Florence, imprisoned Cosmo, 
 the father of his country, under the guard 
 of Federico Malavolti, the most honour- 
 able and delicate of all jailers mentioned 
 in history, as his prisoner affectionately 
 embraced him as an acknowledgment of 
 kind treatment. 2 !t was in this narrow 
 space, says Machiavel, that be heard the 
 assembled people, the clashing of arms in 
 the square, and the bell that convoked 
 the balia, a kind of commonalty of Flo- 
 rence, enough to make him tremble 
 for his life. Cosmo's confinement was 
 
 families settled in Ethiopia ; the Ciraldi family is 
 probably still in existence there. T. i. p. 218. 
 Another Florentine, far otherwise illustrious than 
 these ambassadors, was at Home at the jubilee of 
 (300- it was Dante, who was so enraptured with 
 Hie sight of the jubilee, that he made it the epoch 
 of his vision. 
 
 '' See, in Machiavel, the simple and touching lan- 
 guage in w hich bs addressed Cosmo, on perceiving 
 that, through fear of poison, he bad talieu i 
 for four days. Ijior. Fior. lib. it. 
 
Chap. Ul.l 
 
 FLORENCE. 
 
 si 7 
 
 commuted into a banishment advan- 
 tageous to his fortune, during which, 
 utterly devoid of the rancour common 
 to political exiles, he never ceased to 
 serve his country by sending secret in- 
 formation. 1 Barberia, when shown to 
 me, had greatly fallen from its political 
 destiny : one part was used as a wood- 
 tarn ; the other was a cabinet set apart for 
 the use of the officers of the grand duke's 
 wardrobe. The several apartments of 
 the old palace, each bearing the name 
 of a Medici, are painted in fresco by 
 Vasari and his school, and reckoned 
 among his good works. The following 
 may be distinguished : Cosmo, the father 
 of his country, departing into exile ; 
 his Return to Florence, in the midst 
 of the people, women, and children, 
 carrying olive branches and strewing the 
 streets with flowers; also the chamber 
 of Clement VII., where that pope is 
 represented on the ceiling in the act of 
 crowning Charles V. 
 
 The door of the hall f Audience, 
 adorned with figures, ornaments, and 
 excellent mosaics in wood, by Benedetto 
 da Maiana, is magniScent ; instead of 
 arms, escutcheons, and other usual signs 
 Of vanity, thefirst magistrates of Florence 
 had the portraits of Petrarch and Dante 
 painted on the folding doors, a just ho- 
 mage rendered to the first writers of the 
 Italian tongue, a suitable embellishment 
 for the place where these magistrates 
 received the Florentine people. The 
 paintings of Francesco Salviati, in this 
 hall, representing the Battles and 
 triumph ofCamillus, pass for the finest 
 work of this too highly extolled Floren- 
 tine, which his native town contains ; 
 and it is particularly noted for the anti- 
 quarian learning displayed in drawing 
 the arms, costumes, and everything ap- 
 pertaining to the usages of ancientRome. 
 
 On the ceiling of one of the four rooms 
 composing the apartment of the grand 
 duchess Eleonora, wife of Cosmo I., John 
 Stradan, a painter of Bruges, established 
 at Florence and employed by Vasari, has 
 well represented in oil the virtuous and 
 almost unknown action of the fair Gual- 
 
 ' In the Delizie degli erudili loscani of Dr. Lami, 
 there is an account of Cosmo's exile and return, 
 composed by himself, and regarded by Giordani 
 (vol. x. of his works) as a model of purity and ele- 
 gance of style. An iuedlted narrative of the same 
 events, copied from Giovanni Cavalcantl's manu- 
 script history of Florence, has been published by 
 
 drada. The emperor Otho IV., having 
 come to Florence for the festival of Saint 
 John, was struck with the exceeding 
 beauty of the daughter of Messer Bel- 
 lincione Berti de' Ravignani, seated in 
 the circle of ladies, and asked to whom 
 she belonged; Messer Bellincione, who 
 stood near the emperor, having answered 
 before the courtiers that she was the 
 daughter of a man who would permit the 
 emperor to kiss her, the young Florentine 
 rose and indignantly replied : " Father, 
 be less liberal in your promises respect- 
 ing me, for I will never be kissed but by 
 my lawful lord." Otho, charmed with 
 this virtuous answer, immediately called 
 one ofhisbarons,GuidoNovel!oby name, 
 made him a count, endowed him with 
 Casentino and a part of Romagna, and 
 presented him as a husband to the 
 daughter of the unscrupulous Messer 
 Bellincione. They began the line of the 
 counts Guidi, one of whose descendants 
 (their own valiant nephew Guido Guerra) 
 Dante has placed in hell for the crime 
 of sodomy : 
 
 Nepote fu della buona Gualdrada. 1 
 
 In the hall of the Elements, on the 
 second floor, there is a singular and cha- 
 racteristic painting. Envy is there de- 
 picted swallowing a viper and scornfully 
 throwing balls (palle), the Medici arms, 
 on the ground, which rebound, as a 
 decisive proof that they are not pills, as 
 pretended by the enemies of the trading 
 sovereignty of the Medici, who, from 
 their name, classed them with the medi- 
 cal profession. The inscription Percussa 
 resiliunt, ascribed to Leo X., who is 
 also said to have imagined and ordered 
 the picture, is an ingenious allusion to 
 the unstable fortunes of his family. 
 
 Another apartment, a kind of store- 
 room, presented an assemblage of portraits 
 in whimsical contrast : many were of the 
 Medici family ; one of Louis XIV. ; one 
 of Bonaparte, which he, had left in the 
 isle of Elba, and another of the king of 
 Elruria. This singular chance-collected 
 museum exhibited sovereignty und the 
 
 the laborious canon Moreni. (Florence, 1321, in 
 8vo.) This historian details tbe same facts as 
 Cosmo, whose partisan he continued, although he 
 does justice to liinaldo degli Albizzi ; Machiavel's 
 relation accords with both, and, according to the 
 editor, he followed Giovanni Cavalcanti. 
 3 Inf. can. xvi. 37. 
 
 27. 
 
318 
 
 FLORENCE. 
 
 [Boor X. 
 
 most diversified forms : learned under 
 the Medici, grand under Louis XIV., 
 conquering under Napoleon, vain under 
 the grandson of Charles IV. 
 
 At the entrance of the old palace are 
 the two celebrated colossal statues : Her- 
 cules slaying Cacus, by Baccio Bandi- 
 nelli, and Michael Angelo's David. 
 The Hercules, the most important of 
 Bandinelli's numerous works, has some- 
 thing of the disdainful haughtiness of that 
 artist, the bitter and envious depredator 
 of Michael Angelo and the enemy of 
 Benvenuto Cellini.' Despite the ordi- 
 nary exaggeration of Bandinelli's talent, 
 this group is grand : the joining of the 
 neck and body in the figure of Cacus is 
 regarded as admirable ; and Michael 
 Angelo even, to whom a mould of it had 
 been sent to Borne, agreed that it was 
 very One, but that it was necessary to 
 await the rest. This Hercules was 
 placed beside the David by order of the 
 vile and scandalous Alessandro de' Me- 
 dici, duke of Florence, in a transport of 
 rage at the departure of Michael Angelo. 
 But the enslaved Florentines jeered at 
 the statue as a means of avenging them- 
 selves on the patron. Among the many 
 jests at the Hercules, may be distin- 
 guished the comparison of the body to a 
 sack of pine-apples: and this triplet put 
 into the mouth of Cacus : 
 
 Ereole, non mi dar, die luni ritelii 
 Tl renderd con tutto il tuo bestiame, 
 Ma il bue 1 ha avuto Baccio Baudinclli. 
 
 The David, which the chisel of Mi- 
 chael Angelo drew out of the enormous 
 block of Carrara marble, where it had 
 lain hid nearly a century, a is the first 
 specimen of his style, so terribly grand, 
 but is not among those works due to the 
 
 1 Benvenuto Cellini, In his memoirs, omits no 
 opportunity of abusing Bandinelli. The scene be- 
 tween them In ibe presence of the grand duke is 
 more violent than any literary dispute. One day 
 Benvenuto, in threatening his rival, invited bim to 
 make ready for another world, as he meant lodes- 
 patch him from this, "frovvediii, Bacclo, d' un 
 f.llro mondo, che dl qneslo li voglio cavare, io:" 
 Bandinelli answers: '• Fa che io Io sappia un dl in- 
 nanzi, si eh' lo mi confessi e faccialestamenlo, enon 
 muuja come una beslia come tu sei." ( Vasari's 
 Lire of Cellini.) Benvenuto is more just towards 
 Bandinelli in his Traltalo sopra la scuttura, as he 
 calls him eeccllentissimo arlefice, worthy of a place 
 beside Donatella and Michael Angelo. 
 
 A Siroone of Fiesola had attempted to give this 
 block of marble the form of a giant, but fulled. 
 
 favour and influence of the Medici, they 
 being in exile when it was done. Michael 
 Angelo's patriotism induced him to 
 leave the brilliant and lucrative works 
 of the Vatican to undertake it. It is 
 easily conceived that in such a position, 
 and with the consciousness of his own 
 superiority, the superb young artist be- 
 haved with so little ceremony to the se- 
 nator Pietro Soderini, then gonfalonier, 
 who had found the nose too large : he 
 feigned to retouch it, and with the other 
 hand threw into the eyes of the first ma- 
 gistrate of the republic a cloud of marble 
 dust enough to blind him. 3 The impe- 
 tuosity with which Michael Angelo ex- 
 ecuted his statues, even in his old age, 
 has been often remarked ; he lopped off 
 enormous quarters of marble with his 
 chisel ; one might have said that, having 
 discovered the figure he had imagined, 
 he fiercely struggled against the block 
 which resisted his efforts. Vasari and 
 a crowd of writers after him have greatly 
 exalted the beauties of the David, so far 
 as to place it above every ancient or 
 modern colossus. These eulogies seem 
 now greatly exaggerated ; it would per- 
 haps be more correct to consider this 
 statue as a study of the author's youth, 
 a sublime attempt, a bold developement 
 of the naked form and anatomical 
 science. 
 
 The Piazza of the Grand Duke, before 
 the old palace, has not the great extent 
 of some squares in great capitals, re- 
 sembling fields or plains, with pavement, 
 posts, and carriages ; but it is rich in 
 wonders of art, and one requires some 
 resolution to traverse it without stopping. 
 Beside the nereides and the David is 
 the superb fountain of Ammanato, one 
 of the grandest compositions of modern 
 
 Some blemishes In the present statue, especially on 
 one of the shoulders, and the want of ensemble in 
 the limbs, 6eem lo have been produced by the 
 strokes of Simoue's aw kward chisel. 
 
 3 This gonfalonier, the only permanent one the 
 Florentine republic ever had ( for this kind of pre- 
 sident was elected every two months |, seems to 
 have been strangely exposed to the r.illlery of ge- 
 nius. Maehiavel, who had been secretary of tun 
 republic under Soderini s administration, wrote 
 the following impromptu verses on his death : 
 
 La nolto che mori Pier Soderini, 
 
 1.' alma n' amio deli' inferno alia bocra. 
 
 L' I'luto la gi i lo : Anlnia siiocca, 
 
 Che inferno? va nel limbo de* bambini. 
 
Chap. III.] 
 
 FLORENCE. 
 
 519 
 
 sculpture, and the artist's best. The 
 lightness of this colossal Neptune, drawn 
 by four marine horses, is extreme. The 
 equilibrium and movement of the arms 
 has been justly criticised; the Tritons 
 and other little sea deities in bronze are 
 exquisitely wrought. Benvenuto Cellini, 
 Banti.GiovanniBoIogna competed for this 
 fountain, and the opinion of Florence 
 bad preferred their plans to Ammanato's, 
 which the imperious favour of Cosmo 1. 
 ordered to be executed. The statue of 
 Cosmo I. by Giovanni Bologna, the best 
 of the four equestrian statues that a rare 
 combination of circumstances enabled 
 him to execute, is a noble and harmo- 
 nious monument. The basso-relievos 
 on the pedestal are excellent; one of the 
 minor figures is a portrait of the dwarf 
 at the court of Tuscany. 
 
 The Loggia de' Lanzi d'Orgagna (for 
 thus he wrote his name, and not Orca- 
 gna, as he is commonly called), a prime 
 monument for the history of the art, is. 
 the chief ornament of the Piazza of the' 
 Grand Duke, and may safely be called 
 the finest portico in the world. The 
 elegance and solidity of the construction, 
 With the grandeur and good taste of the 
 arcades, arc much admired. Although 
 the Corinthian pilasters evince the bar- 
 barism of the time, such is the merit of 
 the sculpture and cornices that they seem 
 in perfect keeping. Cosmo I., afterwards 
 wishing to complete the embellishment 
 of the piazza, applied to Michael Angelo 
 for a plan, and his answer was, that 
 nothing better could be done than con- 
 tinuing Orgagna's work. Architect, 
 sculptor, painter, poet, this great and 
 prolific Tuscan artist of the fourteenth 
 century seems himself a premature Mi- 
 chael Angelo. Orgagna seems to have 
 prided himself on the variety of his ta- 
 lents, and to have been anxious that 
 posterity should not forget them. For 
 this cause he never omitted inscribing 
 on his paintings Orgagna sculptor, and 
 on his sculptures Orgagna picXor. The 
 demi-relievo figures of the Virtues in 
 marble are not by Orgagna, as stated by 
 Vasari; they were executed about 1368 
 by Jacopo di Pietio, and there are only 
 six instead of seven. From the arcades 
 of the Loggia, the ancient rostra of Flo- 
 rence, the people, convoked by the old 
 palace bell, were harangued; there the 
 installation of the gonfalonier took place; 
 the generals received the baton of com- 
 
 mand, and citizens the knightly insignia ; 
 thence, too, the decrees of the govern- 
 ment were promulgated : these noble 
 arcades took the name they still retain 
 when they were only the quarters of the 
 lancers of Cosmo's guard. This Loggia 
 is ornamented with superb statues. 
 
 The Judith, byDonatello, despite the 
 illustrious statuary's merit, is deficient 
 in simplicity, nobleness, and ease : one 
 would call it a novice sword in hand. 
 Political events have contributed to the 
 reputation of this statue. Formerly it 
 was in the palace of Pietro de' Medici 
 among the masterpieces of art and the 
 literary treasures collected by his fa- 
 mily, and was taken therefrom on the 
 flight of that cowardly stupid tyrant, 
 when his palace was sacked, a few days 
 before the entry of our king Charles VIII. ; 
 erected in the Loggia of the Seigniory 
 palace, it became an allegory and a 
 public monument of the deliverance of 
 Florence, and the following impressive 
 words were then inscribed and are still 
 visible : Exemplum salut. publ. cives 
 posuere MCCCCXCV; a popular menace 
 which never disturbed the paternal go- 
 vernmentof thegrand dukes of Tuscany. 
 
 The Perseus, a masterpiece of Benve- 
 nuto Cellini, though somewhat elaborate, 
 is a fine statue. When we recollect the 
 circumstances attending its casting, the 
 spirit with which the artist, exhausted 
 with fatigue, parched up with fever, 
 leaped from his bed to continue and 
 hasten the melting of the bronze, into 
 which he threw all the pewter vessels of 
 his household, his devout and fervent 
 prayer, his sudden cure, and his joyous 
 repast with all his men, this statue be- 
 comes a sort of action reflecting the 
 manners of the time, and the character 
 of the extraordinary man that executed 
 it. On the pedestal are four excellent 
 small figures in bronze. Below one of 
 these four little chefs-d'oeuvre, the statue 
 of Jupiter standing erect ready to launch 
 his thunderbolts, are inscribed these 
 words, Te, flli, si quis Iceserit, ultor 
 ero, an inscription which seems as suit- 
 able to the violent artist as to the god. 
 Cellini, like a true artist, felt that mo- 
 numents were made especially for the 
 people, when he secretly fixed those fi- 
 gures in their places, notwithstanding 
 the immoderate desire of the duchess 
 (voglia tanto smisurata) to keep them 
 in her apartment, and by so doing re- 
 
noo 
 
 FLORENCE. 
 
 [Book X. 
 
 vived ihe former enmity of that princess. 
 
 The bolil group of the Rape of a Sa- 
 line, by Giovanni Bologna, is in reality 
 little more than an ale-house scene — a 
 husband knocked down, and. a soldier 
 running away with his wife. Such how- 
 ever is the power of the beautiful, ever 
 [lure, grave, serious, be. the subject what 
 it may, that these great stark-uaked fi- 
 gures are neither indecent nor ludi- 
 crous. The appearance of this group 
 was hailed with rapturous acclamations 
 throughout Italy, though not universally 
 so, if we refer the question to the cu- 
 rious gentleman, who, having travelled 
 on horseback from Rome to Florence 
 for the purpose of seeing it, approached 
 the Loggia, and, without dismounting, 
 turned his horse to go back, exclaiming: 
 "Is that the thing they make so much 
 noise about?" Questa dunque la cosa 
 di cui si fa tanto chiassol It is pro- 
 bable lhat this connoisseur could not 
 see, from his horse, the superb bronze 
 basso-relievo on the pedestal, the Rape 
 of a Sabine. 
 
 The lion of the Loggia, by Flaminius 
 Vacca, a sculptor of the sixteenth cen- 
 tury and a studious imitator of the an- 
 cients, seems worthy of the Greek chisel ; 
 it was the finest production of modern 
 Italy until Canova's celebrated lions. 
 The lion with the lily composes the arms 
 of Florence, and is not less ancient : ■ at 
 the left angle of the old palace and on 
 the steps of its front, there still stands a 
 little old statue of a lion in stone, called 
 Marzocco, a popular nickname for 
 thick-headed persons. 
 
 Among the six antique colossal statues 
 of women inside the Loggia, represent- 
 ing the priestesses of Romulus, there is 
 one with her hand raised to her face, 
 which has an admirable expression of 
 sadness and melancholy. 
 
 Two of the first monuments of the 
 Piazza of the Grand Duke, the group of 
 the Sabine and Cosmo's statue, are the 
 works ot a Flemish sculptor, the cle- 
 verest of Michael Angelo's pupils. The 
 Uguccioni palace, built on a superb de- 
 sign by an unknown author, falsely at- 
 tributed to Michael Angelo, appears de- 
 cidedly by Raphael; for it is altogether 
 in the style of other palaces at Rome 
 recognised as his works. lorence, dis- 
 tinguished by so many famous artists, 
 
 1 See post, cb. ii. 
 
 has seen foreign masters from distant 
 countries come and devote their talents 
 to its service, and, in a manner, natura- 
 lise themselves there, as if it were the 
 metropolis of glory and genius. 
 
 CHAPTER IV. 
 
 Uflizj. — Gallery. Wild-boar.— Michael Angelo's 
 Bacchus. — Copy of ttie Laocoon. — Giovanni Bo- 
 logna's Mercury. — Finiguerra. — Horse's head. — 
 Chimera. — .\iobe. — Alexander dying. — Michael 
 Ance'.o's Brutus ;— his Satyr. — Portraits of paint- 
 ers.- Casket of Clement Vll.—Tribuna.— Venus 
 —Statues.— Pointings. — Florentine school.— Me- 
 dals.— Cameos. 
 
 The Ufflzj, now the picture gallery, 
 though at first intended for the magis- 
 trates of Florence, who still occupy a 
 part of the ground-floor, is an edifice 
 of good architecture which does honour 
 to the talents of its builders, Vasari and 
 Buontalenti. The three corridors and 
 the twenty chambers of the gallery have 
 not the imposing coup d'oeil of our 
 gallery at the Louvre. Placing statues, 
 busts, and basso-relievos between the 
 windows, does not seem a very happy 
 arrangement, as one half is in a wrong 
 light; the small locked-up rooms are 
 more like cabinets of curiosities than the 
 halls ofan imperial museum. The paint- 
 ings of the three corridors are the least 
 remarkable, though several are by great 
 masters. The following may be dis- 
 tinguished : the Adoration of the Magi, 
 by Domenico Ghirlandajo; the infant 
 Jesus standing; St. Josepli and an 
 Angel, by Luca Signorelli ; a St. Lau- 
 rence, a Magdalen, by Cigoli ; an Eternal 
 Father, having just created Adam, by 
 Empoli, an excellent Florentine painter 
 of the sixteenth century, who died in 
 the hospital; a Bust of a man in black, 
 of the Venetian school ; a Deluge, by 
 Francesco Bassano : the Body of Christ 
 attended by the Marys, lighted by a 
 torch, by his father .lacopo; Noah intro- 
 ducing the animals into the ark, by Ja- 
 copo and Francesco; a Bust of a man 
 with his hand on a skull, by Titian. 
 Among the statues are : the famous an- 
 tique Wild-boar, in the second vesti- 
 bule, admirable for its truth and stjle ; 
 the Two Dogs, barking, that seem to 
 guard the museum ; the most complete 
 collection of emperors' busts; a volup- 
 tuous Leda; the graceful group of Cupid 
 and Psyche; the fine G any medes with 
 
Chap. IV.] 
 
 FLORENCE. 
 
 321 
 
 the eagle; a Venus half naked ; a superb 
 trunk of a Faun; Michael Angelo's 
 Bacchus intoxicated, which approaches 
 nearer to Greek perfection than any other 
 of his works; the St. John the Baptist 
 exhausted by fasting, one of Donatello's 
 fine works ; the celebrated copy of the 
 Laocoon, by Bandinelli, affected and for- 
 mal, which the artist presumptuously 
 vaunted as better than the original, a 
 boast which drew upon him Michael 
 Angelo's sarcastic reply, so applicable to 
 al! kinds of imitators and translators : 
 "That he who follows in another's steps 
 cannot very well get before him," (che 
 chi andava dietro ad alcuno mat pas- 
 sare innanzi non gli poteva) as well 
 as Titian's caricature, executed in wood 
 by Nicolao Boldrini, which exhibited a 
 large monkey and two smaller ones em- 
 braced in the coils of two serpents like the 
 group. Pope Clement VII. however was 
 so well pleased with Bandinelli's copy, 
 that he kept it himself, instead of send- 
 ing it to Francis I. as he had intended. 
 
 The cabinet of modern bronzes is of 
 peculiar beauty. Giovanni Bologna's 
 wonderful Mercury seems in reality de- 
 tached from the earth and launched into 
 the air by Boreas ; but its shape has too 
 much of the faun and not enough of the 
 god. The bust of Cosmo I., by Benve- 
 nuto Cellini, which he speaks of in his 
 life, is one of his best works. The helmet 
 and shield attributed to Francis I. may 
 have belonged to him, as the salamander 
 is over the helmet, and they both closely 
 resemble his well-authenticated armour 
 preserved in the cabinet of medals 
 at our great library. The shrine pre- 
 sented to the church of the Angels at 
 Florence, by Cosmo and Lorenzo de' 
 Medici, to receive the relics of Saints 
 Protus, Hyacinth, and Nemesius, a chef- 
 d'eeuvre of Ghiberti, was barbarously 
 broken up and sold by the pound for old 
 bronze ; the fragments have been nearly 
 all collected : the two little angels are 
 full of grace. The Sacrifice of Abraham, 
 by the same, is of interest for the history 
 of art ; it was presented by him when a 
 competitor for the execution of the bap- 
 tistry doors, which was accorded to him. 
 Over it is the specimen of Brunelleschi, 
 his generous rival.' 
 
 The cabinet of bronzes of antiquity and 
 the middle ages is reckoned the richest 
 
 1 See post, fli. is. 
 
 after that of Naples. A statue of Se- 
 rapis is admirable. A Roman eagle, 
 which belonged to the XXIVth legion, 
 the heroic witness of ancient bravery, 
 has now a glazed cabinet for its eyrie. 
 A helmet found at Cannae has an in- 
 scription in the unknown characters of 
 some primitive people of Italy, allies of 
 the Carthaginians. A manuscript on 
 tablets of black wax, like one of the same 
 kind in the Geneva library, contains the 
 disbursements ofKingPhilip-the-Fair du- 
 ring a journey, extending from the 28th 
 of April to the 29th of October, 1301. 
 According to some conjectures it is by 
 JoinYille's nephew. This manuscript is 
 explained by Cocchi, in his critical letter 
 to Pompeio Neri, of January 24, 174.6 : 
 the abbe Lebeuf, in an essay on black 
 wax manuscripts, esteems the one at 
 Geneva as much the most instructive, 
 and he even thinks that nothing can 
 be made of the others. 3 The famous 
 Crowning of the Virgin, the ancient 
 Pa-rofthe baptistry, by Masofiniguerra, 
 the finest of the six nielli in the cabinet, 
 is a monument for the history of the arts 
 that throws a lustre on Italy, and proves 
 that we are indebted to it for the first 
 engraving on hollow metal plates, in- 
 vented in 1452, by the clever goldsmith 
 of Florence, after these first essays. An 
 antique horse's bead, being part of a 
 bronze horse, is life itself. The noble 
 and true statue of Metellus, called the 
 Orator, is deemed one of the best 
 Etruscan statues known. The grand 
 Chimera, which its Etruscan inscription 
 associates with the art of that nation, so 
 expert in the working of bronze, is a 
 model of the beautiful, simple and severe, 
 the character of the Tuscan style. It is 
 exceedingly well preserved, and the tail 
 only is modern. Among the smaller 
 figures, a group, celebrated for its exe- 
 cution and the learned interpretations to 
 which it has given rise, has been justly 
 designed under the name of tne Birth 
 of Venus; the goddess, very small, is in 
 the arms of Love, a grave and powerful 
 genius unlike the wayward Cupid. The 
 fine Bacchus, called the Idol, likewise 
 Etruscan, placed on a modern base, one 
 of the most elegant works of the fifteenth 
 century, the masterpiece of Desiderioda 
 Settignano, a young man of the greatest 
 promise, who died at the age of twenty- 
 
 1 Mfim. de I'Acart, des !n=c, !. sx. 
 
522 
 
 FLORENCE. 
 
 [Book X. 
 
 eight, the pupil and happy imitator of 
 Donatello. 
 
 The earthen vases, if neither so grace- 
 ful in design nor so brilliantly varnished 
 as those of Nola, are of interest for the 
 history of the art : those of Chiusi, the 
 collection of which is equally rich and 
 unique, and comprises two of extraor- 
 dinary size, are entirely black, and or- 
 namented with basso-relievos chiefly of 
 subjects taken from the religious tradi- 
 tions of the country : those of A rezzo, of 
 very fine red earth, are more similar to 
 the Roman vases found in the south of 
 France. 
 
 In the middle of the room containing 
 the earthen vases, is an affecting melan- 
 choly statue of the genius of Death, 
 which has been ludicrously restored as 
 a Cupid and armed with his bow. The 
 < arthenware of Urbino, Cagli and Castel- 
 Durante, the seat of the dukes of Ro- 
 vera, was coloured after the designs of 
 Raphael, the Carracci, and other mas- 
 ters. That age seems to have had less 
 of the mechanic and more of the artist ; 
 there was less comfort and more gran- 
 deur; manufactures were less in quan- 
 tity, but of belter execution. 
 
 One would say that Dante had visited 
 the hall of Niobe, created in the last cen- 
 tury, when he exclaims at the sight of 
 the finely sculptured figures that he 
 found on the road to Purgatory : 
 
 o Nlobe, con die oechi dolenli 
 VedeV io le segnala In su la strada 
 Tra selte e selte luoi figliuoli spentl! ' 
 
 The ancients disserted much less on 
 the passions than we do, but there is pro- 
 found and manifold truth in their manner 
 of expressing them ; the pain of INiobe is 
 not the same as in the Laocoon ; the 
 horror-struck mother covers her daugh- 
 ter, regardless of the shafts that menace 
 her; the priest of Apollo strugg-les to 
 free himself as well as his sons; his 
 racking pain has something of menace; 
 
 ' Purgat. mi, 37. 
 
 » " r-lutarch remarks," says Bernardin de Saint- 
 Plerrelt. in. note 12 of his Eludes de la Nature}, that 
 Alexander abandoned himself " to the debauchery 
 that disgraced the conclusion of his august career, 
 tor no other reason than that lie thought himself 
 forsaken by the gods.... I should not be surprised 
 at Ibis situation having inspired some Greek ar- 
 tist.'' Afler quoting Addison's remarks on this 
 bust, and two others of the same air and altitude, 
 
 Niobe's is tender, artless, and, despite 
 her anguish, always noble and ideal. 
 After Niobe, the Dying Child is perhaps 
 the most remarkable statue of this great, 
 pathetic scene. The different altitudes 
 of the statues seem singularly to favour 
 the ingenious conjecture of the learned 
 English architect, Mr. Cockerell, who 
 imagined that they had adorned the pe- 
 diment of a temple of Apollo. 
 
 Thecolossal'head called Alexander dy- 
 ing, inspired Alfieri with this fine sonnet: 
 
 Quel gia si fero finmmeggianle sguardo 
 Del Macedone invilto emul dl Marie, 
 Pregno il veggio di morte; e vana ognt arte, 
 Ognl rimedlo al crudel morbo 6 lardo. 
 
 Or, so" tu quel, die V Indo. il Perso, il Mardo, 
 E genti e genii hai domo, estlnte, o sparte? 
 Quei, die eredesti a onor dlvini alzartc 
 Pianlaudo a Grecia in cor I' ultimo dardo? 
 
 Tu sei quel desso; e la natia grandezza 
 Morcndo serhi, qual Chi in tomba ;eco 
 Porta di eterna gloria alta certezza. 
 
 Gloria? Oh qual sei di regia insonia cleco ? 
 Gloria a Persian tiranuo, ove all' altezza 
 Mala eta pur di cittadino Greco ? 
 
 Notwithstanding my little taste and 
 ability for archeological discussions, I 
 should rather incline with two painters 
 of true genius, Plutarch and Rernardin 
 de Saint-Pierre, to see in this affecting, 
 but not very superior bust, Alexander 
 abandoned by the gods.» A colossal bust 
 of Jupiter is full of benignity and majesty. 
 
 The great painting of Henry I V. at 
 the battle of Ivry, by Rubens, is only a 
 rough draught, but it has all ll e fire that 
 the subject and its hero could impart. 
 In the hall of Baroccio, the soldiers of a 
 Christ apprehended, by Sodoma, a great 
 and unequal painter of Siena, brought 
 by his whims and vices to the hospital, 
 are full of expression; the figure of the 
 Saviour has little of the divinity. A 
 Man with a monkey on his shoulder, 
 a painting full of gaiety and truth ; a 
 Monk in white, one of the finest pictures 
 in the room, are by Annibale Carraccio. 
 The Duke of Nemours -and Lorenzo 
 
 which Addison supposed to represent the conqueror 
 • weeping for other worlds, or some similar circum- 
 stances of bis history, Bernardin de Saint-Pierre 
 opines that these busts must relate to that circum- 
 stance of Alexander's history, in which he bemoans 
 Ins rale as forsaken by the gods. " 1 have no doubt," 
 he adds, " that this incident would have determined 
 the eicdlenl judgment of Addison, if he bad called 
 to mind Plutarch's observation." 
 
Chap. IV.] 
 
 FLORENCE. 
 
 de' Medici, a copy from Raphael, passes 
 for one of the best works of the second 
 Bronzino. The Woman dressed in blue 
 is by Andrea del Sarto. A Virgin of 
 remarkable effect in the clare-obscure, 
 by Luca Cambiaso, a Genoese painter of 
 the sixteenth century; a portrait of a 
 man, another almost profile, another of 
 a woman, by Holbein, are perfect. An 
 Old man, half bust, is by Giovanni Bel- 
 lini. A St. Mary Magdalen, the em- 
 press Galla Placidia changing an idol 
 for a crucifix on a pedestal (the em- 
 press is the portrait of the emperor 
 Leopold's second wife), are carefully 
 finished works by Carlo Bolci, a painter 
 who, in the present day, is more esteemed 
 by amateurs and ladies than by artists. 
 A Virgin, full of charms, sweetness, and 
 truth, is bySassoferrato. A portrait of 
 a princess, having some resemblance to 
 Mary Stuart, by Vandyck; Rubens' 
 second wife; his Bacchanal, are superb. 
 A Woman's head is by Baroccio; a 
 Young man holding a letter, hard, but 
 true, by Francia ; an excellent painting 
 of the sculptor Francavilla, by Probus; 
 a Philip IV. on horseback, larger than 
 life, by Velasquez. In the middle of this 
 room called Baroccio is a celebrated oc- 
 tagonal table of hard stones, the largest 
 in existence, at which twenty-two artists 
 worked without interruption; it was 
 begun in 1023 on Ligozzi's design, and 
 not finished till 1649 : Poccetti drew the 
 design of the little medallion in the 
 centre. In the cabinets of this same 
 room is a collection of drawings, the 
 richest in Europe ; they are twenty- 
 seven thousand in number, and as far 
 back as Giotto; there are more than two 
 hundred by Michael Angelo, a hundred 
 and fifty by Raphael, and some by most 
 of the first Italian masters. 
 
 The bust of Brutus, rough-hewn by 
 Michael Angelo, well portrays the mur- 
 derer of Caesar, the Roman so eloquently 
 painted by the poet : 
 
 Vivat, et ut Bruti procunibat viciima, regnet.' 
 
 Below is this dull distich : 
 
 Dam Bruti efGgiem sculptor de marmoie ducit, 
 In mentem sceleiis venii, et abstinuit. 
 
 An Englishman, the earl of Sandwich, 
 
 ' Pharsal. vn. 597, 
 
 provoked at reading this, replied im- 
 promptu : 
 
 Brutum cffecissel sculptor, sed mente recursat 
 Tanta viri virtus ; sistit et abstinuit. 
 
 I do not believe that the genius of Mi- 
 chael Angelo experienced these terrors : 
 it is more likely that the natural in- 
 constancy which made him begin and 
 abandon so many works, left Brutus un- 
 finished. This bust is one of the few 
 that Michael Angelo has executed; he 
 has scarcely executed more portraits, 
 which is surprising and to he regretted, 
 when we remember the princes that 
 sought his acquaintance, and the illus- 
 trious men he counted among his friends. 
 A Corsican statuary, Ceracchi, pupil of 
 Canova, wished to continue the bust 
 Michael Angelo had begun ; an ardent 
 and taciturn friend of liberty, he perished 
 on the scaffold for a conspiracy against 
 Bonaparte, when first consul, whose do- 
 mination he foresaw ; his talents might 
 have led him to glory, and he was more 
 worthy of finishing the Brutus than of at- 
 tempting the destruction of the new 
 Caesar, his fellow-countryman. The 
 head of the Satyr that Michael Angelo 
 executed at the age of fourteen in the 
 gardens of Lorenzo il Magnifico, out of 
 a piece of marble given him by the work- 
 men v ntroduced him to that great man, 
 who^ enchanted with such a rencounter 
 and the precocity of the infant sculptor, 
 would have him at his table, in his 
 house, and gave him a pension. He 
 found fault with the Satyr for having all 
 his teeth, though aged, a criticism that 
 the prodigious intelligence of the author 
 immediately felt and turned to advan- 
 tage. Althougu living at the court of the 
 master of Florence, and his friend, the 
 artist in the end lost nothing of his in- 
 dependence, pride, or solitary habits. 
 The antique works particularly worthy 
 of notice in this room are : a Sappho, 
 graceful ; a bust of Solon, restored by 
 Visconti, and which, till his time, passed 
 for a portrait of a young Roman, the 
 work of another Solon, an artist of the 
 Augustan era ; an Old man's head, of 
 extraordinary preservation ; a Demos- 
 thenes, expressive; a great head of 
 Pompey, of porphyry; a Plato, au- 
 thentic ; the fragment of a statue of Pa- 
 rian marble, perhaps a Bacchus or a 
 Faun, admirable ; a bust of Scipio, fine 
 and scarce. 
 
5i>4 
 
 The collection of painters' portraits 
 taken by themselves, the only one of 
 the kind, is curious, although it includes 
 many bad ones. New painters must 
 also experience some hesitation at offer- 
 ing their portraits; as it is the custom 
 when this species of Pantheon gets too 
 crowded, to exile the weakest to some 
 of the grand duke's villas. Raphael's 
 portrait does not appear of his best days. 
 The sight of all these mute countenances 
 of artists once celebrated causes a real 
 emotion. Noble features are generally 
 found to accompany superior genius, 
 and there is some harmony between 
 the respective talents and physio- 
 gnomies of the painters. For instance : 
 Titian, with his strong expression; 
 Leonardo Vinci, the finest portrait of 
 the whole, full of grandeur and ma- 
 jesty; Paolo Veronese, brilliant, mag- 
 nificent; Michael Angelo, gloomy, 
 harsh; Andrea del Sarto, chaste, easy, 
 uninspired; ■ the five portraits of the 
 Carracci, rich, varied, among whom An- 
 nibale has painted himself thrice differ- 
 ently; Domcnichino. holding a book 
 partly opened in his hand, dreamy, suf- 
 fering, like his character and destiny; 
 Guido, his rival, the favourite of for- 
 tune, animated, contented; Giorgione, 
 superb; Tintoretto, wrinkled, rigid; 
 Giulio Romano, with eyes and mouth 
 that spe;ik; Cavedone, with features ex- 
 pressing care and poverty; 3 Vasari, 
 displaying on his breast the collar of the 
 equestrian order of Cosmo I., an emblem 
 of be-ribboned mediocrity; Angelica 
 Kauffman, young, graceful. There are, 
 however, some contrasts : the fine por- 
 trait of Holbein is of a hard expression ; 
 the pathetic Cigoli has an air of buf- 
 foonery; Albano and Carlo Dolci have 
 nottheelegance of their productions. The 
 portrait of Marietta Robusti, daughter 
 of Tintoretto, standing against a harpsi- 
 chord, and holding a music book, though 
 imperfect, is interesting when we 
 recollect the life and divers talents of 
 this young woman. 3 There is one 
 
 1 Vasar! gives a singular account of (he origin of 
 llils portrait, In consequence of a painting ordered 
 «>f the artist by the monks of Vallombrofa : " E per- 
 che flnlta V opera avanzb de' colori e della calcina : 
 Andrea prcso uu tegolo, chiami la Lucrezia sua 
 donna e le disse : Vieu qua, poicueel sono avanzatl 
 questl colori, lo li vogllo rllrarre, acciocche si 
 veggia in qucsta lua eta, come It scl ben conservata, 
 the cooosca nondlmeao quanto hai mulalo efflgie, 
 
 FLORENCE. {Book X. 
 
 pleasing portrait, that of Soronisba 
 Anguisola, of Cremona, a very clever 
 portrait painter of the sixteenth century, 
 who fell blind in his latter days, and of 
 whom Vandyck said that he had learned 
 more of that blind old man than of any 
 seeing one. The portrait of Currado, a 
 good Florentine painter of the fifteenth 
 century, was taken in his eighty-fourth 
 year, and he died at ninety-one, to the 
 last working and teaching. The excel- 
 lent portrait of Morlo da Feltro is pro- 
 bably a bad likeness; the skull towards 
 which the figure points its linger has 
 procured it the surname of Morio. The 
 portrait of Giovanna Frateilini, a Flo- 
 rentine of the seventeenth century, is 
 singularly affecting, from its expressing 
 her love and sorrow as a mother and 
 artist : she has painted herself in the 
 art of making the portrait of her only 
 son and pupil, who was cut off in the 
 flower of his age. The English painter, 
 Sir Joshua Reynolds, has represented 
 himself holding a roll of paper inscribed : 
 Disegni dell' immortal Buonarotti, a 
 mark of his admiration of that great 
 man whom he so little imitated. The 
 portrait of Canova, by himself, is praised 
 by his admirers. 4 In the centre of 
 thisapartment is the famousMedici vase, 
 on which the sacrifice of Iphigenia is 
 sculptured : Agamemnon has a veil over 
 his head, but it does not cover his face 
 as those of Timanthus and a basso-re- 
 lievo in Grecian style, scuptured on a 
 puteal of this same gallery. A herma- 
 phrodite lying on a lion's skin is full of 
 ardour and voluptuousness. 
 
 The two rooms full of pictures by 
 painters of the Venetian school present 
 several chefs-d'oeuvre of its first masters. 
 In the first are : the grand portrait of the 
 condottiere Gattamelata, by Giorgione ; 
 St. Catherine ; the Annunciation; the 
 Martyrdom of St. Justine, unDnished, 
 but full of genius and boldness; Esther 
 before Ahasuerus, by Paolo Veronese ; 
 the two superb portraits of Francesco 
 della Rovera and his duchess, by Ti- 
 
 e sia per esscr queslo diverso dai primi ritratti- 
 Ma non volendo la donna, e se forse aveva altra 
 fantasia, star ferma, Andrea quasi indoYinaudo 
 esser vicino al suo line, tolla una spera, ritrasse se 
 medesimo in quel tegolo tanlo bene, che par vivo e 
 naturalissicao," 
 
 2 See ante, book vm. ch. 5. 
 
 3 See ante, book vt. ch. 18. 
 i See ante, book v. ch. 2tf. 
 
Chap. IV.] 
 
 FLORENCE. 
 
 325 
 
 tian; the Virgin, with St. Francis by 
 her side, by Polidoro Garavaggio ; a 
 pretty Portrait of a youth with feathers 
 on his head; a Man seated, by Paris 
 Bordone; a fine Portrait of a man 
 holding a book, by Pordenone ; a fine 
 Dead Christ, by Giovanni Bellini; a 
 very beautiful Figure in Spanish cos- 
 tume, erroneously taken for the por- 
 trait of Saint Ignatius, by Giambattista 
 Morone ; the Family ofBassano, a kind 
 of household picture, remarkable for 
 truth, nature, and variety : behind is 
 his master Titian and his wife; a Land- 
 scape, by the same, with shepherds and 
 flocks; the portrait of the Venetian ad- 
 miral and general Venieri, by Tinto- 
 retto; four fine busts by Paolo Veronese, 
 Paris Bordone, Tinelli,and Gampagnola. 
 In the second room : the sketch of the 
 Battle of Cadora; the Virgin, and 
 St. Anthony the Hermit ; a magnificent 
 portrait of Giovanni de' Medici, captain 
 of the black bands, not unlike Napoleon's 
 head; the Virgin in red, and St. Ca- 
 therine; an undressed woman holding 
 j flowers, called Flora; the St. Catherine 
 %of the wheels, a brilliant portrait of 
 I the queen of Cyprus, Catherine Cornaro, 
 j by Titian; the Marriage of Cana, by 
 \ Tintoretto ; his admirable portrait of 
 j old Sansovino, which recals and justifies 
 j the motto he had inscribed in his studio : 
 Di segno di Miclieldngiolo , e colorito 
 '. di Tiziano ; the Conversion of St. Paul, 
 by Pordenone ; Moses proving the bum- 
 ping coals and the gold; the Judgment 
 of Solomon; a Holy society, a kind of 
 allegory not easily understood ; a Knight 
 . of Malta holding his chaplet, by Gior- 
 >gione; an Old man seated, with a book 
 I in his hand, a Bust, both full of truth, 
 \ by Morone ; a Warrior, by Sebastiano 
 I del Piombo ; a Man playing on a 
 j guitar, by Moretto; St. Paul's head, 
 1 rough-drawn ; Jesus Christ on Calvary, 
 admirable for sorrow, by Paolo Vero- 
 I aese ; Christ dead and the three Marys, 
 ■by Bassano; a Red-haired man, superb, 
 jy Paris Bordone. 
 
 The cabinet of gems consists of more 
 nan four hundred hard stones, compris- 
 ng several engraved by Benvenuto Cel- 
 iui, or in his style; eight basso-relievos 
 nounted in gold, one of which presents 
 i view of the piazza of the Grand Duke, 
 ire by Giovanni Bologna. The most 
 >reeious article is the famous crystal 
 asket of Clement VII., on which Vale- 
 
 rio Vicentino, the ablest engraver of his 
 day, has miraculously chased the Pas- 
 sion in seventeen compartments : his 
 daughter had assisted him in this exqui- 
 site work, a present from the pope to 
 Francis I., on the marriage of his niece 
 Catherine of Medicis with the younger 
 brother of the Dauphin, afterwards 
 Henry II.; one of the most remarkable 
 monuments of the perfection of the arts 
 in the sixteenth century, the loss of 
 which France must deeply regret. The 
 court of France was long so indifferent 
 towards objects of art, as to make pre- 
 sents of them. The casket of Cle- 
 ment VII. was probably thus thrown 
 away ; but my endeavours failed in dis- 
 covering the epoch at Florence, nor 
 could 1 ascertain when it was lodged 
 in the gallery. 
 
 The paintings of the French school 
 are some of the worst of their respective 
 authors. The following may be distin- 
 guished : Theseus finding at Trezena 
 the marks of his origin, by Poussin ; 
 the fine portraits of J. B. Bousseau, by 
 Largilliere; of Alfieri and the countess 
 d'Albani, by M. Fabre. On the back of 
 the latter two, Alfieri has written, with 
 his own hand, two sonnets, living por- 
 traits of himself and friend. Under the 
 sonnet on his own portrait, signed with 
 his initials V. A., is this furious inscrip- 
 tion, which I perhaps ought not to 
 copy : Scampato oggi ha du' anni dai 
 Gallici carnefici tiranni. Madame de 
 Sevigne" and her daughter, by Mignard, 
 have neither the charm nor the beauty 
 of the originals; an antique Venus, 
 called della Spina, in the middle of the 
 room, is an elegant, delicate work. 
 
 The Flemish school offers many cele- 
 brated names, but no prime painting, 
 except a fine large Claude Lorrain, the 
 Sun setting in the sea with a view of 
 the Medici villa. The head of the 
 apostle St. Philip, by Albert Durer, is 
 in beautiful style. Several portraits by 
 Holbein represent men of merited cele- 
 brity : Zuinglius, the moderate Swiss 
 reformer ; Sir Thomas More ; Francis I., 
 a very small figure, admirable for deli- 
 cacy of touch : a caricature by Callot, 
 which ought to have been put with the 
 French school, is very humorous. 
 
 Among the paintings by Italian artists 
 may be remarked : the Virgin, St. 
 John and a bishop; a pleasing Portrait 
 of an old man wearing red fur, by Paolo 
 
 28 
 
3-26 
 
 FLORENCE. 
 
 [Book X. 
 
 Veronese ; a small portrait of Parmegiano 
 by himself, in the middle of a painting 
 containing eight other portraits; a cir- 
 cular shield on which is a horrific paint- 
 ing of Medusa's head, by Michelangelo 
 di Caravaggio; a bust of the Virgin 
 pressing the infant Jesus to her breast, 
 full of grace, by Cignani ; Men and 
 Women singing in a fresh rural scene, 
 by Guercino ; the Virgin with her son, 
 who is embracing the little St. John, by 
 Schidone; a Man's bust, by Tintoretto; 
 the Annunciation, one of Garofolo's 
 masterpieces. 
 
 The celebrated Tribuna of the Flo- 
 rence gallery strikes the visitor on his 
 entrance, as the sanctuary of the arts : a 
 mysterious light reigns therein, the cu- 
 pola is incrusted with mother of pearl, 
 the pavement, with precious marble, and 
 it unites some of the greatest master- 
 pieces of ancient sculpture and painting ; 
 the Venus of Cleomcnes, set in the 
 middle, seems the divinity of this sanc- 
 tuary. Notwithstanding the affectation of 
 arms, which are modern, it is impossible 
 to cease admiring that voluptuous, Gre- 
 cian, mythological modesty, but certain- 
 ly not maiden modesty, which some good 
 people have wished to discover in the 
 goddess of Gnidus. 
 
 The four other antique chefs-d'oeu- 
 vre are : the little Apollo, perhaps the 
 most perfect model of the graceful ideal ; 
 the Rotator, so natural and true, which, 
 after being Cincinnatus, Manlius, and 
 two or three other Romans, then the 
 slave who discovered the conspiracy of 
 Tarquin's sons, or that of Catiline, seems 
 decidedly the Scythian ordered by 
 Apollo to flay Marsyas; the group of 
 Wrestlers, unique of its kind, and ad- 
 mirable for vigour, precision, and ana- 
 tomical skill ; the Faun, gay. animated, 
 lightsome, the head and arms of which 
 were very cleverly restored by Michael 
 Angelo, and in bis own manner. 
 
 It must be owned that the scarcity 
 of Michael Angelo's easel pieces makes 
 nearly all the merit of his Virgin with 
 the infant Jesus and St. Joseph. Michael 
 Angelo disdained painting in oil as a 
 woman's occupation, only fit for idlers 
 and persons with nothing to do .- Arte da 
 donna e da personeagiateedinfingarde. 
 Titian's two Venuses are admirable ; 
 especially iheone holding flowers, which 
 is truly sublime in colouring: the vo- 
 luptuous languor of her features wonder- 
 
 fully expresses the vague passions of a 
 young woman. If the charms of the 
 countenance do not answer the perfection 
 of the form, it may arise from the figure 
 being a portrait, and it has been sup- 
 posed that of the duke d'Urbino's mistress, 
 who had the whim to have it taken in 
 this way. These two great Venuses, 
 lying naked, of a beauty so blooming and 
 real, and the antique Venus, the elegant 
 furniture of the Tribuna, give this cabinet 
 an aspect not over 'decent : one might 
 call it a public boudoir. The portrait of 
 Beccadelli, nuncio at Venice, holding a 
 brief of Julius III., has the air and finesse 
 of a Roman prelate; it was painted by 
 Titian in his seventy-fifth year. Nostra 
 Signora on a pedestal, St. Francis and 
 St. John the Evangelist standing, may 
 be esteemed one of the most finished 
 works of Andrea del Sarto. A Holy fa- 
 mily, with St. Catherine, is one of the 
 most exquisite, varied, and harmonious 
 pictures of Paolo Veronese. Of six paint- 
 ings by Raphael, five are immortal chefs- 
 d'oeuvre, differing in kind ; the two Eoly 
 families ; the St. John in the desert, 
 vigorous and inspired, but time has 
 darkened the landscape too much; the 
 graceful Fornarina; and the portrait of 
 Julius II., a powerful expression of the 
 strength of mind and genius of that 
 pontiff; " It frightens one," said Yasari, 
 "just as if he vas living : " Facevatemere 
 il ritratto a vederlo, come se propria 
 egli fosse vivo. Charles V. after his 
 abdication, by Vandyck, is fine portrait 
 composition : he is riding on horseback, 
 bareheaded, on the beach of an agitated 
 sea; in the absence of the storms of the 
 world, which he regrets, he seems to seek 
 and contemplate those of tbe ocean. 
 Duke Francesco d'Urbino, armed, is a 
 good work by Baroccio. The Virgin 
 adoring the infant Jesus is reckoned 
 the best of the four paintings by Correggio. 
 Herodias receiving the head of St. John 
 Baptist, by Leonardo Vinci, offers a 
 dreadful contrast of joy, that of the dancer 
 and the grinning headsman. 
 
 Two rooms are destined to paintings 
 of the Florentine school, — a school at 
 once so simple, correct, elegant, and 
 graceful. In the first room, the Head of 
 Medusa, by Leonardo Vinci, unfinished, 
 appears at once terrible and bizarre the 
 face is foreshortened, and there is life in 
 the snakes only. A portrait ofBianca 
 Capello, by the earlier Bronzino, of for- 
 
Chap. V.] 
 
 FLORENCE. 
 
 587 
 
 bidding looks, and high-coloured, does 
 Dot ill agree •with the bacchie habits of 
 that lady, mentioned by Montaigne. • 
 The small St. Francis receiving the 
 stigmata, by Cigoii, the most valuable 
 of the many paintings on the same subject 
 by this intimate friend of Galileo, whom 
 he often consulted, has a penetrating 
 expression of pain and confidence. The 
 Birth of St. John Baptist, by Giovanni 
 of Fiesole, a Dominican, known by the 
 appellalion ofFra Angelico, has all the 
 sweetness and grace of that primitive 
 master. In the second room areadmired : 
 St. Yves, the patron of advocates, seated, 
 receiving the petitions of widows and 
 orphans, a harmonious and touching 
 composition, perfect in colouring, by 
 Empoli ; a fine male portrait, half length ; 
 the portrait of Cosmo the elder, of ex- 
 cellent physiognomy ; Joseph presenting 
 Jacob to Pharaoh, by Pontormo : these 
 several works were executed before he 
 ruined himself by imitation, and in his 
 first style, of which Michael Angelo said 
 that, had he been able to maintain it, he 
 would have raised the art to the very 
 heavens ; the Virgin, St. John, St. 
 Anne, and several monks, one of the 
 great and fine paintings of Fra Barto- 
 lommeo; the Virgin, St, Victor, St. 
 Bernard, St. John Baptist, and St. 
 Zanobi, by Domenico Ghirlandajo, and 
 by his worthy son Rodolfo ; two incidents 
 from the History of St. Zanobi, which 
 have some heads that have been thought 
 worthy of Raphael ; the Martyrdom of 
 St. Stephen, superb, the most perfect in 
 colouring of all Cigoli's paintings, which 
 Pietro of Cortona esteemed, in his day, 
 the best picture in the churches of Flo- 
 rence. Notwithstanding the unbounded 
 praises lavished on the Descent of the 
 Saviour into Limbo, boasted as the 
 chef-d'oeuvre of the first Bronzino, it is 
 equally deficient in attraction, nature, 
 and truth. 
 
 The works of such eminent writers as 
 Holstenius, Vaillant, Spanheim, Mezza- 
 barba, Occone, Noris, Gori, Eckel, Ses- 
 tini, have made amateurs sufficiently 
 acquainted with the fine selection of 
 articles composing the Florence cabinet 
 of medals, consisting of about fifteen 
 hundred, which are judiciously classified. 
 The collection of cameos, ancient as well 
 
 ' See ante. cb. i. 
 
 as modern, the principal pieces of which 
 may be seen in the two publications of 
 the Florence Gallery, is the richestknown, 
 and amounts to more than four thou- 
 sand. 
 
 CHAPTER V. 
 
 Laurentian library.— Vestibule.— Staircase.— Stain- 
 ed glass.— Catajogue.— Virgil.— Pandects — Taci- 
 tus. — Decameron. — Courier's blot. — Cicero's let- 
 ters copied by letrarch.— Notes by Politian.— 
 Dante's letter;— his portrait.— Discourse on True 
 Friendship.— Alfleri's manuscripts.— Miniatures. 
 — Syriac Gospels. — Laura's portrait. — Missal.— 
 Galileo's Qnger.— Elci collection. 
 
 The Laurentian library, one of those 
 institutions that stand pre-eminent in the 
 annals of literature, was long considered 
 the richest in Europe. Its destiny, at 
 first so fluctuating, 2 was ultimately fixed 
 in 1571, when Cosmo I. charged Vasari 
 with the completion of the building in- 
 tended for its reception, which had been 
 commenced by Michael Angelo. The 
 vestibule and staircase are of a meagre, 
 capricious, and fantastic style. The 
 staircase was constructed in Michael 
 Angelo's absence, and beseems to disown 
 the invention of it in the followi ng passage 
 of his answer to Vasari, written from 
 Rome : Mi torna ben alia mente come 
 un sogno, una certa scala, ma non 
 credo che sia quella che pensai allora, 
 perche mi torna cosa goffa. The inte- 
 rior is of an architecture by far more 
 regular and judicious. The windows 
 of coloured glass, designed by Gio- 
 vanni d'Udina, pupil of Raphael, are 
 extremely elegant, and diffuse a myste- 
 rious light favourable to meditation and 
 study. According to the customs of the 
 times the manuscripts are laid wide open 
 on desks, to which they are fastened by 
 a little chain, an arrangement that must 
 singularly strain the binding and impair 
 its freshness and beauty. They were 
 disposed in this way by the two first 
 librarians of the Laurentian, the senator 
 Baccio Valeri and Giovanni Rondinelli. 
 The uncomfortable benches put before 
 and between the eighty-eight desks 
 (plutei) for the students, the rude aspect 
 of those bulky volumes with their chains, 
 bespeak the literary manners of another 
 age. The Laurentian contains manu- 
 scripts only, and the number is about 
 
 s See post, cb. xi. on tbe ancient library of the 
 cenveut of Saint Mark. 
 
328 
 
 FLORENCE. 
 
 [Book X. 
 
 nine thousand. Bandini's catalogue of 
 Greek, Latin, and Italian manuscripts, 
 the fruit of forty-four years' labour, is a 
 real masterpiece of method, accuracy, 
 and criticism. One can only wish that 
 the long promised continuation by the 
 present learned librarian, S. Furia, may 
 equal it. The catalogues of oriental and 
 Hebrew manuscripts have been given by 
 Assemani and Biscioni. The most ce- 
 lebrated manuscripts are : — 
 
 The Virgil of the fourth or fifth cen- 
 tury, a parchment quarto, the oldest 
 manuscript of Virgil, admirably pre- 
 served, and only wanting the first pages, 
 which Faggini supplied in 1771, and 
 barbarously paged them in Arabic fi- 
 gures; the absent leaves were miracu- 
 lously discovered in the Vatican some 
 few years since by S. Mai. This ma- 
 nuscript was Hcyne's authority for using 
 the orthography prevalent during the 
 republic (is for es, o for «), still followed 
 in some editions, a pedantic usage, as 
 this old orthography injures the harmony 
 of the verse ; 
 
 The Pandects, apparently of the sixth 
 or seventh century, said to have been 
 taken at the siege of Amalfi by the Pisans 
 in 1 135, two folio parchment volumes, 
 written in a good sized and very legible 
 character. The origin and authenticity 
 of these famous Pandects have given rise 
 to numerous conjectures. Many scholars 
 have supposed this copy to be one sent 
 into Italy by Justinian, and perhaps of 
 Trebonian's writing, as the several Greek 
 prefaces have neither full points nor 
 commas; of this opinion was Politian, 
 who has learnedly corrected them, and a 
 copy with his autograph notes is now at 
 the Laurentian ; others have supposed 
 that they came direct from Constantinople 
 to Pisa through a commercial medium, 
 or that they were brought over to Ravenna 
 by some exarch. At all events they are 
 the oldest known, and may be regarded 
 as the original of all our Pandects. Gino 
 Capponi has been praised for bis mode- 
 ration, because, when named governor 
 of Pisa after obliging it to surrender 
 through famine, he only carried off these 
 Pandects. It seems that the irreparable 
 loss of such monuments, the treasures of 
 the city's olden glory, must have been no 
 less galling than pecuniary exactions, 
 and perhaps more. When the Pandects 
 
 1 Nouv. Traite it diplomatique, t. in, p. 278, 80. 
 
 were brought to Florence in 1406, they 
 were deposited in the Palazzo Vecchio ; 
 during the republic, they were never 
 shown but by permission of the Seigniory 
 and by torchlight; Bude" saw them in 
 this manner when going to Rome with 
 the French legation. They were after- 
 wards kept, as well as the acts of the 
 Council of Florence, now also at the 
 Laurentian, in thew;ardrobe of the grand 
 duke; an officer of the court held the key, 
 and communicated it only under certain 
 formalities now fallen into desuetude ; 
 one volume lies open covered with glass; 
 the other is kept close, and the privilege 
 of touching its leaves is granted by the 
 librarians with great courtesy and dis- 
 cernment; 
 
 The two manuscripts of Tacitus : the 
 first of the year 395, if its concluding 
 note may be trusted, though the Bene- 
 dictines have fancied they could recognise 
 therein a Lombard hand of the tenth or 
 eleventh century ; ■ a remark modified by 
 Ernesti and others, who, though they 
 confessed this manuscript to be only a 
 copy of that of 395, think it as ancient as 
 the ninth, seventh, or even sixth century ; 
 the second Tacitus, likewise of rather 
 doubtful date, is that of Corwey, which 
 first supplied the five first books of the 
 Annals and rectified many passages in 
 the books previously published, one of 
 the most brilliant literary acquisitions of 
 Leo X., miraculously discovered in a 
 convent at the extremity of Westphalia 
 by the apostolic receiver Angelo Arcim- 
 boldi.whomthegenerouspontifTrewarded 
 with a present of 500 sequins; 
 
 The famous copy of the Decameron, 
 said to have been transcribed in 138i by 
 Amaretto Mannelli, which has given 
 him some degree of celebrity since the 
 loss of the original. 8 It must be ac- 
 knowledged, however, that Boccaccio's 
 friendship for Amaretto, and the bonds 
 which united him to his family, are too 
 conjectural to authorise a belief, after 
 such a lapse of time, that this copy and 
 accompanying notes are by him. The 
 Decameron, which had circulated freely 
 in manuscript, and in print during the 
 first century of that invention, subse- 
 quently, after the council of Trent, 
 excited the suspicions of the court of 
 Rome. At the Laurentian is preserved 
 the curious correspondence between the 
 
 3 See poi(,cli. XIV. 
 
Chap. V.] 
 
 FLORENCE. 
 
 3-29 
 
 four Florentine commissioners named 
 by Cosmo I., the grand duke, the prince 
 of Tuscany, and the Roman censors 
 who performed their (unctions under the 
 pope's immediate superintendence ; this 
 grave negociation about a collection of 
 tales, resulted in the printing at Florence 
 by Junte, seven years after, of an offi- 
 cial edition, called the Deputies', which 
 only enhanced the value of the complete 
 copies. 
 
 After these first illustrious manu- 
 scripts come a multitude of others of 
 historical or literary importance : a Plu- 
 tarch of the ninth or tenth century, is 
 in a fine stale of preservation, but the 
 second volume is missing. 1 examined 
 the manuscript of Longus, noted for the 
 inkstain by Paul-Louis Courier, done 
 through etourderie, according to a de- 
 claration in his hand attached to the ma- 
 nuscript. With all my deep sympathy 
 for such an excellent writer and a cha- 
 racter so independent, I must own that, 
 at first sight, the appearance of this huge 
 blot, unskilfully attacked with muriatic 
 acid, seemed to condemn him : perhaps 
 a false sense of national honour, or the 
 wounded self-love of the librarians may 
 have induced them to enlarge the spot : of 
 all the virulent and culpable accusations 
 of Paul-Louis, this is assuredly the only 
 one that we ought not totally to reject. 
 
 The \oIuminous collection of ancient 
 Greek historians reminds us of the noble 
 protection accorded by Francis I. to 
 literature and science : the Latin trans- 
 lation of a first volume in folio, printed 
 at Paris (1544), was dedicated to him by 
 Guido Guidi, a Florentine noble who 
 practised medicine with great skill, 
 whom he had appointed his chief physi- 
 cian, and called to the medical professor- 
 ship of the Royal College. The Dutch 
 philologer and alchemist, James Tollius, 
 was to translate the rest still inedited. 
 The completion of such a work seems 
 an honour that belongs to France; but 
 the governments of the day take no in- 
 terest in the matter, and for a long time 
 past, no one has presented himself at the 
 Laurenlian with the intention of under- 
 taking it. 
 
 The copy of Cicero's Epistolce Fami- 
 liar es in Petrarch's hand, transcribed 
 from the ancient manuscript now also in 
 the Laurentian, which he first discovered 
 
 in the library of the chapter at Verona,' 
 as well as the Epistolce ad Atticum, prove 
 how devoted he was to the Roman ora- 
 tor. These copies are moreover remark- 
 able for calligraphy and workmanship. 
 The binding of the Epistolat is only of 
 Cosmo's time : the old wooden covers of 
 this volume so often handled by Petrarch 
 had so wounded him by falling repeat- 
 edly on his left leg, that he narrowly es- 
 caped amputation, so rude and almost 
 murderous were literary pursuits at that 
 period. This volume has still, as be- 
 fore, brass clasps and corners, but they 
 would not produce such a wound. 
 
 A fine Horace of the twelfth century 
 belonged to Petrarch ; he bought it in 
 1347, as stated by an inscription in his 
 hand : there are also some few notes 
 added, which appear about as void of 
 interest as the doubtful ones in the Vir- 
 gil of the Ambrosian. A paper ma- 
 nuscript, very defective, contains several 
 of his Latin autograph epistles, ad- 
 dressed to some of his many protectors. 
 
 The Terence, containing many pages 
 of remarks in Politian's hand, had been, 
 as his inscription purports, collated by 
 him at Venice in 1491, with Bembo's 
 celebrated ancient manuscript now in 
 the Vatican. We may see, by those 
 remarks that a blundering binder has 
 partially mutilated, and a multitude of 
 others covering the manuscripts of the 
 Laurentian, the impassioned ardour with 
 which this illustrious scholar was enabled 
 by the munificence of the Medici, to 
 devote himself to the study, explanation, 
 and propagation of the masterpieces of 
 antiquity. 
 
 A quarto manuscript of P. Orose's 
 History, mutilated at the beginning, is 
 nearly a thousand years old. 
 
 It was at the Laurentian that Dante's 
 superb letter was discovered at the end 
 of the last century ; it is written in Latin 
 to one of his relatives, a monk, and he 
 therein refuses, despite the pains of fif- 
 teen years exile, to return to Florence 
 on condition of making the amende ho- 
 norable in the cathedral, asking pardon 
 of the republic, and paying a fine; not- 
 withstanding its bad Latinily, it is an 
 admirable monument of the poet's 
 strength of mind, the most eloquent 
 commentary on his verses, and a key to 
 the secret of his genius. 2 
 
 1 See ante, book vi. ch. 15. of Daute is utterly unknown. The letter in (lie 
 
 s This letter is not autograph. The hand-writing Laurenlian, Inserted by Foscolo in his Essays on 
 
 28. 
 
830 
 
 FLORENCE. 
 
 [ boon X. 
 
 The voluminous commentary on Dante 
 by Benvenuto da Imola, of 1375, not- 
 withstanding its errors, is interesting 
 and useful. This disciple of Boccaccio 
 had occupied for ten years at Bologna 
 one of those Dante professorships that 
 were founded throughout Italy,' and he 
 had shown himself not unworthy such 
 an honour. 
 
 The vulgar Dominican, author of the 
 Ottimo commento della Divina Com- 
 media recently published at Pisa, 1827-9, 
 3 volumes octavo, apparently a conlcm- 
 porary of the poet, is a specimen of the 
 learning of those who were then called 
 scholars in Italy, and enables us to per- 
 ceive how far Dante was superior to his 
 age. 
 
 The discourse of the illustrious Bruni 
 Arelino against his former friend Nicolao 
 Niccoli, an arrant libel which happily 
 for his memory has never been printed, 
 does little honour to the literary manners 
 of the lime, as it shows to what vio- 
 lence and invectives two of the most cul- 
 tivated minds of Florence could give 
 way. 
 
 Among the unpublished manuscripts 
 of Marsilio Ficino may be remarked : 
 Commentaries on Plato's Philebe, his 
 Parmenides, Sophist, Timeus, Phcedo ; 
 treatises De divino furore, De virtu- 
 tibus moralibus, De quatuor sectisphi- 
 losophorum; Questions on Mind; a 
 translation of the Hymns of Orpheus, 
 and Sayings of Zoroaster, the works of 
 his earliest youth ; an Italian version of 
 Dante's Monorchia, etc., different works 
 proving the ardent activity of the first 
 literary men of the revival. 
 
 Despite the rather common-place faci- 
 lity of the versification of the Paradisus, 
 a poem by Ugolino Verini, it derives 
 some interest from the detail of Flo- 
 rentine affairs, and the author's sincere 
 respect and affection for the Medici, 
 whose arms adorn this brilliant manu- 
 script, and many others beside at the 
 Laurentian. Ugolino was surpassed by 
 his son Michele Verini, a young poet of 
 great promise, deceased at the age of 
 seventeen, a martyr, as it is said, to his 
 chastity, as if death could ensue from 
 such a cause at that age; he possessed 
 
 Petrarch, p. 17, vvas not, as be supposed, discovered 
 by biui. Tbe abbe Melius, tbe creator or the lite- 
 rary bistory of Florence, bad mentioned it to Dlo- 
 liisl, canon of Verona, vvbo published it .(Anecdot. 
 
 the friendship of Politian and Lorenzo 
 de' Medici, WhosometimesWentto supper 
 with this family, for the literary protec- 
 tion of Lorenzo was plain, plebeian, 
 familiar, and altogether unlike the dis- 
 tant and ostentatious encouragements 
 accorded by the munificence of princes. 
 The two manuscripts of the Hermaphro- 
 dite, by PanormilM, but too plainly prove 
 the justice of the censure, with which the 
 moral public, Poggio, Filelfo, and Lo- 
 renzo Villa, who w'anted to have the 
 author burnt with the book, had over- 
 whelmed this obscene collection, dedi- 
 cated to Cosmo I.; it was printed at 
 Paris for the first time in 1791, doubt- 
 less as an additional proof of the conquest 
 obtained over prejudices at that epoch. 
 The manuscript is prefaced by a letter 
 from Guarino of Verona, which singu- 
 larly attempts to defend all these infa- 
 mies by quotations from Saint Jerome. 
 
 The troubadour manuscripts of the 
 Laurentian, though some are acknow- 
 ledged to be faulty, have been sagaciously 
 employed by Baynouard, who has dis- 
 covered therein some important varia- 
 tions and a few pieces found nowhere 
 else. One of these manuscripts of the 
 fifteenth century, well written and in 
 good preservation, once belonged to Be- 
 nedetto Varchi and Carlo Strozzi, whose 
 names it still bears. 
 
 The manuscripts of Dante are very nu- 
 merous, and at the end of one of the 
 fourteenth and fifteenth centuries, are 
 two short pieces in his honour; the first 
 speaks of his glory and his misfortunes; 
 the second gives his physical portrait, 
 which is in strict conformity with the 
 portrait traced by Boccaccio in his life 
 of the poet. 
 
 Fu' I noslro Dante di mezza statura, 
 
 Vesli oncstd, secondo suo slato, 
 
 Mcstro un po per I' ela rlchinato, 
 
 Fe mansueta, e grave 1' andatura. 
 La fuccia luiiga. poco piii cbe DJisura, 
 
 Aqullin naso, c 1 pel nero, e ricciuto, 
 
 E'l mento lungo, e grosso, e 1 labro alzalo, 
 
 i gt'OSso un p6 solto la dentalura. 
 Aspetto moninconlco, c pensoso, 
 
 Cigli umidi ; cdrtese, e vigilante 
 
 Fu negli studl, scniprc graziuso; 
 Vugo in parlar, la voce i isonante, 
 
 bileltossi Del canto, e in ogni sono, 
 
 V. Veroose, 1790, p. 176). M. Vlllemain has given a 
 perfect translation of it, 1. 1, p. 355, of bis Court de 
 lilterature fruueuise for the year 1830. 
 1 See post, cli. xii. 
 
Chap. V. ] FLORENCE. 
 
 334 
 
 Fu in gioveolii di Beatrice atnante j 
 Et ebbe virtu tante, 
 Che il corpo a inorte meritd corona 
 Poelicha, e 1' alma andib a vita bona. 
 
 Giovanni Yillani's portrait of Dante is 
 less flattering, and probably incorrect, 
 as he honours him with un tratto suo 
 schifo e sdegnoso, e a guisa di filosofo 
 non grazioso coi laid, a description 
 very different from the contemporary 
 picture of the poet painted at the 
 Duomo.t 
 
 The little volume of poems on friend- 
 ship shows the manners of the fifteenth 
 century. The singular fact therein re- 
 corded seems ihe first instance of acade- 
 mical prizes. Pietro de' Medici, by the 
 advice of the great architect Leone Bat- 
 tista Alberti, issued a proclamation that 
 he would decree a silver crown wrought 
 in the form of a branch of laurel to the 
 author of the best essay on true friend- 
 ship in Italian verse : the competitors 
 were to recite their poems in the church 
 of Santa Maria del Fiore, and, as a 
 mark of respect to Pope Eugene IV., 
 who was then holding his council at 
 Florence, it was proposed to make the 
 apostolic secretaries judges of the day. 
 In Sunday, October 22, 1441, the colle- 
 giate officers, the judges, and the poets, 
 with a splendid cortege, repaired to the 
 church, which was magnificently deco- 
 rated .- the seigniory, the archbishop, the 
 ambassador of Venice, a countless host 
 of prelates were present at the ceremony ; 
 the people of Florence filled the church. 
 But when the prize was to be adjudged, 
 the secretaries of the pope, under the 
 pretext that several of the pieces were of 
 nearly equal merit, and that it was im- 
 possible to decide, adjudged the crown 
 to the cathedral, a stupid decision, still 
 less rational than the sharing of prizes 
 often adopted by the French Academy, 
 and which excited the utmost dissatisfac- 
 tion, not only among the poets, but 
 throughout the whole city. The six can- 
 didates {dicitori) were Francesco d'AIto- 
 bianco degl' Alberti, Antonio degl' Agli, 
 afterwards bishop of Fiesole, Mariotta 
 Davanzati, AnselmoCalderoni, Frances- 
 co Malecarni, Benedetto de M., Michele 
 d'Arezzo. The rapid cursory view of 
 the different essays may not be unin- 
 teresting. Degli Alberti asserts that 
 Phocion, Pericles, the two Brutuses, and 
 
 1 See poil, ca, is. 
 
 Camillus, who all delivered their country, 
 with all their virtue, labours, and ge- 
 nius, could never have accomplished 
 their purpose and acquired eternal fame, 
 if they had not found friends; he is 
 somewhat pedantic, and continually 
 quotes the ancients. Degl'Agli, whose 
 discourse is perhaps the most remark- 
 able, has imagination; he seems full of 
 the Platonic notions then so general in 
 Florence. The discourse of Davanzati 
 is a cold dissertation only ; that of the 
 Florentine Malecarni, entitled Trionfo 
 di Amicizia, is curious; it has some 
 poetry and allegories on friendship, to 
 which he gives a car and retinue, followed 
 by Arthur, Tristan, Isota, Lancelot, 
 Ginevra. The piece of the last dicitore 
 is not finished. 
 
 The editions of Homer, Virgil, the 
 Greek tragedians, and Aristophanes, on 
 whichAlfieristudiedso earnestly towards 
 the end of his life, were presented to the 
 Laurentian by M. Fabre, who had re- 
 ceived them from the countess of Albani, 
 as well as his manuscripts. I examined 
 the manuscript of the tragedies. Few 
 authors have laboured their works so 
 much as A lfieri ; one volume contains the 
 plot of the tragedy in prose; such was 
 Racine's method ; it contains sketches, 
 half French half Italian, of the Filippo, 
 and Polinice, and in Italian only of the 
 Antigona, Agamennone, Oreste, Ros- 
 munda, Maria Stuart, and D. Garzia ; 
 a second volume presents the tragedy 
 versified, with remarks on feeble passages 
 and those requiring correction ; the third 
 volume is a fair copy, with some further 
 corrections in Alfieri's hand. The com- 
 plete publication of those manuscripts 
 and various readings not included in 
 his posthumous works, would afford an 
 interesting literary study. I perused the 
 French sketch of a Charles I. written at 
 Paris, which Alfieri began after the 
 Filippo, and abandoned about the middle 
 of the third act, at the trial scene, when, 
 as he himself avowed, his heart and 
 hand were so chilled that he could pro- 
 ceed no further. Alfieri, in the strange 
 dedication of his Agis to Charles I., 
 again points out the failing of that 
 subject. When Charles first appears in 
 the second act, Alfieri designates him 
 as un roi prisonnier, opprime, philo- 
 sophe.peu coupable, qui a I'dme grande 
 et le coeur bon; he is probably not vcrv 
 correct in ascribing philosophy to 
 
FLORENCE. 
 
 [ Book X. 
 
 Charles I. An autograph note by Alfieri, 
 dated Florence, 1798, on the title page 
 of one volume, imports that five vo- 
 lumes only of the manuscripts he left in 
 France in 1792 had been returned to 
 him : Ma non perb dal pubblico loro 
 (Francesi), ma sottratte da unprivato 
 per restituirrnele. This restitution, that 
 Alfieri unjustly forgot at a subsequent 
 day, was due to Ginguene\ then ambas- 
 sador at Turin, as may be seen by two 
 of his letters and AlOeri's answers ; a 
 correspondence that does honour to the 
 memory of the French writer. The in- 
 different translations of the iEneid and 
 Georgics arc among these manuscripts : 
 Alfieri had even begun to translate the 
 Bucolics, though his stern genius seems 
 little adapted for such an undertaking. 
 
 The miniatures in a great number of 
 manuscripts at the Laurentian render 
 them curious monuments of the different 
 ages of painting. The twenty-six minia- 
 tures of the precious Syriac Gospels are 
 still, after more that twelve centuries, 
 in wonderful preservation. The affect- 
 ing history of the adulterous woman is 
 not in these Gospels, nor the interpre- 
 tation of the words Lama Sabacthani. 
 The manuscript was executed in 586, in 
 the monastery of Saint John, at Zagba, a 
 town of Mesopotamia, by thecalligrapher 
 Rabula ; in the eleventh century it passed 
 into the convent of Santa Maria of 
 Maiphuk, then to that of Santa Maria of 
 Kannubin, and in li37 to the Laurentian. 
 The Syrian scribes, like the Greek, 
 Latin, and Arabic, were accustomed to 
 put a note relative to themselves at the 
 end of their works : Rabula piously 
 entreats the reader to pray for him. The 
 same request has been observed on many 
 manuscripts of the Koran. The Bible, 
 in a folio of 1029 pages, must be of about 
 the middle of the sixth century, as its 
 patient copyist, the benedictine Cer- 
 vandos, of the convent of San Salvador, 
 on Mount Amiat beyond Siena, is men- I 
 tioned in the annals of the Benedictine 
 order, by Mabillon, in the year 541. 
 One of the most elegant and most au- 
 thentic portraits of Laura is on an ancient 
 manuscript of the Canzoniere, which, if 
 not taken from life, was perhaps copied 
 from the contemporary portrait by Si- 
 mone Memmi. The portrait of Petrarch, 
 with a laurel crown over bis cowl, is 
 much less pleasing. A copy of the 
 Gospels in gold letters, with long figures 
 
 on a gold ground likewise, was formerly 
 at the cathedral of Trebisonda; Bishop 
 Alessio Celabene saved it when that 
 town was sacked by the Turks, and 
 presented it to Julius II., as a memento, 
 amid the pomps of Saint Peter's, of the 
 misfortunes and dispersion of the Greek 
 nation. One of the finest works of the 
 fourteenth century is the Missal, which, 
 with nineteen choir books of the old 
 convent degli Angeli -(eighteen of these 
 have fallen victims to an act of barbarous 
 cupidity), was so greatly admired by 
 Leo X., when he came to Florence after 
 his election, and who had long w ished 
 to see it on account of the high eulogium 
 he had heard of it from his father Lo- 
 renzo the Magnificent. Certain Camal- 
 dulite monks were the artists of these 
 brilliant miniatures, small paintings ad- 
 mirable for expression, truth, grace, and 
 variety, in which the perspective and dra- 
 peries even are so well drawn, as may be 
 seen by a Procession through the streets 
 of Florence. The volumes of the Lau- 
 rentian may be ascribed to Dom. Lo- 
 renzo, pupil of TaddeoGaddi, the Raphael 
 of this nice and delicate art, which the 
 leisure, quietude, and patience of a clois- 
 ter alone could cultivate. 
 
 Galileo's finger is exposed to view in 
 a glass bottle placed in the middle of the 
 room; this finger, with which perhaps he 
 had shown the satellites of Jupiter, this 
 relic of science was purloined from the 
 tomb of its martyr at Santa Croce, • by 
 Gori the antiquarian ; at the sale of his 
 museum, Bantlini bought it ; after having 
 been mislaid for some time, it was found 
 again and deposited at the Laurentian in 
 1803. 
 
 The valuable collection of first editions 
 of the Latin and Greek classics, formed 
 by the Cav. Angelo d'EIci, of Siena, 
 which he constantly carried with him and 
 augmented during his various travels 
 over Europe, was bequeathed by him in 
 1818 to the Laurentian, and will be a 
 worthy complement to the manuscripts 
 of that library. The Elci collection pos- 
 sesses also the first editions of the biblical 
 writers of the first century of printing ; 
 nearly all the Aldine editions with the 
 anchor ; the miscellany called Memoriale 
 of Pannartz. The finest book of the col- 
 lection is perhaps one of the two vellum 
 copies of the Florence Lucian, with a 
 
 1 See post, cli. X.H. 
 
Chap. VI.] 
 
 FLORENCE. 
 
 333 
 
 magnificent miniature of Lorenzo de' 
 Medici. This volume came from the 
 Riccardi library ; Elci obtained the use of 
 it during his life from the grand duke, on 
 the condition of leaving it with his books 
 to the Laurentian. A new room in the 
 form of a rotunda is intended for the 
 reception oflhese bibliographic treasures; 
 it will be as a monument consecrated to 
 Elci, much more effectual in preserving 
 his memory than his satires and epi- 
 grams, or even his edition of Lucan and 
 his elegant Latin poems. 
 
 CHAPTER VI. 
 
 Riccardi library.-Fliny.— Ancient universality of 
 the French language.- Anecdote of Dante.— Pog- 
 gio's manuscripts.— Constanzia Varano.— Sum- 
 maries of the history of Florence.— Strozzi's will. 
 —Autographs. 
 
 The Riccardi library is now the pro- 
 perty of the town, and has been public 
 from 1811. It consists of twenty-three 
 thousand volumes and three thousand five 
 hundred manuscripts. Founded in 1558 
 by Riccardo Romolo Riccardi, pupil of 
 the illustrious Pietro Vettori, it was con- 
 siderably enlarged by the donation of 
 another Riccardi, the canon Gabriele, 
 who died sub-dean of the cathedral in 
 1789, and his collection alone amounted 
 to eighteen hundred manuscripts. The 
 editions of the fifteenth century are pretty 
 numerous. The most remarkable are 
 the rarissime editions of the Bible of 
 Rome (14-71-72) ; ofOppian'sffaKewft'eon 
 (1478); and a i?i&/e of Venice (1492) with 
 small autograph notes by Geronimo Sa- 
 vonarola. The most important manu- 
 scripts are of the middle ages and the 
 revival ; several of the classics are also 
 very remarkable. 
 
 The manuscript of Pliny's Natural 
 History, in folio, of the ninth or tenth 
 century, is the oldest extant; it has not 
 been collated : although damaged at the 
 beginning, in the middle, and at the end, 
 it might supply some useful various read- 
 ings in this encyclopedia of antiquity. 
 
 Cwsar's Commentaries, corrected by 
 Julius Celsus, of the twelfth century, 
 were taken by the Genoese from the 
 king of Arragon, when beaten by their 
 fleet on the 12th of August, 1435. 
 
 The Virgil, of the fifteenth century, 
 defective at the commencement, is or- 
 
 namented with elegant figures in perfect 
 preservation. 
 
 A precious old Terence came from the 
 library of the convent of Saint Mark, as 
 stated in an inscription, and Cosmo de' 
 Medici had inherited it from Nicolao 
 Niccoli. » 
 
 Politian caused the treatise of Pelago- 
 nius, de Re veterinaria, to be copied 
 from an ancient manuscript, as a curious 
 inscription by him testifies : Hunc li- 
 brum de codice sane quam vetusto 
 Angelus Politianus, Medicae domus 
 alumnus, et Laurenti cliens, curavit 
 exscribendum. Dein ipse cum exem- 
 plari contulit, et certa fide emendavit. 
 Ita tamen ut ab illo mutaret nihil, ut 
 et quce depravatainveniret, relinqueret 
 intacta, neque suum ausus est unquam 
 judicium interponere ; quod si priores 
 institutum servassent, minus multo 
 mendosos codices haberemus. Quilegis, 
 boni consule, et vale. Florentice anno 
 MCCCCLXXXV. Decembrimense. This 
 manuscript is perhaps the only one extant 
 of Pelagonius, a writer of the fourth 
 century, cited by Vegetius; it was printed 
 at Florence in 1826 in 8vo., with an Ita- 
 lian translation by Professor Sarchiani. 
 
 The troubadour manuscripts are cu- 
 rious : extracts have been made by Count 
 de Caylus, and now form a part of the 
 collection of M. de Sainte-Palaye, lodged 
 in the library of the Arsenal at Paris. 
 
 The manuscript history of Venice, from 
 its origin to 1275, translated from ancient 
 Latin chronicles into French, presents a 
 curious fact : the author, Martin de 
 Canale, declares in his introduction that 
 he chose that language " parce que la 
 langue francoise cort parmi le monde, et 
 est la plus delitable a lire et a o'ir que 
 nulle autre." Rrunetto Latini gave the 
 same reasons when he composed in 
 French, at the beginning of the thirteenth 
 century, his enormous encyclopedian 
 Tresor, which Napoleon once thought 
 of printing with commentaries. It is 
 hence evident that this superiority and 
 universality of our language existed long 
 before our literary chefs-d'oeuvre and the 
 momentary ascendency of our arms. 
 
 On the title-page of the manuscript 
 of Dante's Treatise on the catholic faith, 
 we are infotmed that it was composed 
 by that illustrious and most famous 
 doctor andpoet of Florence, according 
 
 ' See vast, cb. it. 
 
334 
 
 FLORENCE. 
 
 I Book X. 
 
 as he had answered the inquisitor of Flo- 
 rence, respecting his creed. This poet, 
 now so much admired for his Christianity 
 and faith, was then suspected of heresy, 
 and a monk of Monte Oliveto, Matleo 
 Ronti, underwent the humiliation of 
 being reduced to the condition of a lay- 
 man by his superior for having translated 
 the Divina Commedia into Latin verse. 
 On a folio manuscript of the Rime, 
 following a quatrain is the narration of 
 a tolerably scandalous anecdote, charac- 
 teristic of the manners of that epoch, and 
 exhibiting the poet under a new and dif- 
 ferent aspect.' A fine manuscript of the 
 Commedia, of 1498, contains some re- 
 marks in verse, that show the temper 
 and disposition of some of its former 
 owners; one laments that by asking (he 
 return of the volumes he has lent, he 
 loses both the volumes and the borrow- 
 er's friendship ; another more generous 
 writes that the book is for himself and 
 friends; another, moralising, complains 
 of the poverty he suffered in his youth, 
 and the inutility of riches now he is old. 
 
 At the end of a manuscript of Pe- 
 trarch's Triumphs, an inscription states 
 that it was finished on the 22nd of June 
 1402 at the Stinche, the prisons of Flo- 
 rence. The same inscription is found 
 on some other manuscripts, touching 
 mementos of consolations drawn from 
 study. 
 
 The narrative, already printed several 
 limes, of the travels of Fra Oderigo Tri- 
 goli. who started from his convent at 
 Padua in 1318 for Constantinople and 
 
 ' Quesli quallro versi fe Dante sendo In corte 
 d' un signore, e usando spesso famigliarmente in 
 casa, s' accorsepiu volte che un fratc di San Fran- 
 cesco, cue era un bellissiino ci istiano, e valeulis- 
 sirao uomo, e reputato di spiritual vita, usava 
 in delta corte, e andava spesso a visltare la donna 
 del signore, rimaneDdo con lei molte volte solo in 
 camera, e a uscio serrato. Di cue Dante, p^rendogli 
 questa una non troppoonesla dimesticuezza, epor- 
 tando amore al detto signore, non fe se non cbe 
 con bel modo lo disse al signore, e mai ilo di cosleL 
 E lui gli disse come costui era tenuto mezzo santo. 
 II percbe Danle tomato 1' oltro di allui, e quel 
 frate in quel medesimo di, e in quella medesima 
 ora giunse, e fatla poca dimostranza col signore, 
 and6 a visilare la madonna. Dante, come il frate 
 fu partito, veduto dove egll andava, s' accos!6 al 
 signore, e deltegli quesli quatlro versi, 1 quali fe- 
 ciono die il detto signore ouestamenU delte moto, 
 cbe d' allora innanzl II detlo frate non andb piu a 
 vedere la moglie senaa lui. E que' versi fece scri- 
 verc in plu luogbi del suo palaglo. E' versi sono 
 questt : 
 
 the East, contains some strange adven- 
 tures and singular observations. 2 
 
 The numerous inedited Letters of 
 Poggio, deposited at Riccardiana, have 
 supplied the lawyer Tonelli, who trans- 
 lated Shepherd's Life of Poggio from 
 English into Italian, with some new facts 
 and the means of rectifying many errors. 
 These curious letters present a picture 
 of the hasty, impassioned, petulant man- 
 ners of literary men at the revival ; their 
 publication would be interesting, and 
 would do honour to the government of 
 Tuscany, which is rich and has but few 
 expenses. 3 Among Poggio's unpublished 
 letters are several from his most intimate 
 and most constant friend, Nicolao Nic- 
 coli, in which he gives an account of 
 his discovering various fragments of the 
 ancients at Mount Cassino, and the care 
 he took in transcribing thern. We 
 there learn the high price of manuscripts 
 at that epoch : a Lactantius cost 12 flo- 
 rins; the Letters of Saint Jerome, 45; a 
 Bible, 40; some of Cicero's Discourses, 
 14, etc. A letter written from London 
 explains the motives that induced him 
 to quit the court of Rome for England; 
 in another he declares his wish to revisit 
 his country ; the portrait he gives of the 
 English of the fifteenth century is not 
 very flattering ; he represents them as 
 more occupied with the enjoyments of 
 the table {gola) and their pleasures than 
 the pursuit of learning, and the few who 
 cultivate letters as barbarians more 
 skilled in sophisms and disputation than 
 in true science ; some letters contain cu- 
 
 Chl nella pelle d' un monlon fasciasse 
 Un lupo, e fralle pecore mettesse, 
 Diinmi, ere' tu, percbe monton paresse, 
 Cb' egll peio le pecore salvasse? 
 
 1 Andai in Ermenia maggiore, e pervenni ad 
 Arzeloue, dove presso a una dieta e II Dunie del 
 Paradiso detto Eufrates. In questa terra senll' cbe 
 una gionde donna lascio per suo leMamento, cbe 
 de' beni suoi si facesse un munistero di merelrici, 
 cbe sempre fossero appareccbiate a servlre agli 
 uominl in ogni carnalitade, e questo fece per 
 1' anima sua maladetta. Di quindi vennl al monte 
 dove e 1' area Noc, e volentiei I snrei salito alia clma 
 del monte, ovvegnacbe mai non si trovb chi vl 
 potcsse salire, ma percbe non volli aspettare la 
 carovan3, non me ne volli provare. 
 
 3 A first volume of Poggio's Latin letters was ge- 
 nerously published by S. Tonelli in 1832, at his 
 own expense; the edition was live hundred lo 
 number. 
 
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 rih 
 
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 bits 
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 Chap. VII.] 
 
 FLORENCE. 
 
 535 
 
 rious relations of researches after anti- 
 quities and excavations made at Alatri, 
 Tusculum, and Ostia. In a letter to the 
 bishop of Winchester's secretary, Poggio, 
 in his old age, speaks of his young wife 
 with enthusiasm, and, later, he boasts 
 to his friend Carlo Arelino, other giving 
 birth to his last son, the finest of all, 
 notwithstanding his seventy years. 
 
 The manuscript containing the Latin 
 discourses and letters of Costanza Va- 
 rano, a contemporary and correspondent 
 of the great Isota, • demonstrates that 
 the learned ladies of the fifteenth cen- 
 tury, who were accustomed to harangue 
 popes and kings, had a kind of public 
 character and a degree of power of 
 which we can now scarcely form an idea. 
 The first of these discourses, which are 
 more distinguished for erudition than 
 eloquence, is the celebrate speech pub- 
 licly addressed to the people of Came- 
 rino, when Costanza brought thither her 
 brother Rodolfo, to whom that domain 
 had been restored in consequence of an 
 oration pronounced by her when only 
 fourteen, before Bianca Maria Visconti, 
 wife of Count Francesco Sforza. 
 
 An autograph manuscript of Maehiavel 
 offers the summaries of his History of 
 Florence, carefully written and well ar- 
 ranged ; he appears to have made them 
 for his own use, and they ought to be 
 printed with his works. It is somewhat 
 singular that they are bound up with a 
 series of familiar dialogues in German 
 andltalian, aswitty as such compositions 
 generally are in the different grammars. 
 
 There is one sublime manuscript, the 
 ancient copy of the Will of Filippo 
 Strozzi, the last avenger of Florentine 
 liberty; he wrote this will in prison just 
 before stabbing himself with a sword he 
 had discovered there, and addressed it 
 to the freedom-giving God, whom he 
 entreats, as nothing belter could be done, 
 to admit his soul to the company of Cato 
 and other brave men who could not sur- 
 vive their country's liberty : Deo Libe- 
 ratori. Per non venir piu in potere 
 de' maligni inimici miei, ove, oltr' all' 
 essere stato ingiustamente e crudel- 
 mente straziato, sia costretto di nuovo 
 per violenza de' tormenti dire cosa al- 
 cuna in pregiudizio dell onor mio, e 
 degli innocenti parenti ed amid; la 
 qual cosa e accaduta a questi di alio 
 
 1 See ante, book vi, ch. lis. 
 
 sventurato Giuliano Gondi: Io Filippo 
 Strozzi mi sono deliberato, in quel 
 modo che io posso, quantunque duro 
 (rispctto a V anima) mi paia, colle mie 
 mani finire la vita mia. L' anima a 
 Iddio, somma misericordia raeco- 
 mando, umilmente pregandolo, se 
 altro di bene darle non vuole, che le 
 dia almeno quel luogo dove e Catone 
 Uticense, ed altri simili virtuosi uo- 
 mini, che tal fine hanno fatto, etc. 
 
 The tragedy of the Conversion of 
 Saint Mary Magdalen, since printed, 
 although accompanied con un' aria mu- 
 sicale alia maniera antica, is another 
 proof that Mysteries were still repre- 
 sented in Italy after Sophonisba and 
 Rosmunda; * this tragedy was composed 
 by Ricardo Riccardi, for the wedding 
 of the prince of Tuscany, D. Cosmo de' 
 Medici. 
 
 The Riccardiana possesses many auto- 
 graph manuscripts by celebrated writers 
 of different kinds. A Defence of Savo- 
 narola, in quarto, by Giovanni Fran- 
 cesco Pico della Mirandola; the partial 
 History of Florence, by Jacopo Nardi, 
 which was not printed till after his 
 death, and even then with suppressions ; 
 the Canzoni and other Riine of Chia- 
 brera, several of which are addressed 
 to Riccardo Riccardi; Galileo's Treatise 
 on fortification and military architect 
 ture, preceded by letters to Christina, 
 Don Benedetto Castelli, monsignor Bini 
 and others, and his discourse on the ebb 
 and flow of the sea ; some inedited 
 works of its worthy librarian Doctor 
 Lami, and forty volumes of letters ad- 
 dressed by the learned of his time to that 
 laborious scholar. 
 
 CHAPTER VII. 
 
 Maracelli library. — Mare magnum. — Magliabsc- 
 chiana library.— Catalogue. 
 
 The Marucclli library w as founded in 
 the year 1751, and is the least ancient 
 of the public libraries of Florence; it 
 may be regarded as a branch of the Lau- 
 rentian, being near it, and under the 
 same management. Its founder, whose 
 name it bears, was a learned and vir- 
 tuous prelate, who, while living, had 
 placed his books at the disposal of scholars 
 of narrow r means; and he appears to have 
 
 2 See post, boofc si. ch. i. 
 
556 
 
 FLORENCE. 
 
 [Book X. 
 
 been anxious to secure their use to the 
 same class after his death; according to 
 the touching inscription in the Marucel- 
 liana : Publicce et maxima? pauperum 
 utilitati. It is to be regretted, however, 
 that this library is only open three days 
 a week, without counting the numberless 
 close days in all Italian libraries. It 
 contains forty-five thousand volumes ; 
 the manuscripts, few in number, are 
 rather historical and diplomatic than li- 
 terary. There are preserved the manu- 
 scripts of the two Salvini, of the labo- 
 rious antiquarian Gori, and of the se- 
 nator Buonarotti. The most interesting 
 manuscript is the Mare magnum, a kind 
 of encyclopedian dictionary, or general 
 Index in a hundred and twelve folio vo- 
 lumes, composed by Marucelli, of all 
 subjects treated of in the works he had 
 read, a vast repertory, which might be 
 useful in making researches. 
 
 The Magliabecchiana is the grand li- 
 brary of Florence : it contains a hundred 
 and fifty thousand volumes, twelve 
 thousand manuscripts, and receives a 
 copy of all works printed. Indepen- 
 dently of the different libraries succes- 
 sively added to it, as the Marmi, Gaddi, 
 Biscioni, Palatine, Lami, that of the 
 abbey rle' Rocceltini of Fiesole ; a part 
 of the Jesuits', and those of Santa Maria 
 Rovella and Strozzi, the Magliabec- 
 chiana was increased by the libraries of 
 convents suppressed under the French 
 administration. The founder Maglia- 
 becchi, librarian of the grand duke 
 Cosmo III., was a goldsmith on the old 
 bridge till his fortieth year, and he be- 
 came one of the most active and zealous 
 bibliographers that ever lived : he was 
 so much occupied with his books, that 
 he even took his meals and slept in the 
 midst of them, among the fleas and 
 spiders; but like many brothers of our 
 order he had the fault of reading little 
 more than the titles : 
 
 Fercbe de' librl il Tronlespizlo ha letlo, 
 Si crede esser fra' dotti annoverato. 1 
 
 ' Menzlnl, sat. til. 
 
 2 Calalogus corid. sa?c. xv. impressorutu biblio- 
 (hetffl Magliabecchianse. Flor. 179:i, !)i, 05, 3 part, 
 la fol. 3 See ante, book vi. cb. sii. 
 
 4 Lauiiino died there in t50i, nearly eighty-one 
 years old. His body has remaiued uncorrupled 
 and is still shown there; it may be reckoned the 
 best preserved in Europe. An inscription of eight 
 Italian verses commemorates his life and works, 
 end alludes to the phenomenon of bis corpse. A 
 
 The catalogue compiled by Cocchi, 
 first librarian of the Magliabecchiana, 
 may be profound and methodical in its 
 arrangement, but it is not very clear, 
 and renders research difficult enough; 
 he has viewed all that the human mind 
 can know under three aspects : words, 
 things, and moral or sacred fads, and 
 has consequently laid down four great 
 divisions, namely : belles-lettres, philo- 
 sophy, and maihematics ; profane and 
 ecclesiastical history,' each subdivided 
 into ten parts ; whence it results that 
 his whimsical catalogue begins with the 
 grammar and ends with the Bible. An 
 excellent catalogue of the editions of the 
 fifteenth century has been published by 
 the librarian Ferdinando Fossi, 1 aided 
 by the present learned and obliging li- 
 brarian, the abbe" Follini. The most 
 remarkable are : two copies, one on 
 vellum, of the Mayence Bible (1462), one 
 of the earliest and most splendid produc- 
 tions of typography, which confirms our 
 remark on the primitive beauty of that 
 art; 3 the first Homer that Florence had 
 the honour of printing before all other 
 places (1488), a vellum copy offered and 
 dedicated to Pietro de' Medici, adorned 
 with his family arms executed in a superb 
 frame, and with rich miniatures; twenty 
 leaves however are wanting, and have 
 been replaced by manuscript pretty 
 closely imitating the ancient impression: 
 the Epistolce familiares of Cicero (1469), 
 vellum, the first book printed at Venice ; 
 the celebrated Dante, with the diffuse 
 but still esteemed commentary of Ci is— 
 toforo Landino (Florence, 1481), for 
 which he received a palace, alia collina 
 in Casentino, 1 ' a brilliant copy, vellum 
 paper throughout, embellished with 
 nielle with the arms of the republic, 
 and presented by Landino to the Flo- 
 rentine senate; the Deo gratias Deca- 
 meron : 5 a written note on the copy of 
 the Deputies' edition mentions their 
 names; 6 the Florentine History, of 
 Leonardo Aretino, translated into Ita- 
 lian by Donate Acciaioli (Venice, 1476), 
 
 Bolognesc, captain Gavignani, pulled out Iwo of 
 his teeth in 1532, and took them away as a relic. 
 A priest mutilated the body in another way for 
 decency's sake, Vf hen he learned that the princess 
 Violanle Beatrice of Bavaria was coming to see it ; 
 and the priucess, struck with so strange an act, 
 humorously said that its author ought to undergo 
 the lex tationis. 
 
 5 See ante, book ra. cb. xii. 
 
 6 Thev were Francesco Cattani da Diacceto, An- 
 
Chap. VIII. ] 
 
 FLORENCE. 
 
 357 
 
 a very fine vellum copy of the first edi- 
 tion, which ends with the words Laus 
 immortali Deo ; one of the two copies 
 on vellum paper of the scarce edition of 
 the Museum and the Gnomcemonosthicce 
 (Florence, about 1500) ; the Anthologia 
 of Lascaris (Florence, 1494), a magnifi- 
 cent copy, with medalions painted at the 
 corners imitating antique cameos, a pre- 
 sent to Pietro de ! Medici; one of the 
 five splendid vellum copies of the Argo- 
 nautica by Apollonius of Rhodes (Flo- 
 rence, 1496), ornamented with rich mi- 
 niatures and arabesques. A manuscript 
 of 1342, by Petrarch's old master Con- 
 venevole di Prato, who through poverty 
 was tempted to pledge Cicero's treatise 
 on Glory lent him by his pupil, which 
 has never been found since ; this manu- 
 script contains a long Latin poem ad- 
 dressed to King Robert, written in the 
 lime of Benedict XII., in which Italy 
 personified prays the king for aid amid 
 her overwhelming ills : Convenevole 
 surpasses Petrarch in flattering Robert, 1 
 for he goes to the extent of comparing 
 him to Jesus Christ. 
 
 The materials of the Biblioteca degli 
 scrittori Fiorentini e Toscani, by the 
 irascible and impetuous physician and 
 philologist CinelliCalvoli, friend of Ma- 
 gliabecchi, have been reduced to twelve 
 folio volumes by the canon Biscioni ; 
 they prove the learning and indefa- 
 tigable application of that writer, not- 
 withstanding the troubles of his whole 
 life. In the manuscript-room, is a 
 Nostra Signora, a fine work by Carlo 
 Maratto. 
 
 CHAPTER VIII. 
 
 Scientific and literary cabinet of M. Vieusseux.— 
 Scientific and literary characters or Florence. 
 
 Beside these old storehouses of erudi- 
 tion, Florence possesses a modern esta- 
 blishment of great interest, the cabinet 
 of M. Vieusseux, which singularly in- 
 creases the pleasure of one's stay in the 
 town, and ought to receive one of the 
 earliest visits of every enlightened tra- 
 veller. There may be found the prin- 
 cipal journals, reviews, and remarkable 
 
 tonic Beuivieni, Ludovico Marlelli, Vincenzo Bor- 
 ghini, Baccio Valori, Agnolo Guieeiardiui, Jacopo 
 Pitli, Basliano Antinorl and Baccio Baldini. 
 1 See ante, book ix. ch. xii. 
 ; * Died August 13, 1832, and was uot replaced la 
 
 novelties, that appear in Europe. Such 
 an establishment in the centre of Italy 
 must ultimately advance the improve- 
 ment and progress of the country. It 
 must be acknowledged, that the Italians 
 already appreciate the advantage of 
 these means of instruction : while the 
 old worthless academies of versifiers and 
 pedants, the titles of which were in 
 some instances no less ridiculous and 
 fantastic than their labours, are decli- 
 ning or quitting the stage, learned so- 
 cieties are springing up, devoted to the 
 observation of facts and tending to the 
 public good. It is no rare thing to find, 
 in the smallest towns, men occupied iu 
 the study of the exact and natural 
 sciences, forming collections, and hold- 
 ing their humble meetings, without as- 
 suming the diploma and outward show 
 of academicians. 
 
 There was a meeting at M.Vieusseux's, 
 one evening every week, of the most 
 distinguished literary men of Florence : 
 the abbe" Zannoni, antiquarian of the 
 Gallery, secretary of the academy della 
 Crusca, and a scholar of the first rank; 3 
 S. Micali, historian of Italy before the 
 Roman domination; the old abbe* Ses- 
 tini, the Pyrrho or Bayle of numisma- 
 tics; 3 S. Niccolini, an orator and bril- 
 liant tragic poet, but too declamatory, 
 whose pieces are more relished at Flo- 
 rence than elsewhere in Italy ; the inge- 
 nious and elegant Giordani ; S. Baldelli, 
 biographer of Boccaccio; * professor 
 Ciampi, hellenist; S. Tommaseo, an eager 
 partisan of the new literary doctrines, 
 and too irreverent towards the first Ita- 
 lian masters; S. di Forti, an exact, 
 severe logician ; S. Capei, a learned 
 jurisconsult; S. Valeriani, a true poly- 
 glot; S. Libri, a great mathematician, 
 now a Frenchman, professor at the 
 College of France and the Institute; 
 S. Gazzeri, an excellent chemist and 
 most lucid professor, a man whose sim- 
 plicity and candour require aFontenelle 
 to paint them; the canon Borghi, a ce- 
 lebrated lyric poet and happy translator 
 of Pindar; S. Pananti, an original writer 
 and poet, whose recital of a short capti- 
 vity at Algiers is full of interest, and 
 who has seen his eloquent imprecations 
 
 1838 : S. Migliarini, of Rome, a learned numis- 
 matist, Las lately bceu charged with Ihe preserva- 
 tion of the medals. 
 
 3 Died ia 1833. 
 
 4 Died in April, 1831. 
 
538 
 
 FLORENCE. 
 
 [ Book X. 
 
 for the destruction of that haunt of 
 pirates heard by France; S. Raffaele 
 Lamfrusehini, an enlightened economist 
 and zealous promoter of infant schools, 
 now so numerous in Italy. 
 
 CHAPTER IX. 
 
 Duomo.- ArnoKo dl I.apo.- Cupola.— Brunelluschi. 
 — Pavement. — Torahs. —Statues.— Paintings. - 
 Choir.— Michael Angelo's last work.— Gnomon. 
 — Sacristy. -I'azzi.— Campanile.— Zuccone.- Saint 
 John— Doors.— Gbiberli. — Cossa.— Altar. — Di- 
 gallo.— Danle's bench. 
 
 Santa Maria del Fiore, the duomo of 
 Florence, one of the most remarkable 
 edifices in Europe, and the first great 
 church built free from the Gothic taste, 
 though not altogether in the ancient, is 
 a work of Arnolfo di Lapo, the architect 
 of the Palazzo Vecchio. On reflecting 
 that at this very epoch the seigniory had 
 the city encircled with a third wall, the 
 baptistry covered with marble, and the 
 granary called the Saint Michael's 
 Toiuer erected, one is forcibly struck 
 with the number and splendour of such 
 undertakings. The grand and beautiful 
 monuments of Florence date from the 
 republic, and the Medici themselves 
 constructed no building but the much 
 less solid one of the Uflizi. The decree 
 of the Florentine republic, which orders 
 the reconstruction of this temple, is me- 
 morable : asenatus-consultum of ancient 
 Rome could not be more noble than this 
 decree of the city of Florence in the 
 thirteenth century, the text of which is 
 still regarded as a model of purest Ita- 
 lian : Atteso che la somma prudenza di 
 un popolo d'origine grande, sia di 
 procedere nclli ajfari suoi di modo, che 
 dalle operazioni esteriori si riconosca 
 non meno il savio, che magnanimo suo 
 operare ; si ordina ad Arnolfo, capo 
 maestro del nostro comune, che faccia 
 il modello o disegno della rinnovazione 
 di Santa-Reparata, con quella piu alta 
 e sontuosa magniftcenza, che inventar 
 non si possa, ne maggiore, ne piu bella 
 dall' industria e poter degli uomini; 
 secondoche da' piu savi di questa cittd 
 e stato detto e consigliato in pubblica 
 e privata adunanza, non doversi in- 
 traprendere le cose del comune, se il 
 concetto non e, di farle correspondents 
 ad un cuore, che vien fatto grandis- 
 simo, per che compos to dell' animo di 
 
 piu cittadini uniti insieme in un sol 
 volere. Arnolfo di Lapo, one of the 
 great men of modern architecture, the 
 creator of the Florence school of archi- 
 tecture, was worthy the choice of his 
 fellow-citizens. The substantial struc- 
 ture of the Duomo is still admired, des- 
 pite its nakedness. The opinion of the 
 time attributed earthquakes to currents 
 of subterranean water; therefore Ar^ 
 nolfo had deep wells dug within the 
 building to counteract* their effects. Ac- 
 cording to a tradition existing at Flo- 
 rence, the artist is stated to have thus 
 proudly addressed his monument : "I 
 have preserved thee from earthquakes; 
 may God preserve thee from lightning!" 
 Though the work was never inter- 
 rupted, Santa Maria del Fiore was a 
 hundred and sixty years in building, 
 and consequently exhibits the progress, 
 improvement, and decline of the art. 
 Arnolfo's successors were Giotto, Tad- 
 deo Gaddi, Orgagna ( though it is not 
 known what parts are his), Lorenzo 
 Filippi, and lastly the illustrious Bruncl- 
 leschi, whose prodigious cupola, the 
 model of Saint Peter's at Rome, and 
 more solid, though spoiled by his in- 
 competent successor Baccio d'Agnolo, is 
 the masterpiece. The most glorious ho- 
 mage this cupola has received is doubt- 
 less that rendered by Michael Angelo, 
 who marked out himself the place of his 
 own tomb in the church of Santa Croce, 
 in such manner that, when the doors 
 were open, one could see from thence 
 the daring monument which his lofty 
 independent genius had imitated. If the 
 mild temperature of Saint Peter's ex- 
 cites admiration, Brunelleschi seems no 
 less than Michael Angelo to have created 
 the climate of his duomo : I cannot forget 
 the delightful coolness that reigned there 
 during the burning heats of July and 
 August 1834. History has handed down 
 Brunelleschi's discourse which he deli- 
 vered in one of the conferences that pre- 
 ceded the construction of the cupola of 
 the Duomo ; it would be. difficult to speak 
 with greater modesty and address, to 
 explain more clearly the difficulties of 
 work, or to throw more embarrassments 
 in the way of one's competitors. One 
 feels that Rrunelleschi, the architect, 
 sculptor, painter, goldsmith, clockmaker, 
 geometrician, was also an orator : « nor 
 
 1 HrimelJescbi applied himself also to the most 
 
Chap. IX.] 
 
 FLORENCE. 
 
 539 
 
 did he exhibit greater tact in his haran- 
 gue than in his retreat, and all his con- 
 duct throughout the consultations at- 
 tended by the most famous architects 
 of Europe, -whose presence had been 
 solicited by the merchants of Flo- 
 rence from the sovereigns of France, Eng- 
 land, and Germany. At last, after un- 
 heard of vexations and a rigorous capti- 
 vity, he obtained the sole direction of the 
 works. As a watchful captai'n disposes 
 and encourages his soldiers, so did Bru- 
 nelleschi in person direct every workman 
 and examine the quality of the mate- 
 rials; day after day he invented new 
 machines and shorter expedients, and 
 when the cupola was complete, except 
 the exterior of the drum and lantern, he 
 died on the scene of his exertions. 1 
 
 Though without a front, 3 Santa Maria 
 del Fiore is of an extremely noble and 
 harmonious aspect ; the marble of various 
 colours with which the whole building 
 is lined produces the most brilliant effect. 
 Over the side doors are several remark- 
 able basso-relievos : a Virgin with two 
 angels, in marble, by Giovanni Pisano ; 
 an Annunciation in mosaic, by Ghir- 
 landajo, and the singular Assumption, 
 called at Florence the Mandorla, because 
 the Virgin is represented on a medalion in 
 the shape of an almond {Mandorla) : it is 
 the work ofNanni di Antonio di Banco, 
 and one of the good sculptures of the 
 fifteenth century. Itmay be observed that 
 the angel in the upper part of the basso- 
 relievo holds under his arm one of tnose 
 rustic instruments (something like a 
 
 abstruse questions of philosophy; he frequented 
 the conferences where they were discussed, and 
 was considered at Florence as one or the rudest 
 antagonists in that kind of argumentation. Dante 
 was as his daily food, and he commonly supported 
 his conclusions with some of that poets verses, 
 lie moreover appears to have been facetious and 
 fond of pleasure : he was a principal actor in the 
 pretty novel of Grasso tegnajuolo, composed about 
 1430 by an author now unknown. From the re- 
 searches of Mazzuchelli and Bandinl, Bruuelleschi 
 has been, conjointly with Domenico da Prato, re- 
 cognised the author of the romantic poem of Gela 
 e Bin-ia, Imitated from the Amphitryon of Plautus. 
 1 The colossal statues of Arnolfo di Lapo and Bru- 
 nelleschi, well executed by S. Ludovfco Pampaloni, 
 a young Florentine sculptor, have been very sui- 
 tably placed facing the duomo by the Deputazione 
 dell' opera (the fabric of the church), in front of 
 the Canonica, one of the corners of the place, the 
 coolest, and best ventiluti, which 1 recommend to 
 travellers who may be at Florence during the great 
 heats. 
 
 hautboy) which are played at Rome in 
 advent by the joyous and devout moun- 
 taineers cal led Pifferari, who come down 
 from the Abruzzi and Calabria, and with 
 which they accompany the airs or po- 
 pular duets sung before the images of 
 the Madonna. 
 
 On entering the church one is struck 
 with the beauty and brilliancy of the 
 pavement and the various-coloured mar- 
 ble, a charming performance, by an 
 uncertain author, which seems like a 
 garden enamelled with flowers. Such a 
 decoration is worthy the church del 
 Fiore and the cathedral of Florence, 
 one of the cities of Europe where the 
 luxury of flowers is carried to the high- 
 est pitch, and which retains the lily in 
 its arms. This lily was at first white, 
 afterwards red ; this .change, the conse- 
 quence of revolutions, is regretted by 
 Dante : 
 
 Che' 1 giglio 
 
 Non era ad asta mai posto a rilroso, 
 Nfe per division fatto vermiglio. 3 
 
 The lily is said to have always grown 
 wild in the vale of Florence ; it still 
 flourishes there, and sometimes may be 
 seen shooting out of old walls like our 
 gilliflowers. 
 
 The duomo has some illustrious tombs : 
 such is Brunelleschi's ; the sepulture of 
 his family was at. Saint Mark; he has 
 been most properly buried within the 
 walls that so loudly proclaim his glory. 
 The characteristic epitaph is by Marsup- 
 pini,4 his portrait as a citizen of Florence 
 
 a This imperfection Is owing to the successive 
 pretensions of some of its architects. Giotto pulled 
 down a part of Arnolfo's front that he might moke 
 it more uniform with the architecture of the 
 steeple. The rest was destroyed through the ca- 
 prine of the provvedilore Benedetto Uguccioni, 
 whom Buontalenli had persuaded to execute a more 
 elegant front ; but it was afterwards found impos- 
 sible to agree on the choice of a plan. A hundred 
 years later, the front of th'e duomo was painted in 
 fresco by certain painters of Bologna, for the 
 marriage of frinee Ferdinando, son of Cosmo III., 
 with Violante of Bavaria. The fantastic design, as 
 far as can be now ascertained, for the fresco is 
 almost effaced, was by Passignano. A'tbough it 
 contrasts with the architecture of the church and 
 6teeple, it is not destitute of merit, 
 
 3 farad, cant.xvi. 453. 
 
 4 D. S. 
 
 Quantum Philippus architectus arte daedalea 
 valuerit, cum hujus celeberrimi templi mira tes- 
 tudo, turn piures alia? di vino ingenio ab eo adin- 
 ventaa machins documento esse possunt. Qua- 
 
340 
 
 FLORENCE 
 
 [Book X. 
 
 is by Bugiano, his pupil. The tomb of 
 Giotto, the restorer of painting, perfectly 
 the same as Brunelleschi's, is beside it; 
 the bust is by Benedetto da Majano. 
 The inscription, very fine, which might 
 have been taken from the verses of 
 Dante, Petrarch, or Boccaccio's prose, 
 was composed by Politian, at the com- 
 mand of Lorenzo de' Medici. 1 The 
 mausoleum of Marsilio Ficino, the first, 
 the most intelligent interpreter of Plato, 
 and chief ofthe Platonic Academy found- 
 ed by Cosmo de' Medici in his palace, 
 represents him holding a folio volume 
 in his hands; this zealous disciple of the 
 Greek philosophy was canon ofthe ca- 
 thedral : his tomb was erected at the cost 
 of the state ; the bust is by the able 
 sculptor Andrea Ferrucci of Fiesole. 
 The three neighbouring monuments of 
 Brunelleschi, Giotto, and Marsilio Ficino 
 singularly honour Florence, setting it 
 forth as the real cradle of the arts and 
 philosophy, and showing how deeply we 
 are indebted to that city. 
 
 The tomb of Antonio d'Orso, bishop of 
 Fiesole, and afterwards of Florence, is 
 surmounted by his statue ; he is seated 
 with hands crossed, and his quiet atti- 
 tude reminds one much more of the 
 savio than the valoroso prelato vaunted 
 by Boccaccio, » who when the emperor 
 Henry VII. besieged Florence, appeared 
 on the breach at the head of his armed 
 clergy and people animated by such an 
 example, and put the hostile army to 
 flight. The Tuscan poet, Francesco da 
 Barberino, the fellow-disciple of Dante 
 at the lectures of Brunetto Latini, who 
 had been admitted doctor by Orso, erected 
 this mausoleum to his memory ; it is re- 
 markably elegant for the time, has no 
 inscription, but an inexplicable basso- 
 relievo which has hitherto been the des- 
 pair of the learned. 
 
 The monument of Pietro Farnese, ge- 
 neral of the Florentines, by Jacopo Or- 
 gagna, is very fine : he is represented in 
 a basso-relievo sword in hand, fighting 
 
 propter ob exlmias sui animi dotes singularesque 
 virtutes, XV bal. Maias anno MCCCCXL1V, ejus B. M. 
 corpus in liac luirao subposila grata palria sepeliri 
 jussit. 
 
 Phlllppo Brunellesco antiques architectures 
 
 Instauratori. 
 
 S. P. Q. F. civt suo benemerentl. 
 
 1 lite ego sum, per quern picture eitincta revisit, 
 
 on a mule, his horse having been killed, 
 and gaining the victory on his new and 
 baseborn steed. 
 
 The bronze shrine of Saint Zanobi of 
 Florence, one of the first preachers of 
 Christianity in Tuscany, bishop of Flo- 
 rence, a contemporary of Saint Ambrose 
 and descendant of Zenobia, queen of 
 Palmyra, is ornamented with popular 
 basso-relievos by Ghiberti, representing 
 divers of the saint's miracles; it is im- 
 possible to imagine anything more chaste 
 or graceful than the six angels or Fames 
 (as you chose) sustaining the crown of 
 the upper part of this elegant and simple 
 shrine. 
 
 The great statues of St. James Major, 
 by Sansovino, St. Philip and St. James 
 Minor, by Giovanni dell' Opera, are 
 among the best in the church ; the St. 
 John Baptist, by Benedetto da Bovez- 
 zano, despite a little confusion in the 
 drapery, is not without nobleness. The 
 St. Mark seated is the masterpiece of 
 Nicolao d'Arezzo, a great sculptor ofthe 
 fourteenth century. St. Andrew, by 
 Andrea Ferrucci, is a fine statue notwith- 
 standing the exceeding fullness of the 
 folds. The statue of Poggio, by Dona- 
 tello, is now in the interiorof the duomo; 
 it was formerly on the front among the 
 group of apostles ; Poggio waslhen some- 
 times taken for one of his neighbours, to 
 whom the roll of paper in his hand might 
 give him some resemblance, and vulgar 
 devotees have burnt more than one taper 
 before the image of this mocker at church- 
 men, the licentious authorof the Facetiae. 
 In the chapel of Saint Joseph, the Saint, 
 a picture by Credi, a Florentine artist of 
 the fifteenth century, is highly esteemed. 
 The vast paintings of the cupola, by 
 Vasuri and Federico Zuccari, chiefly 
 taken from the Divina Commedia, pre- 
 senting above three hundred figures, are 
 more extravagant than grand, and strike 
 solely from their size. These figures are 
 fifty feet high ; Lucifer's is even much 
 larger, and, asZuccari says, si smisurata; 
 
 Cui quam recta maous, tam Tuit et facills. 
 Naturae deerat, nostras quod deluit arti; 
 
 Plus licuit nulli pingere, nee melius. 
 Miraris turrem egregiam s.icro nere sonantem, 
 
 Uaec quoque de modulo crevit ad astra meo. 
 Denique sum Jottus : quid opus full ilia referre f 
 
 Doc nomen longl carmlnis instar erit. 
 
 1 Giorn. vi. ?iot'. iii. 
 
Chap. IX.] 
 
 FLORENCE. 
 
 541 
 
 che fa parere e altre figure di bambini. 
 The ■witty Lasca ridicules these paintings, 
 which in his opinion spoil Brunelleschi's 
 cupola for the Florentines : 
 
 Non sara mai di lamentarsi stauco, 
 Se forse un cii non le si da di bianco. 
 
 The green hued frescos on the tomb of 
 sir John Hawkwood, an English condot- 
 tiere, who with his company passed from 
 the Pisan to the Florentine service, were 
 highly prized by Vasari, notwithstanding 
 the fierce controversy respecting the 
 manner in which the horse trots, lifting 
 his two off feet at the same time. This 
 colossal work of Paolo Uccello, an artist 
 of the fifteenth century, so called from 
 his great predilection for birds with which 
 he filled bis house and his pictures, is 
 perhaps the first instance of a great bold- 
 ness in painting, and it certainly is not 
 infelicitous. Such was Hawkwood's re- 
 putation for bravery, that his sovereign, 
 Richardll. of England, asked and obtain- 
 ed hisbones of the Florentines. Sachetti 
 mentions a true condottiere's jest of his. 
 Two lay brothers, who went to see him 
 at his chateau of Montecchio near Cor- 
 tona, gave him this pious salutation : Dio 
 vi dia la pace, to which Hawkwood re- 
 plied : Dio vi tolga la vostra elemosina. 
 The monks were rather puzzled by this 
 answer, and asked him its meaning : 
 Non sapete che io vivo di guerra, said 
 he, e che la pace mi farebbe morir di 
 fame ? One circumstance shows his cold 
 blooded cruelty. Having given up 
 Faenza to be pillaged by his men, he 
 found two officers fighting in a convent 
 for a young and lovely nun, and to end 
 the dispute, Hawkwood killed the un- 
 fortunate girl. 
 
 The bust of the famous organist Antonio 
 Squarcialupi, by Benedetto da Majano, 
 and its elegant epitaph by his friend 
 Lorenzo de' Medici,' attests the passion- 
 ate enthusiasm of the Florentines for 
 music, and the importance of that art in 
 their city, then so famous for philosophy 
 and literature. 
 
 Against the wall, near a doov in the 
 side nave, is an old painting by an un- 
 known author, apparently of the time, 
 representing Dante standing, in a red 
 
 1 Multum profecto debet musica Antonio Squar- 
 cialupi organistae; is enim ita arti gratiam con- 
 junct, ut quartam slbrviderentur ebarites must- 
 cam as'civisse sororetn. Florentina clvitas grati 
 
 gown, with a laurei crown over his cap, 
 and holding an open book in his hand; the 
 physiognomy is expressive of kindness 
 and good nature ; on one side is a view / 
 of ancient Florence, on the other an | 
 allusion to the three parts of his poem, ', 
 with a singular inscription by the poet and 
 scholar Caluccio Salutati: 
 
 Qui ccelum cecinit, mediumque, imumque tribunal, 
 Luslravitque animo cuncta pocta suo, 
 
 Doctus adest Dautes, sua quem Fiorentia saepe 
 Sen sit consiliis ac pietate patrem. 
 
 Nil potuit tanto mors saeva noceie poetae, 
 Quem vivum virtus, carmen, imago facit ; 
 
 this worthless monument is the only one 
 erected by the Florentine republic to 
 the man who had thrown so great a lustre 
 on his country. 
 
 The choir, in marble, executed by the 
 order of Cosmo I., and ornamented 
 with eighty-eight figures in basso-relievo 
 by Bandinelli and his pupil Giovanni 
 dell' Opera, is admirable. No one has 
 hitherto been able to explain what cha- 
 racters these superb figures are intended 
 to represent, and they are probably the 
 creations of the authors' fancy. The 
 high altar and sculptures adorning it are 
 also by Bandinelli ; the very fine wooden 
 crucifix is by Benedetto da Majano. 
 Behind this altar is Michael Angelo's 
 last work, apathetic Piety, an unfinished* 
 group, brought from Rome, and intended 
 by its author for his own tomb, which he 
 purposed preparing at Saint Mary Major. 
 The very simple inscription alluding to 
 this subject is extremely touching, as it 
 marks the close of the glorious life and 
 indefatigable old age of this great man. 
 The celebrated Piety of Saint Peter's was 
 one of the earliest works of Michael An- 
 gelo's youth : it is remarkable to see this 
 stern genius begin and end his career 
 with a subject so tender and soothing. 
 
 The celebrated gnomon of the duomo 
 was reckoned by Lalandc, in this case a 
 perfectly competent judge, the greatest 
 astronomical instrument in the world. 
 This fine meridian was traced as early 
 as i468 by the Florentine physician, phi- 
 losopher, astronomer, and mathemati- « 
 cian, Paolo Toscanelli, a man of search-! 
 ing innovating spirit ; he corresponded] 
 with Columbus, and his scientific re- 
 
 animi officlum rata ejus memoriam propagare, 
 cujus uianus saepe mortales in dulcem admiratlo- 
 nem adduxerat. 
 
 Civisuo monumentiim posuit. 
 
542 
 
 FLORENCE. 
 
 [Book X. 
 
 searches were of great service to that 
 navigator; in fact his grand discovery 
 was indirectly due to Toscanelli, who 
 had persuaded him to try the western 
 passage to India. 
 
 The bronze doors of the canons' sacristy, 
 covered with glazed earthen basso-re- 
 lievos, by Luca della Robbia, are of mar- 
 vellous beauty. These doors were in- 
 trepidly and opportunely closed by 
 Politian and the other friends of Lorenzo 
 de' Medici, who ran to his assistance, 
 after the murder of his brother Giuliano 
 by Bandini and Francesco Pazzi, when 
 wounded and defending himself sword 
 in hand, the sacristy offered him an 
 asylum. Politian, like moslliterary men 
 and artists of that epoch, was a man of 
 resolution whose courage equalled his 
 talent. I regret that AlQeri has not in- 
 troduced him in his fine tragedy of the 
 Congiura de' Pazzi, even at the risk of 
 deranging the succinct monotonous sym- 
 metry of its characters. The piece of 
 the Italian tragedian, inspired by his 
 hatred, his childish dread of the Medici 
 {del Mediceo giogo), could not escape an 
 unhappy catastrophe, as its heroes, in 
 spite of" the noble sentiments he gives 
 them during four acts, must according 
 to history come to the gallows at last. 
 * The conspiracy of the Pazzi, the Brutus 
 and Cassius Florentine merchants, like 
 all republican conspiracies against popu- 
 lar chiefs, strengthened the almost ab- 
 solute power of the Medici, as such vairi 
 efforts have ever produced and hastened 
 the loss of liberty. 
 
 The Campanile of the duomo of Flo- 
 rence, of German Gothic architecture, 
 was erected by Giotto; after more than 
 five centuries, this wonderful structure, 
 so highly adorned, so brilliant and light, 
 the first of steeples and finest of towers, 
 still stands firm and upright, a remark- 
 able fact in a country where more 
 than one leaning tower shows the 
 unstable nature of the soil, which clearly 
 proves that this creator of modern paint- 
 ing was no less skilled in the art of 
 building. Charles V. so greatly ad- 
 mired the Campanile, that he would have 
 liked to put. it under a glass cover that 
 it might only be seen on certain days; 
 and Politian has sung its praises in Greek 
 and Latin verse : fine as the Campanile, 
 is a favorite simile of the Florentines, 
 who, like the inhabitants of all other 
 Italian cities, are proud of their monu- 
 
 ments. The Campanile is ornamented 
 with excellent sculptures : there are six 
 statues by Donatello; one in particular 
 is perfect ; it represents Fra Barduccio 
 Cherichini, instead of an apostle as often 
 stated, and was called lo Zuccone (the 
 bald) by its creator, a name it still re- 
 tains ; seen from the elevated point of 
 view for which it was made, one might 
 take it for a Grecian statue, so fine is the 
 expression of the droopfng head, so ma- 
 jestic are the outlines, so noble the dra- 
 pery. The authors of the Memoirs of 
 Donatello relate that in his transport at 
 the completion of his Zuccone, which he 
 reckoned his masterpiece, the artist, like 
 another Pygmalion, said to his huge 
 Galatea: favella, favella (speak, speak). 
 The different basso-relievos of Andrea 
 Pisano arc worthy of the best days of 
 sculpture : the Cavalier fleeing; the 
 Boat rowed by tico youths who pass 
 an old man, are primitive chefs-d'oeuvre 
 full of nature and expression. On the 
 side of the Campanile towards the ca- 
 thedral, are two basso-relievos by Giotto, 
 and five by Luca della Robbia. 
 
 The church of Saint John, formerly a 
 cathedral and afterwards a baptistry, 
 was first founded in the sixth century, 
 by the great and amiable queen Theodo- 
 linda,' when Tuscany was subject to 
 the Lombards. Then vast quantities of 
 antique ruins afforded builders stones 
 ready-hewn, with wrecks of capitals 
 and columns ; these numerous fragments, 
 differing from each other, are united in 
 the baptistry, and one stone may be seen 
 there bearing a fine Roman inscription in 
 honour of Aurelius Verus. The tradi- 
 tion of the antique style, a kind of remi- 
 niscence of good taste then passed away, 
 may be discovered in the plan, in the sim- 
 plicity of the elevation and arrangement, 
 and even in the covering of the monument. 
 
 The doors and bronzes of Saint John 
 are regarded by Cicognara as the finest 
 works in the world. If Oante, wh 
 rails so violently against his countrymen, 
 by whom he had been proscribed, so en- 
 thusiastically celebrates the monuments 
 of his country, what would he have said 
 of this brilliant baptistry, he who so 
 feelingly remembered the old one ! 
 
 ne megglorl 
 
 Che quel che son net mlo be) San Glorannl ? j 
 
 1 See book iv, chap. iil. 
 
 3 in/, cou. xix. it. See also Paract. XV. 134. 
 
Chap. IX.] 
 
 FLORENCE, 
 
 345 
 
 The oldest of the three doors, to the 
 south, executed between 1330 and 1339, 
 is by Andrea Pisano, the ablest pupil of 
 Nicolao; though since eclipsed by the two 
 neighbouring doors, by Ghiberti, which 
 are perhaps imitations, it then appeared 
 marvellous. The seigniory of Florence 
 went in procession from their palace to 
 visit it, accompanied by the ambassadors 
 of Naples and Sicily, and the artist re- 
 ceived the signal honour of the cittadi- 
 nanza. The door by Andrea, pre- 
 senting the history of Saint John and 
 different Virtues in twenty compart- 
 ments, is still worthy of admiration. The 
 Visitation, the Presentation, are simple 
 compositions in good taste : the women 
 have an air of gracefulness, propriety, 
 timid embarrassment full of charms. 
 Among the Virtues, Hope, a winged fi- 
 gure with extended arms, is full of ar- 
 dour for the attainment of its desires; 
 the Prudence, on the contrary, calm and 
 moiionless, has a double face, one a young 
 girl's, the other a man's of mature age ; 
 in one hand she holds a serpent, and in 
 the other a book. The naked parts and 
 draperv of these two figures are per- 
 fect. 
 
 Michael Angelo declared that the 
 middle door, by Ghiberti, was fit to 
 be the gate of Paradise. 1 "Ghiberti," 
 said he on other occasion to a friend, in 
 justification of his celibacy, " left im- 
 mense property and many heirs; but 
 who would now know that he ever 
 existed, if he had not made the doors of 
 the baptistry ? his wealth is dissipated, 
 his children are dead ; yet his bronze 
 doors are still standing." These cele- 
 brated doors, like the cupola of the 
 duomo, the result, of one of those Euro- 
 pean competitions already mentioned, 
 were confided to him when only twenty- 
 three ; and according to Vasari, they oc- 
 cupied him no less than forty.* Among 
 the competitors was Brunelleschi, then 
 
 i Benvenuto Cellini makes Francis i. use nearly 
 the same language, respecting a door of bis making 
 {Vita di B. Cellini, t. u. p. 165), so closely were 
 Christian fervour and the thoughts of salvation 
 connected with the arts at that period. 
 
 3 Vasari"s assertion has been contradicted, but 
 It is confirmed and explained in a learned memoir 
 by S. Vincenzo Follini, librarian of the Maglia- 
 beccbiana, on some difficulties in the history of the 
 baptistry doors, which was read at the academy 
 della Crusca, on the 13 of January 1821. Cbiberli's 
 numerous writings respecting his art, the artists of 
 nis day, and ibe works executed by himself, are in 
 
 twenty-four years of age, who eagerly 
 proclaimed his conqueror; this young 
 and generous rival solicited the work for 
 him alone, and even refused to take any 
 part therein ; Ghiberti, however, dis- 
 play ed no gratitude for this delicate 
 conduct, when, a powerless rival, he 
 sometime after wished to assist in con- 
 structing the cupola. The two superb 
 doors of Saint John were ordered by the 
 seigniory and the priori or heads of the 
 Merchants' Confraternity, after the ces- 
 sation of the dreadful plague of 1 100, to 
 embellish the temple of the protector of 
 Florence. The finest monuments in 
 Italy are in most cases connected with 
 religious or patriotic motives. The outlay 
 for these two doors was 40,000 sequins, 
 which would now be many thousands 
 more. Such works and the erection of 
 the duomo with the superb temples of 
 Santa Croce, Santa Maria Novella, and 
 the Holy Ghost, 3 commanded at the same 
 epoch by this small commercial state, 
 amid wars, calamities and seditions, are 
 splendid testimonies of the Florentine 
 taste and genius for the arts, and the li- 
 berality of its government; Ihey prove that 
 a mercantile spirit and republican forms 
 do not always exclude splendour and 
 dignity from public works. 
 
 The principal door of the baptistry 
 presents subjects from the Old Testa- 
 ment, in ten compartments; around it 
 are small elegant figures of prophets, 
 sibyls, some excellent busts, among which 
 a bald-headed one in the centre of the 
 cornice is the author's, and another is 
 Berloluccio's, his master and father-in- 
 law, a clever goldsmith of Florence who 
 had assisted h : m. The Creation of Adam 
 and Eve, the subject of the first com- 
 partment, is a noble, graceful, and 
 poetical composition : the woman does 
 not issue from a rib, but is raised by 
 four little angels; God receives her, and 
 a group of angels in the air seem to 
 
 the library confided to the care of S. Follini. They 
 are more inleresting for the history than the theory 
 of the art; and Cicognara has published the most 
 curious and Important portions of them in bis his- 
 tory of sculpture. A large and beautiful work on 
 Ghiberti's cbef-d'eeuvre w as published at Paris in 
 1837, by Aime Andre; its title is : Porle principale 
 du baptisleie de Florence, graiee sous la direction 
 de M. Blanchard, a large folio with eleven plates 
 representing all lhe compartments of that magni- 
 ficent work. 
 3 See post, en. xii., iili. and xit. 
 
344 
 
 FLORENCE. 
 
 [ Boos X. 
 
 survey her with love and respect as the 
 fairest work of creation. Moses receiv- 
 ing the Tables of the law, Joshua pas- 
 sing the Jordan, with a greater number 
 of figures, perfectly and most distinctly 
 executed in their diminutive proportions, 
 are equally admirable in their way. The 
 side door represents the Life of Jesus 
 Christ. The compartment of the Resur- 
 rection of Lazarus is sublime : the 
 Lazarus, erect, tombless, statuelike, 
 enveloped in his shroud, a chrysalis 
 phantom, whose limbs can only be traced 
 indistinctly, is a new and bold creation : 
 the calm dignity of the Saviour, the eager- 
 ness of Magdalen, the gratitude of Laza- 
 rus' relatives, the cool contemplative air 
 of the disciples accustomed to such mi- 
 racles, complete by their contrasts the 
 effect of this wonderful composition. 
 The bronzes of Ghiberti, true pictures 
 in every thing but colouring ( if painting, 
 the art of illusion, had not its limits dis- 
 tinct from statuary), are models of taste, 
 nature, purity, and harmony; a single 
 fact is sufficient for their glory : Cico- 
 gnara states that Raphael himself made 
 them his study and a source of inspira- 
 tion. 
 
 A good and true statue of Saint John, 
 with joined hands and one knee on the 
 ground, by Vincenzo Danti, is over the 
 old door of the baptistry. Over the 
 principal door, is the Baptism of Christ, 
 and the statues of Contucci da Sansovino, 
 a fellow student and rival of Michael 
 Angelo, are of pure and noble taste; the 
 angel, by Spinazzi, a powerless imitator of 
 the antique, amid the decline of the last 
 century, is one of his good works. The 
 porphyry columns placed on each side 
 this door and the iron chains .fastened 
 thereto, recall at once the alliance and 
 wars of Florence and Pisa : the columns 
 taken from the Saracens by the Pisans 
 were presented by them to the Floren- 
 tines, as an acknowledgement of the fi- 
 delity the latter had displayed in protect- 
 ing the city, menaced by Lucca, during 
 the expedition ; i the chains, on the other 
 hand, once served to close the port of 
 Pisa, and were a barbarous conquest of 
 the Florentines. The three statues of 
 the third door are the finest and most 
 
 ' Ser Giovanni Fiorenllno relates i'iat if a person 
 had been robbed of any article, on approaching 
 these culumns, be there saw the thief und the stolen 
 property. The Pisans had offered the choice of a 
 wrought metal door or these columns. Dissatisfied 
 
 classic in Florence ; they are by Rustici, 
 pupil of Leonardo Vinci, who is said to 
 have supplied the model. The author 
 quitted Italy, aggrieved by the injustice 
 of the magistrates, who, with that admi- 
 nistrative severity of which there are too 
 many instances, misappreciated his won- 
 derful performance, and refused to pay 
 him more than 400 crowns, instead of 
 2000 which his statues well merited. 
 His arbitrator was Michael Angelo ; Ri- 
 dolfi, chief of the consuls dell' U/fizio, 
 contented himself with taking baccio 
 d'Agnolo for his. 
 
 The interior of the baptistry is very 
 fine. The wooden statue of Magdalen by 
 Donatello, though perhaps too bony, too 
 anatomical, is admirable for grief, com- 
 punction, and penitence. The mauso- 
 leum of the infamous and adventurous 
 Ballassare Cossa, a pirate, general, poet, 
 and pope under name of John XX1IL, 
 deposed by the council of Constance, 
 ordered of the same artist by Cosmo L, 
 Cossa's friend, is noble and simple. The 
 inscription quondam papa remains, not- 
 withstandingthecomplaintsof Pope Mar- 
 tin V., Cossa's successor, who thought it 
 ambiguous : he wished that the dignity of 
 cardinal only should be mentioned, in 
 which Cossa died ; and the priori are said 
 to have answered quod scripsi, scripsi. 
 Donatello had no necessity lo put reli- 
 gious emblems on the statue of Hope, 
 one of the three divine virtues of the 
 mausoleum; the sprightly touching ex- 
 pression of her features is enough to 
 make her known. The Faith, by Mi- 
 chelozzo, is not ill placed beside the two 
 fine statues of his master, who perhaps 
 made the model and directed the execu- 
 tion. 
 
 The statues of papier mache round 
 the church, are by Ammanato. Apol- 
 linius, a Greek painter, and Andrea 
 Tafi, his pupil, who made the great fi- 
 gure of Christ, began the mosaics of the 
 cupola, which were completed by Jacopo 
 da Turrila. Taddeo Gaddi, Alessio Hal- 
 dovinetti, and Michael Angelo's illus- 
 trious master, Domenico Ghirlandajo. 
 The altar front, of silver, enriched with 
 enamel and lapislazuli, on which divers 
 incidents in the life of Saint John are 
 
 at the preference of the latter, they destroyed by 
 means of tire and smoke, says Ser Giovanni, the 
 kind of tint that made them valuable. // Peforonc, 
 Giorn. HI, nov. 2. 
 
 
Chap. X. ] 
 
 FLORENCE. 
 
 345 
 
 represented, the most classic piece of 
 goldsmiths' work known, is a splendid 
 and curious monument of the magnifi- 
 cence of the Florentine republic ; it was 
 begun in 13G6, but not finished till 1477 ; 
 artists of the highest order were engaged 
 on it, as Michelozzo di Bartolommeo, 
 Maso Finiguerra, Sandro Botticelli, An- 
 tonio Salvi, and Antonio del Pollajolo, 
 for boldness of design and anatomic 
 skill, regarded as a forerunner of Mi- 
 chael Angelo. 1 Two small pictures, in 
 mosaic most delicately worked are part 
 of this precious altar; they are allusions 
 to the principal holydays of the year, 
 and were deemed, by Gori the anti- 
 quary, remarkable proofs of the sacred 
 antiquity of the Florence baptistry. 
 
 Beside Saint John, the Bigallo, an 
 hospital for foundlings and orphans, has 
 on the altar of its chapel a fine Madonna 
 in excellent preservation, by Alberto 
 Arnoldi, a Florentine sculptor of the 
 fourteenth century, wrongly ascribed by 
 Vasari and other writers to Andrea Pi- 
 sano ; for grace and expression it is alto- 
 gether worthy of him. 
 
 In a side street, close to the houses, is 
 a spotr'eligiously preserved, where there 
 formerly stood a bench on which Dante 
 used to sit; the words Sasso di Dante 
 are inscribed there ; perhaps, there he 
 mused over the factions and anarchy of 
 Florence, and created his Inferno. 
 
 CHAPTER X. 
 
 Saint Laurence. — Chapels.— Cosmo tlie elder. — Old 
 Sacristy. ^Chapel of the Tombs ; of the Medici.— 
 Pedestal.— San Ciovannino. -Ammanato.— Laura 
 Battiferrl. — Padre Inghirami. — Lo Scalzo. — An- 
 drea del Sarto. 
 
 The old church of Saint Laurence was 
 rebuilt by Brunelleschi in 1425. If there 
 are any inaccuracies, they may be attri- 
 buted either to some fault in the first 
 foundation, or the errors of those who 
 completed it after the artist's death. The 
 fine disposition of the architectural lines 
 is greatly admired there. Previously 
 columns had been employed, either as 
 they were found ready made, or such as 
 the locality obliged them to be made, 
 without any attention to beauty of form 
 or the due proportions of each order : here 
 
 1 Cicogaara, Stor. dell. Scult. lib. tv. cap. xv. 
 Follajolo Is reputed the first who seriously studied 
 the structure of tbe human body by the help or 
 
 for the first time, the Corinthian order 
 reappeared with all the regularity of its 
 proportions and the elegance of its capital. 
 
 The twenty-four chapels ofSaint Lau- 
 rence are ornamented with paintings by 
 able Florentine artists ; such are the 
 Visitation, by Yeracini ; the Sposalizio, 
 by Del Rosso, painter to Francis I., poi- 
 soned in France ; a St. Laurence, by 
 Lapi ; a Christ on the Cross with Sts. 
 Jerome, Francis, and Magdalen, by Ot- 
 taviano Dandini ; a Nativity, by Cosmo 
 Roselli; the Adoration of the Magi, by 
 Macchietti ; St. Laurence, St. Ambrose, 
 St. Zanobi, done in one night by Fran- 
 cesco Conti, for the gratification of his 
 protector the marquis Cosmo Riccardi; 
 a St. Sebastian, by Empoli, who has 
 portrayed the Florentine senator Leone 
 Nerli in the person of the martyr; St. 
 Arcadius on the cross and his compa- 
 nions, a pleasing composition for the 
 figures and landscape, by the natural 
 and elegant Florentine painter of the 
 sixteenth century, Sogliani, under which 
 are some charming figures by Bacchiacca. 
 The Infant Jesus and the marble sculp- 
 tures of the chapel of the Holy Sacra- 
 ment, by Desiderio da Settignano, are 
 admirable for taste and truth. 
 
 The marble crucifix at the high altar 
 is not, as stated, the crucifix of Benve- 
 nuto Cellini, now at the Escurial ; it is 
 by Baccio da Montelupo. 
 
 In the centre of the church a broad 
 pavement of porphyry, serpentine, and 
 other marble, covers the tomb of Cosmo 
 the elder; on it are these words : " Here 
 reposes Cosmo de' Medici, surnamed 
 Father of his country by a public de- 
 cree; he lived seventy-five years, three 
 months, and twenty days." In the 
 vault is an equally simple inscription 
 stating that the tomb was erected to him 
 by his son. Such moderation on the 
 tomb of this great man is very affecting, 
 when we remember that he was for thirty 
 years .the able chief, the absolute master 
 of the government of Florence, and that 
 he was destined to give his name to the 
 most brilliant age of modern literature 
 and art. Cosmo has been diversely 
 judged : Machiavcl, Sismondi, and Nic- 
 colini especially in his Elogium of Al- 
 berti, have treated him harshly; Comines 
 
 anatomy, and introduced that study in the teachiug 
 Of drawing. 
 
34C 
 
 FLORENCE. 
 
 [ Book X. 
 
 pretends " that his authority was mild 
 and amiable, such as was necessary in 
 a free city." Rousseau said to Bernardin 
 de Saint-Pierre : " I have been much in- 
 clined to write the history of Cosmo de' 
 Medici. He was a private individual 
 who became the sovereign of his fellow- 
 citizens by making them happier. His 
 good deeds alone procured his elevation 
 and maintained it." Such was the well- 
 ordered liberality of Cosmo, that when 
 he died almost every Florentine of note 
 was his debtor for considerable sums. 
 A circumstance less remarked shows that 
 his riches likewise gave him political 
 influence abroad equal to that of our 
 most powerful bankers and capitalists : 
 when the Venetians entered into a league 
 with Alfonso of Aragon against the Flo- 
 rentine republic, he withdrew his funds 
 from Venice and Naples, and forced the 
 allies to remain quiet. 
 
 The old sacristy was erected from the 
 design of Brunelleschi; it seems a little 
 temple of itself. The medallions of the 
 cupola, the evangelists in stucco, the 
 small bronze doors, an ewer, a bust of 
 St. Leonard, and especially the elegant 
 tomb of Giovanni de' Medici, son of 
 Averardo and his wife Piccarda, are by 
 Donattilo. This Giovanni, father of 
 Cosmo the elder, may be regarded as 
 the author of his family's fortune; his 
 immense wealth acquired by commerce 
 and the generous use he made of it, pro- 
 cured him a great political ascendency ; 
 and after having been ambassador at Ve- 
 nice, in Poland, and at Rome, he became 
 gonfalonier of the republic. He founded 
 this very church of Laurence, which en- 
 closes the masterpieces of so many illus- 
 trious artists. A fine inscription com- 
 memorates his glory, his services, and 
 his virtues especially. 1 Two paintings 
 are remarkable : a Nativity, by Rafl'ae- 
 lino del Garbo, and a St. Laurence, by 
 Perugino. The porphyry mausoleum of 
 Giovanni and Pictro de' Medici, the two 
 sons of Cosmo the elder, a famous work 
 
 ' Si meiila in patriam, si gloria, sanguis, et omnI 
 
 Large mauus, nigra libera niorte (omit, 
 Vlveret lieu pallia casta cum CODjUge fa'lix 
 
 Auxilium miseris, portus et aura suis. 
 Oniuia sed guando superanlur morie, Johannes 
 
 Uoc niau;oieo, tuque 1'icnrda jaces, 
 F.rgo senex mceiel, juvenls, puer, omnis et a?las. 
 
 Orba parenie suo patria mcesta gemit. 
 See Vnvieles ilaliennes. 
 ' See his fine ode to Pbiiiberta or Savoy, Giu- 
 
 of Andrea da Verracchio, is an admir- 
 able monument or the magnificence of 
 Lorenzo and his brother Giuliano ; the 
 bronze ornaments are cast and chased 
 with exquisite art, that has never been 
 surpassed. 
 
 The Martyrdom of St. Laurence, 
 near the door of the cloister, is a fine 
 fresco of the first Bronzino; four marble 
 statues are by Donatello, and Poccetti, 
 the Paolo Veronese of Florence, has 
 painted a tabernacle at the extremity of 
 the temple. 
 
 The two bronze pulpits, from Dona- 
 tcllo's designs, executed by his pupil 
 Bartoldo, are incomparable works. The 
 Descent from the Cross, a basso-relievo 
 on one of the pulpits, for the attitudes, 
 forms, variety, and force of expression, 
 recalls the basso-relievos of antiquity. 
 
 The new sacristy, the first and one of 
 best architectural performances of Mi- 
 chael Angelo, which he did when about 
 forty, already announces, by the ordon- 
 nance of the pilasters of the second story, 
 his independence and originality in this 
 art as in all others. The soft still light 
 which falls from the lantern on the statues 
 of the tombs, leads to and increases the 
 profound, melancholy impression they 
 produce These celebrated sepulchres 
 of Giuliano de' Medici and Lorenzo duke 
 of Urbino, the most extraordinary chefs- 
 d'oeuvre of Michael Angelo's chisel, 
 have done more honour to the author 
 than to the princes they enclose, who 
 were vulgar and obscure, although sculp- 
 tured by this gram! artist and sung by 
 Arioslo, a fact which may possibly ex- 
 plain and justify the no-meaning and 
 uncertainty of the allegorical figures em- 
 bellishing their mausoleum. Some nice 
 judges can discover in these figures 
 neither the character nor beauty Of the 
 antique; but they can well bear their 
 absence, like the characters of Shak- 
 speai e, when they are true and pathetic. 
 Virgil's expression, vivos ducent de 
 marmore vultus, is perfectly applicable 
 
 llano's widow : Anima elella, che net mondo folle. 
 Giuliauo seems however to have mettled praise for 
 the generosity and sincerity of his character and 
 his patronage of letters; he is also one of the collo- 
 quisls in Bembo's Dialogo delta lingua ttatiana, 
 and Count Castiglioue's Cortegiano. The duke of 
 Urbino was much less deserving the verses of 
 Ariosto : 
 
 Sella stagion cbe '1 bel tempo rimena, 
 Di niia man post un ramusrel di iauro..,.. 
 
Chap. X.] 
 
 FLORENCE. 
 
 347 
 
 to this amazing sculpture. What a sin- 
 gular effect of Michael Angelo's talent ! 
 the most unfinished and least animated 
 figure, Night, is the most lifelike. 
 Among the many verses, Latin and Ita- 
 lian, composed for these statues, an 
 eternal mania of poetising everything 
 still common in Italy, may be cited the 
 Strozzi's quatrain : 
 
 La Xotte che tu vedi in si dolci otti 
 Dormir, fu da un Angelo scolpita 
 In qnesto sasso, e, perche dorme, ha vita ; 
 Destala, se not credi, e parleratti. 1 
 
 Michael Angelo's answer is a coura- 
 geous opposition to the power that op- 
 pressed Florence : 
 
 Grato m' e it sonno, e piu 1' esser di sasso : 
 Mentre cue il danno e fa vergogna dura, 
 Non veder, non sentir m' e gran ventura ; 
 Per6 non mi destar : deh ! parla basso 
 
 Charles V., in the ecstacy that he felt 
 from contemplating the figures of these 
 two monuments, was surprise! that he 
 did not see them rise and speak. The 
 head, the gesture of the statue of Lorenzo, 
 the Thought (II Pensiero) of Michael 
 Angelo, are terribly, menacing; they are 
 well suited to the precocious tyrant, the 
 worthy father of Catherine of Medicis 
 and of that bastard Alexander who 
 destroyed the liberties of Florence. Some 
 persons make the genius of Michael An- 
 gelo a kind of science, or art, understood 
 by a small number ofadepts only. There 
 seems to me some strange mistake in 
 such a notion. The effect of this chapel 
 is instantaneous, complete, irresistible ; 
 and it produces profound emotion with- 
 out any lengthened study. 
 
 Adjoining the prodigy of the tombs, 
 are some objects that merit notice in the 
 new sacristy. The altar and chandeliers 
 were executed by Michael Angelo. The 
 group of the Virgin and her son is also 
 by him; there is indeed some singularity 
 and confusion in the draperies, but the 
 figure of the Virgin is simple and na- 
 tural, and the brisk movement of the in- 
 fant Jesus perhaps justifies the extraor- 
 dinary energy of his muscles, and his 
 truly Herculean form. On each side of 
 the Madonna are two statues by pupils 
 
 1 Vasari pretends that the author of ibis quatrain 
 is unknown ; it Is, however, generally ascribed to 
 Giambat tista Strozzl, a poet of the sixteenth century, 
 
 of Michael Angelo, and of which, accord- 
 ing to Vasari, he even made the models: 
 St, Damian is by Raffaelle da Monte- 
 luppo j St. Cosmo is the chef-d'oeuvre of 
 Fra Montorsoli, who assisted his illus- 
 trious master in making the tombs. 
 
 The chapel de' Medici, behind the choir 
 in the church of Saint Laurence, was 
 built from the designs of Don Giovanni 
 de' Medici, brother of the grand duke 
 Ferdinand 1. The architecture of Mi- 
 chael Angelo's chapel of the Tombs sin- 
 gularly depreciates this princely per- 
 formance : the octangular form of the 
 cupola has been much criticised, and de- 
 servedly. The grand duke Ferdinand 
 is said to have had the project of placing 
 the Holy Sepulchre there, which the fa- 
 mous emir Faccardin,governoi of Druzes, 
 and a self-styled descendant ofGodefroi 
 de Bouillon, when at Florence in 1613, 
 had promised carry off for him. The 
 works of the Medici chapelhave been 
 in progress more than two centuries ; it 
 is encrusted with jasper and granite, and 
 presents the arms of all the Tuscan ci- 
 ties in fine stones. The colossal frescos 
 of the cupola, the finest and richest cu- 
 pola that painting has ever embellished, 
 were accorded to S. Benvenuto a cele- 
 brated Florentine master, who completed 
 them in 1836, after nine years' labour : 
 the subjects, judiciously selected from 
 the Scriptures, are in strict conformity 
 with the sepulchral destination of the 
 chapel. 
 
 Two of the tombs in the Medici chapel 
 are remarkable : that of Ferdinand I., 
 resplendent with the finest marbles, but 
 of the wretched architecture of the times ; 
 the statue, by Giovanni Bologna, is an 
 expressive and accurate likeness of that 
 excellent prince, the patron of letters and 
 the arts, who had the glory of fixing the 
 Venus of Medicis at Florence. The se^ 
 cond tomb, by lacca, Giovanni Bo- 
 logna's best pupil, and in his style, is that 
 of Cosmo II. , Ferdinand's worthy son, 
 deceased in his thirty-first year, the pro- 
 tector of Galilee, who was invited by 
 him from Padua, named first mathema- 
 tician of the university of Pisa, without 
 being obliged to profess or reside, and 
 created his private mathematician and 
 philosopher. 
 
 noled for some fugitive pieces extremely graceful 
 and delicate. 
 
348 
 
 FLORENCE. 
 
 I Boor X. 
 
 The tomb and statue which Paolo 
 Giovio ordered for himself in his will may 
 be seen in the cloister of this church. 
 The architecture of the monument, by 
 Francesco San Gallo, is in tolerably good 
 taste; the mean, satirical, unbishoplike 
 physiognomy of the statue well accords 
 with the character and writings of the 
 person it represents.' 
 
 In a corner of the Piazza of Saint Lau- 
 rence is the pedestal ornamented with 
 the celebrated basso-relievo of Baccio 
 Bandinelli, and one of the best works of 
 that epoch, despite some few imperfec- 
 tions. This pedestal was intended for 
 the statue of Giovanni de' Medici, called 
 the Great Devil in his lifetime, and of 
 the black bands after his death, because 
 his soldiers, the choicest of the Italian 
 troops, wore mourning for him. The 
 various excesses of military recklessness 
 and rapine so energetically expressed in 
 this basso-relievo are not unsuited to the 
 monument ofsuch a captain. 
 
 The convent and beautiful church of 
 Saint Giovannino were founded and 
 built by the grand Florentine sculptor 
 and architect Ammanalo, who gave all 
 his wealth to the Jesuits, and, feeling 
 excessive religious scruples on account 
 of the harmless nudity of certain statues 
 he had made, consecrated his latter 
 years to the erection of this church and 
 works of piety. According to his desire, 
 he reposes in the chapel of Saint Bar- 
 tholomew, with Laura his wife, natural 
 daughter of the legist Batliferri ; this 
 lady was celebrated for the purity and 
 elegance of her sacred poems, and her 
 correspondence with most illustrious 
 men of the day, such as Caro, Varchi, 
 Bernardo Tasso, Pielro Vettori; she was 
 publicly acknowledged by her father, 
 who secured his whole fortune to her, 
 and was unwilling that any but a man 
 of superior talents should become her 
 husband. The front of the church, re- 
 gular, is esteemed. Among the good 
 paintings of the chapels, may be distin- 
 guished, in that of Saint Bartholomew, 
 Christ, the Apostles and the Canaan- 
 itish woman, by the second Bronzino; 
 theS<. Bartholomew, leaning on a stick, 
 is the portrait of Ammanato, and the 
 old woman behind the Canaanite, Laura 
 Battiferri ; in the chapel of Saint Francis 
 Xavicr, the Saint preaching to the in- 
 
 ' See ante, book iv. cli. viil. 
 
 fidels, one. of the best works of Currado, 
 a Florentine painter of the sixteenth cen- 
 tury. 
 
 The convent is now occupied by the 
 Scolopi, successors of the Jesuits, learn- 
 ed and estimable monks who have in- 
 troduced some useful reforms in the 
 teaching of letters and the physical and 
 mathematical sciences. The P. Gio- 
 vanni Inghirami passes for one of the 
 first astronomers in Europe, and his 
 geometrical map of Tuscan is an excel- 
 lent and unique work. 
 
 The celebrated frescos in clare-obscure, 
 by Andrea del Sarto, at the Compagnia 
 dello Scalzo, executed at divers epochs, 
 are like the history and epitome of his 
 talent : the Baptism of Jesus Christ 
 shows his first style; the Virgin visiting 
 St. Elizabeth, his progress; the Birth 
 of John the Baptist, his perfection. 
 They demonstrate that this artist, sur- 
 named the faultless painter ( Andrea 
 senza errori) is in reai.ity more admir- 
 able for nature, purity, grace, than 
 power, originality, imagination. Two 
 of these frescos, St. John receiving his 
 father's blessing, and the same met by 
 the infant Jesus on a journey, were ex- 
 ecuted by Francinbigio, pupil of Andrea 
 del Sarto, while his master was gone to 
 France, and appear worthy of him. 
 Time, damp, restorers, and perhaps ill- 
 will, have greatly impaired these paint- 
 ings, but the progress of their decay 
 seems to have been arrested since the 
 Academy of Fine Arts has taken them 
 under its care. 
 
 CHAPTER XI. 
 
 Saint Mark. — Pico della Wiraodola.— Polllian. — 
 Convent. — Savonarola- Old library of Sainl Mark. 
 — Annuuziala.— Chapel. — The Vlllani. — Gallery. 
 —Cloister. 
 
 Saint Mark is remarkable for some 
 masterpieces of art and the most illus- 
 trioustombs of the revival. The interior 
 architecture of the church is for the most 
 part by Giovanni Bologna, who also 
 made a statue of St. Zanobi, the chapel 
 of Saint Antoninus and his statue; but 
 the cupola of the former and several fi- 
 gures are by the second Bronzino. In 
 the church, an admirable Transfigura- 
 tion, which might be supposed by a 
 greater master, is by Paggi, a Genoese 
 painter, by birth a patrician, who, when 
 
Cuap. xi. i 
 
 FLORENCE. 
 
 3-49 
 
 force to fly his country for murder, 
 found an asylum for twenty years at 
 Florence. 
 
 The brilliant chapel of the Serragli 
 has six excellent paintings : the Last 
 Supper, the most remarkable, is by 
 Santi Till, pupil of Bronzino, the best 
 Florentine painter of his time : the 
 Christ and Judas form a superb contrast 
 of divinity and crime; the Miracle of the 
 manna, by Passignano; Abraham's sa- 
 crifice, by Empoli; the Miracle of the 
 loaves and fishes, by Currado; and St. 
 Paul raising a child from the dead, by 
 Bilibcrti. 
 
 The great Crucifix, painted on wood 
 with a gold ground, over the principal 
 door, is by Giolto. 
 
 The tomb of Pico della Mirandola is 
 covered with a pompous and foolish in- 
 scription, hyperbolically extolling his 
 vast renown ; ■ though this prince died 
 before completing his thirty-second year, 
 his learning was prodigious ; after pro- 
 foundly studying the Egyptian, Hebrew, 
 Chaldean, Greek, Latin, Arabian, and 
 cabalistic creeds, he determined to go 
 alone and barefoot to preach the gospel 
 throughout the world. The elegant and 
 pure Platonic poet, Geronimo Benivieni, 
 his friend, and a zealous partisan of Sa- 
 vonarola, a deceased at the age of more 
 than eight-nine years, wished to be laid 
 near the prince della Mirandola, as stated 
 in his touching epitaph, so widely diffe- 
 rent from the one preceding it.? The 
 tomb of Politian, who quitted life two 
 months before Pico della Mirandola, the 
 aid and dearest partner of his toils, has 
 only a wretched faulty epitaph (it makes 
 him die in 1499 instead of 1494), un- 
 worthy such a sepulture. This great 
 scholar, this friend, this Virgil of the Me- 
 dici, had expressed a wish to be interred 
 in Saint Mark, clothed in the habit of 
 
 1 Joannes jacet bic Mirandula: cetera norunt 
 Et Taguset Ganges; forsan et antipodes. 
 
 3 Benivieni bad degraded bis talent so far as to 
 compose religious verses to dance tunes, a kind of 
 spiritual rondos wbich were sung during carnival 
 on tbe piazza of tbe convent of Saint Mark. 
 
 3 Hieronymus Benivenius, ne disjunctus post 
 mortem Iqcus ossa teneret, quorum in vita animos 
 conjunxit amor, bac buino supposita ponendum 
 cur. 
 
 4 Ho left a memorial containing a relation of 
 tbe circumstances attending Polilian's last mo- 
 ments. See Hoscoe's Life of Lorenzo de' Medici, 
 cli. x. and No. l'xviii la tbe appendix. 
 
 the Dominican order, a desire that was 
 fulfilled by Roberto Ubaldini, a monk of 
 the convent and perhaps the confident 
 of the mysterious calamity that caused 
 his death. 4 
 
 The convent of Saint Mark, from the 
 designs of Michelozzo, presents some fine 
 lunettes in its two cloisters, painted in 
 fresco by Pocelti, Pictro Dandini, and 
 the old Gherardini : among the nume- 
 rous paintings of Fra Bartolommeo, who 
 was a monk of Saint Mark, a St. Vin- 
 cent has been thought worthy of Titian 
 or Giorgionc for its colouring. In this 
 convent I saw the cell of Geronimo Sa- 
 vonarola, prior of Saint Mark, to which 
 this dark enemy of the Medici always 
 retreated when Lorenzo, whose fa- 
 mily had founded the convent, came to 
 visit it or appeared in the garden. It 
 was shown me by an old Dominican, a 
 very good sort of man, who doubtless 
 had but little resemblance to the reli- 
 gious tribune of Florence and the intrepid 
 foe of the abuses of the Roman court, a 
 monkishdemagogue who had such a pro- 
 digious ascendant over his fellow-citizens, 
 that he one year induced them to renounce 
 the carnival, and at his eloquent voice 
 huge pyramids of books, paintings, mu- 
 sical instruments, with cards and dice, 
 were burnt in the square before the old 
 palace ; 5 and the greatest painter of 
 Florence, shocked at the seductions of 
 his art, threw his voluptuous works into 
 the same fire, took the habit of Saint Do- 
 minick, and had no glory thenceforward 
 but under the name of Fra Bartolom- 
 meo, or the frate. Savonarola had 
 real talents as well as popular power. 
 In his youth, he had composed Italian 
 verses as a relaxation from theological 
 studies and the reading of Saint Thomas. 
 Varchi has preserved this republican 
 stanza addressed to the people of Flo- 
 
 5 Tbe scarcity and excessive price of the first edi- 
 tions of Dante, I'etrarcb, and Boccaccio, are owing 
 to tbese book auto-da-fe. At tbe one in f498, ac- 
 companied with a Te Deum, and presenting a greater 
 quantity of precious objects Iban tbe last, in 1498, 
 especially some antique busts, tbere was observed' 
 a Petrarch so highly embellished with gold and 
 miniatures that it was valued at 50 crowns. The 
 folio Venice Decameron | U7t ), extremely scarce, 
 was purchased by tbe marquis of Blandford in 1812 
 for 2260 pounds sterling. This perhaps is the 
 highest price ever paid for a book ; it has since 
 passed into Earl Spencers library, at the price of 
 918/. 15*. 
 
 30 
 
550 
 
 FLORENCE. 
 
 [Book X. 
 
 rence, which he wrote up in capitals in 
 the grand council chamber, in opposition 
 to all ncgociations with the banished Me- 
 dici : a threatening notice, to which the 
 Florentine historian attributes the con- 
 demnation of Carlo Cocchi, who was 
 beheaded for bruiting their recall : 
 
 Se queslo popolar coosiglio, e certo 
 Coverno, rnpol, della lua eittate 
 Conservi, che da Dio t' 6 stato offerlo, 
 la pace staral scmpre e 'n libcrlate ; 
 Tien dunque I' occhio dello piente aperto. 
 Che molle Insldie ognor li Den pnrule, 
 E sappi, clie chl vuol f.ir parlamento 
 Vuol lorll dellc mani il reggimeulo. 
 
 Machiavel, who had listened to him un- 
 moved, speaks favourably of Savonarola 
 in his Discourses on Livy, though one 
 of his letters informs us that he doubted 
 his sincerity , and he has poetically de- 
 picted the Florentines as wrapt up in his 
 words : involti con la sua parola. Mi- 
 chael Angelo read his works with plea- 
 sure. Comines, an able judge, who vi- 
 sited him at his reformed convent of Saint 
 Mark, styles him a worthy man, and he 
 was well versed in his whole history, for 
 Savonarola leaned towards the French 
 alliance, and when he preached on the 
 means of making his country haf.py, he 
 was accustomed to say : gigli con gigli 
 dover fiorine. The passage of a sermon 
 of the second Sunday in Lent, which was 
 intercepted by the weeping and excla- 
 mations of the congregation and the 
 orator's tears likewise, is very pathetic; 
 a passage on the plague, in another ser- 
 mon, is boasted by the Italians as a 
 masterpiece full of poetry. Florence is 
 indebted to the sermons of Savonarola 
 for the establishment of the Mont-de- 
 Piete\ Until the middle of last century, 
 flowers (fiorita) were scattered about 
 the spot where he was executed in the 
 piazza of the grand duke. It must how- 
 ever be confessed that Savonarola's 
 closing scene did not answer to the un- 
 shrinking boldness of his life, for this 
 fiery preacher then appeared nothing 
 but a weak and cowardly fanatic and a 
 faithless martyr. 
 
 Saint Mark also presents us the tomb 
 of a much less fearful personage, the an- 
 tiquarian Gori, an indefatigable scholar; 
 
 1 The Latin, Creek, and Oriental manuscripts 
 collected by Niccoli, many of which were copied by 
 himself and enriched with his commentaries, 
 amounted to about eight hundred, according lo 
 
 he was, loo, a man of the world, priest, 
 poet, and musician. His marble sepul- 
 chre, with an inscription, surmounted 
 by his bust, is in the first cloister. 
 
 The celebrated old library of the con- 
 vent, composed of the books of Nicolao 
 Niccoli," of Florence, and devoted lo 
 public use by Cosrno de' Medici, who 
 must be regarded as the real founder, 
 was classified by Tommaso di Sarzane, 
 then a poor and learned priest, who 
 afterwards became a great pope, under 
 the name of Nicholas V., and laid the 
 foundations of the Vatican. The com- 
 position that he put forth on this sub- 
 ject served as a model for the classifi- 
 cation of many other libraries in Italy. 
 The convent of Saint Mark thus seems to 
 have originated the first catalogue. This 
 public library was pillaged, like the 
 other property of the Medici, by the 
 people and the army on the entry of 
 Charles VIII., and afterwards by another 
 still more furious enemy of that family, 
 Savonarola, who made presents of many 
 articles to the cardinals and other power- 
 ful persons, to shield himself from cen- 
 sures and excommunications; the pre- 
 cious wrecks after going lo Rome return- 
 ed to Florence, and were the beginning 
 of the Laurentian, where they still re- 
 main. 
 
 On the Piazza dell' Annunzinta Is tlis- 
 equestrian statue, by Tacca, of Ferdi- 
 nand I., third grand-duke of Tuscany, 
 the best and most beloved of the Medici 
 dynasty. The noble clemency of his 
 government is well figured by the king 
 or queen of the bees amid a swarm, 
 placed on the base, with the motto, Ma- 
 jestate tantum. The merit of the 
 statue is greatly inferior lo that of the 
 prince : the man and horse are truely 
 fabricated of bronze rather than flesh; 
 the sphinxes of the fountain appear less 
 feeble and more lifelike, possibly be- 
 cause we cannot compare them with an 
 original. The block of violet granite 
 from the isle of Elba, forming the pe- 
 destal, is superb. The statue of Ferdi- 
 nand was founded with cannon taken 
 from the Turks by the knights of Saint 
 Stephen; a fact somewhat whimsically 
 expressed in the inscription on the 
 horse's belly, by which we arc told that 
 
 l'ogglo iMccoli's funeral oration. Op. Basil edition, 
 1538, p. U70) ; four hundred onlv reached the con- 
 vent of Saint Mark. It seems difficult and would 
 be interesting to trace out the others. 
 
Chap. XI. ] 
 
 FLORENCE. 
 
 351 
 
 the metal was taken from haughty 
 Thrace. 
 
 The first door of the portico which 
 precedes the church of the Annunziata 
 has three good paintings by Antonio 
 Pollajolo, Poggi. and Lomi. The lu- 
 nettes of the court serving for vestibule 
 are by able Florentine masters; there 
 are the Assumption, by Del Rosso : 
 among the apostles contemplating the 
 Virgin, the St. James in pilgrim's garb 
 is the portrait of the celebrated poet 
 Berni, still the best writer of the bad 
 style that passes by his name : the Visit 
 of the Virgin to St. Elizabeth, by Pon- 
 tormo ; the Sposalizio, by Franciabigio, 
 not finished : the monks having un- 
 covered it too soon, on occasion of a 
 holiday, the artist, ashamed and indig- 
 nant, had already struck several blows 
 with a hammer in order to destroy it; 
 he was prevented from effecting his fatal 
 purpose, but would never resume his 
 work, and no one has since presumed 
 to touch it; the Birth of the Virgin, by 
 Andrea del Sarto : the first of the two 
 women who visit the mother is the por- 
 trait of Lucrezia del Fede, his wife ; his 
 Adoration of the Magi, in which the 
 figure turned towards the spectator is 
 Sansovino, and the man leaning on the 
 latter, his own portrait ; a Nativity, by 
 Baldovinetti, perfectly natural; St. 
 Philip Benizzi taking the habit, by 
 Cosmo Roselli, left incomplete at his 
 death ; the same saint giving his shirt 
 to a naked leper ; Card-players struck 
 by lightning for despising his repri- 
 mands ; St. Philip delivering a demo- 
 niac ; a Nun devoutly putting the tunic 
 of the same saint on some children, by 
 Andrea del Sarto : the old man, clad 
 in red and supported by a stick, in the 
 last fresco, is the portrait of Andrea 
 della Robbia. 
 
 The church, horribly modernised, no 
 longer retains its numerous old ex voto 
 offerings, a host of manikins covered 
 with rich habits suspended to the roof, 
 and representing illustrious personages. 
 Clever artists did not disdain on some 
 occasions to work on these figures. 
 Among those oi the Annunziata was the 
 duke Alexander, by Benvenuto Cellini; 
 
 1 Joannes Bologna Belga, meriiceor. 
 Princ. nobllis alumnus, eques militia? i.Christi, 
 Sculptura et architectura clarus, 
 Virlute notus, moribus et pieiate 
 
 the cord by which it was attached broke 
 one day, and such accidents, seemingly 
 of no unfrequent occurrence rendered a 
 visit to the Annunziata rather perilous 
 at that period. 
 
 The celebrated chapel della santis- 
 sima Vergine annunziata, founded by 
 Pietro, Cosmo's son, is dazzling with 
 gold, silver, and precious stones; the 
 head of the Saviour, at the altar, is by 
 Andrea del Sarto ; an Annunciation, a 
 fresco of 1252, by the Florentine Bar- 
 tolommeo, much venerated in Florence, 
 which has only been retouched in the 
 drapery, is remarkable for the time. 
 This Virgin then appeared so marvel- 
 lous to the people of Florence, as to give 
 rise to a report that it was painted by 
 angels descended from heaven, while the 
 artist had fallen asleep for the express 
 purpose. 
 
 The ceiling of the church painted by 
 Volterrano, is very fine. In the other 
 chapels may be observed : St. Nicholas, 
 the Virgin, and saints at her feet; the 
 last is Empoli's finest work ; the Blessed 
 Piccolomini sayiny mass, by Pietro 
 Dandini, agreeable and well composed ; 
 a Piety, sweet, noble, simple, which 
 surmounts the tomb of BaccioBandinelli 
 and his wife in his chapel : this group 
 had been begun by a natural son of the 
 mettlesome artist, a clever helpmate to 
 his father, whose oddities and ill-treat- 
 ment obliged him to leave for Rome, 
 where he died; Bandinelli resumed the 
 work ; he has given his own likeness in 
 the figure of Nicodemus, and was deter- 
 mined this time, without too great teme- 
 rity, to oppose his Piety to Michael An- 
 gers group placed behind the altar in 
 the choir of the cathedral ; a Crucifix, 
 after Giovanni Bologna, in the chape! of 
 the Virgin del Soccorso, erected at the 
 expense and on the plans of that inde- 
 fatigable artist, and for which he made, 
 when above eighty, the two Genii holding 
 extinguished torches, sitting on his tomb : 
 the epitaph signifies that he had in a 
 manner opened and consecrated this last 
 to Flemish sculptors and architects, his 
 fellow-countrymen ; • a Resurrection, 
 by the first Bronzino; the Virgin and 
 saints, by Perugino j the Birth of the 
 
 Insignis, sacellum deo, 
 
 Sep. sibi cuuctlsqne Belgis esrumdem 
 
 Arlium cultoribus p. an. Dom. MDCIY. 
 
FLORENCE. 
 
 Book X. 
 
 Virgin, by the second Bronzino, with 
 an inscription of the year 1602, in which 
 he affectingly apologises for his inability 
 to do better on account of his age ; an 
 incident from the Life of the blessed 
 Manelto, by Cristoforo Allori, his son, 
 the third Bronzino, executed with such 
 skill lhatPietrodi Cortona declared that 
 if all the paintings in the world were lost, 
 this one would be sufficient to revive the 
 art and lead it to perfection : the old 
 man turned towards the spectator is the 
 portrait of his father; (be grand mau- 
 soleum of Bishop AngeioMarzi, an able 
 minister of Cosmo I., by Francesco San 
 Gallo : the prelate's stern physiognomy 
 has some analogy with the policy and 
 unbending authority of his master; the 
 St Philip Benizzi, by Volterrano ; a 
 fine wooden crucifix attheVillani chapel, 
 in which repose three clever historians 
 and excellent writers : the first, a trades- 
 man of Florence, magistrate, statesman, 
 and even bankrupt;' the second less 
 known; the third, a man of letters only, 
 surnamed the Solitary ; an Assumption, 
 by Perugino or Albertinelli; Christ be- 
 tween the two thieves, a superb compo- 
 sition of more than natural size, full of 
 soldiers and horsemen, the chef-d'oeuvre 
 of John Slradan,; a copy of the Last 
 Judgment of the Sixtine Chapel, by the 
 second Bronzino: the portrait of Michael 
 Angelois beside the body reviving with 
 banded eyes, and wrapt in a white sheet; 
 the frescos representing Christ disputing 
 in the temple and expelling the sellers, 
 also by the second Bronzino, which con- 
 tains the portraits of PietroVettori, Vin- 
 cenzo Borghini, the Augustine monk 
 Ludovico, Petrarch's friend, the first 
 Bronzino, and other literati and ar- 
 tists. 
 
 The gallery and cupola of the Annun- 
 ziata, in a rotunda-like shape, as large in 
 the vault as the Pantheon, without 
 windows or openings, a structure of 
 most extraordinary effect, due to the 
 magnificence of Ludovico Gonzaga, mar- 
 quis of Mantua, is, despite Vasari's cen- 
 sures, one of the wonders of Florence and 
 Albcrti's best work. The cupola, painted 
 by Volterrano in his old age, is esteemed 
 for invention, drawing and colouring ; 
 and the basso-relievo of the tabernacle 
 was executed by Thorwaldsen. 
 
 Outside the church, the oratory of 
 
 • See post, cli. xvii. 
 
 Saint Sebastian presents the Martyrdom 
 of the saint, the masterpiece of Antonio 
 Pollajolo, one of the best works of the 
 fifteenth century, which, though imper- 
 fect in the colouring, is remarkable for 
 the beauty of the horses, the science of 
 the naked parts, the expression of the 
 saint's countenance, which is a portrait 
 of Cino Capponi : an archer vigorously 
 straining to draw his bow is admirable. 
 
 The magnificent cloister of the Annun- 
 ziata is from the designs of Cronaca. 
 The lunettes are by the first masters. The 
 Miracle of the drowned man revived, 
 by Poccetti, is reckoned one of the best 
 paintings in Florence. Pope Alexan- 
 der IV. approving the Servites' Order, 
 by Matleo Bosselli, is of rare merit. The 
 celebrated Madonna del sacco, admired 
 by Michael Angelo and Titian, is a mas- 
 terpiece for grace, nature, and purity, 
 by Andrea del Sarlo. 
 
 The monastery of the nuns of Saint 
 Mary Magdalen de' Pazzi presents : its 
 court, of the architecture of Antonio San 
 Gallo, praised by Vasari, and, in the 
 Neri Chapel, some excellent pictures by 
 Poccetti. 
 
 The church of Saint Michael Yisdo- 
 mini, built from Orgagna's plans, and 
 reconstructed since, has a Virgin with 
 divers saints, by Pontormo, a happy and 
 free imitation of Andrea del Sarto his 
 master, who sent him away, being jealous 
 of his talents. 
 
 The side door of the oratory of Jesus 
 the Pilgrim or de' Prctoni, is from Mi- 
 chael Angelo's designs. In the interior 
 is the tomb of the celebrated burlesque 
 priest Arlotto, vicar of Saint Cresci at 
 Maciuoli, near Fiesole, deceased at the 
 age of ninety-seven, an Italian Babelais 
 without genius, whose epitaph may be 
 considered one of his facetiae : Questa 
 sepollurail Pievano Arlotto la fecefare 
 per se, e pci chici vuole entrare. Mori 
 a' xxvii di febbraio del mcccclxxxiy. 
 
 The oratory of Saint Clement, a de- 
 pendance of the old monastery, is curious 
 for its frescos by Stradan, representing 
 sundry particulars of the history of Christ, 
 and for the portraits of Cosmo I., his 
 consort, and the princes of that family, 
 ever lorn by dissensions, a misfortune 
 tyrants sometimes experience. 
 
Cbap. XII. 1 
 
 FLORENCE. 
 
 353 
 
 CHAPTER XII. 
 
 "lazza of Santa Croce.— Fountain. — Santa Croce. — 
 Tombs of Michael Angelo, Machiavel, Galileo.— 
 Dante's monument. — Other tombs. — AIQeri.— 
 Lanzi. — Leonardo Aretino.— Chancellors of the 
 Florentine republic— Mausoleum of Marsupplni. 
 — Filicaja.— Taddeo Gaddi.— Pulpit. -Cloisters.— 
 Saint Ambrose.— La Badia. — Or-San-Michele.— 
 Dautc professorships.— Gonnelli. 
 
 The piazza of Santa Croce witnessed, 
 about the middle of the tnirteenth century, 
 the formation of the popular authority of 
 Florence, when the richest citizens, 
 weary of aristocratic insolence and op- 
 pression, assembled there, took arms, 
 deposed the poilesta, and, after dividing 
 themselves into twenty companies ac- 
 cording to their respective quarters, each 
 of which had a chief and a standard, 
 replaced the podesta by a new judge with 
 the title of captain, formed his council 
 of twelve anziani, and created, in the 
 very heat of a riot, the constitution which 
 during ten years was the source of so 
 many honourable actions. This square 
 is now the rendezvous of the masquera- 
 ders and follies of the carnival. 
 
 The marble fountain in the piazza of 
 Santa Croce, one of the few fountains in 
 Florence, ill-supplied, furnishes almost 
 the only potable water in the town, where 
 everybody drinks the unwholesome tar- 
 tarous water of his own well, which 
 produces the leaden hue and liver diseases 
 of the inhabitants. 
 
 Santa Croce, built about the end of 
 the thirteenth century, by the great ar- 
 chitect of the Florentine republic Arnolfo 
 di Lapo, has been restored on the designs 
 of Vasari. This vast church, naked, 
 gloomy, severe, lighted by superb Gothic 
 windows of stained glass, filled with 
 illustrious tombs, has been justly entitled 
 the Pantheon of Florence; and truly so 
 good a company of departed great is not 
 elsewhere assembled. In contemplating 
 the mausoleums of Michael Angelo, Ma- 
 chiavel, and Galileo, within so small a 
 space, humanity seems aggrandised. The 
 religious character of the edifice is almost 
 lost in its national character and the 
 religious feelings of another kind inspired 
 by genius; but the faculties accorded to 
 such men supply a new motive for ad- 
 miring the hand of Providence. 
 
 Michael Angelo's mausoleum is deficient 
 in unity and grandeur, although the three 
 statues that adorn it are by able sculptors ; 
 
 each having paid greater attention to the 
 effect of his particular statue, than of the 
 whole. The statue of Architecture, the 
 best, is by Giovanni dell' Opera, pupil of 
 Michael Angelo, and may be taken as a 
 specimen of the state of the art at his 
 death; the Sculpture, in the middle, by 
 Cioli, seems rather asleep than afflicted ; 
 the Painting, by Lorenzi, has a kind of 
 affectation and coquetry ill-suited to the 
 gravity of such a monument. The body 
 of Michael Angelo, who died at Rome 
 aged ninety, was directed by the pope to 
 be buried at Saint Peter's; but Cosmo 
 de' Medici, jealous of such a conquest, 
 had it clandestinely removed by night and 
 transported to Florence in a package 
 of merchandise; he furnished the mar- 
 ble for the mausoleum, and a magnificent 
 funeral was decreed for the grand artist; 
 Varchi pronounced the funeral oration, 
 and genius was in this case as highly 
 honoured as power. 
 
 The ashes of Machiavel, deposited at 
 Santa Croce, remained nearly three 
 centuries without receiving any honour- 
 able distinction ; the present was not 
 erected till 1787, and it is a singular 
 fact, that an English peer, Nassau Co- 
 vering, Earl Cowper, the editor of his 
 works, in quarto, headed the subscription, 
 formed by Florentines and approved by 
 Leopold. The oniy figure on the tomb, 
 by Spinazzi, intended for both Policy and 
 History, is of indifferent taste ; it seems 
 to pronounce the words of the proud but 
 not exaggerated inscription written by 
 Doctor Ferroni ; Tanto nomini nullum 
 par elogium. 
 
 Galileo's mausoleum was erected at 
 the epoch when taste was most corrupted, 
 of which it unfortunately gives too much 
 evidence, as the chief sculptors of the 
 lime assisted in its execution. The bust 
 of Galileo, by Foggini, is less bad than 
 the rest. Galileo, who lived nearly 
 seventy-eight years, was born the very 
 day and hour that Michael Angelo died. 
 When I saw these two tombs facing each 
 other, it seemed to me that in the new 
 career of philosophy and science, the 
 torch of genius had never ceased to shine 
 atF!orence,and that it then passed without 
 interruption into the hands of theTuscans. 
 
 To supply the place of Dante's tomb, 
 the absence of which at Santa Croce 
 recalls the famous incident of the images 
 of Brutus and Cassius, a colossal ceno- 
 taph has recently been erected to him. 
 
 30. 
 
354 
 
 FLORENCE. 
 
 [Book X. 
 
 This monument is now only a magni- 
 ficent testimony that Dante is not there. 
 The composition is uncouth enough; the 
 dilatory tears of Poetry over this bone- 
 less urn seem ridiculous after five cen- 
 turies : the contemporary tears of sculp- 
 ture on the tomb of Michael Angelo, 
 though badly expressed, were natural and 
 true. If Florence were cruel to J);mte, 
 parvi Florentia mater amoris. ' it must 
 he owned that she has long sought to 
 repair the injustice. In the year 1396, a 
 public monument was decreed him, in 
 the hope of obtaining his remains from 
 Ravenna. Other applications and a new 
 decree, of the year 1420, are kept in the 
 archives delle riformagioni. At last in 
 1519, another request was addressed to 
 Leo X. by the Florentines; among the 
 signatures is the name of Michael Angelo, 
 a passionate admirer of the poet whom 
 the genius of this Dante of the arts so 
 much resembled, » and who consecrated 
 verses to the poet that he would not have 
 disavowed. 3 I do not think there is any 
 apostil comparable to that of Michael 
 Angelo asking to build Dante's sepulchre 
 at Florence, in these words : Io Michel- 
 Agnolo scultore il medesimo a rostra 
 sdntita supplico, offe'-endomi al divin 
 poeta fare la sepultura sua condecente 
 e in loco onorevolc in questa citta. Sig. 
 Ricci, a Florentine artist now living, 
 professor of sculpture at the Academy of 
 Fine Arts, obtained from fortune the 
 honour coveted by Michael Angelo ; it is 
 a matter of regret that his talents have 
 not proved altogether equal to the task. 
 This poor monument has not however 
 been erected in. vain, as we owe to it the 
 fine verses of Count Jacopo Leopardi, one 
 of the first contemporary poets of Italy, 
 
 ' Expressions allribuled to Dante, and engraved 
 on his tomb. See book ill. ch. v. 
 2 This document, still preserved in the Arehiva 
 
 diplomatico, has been given as well as the decree of 
 1V29, by the editor of the Life of Dante, by Mario 
 Fllelfo, MS. of the Lanronllan, published at Florence 
 in 1828, in 8vo. 
 1 See Ihe two sonnets : 
 
 Dal rnondo scese al ciechi abissi e poi. 
 Quanto dime si dee non si puo dire. 
 
 < Canto ii. Sopra it monumento di Dante cite si 
 prepara in Fuenze, Florence, 1831. Count Leopardi, 
 of an ancient family of Reeanali, a scholar and 
 author in verse and prose, died at Naples of the 
 cholera, on the 28th of June 1837, aged forty years. 
 Bis Optrette morali, a fourth editiou of which was 
 
 on the love of Italy and her ancient glory. 1 
 After the great tombs of Michael An- 
 gelo, Machiavel, and Galileo, come others 
 worthy of a place in their train. The 
 vast mausoleum of Allien, a masterpiece 
 by Canova, with stern Grecian character 
 so conformable to the poet's genius, is 
 rather cramped between ihe tomb of 
 Michael. Angelo and Machiavel. The 
 bitter satirical epitaph written by himself. 
 and already published repeatedly, is not 
 thereon; 5 the only inscription is as fol- 
 lows : 
 
 Vulorio Alfiero Aslensl 
 Aloisia e principlbus Stolbergis 
 Albania? couiilissa 
 m. p. c. an MDCCCX. 
 
 It was among these tombs, near which 
 he reposes, that Alficri first felt the love 
 of glory stir his breast; near the close of 
 his life, his mind worn with feeling, la- 
 bours, and study, he again came to 
 meditate at Santa Crocc, and was seen 
 there by another poet, the ardent, me- 
 lancholy, contemplative Foscolo, who has 
 eloquently painted his pale austere as- 
 pect : 
 
 i: a questl marml 
 
 Venne spesso Viilorio ad ispirarsi. 
 Irato a' patrj Numi, errava muto 
 Ove Arno e piu deserlo, i campi t il cielo, 
 Desioso mirando ; e poi che nullo 
 Vivenle aspelto gli molcea la cura, 
 Qui posava 1' austero, e uvea sul voito 
 11 pallor della niorie e la speranja. 
 
 Beside these great names is another uf 
 gigantic magnitude : near the holy-water 
 vase, an almost obliterated inscription 
 indicates the burial-place of a Bona- 
 parte. 6 
 
 The mausoleum of the senator Filippo 
 
 published at l'arls after his dealh by MM. louis de 
 Sinner and Cgoni, are reckoned by Manionl the 
 most profound work of the kind produced in Italy 
 during the present century. 
 
 5 lie had it Inscribed, as well as the touching 
 epitaph of the countess Albani, his friend, on two 
 little tablets of scagtiola (See post, ch. xx. ) like a 
 dyptich, and he called it his last book (Alfiert 
 liber novissimus |, as lettered on the back. 
 
 6 The Bonaparte family had resided in Tuscany 
 (See post, book xix. ch. ii. ). It has been stated 
 that an uncle of Napoleon's, a country priest, still 
 dwelt in his village some few years since : a lover 
 of quietude, he refused the prolfered honours of 
 his powerful nephew, and, like Rousseau's vicar, 
 he perhaps answ ered : " Mon bon ami, je ne trouve 
 rien de si beau que d'etre cuie." Entile, liv. it. 
 
Chap. XII.] 
 
 FLORENCE. 
 
 35S 
 
 Buonarotti, deceased in 1733, president 
 of the jurisdiction of ecclesiastical affairs, 
 a learned antiquarian and botanist, who, 
 independently of his printed works, has 
 left about sixty manuscript volumes on 
 Greek and Latin antiquities, from which 
 he had drawn materials Tor his publica- 
 tions ; a medal with the legend Quern 
 nulla cequaverit alas, was struck for 
 him while living by a friend; this tomb 
 of the erudite nephew of Michael Angelo 
 is much less illustrious than his uncle's 
 close by, and the proud legend of the 
 president's medal would be more fitly 
 placed on the artist's tomb. 
 
 The tomb of Lanzi is associated with 
 reminiscences ol virtue, science, and taste; 
 I could not contemplate it without grati- 
 tude and respect, as I have gained much 
 information from his excellent History of 
 painting in Italy, with which I have in a 
 manner lived for several years past. 
 
 The mausoleum of the celebrated 
 scholar and historian Leonardo Bruni 
 Aretino, by Bernardo Rossellini, is sim- 
 ple, noble, elegant, and passes for one of 
 the best works of the fifteenth century. 
 The basso-relievo of the Virgin, above, 
 by Verrocchio, is also much esteemed. 
 This illustrious Aretino, so different from 
 his disgraceful namesake, is represented 
 lying on his tomb, crowned with laurel 
 and holding on his breast his Latin His- 
 tory of Florence as a monument of his 
 patriotism. He was buried in this man- 
 ner by decree of the seigniory. ■ This 
 scholar first supported the opinion, re- 
 adopted in our days, that the Italian was as 
 old as the Latin", that they were both 
 employed at the same time at Rome, and 
 that, if the latter were the language of 
 the learned and the orators, the former 
 was the dialect of the people. Bruni 
 Aretino was chancellor for the second 
 time when he died ; at the council of 
 Florence, he had harangued, in his offi- 
 cial capacity, the emperor Paleologusand 
 the Greek patriarch in their own lan- 
 
 1 The funeral oration was delivered by Gianozzo 
 Maoeltl, o great scholar of the revival, who thought 
 proper to introduce, on the subject of Leonardo's 
 crown, a long digression of five quarto pages in 
 very small type, on the eight binds of crowns 
 known to the ancients. It was no doubt to destroy 
 the effect of this luckless panegyric, that Filelfo, 
 Aretino's loving friend, published another discourse 
 noble, pathetic, and well composed, a true contrast 
 with Gianozzo's, which proved so excessively irk- 
 some to bis learned audience. 
 
 guage ; had he lived longer, he would 
 have been gonfalonier. a When we see 
 literary pursuits lead to such honours, 
 and the office of chancellor, the second 
 in the republic, successively confided to 
 such learned men as Leonardo Aretino, 
 Coluccio Salutati, Carlo Marsuppini, 
 Poggio, Benedetto Accolti, Landino, 
 Bartolommeo Scala, it is easy to account 
 for the ardour for study at that time, 
 and it is impossible not to admire a state 
 wise enough to employ such men. 
 
 The tomb of Francesco da Barberino 
 and his son has an inscription in Latin 
 verse attributed by tradition to Boc- 
 caccio : 
 
 Icclita plange luoslacrymis Florentia elves; 
 Et patrlbus tanlis fundas orbata dolorem. 
 Dum redeuut domini Franciscl funcra menlc 
 De Barberino c-t nati : nam judicis omne 
 Cesserat ofQcium, sua corda cavenda reatu 
 Sed sails excedil natum ; quia doctus ulroque 
 Jure fuit genilor, sed solo Alius uno. 
 Scilicet in causis quae sunt saecularibus arte. 
 Hoc sunt sub lopide posili,quibus ultima clauso 
 reriida mors oculos, paucis dilata diebus 
 S'trage sub aequali, quae totum terruit orbem 
 lu bissenario qualer auclo mille tretentls. 
 
 The author of the Decameron bor- 
 rowed the subject of some of his novels 
 from the Fior di novelle of Francesco 
 da Barberino, like Dante, one of Bru- 
 netto Latini's pupils, a scholar, theolo- 
 gian, and celebrated jurisconsult, author 
 of a moral poem, entitled J Documenti 
 d'amore, of the Reggimento delle donne, 
 and a skilful miniature-painter. Barbe- 
 rino died of the awful plague of Florence 
 in 134-8, aged eighty-four years; his 
 writings, rather curious than pleasing, 
 have contributed to the formation of the 
 Tuscan language, and procured him the 
 honour of being placed by the Academy 
 della Crusca in the rank of the classics." 
 
 The tomb of Nardini, a celebrated 
 violinist, the pupil and friend of Tartini, 
 and Paganini's master, is near Ma- 
 chiavel's; despite its pompous inscrip- 
 
 - Aretino seems also to have been an agreeable 
 narrator, lo dissipate the sadness produced in a 
 party at Florence by hearing read Boccaccio's novel 
 of Ghismonda, he recited the history of Stratonice 
 and Anliochus, now cleverly adapted for our lyric- 
 stage, and one of the chefs-d'eeuvre of French music. 
 See Novelle di vari aulori, t. n, p. 86, la Novella 
 di messer Lionardo d'Arezzo. 
 
356 
 
 FLORENCE. 
 
 [Book X. 
 
 lion andNardini'stalent, it seems utterly 
 frivolous amid these majestic sepulchres. 
 
 The mausoleum of Count Joseph Skot- 
 nicki, a Pole and lover of the arts, who 
 died at thirty-three of a consumption, one 
 of the best works of S. Ricci, is affecting; 
 it was raised by his young widow: a lyre 
 and pencils, in allusion to Skotnicki's ta- 
 lents, with a fine female figure represent- 
 ing conjuga I fidelity at the foot of a column 
 surmounted by a funeral urn, form all 
 I he monument. The Pole it encloses, 
 notwithstanding the quiet obscurity of 
 his life, seems worthy to rest among the 
 glorious dead of Santa Croce, since the 
 immortal example of courage and sacri- 
 fice his country has displayed. 
 
 The elegant monument consecrated to 
 the countess Albani by S. Fabre, is the 
 work of one of our first French archi- 
 tects, the late M. Percier, not less 
 distinguished by his talents than his 
 unassuming simplicity ; the statues and 
 ornaments by Santarelli ano Giovanozzi 
 da Settignano, Tuscan sculptors, are 
 worthy of the monument. 
 
 The tomb of Uberlino de' Bardi, cap- 
 tain of the Florentines, byGiottino, oneof 
 Giotto's grandsons, is, though somewhat 
 dry, a work of sculpture and painting, 
 singularly new, natural, poetical, and 
 diversified. 
 
 The tomb of Antonio Cocchi is inte- 
 resting when associated with the various 
 works of that learned physician, philoso- 
 pher, antiquarian, man of letters, the 
 friend and correspondent of Boerhaave 
 and Newton. 
 
 The mausoleum of Carlo Marsuppini, 
 the masterpiece of Desiderio da Setti- 
 gnano, is full of grace, taste, softness, 
 and elegance. Marsuppini, a famous 
 professor in his day, has left nothing but 
 a few poems and writings not above me- 
 diocrity : he was Filelfo's enemy, and 
 succeeded him in his professorship, after 
 basely effecting his exile from Florence. 
 When one reflects on the ordinary exe- 
 cution of the tombs of Machiavel and 
 Galileo, it is sad to see that unequal fate 
 has devoted one of the wonders of art to 
 Marsuppini. 
 
 Doctor Lami merited, by his extensive 
 knowledge, the tomb he has obtained at 
 Santa Croce ; a great scholar, profound 
 divine, laborious librarian, whose life 
 was, however, full of quarrels and ad- 
 ventures. 
 
 The mausoleum of Pompeo Signorini, 
 
 of Florence, Leopold's sagacious coun- 
 sellor, on which is the statue of Philo- 
 sophy weeping, is another esteemed 
 work of S. Ricci. 
 
 The mausoleum of the senator Filieaja 
 deserved to be transferred from the church 
 of Saint Peter to Santa Croce ; it is allied 
 with noble recollections of virtue, reli- 
 gion, genius, patriotism, and the loftiest 
 song the love of Italy has inspired.' 
 
 Santa Croce is alsg remarkable for its 
 different chefs-d'oeuvre of painting and 
 sculpture. Over the great door of the 
 front, a bronze statue of St. Louis, not the 
 great king, but an archbishop of Toulouse, 
 is by Donatello, and little worthy of him. 
 In the interior, over the principal door, 
 Giotto has painted a Crucifi x on a wooden 
 cross. His Virgin crowned by the hand 
 of Christ, a graceful artless picture, is 
 one of the earliest monuments of the 
 revival. In the Cavalcanti chapel, an 
 Annunciation, full of nobleness and 
 modesty, one of Donatello first works, 
 fixed his reputation. The Christ en- 
 tering Jerusalem, by Cigoli and Bili- 
 berti, his best pupil, is regarded as the 
 finest painting in the church. A Tri- 
 nity, by the former, is also highly prais- 
 ed. The chapel of the Medici, ordered 
 by Cosmo, the father of his country, and 
 executed by Michelozzo, offers a Ma- 
 donna, a basso-relievo in burnt earth, 
 by Luca della Robbia, and a picture by 
 Filippo Lippi. In the sacristy, the fres- 
 cos of Taddeo Gaddi, the pupil, the 
 Giulio Romano of Giotto, are superb; 
 it is absolutely impossible not to be 
 struck with this beauty and primitive 
 grandeur of the art. The astonishing 
 cupola of the Niccolini chapel is the chef- 
 d'eeuvre of Voltcrrano, who was patro- 
 nised by that family; the different statues 
 ot this chapel are among the best of 
 Francavilla. a Frenchman brought up in 
 Italy, too often an unhappy imitator of 
 Michael Angelo. The wooden Crucifix 
 by Donatello, though esteemed by some 
 connaisseurs, seemed to me - stiff, mean, 
 and justly censured by Brunelleschi, who 
 reproached him with having put a pea- 
 sant on the cross; the rustic physiog- 
 nomy contrasts, too, with the fine 
 embroidered garment. The Supper at 
 Emmaus, by Santi Titi, is fine in the 
 colouring. Lastly, the marble pulpit, 
 ornamented with bronze, by Benedetto 
 
 ' Italia, Italia, o lu cut teo la sorte, etc. 
 
Chap. XII. ] 
 
 FLORENCE. 
 
 557 
 
 daMajano, is superb : two basso-relievos, 
 St. Francis offering to pass through 
 the fire in presence of the sultan, and 
 his Death, are singularly expressive and 
 pathetic. 
 
 In the first cloister of the convent of 
 Santa Croce is the magnificent chapel of 
 the Pazzi, built from Brunelleschi's de- 
 signs and adorned with works by Luca 
 della Robbia. The second cloister is 
 also by Brunelleschi, and the Cenacu- 
 lum, of the refectory, by Giotto. 
 
 The church of Saint Joseph has a very 
 .fine Nativity, by Santi Titi. 
 
 Saint Ambrose, one of the oldest chur- 
 ches of Florence, which existed in 1001, 
 was rebuilt in 1716. There may be seen 
 i superb tabernacle by Mino di Fiesole ; 
 the Miracle of the Holy Sacrament, by 
 Cosmo Rosselli, the most known of his 
 Works, a fine fresco remarkable for the 
 prodigious number of its characters, se- 
 eral of which are portraits of eminent 
 men of the fifteenth century, such as 
 Politian, Marsilio Ficino and Pico della 
 Mirandola. 
 
 The vast court of the church of Saint 
 Magdalen de' Pazzi, by Giuliano San 
 Gallo, was extolled by Vasari for the 
 (beauty of its Ionic columns and the ca- 
 pitals, imitated from an antique marble 
 capital found at Fiesole. In thechapter- 
 room of the superb monastery are se- 
 veral frescos of saints by Perugino. 
 
 Saint Simon recalls a remarkable in- 
 stance of religious dissimulation, in the 
 person of a Portuguese Jew, Francis 
 jiorgi, who feigned himself a Christian 
 "or several years, practiced law at FIo- 
 •ence, erected to his family the monu- 
 ment still bearing his name, and took 
 light to return to Judaism. The prin- 
 ?ipal paintings of Saint Simon are : the 
 Martyrdom of St. Laurence, an excel- 
 ent work of Giambattista Vanni, sur- 
 lamed the " gentleman painter," but its 
 )nly good point is the original reflection 
 )f the fire on the bystanders; the St. Je- 
 ome, by Marinari, a clever pupil of 
 ]arlo Dolci; a fine St. Nicholas, by 
 Francesco Montelatici, called from his 
 luarrelsome temper Cecco bravo (Bully 
 Frank); St. Francis in a swoon, sup- 
 ported by two angels, by Vignali, pupil 
 )f Rosselli and imitator of Guercino. 
 
 1 See the instructive work on Machiavel, hisge- 
 n'us, and his errors, by M. Artaud. Paris, {833, 
 wo vols, in 8vo, ch. i. 
 
 The pyx of the high-altar, incrusted 
 with precious stones, is by Cennini, 
 
 The church of Saint Procul has some 
 remarkable works : a Visitation, by 
 Ghirlandajo, to which the Florentine 
 painter Ferretti has so cleverly added a 
 glory of angels, that his manner can 
 hardly be distinguished from Ghirlan- 
 dajo's ; a Virgin, a St. Anthony the 
 abbot, and St. Barbara, by Ponlormo ; 
 an Annunciation, by Empoli; a Ma- 
 donna, by Giotto. 
 
 The celebrated church and convent 
 of Badia offer some of the first chefs- 
 d'oeuvre of the art, by Mino di Fiesole, 
 viz. : the renovated tomb of Ugo, mar- 
 quis of Tuscany, ancestor of Machiavel/ 
 one of the founders of the convent, a just 
 and pious man, called somewhat pom- 
 pously the Great, who, in the hunting- 
 seasou, visited the shepherds and pea- 
 sants incognito to learn the public 
 opinion of his government, and whose 
 enlogium is regularly pronounced every 
 year in each of the seven monasteries he 
 founded : 
 
 Ciascun che della bella insegna porta 
 
 Del gran barone il cui nome e '1 cui pregio 
 
 La fesla di Tommaso riconforta ; a 
 
 the splendid mausoleum of Bernardo 
 Giugni, sent on an embassy with the 
 great citizen of Florence Neri Caponi, 
 and afterwards gonfalonier. A fine As- 
 sumption is by Vasari ; an earthen basso- 
 relievo, by Luca della Robbia. In the 
 cloister, the St. Benedict throwing him- 
 self naked among thorns, in one of the 
 lunettes, is by the second Bronzino; a 
 Crucifix, a good fresco of the refectory, 
 by Sogliani. The small altar of one 
 chapel presents more excellent sculptures 
 by Mino di Fiesole. 
 
 The vast church of Saint Firenzo has 
 nothing particularly remarkable but the 
 fine, painting of the Crucifixion of the 
 ten thousand Martyrs, by Stradan, 
 retouched by Buonamici, a clever artist, 
 but a dreadful man, whose crimes sent 
 him to the gallies, where he became a 
 very good marine-painter. 
 
 The collegiate church of Or-San- 
 Michele (Saint Michael's garden) a de- 
 tached gothic edifice, is one of the no- 
 blest, most characteristic in Florence, 
 
 2 Dante, Parad. can. xvi, 127. 
 
358 
 
 FLORENCE. 
 
 [ Book A. 
 
 and combines the masterpieces of her 
 first artists. Erected after the celebrated 
 plague described by Boccaccio, the ar- 
 chitects were Giotto and his worthy 
 pupil Taddeo Gaddi. Among the bronze 
 and marble statues occupying the niches 
 of each front, statues consecrated to the 
 patron saints of the different corpora- 
 tions of the trades, may be remarked St. 
 Matthew, by Ghiberti, which manifests 
 the study and successful imitation of the 
 antique, whereas in the John Baptist 
 of the adjoining front he merely sur- 
 passed his contemporaries; three statues 
 by Donatello, St. Peter, St Mark, ad- 
 mired by Michael Angelo, who had 
 addressed it with : " Mark, why do you 
 not speak to me? " Marco, perchi non 
 mi parli? the St. George, so youthful 
 and spirited, the finest figure of Ur-San- 
 Michele, and perhaps even of modern art; 
 St. Luke, by Giovanni Bologna; St. 
 Thomas, by Verrocchio, attributed also 
 to his great disciple Leonardo Vinci, 
 well composed, but rather dry in the 
 draperies ; and the St. John evangelist, 
 one of Baccio da Montclupo s best works. 
 In the interior is the fine group of St- 
 Anne ; the Wirgin and infant Jesus. 
 by Francesco San Gallo. The superb 
 tabernacle containing the miraculous 
 image of the "Virgin, painted in the thir- 
 teenth century by Ugolino di Siena, is 
 one of Orgagna's most celebrated won- 
 ders, and one of the monuments of that 
 luxury of the arts to which the thrifty 
 spirit and republican government of 
 Florence were no obstacle. The mag- 
 nificence of the Medici has been widely 
 celebrated ; but it must be confessed that 
 Ihey only followed the usages of popular 
 government, that this splendour was in 
 the manners, and that these politic 
 masters were compelled to employ it as 
 a means of domination. Despite the ca- 
 lamities of the times, the tabernacle of 
 Or-San-Michele cost the heavy sum of 
 80,000 gold florins. 
 
 On Saint Anne's day, July 26, 183i, 
 I saw Or-San-Michele decorated with 
 the twenty-one ancient gonfalons of the 
 major and minor crafts of Florence, 
 white, blue, and red banners covered 
 with armorial bearings, which floated on 
 
 1 Boccaccio began bis course of lectures October 
 23, 1373. Filelfo afterwards delivered the same 
 course at the Duomo. When we recollect Dante's 
 invectives against the vices of the clergy and the 
 
 the outside of its old walls in the com- 
 memoration of the attack, for which 
 the afternoon prayer bell was the signal, 
 and expulsion of that mean tyrant Gau- 
 thier de Brienne, oddly called the duke 
 of Athens, who had no defenders but 
 his guard, the butchers, some few of the 
 populace, and the four families of the 
 people who had elected him. At night 
 the old edifice was full; it glittered with 
 the light of tapers illuminating the airy 
 pyramids of its brilliant tabernacle; it 
 echoed with religious songs, and one 
 might there have fancied himself in the 
 halcyon days of the Florentine sei- 
 gniory. 
 
 The old church of Saint Stephen re- 
 calls the early days of the literary glory 
 of Florence. It was in this church that 
 Boccaccio, afflicted, exhausted, over- 
 whelmed by the death of his dear Pe- 
 trarch, filled the first chair founded by 
 the Florentine republic for the interpre- 
 tation of Dante. It was there that, amid 
 democratic disorders, he boldly reproach- 
 ed his fellow-citizens in public with 
 their vices, their love of lucre, and ex- 
 cited them to glory and virtue. The 
 Dante professorships, afterwards multi- 
 plied throughout Italy for more than 
 four centuries, 1 have ceased in our days : 
 the last successor of Boccaccio at Florence, 
 was professor Sarchiani, of the Academy 
 delta Crusca, who died in 1821 aged 
 seventy-five, a clever Greek and Latin 
 scholar, a man of strict principles and 
 gentlemanly manners, who defended the 
 truth ol Christianity against the writings 
 of the French philosophers, and com- 
 posed some papers on political economy 
 for Ihe philanthropic minister Tavanti. 
 Some works in the church of Saint Ste- 
 phen are esteemed : the Conversion of 
 St. Paul, by Morosini ; St. Philip, and 
 the Marriage of St. Catherine, by 
 Francesco Bianchi; St. Nicholas, by 
 MalteoRoselli ; the Virgin, St. Auguslin 
 and other saints, by Santi Tili or Ci- 
 goli ; and the fine bronze basso-relievos 
 of St. Stephen's Martyrdom, by Tacca. 
 The statue of St. Stephen in a niche is 
 by Gonnelli, a Tuscan sculptor of the 
 seventeenth century, who fell blind at 
 twenty, but continued to cultivate his 
 
 excesses of tho Roman court, it is difficult to con- '( 
 coive how, notwithstanding tho usago, churches j> 
 were then chosen for those meolings. 
 
Chap. XIII] 
 
 FLORENCE. 
 
 359 
 
 art ; his busts were even noted for re- 
 semblance, so far, says Baldinucci, an 
 eye-witness of this prodigy, had the sense 
 of feeling supplied the loss of sight. 
 Gonnelli made from memory the portrait 
 of a voung girl whom he had loved be- 
 fore his blindness, and the likeness was 
 perfect. Cardinal Palotta put this pretty 
 distich beneath his bust : 
 
 Giovan, cb' e cieco, e Lisabetta am&, 
 La scolpi nell' Idea cbe amor formfc. 
 
 CHAPTER XIII. 
 
 Santa Maria Novella.— Door.— Cimabuc— Gbirhin- 
 dajo. — Brunelleschi's Crucifix. — Tombs. — Spa- 
 niards' chapel.— Great cloister.— Greels paintings. 
 —Apothecaries. -Trade, letters, and public em- 
 ploy compatible at Florence.— Polenze.— Oguis- 
 santi.-Holy Sepulchre. —Trinity .-Column.— tloly 
 Apostles. — Altovili mausoleum.— Lorenzo Loren- 
 zini — Ssnla Maria Maggiore.— Short-sightedness 
 of the Florentines. 
 
 It is at Santa Maria Novella that 
 I Boccaccio places the meeting of the seven 
 I Florentine damsels, after the plague of 
 1348, who, to divert themselves, go into 
 the country and recite the merry, touch- 
 ing, satirical, and something more than 
 voluptuous novels composing the Deca- 
 meron : the name, and ornamental, 
 smiling aspect of this church, which Mi- 
 chael Angelo in his admiration called 
 his wife {la sua sposa), seem now 
 to have some connection with the most 
 agreeable and interesting of all tale 
 books. The first architects of Santa 
 Mar'ut Novella were the lay brothers da 
 Ristoro Campi Sisto, Florentines, and a 
 third monk, Fra Jacopo Zalenti da Nip- 
 pozzano, great architects of the thir- 
 teenth century, pupils of Arnolfo di 
 Lapo, the last of whom is designated in 
 the Necrology of the church, under the 
 unassuming title of Magister lapidum. 
 The door, one of the finest ever seen, is 
 by Alberts, who appears to have exe- 
 cuted the front also. 1 This front has 
 two astronomical curiosities : the first, 
 a marble dial intended to measure the 
 celestial arc included between the tropics, 
 the oldest meridian in Europe ; the se- 
 cond, Ptolemy's armilla ; they were 
 
 • M. Qualreinere thinks that only (he gate is by 
 Alberli, and looks on him as altogether foreign to 
 the deml-gothic architecture of the front. S. Nlc- 
 coliui, according to Pozzetti, is of the contrary opi- 
 
 placed there by the Dominican Ignazio 
 Danti, mathematician and astronomer, 
 cosmographcr to Cosmo I. 
 
 Santa Maria Novella is not less in- 
 teresting for its paintings and sculptures 
 than its noble architecture. St. Lau- 
 rence, the chef-d'ceuvre of Macchietti, a 
 Florentine painter of the sixteenth cen- 
 tury, has been much and deservedly 
 praised : the soldier near the emperor is 
 the artist's portrait. A Deposition, a 
 Purification, by Maldini, of the same 
 epoch, are good in design, perspective, 
 and colouring. St. Raymond resuscitat- 
 ing a child, by Ligozzi, is not without 
 efl'ect. The soldiers in the Martyrdom 
 of St. Catherine, by Bugiandini, were 
 drawn by Michael Angelo, to expedite 
 the work, the author being a slow, hesi- 
 tating painter and a ridiculous egotist, 
 whom he made his laughing-stock. The 
 celebrated Madonna, by Cimabue, the 
 first monument of the revival of the art 
 at Florence, excited prodigious enthu- 
 siasm at its first appearance and was 
 borne in triumph by the people, amid 
 the flourishing of trumpets, from the 
 painter's studio to this church. Charles 
 of Anjou, brother of Saint Louis, on his 
 way to Tuscany after being crowned king 
 of Sicily by the pope, came with all his 
 court to see this Madonna in Cimubue's 
 studio, situated near Saint Peter's gate. 
 It is supposed at Florence that the name 
 of Bongo allegri by which this quarter 
 is still known, is derived from the joyous 
 concourse of men and women attracted 
 by the king's visit, and glorious triumph 
 of the Madonna. 
 
 The frescos of the apostles Philip and 
 John, by the younger Lippi, please more 
 by their accompaniments than the fi- 
 gures, which are true likenesses, but 
 common. The immense frescos of the 
 choir, by Ghirlandajo, explain Michael 
 Angelo, his pupil, and the Sixtine chapel : 
 it is even probable that Michael Angelo 
 assisted therein ; the men in the distance 
 leaning against a terrace, in the com- 
 partment of the Virgin, are attributed 
 to him; this strange pupil, instead of 
 paying his master, was paid by him; and 
 from his fourteenth year he received ten 
 florins annually for his assistance. The 
 numerous figures in the frescos arenear- 
 
 nlon, and he thinks tbat Albertl conformed to the 
 primitive style of this front. ( Eloge de Leon Bap- 
 tlste Alberli, pages 98, 99, and note 35 .) 
 
160 
 
 FLORENCE. 
 
 I Book X. 
 
 ly all portraits of learned men or dis- 
 tinguished Florentines; but these are 
 elevated, ennobled. A group of four 
 persons, in the compartment of the Life 
 of St. John Baptist, represents Politian 
 who is raising his hand ; Marsilio Fi- 
 tino, as a cauon; Gentile dc' Beechi, 
 bishop of Arezzo, who is turned towards 
 the last, and Cristoforo Landino. In the 
 compartment of the Virgin, the girl fol- 
 lowed by two women is the celebrated 
 Ginevra de' Henci, one of the beauties of 
 her day. On the same side, the man in 
 a blue coat with a red cloak, in the Joa- 
 chim driven out of the temple, is Ghir- 
 landajo. These frescos, ordered by the 
 Florentine noble Giovanni Cornabuoni, 
 who is also there with his wife Francesca 
 di Lucca Pitti, cost only a thousand flo- 
 rins, and were finished in the year Lo- 
 renzo the Magnificent died. The fol- 
 lowing inscription, on the wall, well 
 expresses the glory and prosperity of 
 Florence : Anno li90, quo pulcherrima 
 civitas opibus, victoriis, artibus, cedi- 
 ficiisque nobilis, copia, salubritate, 
 pace perfruebalur 
 
 The wooden Crucifix of Brunclleschi, 
 a heartrending expression of suffering, 
 was a fine lesson given by him to Dona- 
 tello, after his ignoble Crucifix of Santa 
 Croce. The following incident is a faith- 
 ful picture of the almost rustic simplicity 
 of artists' manners at the time. The 
 two friends were going to dine together, 
 and Donatello carried the eggs and other 
 provisions for the repast in his apron ; 
 when conducted unwittingly by Brunel- 
 leschi before the crucifix he had private- 
 ly executed, Donatello could not help 
 exclaiming with the frankness of real 
 talent : " You have the gift of making 
 Christs, and I peasants," and in the height 
 of his admiration he let go his apron, 
 and scattered his eggs and dinner on the 
 floor. 
 
 The vast frescos of the Strozzi chapel, 
 representing Hell and Paradise, by An- 
 drea Orgagna and his brother Bernardo, 
 an imitation of Dante, whom Andrea 
 passionately loved, manifest the progress 
 of the art; they have, especially the 
 former, the warmth, fire, movement, 
 and sublime fantasies of the poet. The 
 man placed in the Hell with a paper on 
 his cap, is the town bailiff w ho had levied 
 a distress on the artist. In the Paradise 
 there are some pretty women's heads 
 apparently portraits. The Woman of 
 
 Samaria is a good picture by the second 
 Brozino. The grand Crucifix over the 
 entrance door is one of Giotto's best 
 works. 
 
 The tombs of Santa Maria Novella are 
 remarkable for their historical associa- 
 tions and as works of art. The fine 
 monument of the blessed Villana dellc 
 Botti, which has two such graceful little 
 angels, according to Cicognara, ought to 
 be restored to Bernardo Kossellini. Sa- 
 chetti speaks familiarly of this blessed 
 Villana, a very holy woman (mulieris 
 sanctissima), as the epitaph states : 
 " She was my neighbour," says he ; " a 
 young Florentine who dressed like her 
 fellows; and we celebrate her festival 
 already :" Fu mia vicinaefu giovane 
 fiorentina, pur andava vestita come 
 V altre, c fannone gia festa. The ele- 
 gant inimitable mausoleum of the elder 
 Filippo Strozzi, the enemy of the Medici 
 and father of the Florentine Cato, is 
 reckoned the masterpiece of Benedetto 
 da Maiano. Over the tombs of cardinals 
 Nicoiao and Taddeo Gaddi, executed at 
 Rome from Michael Angelo's designs, is 
 a basso-relievo by Giovanni dall' Opera, 
 perhaps the purest work of that declining 
 epoch. The tomb of Antonio Strozzi, a 
 learned jurisconsult, is of Andrea Fer- 
 rucci's old age, assisted by two clever 
 artists of Ficsole, Silvio and Doscoli, 
 who were likewise employed by Michael 
 Angelo. Latin and Greek inscriptions 
 indicate the burial-place of the Greek 
 patriarch Joseph, who died suddenly at 
 Florence after the council in which he 
 was a zealous advocate of the union, and 
 is said to have left his adhesion in his 
 handwriting. Ghirlandajo seems fitly 
 interred near his admirable paintings. 
 There are several literary tombs of con- 
 siderable fame : as those of the elegant 
 old historian Francesco Giambullari, the 
 Herodotus of Florence, who started the 
 whimsical notion that the Tuscan was 
 derived from the Hebrew, the Chaldean, 
 or some other tongue spoken in the king- 
 dom of Aram; of Lippi, a painter and 
 poet, true almost to vulgarity, the witty 
 author of the Malmantile; and lastly, 
 of the indefatigable librarian Maglia- 
 becchi. « 
 
 In the Chiostro verde, several subjects 
 from the life of Adam and Noah are 
 fancifully painted in fresco by Paolo 
 
 1 Sea ante, cb. vii. 
 
Chap. X1JI.J 
 
 FLORENCE. 
 
 561 
 
 Uccello, who has however succeeded in 
 rendering the trees and animals with so 
 much truth that he might be surnamed 
 the Bassano of the first age of the Flo- 
 rentine school. The vast and elegant 
 chapel of the Spaniards, by Fra Jacopo 
 Talenti da Nippozzano, offers some fine 
 poetical frescos by Taddeo Gaddi and 
 Simone Memrni, the friend of Petrarch, 
 who has addressed two sonnets to him : 
 
 Quando giunse a Simon 1' alio concelfo. 
 Per mlrar Policleto a prova Oso. 
 
 For all Vasari and the vulgar opinion, 
 the portrait of Laura under ihe semblance 
 of Pleasure, and that of Petrarch by 
 Memmi, cannot be auihentic, as is clearly 
 proved by the clever critiques of Lanzl 
 and Cicognara. ' The pretended portrait 
 of the poet represents him as less portly, 
 less canon-like by far than his other 
 portraits, and its wanton air is utterly 
 irrelevant to such a lover. On the ceiling, 
 some subjects from the History of Jesus 
 Christ ; the Descent of the Holy Ghost 
 in the Ccenaculum, by Taddeo Gaddi, are 
 the best works of the fourteenth century. 
 
 The fifty lunettes of the great cloister 
 representing the memorable actions of 
 St. Dominick, St. Peter Martyr, St. An- 
 toninus, and St. Thomas Aquinas, are 
 by Florentine artists of the Bronzino 
 school : the women are of singular 
 beauty. The most remarkable of these 
 paintings, after several retouchings, is 
 perhaps St. Catherine delivering a con- 
 demned prisoner, by Paggi. Among the 
 portraits of the most eminent Dominicans 
 placed in this cloister, Savonarola's may 
 be remarked near the lunette of the Birth 
 of St. Dominick, by Poccetli. 
 
 The frescos of the Greek painters, Ci- 
 mabue's masters, are nearly effaced ; their 
 subterranean chapel was used as a store- 
 house for the planks used for hustings at 
 the Barberi races, on the festivals of Saint 
 John and Saint Laurence. These paintings 
 may be interesting for the history of the 
 
 i Star. pit. t. ll, p. 316, and Star. del. scull, t. in, 
 p. 322. Cicognara has also inconlestably refuted 
 the anachronism of those who regard this figure as 
 being possibly the portrait of Fiammelta, Boccac- 
 cio's mistress, on account of the flames encircling 
 the neck. Boccaccio did not go to Naples, and there- 
 fore could not have seen Fiammelta before his 
 twenty-eighth year, in 1341, as proved by the dedi- 
 cation of bis Tlieseid, and Memmi had finished this 
 chapel nine years before. 
 
 art, but it must he confessed that they 
 arc singularly stiff and cold, and Cima- 
 bue's merit consists in his having adopted 
 and established a more easy and natural 
 style. 
 
 The dispensary of the Dominicans of 
 Santa Maria Novella enjoys some cele- 
 brity, and appears well managed. These 
 brutal inquisitors, who in bygone days 
 burned men alive, now distil simples. 
 The profession of apothecary is ancient 
 and reputable at Florence. We may see 
 by some of its apothecaries, who also 
 practiced medicine, that in the best age 
 of literature, trade formed no discordant 
 union with the cultivation of letters and 
 the exercise of the highest public offices : 
 the famous burlesque poet Lasca, the 
 founder of the Academy delta Crusca, 
 had been an apothecary, '■ as well as the 
 great scholar, politician, and historian, 
 Malteo Palmieri, who was several times 
 ambassador, and even became gonfalonier 
 of the republic; and the learned philo- 
 loger, academician, and excellent comic 
 poet Gelli, was a hosier (calzajuolo) all 
 his life. 
 
 Among the paintings by clever Flo- 
 rentine masters in the church of Saint 
 Paolino, may be distinguished : the Con- 
 version of St. Paul, and his Martyrdom, 
 fine frescos by Domenico Udina. 
 
 The oratory of the confraternity, of the 
 Bacchettoni has some good paintings : 
 the Assumption and St. Hippolytus in 
 a tree preaching, by Giovanni di San 
 Giovanni ; St. John Baptist, St. John 
 Evangelist and St. Philip de Neri, 
 Avith angels, by Volterrano. Two busts 
 over the room containing the relics are 
 by Donatello. 
 
 Saint Martin, an antique monument, 
 is allied with the two greatest names of 
 the priesthood and the empire : being 
 founded by Charlemagne, and repaired 
 by Hildebrand. 
 
 On the front of the church Saint Lucy 
 sul Prato is the strange inscription, 
 Imperator Ego vici prwliando lapi- 
 
 Lasca alludes to his trade in the following 
 verses from bis Rime : 
 
 Da che son causati tauti mall, 
 
 Se non da pesche, fichi, e simil frutle, 
 
 Che mi fauno spacciare i serviziali ? 
 
 Lasca's shop, nearly facing the baptistry, still 
 exists, and bears the same sign del mora. 
 
 U 
 
562 
 
 FLORENCE. 
 
 [Book. X. 
 
 dibus. Anno> 1544; which records one 
 of those vile stone-throwing conquerors 
 of the Powers (potcnze), games or rather 
 combats in which the populace of Flo- 
 rence amused themselves in summer, 
 under chiefs with the grotesque titles of 
 duke, marquis, emperor, king, Grand 
 Turk, and sometimes, under favour of 
 the tumult, maltreated passengers and 
 broke open shops. The Powers, insti- 
 tuted by the duke of Athens, were re- 
 vived by another tyrant, duke Alessandro 
 de' Medici, imposed on the city by the 
 arms of Charles V. and Clement VII. 
 The inscription of Saint Lucy doubly 
 attests the ancient and common alliance 
 of despots with the mob. The Nativity, 
 by Ghirlandajo, is one of this great 
 master's best works. 
 
 The church of the Ognissanti has some 
 good paintings: the Virgin between St. 
 Joachim and St. Anne, by Pietro Dan- 
 ilini; a fresco of St. Jerome, by Ghir- 
 landajo ; a Conception, by Vineenzo 
 Dandini ; St. Diego d'Alcala, simple and 
 agreeable, by Ligozzi; St. Anthony of 
 Padua, by Veli; St. Bonaventure re- 
 ceiving the communion from an angel, 
 St. Bernardin of Siena between two 
 angels, by FabrizioBoschi ; St. Andrew, 
 by iMatteo Roselli. The excellent fres- 
 cos of the first cloister represent the Life 
 of St. Francis : fifteen of these lunettes 
 are by Ligozzi, two by Guidoni, father 
 and son, five by Giovanni di San Gio- 
 vanni : the finest by Ligozzi, and his 
 best fresco, is the Conference of St. 
 Francis and St. Dominick : the artist 
 has ironically written the following words 
 on the breast of one figure : A confusione 
 degli amici, that is, of the envious, ac- 
 cording to the melancholy but tolerably 
 just interpretation of Lanzi, as if to re- 
 proach the monks for having confided 
 some of the lunettes to his rival Giovanni 
 di San Giovanni. The portraits of the 
 most celebrated Franciscans painted on 
 the pillars, by Francesco Boschi and his 
 uncle Fabrizio, except Cardinal Cozza's, 
 by Meucci, seem in truth, almost all 
 living. 
 
 The oratory of the Holy Sepulchre, 
 formerly a chapel of Saint Pancraschurch, 
 is a chef-d'oeuvre by Alberti. This mo- 
 nument, at once bold, elegant, and severe, 
 contains an exact imitation of the Holy 
 Sepulchre, ordered of the great architect 
 
 1 Chateaubriand's Itinerary. 
 
 by Giovanni Ruccellai, a rich and pious 
 Florentine merchant, who had sent to 
 Jerusalem for the express purpose of 
 taking the measure and model of the 
 tomb " which alone will have nothing to 
 give up at the end of time." » 
 
 The church of the Trinity, by Nicolao 
 Pisano, is of a simplicity approaching 
 nakedness, but still greatly admired by 
 Michael Angelo. The front is by Buon- 
 talenti. The steeple, an extraordinary 
 structure of 1398, rest* on the wall of the 
 church. The St. John Baptist preach- 
 ing was painted by Currado in his eigh- 
 tieth year ; an Annunciation is by the 
 clever Camaldolite artist Lorenzo. The 
 frescos representing divers subjects from 
 the History of Str Francis are by Ghir- 
 landajo. The ingenious pulpit of Buon- 
 talenti is highly esteemed; the bronze 
 basso-relievo of the Martyrdom of St. 
 Laurence, by Titian Aspetti, and the 
 wooden statue of St. Mary Magdalen, 
 begun by Desiderio da Seltignano, and 
 finished by Benedetto da Majano. 
 
 On the square before the church is a 
 fine granite column, surmounted with a 
 colossal porphyry statue of Justice, inso- 
 lently erected by Cosmo I. in commemo- 
 ration of his victory over Florentine 
 liberty at Montemurlo. » The column 
 was taken from the Thermae of Caracalla, 
 and given to Cosmo by Pope Pius IV. : 
 the statue is by Tadda, to whom Cosmo 
 himself is said to have communicated the 
 secret of giving his tools a harder temper. 
 This statue at first appeared too slender, 
 and was in consequence draped with a 
 kind of bronze mantle failing from its 
 shoulders, which gives the monument 
 more richness and harmony. 
 
 The small church of the Holy Apostles, 
 very ancient, being of Charlemagne's 
 time, is of such elegant proportions that 
 Brunelleschi studied it when he built the 
 churchof the Holy Ghost. A Conception 
 has been reckoned the best work of 
 Vasari; it has been partially injured by 
 a miserable painter employed to bring 
 Adam within the bounds of decency. 
 The tomb of Addo Altoviti, a Florentine 
 patrician, by Benedetto da Rovezzano, is 
 one of the most remarkable monuments 
 of the art for excellence of design, taste 
 of ornament, and perfect execution. 
 
 The front and all the clumsy magnifi- 
 cence of Saint Gaetano, erected about 
 
 * See post, book xix. ch. i. 
 
Chap. XIV.] 
 
 FLORENCE. 
 
 565 
 
 the middle of the seventeenth century, 
 announces the general decline of the arts 
 in Italy. The Saint andSt. Andrew of 
 Avellino adoring the Trinity, is by 
 Mattco Roselli, as well as a Nativity, his 
 masterpiece, in which the shepherd hold- 
 ing a dog is the portrait of the Florentine 
 painter Alfonso Boschi. A peasant sur- 
 named the Giuggiola (the jujube), sup- 
 plied the portrait of the old king in the fine 
 Adoration of the Magi, by Vannini. 
 The Exaltation of the cross passes for 
 one of Biliberti's best works. The Mar- 
 tyrdom of St. Laurence is by Pietro di 
 Cortona. One tomb is a memento of 
 affecting misfortunes, that of Lorenzo 
 Lorenzini, pupil of Viviani, a kind of 
 Galileo, less conspicuous and more per- 
 secuted, who, though innocent, was con- 
 fined nine years in the fortress of Volterra; 
 during his long seclusion, he composed, 
 unaided, a remarkable work on conic 
 sections, consisting of four large manu- 
 script volumes in folio, still unpublished, 
 now at the Magliabecchiana. 
 
 The church of Santa Maria Maggiore 
 has some good paintings, St. Albert as- 
 sisting some Jews in danger of drowning 
 (as Saint Mark, not less tolerant, saved a 
 Saracen from shipwreck'), by Cigoli; 
 St. Francis stigmatised, by Pietro Dan- 
 dini ; an Elijah, on the ceiling, by Vol- 
 terrano, the foreshortening of which 
 recalls, for illusion, the celebrated St. 
 Roch of Tintoretto. The tomb of Bru- 
 netto Latini, author of the Tresor and 
 Dante's master, was formerly in this 
 church; the tomb of Guido Cavalcanti 
 and Salvino degli Armati, the inventor of 
 spectacles, who died in 1317. This dis- 
 covery ought to have taken place at 
 Florence : the shortsightedness of the 
 Florentines has long been proverbial : 
 
 Yecchla fama net mondo II chiama orbi. * 
 
 Bartolommeo Soccini of Siena remark- 
 ing to Lorenzo de' Medici, who was 
 shortsighted, that the air of Florence 
 must hurt the eyes: "And that of Siena 
 the brain," replied Lorenzo. At the 
 election of Leo X., whose eyes were 
 very bad also, the Roman satirists thus 
 interpreted the inscription of Saint Peter, 
 mccccxl : multi cceci cardinales creave- 
 runt caecum decimum Leonem. Two 
 
 1 See ante, book vi. cb. vii. 
 
 2 Dante, Inf.xy. 67. 
 
 of the greatest Florentines, Michael An- 
 gelo and Galileo, became blind at last. 
 Menage seems to take up the opinion of 
 Soccini, when he attributes this defec- 
 tive vision to the keenness of the air, 
 especially in winter : 3 it is caused more 
 probably by the dazzling reflection of 
 the sun on the large flagstones of the 
 pavement. 
 
 CHAPTER XIV. 
 
 HoIyGbost.— Florentine mystery. —Choir. —Sacristy. 
 — Pietro Vellotii.— Carmine.— Masaccio.—Fra Am 
 brogino.— Saint Felix.— Don Casilio Nardi — Mai 
 maritale.— Saint Felicity. — Paterins. Angelica 
 Paladini.— Sacristy.— S. Barbieri. — Andrea ael 
 Castagno. 
 
 The old church of the Holy Ghost was 
 destroyed in 1471 by an accident cha- 
 racteristic of the spirit and manners of 
 an epoch. On the arrival of Galeas 
 Sforza, duke of Milan, his consort, and 
 all their court, three public spectacles, 
 real mysteries with machinery and de- 
 corations marvellously executed by Brii- 
 nelleschi, were performed before them, 
 and this very church was selected for 
 the representation of the last, the Descent 
 of the Holy Ghost on the Apostles, and 
 the fire used therein consumed the edi- 
 fice. The multitude, Machiavel tells 
 us, were not backward in ascribing this 
 untoward event to the wrath of heaven, 
 incensed at the unbounded licentiousness 
 of Florentine manners. The historian of 
 Florence, in speaking of this corruption, 
 which was aggravated by Sforza's cour- 
 tiers, with truly catholic zeal exclaims 
 against the general consumption of meat 
 during Lent; an infraclionof ecclesiastical 
 discipline nevei before seen in that town. 
 
 The present church of the Holy Ghost, 
 by Brunelleschi, for simple ingenious ar- 
 chitecture, is the first in Florence, and 
 one of the most admirable chefs-d'oeuvre 
 inspired by the antique at the era of the 
 revival. This church was completed 
 after the great architect's death, and Va- 
 sari says, that but for the curse of those 
 who always spoil the best beginnings, it 
 would have been the finest temple in 
 the world. The choir and high altar 
 are of extraordinary magnificence. The 
 sacristy, a real temple, from Cronaca's 
 designs, is not less remarkable : a Ma- 
 
 3 Moili di dire ilatiani. 
 
364 
 
 FLORENCE. 
 
 [Book X. 
 
 donna, very fine, is by Filippo Lippi; a 
 Dead Christ, in bronze, by Giovanni 
 Bologna. The different chapels offer 
 some good paintings and some curiosi- 
 ties : a wooden statue of St. Nicholas, 
 by Sansovino; Jesus expelling the tra- 
 ders from the temple, a small painting 
 by Stradan, which has a multitude of 
 figures full of life and agitation: St. 
 Stephen, a masterpiece of Passignano ; 
 another fine Madonna, surrounded 
 with figures representing persons of the 
 Capponi family, by Lippi ; a good Ma- 
 donna della Cintola, of wood, by Dona- 
 tello, which is only seen in the first week 
 of September; the Adoration of the 
 Magi, by Lomi ; several Martyrs; a 
 touching Adulterous woman covering 
 her face with her gown, by the second 
 Bronzino; the exquisite ornaments of 
 the inner chapel of the Holy Sacrament, 
 by the best artists of the fifteenth cen- 
 tury, forming a striking contrast with 
 the balustrade and external embellish- 
 ments of the next century. The Mag- 
 dalen in the garden, by the same Bron- 
 zino, in the Cavalcanti chapel, is the 
 portrait of a great Florentine lady, loved 
 by Pietro Bonaventuri, the husband of 
 Bianca Capello : being created master 
 of the wardrobe and established at the 
 court of the grand duke his wife's lover, 
 this hero of romance sunk into infamy, 
 became an intriguer, and perished by 
 assassination, the victim of this lady's 
 relations. Nobler recollections are at- 
 tached to the celebrated orator, critic, 
 professor, and excellent citizen of Flo- 
 rence, Pietro Veltore, one of the great 
 men of the revival, interred in this same 
 church. The organ is highly extolled 
 for the power and effect of its harmony. 
 In the cloister of the Holy Ghost, a 
 private burinl-place, a plain marble slab, 
 sculptured by S. Bartolini, marks the 
 grave of Napoleon-Louis Bonaparte, who 
 was born at Paris in 1805 and died at 
 Forli in April 1831 : the French inscrip- 
 tion alluding to the qualities and talents 
 of this noble youth, was composed by 
 
 ' The manuscript at ttio Lauientian, as we have 
 elsewhere staled, is the copy attributed to Manelli. 
 See ante, ch. v. 
 
 1 Cellini asserts that he learned from Torrigiani, 
 afterwards burnt in Spain, that Michael Angelo and 
 he went rrom their childhood {fanciultelli ) to 
 draw in the chapel del Carmine, where Michael 
 Angelo was accustomed to laugh at the other stu- 
 dents, but that he {Torrialani) was less patient 
 
 his father; it is pathetic, but too long 
 and little fit for a monument. Below 
 is an old stone of the Bonaparte family 
 marking their place of sepulture when 
 living in Tuscany, before passing into 
 Corsica, and thence through war, glorv, 
 empire, and exile. 
 
 It was to the convent of the Holy 
 Ghost, the second cloister of which is 
 by Ammanato, that Boccaccio bequeath- 
 ed his library : the building intended 
 to receive it had beerr erected by the ce- 
 lebrated Florentine Nicolao Niccoli, an 
 ardent propagator of letters in his country 
 and a friend of Poggio. The manuscript 
 of the Decameron, left by Boccaccio to 
 Fra Martino da Signa, and after him to 
 the convent of the Holy Ghost, has dis- 
 appeared; ' it is supposed to have pe- 
 rished in the conflagration of 1471, or 
 in some of the voluntary fires lighted 
 by the fanatical eloquence of Savo- 
 narola. 
 
 Some few feet of wall painted in fresco 
 will make the church del Carmine live 
 for ever in the annals of art. This pri- 
 mitive painting of Masolino da Panicule 
 (who improved the clare-obscure), Ma- 
 saccio and Filippo Lippi, is already per- 
 fect; of these three able masters the two 
 first died young. The Nero on his 
 throne, condemning Sts. Peter and Paul, 
 who defend themselves nobly as apostles 
 and Roman citizens, is spirited, beau- 
 tiful, impassioned; it is Bonaparte or 
 Talma; the mute praetor listening to the 
 sentence may recall Tacitus. The Cru- 
 cifixion of St. Peter is excellent for 
 naked, drawing, and clearness; in the 
 Baptism, the celebrated figure of the 
 man without clothes who seems quaking 
 with cold, makes one shiver to look at 
 him ; the Deliverance of the saint is 
 resplendent; the Adam and Eve were 
 copied by Raphael in his Loggia without 
 alteration. This chapel of the Holy Sa- 
 crament is as the source of the grand 
 Italian painting; it was there that Leo- 
 nardo Vinci, Michael Angelo,' Andrea 
 del Sarlo, Perugino, Raphael, and Fra 
 
 and gave him a blow on the face which left a ci- 
 catrice to the day of his dealli ( Vila, i. 3t-2). An- 
 nibale Caro composed these verses on Masaccio's 
 frescos, and Michael Angelo's study of them : 
 
 rinsi, c la mia piltura al ver fu pari; 
 l.'atteggiai, I' avvivai, le diedi il inoto 
 I.e diedi affetto : insegnl il Buonaroto 
 A tutti gll allrl, e da me solo imparl. 
 
Chap. XIV. ] 
 
 FLORENCE. 
 
 565 
 
 Bartolommeo, studied and formed their 
 taste; and these admirable artists seem 
 less surprising after such a precursor as 
 Masaccio. 
 
 The choir del Carmine presents a 
 classic and harmonious cenotaph by Be- 
 nedetto da Rovezzano, consecrated to 
 the gonfalonier Pietro Soderini : the 
 ashes of that ridiculous and insignificant 
 statesman, 1 who died at Rome, are not 
 there, and the monument loses nothing 
 by their absence. The rich Gorsini chapel 
 attests the decline of taste, and the angels 
 of the principal basso-relievo by Foggini, 
 with awkward wings and affected mien, 
 are far removed, notwithstanding the 
 skilful workmanship and truth of the 
 flesh, from the nobly beautiful angels of 
 the Baptistry doors and the shrine of 
 S. Zanobi, by Ghiberli. 
 
 The first cloister of the convent del 
 Carmine has some good lunettes by 
 TJIivelli; the second an Elijah's sacri- 
 fice, one of Poccetti's best works for 
 grace and power of colouring. 
 
 A monk del Carmine, Fra Ambrogino, 
 after declaiming against the French ad- 
 ministration, on the suppression of con- 
 vents, has acquired, by dissembled hu- 
 mility and pretended miracles, a certain 
 reputation for sanctity; he cures the 
 sick, assists ladies in childbed, and even 
 dabbles in prophecy. This monk, a little 
 hale old man, distinguished by no virtue 
 or superior quality, has a peculiar tact 
 in supporting his ridiculous impostures. 
 Fra Ambrogino's credit has however 
 diminished latterly, and his only dupes 
 now are the very dregs of the Floren- 
 tines, who escort him through the streets, 
 or fall prostrate before him and kiss his 
 hand. 
 
 The very ancient church of Saint Felix, 
 now parochial, has a fine fresco by Gio- 
 vanni di San Giovanni, St. Maximus, 
 bishop of Nola, offering the saint a 
 bunch of grapes, and Jesus saving 
 Peter from drowning, by Sal vator Rosa. 
 An old abbot of this church, Don Basilio 
 Nardi di Casentino, compared to Peter 
 the Hermit of the Gerusalemme, was 
 celebrated for his courage, and reputed 
 one of the first captains of his day; his 
 exploits even procured him, when re- 
 turning fromCosentino, a kind of popular 
 triumphal entry. Having been excom- 
 municated by the pope and deprived of 
 
 1 See ante, cb. lit. 
 
 his abbey, Lorenzo de' Medici caused 
 him to be reinstalled and obtained his 
 absolution. Don Basilio, after command- 
 ing the forces of the republic for thirty- 
 nine years with the trilling pay of 6 libri 
 13 soldi per day, died at Florence in 
 15i2, and was interred in the abbey of 
 Saint Felix. Part of the monastery of 
 this martial Canialdulite is now an asylum 
 for women unhappily married {mal 
 marital), a benevolenlinsiitution, found- 
 ed by charity and managed by the public 
 authorities. It was customary at Flo- 
 rence till the beginning of last century to 
 compel the girls of the town entered in 
 the registers of the magistrate then called 
 dell' onestd, to attend a sermon preach- 
 ed in the cathedral on the Thursday 
 of the fifth week in Lent, which sermon 
 was intended to reclaim them by depict- 
 ing the ignominy of their lot. But those 
 who were so inclined scarcely knowing 
 what course to adopt, the society delle 
 Bimesse convertite, under the invoca- 
 tion of Mary Magdalen, and composed 
 of rich and charitable persons, was esta- 
 blished to afford these unfortunates an 
 asylum, which in 1580 took the too 
 respectable name of Conservatorio delle 
 malmaritate. The present house seems 
 more conformable to the title. 
 
 The church of Saint Felicity, ancient, 
 but rebuilt about the beginning of last 
 century, is one of the most interest- 
 ing in Florence. In the square is the 
 new statue of St. Peter martyr, placed 
 about the same epoch on the old re- 
 paired column, which had been sur- 
 mounted by a former statue, then des- 
 troyed, a monument erected to the saint 
 as a memorial of the defeat of the Pa- 
 terins, heretics of the thirteenth century, 
 a kind of Manicheans, or Italian Albi- 
 genses, who in their chimerical ideas of 
 abstinence and perfection, looked on meat, 
 eggs, and marriage as so many evils. 
 The victory of Saint Peter shows the 
 extent of ecclesiastical power and ascen- 
 dency at that time, as the Pater ins were 
 zealously supported by the podesta of 
 Florence ; their army was twice beaten 
 out of the city in this square of Saint 
 Felicity and at the Trebbio, near Santa 
 Maria Novella. Saint Peter, tall, young, 
 robust, bearing a white flag surmounted 
 by a red cross, animated the combatants 
 by his eloquence. His standard is pre- 
 served in the sacristy of Santa Maria 
 Novella, and shown to the people every 
 
 31. 
 
366 
 
 FLORENCE. 
 
 [Book X. 
 
 year on his festival, the 29th of April. 
 On entering the church, to the left of 
 the Loggia, is the tomb and basso- 
 relievo of natural size of the illustrious 
 banker, citizen, and magistrate of Flo- 
 rence, Barduccio Cherichini. An ad- 
 jacent mausoleum contrasts with this 
 eminent sepulchre; it was erected by 
 the archduchess Maria Maddelcna of 
 Tuscany to the young Arcangiola Pa- 
 ladini, a poet, painter, singer, improvi- 
 sa trice, and celebrated embroiderer. 
 The inscription by Andrea Salvatori 
 evinces the taste of the age in ils ela- 
 borate elegance: 
 
 d. o. M. 
 Archangels Palladinia Joannis Broomaus 
 
 Anlueipiciisis uxor, 
 
 Cerinlt betrilscis regibus, nunc canlt Deo, 
 
 Vere Palladinia, quae 1'alladeni am, 
 
 Apellem coloribus, 
 
 CqqIu aequavil musas. 
 
 Obiit anno retails suss XXIII, die XVIII, 
 
 OctobrisMDCXXII. 
 
 Sparge rosls lapidem , coelesti innoxia cautu 
 
 I liusca jacet Mien, Hala musa jacet. 
 
 Arcangiola Paladini, stated by Lanzi 
 and his copiers to be from Pisa, was the 
 daughter ofFilippo Paladini, of Pistoia, 
 a painter of some eminence. The sculp- 
 tor of the mausoleum, Bugiardini, seems 
 to have had some similarity of talent 
 and destiny with the woman whose tomb 
 he adorned : a poet and musician, he, 
 too, was cut off, full of promise, in the 
 flower of his youth, and has left but a 
 small number of works. This artist was 
 the victim of a stupid joke. He occa- 
 sionally went to dine in the country 
 with the clergyman of Impruneta, where 
 a cat was served up to him in a ragout : 
 the laughing of the guests apprised him 
 of the trick, and on returning home he 
 experienced such violent convulsions of 
 the stomach that in his efforts to vomit 
 he broke a blood-vessel. The chapel of 
 the illustrious Capponi family, which 
 has escaped the last restoration of the 
 church, presents a Deposition from the 
 iross, by Pontormo, who painted the 
 cupola also, with the aid of his pupil, 
 the second Bronzino; a fine portrait of 
 St. Charles Borromeo, from life, is re- 
 puted an accurate likeness; the marble 
 ornaments and mosaic in wood that 
 surround them, are from Vignola's de- 
 signs; of the famous stained glass win- 
 dows of earlier limes, the Capponi arms 
 
 alone remain. At the chapel of St. Fe- 
 licity, the martyrdom of that illustrious 
 Roman matron, of that Christian mother 
 of Machabees and her sons, is by S. Berti, 
 a good Florentine painter now living, 
 and is one of his esteemed works. A 
 fine wooden Crucifix, in the chapel so 
 called, is by Andrea di Fiesole. Three 
 paintings in the choir are : the Cruci- 
 fixion, by LorenzoCarlelti; the Nativity, 
 by Gherardo dalle Notti ; the Resurrec- 
 tion of Christ, by Tempesta. In the 
 Guicciardini's chapel are two inscriptions 
 consecrated to the historian by his des- 
 cendants, for he had expressly forbidden 
 any funeral oration or epitaph. Another 
 inscription commemorates the talents of 
 a Pietro Guicciardini, deceased in 1567, 
 who had been ambassador at Rome and 
 in France at the court of Henry IV. An 
 inscription in the Mannelli chapel pre- 
 tends that this ancient Florentine family 
 came from Rome and is descended from 
 the Manilla family : the supposed trans- 
 cription of the Decameron ' and their 
 relations with Boccaccio have conferred 
 more lustre on the Mannelli than the fa- 
 bulous antiquity of the origin. Over the 
 small door of the church, may be re- 
 marked a portrait in mosaic of Alessan- 
 dro Barbadoni, uncle of Urban VIII, an 
 ingenious work by Marcel of Provence. 
 The painting by Vollerrano at the altar 
 of the Assumption is superb. In the 
 chapel of Saint Louis, the Royal saint re- 
 ceiving the poor at his table, an image of 
 the evangelical popularity of that royalty, 
 is reckoned one of Pignone's best paint- 
 ings; it was honoured by the elogium 
 of L'uca Giordano, and the burlesque 
 bard of the Bucchereid, Bellini, created 
 for its aulhor the term of arcipittoris- 
 simo de' buoni. At the chapel of Saint 
 Raphael, the Archangel restoring the 
 aged Tobias to sight, is a good work by 
 Ignatius Hugford, a painter of the last 
 century, born at Florence of an English 
 father. A fine fresco of Poccetli, in the 
 chapel of the Assumption, represents the 
 Miracle of St. Maria delta Neve, when 
 snow was seen to fall at Rome, in the 
 middle of summer, on the Lsquilinehill. 
 The sacristy is an able and highly esteemed 
 structure, which has been supposed by 
 A 1 berti and is worthy of him. 
 
 The church of Saint Felicity is the 
 parish church of the grand duke. In 
 
 1 See ante, ell. v. and liv. 
 
Chap. XV.] 
 
 FLORENCE, 
 
 387 
 
 1827 a series of Lent sermons Were 
 preached there which were of extraordi- 
 nary effect. The preaching of S. Bar- 
 bieri, at once evangelical and philosophi- 
 cal, seems peculiarly adapted to an age 
 of enlightenment which he by no means 
 fears, but on the contrary regards as 
 likely to make religion shine with addi- 
 tional glory. S. Barbieri makes no 
 Latin quotations in his sermons, but, 
 like Bossuet, he translates the passages 
 of Scripture with the most felicitous sim- 
 plicity. This ecclesiastic, formerly a 
 professor at Padua, the favourite pupil 
 of Cesarotti, and likewise the author of 
 an estimable poem on the Seasons, ob- 
 tained a real triumph by the unction, the 
 pathos of his sentiments, and the gravity, 
 though rather professor-like, of his de- 
 livery. Independently of an immense 
 Italian audience, doubtless but little ac- 
 quainted with this order of ideas, fo- 
 reigners, men of different communions, 
 attended and relished the discourses of 
 this meek and philanthropic Savonarola, 
 then the only subject of conversation. 1 
 
 The old parish church of Saint. Ni- 
 cholas has some excellent paintings : 
 Abraham's sacrifice, by the second 
 Bronzino; the Virgin and several saints, 
 one of Gentile da Fabriana's works, of 
 whom Michael Angelo said that his name 
 agreed with his talent, an old Floren- 
 tine master who had the glory of forming 
 the Bellini, the creators of the Venetian 
 school ; in the sacristy, the Virgin and 
 St. Thomas, a fresco by Ghirlandajo. 
 
 The door of Saint Lucy de' Magnoli is 
 ornamented on the outside with divers 
 figures, some of the first sculptures of 
 Luca della Robbia. This church has 
 some old paintings; the Virgin, St. 
 Lucy, and other saints, one of the few 
 works of Andrea del Castagno, assassin 
 and artist, a perfect Italian character of 
 the fifteenth century : Castagno had 
 learned the secret of oil painting, till 
 then unknown at Florence, ofDomenico 
 of Venice, whose heart he had won by 
 his assiduities and protestations of friend- 
 ship ; anxious to be the sole possessor of 
 such a secret, he waited till night and 
 smote Domenico with his own hand, 
 who, full of confidence, wished to be 
 taken to the traitor whom he thought 
 
 1 The sermons of the abbe Biirbieri were printed 
 at' Milan in 1836-7, 4 vols. t2mo, and they stand 
 the lest of reading. The most remarkable are the 
 
 his friend, and died in his arms. Public 
 opinion at the time was deceived as well 
 as Castagno's victim, and his crime 
 would have remained unknown but for 
 his confession when dying, at the age of 
 seventy-four. It was Castagno, who, 
 after the archbishop of Pisa and other 
 accomplices of the Pazzi had been stran- 
 gled and hung by their feet to the win- 
 dows of the old palace, was charged by 
 a decree of the vindictive seigniory to 
 paint their punishment on the front, and 
 on the very place where they had suffered 
 it, as if to prolong this loo transitory 
 pain. Such a subject suited the sangui- 
 nary artist, and he treated it so cleverly 
 as to obtain the surname of Andrea 
 degl' Impiccati (of the Hanged). 
 
 CHAPTER XV. 
 
 Palace.— Florentine architecture.— Sale of wine.— 
 Riccardi palace.— Luca Giordano. — Academy della 
 Crusca.— Chapel.— Lorenzino de 1 Medici.- Glie- 
 rardesca palace. 
 
 The architecture of the palaces of 
 Florence seems singularly grand, solid, 
 and gloomy : the masses of rocks that 
 abound in the country, and served for 
 the colossal constructions of Etruscan an- 
 tiquity, were also used by the first Flo- 
 rentine architects ; the public manners, 
 the quarrels of powerful families, the 
 continual riots, contributed likewise to 
 the erecting these fortress-like edifices. 
 
 Such is the long-existing spirit of 
 order and the trading propensity of the 
 people of Tuscany, that in these superb 
 palaces there is commonly a small wicket 
 between two windows on the ground- 
 floor where the noble master's wine is 
 sold : when a customer knocks the wicket 
 opens, and he puts in his fiaschetti with 
 the regular price, and immediately re- 
 ceives it filled. This selling, which it 
 would be silly to laugh at, is a vestige 
 of old manners, at the lime every Flo- 
 rentine was a tradesman, and it ought 
 to displease no one in a state where even 
 since the establishment of the grand- 
 dukedom, the princes have nominally 
 made part of one of the XIV Arts. The 
 same custom of retailing at one's town 
 house the wine produced on the estate 
 
 sermons on the Passion, the Trinity, the Eucharist, 
 Confession, and Prayer. 
 
S68 
 
 FLORENCE. 
 
 [ Book X. 
 
 ■was common in antiquity, « and existed 
 under Louis XIV. at Paris among the 
 lawyers, whose estates were always 
 most prudently managed. In a pretty 
 play by Dancourt, La Maison de cam- 
 pagne, a magistrate, M. Bernard, tired 
 of regaling the visitors attracted to his 
 house, feigns to metamorphose it into 
 an hotel, and he answers his wife, a 
 vain, extravagant woman, whom this ar- 
 rangement annoys: "Is it not just as 
 well to sell my wine in the country as 
 to retail it by the pot at Paris, like most 
 of my brethren? " Apartments also are 
 let in the Florentine palaces, and the 
 price is not over dear. Mr. Cooper, 
 whose elevated poetical talent has con- 
 descended to give a minute description 
 of the hotels and the common affairs of 
 Italian life, occupied a fine furnished 
 apartment on the first floor in the front, 
 composed of ten rooms beside kit- 
 chens, etc. for 60 dollars (13Z.) a month. 
 
 The Iliccardi (formerly the Medici) 
 palace, by Michelozzo, is one of the most 
 imposing, characteristic edifices of Flo- 
 rentine architecture. Erected by Cosmo 
 the elder, it became the asylum of the 
 refugee GreeksofByzantiumand Athens, 
 and the cradle of science, letters, and 
 modern civilisation : when I entered, 
 my thoughts were occupied wilh the 
 grandeur of such recollections, and I 
 was somewhat disappointed on finding 
 the offices and administration of the 
 land-tax installed there. The Riccardi 
 palace, which was occupied by the des- 
 cendants bf Cosmo, and was the tempo- 
 rary abode of Leo X., Charles VIII., and 
 Charles V., had been sold to the govern- 
 ment in 180i. The last day of Cosmo 
 were full of sorrow : this father of his 
 country, who had no doubt loved power, 
 lost Giovanni, the son in whom his hopes 
 chiefly centred; and the ill— health oi 
 Pietro rendered him unfit for business. 
 It was shortly before his dealh (hat he 
 exclaimed with a sigh, when carried inlo 
 the apartments of his splendid palace, 
 "This house is too large for so small a 
 family." 
 
 The entablature of the Riccardi pa- 
 lace, although rich, is rather massive ; 
 in the court, the eight marble basso- 
 relievos imitated from antique stones and 
 cameos, are an exquisite work by Dona- 
 tello. The gallery is celebrated for its 
 
 1 See post, book xiv. eh. ?. 
 
 ceiling in fresco, a masterpiece of Luca 
 Giordano, sumamed the Proteus of 
 painting, from his clever imitation of 
 different masters; the greatest painter of 
 the seventeenth century, but not free 
 from the faults of that epoch. The 
 work, a prodigy of ease, brilliancy, and 
 imagination is a poetical allegory on the 
 vicissitudes of human life, mixed with 
 mythological stories, and oddly crowned 
 with the Apotheosis of the Medici. 
 
 In the gallery of the Riccardi palace 
 are held annually the sittings of the Aca- 
 demy della Crusca, the oldest of its 
 kind, a grammatical tribunal that cen- 
 sured Tasso, as the French Academy 
 Corncille, and like the latter the object 
 of eternal pleasantries, but nevertheless 
 still justly honoured; this Academy has 
 terminated and is constantly improving 
 its useful Dictionary, the true model of 
 all dictionaries ; it still counts among its 
 members several men of merit and di- 
 versified celebrity, suchasSS.Niccolini, 
 Bencini, Furia, Follini, Boni, academi- 
 cians, and Giordani, Parenli, Gargallo, 
 Manno, corresponding members. This 
 academy has been often wrongfully ac- 
 cused of a disposition to impose its deci- 
 sions on Italy as rules of language ; it 
 has no such pretension, but is simply 
 devoted to the conservation of the Tus- 
 can idiom in its purity. 
 
 The chapel of the Riccardi palace of- 
 fers three curious works of Benozzo Goz- 
 zoli, a worthy pupil of Fra Angelico; a 
 Glory, a Nativity, and an Epiphany : 
 never, perhaps, has gold been so pro- 
 fusely lavished on the robes of persons 
 painted in fresco; the figures, costumes, 
 furniture, harness of the horses, are of 
 such truth, that the spectator is ready to 
 imagine he is gazing on an apparition of 
 the fifteenth century. 
 
 On the site of the old stables was the 
 house of Lorenzino de' Medici, in the 
 street del raditore, whither he one 
 night enticed and assassinated his cousin 
 Alexander, the first duke of Florence, 
 who supposed he was going to an assig- 
 nation with a lady he loved. The action 
 of this strange conspirator, composing 
 canzoni, sonnets, and antique dramas, 
 dressed as a Greek, the vile confident of 
 his enemy's libertinism, who instantly 
 took flight like a coward and left his 
 house to be pillaged and demolished by 
 the people ; — this daring action was with- 
 out result: as at Rome after Caesar's 
 
Chap. XVI.] 
 
 FLORENCE, 
 
 569 
 
 death (the duke Alexander had only his 
 vices), "il n'y eut plus de tyran, et il 
 n'y eut pas de liberteV' ■ The causes 
 which had destroyed it in Florence still 
 existed, and Strozzi was in one of those 
 illusions common to political exiles, 
 when embracing Lorenzino on his arrival 
 at Florence, he cried : "This is our Bru- 
 tus and the deliverer of his country ! " 
 
 The vast Capponi palace, of Fonlana's 
 architecture, presents in the saloon 
 sundry incidents from the history of the 
 three Capponi, Florentines so devoted 
 to the honour, power, and independence 
 of their country. The present marquis 
 Capponi, one of the most enlightened 
 men in Italy, and one of the noblest cha- 
 racters of our time, may fearlessly con- 
 template the actions of his ancestors; he 
 is worthy to imitate them, and only 
 wants their fortune. 
 
 The Gherardesca palace, once the pro- 
 perty of the celebrated gonfalonier and 
 historian ofFIorenceBartolommeoScala, 
 recalls the name of one of the oldest fa- 
 milies in Europe. Cgolino, whose fear- 
 ful history is represented in a basso-re- 
 lievo of the court, was a member of it. 
 In the middle of the garden, the finest 
 at Florence, an erect statue contrasts with 
 the basso-relievo ; it was consecrated to 
 his father by Count Gherardesca, himself 
 an excellent father, philanthropist, and 
 distinguished agriculturist, and bears this 
 plain inscription lAlconte Cam. Gherar- 
 desca il figlio riconoscente : it may be 
 seen by this touching domestic monument 
 that the destiny of the present genera- 
 tion of the Ugolini is happier and sweeter 
 than the lot of the captives in the tower 
 of Famine. Although, since Dante's sub- 
 lime picture, the imagination allows 
 sons only to Ugolino, he had a daughter, 
 like her father a Guelf, to whom a Ghi- 
 beline lady addressed this witty repartee, 
 given by Sacchetti. Ugolino's daughter, 
 walking one day in March near the castle 
 ofPoppi with the daughter of Bonconte 
 da Montefeltro, one of the old Ghi- 
 beline chiefs who had been defeated there- 
 abouts, said to her, as she pointed to the 
 country : "See how luxuriant the corn 
 is! I would wager that the land still 
 feels the benefit of that defeat! " — " Very 
 likely," answered the Ghibeline lady ; 
 " but before these crops are ripe, we 
 may all die of hunger." 
 
 1 Grand, et dicad. det Romain$, chap. xii. 
 
 CHAPTER XVI. 
 
 Lenzoni bouse.— Italian literary society. 
 
 The house of Signora Carlotta Len- 
 zoni Medici, well worthy this last name 
 and the neighbourhood of Santa Croce, 
 presents a statue of Psyche by S. Tene- 
 rani, a sculptor of Carrara, one of the 
 most graceful and poetical perform- 
 ances of modern sculpture in Italy, very 
 pleasingly described by S. Giordani : la 
 prima afflizioned" un cuore innocente, 
 ossia una Psiche. The amiable mis- 
 tress has one of those Italian drawing- 
 rooms that assemble every night the 
 literary men of the town and well-edu- 
 cated people of fashion, and become real 
 academies, without pride, constraint, or 
 pedantry. The imagination moreover 
 is singularly charmed at hearing an- 
 nounced in these saloons the immortal 
 names of Buonarotti, Perruzzi, Alberti 
 and others, borne by men of merit, who 
 in the absence of glory have obtained es- 
 teem, and whose family traditions are 
 sometimes worth collecting. In these 
 old and true Italian societies, there are 
 sometimes literary readings totally un- 
 expected, no previous announcement 
 having been given, where one is allowed 
 to be candid. The pastimes, songs, 
 stories, all the intellectual diversions 
 painted by Castiglionein his Cortegiano, 
 and by Bargagli in his Vegghie sanesi, 
 are still kept up in these parties of hearty 
 amusement and mirthful gaiety. These 
 ladies, so natural and lively, are more- 
 over capable of most gra\ely discussing 
 questions of ancient or modern literature, 
 the fine arts, or the present interests of 
 civilisation, and conversations on these 
 subjects occasionally start up iuthe midst 
 of these pastimes and are treated in a 
 superior manner. The deep learning 
 and literary talents of the Italian ladies 3 
 of the sixteenth century may still be found 
 among those of the present epoch. De- 
 spite my numberless involuntary omis- 
 sions, I have already had the pleasure of 
 mentioning the names of some few, and 
 I hope henceforth to do them less wrong. 
 Florence has produced and possesses 
 some of the most distinguished. Signora 
 Carniani Malvezzi, married at Bologna, 
 a good poetess and able Latinist, has 
 translated some of the philosophical and 
 
 3 See ante, book v, cb. six. 
 
370 
 
 FLORENCE. 
 
 [Book X. 
 
 political works of Cicero with great fe- 
 licity, and her translation of the Bepu- 
 blica is even superior to that of Prince 
 Odescalchi ; in a different kind, her trans- 
 lation in verse of Pope's Rape of the 
 Lock is esteemed for its elegance and 
 harmony ; this lady is still engaged in 
 composing an epic poem on the expulsion 
 of the duke of Athens from Florence , and 
 the cantos already published have made 
 the public anxious for the rest. Signora 
 Fantastici Sulgheri Marchesini, improvi- 
 satrice of Florence, justly celebrated, has 
 successfully translated parts of Bion and 
 Anacrcon. Independently of the Italian 
 women noted for their writings, there is 
 a multitude of other merely lovers of 
 learning, who relish and duly appreciate 
 good works, are conversant with modern 
 and ancient languages, have even follow- 
 ed scientific lectures, and, with all this 
 learning, have not the slightest trace of 
 presumption, vanity, or affectation; in 
 fine, they have that quiet sterling merit 
 spoken of by La Bruyere, " qu'elles ne 
 peuvent couvrir de toute leur modestie." 
 
 CHAPTER XVII. 
 
 Martelli,— Pandolfini,— Borghese palace. — Balls.— 
 Society. — Altoviti, — Peruzzi, — Ituccellai | tlrada 
 delta Scala | palaces.— Plalonician Academy.— 
 Ruccellai ( delta Vigna), — Corsiol, — Vecchielli, — 
 Strozzl,— Cronaca,— Gondi palaces. 
 
 The Martelli palace has some paintings 
 by eminent masters, among them a 
 landscape by Guaspre Poussin ; a Sor- 
 cerer's car, by Giulio Romano, and the 
 great Catiline's Conspiracy by Salvator 
 Rosa, too highly vaunted, from which 
 the one in the Pitti palace has perhaps 
 been copied. Two exquisite statues are 
 by Donalello : the St. John Baptist, and 
 the David, so noble, graceful, and life- 
 like, one of the most admirable master- 
 pieces of the. Italian chisel, by the artist 
 when a guest of the Martelli family, to 
 a member of which, Roberto, the richest 
 of the Florentine marchants, he had been 
 indebted for his education. 
 
 The Pandolfini palace was erected 
 after the designs of Raphael for the bi- 
 shop of Troja, Gianozzo Pandolfini, his 
 friend, a virtuous prelate, says an his- 
 torian of the time, detested by the other 
 prelates of Florence, who were for the 
 most part abandoned to vice. It is im- 
 possible to find a more judicious, elegant, 
 
 or noble specimen of architecture : the 
 entablature which gracefully crowns the 
 palace is ranked with the truly classic 
 models. 
 
 The palace of Prince Borghese, former- 
 ly the Salviali, has been repaired, paint- 
 ed, decorated, and furnished with the 
 utmost magnificence in the space of six 
 months, and this excessive despatch has 
 strangely injured the taste and perfection 
 of the works of art. The balls given at 
 the palace of Prince Borghese, on the 
 opening of its galery and thirty-one sa- 
 loons, were perhaps "the finest in Europe. 
 Balls were given in the ordinary apart- 
 ments every week. This splendid hos- 
 pitality towards the numerous strangers 
 attracted to Florence, among whom there 
 are ten thousand English, was exercised 
 by the prince and his family with noble 
 charming politeness; it is impossible to 
 forget the enchanting amenity of the 
 princess A"*******, a French lady, and 
 the worthy inheritor of the name of La 
 Rochefoucauld, the friend of Lafayette 
 and Sevigne. The aspect of these balls 
 was really rather English than Italian, 
 so great was the preponderance of Eng- 
 lish ladies. 
 
 The Altoviti, now called the Visaed 
 palace, which belonged to the fa mow; 
 Rinaldo degli Albizzi, was ornamented 
 externally by the senator Paccio Valori, 
 librarian of the Laurcntian, with twenty 
 figures of illustrious Florentines; a pa- 
 triotic and popular means of maintaining 
 the memory of ancestors, ever sacred at 
 Athens and Rome, which contributed so 
 much to their glory, and which, being 
 different from mere pride of birth, is too 
 much neglected by the moderns. 
 
 The Peruzzi palace, of Tuscan archi- 
 tecture, is simple and majestic : the ar- 
 cade deserves notice, as well as the 
 Loggia, now walled up. In the saloon 
 are two great and good paintingsopposile 
 each other. The first and the best, by 
 Coccapani, represents the reception, in 
 the house of Giotto Peruzzi, of King Ro- 
 bert of Sicily, who carne to Florence in 
 1310 to reconcile the Guelphs and Chi- 
 belines. The second, by Vincenzo Dan- 
 dini, is Rodolfo Peruzzi receiving in his 
 house the emperor Paleologus, although 
 the fact was impossible ; Rodolfo Pe- 
 ruzzi, banished as an accomplice of Ri- 
 naldo degli Albizzi in causing the exile 
 of Cosmo, died abroad in 1435, three 
 years before the Greek emperor visited 
 
Chap XVII.] 
 
 FLORENCE. 
 
 374 
 
 Florence. ThePeruzzi, who have given 
 so many celebrated and excellent citi- 
 zens to Florence, are among the eminent 
 names of the commercial history of Eu- 
 rope. The company of the Bardi and 
 Peruzzi -were creditors of the English 
 monarch, in 1339, whose riches were not 
 augmented by the victories of Creci and 
 Poitiers, for the sum of 1,000,365 gold 
 florins (611, 520/.) ; and their bankruptcy 
 produced a violent shock, which was 
 long felt, in the trade of the town ; > the 
 transactions of modern bankers with 
 crowned heads seem less disastrous. 
 
 The Strozzi, formerly the Ruccellai 
 (strada della Scala) palace, was built 
 by the illustrious writer and citizen of 
 Florence, Bernardo Ruccellai, on the 
 design of Alberti : its double Loggia is 
 the first monument in which the classic 
 system of Greek architecture re-appear- 
 ed with all its purity. This place re- 
 calls the brightest days of Florence, and 
 one of the grand epochs of philosophy 
 and letters. It was in this palace, under 
 its porticos and in the celebrated gardens 
 (orti oriceUarii), then adorned with 
 precious wrecks of antiquity recently 
 discovered, that the Platonic academy 
 founded by Cosmo de' Medici assembled 
 and was hospitably entertained ; this 
 learned body so favourable to the advan- 
 cement of thought, was the first that re- 
 belled against the despotic sway of Aris- 
 totle, and it seems to have given the 
 signal for the enfranchisement of the 
 human mind ; it is there that Machiavel 
 read to the eager youth of Florence 
 his immortal discourses on Tilus Liviusj 
 there, too, this prodigious genius, at once 
 Moliere and Montesquieu, and the first 
 military writer after Caesar, had his 
 Mandragora performed to them, with 
 scenery painted by Perugino, Francia- 
 bigio, and Ghirlandajo ; 2 there Rosa- 
 munda was performed, the second mo- 
 dern tragedy, 3 written by a Ruccellai; 
 there Fabrizio Colonna taught the Ita- 
 lians the art of war which they had too 
 
 1 Ammirato, quoted by tbe Florentine Observer 
 | t. v. p. )5T|, speaks of this catastrophe in the fol- 
 lowing manner, book ix of his History : "Onda 
 per it danuo di molti altri raercanti, che come pic- 
 coli rivi entravano in questo gran mare, il male 
 aivenne tosto pubblico, e in"parlicolare la cittadi 
 Firenze, e i suoi cittadini ne senlirono allora, e 
 molto piii appresso gran nocumento." The Buona- 
 corsi ruined by the failure of the Bardi, had for 
 partner tbe celebrated writer and historian Gio- 
 
 much forgotten or badly practised; 4 
 there the conspiracy against the absolute 
 power of the Medici was plotted, when 
 the liberty of Florence, like that of an- 
 cient Rome, except in manners, was only 
 the dream of exalted, ardent, Utopian 
 minds. The aspect of the Ruccellai 
 gardens now contrasts with such remi- 
 niscences : I did not find the velvet turf, 
 the deep shade, nor the trees planted by 
 Bernardo Ruccellai, which Fabrizio Co- 
 lonna could not recognise ; these gardens 
 are arranged in the English manner with 
 little mounds, a pond nearly dry, Gothic 
 fabrics, a setting sun, a kind of copper 
 turned upside down, daubed on the 
 wall, and a poor brick colossal statue of 
 the Cyclop Polyphemus : the Urania 
 alone, a good statue by S. Ricci, has the 
 slightest resemblance with the chefs- 
 d'eeuvre of antique sculpture that deco- 
 rated the gardens of Ruccellai. 
 
 The Martellini palace presents several 
 remarkable objects : a patera by Dona- 
 tello ; the painting of the Advancement 
 of the Sciences and Arts, the best work 
 of Meucci,a passably good fresco painter 
 of the last century. 
 
 The Ruccellai (della Vigna) palace, 
 by Alberti, still belongs to the family 
 whose name it bears : the front is ad- 
 mired. The origin of the Ruccellai, so 
 eminent in the history of Florence and of 
 literature, seems singular: the name is said 
 to be derived from the manner of dying 
 wool or silk violet-colour (a oricello), 
 a process they brought from the Levant, 
 about 1300, whither they already traded. 
 
 The ancient palace of the counts Ac- 
 ciajoii, who were the last dukes of 
 Athens, and afterwards rivals of the Me- 
 dici, was a good hotel in 1828, kept by 
 a French woman, madame Hembert". 
 who has since moved her establishment. 
 Without having the luxury of the 
 Schneiderff palace, this inn would cer- 
 tainly be preferred by Montaigne to the 
 Agnolo : he would experience none of 
 the nuisances of that day, nor be obliged, 
 
 vanni Villani, who was declared insolvent and 
 thrown into prison. 
 
 2 Tbe effect of the piece was so extraordinary, that 
 tbe fame of it readied Home, and Leo X., curious 
 lo witness these performances, luvited the Floren- 
 tine actors thither: such too, was the beauty of 
 tbe scenery and decorations, says Giovio, that he 
 paid the expense of removing them. 
 
 3 See anle, book v. ch. xxiv. 
 
 4 See Machiavel's irl of War, book first. 
 
572 
 
 FLOUENCli. 
 
 [ Book X. 
 
 in order to escape them, to have his hed 
 made on the dining table. « 
 
 The vast Coi sini palace is inhabited by 
 the prince and his brother the Cav. Neri 
 Corsini, enlightened men : the former 
 has been a senator ; the latter, counsellor 
 of state under the empire, is now home 
 minister of Tuscany, and has an oppor- 
 tunity of applying the principlesacquired 
 in that excellent school. The gallery is 
 the first private one in Florence, and 
 was politely shown me by the prince's 
 eldest son, an amiable young man ; it 
 has some curious paintings : two of the 
 oldest portraits of Dante and Petrarch ; 
 the cartoon of Julius II., by Raphael, 
 perhaps superior for expression to the 
 portrait of the Tribuna. The Poetry, a 
 highly-extolled figure, by Carlo Dolci, 
 although fine, did not appear to me 
 sufficiently inspired. » Power and pas- 
 sion are deficient in this graceful, inge- 
 nuous, timid painter, who was so much 
 embarrassed on his wedding day that he 
 ran away. 
 
 The Vecchietti palace, from the designs 
 of Giovanni Bologna, is a monument of 
 his gratitude towards Bernardo Vec- 
 chietti, his host, protector, and friend ; 
 he also made the 1 it tic satyr in bronze 
 placed al canto de' diavoli, which served 
 to hold the flags in the popular games of 
 the Potenze. 
 
 The Strozzi palace is regarded as the 
 chef-d'oeuvre of the prodigious and im- 
 posing architecture of Florence, which 
 has never been surpassed or even equalled 
 for strength and grandeur. The enta- 
 blature of Cronaca, 3 who finished the 
 palace begun by Benedetto da Majano, 
 is the finest produced by the architecture 
 of modern palaces, and has immortalised 
 its author. Vasari has taken pleasure 
 in boasting the perfection attained by the 
 architect in preparing and binding to- 
 gether the blocks that compose this vast 
 coping, imitated from an antique ruin of 
 Rome, but in larger proportions, as well 
 as the care with which the works were 
 conducted from beginning to end. So 
 accurate, indeed, were all his measures, 
 
 ■ The eipense at the Ignolo was then (1581 ) 7 
 rrals (about is -'til.) for a wan and horse, and 
 4 reals for a man only. 
 
 % A very well executed copy on porcelains is by 
 M. Coustantin, and may be seen in the ball of Flora 
 at the Pilti palace. 
 
 3 In English, the Chronicle. Cronaca, whose real 
 name was probably that of bis relative, the cele- 
 
 that this grand whole does not seem an 
 assemblage of stones, but as if cut out 
 of a single block. Nearly three centu- 
 ries have passed away since Vasari, and 
 the eye cannot yet discover the slightest 
 trace of disunion to contradict this eu- 
 logiurn. The solid structure is a daring 
 defiance of time by man. This palace, 
 erected by Filippo Strozzi the elder, 
 seems as new as when Gist built; the 
 name of the founder is not obliterated, 
 and if no extraordinary causes of de- 
 struction intervene, it will long answer 
 his noble ambition to perpetuate his me- 
 mory. The large iron rings for holding 
 lamps (a privilege only accorded to the 
 illustrious families of Florence) are the 
 work of a clever smith, Nicolao Grosso, 
 surnamed Caparra, from his custom of 
 never undertaking any work without 
 an advance of earnest money (caparra), 
 and whose name and interested surname 
 have seemed worthy of passing to after 
 ages. 
 
 The Orlandini del Beccuto palace, now 
 one of the most magnificent of Florence, 
 formerly belonged to the Chiarucci fa- 
 mily, who there received the adventu- 
 rous Baltassare Cossa;* it was rebuilt 
 about the close of the sixteenth century, 
 after passing into the Gondi family, whose 
 arms are still visible. OurfamousGondi, 
 the coadjutor, although born in Brie, 
 really possessed the turbulent and fac- 
 tious genius of Florence, and he even 
 seems, by his character, talents and the 
 manners of the early part of his life, to 
 have greatly resembled Cossa, who, like 
 him, died a cardinal, and reformed. 
 
 The tower de' Ramaglianli has be- 
 come quite a museum through the exer- 
 tions and taste of S. Sorlei, a goldsmith, 
 who inhabits it, and most obligingly al- 
 lows it to be seen on Sundays : beside 
 gems, medals, bronzes, statues, basso- 
 relievos there collected, an Assumption, 
 in basso-relievo, is reckoned one of Luca 
 della Robia's chefs-d'oeuvre. 
 
 braled sculptor Pollajolo, owed the humorous 
 surname by which be is known, to the habit he 
 had contracted of eternally talking about his 
 journey to Rome aud residence there. How like 
 are we lo Cronaca now-a-days, and certainly with- 
 out being half so interesting as that great artist •' 
 4 See ante, ch. ix. 
 
Chap. XVIH.] 
 
 FLORENCE. 
 
 573 
 
 CHAPTER XVIII. 
 
 rilti palace.— Court.-Canova's Venus— Gallery.- 
 Library.— Galileo's manuscripts.— Boboll.— Ri- 
 vers, by Giovanni Bologna.— Casino of Leblanc. 
 
 The Pitti palace, begun by Brunel- 
 Ieschi, was finished for the abode of 
 Cosmo I. Compared with the imposing 
 old republican palace of the Seigniory, 
 built on a confined spot prescribed by 
 the people,' this monument seems a good 
 expression of the political contrast of the 
 two epochs, and the architecture of its 
 lengthy front has all the stately gloom 
 and oppressive uniformity of absolute 
 power. The awe-striking aspect of the 
 Pitti palace but little resembles the prin- 
 ces who, for nearly a century, have go- 
 verned Tuscany with so much sagacity, 
 mildness.and wisdom, and who make that 
 happy country the political oasis of Italy. 
 
 The celebrated court of Ammanato, 
 rich, majestic, is the masterpiece of its 
 kind, though its style is not very pure, 
 and proves that the epoch of decline had 
 already begun. The court of our palace 
 of the Luxembourg seems only a heavy 
 monotonous imitation of it. The grotto, 
 supporting a gushing fountain on its roof, 
 is tastefully decorated, and is one of the 
 most picturesque portions, and the best 
 imagined, of this harmonious whole. 
 
 The great hall on the ground floor is 
 curious for its frescos, the most important 
 work of Giovanni di San Giovanni, a 
 rapid, fantastic painter. On the ceiling 
 are several allegories on the marriage of 
 Ferdinand II. with the princess of Urbino, 
 Vittoria della Rovera, and on the walls, 
 several incidents from the life of Lorenzo 
 de' Medici, as a patron of letters; some 
 particulars are whimsical : a Satyress 
 holding crowns in the air in token of 
 victory ; Mahomet, sword in hand, is on 
 the point of exterminating the Virtues; 
 beneath him a harpy holds the Koran in 
 her hand ; philosophers and poets flying, 
 several of whom stumble and fall, lake 
 refuge with Medici ; -Homer, groping his 
 way to the gate of Florence, is most 
 naturally expressed ; at this gate are also 
 Sappho bedrubbed by a Fury, and behind, 
 Dante in a red robe, thrown headlong 
 
 ' See ante, cb. iii. 
 
 2 Canova s delicate modesly would not permit 
 bis statue to be placed in the gallery on the old pe- 
 destal of tbe Greek Venus, but by its side, out of 
 respect for tbe illustrious exile. 
 
 from the stairs leading to Parnassus; 
 in the group of philosophers sits Empe- 
 docles, deploring the loss of his works. 
 The walls of this hall were finished after 
 Giovanni di San Giovanni's death, by 
 Cecco Bravo, Vannini, and Turini. The 
 first has represented Lorenzo de' Medici 
 in the costume of gonfalonier of the re- 
 public, welcoming Apollo and the Muses 
 presented to him by Fame and Virtue; 
 the second has placed him in his casino 
 of Saint Mark with a number of joung 
 artists and Michael Angelo, who is show- 
 ing him his satyr's head ; and the third 
 in his villa of Careggi, surrounded by the 
 members ofihe Platonic academy, among 
 whom may be recognised Marsilio Ficino, 
 Pico della Mirandola, and Politian. The 
 gracefulness and truth of the four basso- 
 relievos imitating marble which support 
 the roof, are much admired; Ihey were 
 invented and executed by Giovanni di 
 San Giovanni. In an adjoining apart- 
 ment are also fourteen little frescos on 
 tiles by the same artist. 
 
 Canova's Venus, despite its renown, 
 the honours it received, the enthusiasm 
 it excited when brought to Florence to 
 replace the absent Venus of Medici, 3 the 
 surname of Italica conferred by the 
 public voice, the numerous copies made 
 of it by himself and oihers, 3 the beauty 
 of the marble, the excellence of the naked, 
 struck me as vulgar in expression and 
 mien; larger than the antique statue, it 
 is less ideal and divine ; above all it has 
 not the same voluptuous bashfulness: 
 one might call it in plain terms a grisette 
 wiping herself. Perhaps, too, the cur- 
 tains, the dim light of the cabinet where 
 it is placed, the glasses which reflect it 
 on all sides, contribute still further to 
 give it that air of a boudoir figure which 
 speaks more to the senses than the soul, 
 and make it appear still more terrestrial 
 and modern. 
 
 The Pitti gallery is one of the first, and 
 perhaps ihc choicest galleries in Europe. 
 The most eminent musters have contri- 
 buted their different masterpieces to this 
 wonderful selection, viz. : Sal vator Rosa, 
 several Marine views, his famous Cati- 
 line's conspiracy, much too highly ex- 
 tolled, there being nothing Roman or an- 
 
 3 Tbere are three repetitions of tbe Venus, pos- 
 sessed by tbe king of Bavaria, the marquis of 
 Lansdowne, and Mr. Thomas Hope. 
 
 32 
 
374 
 
 FLORENCE. 
 
 [Book X. 
 
 llque about it ; his celebrated view called 
 ihe Philosophers' landscape ;— Garofolo, 
 St. Jerome; — Titian, his Mistress, called 
 Titian's fair one, like his Venus at the 
 Tribuna; the Portrait of Cardinal Ip- 
 polito de' Medici, in Hungarian costume ; 
 Pope Sixtus I V. ; Charles V. ; — Pietro 
 di Cortona, a part of the ceiling in the hall 
 of Apollo, his most esteemed work, fi- 
 nished by his pupil Cyrus Ferri ;— Paolo 
 Veronese, his Wife; the superb portrait 
 of Daniele Barbara; — thethirdBronzino, 
 the Miracle of St. Julian, his best paint- 
 ing ; the cool and passionless Judith, 
 a fantastic sentimental picture, in which 
 the heroine is the portrait of his mistress, 
 the woman-servant, her mother's, and 
 the severed head of Holophernes, his 
 own ; — Ligoli, the famous St. Francis, 
 musing; his Descent from the cross, in 
 a more elevated and noble style than 
 belongs to him; the Sacrifice of Isaac, 
 one of his good works ; the Ecce homo, 
 his chef-d'oeuvre;— Andrea del Sarto, a 
 Descent from the cross ; the Dispute on 
 the Trinity, both very fine ; an Annun- 
 ciation, in which the Virgin seems 
 prudish and irritated rather than holy 
 and touched; several Assumptions; — 
 Raphael , the portraits ofMaddelena Doni 
 and her husband Angelo ; the Madonna 
 dellaSeggiola, the harmony and elegance 
 of which the rival engravings of Morghen 
 and Garavaglia cannot render ; the 
 portrait of Leo X., between the cardinals 
 Giulio de' Medici and Rossi, notwith- 
 standing the admiration of more than 
 three centuries, has always appeared to 
 me to offer a strange contrast with the 
 reputation for elegance accorded to both 
 the painter and the pontiff; this father of 
 letters and arts, this Pericles of modern 
 Italy, were it not for the Roman purple, 
 would have the air of a toping parson, 
 and his insignificant cousin the cardinal, 
 his successor, appears less common than 
 he : another portrait of Julius II., per- 
 haps by Giulio Romano ; > the Madonna 
 del Baldacchino ; Tommaso Fedro In- 
 ghirami, secretary of the college of car- 
 dinals, called the Cicero of his time, who, 
 although clothed in purple, was never 
 cardinal; the small sublime Vision of 
 Ezekiel ; the portrait of Cardinal 
 Bibiena; the Madonna of the Grand 
 
 1 See ante, ch. It. 
 
 2 This library must not be confounded with Ibe 
 Mediceo-ralatina library, formerly at the rltti pa- 
 
 Duke ;— Rembrandt, his valuable por- 
 trait ;— Carlo Maratlo, a good St. Philip 
 ofNeri ;— Vandyck, an cxceUeni portrait 
 of Cardinal GuiBcntivoglio ; — Rubens, 
 the allegory of the Ravages of war, so 
 full of life and truth ; his Four Philoso- 
 phers, presenting bis portrait and his 
 brother Filippo's, those of Grotius and 
 Justus Lipsius, near whom he has not 
 forgotten to place the two ruling pas- 
 sions of that learned man, tulips and his 
 dog Saphir ;— Carlo JDolci. St. Peter 
 weeping ; St. Andrew ;— Luca Giordano, 
 a Conception ;— Boui guignon, a Great 
 Battle, one of his best productions; — 
 Michael Angelo, the terrible Fates, so 
 grave, thoughtful, and severe;— FraBar- 
 tolommco, the fine gigantic St. Mark, 
 which he made to refute the critics, who 
 blamed his figures as too slender; the 
 Virgin on a throne with several saints, 
 one of his fine pictures; — Leonardo Vinci, 
 a woman's portrait called the Nun, 
 sweet, tender, melancholy ; — Domeni- 
 chino, a St. Mary Magdalen ; — Giulio 
 Romano, the little Dance of Apollo and 
 the Muses, so magically coloured, and its 
 figures seem to dispute for gracefulness 
 and truth with antique sculpture ;— 
 Sebastiano del Piombo, the Martyrdom 
 of St. Agatha; — Rosso, the Virgin and 
 some saints, bold in effect, skilful in 
 design and colouring ;— the first Bi onzino, 
 a portrait of Don Garzia, when a boy, 
 the hero of Alfieri's tragedy; — Tiarini, 
 Adam and Eve mourning the death of 
 Abel, a composition worthy of this pa- 
 thetic painter, 
 
 The library of the Pilti palace, the old 
 library of the grand duke Ferdinand 111., 
 a curious and passionate amateur of 
 scarce books, has now more than eighty 
 thousand volumes, a The collections of 
 Rewiczky and Poggiali laid the founda- 
 tions, and it has been constantly aug- 
 mented with the best ami finest works in 
 Italian, English, French, and German. 
 The following may be. remarked : the 
 collection of the Variorum in the three 
 sizes, the greater pait double, common 
 size, and large paper; the collection ad 
 usum De/p/u'm complete ; the collection 
 of Elzevirs, perhaps one of the richest 
 known; the selection of authors quoted 
 by the Academy della Crusca, the most 
 
 lace, and which was divided by Leopold among (h« 
 different public libraries of Florence. 
 
CifiP. XVIII. ] 
 
 FLORENCE. 
 
 575 
 
 complete extant. The works on art, the 
 books of natural history with coloured 
 plates ; the voyages, chiefly on large 
 paper, are superb ; the collection of 
 geographical maps is perhaps the finest 
 ever made. A collection of ancient Ita- 
 lian mysteries is precious. The copies 
 on vellum or on blue paper are pretty 
 numerous. A considerable collection of 
 Italian books of the fifteenth century 
 comprises some of the rarest, and perhaps 
 a few unique, not being mentioned by 
 bibliographers. 
 
 The manuscripts, all Italian, are about 
 fifteen hundred in number, and many of 
 them are interesting. A small parch- 
 ment book of a hundred and one pages, 
 in Tasso's writing, and in a large hand, 
 contains the first sketch of sundry lyric 
 poems; it is full of alterations and era- 
 sures.some sonnets are written twice over, 
 and one as many as four times. This 
 volume, which belonged to the library of 
 the marquis of Lieto, was bought at 
 Naples, about 1815, by S.Molini, a book- 
 seller of Florence, and sent by him to 
 Paris ; it was put up for sale at Silvestre's 
 rooms, and bought for the grand duke at 
 the price of 4, 000 franks. The collection 
 of the unfortunate poet's letters, which 
 had belonged to Serassi, and was in his 
 writing, ■ includes one written from 
 Mantua to Giambatlista Licino, which 
 yields farther particulars of his distress. 
 We learn from it, that the learned Tar- 
 quinia Molza, of whom we have spoken, 
 doubtless absorbed by study or senti- 
 mental dissertations, a and less punctual 
 than madame de Tencin, forgot to send 
 him the small-clothes she had promised 
 him, and he consequently had no change 
 of dress; that a pair of the silk ones given 
 him by the duke, as well as a doublet, 
 although new and embroidered, could 
 not be worn a fortnight, and that he knew 
 not what to do, being without money, s 
 
 Machiavel's manuscripts are contained 
 in six boxes in the shape of folio volumes, 
 which, besides different documents in 
 his hand, contain original letters and the 
 instructions with which he was charged 
 by the republic, as well as a great number 
 of letters addressed to him by important 
 
 1 rublished in 182) by S. Bernardoni, then owner 
 of the collection, which he has now ceded to the 
 grand duke. 
 
 2 See Vai ietes italiennes — Tasso's prison. 
 
 3 Delle calze proraessemi dalla signora Tarqul- 
 nla avrei gran bisogno, perche non posso mularml ; 
 
 personages. The correspondence of Ma- 
 chiavel, like that of all other men who 
 have had great influence over the age 
 they lived in, was very extensive, and is 
 not all published. A part of it is in the 
 British Museum, proceeding either from 
 the fine autograph collection formed by 
 S. Salvi of Brescia, a learned bibliogra- 
 pher, or from the three volumes bought 
 at Florence by Lord Guilford, and sold 
 by auction at London in 1830 by the heirs 
 of that worthy nobleman. 
 
 The manuscripts of Galileo, his corres- 
 pondence, the works published against 
 him with annotations in his hand, the 
 manuscripts of Viviani, his pupil, of 
 Toricelli and the academicians del Ci- 
 mento, put in perfect order and making 
 more than three hundred volumes, are 
 the most remarkable manuscript collec- 
 tion of the Pitti library. Among the 
 manuscripts of Galileo are found his 
 thoughts on Tasso : Galileo was an ar- 
 dent admirer of Ariosto; it is asserted 
 that he knew his whole poem by rote ; 
 he preferred him to all poets ancient and 
 modern, and in his old age he wrote to 
 Francesco Rinuccini, that he had read 
 the flight of Angelica fifty times; he is 
 therefore most unjustly prejudiced against 
 Tasso. These Thoughts, written in his 
 twenty-sixth year, when professor of 
 mathematics at Pisa, unwisely brought 
 to light two centuries after his death (he 
 having neglected to publish them), do 
 not add an iota to his glory ; his critique 
 is harsh and insolent, his quodlibets are 
 college jests, and he even accuses Tasso 
 of incapacity in descriptive poetry. Ga- 
 lileo was himself a correct writer, and his 
 examination of Tasso is too much confined 
 to style and language; like Boileau, he is 
 too much provoked by his tendency to 
 false taste and tinselry, the character of 
 the Seicentisti, who so closely followed 
 Tasso, and exaggerated his faults. 
 
 The solemn Boboli, the garden of the 
 Pitti palace, laid out by Tribolo and 
 Buontalenii, with its majestic amphi- 
 theatre, its statues and fountains, seems 
 rather a creation of art than the work of 
 nature. It has been imitated and sur- 
 passed at Versailles. The undulating 
 
 ed un.pnjo di orraisino, donatemi dal serenissimo 
 signor priccipe col giuppone, bencbe siano nuove 
 e tulle adornate, io credo che si straccieranno in 
 quindici giorni, e non avendo deuari, non so come 
 mi fare. 
 
376 
 
 FLORENCE. 
 
 [Book X. 
 
 surface seems favourable to the irregular 
 kind, and the French administration 
 made an attempt to introduce it; but 
 the trees when untrained became so 
 mixed and interlaced as to injure each 
 other, and fell into utter disorder. In 
 1814, the old system was reestablished, 
 and the democracy of the English garden 
 gave way for the aristocracy of the quin- 
 cunx, high hedges, and straight alleys. 
 About the end of Cosmo I.'s reign, these 
 gardens, of so dull and stately an aspect, 
 witnessed the nocturnal pleasures of his 
 beloved daughter Isabella, her son Fran- 
 cesco, the lover of Bianca Capello, of 
 their courtiers and ladies : their present 
 appearance seems to contrast with such 
 recollections. Boboli afterwards assumed 
 a kind of innocence, by the experimental 
 cultivation practised there by the grand 
 dukes of Tuscany : Francesco I. planted 
 it with mulberry trees, to propagate them 
 for distribution among the inhabitants ; 
 and Ferdinand II. was the first to cul- 
 tivate the potatoe there. The gilliflowers 
 of Boboli are supposed the finest in 
 Europe. 
 
 The greater part of the many statues 
 of Boboli speak but too plainly of the 
 declining epoch in which they were 
 executed ; but there are some good works; 
 such are : in the fantastical grotto con- 
 structed by Buontaienti, with the front 
 by Vasari, an Apollo and a Ceres, by 
 Baccio Bandinelli: the last begun for an 
 Eve that was intended to be placed at the 
 high altar of the cathedral ; four great 
 statues of prisoners rough-hewn by Mi- 
 chael Angelo, and intended for the tomb 
 of Julius II.; in the midst of the pool 
 called the fountain of Neptune, the 
 Triumph of the god, in bronze, by Lo- 
 renzo Stoldi da Setlignano ; at the top of 
 the great alley, a figure, by Giovanni 
 Bologna, finished by Tacca and Salvini. 
 another metamorphosed statue, which 
 was at first intended to represent Giovanna 
 of Austria, wife of the grand duke Fran- 
 cesco I., and which was turned into 
 Plenty, for the marriage feasts of Fer- 
 dinand II. his successor; in the pine- 
 apple garden, a Clemency, nearly naked, 
 by Baccio Bandinelli, which must not be 
 confounded with that lady in a court 
 dress, decorated with the order of the 
 Golden Fleece, and holding in one hand 
 
 ■ Ainerl, Son. xx. It must, however, be ncknow- 
 edged that there is much esaggeration and Injustice 
 
 arrows, in the other flowers, a kind of 
 allegory, the sense of which is lost, and 
 seems scarcely worthy of regret; near 
 the walls of the town, a large bust, per- 
 haps of Jupiter, one of Giovanni Bologna's 
 first works; a group of Adam and Eve 
 after their fail, much admired, by Mi- 
 chael Angelo Nacerino.a Florentine ; and, 
 especially, at the fine fountain of Isoletto, 
 the colossal group of the three rivers, a 
 chef-d'oeuvre at once grand and elegant, 
 by Giovanni Bologna. 
 
 The heights of the Boboli garden are 
 noted for their view of Florence. I 
 confess that I infinitely prefer the view 
 from the casino of a compatriot, M. 
 Leblanc, a man of modest merit: that is 
 the place to contemplate Florence and 
 its charming environs. The aspect of 
 this city, though not extensive, is singu- 
 larly grand, historical, and poetic: what 
 edifices can equal her Duomo, her Palazzo 
 Vecchio, her Santa Croce! This latter 
 church, from its austere form and walls, 
 seems truly, in the midst of so many 
 noble fabrics, like the mausoleum of 
 genius. The noise of the city is not the 
 vulgar cry of the streets, but a kind of 
 buzzing as of bees, which invites to re- 
 verie. I have more than once saluted 
 Florence from this smiling hill, and I loved 
 to repeat there with him who sung her 
 great men and her glory : 
 
 Qui Michel Angtol uacque? e qui i! sublime 
 Dolce testor degli amorosi detti ? 
 Qui il gran poela, che in si font rime 
 Scolpi d' iuferno i pianii maladctil ? 
 
 Qui il celeste inventor, eh' ebbe dall' lme 
 Viilli nostre I planeli a noi suggelli ? 
 E qui II sovrano pensalor, ch' espiiuie 
 Si beu del Prence i dolorosi effeul ? 
 
 Qui nacquer, quando non venia proscrllto 
 II dir, leggere, udir, scriver, peusare; 
 Cose, ch' or tutle appongunsi a delitto. ■ 
 
 CHAPTER XIX. 
 
 Houses of Cellini,— Zuccari,— Michael Angelo,— Gio- 
 vanni Dologna, — AlQeri, — Vivlani, - Galileo, — 
 Machiavel. 
 
 Few cities offer so many illustrious 
 modern houses as Florence. The house 
 where Cellini was born and acquired his 
 
 iu the three last verses, as they are applied to tha 
 mild and liberal government of Leopold, 
 
Chap. XIX.] 
 
 FLORENCE. 
 
 377 
 
 name of Benvenuto, > was in the street 
 Chiara nel popolo di San Lorenzo. His 
 dwelling-house, a present from Cosmo I., 
 in which the memorable founding of the 
 Perseus took place, a was in the street 
 del Rosaio : inscriptions on marble slabs 
 perpetuate the memory of these facts. 
 
 The house of Federico Zuccari was in 
 the street del Mandorlo : the embossed 
 architecture, invented by him, still bears 
 witness to the caprice of his taste. 
 
 In the street called Ghibellina, a name 
 associated with the wars, discords, and 
 proscriptions of Florence, in this town 
 now so quiet, 3 is the house of Michael 
 Angelo, the first of these celebrated 
 abodes, still inhabited by a descendant 
 of Michael Angelo, the Cav. Cosmo 
 Buonarolti, a distinguished magistrate, 
 president of the Magistrate supremo 
 of Florence, who did me the honours of 
 it with the greatest courtesy. This house 
 has become a noble monument of Mi- 
 chael Angelo's glory. In the gallery 
 formed, at an outlay of 12,000 crowns, 
 by his nephew, an illustrious disciple of 
 Galileo, author of the fanciful gramma- 
 tical comedy of Fierafi a series of pic- 
 tures represents divers incidents of his 
 life. These paintings were executed by 
 the most eminent artists of the time, but 
 some of them are far from excellent : 
 Michael Angelo presenting the plan of 
 the Laurenlian library to Leo X., by 
 Empoli, is, I believe, the best. During 
 the three fourths of a century that this 
 prodigious man, who undertook at once 
 the Last Judgment, the Moses, and the 
 cupola of Saint Peter's, held the sceptre 
 of the arts, seven popes loaded him with 
 wealth and honours ; he was solicited by 
 Francis I., Charles Y., Alfonso d'Este, 
 and the republic of Venice; Soliman 
 even wanted him to unite Europe and 
 
 * Cellini's father and mother expected a daughter, 
 whom they had already named Santa Reparata, 
 because bis mother, after having been eighteen 
 years married, and miscarried ol two sons, bad a 
 daughter next, and during her pregnancy had 
 fancied she was to have a second. Giovanni, Cel- 
 lini's father, seems to have been as gallant and ro- 
 mantic as his son ; he had married the object of his 
 love, and as Lisabetta s father and his own, like 
 true Florenlines, quibbled about the dowery, Gio- 
 vanni, who had been secretly lislenlng, burst on 
 them, exclaiming : " Ah mlo padre, quella fan- 
 ciulia e desiderata e amata, e non i suoi danari: 
 Iristo a coloro, che si vogliono rifare In sulla dote 
 della lor moglie ; e siccome vol vi siete che lo sia 
 cost 6accenle, non potro lo dunque dare !e spese alia 
 
 Asia by a bridge over the Dardanelles; 
 and he by himself was like another 
 power. In this house may be seen his 
 first performances in painting and sculp- 
 ture. A sketch of the Virgin suckling 
 the infant Jesus, is extraordinary for 
 the vigour aud avidity of the child ; 
 an expressive Christ on the cross, in 
 red chalk, is quite surprising for its fi- 
 nished execution when we remember 
 the impatient talent of the artist. Mi- 
 chael Angelo painted with the left hand, 
 like Holbein, and sculptured with the 
 right. He adopted this habit from ne- 
 cessity, the handling of marble having so 
 far weakened his right hand, that he was 
 obliged to colour with his left. The 
 question as to which of the two arts he 
 most excelled in is not easily decided : 
 Cicognara and some other writers ihink 
 him greatest in painting; M. Quatre- 
 mere seems to think otherwise. An 
 unscientific person can only speak of his 
 impressions, and I confess that the cha- 
 pel of the Tombs affected me much more 
 than Last Judgment, which, it is true, 
 is much impaired by time. When, in 
 addition to these, we call to mind the 
 dome of Saint Peter's, and his poems, 
 so passionate, religious, energetic, and, 
 as his genius, so Dante-like, he really 
 seems, as the poet has beautifully express- 
 ed it, the four-souled man, uom di 
 quattr' alrne. 5 The precious autograph 
 manuscript of Michael Angelo's poems, 
 preserved in his house, is composed of 
 pieces that he sent to the brothers del 
 Riccio, his friends, to be corrected. This 
 manuscript, but partially communicated 
 and little known, is extremely curious, 
 from the numerous reflections, by turns 
 melancholy, gay, and familiar, with 
 which it is interspersed, giving it al- 
 most the interest of memoirs; from it 
 
 moglie, e soddisfarla ne' suoi blsogni con qualche 
 soruma dl danari, non manco che 11 voler vostro? 
 Ora io vi fo intendere, che la donna ha da esser 
 mla, e la dote voglio che sia vostra." Vila di B. 
 Cellini, 1. 1. p. 7. 
 a See ante, ch. iil. 
 
 3 This name comes from the Ghibellina gate, 
 erected by the order of Guido Novello, the new 
 podesla, when after the battle of Monteapertl, 
 gained by the Sienese over the Florentines, the 
 Ghibellines obtained the sway in Florence. 
 
 4 This piece has five days divided into twenty- 
 five acts : the characters of the prologues of each 
 day are metaphysical entities, such as Industry, 
 Commerce, Interest, etc. 
 
 5 Pindemonte, 11 merito vrro, sermone, 
 
 32. 
 
578 
 
 FLORENCE. 
 
 [Boor X. 
 
 we can gain a much more intimate and 
 accurate acquaintance With Michael An- 
 gelo than from his two apologetic Ita- 
 lian biographers, Vasari and Condivi, 
 and even his last dry history by M. Qua- 
 tremere; sometimes he jests about the 
 severity of his censors who make a real 
 butchery (macello) of his verses. A 
 bundle of Ricordi, likewise in Michael 
 Angelo's hand, containing even the ex- 
 penses of his journey to Venice in Sep- 
 tember 1529, and the measure of the 
 marble he had ordered at Carrara, proves 
 that, with all the Die of his genius, he 
 was methodical and careful, and ma- 
 naged his affairs with great regularity. 
 A fair copy of his poems, with correc- 
 tions in his own hand, is another va- 
 luable manuscript belonging to the Cav. 
 Buonarotti. Among the papers in the 
 bundle of Ricordi is a letter from Mi- 
 chael A ngeio's nephew, addressed to Cos- 
 mo I., respecting the erection of the mau- 
 soleum in Santa Croce, containing this 
 singular wish : he desires that the figure 
 of sculpture may have the first place, on 
 account of the preeminence which he 
 asserts his uncle to have accorded to that 
 art over painting, an opinion in unison 
 with his letter to Varchi, in which he 
 pretends that sculpture is to painting 
 what the sun is to the moon. He seems 
 to have prided himself more in his ta- 
 lents as a sculptor, and among the diffe- 
 rent manuscripts of the Buonarolti house 
 I observed several letters signed Micliel- 
 Agnolo Buonarotti scultore. This 
 singular and unjust preference of Mi- 
 chael Angelo's may however be explained 
 by the character of his painting, which is 
 anatomical, confused, agitated, terrible, 
 and destitute of the touching philosophy 
 of Raphael and Poussin, If the poetical 
 talent of Michael Angelo seems to have 
 some analogy with the force of Dante, it 
 has by times all the grace and delicacy of 
 Petrarch : the following are the last 
 verses of a madrigal (one can hardly 
 fancy Michael Angelo making madrigals) 
 extracted from the manuscript of his 
 Rime and first published in 1833 by the 
 author of Luisa Strozzi .- 
 
 Che degli amanti e men Mice stato 
 Quello, ove i! gnin rteslr gran copia affienn, 
 Che uua inlserla di spernnza plena. 
 
 ' See his Memoirs, respecting this word. 
 3 The Florentine senator Nelll, who died at the 
 end of last century, pretended to have certain 
 
 The first marble sculptured bv Michael 
 Angelo, when eighteen years" of age, 
 not Hercules fighting the Centaurs, as 
 stated by Vasari ( since that is only 
 an unfinished part of a horse), but a fan- 
 tastic youthful composition, presents 
 already some admirable details : such 
 are the figure pulling another by the 
 hair, and the one behind striking with a 
 club. In Ihe choir of the Duomo of Flo- 
 rence we saw the artist's last work ; it 
 seems to me that it might be most fitly 
 placed beside this; there would be some- 
 thing pleasing in contemplating and 
 comparing them in this house, another 
 temple of which Michael Angelo is the 
 deity. 
 
 The Quaratesi house was the resi- 
 dence of Giovanni Bologna, Michael An- 
 gelo's most illustrious pupil; he received 
 it from the grand duke Francesco I., the 
 lover of Bianca Capello, a mean degraded 
 prince, whose bust is over the door, 
 
 Near the old Gianfigliazzi palace, oc- 
 cupied by the count of Saint Leu, and 
 opposite the Casino of the nobility, is the 
 small but more illustrious house of Al- 
 fieri ; he dwelt there from 1793 to 1803, 
 the epoch of his decease. The air, the 
 prospect, the comforts of this house had 
 restored to him, he writes in his living 
 Memoirs, a great part of his intellectual 
 and creative faculties, excepting his 
 dramatic powers (tramelogedie) ' which 
 his seventeen chefs-d'oeuvre had doubtless 
 exhausted. 
 
 Near the church of Santa Maria No- 
 vella, in the street dell' Amore, a grace- 
 ful surname not easily traced to its ori- 
 gin," is the house of Vicenzo Viviani, the 
 last, lh« faithful pupil of Galileo. He 
 rebuilt this house with the pension con- 
 ferred by Louis XIV., and put thereon, 
 with the bust and elogium of his master, 
 in places contrived for that purpose, the 
 felicitous inscription JEdes a Deo date, 
 an ingenious monument of his gratitude 
 towards a great man and a great king. 
 
 The house of Galileo at Florence was 
 not far distant from that since rebuilt by 
 his loving pupil ; it was on the Costa, near 
 the lb i tress of Belvedere. 
 
 The small house occupied by Ma- 
 chiavel, as staled by an inscription, is in 
 the street de' Guicciardini, opposite the 
 
 proofs that the action of the Mandragora passed !n 
 this street, from wblcb toe name Is derived. 
 
Chap. XX] 
 
 FLORENCE. 
 
 vast black palacp of the historian, his 
 dear and constant friend, who, notwith- 
 standing the difference between their 
 dwellings and dignities, appreciated the 
 merit of his illustrious neighbour, and 
 treated him precisely as his equal.- It 
 was there that Machiavel died, poor, in 
 discredit with his party, on the 22nd of 
 June 1527, aged fifty-eight, killed by ex- 
 cessive doses of pills that he had admi- 
 nistered himself, supposing them effica- 
 cious against his stomach complaints. 2 
 
 CHAPTER XX. 
 
 Academy of Fine Arls.— Great number of arlists. — 
 Scagliola.— Society de' Georgoftli. -Fine stones.— 
 Bartollno's studio. 
 
 The Florence Academy of Fine Arts 
 is one of the most splendid establish- 
 ments of the kind in Italy. Perhaps it 
 is an evil to stimulate that excess of cul- 
 ture which generates mediocrity. 3 In- 
 spiration is then less frequent, and art 
 seems to sink into a trade; thus, at all 
 epochs, and particularly at Rome under 
 the last emperors, the great number of 
 artists was a token of decline. The 
 multitude of poets, the immensity of the 
 armies, the great number of statesmen 
 have not been more favourable to the 
 genius of poesy, war, or government. 
 
 The celebrated Raphael Morghen, de- 
 ceased on the 8th of April, 1833, at the 
 age of seventy-two, was, to the end of his 
 life, professor of copper-plate engraving 
 to the Academy of Fine Arts. From his 
 advanced age he was often unable to 
 leave his house, and the pupils went to 
 consult him there. He was worthily 
 replaced by Garavaglia, whom an apo- 
 plectic fit carried off in the prime of his 
 talent, on the 26th of April, 1835, at the 
 age of forty-six. 
 
 Under the vestibule are four basso- 
 relievos of glazed earthenware, by Luca 
 delta Robbia. A Flight into Egypt, 
 in fresco, by Giovanni di San Giovanni, 
 formerly at the chapel della Crocetta, is 
 one of the best of the time ; it was praised 
 
 * See a letter of Guicciardinl, In which he jestlng- 
 lf reproaches Machiavel for adding the word illus- 
 trissimn to his address, and tells him that he ex- 
 poses himself to the tlileof magni/icn]n retaliation. 
 
 1 These pills, according to the recipe written by 
 Machiavel at the end of a letter to Guicriardini, to 
 whom he recommended them, were chiefly com- 
 posed of aloes ; taken In moderation, they would 
 
 by the artist's master, Matteo Rosselli, 
 notwithstanding the ingratitude of his pu- 
 pil, who had left him and executed this 
 work withouthisknowledge. In the apart- 
 ment of the statues are a great number 
 of designs, and among them several by 
 Fra Bartolommeo, Michael Angelo, Ra- 
 phael, and Andrea del Sarto. In the 
 gallery, the finest in Florence after the 
 two great Uffizi and Pitti galleries, the 
 paintings are arranged according to their 
 epoch, so as to trace the history of the 
 progress and decline of painting. The 
 following may be remarked : A Descent 
 from the cross, the chef-d'oeuvre of Fra 
 A ngelicoj a Baptismof Christ, by Andrea 
 Verrocchio, with an angel, the first on the 
 right, by his pupil, Leouardo Vinci, when 
 a boy, whose precocious talent so much 
 discouraged his master as to make him 
 abandon painting for sculpture, to which 
 alone he thenceforward applied ; a Na- 
 tivity, one of Credi's best works; a 
 superb Assumption, by Perugino ; his 
 Dead Christ, which has such fine old 
 men's heads and touching holy women, 
 a pathetic composition that the artist 
 despaired of ever equalling; the four 
 great figures of St. Michael, St. John 
 Baptist, St. Gualbert, the founder of 
 Yallombrosa, and of St. Bernard, car- 
 dinal, one of Andrea del Sarto's most 
 delightful paintings; a Resurrection of 
 Christ, by Raffaellino del Garbo, and 
 behind, a fresco in clare-obscure by An- 
 drea del Sarto; a Christ dead extended 
 on the Virgin's knees, by Fra Barto- 
 lommeo; the Virgin appearing to St. 
 Bernard, his first work after embracing 
 a conventual life, when he wished to re- 
 nounce his art and only returned to it at 
 the urgent request of his superior, having 
 passed four years without touching a 
 pencil; a singular paLinlingof Jesus Christ 
 bewailed by the holy ivomen, by Plan- 
 tilla Nelli, a Dominican nun, who was 
 prevented by the rigid regulations of her 
 order from having men for models, and 
 was obliged to take the nuns of her 
 convent instead, so that the figures of 
 the saints have female shapes and 
 
 have been harmless enough ; they seem to resemble 
 the ante cibum pills of Franek, etc. See the ana- 
 lysis or them minutely given by M. Artaud, t. n, 
 p. 200, 201, and 202 of his Machiavel, his genius, 
 and his errors. 
 
 3 The number of pupils in this academy has ex- 
 ceeded three hundred; fifty only were devoted to 
 painting. 
 
880 
 
 physiognomies; a St. Francis by Ci- 
 goli, with which is connected a story 
 not very honourable to his feelings as a 
 man, were it not explained by the pain- 
 ter's passion for truth : while Cigoli was 
 in some embarrassment about express- 
 ing the languor of the saint's features, a 
 pilgrim, worn out with hunger and fa- 
 tigue, presented himself, asking alms; 
 the artist, enchanted with this lucky 
 chance, entreated him to sit a moment ; 
 the pilgrim consented, but almost im- 
 mediately swooned ; Cigoli, instead of 
 relieving him, took advantage of his 
 condition to give the face of the saint the 
 fainting expression so much admired. 
 
 At the bottom of the new room in- 
 tended for sculptures, a sublime St. Mat- 
 thew, a sketch of a great marble statue 
 by Michael Angelo, recently discovered 
 in the Opera of the Duomo, seems still 
 further to increase his immense glory. 
 
 The busts and basso-relievos of the 
 court are also by Luca delta Robbia, his 
 brothers, and nephews; and under the 
 portico are the models of the two groups 
 of the Sabine and Virtue subduing Vice, 
 by Giovanni Bologna. 
 
 At the Academy of Fine Arls there is 
 a school of Scagliola, modern mosaic 
 regenerated and perfected in the last 
 century by the celebrated P. Henry Hug- 
 ford, a monk of Vallombrosa, a hermit 
 artist, brother to the painter. 1 With 
 this new species of stucco, brilliant and 
 unchanging paintings are there executed, 
 representing flowers, animals, land- 
 scapes, and buildings. 
 
 The palace of the Academy of Fine 
 Arts is the seat of the illustrious academy 
 de' Georgofili, found in 1753 by D. Ubaldo 
 Montelalici, an agricultural monk, who 
 has long defended the sound doctrines 
 of public economy in Tuscany ; the 
 country is partly indebted to this body 
 for its prosperity and improvement. 
 This agricultural society has almost be- 
 came an institution by independent di- 
 gressions and superiority of some of the 
 papers it publishes. I bad the honour 
 to be present, in 1834, at the sitting of 
 the first Sunday in August, when two of 
 the most distinguished members spoke, 
 Professor Gazzeri and the marquis Cav. 
 Cosmo Ridolfi. The discourse of the 
 
 1 P. Uugford seems lo have been Instructed in 
 tbis work by a monk of la Badia di Santa Heparata 
 41 Marradi ; P. Bellonl, another monk of bis order, 
 
 FLORENCE. {Book X. 
 
 latter, although strained, excited a deep 
 interest, and seemed full of new and 
 practical views. 
 
 The manufacture of hard stones, a ce- 
 lebrated and splendid branch of Floren- 
 tine industry, which produced the fine 
 tables of the Pitti palace, the large oc- 
 togonal table of the gallery, the works of 
 the Medici chapel, is still kept up by the 
 grand duke on his own account, and is 
 still worthy of its reputation. 
 
 The studio of S. Bartolini, indepen- 
 dently of the artist's talent, the first 
 sculptor in Tuscany and one of the best 
 in Italy, is curious for the quantity of 
 historical statues and busts of living 
 characters made by him : their number 
 is said to be not less than six hundred 
 dispersed over (he old and new worlds; 
 so that this studio presents a real contem- 
 porary iconography. I admired there 
 the fine Charity, destined for the Pitti 
 gallery, a group somewhat larger than 
 life, noble, natural, and touching. The 
 gigantic statue of Napoleon seems with- 
 out destination ; the artist had offered it 
 to the town of Ajaccio, but the authorities 
 preferred a bronze copy of the unlucky 
 figure on the Column ; this fine poetical 
 marble statue does not, it is true, present 
 either the frock coat or the little hat, 
 which would have presented great diffi- 
 culties even to Bartolini's talent. By 
 some singular freak of fortune, I remark- 
 ed beside the heroic statue in imperial 
 costume, the mausoleum consecrated by 
 the archduchess Maria Louisa to Count 
 Neippcrg :» the princess, strangely enough 
 habited as an Amazon, is singing the ge- 
 neral's exploits to a lyre ; a basso-relievo 
 represents him wounded and losing an 
 eye at the battle of Hohenlinden, a French 
 victory that 1 found pleasure in contem- 
 plating even on this foreign monument. 
 
 The studio of S. Ricci presented some 
 years ago the superb Greek group of 
 Ajax raising the body of Patroclus, 
 which he had been charged to repair. 
 
 CHAPTER XXI. 
 
 Egyptian museum. 
 
 The Egyptian museum, collected in 
 Egypt during the years 1828 and 1829, 
 
 who died before blm, and Lamberto Gorl, who had 
 for successor Pietro Stoploni, were also his pupils. 
 3 See ante, book ix. cb. xl. 
 
Chap. XXII.] 
 
 FLORENCE. 
 
 381 
 
 by S. Rosellini, the disciple, companion, 
 and successor of our Champollion, is 
 not extensive but choice and curious. 
 The mummy of one of those Greeks who 
 settled in Egypt under the Ptolemys is 
 in such -wonderful preservation that the 
 hands and thighs may still be traced 
 under the very clean bandages covering 
 them. We may also form an idea of 
 the oddnessof the Greek costume at that 
 epoch by the full faced portrait of the 
 deceased painted on the mummy. A 
 Scythian war chariot, of beech, without 
 iron or other metal, a rude trophy taken 
 by an Egyptian, had been deposited in 
 his tomb. The painting on one of the 
 steles or columns represents a woman 
 seated before an altar, with her favorite 
 monkey under her chair; a taste for 
 these pets seems to have been common 
 among the Egyptian ladies. Another 
 basso-relievo on a funereal stele, sixteen 
 hundred years anterior to the Christian 
 era, represents the goddess who bore the 
 two names of Justice and Truth, and 
 presided at judgment of the after state ; 
 it came from the tombs of the kings, 
 who were the first subjected to this 
 noble and terrible deity. One stele, of 
 excellent workmanship, presents the 
 scribe Amentiba and Dgioa his wife, after 
 their decease, silting and receiving fune- 
 real homage from their three daughters. 
 A stone stele shows a Ptolemy presenting 
 two vases to Isis: although it suffers from 
 the bad taste that prevailed under the 
 Ptolemys, an epoch of decline in Egyp- 
 tian art, it has the merit, perhaps of 
 being unique for its small proportions. 
 A great painting offers one of those 
 funereal banquets that the Egyptian 
 gave to their relations and friends, 
 after depositing the mummy in the 
 tomb : the men are served by slaves, 
 the women by maid-servants, and at 
 the end of the room are a set of har- 
 pers. Twelve paintings larger than life, 
 with explanatory hieroglyphics, still re- 
 taining a singular freshness of colouring, 
 commemorate the exploits of Ramses 1. 
 over the Scythians, in the fifth year of 
 his reign, 1565 years before our era. 
 A. large fragment of arenaria stone, 
 found in Nubia near the second cataract, 
 goes back almost to Abraham's days. 
 There we see the Pharaoh Osortasen, to 
 whom the god Mendu (the Egyptian 
 Apollo) conducts, with their hands tied, 
 various nations of Ethiopia, each of whom 
 
 has the name of his natal place inscribed. 
 This antique stele may be regarded as 
 an important monument for both the 
 history and ancient geography of Africa, 
 
 CHAPTER XXII. 
 
 Theatres of La Pergoia,— Cocomero,— Goldoni,— 
 Alfleri. 
 
 The different singers, both male and 
 female, that I have successively en- 
 countered at Florence, have always ap- 
 peared to me but little removed from 
 mediocrity, except Signora Pisaroni, 
 Signora Grisi, and Crivelli, who presents 
 the phenomenon of an excellent singer 
 at the age of sixty. The performances 
 in 1826 at La Pergola, a large house 
 built of brick and ill-sounding, were the 
 opera II Nemico generoso, and the 
 ballet VOrfana della selva, which, ac- 
 cording to an Italian usage, was mixed 
 up with opera. The dancers of both 
 sexes, equally bad, in order probably 
 to be better understood, thought proper 
 to make symmetrical jests; all these 
 arms thrown out at the same time and 
 in the same manner, seemed as if moved 
 by one wire, and gave one the idea of 
 large puppets. Perhaps there was among 
 these dancers, though they little suspected 
 it, some vague tradition of the antique 
 chorus which only made one character, 
 whose sentiments were expressed by 
 uniform gestures and words. In 1824 
 the tenor Reina, who has some merit, 
 and Signora Giulia Grisi, since so justly 
 appreciated at Paris, enraptured their 
 audiences. At the extraordinary per- 
 formance for the latter's benefit, the 
 first act of S emir amide was played : the 
 Florentine accent of the chorus-singers 
 made German of this Italian, and the 
 Italian proverb, to sing like a choir, was 
 never more correct. 
 
 The theatre of Cocomero is not so 
 magnificently provided as the opera of 
 La Pergola. I heard Zelmira sung 
 pretty well there in 1826. The figu- 
 rants were merely soldiers tricked out in 
 jackets and antique helmets, but retain- 
 ing below their large black German 
 gaiters : 
 
 Turplter strum 
 
 Deslnat Id piscem mailer formosa superne. 
 
 The Goldoni theatre, something like 
 
382 
 
 FLORENCE. 
 
 [Book X. 
 
 our Varies, was raised on the ruins 
 of the illustrious Annalena's house, and 
 of the convent which she founded after 
 her husband s murder by the gonfalo- 
 nier of Florence, and the death of her 
 son, 1 which convent was sold by the 
 French administration. The kind of 
 dramas performed there contrast strange- 
 ly with the heroic memory of that un- 
 fortunate woman. 
 
 The French comedians maintained at 
 the expense of M. Demidoff, a rich and 
 beneficent Russian nobleman, many 
 years resident at Florence, played vau- 
 devilles. These actors were not very 
 excellent; our flonflons seem horribly 
 hoarse and screaming beside the pure 
 and harmonious accents of the Italian 
 tongue, except in the mouths of the 
 choirs of La Pergola. 
 
 The opening of the AlOeri theatre, the 
 old Santa Maria theatre, which look place 
 on the 25th of November 1828, was a 
 masked bull ; there was no hearty mer- 
 riment; affected gaiety, mincing gri- 
 maces, undress costumes, made up the 
 show, and this Italian masked ball, to 
 which all Florence flocked, was but a bad 
 parody of those at the Opera of Paris. 
 
 CHAPTER XXIII. 
 
 The hospital of Santa Maria Nuova.— Confraternity 
 of Mercy. — Brotherhood of Saint Martin.— Ame- 
 rlco Vespucci.— Museum of physics and natural 
 history.— Galileo's telescope. 
 
 The hospital of Santa Maria Nuova, 
 the oldest of the great hospitals of Italy, 
 and one of the finest in Europe, was 
 founded in 1287 by Folco Porlinari, a 
 generous citizen of Florence, the father 
 of the heavenly Beatrix of Dante, whom 
 a daughter so poetical has rendered 
 more celebrated than his charitable and 
 useful foundation. The present archi- 
 tecture of the front is by Buontalentiand 
 Parigi, his pupil. The Florentine me- 
 dical school, honoured by Redi, and 
 doctor Cocchi, the zealous propagator 
 of his reform, appears worthy of such 
 masters by the wisdom and simplicity 
 of its doctrines. 
 
 The Confraternity of Mercy, founded 
 aboulthe middleof the thirteenth century, 
 
 1 SeeMachlavel, 1st. fiov., lib. vl. 
 
 2 See ante, book v. ch. y\\. 
 
 3 Amerigo Vespuccio patrlcio Florentino ob re- 
 perlnm Americana, sul et patriae nomlois Hlustra- 
 
 when the plague ravaged Florence, is 
 one of those institutions peculiar to Ca- 
 tholicism, and which it alone can con- 
 ceive and establish. The members com- 
 posing it, among whom are the highest 
 nobles, who can only be simple brothers 
 and are excluded from the grades and 
 dignities of the brotherhood, devote 
 themselves to aid the wounded and carry 
 them to the. hospital, where they conti- 
 nue to tend them. By times you see 
 one of these brothers quit the most bril- 
 liant circles, warned of some accident by 
 the bell of the Duomo. At this summons 
 of charity, he hastens to assume his re- 
 ligious uniform, a black gown and hood, 
 with a chaplet suspended, a monastic 
 costume that conceals all inequality of 
 rank. This man of the world, born amid 
 all the luxuries of life, takes one end of 
 the litter ; he paces slowly through the 
 streets of the town loaded with his suffer- 
 ing brother, and he passes, without re- 
 gret or surprise, from the drawing-room 
 to the hospital. The Confraternity of 
 Mercy is divided by quarters, and one of 
 the members collects donations every 
 month. Similar societies exist in the 
 towns of Tuscany, but the principal is 
 fixed at Florence. 
 
 There is another charitable institution 
 worthy of respect, the brotherhood of 
 Saint Martin, one of those ancient estab- 
 lishments of Italy already mentioned,* 
 intended to relieve the bashful poor. 
 The society of Saint Martin was created 
 at Florence in 1441 by Fra Antonio, a 
 Dominican, who assembled twelve ho- 
 nourable citizens to whom he delivered 
 the statutes, one article of which com- 
 mands every description of gift to be 
 converted into money, that the unfortu- 
 nate may not languish in want. 
 
 The small hospital of Saint John of 
 God, praised by Howard, comprises the 
 ancient Vespucci palace, the abode of 
 the fortunate navigator who gave his 
 Florentine name to the New World. The 
 inscription put on the gate of the mo- 
 nastery by the monks of Saint John, 
 more than a century ago. is the only 
 memento now existing in Florence of 
 this famous man, 3 whose renown far sur- 
 passes his glory. 
 The museum of physics and natural 
 
 tori, ampllficatori orbis terrarum. In hac ollna 
 Vcspuccia domo a tanto domino habltata, patres 
 Sancti Joaunis de Deo cullores grata? memories 
 causa p. c. an. sal. CDCCXIX. 
 
Chap. XXIV. J 
 
 FLORENCE. 
 
 585 
 
 history is curious. Several rooms con- 
 tain the different parts of I he human 
 body in wax coloured, and uot too faith- 
 fully. The sight of all the muscles, vis- 
 cera, entrails, arteries, of all this mate- 
 riality, all this reality of our being, has 
 something dreadful. I infinitely prefer 
 the charming collection of shells, one of 
 the most complete in existence. The te- 
 lescope executed under Galileo's direc- 
 tions, and used by him, the great lens 
 vviih which the Academy del Cimento 
 first burned diamond, are preserved at 
 this Museum. This first and glorious 
 attempt at a telescope, as well as an eye- 
 glass of Galileo's in the possession of 
 Prince a*****"**, are however very in- 
 ferior to the telescopes and spying-glasses 
 of the present day. The nephew of Mi- 
 chael Angelo, to do homage to the me- 
 mory of his master Galileo, has cele- 
 brated the invention of the telescope in 
 the following verses of his comedy of 
 Tancia, natural in the mouth of a pea- 
 sant : 
 
 Far crescere si Ie cose et le persone 
 Che chi mira un pulcino, un' oca crede : 
 La luna un foado di lin mi pareva, 
 E dentro monle e pian vi si redeva. 
 
 The observatory over the Museum still 
 prided itself in our compatriot Pons, the 
 great explorer of comets, carried off 
 from his speculations, somewhat selfish 
 and accidental, in the month of October 
 1831. These establishments have since 
 been directed by two distinguished men 
 of Modena, the celebrated astronomer 
 Amici, successor of Pons, and the clever 
 natural philosopher Nobili, who died on 
 the 17th of August, 1835, at the age of 
 fifty-one years. 
 
 CHAPTER XXIV. 
 
 House of Industry.— stinche.— Prisons 
 
 Mendicity is forbidden at Florence to 
 all but the blind. Though judiciously 
 managed, the house of industry does not 
 appear very flourishing. The mendicity 
 asylum under the French administration 
 succeeded still worse. Establishments 
 of this kind meet with obstacles from 
 the national habits, the indolence, neg- 
 ligence, and uncleanliness of the people, 
 that are not found elsewhere than in 
 Italy. The house at Florence will ac- 
 commodate about eight hundred indi- 
 
 viduals ; in 1828 there were six hundred 
 and ten, one third of whom were old or 
 infirm. The food is good and abundant, 
 the bread excellent. The articles ma- 
 nufactured there are pretty well made, 
 especially ihe carpets imitating English; 
 but they cost more than they produce. 
 It was the same with the cloth manufac- 
 ture, which has been abandoned, as it 
 was unable to compete with French fa- 1 
 brics. 
 
 The Stinche were thus called from 
 the name of a castle of Valdigreve in 
 Tuscany, the inhabitants of which having 
 revolted from the Florentine republic, 
 were subdued, brought to Florence, and 
 confined altogether in this building, re- 
 garded by Varchi as one of the most 
 remarkable of the town. It afterwards 
 became a celebrated debtors' prison. 
 The laws of Florence, as usual with free 
 and commercial people, were severe 
 against debtors ; the debts therefore in- 
 creased proportionally with the time, a 
 sure means of rendering debtors insolvent 
 at last. One of the celebrated prisoners 
 of the Stincheyv&s Dino di Tura, a bur- 
 lesque and satirical poet of the fourteenth 
 century, who seems to have been there 
 often ; he accuses the magistrate charged 
 with their superintendence of a grasping 
 disposition : 
 
 De' poveri prigion vlene in sua niano 
 
 La carita, e he ticn nuova loggia; 
 
 Nol che sllamo in prigion ce n' avvegghiamo. 
 
 Over the very small and only door of 
 the Stinche, surrounded on all sides with 
 high walls, was the charitable inscrip- 
 tion Oportet misereri, which the popu- 
 lace translated by Porta delle miserie. 
 In July, 1834, I found workmen busily 
 engaged in demolishing the Stinche, 
 which was not effected without great 
 difficulty, owing to the thickness of 
 the walls and the solid structure of 
 the old building. The government had 
 sold the Stinche to a company, who 
 changed the aspect of that doleful place, 
 by establishing a circus there for eques- 
 trian representations, which began the 
 same month ; fine houses and a superb 
 theatre have since been reared on the 
 spot, as well as apartments intended to 
 the Philharmonic Society. 
 
 The public prisons are at the Bargello, 
 a gloomy old palace built by Arnolfo di 
 Lapo, opposite the splendid new Bor- 
 
384 
 
 FLORENCE. 
 
 [Book X. 
 
 ghese palace, 1 a common contrast in 
 towns, where pleasure, wretchedness, 
 and crime are closely huddled together. 
 It was in the court of the Bargello that 
 the wise Leopold burnt the numerous 
 old instruments of Florentine torture, 
 among which, probably, was the wooden 
 horse thai had questioned Machiavel 
 without getting any answer. 
 
 CHAPTER XXV. 
 
 Gate at San Gallo.— Ponte alle Grazie.- Horse's epi- 
 taph— Gate of Saint Nicholas. — Old bridge.- Flo- 
 rentine goldsmiths.— Corridor.— Camilla Marlelli. 
 — Groupof Heiculesandthc Centaur.— The Trinity 
 and Carraja biidges.— Arno.— Porte al Prato.— 
 Calelo.— Eugiuecr-arlists. 
 
 The gate at San Gallo was built in 
 the year 1739, to commemorate the ac- 
 cession of the house of Lorraine to the 
 throne of Tuscany, at the death of Gas- 
 ton, the last of the Medici, a negligent 
 and frivolous prince, who had only pre- 
 sided his council three times during a 
 reign of fourteen years. It was by this 
 gate that the new sovereign Francis II. 
 and his consort, the great Maria The- 
 resa, made their eutry. Although copied 
 from I he arch of Conslantine, this Lor- 
 rain triumphal arch, the work of M. 
 Giadod, architect of Nancy, with inscrip- 
 tions by the learned Valentin Jameray 
 Duval, is very far inferior in grandeur 
 and character to the Roman arches; but 
 it was no', like them, and most monu- 
 ments of the kind in Europe, erected by 
 the woes of humanity, and instead of a 
 haughty oppressive domination, it recalls 
 the government of paternal and benefi- 
 cent princes. 
 
 The gate alia Croce, repaired some 
 years ago, has a remarkable fresco by 
 Ghirlandajoon theside towardsthe town. 
 
 The Ponte Rubaconte or alle Grazie, 
 from a design by Lapo, owes this killer 
 name to the chapel of the Virgin, which 
 has been rebuilt several times. In the 
 small houses built on this bridge were 
 born two celebrated men, the blessed 
 Tommaso de' Bellacci, a Franciscan 
 monk, and the elegant but somewhat 
 
 ' See ante, cu. xvli. 
 » SeeMenzinl,sat. vlil. 
 
 3 Ossa equl Carol! Capclli 
 
 Legali veneti 
 
 insipid Menzini, a poetof the seventeenth 
 century : 
 
 Or chl Ira tie mottoni In Itubaconle 
 Nacque, e pur vorra tarsi a noi simile.' 
 
 On the piazza de' Giudici is a singu- 
 larly pathetic inscription, composed by 
 the learned patrician of Venice, Carlo 
 Cappello, ambassador at Florence, in 
 memory of his horse killed in the siege 
 of 1529, and interred there with his ca- 
 parisons of velvet, a monument of his 
 master's gratitude for the services of 
 this Venetian Bucephalus, which seems 
 as if it could hardly belong to such a 
 town. 3 
 
 The gale of Saint Nicholas, erected in 
 13>5, ornamented with a fresco by Ber- 
 nardo Gaddi, is the only one in Flo- 
 rence that retains its original height and 
 old majesty. The patriotism of the 
 middle ages had then decorated the 
 other gates of the town with statues of 
 illustrious Tuscans, and Petrarch's was 
 at the gate of Saint Nicholas, which leads 
 to Arezzo, his country. 
 
 The old bridge was built by Taddeo 
 Gaddi, in 1345. There seems to have 
 been a bridge at the same place from the 
 lime of ihe Romans. The shops on the 
 old bridge, by a decree of the captains 
 of the quarter in the year 1594, were 
 reserved for the goldsmiths, who still oc- 
 cupy them. But that trade, as now exist- 
 ing in Florence and everywhere else, 
 has not the least similarity to the Flo- 
 rentine gold manufacture of the fifteenth 
 and sixteenth centuries, when it was 
 allied by the number, the grandeur, and 
 style of its productions to all the arts of 
 design ; when it was like an apprentice- 
 ship and school for sculpture; when such 
 men as Brunelleschi, Donalcllo, Ghi- 
 herti, proceeded from ils workshops and 
 warehouses; and when it was practised 
 by a Cellini. 
 
 Over the old bridge passes that long 
 ugly corridor of nearly a. half-mile in 
 length which crosses Florence and forms 
 a communication between the Pitti pa- 
 lace and the Gallery ; the original pro- 
 ject was to carry it as far as the An- 
 nunziata. The work was executed for , 
 
 Nou ingrains licrus, souipes memorande, sepul- 
 
 chruni 
 
 Hoc tibi pro mentis, liaec monuments, dedlt 
 
 Obsessa urbe 
 
 MDXXXIII, id. Martli. 
 
Chap. XXV.] 
 
 FLORENCE. 
 
 Cosmo I. by Vasari, who is somewhat 
 vainglorious in his Life because he fi- 
 nished this sad structure in less than five 
 i months. It was when visiting the works 
 . that the gloomy Cosmo met with the 
 lv I young Camilla MarteHi in a house about 
 it I to be pulled down. The poverty of her 
 i- 1 father, and dread of such an aspirant 
 r j made her the mistress of Cosmo; she was 
 i.-i j at last married, through the imperious 
 i | exhortations of Pope Pius V., who had 
 ili | accorded the title of grand duke to 
 ,( I Cosmo, and whom Camilla had secretly 
 m j solicited to interfere; but she was never 
 i! publicly recognised. The bright days 
 of Camilla ended with Cosmo's life; a few 
 I- | moments after his death, she was driven 
 ,'j. j from the palace by Francesco I., who, 
 '!,, j considering his connexion with Bianca 
 | 1 Capello, might have been less cruel to 
 such a mother-in-law ; she was confined 
 \ in the rigid monastery of the Murate, 
 I where her ill-temper and the violence of 
 j her despair made her insupportable. 
 i The numerous novence of the nuns to the 
 I Virgin, to be delivered from the demon 
 j... j that turned their convent upside down, 
 were heard, and the reluctant nun, trans- 
 ■ ferred to San Monaca, where she had 
 t been brought up, only quitted it once for 
 I the marriage of her daughter Virginia 
 3 with Ctesar d'Este, duke of Modena; 
 < worn with regret and sorrow, she died 
 there in a state of imbecility. 
 
 At the foot of the bridge, over a 
 fountain which serves as i'.s base, is the 
 fine group of Hercules and the Centaur, 
 by Giovanni Bologna, discovered in 1600, 
 an admirable conclusion for the list of 
 good sculptures in the fifteenth century, 
 a chef-d'oeuvre set in a narrow crossing 
 among the pails of water-carriers, and 
 I respected by the people. 
 
 The bold, light, and elegant bridge of 
 the Trinity, the finest in Florence, has 
 I only three arches and is by Ammanaio ; 
 it presents the first model of the elliptic 
 arch, which may be censured when need- 
 lessly employed, but which Ammanaio 
 thought he might employ here more 
 happily as it was recommended by ne- 
 cessity, to prevent the effects of the 
 I sudden swellings and inundations of the 
 Arno, which had swept away the old 
 bridge in 1557. The statues of the four 
 Seasons, which are not deficient in 
 boldness, are Winter, by Taddeo Lan- 
 dino, Autumn and Summer, by Cac- 
 cini, another Tuscan sculptor of no 
 
 I great excellence, and Spring, by Fran- 
 
 I cavilla. 
 
 The bridge alia Carraja, the oldest 
 public monument of the Florentine sei- 
 gniory, dates as far back as the middle of 
 the thirteenth century, and was finished 
 at the expense of the celebrated manu- 
 facturing convent of the Umiliati, monks 
 who gave the woollen trade so great an 
 impulse in Tuscany, and were then es- 
 tablished at the neighbouring town of 
 Ognissanti. This bridge, which seems 
 to have derived its name from the fre- 
 quent passing of cars, was also repaired 
 by Ammanato, after the inundation of 
 1557, the ravages of which extended 
 even to the town. 
 
 The Arno, the first river in Tuscany, 
 with all the sweetness and almost poetry 
 of its name, is but a tortuous devastating 
 torrent : 
 
 Cn Dumlcel che nasce In Falterona 
 E cento miglia dl corso not sazia, 
 
 says Dante describing its numerous wind- 
 ings.' The soil it washes down gives 
 the stream a yellow hue, and the water 
 is not drunk at Florence. 
 
 The gate al Prato owes its name to 
 the meadow where the young Florentines 
 formerly amused themselves with diffe- 
 rent games, and particularly the Calcio, 
 said to be revived from the Greeks, a 
 noble game at ball, to which only soldiers, 
 gentlemen, lords, and princes were ad- 
 mitted. It was at the gate al Prato that 
 Benvenuto Cellini, charged with forti- 
 fying it during the war against Siena, 
 had that singular dispute with the Lom- 
 bard captain guarding it, to whom he 
 could not make his system of fortification 
 understood. The defences of the other 
 gates were confided to other artists. Mi- 
 chael Angelo had been named director- 
 general of the fortifications of Florence 
 when it was besieged in 1529 by the im- 
 perial and pontifical forces. 3 Near this 
 same gale al Prato is the fortress da 
 Basso, built by Clement VII. to control 
 the Florentines, a monument of San 
 Gallo's science. Other great artists of 
 this epoch, most of them endowed with 
 such diversified talent, were also engi- 
 neers, and distinguished themselves by 
 the same kind of works. 
 
 1 Purg. cant. xiYi 
 
 i Seepo-jf, book xi.cu. vl. 
 
 33 
 
586 
 
 KLOREIVCE.-ARCETRI. 
 
 I Book XI. 
 
 BOOK THE ELEVENTH. 
 
 ENVIRONS.-PISA.-LEGHORN. 
 
 CHAPTER I. 
 
 Avenue of the Poggio iHiperia/e.— Arcctrl.— Tower 
 and house of Galileo. — Montici. — Guicclardini. 
 
 The avenue of the Poggio Imperiale, 
 formed of yews, pines, cypresses, and old 
 oaks, the first, 1 believe, of paluceavenues, 
 is a kind of natural monument, imposing, 
 and even somewhat dull, which, con- 
 trasts with the charming variety of the 
 Cascine or Royal Farms. This palace 
 Mas formerly the Baroncelli villa. It is 
 said that a member of that ancient family, 
 Tommaso Baroncelli, most devotedly 
 attached to Cosmo 1., having gone from 
 his villa to meet his master returning 
 from Rome, was so enraptured on learn- 
 ing he had received the title of grand 
 duke from the pope, that he died of joy, 
 an instance of enthusiasm in servitude 
 that must appear strange now-a-days! 
 The Poggio afterwards passed into the 
 Salviali family, and was pitilessly con- 
 fiscated by Cosmo with the other pro- 
 perly of the rebels and exiles ; he gave 
 it to his daughter, the thoughtless and 
 unfortunate Isabella, the victim, pro- 
 bably, of her husband's too well founded 
 jealousy. Among the solemnities com- 
 mon to Poggio as well as other palaces 
 of princes, it is stated that the grand du- 
 chesses, tutoresses of Ferdinand II., 
 caused to be played, when Prince Sta- 
 nislas, brother of the king of Poland, 
 staid a short time there in 1625, a tra- 
 gedy of Saint Ursula, which, though it 
 has not reached us, could be nothing 
 more than a kind of mystery, that must 
 have seemed an odd performance, as 
 Italy had already possessed, for more 
 than a century, the Sofonisba and Ros- 
 mundu. This piece of Saint Ursula 
 was followed by a ball, in which more 
 than a hundred ladies took part, and a 
 
 ■ The woman they loved, from what has since 
 been ascertained, was named Marietta Iticci, the 
 wife of iNicolao Benintendl ; Martelli was the pre- 
 ferred rival. His friends entreated Marietta to visit 
 him after the serious wounds he had received, and 
 
 superb balletto di cavalli, executed at 
 night in the neighbouring meadow, 
 transformed into an amphitheatre and 
 illuminated. In this same meadow, half- 
 way along the road leading to the con- 
 vent of La Pace, took place, on the 12lh 
 of March 1530, during the siege of Flo- 
 rence, the famous duel between Ludo- 
 vico Martelli, the challenger, and Gio- 
 vanni linndini, who seemed to fight for 
 their country, while they were only 
 rivals in love, 1 a duel presenting a per- 
 fect picture of the manners and spirit of 
 chivalry, so minutely detailed by Var- 
 chi, a true historian of the descriptive or 
 picturesque school. It was in this same 
 meadow, too, that Redi fables Ariadne 
 as conducted by Bacchus, who, goblet in 
 hand, sings to her the elogium of Tuscan 
 wines and men of letters, friends of the 
 author, in the Bacco in Toscana, a fine 
 and celebrated dithyramb, though some- 
 what redundant, as such compositions 
 always are : 
 
 Dell' Indico oriente 
 
 Domator glorloso il dlo del vino 
 
 Fermato avea 1' allegro suo soggiorno 
 
 Ai colli etruschl lnlorno : 
 
 li cola dove imperial palagio 
 
 L'aujjusta fronte in ver le nubi Innulza, 
 
 In verdeggtante pralo 
 
 Colla vaga Ariauna un di sedea, 
 
 E bevcmlo e cantando, 
 
 Al bell' idolo suo i'osi dicca, etc. 
 
 In the palace is a fine fresco by Matteo 
 Roselli, representing the illustrious ac- 
 tions of the Medici, which has been 
 cleverly cut away from a demolished 
 ceiling and preserved in another room. 
 The new chapel of the Virgin, by S. Ca- 
 ciali, has on its ceiling a vast fresco of 
 the Assumption, by S. Nenci.one of the 
 best living painters of Florence, and his 
 most important work, 
 
 she obtained permission of her husband, who bad 
 no suspicions whatever. This interview, instead 
 of comforting Martelli, as was hoped, caused him 
 such violent emotion as seems to have hastened 
 bis death. 
 
Chap. I. 
 
 FLORENCE.-ARCETRI, 
 
 587 
 
 Above the Poggio is the pretty hill of 
 Arcetri, sung by the poets for its deli- 
 cious white wine : 
 
 La verdca soavlssima d' Arcetri,' 
 
 and immortalised by the residence, the 
 prison,' and the death of Galileo. On 
 the road is the tower called di Galileo, 
 a peasant's house and rustic observatory, 
 whence the view of Florence and the 
 environs is very fine. The little house, 
 now the Bonajuti villa, in which that 
 great man dwelt ten years, seemed to me 
 agreeable and worthy the surname of 
 giojello (jewel) which it formerly bore. 
 Towards the end of his life, he received 
 the youthful Milton there, then only a 
 scholar and elegiac poet. There may 
 be seen the chamber of the illustrious 
 captive, hung with ordinary leather, and 
 furnished with plain chairs, as well as 
 the little terrace on which he used to pass 
 hours together. It was perhaps there 
 that he lost his sight at the age of se- 
 venty-four, when, despite his old age 
 and misfortunes, he continued, with 
 unwearying courage, his tables of Ju- 
 piter's satellites : 
 
 Ylcn quegli occtii a mlrar che il del spiarao 
 Tutto quanto, e Iui visto, ebt>er dlsdegno 
 Veder olire la terra, e s' oscurarno. 3 
 
 Galileo also composed at Arcetri, II 
 Trattato della meccanica, augmented 
 and corrected, which appeared in 1634, 
 and the Discorsi e dimoslrazioni in- 
 torno a due nuove scienze attenenti 
 alia meccanica, e i movimenti locali 
 con un' appendice del centra di gra- 
 vita di alcuni solidi, the manuscript of 
 which he entrusted in 1636, to the count 
 de Noailles, then returning from his em- 
 bassy at Rome, and he transmitted it to 
 the Elzevirs, who printed it in quarto, 
 in 1638. 
 
 1 nedi, Bacco in Toscana. 
 
 " Galileo dated all his letters written at Arcetri 
 directly after bis return from Rome and his con- 
 demnation, from his carcere di Arcetri ; a fact 
 which proves, as well as the difficulties opposed to 
 his making a will, that, notwithstanding the nu- 
 merous and distinguished visits he received, he 
 remained all his life under the care of tlie inquisi- 
 tion. He hired this house at fifteen crowns a year 
 of Esau Martelllnl, his pupil. See the Vita e com- 
 mercio lelterario di Galileo Galilei, by G. B. Cle- 
 mento de' Nelll, Lausanne (Florence), 1793 08201, 
 two volumes quarto. This compilation, curious 
 
 Galileo, a lover of the country, who 
 could read only in the book of nature, 
 and regarded towns as prisons of the 
 human mind,* occupied this house from 
 the end of December 1633 to his latest 
 day, Wednesday the 8ih of January, 
 164-2, the very year of Newton's birth : 
 we have seen that he entered the world 
 two days before Michael Angelo's death ; 5 
 so that it may be said that genius was 
 destined to precede and to follow him. 
 
 Not far from Galileo's house, on ano- 
 ther agreeable hill, called Bellosguardo, 
 at Monlici, is the ancient villa of Count 
 Bardi, of Michelozzo's architecture, which 
 was the abode of Guicciardini; he, too, 
 ended his days there after having been 
 an actor in the events of which he wrote 
 the history. The table used by him 
 when writing his history is religiously 
 preserved ; and we are told that he la- 
 boured with such ardour as to pass 
 whole days without eating or sleeping. 
 Although in profound retirement, Guic- 
 ciardini seems to have been poisoned: - 
 a new and fatal example that seems to 
 make the destiny of historians of those 
 times run parallel with that of their 
 heroes. 7 Despite the fatigue caused by 
 his long periods, the author of the His- 
 tory of Italy, like all statesmen who 
 have written history, has well explained 
 and wisely judged the actions of which 
 he writes. The loyalty and impartiality 
 of his narratives are perhaps unique, for 
 himself is no more spared than many of 
 his culpable contemporaries. The last act 
 of Guicciardini'slife was honourable and 
 pure : although a partisan of republican 
 government, he stood forth alone in the 
 council, after the murder of Duke Alex- 
 ander, for the monarchical form, which 
 he caused to be adopted when he saw 
 that nothing else could guarantee his 
 country against revolutions and civil 
 
 enough, though Interrupted and left Incomplete by 
 the author's death, rectifies many inaccuracies of 
 Targioni Tozzelti, on Galileo's residence at Arcetri. 
 i Monti. 
 
 4 Vivian!, Vita del Galileo, p. 68. 
 
 5 See ante, book x. ch. ill. 
 
 6 See the authority of the wise and veracious 
 Florentine historian, Bernardo Segni, cited by S. 
 Rossini, p. 67, of bis Saggio suite azioni e suite 
 opere di F. Guicciardini, prefixed to the fine Pisa 
 edition, of i 822-2 i. 8 vols. -Ho. pi. 
 
 " See ante, boob v. ch. xxi. 
 
388 
 
 FIESOLE. 
 
 [BOOR XI- 
 
 CHAPTER II. 
 
 Caseine. — Villa del Boccaccio. — Alessandra Scala. — 
 Badla.— Tipografia Fiesotana. — S. Ingliimmi.— 
 Mozzi and Ricasoli villas.— Fiesole.—Miuo.— Ca- 
 puchins. 
 
 The agreeable promenade of the Ca- 
 scine (Royal Farms) on the banks of the 
 Arno, with its pines, holm-oaks, grass- 
 plots, pheasants, and rustic palace, is far 
 superior to the generality of those ordi- 
 nary rendezvous of the vain idlers of 
 great cities. The hour of this citizen 
 promenade varies with the seasons; the 
 equipages are numerous, and many of 
 them have chasseurs : the vanished great- 
 ness of thrones and theatres comes in 
 contact there.' The circus of the Ca- 
 scine with its carriages full of elegant 
 women is charming to the eye ; the com- 
 mon people, too, who repair thilher on 
 Sundays, are remarkable for their bear- 
 ing, good mien, becoming dress, and 
 I think there is less difference nowhere 
 between those who go on foot and the 
 occupants of carriages. 
 
 On the road to Fiesole. beside the Mu- 
 gnone torrent, thePalmieri villa de' Tre- 
 visi stands conspicuous, called also Ihe 
 villa del Boccaccio, the retreat, during 
 the plague of Florence, of the company 
 of women and young people who tell the 
 stories of the Decameron. This villa, 
 repaired and renovated, is at present 
 only a large plain English house; it can- 
 not be compared to the bellissimo e ricco 
 palagio of Roccaccio, then decorated 
 with all the art and magnificence that 
 one would suppose to belong to a villa 
 of the sixteenth century, and offering 
 un bello e gran cortile nel mezzo, e con 
 logge e con sale e con camere, tutte, 
 ciascuna verso di se bellissima, e di 
 liete dipinture ragguardevole eornata, 
 con pratelli dattorno e con giardini 
 maravigliosi. This villa takes its name 
 from the learned Matteo Palmieri, of 
 whom we have already spoken. 3 The 
 philosophical or rather theological poem 
 of Palmieri, although not printed, ac- 
 quired some celebrity from its condem- 
 nation by the inquisition : the author 
 asserts therein that our souls are the 
 
 i Some few years ago, Florence was inhabited by 
 mosl of the princes of Napoleon's family, by the 
 empress of Haiti, Christopher's widow; and his 
 daughter, nnd by Slgnora Catalan!. 
 
 angels that remained neuter when Satan 
 rebelled. 
 
 TheGuadagni villa, repaired, was the 
 abode of Rartolommeo Scula, the illus- 
 trious gonfalonier and historian of the 
 republic, who obtained the title of privy 
 counsellor and secretary of four princes, 
 one of whom was our Louis XI. Rut 
 the chief honour of Scala springs from 
 his daughter, the celebrated Alessandra, 
 pupil of John Lascaris and Demetrius 
 Chalcondylas, a woman of great beauty, 
 learning, and poetical talent, the Co- 
 rinne of Florence, who triumphantly re- 
 plied in Greek epigrams to the Greek 
 epigrams of Politiati, the rival lover of 
 the young and unfortunate Byzantian 
 poet MarulloTarcagnota, whom she had 
 preferred. 
 
 La Badia, a superb foundation by 
 Cosmo the Elder, of Rrunelleschi's 
 archilecture, is now occupied in part by 
 the Poligrafia Fiesolana. The ma- 
 nager and proprietor is S. Inghirami, 
 brother of P. Inghirami, a man of high 
 birth, who became an antiquary and 
 printer of his own works. This philo- 
 sopher, full of learning, humility, and 
 resignation, received me in the midst of 
 festoons of printed sheets drying on 
 lines, and he did not appear to me de- 
 generate from his noble stock. S. Inghi- 
 rami, a designer, engraver, and litho- 
 grapher, teaches his young workmen 
 himself, and executes the plates of his 
 learned publications. In the ancient re- 
 fectory, a fresco by Giovanni di San 
 Giovanni, a composition at once grave 
 and grotesque, represents the Lord mi- 
 nistered to by angels in the desert, in 
 which the artist has introduced some fe- 
 male angels; the demon whom the an- 
 gels are endeavouring to keep off is the 
 figure of the butler of La Badia, who 
 had given the artist stale wine that he 
 might not get drunk while at his work. 
 He has also foolishly muffled this demon 
 monk in a capuchin's gown, to express 
 his dislike of the good fathers for begging 
 so often. 
 
 The hotel delle tre Puzzelle was the 
 residence of the irascible doctor Lami ; 
 there, in the excitement of wine, he 
 wrote his two Latin Satires and his Dia- 
 loghi d'Aniceto Nemesio, another satire 
 
 '■ See ante, book x. ch. xili. 
 
Chap. II.] 
 
 FIESOLE. 
 
 389 
 
 against the Jesuits, in which he consents 
 lo pass for a fool provided others were 
 no better than himself. Opposite this 
 house is a well-supplied fountain, by 
 Baccio Bandinelli; this beauiiful work 
 was a present from the artist, whose 
 pretty villa, now neglected, was in the 
 vicinity. 
 
 The fine Mozzi villa was erected by 
 Giovanni de' Medici, son of Cosmo the 
 elder, on the plan of Michelozzo. Lorenzo 
 the Magnificent assembled there the 
 literati of his lime ; it was there that 
 Politian retired after the vexations and 
 obstacles thrown in his way by maternal 
 intermeddlings, as it happens sometimes, 
 with the education of his protector's 
 children. Freed from his embarrassing 
 functions, he deliciously sung his new 
 leisure and independence in these verses, 
 which recall the subject and poetry of 
 the Georgics : 
 
 HaDC, o coolicoloe mogni, concedite vitam; 
 Sic mihi delicias, sic blaudimenta laborum. 
 Sic faciles date semper opes; hac improba sunto 
 Vota terms; nunqnamcerte, nunquam Uaprecabor, 
 Splendiat ut rutilo Irons invldiosa gulero, 
 Tergeminaque gravis surgat mihi milra corona. 
 Talla Foesuleo lentus nieditabar in antro 
 Rure suburbano Medicum, qua tnons sacer urbeirj 
 Mffloniam, longique volumlna despicit Arnl; 
 Qua bonus bONpitium felix, placidamque quietem 
 Indulget Laurens, Laurens haud ultima fhcebi 
 Gloria, jactatis Laurens flda anchora musis : 
 Qui si certa magis permiserit otia nobis, 
 Afflabor mojore Deo, nee jam ardua tantum 
 Silva meas voces, montanaque saxa loquentur, 
 Sed tu (si qua Ddes| tu nostrum rorsitan olim, 
 mea blanda altrix, non aspcrnabere carmen, 
 Quaoivis magnorum genilrix Fiorcntla vatum, 
 Doctaque me triplici recinet facundia lingua, i 
 
 It was in this same villa that the con- 
 spiracy of the Pazzi was to have broken 
 forth during the festival that Lorenzo 
 gave, on Sunday, April 26, 14-78, to 
 Cardinal Riario, nephew of Pope 
 Sixtus IV., their accomplice, but they 
 deferred the time, to prevent the escape 
 of Lorenzo's brother Giuliano, who was 
 kept away by indisposition. Although 
 more than fifty were privy to the plot, it 
 was not discovered till on the very point 
 of execution, a fact, as Machiavel re- 
 
 * Sylva, Rusticus. 
 
 u Discorsi, lib. in. ch. vi, 
 
 3 See ante, book x. cap. xlli. 
 
 4 Tlie banished Dante eloquently alludes to this 
 origin of his hardhearted fellow-citizens, in these 
 lines : 
 
 marks, » quite miraculous in the history 
 of conspiracies. 
 
 The convent, of Saint Jerome is now 
 the Ricasoli villa. In the church, which 
 has been repaired, are a St. Jerome by 
 S. Sabalelli ; a painting by Fra Angelico, 
 a Dominican, the honour of Fiesole ; a 
 very ancient Nostra Signora, with the 
 infant Jesus, signed by the Greek painter 
 Andrea Rico of Candia. The tomb of 
 Francesco Ferrucci was designed by 
 himself in 1576, and he also sculptured 
 the porphyry medallion; the inscription 
 cut by himself purports that he is the first 
 who wrought that hard substance, ad ex~ 
 citanda suorum municipum ingenia, for 
 sculpture was then professed by most of 
 the inhabitants of Fiesole. Ferrucci's 
 pretensions, though with a strange degree 
 of vanity he has thought proper to mention 
 in his will also, are very probably un- 
 founded, and without speaking of antique 
 chefs-d'oeuvre, Tadda had previously 
 executed the statue of Cosmo I. in por- 
 phyry, on the column of the piazza della 
 Trinita, at Florence. 3 There are se- 
 veral admirable basso-relievos by Andrea 
 Ferrucci : the lion stopping short at the 
 sight of St. Jerome, while the other 
 brothers fly in terror, the Miracle of the 
 mule kneeling before the Holy Sacrament, 
 expressive and elegant ; the two angels 
 flying on each side of the cross might be 
 supposed, for science, boldness of attitude 
 and foreshortening, to be Michael An- 
 gelo's. 
 
 Fiesole, the cradle of Florence/ has no 
 interest now but in its literary associa- 
 tions, its prospect, the sculptures of the 
 cathedrals, and its little pile of stones 
 mistaken by Niebuhr for the ruins of a 
 colossal Etruscan edifice, and which is 
 only the remains of a not very ancient 
 Roman theatre. Erected on the ruins of 
 the ancient and once powerful Fiesole, 
 which Cicero attacked, in the senate, for 
 its pomps, its banquets, and the villas 
 built by its inhabitants, tanquam beati, 5 
 the aspect is modern and void of cha- 
 racter; the great square, the renovated 
 seminary, the rebuilt churches, give it 
 merely the appearance of an ordinary 
 little Italian town. The population is 
 
 Di quell' ingrato popolo maligno, 
 Che discese de Fiesole ab antiquo, 
 E tieo ancor del monle, e del macigno. 
 Inf. can. xv, ti5. 
 5 Catil. n, 9. 
 
 33. 
 
590 
 
 FIESOLE. 
 
 [ Book XL 
 
 little more than two thousand souls. 
 Boccaccio's Ninfale Ftesolano, which I 
 had taken with me and attempted to 
 peruse, I found exceedingly dull-reading, 
 despite the beauty of its style : perhaps 
 the personal allusions to the ladies then 
 living at Fiesole. which are now totally 
 unintelligible, rendered it moreagreeable 
 at the time. It has been supposed an 
 allegorical relation of some convent ad- 
 venture. This insignificant poem has, 
 however, some interest in a scientific 
 point of view, as it is said to be the first 
 in which fossiles are mentioned. 
 
 The cathedral, a curious monument 
 of the middle ages, was begun by Bishop 
 Jacopo Bavaro in 102S and finished about 
 the middle of the thirteenth century. 
 The front, of the fourteen! h century, is 
 due to the celebrated and holy bishop 
 Andrea Corsini, whose pulpit is still 
 preserved and venerated. The solid 
 combination of the stones forming the 
 architrave of the gates exhibits some skill 
 in building. The patrons of the church 
 are Sts. Peter and Romulus, a strange 
 association of the names of the two dif- 
 ferent founders of Rome. Atthe entrance 
 is a stone sacred to the memory of a 
 peasant of Fiesole, Filippo Mangani, a 
 hindofthe canon VincenzoCapponi, who 
 profited so well by the lessons of the 
 famous physician, anatomist, and mathe- 
 matician Benedetto Bresciani, of Flo- 
 rence, during the latter's residence at his 
 villa. The following anecdote, though 
 unauthenticated and merely another 
 proof of that allowable pride of the 
 Italians, which strives to attach all 
 glory to their land, is sufficient as 
 a specimen of Mangani's acquirements. 
 It happened that a Mr. Henry Newton, 
 author of a quarto volume of Latin 
 epistlesand prayers, was English minister 
 a! the court of Tuscany, and his name 
 being confounded with that of the great 
 Isaac, one day when he visited Bresciani 
 at Fiesole, our peasant sought an interview 
 with him and made such prompt and 
 accurate answers to certain geometrical 
 questions and even some of Newton's 
 theorems that the ambassador suspected 
 a trick, and imagined that a learned 
 professor was concealed under the rustic 
 garb of Mangani; being undeceived in 
 this particular, he loudly expressed his 
 delight and admiration of such wonder- 
 ful knowledge. An ola painting is of 
 Giotto's time; a St. Donatus, bishop of 
 
 Fiesole, the Martyrdom of St. Thomas, 
 are fine paintings by Volterrano. The 
 little altar, tomb, and chapel of the bishop 
 of Fiesole, Leonardo Salutati, sculptured 
 by Mino di Fiesole, may be ranked with 
 the chefs-d'oeuvre of art: the figures or 
 the altar are full of grace, sweetness, and 
 ease ; the bust of the bishop is admirable 
 for life and truth. 
 
 The church of Santa Maria Primerana, 
 anterior to the tenth century, presents a 
 Crucifixion, with Magdalen, the Virgin, 
 and St. John Baptist, a very fine basso- 
 relievo of glazed earthenware, by Luca 
 della Robbia. The antique picture of 
 the Madonna, on wood, is the work of 
 the Greek painter Luca Sancio or Santio, 
 who has been mistaken for St. Luke, a 
 fact that may partially account, for the 
 numerous Virgins supposed to be painted 
 by that Evangelist. 
 
 The church of Saint Alexander, bishop 
 of Fiesole and a martyr, built in the 
 sixth century, with a noble portal, has 
 been recently repaired. Were it not for 
 the fifteen fine Ionic columns of cipoline 
 marble, procured from some antique 
 edifice in the neighbourhood, it would 
 be difficult to recognise the most ancient 
 basilic of Tuscany, through the new 
 brilliancy ofits masonry and whitewash- 
 ing. 
 
 Outside the church is a fine wreck 
 ofRoman antiquities : a pedestal in white 
 Luni marble with an inscription in cha- 
 racters of the best time, mutilated and 
 illegible through the incrustation of some 
 relic. 
 
 The vast convent of the Franciscans 
 which overlooks Fiesole, has the garden, 
 prospect, and picturesque appearance of 
 other Capuchin convents, and also some 
 good frescos by Nicodeme Ferrucci, the 
 favourite pupil and clever assistant of 
 1'assignano. These Franciscans can boast 
 many virtuous and distinguished men ; 
 and among them Nicolao da Uzzano, a 
 Florentine noble who devoted part of his 
 fortune to the relief of the poor, the 
 founding of the Cappo hospital at Fiesole, 
 and the erection of the palace delta Sa~ 
 pienza, near the piazza of Saint Mark. 
 
Chap. Ill ] 
 
 CAJANO. 
 
 S9i 
 
 CHAPTER III. 
 
 Demldorf villa. ^Splnntng-milis.—Poggio di Ca- 
 Jano.— Saloon. — Paintings.— Margaret of Orleans. 
 — Unhappy matrimonial alliances of the Medici. 
 
 The modern villa of Demidoff or San 
 Donato, hastily constructed from 1828 to 
 1830, badly situated, withoutarchitecture, 
 surmounted by a clumsy cope and ridi- 
 culous as a villa, has become respectable 
 from its recent appropriation to indus- 
 trious and benevolent purposes. Those 
 apartments and galleries that I bad seen, 
 since the death of Commander Demidoff, 
 encumbered with the rich furniture for- 
 merly exposed to the curiosity ofstrangers 
 in his town house, have been ti a nsformed, 
 under the sagacious management of his 
 
 (second son, into useful factories where 
 the hand of indigence is occupied in 
 spinning silk; the gardens in the Eng- 
 lish style are planted with mulberry 
 trees, and the mean casinos and little 
 fabrics are now productive hot-houses 
 where the strongest races of silkworms 
 are propagated and reared. A powerful 
 ■ steam engine sets in motion the fifty 
 mills of this vast manufactory, which is 
 not less remarkable for order thanactivity. 
 An infant school and a school of mutual 
 instruction, where the silk manufacture 
 is taught as a recreation, are part of this 
 foundation, by which M. Anatole De- 
 midoff seems to have perpetuated the 
 abundant alms bestowed by his father on 
 the poor of Florence, which procured 
 him such affecting popularity. The day 
 of his death, the multitude, apprised of 
 the danger, repaired to the Demidoff 
 palace and the church of Saint Nicholas 
 close by ; there they demanded the ex- 
 position of the Holy Sacrament, which 
 Was instantly accorded, and the crowd 
 joined in the services: Demidoff himself, 
 being informed that a great number of 
 persons unable to. enter the church were 
 kneeling on the pavement in the street, 
 appealed at his balcony, and expired in 
 the sight of the praying multitude. A 
 well-merited mausoleum, the work of 
 Bartolini, has been decreed to him at 
 San Donato; but the composition is fan- 
 tastic in some respects : the statue of the 
 commander represents him leaning on 
 the shoulder of his weeping son Anatole, 
 while on the other side a little girl is 
 
 1 See his pretty piece entitled Ambra, from the 
 name of an Islet submerged by an irruption of the 
 
 laying a crown of flowers at his feet. 
 Which is meant to express that filial and 
 popular gratitude attended his deathbed ; 
 and among the four colossal statues placed 
 on the basement of lapis— lazuli, as a 
 pendant to the allegorical figures of 
 Mercy and Encouragement of the arts 
 are the Muse of feasting and the Mines 
 of Siberia. The two basso-relievos are 
 clearer and truer : the first shows De- 
 midoff levying a regiment at his own 
 expense to repel the invaders of the Rus- 
 sian soil in 1812 ; the second expresses 
 the pathetic scene of his last moments. 
 
 The villa and domain ofCajanowere 
 sung by Politian, exactly as a descriptive 
 poet of the last century would have done, 
 at the end of the poem entitled Ambra, 
 that he had composed in honour of Horner: 
 
 Made opibus, made ingenio, mea gloria Laurens, 
 Gloria mustirum, Laurens I montesque propinquos 
 Perfortis, et longo suspensos excipis arcu ; 
 Pra;gelldas ducturus aquas, qua prata suplnum 
 Lata videt Podium, riguls uberrima ljmpbis; 
 Aggere luta novo piscosisque undique septa 
 Limitibus, per quae multo servanle inolosso 
 Plena Tarentinis succrescunt ubcra vaccis; 
 Atque aliud nlgris missum (quls credat?) ah India 
 Ruminat ignolas armentum discolor herbas. 
 At vituli lepidis clausi foenilibus inlus 
 Expectant tola sugendas node parentes. 
 Inlerea magnis lac densum bullit ahenis, 
 Bracliiaque exertus senior, tunicataque pubc 1 ; 
 Comprimit, et longa slccandura poult in umbra 
 Ulque piee pascuntur oves, ita vastus obtso 
 Corpore, sus calaber cavea slat clausus olunti, 
 Atque aliom ex alia poscit grunnilibus escam. 
 Celtiber ecce sibi latcbrosa cuniculus anlra 
 Perforat ; innumerus net serica vellera bombyi, 
 At vaga flort teres errant dispersa per horlos, 
 Mulliforumque replent operosa examlna suber; 
 Et genus omne avium captivis instrepit alis. 
 Dumque Anlenorei voluciis crislata Timavi 
 Parturlt, ct custos Cnpiloli gramlna tondet, 
 Multalacu se mersat anas, subitaque volantes 
 Nube diem fuscant Veueris tutela columbaj. 
 
 The solid bridge of iron rods thrown 
 over the Ombrone in 1833, the Artesian 
 well, the first attempted in Tuscany, 
 which, it is true, after five months' bor- 
 ing, did not succeed, would, no doubt, 
 with the other works of the Poggio, have 
 been marvellously described in the in- 
 genious Latinity of Politian. Lorenzo 
 de' Medici has also celebrated this villa, 
 one of the first monuments of his mag- 
 nificence, i which he had rebuilt by 
 Giuliano San Gallo. The ceiling of (he 
 great hall is reckoned by Vasari the 
 
 ombrone, a muddy little river that passes by 
 Cajauo. 
 
592 
 
 CAREGGI. 
 
 [Book XI. 
 
 largest yet executed by the moderns. 
 Leo X. had embellished it with superb 
 paintings by the first Florentine masters. 
 The subjects are antique, but all allude 
 to the history of the Medici : Cicero's 
 return from exile, by Franciabigio, recalls 
 Cosmo's triumphant entry into Florence ; 
 the presents and rare animals sent from 
 Egypt to Cjesar, by Andrea del Sarto, 
 the finest of these paintings, the Sultan's 
 presents to Lorenzo ; the repast offered 
 to Scipio by the king of the Numidians, 
 Syphax, by Ponlormo, the reception given 
 to Lorenzo by the king of Naples ; lastly, 
 in the Titus Flaminius refuting, before 
 the assembly of the Aeheans, the ambas- 
 sador of the Elolians and King Antiochus, 
 and breaking the league, by the same 
 Pontormo, we recognise Lorenzo arrest- 
 ing the projects of the Venetians in the 
 diet of Cremona. 
 
 The Poggio of Cajano witnessed the 
 tragical and mysterious end of Bianca 
 Capello and her lover. This same villa 
 was the refuge of the graceful, witty, and 
 capricious princess Margaret of Orleans, 
 when she resolved to leave for ever her 
 sombre lord, the grand duke Cosmo III. 
 After having left Cajano for the monas- 
 tery of Montmartre and the court of 
 Louis XIV.,' Margaret died in Paris at 
 an advanced age, another instance of an 
 unhappy and ill-sorted alliance between 
 the Medici family and the house of France. 
 
 The gardens of'the Poggio, lately laid 
 out in the English style, contrast dis- 
 agreeably with the Italian and French 
 reminiscences of the sixteenth and se- 
 venteenth centuries attached to the villa. 
 
 CHAPTER IV. 
 
 Careggl.— Feast of Plato.— Denlli of Lorenzo the 
 Magnificent.— Saint Stefano-tra-1'Areora.— Qulete. 
 — Eleooora dl Montalvo.— Petraia.— Sclplone Am- 
 mirato.— Topala.— B.Varchi — Caslello.— Barlolinl 
 Villa.— Porcelain manufactory. 
 
 Careggi, two miles from Florence, 
 
 1 Madame de Sevlgne seems to Insinuate that she 
 had intended to captivate him: "Jesulspersuadee," 
 she writes to her daughter, ''quelle aimerait fort 
 eclte muison, qui n'est point a louer." Let. of 
 July 3, 1675. 
 
 a Plato established his academy in an unhealthy 
 locality, strangely imagining that the powers of 
 the mind were strengthened by bodily debility. 
 
 3 It Is stated by Marsilio Flclno (Ep/st. lib. II. ad 
 Jacoh. Bracciol.) that liandini presided in the ban- 
 quet at Florence, LoreDK) de" Medici at Careggl. 
 
 although for fifty years a private country 
 house, and now the Orsi villa, still exists 
 in its primitive state ; built by Cosmo the 
 Elder, with Michelozzo for his architect, 
 it has the aspect of a large square tower, 
 with an elegant interior portico. This 
 villa, one of the most renowned for his- 
 torical associations, which, under Lo- 
 renzo de' Medici, became one of those 
 sanctuaries where ancient poetry and 
 philosophy found such fervent adorers — 
 this illustrious villa, in 183i, was let 
 furnished, at 25 sequins a month (11/.), 
 to two old English ladies, whose people 
 unpityingly repulsed from the house, and 
 even the gardens, all Platonic pilgrims. 
 The image of Plato was erst inaugurated 
 in these gardens, laid out like the groves 
 of Academus, but in purer air, 3 and 
 every year, on the 7th of November, the 
 anniversary of his birth was celebrated 
 there, and at Florence, by a sumptuous 
 banquet, as the practice was at Athens 
 twelve centuries before. 3 Careggi wit- 
 nessed the pastimes and literary fami- 
 liarity of Lorenzo and his friends Pico 
 della Mirandola, Politian, and Marsilio 
 Ficino, who ended his days there. In 
 the gardens of Careggi, Lorenzo was 
 perhaps the first to cultivate a collection 
 of uncommon plants.4 In this place, so 
 intimately connected with the Medici, 
 Leo X. passed his infancy, and two of 
 the most illustrious characters of that fa- 
 mily, the Father of his Country and 
 Lorenzo the Magnificent, are buried. 
 There, too, the latter, attacked with a 
 fierce and unknown disease 5 in the forty- 
 third year of his age, when dying pressed 
 the hands of Politian, who turned away 
 his eyes suffused with tears, and was 
 leaving the apartment to give free vent 
 to his grief; Lorenzo called him back 
 and expressed his regret that Pico della 
 Mirandola had not visited him once 
 during his illness; and when the latter 
 arrived, conversing with them on books 
 and philosophy, he said gaily that death 
 
 The accuracy of this date (November 7) as the an- 
 niversary of Plato's birth and death has been con- 
 tested, with some justice, by P. OdoardoCorsit.il. 
 
 4 A detailed catalogue of this collection is given 
 In an elugy by Alei-sandro Braccl, addressed to 
 Bernardo Bembo, and published by Roscoe In the 
 appendix to his Life of Lorenzo de' Medici, from a 
 manuscript in the Laurenlian. Several of these 
 plants from Asia and Africa are not known to bo- 
 tanists of the present day. 
 
 5 it has been quoted as a singular instance of 
 
i. :hap. iv.] 
 
 CABEGGI. 
 
 595 
 
 ; night to leave him some few days to 
 complete the library he intended for 
 hem. A contemporary relates a very 
 iliflerent scene, 1 that followed this pa- 
 jhetic parting; the haughty Savonarola, 
 I he implacable enemy of the usurpation 
 jof the Medici, entered, after a second 
 Immmons by Lorenzo: "I would con- 
 jess, but am withheld by three sins, 
 Ivvhich almost drive me to despair." — 
 
 f'What are they ? "— " The first is the 
 ;ack of Vollerra, in which many maidens 
 ■ ivere violated and unbounded excesses 
 l.'ommilted; the second, the confiscation 
 j, if the monte delle Fanciulle, which has 
 paused a great many young women to 
 remain unmarried for want of portions; 
 I he third, the affair of the Pazzi, in which 
 fcnany innocent persons perished." — 
 I 'Lorenzo, yield not to despair, for God 
 t s merciful, and he will grant you grace 
 I f you observe the three things I submit 
 to you." — "What are they?" — "The 
 larst, that you have a strong and living 
 .'ailh that God can and will pardon you." 
 —"My faith is great." — "It is further 
 necessary that every thing you possess 
 unjustly be restored to its rightful owner, 
 as far as may be, only leaving to your 
 sons what is necessary to private citizens 
 of Florence." After reflecting a mo- 
 ment, Lorenzo replied, "It shall be 
 done." — "Lastly, Florence must he re- 
 stored to liberty and popular government 
 is under the republic (a uso di rcpub- 
 blica).'" Lorenzo turned away and an- 
 swered not. And Savonarola departed 
 without continuing the confession far- 
 ther. 1 
 
 The antique church of Saint Stephen 
 :?i Pane has taken the additional name 
 of tra V arcora from some arcades, the 
 remains of a large Roman aqueduct in 
 the neighbourhood. 
 
 The convent della Quiete deserves the 
 name from its peaceful and solitary site. 
 It was founded in 1650 by the celebrated 
 Eleonora Ramirez di Montalvo, of Spa- 
 
 ratallty, that his physician, the celebrated Pietro 
 Leoui of Spoleto, Mho was also addicted to astro- 
 logy, in despair at the death of Lorenzo, threw 
 himself, or was thrown by Pietro de" Medici in a 
 assion, into a well at Carcggi, which isstill point- 
 ed out, an end wbich accorded with the horoscope 
 he had drawn of himself. 
 
 1 Vita di Padre Girol.imo Savonarola scritta da 
 fra Puciflco Eurlamacchi Lucchese. 
 
 2 This republican discourse of Savonarola, re- 
 lated by the enthusiastic author of bis Life, Prince 
 
 nish extraction, a lady illustrious for her 
 charity and poetical talents : her little 
 witty canzoni, her lives of the saints in 
 ottava rima, with divers easy natural 
 compositions, are still cited by the Ita- 
 lians for elegance and purity of style. 
 The ladies ol this convent, who have the 
 management of a seminary of young 
 girls, do not make vows, but there is 
 not a single instance of one leaving the 
 order. Although the seminary della 
 Quiete was originally intended for young 
 ladies of condition, handiwork and house- 
 wifery are expressly prescribed by the 
 regulations of the foundress. I did not 
 observe in this convent the exceeding 
 frivolity ar;d affectation of accomplish- 
 ments found in certain fashionable con- 
 vents and adopted as a means of de- 
 stroying the prejudices of the world 
 against a too strict education. 
 
 The palace of La Petraja, purchased 
 by Ferdinand I., embellished by Buon- 
 talenti, which commands such an admi- 
 rable view of Florence ami its environs, 
 has some good paintings by Volterruno 
 in its interior court, representing actions 
 of the great dukes of Tuscany, and at 
 the high altar of the chapel a fine Holy 
 Family, by Andrea del Sarto, in a bad 
 light. The famous fountain of Tribolo 
 was reckoned by Vasaii the finest of 
 fountains, for taste in the figures and 
 richness of ornament. It was at La Pe- 
 traja that the celebrated scholar Scipione 
 Ammirato, after a wandering romantic 
 life, wrote, under the direction of Cosmo I. 
 and his son Ferdinand, the history of 
 Florence, the best of his works, which 
 procured him the surname of the New 
 Livy from the Academy della Crusca. 
 Ammirato, however, had the grievous 
 fault of envying Machiavel, whose ad- 
 mirable Florentine History he attacked 
 as inaccurate and tedious, a calumny 
 censured with so much fury and exagge- 
 ration by Altieri on the margin of his 
 copy of Ammirato. 3 
 
 Giovanni Francesco Pico della Mirandola, nephew 
 of the famous Pico, is contradicted by Roseoe 
 (ch. x. of the T.i/e of Lorenzo de' Medici); but it 
 has been again asserted as true by a recent Italian 
 author, Pompilio Pozzetli, who has written two 
 dissertations on the work or Uoscoe, whom he has 
 also erroneously made a doctor. 
 
 3 This curious manuscript note has been copied 
 and given by M. Artaud, t. H, p. 173 of his Macfiia- 
 vel: ''Signor Ammirato, quando si e prete, ita- 
 llono, scblavo, e vigllacco, non si scrive Istorle..,., 
 
394 
 
 VALLOMBROSA. 
 
 [Booh XI. 
 
 Topaja, a small villa built by Cosmo I., 
 now a storehouse and cellar dependant 
 on the mansion of La Petraja, was the 
 abode of Benedetto Varchi, an historian, 
 orator, and poet, comic, lyric, and sati- 
 rical ; he there composed his indepen- 
 dent history under the roof of that ab- 
 solute master, who seemed charmed 
 with it. 
 
 The palace of Castello, belonging to 
 the Medici before their eievation to Ihe 
 sovereignty, was considerably enlarged 
 under Cosmo I., by Tribolo, who also 
 made another fine large fountain, which 
 has a Hercules strangling Anteus, by 
 Ammanato. 
 
 The grotto is curious and presents the 
 birds and animals sent by the sultan of 
 Egypt to Lorenzo the Magnificent, sculp- 
 tured in marble of various colours. 
 Among them is a girafe, which had 
 already began those European voyages 
 in later years so common with that 
 animal. 1 
 
 The Bartolini villa has a great number 
 of good frescos by San Giovanni. 
 
 The porcelain manufactory belonging 
 to the marquis Leopnldo Ginori-Lisci, 
 founded in 1740 by his grandfather Ihe 
 marquis Carlo, is the most important in 
 Italy, occupying a hundred and twenty 
 workmen, and is well worth a visit. 
 Truly it does not resemble the brilliant 
 and royal factory of Sevres, with its 
 vases, statues and pictures; but it is a 
 good and lucrative private establishment, 
 which, without pretending to any great 
 luxury; produces very useful and pretty 
 articles. This fabrication, also, appears 
 most appropriate there, as a grand duke 
 of Tuscany, Francesco I., the weak 
 husband of Bianca Capello, but a clever 
 chemist, was the first in Europe who 
 succeeded in imitating the porcelain of 
 China. 
 
 e molto meno si taccla Maehiavelll come fal a 
 carta 06 <ii questo volume 3, di esser poco verace ; 
 vil verme, os.) tu non cue parlare, pur rlmlrar lo 
 ijone!" 
 
 1 See, on !lie appearance of Ihe first girafe in 
 burope, cli. it. of book x. 
 
 * Vallombrosa ; 
 
 (Cos) fu nomiuala una biidia 
 Ricca e bella, ne uicn rellgiosa, 
 
 CHAPTER V. 
 
 Vallombrosa.— Feast.— Aspect.— Saint Gualbert.— 
 Hugford.— Paradisino. — B.oad. — Culture.— Pea- 
 sant of the Vol d'Arno. 
 
 I was at Vallombrosa on the feast of 
 the Assumption ; there was a grand 
 dinner at the convent, attended by the 
 priests and many Franciscan monks of 
 the neighbourhood.. That day, in pur- 
 suance of a long-established and affect- 
 ing custom, the monks had been allotting 
 dowries to some poor girls. Outside, 
 for all but the dancing, it was the fair of 
 Saint-Germain or Saint-Cloud ; there 
 were improvisatori singing alternate 
 couplets to the immense gratification of 
 their audience. Although this popular 
 feast in the very bosom of solitude, this 
 contrast of woods and rocks crowded 
 with people, was not destitute of sweet- 
 ness or charms, it seemed to me that 
 I lost the severe aspect of Vallombrosa. 
 Setting aside all effect produced by the 
 festivity I witnessed in those places, I do 
 not believe they ever can appear hor- 
 rible. Vallombrosa has indeed some re- 
 semblance to our Grande Chartreuse; 
 but it is a Chartreuse of the Apennines, 
 less wild than that of the Alps, with an 
 Italian sky and a view of the sea; 
 the superb and gloomy firs that en- 
 viron the abbey were planted in quin- 
 cunx some centuries ago, and conse- 
 quently have a regular and symmetrical 
 rather than savage magnificence : the 
 waters have been ably directed, and the 
 Vicano there is less a torrent than a 
 fine cascade. Vallombrosa has been 
 wonderfully sung by the three greatest 
 poets who have visited it : Ariosto, a 
 Milton, 3 Lamartine.4 Benvenuto Cellini 
 says that he made a pilgrimage to Val- 
 lombrosa to thank God for his success in 
 the execution of certain figures. He 
 started rrom Florence, guided by his 
 workman Cesare, and chanting hymns 
 and prayers : a strange pilgrim who 
 
 E cortese a chiunque Vi venia.) 
 
 Orl. cant, xxu, 30. 
 
 3 Tbick as autumnal leaves that strow the brooks 
 In Vallombrosa, where th' Etruriau shades, 
 High over-arch'd, imbovver. 
 
 Parad. lost. i. 303. 
 
 4 VAbhaye de Yallombreuse, Harmoniexi. 
 
Chap. VI.] 
 
 SAN MINIATO. 
 
 395 
 
 seems to have occupied himself during 
 his journey more about gold and silver 
 mines and fortifications than devotion." 
 
 Although the monk who received me 
 was rather taken up with the company 
 at the convent, he showed himself as in 
 the times of Roger and Bradamante, 
 when the convent did not exist, corte.se 
 a chiunque vi venia. I asked him for 
 the Life of Saint Giovanni Gualbert, 
 founder of the order of Vallornbrosa, a 
 scarce book, ornamented with pretty 
 engravings. He left me several hours 
 shut up alone in the convent, for every- 
 body was either at church or at table, 
 and I could go about us I pleased, read- 
 ing my quarto Life of the Saint, an in- 
 teresting history with a touch of romance. 
 Independently of his virtues and his 
 character, it must be owned that this 
 monk of the eleventh century, who be- 
 longed to a rich and noble family of 
 Florence, was a good judge of the 
 beauties of nature, when, while on a 
 pilgrimage, he fixed his retreat in such 
 a spot, near these majestic forests, pic- 
 turesque rocks, and clear murmuring 
 fountains. 
 
 The entire building, reconstructed in 
 1637, with the Campanile of the church 
 and a kind of belfry towering above it, 
 is not destitute ol'grandeur. The church 
 is magnificent and ornamented with pre- 
 cious marbles. Above the convent is the 
 Hermitage called il Paradisino, or the 
 Celle, situated on the point of a precipi- 
 tous rock, whence the eye discovers the 
 Arno, the fertile plains through which it 
 winds, Florence, and the sea. The 
 clever artist in scagliola,* P. Hugford, 
 was rector of the Celle ; he had formed 
 in this nestlike hermitage, a library, and 
 small gallery, where he worked undis- 
 turbedly, for many a long year, at his 
 charming mosaics, real works of pa- 
 tience. The beautiful pavement of the 
 chapel was executed by P. Dom Bruno 
 Tozzi, a learned botanist, Hugford's pre- 
 decessor. 
 
 Although I did not ascend to the 
 Camaldulites, whence, according to 
 
 * Cesare's uncle, a physician, surgeon, and some- 
 thing of an alchemist [pizzicava atquanlo d' al- 
 chimista), a very amiable old man of seventy, 
 showed him at Bagno, his couutry, a mine or gold 
 and silver; he also pointed out to him, near the 
 Camaldulite convent, a secret passage by which the 
 Duke of Urbino was enabled to surprise the castle 
 of Foppi. Vita di Benvehuio Cellini, t. It. p. 345-6. 
 
 Ariosto, both the Mediterranean and 
 Adriatic may be seen : 
 
 Apeunin scopre il mar Sciavo e il Tosco, 
 
 I have rambled over the environs of 
 Vallornbrosa. 1 had gone thither on 
 foot from Pelago by a way inaccessible 
 even to mules, and which offered me 
 new and diversified aspects of the Apen- 
 nines. On my return 1 took the ordi- 
 nary road, through the woods of firs and 
 chesnuts. I went over the fields and 
 saw some agricultural establishments be- 
 longing to the monastery. These monks 
 are certainly not retrograde; we have 
 seem them portioning girls ; their land 
 is admirably cultivated ; and they in- 
 troduced potatoes into Tuscany. This 
 precious tubercle, as our agricultural 
 societies say, grows well at Vallornbrosa, 
 and the potatoes of this convent have 
 still some repute. 
 
 The guide I had taken was one of those 
 peasants of the Val d'Arno, with a 
 charming daughter, a brunette, dressed 
 in silk, a true type of Italian beauty, 3 
 lodged in a pretty house with a separate 
 room for the girl, possessing that sweet- 
 ness and elegance of rustic manners 
 which seem revived from the shepherds 
 of Arcadia, speaking that pure primitive 
 Tuscan, the tongue of Dante and Boc- 
 caccio, which Alfieri studied in these 
 fields, and which my barbarian ear could 
 not appreciate. It is nevertheless under 
 the shade of a convent, under what is 
 called absolute power, that this astonish- 
 ing civilisation flourishes, a prodigy that 
 must excite the envy of freer and more 
 civilised countries. 
 
 CHAPTER VI. 
 
 Bastion by Michael Angejo— Church of Salut Sa» 
 viour.— S3D Miniato Monte. — Cardinal of Portu- 
 gal's tomb, 
 
 Near the steep road leading to the hill 
 of San Miniato are the remains of the 
 bastion and fortifications raised by Mi™ 
 
 5 See anle, book x. ch. xx. 
 3 It is true that Ariosto in his delightful portrait 
 of Alcine makes her fair, but he gives her black 
 eyes : 
 
 Sotto duo negri e sottilissimi archi 
 
 Son duo negri occhi . 
 
 Oil. can. vii, st. xii. See book xiu. ch. xiv. 
 
596 
 
 CHARTREtSt. 
 
 [ Book XI. 
 
 chae! Angelo. ' This great artist, who 
 hastened to shut himself up in Florence 
 to repel the attack of foreigners, after- 
 wards refused to build the citadel that 
 l)uke Alexander wished to erect for the 
 oppression of his fellow-citizens. The 
 well-planned works of Michael Angelo 
 enabled the inhabitants to make frequent 
 and effective sorties, and kept the army 
 of Charles V. and Pope Clement VII. in 
 check for eleven months ; though it 
 amounted to thirty-six thousand men, 
 and the Florentines had only sixteen 
 thousand beside volunteers. The means 
 employed by this engineer of genius to 
 protect the beautiful steeple of San 
 Miniato from the enemies' balls have 
 been cited as remarkable ; he enveloped 
 it with woollen mattresses, and a piece 
 of cannon placed on the same steeple 
 fired on the besiegers with impunity. 
 Varchi and other historians have falsely 
 attributed to fear the precipitale voyage 
 Michael Angelo made to Ferrara; it is now 
 known that he was sent by the seigniory 
 to the duke, and this perilous mission 
 across the imperial and pontifical lines 
 must be added to the other marks of 
 courage that he displayed during the 
 siege. 
 
 The church of Saint Saviour, not far 
 distant, of Cronaca's architecture, was 
 much admired by Michael Angelo, who 
 surnamed it la bella villanella (the 
 beautiful villager) on account of its pure, 
 simple, and rustic character. 
 
 The majestic basilic of San Miniato 
 al Monte, a curious monument of the 
 architecture of the middle ages, was 
 erected in 1013 by Hildebrand, bishop of 
 Florence, assisted by the emperor Saint 
 Henry and his consort Cunegunda. The 
 two rows of columns dividing the three 
 naves were extracted from the ruins of 
 antique edifices. In the chapel of Saint 
 James, the mausoleum of the Cardinal 
 of Portugal, the chef-d'oeuvre of Antonio 
 Rosscllini, an artist of Florence highly 
 praised by Michael Angelo, is noble and 
 graceful. The little cupola of the same 
 chapel has some exquisite basso-relievos 
 by Luca delta Robbia, which Vasari 
 
 ' See mile, book x. eh. xxiv. 
 
 8 ne took his name from the trade iu steel [ac- 
 ciajuolo), which his Family followed. 
 
 3 Arciajoll had invited him to court that he 
 might write his history; indignant at the disre- 
 spectful manner in which he was received, Boc- 
 caccio went away and disappeared. The report 
 
 esteems his best work. The enclosure, 
 called la Confessione, which contains 
 the ashes of Saint Miniato and other 
 martyrs, is of elegant architecture. In 
 the sacristy, several frescos representing 
 subjects from the Life of St. Benedict 
 are the best preserved work of Spinello, 
 pupil of Taddeo Gaddi, an eccentric 
 painter who died of fright at the appa- 
 rition in a dream of the Lucifer of a 
 Fall of Angels, a painting now lost, 
 which he had executed for a church of 
 Arezzo, his native place. 
 
 CHAPTER VII. 
 
 Chartreuse.— Acciajoli.—Dom Forlunato. 
 
 The Chartreuse of Florence is one of 
 those vast monuments founded in the 
 middle ages by the most illustrious perso- 
 nages. There was one commonly in all 
 large towns. These enduring and holy 
 asylums, open to the disappointed and re- 
 pentant, were fitly placed near large 
 crowds of men, and offered a religious se- 
 paration from society for those unfortu- 
 nates who now rush headlongintosuicide. 
 The Chartreuses have also a singular 
 charm for the imagination, which loves this 
 contrast between the noisy agitation of 
 the world and thesilent calm of seclusion. 
 The founder of the Chartreuse of Saint 
 Laurence, a kind of citadel on an emi- 
 nence, built by Orgfigna, was IVicolao 
 Acciiijoli," a Florentine, minister of King 
 Robert, loved by his niece the princess 
 ofTarenlo, and grand seneschal of the 
 kingdoms of Sicily and Jerusalem, to 
 whose favour and frowns Boccaccio 
 showed himself equally indifferent, 3 as 
 Dante had grown weary of the hospitality 
 of Can Grande's palace. 4 These first and 
 great men of letters, with the exception 
 of Petrarch, 5 appear to have had more 
 dignity than their successors of the re- 
 vival or ages following. The tombs of 
 the haughty Acciajoli and his family, in 
 the subterranean chapel, are regarded as 
 the most curious monuments of the Char- 
 treuse. The noble Gothic mausoleum of 
 the seueschal was executed by Orgagna, 6 
 
 then spread that be had retired to tbo Chartreuse 
 of Maples, as may be seen In a sonnet by Saccbeltl. 
 Life of Boccaccio by Tiraboscbi. 
 •'< See ante, book y. ch. x. 
 
 5 See ante, book yil. ch. Till. 
 
 6 The Florentine Observer, adducing several in- 
 stances of bodies preserved uncorrupted, slates Ibat 
 
Cuap. VHi.] 
 
 SAN CASCIANO. 
 
 597 
 
 and the head is sublime. The laudatory 
 inscriptions of the mausoleum are widely 
 different from the satirical portrait of 
 Acciajoli drawn by Boccaccio, whom he 
 had sent to dine in the servants' hall. ' 
 The three sepulchral stones of his son 
 Lorenzo, his father, and his sister, Lapa 
 Acciajoli, wife of ManentBuondelmonti, 
 covered with their figures and basso- 
 relievos attributed to Orgagna, despite 
 the incorrect taste of the age, have an 
 ingenuous, true, and touching expres- 
 sion; the draperies are worthy of the 
 best times of sculpture. The sepulchral 
 stone of Cardinal Angelo Acciajoli is an 
 exquisite work by Donatelloand Giuliano 
 San Gallo, The frescos of Poccetti, re- 
 presenting divers subjects from the Life 
 of Saint Bruno, pass for his chef- 
 d'oeuvre. The Chartreuse of Florence is 
 now occupied by six monks, who seem 
 all but miserable amid the splendour of 
 their monument, the lands belonging to 
 the convent having been sold. I was 
 received by the monk appointed to enter- 
 tain strangers, the only bond that unites 
 these hermits to the world, and their 
 charge-d'affaires here below. This per- 
 sonage, Dom Fortunato by name, who 
 enjoys some celebrity at Florence, has 
 left a pleasing impression on my mind. 
 He is a wit and a scholar, speaksEnglish 
 and French, and even knows the Hebrew ; 
 he has a select library in which were 
 Elegant Extracts and other English 
 books, presents from English ladies, who 
 had doubtless been highly pleased with 
 this amiable man. I passed some time 
 with him in a charming little room gar- 
 nished with flowers, at the end of his 
 terrace, and distinct from the pretty 
 apartment of four rooms which it is the 
 fashion to call a cell in the Chartreuses 
 of Italy. We conversed about his past 
 life, with which I was acquainted : 
 Dom Fortunato has been in succession a 
 lawyer, audilor, professor of belles-let- 
 tres, cavalier servente to a widow, and 
 Carthusian. " I have been unfortunate," 
 said he ; " I am a little Comminges ; " 
 
 Nicolao Acciajoli's was found entire about tbe end 
 of last century. 
 
 ■ Prose di Dante e Bocc. p. 289, cited by S. Bal- 
 delli, in his Life of Boccaccio, p. tG8-9. 
 
 a Venir la muffa, an Kalian locution to express 
 anger produced by personal insolence; it is here 
 taken in an opposite sense. See Machlnvel's curious 
 letter addressed to Francesco Vilturi, and first pub- 
 lished in 1810, at Milan. It has been translated 
 
 and when I expressed my surprise that 
 he did not endeavour to marry the 
 widow, he frankly stated his reason, 
 " that he had no taste pour le matri- 
 moine. " Dom Fortunato was for some 
 time general of the Chartreuse of Pisa ; 
 it may be easily conceived that, with his 
 relish for society, he preferred to the 
 honours of the generalship in that se- 
 cluded convent, the condition of a simple 
 Carthusian at the gates of Florence, near 
 the high road to Rome, where he could 
 receive the visits of ladies and travellers 
 of distinction : 
 
 Le desert est-il fait pour des talents si beaux? 
 
 In Dom Fortunato I found the com- 
 plete model of the despised and calum- 
 niated Italian priest : guileless, inconsi- 
 derate, changeable, but still a good priest 
 and sincere believer; naturally inclined 
 to grimace, but unconsciously, without 
 hypocrisy, and perfectly in unison with 
 the manners, spirit, and character of his 
 nation. 
 
 CHAPTER VIII. 
 
 San Casciano. — Macbiavel's villa. 
 
 San Casciano is a large town about 
 seven miles from Florence on the road to 
 Siena, on a pleasant and well cultivated 
 hill. But at the Campana, the present 
 indifferent inn, there is no Machiavel 
 talking to the peasants, asking them the 
 news of the country, playing, shouting, 
 disputing with the .landlord, the miller, 
 the butcher, and two limeburners of the 
 place, after passing the forenoon in bird- 
 ing, in cutting his wood, and calming, as 
 he himself confesses, by this low life 
 (pretty conformable however with Italian 
 manners), the effervescence of his brain . a 
 The neighbouring villa of Machiavel, 
 called la Strada a Santa Maria in Per- 
 cussina, passed by inheritance to the 
 Rangoni family of Modena ; of late years, 
 it was to be hired for ten sequins a 
 month ; it now belongs to the Mazzei 
 
 with the most minute fidelity from a copy sent 
 by the librarian of the Barbeiiaua at Rome, where 
 tbe original exists, to M. Artaud, who has rectitied 
 some egregious errors committed by Ginguene, who 
 followed the later editions of Machiavers, and who 
 has dated this letter the 10th of October instead of 
 ihe toth of December 1513. See the Machiavel of 
 M. Arlaud, ch. xx. 
 
 34. 
 
5fl8 
 
 CERTALDO. 
 
 [ Hook XI. 
 
 family of Florence. In this obscure, 
 retreat Machiavel composed nearly all 
 his works and his famous Book of the 
 Prince, after pulling off his peasant's 
 dress in the evening before entering his 
 closet, and clothing himself in his court 
 dress. " Then," he eloquently says, " I 
 advance into the antique sanctuary of the 
 great men of ancient limes; received by 
 them with kindness and benevolence, I 
 feast on that food which alone is made 
 for me, and for which I was born." The 
 Book of the Prince, according to his own 
 acknowledgment, was then especially 
 intended for the use of a new sovereign. 
 In my opinion, however, there has been 
 too general an inclination to regard the 
 maxims of this treatise as those of the 
 age in which it appeared, as our De 
 Thou, who wrote about the end of that 
 same century, and had visited and so- 
 journed in Italy, professes opinions 
 diametrically opposite. Machiavel's writ- 
 ings, his Italian patriotism, and states- 
 manlike gravity, seem to have so much 
 preoccupied his different biographers, 
 that they have overlooked his real cha- 
 racter, which commands little esteem : 
 during the latter years of his life, a part 
 of his works, beginning with the Prince, 
 is only a succession of servile petitions 
 addressed to the Medici his enemies, by 
 whom he had been stripped of office, 
 tortured, and banished; when nearly fifty, 
 
 1 Tbis tinkering after untimely pleasures is found 
 in oilier ancient and illustrious Florentines : Boc- 
 cuccio mentions Cuido Cavalcauti, Cino da I'istoja, 
 Dante (Giorn. iv.) ; in Itie Life of Hie latter, he lias 
 the ingenuousness to acknowledge : "Tra cotanta 
 virtu, tra colanta sclenza, quanta dimostrato e dl 
 sopra, essere stata in questo rnirltico poeta, trovd 
 amplissimo luogo la lussuria; e non solamenle ne' 
 giovani anni ma ne' maturl; II quale vizio, co- 
 meclic naturale e comune e quasi necessario sia, 
 nel vero non cbe coinoiendare ma scusare non si 
 pub deguaroentc : ma chi sara Ira' mortali giuslo 
 giudice a condennarlo? Non io." 
 
 • A critic of sound and impartial judgment, 
 M. Avenel, has perfectly explained this absence of 
 elevation In Marhlavcl's character. The three 
 superior articles he has inserted in the Revve en- 
 cyclopidique 1 1. xu. and xm.) form an excellent 
 epitome of bis life and writings, and show him 
 painted by himself. Notwithstanding the regret 
 caused by this sad discord between the soul and t lie 
 talents. M. Avenel's judgment, different from Hie 
 common opinion, seems to us very true. 
 
 1 Boccaccio's father, a Florentine merchant [mer- 
 cator salertissimus), according to Domenlco Arc- 
 llno, Willi all the cares of business, found leisure 
 to fall in love with a young Parisian; Boccaccio 
 makes no allusion to bis mother, whom he appears 
 
 married, father of five children, without 
 that bind of independence and social so- 
 paratenrss which render such errors al- 
 most indifferent in the eyes of the world, 
 we see him again at San Casciano, incon- 
 stant, licentious,' trifling, and prodigal * 
 The twofold aspect under which Machia- 
 vel has portrayed himself at San Casciano 
 seems to present the images of two men 
 co-existing in him : of the moral man, 
 and the literary man ; of his irrational, 
 degraded, vulgar life,' and of his noble 
 and vigorous genius. 
 
 CHAPTER IX. 
 
 Ceiialdo. — Boccaccio's house and tomb. 
 
 Certaldo, thirty-five miles from Flo- 
 rence, is a pretty village on a charming 
 hill, with a brook at its foot; this place 
 is immortalised by the origin, residence, 
 and death of Boccaccio, who assumed its 
 name {{I Ccrtaldese). He was not born 
 there, as supposed; this creator of Ita- 
 lian prose, this first and most elegant of 
 story-tellers, 3 was brought into the world 
 at Paris, the fruit of a tender attachment. 
 There are two Certaldos : the old town, 
 which, however, does not date so far 
 back as Boccaccio's time, was partly 
 burnt by the Neapolitan army after the 
 defeat of the Florentines at Campo du 
 Poggio in 1479; 4 it is on the hill, and 
 
 never lobave known; perhapsshedied at his birth, 
 or in bis childhood, and before his father bad the 
 time to marry her ? Although taken to Florence in; 
 his early years, Boccaccio returned to pails with a 
 Florentine merchant, with whom his father had 
 placed him, and there he passed several years, cul- 
 tivating letters as much as he possibly could. Ik' 
 frequently speaks of the sciences then studied in 
 that city : " Ainieri, nobile uomo della nostra cltla, 
 avendo lungamente studlato a Parigi, non per 
 vender poi la sua scienza a mlnuto, come molt! 
 fanno, ma per sapere la ragion delle cose, e la 
 cagion d' ecse, il cue ottimamente sta in gentile 
 uomo''(G''oni.viii. nov.vii). The ridiculous scholar 
 jilted by his mistress in that novel had studied 
 there : " Hal veduto," says the latter to her maid, 
 making sport of him, "dove costui e venutoa per- 
 dere il senno, die egli ci ba da Parigi recato.* 
 This Thomas Diafoirus of the thirteenth century 
 thus begins his declaration : "Madonna, egli e II 
 vero, che Ira 1' nitre cose, die io apparai a Parigi, si 
 fu nlgromanaia." 
 
 ■i Several houses of the ancient Certaldo are still 
 siauding; In particular the Pretorio palace, cu- 
 rious for its architecture and coats of arms In 
 clay della Aobbia, indicating the families that bad 
 supplied vicars, an office suppressed by Leopold, 
 something resembling that of prefect iu France; 
 
Chap. IX. 
 
 CERTALDO. 
 
 399 
 
 with the exception of some country hou- 
 ses, seems poor; the lower Certaldo is a 
 new village sprung up within the last 
 thirty years ; it is well built, and several 
 roads communicating with the chief towns 
 in the environs pass through it; the in- 
 habitants, dealers in wood and charcoal 
 as in Boccaccio's lime, are still exactly- 
 like those he so humorously describes, 
 agiali (at their ease); and the taste for 
 hearing and telling stories continues 
 popular in the country. 1 I am not cer- 
 tain that my memory was not too much 
 occupied with the inimitable imitator of 
 the Certaldese, but it seemed to me that, 
 setting aside the sun, there was some re- 
 semblance between the hill of the Tuscan 
 village and the agreeable situation of 
 Chateau-Thierry. 3 
 
 Boccaccio's house, solidly built of brick, 
 with a small tower, the monument of 
 this village, is not, like the residence of 
 his friend PetrarchatArqua, relinquished 
 to peasants to be made an object of traffic. 
 A distinguished lady of Florence, Si- 
 gnora Carlotta Lanzoni Medici, whom 
 we have already named, and who de- 
 serves a place in the book of Illustrious 
 Women, 3 had it repaired in 1823 ; she 
 has reconstructed the staircase, deco- 
 rated Boccaccio's chamber with his por- 
 trait, a large fresco by Benvenuti, and a 
 bookcase of his works. The small win- 
 
 tbe church in which Boccaccio was interred, and 
 where his monument is seen (see post), is a part 
 of that which had witnessed the intrepid and 
 burlesque preaching of Fra Cipolla. [Giorn. yi. 
 nov. x.) 
 
 1 See the Italian inscription quoted at the end 
 of this chapter. 
 
 2 "La Fontaine, and other story-tellers after 
 blm," judiciously remarks Ginguene, "have only 
 talten subjects of one sort from Boccaccio, and their 
 choice bas been such as strict morality must 
 blame; but besides that, they have deprived them- 
 selves of the greatest charm of Boccaccio's work, 
 I mean his rich and inexhaustible variety." (Hist. 
 lilt, d'ltal. hi. Wi-5.) The pathetic novels of Boc- 
 e-accio would admit of most affecting imitations : 
 what a depth of interest in stories such as Ghismonda 
 and Guiscardo (Glorn. iv. ^.\, of Andrivuota and 
 Gabr/ollo (Id. vi.), of Griselidis, the last and most 
 interesting novel of the Decameron. 
 
 3 De Claris mulieribus, dedicated by Boccaccio 
 to Andreana Acciajoli, countess of Altavilla. 
 
 4 In his letter on exile to Pino de' Rossi, a rich 
 Florentine, who was unable to endure it, Boccaccio, 
 after citing the examples of Scipio Africamis and 
 Scipio Naslca who went into voluntary exile, to 
 escape the envy of their fellow citizens, adds : " E 
 se '1 mio picclolo nome e depresso meritasse d' es- 
 ser tra gli eccellenli uomiui detti di sopra, e tra 
 
 dows are of the time. The furniture is 
 the oldest that could he found at Cer- 
 taldo, with some imitated from different 
 pictures of that period. The lamp seems 
 the most authentic article of the whole, 
 as it was found in the house and the 
 hardness of the oil proved its antiquity. 
 A well, a bath, and a terrace are shown, 
 which, according to an old tradition, 
 belonged to Boccaccio. The stone which 
 covered his grave for more than four 
 centuries, was religiously collected by 
 Signora Lanzoni in 1826, and placed 
 in this house with an inscription by 
 S. Giordani. Boccaccio made two long 
 visits to Certaldo. The first, from the 
 year 1363 to 1365, when be fled with 
 horror from the revolutions and iniqui- 
 tous government of Florence.* There 
 he led that sweet, rural, philosophical 
 life he has so well described; 5 there he 
 composed his Latin works, which placed 
 him at the head of mythologists and 
 scholars for two centuries, but which, 
 though unsuspected by him, will conduce 
 him much less to immortality than his 
 tales. Then Fiammetta's lover had for 
 two years forsaken the libertine life of 
 Naples, taken the clerical habit, and, if 
 not prevented by Petrarch's wise re- 
 monstrances, would have renounced his 
 studies and thrown most of his works 
 into the fire, such was the ardour of his 
 
 molt' altri, che fecero il simigliante, nomato, io 
 direi, per quello medesimo avere Firenze lasciata 
 e dimorare a Certaldo ; aggiugnendovi, che dove la 
 mia poverta lo patisse, tauto lontano me n' andrel, 
 che come la loro iniqulia non veggio, cosi udirla 
 non potessi giammai." 
 
 5 "lo, secondo il mio proponimeuto, il quale vi 
 ragionai, sono tomato a Certaldo, e qui ho comiu- 
 ciato con troppa men difficolta, ch' io non istimava 
 dl polere, a confurtar la mia vita; e comincianmi 
 gia li grossl pannl a piacere e Ie contadine vivande : 
 e il non veder I' ambizioni, e le spiacevolezze e H 
 fastidj de' noslri cittadini, mi e di lanta consola- 
 zione nell' animo, che se io potessi far senza udirne 
 alcuna cosa, credo che 'I mio riposo crescerebbe 
 assai. In iscambio de' solleciti avvolgimenti e con- 
 linui de' cittadini veggio campi, colli, arbori di verdi 
 fronde e di fiori vaij rivestiti, cose semplicemente 
 dalla nalura prodotte, dove ne' cittadini sono tutti 
 alti fiuizj : odo cantare usignuoli e gli altrl nccelll 
 non con minor diletto, che fusse gia la noja d' udire 
 (alto di gP Inganni e Ie dislealta de' cittadini no- 
 strl. Co' mlei libiicciuoli quante volte voglia me ne 
 viene senza alcuno impaccio posso liberamente ra- 
 gionare. E aeciocch' io in poche parole conchiuda 
 la qualita della mente mia, vi dico che io mi cre- 
 derei qui mortale, come io sono, gustare e sentir 
 della eterna felicila, se Dio m' avesse dato fratello, 
 o nol mi avesse dato." Lei. a Pino de' Rossi. 
 
400 
 
 CERTALDO. 
 
 [Book XI. 
 
 zeal and the Christian austerity to which 
 he had been brought by the deathbed ex- 
 hortations of the Carthusian Pietro Petro- 
 ni. Boccaccio's second visit was in 1372, 
 on his return from his last journey to 
 Naples, when he was so reduced by the 
 disease of which he died, and his grief 
 for the loss of Petrarch, that he com- 
 plains of being unable to finish a letter 
 in less than three days. Boccaccio sur- 
 vived his master and benefactor little 
 more than a year, and, though he ar- 
 dently desired it, he had not strength 
 enough to visit his tomb. 
 
 Boccaccio's sepulchre formerly stood 
 in the centre of the church of Saint 
 James, still called the Canonica; > against 
 the wall close by was the epitaph made 
 by himself and an additional one by his 
 illustrious friend ColuccioSalutali, chan- 
 cellor of the Seigniory of Florence, one 
 of whose letters the duke of Milan as- 
 serted that he feared more than an army 
 of twenty thousand men. 2 The podesta 
 of Certaldo, Laltanzio Tedaldi, erected 
 a more magnificent monument to him, 
 in 1503, on the interior front of the 
 church, which was honourably trans- 
 ferred to a spot facing the pulpit on 
 the construction of an orchestra. Boc- 
 caccio is represented half-length, hold- 
 ing on his breast, with both hands, 
 a folio volume on which is written De- 
 cameron, a singular book to be placed 
 just facing a preacher, and a proof of 
 liberality on the part of the clergy. 
 Despite the costume of time and the 
 
 ' This appellation was used to distinguish (he 
 parishes which, in the twelfth and thirteenth 
 centuries, were ceded by bishops to the chapters of 
 cathedrals, that they might lake the revenues and 
 hove the services performed by canons living in 
 community in the cloister adjoining the church. 
 
 * The last verse olone of Boccaccio's epitaph, 
 
 r-atria Certaldum, studium fuit alma roesis, 
 
 has been thought worthy of quotation; the verses of 
 Salutatl, incorrectly given in most edl lions, contain 
 an exact analysis of Hoccaccio's works, excepting 
 the Decameron, which he did not venture to men- 
 tion hecause the author repented of it after his 
 conversion : 
 
 Incllte cur votes humlli sermone loeutus 
 ))e te pertransis? Tu pnscua carmine claro 
 In sublime vehls. Tu montum nomina Tuq. 
 Silvas et foutes fluvios ac siagna lacusq. 
 Cum maribus inultn dlgesla labore relinquis, 
 Hustresq. vlros Infaustis casibus actos 
 in nostrum tempus a primo colligis Adam. 
 
 kind of hood and gown in which he is 
 enveloped, his features are natural, ex- 
 pressive, and not altogether ungraceful ; 
 they seem to agree with the portrait of 
 Boccaccio by Filippo Villani, his suc- 
 cessor in the Dante professorship, to 
 whom he was probably known. 3 The 
 tomb has experienced the most melan- 
 choly changes. For more than four 
 centuries it had been the honour of 
 Certaldo and had attracted many tra- 
 vellers to the Canonica, when in 1783 
 it was removed by a false interpretation 
 of the law of Leopold against burying in 
 churches : the " hyaena bigots " of Cer- 
 taldo, against whom Childe Harold raves 
 and his annotator declaims, had nothing 
 to do with it; the fatal demolition was 
 philosophical rather. The stone that 
 covered this tomb was broken and thrown 
 aside as useless in the cloister adjoining. 
 It is said that Boccaccio's skull and bones 
 were then exhumed, and a copper or lead 
 tube containing sundry parchments of 
 the same century. These precious frag- 
 ments, now lost, were long preserved by 
 the rector of the church, who ten years 
 after accepted a benefice in the upper Val 
 d'Arno. It is stated by tradition I hat 
 they were still at that epoch an object 
 of curiosity to strangers, who went to 
 the rector's house to see them.'i It is 
 difficult to explain the culpable negli- 
 gence that allowed the remains of Boc- 
 caccio to be lost, when we consider the 
 unceasing popularity, at Certaldo, 5 of 
 this eloquent, admirable writer, this 
 
 Tu celebras Claras alio dictamlne malres. 
 Tu divos omnes ignola ab origine ducens 
 Per tcrquina refers divina volumina nullis 
 Cessurus veterum ; te vulgo mille la bores 
 renelebrem faciunt. Elas te nulla siiebit. 
 
 i "Fu il poela di statura alquanto grassa, ma 
 grande, faccia londa ma col naso sopra le nari un 
 poco depresso : Inbbi i alquanto grossi, nientedi- 
 meno belli e beu lineati : mento forato che nel 
 suo rldere mostrava bellezza : glocondo et allegro 
 aspetlo in tutto il suo sermone : in. tutlo piacevole 
 cumano, e del ragionare assai si dilettava." Villani, 
 Vile d' uomini illusti i ftorentini con annot, del 
 C. Giammaria lllazzuclielti, Venezia, 1747, in-4°. 
 
 4 A deed of the 31st Oclober, (825, certified by 
 eight inhabitants of Certaldo and the old servant 
 of ihe rector, asserts these facts. See the Anno- 
 lazioni ii and in of the little precise and instructive 
 work entitled Del sepolcro di Mess. Giovanni Boc- 
 caccio e di varie sue memorie, esame storico di 
 Giuseppe de' Voveda. Colle, 1827. 
 
 5 At the foot of the acclivity is a marble slab 
 bearing this ancient and singular stanza, restored 
 
Chap. X] 
 
 PISA. 
 
 403 
 
 limner, so true, graceful, touching, pro- 
 found, and mirthful, the perfect imper- 
 sonation of Tuscan genius. 
 
 CHAPTER X. 
 
 Pisa.- -Road. — Climate.— Duomo.— Buschel to.— Aliar 
 of Saint Blase.— Ricci's tomb.— Pulpits.— Saint 
 Agnes, by Andrea del Sarto.— Baptistry.— Expedi- 
 tions work.— Pulpit by Sicolao l'isano.- Leaning 
 Tower.— Prospect. — Giovanni l'isano. 
 
 The face of the country between Flo- 
 rence and Pisa is studded or rather co- 
 vered -with towers and battlements in 
 ruins, which recall a scene of warfare 
 and civil discord. Behold the difference 
 between epochs of civilisation and bar- 
 barism! the quarrels of Athens and 
 Sparta, of Rome and Carthage are im- 
 mortal; the violent struggles of the re- 
 publics of the middle ages are almost lost 
 in obscurity, notwithstanding the labours 
 of erudite historians. The memory of 
 those times of hatred and murder strik- 
 ingly contrasts with the gentleness, in- 
 dustry, and easy, happy condition of the 
 inhabitants of those same fields. 
 
 Although Pisa is now little more than 
 a sepulchre, and of the hundred and 
 twenty thousand souls it contained under 
 its consuls, only, about twenty thousand 
 remain; although the solitude of the 
 streets is such that some of them have 
 echoes, and that of two foreigners I knew 
 there, the one who wagered they should 
 mectnoone in ridingrounditswalls, won; 
 its four grand monuments and univer- 
 sity still place it among the capital cities 
 of Italy. Its climate, when not horribly 
 rainy, as I have experienced it with 
 Alfieri : 
 
 Mezzo dormendo ancor domando : Fiove? 
 
 Tulta la intera notte egli e piovuto, 
 
 Sja maladetta Pisa ! ognor ripiove ; 
 
 Anzi, a dir meglio, e' non e mai spiovuto, etc., 
 
 n ithout changing the character of the inscription : 
 
 Viator, ferma il pie, rivolgi il passo 
 A salir 1' erto monte, ove in castello 
 Tu troverei che sotto un duro sasso 
 II Boccaccio geutil riposa in quello : 
 £ se braml d' aver stupore e spasso, 
 Va e vedi al fonte Filien meschinello. 
 Se ne domandi pol a donne pronte, 
 Cento novelle ti iian inostre e conte. 
 An. MDXXV. 
 
 A small eminence which belonged to him is still 
 called : /.' Poggio del Boccaccio. Vila di G. Boc- 
 caccio, by s. Ealdelli, Florence, 1806, p. i. 
 
 is cited Tor its mildness in winter. Pisa 
 then revives a little; the grand duke 
 lives there several months, and it is the 
 resort of the weak, delicate, and indis- 
 posed, Avho have sometimes found be- 
 nefit there. 
 
 The four principal monuments of Pisa, 
 all standing in one square at the extre- 
 mity of the town, rich, ornamented, 
 majestic, have an extraordinary aspect; 
 one might call it a part of some deserted 
 Eastern city. 
 
 The Duomo, of the year 1063, re- 
 garded as the precursor of the revival of 
 taste,' recalls the great battle gained by 
 the consul of the Pisans, Orlandi, when 
 he triumphantly forced the port of Pa- 
 lermo, and avenged the affronts his 
 country had received from theSaracens. 
 This church, dedicated to the Virgin, is 
 still the most national monument and 
 the most magnificent trophy raised by 
 victory. Buschelto, a great architect 
 and creative mechanical genius, 3 was 
 Italian and not Greek, as some have 
 imagined from falsely interpreting the 
 partiy effaced inscription; another Ita- 
 lian, Rainaldo, his col league and successor, 
 erected the original and stately front : 
 we thus see the antiquity, the splendour, 
 the perpetuity of the art in Italy. The 
 festoons sculptured on the two columns 
 of the principal gate are an exquisite 
 work. The three bronze gates pass for 
 the best and most curious works of the 
 beginning of the twelfth century. The 
 two smaller of these last present, in 
 three compartments, divers Mysteries 
 of the Redeemer, by Giovanni Bologna, 
 Francavilla, Tacca, Mocchi, Giovanni 
 dall' Opera, which Cochin, copied by 
 Lalande, has criticised as works of the 
 same date, though later by four cen- 
 turies. On the top of the temple, 
 eastward, behind the cupola (the first 
 ever imagined), was a bronze hippogriff, 
 
 i It was also in the eleventh century that silk 
 was first imported into Italy, having come from 
 India by Constantinople. 
 
 2 A contemporary Inscription in verse, preserved 
 in the church, states that ten young maidens raised, 
 by means of machines he invented, weights that a 
 thousand oxen could scarcely move, and which a 
 raft had with great difficulty transported by sea : 
 
 Quod vix mille bourn possent juga juncta movere 
 Et quod vix potuit per mare ferre ralis, 
 
 Busketi nisu, quod erat mirabile visu, 
 Deua puellaium lurba levabal onus. 
 
 34. 
 
402 
 
 PISA. 
 
 [Book XI 
 
 supposed to be Greek but not of the 
 good epoch; this fabulous emblem was 
 a strange ornament to place on the top 
 of a church, though not unsuiled to the 
 general character of an edifice decorated 
 with fragments brought from Greece by 
 Pisan vessels, but not to the extent sup- 
 posed, and with antiquities from Rome, 
 of which Pisa was a colony. The hippo- 
 griff was no longer there in 1834, and 
 I regretted its absence; it has been moved 
 to the Campo Santo under the pretence 
 that it was injured by standing so high, 
 or that it attracted the lightning. The 
 interior receives the religious light suited 
 to these old basilies from a hundred 
 windows of stained glass. The chief 
 works in sculpture are the small altar of 
 Saint Blase, extremely elegant, by Slagi, 
 but the statue appears by Tribolo, his 
 assistant and friend ; the tomb of the 
 archbishop of Pisa, PietroRicci, over the 
 sacristy door; three bronze statues, by 
 Giovanni Bologna, in the choir; the 
 basso-relievos of the old pulpit, lost 
 through being placed too high and inju- 
 diciously adapted as a balustrade to the 
 gallery; over the door of communication 
 between the side galleries, precious works 
 by Giovanni Pisano, son of the great 
 Nicolao,' a faithful follower of his father 
 whom he could never surpass as a sculp- 
 tor; the new pulpit, which has one co- 
 lumn of pieces of red porphyry joined, 
 and the other of oriental brocalello; 
 these, with the five statues by Giovanni 
 Pisano, were part of the old pulpit which 
 was broken when the Duomo was con- 
 sumed by fire in 1595. The paintings 
 are in good number and seem remark- 
 able ; several are by Andrea del Sarto : 
 a Madonna with an angel, St. John 
 Baptist, and below St. Francis, St. 
 Bartholomew and St. Jerome, is one of 
 his last and best works ; his young figures 
 of St. Margaret and St. Catherine pass 
 for the prettiest ladies he has drawn; the 
 Virgin has a physiognomy full of sere- 
 nity and sweetness ; his celebrated St. 
 Agnes has been supposed Raphael's by 
 Wengs. This admirable painting re- 
 minded me of the ingenious passage of 
 Massillon on Ibis saint, which proves 
 that the writers of the age of Louis XIV. 
 were peculiar in the art of throwing 
 
 1 5ee ante, book vin. cb. xsiii. 
 
 - ''On voit 1'impudcnce devenue uq bon olr; 
 i'lodecence poussee k un point, quelle inspire 
 ojeme du degout a ceui a qui elie s'eftorce de 
 
 into their gravest discourses ideas closely 
 approaching the comic, without degrad- 
 ing their style. 1 A charming Madonna 
 in the midst of saints ; Abel watching 
 his flocks, which has a landscape suffi- 
 cient for an artist's reputation ; Noah's 
 Sacrifice, are excellent works by So- 
 gliani. Abraham's Sacrifice, by Sod- 
 doma in his old age, shows skill in the 
 naked parts aud a vivid expression in 
 the heads. The Clothing of St. Renter, 
 by Luti, the last pafnter of the Floren- 
 tine school, is the most esteemed of the 
 great paintings in this church. The 
 Consecration of the basilic ; Christ dis- 
 puting with the doctors, by Sorri, a 
 Sienese painter of I he sixteenth century, 
 recall the perspective and stateliness of 
 Paolo Veronese. God speaking to Moses 
 from the burning bush, by Matteo Ros- 
 selli, is one of the fine paintings of the 
 gallery. Moses raising the brazen 
 serpent, by Riminaldi, is of the truest 
 expression ; his cupola, as far as one can 
 judge of any thing at such a distance, 
 seems a noble and vigorous composition. 
 The Angels of the altar of that name, by 
 Ventura Salimbeni, a painter of the 
 Sienese school in the sixteenth century, 
 are full of grace : the angel Raphael is 
 perfectly divine, whereas the Eternal 
 Father is barely so. St. Torpe, a Pisan, 
 armed and bearing the banner of the 
 town, by Salvator Rosa, has all his 
 boldness. 
 
 The baptistry of Pisa, of an elegant, 
 majestic, original style, built in 1152, 
 under the consulate of Cocco Griffi, is 
 another monument characteristic of the 
 history of architecture : the author, ac- 
 cording to the inscription, is Dioli Salvi, 
 of Pisa, perhaps originally of Siena. 
 This baptistry, like that of Florence, is 
 also a kind of museum of fragments and 
 ornaments of antique sculpture, present- 
 ing emblems of pagan divinities. Its 
 construction, from the beginning, was 
 distinguished by almost prodigious cele- 
 rity. The chronicles of the time, con- 
 firmed by all subsequent authorities, 
 agree in stating that the eight columns 
 and four pilasters of the interior were 
 erected and received the arcades that 
 unite them in the space of fifteen days 
 (from the 1st to the 15th of October, 
 
 plaire; et le nom de la pudeur consacre a celul 
 de la Vierge illustre que nous houorons, deveuu 
 un nom de mcpiis et de risee." Panegyrique de 
 Stt. Agnes. 
 
Chap. XI. ; 
 
 PISA. 
 
 405 
 
 1 1 56). The funds were exhausted when 
 ,he second and even the first exterior 
 zones were hardly finished, but the re- 
 ligious and patriotic zeal of the Pisans 
 was not arrested by such an obstacle ; a 
 voluntary contribution soon supplied the 
 means of completing this noble edifice. 
 The principal door and architrave are 
 adorned with basso-relievos and sculp- 
 tures representing the Martyrdom of 
 St. John, and mysteries from the Life 
 of Christ : the delicacy of the execution 
 already announces the dawn of the bright 
 days of the Pisan school, which was at 
 that epoch the first in Italy. The pulpit 
 is one of the most noted chefs-d'oeuvre of 
 Kicolao Pisano ; it demonstrates the im- 
 mense progress effected in the art by 
 this great man : such was the import- 
 ance attached to it by the old Pisans, 
 that on the Saturday before Easter, a 
 day the basilic was much crowded, the 
 podesta was accustomed to send one of 
 his officers with a guard to prevent any 
 injury to this inestimable pulpit. 
 
 The Campanile, or the celebrated 
 leaning tower, built in 1174, one of the 
 six best towers in Italy, is remarkable 
 for its lightness, the beauty of the marble, 
 its singular form, and the workmanship 
 of its staircase. The architects were 
 William of Inspruck and Bonanno of 
 Pisa, who with Buono, the builder of 
 Saint Mark's steeple, were reputed the 
 best architects of their age. As to the 
 oft-discussed prodigy of its inclination of 
 eleven feet three inches, the most pro- 
 bable opinion is that the soil gave way 
 under the weight of the tower when 
 raised to about half its height, and that 
 the architects, after examining the na- 
 ture of the ground, were assured that 
 the stratum on which their edifice re- 
 posed could not sink farther, and there- 
 fore continued the structure on the 
 same plan. The prospect is wonderful 
 from the contrasts presented by the as- 
 pect of the rich surrounding fields, baths, 
 aqueducts, the sea, Leghorn, and its 
 port. The inclination of this tower was 
 useful to Galileo, a native of Pisa, when 
 he was professor of mathematics at the 
 university, to find the measure of time 
 and calculate the fall of heavy bodies. 
 He there, in the presence of many spec- 
 tators, made his first experiments, that 
 excited such a lively enthusiasm; a hun- 
 dred times, loaded with his instruments, 
 had he mounted that very staircase up 
 
 which I was guided by a little puffing 
 sexton, lame like his tower. Galileo's 
 new theory on the fall of heavy bodies 
 was not, as some have supposed, the 
 cause of his disgrace and departure from 
 Pisa : Don Giovanni de' Medici, brother 
 of the grand duke Ferdinand I., who 
 prided himself on civil and military ar- 
 chitecture, having imagined a machine 
 to empty the dock of the port of Leg- 
 horn, the government charged Galileo 
 to examine it; he clearly proved, and 
 experience has since confirmed his ar- 
 guments, that it was insufficient and 
 useless; which the prince could never 
 forgive. When only eighteen or nine- 
 teen years of age, the regular and period- 
 ical motion of a lamp suspended from 
 the roof of the cathedral revealed to him 
 the measure of time by the pendulum, 
 an idea which he realised fifty years 
 afterwards by executing a clock for as- 
 tronomical observations. These old mo- 
 numents, of such curiosity and import- 
 ance with respect to art, are also me- 
 mentos of the grandest discoveries of 
 science; they are thus a twofold honour 
 to Italy. 
 
 CHAPTER XI. 
 
 Campo Santo. — Giovanni l'isano. — Paintings.— 
 Benozzo Gozzoli. — Sculptures. — Monument of 
 Beatrix.— Tombs of Atgarotli,— Pignotti,— Vacca. 
 
 The Campo Santo, a funereal museum 
 of all ages and nations, though its ranks 
 are so little crowded and death occupies 
 so little space therein, is an admirable 
 monument of the science and genius of 
 Giovanni Pisano, who was superior as 
 an architect to his father JNicolao. This 
 cemetery of the thirteenth century con- 
 secrated" to the great men of the Pisan 
 republic, this solemn and religious edi- 
 fice that confers such honour on the 
 people that founded it, this magnificent 
 representative of the middle ages, may 
 still be regarded as the true model of na- 
 tional sepultures. The most eminent 
 artists have been successively engaged in 
 its embellishment, and it now exists an 
 historical monument of the painting of 
 the fourteenth and fifteenth centuries. 
 The most ancient of these primitive 
 painters, Buffalmaco, had but slightly 
 improved on the barbarism of the Byzan 
 tian masters : the group of women in his 
 Crucifixion, who tend the fainting Vir- 
 gin, is well composed ; but the heads, 
 
404 
 
 especially the Virgin's, are deGcient in 
 nobleness. The great Orgagna- shines 
 in the Campo Santo : his Triumph of 
 Death, though bad in perspective, is full 
 of variety, imagination, and poetry; this 
 superb and fantastic painting has some 
 satirical points : a nun grasping a purse 
 hints that the vow of poverty Mas not 
 always strictly observed. A number of 
 miserable creatures invoke death in 
 verses which Orgagna has inscribed be- 
 neath them : 
 
 Da cbe prosperilaiie ci ha lasciali ; 
 O morte, medecinad' ogni pena, 
 Deb I vienl a dame ormai 1' ultima cena, 
 
 and he strikes the rich, the happy, and 
 lovers reposing in the shade of an orange 
 grove listening to the sounds of musical 
 instruments. Several figures are por- 
 traits : the personage holding a falcon 
 on his wrist represenls the famous Gas- 
 truccio, the tyrant of Lucca ; another 
 with a long beard, holding a bow, the em- 
 peror Louis of Bavaria. Several monks 
 oppressed with years and respected by 
 death, are excellent for expression and 
 truth. The Ggure of Death, though well 
 executed, does not appear sufficiently 
 terrible when compared with his per- 
 sonation by Dante, Michael Angelo, and 
 Milton. The Last Judgment, with some 
 fine parts, is reckoned inferior to the 
 Triumph of Death : the Virgin, the noble 
 figure of Christ were perhaps imitated 
 by Michael Angelo ; the ecstatic super- 
 natural bliss of the elect seems better 
 expressed than the different torments of 
 the reprobate. Solomon, issuing from 
 his tomb, is doubtful on which side to 
 place himself. An angel drags an in- 
 trusive monk by the hair from among 
 the elect, and ranges him with the 
 damned, while another angel rescues a 
 young and joyous layman from a group 
 of damned, and conducts him to the 
 elect. Orgagna merely designed the 
 Hell; the feeble colouring is by his 
 brother Bernardo. This work is not a 
 representation of Dante's Inferno, as 
 supposed; the only imitation is the gi- 
 gantic figure of 
 
 L' Imperador del doloroso regno. . . 
 
 Da ogni bocca riirompea ro' dcnll 
 Un peecalore a guisa dl maciulla, 
 S) die tre ne facea cosl dolentl.i 
 
 1 See ante, book x, cb. ili. 
 
 PISA. [Book XI 
 
 The History and Life of the fathers 
 in the desert, an artless, peaceful scene, 
 contrasts with the Hell. This work by 
 Laurati of Siena, an imitator of Giotto, 
 is deemed the newest and richest idea of 
 the Campo Santo. The group of four 
 monks working is perfectly natural, as 
 also the figure of the monk fishing ; a 
 woman disguised in the costume of 
 these anchorets is very graceful. Over 
 the principal entrance, is a noble and 
 airy Assumption, Well preserved, by 
 Simone Memmi, which seems to have 
 escaped the fatal retouching inflicted on 
 many pictures of the Campo Santo. 
 Three of the compartments relating to 
 the Life of St. Renier, p:itron of Pisa, 
 are by the same artist. Three figures 
 only of the St. Renier in the world (al 
 secolo) remain untouched; the woman 
 holding a child by the hand, another 
 pulling the saint's robe, and the Re- 
 deemer who appears to her. The vessel 
 on which St. Renier embarks to go to 
 Jerusalem where he assumed the hermit's 
 dress, seems curious for the history of 
 navigation. The best preserved com- 
 partment represents the Miracles of the 
 saint, a scientific work for the time. 
 Vasari, who speaks from memory, has 
 put forth a multitude of errors respecting 
 this and many others of these paintings. 
 He is far less mistaken in regarding as 
 the best of the old frescos of the Campo 
 Santo, the three compartments by An- 
 tonio Vencziano, which, unfortunately, 
 have also suffered the greatest injury. 
 The most esteemed is the Return of St. 
 Renier; the four sailors managing the 
 boat, which is already near the shore, 
 present the most natural and diversified 
 attitudes; the modern figure of a fisher- 
 man is execrable. The group around 
 the Dying Saint is noble, diversified, 
 expressive. The tempest, in the com- 
 partment of the Saint's posthumous mi- 
 racles, is vivid and full of energy. Al- 
 though the six compartments (three of 
 which only remain) relative to the Life 
 of St. Ephesus and St. Polilus, executed 
 in 1400 by Spinello d'Arezzo, were the 
 feeblest paintings of the Campo Santo, 
 though dry and harsh, they arc not de- 
 void of invention, ease, or warmlli, and 
 are esteemed his best work. It is im- 
 possible too deeply to regret the loss of 
 four of the six compartments by Giotto, 
 
 3 Inf. cau. nxiv, 28-55. 
 
Chap. XI. ] 
 
 PISA. 
 
 405 
 
 executed in the very prime of his talent, 
 which contributed so much to his renown 
 that he "was invited to Rome by the 
 pope ; the remaining two may enable 
 us to form an opinion of their beauty, 
 grandeur, and noble simplicity. Trie 
 demon in Job's misfortunes is conceived 
 in Dante's style; the first angel seems 
 worthy of Raphael. The old plague of 
 comforters is marvellously represented 
 in Job's friends, a composition admirable 
 for nature, and, if one may say so, for 
 serenity and resignation. The Creation, 
 the Death of Abel, the Deluge, by Buf- 
 falmacco, equally manifest the infancy 
 of art and the artist's mediocrity, although 
 Cain's head is not deficient in physiog- 
 nomy. Benozzo Gozzoli, pupil of Fra 
 Angelico and imitator of Masaccio, the 
 last master that has worked at the Campo 
 Santo, may be regarded as the Raphael 
 of these primitive times. This great, 
 graceful, and productive painter is said 
 to have been only two years in completing 
 the twenty-three subjects confided to 
 him, three of which are lost, "a most 
 fearful work," says Vasari, "and enough 
 to frighten a legion of painters : " Ter- 
 ribilissima, e da metier paura a una 
 legione di pittori. The Drunkenness 
 of Noah, or the Vergognosa, is pleasing 
 and natural : the elegant figure of the 
 Vergognosa whence the painting takes 
 its name, though seemingly covering her 
 face with her hand so as not to see 
 Noah's nakedness, is slily peeping be- 
 tween her fingers, whence the proverb 
 come la Vergognosa di Campo Santo. 
 The Noah in the Curse of Ham has an 
 animated expression : the landscape taken 
 from the environs of Florence is charm- 
 ing. The Tower of Babel is the best 
 preserved of the compartments of Goz- 
 zoli; the colouring has all its force; 
 among the Magi and the ministers who 
 accompany Nimrod are several portraits ; 
 Cosmo the Elder, his son Pietro, his ne- 
 phews Lorenzo the Magnificent and 
 Giuliano; perhaps the priest with a cap 
 on his head is Politian. This fresco is 
 also interesting for the information it 
 affords respecting the revolution of fa- 
 shion; there we may observe the change 
 from the gravity of the ancient Florentine 
 costume to the short close dress of the 
 fashionable knights of the fifteenth cen- 
 tury. Abraham and the worshippers 
 of Belus has a fine effect, and some of 
 its draperies recall Masaccio's manner. 
 
 Abraham and Lot in Egypt is some- 
 what confused ; Abraham on horseback 
 is very noble ; the landscape and ani- 
 mals, like all Gozzoli's, are true. The 
 warriors, the dead and the wounded, in 
 Abraham after his victory, are varied, 
 and the features of the captive Lot are of 
 touching expression. The Departure of 
 Agar is fine in design, and has some dig- 
 nity. The group of Lot and his daugh- 
 ters, in the Burning of Sodom, is ac- 
 tually walking; his wife changed into a 
 statue seems imitated from the antique. 
 Abraham's sacrifice is full of feeling. 
 The Marriage of Isaac and Bebekah is 
 light and stately. The compartment of 
 the Birth of Jacob and Esau, though 
 but a wreck, was evidently one of the 
 best : the magnificent architecture is 
 partly the painter's invention, partly 
 copied from edifices of Florence. The 
 dancers in the Marriage of Jacob and 
 Rachel are elegant and graceful, the 
 draperies perfect. The fine figures of 
 Jacob and Rachel in the Meeting of 
 Jacob and Esau, seem almost Raphael's. 
 The grief of Jacob recognising Joseph's 
 bloody coat is tenderly pathetic. The 
 unlucky retouching of the painter Ron- 
 dinosi has not destroyed the stateliness 
 of the figures, and the softness of the 
 drapery in the different subjects from the 
 History of Moses : the Magi are superb ; 
 the Miracle of the rod changed into a 
 serpent is extraordinary for expression, 
 truth, and terror. Aaron in the Passage 
 of the Bed Sea seems superior to Moses ; 
 the women reposing with children in the 
 arms or hanging to the breast, are ad- 
 mirably sweet and charming. The Fall 
 of Jericho, the Death of Goliath are 
 spirited and energetic. Some paintings 
 by Rondinosi extend to the door of the 
 great chapel : they are not even worth 
 looking at, and the ingenious interpreter 
 of the Campo Santo, S. Rosini, does 
 them too much honour in applying to 
 them the terrible guarda e passa of 
 Dante. 
 
 Giovanni Pisano and Gozzoli, the great 
 artists and heroes of the Campo Santo, 
 were interred there by the grateful Pi- 
 sans : it was impossible to give them a 
 nobler or more worthy mausoleum. 
 
 Among the different works of sculp- 
 ture deposed in the Campo Santo, may 
 be distinguished : an antique bust of 
 Brutus, finely wrought; the pure and 
 elegant basso-relievo of a Matron and 
 
406 
 
 PISA. 
 
 (Book XI 
 
 a woman holding a child, brought from 
 Athens some years ago by a sick Turk, 
 who came to Pisa for medical aid, and 
 left by him with his hosts, not being able 
 to find a purchaser; the Greek vase of 
 Parian marble on which there is a bearded 
 Bacchus, copied by Nicolao Pisano in 
 his pulpit at St. John's, and especially 
 the admirable sarcophagus of Phedra 
 and Hippolytus, which made this im- 
 mortal man a sculptor ; this monument 
 was ever the object of his studies and 
 imitation, and may be regarded as the 
 first cause of the revival. The cele- 
 brated Matilda, the mistress of Gre- 
 gory VII., determined to have it for the 
 mausoleum of her mother, the countess 
 Beatrix, who died in 1076, leaving a 
 will now reckoned one of the oldest do- 
 cuments written in Italian. This trans- 
 formation of an antique sarcophagus 
 into a Christian tomb is a new and re- 
 markable proof that the religiousscruples 
 which had destroyed so many pagan mo- 
 numents were then appeased. The bar- 
 barous singer of Matilda, the monk 
 Donizzon her contemporary, blamed her 
 for this preference of Pisa, which he 
 looked on as defiled by the multitude of 
 Pagans, Turks, Africans, Lybians, and 
 Chaldeans that resorted thither : 
 
 Heec urbs paganls, Turctiis, Llbicis quoque Partbis 
 Sordlda : Cnaldei sua lustrant littora telri : 
 Sordibus a cunclis sum muuda Canossa, etc. 
 
 These wretched verses only prove the 
 ancient commercial prosperity of Pisa, 
 the first town in Europe that had a 
 maritime code, and which sent to sea as 
 many as three hundred vessels ; Donizzon 
 would now be disarmed by its solitude 
 and gloom. Contrary to the general tone 
 of epitaphs, the distich engraved on the 
 tomb of Beatrix is not very laudatory ; 
 she is even somewhat brutally and wrong- 
 fully stigmatised as a sinner {peccatrix), 
 an epithet which probably might have at 
 that time the sense of religious hu- 
 mility. Themausoleum, of the fourteenth 
 century, of the emperor Henry VJI., the 
 friend of the Pisans and enemy of the 
 Florentines, so magnificently eulogised 
 by Dante, ' has been transferred from 
 the duomo to the Campo Santo, in order 
 to complete the various epochs of the art 
 which it presents. The monument of 
 
 * See ante, book vi. ch. v. 
 
 Algarotti, from the design of his friend 
 Moro Tesi and Bianconi, was erected to 
 him by the great Frederick, as the in- 
 scription states. This prince treated his 
 chamberlain belter than himself with 
 respect to tombs; for it is well known 
 that as a last mockery of human nature, 
 he wished to be buried near his dogs and 
 their statues. One of the Italians whn 
 has most honoured his country by variety 
 of talents, Pignotti, a poet, natural phi- 
 losopher, man of letters, and antiquarian, 
 reposes in the Camp'o Santo ; his mauso- 
 leum, by S. Bic.ci, is beautifully simple. 
 The Campo Santo received in 1830 a 
 noble ornament, from the chisel of Thor- 
 waldsen, the tomb of the illustrious sur- 
 geon Andrea Vacca, erected by subscrip- 
 tion. 
 
 The earth which covers the Campo 
 Santo was taken from the holy places of 
 Jerusalem and brought to Pisa in 1228, 
 in fifty gallies of the republic. Inde- 
 pendently of the high value that religion 
 gave this sacred soil, it had a physical vir- 
 tue which approached the wonderful ; 
 namely, the property ofconsuming bodies 
 in twenty-four hours. At present it is 
 said to require double the time ; the salts 
 with which this earth was impregnated 
 are partly lost, evaporated, like the en- 
 thusiasm and faith which then filled the 
 souls of men. 
 
 CHAPTEB XII. 
 
 Saint Slepben.— Flags.— Organ.— Saint Nlcbolas.— 
 Steeple —Saint Michael. — Santa Maria delta Spina. 
 —Sinus of 1'isa. — Saint Paul. 
 
 Several churches in Pisa, without 
 having the importance and splendour of 
 the Duomo and Saint John, are never- 
 theless remarkable. The magnificent 
 church ofSaintStcphen, orof the knights 
 of that order, commemorates their valiant 
 feats : old flags taken from the Musul- 
 mans are suspended from the roof, and 
 speak more eloquently of the bravery of 
 the knights than the Latin inscriptions or 
 paintings of this same roof. These paint- 
 ings are the Taking of Bona ; the 
 Taking of Nicopolis, by Ligozzi ; a 
 Naval victory of 1602 ; the Marriage of 
 Maria de' Medici with Henry IV., 
 rather strangely placed among these 
 various trophies won from the Infidels, 
 by Empoli; another Naval victory of 
 1571, by Cigoli; Cosmo J. taking the 
 
Chap. XII] 
 
 PISA. 
 
 407 
 
 
 habit of the order, by the third Bronzino. 
 The high altar is of extraordinary rich- 
 ness, but it belongs to the epoch of 
 decline. At the altars are : the Mar- 
 tyrdom of the saint, by Vasari, dry and 
 cold in colouring, but skilfully composed ; 
 a Christ borne to the sepulchre by his 
 disciples and the Marys, by Gambara, 
 touching and vigorous; a fine Nativity, 
 by the third Bronzino ; the Madonna 
 between St. Joseph and St. Stephen 
 kneeling, pleasing, one of Lomi's best 
 works. The great organ of this church is 
 one of the first in Italy. 
 
 The church of Saint Nicholas, the most 
 remarkable in Pisa for the variety and 
 richness of its marble, is full of minera- 
 logical interest. The roof, very fine, 
 dates from its restoration in 1572. Some 
 painlings are valuable : the St. Charles 
 Borromeo ; an Annunciation, by Bili- 
 berti; St. Faconda, by Pietro Dandini; 
 the Madonna alia cintola, by Lomi, a 
 celebrated painter of Pisa in the sixteenth 
 century; St. Catherine, one •of Stefano 
 Marucelli. The steeple of Saint Nicholas, 
 forgotten by all travellers, is a novel, 
 elegant, bold struclure by Nicolao Pi- 
 sano, which marks an epoch in the 
 history of architectural progress, and has 
 been imitated by other great artists. 
 
 At the church of Saint Renier, an 
 aquarelle of the Saint, by Riminaldi, is 
 remarkable for the effect of the clare- 
 obscure ; the St. Torpe, a fine figure, is 
 one of Lomi's best works. 
 
 Saint Fredian would perhaps be the 
 richest church of Pisa for paintings, after 
 the Duomo, if they had been better pre- 
 served. The Adoration of the Magi, 
 of Lomi's old age, passes for his best; 
 the artist seems to have indulged in this 
 opinion himself, as may be seen by the 
 pious inscription under the Virgin ; E t 
 quid retribuam tibi, o bone Jesu, pro 
 omnibus qum retribuisti mihi ? Non 
 aurum, non thus, nee mirram, sed cor 
 meum, et de thesauro cordis mei hoc 
 opus manuum mearum. The St. Brid- 
 get kneeling before the Cross, is by 
 Tiarini, one of Andrea Orgagna's best 
 pupils; a Madonna; the Invention of 
 the Cross ; the Emperor Heraclius car- 
 rying the cross to Calvary, are graceful 
 and noble works of Ventura Salimbeni. 
 
 The best painting of Saint Torpe and 
 1 one of the best in Pisa, is the elegant and 
 graceful Madonna, with St. Anne and 
 the saint, by Francesco Vanni : St. 
 
 Charles Borromto, by Stefano Marucelli. 
 The Conversion of' St. Gualbert, by 
 Passignano or Biliberti, is very good. 
 
 At Saint Anne, a Communion of St. 
 Jerome, natural and of good effect, seems 
 by Ottavio Vannini. The fine picture in 
 the ornament over the side door, is by 
 Ghirlandajo. 
 
 The church of Saint Sixtus is of the 
 Pisa school of architecture, founded by 
 Buschetto. ' St. John Baptist preach" 
 ing in the wilderness, offers the rare qua- 
 lities of its author, Rutilius Manetti. 
 
 A stately and graceful Madonna sur- 
 rounded with saints, at the high altar 
 of Saint Thomas, appears by the Vanni 
 of Siena, or by Paggi. 
 
 The high altar of Saint Cecilia has the 
 Martyrdom of the saint, picturesque, 
 one of Salimbeni's best works. The first 
 Pisan painter, Orazio Riminaldi, a clever 
 artist of the sixteenth century, is interred 
 in the church. 
 
 The front of the church of Saint Ca- 
 therine was perhaps by Nicolao Pisano 
 and the Dominican Fra Guglielmo, his 
 worthy pupil. A Madonna, beautiful, 
 but in a bad light, is one of the last works 
 of Fra Bartolommeo. The great St. 
 Thomas, a curious work by Traini, 
 though somewhat cold and exaggerated 
 in the attitudes, is not destitute of ex- 
 pression or imagination : the saint, an 
 excellentlikeness, is oddly placed between 
 Plato and Aristotle ; the former is 
 showing him his Timeus, the latter his 
 Ethics; at his feet lie overthrown Arian 
 and other innovators, and above him is 
 the Redeemer from whom he receives 
 the rays of light which, from St. Thomas, 
 diverge towards a crowd of doctors, bi- 
 shops, and popes. A pulpit close by is 
 reputed to be the one from which Saint 
 Thomas explained his doctrines when he 
 was lecturer at the old convent. St. 
 Catherine receiving the stigmata, by 
 Francesco Vanni, is touching. The two 
 statues of the Annunciation, by Ninus 
 of Pisa, are a monument of Pisan art in 
 the fourteenth century ; the angel is far 
 superior to the Virgin. 
 
 The piazza of St. Catherine is an agree- 
 able promenade planted with plane- 
 trees. In this square a colossal statue, a 
 noble composition by S. Pampaloni, has 
 been erected to Leopold : it bears the 
 simple inscription in Italian, "to the 
 
 1 See ante, cb. x. 
 
■■•-■ 
 
 PISA 
 
 Book XI. 
 
 grand duke Leopold I., forty years after 
 his death," an inscription which does 
 honour both to Tuscany and the prince, 
 when we call to mind his noble refusal 
 of the statue which was voted to him 
 near the end of his reign as grand duke. 
 
 The front of. Saint Michael in Borgo 
 unites the first artistic . names of the 
 thirteenth century, as it appears that 
 Nicolao Pisano, Fra Guglielmo and. his 
 illustrious fellow disciple Giovanni Pi- 
 sano, worked thereat. A monument has 
 been erected in this church to Bom 
 Guido Grandi, a Camaldulite, formerly 
 abbot of Saint Michael, a celebrated 
 geometrician, theologian, biographer, an- 
 tiquary, and even poet, regarded in his 
 day by Newton as one of the greatest 
 continental mathematicians. 
 
 The church of Saint Peter in Vincoli 
 is one of the most ancient of Pisa ; its 
 last renovation was in 1100. An antique 
 architrave, over the great door, seems of 
 the good epoch of the art. 
 
 The ceiling and the paintings by the 
 brothers Melani, at the church of Saint 
 Matthew, have some celebrity, and Co- 
 chin regards the former "comme une fort 
 belle machine de composition." The 
 best painting \s Christ calling Matthew, 
 by Francesco Romanelli. The Martyr- 
 dom of the Saint is an esteemed work of 
 the too-productive Sebastiano Conca. 
 
 The church of Saint Martin offers a 
 St. Benedict in the midst of the thorns 
 to whom the devil appears in a human 
 forth, a painting full of life, by the younger 
 Palina ; a noble and expressive Madonna 
 and some saints, by Passignano; St. 
 Bona, crowned with roses at the moment 
 of taking the veil, by Riminaldi ; a Mag- 
 dalen repentant and a Christ on the 
 cross, pleasing and vigorous works as- 
 cribed to Ligozzi. 
 
 The church of the Holy Sepulchre, 
 formerly belonging to the Templars, of 
 the architecture of Dioti Salvi, author of 
 the Baptistry, has a superb Descent from 
 the cross, by Santi Titi. 
 
 At Saint Christina, the Saint kneeling 
 before the Redeemer, is a good picture 
 by Passignano. 
 
 The great church of Santa Maria del 
 Carmine has some good paintings : an 
 Annunciation, by Boscoli, of 1593; a 
 Crucifixion, with the Virgin and saints, 
 by Macchielti ; St. Andrew Corsini, to 
 whom the Virgin appears, by Curradi; 
 the Ascension of Christ, by the second 
 
 Bronzino, thebest painting in the church. 
 The countenance of the Redeemer is 
 rather ill-favoured ; but his foot just 
 leaving the earth is skilfully executed. 
 The painter has inscribed in the throat 
 of a little dog in this painting, the words : 
 Si latrabis latrabo, a fantastic and im- 
 pertinent warning for his critics. In the 
 sacristy, a Virgin, on a throne, between 
 St. John and St. Peter, a grand charac- 
 teristic work, has been supposed by 
 Masaccio or Filippb Lippi. The tomb 
 of the illustrious Paduan sculptor, Titian 
 Aspetti, who died at Pisa, is seen in the 
 cloister of Santa Maria del Carmine ; the 
 bust is by Felice Palma, his pupil. 
 
 Santa Maria della Spina, a rich, airy, 
 and pretty little church, on the bank of 
 the Arno, is extremely picturesque. This 
 miniature Gothic passes for the first 
 chef-d'oeuvre of its kind in Italy. Many 
 of its sculptured works are famous; for 
 instance, the many small statues on the 
 architrave of the wailed door, in part by 
 Andrea Pisano in his youth, and by 
 Giovanni; one of the two saints turned 
 towards the east, the homage of the lal- 
 ter's filial piety, represents his glorious 
 father Nicolao; in the interior, the two 
 great Madonnas by Ninus of Pisa, one 
 suckling, the other standing, so noble 
 and natural; his statues of St. John and 
 St. Peter : the latter is the portrait of 
 Andrea his father. A Virgin, amidst a 
 great number of saints, by Soddoma, is 
 remarkable for beauty of form and soft- 
 ness of outline. 
 
 Saint Paul seems to have been formerly 
 the cathedral of Pisa. The variety and 
 antiquity of the architectural details in 
 the front deserve notice. Near the side 
 door is an antique sarcophagus become 
 the tomb of Giovanni Burgondio, a Pisan 
 judge and jurisconsult, theologian, phy- 
 sician, and translator of several works by 
 the Greek fathers, a learned personage of 
 the twelfth century, who proves the slate 
 ol'learning at Pisa in his day. The frescos 
 by the old masters that embellished this 
 magnificent temple have nearly all pe- 
 rished. The Virgin, on a throne, with 
 several saints, is a curious work of'Turino 
 di Vanni, a Pisan artist of the fourteenth 
 century. A Martyrdom of St. Agatha 
 is vigorous and expressive. In the sa- 
 cristy, some Saints, wrecks of paintings 
 by Lippo and Simone Memmi, are still 
 honourable to them after more than five 
 centuries. 
 
Chap. XIV.] 
 
 PISA. 
 
 409 
 
 CHAPTER XIII. 
 
 University.— Professors.— Library.— Botanical 
 garden. 
 
 The university of Pisa, founded pro- 
 bably about the middle of the fourteenth 
 century, was re-established by Cosmo I. 
 Instead of the five faculties created by 
 the French administration, the succeeding 
 authorities unhappily returned to the 
 confused division into three colleges, of 
 divinity, law, and medicine. The pro- 
 fessorships of the former are ecclesiastical 
 history, Holy Scriptures, doctrinal theo- 
 logy, moral theology, philology and 
 oriental learning; — those of the second, 
 Latin eloquence, institutes of canon law, 
 interpretation of the holy canons, insti- 
 tutes of civil law, the Pandects, institutes 
 of criminal law, logic and metaphysics, 
 Greek and Latin languages;— those of the 
 third college, divided info two sections, 
 Ihe first of which, called the medical and 
 surgical section, has the professorships 
 of medical pathological institutes, ana- 
 tomy, physiology and legal medicine, 
 practical medicine, medical clinics, sur- 
 gical clinics by operations on dead bodies 
 (jjcr necrotomiam), surgical institutions 
 and midwifery; the second section, ma- 
 thematical physics, universal algebra, 
 astronomy, geomelry, arithmetic and 
 trigonometry, theoretical physics, expe- 
 rimental physics, chemistry and materia 
 mediea, botany, natural history, mecha- 
 nics and hydraulics. The medical studies 
 seem the most profound and are most 
 followed. The professors of Pisa take 
 the title of eccellentissimo on the pro- 
 gram of the lectures, as well as other 
 plain doctors in Italy : some of them 
 deserve it, and are worthy of the old 
 renown of this school ; we may name as 
 such, SS. Rosellini, professor of Egyptian 
 archeology, the friend and scientific 
 fellow-traveller of Champollion; Rosini, 
 of Italian eloquence; del Rosso, of the 
 Pandects; Carmignani, of criminal law; 
 Ragnoli, of Greek and Latin literature ; 
 Regnoli, of surgery and medicine, pupil 
 and no unworthy successor of Vacca; 
 Gaetano Savi, of botany ; Paolo Savi, of 
 natural history. Several distinguisbed 
 professors teach at Florence, as SS. Tar- 
 gioni Tozzelti, in botany ; Gazzeri and 
 Tacldei, in chemistry ; Uccelli, in anatomy 
 
 ' See Ihe preceding chapter. 
 
 and clinical surgery; S. Ciampi, and S. 
 Nesli, guardian of the museum of physics 
 and natural history at Florence, have the 
 title of honorary professors of this uni- 
 versity. The number of students rarely 
 exceeds four hundred. 
 
 The library has more than thirty 
 thousand volumes; it has received the 
 manuscripts of the illustrious mathema- 
 tician Guido Grandi, ' a Camaldulile, 
 collected by a brother of the order, Am- 
 brogio Soldani ; they form forty-four 
 volumes, and were previously deposited 
 at the convent of- Saint Michael, as well 
 as the library of that convent, formerly 
 placed at the disposal of the public by 
 Grandi. The greatest part of the books of 
 Angelo Fabroni, the celebrated biogra- 
 pher, historian and proveditor of the 
 university, have also been added to this 
 library. 
 
 According to the pretensions of Pisa, 
 the. creation of its botanical garden, gene- 
 rally supposed about 155'>, took place in 
 1544; it would thus be the first known, 
 and one year anterior to the garden of 
 Padua. 2 When Cosmo I. reorganized the 
 university in 1543, he added two profes- 
 sorships, one for botany, the other for 
 astrology, an odd combination, which 
 characterises the epoch of transition from 
 barbarous and superstitious science to 
 the science of facts and observation. 
 The garden of Pisa, which was honoured 
 by having Andrea Cesalpino, the greatest 
 botanist in Europe, for its first director, 
 contains more than three thousand 
 species. 
 
 CHAPTER XIV. 
 
 Ducal palace. — D. Garzia. — Lanfranchi palace.— 
 Lord Byron. — Landeducci palace.— Alia Gioruata. 
 — Tower ot Famine. — Marble bridge.— Game.— 
 Cbinzica. 
 
 The palace of the grand duke has 
 neither grandeur nor magnificence. Its 
 pretended connection with Alfieri's Don 
 Garzia, a pathetic but exaggerated work, 
 induced me to visit this palace, the scene 
 of the tragic and mysterious death of that 
 son of Cosmo I. and his brother Gio- 
 vanni, whom the poet has rather stran- 
 gely metamorphosed into Diego ; but 
 this abode of peace and virtue little re- 
 sembled the palace of the tyrant of 
 Florence, and certainly one could not 
 
 See ante, book vii. ch. if. 
 
 35 
 
410 
 
 PISA. 
 
 I Book II. 
 
 there repeat with the republican hero of 
 the Italian Sophocles : 
 
 gta tullo 
 
 2ul imorno intoruo raorte ml risuona.' 
 
 Lord Byron and his menagerie occu- 
 pied the first floor of the Lanfranchi 
 palace, » the architecture of which is 
 attributed to Michael Angclo. Here the 
 poet was near having an adventure very 
 similar to that of Charles XII. at Bender, 
 when he was besieged by the dragoons 
 of the brigadier who had insulted him and 
 his friends, and who had been seriously 
 wounded by an unknown hand. Byron's 
 enemies have most unjustly accused him 
 of this accident in consequence of which 
 he was obliged to leave Pisa. He seems 
 to allude to this catastrophe in the second 
 canto of Lara, when he feelingly defends 
 the hero suspected of secret murder. 
 
 On the front of the Lanfreducci palace 
 are the words Alia giornata (day by 
 day), under which hangs a captive's 
 chain, no less difficult to understand than 
 the inscription. These words and this 
 chain on the front of a fine marble palace 
 have always inspired me with a singular 
 melancholy. One feels that such a com- 
 bination has something of romance and 
 poesy, and may perhaps hide the secret 
 of some touching tale. 
 
 The tradition of Ugolino's fearful death 
 still exists at Pisa. It is truly a misfor- 
 tune for this city to be cursed in one 
 of the sublimest and most celebrated 
 pieces of Italian poetry. Dante's verses 
 and the horrid sufferings of Ugolino, 
 though according to history he was shut 
 up alone without his sons, have attached 
 a kind of interest to that abominable 
 tyrant. His horrible repast is now un- 
 animously contradicted by the critics, 
 and even" refuted by the verse: 
 
 Poscia piu die '1 dolor pote '1 digiuno. 
 
 The Tower of Famine stood in the Piazza 
 de' Cavalieri ; it has lately disappeared, 
 and its remains converted into apartments 
 now make part of a small house with 
 green Persian blinds. 
 Since the year 1808 the marble bridge 
 
 1 Don Garzia, at. iv. sc. ili. 
 
 * Seethe beginning of Captain Medwin's Conver- 
 sations, for an account of the monkey, dogs, cats, 
 peacocks, and hens that be took with him. 
 
 has not witnessed the ancient game de 
 pontc, said to be of Greek origin, which 
 dates from the Pisa of Olympic games, 
 and which Alfieri has so poetically de- 
 scribed. 3 
 
 In the quarter on the left of the Arno 
 I sought for the statue that I supposed 
 had been erected to the illustrious Chin- 
 pica, an intrepid woman, whose courage 
 saved the walls and city of Pisa when its 
 warriors wereabsent, and repulsed, about 
 the year 1000, the nocturnal attack of 
 the Saracens. Italy in the middle ages 
 could boast a hundred Clelias more heroic 
 than the Boman dame, though celebrated 
 by no Titus Livius. The statue called 
 Chinzica's seems of an age long prior to 
 her time. The Pisans of the eleventh 
 century, like the Bomans under Con- 
 stantine, were probably reduced to the 
 necessity of erecting their monuments 
 out of the spoils of older ones. This little 
 mutilated statue is half incrusted in a 
 wall, near a barber's shop, and might be 
 easily mistaken for its sign. There ought 
 to be a public monument erected to 
 Chinzica, in the centre of the quarter 
 burnt by the Saracens, which has been 
 rebuilt and, I believe, bears her name. 
 It is a pity that this glorious name was 
 given by Boccaccio to the old man of 
 Pisa, much less energetic than Chinzica, 4 
 whose infirmity and curious calendar are 
 also the subject of a story by La Fontaine. 
 
 CHAPTEB XV. 
 
 Cbaitreuse. 
 
 The Chartreuse of Pisa seems a plea- 
 sant retreat ; it is situated at the foot of 
 a mountain, surrounded by woods, with 
 a view of the sea, in the valley of Calti, 
 called la Grazioza, whence it has taken 
 the name of Chartreuse della valle Gra- 
 zioza. Founded in 1367, and dedicated 
 to the Virgin and the saints Politus and 
 Ephesus, whose brilliant fete we have 
 seen at Cagliari, 5 the church and mo- 
 nastery were rebuiltatan immense outlay 
 in 1770. The gew-gaws of the archi- 
 tecture of that epoch, everywhere bad, 
 are much more offensive in the austere 
 
 3 Compte oggt r anno ch' io dell" Arno in riva. 
 Son. cuiv. 
 
 4 Giorn II. nov. x. 
 
 5 See Travels in- Corsica, Elba, and Sardinia 
 book in. ch. xhi. 
 
Cbap. XYIL] 
 
 PISA. 
 
 441 
 
 solitude of a Chartreuse and beside (he 
 simple beauties of nature. St. Bruno, at 
 the high altar, presenting the plan of the 
 Chartreuse to the Virgin, is a very ele- 
 gant painting by Volterrano. This con- 
 vent, reestablished in 1814, had fifteen 
 inmates in 1828, who received 500 francs 
 each from the government. Notwith- 
 standing the narrowness of such resources, 
 the house still preserves some traces of 
 its former greatness. There are a dis- 
 pensary, vast cellars, an oil-press, a 
 forge, workshops, as in the abbeys of the 
 middle ages, and the chapel and outside 
 apartment for the ladies, who could not 
 be admitted into the cloister. Among 
 the many manuscripts may be distin- 
 guished a diploma of the countess Ma- 
 tilda, of 1112, proceeding from the 
 monastery of the island of Gorgona, the 
 monks of which, driven away by the 
 frequent attacks of the Saracens, took 
 refuge in the Chartreuse of Pisa ; and 
 another diploma of Conrad II. 
 
 CHAPTER XVI. 
 
 Farm of San Rossore.— Camels. 
 
 A sensible, accurate, and impartial 
 traveller, M. de Chateauvieux, in his 
 letters written from Italy to M. Charles 
 Pictet, was the first to call attention to 
 and describe the farm of San Rossore, 
 founded by the Medici. Its approach is 
 by a fine avenue of ash and poplar three 
 miles long, with white marble seats at 
 due intervals, and a small canal on each 
 side, which fertilises the adjacent mea- 
 dows by its waters : two marble statues 
 are placed at the entrance of the avenue ; 
 two others, Diana and Endymion, stand- 
 ing at the entrance of the farm, show that 
 it is a hunting lodge. The banditareale, 
 as this immense establishment is called, 
 draws its revenue from its woods and the 
 luxuriance of its prairies. More than 
 two thousand cows are kept there, and 
 above fifteen hundred horses. These 
 animals wander over immense pastures, 
 sometimes singly, at others in herds, and 
 free as at the creation. But the principal 
 curiosity of the domain of San Rossore is 
 the herd of camels, whose ancestors were 
 brought to these shores during the cru- 
 sades (the greatest houses in Europe date 
 no further back) by a grand prior of Pisa 
 
 * See post, book xiv. ch. xv. 
 
 of the order of Saint John. A score of 
 these camels are employed in the work 
 of the farm, and lodge in the stable : 
 more than sixty stray through the pine 
 forests or along the sands that border the 
 sea. In the greatest heats of the day, 
 the latter may be seen revelling in the 
 sunshine, sometimes standing, at others 
 lying on the sand, and sedately rising at 
 the sight of any one passing. These 
 sands, with thesea, the camels, the purity 
 and brightness of the sky, the solitude, 
 and silence, give this picture something 
 oriental, novel, and poetical, which pleases 
 the fancy, and transports it to the desert. 
 Near Monte Circello we shall find the 
 pigs of the Odyssey, descended from the 
 companions of Ulysses : • here are the 
 camels of the Gerusalemme; Italy alone 
 has these epic animals. I did not visit 
 the islands near Mount Gargano, on the 
 coast of La Puglia ; but it is very probable 
 that thecompanions of Diomede, changed 
 into birds, 2 are not without posterity. 
 The noble camels of Pisa have not 
 always a lot worthy of their origin ; they 
 are sold for the moderate price of five or 
 six pounds sterling to the charlatans of 
 Europe, who lead them from town to 
 town; or they people the various mu- 
 seums of natural history with their bodies. 
 Some persons think that camels might be 
 usefully introduced into mountainous 
 countries ; their milk is agreeable, they 
 produce a tolerablequantity of hair which 
 is used for making carpets. With proper 
 training they would lose their savage 
 wild propensities, for it has been observed 
 that the horses seem ill at ease with the 
 camels of San Rossore. 
 
 CHAPTER XVII. 
 
 Baths.— Montaigne's vanity.— Water of Pisa. 
 
 The celebrated baths of Saint Julian at 
 Pisa, less frequented of late years than 
 the more pleasantly situated baths of 
 Lucca, were ancient thermae, as is proved 
 by some fragments of columns and in- 
 scriptions. In the middle ages, they 
 maintained their reputation, and were 
 repaired by the couutess Matilda, and 
 the bath called della Regina seems to 
 owe its name to this queen of the Ba- 
 learic isles, a prisoner of the Pisans, 
 who, at this epoch of their glory, had 
 
 3 J5»., XI. 270. 
 
412 
 
 LEGHORN. 
 
 [Book XI. 
 
 conquered her states, and discovered the 
 Canaries. This queen embraced Chris- 
 tianity, as well as her son, who became 
 a canon of the cathedral and was a most 
 edifying priest : he was even named go- 
 vernor of Majorca, his native isle. The 
 conquest of the Balearic islands is the 
 subject of a contemporary poem by 
 Deacon Lorenzo di Verona, an eye- 
 witness attached to Pietro archbishop 
 of Pisa, a poem in hexameter verse, es- 
 teemed as something less barbarous than 
 the other Latin productions of the same 
 period. 
 
 The present splendid building was 
 erected about the middle of last century. 
 Several scientific men, among them 
 Cocchi, the illustrious physician of Flo- 
 rence, have analysed these waters. Mon- 
 taigne had come for the purpose of ta- 
 king them, when, on the 7th of Septem- 
 ber, 1581, he received the news of his 
 nomination to the place of mayor of 
 Bordeaux, an office in which he cannot 
 have distinguished himself, since he 
 speaks so little of it. I made no re- 
 searches after his arms which he had em- 
 blazoned, gilded, framed, and nailed in 
 the chamber he occupied, "on the con- 
 dition that they were to be deemed as 
 given to the chamber, not to Captain 
 Paulino, although he was the master of 
 the house, and as appertaining to that 
 chamber, whatever might afterwards 
 happen," because 1 have little taste for 
 the monuments of a philosopher's vanity. 
 
 But if the baths of Pisa have declined, 
 the water drunk in that town, not drawn 
 from the Arno, is sweet, light, whole- 
 some, and almost equal to that of Rome. 
 
 CHAPTER XVIII. 
 
 Leghorn.—Venezia.— Lazaretlo.-Synagogue.— Jews. 
 -Slaves of Tacca.— Oil warehouse.— Coral manu- 
 factory.— Micall's warehouse.— EnglisU cemetery. 
 - Ardenza.- Montenero. 
 
 I have thrice visited Leghorn, and it 
 has always seemed to me that, in this 
 new town, la phis indocte de Vltalie, 1 
 in this vast bustling factory of divers 
 nations, I found myself as if out of Italy, 
 and felt that I no longer trod that land 
 of poetry. Leghorn has been of late 
 considerably and rapidly increased by 
 
 ,\Iiei blad's answer to Courier. November 16, 
 
 «S03. 
 
 the addition of suburbs. It is said al- 
 mostequal to Florence in extent ; its po- 
 pulation amounts to 78,000; but there 
 will always be an incalculable difference 
 between its material prosperity, its Eng- 
 lish or American civilisation, and the 
 noble recollections of the country of 
 Dante, Machiavel, Michael Angelo, and 
 Galileo. 
 
 The streets are filled with beggars 
 and galley-slaves with chains to their 
 feet. The services that the latter can 
 perform in sweeping are not in my opi- 
 nion any compensation for the injurious 
 impression produced on the people by 
 accustoming to the sight of crime in the 
 person of its victims. These wretched 
 men ought only to be employed in the 
 works of the port, or their hours of la- 
 bour ought to be arranged so that the 
 streets should be finished early in the 
 morning. The quarter of la Venezia, 
 so called from its canals, full of assassins, 
 rogues, smugglers, vagabonds, a very 
 nursery for infant thieves, than which 
 no city has a fouler haunt, is still worse 
 composed than the Alsace of Walter 
 Scott's Adventures of Nigel, or the 
 Courdes Miracles in Victor Hugo's Notre- 
 Dame de Paris. French justice, the 
 maladetli debuts, as it was called by 
 those degenerate Venetians in their im- 
 potent fury, had subdued this canaille, 
 to which the philanthropic mildness of 
 the Tuscan laws has restored all its 
 vices. The last time I was at Leghorn 
 I only remained five days. The first 
 night I was awoke at midnight by the 
 cry oft ladri (thieves!) four of whom 
 had been seen on the roofs, and, as 
 usual, eluded all the efforts of the sbirri 
 to arrest them. It was the fourth time 
 the same hotel had experienced a like 
 attack. Two days after other cries an- 
 nounced that a mother of five children 
 had assassinated her husband by stabbing 
 him three times with a slilletto. Leghorn 
 and its Venezia are an incontrovertible 
 argument against our virtuous Utopian 
 schemes for the abolition of the punish- 
 ment of death. This system, invoked in 
 the name of civilisation, leads to the bar- 
 barism of the vendetta, since, if society 
 cannot inflict justice on crime, the in- 
 jured individual resumes his right, and 
 takes on himself the punishment of the 
 murderer. 
 
 Leghorn is a tedious and insignificant 
 place, except to men of business, and 
 
Chap. XV m.] 
 
 LEGHORN. 
 
 413 
 
 requires but little of the traveller's time, 
 itschiel'and almostonly monuments being 
 the Lazaretto and the Synagogue.' The 
 Lazaretto is truly superb in its kind : it 
 is impossible not to be struck with the 
 sagacity of so many precautions against 
 the plague. The Synagogue is magnifi- 
 cent grand ; and the Jews meet there 
 promiscuously with their hats on, as at 
 the exchange. This familiar manner of 
 worshipping seems still more strange 
 when compared with the solemn and 
 almost theatrical service of Italian chur- 
 ches. A big rabbin carrying a long 
 green fan, such as used by an old comedy 
 marchioness, which he frequently used 
 with no little noise, began singing a verse, 
 which was a signal for a kind of psalm- 
 singing almost as harmonious as ours. 
 The sermon is still preached in Spanish, 
 a singular old usage which began with 
 the first Jews, Spa'nish and Portuguese, 
 that took refuge at Leghorn. 
 
 The Jews' quarter is the most popu- 
 lous, their number amounts to four 
 thousand seven hundred and one. Mu- 
 tual instruction has been introduced into 
 the schools for their poor, which are said 
 to be well managed and well calculated 
 to root out the old lazy degraded habits 
 of that class. By Leopold's laws the 
 Jews in Tuscany have all the rights of 
 citizens, and are admissible, like other 
 persons of property, to the different mu- 
 nicipal offices. 
 
 In the port, the four slaves chained to 
 liie foot of the statue of Ferdinand I., 
 by Tacca, rank with the best sculptures 
 of the close of the sixteenth century. 
 Never was a monument more deservedly 
 erected : Leghorn was in fact founded 
 by Ferdinand, who often went thither to 
 stimulate the workmen ; he called it 
 sua dama (his lady); to him are owing 
 its lazaretto, its ramparts, its population 
 of refugees and vagabonds, and he is as 
 the peaceful Romulus of this maritime 
 and trading Rome. 
 
 The oil warehouse, founded in 1705 
 by Cosmo III.; the coral manufactory, 
 belonging to private persons, arc in their 
 different kind useful and splendid estab- 
 lishments. Micali's shop, though not so 
 high in repute as under Leopold, who 
 patronized it to such an extent that he 
 
 i The great cislern, a recent work ol S. t'nscale 
 I'occianli, chief architect to the grand iluka i>f Tus- 
 cany, which I saw in 1834, is a good aid useful 
 construction, most hyperbolically eulogized al teg- 
 
 was thought interested, is still one of the 
 completest and richest bazars that can 
 be imagined. Charming objects of art 
 and industry may be procured there at 
 moderate prices. 
 
 The English cemetery at Leghorn, 
 although the excessive brilliancy of its 
 marbles gives it rather the appearance 
 of an immense statuary's workshop, is 
 still singularly touching. It is not easy 
 to bear unmoved the aspect of these 
 tombs of foreigners and travellers who 
 died far from their native land. Most 
 of the inscriptions are remarkable for 
 an affecting conciseness and simplicity of 
 grief. Some of these travellers, full of 
 youth and hope, lovers of learning and 
 the arts, came to enjoy the present and 
 by-gone glories of the land that has de- 
 voured them. The most celebrated of 
 these tombs is not, however, of such 
 melancholy memory ; it is the pyramid 
 consecrated by his countrymen to the 
 historian and satirical novelist, Tobias 
 Smollett, who died at the age of fifty- 
 one years, when English consul at 
 Leghorn. 
 
 Besides the Duomoand fourteen chur- 
 ches, Leghorn has temples and cemete- 
 ries of nearly all religious sects. The 
 co-existence of so many different reli- 
 gions explains that sort of indecision or 
 incredulity, the ordinary result of tra- 
 velling, which, even under Louis XIV., 
 La Bruyere so naturally describes : 
 "Some persons complete their moral 
 
 corruption by long travelling ; day 
 
 after day they witness a new religion, 
 different manners, divers ceremonies ; 
 they are like people who enter shops 
 undetermined as to the particular stuff 
 they intend to buy : the great number 
 shown makes them more indifferent; 
 every piece has its peculiar advantages : 
 they "cannot decide, and go away with- 
 out purchasing." 
 
 The promenade of Ardenza in the 
 evening is frequented by the fashionable 
 world of Leghorn ; it is a kind of trades- 
 man's Corso. Though the poets, from 
 Homer and Virgil, regard the seaside 
 as the fittest place for reverie, the arid 
 beach of Ardenza cannot have that ef- 
 fect; it has even lost the dash of pictu- 
 resque supplied by the Levantine cos- 
 horn; it has not the character best suited to It, 
 and the costly portico, which would hardly make 
 one suppose it a cistern, has a great deal too mucfe 
 architecture for such a monument. 
 
 35. 
 
4U 
 
 IMOLA. FAENZA. 
 
 [ Book XH. 
 
 tumes which I had observed in my 
 former visits, but found them not in 
 1834, and it now only presents a double 
 line of carriages on rough ground and 
 persons in European dresses. 
 
 Montenero, some few miles from Leg- 
 horn, is covered with charming country- 
 houses. The church of the Madonna, 
 
 remarkable for the variety and richness 
 of its marble, is exceedingly venerated 
 by the lower classes and sailors, who 
 make frequent pilgrimages to it barefoot. 
 The view of the sea, of Leghorn, the isles 
 Capraja, Gorgona, Elba, and even Cor- 
 sica, with the country and mountains 
 of Pisa, is admirable. 
 
 BOOR THE TWELFTH. 
 
 ROMAGNA.-ABRUZZl. 
 
 CHAPTER I. 
 
 Aspect.— Roinsgnols.— Imola.— Faenza.— Francesca 
 Bentivoglio.-Mad house.— Manufacture. -Capu- 
 chins. — s. Stroccbl. 
 
 The road as far as Rimini is by the 
 Via ^Emilia, a useful remnant of Roman 
 greatness. The aspect of the country is 
 singularly flourishing, as it presents, 
 within a lew leagues, on the direct road 
 to Rimini, a succession of large, popu- 
 lous, well-built towns, each having its 
 palace, its duomo, its great square, and 
 its history. The eagerness for new ideas, 
 produced by attempts to suppress them, 
 and the inequality resulting from privi- 
 leges and ecclesiastical domination, was 
 extreme among the youth of these towns, 
 the best educated in Italy, as well as in 
 other towns 01 central Italy; the events 
 of 1831 and 1832 did not therefore sur- 
 prise me. These opinions had made 
 way among the lower orders and the 
 clergy. The impetuous temperament of 
 the inhabitants increased their violence, 
 though it had not yet burst out ; for the 
 Romagnol is as capable of excess in good 
 as in evil, and he can become, according 
 to the impulse he receives, a hero or a 
 brigand. 1 
 
 Imola, built on the ruins of Forum 
 Cornelii, preserves in its cathedral the 
 
 1 Questi diavoll Uomagnoli, wrote Annibal Caro 
 in 1540. ci danno molto da fare; tutta volta sono 
 alle mani d' uno, cbe dara piu da Tare a ioro : pur 
 quesui mattina ne sono iiapiccatl due, e su ne lm- 
 plccheranno degU altri Ora penso cbe cl ferrae- 
 
 body of St. Peter Chrysologus, archbishop 
 of Ravenna, a celebrated orator of the 
 fifth century, whose surname announces 
 what prodigious effects were attributed 
 to his eloquence. At the Scalzi, the 
 Four saints crowned are a fine work by 
 Ligozzi. 
 
 The theatre, which is not used, is a 
 very whimsical structure, though much 
 boasted. The pilasters and large ca- 
 ryatides of the prosccenium would be 
 very injurious to the developement and 
 effect of the performance. 
 
 The library of Imola has about four 
 thousand volumes and four manuscripts. 
 The Hebrew Bible, parchment, in quarto, 
 of the thirteenth century, is regarded as 
 precious by Mezzofanti, who has written 
 his opinion of it ; an Arabic manu- 
 scriptof 1612, in 8vo, on religion and le- 
 gislation, was taken from the Turks by 
 the count Biagio Sassatelli of Imola, ge- 
 neral in the duke of Ferrara's service. 
 
 Faenza, according to its historians and 
 poets, takes its name from Phaeton : 
 
 Ecco )' eccelsa 
 
 Cilia che prese nome da colui 
 Cbe s) mat carreggio la via del sole, 
 E cadde in Val di fo » 
 
 The fecundity of these fields, boasted 
 of old by Varro and Columella, still re- 
 
 renjo pur qui qualche naese, e forse a Ravenna, se 
 si poll a fare cbe costoro non si ammazzino ognl 
 gionio come sogtiono, subito cbe 1 presidents 
 volge ioro lespalle. Leltere di negozi, 54. 
 » Canto a. of Carlo Pepolt's Eremo. 
 
Chap. II. ] 
 
 RAVENNA, 
 
 415 
 
 mains the same; the cultivation is supe- 
 rior. The town hall was once the palace 
 of Galeotto Manfredi lord of Faenza, 
 killed by his wife FrancescaBentivoglio, 
 a jealous and injured Italian, who, seeing 
 that he was getting the advantage of the 
 four assassins she had concealed under 
 the bed, leaped out of her bed, snatched 
 up a sword, and struck him, a crime 
 which renewed and surpassed at the end 
 of the fifteenth century the tragic attempts 
 recounted in fable of Clytemnestra, and 
 of Rosamund in the history of the middle 
 ages. Monti wrote a fine tragedy on 
 Galeotto Manfredi. The window of the 
 chamber that witnessed this murder may 
 still be seen : the marks of the blood are 
 said to have disappeared within these 
 few years under the Italian whitewash- 
 ing. Lorenzo de' Medici subsequently 
 interested himself in the fate of Fran- 
 cesca, kept imprisoned by the inhabitants 
 of Faenza, and he obtained her release; 
 he even consented, at the prayer of her 
 father Bentivoglio, to intercede with the 
 pope, that she might be relieved from the 
 ecclesiastical censures. The motive that 
 Bentivoglio stated to Lorenzo, in per- 
 suading "him to take this step, may seem 
 strange : he intended to find her another 
 husband. 
 
 The cathedral has an excellent Holy 
 Family by Innocenzo d'Imola. The 
 town gymnasium, formerly a convent of 
 the Servites, has several remarkable 
 paintings by Giacomone, an artist of 
 Faenza, an imitator and propagator of 
 Raphael's style in Romagna. 
 
 The fountain in the square is a good 
 work by Giacornetti, a celebrated sculptor 
 and founder of the sixteenth century. 
 
 Faenza has a well managed mad- 
 house, which, for fifteen years past, has 
 received all the philanthropic improve- 
 ments and comforts that such establish- 
 ments admit. It has been remarked 
 that the number of patients entered in 
 spring is generally double. 
 
 The earthenware manufactory, very 
 old, has little to recommend it but the 
 solidity of its productions, which still 
 retain the awkward old forms of the last 
 century. The imitation of Etruscan 
 vases, tolerably well executed, seemed 
 to me the best part of it. 
 
 The convent of Capuchins, near Faenza, 
 has recovered its fine painting by Guido, 
 the Virgin and St. John, which was 
 despatched for Paris, but went no farther 
 
 than Milan; it is well worth the trouble 
 of going a little out of the way to see it. 
 Faenza possesses a poet, and a helle- 
 nist of repute in Italy, the Cav. Strocchi, 
 author of poetry in Italian and Latin 
 highly esteemed for vigour and purity 
 of language, and translator of the hymns 
 of Callimachus, the Bucolics and Geor- 
 gicsof Virgil, and the singular poems of 
 King Louis of Bavaria. A pupil of Vis- 
 conti, the friend of Monti, a member of 
 the old Italian Institute, this venerable 
 old man combines literary glory with 
 the most estimable qualities of private 
 and public life. 
 
 CHAPTER II. 
 
 Ravenna. — Cathedral. — Saint Vital. — Mosaics. — 
 Basso-relievos. — Tombs of Isaac and Placidia.— 
 Saint John Evangelist.— Saint Apollinarius. — 
 Palace of Theodoric. — Class. — College, — Saint 
 Francis.— P. Alfieri. —Braccio-forte. 
 
 The portion of the Via ^Emilia that 
 leads to Ravenna and Rimini was for- 
 merly traversed by the crowd of Romans 
 who went to embark for Greece. Now 
 the post leaves you at Faenza, and the 
 voiturins replace on this road the cha- 
 riots of the imperial people. This corner 
 of Italy is not sufficiently visited. It 
 seems to me one of the most curious and 
 interesting. The traveller who posts 
 along from the Albergo reale at Milan 
 to Schneiderff s hotel at Florence, to 
 hurry thence to Cerni's at Rome and 
 the Victory Hotel at Naples, has not seen 
 the real face of this country, its desolate 
 aspect, its sad and beautiful shores, nor 
 can he have experienced the frank obli- 
 ging hospitality of Italy. 
 
 Ravenna, once defended by the sea, 
 the asylum of emperors terrified by bar- 
 barians, is fallen lower than Venice, the 
 asylum of nations flying before Attila. 
 This capital of the Western empire, this 
 residence of Gothic kings and Grecian 
 exarwhs, was only a sous-prefecture in 
 our kingdom of Italy ; it could not attain 
 the honours of the chef-lieu, which was 
 fixed at the obscure Forli. Now it has 
 a legate, vice-legate, and about sixteen 
 thousand inhabitants. 
 
 The cathedral of Ravenna, anterior to 
 the fourth century, was one of the chur- 
 ches that retained most traces of the an- 
 cient basilics : rebuilt in 1743, and con- 
 tinually whitewashed, it has completely 
 
*46 
 
 RAVENNA. 
 
 [Eoox XH. 
 
 lost its venerable air. In the sacristy, 
 the pastoral chair of Saint Maximian, a 
 precious work of the sixth century, w hich 
 shows the first progress of the art in 
 Italy from barbarism, has even been 
 washed or scraped with such zeal that a 
 piece broken oil in the operation has 
 alone preserved its original, colour of 
 gold-yellow, very different from the 
 wbity-brown hue of the rest. The bap- 
 tistry, formerly a chapel of the cathe- 
 dral, is now separated from it by a street. 
 Behind the choir, are two slabs of Greek 
 marble covered with symbolical animals, 
 works of the sixth century, which were 
 part of the old pulpit. In the vestibule 
 of the sacristy, a paschal calendar in 
 marble, of the earliest times of Chris- 
 tianity, is a curious monument of astro- 
 nomical knowledge at that period. Seve- 
 ral paintings may be remarked : the 
 Miracle of the Manna, one ot Guido's 
 best; his lunette, over the altar in the 
 same chapel of the Uoly Sacrament, 
 is marvellously aerial ; St. Orso conse- 
 crating the cathedral of Ravenna, by 
 S. Camuccini, which proves that his 
 colouring is not always inferior to his 
 skilful drawing. Some fragments of the 
 old door have been applied behind the 
 new one ; they are of vine-wood, very 
 solid, and confirmatory of the opinion 
 advanced by Pliny and the indents, that 
 the vine might grow to a very large and 
 strong tree. The wild vine and that of 
 Cyprus were used for statues, and the 
 Diana of Ephesus was of the latter. 
 
 The octagonal basilic of Saint Vital, a 
 bold magnificent monument of the ar- 
 chitecture of the Goths, of vast interest 
 for the history of the art, presents the 
 Byzantian style in all its variety and 
 eastern splendour. It was built under 
 .lustinian, in imitation of Saint Sophia, 
 and Charlemagne made it the model of 
 the church of Aix-la-Chapelle. On the 
 ceiling of the choir, a fine large mosaic 
 represents, on one side, Justinian with 
 his courtiers and warriors; on the other, 
 the empress Theodora with her ladies, 
 it is so excellently preserved that the 
 figures, like all others of this kind at 
 Ravenna, seem really living : in this 
 choir, a person might fancy himself at 
 Constantinople : the features of Theo- 
 dora, of that comedian who passed from 
 a theatrical throne to the throne of the 
 world, have still a wanton air that 
 recalls her long debaucheries." When 
 
 I contemplated the traces of Constanti- 
 nople which exist at Ravenna, it seemed 
 to me that this curious town was more 
 Constantinople than Constantinople it- 
 self, the aspect of which must have been 
 materially changed by the barbarous 
 fanaticism of the Ottomans. A citizen 
 of Byzantium, my fancy pictured the 
 concourse of her literati, legists, theolo- 
 gians, monks, disputants, decrepid na- 
 tion, and the splendour o the edifice did 
 not conceal the weakness of the empire. 
 Some ornaments of the end of last cen- 
 tury are in very bad laste, and the huge 
 garlands of roses, painted and as if sus- 
 pended from its colossal cupola, seem 
 singularly ridiculous. Two antique 
 basso-relievos of Parian marble, called 
 the Throne of Neptune, compared to 
 the works of Phidias and Praxiteles, 
 were mutilated in secret by a too scru- 
 pulous priest, who narrowly escaped, 
 under the French administration, being 
 punished for his strange crime. Another 
 precious basso-relievo, the Apotheosis 
 of Augustus, is at the entrance of the 
 sacristy. In the chapel of the Holy 
 Sacrament, adjoining, the gilded pyx of 
 the middle altar is supposed to have 
 been designed by Michael Angelo. 
 
 The fine tomb of Isaac Armenian 
 eighth exarch of Ravenna, who died in 
 OH, was erected to him by his wife, 
 and has an extremely pathetic inscrip- 
 tion in Greek, in which her widowhood 
 is compared to that of the turtle-dove. 
 
 The subterranean mausoleum of Galla 
 Placidia is as a monument of the dread- 
 ful catastrophes of the Lower Empire. 
 This daughter of Theodosius, sister of 
 Honorius, mother of Valentinian III., 
 who was born at Constantinople and 
 died at Rome, was a slave Iwice, a queen, 
 an empress, first the wife of a king of the 
 Goths, Alaric's brother-in-law, who 
 fell in love with his captive, and after- 
 wards of one of her brother's generals, 
 whom she was equally successful in sub- 
 jecting to her will; a talented woman, 
 but without generosity, or greatness, 
 who hastened the fall of the empire, and 
 whose ambition and vices have obscur- 
 ed and, as it were, polluted her misfor- 
 tunes. The tomb, formerly covered 
 with gold or silver ingeniously wrought, 
 is now only plain white marble; it still 
 seems to rule in the vault; on its right 
 is the sepulchre of the emperor Hono- 
 rius II., on its left that of Coi>stantius, 
 
Cb'AP. II. ] 
 
 RAVENNA. 
 
 447 
 
 the Roman general, Placidia's second 
 husband. 
 
 The ancient church of Saint John 
 Baptist, consecrated by Saint Peter 
 Chrysologus, to which Placidia's confes- 
 sor, Saint Barbazian, a priestof Antioch, 
 was attached, has two valuable paint- 
 ings : the first, the Virgin, two angels, 
 St. Sebastian and Albert the Carmelite, 
 highly extolled by Vasari, is by Rondi- 
 nclli, a painter of Ravenna, pupil and 
 imitator of Giovanni Bellini; the se- 
 cond. St. Victor, the masterpiece of 
 Pasquali of Forli. 
 
 The church of Saint Theodore or of 
 the Holy Ghost, Gothic, was built in the 
 sixth century by Theodoric, and set 
 apart for the Arian bishops : an old 
 marble pulpit with sculptures of that 
 epoch was perhaps used by them. 
 
 Saint Michael in Africisco presents 
 one of the loo common cases of shameful 
 profanation of monuments of art. This 
 church of the sixth century, suppressed 
 in 1805, is now the fisbmarket, and the 
 gallery, ornamented with a fine mosaic, 
 is filled with tubs, weights and scales. 
 
 At Saint Dominick the Fifteen mys- 
 teries of the Rosary are an elegant 
 work by Luca Longhi, a painter of Ra- 
 venna, in the sixteenth century, and a 
 fine Invention of the cross is also by 
 him. The rich modern chapel of the 
 Crucifix preserves a curious Christian 
 antiquity, a wooden Crucifix ingeniously 
 covered with fine linen imitating the 
 human skin : an inscription beneath 
 states that this image sweated blood dur- 
 ing the battle of Ravenna, so great was 
 the terror of the French arms after the 
 collusory campaigns of the condottieri.' 
 
 The glorious basilic of Saint John the 
 Evangelist, surnamed della Sagra, was 
 founded by Placidia in consequence of a 
 vow she made in a storm when return- 
 ing from Constantinople to Ravenna with 
 her children. There is a tradition that 
 after Placidia had sought in vain for, 
 some relic of the saint to enrich her 
 basilic, she was praying there one night 
 on that subject, and Saint John appeared 
 to her in pontifical robes incensing the 
 altar and the church; enraptured at such 
 a prodigy, the princess threw herself at 
 the saint's feet and embraced them, and 
 he immediately vanished graciously leav- 
 ing her one of his sandals. A marble 
 
 1 See ante, hpok vn. ch. lit. 
 
 basso-relievo represents this vision ; it 
 appears of the twelfth or following cen- 
 tury, like the other sculptures of the 
 temple. The Confession preserves the 
 ancient altar of Greek marble, serpen- 
 tine, and porphyry. In the chapel of 
 Saint Bartholomew, may be seen on the 
 wall fragments of a mosaic discovered in 
 the last century, which represents the 
 storm and Placidia's vow. The ceiling 
 of the second chapel is painted by Giotto. 
 
 After Dante, Theodoric stands the 
 most prominent in the history of Ra- 
 venna . Without speaking at present of 
 his superb mausoleum, 2 a portico in the 
 square, supported by eight large columns 
 of brown granite bearing his cipher, is 
 the only remains of the porticos that led 
 to the basilic of Hercules, restored by 
 him ; a kind of high wall in which are 
 incrusted eight small columns of marble, 
 and a fine basin of porphyry, are the 
 only wrecks of his palace," his succes- 
 sors', and the exarchs'. This palace 
 was principally destroyed by Charle- 
 magne, who, with the permission of Pope 
 Adrian I., carried off its richest orna- 
 ments to France : a strange combination 
 of a pontiff and emperor against a mo- 
 nument! Near the palace of Theodoric 
 is the church of Saint Apollinarius, erect- 
 ed by him in the beginning of the sixth 
 century, and all resplendent with his 
 magnificence and history, despite the 
 irregularity and corruption of the archi- 
 tecture. The twenty-four columns of 
 Greek marble which divide the church 
 into three aisles were brought from 
 Constantinople. A superb mosaic pre- 
 sents a view of Ravenna at that epoch, 
 and twenty-five whole length figures of 
 saints each holding a crown in his hand, 
 which he seems to present to the Sa- 
 viour ; on the other side, the twenty-two 
 female saints, each likewise holding a 
 crown, are graceful, and their dresses 
 would appear very elegant even now. 
 In the middle of the nave stands the 
 antique pulpit of Greek marble adorned 
 with Gothic ornaments. 
 
 The rich majestic church of Santa 
 Maria in Porto, built in 1533, has for 
 one of its altar-pieces the Martyrdom 
 of St. Mark, a chef-d'oeuvre of the 
 younger Palma; there is also a much 
 venerated marble image of the- Virgin 
 in oriental costume, and praying with 
 
 a See post, ch. y. 
 
♦18 
 
 RAVENNA. 
 
 [Book XII 
 
 her hands raised according to the old 
 usage. In the sacristy, an antique por- 
 phyry vase is of One shape and eicellent 
 workmanship. 
 
 In the church of Saint Agatha, orna- 
 mented with rich columns, two of which 
 on the left are spotted like a serpent's 
 skin, the Saint and other saints is one 
 of Longbi's good paintings. 
 
 The splendid church of Saint Ro- 
 muald, or Classc, erected in 1630, is 
 become the chapel of the college of Ra- 
 venna, one of the best in Italy, having 
 ninety boarders and two hundred day- 
 scholars. Porphyry, African marble, 
 cipollino, vert antique, alabaster, lapis— 
 lazuli, are brilliant in this college chapel. 
 It has some paintings : the Vision of St. 
 Romualcl, a good fresco by Barbiani; 
 the Saint, by Guercino ; St. Bartholo- 
 mew and St. Severus, by Franceschini; 
 St. Benedict, by Cignani; in the sacristy, 
 the celebrated Resurrection of Lazarus, 
 by Francesco da Cottignola. In the re- 
 fectory, a grand fresco of the Marriage 
 ofCana is by Luca Longhi and his son 
 Francesco : the veil modestly thrown 
 over the woman near the Saviour was 
 added by Barbara Longhi, Luca's 
 daughter, to satisfy the scruples, it is 
 said, of Saint Charles Borromeo, then 
 legate at Ravenna. 
 
 The old church of Saint Franc'rs, built 
 about the middle of the fifth century, is 
 interesting. In the chapel of the Cru- 
 cifix, two columns of veined Greek mar- 
 ble are decorated with superb capitals 
 by Pietro Lombardo, who also did the 
 exquisite arabesque of the frieze and the 
 pilasters. The Polenta family, immor- 
 talised by their hospitality to Dante, and 
 the misfortunes of Francesca di Rimini, 
 daughter of Guido da Polenta, had their 
 burial-place in this church; one of these 
 lords of Ravenna, Ostasio, who died in 
 1396, is represented sculptured on a large 
 stone in the dress of the Franciscan 
 order. On another stone is seen P. En- 
 rico Alfieri d'Asti, general of the Fran- 
 ciscan order, deceased in 1405, at the age 
 of ninety-two ; and in the features of this 
 monk of the fourteenth century, may be 
 traced the high and stern physiognomy 
 of his tragic descendant. 
 
 The monument caUcd Braccio-forte, 
 by an unknown artist, was highly spoken 
 
 ' Tlio Decretals of Boniface VIII., of Maycnce 
 (1465); the Pliny of Venice (H69| ; (be Bible of 
 
 of by Canova; it represents a dead war- 
 rior, and would be a fine sculpture for 
 a Campo Santo. 
 
 CHAPTER III. 
 
 Library.— Manuscript of Aristophanes.— Medals of 
 Cicero. -Papyrus. —Academy of Flue Arts.— Pa- 
 lace of the Cav. R*"*\ 
 
 The library of Ravenna, founded in 
 1714 by the abbe" D. pietro Cannetli of 
 Cremona, considerably augmented in 
 1804 by libraries from suppressed con- 
 vents, contains more than forty thousand 
 volumes; it has seven hundred manu- 
 scripts and an equal number of editions 
 of the fifteenth century, some of which 
 are very scarce The celebrated ma- 
 nuscript of Aristophanes, of the tenth 
 century, perfect and unique, was used 
 by Mr. Bekkei for the Invernizi edition : a 
 it is to be regretted that he did not pub- 
 lish the Greek scholiast, which is indis- 
 pensible for understanding the Athenian 
 comedian. The manuscript of Ravenna 
 recalls an instance of that municipal li- 
 terary patriotism which animates the Ita- 
 lians, in the absence of the public feeling 
 of free states which they cannot know; 
 Eugene Beauharnais, the viceroy, wished 
 to buy this manuscript; the town au- 
 thorities refused and hid the volume ; 
 after that, Cardinal Consalvi ordered it to 
 be sold to the king of Denmark, but met 
 with the like resistance; so that two 
 persons attached to the Copenhagen li- 
 brary were sent to take a copy. A ma- 
 nuscript of Dante is reputed to be of his 
 day, and its version docs not appear to 
 have been consulted. In the cabinet of 
 medals may be remarked the medal of 
 Cicero, which, in the opinion of Visconti 
 and other learned antiquaries, was 
 struck by the town of Magnesia, near 
 mount Sipylus, in Lydia, in commemo- 
 ration of Cicero's benefits, w hen his son 
 enjoyed the favour of Augustus, who had 
 raised him to the highest dignities of the 
 state, and entrusted him with the govern- 
 ment of Asia. The silver medal of Pope 
 Benedict III. is curious, as it fully refutes 
 the fable of Pope Joan. 
 
 The lapidarian museum offers a pre- 
 cious collection of inscriptions, pagan 
 and christian, chiefly procured from the 
 
 Venice (1476) with pretty miniatures; the Dante of 
 Milan 11478). > Lelpilg, 1794, 2 TOls. 8V0. 
 
Chap. IV. ] 
 
 RAVENNA. 
 
 «9 
 
 pavement of the old basilic. The pa- 
 pyri of Ravenna were celebrated : one 
 only, of the twelfth century, of most ex- 
 traordinary size and well preserved, 
 may be seen in the archbishop's small 
 library; it is a brief of Pope Pascal II., 
 confirming the rights and privileges of 
 the archbishops of Ravenna. 
 
 The municipal patriotism which we 
 have already praised in the Italians, 
 created an establishment at Ravenna in 
 1827, at once useful and pleasing— the 
 elementary Academy of Fine Arts, in- 
 tended to promote improvements in the 
 different arts and trades, and to disse- 
 minate taste and a sense of the beautiful. 
 The pupils, of the province, receive for 
 annual prizes three silver medals, and 
 three gold ones for the triennial prizes. 
 The museum, when first formed, com- 
 prised more than four hundred paintings 
 of the best masters presented by the 
 principal inhabitants ; among them are 
 some by Leonardo, Correggio, Domeni- 
 chino, Guercino, Ludovico Carraccio, 
 Guido, Albano, Tintoretto, Rubens, 
 Poussin, and Luca Longhi, a clever 
 painter of Ravenna in the sixteenth cen- 
 tury, who scarcely ever quilted his na- 
 tive town, and consequently has not a 
 reputation equal to his merits. Plasters 
 of some antique chefs-d'oeuvre and of 
 fine modern works have been sent from 
 Rome and Florence by generous donors 
 who appreciated the excellent manage- 
 ment and wise regulations of this bene- 
 ficent foundation. 
 
 I visited the palace of the Cav. J**** 
 R******, embellished with taste and mag- 
 nificence. A fine ceiling by Agricola 
 represents the death of Camilla, queen 
 of the Volscians ; the head, calm, suffer- 
 ing, and rightly depicted by the artist 
 without the " indignata sub umbras " 
 of the poet, presents the features of ma- 
 dame Murat, whose daughter the Cav. 
 R****** had married ; an ingenious and 
 touching allusion to a domestic cata- 
 strophe. 
 
 1 Villain says that he was buried a grande onore 
 in abilo di poeta. 
 
 " The tract on Monarchy was put in the index by 
 the council of Trent; but it was only put in the 
 second class, as if to indicate that its political no- 
 tions rather than religious doctrines were censured. 
 
 3 Dante's words to Brunelto tatini, when he 
 
 CHAPTER IV. 
 
 Dante's Tomb.— Dante. 
 
 The tomb of Dante is, for the imagi- 
 nation, the first monument of Ravenna, 
 and one of the most illustrious tombs in 
 the world. Rut the paltry tasteless cu- 
 pola in which it was placedabout the end 
 of last century seems little worthy of such 
 a sepulchre. The remains of the poet 
 seem, like himself, to have had their cata- 
 strophes . About two years after his death, 
 Guido da Polenta, who had offered him an 
 asylum and given him a pompous funeral,' 
 being expelled from Ravenna, Dante's 
 body narrowly escaped disinterment from 
 the church of the Minorites of Saint Fran- 
 cis, and his bones, like his book on Mo- 
 narchy, 3 were menaced with the flames, 
 by order of Cardinal Reltramo del Pog- 
 getto : the Florentines persecuted even 
 his memory, and the pope had excom- 
 municated bim. A hundred and sixty 
 years had elapsed when the senator Rer- 
 nardo Rembo, podesta of Ravenna for 
 the Venetian republic, and father of the 
 cardinal, erected a mausoleum to him 
 from the design of the able architect and 
 sculptor Pietro Lombardo, which was 
 repaired in 1692 by the cardinal legate 
 Corsi of Florence, and rebuilt as it now 
 stands in 1780 at the expense of one of 
 his successors, Cardinal Valenti Gon- 
 zaga of Mantua. On the ceiling of the 
 cupola are the four medallions of Virgil, 
 Rrunelto Latini, Dante's master, of 
 whom he had so well 'earned come V 
 uom s' eternal and of his protectors 
 Can Grande and Guido. The aspect of 
 this funereal marble of Dante, before 
 which Alfieri had prostrated himself,* 
 which Ryron had visited somewhat thea- 
 trically dressed in a superb military uni- 
 form, and on which he had deposited a 
 volume of his works, causes a multipli- 
 city of emotions that defy description. 
 The misfortunes of this great man, con- 
 demned, stripped of his property, ba- 
 nished twenty years from Florence, touch 
 the heart as much as his sublime genius 
 confounds the soul. The verses of Ho- 
 
 meets him in hell, where his infamous propen- 
 sities, and perhaps also his political opinions had 
 iDduced the poet to put him. Inf. can. xy. 85. 
 
 4 Prostrato innanzi a' tuoi funerei marmi. 
 
 See his fine sonnet gran padre Alighier, etc. 
 
420 
 
 RAVENNA. 
 
 Book Xli" 
 
 mer arc those of an unhappy poet or a 
 primitive age; the poem of Dante is the 
 production of a victim of proscription, 
 at an epoch of factions anil fanaticism ; 
 exile inspired his verses, and his Flo- 
 rentine hell is the hell of parties, re- 
 volutions, and civil war. Therefore 
 Dante, forgotten, neglected for nearly 
 two centuries, has been again and deeply 
 felt since our own times have experienced 
 the same storms.' His hook is now as a 
 symbol of liberty to the Italians; they 
 love to take refuge therein, and their 
 admiration seems to them patriotism. 
 1 have sometimes had the fortune to read 
 several cantos with young persons of 
 education to whom I was recommended, 
 and I well remember their raptures 
 when reading those magnificent passages 
 on the glory, grandeur, or servitude of 
 Italy : this ardent enthusiastic commen- 
 tary delighted me, utterly unlike the 
 written commentaries that 1 had attempt- 
 ed to peruse. Dante has but little nar- 
 rative ; he makes his actors of the pas- 
 sions, the opinions which agitated his 
 age, and the entire creation is the scene 
 of his poem : 
 
 Al quale ba poslo mano e cielo e terra. 2 
 
 Like Bossuet, Dante has a language to 
 
 ' From the curious returns of S. Gamba [Serie 
 de' testi <li lingua italiana, no. 309), it is seen that 
 there had appeared nineteen editions of the Divina 
 Lommedia, between 1472 and 1500; forty, from 1300 
 to 1G00; only five in the seventeenth century! 
 thirty-seven, from 1700 to 1800: and mere than 
 Gflj in the first twenty-five years of the nineteenth 
 century. The Dante, of the pretty pocket edition 
 of the Italian poets, published at 1'aiis by Butlura, 
 was the first exhausted. 
 
 * Parad. can. xxy. 2. 
 
 i One of Dante's fine verses describes a tailor 
 threading his needle, 
 
 Come vecchio sailor fa nclla cruna. 
 
 Inf. can. xv. 2). 
 
 Some familiar details resemble certain passages 
 of the Sermons, the Elevations a Dieu and of the 
 meditations stir t'Evangile, by Bossuet; for in- 
 stance : 
 
 Ne da lingua che chiami mamma e babbo. 
 ln(. can. xxxii. '■). 
 
 Matto e chi spera che nostra region* 
 l'ossa traseorrer la 'nfinila via 
 cbe liene una sustanzia in tic persoue. 
 
 Slate conteuti, umana genie, al qui;, 
 Che se potuto aveste veder tullo 
 Mestier uon era partorir Maria. 
 
 Pttrg. Can. 111, 34. 
 
 himself, which none spake before or 
 after him ; and like our great orator he 
 can give a marvellous interest to the 
 most ordinary things. 3 Perhaps their 
 inclination towards monarchy* and in- 
 dependence of the court of Rome, their 
 great faith, their fearless Christianity, 
 the clearness of their divinity, 5 are other 
 analogies between them. It is impos- 
 sible to have a perfect knowledge of Dante 
 without visiting Italy; to comprehend 
 him, it is necessary to have contemplated 
 the beauties of nature he describes or 
 the works of art he has inspired; the 
 old paintings of Giotto, Orgagna, Lnca 
 Signorelli, the grandeur of Michael Au- 
 gelo, are his truest and most eloquent 
 expositors. After a study of this kind, 
 one would be tempted to exclaim, like 
 the young Marcus Auielius, of I know 
 not what harangue, which must doubt- 
 less be far inferior to these verses : O 
 omnia! 6 This poet of the thirteenth 
 century has gone over the whole range 
 of thought and feeling. Let us not boast 
 so highly of our progress and improve- 
 ments : the arts of man, all that can be 
 taught, may have advanced towards 
 perfection, but intellect is not extended. 
 
 Cui buon volere e giuslo amor cavafca. 
 
 Can. xvm. 'JO. 
 
 The mournful verse of the Pnrgatorio on the 
 misery and blindness of the world is Bossuet abso- 
 lutely : 
 
 Frate, 
 
 Lo mondo e cieco, e tu vien ben da Jul. 
 Can. xvi. (Hi. 
 
 4 The epitaph on Dante's tomb, attributed lo him- 
 self, is well known : Jura monarchies, etc., as well 
 as his tract De monorchia, in wfiich he allempis lo 
 demolish ale the excellence of that mode of govern- 
 ment, by Ihe example of a family which basils 
 natural head, a system reproduced in our days bj 
 a publicist lor a iime of some celebrity. 
 
 5 The following verses of the Puryatorio are 
 precise definition of free-will : 
 
 Lo cielo i voslri movimenli inizia, 
 [Son dleo tulli; ma poslo ch' io T dica, 
 Lume v' c dale a bene ed a malizia. 
 
 Can. xvi. 73. 
 
 Dante bas thrown out a multitude of Cue 
 on questions purely theological and doctrinal. 
 
 6 Let. ol l'roulo lo Marcus Aurelius, book II, 6. 
 
CUAP. V.l 
 
 RAVENNA. 
 
 i-2l 
 
 CHAPTER V. 
 
 Euvirons.— Walls.— Theodoric's mausoleum.— Cro- 
 cetta.— Albeioni.— Saint Apollinarius in Classe.— 
 l'iueta.- French column.— Baltle.— Coast to Iti- 
 miui. 
 
 The environs of Ravenna, with their 
 ruins, their reminiscences, their deso- 
 late aspect, the vast marshes extending 
 around, seem like another Campania of 
 Rome inundated . The tour of the walls 
 of these grand historical cities is oneof my 
 favourite walks : the walls of Rome are 
 part of its most interesting monuments ; 
 at Ravenna, may still be seen the 
 breaches made by the Barbarians, whom 
 no ramparts can arrest unless defended 
 by the patriotism and courage of the in- 
 habitants. These weak walls showed me 
 the end and renewal of empires. 
 
 The tomb of Theodoric, built by him- 
 self, and from which this great prince, 
 conqueror, legislator, patron of the arts 
 and sciences, was ejected as an Arian, 
 has become Santa Maria della Rotonda. 
 The solid monument of this first of the 
 Gothic kings in Raly is a tolerably good 
 imitation of the mausoleums of Augustus 
 and Adrian, perfectly Roman in its style ; 
 it proves the ascendent that the conquer- 
 ed always obtain when more civilised 
 than their conquerors. The placing of 
 the enormous cupola, of a single stone, 
 estimated by the architect Soufllot to 
 weigh 4-50 tons, shows that there were 
 engineers of extraordinary skill at that 
 epoch. The tomb is buried to the top 
 of the arcades, to such an extent has the 
 soil been raised at Ravenna, as we shall 
 hereafter see. 
 
 A quarter of a mile from the town, a 
 plain Greek cross on a small fluted co- 
 lumn, marks the spot where formerly 
 stood the superb basilic of Saint Lau- 
 rence in Cesarea, founded in 396 by 
 Lauritius, first chamberlain of the em- 
 peror Honorius; it was destroyed in 
 1553, and its thirty columns of precious 
 marble were all, except two placed in 
 the church of Santa Maria in Porto> re- 
 moved to Rome. Empires are not far 
 from their fall when the chamberlains of 
 princes can erect such splendid temples. 
 
 An inscription on the Ponte nuovo 
 states that it was built while Alberoni 
 
 was legate of Romagna; one of the town 
 gates has also received its name from 
 this cardinal, a most insignificant puppet 
 of fortune and intrigue beside the grand 
 catastrophes of Ravenna. 
 
 Saint Apollinarius in Classe, a vast 
 superb basilic of the sixth century, in the 
 Roman style, resembles, for taste, cha- 
 racter, and richness, Saint Paul before 
 its destruction. But if fire devoured the 
 latter basilic, water seems likely to ruin 
 Saint Apollinarius: being situated in the 
 midst of marshes, the foundations are 
 sometimes under water, and I could not 
 pass under the high altar to visit the an- 
 cient tomb of the saint, because the rain 
 water had penetrated there. Round the 
 church are large marble tombs of the 
 archbishops of Ravenna. In the gallery, 
 beside the portrait of Saint Apollinarius, 
 the first archbishop, is the unbroken series 
 of his successors. The church of Ravenna, 
 which boasts itself the eldest daughter 
 of the church of Rome, like her knows 
 the names of her pastors from the estab- 
 lishment of Christianity. In the middle 
 of the nave, between two tombs, the 
 name and title of the emperor Otho III , 
 inscribed on the wall, call to mind the 
 fervent penances of this prince, to ap- 
 pease his remorse for the murder of his 
 enemy Crescentius and the prostitution 
 of his widow to the German soldiers, 
 crimes that she avenged by poisoning 
 him, after he had yielded to her seduc- 
 tions as woman or physician, and per- 
 haps as both. The old town of Classe, 
 destroyed in 728 by Luitprand, king of 
 the Lombards, was, as its name purports, 
 adjacent to the sea, which is now four 
 miles distant, so much is the soil raised 
 and consolidated on its borders by the 
 earth thrown up by the Po and the 
 rivers that empty themselves into this 
 sea. 
 
 The sombre pine-forest (Pineta) which 
 covers Ravenna towards the sea is like a 
 funeral pall thrown by nature over the 
 wrecks of this fallen city. This cele- 
 brated forest, one of the wonders of 
 Italy, has its proper annals and histo- 
 rian.' It is no virgin forest of America, 
 without history or name, but an illus- 
 trious forest : the predecessors of those 
 pines served to build the fleets of Au- 
 gustus ; transformed into Venetian vet- 
 
 See the estimable work of Count Francesco Sloria civile e naturale delte pinele Ravenna 
 iuanni, with the 6omewhat pompous title ofR me, 1774, quarto. 
 
 36 
 
422 
 
 RAVENNA. 
 
 [Book XII. 
 
 sels, they carried the crusaders from Eu- 
 rope to Asia ; but their sad posterity, sold 
 to the navy contractors of neighbouring 
 stales, became the Austrian brig that pro- 
 tected the Turks or the liltle pontifical 
 vessel insulted and plundered by the 
 corsairs of Barbary, before France had 
 resuscitated Greece and conquered Al- 
 giers. The Pineta is also interesting for 
 its poetical associations : Dante mentions 
 it; ' that intrepid fowler most probably 
 hunted there ; ' Boccaccio made it the 
 scene of his extraordinary novel of Nas- 
 tagio degli Onesti, the narrative of a 
 tragic event which brought about the 
 singular amorous conversion of the la- 
 dies of Ravenna; 3 and Byron, who al- 
 ludes but feebly to the Pineta/ composed 
 there, at the request of his mistress, the 
 Prophecy of Dante. 
 
 Popular tradition informs us that Dante 
 frequently went to meditate in a solitary 
 spot which still retains the charming 
 name of Vicolo de' poeti. The proprie- 
 tors some years ago seemed disposed to 
 close this kind of lane; but the literary 
 inhabitants of Ravenna interfered, and 
 it continues public. 
 
 Two miles from Ravenna, on the bank 
 of the river Ronco, is a small pilaster of 
 white marble, called the column of the 
 French, a memorial of the battle gained 
 by the troops of Louis XII. over the army 
 of Julius II. and the king of Spain, on 
 
 1 rurgat. can.xxvm. 20. 
 1 Dante has drawn many admirable comparisons 
 from fowling: 
 
 Quasi falcono ch' esce di cappello, 
 Muove la lesta, e con 1' ale s' applaude, 
 Voglia rcostiando e facendosi bello. 
 farad, can. xix, 3i ; Till, 103, and xvm, -45. 
 
 He seems however lo censure its excessive indul- 
 gence, and accuses himself of that weakness in this 
 verse of the Purgatorlo : 
 
 Come far suole 
 
 Chi dletro all' uccellin sua vita perde. 
 Can. xxiii, 3. 
 
 ' Giorn. v, now. vm. " E non fu questa paura 
 caglone soiamente di questo bene, aim si tulte ie 
 Ravignaue donne paurose ne divennero, die sempie 
 poi troppo piii arrendevoll a' placeri degli uomini 
 furono che prima state non crano." This novel, 
 verslQed by S. Strocchi, is one of the most charm- 
 ing of contemporary Italian poetry. 
 
 4 Don Juan, can. in, cv. cvi. 
 
 8 The column was erected in 1557 by thepresident 
 of Romagna, l'ietro Dona Cesi; the inscription is : 
 
 Hac. Petra. Petrus. Donat. Donatus. iberos. 
 Gallosqu : Hie. Ceesos. Coeslus, Heec. memorans. 
 
 Easter Sunday, April 11, 1512, in which 
 Gaston de Foil was slain, in the twenty- 
 fourth year of his age. The monument 
 of such a terrible engagement, which left 
 twenty thousand men dead on the Geld, 
 and made Bayard write from the spot : 
 " If the king has gained the battle, the 
 poor gentlemen have truly lost it," — is 
 little funereal or military ; it is orna- 
 mented with elegant arabesques of vases, 
 fruit, festoons, dolphins, and loaded with 
 eight long tautological inscriptions, and 
 one of them is a rather ridiculous jew de 
 mots. 5 The speech that Guicciardini 
 makes Gaston address to the soldiers on 
 the banks of the Ronco, is one of the 
 most lauded of those pieces, diffuse imi- 
 tations of the harangues of ancient histo- 
 rians. Besides the illustrious captains 
 present at this battle, such as Pescario, 
 Fabrizio Colonna, the marquis della 
 Paludc, the celebrated engineer Pedro 
 Navarra, taken prisoners by the French, 
 and Anne de Montmorency, yet a youth, 
 afterwards constable of France under 
 four kings, who began his long disastrous 
 military careeramid this triumph, several 
 persons eminent in letters were there : 
 Leo X., then cardinal and papal legate 
 to the Spaniards, was taken prisoner; 6 
 Castiglione and Ariosto were present. 
 The bard of Orlando, who has alluded to 
 the horrible carnage he witnessed there, 7 
 must have been powerfully impressed by 
 
 b Ue redeemed the Turkish horse which he rode 
 on that day and used it in the ceremony of his pos- 
 sesso (taking possession of the tiara at Saint John 
 In Laterauol, celebrated April il, 1513, the anni- 
 versary of the battle. I.eo X. hud this horse care- 
 fully tended till it died, and permitted no one to 
 mount it. 
 
 7 Nuoteianno i destrier (ino alia pancia 
 Kel sangue umaii per tulla la caropagna; 
 Ch' a seppelllre il popol verra manco 
 Tedesco, Ispano, Greco, Halo c Franco. 
 
 Orl. can. m, St. tv. 
 Quella viltorla fu piii di conforto 
 Che d' allegrczza, perche troppo pesa 
 Contra In gioia nostra il veder- morlo 
 11 capitan di Francia e dell' Impresa ; 
 
 Ma ne goder possiam, ne farnc festa, 
 Scntendo I gran rammaiichi e Y angosca 
 Ch' in vesta hi una, e lacrimosa guancia 
 Le vedovelle fan per tulla Francla. 
 
 Can. xiv, st. vi, vn. 
 
 In several passages of his poem, Ariosto attributes 
 the victory on this occasion to the skill and courage 
 of the duke of Ferrara. It has been stated that 
 Alfonso, iu reply to an observation that part 
 
 - 
 
Cn.kP. VI.] 
 
 FORLI. 
 
 425 
 
 it to paint his battles with so much fire. 
 The desire to pass the Rubicon, which, 
 relying on Addison, I supposed to be the 
 Pisatello, made me follow the coast as 
 far as Rimini in 1827. I confess that I 
 had some difficulty to recognise it near 
 the sea ; the aspect of the country made 
 me think that the channels of the dif- 
 ferent rivers I saw must have changed ; 
 for they are merely torrents spread over 
 the plain. I have since found the real 
 Rubicon; « but then, if I had not per- 
 fectly recognised it, I was very sure that 
 I had crossed it somewhere before reach- 
 ing Rimini, and my conscience as a tra- 
 veller was at ease. 
 
 CHAPTER VI. 
 
 Forli.— Catherine Sforza. — Cathedral. — ClgDanl's 
 cupola of la Virgine del Fuoco. — Saint Jerome. 
 — Cesena. — Mala test iana.— Savignano. — Senatus- 
 consultum.— Rubicon. 
 
 Forli is a large new town, all white- 
 washed ; to escape its common appearance 
 I sought the old ruined ramparts. I had 
 been told that it was on these very walls, 
 between the gates of Cesena and of 
 Rave'nna, that the duchess Catherine 
 Sforza, natural daughter of Giovanni 
 Galeas Maria, who took refuge in the 
 citadel after the murder of her husband, 
 where the rebels besieged her threatening 
 to kill her son left as a hostage in their 
 hands, appeare'd, and there, nobly inde- 
 licate and less a mother than a partisan, 
 she declared and gave ocular demonstra- 
 tion, that she was not past childbearing. 
 Catherine afterwards became the prisoner 
 of Cesare Rorgia, having intrepidly re- 
 sisted his army, which the king of Naples 
 and the duke of Milan had not ventured 
 to await. Machiavel celebrates her glortj 
 and magnanimous resolution, although 
 unsuccessful ; and he, as secretary of the 
 Florentine republic, had counselled the 
 alliance with the detestable Borgia; such 
 too often is the difference between a 
 man's real opinions and his political con- 
 duct ! 
 
 The palace del Comune of Forli has an 
 elegant bust by Desiderio da Settignano. 
 
 The majestic door of the cathedral is 
 ornamented with sculptures and basso- 
 
 tbe French army was as much exposed to his ar- 
 tillery as the army of the allies, said to his gun- 
 ners In the heat of the conflict, "Fire away ! fear 
 uo mistake ; they are all our enemies ! " 
 
 relievos, in a good style, of the year 1465. 
 Carlo Cignani was occupied twenty years 
 in executing the cupola of la Virgine 
 del fuoco, perhaps the most important 
 painting of the eighteenth century, and 
 it was necessary to begin taking down 
 the scaffolding to compel him to finish it. 
 This colossal fresco has inspired the fol- 
 lowing elegant sonnet by Giambattista 
 Zappi, who has so felicitously sung the 
 Moses of Michael Angelo : > 
 
 Un gloruo a miei pensler dlsse II cor mlo : 
 Fidi pensier chl ml sa dir di vol 
 Quant' e la gloria de beati erol. 
 E come stansi in ciel gli Angeli, e Dlof 
 
 Me noii polrete far pago 1 1 desio : 
 Slefauo vide aperlo il ciel . ma poi 
 Nulla ridisse : e fe rilorno a not 
 Paolo, e si tacque, onde dispero ancb' lo : 
 
 Wentre pur Osa era oila mente in quelle 
 Forme, a cui 1' uman senso ludarno asplra, 
 Tanto comprese men, quanto piu belle: 
 
 Dlsse la fama : a che tuo cor sospira 
 Scorgere il ciel, qual' e sovra le slelle? 
 Vanne sul Roneo : enlra nel templo : e mira . 
 
 At Saint Mercurial, in the chapel de' 
 Ferri, ornamented with exquisite sculp- 
 tures of 1536, is a superb painting by 
 Innocenzo d'lmola. 
 
 At Saint Philip of Neri are an Annun- 
 ciation and a Christ by Guercino. 
 
 The church of Saint Jerome offers a 
 Conception, one of Guido's chefs-d'oeuvre, 
 and the graceful mausoleum of Barbara 
 Ordelaffi, a young woman of a charming 
 countenance, who, notwithstanding the 
 inscription put thereon by her husband, 
 very probably died of poison administered 
 by him. A chapel painted in fresco is 
 attributed to Mantegna. 
 
 The arabesques and the half-length 
 figure offering drugs on the outside wall 
 of Morandi's drug shop, are excellent 
 frescos by Melozzo, a great artist of Forli 
 in the fifteenth century, the first ceiling 
 painter, who had the glory to give lessons 
 in that art to Correggio. 
 
 Cesena has charming environs, but no 
 monuments. The principal curiosity is 
 the Malatestiana library, founded in 1452 
 by lord Domenico Malatesta Novello, an 
 illustrious warrior like his brother Sigis- 
 mundo, lord of Rimini, who, being se- 
 riously wounded, retired to Cesena, and 
 
 1 See the following chapter. 
 3 See posf, boot xv. ch. ji. 
 
m 
 
 RIMINI. 
 
 [Book XII. 
 
 devoted himself to reiigion and learning. 
 The chained manuscripts recall the Lau- 
 rentian. Malatcsta Novello, by whose 
 orders many of these beautiful manu- 
 scripts were executed, confided them to 
 the Franciscans wilh an annuity of 200 
 golden ducats. Paul Manutius shut 
 himself up several months in the Mala- 
 lesliana, to collect materials for his 
 editions. A letter written to him by 
 Annibale Caro. in December 1538, gives 
 some idea of this laborious retreat : 
 Quanto mi sia stata grata la vostra 
 voivel posseteimaginare.pensando che 
 tutto quel tempo che siete stato richiuso 
 nellalibreria di Cesena, v' abbiamo non 
 solamcnte cercato per ismarrito, ma 
 pianto ancora per morlo... Oime, star 
 tanti mesi senza mai far segno pur di 
 vivente ! io lo so ora, che siete stato, a 
 guisa di quel grandi eroi, a domare i 
 ccrberi, le chimere, e gli altri mostri 
 dclla lingua latino, per immortalarvi, 
 
 non per morire Intendo eft' avete 
 
 trovato in quella libreria di Cesena 
 cose mirabili, ■ The Malatestiana now 
 belongs lo the town and is public; and 
 with the permission of the gonfalonier, 
 one may take the volumes home, except 
 the manuscripts and first editions, a pri- 
 vilege very rarely accorded in Italy. 
 The Etymologies of Saint Isidore, bi- 
 shop of Seville, a kind of encyclopedia 
 of the seventh century, the oldest 
 and most valuable manuscript, is sup- 
 posed of the eighth or ninth cen- 
 tury. 
 
 In the palace del Comune, a Virgin 
 with several saints is a chef-d'oeuvre of 
 Francia. 
 
 The church of the Capuchins, filled 
 with odoriferous flowers, offered a fine 
 painting by Guercino, in excellent pre- 
 servation, which the monks showed with 
 great politeness. 
 
 The Campo Santo is remarkable ; se- 
 veral inscriplionsare in the vulgar tongue, 
 now employed in preference by some 
 Italian literati. * There are also some 
 quotations from the poets : over the bust 
 of a young girl is the verse from Petrarch : 
 
 Cosa bella e mortal passa c non dura. 
 
 On an eminence outside of the town 
 is the convent of the Madonna del Monte, 
 
 1 Lettere Imrlevoli, No. III. 
 * see ante, booli re, cli, m 
 
 attributed to Bramanle, formerly re- 
 puted for its antiquities, in which Pius 
 VII., a native, of Cesena, as well as his 
 illustrious and unfortunate predecessor, 
 had been a Benedictine. 
 
 IVear Savignano stands a column on 
 which is inscribed a senatus-consultum 
 devoting lo the infernal gods, and de- 
 claring sacrilegious and parricidal, any 
 person soever who should cross the Ru- 
 bicon with a legion, an army, or a 
 cohort; an apocryphal monument most 
 unaccountably supposed authentic by 
 Montesquieu. It seems incontroverlibly 
 proved that the little river passing by 
 Savignano, under a Roman bridge of the 
 consular period, a very remarkable 
 work of travertine stone, is the real Ru- 
 bicon ; lower down it joins the Pisatello, 
 below the Savignano flood-gates, (it a 
 point called le due bocche, and with it 
 falls into the sea. The bed of this river 
 has still the red pebbles which make 
 Lucian call it the puniceus Rubicon, 3 
 and the pavement of the bridge is of the 
 same colour. The aspect of the locality 
 recalls the pcrque imas serpit valles, 
 and this time 1 was perfectly satisfied 
 that I saw the river passed by Caesar, and 
 fancied I heard the jacta sitaleaA Cisal- 
 pine Gaul ultimately extended beyond 
 Ravenna. This immense government 
 was entrusted to Caesar out of respect to 
 the old custom which had always given 
 it to one person, though from its enlarge- 
 ment it would have been prudent to 
 divide it. In this manner, the scrupu- 
 lous respect of the senate for old usages 
 and the ancient regime of the republic 
 brought about its fall and Caesar's 
 triumph. This citizen, a simple general 
 of Rome, then governed the same terri- 
 tory as Napoleon, emperor of the French 
 and king of Italy. 
 
 CHAPTER VII. 
 
 Rimini. — Bridge.— Arch of Augustus.— Saint Francis. 
 — Alberli.— Mala testi.— Chapel.— Fortress.— Fran- 
 cesca di liiiiilni.— Library — Cagliostro. 
 
 The entrance to Rimini is over a 
 superb marble bridge built under Au- 
 gustus and Tiberius, which, after more 
 than eighteen centuries, is still splendid 
 as ever. On this bridge may be re- 
 
 5 Pharsal. lib. i. 215. 
 
 i Sir i lie end of last chapter. 
 
Chap. VII. ] 
 
 RIMINI. 
 
 marked the lituus or augural sceptre, 
 one of the attributes of the emperors, 
 all grand pontiffs, as Caesar had been; 
 the popes have inherited this double 
 power ; the pontificate and sovereignty 
 seem inseparable at Rome, as if the 
 Eternal City required a power that draws 
 its origin from heaven. At the eastern 
 gate, the arch of Augustus, another mag- 
 nificent evidence of Roman grandeur, 
 commemorates the gratitude of the in- 
 habitants for the repairing of the most 
 celebrated roads of Italy. 1 
 
 The church of Saint Francis is the 
 chef-d'ceuvre of the great Leone Battista 
 Alberts, the restorer and lawgiver of 
 modern architecture ; at once a poet, 
 painter, sculptor, geometrician, scholar, 
 legist, musician, and eminent as a writer, 
 he was one of the men most wonderfully 
 endowed by nature. Alberli found a 
 prince worthy to employ his genius : 
 Sigismundo Pandolfo Malatesta. lord of 
 Rimini, an adventurous warrior of the 
 fifteenth century, and not the less a 
 friend of poets, philosophers, and learned 
 men, with whom he loved to converse, 
 wished that after death the assemblage 
 of their tombs and those of his captains 
 should become a noble ornament of the 
 temple he intended to found; a great 
 and generous idea honourable to Italy, 
 which has been imitated at Westminster 
 and parodied at our Pantheon. The 
 effect of these different sarcophaguses in 
 the antique style, placed outside the 
 church, under arcades separated by a 
 coping, is of admirable simplicity. The 
 ancients, who in most cases excel the 
 moderns, are inferior to them at Ri- 
 mini ; the arch of Augustus and even the 
 bridge yield the superiority to the mo- 
 nument of Malatesta. The Gothic in- 
 terior is full of mementos of the Mala- 
 testas, that race of heroes and bastards, 
 in which the inheritance nearly always 
 passed to illegitimate sons. Pandolfo 
 also erected several mausoleums there ; 
 the one consecrated to his brother, who 
 died in the odour of sanctity, with this 
 title: olim principi, nunc protectori; 
 
 1 In 1825 there was published at Rimini an ex- 
 cellent and complete work on the arch of Augustus, 
 entitled : Illustrazione deli' arco d'Auguslo con otto 
 tuvole in rame : the author isS.MaurlzioBrighenli, 
 archilecl tind engineer to Ihe legation of Forli ; and 
 the artists are two young men of Rimini, SS. Fi- 
 ippo Morolli and Ludovico Carlini ; the work is 
 enriched with, a learned essay by S. Borghesi, on 
 
 another to the illustrious women of the 
 family : Malatestorum domus hero'i- 
 dum sepulchrum; lastly, one to Isotta, 
 the best-beloved of his wives, a graceful, 
 intrepid, learned princess ; and one for 
 himself. The bronze work of the chapel 
 of the Holy Sacrament has been attri- 
 buted to Ghiberti; '■ three basso-relievos 
 were supposed Greek by the abbe" Bar- 
 thelemy; the old Sibyl, the sarcophagus 
 of the Malatestas, in the chapel dell' 
 Acqua, are superb. The Malatesta 
 arms are a rose and an elephant; the 
 great number of these emblems and of the 
 united ciphers of Sigismundo and Isotta 
 gives the church of Saint Francis a 
 rather oriental and singularly poetical 
 complexion. 
 
 In the market-square stands a pedestal, 
 on which, according to an almost obli- 
 terated inscription, and a popular tradi- 
 tion little worthy of credit, Caesar stood 
 to harangue his troops after passing the 
 Rubicon. Some few paces distant is an 
 altar erected on the place of a column 
 from which, according to the inscription, 
 Saint Anthony had preached : a strange 
 association of the great captain of Rome 
 and the name of his master of the horse ! 
 Near the canal is another small chapel 
 also dedicated to Saint Anthony, whence 
 he is said to have preached to the fishes 
 because the inhabitants of Rimini would 
 not listen to him. 
 
 The fortress, a fine military structure 
 by Malatesta, bearing his name, com- 
 mands the town; the sea is visible from 
 it; the rose and elephant are still there, 
 but seem out of place on this castle now 
 a prison. 
 
 I sought for traces of the house of 
 Francesca d'Arimino; it seems that it 
 stood on the site of the Ruffo palace. 
 Some persons place the pathetic scene of 
 Francesca and her lover at Pesaro, and I 
 was for once reduced to a conditional 
 emotion. 
 
 The library of Rimini, founded in 1617 
 by a legacy of the jurisconsult Alessandro 
 Gambalunga, contains thirty thousand 
 volumes. The manuscripts, with the 
 
 the Latin medals which represent the monument, 
 and on the manner of determining the inscription. 
 3 Cicognara (Slor. del Scult. iv. 448) combats 
 this opinion held by Vasari, and the canon Ludo- 
 vico iNaidi of Rimini, who seems to have again 
 demonstrated its accuracy in a note to his work. 
 Dei compiti e deW anlico compilo savignuneu, 
 fesaro, 1827, 4to. p. 152. 
 
 36. 
 
*2« 
 
 SAN MARINO. 
 
 [Book XII 
 
 exception of a papyrus commented on by 
 Marini and some classic manuscripts, 
 chiefly relate to the history of the town. 
 The sixty-three volumes of Allegationes 
 left by the learned antiquary cardinal 
 Garampi, which extend from 1736 to 
 1773, instead of giving details on the 
 different missions into the courts of Eu- 
 rope, are only a collection of theological 
 or judicial papers of no utility or interest. 
 A few miles from Rimini stands the 
 castle of San Leo, the place of Cagliostro's 
 imprisonment and death. We have seen 
 that Law ended his days at Venice : Italy 
 is not only the asylum of fallen greatness, 
 but the refuge of adventurers too. In 
 our days, certain charlatans who suc- 
 ceeded in mystifying Europe at last failed 
 at Rome : Italian acuteness is less cre- 
 dulous and gullible than the enlightened 
 civilisation of London and Paris. 
 
 CHAPTER VJII. 
 
 Jlepublic of Sun Marluo. — Constitution. — Popula- 
 tion.— Revenue.— Army. — San Marino. — Church. 
 — Onofi'i.— S. Borghesi.- Citizens of San Marluo. 
 -View. 
 
 From Rimini to San Marino, the ca- 
 pital of thatliltlc and celebrated republic, 
 the road is steep and savage, but wide and 
 in good repair. The constitution of San 
 Marino is theoldestin Europe, though not 
 written, and has existed for fourteen cen- 
 turies; it has two captains, one of the town, 
 the other of the country, charged with 
 the executive power, and elected every six 
 months ; but among those who have 
 hitherto held this office there has not yet 
 arisen one of those ambitious chiefs, the 
 ordinary and inevitable usurpers of li- 
 berty. The general council, composed 
 of sixty members taken from the nobles ' 
 and plebeians promiscuously, andelccted 
 immediately by the people in general 
 assembly (arringo), forms the legislative 
 body, and a council of twelve, a kind of 
 upper bouse, of which two thirds of the 
 members are changed every year, is the 
 channel of communication between the 
 legislature and the two captains. Thus 
 we see that this constitution, though 
 
 1 Addison and those who liavo followed him are 
 rulstalien in stating that the general council Is 
 composed of half plebeians and half nobles : the 
 thing would be Impossible from the small number 
 of patrician families, as each family can only sup- 
 ply one councillor. Therefore, instead of forming 
 half the council, the nobles are always tbe miuo- 
 
 democratic, has wisely rejected the prin- 
 ciple of a single house. A magistrate 
 not a citizen of the republic, named every 
 three years by the general council, is 
 charged with the administration of justice. 
 A physician and surgeon, also strangers, 
 are engaged for the same period of time. 
 The territory of the republic of San 
 Marino, which is treated as insigniGcant, 
 though larger than some republics of 
 ancient Greece, is seventeen square miles j 
 the number of inhabitants is four thou- 
 sand, six hundred of whom belong to the 
 capital ; the revenue of the state amounts 
 to about 30,000 livres, the army is forty 
 strong. Three forts are all the strong- 
 holds : on the highest, four small cannons 
 founded in 1824, ex sententid senatus, 
 according to the inscription, were about 
 the calibre of the small artillery of 
 steamers, and seemed well proportioned 
 to the size of the republic. 
 
 The founder and lawgiver of this state 
 was a hermit mason from Dalmalia, who 
 had worked at Rimini and withdrew to 
 Monte Titano, to escape Diocletian's 
 persecution. Onthedooroflhe principal 
 church is a remarkable ancient inscrip- 
 tion : 
 
 Divo Marino Palrono 
 Et libertatis auclori 
 D. C S. P. 
 
 Behind his statue on the altar is a hollow 
 which is said by tradition to be the bed 
 San Marino excavated for himself in the 
 rock, though in reality it is only a cata- 
 comb loculus.* In 1827 they were build- 
 ing a new church; but this temple of 
 hewn stone, with a portico, appeared 
 too splendid and too costly for so small a 
 slate ; it was not finished in 1830. Many 
 centuries ago, the liberty of San Marino 
 obtained the precious title of perpetual 
 liberty, which it seems likely to ve- 
 rify. The vicinity of the Malatestas, the 
 haughty lords of Rimini, might be dan- 
 gerous heretofore; Albcronr, legate of 
 Roinagna, intrigued for its destruction 
 in the last century; and, in our days, it 
 has been generously defended by one of 
 the best citizens of the republic, Antonio 
 
 rlly. Addison is equally in error when he re- 
 proaches the government of San Marino as arisio- 
 craiical. See ch. ix. of the Memorie storiclie tlclla 
 reoubblica di San Marino raccotte Ualcav. Melcluore 
 Dclftco. Milan, 1804, lu-4to. 
 » A cavity intended to receive tho body. 
 
Chap. VIII.] 
 
 SAN MARINO. 
 
 42f 
 
 Onofri, who deserved while living the 
 surname of Father of his country, which 
 I saw on his tomb. 
 
 At San Marino I visited S. Bartolom- 
 meo Borghesi, regarded as the first scholar 
 of Italy since Yisconti, and the son of a 
 very learned man, whom I found settled 
 on the very summit of this rugged moun- 
 tain, with his superb cabinet of medals 
 containing about forty thousand, one of 
 the richest for consular and imperial me- 
 dals. S. Borghesi, who would be an 
 ornament to the most celebrated ca- 
 pitals, prefers the solitude of this rustic 
 state, of which he has been admitted 
 citizen : a worthy rival of Sigonius, he 
 was occupied on his important anxiously- 
 expected work on the consular annals. 
 The title of citizen of the republic of 
 San Marino seems, moreover, a real 
 dignity, since it has been borne by such 
 men as Onofri, Melchiore DelBco, the 
 excellent historian of San Marino, 1 the 
 ingenious and paradoxical author of the 
 Pensieri sulV istoria, e sull' incertezza 
 edinutilita delta medesima; by diplo- 
 matic and learned personages such as 
 Bartholdy and Italinsky, and by S. Bor- 
 ghesi : Canova, decorated with ribands 
 by kings and emperors, solicited it and 
 was flattered by obtaining it. 
 
 It is a matter of regret that the an- 
 cientand venerable liberty of SanMarino 
 has produced none of the useful fruits of 
 modern liberty. Beggars are pretty nu- 
 merous there; its prison, which indeed 
 has rarely an occupant, is very badly 
 kept; I will say nothing of its four con- 
 vents of Capuchins and Franciscans, 
 against whom I do not share all the pre- 
 judices of the day; but there is neither 
 printing-office nor academy : the folio 
 volume of the Statutes of the most illus- 
 trious republic of San Marino, and its 
 agricultural regulations, form nearly all 
 its library ; in fine, this republic of four- 
 teen centuries is less advanced in civi- 
 lisation than any fourteen months' old 
 village of the United States, with its 
 post-office, its literary novelties, its post- 
 free journal, and its English and Ame- 
 rican reviews. 
 
 In some respects this little state is 
 prosperous; the inhabitants have some 
 
 1 See the Memorie sloriche delta repubblica di 
 San Marino, already quoted. The house of San 
 Marino in which these memoirs were composed is 
 still distinguished by an inscription, in token of 
 the author's gratitude for the hospitality accorded 
 
 fields in the plain; the wine of San 
 Marino is pretty good; the town of Ser- 
 ravalle, under the mountain, has extend- 
 ed considerably of late years, and ap- 
 pears to have a good trade. San Marino 
 has a theatre. The Belluzzi college, 
 which enjoys some reputation, has about 
 forty pupils ; but they are chiefly foreign- 
 ers, from the province of Montefeltro. 
 One of its professors, the abbe Cesare 
 Montalti, was reckoned clever in the 
 composition of Latin and Italian verse. 
 
 In the council chamber is a fine Holy 
 Family, attributed to Giulio Romano, 
 and the marble bust of the illustrious 
 Onofri. San Marino will not incur the 
 reproach of ingratitude commonly made 
 against republics, for its gratitude to the 
 man who spent his life in its service is 
 everywhere conspicuous. 
 
 Several causes of decline in the re- 
 public of San Marino may be observed. 
 The principal are : the supremacy exer- 
 cised by four or five families which the 
 other vainly attempt to resist; the emi- 
 gration of ancient families and the sale 
 of many portions of the territory to fo- 
 reigners who do not reside there. One 
 would hardly believe that a roulette 
 table is established at San Marino in the 
 market square, and that it pays its im- 
 moral impost to the government. 
 
 Borgo, at the foot of tbe mountain, 
 contains five hundred souls, and is the 
 residence of the principal inhabitants. 
 A singular natural curiosity may be 
 observed there ; it is a cavern into which 
 a perpetual current of air very cold, 
 and even dangerous to approach without 
 precautions, rushes from the mountain 
 through several crevices. 
 
 The view from San Marino is very 
 extensive, and is alone worth the journey : 
 on one side, we behold the gulf formed 
 by the Adriatic near Rimini, the re- 
 splendent waves of that smooth sea, and 
 beyond, when the sky is free from clouds, 
 the craggy coast of Dalmatia ; on the op- 
 posite side, we take in the whole chain 
 of tbe Apennines, whose varied, con- 
 fused unequal summits, present another 
 kind of waves, and look like an ocean of 
 mountains. 
 
 him during the troubles of his country. Delflco 
 died at the age of ninety-one, on the 21st of June, 
 H8I5, a! Teramo, a small tovyn of the rurthei 
 Abruzzi, where he was born. 
 
423 
 
 PESARO. 
 
 [Book XII. 
 
 CHAPTER IX. 
 
 'nttollca. — Pesaro.— riinces of rtovera — Belvedere 
 San Benedetto.— Churches.— Olivier! library.— 
 The Imperlale. — Boud from the Mediterranean to 
 the Adriatic. 
 
 Cattolica, now a handsome village, 
 takes its name from the retreat of the or- 
 thodox bishops, who established the 
 council of Rimini there, in the fourth 
 century, and separated themselves from 
 the Arian bishops. Its fine sheltered 
 situation would be very favourable for 
 a port, which the French government 
 had purposed making there. 
 
 Pesaro I remember with pleasure : 
 my obliging cicerone was the worthy 
 ex-gonfalonier Count Cassi, translator of 
 the first books of the Pharsalia- (which 
 Monti praised), who promises to Italy a 
 clever successor of Annibale Caro, and 
 his drawing-room, ornamented with the 
 busts of Perlicari and Rossini, a native 
 of Pesaro, is a pretty theatre. This small 
 town of Pesaro, always distinguished by 
 the talents it has produced, is thus ho- 
 noured, as we see, with men justly cele- 
 brated, to whom may be added Count 
 Paoli, one of the first chemists in Italy ; 
 the marquis Petrucci, a learned natura- 
 list; the marquis Antaldo degli Antaldi, 
 who is preparing a commentary of 
 Catullus; the compositor Vaccai, and 
 Count Mamiani delta Rovera, author of 
 some elegant poems and profound re- 
 searches on the philosophy of ancient 
 Italy. 
 
 The grand saloon of the palace of the 
 ancient dukes of Urbino, occupied by the 
 legate, still shows the almost royal mag- 
 nificence of the princes of Rovera. A 
 large building opposite, now occupied by 
 shops, was the lodgings of the pages. 
 This court of the dukes of Rovera be- 
 came, in the sixteenth century, one of 
 those beacons of letters and poesy that 
 illuminated Italy. Costiglione proposed 
 it as a model, and made it the scene of 
 his Cortegiano.* Ariosto celebrated it 
 as the asylum of the muses : 
 
 1 The profits of this complete translation of Lucan 
 ore generously destined by Count Cassi to the erec- 
 tion of a monument on the new Belvedere San Be- 
 nedetto, to the memory of his friend and cousin 
 Count Glullo Perlicari, the estimable author of the 
 Scntlori del trecento, the Difesa Ui Dante, etc., 
 who died in 1822, aged forty-three. 
 
 ' From the elegance Castigllone ascribes lo the 
 
 Io era degli antichl amlcl 
 
 Del Papa, innanzi che virtude o sorte 
 Lo sublimasse al sommo degli uffici : 
 
 E prima che gli aprissero le porle 
 I Fiorentini, quando il suo Glullano 
 Si iipar6 ne la feltresca corle; 
 
 Ove col for ma tor del Corliglano, 
 Col Bembo e gli altri sacri al divo Apollo 
 Facea 1' esilio suo men duro e strano.i 
 
 Tasso, shortly after the first representa- 
 tions of his Aminta at Ferrara, read it 
 at Pesaro, whither he was attracted by 
 the princess of Urbino, Lucrezia d'Este, 
 for whom he made his fine sonnet : 
 
 Negli anni acerbi tuoi purpurea rosa; 
 
 a most delicate elogiumof female beauty 
 at thirty-nine, which wasLucrezia's age. 
 I saw in the kitchen garden of Count 
 Odoardo Machirelli, a man of wit and 
 learning, the celebrated casino, now a 
 gardener's house, once inhabited by Ber- 
 nardo Tasso and his son; there the 
 former composed his Amadis, with his 
 son for amanuensis, a long and beauti- 
 ful poem, which would be more known 
 were there no GerusalemmeA The 
 pomps and pleasure of these little courts, 
 doubtless very agreeable to the ladies, 
 musicians, artists, and wits of time, 
 seem however to have been less relished 
 by the governed ; for at the death of 
 Guidobaldo, one of the three dukes of 
 Rovera, Casliglione was entrusted wiili 
 a mission to prevent an expected insur- 
 rection. 
 
 If certain paintings by great masters, 
 once at Pesaro, are no longer there, the 
 town seems to have obtained in com- 
 pensation some material advantages due 
 to the liberal administration of Count 
 Cassi, and to local patriotism; such as 
 the fine promenade of the Belvedere San 
 Benedetto, which unites the Botanical 
 garden and the Lapidarian museum. 
 
 At the church of the Servites, the 
 Virgin on a throne, with a bishop, St. 
 Jerome and St. Catherine beside him, 
 and at his feel the marchioness Ginevra 
 Sforza, widow of Giovanni, and her in- 
 
 lords and Iadle9 at the court of Urbino, nothing 
 can appear more natural than their indignation 
 at the singular manner of making one's declara- 
 tion of love according to Ovid, who directs the 
 lover to write it on the table by dipping his finger 
 in wine, after feigning Intoxication. 
 
 3 Sat. in. 
 
 4 see ante, book u. ch. nil. 
 
Chap. IX. 
 
 PESARO. 
 
 m 
 
 fant son Costanzio II., lord of Pesaro, a 
 painting by Geronimo da Cotignola, 
 dated 1513, may be regarded, though 
 rather dry, as one of the best works in 
 the ancient style : the colour is pleasing, 
 the perspective superb, the heads noble, 
 and the draperies -well expressed. 
 
 Saint Francis has one of Giovanni 
 Bellini's most excellent paintings, the 
 best in the churches of Pesaro, Christ 
 sitting and crowning the Virgin, with 
 several saints. 
 
 There is nothing remarkable in the 
 antique cathedral. 
 
 Saint Cassian possesses a fine St. Bar- 
 bara, by Simonc of Pesaro in his youth. 
 
 The church of Saint John de' Bifor- 
 mati, by Bartolommeo Genga, the cele- 
 brated engineer and architect to the 
 duke of Urbino, has at the high altar a 
 painting by Guercino, in his first and 
 best style, but very roughly handled by 
 time and the restorers. 
 
 At the. church of the Holy Sacrament, 
 a Last Supper is the master-piece of 
 Nicolao of Pesaro, before he spoiled his 
 style. 
 
 The library, museum, and cabinet of 
 medals of the learned antiquarian Oli- 
 vier! were bequeathed by him to his na- 
 tive town. lie seems however to have 
 feared the excessive augmentation of the 
 library, consisting of fifteen thousand 
 volumes; for he has directed that no 
 more than the forty crowns he has left 
 for the purpose shall be expended an- 
 nually in purchases. 
 
 This library is especially curious for 
 some valuable manuscripts ; such are : 
 various readings of Politian's Stanze; 
 corrections and various readings in 
 Tasso's hand on a copy of his Rime; his 
 notes on Dante's Convivio ; several of his 
 unpublished letters ; some poems by Sera- 
 fino dell' Aquila, a famous improvisatore 
 of the fifteenth century, now forgotten; 
 the history of the jurisconsults, in part 
 unpublished, by Thomas Diplovatazio, a 
 learned Greek jurisconsult, who died 
 in 1541, gonfalonier of Pesaro; some in- 
 edited writings of his friend, the cele- 
 brated Pandolfo CoIIenuccio, of Pesaro, 
 a scholar, historian, and dramatic poet, 
 strangled in his prison by order of Gio- 
 vanni Sforza, as Cesare Borgia's agent. 
 The edition of Dante, with annotations 
 
 1 Fontanini, Tita del Tasso, i. c. Ginguene, Hist. 
 lilt. Vital, v. 163. 
 
 by Tasso written while staying at Pe- 
 saro, and cited as being in the Olivieri 
 library, is not there now," and seems to 
 be lost. 
 
 On one side of Pesaro is mount Saint 
 Bartolo, the ancient Accius, which takes 
 its name from the poet L. Accius, or 
 Atlius, the first Latin tragedian, the 
 friend of Cicero, a native of Pesaro, who 
 died at a very advanced age, and is said 
 to be interred in this mountain. Quin- 
 tilian highly eulogises Accius and Latin 
 tragedy ; the feebleness, mentioned by 
 Boileau, is on the contrary applied to 
 comedy : In comcedia maxime claudica- 
 mus. 
 
 On the declivity of Mount Saint Bar- 
 tolo, two miles from Pesaro, stands 
 the Imperiale, once a villa of the dukes 
 of Urbino, now a homestead for a large 
 farm belonging to Cardinal Albani. The 
 degradation of this brilliant villa, for- 
 merly decorated with paintings by the 
 Dossi and Raffaellino, which Tasso's 
 father adduced as one of the finest seats 
 a prince could choose in Italy, 5 began in 
 the last century, when it became the asy- 
 lum of the Portuguese Jesuits expelled 
 by the marquis of Pombal. The marble 
 stairs, the rich floor, the elegance of the 
 columns and chimney-pieces, the gallery, 
 the arms of Rovera, are evidence of its 
 ancient magnificence. From the terrace 
 the eye plunges into the delicious valley 
 through which the Foglia meanders, and 
 descries the sea in the distance. A 
 garden especially reserved to the princes 
 is now uncultivated : in it may be seen 
 this vulgar inscription, little becoming 
 the gallant and polite court of the dukes 
 of Urbino, a kind of rhyming watchword 
 not worth translating : 
 
 A donne, ad octie, a capre 
 Queslo giardin non s' apre. 
 
 The Imperiale was built by the du- 
 chess Vittoria Gonzaga, consort of Fran- 
 cisco Maria II., who contrived this sur- 
 prise for him while absent with the 
 army. Some Latin hendecasyllables, in 
 marble letters on the walls of a hexagonal 
 court, celebrate his glorious return ; the 
 verses are by Bembo, one of the literati 
 most in favour at Urbino's court, as 
 shown by a fine sonnet of Tasso's : 
 
 2 See Bernardo Tasso's charming letler to Vincen- 
 zo I.aureo, written from resaro, February 10, 1557, 
 
430 
 
 FANO. 
 
 [Book XII. 
 
 In queslt colli, In queste lstesse tire, 
 Ove gia vinto, 11 Duce Mauro giacqae, 
 Quel gran Cigno cant6, cb' in Adrla nacqae, 
 E ch' or ira nol mortali eteino vtvc, etc. 1 
 
 Bembo also sings the bravery and gal- 
 lantry of Urbino's court in his sonnet on 
 the Apennines : 
 
 La dove bagna II bel Melauro, e dove 
 Valor e cortesia fauno soggiorno. 
 
 The advantages of civilisation and li- 
 beral government are clearly shown by 
 the following fact : the road from Leg- 
 horn was continued, in the Ecclesiastical 
 states, from Urbino to Pesaro by the 
 grand duke of Tuscany, to whom the 
 pope paid the interest of the capital ex- 
 pended, in order to open the communi- 
 cation between the Mediterranean and 
 the Adriatic; yet Tuscany has not one 
 fourth of the population of these slates ; 
 its territory is much less fertile, and it 
 has not iheir fine position between two 
 seas. This excellent road, finished in 
 1837, takes one in twenty hours from 
 Leghorn, by Florence, Dicomano, and 
 Forli, to the small but tolerably good 
 port of Cesenatico. 
 
 CHAPTER X. 
 
 Fano.— Arcb or Augustus.— Saint Palernlan.— Thea- 
 tre. — Metauro.— Senlgallla. — View. — Fair. — 
 Massacre. 
 
 Fano, the ancient Fanum Fortunes, 
 is now only a little deserted town. A 
 modern statue of Fortune, under the 
 figure of a naked young girl standing, 
 with a veil too large in proportion to her 
 stature, is in the middle of the fountain. 
 The triumphal arch of Augustus has been 
 illustrated with much learning by the 
 engineer Mancini in a letter to S. Bor- 
 ghesi. a The effect of the little columns 
 with which it has since been surmounted 
 for the soke of utility, is odd enough. 
 
 Some few paintings deserve notice. 
 In the church of Santa Maria Nuova, a 
 Piety, under a picture by Pcrugino, has 
 been ascribed to Raphael, but wilh little 
 reason. The Visitation of St. Eliza- 
 beth is curious, as being the work of his 
 father, the obscure but sensible Giovanni 
 Santi. The church of Saint Peter de' 
 Filippini, very pretty, has an Annun- 
 
 * Rime, part. n. 38. 
 
 * See ante, booh hi. ch. xiv. 
 
 ciation, in very bad condition, by Guido; 
 a Miracle of the Saint, a chef-d'oeuvre 
 of his able and conceited rival Simone 
 of Pesaro. Saint Paternian has a very 
 fine Sposalizio, by Guercino. The cele- 
 brated David, by Domenichino, is now 
 at the Folfi college. In the cathedral, 
 the frescos of the chapel of the Saints 
 are by Domenichino ; and a portrait on 
 slate is reputed by Yandyck. 
 
 The famous theatre, erected by the 
 architect Torelli of fano, is perhaps the 
 oldest of existing great theatres. 
 
 Such is the scientific movement im- 
 parted to Italy, that even in this little 
 town of Fano there is published a journal 
 of medicine, surgery, and scienze afjini, 
 il Raccogliatore, very well conducted 
 and edited by the doctors Ludovico Ma- 
 lagodi and Giulio Govoni, who studied 
 at the university of Bologna. Fano 
 would be thought a poor town for a sub- 
 prefecture, but I do not believe that our 
 provincial press can boast of such a pub- 
 lication. 
 
 Advancing some miles into the moun- 
 tain, we find quantities of elephant's 
 bones, probably the wrecks of revolu- 
 tions of the globe, believed by the country- 
 people to be the remains of the army of 
 Asdrubal, who was defeated and -killed 
 near the Metauro, in one of those battles 
 by which the fate of empires is decided. 
 This victory was won by the consul Clau- 
 dius Nero, which Horace pathetically 
 celebrates as one of the first exploits of 
 this illustrious family : 
 
 Quid debeas, 6 Roma, Neronlbus 
 Teslis Metaurum flumen 
 
 but it proves that the plan of Annibal's 
 campaign was a grand conception, as he 
 thus took Rome de-revcrs, while march- 
 ing against her from the extremity of 
 Italy. The river Metauro received a 
 touching canzone from Tasso when, for- 
 lorn and homeless, this great poet came 
 to seek an asylum in the duchy of 
 Urbiuo : 
 
 del grand' Apennino 
 Flglio picciolo.' 
 
 Senigallia, a name commemorative of 
 the passage of our ancestors, has nothing 
 remarkable but a very fine view of the 
 
 3 Rime eroiche, iziiy. 
 
Cuap. XL ] 
 
 ANCONA. 
 
 m 
 
 I sea, and its immense fair, at which are 
 1 sold the manufactures of Italy, France, 
 I England, and Germany, with the shawls, 
 
 brocades, and perfumes of the East. 
 | This vast assemblage of people encou- 
 rages prostitution, which ought to be 
 I more carefully repressed ; the police 
 r exhibits much greater caution with res- 
 J' pect to the shops, for, beside the ordi- 
 j nary regulation for leaving canes and 
 jumbrellas at the entrance, cloaks must 
 
 also be given up. in 1832 the fair of 
 j Senigallia brought in 40,000 Roman 
 
 crowns (8,640L), without, reckoning the 
 
 (receipts of the inland customs. 
 j Senigallia is connected with the most 
 ^notorious treachery of Cesare Borgia, 
 the massacre of the chiefs his allies, who 
 j iihad delivered the town into his hands 
 j and aided him to secure the victory. 
 ' JMachiavel, ambassador of the Florentine 
 \ I republic to Borgia, has been almost ac- 
 : jcused, by Roscoe and Ginguene", as an 
 j accomplice in this murder ; but he is ju- 
 I diciously defended by M. Sismondi, 1 and 
 j especially by the author of the three ex- 
 ! Jcellent articles on Machiavel already 
 [quoted. 1 If Machiavel's relation be 
 ; (cold, it must be remembered that an 
 j Italian diplomatist, a Florentine of the 
 (fifteenth century, was not bound to give 
 jway to the virtuous indignation of a 
 " moralist in a despatch merely recapitu- 
 lating facts previously transmitted to 
 the magistrate of the Ten ; and if he 
 , did not fly in horror, as Ginguene would 
 have him, it is because ambassadors do 
 not usually run away for such affairs. 
 i 
 
 CHAPTER XI. 
 
 incona.— Trajan's arch. — Cathedral.— Churches.— 
 Exchange.— Theatres cheap In Italy.— Giovanni. 
 
 Ancona, with its port and best of 
 lazarettos, by the illustrious Roman 
 irchitect Vanvitelli, its fortifications by 
 Antonio San Gallo, has a fine aspect 
 svithout, but is ugly within. 
 
 Trajan's resplendent triumphal arch, 
 mtirely of white marble, the finest in 
 ,he world, forms a strong contrast with 
 ill around it. This monument alone 
 jvould give a fair idea of Roman great- 
 
 1 Hist, dearip. Hal. xm. 183, 4. 
 
 2 See ante, book xi. ch. viii. 
 
 5 Juvenal, sat. it. K ear this spot the monstrous 
 
 ness. Ancona possessed a vast theatre 
 or amphitheatre, of which considerable 
 remains still exist concealed under the 
 modern constructions of the town. 
 
 The church of Saint Augustine, for- 
 merly Gothic, has been rebuilt within by 
 Vanvitelli. St. Nicholas praying and 
 seeing the souls of the dead come out 
 of purgatory, by Corvi, a painter of the 
 last century, imitator of the Carracci, 
 has effect. The fine St. John baptising, 
 by Tibaldi, was ordered by Giorgio Mo- 
 rato, an Armenian, who had brought 
 the artist to Ancona. The Virgin 
 crowning St. Nicholas of Tolentino 
 with one hand and offering him a lily 
 with the other, is reckoned one of the 
 best works of Andrea Lelio, of Ancona, 
 a pupil and imitator of Baroccio; and 
 his fourteen small paintings of the his- 
 tory of St. Nicholas, in the sacristy, 
 are vivid and held in great esteem. A 
 Martyrdom of female saints, a well 
 finished and affecting picture, is by the 
 canon Lazzarini, a poet and ingenious 
 scholar of the last century. The St. 
 Francis d' Assise praying, by Roncalli, 
 is not without grandeur. 
 
 At the Annunziata is a feeble copy of 
 a painting by Titian, which was sold in 
 1800 to meet the necessities of the hos- 
 pital adjoining the church, and is now in 
 England ; it represents the Virgin riding 
 on a horse led by St. Joseph with shep- 
 herds following. 
 
 On the eminence where an ancient 
 temple of Venus had stood, 
 
 Ante domum Yeneris, quam dorica sustinet Ancon. 3 
 
 is the cathedra!, dedicated to Saint 
 Cyriac, an edifice of the ninth or tenth 
 century, its front alone being by Marga- 
 ritone, a painter, sculptor, and architect 
 of Arezzo, at the close of the thirteenth 
 century. This church, from which there 
 is an admirable prospect, has some fine 
 antique columns, an antique sarcopha- 
 gus, and some paintings : St. Palatia, 
 by Guercino, of remarkable effect; a 
 Sposalisio, by Filippo Bellini, a distin- 
 guished painter of Urbino, imitator of 
 his countryman Baroccio. The chapel 
 of the Relics is of Vanvitelli's archi- 
 tecture. 
 
 turbot was caught on which Domiliau made tha 
 senate deliberate. 
 
432 
 
 ANCONA. 
 
 (Book Xil. 
 
 Saint Domiuick is a great church re- 
 built in 1788, and but recently white- 
 washed. I regretted not finding there the 
 tomb of the illustrious Florentine Ri- 
 naldo degli Albizzi, the eloquent and 
 deadly rival of Cosmo de ! Medici, a re- 
 fugee at Ancona for the last fifteen years 
 of his life, after long imploring foreign 
 aid and making a pilgrimage to the Holy 
 Sepulchre ; his epitaph at Saint Do- 
 minick was only his name and the date 
 of his decease (1452). The Virgin in 
 the clouds between St. Mary Magdalen 
 and St. Catherine showing the portrait 
 of St. Dominican to St. Raymond, in the 
 Carracci style, is by Perozzini, a clever 
 painter of Ancona; a Christ on the 
 cross, by Titian. 
 
 At Saint Francis in alto there are some 
 remarkable paintings : a Virgin of an 
 expression so natural and pure, ordered 
 of Titian in 1520 by Aloysa Gozzi of Ra- 
 gusa ; an Annunciation, for which Guer- 
 cirio was paid something more than 
 61 crowns in 1662, by the abbot Fedc- 
 rico Troilo of Ancona ; a Christ on the 
 cross, by Filippo Bellini. 
 
 Santa Maria della Piazza has a fine 
 Nostra Signora when a child going to 
 **te temple; a work in Guido's manner 
 fty the unequal Roman painter Bene- 
 fial ; and another Virgin on a throne, 
 still better, by Lotto, a mixture of 
 Giorgione's style and the elder I'alma's. 
 
 At the Holy Sacrament, a St. Charles 
 and other saints, by Cesare Dandini, a 
 Florentine painter, pupil of Curradi and 
 afterwards of Passignano, passes for one 
 of his best composed works: the imita- 
 tion of his last master is perceptible in 
 the lower part of this picture, ordered 
 by the celebrated musician Severi. A 
 Ccenaculum, agreeable, is by Francesco 
 Coccianiga, a clever but little inspired 
 painter of the last century. 
 
 The fine fountain del Calamo, with 
 its various ornaments of metal, is by 
 Pellegrini. 
 
 The Exchange differs in character 
 from most buildings applied to similar 
 purposes : its front is Gothic, and on the 
 ceiling are the superb frescos of Pelle- 
 giini, Hercules subduing the monsters, 
 an able and judicious imitation of the 
 terrible grandeur of Michael Angelo. 
 
 Ancona possesses the marvellous chef- 
 d'oeuvre of Ottaviano Jannelli, an artist 
 of Ascoli ; his four small cameos on box, 
 'eft for sale with S. de' Marchesi Agi, 
 
 most distinctly representing, with grace, 
 nature, and perspective, a Chase in a 
 forest, a Love, carrying a large sea- 
 sheil, and Juno descending from heaven 
 in a car drawn by peacocks, a Christ 
 before Pilate after being scourged, not 
 larger than half a nut, and the last, the. 
 most extraordinary and richest in figures, 
 is some arabesques in Raphael's style. 
 These astonishing works may be com- 
 pared to the different tours de force of 
 the same kind, peculiar to all epochs; 
 the author, however, who died in 1000 
 at the age of twenty-five, was self taught; 
 for Bernino, doubtless afraid of the sin- 
 gular precocious genius of this young 
 man, had ungenerously refused to assist 
 him by his counsels. 
 
 Theatrical amusements are singularly 
 cheap in Italy. I went to the play at 
 Ancona for seven sous, in a charming 
 theatre, with two well-painted curtains, 
 one representing Trajan's arch, and the 
 other the front of the theatre; the deco- 
 rations were also in excellent order: 
 it is true that the actors and the piece, 
 imitated from some melodrama, were 
 barely worth the price of admission. 
 
 I made my arrangements with a vet- 
 turino of Ancona to take me to Na- 
 ples by the Abruzzi, a new road passable 
 till the torrents overflow ; it is shorter 
 than that through Rome, and ought to 
 be made a post road. I cannot omit a 
 slight account of my new travelling com- 
 panion, Giovanni, a man of wonderful 
 activity and intelligence. He had a 
 smattering of science, having, I believe, 
 as well as one of his brothers, studied 
 medicine in his youth. This brother, 
 also a singular character, was a gallant 
 fellow who had fought in the wars of the 
 empire, and was decorated with the 
 cross of the Iron Crown. On his return 
 to Ancona in 1814, he opened a fencing 
 and pistol gallery, noble exercises which 
 exposed him to much annoyance from 
 the ecclesiastical authority, although the 
 new professor protested that, if he had 
 served the other, he was none the less a 
 fedele pontificio . A last affront decided 
 the brave fellow (ma un poco bizarro, 
 as his brother owned ) to quit his native 
 town. He was ordered to cut off his 
 mustaches : " You are master of that," 
 said. the old soldier of the grande armee 
 to the legate, pointing his finger to his 
 neck, " but not of this," added he sharply, 
 laying his finger on his mustaches; an 
 
CUAP. XII.] 
 
 LORETTO. 
 
 4bS 
 
 eloquent answer which the Italiau lan- 
 guage and physiognomy must have ren- 
 dered most energetic. Though after ail 
 his campaigns he had probably forgotten 
 part of his medical studies, Giovanni's 
 brother had settled as an apothecary at 
 Cairo, whence he had sent Giovanni a 
 handsome pipe with an amber mouth- 
 ; piece, which, in our long conversations 
 ; by the road, introduced the military and 
 characteristic anecdote above related. 
 
 CHAPTER XII. 
 
 Loretlo. — Palace. — Slalue of Sixtus V.— Doors.— 
 Santa Casa. — Statue of the Madonna. — Palace.— 
 Pots.— Treasury.— Tasso at Lorelto. 
 
 Loretto and its church, which devo- 
 tion, policy, and vanity have rivalised 
 each other in decorating and enriching, 
 presents a strange contrast : a popula- 
 tion of half-naked beggars, and altars 
 j loaded with gold and diamonds; a great 
 I commercial street, full of shops, with 
 jmothing to sell but chaplets, Agni-Dei, 
 
 I crosses, and rosaries. 
 The majestic palace of the governor 
 , is built from Bramante's designs. An- 
 1 other Woman taken in Adultery, by 
 Titian, coquettish, unlike the feeble and 
 repentant woman of Brescia, 1 proves his 
 variety and fecundity. The Nativity of 
 the Virgin, by Annibale Carraccio, is 
 fine in the colouring ; the colours are laid 
 on in such abundance, as usual in the 
 works of these masters, that the projec- 
 tion of the hands and feet is perceptible 
 to the touch : some angels dancing in 
 the upper part of the picture are perfectly 
 aerial. The celebrated apothecary's 
 
 I pots, three hundred in number, ordered 
 by Guidobaldo, duke of Urbino, a patron 
 I. of the arts, representing subjects from 
 j Lhe Old and New Testaments, Roman 
 i history, Ovid's Metamorphoses, etc., are 
 not by Raphael, as commonly supposed ; 
 they are by a Raphael Ciurla, who was 
 clever in copying the works of the great 
 (masters on earthenware. When Chris- 
 tina passed through this town, she was 
 so charmed with them that she offered 
 in equal number of silver vases in ex- 
 change.' 
 
 In the square stands a fine bronze 
 •statue of Sixtus V., which, as well as the 
 - 
 
 1 See ante, book t. ch. vi. 
 
 basso-relievos on the pedestal, k cy 
 Calcagni, a gentleman of Recanati, a 
 clever pupil of Geronimo Lombardo. 
 
 The detestable front of the church 
 erected by Sixtus, in 1587, shows that 
 the decline of taste was at hand. The 
 three superb bronze doors, divided into 
 compartments, representing subjects 
 from the Old Testament, are by the sons 
 of Geronimo Lombardo, Bernardini, and 
 Tiburzio Verzelli : over the bronze statue 
 of the Virgin by Lombardo's sons, is a 
 good imitation of the rude wooden statue 
 preserved in the sanctuary and greatly 
 venerated. The bronze statue of Car- 
 dinal Nicolao Gaetani, kneeling, on his 
 tomb, is by Calcagni. The different 
 chapels are ornamented with mosaics of 
 paintings by the great masters. One of 
 them has on its ceiling some frescos and 
 works in stucco, by Minzocchi, which 
 are true, humorous, and grotesque, in 
 the Flemish taste, and rather ill-placed 
 in a church. The cupola was admirably 
 strengthened at its base and almost re- 
 built by Antonio San Gallo; the frescos, 
 not devoid of grandeur, are reckoned 
 the chef-d'eeuvre of Roncalii, who was 
 preferred to Caravaggio and Guido in 
 the works at Loretto through the favour 
 of Cardinal Crescenzi. These two rivals 
 revenged themselves on Roncalii in a 
 very different manner : the former bar- 
 barously employed a Sicilian bravo to 
 disfigure his face; and the latter oppos- 
 ed him with better paintings than his 
 own. 
 
 But the wonder of this temple is the 
 marble casing that envelopes the Santa 
 Casa, a work of the best times of sculp- 
 ture, at which the following artists 
 were successively employed : Andrea 
 Contucci da Sansovino, his pupil Gero- 
 nimo Lombardo, Bandinelli, Guglielmo 
 della Porta, Raphael da Monlelupo, Tri- 
 bolo, Giovanni Bologna, and Francesco 
 San Gallo. The Annunciation, by San- 
 sovino, in which the angel Gabriel is 
 accompanied by angels standing in the 
 air, and a cloud full of other small an- 
 gels, appeared divine to Vasari. The 
 Jeremiah, of the prophets, by Lombardo, 
 who really triumphs at Loretto, ex- 
 presses a grief commensurate with its 
 cause. The David was admired by 
 Charles V. The figure of a peasant 
 stopping his loaded horse by whistling, 
 in the basso-relievo of one of the jour- 
 nies of the Santa Casa, by Tribolo, is 
 
 37 
 
534 
 
 LORETiO. 
 
 [Book XII. 
 
 perfect. The same artist has executed, 
 in nSposalizio, another excellent figure 
 of a man passionately breaking off a 
 withered branch. I did not participate 
 in the philosophical indignation of some 
 travellers on seeing this marble pave- 
 ment worn by the knees of pilgrims : 
 prayer, whatever be its form or expres- 
 sion, always touches and attracts me, 
 and the furrow it has traced around the 
 Santa Casa inspired me with profound 
 respect. Among the many lamps that 
 burn every day before the Madonna, is 
 one given in 1824. by the countess Feli- 
 city Plater of Wilna, a name associated 
 with the glorious efforts of Polish inde- 
 pendence, a proof that heroism and de- 
 votion may be closely combined. Ju- 
 lius II., when he passed through Loretto, 
 consecrated a cannon-ball from which he 
 was preserved at the siege of Mirandola 
 through the Virgin's intercession: after 
 wards he sent from Rome a large cross 
 of silver gilt with the inscription, in hoc 
 signo vinces, which, from that warlike 
 pontiff, was equally applicable to the 
 ball and the cross. It was a woman, 
 Francesca Trivulzio, a bastard of the mar- 
 shal, whointrcpidly defended Mirandola, 
 when besieged in the depth of winter by 
 this old man of nearly seventy, a captain 
 and soldier, this eager conqueror, who 
 mounted (he breach by a ladder sword in 
 hand. The two sentinels, placed within 
 the church at the door of the Santa Casa, 
 to enforce the rule for depositing canes, 
 umbrellas, and parcels, have a mo- 
 dern air unsuitcd to such a place; and 
 this travelling house, carried by angels 
 through the air, seems a singular charge 
 for two soldiers of the line. The statue 
 of the Madonna, besides its miraculous 
 voyages, was brought prisoner to Paris 
 in 1797, and was placed in the medal 
 cabinet of our great library over a 
 mummy ; and yet, in the very centre of 
 this scientific and profane sanctuary, 
 more than once poor women were seen 
 stealthily touching it with linen and 
 garments. Bonaparte returned it to the 
 pope in 1801; but the pontifical com- 
 missioner singularly refused to have it 
 envoiced, that there might not appear 
 any derogation from the mystic and ae- 
 rial mode of travelling peculiar to this 
 statue. 
 
 The great sacristy has some paintings : 
 A Pious woman teaching girls to sew 
 and spin, by Guido ; a Christ at the 
 
 column, by Tiarini ; a. Madonna imi- 
 tated from Raphael, by Sassoferrato; g 
 Holy Family, by Schidone. 
 
 The ceiling of the great hall of the 
 treasury, representing divers subjects 
 from the Virgin's history, byRoncalli, is 
 not, though greatly praised, irreproach- 
 able in its perspective. The donations 
 and ex-voto offerings composing this 
 treasury are rich and fantastically di- 
 versified. The vases and church orna- 
 ments were presented by the princes and 
 princesses of the old and new dynasties. 
 A large native pearl, on which the canon 
 who guards the treasury pretends to 
 discover and show the Virgin silling in 
 the clouds with her son in her arms, is 
 said to have been sent by an Asiatic fish- 
 erman. I regretted not finding the pen 
 of Justus Lipsius, which he consecrated to 
 Nostra Signora di Loretlo; the pen with 
 which he wrote to Montaigne and sur- 
 named him the French Thales, a re- 
 markable and perhaps unique apprecia- 
 tion of the French philosopher by a 
 scholar of the sixteenth century and a 
 writer turned catholic and devout. The 
 great Conde presented a silver model of 
 the castle of Vincennes where he had 
 been imprisoned by Mazarin, ■ and little 
 did he then imagine that another Italian, 
 glorious, powerful, and also master of 
 France, would there destroy the last scion 
 of his house. A chalice used by Pius VII. 
 in celebrating mass on his return from 
 France in 1814, is an affecting earnest of 
 his gratitude for recovered liberty. The 
 coat, waistcoat, and flesh-coloured bree- 
 ches left by the king of Saxony in July, 
 1828, are more like a theatrical costume 
 than a pious homage. The depositing of 
 these embroidered clothes is only a gro- 
 tesque tradition of (he ancient custom of 
 suspending one's garments after ship- 
 wreck. Tasso, amid all his sorrows, 
 came to pay his vow at Loretto; ibis il- 
 lustrious pilgrim could give nothing, as 
 he had not money enough for his travel- 
 ling expenses; but the admirable canzone 
 which he composed in honour of the 
 Madonna, Ecco fra le tempesle, e i fieri 
 venti, doubtless the finest hymn she ever 
 inspired, is far, far superior to all the 
 donations of the great, the rich, and the 
 powerful in the world 
 
 ' Mablllon, iter ltalicum, p. &. 
 
Chap. XIII. ] 
 
 ABRUZZI.-SULMONE.-ISERNIA. 
 
 455 
 
 CHAPTER XIII. 
 
 Fermo.- Olivei otto. —Abruzzi.— Banditti.— Inhabi- 
 tants.— I'escara. — Popoli. — Sulmone. — Ovid. — 
 Castei di Sangro. — Isernia.— Aqueduct.— Venafro. 
 — Light of Naples. 
 
 Al Fermo are still shown the ruins of 
 the house of its tyrant Oliverotlo, one of 
 th^ model tyrants proposed by Machiavel 
 in his Prince at the. chapter headed, Of 
 those who attain sovereignty by wicked- 
 ness. Oliverotlo, an able captain, de- 
 clared himself prince of Fermo after 
 having massacred his uncle, who had 
 brought him up, and the principal in- 
 habitants of the town, at a banquet; his 
 reign did not exceed a year, as he was 
 .waylaid and strangled at Senigallia, with 
 Vitelloz70, his tutor in crime and in war, 
 a victim worthy of his more dexterous 
 rival Cesare Borgia. 
 
 The entrance into the kingdom of 
 Naples by the village of Giulia Nova, 
 along the Adriatic, has not the enchant- 
 ing aspect of the coast of Terracina and 
 Gaeta. The beach is arid and intersected 
 by torrents; here and there are clusters 
 of pines, but they are dwarfish and seem 
 a very feeble imitation of the superb Pi- 
 neta of Ravenna. The vines are support- 
 ed by small poles as in Burgundy, an 
 arrangement less elegant and poetic than 
 the ulmisque adjungere vites, although 
 it makes the wine belter. 
 
 The inns and their beds on this road 
 are execrable, and too little cannot be 
 said of them. As in the public houses of 
 Montaigne's time, the windows are "quite 
 open, except a great wooden shulter, 
 which keeps out the light if you wish to 
 keep out the sun or wind." The road is 
 tolerably good and well guarded. The 
 inhabitants of the villages one passes 
 through, if compelled to relinquish their 
 old habits, have still the same robberlike 
 appearance. Some of them seem inclined 
 to take up with thieving, as may be per- 
 ceived by their scrutinizing looks at the 
 trunks and parcels, and their eagerness 
 to unload them at the various inns; but 
 having been previously accustomed to 
 robberies by main force, nocturnal ex- 
 peditions, and wholesale plundering, che 
 fecero alle strade tanta guerra , ' they 
 are not adepts at petty theft ; and not 
 being duly initiated in the art, they are 
 
 i Dant9, Inf. can. xn. 138. 
 
 easily disconcerted by a wary person, 
 especially such a man as Giovanni. The 
 wandering, adventurous, and martial life 
 of the Italian banditti has been called a 
 bastard chivalry ; resulting from a dis- 
 ordered social system, most frequently 
 excited by the ostentation and vanity of 
 strangers, it is not considered disrepu- 
 table by the common people ; it is a 
 recommendation in the eyes of a young 
 girl, who is by no means displeased be- 
 cause her future husband has passed some 
 time in the mountains; their name even, 
 banditti (banished), hasnothingdisgrace- 
 ful, as it seems connected with the pro- 
 scriptions practised in the civil wars; in 
 fine, this mode of life preserves among 
 the men devoted to it certain natural 
 qualities, and a kind of dignity, mixed 
 with the principles of the catholic faith. 
 The banditti of the Campagna of Rome 
 spare a man who asserts himself in 
 mortal sin ; the author of Fieramosca 
 knew a person who saved his life by this 
 subterfuge.* Were the history of Italian 
 robbers to be written, we should find 
 therein some singular acts of generosity, 
 as "well as brilliant feats; we cannot 
 forget the conduct of two of these heroes, 
 Pacchione and Sciarra, towards Ariosto 
 and Tasso, on whom they conferred 
 greater honour than these great poets 
 had received, in return for their flatteries, 
 from the princes of their day. 
 
 At the sight of the frightful misery of 
 the inhabitants of the Abruzzi, such as 
 I had an opportunity of observing it for 
 several days, — of that people of shepherds 
 and husbandmen, living on a kind of 
 polenta made of bad corn, — of those 
 robust women, with such easy figures 
 and beautiful eyes, carrying wood or 
 stones on their heads, 1 could hardly 
 comprehend how all that was for their 
 good, as it has been pretended ; the poor 
 people must at last get tired of such 
 beatitude ; and it seems lhat there would 
 be no great harm in applying to them a 
 little of that evil called instruction, with 
 social comforts and improvements. 
 
 The fortress of Pescara, at the mouth 
 of the river so called, on the shore of the 
 Adriatic, has a fine aspect; its garrison 
 consisted oi three hundred men. It was 
 in the river of Pescara, the ancient 
 Aternum, thatthe celebrated condottiere 
 of the fifteenth century, Sforza da Coti- 
 
 See E. Fieramosca, cap. is. 
 
t36 
 
 ABRUZZI — SLLMONE.-ISERNIA. 
 
 [Book XII. 
 
 gnola, a captain of the scandalous Cossa, 
 called John XXIII., 1 was drowned in at- 
 tempting to save his page who had fallen 
 into the water. The town, very ill-built, 
 contains rather more than two thousand 
 inhabitants. Its vulnerary preparation, 
 composed of simples that grow on the 
 neighbouring mountain of Majella, is held 
 in high estimation. An October sunset 
 in the Abruzzi, then covered by a recent 
 fall of dazzling snow, was very fine ; the 
 airy summits of these mountains were 
 admirably defined on the flaming sky. 
 
 Popoli, a damp and dirty place between 
 two high mountains, with a river running 
 through it, seems by its poverty, and the 
 good-natured civilities of the inn, like a 
 town of Savoy. On the ridge of the 
 mountain was the manor of a duke of 
 Popoli, the companion of Charles of 
 Anjou: the castle, though degraded, still 
 retains its air of conquest. The recol- 
 lections of antiquity are more attractive 
 in Italy than the ruins of the middle ages, 
 which are not however without their 
 grandeur; the study of that period, so 
 much cultivated in our days in France, 
 England, and Germany, would also be 
 deeply interesting in this country. 
 
 Sulmone, Ovid's native place, is allied 
 with very different reminiscences. Si- 
 tuated in a bottom between barren moun- 
 tains covered with snow as early as the 
 middle of October, one might fancy that 
 the poet's native place Mas to prepare 
 him for the sad scenes of his exile. But 
 it was not so, and in his bitter moanings 
 he found Sulmone far away from the 
 Scythian shores: 
 
 Me miseruno, Scythieo quara proeul lllq solo esl.» 
 
 Ovid possessed fertile estates and rich 
 domains in the country of the Peligni : 
 
 Gens mea Peligni, regioque domeslica Sulmo.^ 
 
 The most graceful, worldly, and witty 
 of the poets of antiquity had experienced 
 the life of a countryman and mountaineer. 
 This first kind of life, frequent among 
 these poets, and widely different from the 
 way of attaining eminence adopted by 
 modern men of letters, must have con- 
 tributed to the superiority, to the close- 
 ness to nature and true feeling which 
 distinguished the former. The memory 
 
 * See ante, booh x. cu. Ix. 
 a Fast. lib. it. 
 
 of Ovid was not less advantageous to Sul 
 mone than that oS Catullus and Virgil to 
 Sermione and Mantua.4 as it was thereby 
 saved from fire and sword by the army of 
 Alfonso of Aragon, the conqueror of the 
 kingdom of Naples, against whom it had 
 revolted, a prince more generous than 
 Alexander, says Panormita, his historian, 
 for the latter destroyed all Thebes except 
 the house of Pindar. 
 
 The cnly monument erected to Ovid is 
 an old statue over the door of a building 
 which was formerly the prison, but is now 
 a barracks for the gendarmerie; with his 
 square cap, gown, and book, he has more 
 the air of Fra Remigio Fiorentino, the 
 translator of his epistles, than of him who 
 sung the Art of Love and the poet of the 
 Metamorphoses. The town revenue has 
 not yet permitted this Gothic monument' 
 to be exchanged for one more suitable ; 
 there are, however, nearly eight thousand 
 inhabitants at Sulmone : the town has 
 some manufactures ; its comfits, sausages, 
 and strings for musical instruments have 
 some reputation, and it is the chief town 
 of the second district of the farther 
 Abruzzi. 
 
 Not a vestige is left of the ancient city 
 which suffered so much in the civil wars 
 of Matius and Sylla, and of Caesar and 
 Pompcy, and became a Roman colony. 
 Sulmone, subjected in turn to the princes 
 of the houses of Anjou, Duras, and Ara- 
 gon, was utterly overthrown by the two 
 earthquakes of 1703 and 1706. The 
 churches have some splendour. At the 
 parish church of Saint Peter, the Saint 
 is by Pietroda Cortona. La Badia con- 
 tains the. tomb of Jacopo Caldora, a fa- 
 mous Neapolitan condoltiere of the fif- 
 teenth century. 
 
 At a short distance from the town is 
 the superb monastery of San Spirito del 
 Morrone, formerly a convent of Celes- 
 tines, monks famous for their immense 
 riches. 
 
 Some stones, the only remains of a 
 temple of Jupiter, may be seen, it is said, 
 at San Quirini, two miles from Sulmone. 
 A mythological devotion seems faith- 
 fully perpetuated in this part of the 
 Abruzzi : the ancient Peligni adored the 
 goddess Palina ; the mountaineer of the 
 present day venerates Saint Pelino. 
 Near Valloscuro, between Sulmone 
 
 3 pout. lib. iv. ep. xv. 
 
 4 see ante, hook y. cb. vlll. ; and hook ix. cb, ill. 
 
Chap. I.] 
 
 NAPLES. 
 
 43T 
 
 and Castel di Sangro, the road traverses 
 a profound ravine, a vast wilderness of 
 imposing aspect interspersed with wood, 
 mountains, and rocks. The villages, 
 halfway up (he hills, with high roofs, few 
 of them having either windows or chim- 
 neys, seem rather little forts than rustic 
 dwellings. It is impossible to imagine a 
 finer situation for brigands. 
 
 Castel di Sangro, where they manu- 
 facture playing cards and carpets, was 
 formerly frequented by the princes of 
 Aragon, especially Ferrandino, duke of 
 Calabria, who went there for bear-hunting. 
 
 Isernia has many antiquities. An 
 aqueduct, of about a mile, dug through 
 
 the rock, is a fine bold construction. 
 After passing Isernia, the stern aspect 
 of the mountain becomes softer ; one 
 begins to feel the genial clime and light 
 of Naples diffused around ; this light ap- 
 pears at the horizon like a vast and bril- 
 liant illumination which increases in 
 brightness as we advance. At Venafro, 
 which produces oil still held in as high 
 repute as in the days of Horace : 
 
 Viridiqne certat 
 Bacca Venafro, 
 
 and which presents the ruins of an am- 
 phitheatre, we are in Campania. 
 
 BOOK THE THIRTEENTH. 
 
 NAPLES. 
 
 CHAPTER I. 
 
 Road from Leghorn to Naples.— Steamboat.— The 
 Mediterranean.— Naples. — Customhouse.— Lazza- 
 roni. 
 
 Steamboats are certainly very useful 
 and convenient ; but this kind of naviga- 
 tion is dull and unpoetical : smoke,noise, 
 dirt, a restaurant, a reading-room, like 
 a fragment of Paris floating through the 
 seas. The wind rarely agitates the sail 
 of this vessel, which hurries on as if 
 dragged along by an irresistible and 
 fatal power ; we hear neither the songs 
 nor shouting of sailors, nor the cadenced 
 splash of oars, but the dead monotonous 
 beating of the engine; and instead of the 
 fragrant odour of tar, we inhale only 
 the tepid exhalations of boiling water 
 
 The aspect of the vessel also contrasts 
 with the mythological traditions of the 
 Tyrrhenian sea, and the black coal smoke 
 must make the fair Nereids conceal 
 themselves at the bottom of the waters. 
 Night seems rather more favourable to 
 this boat : the spark that twinkles at the 
 chimney top and the long white streak 
 of foam we leave behind, are distinct in 
 the darkness, and of fine effect. 
 
 Tassoni has poetically painted (he route 
 from Leghorn to Naples, which he makes 
 Venus pass in a small vessel ( Cegnetto), 
 despite the tempest indispensable to 
 heroic and epic poems. His description 
 is at once accurate, imaginative, and har- 
 monious : 
 
 .... Venere fra lanto in altro lato 
 Le campagne del mar lieta scorrea. 
 Un mirabil legnetto apparecchiato 
 
 37. 
 
438 
 
 NAPLES. 
 
 LBook XIII. 
 
 A la foee de 1' Arno In fretta area, 
 E movea qulndl a la rlviera amena 
 De la real ellla de la Siren*. 
 
 Capraja addietro e la Gorgoua lassa, 
 E prcude in giro a la sinistra 1' onda. 
 Quloci Livorno e quindi 1' Elba passa 
 D' ampie vene di ferro ognor feconda. 
 La distrutta Faleria in parte bassa 
 Vede e Piombino in su la manca sponda, 
 Dov' oggi il mare adorubra il monte c 'I piano 
 V aquila del grand Ke dell' Oceano. 
 
 Vede 1' Umbrone, ovo sboccando ei pere, 
 E 1' isola del Giglio a mezzo giorno; 
 E 'n dirnpata c ruinosa sede 
 Monte Argentaro in mezzo a 1' onde vede. 
 
 Quindi s' allarga in su la destra mano, 
 E laseia il porto d' Ercole a mancina, 
 Vede Civita Vecchia, e di lontano 
 Biancheggiar tutto il lido e la marina. 
 Giaceva allora il porto di Trajano 
 Laccro e guasto in misera ruina : 
 Strugge il tempo le torri, e i marmi solve 
 E le macchine eccelse in poca polve. 
 
 Gia s' ascondeva d 1 Ostia il lido basso, 
 E '1 porto d' Anzio di lontan surgea ; 
 
 Rade il porto d' Astura, ove tradito 
 Fu Corradin nella sua fuga mesla. 
 Or i' eseropio crudele ha Dio punito, 
 Che la terra distrutta e inculta resta. 
 Quindi monte Circello orrido appare 
 Col capo in cielo e con le piante in marc. 
 
 S' avanza, e rimaner quinci in dispartc 
 Vede Ponzia diserta e Palmarola, 
 Che furon gia de la cilta di Martc 
 Prigioni illustri in parte occulta e sola. 
 Varie torri su 1 lido erano sparte ; 
 La vaga prora le trascorre e vola, 
 E passa Terracina, e dl lontano 
 Vede Gaeta a la sinistra mano. 
 
 Laseia Gaeta. e su per V onda cone 
 Tanto, ch'arriva a Procida, e la rade. 
 lndi giugne a Puzzolo, e via trascorre 
 Puzzolo, che di solfo ha le contrade. 
 Quindi s'andava in Nisida a racenrre 
 E a Napoli scopria V alta bellndo I 
 Onde dal porto suo parca inrhinare 
 La Regina del mar, la Dea del moi". 1 
 
 The Mediterranean, since the long 
 voyages on the Ocean and the discoveries 
 or great modern navigators, has degene- 
 rated into a kind of lake for the use of 
 poets and men of letters ; it is not the 
 sea of commerce and industry, but the 
 sea of the Odyssey and the JEneid ; ils 
 shores have witnessed the immortal scenes 
 
 * Seech, rap. can. x. ht. fltt-xxti, 
 8 Lucretius. 
 
 painted by the historians of antiquity; and 
 any person of the slightest pretensions 
 to taste and literature must seem almost 
 at home there. The beautiful brilliancy 
 of 'its waters has suffered nothing from 
 the flight of ages, and it still retains the 
 same smile : 
 
 Tibi rident sequora pontl 2 
 
 PulifB (undaj) 
 Procedunt, leni resonattt plangore cachlnul. 8 
 
 It is for poets and painters to describe 
 the enchantments of the gulf of Naples, 
 wilh the graceful and imposing mixture 
 of woods, mountains, houses, forts, 
 churches, chapels and ruins which de- 
 corate this magniGcent amphitheatre ; in 
 feeble prose we can only relate our tri- 
 fling adventures and the customhouse 
 annoyances on entering the port. This 
 customhouse in 1826 was ingenious in 
 tormenting travellers, the greater part 
 of whose effects were taken away and 
 locked up to be examined when it suited 
 the officers' convenience, after delivering 
 a receipt which we were compelled to 
 pay for, after long wailing and solicita- 
 tion. Books were more scrupulously 
 examined than at the frontier of the 
 Roman states. Part of mine were de- 
 tained on board ; it is true that I had 
 hardly got into the shore boat before the 
 waterman asked me whether I had any 
 libra nero, which he offered to conceal 
 at the bottom of his bark. I neglected 
 this kind of smuggling, and was searched 
 again on landing. This customhouse 
 criticism took place at the gates of the 
 port on the pavement, amid a crowd of 
 half naked men, who pressed around us 
 with such curiosity thac the guard could 
 hardly keep them off, close beside the 
 bulky Austrian sentry who stood mo- 
 tionless and seemed to think the whole 
 proceeding ridiculous enough, and in 
 the. midst of that agitation and continual 
 shouting of the noisiest people in the 
 world : Napvlitani maslri inschiamaz- 
 save i . The first examination on ihe 
 steamer was an amusing scene ; in order 
 to withdraw their finery from the lock- 
 up of the customs, the ladies put on bra- 
 celets, diamonds, over their travelling 
 
 3 Catullus, lxiv. -247. 
 * AMori. Sou. cxlili. 
 
Chap. II. ] 
 
 NAPLES, 
 
 489 
 
 costume, and hats with plumes, while 
 their hair was in paper ; the ladies' maids 
 wore their mistresses cashmeres, and 
 were perhaps (he alone persons lhat en- 
 oyed the scrutiny, but their iclat em- 
 pruntt was to vanish after the search. 
 
 The Lazzaroni seem to have degene- 
 rated from their ancient laziness; those 
 of the port are active and very busy : 
 they have long abandoned the savage nu- 
 dity which procured them the name of 
 Lazzari ( from Lazarus ), and wear a 
 shirt, with linen drawers ; and in cold 
 weather, a long waistcoat with sleeves 
 and a hood, of coarse brown stuff; they 
 do not always live in tents as formerly, 
 but are house-dwellers : in fine, they 
 are not so picturesque as when mes- 
 dames de Genlis and de Stael saw and 
 described them. 1 
 
 CHAPTER II. 
 
 Palaces.— Royal palace.— Piazza.— Largo del Cas- 
 tello. — Fontana Medina.— Castel Nuovo.— Arch of 
 Aragon.— Fountain of Saint Lucy.— Caslello dell' 
 Uovo. — Villa Reale. — Feast of Santa Maria di Pie 
 di grotta. — Chiaja. — Society — Literati.— Sketch of 
 the Last Judgment.— Gravina palace. —Toledo. 
 
 The white palaces of Naples with their 
 large balconies towards the street, that 
 the inhabitants, like true Neapolitans, 
 may enjoy the noise, have all the appear- 
 ance of large well-ordered inns with a 
 fine view : the architecture, of the epoch 
 of decline, is heavy and distorted. The 
 king's palace, the most important work 
 of Domenico Fontana, seems straggling 
 rather than great ; the plan of the cele- 
 brated architect has been spoiled by the 
 caprice of viceroys and kings, and it has 
 since undergone several changes at dif- 
 ferent times ; its approaches and the de- 
 velopment of the staircases are considered 
 excellent. It seems as if its marvellous 
 site might have been made still better 
 by sacrificing a part of the arsenals and 
 making gardens gradually descending to 
 the sea. This palace is one of the many 
 instances of the fatality attending the 
 works of architecture, the least free of 
 the arts, and the most exposed to the 
 influence of events and the fantastical 
 
 1 See the Memoirs of madame de Genlis, t. m., 
 p. £8, and Corintie. 
 
 wishes of power. The apartments pre- 
 sent divers chefs-d'oeuvre by the first 
 masters : a large painting of the Virgin 
 with the infant Jesus, St. John, four 
 saints, the Eternal Father and two 
 angels, in Raphael's first style j the Four 
 Seasons; Hippomenes and Atalanta, 
 by Guido ; the Shop of St. Joseph, St~ 
 Joachim visiting St. Elizabeth, by 
 Schedone; Orpheus, Christ disputing 
 with the doctors, by Caravaggio • the 
 portrait of Alessandro Farnese, by Ti- 
 tian ; Joseph's dream, by Guercino; 
 Rebekah, by Albano. I observed there 
 with pleasure Gerard's beautiful por- 
 trait of a great princess, the king's 
 sister, whom her virtues, compassionate 
 heart, and dignity of soul, still more than 
 her rank, were one day to render dear to 
 France. 
 
 The vast temple consecrated to Saint 
 Francis de Paule, left unfinished, opposite 
 the palace, does not seem in very good 
 taste ; the architecture of this new and 
 awkward imitation of the Pantheon is 
 of bad effect. It is true that the irregu- 
 larity of the site and unevenness of the 
 ground presented considerable difficul 
 ties. In the square stand the two bronze 
 equestrian statues of Charles 111. and 
 King Ferdinand, by Canova, except the 
 figure of the latter which he could not 
 finish. The first statue, noble and well 
 draped, was originally intended for Na- 
 poleon ; for a moment it was Joachim, 
 and the colossal fiery steed was obliged 
 to change his gait every time to suit the 
 character of his rider. The horse of the 
 second statue, of a size somewhat infe- 
 rior to its pendant, is nevertheless more 
 esteemed, and the spirited action and 
 lifelike head are much admired. 
 
 On the piazza Largo del Castello, the 
 most spacious in Naples, is its finest 
 fountain, Fontana Medina, by the Nea* 
 politan Auria, finished by Fanzaga, pupil 
 of Bernini, also a Neapolitan, which 
 rather proves, if the expression be allow- 
 able, the diffusion of the art than its 
 progress. 
 
 In 1826, there was a guardhouse in 
 this square occupied by a numerous corps 
 of Austrians. The commander of the 
 Austrian army, General Koller, died 
 at the end of August : his funeral took 
 place in the evening; all the troops of 
 Naples were out; the brilliant uniforms, 
 the scarlet pompoons, the large cockades, 
 
440 
 
 NAPLES. 
 
 Book XIIL 
 
 the giddy air of the king's guards, formed 
 a singular contrast with the simplicity 
 of the grey vest and little round hat of 
 the Tyrolian chasseur, and the martial 
 carriage of the Hungarian grenadiers. 
 General Roller, one of the commissioners 
 who accompanied Napoleon to the isle 
 of Elba, is said to have preserved him, 
 by his presence of mind and activity, 
 from the dangers he incurred in Provence. 
 Despite the ruinous burden of foreign 
 occupation, he was universally esteemed 
 and regretted ; besides his military and 
 administrative talents, this general was 
 an enlightened lover of the fine arts ; his 
 library was extensive and select, and 
 his collection of vases, about thirteen 
 hundred in number, since purchased by 
 Prussia, as well as his cameos, bronzes, 
 and engraved stones, was reckoned one 
 of the finest in Europe. 
 
 The Castel IVuovo, built by Charles 
 of Anjou, and reputed to resemble the 
 Bastille, is a great unmeaning edifice 
 by a man of genius, Nicolao Pisano. At 
 the entrance, the fine triumphal arch of 
 Alfonso I. of Aragon, erected in 1470, 
 by Pietro di Martino, an architect of 
 Milan, wrongly attributed by Vasari's 
 Florentine patriotism to Giuliano da 
 Majano, presents some graceful details, 
 though part of its ornaments are some- 
 what irregular. The statues are worthy 
 of the fifteenth century, and the quadriga 
 is an imitation of some antique medal. 
 The bronze doors, by the monk Gugliel- 
 mo, a Neapolitan sculptor and founder- 
 on which are represented the battles of 
 Ring Ferdinand I. against the rebellious 
 barons, if they evince no great purity of 
 taste, have at least the merit of solidity, 
 as may be seen by the cannon ball re- 
 maining in one of them, which it could 
 not pass through. Santa Barbara, the 
 church of the castle, has a Virgin with 
 the infant Jesus in her arms, a statue by 
 Giuliano da Majano, remarkable for 
 elegance and richness of drapery. An 
 Adoration of the Magi, by Jean de 
 Bruges, sent by him to Ring Alfonso, 
 and reckoned his best painting in oil, is 
 curious as a work of art : the faces of 
 the Magi were repainted by Zingaro, 
 who has represented Alfonso, Ferdinand, 
 and his son Ferrandino. Behind the 
 choir, the spiral stair leading to the top 
 of the steeple is a fantastical performance 
 of Nicolao Pisano. 
 
 The pretty fountain of Saint Lucy, of 
 
 white marble, ornamented with statues 
 and basso-relievos by Auria and Gio- 
 vanni di Nola, has a striking effect, and 
 stands forth amazingly distinct from the 
 admirable back-ground formed by the 
 sea and Vesuvius. 
 
 On the rock surmounted by the impos- 
 ing mass of the Castello dell' Uovo 
 ( castle of the Egg ), were the villa and 
 fish preserves of Lucullus, some ruins of 
 which still subsist under the water. The 
 emperor Frederick ll. charged Nicolao 
 Pisano to make a fortification of the an- 
 cient abode of the most voluptuous of 
 Romans, now defended by outworks and 
 batteries. 
 
 The Villa male, washed by the sea, 
 with its vases, fountains, alleys of aca- 
 cias, groves of myrtle and orange-trees, 
 its circular temple of white marble, its 
 admirable view, is perhaps the most 
 delightful o( public promenades. In 1826 
 its first ornament of art was the celebrat- 
 ed group of the Toro Farnese, placed in 
 the middle of a vast basin, according 
 to Michael Angelo's project ; this anti- 
 que masterpiece, being there too much 
 exposed to the air and the humidity 
 caused by the immediate neighbourhood 
 of the waves, has been wisely removed 
 to the Museo Borbonico. This garden is 
 open to the common people, peasants, 
 and servants in livery only one day a 
 year, the 8th of September, the holyday 
 of Santa Maria di Pie di grotto. I was 
 there in 1826 on that day; the aspect 
 of the Villa reale was enchanting ; the 
 girls of the environs, dressed in their 
 national costumes, with silver pins in 
 their hair, wrapped in elegant veils that 
 fell over their bright coloured frocks fi- 
 gured with gold, were there in crowds. 
 Of such importance did they formerly 
 reckon this feast, which however is only 
 of the end of the sixteenth century, that 
 they stipulated in marrying, as a clause 
 of the contract, that their husbands 
 should take them to it every year. The 
 red Phrygian cap, the swarthy faces of 
 the men loaded with fruit tied up in 
 garlands or suspended to long rods, 
 were also very picturesque. The king 
 went in grand procession to the church 
 of the Madonna : the cortege was nearly 
 the same as in France, except that each 
 prince was in a separate carriage. The 
 coachmen, and footmen too, were with- 
 out hats, but wore full-bottomed pow- 
 dered wigs like those our judges for- 
 
Chap. II. ] 
 
 NAPLES. 
 
 kh\ 
 
 merly used, and this grave head-dress 
 contrasted comically with the physiog- 
 nomies of the wearers. These out- 
 of-the-way wigs are a remnant of Spa- 
 nish etiquette. I could not help think 
 what laughter and jests would attend the 
 appearance of such strange figures in 
 Paris. The military escort was partly 
 composed of Austrian troops; it would 
 not have been easy to find better sol- 
 diers. 
 
 The large quay of Chiaja, which runs 
 along the Villa Reale, is inhabited by the 
 best society of Naples. I cannot recall 
 without feelings of pleasure and regret 
 the reception I met with in some of these 
 charming abodes; at the palace of the 
 prince of la t****** C*******, married to 
 a French lady, a person of superior mind 
 and character ; at the noble and brave 
 F"*"*'***'s, prince of s*******, who was 
 generously reared by France, and has 
 done her honour. I frequently visited 
 near there the former archbishop of Ta- 
 rento, Monsignore Capece Latro, the 
 benevolent host of strangers attracted to 
 Naples by love of the arts and of study, 
 a venerable monument of science and 
 taste, who, when eighty-six years of 
 age, published in Latin some curious re- 
 searches on the antiquity and history of 
 his house, the origin of which dates from 
 Ginello Capece, consul ofNaplesin 1009. 
 The fine collections of medals, engraved 
 stones, and Greek vases formed by the 
 archbishop of Tarento, are now nearly 
 all dispersed : « he seemed, said he to 
 me feelingly, to be thus preparing him- 
 self to leave all the rest; he died at the 
 end of 1836, aged ninety-two years and 
 forty days. His two last publications 
 offer a singular contrast : the first, in 
 his eighty-eighth year, is the manuscript 
 of his ancestor Scipione Capece, DeNati- 
 vitate Domini; the second, a translation 
 of Guibert's panegyric of Frederick II., 
 with notes. 
 
 Notwithstanding the multiplicity of 
 high-sounding titles in the society of 
 Naples, it is distinguished by much good 
 nature, simplicity, and familiarity. The 
 titles in conversation seem mere exple^- 
 tives ; they are even used between inti- 
 mate acquaintances, and a lady will say 
 to her friend: "Princess, will you?" 
 The custom of making pic-nics in the 
 
 t The medals are at Vienna, the vases and 
 bronzes in Denmark , 
 
 country, as in France during the last 
 century, and even under Louis XIV., 
 still exists at Naples, but without the 
 same scandals. Italian manners, too 
 often judged from the common-places of 
 travellers of sixty years past, are now 
 neither better nor worse than those of 
 other great capitals, and at Naples they 
 may perhaps be better. The nobility is 
 an example of the evils always attendant 
 on loo frequent political changes; within 
 the last thirty years, they have been 
 ruined three or four times, and their 
 wealth does not always answer to the 
 grandeur of their recollections or family 
 antiquity. Many members of this class 
 are distinguished by their talents and 
 learning. The marquis Gargallo, an ex- 
 cellent writer, has composed a very fine 
 and the best translation in Italian of the 
 complete works of Horace, with valuable 
 critical notes. Signora Maria Raphale 
 Caracciolo has translated some extracts 
 from Fe"neIon, and passages from the 
 best English writers. The pure harmo- 
 nious songs of Signora Giuseppa Guacci, 
 a Neapolitan muse of great promise, al- 
 ready honour the Italian Parnassus. 
 Signora Folliero has published some re- 
 flections on the education of youth, which 
 are elevated and liberal, but too much 
 imbued with German religionism, or the 
 spirit of French sensualism. This classic 
 ground of antiquity possesses some of its 
 cleverest interpreters: SS. Arditi, a pro- 
 lific writer.director of theRoyal Museum; 
 Carelli,secretaryoftheHerculaneumaca- 
 demy, the erudite possessor of a rich col- 
 lection of Sicilian and Italian medals ; a the 
 laborious canon Jorio, who has describ- 
 ed the tombs of Cumse, exhumed at his 
 expense; RaimondoGuarini, anarcheolo- 
 gist of extraordinary sagacity ; Giannelli, 
 keeper of the manuscripts in the library 
 of.the Stndj, a stern critic, but of great 
 information, the independent disciple of 
 the historical and philosophical doctrines 
 of Vico ; D. Angelo Scotti, librarian of 
 the Studj, one of the most distinguished 
 members oftheHerculaneum Academy ; 
 the Cav. Monticelli, secretary of the 
 Academy of Sciences, the faithful histo- 
 riographer of Vesuvius ; Gaspardo Sel- 
 vaggi, a good Grecian and an amiable 
 man, who has long resided in Paris, as 
 well as his countryman Galiani, but who 
 
 a Deceased at Naples, September il, 1832. 
 
412 
 
 NAPLES. 
 
 [Book XIII. 
 
 is far removed from the vulgarity and 
 excentricities which were kindly over- 
 looked in the abbe". A learned amateur, 
 the advocate Santagelo, whose politeness 
 I cannot forget, possesses a considerable 
 number of paintings by the first masters, 
 a fine collection of vases of la Puglia and 
 la Basilicata, numerous medals, and, 
 above all, an admirable little sketch in 
 grey camaieu of Michael Angclo's Last 
 Judgment, by his own hand, or painted 
 under his immediate direction by his 
 friend Marcello Venusti; it differs from 
 the fresco in the Sixtine, and may be 
 esteemed one of the greatest curiosities 
 in Italy. Law is also successfully studied 
 at Naples even by the nobility and clergy, 
 it being justly supposed a fit preparation 
 for public life; the number of advocates 
 and lawjers, stated by a traveller to be 
 thirty thousand, was three thousand and 
 ninety-six in 1835, and sufficiently nu- 
 merous even then. 
 
 The Gravina palace, by Gabriele d'A- 
 gnolo.is almost the only palace of Naples 
 that can be cited for architectural taste. 
 This majestic edifice would not be un- 
 worthy of Rome or Florence. The in- 
 scription purports that the noble founder 
 Ferdinand Orsini, duke of Gravina, 
 erected it for himself, his family, and 
 all his friends; sibi, suisque et amicis 
 omnibus. 
 
 On the door of the stables at the Mad- 
 daloni palace, is a basso-relievo of the 
 Rape of the Sabines, by Masuccio I., 
 the earliest Neapolitan artist, of the 
 thirteenth century, who has also done 
 other works in the court and the cham- 
 bers. This palace stands in the famous 
 street of Toledo, a long noisy bazaar 
 lined with high houses, crowded day and 
 night with people and carriages ; this, 
 I believe, is the first of great streets, and 
 deserves the reputation it enjoys among 
 amateurs of this kind of wonders. 
 
 CHAPTER III. 
 
 Houibon Museum.— Slatues.— Balbus family.— Ve- 
 nus of Capua.-Farnese Flora. — Venus Callipyge. 
 — Famese Hercules. — Arislides. — ISmnzes.— ra- 
 pyri. — Furnilure.— Utensils. — KaUbles. - Vases.— 
 Antique paintings.— Mosaics. 
 
 The Bourbon Museum, called also the 
 Studj, ranks with the first collections of 
 antique chefs-d'eeuvre. In the middle 
 
 orthe grand staircase, of excellent design, 
 a colossal statue, little worthy of Ca- 
 nova, represents King Ferdinand as Mi- 
 nerva ; the old monarch's features are 
 truly grotesque under the casque and 
 with the aegis of Pallas. The author had 
 the good taste not to like this figure : one 
 day, when showing it to me, says one of 
 his most ingenious biographers, he threw 
 his paper cap at its head: such was a 
 specimen of Canova's anger. The nine 
 statues of the Balbds family, found at 
 Herculaneum, are nobly simple; the two 
 equestrian statues of Nonius, father and 
 son, are reputed the truest and .most 
 aerial of antiquity; the head of the son's 
 statue, formerly at Portici, was broken 
 in 1799 by a cannon ball, a more re- 
 doubtable enemy than the fire of Vesu- 
 vius ; the present head is a passable imi- 
 tation of the original, copied from its 
 remains. Jupiter and Juno, of burnt 
 clay; a dying Gladiator, are perfectly 
 natural. Diana, a statue of coloured 
 marble, despite the abundance of hair 
 and the symmetry of the garments, not 
 exactly suitable to the rude sports of the 
 goddess, is a valuable work. The Venus 
 of Capua, according to M. Millingen.-is 
 by Alcamenes or Praxiteles, and the ori- 
 ginal of our Venus of Milo. The little 
 Bacchus astride on the shoulders of the 
 Faun is full of jollity ; the Apollo with 
 the swan, very fine; Ganymedes ca- 
 ressed by the eagle, artless ; the Etruscan 
 Minerva, superb. The colossal Farnese 
 Flora appears elegant and aerial. The 
 too highly extolled torso of a Venus or a 
 Psyche also found at Capua is graceful, 
 though apparently not original, nor of 
 the best epoch, and awkwardly repaired 
 in many places. Four Greek basso- 
 relievos are of the best era : Paris and 
 Helen, with inscriptions ; Orpheus find- 
 ing Eurydice; a voluptuous scene of a 
 Satyr and a Bacchante ; Bacchus sur- 
 rounded by a numerous and noisy train. 
 It is impossible not to be smitten with 
 the power, the perseverance of the an- 
 cient artists, on beholding the Apollo 
 Citharada, a semi-colossal statue, of 
 porphyry, the draperies of which, des- 
 pite the hardness of the material, have 
 wonderful softness and ease. Near the 
 Apollo arc other valuable statues, in 
 hard coloured stones : an Egyptian 
 priest, of basalt, superb, perhaps Osiris; 
 Diana of Fphesus, of alabaster, with the 
 head, hands, and feet of bronze; Me- 
 
Chap. HI.] 
 
 NAPLES. 
 
 445 
 
 leager, in rosso antico. In Ihe middle 
 of the Hall cf the Muses, the beautiful 
 vase by the Athenian sculptor Salpion 
 represents the Birth of Bacchus, whom 
 Mercury confides to the Nymphs ; this 
 masterpiece, found at the ancient I r or- 
 miae, in the Gulf of Gaeta, was so liltle 
 esteemed at first that the boatmen used 
 to fasten their boats to it, and Ihe marks 
 of the ropes are still visible. The her- 
 maphrodite Bacchus is excellent. The 
 Venus Callipyge stands preeminent in 
 the crowd of Yehuses around it ; a young 
 and blooming Adonis seems not un- 
 worthy to possess so many charms. 1 The 
 Winged Love, seated on a dolphin, is a 
 Roman work, at once excellent and 
 whimsical. The Hercules presents the 
 emblem of strength in calm repose. This 
 colossus, by the Athenian sculptor 
 Glycon, was first found without legs in 
 the thermae ofCaracalla: Michael Angelo 
 was charged by Paul HI. (Farnese) to 
 replace them ; but scarcely, despite his 
 reluctance, had he finished the model 
 when he broke it to pieces with his ham- 
 mer, exclaiming that he neither would 
 nor could ever make a finger to such a 
 statue. Guglielmo della Porta, the most 
 renowned sculptor after him, was char- 
 ged with the work ; the fore part which 
 he did, is furrowed and clumsy, and con- 
 trasts with the truth of the firm, soft, 
 and stately back. The real legs having 
 been found in a well, three miles from 
 the spot where the body was discovered, 
 they were restored to it, Prince Borghese 
 having generously ceded them to the 
 king of Naples. The son of Alcmenes 
 is now only the left hand deficient. 
 The group representing the fable of 
 Dirce, called the Toro Farnese, placed 
 opposite the Hercules, is by no means 
 inferior, though in great part restored. 
 The Atlas is a magnificent statue, and 
 his globe a curious astronomical monu- 
 ment. With all the uncertainty of 
 archeological science, one loves to re- 
 cognise the just Aristides in the statue 
 bearing his name; this prodigious statue, 
 the truest and most real perhaps of an- 
 tique chefs-d'oeuvre, seems to be walk- 
 ing, absolutely advancing, when the 
 spectator places himself at the spot indi- 
 cated by Canova, who was never tired 
 of contemplating it, and every lime he 
 
 ' In the everlasting changes of the Studj, Ihe 
 Venus Callipyge has been since removed several 
 times. 
 
 visited the museum he always went there 
 first. 
 
 The Hall of the Emperors and Em- 
 presses offers the Agrippina, whose wi- 
 thered, age-stricken features, on a young 
 body, can belong to none but 'the dis- 
 consolate widow of Germanieus; Au- 
 gustus seated, one of the first statues ex- 
 tracted from Herculaneum ; Tiberius, 
 Claudius, thick and common, though 
 superior in the drapery; Nero, found at 
 Telesa; Trajan, at Miulurnae; the co- 
 lossal bust of Ccesar, and the magni- 
 ficent porphyry crater, smaller than the 
 one at the Vatican, but more orna- 
 mented. 
 
 The Studj stand before all other mu- 
 seums of bronzes. The principal are : 
 Mercury seated, so young, and artless ; 
 the colossal horse's head, a sublime work 
 of the best times of Greece ; a recent 
 inscription relates a ridiculous laic about 
 the destruction of the statue; the single 
 horse, which an emphatic Latin inscrip- 
 tion pretends to be the only remains of 
 a quadriga of Herculaneum, destroyed 
 by Vesuvius ; the bust, said to be Plato, 
 of severe beauty, with hair most artful- 
 ly wrought; Archytas; the pretended 
 Seneca; the head called Sappho; some 
 actresses and dancers dressing for the 
 stage; the two Satyrs, one sleeping, 
 the other lying on his bottle, and 
 snapping his fingers, the ideal of a 
 drunkard. 
 
 It is curious to see the ingenuity dis- 
 played in searching out the antique 
 thoughts concealed in the black rolls of 
 the papyri of Herculaneum. It is im- 
 possible to regret too deeply that so 
 much care and such minute precautions 
 are but too commonly recompensed with 
 only useless or imperfect works. Among 
 the papyri deciphered up to 1825, sixly- 
 one were nearly entire; of a hundred 
 and sixty-one only two thirds remained ; 
 the half, of three hundred and eight ; the 
 third, of a hundred and ninety; a 
 quarter, of a hundred and ninety-one; 
 four hundred and seventy-four were cut 
 all along the middle, through the inex- 
 perience of the first workmen. The 
 number of columns and fragments un- 
 rolled amounted to two thousand three 
 hundred and sixty-six. 
 
 Beside this destruction of the writings 
 of sages, certain groups in the Cabinet 
 of reserved articles are scarcely in- 
 jured, and the maxims of morality'have 
 
w 
 
 NAPLES. 
 
 Book Xlii. 
 
 not resisted the flames of Vesuvius so 
 effectually as the images of vice. 
 
 The collection of household goods, 
 instruments, and utensils, called the 
 Museum of small Bronzes, is singularly 
 curious and unique; it brings us into 
 immediate contact with the every-day 
 life of the ancients. The bronze curule 
 chairs, placed near the trophies of arms 
 and bucklers, recall the civic and mi- 
 litary glory which was then so often 
 united in the same individuals. The 
 tripods, altars, sacrificial tables, urns, 
 cups, knives; all the instruments of po- 
 lytheism, although of excellent work- 
 manship, inspire much less admiration. 
 Loaded dice and the rouge of the Roman 
 ladies show the same impostures in 
 pleasure to have then existed : spindles, 
 needles, thimbles seemed much more 
 respectable. The jewels are charming : 
 one of them, very ancient, the last or- 
 nament of the woman who wore it, was 
 found in a Greek tomb. Several cakes 
 of ashes made solid by water retain 
 graceful impressions ; the breast of a 
 woman; an arm with its ornaments, a 
 part of the. shoulders and the waist; it is 
 evident that this unfortunate one was 
 young, tall, well-made; but she was not 
 flying en chemise, as president Dupaty 
 supposed, for marks of cloths are vi- 
 sible. The several kinds of food, a piece 
 of antique pastry, are wonderfully well 
 preserved. The instruments of surgery 
 and midwifery, apothecaries' phials, mor- 
 tars, pestles, are much like the modem : 
 perhaps the art was in as great perfec- 
 tion. The culinary utensils, though 
 tastefully ornamented, differ little in 
 reality from our own. A real English 
 teapot is among these articles. The 
 scales, also very elegant, were adjusted 
 at the Capitol by the edile, as we learn 
 from an inscription on one of them, exa- 
 mined under the eighth consulate of Ves- 
 pasian and the sixth of Titus. The Hera- 
 clean tables, discovered in 1732, are an 
 important monument for the study of 
 Greek paleography. The inkstand with 
 seven faces has been made the subject 
 of two Alo volumes by the learned and 
 eccentric Martorelli. 
 
 This museum, whatever may have 
 been said, is not deficient in instruments 
 of music, and several are worthy of 
 remark. A kind of clarionet without 
 lateral holes, or bell, is surrounded with 
 a great number of small metal lubes 
 
 placed in the same direction as the prin- 
 cipal one and communicating with the 
 same mouth-piece. Horace, in his Ars 
 Poetica, speaks of the improved flute of 
 his time : 
 
 Tibia non, ut nunc, 01 ichalco vlncta, lubajque 
 .'Einula, 
 
 which must be similar to this odd ins- 
 trument, but it is difficult to imagine its 
 efTect or the mode'of playing it. The 
 abbe" Galiani supposes that the little tubes 
 were strung like the beads of a chaplet : 
 the metal tube was thus covered with 
 pieces of bone, which served to flute the 
 sound and render it very different from 
 that of trumpets. They were veritable 
 sordines, like the cord wrapped round 
 the tube of a trumpet to soften the tone. 
 The brass cymbals of different sizes give, 
 though small, a shrill, clear, silvery, and 
 precise sound, very superior to the clatter 
 of the Turkish cymbals used by the mo- 
 derns. 
 
 The collection of glass comprises 
 twelve hundred articles. We are there- 
 fore certain that the ancients were not 
 only acquainted with the use of glass for j 
 windows, but that they likewise knew 
 how to cut, work, and colour it. A great 
 number of these articles came from 
 Egypt, and the Egyptians seem to have 
 been the glaziers of antiquity. 
 
 The collection of vases contains about 
 tw thousand five hundred, among which 
 the three precious vases of Nola hold the 
 first rank ; they represent an Orgie of 
 women around an idol of Bacchus ; the 
 Burning of Troy, and the vase of Cas- 
 sandra. The following may be also 
 remarked : the musician Comus playing 
 before Bacchus and Ariadne; the ci- 
 nerary vase of Charminos of Cos, found 
 among the ruins of Carthage, unique of 
 its kind, the characters being engraved 
 after burning, contrary to the usual 
 custom; the famous vase of Locri, in 
 tended for perfumes, on which, accor 
 ing to the Cav. Arditi's opinion, is 
 representation of Virtuous pleasure per- 
 sonified, or, according to Villoison and 
 the abbe Zannoni, the prize of beauty, 
 won by the woman's figure ; the curious 
 vase of Poestum, presenting Hercules ut 
 the Hesperides ; the Graeco-Ilalian and 
 Sicilian vases, the subjects of which are: 
 the Victory of Hercules over Kirn; 
 Eryx with the cestus ; a Combat between 
 
 5 
 
Chap. IV.] 
 
 Naples. 
 
 445 
 
 the Greeks and Trojans ; the Death of 
 Theseus ; Electra and Orestes at the 
 tomb of Agamemnon, and Clytemnestra 
 and JEyisthus ; a Battle between the 
 Greeks and Amazons; Hercules killing 
 the centaur Nessus, and a thousand 
 other paintings "which combine simpli- 
 city of design and expression with the 
 most carefully finished workmanship. 
 
 The rich medal cabinet has the cele- 
 brated cup of sardonyx, a foot in diameter, 
 commented on by the most illustrious 
 men of learning, and its group of seven 
 figures represents, according to Visconti, 
 the Nile, Orus, Isis, and the nymphs of 
 the Nile. 
 
 The antique paintings, more than 
 fifteen hundred in number, despite their 
 grace, ingenuity, expression, and extra- 
 ordinary vividness of colour in some 
 cases, are very far inferior to the amazing 
 effect of the statues. Perhaps we are 
 only acquainted with the works of painters 
 of petty towns, in which alone we have 
 hitherto found them. The monochro- 
 matic ' painting of Theseus killing the 
 centaur, imitated by Canova, 2 is rec- 
 koned the most perfect relic of antique 
 painting. The celebrated Love bargain 
 is a lively well-imagined composition. 
 A Charity, Greek, and not Roman as 
 commonly supposed; Hylasborne away 
 by the nymphs; Agamemnon conduct- 
 ing Chryseis to the ship to send her 
 back to her father; Achilles delivering 
 Briseis to Agamemnon's heralds ; Juno 
 and Jupiter on Mount Ida ; the Sacri- 
 fice of Iphigenia, though feeble in some 
 parts ; Medea about to kill her children 
 who are playing, are works full of no- 
 bleness, pathos, and poetry. With the 
 exception of the sage Chiron, botanist, 
 musician, astronomer, preceptor of A- 
 chilles, the honour of his species, some 
 Centaurs, and centachesses especially, 
 are all frolic and wantonness. Several 
 comic scenes are extremely gay; the 
 principal characters only are masked. 
 
 Among the mosaics, some humorous 
 scenes, two of which bear the name of 
 the artist Dioscorides of Samos, prove the 
 high degree of perfection the Greeks had 
 attained in that kind of work. 
 
 1 Of one colour. For paintings of Ibis descrip- 
 tion, a red colour from India was used, known by 
 the name of cinabrls iniica. See Pliny (lib. xxxiii 
 
 CHAPTER IV. 
 
 Gallery. -Neapolitan school.— Scuedone.- Galleria 
 de' Capi d' Opera— Philip II., by Titian. 
 
 The gallery has a good number of 
 paintings, some of them by the first 
 masters ; the most esteemed, except a 
 small number of chefs-d'oeuvre, are not 
 of the Neapolitan school, the later masters 
 of which seem rather clever and expe- 
 ditious workmen than true artists : one 
 would say that the talent of these artists 
 lay more in the arm than the heart and 
 head. The best paintings of this school 
 are: the Prodigal son; St. Nicholas of 
 Bari in ecstasy, by Calabrese ; an As- 
 sumption, by Andrea of Salerno; the 
 St. Bruno kneeling before the infant 
 Jesus, who is blessing him; St. Jerome 
 in a grotto, by Spagnoletto ; a Dance of 
 little angels, very graceful, by the Cav. 
 d'Arpino; the St. Jerome in a little 
 chamber instead of a grot, taking a thorn 
 out of a lion's paw, an old and celebrated 
 painting altogether in the Flemish style, 
 by the Neapolitan Colanlonio del Fiore, 
 who lived in the fourteenth and fifteenth 
 centuries; the Virgin on a gold ground, 
 by Giottino ; the St. Ignatius and St. 
 Francis Xavier baptising the Indians, 
 finished in four days by Luca Giordano. 
 Among the works of the Florentine 
 school, may be distinguished : a Descent 
 from the cross, by Castagno; a Circum- 
 cision, by Marco da Siena a naturalised 
 Neapolitan, and clever imitator of Mi- 
 chael Angelo ; the Infant Jesus blessing 
 St. John caressed by the Virgin; an 
 Annunciationin a landscape; two Saints 
 near the Virgin on a throne with the 
 infant Jesus, by Ghirlandajo; a Young 
 man in black, by Bronzino ; the Ascen- 
 sion, by Sodoma. The French and Fle- 
 mish schools have : a Marine view, by 
 Claude Lorrain ; an old Shepherd wrap- 
 ped in his cloak, by Rembrandt; ^portrait 
 of a-man seated and in black, by Van- 
 dyck; the Baptism of Christ in a rural 
 scene, by Paul Bril ; the celebrated 
 Monk of Alcantara clothed in white, a 
 tour de force in colouring, by Rubens ; 
 a portrait of a Young man with phimes 
 on his hat, by Holbein. A collection of 
 paintings in the Greek style of the Lower 
 
 cap. 7, and lib. xjiv. cap. 2), cited bj Mazols, p. 133 
 of his Palace ofScawtis. 
 3 See ante, book vi. ch, xiii. 
 
 3S 
 
446 
 
 NAPLES. 
 
 fBuOK-XUl. 
 
 empire, is very interesting for the history 
 of the art. The authenticity of the three 
 cartoons said to be by Raphael and Mi- 
 chael Angelo is disputed. The other 
 remarkable paintings of the several 
 schools are : St. Sebastian tended by 
 women ; the Virgin, infant Jesus. St. 
 Joseph reading in a book held by an 
 angel ; St. John, St. Francis, St. Lau- 
 rence; ihc Shoemaker oi Pope Paul III.; 
 St. John holding a lamb; a Group of 
 women and children, listening to a 
 soldier with emotion and surprise; an 
 Old man leaping on a stick ; the Virgin 
 caressed by the infant Jesus; St. Jerome 
 with his hands clasped looking tip- 
 wards; the Cross supported by angels; 
 St. Paul holding a sword in one liand, 
 a book in the other; a Composer of 
 music ; Jesus Christ crowned with 
 thorns andinsulted by the Jews, broadly 
 executed works by Schedone, which he 
 did for his generous and useless Maecenas, 
 Ranuziol., duke of Parma,' and which 
 came to Naples with the other collections 
 ol the Farncse family; \hcVirgin holding 
 the infant Jesus on her knees, by Leo- 
 nardo Yinci ; a Judith, Jesus Christ 
 calling St. Matthew ; the Magdalen; 
 the Apostles at the Virgin's tomb ; a 
 Carrying of the cross ; St. Fronds 
 d' Assise; the Descent of the Floty Spirit, 
 by Caravaggio; the Virgin near Christ 
 laid in the. cross, by Ludovico Carraccio ; 
 a Man Hi a pelisse, smiling ; the Virgin 
 with the infant Jesus sleeping on her 
 bosom, by Annibalc; St. Francis d'As- 
 sise, by Muiillo; a Holy Family and 
 St. Catherine, by Bagnacavallo; a sati- 
 rical picture by one of the Carracci 
 school against Caravaggio, whose rough 
 head resembles a wild beast's; two Fi- 
 gures in profile adoring the Virgin in 
 a rural scene, by Bernardino Luini; a 
 portrait of a prince, aged thirty-three, 
 by Parmegiano ; the Virgin tenderly 
 pressing the infant Jesus in her arms and 
 against her forehead, by Correggio; a 
 portrait of a Cardinal with a beard and 
 but little hair ; a Young man in black ; 
 a charming portrait of Anna Bolcyn, by 
 Sebastiano del Pioinbo; a portrait of a 
 Young girl, with rich head-dress and 
 clothe*, by Bassano ; the Magi ; St. 
 Ursula, by Garofolo ; St. Joseph and the 
 Virgin, by Bonifazio; a portrait; the 
 Virgin andinfant Jesus surrounded by 
 
 1 Se« ante, book n. cl). vi. 
 
 cherubim; & Naked man whispering in 
 Christ's ear, by Tintoretto; a Venetian 
 doctor, by Morone; a Young girl ; the 
 portrait of Gonsalvo of Cordova; Eras- 
 mus, in his old age, by Titian; a very Gne 
 portrait of a If 'ouian in black, of the 
 Venetian school; a Young girl, by Paolo 
 Veronese \ the Eternal Father in the 
 midst of four cherubim ; the Virgin and 
 infant Jesus, \y\ a rural scene, hy Perugino; 
 the Virgin andinfant Jesus, the portrait 
 ofthe Cav. Tibaldi, Ijy Raphael; the Vir- 
 gin praying, by Sasso Fcrrato ; Char- 
 les III. received in the palace of Monte- 
 cavallo by Benedict XIV ; a View ofthe 
 Coliseum and the arch of Titus, by Pau- 
 nini, a clever perspective painter of the 
 last century, the master of Joseph Vernet. 
 A well preserved painting passes for the 
 portrait of Raphael's mother, taken by 
 him when thirteen or fourteen \cars of 
 age : the side in the shade is neither 
 drawn nor painted, and shows the young 
 artist's inexperience; the bright side is 
 drawn in a very delicate sty Ic and has 
 the tone of bis earlier manner. 
 
 In the apartment called the Galleria 
 de' Capi d' Opera, are the undermen- 
 tioned admirable paintings by Titian : 
 the haughty and gloomy Philip II., w ho 
 patronised Titian, corresponded lengthily 
 with him and urgently pressed him to 
 forward the works promised, groaned, 
 as when his Armada was destroyed, at 
 the loss of a ship carrying a picture, but 
 paid the artist illiberally enough, as may 
 be seen by the letter in which he de- 
 clares that he has to watt too long for 
 his money, and regrets being obliged to 
 work for others : the inscription of the 
 portrait, Tilianus Vecellius eques Ces- 
 sans faciebat, alludes to the order of 
 knighthood confered on Titian by Char- 
 les V.; Paul III., old and with a long 
 beard, admirably true, between his two 
 nephews, Cardinal Alexander and Octa- 
 \ ius II., duke of Parma ; the Magdalen, 
 still touching and seductive; the Danae, 
 finely coloured, but whose calm, satisfied 
 air seems the true emblem of a paid 
 woman ; — by Spagnolctto : Silenus lying 
 down, encircled by satyrs who present 
 him with wine; St. Jerome praying 
 before a skull, and startled by the blow- 
 ing of the last trumpet ; — by Schedone : 
 his little and great Charity, the first so 
 true and pathetic; — by Sebastiano del 
 Piombo : Pope Alexander Farnese, a 
 Holy Family and St. John Baptist;— 
 
Chap. V.] 
 
 NAPLES. 
 
 UT 
 
 by Giulio Romano : the Virgin with 
 the cat, a happy inspiration of Raphael, 
 the cat is lifelike; — by Agostino Carrac- 
 cio : Armida and Rinaldo, tbe scene of 
 the magic mirror ; — by Raphael : a Holy 
 Family, in bis last manner, the St. Anne 
 of which is the idea! of aged beauty; the 
 Virgin on a throne, with the infant 
 Jesus who blesses St- John between two 
 saints; another Leo X. between the car- 
 dinals de' Rossi and Giuliano de' Me- 
 dici; ' a portrait of a Cardinal;— by 
 Andrea del Sarto : Bramante teaching 
 the young duke ofUrbino architecture; 
 — by Annibale Carraccio : the youthful 
 Hercules sitting between the paths of 
 Virtue and Pleasure; a Piety ;— by 
 Giovanni Bellini : &' Transfiguration na- 
 tural, diversified;— by Velasquez : the 
 portrait of a Cardinal, his masterpiece ; 
 — by Garofolo : the Christ held in the 
 arms of the Marys, bewailed by divers 
 saints, with a fine landscape; — by Zin- 
 garo : the Virgin on a throne, sur- 
 rounded by saints; the author has re- 
 presented himself there behind theyoung 
 St. Aspremus, first bishop of Naples ; the 
 Virgin is tbe portrait of the daughter of 
 the painter Colantonio del Fiore, through 
 love of whom he, from being a travelling 
 (zingaro) linker, which trade he followed 
 till his twenty-seventh year, became a 
 painter and an eminent one too, the 
 only means of obtaining her hand, after 
 ten years of study and travels, of the im- 
 passioned artist her father : the counte- 
 nance of a very ugly old man seems 
 also to be the lalter's portrait ; the per- 
 spective is remarkable for the epoch ; — 
 by Simone Papa : St, Michael tramp- 
 ling the Devil under foot ; — by Fra 
 Bartolommeo : an Assumption, with 
 Sts. Catherine and John B;iptist below; 
 — by Claude Lorrain : the Nymph JEge- 
 ria and her companions, with a land- 
 scape of the environs of Rome, wonder- 
 fully illuminated; — by Correggio : his 
 pretty and fresh Marriage of St. Ca- 
 therine , the Madonna della Zinga- 
 rella; — by Domenichino : the Guardian 
 angel, a delightful composition, the 
 Glory of which has been barbarously 
 torn away ; — by Parmegiano : bis Mis- 
 tress, richly but singularly attired; a 
 noble, but I think very doubtful portrait 
 of Christopher Columbus. 
 
 * See ante, book x. ch. xviii. 
 a See post oh. ti. 
 
 CHAPTER V. 
 
 Royal library.— Autographs of Saint Thomas and 
 Tasso.— Other libraries. — King's Printing-office. — 
 Book-trade.— Journals at .Naples and In Italy. — 
 Archives.— Constitutions of the emperor Frede- 
 rick II.— Pietro de Vinels. 
 
 The royal library, since the year 1804, 
 has been located in the vast and beautiful 
 saloon of the palace of the Studj, con- 
 structed by Fontana; it contains a hun- 
 dred and fifty thousand volumes, about 
 three thousand manuscripts, chiefly de- 
 rived from the old Farnese library, 
 brought from Rome to Naples by Char- 
 les III., the Palatine and Jesuits' libra- 
 ries, a part of the library of Saint John 
 Carbonara 2 and other libraries of sup- 
 pressed convents ; it is annually increased 
 by purchases under the direction of a 
 committee, and receives two copies of 
 every work published. The catalogue of 
 the editions of the fifteenth century,which 
 are numerous, without being remarkable, 
 has been published by S. Licteris, the sub- 
 librarian. 3 The following are remark- 
 able : the first edition of Barthole (1471), 
 the first book printed at Naples, whither 
 King Ferdinand I. of Aragon had invited 
 Sixtus Riessinger, printer and letter- 
 founder, as the first printers usually 
 were; ihe Latin work of Janus Marius, 
 a Neapolitan, on the Propriety of old 
 words (1475), and a Missal (1477), both 
 printed by Mathias Moravius, another 
 German invited to Naples by Ferdinand ; 
 JEsop, in Latin and Italian, printed by 
 Riessinger, and published by Francesco 
 Tuppo (1485), with curious engravings 
 on wood ; among the Greek manu- 
 scripts : the Paralipomena of Homer, 
 by Quintus of Smyrna, a manuscript of 
 1311, one of that poet's best ; the amphi- 
 goric Alexandra of Lycophron, which 
 is said to have supplied Manutius with 
 the fragments he printed ; a New Tes- 
 tament, supposed of the tenth century; 
 among the Latin manuscripts : a Bible 
 in two volumes, of the tenth century ; 
 several works of the Fathers, found in 
 the church of Troja, in tbe kingdom of 
 Naples; among them is a St. Prosper 
 of Aquitaine, which, by the subscription 
 of the bishop Guglielmo, was given to 
 this church in 1508 ; the five books of 
 
 5 Naples, Royal Printing-office, 1 828-30, 2 v. to!. 
 
M8 
 
 NAPLES. 
 
 [Book XIII. 
 
 Grammatical Institutions, by Charisius 
 Sosipater, first printed at Naples (1532) 
 under the superintendence of Janus 
 Parrhasius; the manuscript of Pompeius 
 Sextus Festus, half burnt, which has 
 served for the imperfect editions of this 
 philologist ; the fragments of the books 
 on agriculture by Gargilius Marti;ilis, 
 discovered and published by S. Mai, and 
 again by S. Scotti, who has even given 
 a facsimile of them ; the celebrated au- 
 tograph of Saint Thomas Aquinas, con- 
 taining the exposition of the Tract of 
 Saint Denys De Caslcsti hierarchia, for- 
 merly preserved with the utmost care at 
 the convent of Saint Dominick, and still 
 exposed there once a year, on the festival 
 of Saint Thomas, to the veneration of 
 the faithful. Some more modern ma- 
 nuscripts are interesting; such are the 
 three dialogues of Tasso, one of them II 
 Minturno, which did not appear to me 
 less corrected than his other works : ■ the 
 letters of Paul Manutius and Cardinal 
 Seripandi prove the honourable eager- 
 ness of the Roman court to publish the 
 Sacred Scriptures and the writings of the 
 Fathers. It appears, however, by one 
 of them, that the printing of Saint Tho- 
 mas displeased many at Rome, and al- 
 lowing all he says to be good, there were 
 still some portions that appeared rather 
 inopportune. a 
 
 The readers at this library are pretty 
 numerous, but there are many com- 
 plaints of the difficulty of procuring 
 books. One room is set apart for the 
 blind, who pay persons for reading to 
 them. This room is said to present a 
 singular aspect ; for the readers, as it 
 seems, not being all of them very clever, 
 their unfortunate auditors make them 
 read over again to catch the sense of the 
 phrase. The picturesque image of Dante 
 must be often realised there : 
 
 Lo raento a guisa d' orbo In su levava.' 
 
 Blindness is common at Naples; the 
 light, so dazzling and vivid, seems to 
 intoxicate the eyes : consequently Pro- 
 fessor Quadri, one of the first oculists in 
 Europe, is most suitably settled there. 
 
 The other four public libraries of 
 Naples are the Brancacciana, the oldest, 
 
 ' See ante, book vii.cli.xii.; and book*. eh. xvili. 
 
 a "Ilora si slampa san Tboraasso, con disuarere 
 dl mold, che dicono le cose di san Thomasso esser 
 buone tutle, ma non conforml alia qualita de' tempi 
 
 founded in 1675 by a legacy of the 
 Neapolitan cardinal Francesco Brancac- 
 cio, principally rich in manuscripts on 
 the history of Naples, and containing 
 fifty thousand volumes; the ministerial 
 library, formed in 1807 of the books from 
 suppressed convents, now appropriated 
 lo the home minister; the city library, 
 founded with the fine library of the mar- 
 quis Taccone, purchased by the govern- 
 ment; lastly, the university library, also 
 consisting of books from suppressed con- 
 vents. 
 
 The library of the convent of Saint 
 Philip of Neri appeared to me inferior 
 to its ancient fame ; the catalogue is 
 only a list of authors. I there saw and 
 admired the celebrated manuscript of 
 Seneca's Tragedies, with the brilliant 
 pictures by Zingaro representing the 
 subjects of the plays. 
 
 The Royal Printing-office, founded by 
 Charles 111., which produced in ils 
 earliest days the fine work of the Anti- 
 quities of Herculaneum, does not ap- 
 pear to maintain its noble origin, nor to 
 follow the improvements of similar estab- 
 lishments, although its letter was cast at 
 the foundries of Didot and Bodoni. I 
 knew an Englishman, a good orientalist, 
 living at Naples, who, wishing to have 
 some of his researches printed there, 
 applied to the Cav. de' Medici; that 
 minister, a man of talent and a good fi- 
 nancier, but not much of a scholar, 
 thought himself under the obligation of 
 informing the gentleman that the office 
 had no oriental character except Greek. 
 
 The exorbitant duty imposed on fo- 
 reign books at Naples is almost equiva- 
 lent to a prohibition. It has been pre- 
 tended that if works are good, they can- 
 not be dear at whatever price, and if 
 bad, it is better to prevent their admis- 
 sion. This is nearly such political eco- 
 nomy as Omar would have propounded. 
 There is no appearance that the native 
 printers have derived much advantage 
 from these restrictions, for the book- 
 trade in Naples is not very brisk, 1 and, 
 out of the capital, I did not observe a 
 single bookseller in the kingdom . There 
 is, however, a considerable number of 
 journals and scientific, judicial, adminis- 
 trative and literary miscellanies pub- 
 
 che corrono.'' Letter from Paul Manutius to tlis 
 cardinal, written from Rome July 24, 15G2. 
 
 3 Purgat., can. liii. 102. 
 
 4 See ante, book m. cb. ill. 
 
Chap. VI.] 
 
 NAPLES. 
 
 449 
 
 lished now at Naples; this city has more 
 than any other in Italy. Several of 
 these papers and publications are grave, 
 miscellaneous, amusing, and the chief 
 review bears the audacious title of the 
 Progress {il Progresso). 
 
 The statistical account of the journals 
 in Italy made them amount in 1837 to 
 about two hundred ; which shows the in- 
 tellectual progress of the country and 
 its degree on the different points. Be- 
 side the forty journals of Naples, there 
 were twenty-nine published at Milan, 
 fourteen at Turin, thirteen at Palermo, 
 twelve at Venice, ten at Rome, eight at 
 Trieste, seven at Florence, six at Genoa, 
 five at Verona, Modena, and Bologna, 
 four at Messina, three at Siena, Pisa, 
 and Lugano ; towns of the second order, 
 such as Perugia and Catana, have their 
 journal; but there are others beside in 
 ordinary little towns, 1 and Chieti has 
 its Filologia abruzzese, Aquila its Gran 
 sasso a" Italia, Foggia its Giornale d'a- 
 gricoltura di Capitanata, Campo Basso 
 its Giornata economico-rust^co di Mo- 
 Use, and Reggio its Fata Morgana. 
 
 The general archives kept in the Go- 
 thic palace de' Tribunali, are a vast es- 
 tablishment divided into four sections : 
 historical, financial, judicial, and muni- 
 cipal. I was shown about three hun- 
 dred bulky volumes in folio, containing 
 the acts of the princes of the house of 
 Anjou, beginning with Charles. The 
 original Constitutions of the emperor 
 Frederick II., the oldest code of the 
 Neapolitan kingdom, were transcribed 
 in 1239 by his chancellor the celebrated 
 Pietro de Vineis; for Frederick, like all 
 great princes, had a great minister whom 
 he at last treated with injustice. The 
 causes of the disgrace and punishment 
 of Pietro de Vineis are a much disputed 
 historical problem; Dante attributed 
 them to the envy of the courtiers against 
 that minister, and the fine verses he 
 puts in his mouth express, perhaps, the 
 most likely conjecture : 
 
 La meretrice che roal dall* ospizlo 
 Di Cesare non torse gll occhi putli, 
 Morte comune e delle corli vizio, 
 
 InOammo contra me e'A animi tutll. 
 E gf infiammati infiammar si Augusto, 
 Che i lietl onor toruaro in trisli lulli.i 
 
 « See ante, book xn. ch. x. s Inf. can. xiii. 64. 
 
 3 Bellini died at t'uteaux, a Tillage near Paris, 
 September 23, 1835, aged twenty-nine; his obse- 
 quies were celebrated with great pomp in the 
 
 CHAPTER VI. 
 
 Theatres. — San Carlo. — Music. — Conservatory.— 
 Zlngarelli.— Crescentini.— Fondo.— L' Impresario- 
 — Florentines.— San Carlino. 
 
 The theatre of San Carlo, vast, conve- 
 nient, splendid, but of a petty taste in 
 architecture and decoration, has been 
 humorously compared to an immense 
 gilded dovehouse. This house presents 
 a really enchanting aspect on gala days, 
 and even demi-gala, when it is illumi- 
 nated. No one can avoid being smitten 
 with the great number of pretty women 
 in the boxes, and the ugliness of the Nea- 
 politan dames, proverbial in Italy, is not 
 perceptible in that high society. The 
 greater part of the actors and plays that 
 I saw at San Carlo, in 1826 and 1828, 
 beginning with the excellent Lablache, 
 madame Lalande, and the dull Last day 
 of Pompeii, have since appeared on our 
 Italian stage, or are added to its repertory. 
 I do not, however, think that they have 
 yet performed there the grand opera of 
 Biancae Gernando, Bellini's first work, 
 then a young Sicilian composer, edu- 
 cated in the conservatory of Naples, 
 whom the classical writers wished to 
 oppose to the romantic and unrivalled 
 glory of Rossini. 3 A pupil of Crescen- 
 tini, Signora Tosi, was worthy of such a 
 master, by her method, her warmth, and 
 vivid expression ; but her feeble means 
 did not correspond thereto. The mu- 
 sical feeling of the Neapolitan public 
 does not appear either very just, or true ; 
 they prefer the song to the expression, 
 the pedestal and arabesques to the statue ; 
 some years ago, they hissed Haydn's 
 Creation, and the managers take espe- 
 cial care not to bring forward Mozart, 
 despite the chefs-d'oeuvre with which he 
 has illustrated the Italian theatre. Mu- 
 sical instruction is very much behind- 
 hand now in the country of Porpora, 
 Leo, Durante, Jomelli, Pergolese, Sac- 
 chini, Paesiello, and Cimarosa. Rous- 
 seau would no longer say to his young 
 artist : " Cours, vole a Naples," and he 
 would most certainly abstain from re- 
 peating his imprecation: " Fais de la 
 musique francaise." Instead of thethree 
 conservatories that formerly flourished 
 
 church of the Invalides; and a requiem by Cheru- 
 bini was executed. He had obtained the cross of 
 the Legion of Honour after the performance of the 
 Vwiiani. 
 
 38, 
 
450 
 
 NAPLES. 
 
 [Book XUI 
 
 at Naples, the spirited and violent rival- 
 ry of which, sometimes even exciting 
 troubles in the town, has produced so 
 many great composers, only one sur- 
 vives; an establishment badly managed, 
 though it has some able masters, its six- 
 teen thousand ducats advanced by the 
 government being, in a great measure, 
 squandered away in salaries to rectors, 
 vice-rectors, inspectors, confessors, be- 
 fore music comes in for a share. The 
 director was the illustrious Zingarelli, ■ 
 author of Romeo, his masterpiece, which 
 he composed in forty hours, during ten 
 days, a witty, learned, devout old gentle- 
 man, and a theologian, loo, who was 
 acquainted with the best apologists of 
 religion, and showed me the Genie du 
 christianisme, which he told me thai he 
 read continually. He also made a very 
 judicious application to his art cf the li- 
 terary precepts of Horace. Zingarelli 
 then composed sacred music only, and 
 his piety made him really compose con 
 amore. Two of his compositions are 
 mentioned as having produced a great 
 effect, the funeral mass for the obsequies 
 of the minister de' Medici, and a Mise- 
 rere, executed at the conservatory by the 
 pupils, in Passion week 1831. Crescen- 
 tini, attached to the same establishment, 
 hasleft off singing, buthe professes in a su- 
 perior manner and composes very pleas- 
 ing airs. The rich musical library pos- 
 sesses the complete works of Paesiello in 
 autograph, left by him to this conserva- 
 tory. 
 
 The pretty theatre del Fondo is a mi- 
 niature San Carlo, for singing, dancing, 
 and music; it has the same actors, the 
 same direction, and appertains to the 
 states of the celebrated Domenico Bar- 
 baja, manager of theatres at Vienna, 
 Milan, etc., who holds a kind of univer- 
 sal operatic monarchy. It is difficult to 
 form an idea of the strange authority 
 exercised in Italy by the impresario (ma- 
 nager) over the singers he engages. His 
 absolute dominion extends over all their 
 actions and ordinary habits : on the days of 
 performance, even those who do not play 
 are obliged to remain at home till the cur- 
 tain rises, to replace their comrades in 
 case of illness. One of the articles of this 
 singular regulation gives the impresario 
 the right ol separating an actress from her 
 
 ' Died at tlie end of 1834, aged eighty-seven 
 yean. 
 
 husband, should he beat her. VVe dis- 
 cover some trace of antiquity in this sub- 
 servience to the pleasures of the public. 
 
 The theatre of the Florentines, the 
 oldest in Naples, is devoted to comedy, 
 which is very well played there, and 
 even to tragedy. 
 
 The San Carlino or Pulcinella theatre 
 is the resort of the populace. The pla- 
 card stated : Agli amatori del genere 
 brillante si offre pel giorno c la sera 
 di.. altra prdUuzione giocosissima in 
 tulle le sue scene, non ancora recitata 
 dall' attuale compagnia, ricca di biz- 
 zarri avvenimenti, ed nititolata... con 
 Pulcinella. From which, we see that 
 this company performs twice a day, 
 morning and evening. The players are 
 Cahierana, a productive author of pieces 
 for his own theatre, and his family. The 
 ' fantoccini of flesh and bone seem no 
 less indefatigable than their wooden 
 comrades, and I found in them the same 
 warmth, vigour, and jollity.' 
 
 CHAPTER VII. 
 
 Cathedral. -Confession.— Tomb of Charles of Anjou. 
 — Minutolo chapel.— Santa Itestltuta.— Treasury. 
 — Artists' hatred.— Miracle of the blood. — Andrea 
 di Salerno.- Ponlano. — Saint rnul.-Sollmenes.— 
 Saint Laurence. — Saint Philip of Neri.— Vico.— 
 Forta Capuana. 
 
 The cathedral has been spoiled, or ra- 
 ther destroyed, by modern taste, and 
 retains nothing ancient but the high 
 lowers erected by Masuccio I. Its nu- 
 merous columns of granite, African 
 marble, and cipollino, proceed from the 
 ruins of two antique temples conse- 
 crated to Neptune and Apollo, which 
 stood near the spot. The tomb of Charles 
 of Anjou was removed by Fontana and 
 placed over the principal inner door; 
 commanding and majestic, this tomb 
 seems a kind of throne, and is well 
 suited to such a conqueror. An antique 
 vase of Egyptian basalt serves for bap- 
 tistry : on the porphyry pedestal of the 
 sacred founts are sculptured the attributes 
 of Bacchus, which are also, though re- 
 marked by few, the emblem of the Chris- 
 tian sacrifice. I remember reading, at 
 the Magliabecchiana of Florence, a ser- 
 mon on the eucharist by a celebrated 
 
 * See ante, book in. cb.xvlll. 
 
Chap. YII.] 
 
 NAPLES. 
 
 454 
 
 preacher of the sixteenth century, Cor- 
 nelius Musso, bishop of Bitonto, preached 
 on Corpus Domini day, in which he even 
 cites, as worthy of imitation, the Paduan 
 custom of carrying in procession the 
 images of Ceres and Bacchus, the former 
 bearing ears of corn, the latter grapes, 
 thus indicating the materials of the sa- 
 crament and doing honour thereto. 1 The 
 Minutolo chapel, in -which the jockey 
 Andreuccio of Perugia succeeded, at the 
 close of his unlucky adventures, in pur- 
 loining the ruby of the deceased arch- 
 bishop of Naples, Minutolo, 3 is curious 
 as a work of art : three statues, a Cru- 
 cifix, a Virgin, and a St. John are by 
 Masuccio I., and divers subjects of the 
 Passion, by Tommaso di Stefani, the fa- 
 ther of Neapolitan painting and con- 
 temporary of Cimabue. In the Carac- 
 ciolo chapel is a great Crucifix of wood 
 attributed to Masuccio I.; there may 
 still be seen the symbol oTthe order della 
 Nave, instituted in 1831 by Charles III. 
 of Duras, exactly as worn by the knights. 
 Near the door of the sacristy is the little 
 tomb of King Andrew, husband of Jane, 
 slain with the consent rather than the 
 order of his young, brilliant, and unfor- 
 tunate consort. This tomb, despite the 
 play on words closing the inscription, 3 
 is different from the superb tomb of 
 Charles of Anjou; but it is one of the 
 striking coincidences of fate to find in 
 the same cathedral, and almost facing, a 
 crowned murderer and a murdered king. 
 The Seripandi chapel has a fine Piety, 
 by Curia, a pleasing Neapolitan painter 
 of the sixteenth century, and in the last 
 chapel on the same side is a Deposition, 
 an exquisite work by Giovanni di Nola. 
 The subterranean chapel, or Confession 
 of Saint Januarius, founded in 1497 by 
 the archbishop OlivieroCaraffa, has some 
 elegant ornaments : the kneeling statue 
 of the archbishop has been supposed Mi- 
 chael Angelo's. 
 
 The basilic of Santa Reslituta, united 
 to the church of Saint Januarius, and 
 built on the ruins of a temple of Apollo 
 and Neptune, was long the cathedral. A 
 mosaic of the Virgin del principio, so 
 called because she was the first honoured 
 
 1 Yol. U. p. 63, of the Sermons of Cornelius 
 Mosso. Venice, 4576. 
 i Boccaccio, Oiorn. ii. nor. v. 
 
 Ne regis corpus insepultum, sepultumve facialis 
 
 at Naples, represents her in Grecian cos- 
 tume ; at her right is a portrait of Saint 
 Januarius, reckoned the true likeness of 
 the saint, and the model of his silver bust 
 ordered by Charles II. of Anjou, and 
 lodged in the treasury. The Assump- 
 tion, by Perugino, in a manner opened 
 the way for good paiuting at Naples. 
 The learned and virtuous Mazzocchi re- 
 poses in Santa Restituta, which he had, 
 apparently with justice, maintained to be 
 the ancientand unique cathedral, against 
 the doubts thrown out on that subject by 
 Assemani. 
 
 The rich chapel of the Treasury, in 
 which the bust and blood of St. Janua- 
 rius are kept, is a magnificent ex-voto 
 consecrated by the city to its protector 
 after the plague of 1526, but not begun 
 till 1608, on the design of P. Grimaldi, 
 a Theatine monk and good architect. 
 Several of the allarpieces representing 
 the miracles of the saint are chefs-d'oeuvre 
 by Domenichino, Spagnoletto, and Stan- 
 zioni, surnamed IheGuidoofNaples.viz. : 
 by Domenichino, the Woman curing a 
 crowd of sick persons with oil from the 
 lamp that burns before St. Januarius; 
 the Resurrection of a young man, the 
 principal figure of which has indeed the 
 expression and the vast conceptions of a 
 man returned from the other world ; the 
 Beheading of the Saint; his tomb; — by 
 Spagnoletto : the Saint coming out of 
 the furnace, in Titian's style ;^-by Stan- 
 zioni : a Demoniac delivered by the saint, 
 perhaps the best of his works, rivalling 
 its neighbours in beauty. The superb 
 frescos of the ceilings, the corners, and 
 lunettes, are also by Domenichino ; but for 
 the persecutions he experienced from his 
 rivals, he would have painted the cupola, 
 at which Lanfranco refused to work un- 
 less the part begun by his great prede- 
 cessor was effaced. Guido was also to 
 have been employed at this chapel, and 
 had repaired to Naples, whence he was 
 forced to depart suddenly in consequeuce 
 of the threats of Spagnoletto and the 
 Greek Belisario Corenzio, then a true 
 despot over the arts in this country, who 
 had tried to poison him. The Gav. 
 d'Arpinowas likewise menaced by him, 
 
 Fosterls remaneret, 
 Franciscus Berardi F. Capyclus 
 Sepulcrum, tltulum, nomenque 
 P. 
 
452 
 
 NAPLES. 
 
 [ Book XIII, 
 
 and took flight. Gessi, a pupil or Guido, 
 not deterred by his master's adventure, 
 also came to Naples with two of his own 
 disciples to replace him; but the latter 
 being enticed on board a galley under 
 pretence of seeing it, the anchor was 
 raised, and their disconsolate master 
 could never discover what became of 
 them. "When we see Titian work with 
 a knife by his side, Giorgione arm him- 
 self With a cuirass while painting in pub- 
 lic, Masaccio, Peruzzi, Baroccio die of 
 poison, and when we remember the tragic 
 fate of a multitude of other painters, the 
 hatred and passions of artists appear, 
 especially in Italy, more violent and ir- 
 ritable than the self-love of literary men. 
 I witnessed the miracle of the blood in 
 the chapel of the Treasury. The phials 
 containing the blood of Saint Januarius 
 are kept in a tabernacle behind the altar, 
 which has two keys, one held by the city 
 deputies, the other by the archbishop. 
 Some time before the ceremony, a num- 
 ber of women of the lower orders place 
 themselves near the balustrade as a place 
 of honour; some old faces among them 
 were singularly characteristic. These 
 women are called the Relations of Saint 
 Januarius ; they pretend to be of his fa- 
 mily, and when the saint delays the li- 
 quefaction too long, they even think 
 themselves privileged to wave all show 
 of respect and to abuse him. They re- 
 peat in a hoarse voice Paternosters, 
 Aves, Credos ; were it not in a chapel, 
 no one would have imagined their horrid 
 clamour to be prayers, and for a moment 
 I thought the scolding had begun: it was 
 another femineo ululatu far less pathetic 
 than Virgil's. About ten o'clock, the 
 phials were taken out of the tabernacle; 
 one was like a smelling-bottle, but con- 
 tained only a mere stain of blood; the 
 other is rather larger; both of them are 
 under glass in a case resembling a car- 
 riage lamp. They were shown to the 
 persons admitted within the balustrade, 
 and some tall English ladies advanced to 
 the altar, and leaned forward curiously 
 examining them with their eye-glasses. 
 It has happened, when the miracle did 
 not take place in due time, that the people 
 have attacked foreigners whom they sup- 
 posed English and heretics, and regarded 
 as an obstacle to the miracle. I was told 
 
 ■ Essai sur let maurt et I'eiprit des nationt, 
 
 cb. CLIXXIU. 
 
 that about the end of last century the prince 
 of S. and the count of C. were turned 
 out of the church' and pelted with stones. 
 Such a situation" must be cruel : it is a 
 sad thing to be a martyr without faith, 
 which in our days, in certain political 
 circumstances, has not been impossible. 
 The miracle was complete at noon, as it 
 had been foretold me when I was invited 
 to return, and the roar of cannon an- 
 nounced the happy news. If the life of 
 Saint Januarius be almost unknown, 
 there is no saint more popular. Voltaire 
 speaks considerately of Saint Januarius, 
 and wisely defends him against Addison 
 and the protestant writers. "All these 
 authors," says he, "might have seen that 
 those institutions are not injurious to mo- 
 rals, which should be the chief care of 
 civil and ecclesiastical government; that 
 probably the ardent imaginations of hot 
 climates require visible signs, to place 
 them continually under the divine protec- 
 tion ; and in short, that these signs cannot 
 be abolished until they are despised by the 
 very people that revere them." 1 An- 
 other genius, as far removed from cre- 
 dulity and fear, Machiavel, treats those 
 persons as fools who would forbid the 
 people such devotions. 1 The worship of 
 Saint Januarius has not produced any of 
 the excesses of fanaticism ; it has often 
 prevented great misfortunes, and has been 
 constantly respected by the different mas- 
 ters of Naples. 
 
 In the piazza of Saint Januarius, which 
 was brilliantly illuminated in the even- 
 ing, is the obelisk erected to the saint by 
 the town, a rich monument, but in very 
 bad taste, by Fanzaga. 
 
 In the church of Donna Regina is the 
 Marriage ofCana, the Saviour preach- 
 ing, great paintings by Luca Giordano; 
 his frescos in the great and little choirs; 
 the St. Francis, by Solimene; and in 
 the old church, called the Comunichino, 
 the majestic tomb.'by Masuccio II., of the 
 queen Mary of Hungary, mother of King 
 Robert, who died in 1323 at the convent. 
 
 The fine church of Santa Maria delle 
 Grazie sopraletnura, of the architecture 
 of De' Sanctis, a disciple of Andrea Cic- 
 cione, the best pupil of Masuccio II., has 
 some good sculptures; a Descent from 
 the cross, and a tomb of the Brancaccio, 
 by Giovanni di Noli; the basso-relievo 
 
 * See the verses of the Asino d' oro : 
 E soo ben necessarle I' orazioul. 
 
Chap. VII. ] 
 
 NAPLES. 
 
 453 
 
 of St. Thomas touching the Saviour's 
 wounds, by Santa Croce, the contem- 
 porary and, rival of Giovanni di Nola. 
 The fresco of St. Anthony, the. painting 
 of St. Andrew, are the best works of 
 Andrea of Salerno, a pupil and good 
 imitator of Raphael, the best painter of 
 the Neapolitan school. 
 
 The church of Sant'Agnello a-capo- 
 Napoli has some elegant sculptures by 
 Giovanni of Nola: a statue of St. Jerome; 
 a basso-relievo of the Virgin, probably 
 by Santa Croce; the statue ol' St. Dorothy, 
 and many tombs of the Poderica family, 
 pretended descendants of the Saint. The 
 basso-relievos of the Virgin, the infant 
 Jesus, the Souls in Purgatory, are by 
 Auria. An image of the Virgin, in the 
 chapel of Santa Maria intercede, painted 
 in the Greek manner, is reckoned of 
 Justinian's time. The St. Charles, by 
 Caracciolo, is a happy imitation of An- 
 nibale Carraccio. 
 
 The small church of Saint John the 
 Evangelist, founded by Pontanus, covered 
 on the inside with Greek inscriptions, 
 and outside with moral maxims, and 
 executed from the designs of Ciccione, 
 recalls the celebrated academy which 
 assembled such men as Panormita, Fazio, 
 Lorenzo Valla, Sannazzaro, Galateo, 
 Parrasio, Altilio, at a time when Naples 
 rivalled even Florence, in zeal, science, 
 taste, and poetry. Pontanus did not 
 display, towards the protectors of this 
 Academy and his own benefactors, the 
 kings of Aragon, the same noble fidelity 
 as Sannazzaro; he harangued the people 
 in favour of the conquering army of 
 Charles VIII., and insulted the adversity 
 of the exiled princes. He seems to con- 
 gratulate himself, in the elegant epitaph 
 he composed and had put on his tomb, 
 on his tact in standing well with all the 
 powers : Honestaverunt Reg es Domini. 
 Another poet, an imitator of the elegance 
 and licentiousness of antiquity, Pietro 
 Compare, the friend of Pontanus and 
 Sannazzaro, who often addressed the 
 former as his companion in the service 
 of Venus and Bacchus, received from 
 him a mausoleum and an epitaph in his 
 chapel; strange poets these, half-Chris- 
 tian, half-Pagan, in their poems as in 
 their lives, who founded churches and so 
 shamefully braved decency in their Latin. 
 The Pontoniana Academy still exists 
 nominally at Naples; it encourages the 
 sciences, letters, and arts ; it proposes 
 
 prizes like the new academies, has an 
 annual president and perpetual secretary, 
 the Cav. Avellino, a man distinguished 
 by his archeological learning and his 
 talent as a writer. 
 
 Before the door of Saint Paul are two 
 antique columns, almost the only ones in 
 Naples, which were procured from an an- 
 cient temple of Castor and Pollux which 
 once occupied the site of the church. 
 The ceiling of the choir and the cross- 
 aisle is the best work of Corenzio ; the 
 ceiling of the nave, which was in danger 
 of falling, passes for one of the fine frescos 
 of Stanzioni. The sacristy is the triumph 
 of Solimene : the two great frescos of the 
 Conversion of St. Paul and the Fall of 
 Simon the Magician are regarded as 
 the chefs-d'oeuvre of that easy painter, 
 the chief of a numerous school. 
 
 Saint Laurence was founded by Char- 
 les I. of Anjou as an ex voto for his 
 victory over Manfred atBenevento. The 
 old edifice served for the assemblies of 
 the senate and people of Naples, which 
 the conqueror found it very convenient 
 to close under so pious a pretext. The 
 great stone arch of the window is a bold 
 construction by Masuccio II. The five 
 tombs of the house of Durazzo are inte- 
 resting; two are by Masuccio : the tomb 
 of Catherine of Austria, wife of the duke 
 of Calabria called the Illustrious, and that 
 of Mary, daughter of King Charles III. ; 
 behind the high altar is the tomb erected 
 by Queen Margaret to her father Charles, 
 who was strangled by Lewis, king of 
 Hungary, the ruthless avenger of his 
 brother Andrew. Several paintings are 
 remarkable : the St. Francis giving his 
 rules, by Zingaro ; and in the chapels two 
 fine paintings by the old Neapolitan 
 master Simone, the contemporary and 
 rival of Giotto ; St. Anthony with some 
 angels ; St. Louis, bishop of Toulouse, 
 son of Charles II., placing the crown 
 on the head of his brother Robert, to 
 which he had preferred the mitre, a 
 painting ordered by Robert himself. The 
 statues of the protectors of the Franciscan 
 order, at the high altar, and their elegant 
 basso-relievos, are by Giovanni di Nola. 
 In the cloister, the basso-relievo on the 
 tomb of Ludovico Altimoresca, executed 
 in 1421 by the abbot Bambocci, though 
 overcharged with figures, offers some 
 glimmerings of extraordinary talent. 
 
 The marble front of Saint Philip of 
 Neri, one of the first churches of Naples 
 
454 
 
 NAPLES. 
 
 Book XIII. 
 
 is in good taste. Several paintings by 
 great masters are remarkable : Jesus 
 driving the dealers out of the temple, 
 a vast fresco bighlj extolled by Luca 
 Giordano, with the architectural parts 
 by Moscaliello, a clever perspective 
 painter; a St. Francis, the Meeting of 
 Jesus and John, a Flight into Egypt, 
 by Guido; the St. Jerome awestruck by 
 (he sound of ihe last trump, by Gessi. 
 The St. Philip in his glory, a cupola by 
 Solimene. seems as finished as a minia- 
 ture. The ceiling of the fine sacristy is 
 also by Luca Giordano. In the chapel of 
 St. Francis, of the church, is the tomb of 
 Vico, the illustrious author ofthe Nuova 
 Scienza. a German genius under a Nea- 
 politan sun, unnoticed during life and 
 long after death, whose system, compre- 
 hended only by a small number of adepts, 
 has in our days been studied by learned 
 and profound interpreters. • Galiani, an 
 enthusiast for the glory of Naples, had 
 duly appreciated Vico in this piquant 
 passage ofthe dialettonapolitano : Vico 
 osb tentare il guado del bujo metafisico, 
 e sebbene vi cadesse dentro, sent di- 
 ponte a piu felice pensatore sullospirito 
 delle leggi delle nazioni. 
 
 Near this church is the Porta Capuana, 
 the only gale of Naples of any magnifi- 
 cence; on it are the Aragonese escutcheon 
 and some excellent marble basso-relievos 
 by Benedetto da Majano. One of the 
 two towers Hanking it is called Onore, 
 and bears its noble title inscribed. 
 
 CHAPTER VIIIj 
 
 Cbapel delta Viela it' Sangri. *- Saint Aogelo at 
 Ni!o. — Mjuso'.eumof Cardinal Braucacclo. — Saint 
 Douilnick Major.- Rota.— Chapel ofllie Crucifix. 
 — Auiello Flore— Peudoce monument.— Sacristy. 
 -Aragonese.— Obelisk. — Monastery. — Saint Tho- 
 mas. — Srbolasltca.— Saint Clair. — King Robert. — 
 Glovanna of Naples.— Steeple.— Gesii. 
 
 Thechapel of Santa Maria della Pieta 
 de' Sangri. belonging to the family ofthe 
 princes of San Severo, is celebrated 
 for the profusion of its marbles and its 
 allegorical statues, works of the Bernini 
 school, much admired and commended 
 by the travellers of last century and the 
 valets de place: Modesty, by Corradini, 
 the portrait of Dom Raimundo di San- 
 
 1 Seetbe'Frincipesdela philosophiede I'histolre, 
 tradulis de la Scienza nuoin de J. R. Vico, precedes 
 dun Dlscours sur le systeme ei la vie de l'auteur, 
 
 gro's mother, notwithstanding the long 
 veil covering her whole person, has by 
 no means a bashful air; a Christ reclined, 
 also veiled and as if covered with a sheet, 
 by San Martino, is just as bad. But the 
 masterpiece of this frightful sculpture is 
 Vice undeceived (an allusion to the 
 conversion of the same Sangro's father), 
 struggling to extricate himself from a 
 great net in which he is entangled ; the 
 meshes of the net in marble, perfect to 
 nature, are among those beauties that do 
 not escape certain connaisseurs, who 
 never forget to mention them in the 
 recital of their Italian travels. 
 
 At the church of Saint Angelo a Nilo, 
 the mausoleum of Cardinal Rinaldo 
 Brancaccio erected to fiim by Cosmo de' 
 Medici, is one of- Donatello's most supe- 
 rior chefs-d'oeuvre : a marble basso- 
 relievo of the Assumption, on the sar- 
 cophagus, has the grace, fire, lightness 
 and expression ofthe cleverest painting. 
 A good St. Michael, by Marco of Siena, 
 is at the high altar, and in the sacristy 
 are St. Michael and St. Andrew, by the 
 old Neapolitan master De'Stefani. 
 
 On the cupola of the church della 
 Pietd de' Turchini, is a Christ embra- 
 cing the cross and taking his flight to 
 heaven, by Luca Giordano, of extraor- 
 dinary effect. The Guardian angel, in 
 one of the chapels, is by Stanzioni, and 
 on the ceiling, a Nativity and an As- 
 sumption by his clever and unfortunate 
 pupil the young Anella di Rosa, who 
 was assassinated by her husband in a fit 
 of jealousy. 
 
 At the church of Saint Dominick Major 
 we are quite in the middle ages. Not- 
 withstanding all the changes it has 
 undergone in the course of about six 
 centuries, its architecture still bears the 
 imprint of that Gothic grandeur and that 
 character of strength and durableness 
 common to all the buildings of the Domi- 
 nicans. Thechapel of SaintStephen pre- 
 sents a fine cenotaph by Santa Croce, con- 
 secrated to Cardinal FilippoSpinelli, by 
 his nephew ; the chapel of Saint Lucy, two 
 tombs by Masuccio II., the tomb of Philip 
 of Anjou, brother of Ring Robert, and 
 thai Beltrame del Balzo, grand justiciary 
 of the kingdom ; the chapel of Santa 
 Maria della Neve, three statues by Gio- 
 
 par M. Mlcbelet, l S27, ' and the preface to tbe "Itssals 
 depalingenesiesociale, parM.Ballancbe, t. n, (829." 
 
Chap. VUI.] 
 
 NAPLES. 
 
 455 
 
 vanni of Nola, the Virgin, St. Matthew 
 and St. John Baptist. The Baptism of 
 Christ, in the chapel so called, is a good 
 painting by Marco of Siena : the old 
 Ggure of the Jordan was the model for 
 the statue of the river Sebelo of the 
 charming fountain of Saint Lucy. The 
 sarcophagus of the Cav. Marini was 
 erected by the marquis of Villa Manso, 
 whom he had made his heir : the friend- 
 ship of Tasso, who was unable to leave 
 him anything, the dialogue II Manso, 
 the hospitality accorded to Milton when 
 travelling, will be more effective in 
 handing down this marquis to after ages 
 than all the possessions of Marini, who 
 was likewise a great poet, but his fame 
 iseclipsed before such glories. Thechapel 
 of Saint John Baptist has two paintings, 
 by Calabrese; the statue of the Saint, by 
 Giovanni of Nola, and the poetic and 
 fanciful mausoleum, by Auria, of Ber- 
 nardino Rota, author of delightful Italian 
 eclogues of fishermen, his first literary 
 title, ofsonnetsand canzoni in Petrarch's 
 manner, in honour of his wife Porzia 
 Capeccio, on whose account he was com- 
 plimented by AnnibaleCaro. This wile, 
 whom he loved and sung so tenderly, is 
 interred near him in a magnificent mau- 
 soleum, by Giovanni of Nola. In the 
 chapel of the Madonna of Zeandrea, the 
 monument of the jurisconsult Franchis 
 has the grave simplicity of his profession : 
 the statue of the Madonna recalls a 
 strange miracle; it belonged to Andrea 
 d'Auria of San Severino, who died in the 
 odour of sanctity in the year 1672; he 
 had ordered it for one of his female pe- 
 nitents, but as she did not find the figure 
 handsome enough, he was obliged to 
 keep it himself; and as the story goes, 
 on the next morning the statue had 
 changed features, and had tbe good mien 
 it now displays. A Crucifixion, and . 
 divers mysteries of the Resurrection, at 
 the chapel of Saint Andrew, are precious 
 frescos by Angelo Franco, who, of all the 
 old Neapolitan painters, has approached 
 the nearest to Giotto's manner. This 
 creator of Italian painting did the fresco 
 of the Saint on a gold ground in the 
 little chapel of Saint Anthony the abbot. 
 The grand chapel of the Holy Cru- 
 cifix unites the most different monu- 
 ments, pious, miraculous, and almost 
 profane. The mausoleum of Cardinal 
 Ectore Caraffa, covered with mythologi- 
 cal emblems, might be taken for the spoil 
 
 of some pagan temple; it seems still 
 more strange when we are informed that 
 it was thus executed during the life and 
 by the express order of the cardinal. 
 Close by, at the high altar, is a crucifix 
 entirely black and almost invisible, paint- 
 ed by the unknown master of Masuccio I., 
 which miraculously exclaimed to Saint 
 Thomas, when troubled lest he might 
 be mistaken in his Summa, "Bene 
 scripsisli de me, Thoma ; quam ergo 
 mercedem recipies?" to which the 
 saint, who had felt himself raised from 
 the ground, immediately replied : "Non 
 aliam nisi te, Domine." In the ab- 
 sence of such holy approbation, the 
 writer's conscience is another voice from 
 heaven which counsels and reassures 
 him. Two paintings of this altar are 
 remarkable : a Descent from the cross, 
 by Zingaro, in the Flemish style, which 
 might be taken for Albert Durer's, pos- 
 terior by a century to Zingaro ; a Carry- 
 ing of the cross, by Giovanni Corso, a 
 Neapolitan painter of the sixteenth cen- 
 tury, reckoned by Solimene the best 
 picture in the church. A fair judgment 
 may be formed of the talents of Agnolo 
 Aniello Fiore, son of the inflexible pain- 
 ter and father Colantonio del Fiore, « the 
 master of Giovanni of Nola, and of his 
 imitation of the Tuscan artists, by the 
 three following mausoleums : that of Car- 
 dinal Caraffa of Ruvo, erected by his 
 son Cardinal Oliviero, archbishop of 
 Naples, terminated by Agnolo's clever 
 pupil ; that of another Caraffa, on which 
 is inscribed their obscure devise, Fine 
 in tanto, the artist's masterpiece; and 
 that of Count Bucchianico and his wife 
 Catarinella Orsino. 
 
 The chapel of Saint Thomas Aquinas 
 does not completely answer one's expec- 
 tations in a place so full of his memory. 
 The painting of the Saint is by Luca 
 Giordano ; the tomb of Giovanno d'A- 
 quino, deceased in 1300, by Masuccio II.: 
 a great Madonna with the saint and 
 souls in purgatory, above this last tomb, 
 by Francesco di Rosa, a clever Neapo- 
 litan painter of the sixteenth century : 
 the tomb of the princess of Ferelotto 
 Donna Vinccnza d'Aquino, the last of 
 this name, who died in December 1799, 
 announces the end of this ancient family, 
 made illustrious by a saint, and extinct 
 in the last days of the eighteenth century, 
 
 • See ante, ch. if. 
 
456 
 
 NAPLES. 
 
 [ Book Xlll. 
 
 which had also seen the rise of a power- 
 ful philosophy, far different from the 
 A ngeiic doctor's, and like it almost passed 
 awaj. 
 
 The chapel of Saint Sebastian offers, 
 painted on a gold ground in a remark- 
 able manner, the Virgin, the Apostles, 
 a Resurrection, by the brothers Pietro 
 and Ippolito Donzelli, pupils of Zingaro. 
 The monument of Galeasso Pandone, 
 whose head appears living, and the or- 
 naments are exquisite, is one of the 
 wonders of art due to Giovanni of Nola. 
 A Circumcision, in the chapel so called, 
 of the year 1574, is reckoned among the 
 best works of Marco of Siena. The ma- 
 jestic chapel of Saint Dominick has his 
 contemporary portrait supposed a like- 
 ness, and some excellent little pictures 
 by the brothers Donzelli, representing 
 the Miracles of his life. 
 
 The sacristy of Saint Dominick is of 
 itself one of the first monuments of Na- 
 ples, much less on account of its gilded 
 stuccos, its pavement of precious marble, 
 its cupboards of roots, its long fresco on 
 the ceiling, by Solimene, its beautiful 
 Annunciation by Andrea of Salerno, 
 than of its tombs, among which are the 
 twelve sepulchres of the princes of Ara- 
 gon. The government of this dynasty, 
 whose last king sought an asylum in 
 France, was the glorious era of the his- 
 tory of Naples, and of its literary splen- 
 dour, which declined on the accession of 
 the Spanish and Austrian dynasty. Over 
 these tombs is a small figure of Death 
 painted in clare-obscure, with the in- 
 scription : Sceptra ligonibus wquat. A 
 well-preserved corpse, in Spanish cos- 
 tume and enclosed in a wooden chest, is 
 erroneously stated to be the body of 
 Anlonello Petrucci, minister of Fer- 
 dinand I., decapitated after the conspi- 
 racy of the barons; the slate of the neck 
 proves that it cannot be the minister, but 
 must be some obscure Petrucci interred 
 at Saint Dominick in 1585. Over the 
 tomb of Pescario hang his portrait, his 
 torn banner, and a short plain steel 
 sword, which, according to the affected 
 inscription, is the one restored to him 
 by Francis I. : 
 
 I iscario Mai'll debelur Marliusensis : 
 
 Barbara adest, lulus medios potes ire per hosles. 
 
 The portrait of the noble captain who 
 
 ' See ante, book xiv. cli. ii. 
 
 died of his wounds before attaining his 
 thirty -sixth year and was so nobly 
 mourned and sung by his illustrious 
 widow Vittoria Colonna,' represents 
 him in a Franciscan's dress; a gloomy 
 and whimsical custom of Spanish devo- 
 tion, imitated, though few suspect the 
 fact, from the most frivolous people of 
 antiquity, the Athenians, who, says Plu- 
 tarch, wished to be interred in the cos- 
 tume of the initiated or hierophanls, , 
 and with the same 'intention, too, of 
 thus expiating the faults of their life. 
 The effect of these tombs is singular ; 
 they are raised high, on a kind of 
 narrow circular balustrade, and placed 
 in large coffers covered with crimson 
 velvet. At the extremity of this long 
 row, I observed several chests exactly 
 like the others in form, but much less 
 faded in colour : although it was not very 
 easy to obtain access, I approached them, 
 and, not without astonishment, dis- 
 covered that they contained the remains 
 of madame A***, wife of the present 
 Count de M**""*, formerly minister of 
 finance at Naples, and of three of his 
 children : two French quatrains by the 
 Count himself are inscribed on his con- 
 sort's tomb. Notwithstanding the so- 
 lemnity of death and the touching in- 
 terest that the tombs of a mother and 
 her children must inspire, I could not 
 repress my surprise at seeing an upstart 
 and foreign family among the royal se- 
 pulchres of the house of Aragon. 
 
 The obelisk of Saint Dominick, erected 
 by the Neapolitans, is, like that of Saint 
 Januarius, a rich and execrable monu- 
 ment begun by Fanzaga and finished by 
 Lorenzo Vaccaro, another corrupt pupil 
 of Bernini, of the second generation. 
 
 The monastery of Saint Dominick was 
 for many centuries one of those grand 
 gymnasiums of the middle ages whose 
 masters and doctrines had such vast em- 
 pire. Saint Thomas Aquinas composed 
 several of his works there, and taught 
 theology fifteen months; in later years 
 King Alfonso I. of Aragon, the gnat 
 man of his dynasty, often went thither 
 to attend the lectures of the professors. 
 Traces of Saint Thomas are found at 
 every step in this superb edifice; his 
 narrow cell, converted into a chapel, his 
 lecture-room, and a fragment of his 
 pulpit are still shown. The salary of 
 
 i De It. cap. Ill, 
 
chap. viii. 
 
 NAPLES. 
 
 451 
 
 this powerful professor at Saint Dominick, 
 fixed by an order written by Charles of 
 Anjou in 1272, now preserved in the 
 archives of Naples, was an ounce of gold 
 monthly, 6 ducats (11.) of the present 
 currency. If men, as we conceive, are 
 to be judged by the ascendant they exer- 
 cise over their age, Saint Thomas Aqui- 
 nas, who died at the age of forty-eight, 
 must be regarded as one of the greatest 
 geniuses that the world has ever seen : 
 "he was Descartes," says Fontenelle, 1 
 "in another age and under other cir- 
 cumstances." His political notionswould 
 not be disavowed by the warmest par- 
 tisans of popular liberty, or the most 
 inflexible logicians of the same opinions : 
 "Cum non est recur sus ad superiorem 
 per quem judicium de invasore possit 
 fieri, tunc qui ad liber ationem pa- 
 triae tyrannum occidit, laudatur et 
 prcemium accipif... . Non putanda est 
 multitudo irifideliter agere, tyrannum 
 destituens, etiamsieidemin perpetuum 
 se subjecerat...; quia hoc ipse meruit 
 in multitudinis r'egimine se non fide- 
 liter gerens, ut exigit regis officium, 
 quod ei pactum a subditis non reser- 
 
 vatur 3 Dicendum quod regimen 
 
 tyrannicum non est justiim ; et ideo 
 
 perturbatio hujus regiminis non habet 
 
 rationem seditionis ; magis autem 
 
 tyrannus seditiosus est qui in populo 
 sibi subjecto discordias et seditiones 
 nutrit." 4 It is surprising that such a 
 violent usurper as Charles of Anjou to- 
 lerated such principles, but Dante, I be- 
 lieve, makes him poison Saint Thomas : 
 
 Ripinse al ciel Tomraaso per ammenda. 5 
 
 The religious thoughts of Saint Thomas 
 are milder and safer: "God," says he 
 somewhere, "is not the author of the evil 
 which defiles, but of the evil which pu- 
 rifies." It is difficult to define super- 
 stition with greater nicety than this first 
 writer of the schoolmen, who calls it a 
 "vice opposed by excess to religion." 6 
 Despite the opinion of some philosophers, 
 the disputes of the schoolmen were pro- 
 bably no hinderance to the revival and 
 
 * Eloge de Marsigli. 
 
 * Lib. il. Sent. DLst. 44, q. 2, art. 2. 
 
 3 Op use. 39, lib. i, cap. 6. 
 
 4 2. 2. q. 42, art. 2. 
 
 5 Vurgat. can.xx, 69. 
 
 6 Superstilio, vltium per excessum religion! op- 
 po:iluru. (2. 2. q. 92, art. \.\ 
 
 7 Hobert went so far as to swear tbat letters were 
 
 the progress of knowledge. These con- 
 troversies imparted to the minds of men 
 that force, shrewdness, and promptitude 
 which they afterwards brought to bear 
 on other subjects; in fine, this rude 
 exercise may be said to have been the 
 gymnasium of the human mind. 
 
 The ceiling of Saint Peter a Majella 
 is one of the best works of the fretful 
 Calabrese, and also the numerous sub- 
 jects taken from the Life of St. Cathe- 
 rine, paintings which the defenders of 
 the style encouraged in their day, vainly 
 endeavouring to oppose them to the 
 brilliant innovations of Luca Giordano. 
 
 Saint Clair, perhaps the most elegant 
 church in Naples, though overloaded 
 with ornaments in the last century, had 
 been skilfully restored by Masuccio II., 
 the first real master of the art in that 
 country. By the advice of Boccaccio, 
 King Robert had it covered with frescos 
 by Giotto; but a Spanish magistrate, re- 
 gent of the church, ordered them to be 
 whitewashed when the church was under 
 repair, to make it lighter. A Virgin in 
 a small chapel near a door is the only 
 picture that escaped this barbarous ex- 
 pedient. Saint Clair is the burial-place 
 of the reigning family; but the tombs 
 of the house of Anjou were there be- 
 fore : five of these mausoleums are cu- 
 rious for the history of art. King Ro- 
 bert's, which, while living, he ordered 
 of Masuccio II., is the most remarkable. 
 He is represented twice; in the first 
 instance, seated and in royal robes ; in 
 the second, reclined and dressed as a 
 Franciscan. Robert, a friend of the 
 learned, himself an author and scholar^ 
 flattered by Petrarch and the other lite- 
 rati of the time, 8 seems not to have 
 pleased Dante. In his bitter description 
 of the common discordance between our 
 nature and our condition, this great sa- 
 tirist, when he pleases so to be, treats 
 Robert as a royal wit and nothing more : 
 
 E fate re di tal ch' e da sermone.9 
 
 The tomb of Giovanna of Naples is 
 near the beautiful mausoleum of her 
 
 more grateful and much dearer to him than hi 
 throne : "Ego juro dulciores et multci cariores 
 mihi Htteras esse quam reguum." Petrarch. 
 Opera, Her. meinor. lib. ii. A monument in the 
 garden of his palace at Aix bore the inscription 
 Deo el Musis. 
 
 8 See ante, book ix. ch. xii. ; ana book x. ch. vii. 
 
 9 Parad. can. viii, 147. 
 
 39 
 
158 
 
 NAPLES. 
 
 I Book XIII. 
 
 father, the duke of Calabria, son of King 
 Robert, called Charles the Illustrious, 
 who died young, and never occupied the 
 throne. This queen, whose memory, 
 though stained « ilh crime, continues po- 
 pular at Naples, wears a long cloak 
 besprinkled with fleurs-de-lis, and has a 
 crown on her head. The husband of 
 the famous Cutanian, Giovanna's gover- 
 ness, the chief agent in the murder of 
 her husband, Raimondo Cabane, is in- 
 terred al Saint Clair near Giotto's fresco. 
 This Saracen slave became grand se- 
 neschal of the kingdom, and was, like his 
 guilty partner, another instance of the 
 high fortune of subaltern persons at 
 that epoch of pleasures, corruption, and 
 barbarism. A little monument, of ex- 
 traordinary elegance, is that of Antonia 
 Gandino, by Giovanni of Nola. The 
 gracefulness of this charming girl, who 
 died at fourteen, is no less happily ex- 
 pressed by the marble than the grief of 
 her parents by the pathetic epitaph, 
 written by the Neapolitan poet Antonio 
 Epicuro, of the Academy of Pontanus : 
 
 Nata elieu mlserum, misero mihi nata uaren.ll, 
 
 (Julius ut Dares, unica nata, dolor; 
 Nam tibl dumque virum, toedas, llialamumque pa- 
 ra bam, 
 
 Funera ct Inferos anxius ccce paro. 
 Debuimus tecum poni, malerque palerque, 
 
 Ut tribus haec miseris urna parata forel. 
 At nos perpetui gemitus, In nata stpulcri 
 
 Esto heeres, it bi sic impia Tata volunt. 
 Aulonius hlise clarissimae, etc. 
 
 The chapel of San Felice, one of the 
 best in the church, has a good Cruci- 
 fixion, by Lanfranco, and an antique 
 tomb, ornamented with superb basso- 
 relievos, in which reposes a duke of 
 Rhodes, Cesare San Felice. The best of 
 Solimene's pupils, Mura, having the de- 
 fects but not all the good qualities of his 
 master, executed the painting of the Holy 
 Sacrament, at the high altar, and St. 
 Clair putting the Saracens to flight, on 
 the principal roof, the middle picture of 
 
 1 The ecclesiastical population seems however to 
 diminish sensibly at (Naples as everywhere else. 
 (See book vi. ch. xiw) In I78G there were about 
 two hundred convents, containing three thousand 
 six hundred and forty-four monks, and six thou- 
 sand four hundred and sixteen nuns; there are 
 now thirty -two convents for men, twenty-two 
 nunneries, and thirty-four conservatories; the 
 number of monks was, in 182'J, fifteen hundred 
 and two, and of nuns a thousand and thirteen : the 
 year before, the former were ouly seven huudred 
 
 which, David playing the harp before 
 the ark, is an esteemed work, by Conea. 
 
 The steeple of Saint Clair, by Masuc- 
 cio II., is of pure and beautiful goihic. 
 On the third story may be remarked the 
 happy innovation of the Ionic capital 
 operated by Michael Angelo, with whom 
 the Neapolitan ought to share, the ho- 
 nour. The death of King Robert left 
 this noble monument unfinished. 
 
 The church of Gesii nuovo, or Tri- 
 nitd Maggiore, with its orchestra of 
 painted boards, its candelabra placed 
 between the columns and held by little 
 angels, which might be easily mistaken 
 for Loves, is really more like a ball-room 
 than a temple. The dullness of the front, 
 which Milizia, a belter critic and theo- 
 rist than practician, thought filter for a 
 prison, still heightens the contrast. Of 
 the old cupola destroyed by an earth- 
 quake in 1688, only the four fine evan- 
 gelists of Lanfranco remain. In the 
 chapel of Saint Anne is the first fresco 
 due to the precocious talent of Solimene, 
 w hich he did when eighteen. His Helio- 
 dorus driven out of the temple, a vast 
 fresco over the great door, is expressive, 
 but too confused. The frescos of the 
 ceiling and painting in the chape! of the 
 Trinity, are by Guercino. This church 
 and the college belonging to it were re- 
 stored to the Jesuits in 1816; but their 
 reeslablishment did not meet with the 
 same opposition as in France. The Je- 
 suits are the same there as other priests, 
 whose numbers arc so great that some 
 few more or less can make little diffe- 
 rence." 
 
 CHAPTER IX. 
 
 Monle Olivelo. — Tasso's poem. — Santa Maria la 
 Nova. -Inscription ou Laulrec's tomb.— Hetro 
 Navarro— Saint James of the Spaniards Mau- 
 soleum of rieiro of Tola lo. — Spanish domiuitiou. 
 — Ed.ifl.ce of Saint James. 
 
 The chefs-d'eeuvre of sculpture as- 
 
 anci seventy-four, (Mid the second eight hundred 
 and eighty-two. The number of priests, which 
 in 1788 was three thousand one h ndrcd and forty- 
 three, is now eight hundred. Vhe kingdom of 
 Naples (on Ihis side the Faru) conlained, in January 
 1832, out of live millions seven hundred and eighty- 
 one thousand and thirty-six Inhabitants, twenty- 
 six thousand three bundled and four priests, eleveu 
 thousand live hundred and live monks, and nine 
 thousand two huudted aud niuety-seven nuns. 
 
Chap. IX. ] 
 
 NAPLES. 
 
 459 
 
 sembled in the church of Monte Oliveto 
 give it the appearance of a real museum. 
 The elegant works executed in the chapel 
 of the duke of Amalfi by Antonio Ros- 
 sellini, excited the emulation and deve- 
 loped the talent of Giovanni of Noia. 
 In the Liguori chapel, the basso-relievo 
 of the Virgin and Infant Jesus, St. 
 John and other saints, and below, Saint 
 Francis de Paule and the four Evange- 
 lists, are admired works of his : the St. 
 John Baptist of the Artaldo chapel was 
 his first statue. In the chapel del Pezzo, 
 the Virgin and her son, the ornaments, 
 the basso-relievo of Jesus Christ calling 
 St. Peter from the ship, by Santa Croce, 
 are excellent. The Mastrogiudici and 
 Piccolomini chapels have some sculptures 
 by two great Florentine masters : the first, 
 an Annunciation, by Benedetto da Ma- 
 jano ; the second, a Nativity, by Dona- 
 tello. In the Saint Sepulchre chapel, the 
 earthen group of Piety, by Modanino, 
 presents natural likenesses of several il- 
 lustrious contemporaries: Nicodemus is 
 Pontanus ; Joseph of Arimathea, San- 
 nazzaro; St. John and the next statue, 
 King Alfonso II., and his son Ferran- 
 dino. 
 
 The noble monastery founded in 1411 
 by Gurrello Origlia, grand protonotary 
 of the kingdom, the favorite of King La- 
 dislas, and built by the architect Ciccione, 
 is now occupied by the tribunals, the 
 municipality, the board of comptrol and 
 other administrations, and its garden is 
 a market. Tasso, when labouring under 
 sickness and misfortune, found an asylum 
 in this convent; he worked assiduously 
 at his Gerusalemme there, and his friend 
 Manso states that he composed about two 
 hundred stanzas of it in June 1588.' So 
 great was his gratitude for the kind treat- 
 ment of these monks, that he consented, 
 at their prayer, to suspend that glorious 
 work to sing their order, and he began, 
 though very ill at the time, the poem on 
 the Origine della congregazione di 
 Monte Oliveto ; 2 this work, which he 
 left unfinished, shows what interesting 
 materials true poets can find in monastic 
 writing and history. It is probable that 
 the new destination of the monastery, 
 
 ' Vila di Tasso, p. 190. 
 
 • J Lasclai dunque V opere mie da parte, ed ancora 
 Jnferrao e quasi disperalo della salute couiinciai, 
 come vollero (i Padri) a poetare accioche la mia 
 poesla fosse quasi un riconoscimento della lor gra- 
 zla e carita. Lett, to cardinal Caraffa, vol. ill!, 
 
 and the present noisiness of that quarter, 
 would inspire him much less. 
 
 Santa Maria la Nova has some fine 
 paintings: an Assumption, on the ceiling, 
 by Imparato ; the Crowning of the Vir- 
 gin, in Titian's manner, the masterpiece 
 of Santa Fede, a Neapolitan painter of 
 the sixteenth century, also distinguished 
 for literary and musical talents, who was 
 honoured in a remarkable manner by an 
 incident that occurred in Masaniello's 
 revolt : the people were on the point of 
 setting fire to a house, but determined 
 to spare it when they learned that it con- 
 tained two chambers painted by him, a 
 movement worthy of a people of Greek 
 origin. There are, besides, the frescos 
 of the Life of St. James, by Stanzioni; 
 those of the choir, by Sirnone Papa the 
 younger; the two great paintings by 
 Marco of Siena, in the chapel of the Cru- 
 cifix, as well as the frescos of Corenzio, 
 and the cupola where he has represented 
 the four celebrated Franciscan writers, 
 St. Bonaventure, John Scott, Nicholas 
 of Lira, and Alexander ab Alexandro. 
 To the right of the high altar, under the 
 organ, are two little children, done by 
 Luca Giordano in his eighth year. But 
 the noblest ornaments of this temple are 
 the two tombs generously erected by the 
 duke of Sessa, nephew of the great Gon- 
 salvo, and governor of Naples, to two 
 unfortunate warriors, his enemies. On 
 the first (Lautrec's) is this fine inscrip- 
 tion, a veritable monument of chivalrous 
 and Castilian honour, which one is sur- 
 prised to learn proceeded from the venal 
 defamatory pen of Paolo Giovio: Odetto 
 Fuxio Lautrecco Consalvus Ferdinan- 
 dus Ludnvicifil. Corduba, magni Con- 
 salvi nepos; quum ejus ossa, quamvis 
 hostis, in avxto sacello, ut belli fortuna 
 tulerat, sine honorejacere comperisset, 
 humanarum miseriarum memor, Gallo 
 Duci Hispanus Princeps posuit. The 
 second tornb is consecrated to Pietro Na- 
 varro, a famous general of engineers, 
 who left the service of Charles V. for 
 that of Francis I., and was the colleague 
 ofMachiavel in fortifying Florence against 
 the imperial army. 3 Navarro was the 
 first that made use of a mine, which he 
 
 p. 18'i of the Pisa edition. Tasso also addressed a 
 fine sonnet to these monks at the same epoch. 
 Rime, part Hi. p. 52. 
 
 3 See Machiavel's curious relation entitled Narra- 
 tive of a visit made to fortify Florence, addressed 
 in i526to Pope Clement VH. 
 
460 
 
 NAPLES. 
 
 [Book XIII. 
 
 bad learned from the able Sienese ar- 
 chitect Franccscodi Giorgio,' andcreated 
 some important combinations in his art. 
 A French military writer of great infor- 
 mation,* disregarding the opinion of 
 Guicciardini and Brant6me, thinks there 
 is reason to doubt the accuracy of the 
 statement that Navarro when a prisoner 
 was suffocated between two mattresses 
 by the emperor's orders. Celano, au- 
 thor of the Notizie del bello, dell' antico 
 et del curioso delta citta di Napoli, 
 pretends, on the authority of several 
 writers, that this general, imprisoned in 
 the Castello nuovo, was publicly con- 
 demned to death as a deserter, and that 
 if he was found smothered in his bed 
 one morning, it ought to be looked on 
 as an act of kindness on the part of the 
 governor, who wished to spare him the 
 shame of a public execution : per opra 
 del Castellano, per non farli piu sensi- 
 ble la morte, nella pubblicitd del gas- 
 tigo. The contrary opinion seems con- 
 firmed by the inscription on his tomb, 
 likewise by Paolo Giovio, which alludes 
 to nothing of the kind, and even breathes 
 the same magnanimity as the one on 
 Lautrec's tomb : Ossibus, et memoriw 
 Petri Navarri Cantabri, solerti in ex- 
 pugnandis urbibus arte clarissimi. Con- 
 salvus Ferdinandus Ludovici fil. Ma- 
 gni Consalvi nepos, Suessw princeps, 
 ducem Gallorum partes secutum, pio 
 sepulchri munere honestavit ; quum hoc 
 in se habeat praclara virtus, ut vel in 
 hoste sit admirabilis. 
 
 Obiit an. 1528, aug. 15. 
 The small church of the Incoronata, 
 dirty, damp, and dark, is interesting for 
 its paintings by Giolto, which represent 
 the marriage of the first queen Giovanna 
 and her cousin Ludovico of Tarento, 
 with a multitude of domestics dancing ; 3 
 the coronation of the royal pair; the ho- 
 mage done to the queen by the Carthu- 
 sians of Saint Martin, for the erection of 
 their monastery; the arrival of the cruel 
 
 1 See post, book xvn. ch. xili. 
 * Allcnt, Itistoire <lu corps du genie, remark 
 Slli, of Ihe first and only volume. 
 
 3 Giovanna created, on the occasion of this mar- 
 riage, the order of the tfiiof, Ihe first established in 
 Italy, and which did not last long; its emblem 
 seems singularly odious when we remember the 
 death of Andrea, Ciovanua's first husband, who was 
 strangled by ludovico of Tarento and bis accom- 
 plices. 
 
 4 Si in terrom exeas cappellam Regis intrare non 
 
 Louis of Hungary, avenger of his bro- 
 ther Andrea, with his cavaliers, once 
 superb paintings, ingeniously praised by 
 Petrarch, justly proud of his compatriot 
 Giotto/ which present the true portrait 
 of Giovanna, and give some idea of the 
 magnificence of her court. The Seven 
 Sacraments, in the choir, likewise by 
 Giotlo, are the best preserved of his works 
 at the Incoronata. 
 
 Saint James of the Spaniards, founded 
 by the haughty and despotic viceroy Don 
 Pedro of Toledo, contains his tomb, one 
 of Giovanni of Nola's good works, and 
 the most important : the statues at the 
 corners are perfect models of allegorical 
 figures; the basso-relievos prove the ar- 
 tist's skill in the perspective proper for 
 this kind of sculpture. The greater part 
 of the long pompous inscriptions on the 
 Spanish tombs in the churches of Naples, 
 may be added to the Bodomontades of 
 Brantdme : all these dead, all these Guz- 
 mans, are heroes famosos, invencibles . 
 The Spanish domination is one of the 
 calamities that have oppressed Naples 
 and Italy; then the old domestic man- 
 ners changed ; then was observed the 
 spread and prevalence of penniless os- 
 tentation and grovelling pride, while flat- 
 tery corrupted every mind; Italy had a 
 kind of torpor without repose, adven- 
 tures without glory ; her religion was 
 intolerant, her government despotic ; the 
 human mind, wandering in the dark in- 
 tricacies of the schoolmen, made little 
 progress ; and to aggravate the shame, 
 there arose no Italian writer to describe 
 and punish this foreign tyranny. 5 
 
 Some of the paintings at Saint James 
 of the Spaniardsare remarkable: aChrist 
 on the cross, by Marco of Siena ; the pic- 
 lure over the door by Passanti, a good 
 pupil and imitator of Spagnoletto; a 
 Piety, by Bernardo Lama, which has 
 been supposed by his master Polidoro di 
 Caravagio, and is worthy of him. 
 
 The edifice of Saint James, established 
 
 omiseris, in qua conteranneus olim meus Cloftus 
 plctor nostri oevi princeps magna rellquit manus 
 et ingenii monuments. Episl. 
 
 5 So violent was the antipathy against Ibe Spa- 
 niards at Naples, that they were obliged to retire 
 to the quarter of Salut James as early as four 
 o'clock, to avoid being attacked by the people; see 
 a Journey In Italy of ihe year 1588, a manuscript 
 at the Bibliotheque Royale, published by the Revue 
 retrospective, August 1830. 
 
Chap. X. J 
 
 NAPLES. 
 
 461 
 
 in the old convent, and intended for the 
 use of the different government offices, 
 the Exchange, etc., is a good and useful 
 construction of the industrious order, 
 doubtless a very estimable order, but 
 which can never originate or sustain the 
 genius of grand architecture. These 
 works, however, prove the talents of 
 MM. Gasse, architects of French extrac- 
 tion, settled at Naples. 
 
 CHAPTER X. 
 
 Sanla Maria del l'arto.— sannazzaro.- Chartreuse 
 of Saint Martin.— Spagnoletto.— Villa Belvedere. 
 — Floridiana, 
 
 Luca Giordano was interred at Saint 
 Bridget. The frescos of the cupola are 
 esteemed the most magnificent he ever 
 made : his St. Nicholas is intended to 
 imitate Paolo Veronese. 
 
 Santa Maria del Parto, which San- 
 nazzaro founded on the site of his for- 
 mer villa, and called by the name of 
 his beautiful and fantastic poem {de 
 Parlu Virginis), contains the poet's 
 noble mausoleum, principally the work 
 of Santa Croce, but completed by Fra 
 Montorsoli. The two statues of Apollo 
 and Minerva which adorn it have be- 
 come David and Judith : a fine basso- 
 relievo presents fauns and nymphs, a 
 medley of Christianity and paganism in 
 perfect analogy with the character of 
 Sannazzaro's chef-d'oeuvre, which cost 
 him twenty years of incessant toil. Dif- 
 ferent motives have been alleged for the 
 metamorphosis of the statues: some have 
 attributed it to a religious scruple on the 
 part of the Servile monks to whom San- 
 nazzaro bequeathed his church; others 
 have fancied they saw therein a design 
 to put an end to the confusion of sacred 
 and profane ideas ; it is said that a vice- 
 roy, who wanted to send these statues 
 to Madrid, signified to the monks that 
 such figures were extremely ill-placed 
 there : and that they, not less crafty 
 than he, then thought of inscribing be- 
 neath them the names of David and 
 Judith. The touching fidelity of San- 
 nazzaro towards the last prince of the 
 house of Aragon, his benefactor, is hop 
 nourableto letters; he followed him into 
 exile, and never revisited his country till 
 he had seen him die. But he found 
 the palace he had received from him, 
 in which he, with learned men his 
 
 friends, had used to explain at table the 
 authors of antiquity, destroyed by war, 
 as well as the tower he had built; and, 
 almost dying, he composed his last 
 verse : 
 
 La vendetta d' Apollo ba fatto Marte. 
 
 A painting by the second Leonardo 
 Malatesta of Pistoja, in the chapel where 
 the bishop Diomede Caraffa is interred, 
 represents St. Michael vanquishing the 
 devil, who has the head of a pretty 
 woman. The painting is said to have 
 been ordered by the bishop; the St. Mi- 
 chael is his own portrait, and the devil 
 that of a certain Neapolitan dame whose 
 allurements he congratulated himself 
 on having escaped in his youth. The 
 inscription under the picture : Fecit vic- 
 toriam alleluia, coincides pretty well 
 with the tradition. This singular paint- 
 ing has given rise to the Neapolitan 
 proverb for designating a seductive 
 beauty : " She is the demon of La Mer- 
 gellina." 
 
 The Chartreuse of Saint Martin is fa- 
 mous for- its view and the paintings of 
 Lanfranco and Spagnoletto. The con- 
 vent is a great house for invalids, many 
 of whom are blind. By one of those 
 blunders too common under the Neapo- 
 litan government, persons deprived of 
 sight occupy the finest point of view at 
 Naples, and the powder mills and ma- 
 nufactory of arms, though founded by 
 Charles III., are placed at the foot of 
 Vesuvius, at Torre della Nunziata, a 
 large town of six or eight thousand 
 souls. At one of the recent eruptions, 
 they were obliged hastily to remove the 
 powder, which otherwise might have 
 blown up so many people and destroyed 
 the manufactory of arms, the only one 
 in the kingdom. In my rambles I have 
 often traversed Torre della Nunziata, 
 and I could never help pitying its poor 
 inhabitants, so thoughtless and gay, ce- 
 lebrated for their macaroni, who are thus 
 exposed to the double volcano of nature 
 and of men. The church of Saint Mar- 
 tin, quite a jewel, appears too rich, too 
 small, and too much ornamented for a 
 hospital church. The Ascension of the 
 cupola and the twelve Apostles between 
 the windows, by Lanfranco, are re- 
 markable for expression and variety 
 Over the door, a Deposition from the 
 cross, by Stanzioni, is another testi- 
 
 39. 
 
NAPLES. 
 
 [ Boor XIII. 
 
 mony to the evil disposition of Spagno- 
 letto : ■ being jealous of this Deposition, 
 which was then opposite his, he persuad- 
 ed the monks to clean it, and mixed 
 some corrosive substance with !he water, 
 which impaired its effect, as may be 
 still seen; for Stanzioni would never 
 retouch it, wishing it to remain a monu- 
 ment of his enemy's perfidy. The em- 
 ployment of such means was not neces- 
 sary to the glory of Spagnoletto, who 
 has left his finest works to the Chartreuse. 
 His heads of Moses and Elias, his 
 twelve prophets over the lunettes of the 
 chapels, are admirable; his Commu- 
 nion of the Apostles presents a St. Peter 
 foreshortened, of extraordinary effect; 
 the Deposition from the cross, in the 
 Treasury, his masterpiece, is exceedingly 
 pathetic : no one can Contemplate the 
 grief of the Virgin near the dead Christ 
 without being deeply affected. The fine 
 ceiling of the choir could not be finished 
 by the Cav. d'Arpino, whom the tyran- 
 nical Corenzio* obliged to quit Naples. 
 In the chapel of Saint Bruno, the Saint 
 giving his regulations, and the frescos 
 of the roof, by Stanzioni, are excellent. 
 For a superb Nativity, at the high altar, 
 which death prevented Cuido from fi- 
 nishing, he had received 2000 crowns, 
 which the monks generously abandoned 
 to his heirs. The roof of the brilliant 
 sacristy is another good work by the 
 Cav. d'Arpino and Stanzioni. 
 
 The Villa Belvedere, which I found 
 unoccupied, might be made a delightful 
 abode; the undulatory surface of the 
 ground is well adapted for a garden, and 
 the view is admirable. The gallery and 
 Museum of antiquities arc numerous and 
 rather remarkable. In this garden, at 
 evening, one might hear the roaring of 
 the lions of La Floridiana , which the 
 former mistress and consort of King Fer- 
 dinand had occupied. It was on the 
 same shores that another royal mistress, 
 Circe, more impassioned, more violent 
 than the duchess, had other lions cap- 
 live : 
 
 nine exaudiri gemilus iraeque leonum 
 
 Vincla recusanlura, etsera sub node rudenluni.'* 
 
 1 See ante, ch. vll. 
 • See ante, ch. vii. 
 
 3 Mne. vii. i5. 
 
 4 Aderat flegina et Andreas negulus oderat 
 
 omnls Nenpolltana mililia, quo nulla cotnptior, 
 nulla decentior. Vulgus cerlatim omne confluie- 
 
 This fine villa of La Floridiana, 
 created in 1819, is worth the trouble of 
 soliciting a ticket of admission, to look 
 over its flowery gardens, to examine its 
 elegant casino, its pretty fabrics, its 
 siiperb bridge, and to enjoy its delicious 
 and varied views. The bard of the Jar- 
 dins could blame nothing there but the 
 mausoleum of the little dog Moretta : 
 
 Loin ces rains monuments d'un chien ou d'un oi- 
 C'estprofauerledeuil, Insulterau toinbeau. [seau ; 
 
 CHAPTER XI. 
 
 Sainl John Carbonara.-Caracciolo.— Queens' lovers. 
 —Ancient library or Saint John Carbonara.— 
 Holy Apostles.— Cemetery. - Cav. Marini. — All 
 Souls.-Carmlne.-Conradin. — Market-square.— 
 People of Naples. — Neapolitan dialect. -Popular 
 songs.— Saint sereriu.— Giovanni of Nolo. 
 
 Saint AnthonyAbbot presents a curious 
 monument of the old Neapolitan paint- 
 ing, perfectly in Giotto's style ; it is a 
 painting on a gold ground in three com- 
 partments, by Colantonio del Fiore, the 
 middle one representing Saint Anthony 
 and two angels, and the others two saints 
 each. 
 
 The little church of Saint John Car- 
 bonara, by Masuccio II., is remarkable, 
 notwithstanding its degradation from its 
 character, for its historical associations 
 and thesculpturesofitschapelsand tombs. 
 Petrarch relates he witnessed on this 
 very spot real gladiatorial combats re- 
 newed from the circus of the ancients, 
 and performed in the presence of Queen 
 Giovanna, King Andrea, the court, the 
 army, and the people, Avho enthusiasti- 
 cally applauded these sanguinary pro- 
 ceedings^ The vast and imposing mau- 
 soleum of King Ladislas aud his sister 
 Giovanna II., the chef-d'oeuvre of Cie- 
 cione, cannot produce all its effect in Ihe 
 confined space where it stands ; but it 
 appears that the fashion of the time re- 
 quired these massive sepulchres for such 
 persons. The statue of Ladislas, sword 
 in hand, mounted on a charger, on the 
 top of the monument, is a good expres- 
 sion of the ardent young Italian con- 
 queror who assumed the title of king 
 
 runt....iepenle quasi leelurn oliquid nccidisset 
 plausus Inenarrabilis ad ccelum lollllur. Clrcuin- 
 splclo, El ecce formosissluius adolescens rlgiilo 
 umcrone tiansfossus ante pedes meos corruit. Ob- 
 sttipiii, et equo calcarlbus adacto, tetrum ac tar- 
 taivum speclaculum effugi. Eoist. lib. v, 37. 
 
Chap. XL] 
 
 NAPLES, 
 
 465 
 
 of Rome, and was seeking to extend his 
 dominion over all the peninsula when 
 he died from excessive indulgence in 
 pleasures. Another very curious mau- 
 soleum by Ciccione is that of ser Gianni 
 Caracciolo, the lover and minister of the 
 second queen Giovanna, a kind of Nea- 
 politan Earl of Essex. The catastrophes 
 of these lovers, these minions of sove- 
 reigns, excite but little commiseration ; 
 they seem much more the victims of am- 
 bition than of love : we feel, that they 
 obtained favour by obsequious subser- 
 viency rather than personal attractions 
 or real merit, and that they are but an- 
 other sort of courtiers more confidential 
 and a little more assiduous than the rest. 
 Caracciolo, as well as his mistress, was 
 sixty when assassinated ; his death, the 
 consequence of his cupidity and resulting 
 from a palace intrigue, cannot be attri- 
 buted to the workings of a violent pas- 
 sion. The grand frescos of this chapel 
 are by Gennaro di Cola, a Neapolitan 
 painter of the fourteenth century, and 
 are fine for the time. The chapel of the 
 Marquis Caracciolo di Vico, adjoining, 
 has six statues of apostles by Giovanni 
 of Nola, Santa Croce, Annibale Cacca- 
 vello, the worthy pupil of Giovanni of 
 Nola, and by the celebrated Spanish 
 sculptor Pedro della Plata : the basso- 
 relievo of the Epiphany, by the last- 
 mentioned, is perfect. The Miroballi 
 chapel, though not altogether irreproach- 
 able, may be nevertheless regarded as 
 one of the most regular and elegant that 
 preceded the revival. 
 
 The ancient library of Saint John 
 Carbonara,' founded by Cardinal Gero- 
 nimo Seripandi, to whom Janus Parrha- 
 sius bequeathed his Greek manuscripts 
 and several unpublished manuscripts of 
 his own — this celebrated library, so 
 highly extolled by Montfaucon and still 
 often alluded to as being in its place, has 
 ceased to exist more than a century. 
 The chief part, including the manuscript 
 of Tasso's Gerusalemme conquislata, 
 which wants the first canto, was trans- 
 ported to Vienna in 1729 and is there 
 still; « the rest was added to the Royal 
 library at Naples. The circumstances 
 attending the dispersion of this library 
 are characteristic of Neapolitan and mo- 
 nastic indolence : some German literati 
 
 1 J. Lambecit Comment, de biblioihc-ea Csos. 
 Vindob., vol. \, col. 763 seq. ed. Kollaril. 
 
 had been sent to the convent of Saint 
 John Carbonara to take copies of ma- 
 nuscripts, make a return of their titles, 
 and to seek for various readings ; after 
 some resistance and false pretexts on the 
 part of the monks, the chief of the Nea- 
 politan senate ordered them to afford 
 freer access to their library ; but they 
 were so much afraid of this kind of ser- 
 vice, that, to be left undisturbed, they 
 preferred making a voluntary offer of the 
 manuscripts to the emperor Charles VI. 
 
 In the church della Pietatella, is a Pu- 
 rification, by Curia, which has been 
 cited as one of the best paintings in 
 Naples, and Spagnoletto proposed it to 
 his pupils as a model. 
 
 The frescos of the brilliant church of 
 the Holy Apostles have some celebrity : 
 the roof, the angles of the cupola, the 
 gallery of the choir, the choir, a fine 
 Pool of Bethesda over the door, the 
 perspective of which is by Viviani, are 
 by Lanfranco; the cupola is by Renasca. 
 We are told that the Neapolitan masters, 
 after frequently comparing the two St. 
 Michaels of the two last painters, in 
 this church, could not decide which 
 ought to be preferred. The four pain- 
 tings of the window recess, by Luca 
 Giordano; the lunettes of the nave, by 
 Solimene, are some of their esteemed 
 works. In the Fiiomarino chapel is the 
 celebrated Concert of Angels, a basso- 
 relievo by Fiammingo, an artist of 
 Rrussels who settled at Rome, and who 
 was indebted to the friendship and 
 counsels of Poussin for his ability to 
 surpass, perhaps, the other sculptors of 
 his day. 
 
 A great subterranean cemetery, in 
 which the Cav. Marini reposes, apper- 
 tains to this church. The sepulchral 
 stone of the poet is very simple ; but the 
 quatrain inscribed for epitaph is singu- 
 larly laboured; if the panegyric were less 
 extravagant, it might easily be supposed 
 he had composed it himself. The ceme- 
 tery of the Holy Apostles, when I vi- 
 sited it on All Saints day, had become a 
 sort of garden planted with boughs and 
 shrubs ready for the funereal festival of 
 the morrow. On that day, the coffins 
 are opened, the corpses, the bones are 
 dressed up, with long inscriptions com- 
 memorative of what all these dead were 
 once ; and the people walk about amongst 
 them, recognising and contemplating 
 them in transports of delight. The vene- 
 
m 
 
 ration due to tombs is then degraded into 
 an uproarious theatrical orgie. 
 
 The church of Santa Maria del Car- 
 mine, the most frequented and popular 
 church of Naples, recalls one of the most 
 tragical catastrophes in history, and the 
 first example of regicide in Europe ; the 
 remains of young Conradin and his 
 cousin Frederick are deposited there, 
 obscurely concealed behind the high 
 altar : the inscription cannot be read 
 without a lamp, and this sort of mystery 
 still increases the emotion. Conradin, 
 when on the scaffold, only uttered the 
 exclamation : "O mother! how great 
 will be your grief to hear such news of 
 me!" This mother, the empress Mar- 
 garet, hastened from the extremity of 
 Germany to redeem his life ; she arrived 
 too late, and therefore devoted the sum 
 of the useless ransom to found the mo- 
 nastery del Carmine, in which a statue 
 represents her with a purse in her hand. 
 It is not known whether Margaret was 
 received by Charles of A njou, or whether 
 she clarmed her son's body ; if so, such 
 an interview would surpass in pathos 
 the scene of Priam at the feet of Achilles. 
 A chapel, under the invocation of the 
 Cross, was erected on the place of his 
 execution, at the corner of the houses 
 beside the church del Carmine, where 
 a coffee-house stands at present. Op- 
 posite, in the new church of Santa 
 Croce al Mercato, may be seen the 
 small porphyry column that was reared 
 on the very spot of the murder : it lies 
 prostrate, exposed to all the filth of a 
 Neapolitan sacristy, and the following 
 dreadful quodlibet in Lombard characters 
 is still legible: 
 
 Asluris ungue Ico pullum rapieus aquilinura 
 nic depluniavit, acephaluiuque dedit.' 
 
 A fact but little noticed may how- 
 ever be adduced to prove how sacred 
 royalty was then held : when the execu- 
 tioner had cut off Conradin's head, 
 another who stood by stabbed him with 
 a poniard, so that, says the historian, the 
 vile instrument who had shed the blood 
 of a king, might not be left alive. 3 
 
 i Asturis means Giovanni Frangipani, lord or 
 Aslura, who took Conradin and basely delivered 
 liim up. The lion was formerly in the arras of 
 France. Dante alludes to this emblem when he 
 applies the word lion to Charles of Valois, who. 
 In taking possession of Florence, was the cause of 
 his exile. 
 
 NAPLES. I Book XIII, 
 
 The church del Carmine, though rich 
 in marble and stucco, has little beauty : 
 an Eternal Father, with the Holy Ghost, 
 is by Giordano ; the Assumption and 
 the frescos of the window, an Elijah 
 and an Elisha, are by Solimene. In this 
 church, the best attended in Naples, on 
 the day after Christmas every year, the 
 miraculous crucifix is exposed, which in 
 the siege of 1439 stooped its head, to 
 avoid a cannon ball; a crucifix exceed- 
 ingly venerated by the Neapolitans, who 
 on that day flock thither in crowds to 
 adore it, and (he magistrates go in a 
 body to pay their homage. 
 
 The spacious market-square was the 
 scene of the insurrection of Masaniello, 
 a real Neapolitan tribune, not a Roman, 
 who preluded his insurrection by going 
 with the other gamins of the time to 
 show his backside under the viceroy's 
 windows. The people of Naples, in 
 spite of our new claims, must be consi- 
 dered the best in the world for rioting : 
 there is a book in Italian entitled, A 
 Relation of the twenty-seventh revolt 
 of the most faithful city of Naples. 
 But these seditious, passionate men are 
 neither cruel nor furious, and notwith- 
 standing their vivacity and the burning 
 heat of the climate, their history pre- 
 sents none of those great popular mas- 
 sacres of which there are too many in- 
 stances in the colder and more civilised 
 nations; the horrors of the revolution of 
 1799 sprung from Nelson and the court ; 
 true Neapolitans would never have dis- 
 missed Saint Januarius as a Jacobin and 
 protector of Jacobins, to replace him, as 
 was the case, by Saint Anthony. The 
 domination of the different foreign powers 
 that have occupied this country, suc- 
 cessively Greek, Arabian, Norman, 
 Spanish, Austrian, French, doubtless 
 produced in the inhabitants the perpe- 
 tual habit and facility of imitation. In 
 their present manners there are many 
 Spanish peculiarities, as exaggeration, 
 boasting, love of ceremony, and for the 
 last twenty years the soldier has aped 
 the French, the English, and the Ans- 
 trians, one after the other, ever taking, 
 
 * Aeclb vivo non rimanesse un vile mlnistro rhe 
 nveva versalo il sangue d' un re. Blanoirdl, le Vile 
 de' re di Napoli; Vila di Carlo d Angli, p. I3t, 
 quoted by Ginguene, Hist. lilt, d'll., t.'i, 356. 
 
CHAP. XI.1 
 
 NAPLES. 
 
 m 
 
 as usual with such copyists, whatever is 
 worst in their models. If the character 
 of the Neapolitan has little elevation, his 
 disposition is good, compassionate, 1 and 
 though ignorant and untrained, he has 
 imagination and an acute mind very 
 susceptible of culture; his language is 
 picturesque, figurative, occasionally elo- 
 quent. The Neapolitan dialect is sono- 
 rous, redoubled, 2 musical, and the inge- 
 nious but partial Galiani applies thereto 
 Horace's remark on his ancestors : 
 
 Graiis ingenium, Graiis dedit ore rotundo 
 
 Musa loqui . 
 
 Boccaccio was pleased to write in this 
 dialect to Francesco di Messer Alessandro 
 de' Bardi, his countryman, a merchant 
 settled at Gaeta; Sannazzaro did not dis- 
 dain to employ it in his Gliomero, the 
 oldest specimen of the opera buffa, and 
 it was esteemed by Metastasio. The po- 
 pular songs that I often heard in the 
 streets at night had neither the buffoonery 
 nor licentiousness that I expected to 
 find; many couplets were a series of mo- 
 ral precepts on the conduct of life and 
 the frailty of all sublunary things ; they 
 were like a paraphrase of Linquenda 
 tellus et domus; the rhythm was serious 
 and melancholy, and my Neapolitan 
 companion, a man of sense and a prac- 
 tised musician, remarked to me that this 
 rhythm was Rossini's model for one of 
 
 1 It is no unnsual thing to see poor people take 
 charge or forsaken children, and sometimes adopt 
 them in the place of those they have lost. These 
 children take the touching name of figli della ma- 
 donna (children of the Madonna). Naples, the 
 third city in Europe for population, has fewer 
 foundlings by far than London and Paris, as may 
 be seen from the following comparison : at London. 
 With one million two hundred thousand inhabi- 
 tant and forty-four thousand births, there are 
 twenty thousand infants exposed ; at Paris, with 
 eight hundred thousand inhabitants and twenty- 
 nine thousand births, ten thousand infants exposed ; 
 at Naples, with four hundred thousand inhabitants 
 and fifteen thousand births, two thousand infants 
 exposed. Hence we find that the infants exposed 
 amount, at London, to nearly half the births ; at 
 Paris, to more than a third; and at Naples, less 
 than one seventh. This last is also the proportion 
 at Bologna ; at Florence it is less than one fourth. 
 It must, however, be observed that the necessaries 
 of life are much less expeusive at Naples than at 
 
 the choruses of his Most. These popu- 
 lar Neapolitan songs are changed from 
 time to time, but the authors remain 
 unknown. The prisoners for debt are 
 said to compose a part of them. This is 
 one of the stanzas which were then sung 
 at Naples : 
 
 Che bella cosa e de morire acciso 
 Nnanze a la porta de la nnammorata, 
 V anema se ne saglie mparadiso, 
 E lo cnorpo lo chiagne la scasata. 
 
 How happy is the lover's fate 
 
 Who dies before his sweetheart's gate, 
 
 By an assassin's blow '. 
 For while his soul to heaven ascends, 
 Hiswidow'd mistress o'er him bends, 
 
 Disconsolate and wo. 
 
 There are a great many poems in the 
 Neapolitan dialect. s Capasso, a distin- 
 guished jurisconsult and man of letters 
 of the eighteenth century, has translated 
 or rather humorously parodied in this 
 dialect the seven first books of the Iliad; 
 the JEneid has been well translated ia 
 otlava rima by Giancola Sitillo : the 
 most esteemed of these translations of 
 epics is that of the Gerusalemme, by the 
 celebrated Neapolitan poet, Gabriele 
 Fasano, printed at Naples in 1689 with 
 all the magnificence of the epoch. On 
 a public-house of Posilipo, some twenty 
 years ago, one might have read the 
 following pretty inscription, composed 
 
 London and Paris. The proportion of suicides, 
 another symptom of nearly the same kind, is no 
 less in favour of Naples. In 18M, at Paris, there 
 were three hundred and seventy-one ; in 1825, 
 three hundred and ninety-six; in 1826, five hundred 
 and eleven ; whilst at Naples, there were, in 1828, 
 fourteen only, which was reckoned a great num- 
 ber, being much less generally. It is a matter of 
 regret that in 1834, there were twenty-nine, and 
 thirty-one in 1835; but in 1837, only sixteen. It is 
 by no means uncommon to find persons a hundred 
 years old at Naples; in 1835, they were fourteen 
 in number ; two men and twelve women ; three had 
 reached a hundred and five ; in 1837 there were 
 sixteen, two men and fourteen women. 
 
 2 In pronouncing the word Napole, they give the 
 N a ringing sonnd, and some Neapolitan authors 
 have doubled that letter. 
 
 3 The collection of poems in the Neapolitan ton- 
 gue, published by Porcelli, from 1783 to 1789, forms 
 twenty-eight volumes 12mo. 
 
i>y Jvicolao Valletta, which has since 
 ogeb effaced as too Epicurean : 
 
 Amid, alliegre magnammo e bcvimmo 
 Fin cbe u' cl stace uoglio a la lucerna : 
 Chi sa s' a V aulro muuuo n' ci vediinmo ? 
 Chi sa s' a I' aulro munno n' c' e taverna ? ' 
 
 The Annunziata, of the architecture 
 of Vanvitelli, one of the fine churches 
 of Naples, has several good works by 
 different Neapolitan masters : frescos, 
 by Corenzio, on the roof of the sacristy 
 and the treasury ; the Life of Jesus 
 Christ, sculptured in wood on the cup- 
 boards, by Giovanni of Nola; the statue 
 on the tomb of Alfonso Sancio, by Auria; 
 a Descent from the cross, in dcrni- 
 relievo, by Giovanni of Nola, or Santa 
 Croce. Before the high altar is the 
 humble tomb of the second queen Gio- 
 vanna : some of the ornaments have 
 been cut off her mautle of gold bro- 
 cade. 
 
 The repaired church of Saint Peter 
 ad aram is reckoned the most ancient in 
 Naples. A basso-relievo, representing 
 a Descent from the cross, and a St. 
 Michael, arc by Giovanni of Nola. 
 
 The small church of the Bank of the 
 two Sicilies has an Assumption, the 
 chef-d'oeuvre of Ippolito Borghese, a 
 Neapolitan painter of the seventeenth 
 century, which deserves notice. 
 
 Saint Severin, a fine church by Mor- 
 mandi, a clever Neapolitan architect of 
 the sixteenth century, is remarkable for 
 many of its paintings and its sculptures 
 especially. The ceilings of the choir of 
 the cross-aisle are some of the best works 
 of the cruel Corenzio, who died in his 
 eighty-fifth year, through falling from a 
 scaffold when about to retouch them, a 
 just but long-delayed chastisement for 
 his misdeeds.* The Buptism of the 
 Redeemer is by Perugino; the fine paint- 
 ing of the chapel of the Holy Family 
 by Joseph Marullo; the three tombs of 
 the brothers Jacopo, Ascanio, and Sigis- 
 mundo Sanseverino, poisoned by the 
 wife of their uncle Geronimo, that she 
 might possess their rich inheritance, con- 
 tributed to extend the deserved renov,n 
 
 ■ "Friends, let us Joyously eat and drink while 
 Ibere is oil In the lamp; who knows that we shall 
 meet in another world* Wlio knows that we 
 shall Cud a tavern Ibere?'' Valletta, w lio died at 
 Naples at the close of last century, is the author or 
 a wil'.y little work cnlllled Cicutata ««/ fascino t 
 
 NAPLES. [Boot XIII. 
 
 of Giovanni of Nola, and are the last 
 good sculptures executed at Naples. 
 There are also other works attributed to 
 this artist of a talent so sweet and grace- 
 ful, who touched on the period of de- 
 cline, but remained unaffected thereby, 
 and seems the Domenichino of sculp- 
 ture— namely, the tombs of young Andrea 
 Bonif.aio and of Giambattisla Cicara, 
 though the former appears by Pedro 
 della Plata. In the •cloister, is still ad- 
 mired, after four centuries, the vast 
 fresco of Zingaro, his most famous work, 
 which represents with infinite variety 
 the Life of St. Benedict. The refec- 
 tory and the chapter offer other good 
 frescos by Corenzio : a Miracle of the 
 loaves and fishes, which contains as 
 many as one hundred and seventeen 
 personages, was finished in forty days, 
 
 CHAPTER XII. 
 
 Monastery of San Gregorlo Armeno.— Taking the 
 veil. 
 
 I had the honour to be invited in 1826 
 to w ilness the taking of the veil by Si- 
 gnora Teresa b**"**"*, daughter of the 
 prince of R*****\ which was to be per- 
 formed at the convent of San Gregorio 
 armeno. This ancient nunnery of Be- 
 nedictines, which, it is pretended, dates 
 from Saint Helena, Constantine's mo- 
 ther, formerly exacicd such proofs of 
 nobility, that Queen Caroline of Austria, 
 who visited it with one of her daughters, 
 is reported to have told her jestingly 
 that she could not obtain admission if 
 she wished to do so. A strange insti- 
 tution for a religion of which equality is 
 the principle and spirit! The brilliant 
 church, ornamented with paintings by 
 Spagnoletto and Giordano, assembled 
 the highest society of Naples; ladies 
 bedecked with diamonds, and many 
 men in uniform or costume; the music 
 consisted of airs from Rossini and the 
 opera of the Last day of Pompeii. Here 
 for the first time 1 heard the sonorous 
 voice of a soprano, which, notwithstand- 
 ing its melody, gave me disagreeable 
 
 voluarmeiite dello Jettalura, in which be attempls 
 lo prove that the power of bewitching by words 
 or a look, a general belief tit Naples, is a reality, 
 and known from the remotest antiquity, 
 a See anle, cb. fit, 
 
Chap. XIII.] 
 
 NAPLES. 
 
 467 
 
 sensations. The young nun was not 
 yet in the place reserved for her in the 
 choir : the three days previous to her 
 taking the veil, she mixes with the 
 world ; the family diamonds are lent to 
 her, and that morning she was gone to 
 bid adieu to the nuns of several convents 
 where she had relations or friends. She 
 arrived splendidly dressed during the 
 celebration of mass; two ladies accom- 
 panied her, and the band of a regiment 
 of the guard, placed in the vestibule, 
 announced her entrance by flourishes. 
 Her behaviour was perfectly simple and 
 natural; it was evident there was no 
 victim there, and that the cruel expres- 
 sion of Melanie : 
 
 On ne meurt point, ma Dlle, el Ion fait son devoir, 
 
 had never been pronounced. After the 
 mass she knelt before the archbishop, 
 who officiated, and he uttered several 
 prayers to which his clergy and the nun 
 responded. She afterwards went out, 
 holding a small cross in one hand and a 
 taper in the other, and entered the con- 
 vent, where the nuns were in attendance; 
 they received her at the door, and em- 
 braced her, and she there changed her 
 dress. In the mean time the persons left 
 in the church had quitted their places, 
 and gone into the choir, to approach the 
 grate which led into the convent, and 
 near to which the new nun was to re- 
 turn to receive the veil from the hands 
 of the archbishop through a kind of 
 turning box. The two sides of this 
 grating then presented a striking con- 
 trast : there, the austerity, the solitude, 
 and the silence of the cloister; here, the 
 frivolity of people of the world, talking, 
 looking, pressing each other impatiently, 
 and the hubbub of persons waiting for 
 something; it was a real rout by the 
 light of tapers, and on the steps of the 
 altar. The only collected person in the 
 midst of this tumult, was a poor girl of 
 Aversa, who was to be chamber-maid 
 to Signora B. in the convent, and for 
 that purpose she was about to be obscure- 
 ly made a nun. She had th/. pictu- 
 resque costume of her country, natural 
 
 1 Tasso has composed some very fine sonnets on 
 monucazioni (lakiDg Ibe babit]. Rime, part in, 
 4, 32, 60. Every body knows Monti's sonnet, Fuggia 
 Licori al chioslro, which ends with this bold pas- 
 sage: 
 
 Sorrise acerbo la donzella forte, 
 
 flowers in her hair, long gilt chains, and 
 several rows of large pearls around her 
 neck and falling over her vest of ama- 
 ranth silk sprigged with gold. When 
 the nun appeared at the grating, the arch- 
 bishop addressed her in a cold, formal 
 speech, and put on the veil, inviting 
 her to perseverance; for this proceeding 
 was only preliminary, as there is a 
 year's noviciate. The ceremony being 
 concluded, we went to the convent gate, 
 to which the nun came again, and re- 
 mained a long time receiving the adieus, 
 the felicitations, the' embraces of her 
 friends and kindred ; but there were no 
 scenes on either side; on the contrary 
 all was good-humour and gaiety. This 
 Italian taking the habit was very diffe- 
 rent from the description of Rene : there 
 was no appearance of melancholy or ex- 
 cited feelings, and refreshments, sweet- 
 meals, and sonnets' were profusely dis- 
 tributed among the persons invited. 
 
 CHAPTER XIII. 
 
 Posilipo. — Grotto.— Virgil's tomb.— Mergellina.— 
 Fishers.— Palace of Donn' Anna. 
 
 The melancholy grotto of Posilipo, a 
 gloomy, vaulted, ill-lighted road, seems 
 placed there to render the vivid bril- 
 liancy of the light at Naples more sen- 
 sible. This celebrated and far too much 
 admired grotto, for the mountain is of 
 tufo, and not rock, is well described by 
 Seneca, a peevish painter well suited for 
 the picture, when he calls it a long prison, 
 an obscure corridor, and disserts thereon 
 respecting the involuntary force of our 
 impressions, a 
 
 Close by are the remains of a Colum- 
 barium, called the tomb of Virgil, a 
 tolerably picturesque ruin, mixed with 
 verdure, and surmounted by a holm-oak, 
 the roots of which descend into the ele- 
 vated part of the rock adjoining. Despite 
 the uncertainty attached to the monu- 
 ment, it still appears venerable from the 
 multitude of great men who have visited 
 it; it is like a perpetual testimony of the 
 homage offered to the memory and name 
 alone of the poet. Petrarch was con- 
 
 Chiuse Ie sacre porle. e con dlsprezzo 
 Ne eonsegno le chiavi in niano a morte. 
 
 3 Nihil illo carcere lougius, nihil ill is faucibus 
 obscurius. Efiisl. 57. 
 
168 
 
 NAPLES. 
 
 [Book XIII. 
 
 rlucted thither b.y King Robert; he planted 
 ihere the celebrated laurel, renewed in 
 our days by M. Casimir Delavigne; and 
 it was at the sight of the same monument 
 that Boccaccio felt the passion for letters 
 predominate, and decided on renouncing 
 commerce for ever. 
 
 After descending the smiling hill of 
 Posilipo, ' shaded and decorated by fes- 
 toons of vines and the graceful, umbel- 
 liferous pine, we reach the shore of the 
 Mergellina, a charming spot, so happily 
 sheltered that it only loses its foliage one 
 month in the year; and which Sannazzaro, 
 who dwelt there, has sung and regretted 
 so feelingly : 
 
 Mergillina, vale, noslri memor; et mea flenlis 
 
 Sella cape, ben I douiini muncia avara tui. 
 Matemee salvete umbrae, salvetc paternas; 
 
 Accipite et veslris tlmrea dona focis. 
 Neve nega oplatos, virgo sebethias, amnes; 
 
 Absentiqiie luas det mibi somuus aquas, 
 l.'et fesso aestivas umbras sopor; ct levls aura 
 
 Flumiuaque Ipsa suo leue souent slrepitu; 
 Exilium nam sponle sequor. Fors Ipsa favebit : 
 
 Forlibus bate solila est sa?pe et adessc viris. 
 £1 mini sunt comiles rnusae, sunt nuniina vatum ; 
 
 lit mens laeta suis gaudet ab auspiciis, 
 Blanditurque animo constaus senlenlia, quamvis 
 
 Exilii meritum sit satis ipsa fides. 
 
 The fishermen of the Mergellina, re- 
 markable lor the beauty of their antique 
 shapes, are also interesting on account 
 of their laborious, peaceful life, their 
 domestic existence, their well-gotten 
 wealth : they seem the virtuous Troglo- 
 dytes of the Neapolitan people. It is not 
 surprisingthatthey inspired Sannazzaro, 
 who had them before his eyes, with his 
 piscatorial Eglogues (piscatorial), a new 
 choice ofcharactersblamed by Fontenelle 
 as inferior to the ancient shepherds "who 
 were in possession of the eglogue." a 
 It is true that ' ' the Norman Fontenelle, 
 in the middle of Paris," could have but 
 an imperfect idea of such fishermen and 
 of the Mergellina. 
 
 The ruins, the grotto of the palace of 
 Donn' Anna, improperly called the palace 
 of Queen Giovanna, a vast edifice left 
 unfinished, and not begun till the end of 
 the sixteenth century — all these verdure- 
 crowned wrecks washed by the waves 
 are very picturesque. 
 
 On the pleasant promontory of Posilipo, 
 may still be seen the famous cisterns and 
 fishponds of the immense villa of Vadius 
 
 1 n«3»tj Tijjf ^vreijs, cessation of sorrow. 
 
 Pollio, in which the old muraenae were 
 kept that used to be fed with the flesh of 
 slaves condemned to death for negligent 
 service. One day the master, wishing to 
 treat Augustus, his guest, with the sight 
 of the execution of a man condemned to 
 this punishment for breaking a glass, the 
 emperor ordered all the cristals of the 
 villa to be thrown into the water instead 
 of the slave, a plebeian act of clemency, 
 a very faint lesson given to the barbarous 
 sensuality of this Pollio, the son of a 
 freed-man who had become eminent, 
 who must not be confounded, as is some- 
 times the case, with the illustrious orator, 
 poet, and consul, Asinius Pollio, who 
 was the first to establish a public library 
 at Rome, also a friend of Augustus, and 
 immortalised by the admirable eglogue 
 of Virgil bearing his name. 
 
 CHAPTER XIV. 
 
 Capo di Monte. — Bridge. — Palace.- Chinese.— Obser- 
 vatory. — Catacombs. — Seraglio.— Botanical gar- 
 den.— Inslituto del Miracolo. — I'rencb education 
 or the Italian females.— 1'onti llossi. 
 
 Capo di Monte, although situated at 
 the gate of Naples, and a royal residence, 
 was formerly almost inaccessible ; the 
 bridge built by the French which now 
 comiects the two hills is one of those 
 great and useful works which honour 
 their transient occupation, as the works 
 of the Romans signalised their domi- 
 nation. The same analogy exists between 
 these two nations in this respect, as in 
 the glory of their arms. 
 
 The palace of Capo di Monte, badly 
 built at first and left unfinished, has little 
 maguificence, and since its superb mu- 
 seum has been removed to the Studj, it 
 has few attractions save the purity of the 
 air, the view, its woods, and the chase. 
 
 The Chinese college of Capo di Monte, 
 the only on*e in Europe, was founded in 
 1726 by D. Matteo Ripa, a Neapolitan 
 missionary, on his return from China, 
 where his talents as a painter had obtained 
 him the favour of the emperor and the 
 court. The funds are supplied in part 
 by the establishment, the revenue of 
 which amounts to 6000 ducats, and partly 
 by the Propaganda of Rome. The pupils 
 are sent from China at the age of thirteen 
 or fourteen years, and they return as 
 missionaries in their maturity. Forty have 
 
 a Distourt »vr la natvrs de I'eglogue. 
 
Chap. XIV.J 
 
 NAPLES. 
 
 469 
 
 i: 
 
 already been educated in this house; their 
 portraits may be seen there, with in- 
 scriptions giving their names, date of 
 birth, their province, the time of their 
 arrival at Naples, of their departure for 
 China, and of their death, when the latter 
 js known, as well as the persecutions or 
 martyrdom that several have suffered. 
 This interesting seminary might aid the 
 study of a people and a literature suc- 
 cessfully cultivated in our day, if the 
 pupils were taken at a more advanced 
 age, and were better educated before 
 leaving Macao ; but it seems on the 
 decline, there being only six Chinese at 
 present. The little museum is composed 
 of Chinese curiosities, such as porcelain, 
 silk robes, paintings, etc., and a large 
 map of the Celestial Empire. 
 
 On the charming hill of Misadois, the 
 highest point of Capo di Monte, stands 
 the Observatory, an elegant and solid 
 structure by S. Stefano Gasse. Astro- 
 nomy has been studied at Naples for many 
 centuries, from the monks of the eleventh 
 and twelfthcenturies, PandolfoandPietro 
 Diacono, and Flavio Gioja, the inventor 
 of the compass, to Fontana, in the 
 seventeenth century ; to Cassella, whose 
 premature death occurred in 1808, in 
 consequence of fatigue from watching the 
 path of the comet of 1807; to Federico 
 Zuccari, of the family of the two cele- 
 brated painters, and to the illustrious 
 P. Piazzi, who died a few years since, 
 while director-general of the observatories 
 of the kingdom, having previously been 
 director of the one at Palermo. We are 
 indebted to the P. Piazzi for the discovery 
 of the planet Ceres. He had refused to 
 be made a cardinal. Another instance 
 of modesty and good taste heightens his 
 glory still further : having been informed 
 that a gold medal was about to be struck 
 in his honour, Piazzi requested that the 
 value might be devoted to the purchase 
 of instruments for his observatory. 
 
 The catacombs of Saint Januarius, less 
 famous than those of Rome, appeared to 
 me very superior in their kind. The 
 antique tombs, the Greek inscriptions 
 discovered there prove the ancient civi- 
 lisation of that country ; but these palaces 
 of death crumble away like the abodes 
 of men, and the unencumbered space is 
 already of far less extent than in the days 
 of Mabillon. 
 
 The Seraglio or Reale Albergo, a vast 
 poor-house, founded by Charles III., was 
 
 a grand conception ; it is at once a school, 
 a workshop, and a hospital. Perhaps 
 the combination of these different estab- 
 lishments is an obstacle to good manage- 
 ment. Neither does the military disci- 
 pline followed in the Seraglio to restrain 
 its vagabond and numerous inmates, seem 
 very likely to effect, by its absolute re- 
 gulations, their moral and intellectual 
 improvement. The officers also appear 
 too subaltern and too little above the 
 people they are charged to superintend. 
 A deaf and dumb school on the system of 
 the abbe de l'Epee, is dependant on the 
 Albergo. But the instructor must have 
 less to do than in any other country : 
 grimaces are the mother tongue of the 
 Neapolitan, and with him, may very 
 well aid or even supply the language of 
 signs. If the vocabulary of these grimaces 
 were published, every body would be 
 surprised to see what they express, and 
 with a rapidity, a precision, if one may 
 so say, that speech cannot attain. A 
 foreigner asked a man of the lower 
 orders where he might find a casino 
 situated on the top of Capo di Monte; 
 the Neapolitan made no other answer 
 than by raising his lower lip,- he repeated 
 this grimace, which was really very in- 
 telligible, until the stranger, provoked at 
 his silence, at last observed it. 
 
 The Botanical garden, created in 1818 
 in an advantageous position, and confided 
 to the judicious management of S. Te- 
 nore, offers an agreeable promenade : 
 the number of species is already ten 
 thousand, among which there are many 
 that our northern gardens could not 
 preserve. 
 
 The Instituto del Mir acolo, founded by 
 Queen Caroline Murat, in the old con- 
 vent of that name, on the plan of the 
 house of education at Saint Denis, has 
 obtained the approbation of the most 
 severe and experienced judges. The 
 French governess was justly maintained 
 in her office, and she has since been 
 invited to Madrid by Queen Christina, a 
 princess of Naples, who has placed her 
 at the head of a similar establishment. 
 The houses of this kind at Miian and 
 Florence were also superintended by 
 French women. The Salesian ladies of 
 Venice are emigrant French nuns. Our 
 influence in Italy, though interrupted by 
 political measures, is still visible in the 
 manners and customs. The grace and 
 judgment of French women engrafted 
 
 10 
 
470 
 
 POZZUOL1. 
 
 (Book XIV. 
 
 on Italian imagination amalgamate well, 
 and have already produced more than 
 one amiable model. 
 
 Farther on is the flne avenue leading to 
 the old Champ de Mars created by the 
 French, which was a suitable adjunct for 
 a great and frequently agitated capital, 
 but it has unfortunately been reduced, 
 under the pretext of restoring the land to 
 cultivation, as if that were scarce in such 
 a country. 
 
 On this side is the hill of Santa 
 Maria del Pianlo, called also the Mount 
 of Lautrec, because that general once 
 encamped there. Historians state that 
 our army perished from privations, ex- 
 cessive heat and the plague, without 
 mentioning the exhalations of the soil, 
 which perhaps contributed more to its 
 destruction, if we may judge by a con- 
 temporary fact. The French soldier who 
 occupied the throne of Naples, a brave 
 compatriot of Lautrec, and greatly re- 
 sembling him, ■ after reviewing his troops 
 on this side, was so charmed with the 
 situation, that be determined to encamp 
 
 there at night with his soldiers; on the 
 morrow he was very ill, and his men 
 too, many of whom died. The grotto of 
 Lautrec, is slill shown, where he was 
 obscurely interred in 1528, until the duke 
 of Sessa, having discovered his corpse, 
 erected to him the noble mausoleum in 
 the church of Santa Maria la Nova. ' 
 
 Between the hills of Capo di Monte and 
 Capo di Chino is a secluded valley, in 
 which, on a rising ground and amidst 
 pines, stands the picturesque convent of 
 Santa Maria de' Monti, with its oriental 
 dome. But the principal ornament of 
 this vale is the wreck of the superb 
 aqueduct reddened by time, and called 
 from its colour Pontlrossi (red bridges), 
 a work of Augustus, which carried the 
 waters of the Lebeto to the port of Mi- 
 senum, a distance of thirty-five miles 
 from Naples ; though shattered by earth- 
 quakes, crowded, overtopped, enveloped 
 by vegeiation, and its arcades are the 
 resort of the goatherd and his flock, it 
 still attests the power of the imperial 
 people. 
 
 BOOR THE FOURTEENTH. 
 
 ENVIRONS.-ROAD TO ROME. 
 
 CHAPTER I. 
 
 Vuniero Caniaiduliles.-Lulie d'Agnano.— Grotla 
 
 del Cane.— Solfatara.— toxtaoU.— Cathedra I. — 
 
 Temple ofSerapis.~l'ort.--Aiiipliillieatre.-Tombs. 
 — Cicero's Villa.— I.nkes Lucrlnus and Avernus.— 
 Temples of Venus, Mercury, Diana.— Nero's Uul lis. 
 —Piscina Mirabile — Cento Caraerelle.— CuBHB.— 
 Balse.-Bauli.-Agrippina's sepulchre —Coast of 
 Misenum.— Grotta deila Pragonaria. 
 
 The Vomero, over which the road to 
 the Camaldulitc convent passes, seems to 
 be the crater of an ancient volcano in 
 which arise several small hills covered 
 with the strongest, most varied, and 
 confused vegetation, presenting a singular 
 and enchanting aspect. The convent has 
 
 1 " Laulrec," says Bramflnie, " etoil brave, hordi, 
 valllant, el excellent pour combaltre en guerre et 
 
 one of the finest views in the world, 
 commanding the gulfs of Naples and 
 Pozzuoli, with their islands, the extinct 
 craters of the Solfatara and Astrumi, the 
 lakeof Agnano, Cape Misenum, the castle 
 of Baiae and the boundless sea. There is 
 no place more suitable for a contem- 
 plative life, and the monks, with their 
 long beards, their gowns and hoods of 
 white woollen, are themselves pictu- 
 resque. It is true that they seem to have 
 little suspicion of it, and the traveller, 
 struck with what is poetical in their 
 institution, is sometimes grievously dis- 
 appointed on conversing with them. 
 The church has a few good paintings, 
 among them a Last Supper, by Stan- 
 
 frappcr cornme sourd ; mais pour gouverner un 
 ciat II n'y etoit bon." a See ante, cli. Ix. 
 
Chap. I. 
 
 POZZUOLI. 
 
 474 
 
 zioni. Part of the estates belonging to 
 this convent were purchased, under the 
 French administration, by S. Ricciardi, 
 formerly minister of justice, a magistrate 
 distinguished for his independence and 
 great information, who has taken the title 
 of Count cle'CamaldoH.&nA has converted 
 the property into a very pleasant villa, 
 •which has been well sung by two good 
 Italian poets ' of the present day. 
 
 The lakeofAgnanohasnothing curious 
 now, except its wild and gloomy site; 
 for the phenomenon of its water boiling 
 without heat, a pretty just image of some 
 kinds of enthusiasm, has ceased to exist,. 
 
 Like every body else, I went to see the 
 celebrated grotta del Cane : in travelling 
 there are sOme things that must be seen, 
 though little interesting. This grotto, 
 much less curious than the neighbouring 
 Vapour baths of San Germano, or the 
 numerous and less spacious grottos of the 
 same kind at Latera, in the Roman states, 
 is not open as formerly ; it is let to a 
 peasant who keeps the key and is paid 
 for showingit, being generally there with 
 a dog intended for the experiment. The 
 life of this poor animal is thus past in 
 continual swoons, which, at least, are 
 not pretended, an advantage they have 
 over many in fashionable life. 
 
 The Solfatara is a fine antique volcanic 
 ruin. This plain of sulphur, white, hot, 
 smoking, hollow, and sonorous, has an 
 extraordinary aspect : one is almost 
 tempted to pierce its thin and fragile 
 crust, to fathom the fiery abyss it covers. 
 Among the fetes celebrated at Naples by 
 the magnificence of Alfonso, on the arri- 
 val of the emperor Frederick III. in 1452, 
 the most surprising was a hunt by torch- 
 light in the enclosure of the Solfatara, 
 where the arrangement of the lights in 
 that natural circus, the number of ani- 
 mals, the musicandthebrilliantcostumes 
 of the hunters, seemed to realise the 
 prodigies of magic. 
 
 Pozzuoli, with its languishing popula- 
 tion, is the only inhabited point on this 
 coast, which was once covered with bril- 
 liant villas, sumptuous edifices, and 
 called by Cicero Puteolana et Cumana 
 regna. % Then all Rome crowded to the 
 waters of Puteoli, the Spa or Baden of 
 
 > La villa di Camaltioli al Vomero, polimelro del 
 cav. A. M. Ri'cci, 1827. La villa di Camaldoli, stanze, 
 Naples, 1833, by Sigoora Maria Giuseppa Guacci. 
 
 3 Epist. ad Alt. lib. xiv. iS. 
 
 antiquity. This was one of those bril- 
 liant companies of bathers, which so 
 much confounded the vanity of the Roman 
 orator on his return from Sicily, when, 
 as he landed on the quay now called la 
 Malva, he expected to receive the ho- 
 nours of his countrymen, who were 
 ignorant of his questorship, or supposed 
 it at Syracuse instead of Lilybeum.-* Of 
 all the splendour of Puteoli a few ruins 
 alone remain. 
 
 The ancient temple consecrated to 
 Augustus by the Roman knight Cal- 
 purnius, amonument of Roman opulence 
 and degradation, of which only the in- 
 scription and some few columns still 
 subsist, is the cathedral dedicated to Saint 
 Proculus, the companion of Saint Ja- 
 nuarius. 
 
 In the square, a fine pedestal of white 
 marble, ornamented with fourteen figures 
 representing iowns of Asia Minor over- 
 thrown by an earthquake and rebuilt by 
 Tiberius, seems to have supported a 
 statue of the emperor, which remains 
 buried under the buildings of the modern 
 town. 4 Another statue of a senator, 
 still on its pedestal, retains its inscrip- 
 tion. 
 
 The port of Pozzuoli was one of the 
 most magnificent in Italy, and its mer- 
 chaots, like those of London now, were 
 reputed the richest in the world. The 
 mole was repaired by Adrian and An- 
 toninus Pius, but the epoch of its foun- 
 dation is unknown; of its twenty-five 
 arches, thirteen only are standing: the 
 last, a prodigious construction, plunges 
 sixty palms beneath the sea. The bridge, 
 a stupid work of Caligula's, in imita- 
 tion of the Via Appia, which served 
 for his triumphal passage from Pozzuoli 
 to Baiffl, rested on this superb mole. 
 
 Its fine barracks and lower are the old 
 palace of the viceroy, Pedro of Toledo, 
 who was instrumental in repeopling 
 Pozzuoli, when nearly deserted after the 
 dreadful earthquake of-1538; he restored 
 its lost waters, and executed other useful 
 works. The temple of Jupiter Serapis, 
 a magnificent wreck of Roman gran- 
 deur, shows the splendour of the art in 
 Adrian's reign. The roof was of white 
 marble, and some parts of it are still in 
 
 3 See the amnsing relation of this scene, pro 
 Plancio, xxvi. 
 
 4 It is said to be now at the Stud]. 
 
»72 
 
 POZZUOLI. 
 
 Book XIV, 
 
 existence; the beautiful columns and 
 the pavement are under water. This 
 mixture of water and ruins is tolerably 
 picturesque, but very unhealthy, and a 
 great obstacle to areheological research. 
 The shells incrusted on some of the 
 still erect columns of cipoline marble, 
 prove that the sea has risen twenty-two 
 palms (often English inches each) above 
 its present height ; it would thus have 
 submerged the whole town and sur- 
 rounding country, beyond the entrance 
 of the gulf of Posilipo; which is little 
 likely, and men of science have diffe- 
 rently explained the phenomenon. The 
 architect Niccolini, president of the Bor- 
 bonica society of Naples, charged in 
 1828 with the draining of this little 
 marsh, gives a reasonable explanation of 
 the trace of water at that height : he 
 supposes that during the earthquake of 
 1538, which filled up part of lake Lu- 
 cerne, engulphed the great village of 
 Tripergola, and produced in three days 
 the hill of Montenuovo, ■ a part of the 
 water was driven out of the lake and 
 remained some time on the site of the 
 temple of Serapis. This mystical and 
 popular religion, which, after being ba- 
 nished from Rome several limes, was 
 near usurping the honours of the Capitol 
 even in Cicero's days, a real pantheism, 
 was the last of the antique religions that 
 resisted Christianity. 
 
 The amphitheatre called the Coliseum, 
 though ruined by earthquakes and choked 
 with luxuriant and picturesque vegeta- 
 tion, has not totally lost its ancient form ; 
 it would hold forty thousand persons. 
 Augustus attended the games celebrated 
 in his honour there. The Labyrinth, 
 a vast subterranean edifice, was probably 
 the reservoir for the water of the nau- 
 machia given in the theatre. 
 
 To the north of Pozzuoli, on the su- 
 perb Campanian road, are some antique 
 tombs in good preservation, extending 
 more than two miles. They were shown 
 to me by wretches so miserable that one 
 might take them for spectres, inhabi- 
 tants of the tombs, who were shortly to 
 return into them. 
 
 The villa of Cicero, built on the plan 
 of the Academy of Athens, which he 
 praised in his letters, and called by the 
 
 ■ II appears Ibat Monlenuovo is now gradually 
 sinking ; it would be curious to observe and minute 
 Ibis \;iri niDii. 
 
 name of Academia, was then by the 
 seaside ; and the Roman orator could 
 angle from his terrace while meditating 
 his Academics. Adrian, who died at 
 Baiae, was buried in this house, and his 
 successor, the pious Antoninus, deter- 
 mined to convert his tomb into a temple. 
 
 The lakes Lucrine and Avernus, which 
 Augustus connected with the sea, were 
 convulsed by the earthquake of 1538, 
 which greatly change/] the mythological 
 and Virgilian aspect of these places; 
 they still, however, retain their ancient 
 names, but have fallen Tar beneath their 
 fabulous destination; the Elysian Fields 
 are now a good vineyard, and the Ava- 
 rus Acheron, under the unmelodious 
 name of Fusaro, is used for soaking 
 hemp, and supplies excellent ovsters. 
 The Avernus, the Styx, the Acheron, 
 likewise existed in Egypt and Greece : it 
 seems that the ancients transported their 
 poetical machinery with them, as well 
 as their institutions and laws. 
 
 To the west of lake Lucrine and the 
 south of Avernus was Cicero's other 
 villa called the Cumean, in which he 
 began his Republic; a villa differing 
 from the one he possessed at Pozzuoli, 
 and both so charming that he knew not 
 which to prefer. 
 
 The pretended grotto of the Sibyl is 
 not a very agreeable place to visit; it is 
 necessary to procure torches, and to des- 
 cend on the back of a guide into a long, 
 dark, and muddy cavern. The use of 
 these caves seems uncertain, though they 
 are found in most great edifices of anti- 
 quity, and local examination does not 
 throw much light on the subject. Per- 
 haps these galleries of Roman architec- 
 ture, ornamented with basso-relievos 
 blackened by the torches of ciceroni, 
 were used as places of retirement and 
 baths in the great heats. 
 
 The ruins of the three edifices called 
 the temples ol Venus Genitrix, Mer- 
 cury, and Diana Lucifera, may be more 
 reasonably supposed to belong to some 
 of the thermae, with which the magnifi- 
 cence and voluptuousness of the Romans 
 had covered these shores. The baths 
 of Nero are more likely to be authentic. 
 These baths have inspired M. Casimir 
 Delavigne with some of his finest verses: 
 
 a Epiit. ad ill., lib. xiv. 13. 
 
Chap. I. ] 
 
 POZZUOLI. 
 
 47^ 
 
 Ces temples du plaisir par la mort habiles, 
 
 Ces portiques, ces bains prolouges sous les ondes, 
 
 Ont vu Ncron, cache dans lenrs grottes profoudes, 
 
 Condamner Agrippine au sein des voluptes. 
 
 Au bruit dcs flote, rouhnt sur cede voflle humide, 
 
 )1 veillait, agile d'un espoir parricide ; 
 
 11 jelait a iNarcisse un regard solisfait, 
 
 Qnand, rauet d'epouvante et tremblant de colere, 
 
 11 apprit que ces flots, instruments du rorfaft, 
 
 Se soulevant d'horreur, lui rcjetaient sa mere. 
 
 These burning grottos arc slill vapour 
 baths of extraordinary effect. The cice- 
 rone, perfectly unawares to me, rushed 
 in naked, and shortly after came out 
 burning hot, streaming with perspira- 
 tion, and uttering a kind of moaning 
 noise lhat quite disturbed me; happily 
 he soon recovered all his sang-froid 
 and claimed the reward of his custom- 
 ary experiment. 
 
 The colony of Curnae, led by Hippo- 
 cles Cumaeus from Chalcis in the island 
 of Eubea, was, according to Strabo, the 
 oldest monument of the passage of the 
 Greeks in Italy. Virgil gives it the same 
 origin : geography and history are here 
 in unison with poetry. The last king 
 of Rome, Tarquin, expelled by an aris- 
 tocratic revolution, according to an in- 
 genious Neapolitan writer, 1 ended his 
 days at Cumae, after making or instiga- 
 ting Avar against the Roman people for 
 twenty years. The celebrated Sibyl, 
 whose memory is predominant at Cumae, 
 probably had her grotto in the tortuous 
 picturesqueexcavation, encumbered with 
 broken rocks and of difficult access. 
 This sybil, who, after burning several 
 copies of the book of Oracles, exacted of 
 the same king a price equal to that she 
 had asked for many, already anticipated 
 the mania of book-hunters, amateurs of 
 medals, etc.; and indeed she ought to 
 have asked more. It was at Cumae that 
 Petrouius, when arrested, opened his 
 veins, and disserted on pleasure with 
 his friends to his last hour; and there, 
 too, he placed the impure residence of 
 his Ti irnalcion, in whom Voltaire, for 
 very good reasons, cannot recognise a 
 man of talent, of Nero's age and rank.* 
 
 On the road from Cuma; to Misenum, 
 alia Torre della Gaveta, are the re- 
 mains of a sumptuous villa, in which the 
 senator Servilius Vatia had secluded 
 himself towards the end of his days, to 
 escape the eye of Sejanus and Tiberius, 
 
 Delfico, Pensieri sit V istoria, p. 171. 
 * See, in the Siecle de Louis XIV., the Catalogue of 
 
 and to avoid complicity in the base pro- 
 ceedings of their senate; a noble and 
 wise exile, a retirement wittily but wrong- 
 fully blamed by Seneca : Nunquam aliter 
 hanc villam Vatia vivo prceteribam, 
 quam ut dicerem : Vatia hie situs est,? 
 which, at each proscription, made people 
 say of Vatia that he alone knew how to 
 live : Vatia, solus scis vivere. 
 
 The Arco felice, almost entire, which, 
 by its nobleness rather than proportions, 
 attests the magnificence of the Romans, 
 was the ancient gate of Cumae. This 
 once famous, but now deserted city has 
 nothing remarkable save its numerous 
 and shapeless fragments of antiquities, 
 its broken walls, Greek, Roman, and of 
 the middle ages, and the delightful 
 Yiew that expands around its volcanic 
 heights. 
 
 The lake of Licola is a monument of 
 Nero's prodigious works, called by Ta- 
 citus cupitor incredibilium, who wanted 
 to make a canal from Ostia to lake 
 Avernus. The works could not be exe- 
 cuted, and the waters remained in the 
 preparatory excavations, which are still 
 called Nero's ditch. 
 
 The unhealthy coast of Raiae and its 
 melancholy-looking castle, a hospital for 
 a few invalided gunners, would hardly 
 be taken for that delightful shore which 
 Horace celebrated as the most delicious 
 in the universe : 
 
 Nullus in orbe sinus Bujis praslucet amcenis. 
 
 Cicero thought his visit to Raise re- 
 quired an apology, and the house he 
 bought in the environs injured him in 
 the minds of some grave senators. Se- 
 neca named Raiae the resort of all the 
 vices, diversorium vitiorum; and Pro- 
 pertius thought Cynthia compromised 
 her reputation by sojourning there : 
 
 Tu modo corruptas quam primum desere Bojas. 
 
 Marius, Pompey, and Caesar, had each 
 a villa at Raiae : in that of Caesar died the 
 young Marcellus, whom Livia was sus- 
 pected of poisoning. The beautiful villa 
 of Calpurnius Piso was the focus of the 
 great and unfortunate conspiracy against 
 Nero, to which Lucan, who had basely 
 flattered him, acceded more from the 
 irritated self-loye of a poet than from 
 
 French writers, art. Nodot, and the Pyrrhonisme 
 de I'Mstoire, ch, lU. 3 Epist. ly 
 
 40. 
 
474 
 
 1SCHIA. 
 
 Book XIV. 
 
 patriotism.) Nero's train, when he 
 went to the waters of Baiae, consisted of 
 a thousand carriages and two thousand 
 mules shod with silver. The most 
 splendid of the ancient villas of Baiae 
 seems to have been the one built by 
 Alexander Scverus for his mother the 
 empress Julia Mammea, who, with all 
 her virtues, was inclined to avarice, and 
 would never have built such a costly 
 place herself. Of all the epithets that 
 the historians and poets of antiquity 
 have lavished on these shores, they now 
 deserve only one, that of tepidce (tepid). 
 
 On the coast of Bauli stood the house of 
 Ilortensius, called the Fishery, famous 
 for its murenae, which were extolled by 
 Cicero, Varro, and Pliny the elder ; some 
 of its remains are still visible near the 
 beach. The ruin called the Tomb of 
 Agrippina was perhaps a theatre, being 
 in the form of one. It was along the 
 road to Misenum, beside Caesar's villa, 
 that the dependants of Agrippina, ac- 
 cording to Tacitus, erected a small tomb 
 (levem tumulum) to her memory, but 
 not till after Nero's death. 
 
 The Cenro camerelle (the hundred 
 little chambers), some of which seem to 
 have served as reservoirs for rain water, 
 are called Nero's prisons; for crime has 
 given a sort of popularity to his name in 
 this country. The villa of Caesar must 
 have been near this point. 
 
 The celebrated Piscina Mirabile, an 
 ancient reservoir that supplied the fleet 
 stationed at Misenum with water, is the 
 finest monument of this district, and the 
 only one in good preservation. This 
 elegant and solid construction, whether 
 it belonged to Lucullus, Agrippa, or 
 Claudius, equally exhibits the strength 
 and grandeur of Roman fabrics. 
 
 The port of Misenum, begun by Ccesar 
 and finished by Augustus, was the prin- 
 cipal Roman station on the Mediter- 
 ranean. 'Pliny the elder had the com- 
 mand of a fleet there when he started 
 on his fatal expedition to explore Ve- 
 suvius, so much were science and the 
 love of knowledge allied, at Rome, with 
 the most important and the highest func- 
 tions. This magnificent port, in part 
 filled up, has taken the name of Mare 
 morto, which well accords with it now. 
 
 • Lucanum propria; causa? accendebant, quod 
 famam carminum ejus premebnt Nero, probibue- 
 ratque ostentarc, vanus adsimulallone. An. xv. 49. 
 
 Misenum was also the seat of pleasure : 
 Nero had a house there, and the ruins 
 are still visible of that of Lucullus, in 
 which the prefect of the pretorian band, 
 Macro, smothered Tiberius, who had 
 made him his favourite. Among the 
 grottos and caverns which undermine 
 this territory, the Grotta della Drago- 
 naria is an object of curiosity ; it is an 
 immense reservoir formed of five galle- 
 ries of unequal length, with twelve pil- 
 lars to support the rpof, perhaps erected 
 by Nero to bring the thermal waters of 
 Baiae into his house. 
 
 CHAPTER II. 
 
 Ischia.— View.— Balhs.— Vittoria Colonna. 
 
 My voyage to Ischia was only a day's 
 passage in a steamboat; but I breathed 
 the delicious air of that island, and 
 contemplated its marvellous panorama, 
 reckoned one of the finest in Italy, and 
 even of all the coasts and isles of the 
 Mediterranean. The tone of the inhabi- 
 tants seemed to me still more sonorous 
 than that of the Neapolitans. On the 
 approach of the boats, they rushed into 
 the water, took the travellers on their 
 shoulders, in order to let them the asses, 
 which they drove before them with in- 
 credible shoutings and expedition. The 
 superb Epomeus, an extinct volcano, 
 said to be older than Vesuvius, looks like 
 a peak of the Alps stricken with the 
 rays of a Neapolitan sun. Its base is 
 mined by deep romantic ravines, shaded 
 by lolly chesnuts; and on the lower hills 
 which sink down to the sea, grow the 
 vines which produce the excellent white 
 wine of Ischia. The last eruption of 
 Epomeus took place in 1302; but the 
 lava seems as of yesterday, and its black 
 and parched furrows contrast with the 
 strength and brightness of the vegetation 
 below. 
 
 On the hill della Sentinella, one of 
 the most enchanting points of view in 
 the island, was a pretty house let to 
 some foreign ladies, where I had the 
 honour to dine in excellent company. 
 This house belonged to the brother of 
 the head physician of the baths del 
 Monte della Misericordia, an impor- 
 tant thermal establishment. The mi- 
 neral waters of Ischia, which were known 
 to the ancients, are very salutary, par- 
 ticularly for wounds, and a hot bath of 
 
Chap. III. ] 
 
 PORTICI. 
 
 475 
 
 ferruginous sand is reputed efficacious 
 against cutaneous diseases. 
 
 The national costume of the peasants 
 is rich and very elegant, the ladies even 
 adhere to it; this dress is different in 
 every place, but the silk handkerchief 
 of bright colours, rolled up like a turban, 
 is nearly universal. 
 
 We had passed by the isle of Procida, 
 the girls of which now only wear their 
 Greek dresses on Sundays and festivals, 
 like the Scotch highlanders, their self- 
 styled Roman costume. These girls ran 
 down to the shore to see the steamer, an 
 instrument of modern commerce and 
 industry, which strongly contrasted with 
 the poetical costumes of antiquity. 
 
 The isle of Nisida, now the lazaretto 
 of Naples, witnessed the parting of Brutus 
 and Porcia. Ischia, in modern limes, 
 became the retreat of another worthy 
 Roman, Yittoria Golonna, marchioness 
 of Pescario, the inconsolable widow of 
 the conqueror of Pavia, to whom her 
 contemporaries gave the title of divine, 
 a woman illustrious for her virtues, her 
 beauty, the superiority of her poetical 
 talents, and who became the holy muse 
 of Michael Angelo and the Beatrice of 
 that Dante of the arts. 1 
 
 CHAPTER HI. 
 
 Portici.— II Granatello.— La Favorita.— Pavement. 
 — Hackert. 
 
 The lively, industrious, and crowded 
 coast of Portici, a kind of noisy, dusty 
 quay, lined with pretty casinos, and a 
 royal residence, forms a true contrast 
 with the deserted strand of Pozzuoli. 
 The palace is admirably situated ; its 
 celebrated museum has been removed (o 
 the Studj ; but it possesses some works 
 by good French painters of the modern 
 school, portraits by Gerard, excellent 
 Capuchins by Granet, and elegant paint- 
 ings by M. de Forbin. The antique 
 mosaics, with which several rooms are 
 floored, make the inspection of apart- 
 
 « The comparison of Porcia and Vittoria Colonna 
 lias been elegantly expressed in the Latin verses of 
 Ariosto,wlio had already celebrated the marchioness 
 In the Orlando {can. xxxvu., St. xvi. seq.) : 
 
 Non vivam sine te, mi Brute, exterrita dixit 
 
 Portia, et ardentes sorbuit ore faces ; 
 Avale, te extinclo, dixit Victoria, vivam 
 
 Perpetuo mcestas sic dolitura dies. 
 
 ments less insipid than usual. The 
 gardens are agreeable: some fine oaks 
 of the English garden have taken root 
 in the lava, and seem the image of two 
 strong minds which, when they agree, 
 are indestructible and inseparable. 
 
 The little fort of the Granatello, al- 
 most facing the palace, is worth a visit 
 for its view of the sea and the aspects of 
 Vesuvius from thence. 
 
 At Resina is the palace of La Favorita 
 belonging to the prince of Salerno ; its 
 gardens with their large trellises, in my 
 opinion, have been too much vaunted. 
 Its real wonder is the floor of the oval 
 room proceeding from the palace of Ti- 
 berius at Caprea. We do not know 
 whether the ideal of antiquity extends 
 even over its vices ; but the mosaic of 
 Caprea, instead of causing disgust, only 
 inspires curiosity. Madame de Genlis 
 has given a vivid description of the dis- 
 agreeable feelings she experienced when, 
 on entering the Palais Royal, she found 
 herself a momentary occupant of the 
 regent's small apartments, which still 
 retained their mirrored alcove, and all 
 their old boudoir magnificence; the floor 
 of Caprea is yet more defiled, neverthe~ 
 less, on seeing the diversely coloured 
 marble of which it is composed, one can 
 only admire the beauty of such a per- 
 formance. The same kind of handi- 
 craft, so splendid and so suitable for 
 palaces, is still practiced in Italy ; at the 
 hotel of the French embassy at Naples 
 there is a clever and recent imitation of 
 the floor of La Favorita. 
 
 The apartments have several Views, 
 from among the best of the celebrated 
 landscape-painter Hackert, w'ho died 
 about ten years ago. He was painter to 
 the king of Naples, who paid him six 
 ducats for each square foot of his paint- 
 ings : the selfish artist has consequently 
 made the sky two or three times larger 
 than it ought to be ; and the same fault 
 exists in all the works he executed on 
 these strange conditions. It was of this 
 artist that Alexis Qrloff had ordered by 
 
 Utraque romana est, sed in hoc Victoria major : 
 Nulla dolere potest mortua, viva dolet. 
 
 It is known that Michael Angelo made several 
 drawings for Vittoria which were cited by Vasari 
 as admirable works; he corresponded with her, 
 and she inspired him with ten One sonnets and 
 several madrigals full of sentiment end passion. 
 
476 
 
 VESUVIUS. 
 
 [Book XIV. 
 
 Catherine's command, four painting re- 
 presenting the principal feats of the war 
 intheMorea, and particularly the burning 
 of the Turkish fleet at Tchesme. Hackert 
 having declared that he did not know how 
 to express a ship blown up, Orloff fired 
 the finest of his fleet, at the risk of des- 
 troying the numerous and richly laden 
 vessels in the road of Leghorn. These 
 four pictures are in the hall of audience 
 of Petershoff ; they are said not to exceed 
 mediocrity. 
 
 CHAPTER IV. 
 
 Vesuvius.— Road.— Hermils.— Eruptions. — Benefits 
 of Vesuvius. 
 
 There are certain usages of travellers, 
 which, though long- established, are 
 none the more reasonable on that ac- 
 count. For instance, it is considered 
 indispensable for every man who goes to 
 Vesuvius to sacrifice his night's repose, 
 set off at ten o' clock, and climb the 
 mountain with torches, for the purpose 
 of seeing the rising sun from the Hermi- 
 tage. But Vesuvius is surrounded on 
 the east by lofty mountains which greatly 
 diminish the effect of this marvellous 
 sunrise, as the sun cannot be seen till 
 broad daylight. The setting, on the 
 contrary, is incomparably gorgeous; the 
 majestic orb embraces the whole unbrok- 
 en horizon, and plunges into the sea with 
 all his fires. By the reflected light of 
 this declining sun, the huge mass of Vesu- 
 vius was tinted of a fine violet hue. The 
 rising of the moon, which I enjoyed on 
 my descent, completed this magnificent 
 spectacle ; for I had started right simply 
 about the middle of a most genial day, 
 and consequently lost the honours of 
 the nocturnal expedition of fashionable 
 travellers. 
 
 The pretended hermits are not worthy 
 of all the respect with which they inspire 
 some pensive travellers : their hospitality 
 is anything but gratuitous; they never 
 were priesis, and are in fact nothing more 
 than two interested peasants, with a boy, 
 keeping a public house althe ThreeElms. 
 Their dwelling, let like any other tene- 
 ment, has even in times past been re- 
 puted one of those gallant and secret ren- 
 dezvous, in the vicinity of large towns. 
 About fifty years since, one of these her- 
 mits, who died at an advanced age, was 
 an old footman of madame de Pompa- 
 
 dour, by whom be had been discharged 
 for a serious breach of duty. The des- 
 tiny of this disgraced companion of ma- 
 dame Duhausset, who has left no Me- 
 moirs, was odd enough in its way; after 
 having assisted at the petits soupers of 
 Louis XV., he prepared the frugal repast 
 of the traveller, and he was recognised 
 by the manners of Versailles which he 
 retained. These hermits, like the pub- 
 lican of Chamouny, have a book to re- 
 ceive the stray thoughts of travellers ; 
 but Vesuvius, like Mount Blanc, has pro- 
 duced scarcely anything but trash. The 
 aspect of even the grandest reality is 
 most frequently sterile, if it be not com- 
 pleted and embellished by imagination 
 and memory, and it requires, ere it can 
 yield inspiration, that sort of distance. 
 
 Before the eruption of the year 63, 
 which occurred sixteen years before the 
 one consigned to everlasting remem- 
 brance by the death of Pliny the elder 
 and the two letters of Pliny the younger 
 to Tacitus, the eruptions of Vesuvius 
 seem to have been less frequent and de- 
 structive. Under Augustus, the least 
 elevated summit was covered with trees 
 and vines. The principal eruptions, since 
 the last-mentioned, of which the Cav. 
 Arditi, in a dissertation read to the 
 Borbonica Society, pretends to fix the 
 hour, minute, and second, happened 
 in 203, in 472, when the ashes were 
 blown to Constantinople; in 512, 685, 
 993, 1036, the first of the modern erup- 
 tions accompanied with lava; in 10i9, 
 1138. 1306, 1500, and in 1631, the most 
 violent since that of 79. Despite the 
 disasters of these different eruptions and 
 the terror this volcanic earth, furrowed 
 with lightning like the heavens, must 
 inspire, the oulbreakiugs of Vesuvius 
 have not the utterly destructive effects 
 of the inundations, avalanches, and other 
 dreadful plagues of the North : the pave- 
 ment of the city is supplied by the lava, 
 the brilliant scoriae of which, tinted with 
 azure, ultramarine, yellow,, and orange, 
 are transformed into jewels and fancy 
 articles that are sold abroad. The ashes 
 it has vomited forth produce excellent 
 fruit and the nice wine of Lacryma 
 Christi, so ingeniously sung by Cbia- 
 brera : 
 
 Chi fu de' eontadini il si Indlscrelo, 
 
 Ch' a sbigotlir la gente 
 
 Diedc nome duleute 
 
 Al vin, Che sovra gli altrl II cuor fa llelof 
 
Chap. V.] HERCULANEUM. 
 
 Lacrlma dunque appellerassl un riso, 
 Parto di nobilissima yendemmia > 
 
 It was remarked, after the eruptions 
 of 1794, 1796, and 1822, that several 
 spots previously barren had become ex- 
 tremely fertile from this shower of ashes. 
 A numerous population obtains the means 
 of existence from Vesuvius; it may be 
 likened to an immense furnace created 
 by nature on the shores of sea, -which is 
 its moving power : la montagna, there- 
 fore, as it is commonly called at Naples, 
 is more loved than dreaded by the Nea- 
 politan ; he makes it his pride and glory ; 
 it is the most majestic decoration of his 
 fine amphitheatre ; he would K e grieved 
 if it could disappear, and £iw i«'ibilants 
 of Resina, Torre del Groco, and La 
 Nunziata, have rebuilt their bouses on 
 the identical spot from which they were 
 swept away. In fine, Vesuvius, even in 
 the midst of its greatest fury, seems to 
 have engulfed Pompeii only to preserve 
 it miraculously for the curiosity and ad- 
 miration of posterity. 
 
 CHAPTER V. 
 
 flerculnneum.— Theatre.— Pompeii.— Excavations. 
 —V iila of Diomedes.— Rood of the Tombs.— Walls. 
 —Streets.— Acteon's House.— Shops.— The baker's, 
 Pansa's, and the dramatic poet's house.— Theima). 
 — Fullonica.— House of the Faun. -Great mosaic. 
 —Forum.— Public treasury.— Prisons.— Basilic— 
 Pantheon.— Square of the Tragic theatre— Thea- 
 tre. — Price of seats.— Amphitheatre. 
 
 Herculaneum, though on the road to 
 Pompeii, should be visited last; as it can 
 only be examined by torchlight, being 
 buried more than sixty feet under a very 
 hard lava, without this precaution, one 
 would hardly be able to comprehend ei- 
 ther the form of the galleries in its theatre, 
 the least injured of antiquity, which 
 must have held about ten thousand spec- 
 tators, or the plan of its magnificent villa. 
 Without the prelude, the initiation of 
 Pompeii, the black cavern of Herculaneum 
 would appear but a kind of deserted 
 mine, with no signs of living man. A 
 prince of Elbeuf, Emmanuel de Lorraine, 
 who married at Naples and settled at 
 Portici, was the discoverer of Hercula- 
 rieum. We have seen that one of the 
 finest palaces in Italy, at Verona, was 
 built by a bishop of Bayeux; « these names 
 
 1 See ante, tools v. cb. xiv. 
 
 from Normandy seem strangely allied 
 with the splendid monuments of ancient 
 and modern Italy. Herculaneum re- 
 calls one of the most terrible examples 
 of the abuse of erudition ; I allude to the 
 case of the Roman prelate Bajardi, a fa- 
 mous antiquarian, who pretended to be 
 a descendant of Bayard : being called 
 upon by the king of Naples to give a ca- 
 talogue of the objects discovered and pre- 
 served at Portici, he obtained permission, 
 while they were waiting for the engrav- 
 ings, to put at the beginning of the great 
 commentary a preface, the beginning of 
 which he published in seven thick quarto 
 volumes ; and then, as the abbe Barthe- 
 lemy informs us, he had not even entered 
 on the subject. 
 
 Antiquity, at Pompeii, ceases to be the 
 vague, remote, uncertain autiquity of 
 books, commentators, and antiquarians; 
 it is real, living, antiquity in propria 
 persona, if the expression be allowable : 
 it may be felt, seen, and touched. The 
 new and learned barbarism of the mu- 
 seums is here more offensive and fatal than 
 elsewhere : had the discovered objects 
 been left in their places, and the simple 
 precautions necessary for preserving them 
 attended to, they would have formed the 
 most wonderful museum on earth. It 
 may be further stated that only a fifth 
 part of the city is cleared, and it will be 
 necessary, if all moveables continue to 
 be taken away, to build another city to 
 contain them. However, if the excava- 
 tions proceed at the present rate, there is 
 time enough on hand : from the most ac- 
 curate calculations, it appears that the 
 complete exhumation would require an 
 outlay of 694,589 ducats (115,764*.); and 
 the total sum allowed every year for 
 works and repairs is onlv 6000 ducats 
 (1,000?.). Thus, if it has already re- 
 quired a hundred and twenty years to 
 effect the discovery of the fifth we pos- 
 sess, four hundred and eighty years must 
 elapse before the whole of Pompeii can 
 be seen. 
 
 When Sulpitius, seeking to console 
 Cicero for the death of his daughter Tul- 
 lia by the example of human vicissitudes, 
 speaks to him of those carcases of cities 
 that he saw when returning from Asia, 
 how little did he imagine that his figu- 
 rative expression would one day be as 
 justly applicable to the town which was 
 the delight of his friend, Tusculanum 
 et Pompejdmm valde me delectant, 
 
*78 
 
 HERCULANEUM.-POMPEIT. 
 
 [Book XIV. 
 
 whose house, notwithstanding the good 
 will of the abbe Romanelli, lias not yet 
 been found — a magnificent house, for 
 which he ran into debt, where he re- 
 ceived Octavius, and which, of all the 
 one and twenty villas discovered for him 
 by the eccentric abbe Chaupy, was one 
 of the greatest favourites. 
 
 The villa of Diomedes in the suburbs, 
 the finest in Pompeii, shows the double 
 life of the Romans, at once public and 
 private. The public part is composed of 
 the vestibule and the atrium, which 
 comprehended nearly always in the same 
 order the cavadium (court), the tabli- 
 num (audience chamber), the wings, the 
 corridors (fauces). The private part con- 
 tained the bed-rooms cubicula), the 
 dining-room (triclinium), the sitting- 
 rooms (ceci). the picture gallery (pina- 
 cotheca), the library, the baths, the 
 exedra or parlour, the xystum, or gal- 
 lery set out with flowers and shrubs; all 
 these apartments were ranged round the 
 peristyle. The public life is full of gran- 
 deur; most of the small rooms for pri- 
 vate use receive no light but through the 
 door, have no fireplaces, and are far from 
 being comfortable, notwithstanding the 
 mosaics and brilliant paintings that de- 
 corate them. It is evident from the in- 
 convenience of these rooms that the life 
 of the Romans was chiefly out-of-doors 
 and public, and that except ct night and 
 their principal meal, which was towards 
 evening, they passed nearly all their time 
 at the Forum, or under the porticos. 
 The atrium even of the house was a 
 kind of inner Forum in which they re- 
 ceived their guests, dependants, friends, 
 and where they continued to live in the 
 open air. The home of the English, or 
 the coin dufeu of the French, was totally 
 unknown to them, as to the Italians of 
 the present day, who have no public life. 
 The house of Diomedes had three stories, 
 a rare thing; for most of the other houses 
 had only two surmounted by a terrace 
 ornamented with a kind of trellis. As 
 in the East, the women's apartment was 
 towards the garden. 
 
 The road of the Tombs (via Domitia- 
 na), with causeways, lined on each side 
 with high mausoleums occupied by whole 
 families and their dependants, is a real 
 street. In polytheism the dead seem 
 
 1 The bisellittm was a kind of beuch covered 
 with fringed cushions, on which one person only 
 
 hardly to quit the earth; they inhabit 
 the most frequented places, beside the 
 highways, and seem less to die than to 
 remove from one house to another. The 
 most remarkable of these tombs are : the 
 monument erected by Alleja Decimil'.i, 
 priestess of Ceres, to her husband Mar- 
 cus A llejus Lucius Libella, and toher 
 son, on a piece of ground given by the 
 people; that erected by Nevoleja Tyche 
 toher husband Caius Munatius, herself, 
 and their freedmen and women ; she had 
 sculptured thereon her own portrait, the 
 bisellium, a seat of honour, 1 which the 
 decurionsand the people had decreed to 
 Munatius. a funeral ceremony and a 
 vessel entering port, perhaps the emblem 
 of the repose of the tomb after the storms 
 of life ; the cenotaph of C. Calven- 
 tius Quietus, whose munificence pro- 
 cured him also the honour of the bisel- 
 lium reckoned the most elegant and best 
 preserved of the sepulchral monuments 
 of antiquity ; the tomb of Scaurus, cu- 
 rious for its stucco basso-relievos, repre- 
 senting hunting scenes, gladiatorial con- 
 tests, in which the combatants have 
 helmets with the visors down, and are 
 protected w ith cuissarts and arm-pieces 
 like the old knights, and for its expla- 
 natory inscriptions traced with a pencil. 
 
 The ramparts of Pompeii, discovered 
 from 1812 to 1814, which may now be 
 followed all round, show the extent and 
 plan of the town; these ramparts, in 
 great measure built of enormous blocks of 
 stone, had dared the fortune of Sylia, who 
 subdued Pompeii without attacking it. 
 
 The streets of Pompeii are narrow : and 
 crooked; but as chariots had then only 
 a four feet way (as may be seen from the 
 marks of the wheels), a greater width 
 was not necessary. The ancients more- 
 over imagined that narrow and winding 
 streets were more salubrious, as the sun 
 had less power in them. 
 
 The public house of Julius Poljbius 
 has a vast subterranean cave, the best 
 cellar in Pompeii. 
 
 The house of the Vestals, brilliant with 
 paintings and mosaics, has almost the 
 form of a temple; the whimsical capitals 
 of the columns are far from Greek purity. 
 
 The house of the dancing girls retains 
 its gay air, in the variety, grace, and vo- 
 luptuousness of its figures. 
 
 sat at the forum and in public shows, though 
 there was room for two. 
 
Chap. V.] 
 
 HERCULANEUM.-P0MPE1I. 
 
 479 
 
 The house said to be Sallust's or Ac- 
 teon's, is one of the most elegant and 
 refined in the town ; its atrium passes for 
 the best preserved. An oven, like ours, 
 seems quite new and fit for use. A shop 
 communicated with Sallust's apartment : 
 we see by this example and many others, 
 that the richest patricians were not above 
 retailing the wine, oil, and provisions of 
 their own growth or the produce of their 
 industry ; a custom still subsisting in some 
 Italian provinces, and practised by the 
 thrifty Florentines. ■ Shops were a lu- 
 crative property ; Cicero knew how to 
 make the best of his as well as the builder 
 of a new passage. » At Pompeii, near 
 the amphitheatre, was found a written 
 notice by which Julia Felix, daughter of 
 Spurnius, a man of great possessions, 
 offered to lease for five years a vast edi- 
 fice containing a bath, a venereum (its 
 usual concomitant), and nine hundred 
 shops with their appurtenances. The 
 luxury of our fashionable warehouses 
 existed in these shops, which formed the 
 front of the houses in most cases; they 
 were floored with mosaic, and had their 
 museum in the open air ; an ox was 
 painted on the shop of a butcher, and the 
 group of vintagers represented on a wi- 
 neshop, has been imitated by Poussin. 
 The mysterious venereum, decorated 
 with the great fresco of Acteon, must 
 have appeared less scandalous with the 
 religion, the poetry, and the manners of 
 the Pompeians. 
 
 The house of Modestus, as it is called, 
 belonged to a dealer in liquors. The 
 sign is a passably poetical representation 
 of Ulysses refusing the perfidious beverage 
 presented to him by Circe. 
 
 The baker's house is well disposed. The 
 oven and mills are curious. The two 
 only comic Latin poets, Plautus and 
 Terence, were condemned, when en- 
 slaved, to do the work of asses in turning 
 the stone of these little mills resembling 
 a coffee mill in form. Cato extolled the 
 skilful millers of Pompeii. 3 
 
 The habitation of the cdile Pansa is 
 the largest and most regular in Pompeii. 
 
 1 See ante, book x. ch. xv. 
 
 » See this humorous passage of a letter to Attieus, 
 In which Cicero makes such a strange ostenlailon 
 of philosophy : "Sed quod quaerls, quid arcessierlm 
 Chrysippum; tabernae mini duae corrucruut, re- 
 liquaeque rimas agunt. Itaque non solum inquiliui, 
 sed mures etiam migraverunt. Banc ceteri cala- 
 0Jit3tem vocant; ego ne iucommodum quidetu. 
 
 Pansa also let a great number of shops 
 and an oven. Over this last is the cele- 
 brated inscription Hie habitat felicitas, 
 and its obscene emblem, a small basso- 
 relievo of stone painted red, an allusion, 
 according to some learned and antiqua- 
 rians, to abundant harvests, or perhaps 
 to the shape of the small bread of anti- 
 quity. This emblem was also used by 
 the ancients as an amulet to prevent 
 certain evils, and S. Arditi supposed that 
 the baker had employed it as a means of 
 securing his establishment. 
 
 The little house of the tragic poet, with 
 its noted but inferior mosaic of a great 
 black dog chained and the inscription 
 cave canem (beware of the dog), is one 
 of the prettiest private monuments of 
 antiquity. Frescos of divers mythological 
 or dramalic subjects, and of numerous 
 figures of Genii, Victories, with ara- 
 besques and mosaics of better taste 
 embellish it. In the library, a small room 
 ornamented with views, landscapes, 
 marine pieces, the papyri covered with 
 Greek characters are also painted on the 
 wall, a coarse factitious means of pos- 
 sessing books, which would not have 
 been adopted by the two great tragic 
 poets of France and Italy, Racine and 
 Alfieri, the former when he so diligently 
 annoled the Sophocles, Euripides, and 
 other works left by his son to our royal 
 library, as well as those given to the 
 library of Toulouse by Lefranc de Pom- 
 pignan; the second, when he so belaboured 
 his copies of the Greek tragics and Aris- 
 tophanes, now at the Laurenlian. The 
 fine mosaic in the floor of the receiving- 
 room, composed of seven figures, called 
 the Dramatical Concert, is a curious 
 picture of a rehearsal and the stage 
 scenes of antiquity. 
 
 The thermae, of an elegant simplicity, 
 would not hold more than twenty persons; 
 it is probable that they were not the only 
 ones in Pompeii. The ladies' side is the 
 most ornamented. The first room was 
 used for undressing; at the farther end 
 is a little oval closet (frigidarium) which 
 has a basin sunk in the ground {piscina) 
 
 O Socrales, et Socralicl vlvl! nunquam vobis gra- 
 tiam referain. Dii immortales, quam mini ista 
 pronihilo! Sed lamen ea ratio aedidcandi imtur, 
 consiliario quidem et auctore Vestorio, ut hoc 
 damnum quaestuosum sit.'' Lib. xit, 9. Chrysippus 
 was Cicero's architect; he had another called 
 Cluatlus. Ibid., lib. xii, 18. 
 3 Be re rust. cap. xxii. 
 
*80 
 
 IlERCtLAMil'M.-POill'EU. 
 
 [Book XIV. 
 
 for a cold bath ; thence they passed into 
 warm room (tepidarium); and then into 
 the third and last apartment, the tepid 
 room, at the end of which there is a long 
 basin (baptisterium) for the hot bath. 
 These three rooms arc paved with mosaics, 
 and the ceilings, an unique circumstance 
 amid these ruins, are well preserved. 
 The thermae of the ancients were real 
 public monuments which were solemnly 
 inaugurated, thealmost effaced inscription 
 on the thermae of Pompeii was to the 
 effect that on the occasion of their open- 
 ing there would be gladiatorial combats, 
 hunting sports, wrestlers, and that per- 
 fumes would be scattered and tents 
 erected in the amphitheatre. 
 
 The house of the dyers and scourers 
 (fullonica), an old dwelling converted 
 into a workshop, is curious for its arran- 
 gement, its paintings, and as a manu- 
 facturing establishment, a monument of 
 ancient industry. These dyers and 
 scourers, for whom the use of robes must 
 have afforded much employment, appear 
 to have been persons of consideration; 
 they had their college and their priests, 
 and they erected at Pompeii the fine 
 statue of the priestess Eumachia, which at 
 Canova's earnest entreaty has been judi- 
 ciously left in its ancient and proper place. 
 
 The house of the Fountain in mosaic, 
 discovered in 1827, is inciusted with 
 shells, of which, after twenty centuries, 
 not one is wanting ; it very much re- 
 sembles the Neapolitan fountains of the 
 Bernini school, and, what is very singular 
 for an antique work, one might suppose 
 it belonged to that epoch of decline. 
 
 The house of the Faun fortunately re- 
 tains its fine mosaic, the first and greatest 
 of mosaics, which contains twenty-five 
 persons and fifteen horses, a composition 
 admirable for animation, nature, and 
 expression. This mosaic seems to re- 
 present one of Alexander's victories over 
 the Persians, who had a cock for emblem 
 which may be still seen on their standards; 
 perhaps it was executed after a painting, 
 the chef-d'oeuvre of Apelles, Alexander's 
 favourite, in which case it would be an 
 admirable and unique tradition of Greek 
 painting. The reflection of a figure in a 
 buckler on the ground is wonderfully 
 rendered, and with more truth in the 
 perspective than belonged to the ancients. 
 This fine house of the Faun presents 
 other excellent mosaics, and among the 
 Course of the Nile, the A crates, or 
 
 winged genius of the attendants of 
 Bacchus, riding on a tiger, a long and 
 elegant wainscot of festoons and crowns, 
 a superb lion facing the spectator, and 
 the brilliant pavement of the court, formed 
 of oriental marble of various colours, 
 almost in the Venetian style. 
 
 The house of Castor and Pollux, so 
 called from two paintings found there in 
 1828, may be reckoned one of the finest 
 and most spacious houses in Pompeii. 
 
 The Forum civile was the place for 
 business, and as the Exchange and palace 
 of Pompeii ; in the middle stood the 
 statues of marble or bronze, with honorary 
 inscriptions, of Rufus, Sallust, Pansa, 
 Scaurus, Gellianus, and other illustrious 
 persons of the colony; the pedestals of 
 these statues still remain. Such an edi- 
 fice viewed in connection with the small- 
 ness of the town excites surprise ; it is a 
 monument of the importance of that kind 
 of pomp which was attached to the poli- 
 tical life of the ancients. 
 
 The public treasury, called the temple 
 of Jupiter, was in the bestquarter. The 
 public money was deposited in the tem- 
 ples; at Rome, the treasury of the re- 
 public was in the temple of Saturn; the 
 mint in Juno's, and the general counting- 
 house of the nation in that of Castor and 
 Pollux. Caesar, says Montesquieu, had 
 amassed enormous sums for his expedi- 
 tion against the Parthians, which he 
 deposited in the temple of Ops. ' This 
 kind of deposit, which would ill agree 
 with the administrative and financial 
 forms of the moderns, will be less 
 surprising when we consider that the 
 dignities of augur and grand pontiff were 
 magisterial offices among the Romans, 
 and that those on whom they were con- 
 ferred made part of the senate ; the union 
 between power and the high-priesthood 
 was therefore very intimate. 
 
 The prison doors, very narrow, are 
 barred with iron ; and the chambers 
 without opening to admit light were real 
 dungeons. Amid this multitude of edi- 
 fices consecrated by the ancients to 
 religion, business, or pleasure, it is im- 
 possible not to remark the absence of 
 humane and compassionate feelings in 
 this society, so vigorous, glorious, and 
 passionately patriotic : no hospital has 
 been discovered at Pompeii. 
 
 The temple of Venus, one of the most 
 
 1 brand, el dtcad. desRomaini, cb. lit. 
 
Chap. V.j 
 
 HERCULANEUM.-POMPEII. 
 
 48« 
 
 considerable in tbe town, is however 
 inferior in architecture to the treasury. 
 It was appropriated to the college of the 
 Venerei, a corporation that superintended 
 the worship of the goddess. 
 
 The majestic basilica was a court of 
 justice : the magistrates sat at the farther 
 end on an elevated tribunal; the small 
 windows and the bars through which 
 they interrogated the accused are still 
 visible; thejudgment waspublic. Some 
 inscriptions scribbled over the basilica 
 suggest the idea of that mural album, 
 composed of popular reflections inspired 
 by humour, idleness, or libertinism. 
 
 The pleasant house of Adonis, orna- 
 mented with a fine Tuscan atrium, has 
 two remarkable paintings : Perseus and 
 Andromeda, and Venus and Adonis. 
 
 The school of Verna, curious as a 
 model of an antique school, is an im- 
 mense square with the master's seat in 
 the centre, who taught both boys and 
 girls at the same time. 
 
 The Pantheon, or the temple of Au- 
 gustus, a superb edifice, was used for 
 public banquets ; there are many paint- 
 ings alluding to that destination : eleven 
 small rooms, set apart for the principal 
 citizens, present figures of geese, fowls 
 too much despised by modern gourmands, 
 and we are informed by Pliny that their 
 liver made a delicious dish and was the 
 greatest treat at these festivals. Ethra 
 displaying his father's sword to her 
 son Theseus is the most remarkable 
 painting of the Pantheon. 
 
 The column shafts, of an ancient Doric 
 order, of the temple attributed to Her- 
 cules, the character of its architecture, 
 and its diminutive proportions, manifest 
 its great antiquity and place it in the first 
 rank of the sacred fabrics of Pompeii. 
 
 The square of the theatre claims ad- 
 miration for its long and beautiful por- 
 ticos, its ruins of a Greek temple, the 
 oldest and one of the finest monuments 
 of the town, its puteal, and its view of the 
 sea, now two miles distant, though it 
 formerly washed the walls of the mer- 
 cantile Pompeii. 
 
 The Isiacal curia and temple of Isis 
 show the initiations, mysteries, and 
 priestly practicesof the Egyptian religion. 
 
 The great theatre, according to the 
 inscription, was built under Augustus, at 
 the expense of the two Marcus Holconius 
 Rufus and Celer, for the embellishment 
 of the colony. The first places were 
 
 occupied by the deourions, the Augus- 
 tales (priests of the temple of Augustus) 
 and those who had the privilege of the 
 bisellium ; the second, by the citizens, 
 the soldiers, and the different public 
 bodies ; the third and last by the populace 
 and the women, a breach of politeness 
 that we have already censured. » The 
 price of seats, as at present in Italy, was 
 not high ; a ticket found at Pompeii, for a 
 tragedy of iEschylus, was only a few sous. 
 
 The Odeon, a little theatre, is less in- 
 jured than the large one ; it was used for 
 rehearsals and the recital of prize poems, 
 in which the successful were rewarded 
 with a tripod. 
 
 The soldiers' quarter still exhibits on 
 the walls the coarse drawings of warriors 
 and vessels chalked to beguile the leisure 
 of a Roman guard-house. 
 
 The amphitheatre is one of the best 
 preserved in existence. It might contain 
 twenty thousand persons, a number 
 greater than the population of Pompeii ; 
 but we know that it was frequented by 
 the people of the neighbouring towns, 
 as Tacitus tells us that the inhabitants 
 of Nuceria went thitherto witness a show 
 of gladiators, when a trifling dispute, 
 which ended in a dreadful carnage 
 (atrox ccedes), arose between them and 
 the Pompeians; one scene of murder 
 arising from another, a circumstance 
 characteristic of the barbarous enjoy- 
 ments and pleasures of the ancients. 
 
 I did not visit Pompeii by moonlight, 
 as I had been advised at Paris ; for, in 
 my opinion, it does not agree with this 
 kind of ruins : moonlight requires great 
 shadows and lofty masses, and the ruins 
 of Pompeii are scarcely ten feet above 
 the surface. As to the idea that one may 
 fancy the inhabitants asleep, and thus 
 believe oneself in an ancient city in re- 
 pose, it is not very easy to admit the il- 
 lusion, and one does not picture that 
 kind of bivouac amid piles of stones. 
 
 The sight of Pompeii demonstrates, 
 far better than endless dissertations can, 
 the municipal existence, the prosperity, 
 and splendour of the Roman colonies. 
 This little town of the third order, only 
 one fifth of which is known, that may be 
 gone over in less than half an hour, pos- 
 sesses a Forum, eight temples, a basilica, 
 three public squares, hot-baths, two 
 theatres, and a superb amphitheatre. 
 
 * See ante, book m. ch. is. 
 41 
 
482 
 
 LA CAVA.-SALERNO. 
 
 [Book XIV 
 
 CHAPTER VI. 
 
 La Cava.— Monastery of J.a Trinila.- Archives.— 
 Charters.— Library.- Manuscript of tlic Lombard 
 la»s.— Salerno.— Cathedral. -Gregory VII. 
 
 La Cava is a Swiss valley with olives, 
 the sea, and the sun of Naples. The ro- 
 bust beauty of the women, the industry 
 of the inhabitants, a political writer, Fi- 
 langieri, author of the Science of legis- 
 lation, which was partly written at La 
 Cava, a less eloquent publicist than 
 Rousseau, but like him an advocate of 
 popular principles, still further increase 
 the resemblance. Among the multitude 
 of details in this delightful landscape, 
 interspersed with old castles in ruins 
 and handsome country houses, the su- 
 perb grotto of Duncga ought not to be 
 neglected. 
 
 The monastery of La Trinita, seated 
 in the bosom of these woods and moun- 
 tains, and as if incrusted on Mount Fe- 
 nestra, became at the close of the tenth 
 century one of those asylums of letters, 
 when Latin civilisation had disappeared 
 and the Italian had not arisen. 1 visited 
 the convent with two learned compa- 
 triots, my fellow-travellers to Paestum.' 
 We were received with all the eager 
 cordial politeness of Italian monks, and 
 were invited to partake of the monastery 
 dinner, which was plentiful but plain and 
 frugal ; we afterwards took ices and coffee 
 in the drawing-room. The archivist to 
 which I was recommended not being at 
 the convent, we were conducted by a 
 young and very agreeable priest, who, 
 like Apollo, was addicted to poetry and 
 botany, and showed us somewhat too 
 minutely, for lovers of books and ar- 
 chives, his herbal and sonnets. The ce- 
 lebrated archives of La Cava are the 
 richest of Italy in charters, and it is most 
 desirable that the catalogue of them 
 should be published. The middle ages 
 with their barbarism were the epoch of 
 institutions and charters. The multitude 
 of titles and deeds of gift at La Cava pro- 
 ceeded from the sovereigns of Benevento, 
 Salerno, and Capua, after wars and 
 treaties of peace, and sometimes in ex- 
 piation of those princes' crimes ; there 
 are no documents so capable of throwing 
 a light, on the history of this country 
 
 1 M. Uouard, now librarian of the town of Aix, 
 the author of au interesting Notice on the library 
 entrusted to his care, and his pupil, M. de N**". 
 
 during the eleventh, twelfth, and thir- 
 teenth centuries. The learned work of 
 the archivist, the prior Dom Salvator 
 Maria of Blasi, published at Naples in 
 1781, makes known the series of di- 
 plomas concerning the Lombard kings, 
 from the year 840 to 1077. Among the 
 charters at La Cava is one that shows 
 the good spirit and moderation of the in- 
 habitants, and the magnanimity of Al- 
 fonso I. of Aragon. This prince having 
 sent to the town a brank paper bearing 
 his seal, with an invitation to write there- 
 on all the privileges they desired, they 
 made such discreet use of the permis- 
 sion that Alfonso sent back another 
 diploma with more important conces- 
 sions than they had demanded. The li- 
 brary, though not very numerous, has 
 some fine editions by the Aldi.the Guintas, 
 the Grifi, the Etiennes ; an esteemed edi- 
 tion of Saint John Chrysostom, by 
 Charlotte Guillard, a clever and learned 
 printer. Among the manuscripts, very 
 little more than sixty in number, is a 
 quarto Bible of the eighth century, in ex- 
 cellent preservation, a precious monu- 
 ment of the calligraphy and embellish- 
 ments of that epoch, written in ink of 
 various colours ; a Bible, charming for 
 the elegance of its characters, the white- 
 ness of the vellum, the freshness of the 
 miniatures, but only of the thirteenth 
 century , and the fine Codex legum Longo- 
 bardorum, of the year 1004, in Uo, one 
 of the only three copies known, and the 
 most valuable of those containing the 
 laws of the kings of Italy down to Lo- 
 thario II., with various readings and his- 
 torical details. An interesting letter on 
 the library of the monastery of La Tri- 
 nita, was written to the royal librarian 
 at Naples (Naples, 1800) by the abbe dc 
 Rozan, vicar-general of the diocese of 
 Lucoii, who had found an asylum at La 
 Cava. The author of the text of the 
 Picturesque Tour in the kingdom of 
 the Two Sicilies, published at Naples by 
 SS. Cucinicllo and Biauchi, announces, 
 on the authority of an autograph note, 
 that this anonymous pamphlet was com- 
 posed at the request of Cardinal de Ber- 
 nis, to whom it was addressed under the 
 name of the librarian. It has been 
 translated into Italian by P. Morcaldi, 
 philosophical lecturer at La Cava (Na- 
 ples, 1822), and is headed by a letter 
 of Cardinal Maury, dated Montefiaseonc, 
 June 26, 1801, in which he bestows me- 
 
CHAP. VII.] 
 
 PiESTUM. 
 
 483 
 
 riled clogium on the bibliographic learn- 
 ing of the abbe de Rozan, whom he con- 
 gratulates on the advantage "but rarely 
 enjoyed, of being learned and witty." 
 
 The church of La Trinita, the front of 
 which is of inferior architecture, presents 
 a sepulchral stone with a reversed mitre, 
 the subject of different conjectures : the 
 tradition of the convent is, that it covers 
 the remains of the antipope Bourdin, le- 
 gale of Pope Pascal II. and archbishop 
 of Braga in Portugal, elected by the em- 
 peror Henry V. whom he had crowned. 
 A few years before, about 1100, another 
 antipope named Theodoric, after having 
 paraded his empty title for a hundred 
 and three days in the towns of Campa- 
 nia, died a simple Benedictine in this 
 monastery. About the end of the same 
 century, Innocent III., a third antipope 
 (so great was the superabundance of 
 faith in those days), although submissive, 
 was confined by Pope Alexander III. at 
 La Cava, which then appeared to be the 
 penitentiary ofantipopes. 
 
 Salerno, mentioned by the writers of 
 antiquity, is especially remarkable for 
 its recollections of the middle ages : the 
 metropolis of the terrible duke of Nor- 
 mandy, Robert Guiscard, the most fu- 
 rious pillager of Rome, a famous school 
 of medicine and law, it thus recalls the 
 barbarous science and the adventurous 
 chivalry of that age. The port, as the 
 inscription states, was commenced by 
 the famous plotter of the Sicilian Ves- 
 pers, Giovanni of Procida, a noble and 
 physician of Salerno, the intimate friend 
 and companion of Manfred, the poetic 
 bastard of the emperor Frederick II., 
 founder of its celebrated September fair. 
 Except the duomo, which is built of an- 
 tiquities, and six curious Roman co- 
 lumns concealed in the archbishop's 
 stable, the aspect of the town is modern ; 
 it has a lyceum for the study of the exact 
 sciences, an orphan asylum, a new 
 theatre; and its government palace, 
 built twenty-five years since, is reckoned 
 the finest in the kingdom. 
 
 The duomo, a vast edifice dedicated 
 to Saint Matthew by Robert Guiscard, is 
 almost a museum, so numerous are its 
 
 1 See tbe next chapter. The celebrated granite 
 cup was removed in 1830 lo the Villa reate of 
 Naples. 
 
 3 The deplorable condition of tbe Neapolitan 
 peasant Is a consequence of the land net belonging 
 to him ; he Is only the tenant of landowners who 
 
 columns and basso-relievos taken from 
 the temples of Paestum.' Gregory VII. , 
 who died a fugitive at Salerno, is in- 
 terred there; although the body of Saint 
 Matthew is venerated, the relic of the 
 apostle seems almost effaced by the 
 recollections of the pontiff, whose last 
 words are in singular contrast with his 
 life and reputation, and appear those of 
 a sage : Dilexi justitiam et odivi ini- 
 quitatem, propterea morior in exilio. 
 Not far from his chapel, which contains 
 his statue erect, is the tomb of a cardinal 
 Caraffa, his admirer, on which are an 
 antique basso-relievo and an inscription 
 concluding with this bold expression of 
 religious independence : Hie mortuus 
 jacere delegit vivus ubi Gregorius Sep- 
 timus pontifex maximus libertatis ejus- 
 dem (ecclesiasticce) vigil assiduus ex- 
 cubat adhuc licet cubet. We see by 
 this that ecclesiastical liberty may have 
 its enthusiasm and its heroes as well as 
 political liberty. 
 
 CHAPTER VII. 
 
 Passtum. — Origin.— Farm.— Temples. 
 
 The origin of Paestum, whether Phe- 
 nician, Etruscan, Dorian Greek, or Sy- 
 barite Greek, depends on the choice or 
 inclination of the learned, for etymology 
 will support them all. The Sybarite 
 Greek origin seems, however, most ge- 
 nerally adopted. The fields of roses 
 that Virgil was pleased to sing, biferique 
 rosaria Pcesti, and which nearly all the 
 ancient poets have celebrated, are at 
 present only an insalubrious plain, de- 
 serted and desolate, which has not lost 
 ail its fecundity ; for if roses no longer 
 flourish there twice a year, it now yields 
 the less poetical produce of a double 
 crop of cherries, pears, and apples; 
 these last, excellent in Italy, are su- 
 perior to the oranges which the ima- 
 gination boasts and lavishes too freely 
 there. 
 
 A large farm-house full of antiquities 
 stands near the temples ; were it not for 
 the degradation and horrible destitution 
 of its occupants,* it would not form an 
 
 do not reside, and he often knows only their agent. 
 The vitleggiatvre of the Neapolitans are limited to 
 change of air, playing higher, and having more 
 guests than in town. It is exactly the same as the 
 country life In France under Louis XV, The 
 enormity of the Imposts obliges these proprietors 
 
'Si 
 
 SORRENTO. 
 
 [Book XIV. 
 
 offensive contrast with them : the labour 
 of the fields is noble, and shepherds and 
 labourers are not such very unworthy 
 successors of the priests, the warriors, 
 and all ihe pompous personages of anti- 
 quity who have figured under those por- 
 ticos. 
 
 The ruins of Paestum consist of walls, 
 With two temples; the larger one, it is 
 said, consecrated to Neptune, and the 
 smaller to Ceres; of a basilica, which 
 may also have been a temple or a kind 
 of pacile, divided lengthwise by a row 
 of columns, and of an amphitheatre, be- 
 longing to the earlier times of such con- 
 sir unions, which cannot be older than 
 the Romans. In contemplating the im- 
 posing wrecks of public monuments at 
 Paestum, from which all vestiges of houses 
 have long been swept away, one is 
 again struck with the importance that 
 the ancients attached to the former, and 
 the inferiority, the perishableness of 
 private houses. Although the Saracens 
 have sacked Paestum, it is probable that 
 its principal ravager was Robert Guis- 
 card, when he bore away its columns, 
 its sculptures, and its ornaments of vert 
 antique, to embellish the church of Saint 
 Matthew, which he was building at Sa- 
 lerno : the devotion of the Norman war- 
 rior must have been more fatal to the 
 antique temples than the pillage of the 
 infidels. 
 
 These temples, almost facing each 
 other on the seaside, are still, outside, 
 when seen from a distance, of an effect 
 singularly majestic : it is impossible not 
 to be struck with the solidity of those 
 massivecolumns which have been upheld 
 for centuries by some secret equilibrium ; 
 lor we can see neither cement, ironbars, 
 nor an iota of the mechanism of modern 
 art. Rut the interior, encumbered with 
 bulky columns, is very confined ; these 
 temples are more like a sacred enclo- 
 sure, a kind of sanctuary to be filled 
 with priests and statues, while the people 
 was obliged to remain without. The 
 basilics of Christianity have far out- 
 measured the temples of polytheism. 
 We feel that the new creed required 
 a more extended space for a greater 
 God. 
 
 The Roman temple, discovered in 
 
 lo raise the rent; the wretched farmer is thus left 
 resourcelcss, and If you ask him how much he 
 gains, bis only answer Is : si campa (we lira), 
 
 1830, and situated between the temples 
 of Neptune and Ceres, only presents a 
 few wrecks, but sufficient to attest its 
 ancient magnificence. 
 
 CHAPTER VIII. 
 
 Sunciito.— Boat.— Tasso's house. -Costumes.— 
 Antiquities. 
 
 The Neapolitan boat which takes you 
 to Sorrento for ten grains ( less than five 
 pence) is a kind of Turkish bark as 
 regards the number of rowers, the 
 confusion, and awkward seamanship; 
 however, be the weather as it may (and 
 the sea in this gulf is sometimes very 
 rough), the boat starts every day at noon ; 
 after endless shouting, jumping, ges- 
 tures, and grimaces, it arrives, in from 
 two to four hours, and returns the next 
 morning loaded with oranges for the 
 market : the ignorance of these men 
 surmounts the obstacle without measur- 
 ing it, and they possess an instinctive 
 intelligence and industry that supplies 
 the want of instruction. It is customary 
 to make a collection on board to buy 
 masses for the souls in purgatory ; the 
 little box used instead of a purse is 
 painted with flames. Without touching 
 on the theological question respecting the 
 efficacy of these prayers, one can hardly 
 be unmoved at so pious an usage, 
 another proof of the compassionate dis- 
 position of the Neapolitan people.' 
 
 The house of Tasso is now a palace 
 beautifully situated, with a fine terrace, 
 on a high rock clothed with verdure and 
 washed by the sea. Some years ago, it 
 was still the property of S. Gaetano 
 Spasiano, a descendant of the poet's 
 eldest sister, Cornelia, who gave him so 
 tender a welcome, though, with the dis- 
 trust peculiar to misfortune, he had 
 thought prudent, after so long an absence, 
 to present himself at first in the dress of 
 an old herdsman which he procured in 
 the neighbourhood ; a touching scene of 
 recognition, described by himself and 
 his friend Manso," which one might 
 fancy borrowed from Homer. When 
 I w as there, this modern, well-furnished 
 palace had just been let to an English 
 family ; Mr. Cooper, the American 
 
 1 See ante, book xm. cb. xi. 
 J Let. of November 14, »587, and life of Tatio, 
 p. 87 et seq. 
 
 
Chap. IX.] 
 
 CAPRI. 
 
 Walter Scott, bad previously occupied 
 it. In an enclosure of orange-trees and 
 laurels, the site of the house where 
 Tasso was born is still shown. But if 
 tbe material traces of his existence are 
 uncertain or effaced, the beauty, the 
 brilliancy, the magic, the youthful aspect 
 of Sorrento and its delightful Piano, are 
 unaltered; and one perfectly compre- 
 hends what must have been their first 
 and lasting impressions on such a ge- 
 nius. The air was of old, and still con- 
 tinues wonderfully salubrious : Galen 
 recommended it to his patients and the 
 emperor Antoninus, and Bernardo Tasso, 
 when he settled at Sorrento, wrote that 
 men were immortal under its sky. 
 
 The day I passed at Sorrento was a 
 Sunday ; the peasants were attired in 
 their rich and picturesque costume ; 
 it is true that with corsets braided 
 with gold, chains, rings, earrings, and 
 pins in their hair, some of them went 
 barefoot. The wedding paraphernalia 
 are a ruinous affair here for the young 
 villager who enters the marriage state : 
 he must supply all this finery, and the 
 indispensable cashmire does not cause 
 more inconvenience to a Parisian hus- 
 band of moderate means. I find it im- 
 possible, however, to join the indignant 
 outcry of certain economical travellers 
 and Lady Morgan against the glittering 
 dresses of the Neapolitan fair. This 
 luxury is in harmony, if one may say so, 
 with the sparkling imagination, the mu- 
 sical language, the animated physiog- 
 nomies of the girls and women wearing 
 them, with the sun, the nature, the 
 poetry, and the religion of the country; 
 such brilliancy would be utterly out of 
 place beneath a hazy sky and with pu- 
 ritanical countenances. Variety is ne- 
 cessary in the manners and customs of 
 nations; it is no obstacle to the moral 
 improvement of individuals; and the 
 whole human race dressed out in the 
 same colours and wearing the costume 
 of a like civilisation would present an 
 aspect of most dismal and wearisome 
 uniformity. 
 
 Statius has sung the magnificent villa 
 his friend Pollius Felix possessed at 
 Sorrento, and the temple of Hercules 
 which he had enlarged ; « besides the 
 ruins of the latter, this old town has se- 
 veral remnants of antiquity; such are 
 
 ' Silv. lib, ii, carm. h. 
 
 the temples of Neptune and Diana, with 
 the vast reservoir repaired by Anto- 
 ninus Pius, and still in use. 
 
 The new inn of Giuseppe Siciliano, 
 which had been recommended to me 
 and may become a very good one, was 
 not then provided with the proper ac- 
 cessories. This kind of privation, for 
 which Parisian habits are a bad prepa- 
 ration, is not however without its plea- 
 sure after the first moment of vexation. 
 It seems that when you lie on the ground 
 in the open air, you have a deeper feel- 
 ing of independence and strength; the 
 comforts of home and of great towns 
 are a kind of oppression that makes us 
 the slaves of trifling conveniences, em- 
 barrasses and disturbs us with its perpe- 
 tual precautions; and the robust philo- 
 sophy of the half-naked lazzarone, who 
 takes things as they come, appears far 
 preferable. 
 
 CHAPTER IX. 
 
 Capri.— Olives.— Palace and wine of Tiberius.— 
 Barracks.— Azure grotto.— Slairs.-Mount Solaro. 
 
 In the middle of these islands and 
 shores, torn, calcined by volcanos, Capri 
 exhibits no trace of their action; it pre- 
 sents some pretty shells, a growth of 
 olive-trees higher than those on the coast 
 of Naples, a productive soil, a temperate 
 atmosphere, and the most picturesque 
 views; but the ruins of the palace of 
 Tiberius supply the deficiency of an 
 extinct volcano, and these fragments of 
 a man's abode recall calamities and furies 
 not less disastrous than the most terrible 
 scourges of nature. The palace of Ti- 
 berius is so popular there, that one might 
 fancy he still occupies it, and the excel- 
 lent wine produced there is called after 
 the tyrant (vino tiberiano). This pa- 
 lace, which was not situated in the fine 
 part of the island near its only fountain, 
 supplied the marble steps of the choir in 
 the parish church, and the fine marble 
 columns that support the chapel dedi- 
 cated to Saint Constantine, protector of 
 Capri, as well as the brilliant stones 
 embellishing the mitre of his silver bust 
 kept in the sanctuary. Besides these 
 shapeless ruins, there are the aqueducts, 
 baths of Augustus, who, in his old age, 
 lived four years at Capri in the villa 
 del Sole, one of the twelve palaces de- 
 dicated by Tiberius to the twelve su- 
 
 41. 
 
(86 
 
 perior gods, a part of the Forum, the 
 Thermae, two temples, long grottoes, the 
 arcades uniting the valleys, and the fine 
 Chartreuse founded by Queen Giovanna, 
 now converted into barracks. The isle 
 is surmounted by a telegraph ; had it 
 existed in the time of Tiberius, what a 
 rapid instrument of tyranny it might 
 have been for such a man ! 
 
 At the foot of a huge rock, the spacious 
 grotto discovered in 1832, and called the 
 Azure Grotto, from the beautiful hue it 
 receives from the reflection of the waves, 
 deserves a visit. The proper moment 
 for observing this mysterious wonder, 
 worthy of the Arabian Nights, is ten 
 o' clock. The softness of the light, the 
 tepid and almost invariable temperature 
 of the grotto, and some remains of a 
 gallery, have induced a supposition that 
 it was the scene of the voluptuous 
 pleasures of Tiberius. 
 
 The smiling aspect of Capri makes it 
 a delightful residence, and perfectly 
 accounts for the determination of an 
 Englishman, who, having come with 
 an intention of staying three days, made 
 it his abode for thirty years. The pub- 
 lican of Capri was the notary of the 
 place, descended from a long line of no- 
 taries; in his office are documents of 
 many centuries past, and in his garden 
 a palm-tree in the open soil. This no- 
 tary, a very worthy man, is in easy cir- 
 cumstances, and has a library somewhat 
 overdone with theology; his inn, where, 
 indeed, the guest pays just what he 
 likes, is, 1 believe, more profitable than 
 his legal practice. 
 
 Notwithstanding the good disposition 
 and the poverty of these islanders, its 
 two villages have long been fiercely op- 
 posed to each other; the first, Capri, 
 the capital, has above eighteen hundred 
 inhabitants; the other, Anacapri, se- 
 venteen hundred. One would hardly 
 imagine that vanity could nestle there. 
 I ascended the rude narrow stairs, of 
 more than five hundred steps, cut in the 
 rock, a Roman work, if not more an- 
 cient, leading to the latter village and 
 Mount Solaro, which the landscape 
 painters have since wisely visited. I made 
 the ascent before daylight : the sun ris- 
 ing in the midst of that immense horizon, 
 presented one of the finest scenes of na- 
 ture that I ever witnessed ; my Caprian 
 guide even did not seem insensible to the 
 glorious apparition of the sun, and when 
 
 CASTELLAMARE.-AMALFI. [Book XIV 
 
 Tout ecumanl <1e feuj il Jalllit dans les airs,' 
 
 he exclaimed and repeated with trans- 
 port : II sole! 
 
 The capture of Capri by a handful of 
 French and Neapolitan troops under 
 the command of General Lamarque, who 
 was made illustrious by this exploit, is 
 one of the brilliant feats of the last wars ; 
 the aspect of the place, especially of the 
 heights of Mount Solaro, add still fur- 
 ther to the impression of this prodigy 
 of daring courage : th'e memory of that 
 Italian and French glory delighted me, 
 and I found it no less splendid than the 
 admirable spectacle before my eyes. 
 
 CHAPTER X. 
 
 Castellamare. — Amalfl— Alrani. 
 
 Castellamare, a pretty maritime 
 town, with mineral waters, manufac- 
 tories, and charming country houses, 
 the resort of the best Neapolitan society, 
 is near the ancient Stabix, like Hercu- 
 laneum and Pompeii the victim of Ve- 
 suvius. The king's casino, nothing 
 remarkable, called Quisisana (health 
 restored here), proves the salubrity of 
 the air. On the hill of Pozzano, a place 
 noted for the statue of the miraculous 
 Virgin drawn out of a well in the ele- 
 venth century, stands a wooden cross 
 with an altar of Diana for its pedestal, 
 the only remains of the temple replaced 
 by the church of the Madonna. 
 
 I went to Amalfi across the woods, 
 mountains, and rocks that separate the 
 two gulfs. It was the end of October : 
 the variety of the autumnal leaves was 
 striking and vivid under that beautiful 
 light. One of the mountains of the 
 peninsula, the Monte Sant'-Angelo, the 
 loftiest in the environs of Naples, is the 
 ancient Lactarius, a real Swiss moun- 
 tain of antiquity, which still retains its 
 aromatic herbage ; moreover, besides 
 the excellence of their milk, the cows of 
 this district are killed for eating, and 
 the vitella di Sorrento, of which I ate 
 some beefsteaks at Giuseppe Siciliano's, 
 is very tender. 
 
 On beholding the coast of Amalfi, I 
 could not resist a deep feeling of admira- 
 tion for Italy : on those rocks the Pan- 
 dects were found, the compass invented, 
 
 < Fontaucs. 
 
Crur. XI.J 
 
 CASERTA. 
 
 487 
 
 and there was Masaniello bom; thus, 
 above ibis village appeared to hover the 
 most potent causes of the civilisation and 
 revolutions of modern times, laws, na- 
 vigation, the sovereignty of the people : 
 what city in the world has such associa- 
 tions? 
 
 Amalfl, the Athens of the middle ages, 
 was once a powerful martial and trading 
 republic : its merchants first obtained 
 access to Mahometan countries; and its 
 maritime laws, the celebrated Amalfian 
 Table, now lost, were adopted through- 
 out Europe for four centuries, according 
 to all the historians, except M. Pardessus. 
 This illustrious city is now nothing more 
 thau a picturesque village, famous for its 
 macaroni, the best in the kingdom, and 
 its paper. The steep coast of Amalfi, 
 with its woods of olives and myrtles, its 
 grottoes, ruins, precipices, and while 
 houses, encircled with the golden bran- 
 ches of the orange-tree, still merits Boc- 
 caccio's elogium, which calls it the most 
 delightful spot in Italy : Credesi che la 
 marina da Reggio a Gaeta sia quasi 
 la piii dtlettevole parte d' Italia, nella 
 quale assai presso a Salerno e una 
 costa sopra 'I mare riguardante, la 
 quale gli ' abitanti vhiamano la costa 
 d' Amalfi, piena di picciole cittd, di 
 giardini, e di fontane, e d' uomini 
 ricchi, e procaccianti in atto di mer- 
 catanzia.' The sea must have made 
 considerable encroachments on its shores; 
 the mountain and village reach almost 
 to the water; the narrow beach presents 
 nothing but a few fishing-boats, and 
 there is no space now for the arsenal, the 
 port, and other establishments of a navi- 
 gating and warlike people. The only 
 trace of the magnificence of the ancient 
 Amalfi is in the cathedral, rebuilt, in- 
 deed, but retaining its fine granite co- 
 lumns, an antique vase of porphyry used 
 for a baptistery, and two antique sarco- 
 phaguses. 
 
 The little village of Atrani, Masa- 
 niello's native place, once dependant on 
 Amalfi, and sharing in its glory, has a 
 very curious monument, unnoticed by 
 the various historians of art; namely, 
 the bronze basso-relievos on the doors 
 of the church of San Salvatore, with an 
 inscription of the year 1087, when the 
 republic of Amalfi was in its grandeur. 
 These doors, ordered by Pantaleone, son 
 
 1 Giorn. 11, nor. 4. 
 
 of Pantaleone Viaretta, for the ransom of 
 his soul (pro mercede animce sum), and 
 consecrated to Saint Sebastian, are now 
 the oldest of the numerous bronze doors 
 in Italy, those of Saint Paul extra muros, 
 which were founded in 1070 at Constan- 
 tinople, having been destroyed in the 
 recent conflagration of that edifice. 
 
 At Ravello, near Amalfi, the church 
 retains, in miniature, like those of Saint 
 Clement and Saint Laurence extra mu- 
 ros at Rome," the characteristic structure 
 and the galleries of the basilics of anti- 
 quity, another grand contrast thrown on 
 this lovely shore. 
 
 I had intended visiting, on my return, 
 the poetic isles of the Syrens (Galli); 
 but I was prevented by foul weather, 
 and could only observe them from the 
 heights of the little town of Positano, in 
 which my sailors, soaked with torrents 
 of rain, were compelled most reluctanlly 
 to take shelter. 
 
 CHAPTER XI. 
 
 Palace of Caserta.— Gardens.— San Leucio.— Aque- 
 duct.- Charles III. 
 
 The palace of Caserta, built by Van- 
 vitelli for Charles III., the most grandly 
 conceived palace in Europe, if it be not 
 remarkable for taste, elegance, and har- 
 mony, has the advantage of order, unity, 
 fitness, and good distribution. The parts 
 of this immense whole most worthy of 
 notice are : the vestibule, decorated with 
 columns of Sicilian marble, and pre- 
 senting a majestic coup-d'aeil from the 
 centre; the great staircase, all marble 
 incrustations and columns; the chapel, 
 with columns of Corinthian marble and 
 the most precious linings; several of the 
 saloons and galleries. Nevertheless, all 
 this magnificence, which reminds one of 
 Versailles, seems gloomy; the palace 
 stands at the foot of naked mountains, 
 and one cannot conceive why, in a 
 country abounding with admirable views, 
 it was built in such a corner. It appears 
 that the pride of Charles III., who had 
 been menaced in bis palace at Naples 
 by an English fleet, impelled him to se- 
 lect this secluded spot shut in by the 
 Apennines. 
 
 As usual in great royal residences, 
 three different gardens belong to this 
 
 * See post, book xv. ch. xvii and xviii. 
 
4K8 
 
 MONTK CASINO. 
 
 [ Book XIV. 
 
 palace : the regular garden with its in- 
 dispensable cascade, which, in this in- 
 stance, falls from a black rock and would 
 be wild enough without the great statues 
 of Diana, her nymphs, and Acteon half 
 stag; the wood of the ancient dukes of 
 Caserta, an old feudal park, which still 
 appears the king of the manor; and the 
 English garden created in 1782 by Queen 
 Caroline, with its grottoes, brooks, great 
 magnolias, and hothouses. 
 
 San Leucio, a flourishing silk factory, 
 near Caserta, was established by king 
 Ferdinand, who drew up, in 1789, the 
 Code of the industrious colony he had 
 founded. The scandalous chronicle has 
 not spared the origin of this establish- 
 ment, and strange stories were current 
 at the time about the young workwomen 
 and their august benefactor. The pretty 
 casino of Belvedere, which makes part 
 of the domain of San Leucio, is worthy 
 of its name. 
 
 But there is a monument which in 
 my opinion reflects greater honour on 
 Charles III. and Vanvitelli than their 
 sumptuous palace, which is the useful, 
 imposing, and stable construction of the 
 aqueduct of Caserta : although new, this 
 structure seems able to dispense with 
 time ; it has the character and all the 
 majesty of a Roman work, and the 
 words of Plutarch on the monuments of 
 Athens in the days of Pericles are very 
 applicable to it : " That each of these, as 
 soon as Gnished, seemed already ancient 
 in beauty." An inscription states that 
 it was consecrated to public utility by 
 Charles III., a prince worthy of memory, 
 although full of whims and follies, the 
 only great king of the different branches 
 of the house of Bourbon since Louis XIV. 
 
 CHAPTER XII. 
 
 Monte Casino.- Saint Benedict.— Didier.— Court.— 
 Church.— Tugurto — Organ.— Monastery.— Refec- 
 tory.— Library. — Archives. — Correspondence be- 
 tween the popes and the Grand-Turk.— Letters of 
 Mabillon and Moatfaucon.— Gattola.— Portraits.— 
 Chair balnearia. — Tower of Saint Benedict.— 
 Monks.— On monastic life in the present day. 
 
 Monte Casino, on which Saint Bene- 
 dict laid the foundations of his celebrated 
 monastery in the year 529, after having 
 thrown down the temple and statue of 
 Apollo, this cradle of the religious or- 
 ders of the West, is like the Sinai of the 
 middle ages and monastic history; it re- 
 
 calls the glory of its great lav. giver, the 
 fugitive chief of a tribe of hermits who 
 tilled the soil, and converted, civilised, 
 and enfranchised nations. The monas- 
 tery of Monte Casino still retains some- 
 thing of the citadel in its exterior and at 
 the bottom of the mountain, an aspect 
 fully justified by the events of which it 
 was the theatre in the first ages of its 
 existence. Conventual life was not then 
 uninterruptedly tranquil; these refuges 
 were sometimes besieged, and necessity 
 compelled their fortification ; we know 
 that Monte Casino was pillaged by the 
 Lombards in 589, and burned by the Sa- 
 racens in 884 ; besides the armed visits 
 of (he Crusaders, and the subsequent de- 
 predations of the Normans. It conse- 
 quently became a real fortress, and its 
 abbots, who assumed the title of bishops, 
 had the feudal title of first barons of the 
 kingdom. After the Barbarians, earth- 
 quakcsassaulted the venerable monument 
 of Saint Benedict, entirely destroying it 
 in 1349 and 1649. It was generously 
 succoured and restored after these diffe- 
 rent disasters by several popes, among 
 whom we may distinguish Urban V. 
 (Guillaume de Grimoard), a great French 
 pope, Petrarch's friend and correspon- 
 dent, harangued, in the name of the Flo- 
 rentine republic, by Boccaccio, whom he 
 appreciated more justly than the grand 
 seneschal of Naples, who had sent him 
 to eat in the servants' hall ; this illus- 
 trious pontiff, by his learning, piety, and 
 taste for the arts, was himself an honour 
 to the order of Saint Benedict. 
 
 Monte Casino is otherwise gloriously 
 connected with the history of letters, 
 sciences, and arts. It is well known 
 that in the general wreck of civilisation, 
 its monks saved, by their copies, the 
 works of the great men of antiquity ; 
 as early as the eleventh century, the il- 
 lustrious abbot Didier, afterwards Pope 
 Victor III., set his monks to copy Ho- 
 mer, Virgil, Horace, Terence, the Fasti 
 of Ovid, the Idyls of Theocritus, and 
 several Greek and Latin historians, in- 
 vited, Greek artists from Constantinople 
 to decorate the monastery with mosaics, 
 thus preparing from afar the epoch of 
 the revival. 
 
 The entrance to Monte Casino is by a 
 long sombre grotto made of pebbles, in 
 which, according to tradition, Saint Be- 
 nedict used to live. The grand chararter 
 of the court and staircase of the first par- 
 
Cbap. XII. 1 
 
 MONTE CASINO. 
 
 489 
 
 vis seems still more imposing to a person 
 issuing from this kind of cavern. Had 
 the palisading been erected opposite the 
 front (a project frustrated by its expense), 
 despite the beauty of the coup-d'ceil, the 
 effect would have been diminished. 
 
 The apparition of the brilliant basilic 
 and its double parvis at the summit of a 
 mountain and in the savage solitudes of 
 the Apennines, is truly marvellous; hut 
 the magnificence' of this church and its 
 rich chapels is in bad taste, the architec- 
 ture being by the Cav. Fanzaga, and 
 most of the paintings by the later mas- 
 ters of the Neapolitan school. On each 
 side of the staircase of the first parvis 
 are the colossal statues of St. Benedict 
 and his twin sister Saint Scholastica, and 
 under the arcades of the second that of 
 his mother Saint Abbondanzia. All those 
 great monks of l he middle ages whom 
 Dante has poetically sung, and who are 
 like the demi-gods, the heroes of the 
 Christian Homer, have generally saints 
 for mothers and sisters ; these amiable 
 sisters, the companions of their life, 
 share in the veneration paid them : Saint 
 Scholastica was not less dear to Saint Be- 
 nedict than St. Marcelina to Saint Am- 
 brose; the gentle virtues of these wo- 
 men shed a singularly tender charm over 
 the austere and laborious history of the 
 saints. 
 
 The remarkable works of the church 
 are : the middle door, ordered at Con- 
 stantinople by Didier in 1066, on which 
 are sculptured in silver letters the names 
 of the estates, castles, and villages be- 
 longing to the monastery ; in the chapel 
 of Saint Gregory, the picture of the saint, 
 by Marco Mazzaroppi of San Germano, 
 who died young about the beginning of 
 the seventeenth century, and whose prin- 
 cipal works are at iMonte Casino ; over the 
 little door of the side nave, the Martyr- 
 dom of St. Andrew, by the same; in the 
 middle nave, the Consecration of the 
 churchby Pope Alexander II., a vaunted 
 fresco, by Giordano, who, from the por- 
 trait there given of himself in Spanish 
 costume, seems to have been a man of 
 short stature; the cupola, by the malig- 
 nant Corenzio ; the altar embellished with 
 
 1 S. Benedetto, an eptc poem by the Cav. A. M. 
 RIcci (Pisa, 1824). S. Uicci, whom we have already 
 mentioned, a professor of eloquence under the 
 French administration, is the author of another 
 estimable epic poem, the ILaliad, of the two di- 
 dactic poems la Georgica dei fiori and le Con- 
 
 marble, precious stones, alabaster, an- 
 tique black and green, lapis-lazuli, and 
 brocatello, over the subterranean church 
 and the tombs of Saint Benedict and 
 Saint Scholastica, supposed to be from 
 Michael Angelo's designs; the two mau- 
 soleums, of Guidone Fieramosca, last 
 prince of Mignano, and Pietro, son of Lo- 
 renzo the Magnificent, who was drowned 
 in our defeat of the Garigliano after an 
 exile of nine years. The second mauso- 
 leum, erected by Cosmo I., has this in- 
 scription : Petro Medici Magni Lau- 
 rentii filio, Leonis X, pont. max. fratri, 
 Clementis VII patrueli ; qui cum Gal- 
 lorum castra sequeretur, ex adverso 
 pralio ad Liris ostium periit. Anno 
 wtat. XXXIII, and some fine basso-re- 
 lievos by San Gallo. 
 
 The subterranean church called il Tu- 
 gurio e il Succorpo, dedicated to Saint 
 Benedict and his sister, whose bodies re- 
 pose together there, and to his compa- 
 nions Maurus and Placidus, offered di- 
 vers paintings by Marco of Siena now 
 greatly injured by the damp. The pic- 
 ture at the altar of the saint is by Maz- 
 zaroppi. Tasso, when going to Rome 
 where he was soon to die, went down 
 into this chapel, to venerate the body of 
 Saint Benedict, to whom he was parti- 
 cularly devoted ; he passed some days at 
 Monte Casino, a cloister and manor- 
 house singularly adapted to poetical re- 
 verie, which he was worthy to sing, as 
 well as its illustrious founder, who has 
 been made in our day, notwithstanding 
 the indifference of the age, the hero of a 
 valuable Italian epic, 1 and that Dante 
 had also admirably celebrated : 
 
 Quel moute, a cui Cassino e nella cosla, 
 Fu frequentato gla in su la cima 
 (>jila gente ingannota e mal disposta. 
 
 Ed io son quel che su vi portai prima 
 Lo nome di colui che 'n terra addusse 
 La verita che tanto cisublima; 
 
 E tanta giazia sovra me rilusse, 
 Ch' lo ritrassi le ville circostanti 
 D<iir empio colto che '1 mondo sedusse.* 
 
 The boasted organ of the church of 
 J^onte Casino, with the rattling of its 
 thunder and the flourishing of its trum- 
 
 cliiglie, of many lyric poems, idyls, pathetic elegies 
 on the death of his wife, some little anacreontic 
 odes, and of some prose discourses which prove 
 the extensiveness of his information and the variety 
 of his talent. 
 2 farad, can. x*ii. 37. 
 
190 
 
 MONTE CASINO. 
 
 IHook xiv 
 
 pets, seemed to me in tolerable keeping 
 with the tinzelry of the architecture. 
 
 The monastery of Monte Casino, a 
 real religious and learned colony, com- 
 prised within its walls all the arts, trades, 
 and professions commodiously lodged 
 in separate buildings. The architecture 
 of monasteries, as Fleury observes, 1 is 
 that of the Roman houses. As among 
 the ancients, if the public part was grand, 
 and the private little, so in the convent, 
 the vestibule, the porticos, the hall of 
 the chapter, the refectory, all intended 
 for the community, arc vast and magnifi- 
 cent: the society only is reckoned, the 
 individual disappears, and the cell of the 
 abbey occupies no more space than the 
 chamber of Pompeii. The monasteries 
 alone perpetuated those venerable cus- 
 toms of antiquity, so opposed to the man- 
 ners and customs of some modern epochs, 
 in which the wants and enjoyments of the 
 individual have become extended and 
 multiplied as the state and society have 
 dwindled away. 
 
 The vast refectory has a fine Miracle 
 of the loaves and fishes, almost as wide 
 as the room, begun by Francesco Bas- 
 sano, and finished by his brother Lean- 
 dro, and, above all, the sixteen original 
 figures, by the Cav. d'Arpino, which 
 served for the mosaics of the cupola of 
 Saint Peter, representing Christ, the 
 Apostles, the Virgin, and John the 
 Baptist, presented by him with some 
 oilier paintingsas a token of his religious 
 feelings towards Monte Casino. 
 
 The spacious apartments of the li- 
 brary, well lighted, furnished with beau- 
 tiful cupboards and busts of doctors of 
 the Benedictine order, in nowise re- 
 sembles the loft in which Boccaccio found 
 it, and the learned librarian and archi- 
 vist Dom Ottavio Fraja, a worthy suc- 
 cessor of the ancient monks of Monte 
 Casino, celebrated for their zeal in trans- 
 cribing the manuscripts of antiquity, w ho 
 found in one of its manuscripts of Saint 
 Augustine many inedited passages pub- 
 lished at Rome, in-folio, in 1819— this 
 enlightened monk bears no resemblance 
 to the ignorant friar, the mutilater and 
 huckster of manuscripts, whom the No- 
 velliere encountered . This visit of Boc- 
 caccio's to Monte Casino is related by the 
 commentator of Dante, Benvenuto da 
 Iniola (Parad., xii. 74.). Despite its 
 
 ' Mccurs dps Chretiens. 
 
 bad Latin, I cannot resist the pleasure 
 of quoting this interesting story, which 
 seems to have been written from the dic- 
 tation of Boccaccio, who was Benve- 
 nuto's master. " Volo ad clariorcm in- 
 telligentiam hujus littera referre Mud, 
 quod narrabat mihi jocose vcnerabilis 
 prwceptor meus Boccacius de Certahlo. 
 Dicebat enim, quod cum esset in Apu- 
 lia, captus fama loci, accessit ad no- 
 bile monastcrium MonUs-Casini, de 
 quo dictum est. Et ajvidus videndi li- 
 brariam, quam audiverat ibi esse no- 
 bilissimam, petivit ab uno monacho 
 humiliter, velut Hie, qui suavissimus 
 erat, quod deberet ex gratia sibi aperire 
 bibliothecam. At ille rigide respondit, 
 ostendens sibi alt am- scalam : Ascende 
 quia aperta est. Ille la>tus ascendens, 
 invenitlocum tanti thesauri, sine ostio 
 vel clavi, ingressusque vidit herbam 
 natam per fenestras, et libros omnes 
 cum bands coopcrtis pulvere alto. Et 
 mirabundus ccepit aperire nunc istum 
 librum,nunc ilium, invenitque ibi mul- 
 ta et varia volumina antiquorum et pe- 
 regrinorum librorum. Ex quorum ali- 
 quibus erant detracti aliqui quinterni, 
 ex aliis red si margines chartarum, et 
 sic multipliciter deformati. Tandem 
 miseratus, labores et studia tot incly- 
 torum ingeniorum devenisse ad manus 
 perditissimorum hominum, dolens et il- 
 lacrymans recessit. Et occurrens in 
 claustro, petivit a monacho obvio, 
 quare libri illi pretiosissimi essent ita 
 turpiter detruncati. Qui respondit, 
 quod aliqui monachi volentes lucrari 
 duos, vel quinque solidos, radebant 
 unum quaternum, et faciebant psalte- 
 riolos, quos vehdebant pueris; et ita 
 de marginibus faciebant brevia, quw 
 vendebant mulieribus. Nunc ergo, o vir 
 studiose, frangetibi caput pro faciendo 
 libros." 
 
 The library , though it contains eighteen 
 thousand volumes and some extremely 
 scarce editions of the fifteenth century, is 
 very inferior to the celebrated archives, 
 enriched with eight hundred original di- 
 plomas, privileges, charters of emperors, 
 kings, dukes, and various princes, and 
 papal bulls; the first, dating as far back 
 as the beginning of the ninth century; 
 the second, from the eleventh; monu- 
 ments of the political, military, religious, 
 and monastic history of those barbarous 
 times. The most ancient diploma is that 
 of Ajo, prince of Benevento, dated 8W, 
 
Cuap. Xli.] 
 
 MOME CASINO. 
 
 491 
 
 in Lombard characters, and on parch- 
 ment; it begins with these words : Ajo 
 Dei providentia Longobardorum gen- 
 tis princeps. A collection of Lombard 
 charters is curious : each diploma is 
 headed by a miniature representing the 
 prince crowned, sitting with a sceptre in 
 his hand, or erect with a sword and 
 shield, and surrounded by soldiers armed 
 with lances and monks clad in robes of 
 different colours. 
 
 The oldest ancient manuscript is Ori- 
 gen's Commentary on Saint Paul's 
 epistle to the Romans, of the year 5G9, 
 according to the singular inscription of 
 the priest Donato, dated from the castle 
 ofLucullus, on the site of the present Cas- 
 tello del]' Uovo, which states that he had 
 read it three times, although ill : Dona- 
 tus gratia Dei presbyter, propriumcodi- 
 cent JustinoAugusto tertiopost consula- 
 tum ejus in adibus B.Petri in Castello 
 Lucullano infirmus legi, legi, legi. 
 
 A manuscript of Virgil of the four- 
 teenth century, copied from another ma- 
 nuscript in Lombard characters of the 
 tenth century, has some verses completed 
 and others added which have not been 
 printed. A manuscrit of Dante of the 
 thirteenth century, in-ito, has some 
 various readings and unpublished notes. 
 
 At the end of Boccaccio's book, De 
 Claris mulieribus, translated into Italian 
 by Messer Donato of Casentino, by order 
 of the famosissima reina Giovanna di 
 Puglia, are two extraordinary letters 
 which are but little known ; the first 
 from Mahomet II. to Pope Nicholas V.; 
 the second, the pope's answer : these let- 
 ters Mere translated from Arabic into 
 Greek, from Greek into Latin, and from 
 Latin into Italian. The sultan's letter 
 has this protocol : "King of Kings, lord 
 of lords, Machabeth (.Mahomet), admiral, 
 grand sultan Begri, son of the grand sul- 
 tan Maralh, servant of the seven Musa- 
 phy.i worthily greets Nicholas, vicar of 
 
 * I am indebted to tlie kindness and erudition of 
 M. Reinaud, assistant keeper of the manuscripts of 
 Itifl Bibliolheque lloyalejor tbe followinginterpre- 
 talion of Mahomet's li lies : Amiral seems equiva- 
 lent to the words hhacan albahrayn, or monarch 
 of the two seas, namely, tbe Black sea and tbe 
 Mediterranean ; sultan Begri answers to the Arabic 
 expression sultan Albarrayn or sultan of the two 
 continents, namely Europe and Asia; these two 
 titles are mostly placed at the head of the acts of 
 the imperial chancery and on the Ottoman 
 coins; ilaiath is for Mourad or Amurat; the seven 
 iimapky signify the seven sacred books, or rather 
 
 Jesus Christ crucified by the Jews." The 
 object of the letter was to prevent the 
 preparation for war urged by the pope 
 against the Turks, who had overrun a 
 part of Austria, and threatened a descent 
 on Italy. The sultan promises to be- 
 come a Christian on reaching Rome with 
 his army. Mahomet was more ambi- 
 tious than fanatical ; this was not the 
 first time he had talked of embracing 
 Christianity, and even at the taking of 
 Constantinople, after having favourably 
 received the new patriarch, he asked him 
 for an exposition of the Christian faith, 
 saying that he was only desirous to be 
 enlightened. In his letter he enume- 
 rates his forces and those of his allies, 
 and asserts that the war stirred up against 
 him by the pope can have no other re- 
 sult than the waste of Christian blood 
 Mhich as pastor he ought to spare, and 
 for which he will have to render a 
 strict account to God. The pontiffs an- 
 swer begins thus : "Nicholas, servant of 
 the servants of God, cordially greets 
 Machabeth, seignior of the Turks and 
 prince of the infidels." He declares that 
 in defending the Christians and their ter- 
 ritories, he is only fulfilling his duty. 
 He gives a long detail of the cruelties 
 committed by the Turkish army in its 
 march, from Constantinople, and shows 
 that he is not the dupe of the deceptive 
 promise of conversion and obedience. 
 These communications between the pope 
 and the Grand Turk were not unfre- 
 quent in the fifteenth century. Another 
 great pope, Pius II., wrote in a similar 
 strain to Mahomet II., and every body 
 knows the criminal correspondence of 
 Alexander VI. with Bajazet II., who 
 chaffered with him for the life of his 
 brother Zizim, and even requested a car- 
 dinal's hat for one of his creatures. 
 
 An Office of the Virgin and the Holy 
 Ghost has some charming miniatures 
 executed in 1469 by Bartolommeo Fabio 
 
 the seven persons to whom God has successively 
 made revelations. It is true that the Musulmans 
 acknowledge eight persons thus privileged : Adam, 
 Seth, Enoch, Abraham, Moses, David, Jesus, and 
 Mahomet ; but the same words are again found iu 
 two pieces of tbe same Mahomet II., existing as 
 extracts in the archives of the ministry of foreign 
 affairs, in which Mahomet swears by the seven 
 books, as welt as in a manuscript of the Eibliothe- 
 que Rojale \(onds de Saint-Germain, 778); we 
 must therefore read Musbaphy. This letter must 
 be of 1454 or 1455. 
 
402 
 
 SAN GERMANO.-ARPINO. 
 
 [Boor XIV. 
 
 di Sandalio. A collection of fine minia- 
 tures representing different birds on 
 parchment, with verses written with a 
 pen, was executed, according to the in- 
 scription, in 1686, by Giuseppe Soavi 
 d'Ascoli. 
 
 A considerable collection of letters of 
 Mabillon, Montfaucon, Ruinart, Mura- 
 tori, Mazzocchi, Tiraboschi, and other 
 literati, is very interesting. These let- 
 ters were addressed to D. Erasmo Gat- 
 tola, archivist and librarian at Monte 
 Casino for forty years, the restorer of the 
 archives, born at Gaeta in i662 and 
 deceased in 1734 ; he wrote the History 
 of the Abbey of Monte Casino, in four 
 vols, folio, and is unjustly forgotten in 
 our historical dictionaries. I procured 
 an exact copy of forty Latin and Italian 
 letters of Mabillon and Montfaucon; they 
 treat of important works then published, 
 the theological quarrels of the seven- 
 teenth century, the labours of their 
 order, and of its rivalry with the Jesuits, 
 whom they roughly handle. I will wait 
 for a more literary time ere I publish 
 these letters, which do honour to French 
 erudition, and paint the amiable simpli- 
 city of these learned monks. 
 
 The apartment of the archives has 
 some curious old portraits, and among 
 them one of Dante, said to be from life. 
 The beautiful antique balnearia chair, of 
 antique red, was found in some baths at 
 Sujo, on the borders of the Garigliano. 
 
 The site of the tower in which Saint 
 Benedict lived is still venerated. Au 
 inferior chapel, ornamented with mo- 
 saics and old pictures, is said to have 
 been his cell. One of the paintings re- 
 presents the saint when he beholds his 
 beloved sister saint Scholastica mounting 
 heavenwards in the form of the dove. 
 The altar piece, the Virgin showing 
 Jesus to St. Benedict, is by Mazzaroppi. 
 Three rooms upstairs contain paintings 
 by various eminent masters, chiefly in 
 honour of the saint's memory. 
 
 Monte Casino, which, in the times of 
 barbarism, became the asylum of so 
 many princes, warriors, ministers, and 
 noted characters, has been often visited 
 in our own days by a man of great and 
 well-deserved reputation as an orator, 
 M. de Serre, who is regretted there. 
 Condemned to repose by the distrust and 
 envy of parly, he once staid six days 
 there; he would walk about, I was told, 
 and wander under the arcades and on 
 
 the terraces of the monastery till four 
 o'clock in the morning. Doubtless poli- 
 tical storms must seem less rude to him 
 than his loneliness in this cloister amid 
 the solitude of the Apennines. Thus, 
 Monte Casino, after sheltering the reli- 
 gious repentance and remorse of the 
 middle ages, was destined one day to 
 receive the martyr of free discussion and 
 public life. 
 
 The abbot of Monte Casino was an 
 amiable, polite, and temperate man, 
 The monks, very worthy people, are 
 however not very grave for Benedictines; 
 they love hunting, for which they have 
 permission of the proprietors of their old 
 woods, and they inquisitively ask for 
 news about the prima donna of San 
 Carlo, and the new opera. The studies 
 of the noviciate which they superintend, 
 a little seminary of a dozen children and 
 young men destined to recruit the con- 
 vent, do not seem very profound ; if they 
 leach Greek, that is the utmost, and I 
 do not think there is any question of 
 Hebrew. This monastic life, indolent 
 without opulence, a kind of career with- 
 out a vocation, a means of subsistence for 
 the too numerous sons of ancient fami- 
 lies, seems now quite an absurdity ; 
 were it again devoted to study and made 
 plebeian, it would be a powerful help 
 for Catholicism, compromised by unskil- 
 ful friends, assailed on all sides, but 
 still possessing the means of defence; a 
 sweeping reform is indispensable on this 
 point; there would be no question of 
 taming the savage monks disciplined by 
 the genius of Saint Benedict, but of 
 setting to work respectable idlers and 
 well educated men. 
 
 The environs of Monte Casino, vol- 
 canic but covered with calcareous mat- 
 ter, are very geologically curious. The 
 tour of Italy, so useful to poets, scholars, 
 and artists, is no less interesting for men 
 of science. 
 
 CHAPTER XIII. 
 
 San Germano— Theatre — Atnpl>lihcatre,—Arce.— 
 Arpino.— Cicero's house.— Fullonica.— Cavaliero 
 fl' Arpioo.— Tullio theatre. — P. San Germano. 
 
 San Germano, at the foot of Monle 
 Casino, has mauy remarkable antiquities. 
 At the place, called il Crocefisso arc 
 some remains of an ancient city, and a 
 piece of the old basaltic road :>hows the 
 
Chap. XUL] 
 
 SAN GERMANO.-ARPLNO. 
 
 493 
 
 rut of the cars as at Pompeii. The ex- 
 terior and steps of the theatre exist; 
 the stage is destroyed, and the orchestra 
 planted. The most important of these 
 ruins is the amphitheatre, called the 
 Coliseum, majestic outside, but covered 
 with grass in the interior. 
 
 Arpino, the native place of Cicero, 
 ■which he has several times affectionately 
 styled his Ithaca, is in the vicinity. 
 Arce, on the road, was the residence of 
 his brother Quintus. The beautiful villa 
 of the latter, in which his wife Pompo- 
 nia, sister of Atticus, gave such a bad 
 reception to his brother-in-law and the 
 men invited to the feast of the place by 
 her husband, « has been placed with some 
 probability at the Fontanabuona, where 
 a great number of small statues, busts, 
 vases, paintings, and mosaics have been 
 found. 
 
 The position of Arpino on a double 
 hill is picturesque. An elegant modern 
 inscription alludes to its fabled founda- 
 tion by Saturn, whose cinerary urn a 
 Benedictine of Arpino, P. Clavelli, pre- 
 tends to have found, and the more cer- 
 tain glory of this little town of being the 
 birth place of Marius and Cicero. Ar- 
 pino abounds in antiquities. The site of 
 Cicero's house is placed by a very doubt- 
 ful tradition in the street of Cortina; 
 it is more likely to have been in the is- 
 land of the Fibreno, near Arpino, where 
 MM. Didot have established a fine paper 
 mill ; the aspect of these places is still 
 very similar to the description preceding 
 the touching passage of the De legibus 
 of this same house : Quid plura? Hanc 
 vides villam, ut nunc quidem est, latius 
 cedificatam patris nostri studio ; qui, 
 quum esset infirma valetudine, hie fere 
 tctatem egit in litteris. Sed hoc ipso 
 in loco, quum avus viveret, et antiquo 
 more parva esset villa, ut ilia Curiana 
 in Sabinis, me scito esse natum. Quare 
 inest nescio quid, et latet in animo ac 
 sensu meo, quo me plus hie locus for- 
 tasse delectet : siquidem et'iam ille sa- 
 pientissimus vir, Ithacam ut videret, 
 immortalitatem scribitur repudiasse.* 
 
 The house of Marius is popularly slated 
 to have stood on the spot occupied 
 by the fine palace of the Castello, now 
 in ruins. 
 
 Certain inscriptions record the exis- 
 tence of several fullonica (workshops 
 
 1 Epist. ad Attic, lib. v. I. 
 
 of fullers and dyers), a curious particular 
 which proves that the ancient town had 
 the same kind of industry as the new 
 one, where great quantities of peloncino, 
 a kind of common shagged cloth, are 
 manufactured ; the limpid waters of the 
 Fibreno still favouring that kind of in- 
 dustry. 
 
 The various churches and private gal- 
 leries of Arpino present paintings and 
 drawings by Gioseppino, called the Cav. 
 d'Arpino. The house in which he lived 
 outside the Porta dell' Arco, has, on a 
 ceiling, a phaeton by this talented but 
 taste-corrupting artist, who has been 
 justly styled the Cav. Marini of painting. 
 
 The inhabitants of Arpino are for the 
 most part in easy circumstances ; dilet- 
 tanti are numerous there, and they are 
 now performing on the new and pretty 
 Tullio theatre works composed by these 
 distinguished amateurs. 
 
 Arpino is the native place of the 
 learned and zealous missionary, P. San 
 Germano, who resided in India from 
 1782 to 1808, finished the church of 
 Rangoon, the only port of the Birman 
 empire, formerly open to Europeans, 
 and managed the college which he hud 
 also completed, a flourishing and civi- 
 lising institution, which supplies the 
 country with priests, surgeons, inginecrs 
 and pilots. The services rendered by 
 P. San Germano had so gained the esteem 
 of the viceroy of Rangoon and his con- 
 sort, that they visited the college and 
 even the church during the ceremo- 
 nies; the princess showed a great incli- 
 nation to embrace the catholic faith. 
 The map of the port, accurately drawn 
 by P. San Germano for the East India 
 Company, procured him a pension from 
 England, of which Rangoon soon became 
 one of the most important conquests. 
 In 1808, P. San Germano came back to 
 Italy, intending to return to the East, but 
 was prevented by the war. He then 
 settled at Arpino, and, being named di- 
 rector of the Barnabite college, he was oc- 
 cupied in arranging the documents that 
 he had collected during his long resi- 
 dence at Rangoon and in other parts of 
 the Birman empire, when he died in 
 1819. It was at Rome, but at the ex- 
 pense and under the auspices of the 
 London Asiatic Society, that the publi- 
 cation took place, in 1833, of the De- 
 
 2 Lib. ii 
 
 42 
 
m 
 
 CAPUA.-GAETA. 
 
 [Book XIV. 
 
 scription of the Birmau empire by the 
 Roman calholic missionary, a picture 
 reckoned the most exact, the most posi- 
 tive that has yet appeared of the intel- 
 lectual and moral condition of that 
 country, and of which Mr. W. Fandy 
 was the translator; this case presents an 
 honourable and consoling example of 
 that Christian and scientific fraternity 
 which ought to unite generous and ele- 
 vated minds. Is it not wonderful? the 
 missionary, the Barnabite, the fellow- 
 countryman of Cicero, has, by the power 
 of his doctiine alone, spoken to remote 
 nations who never heard the name of 
 the Roman orator : charity goes much 
 further than eloquence and philosophy. 
 
 CHAPTER XIV 
 
 Isola dl Sorra. — "Valley of lake Fucino. — Mount Ve- 
 lino. — Lake.— Emissario. — Alba.— Antiquilies. — 
 Church of Salut Peler. 
 
 The valley of lake Fucino is now one 
 of the points of Italy most worthy of a 
 visit from enlightened travellers, and it 
 is ranked with the valley of Tivoli, the 
 hills of Albano and the shores of Psestum. 
 
 The Isola di Sorra, on the road, pre- 
 sents the most varied views, and a ma- 
 jestic and noisy double cascade formed 
 by the Litis. 
 
 Lake Fucino is of a circular form, 
 sixteen miles in diameter and forty in 
 circuit, abounding with excellent fish, 
 and is girded by an amphitheatre of hills 
 covered with towns and villages, and 
 crowned with a flourishing vegetation. 
 Being sheltered by the mass of Mount 
 Yelino, the highest point of the Apen- 
 nines, which rises two thousand three 
 hundred and ninety-three metres above 
 the level of the sea, the country enjoys a 
 salubrious and temperate climate. 
 
 The grand Emissario of Claudius falls 
 into the Litis after passing through 
 Mount Salviano, a length of three thou- 
 sand five hundred metres. This monu- 
 ment of an imbecile emperor, the widest, 
 deepest, and longest of all known tun- 
 nels, superior even to the Greek one of 
 lake Copais in Bceotia, was excavated in 
 eleven years by thirty thousand slaves, 
 and it excites the highest admiration of 
 engineers and antiquarians. 
 
 In the valley of lake Fucino the power- 
 ful colony of Alba was founded, in the 
 country of the iEqui, now but a miser- 
 
 able village of a hundred and fifty inha- 
 bitants. Charles of Anjou ransacked and 
 plundered these ruins to build the superb 
 monastery of the Templars which he 
 erected near Scurgola in commemora- 
 tion of his victory over the unfortunate 
 Conradin, and its vast ruins may still 
 be seen. Alba, an ancient fortified 
 town, retains some fragments of its ram- 
 parts, towers, and outworks, Roman 
 constructions of amazing solidity. The 
 present population is grouped round the 
 principal tower on the summit of one of 
 the three hills of the old town. 
 
 The temple on the hill of Saint Peter 
 is also a very remarkable Roman work, 
 but prior to the conquest of Greece and 
 when all was Tuscan at Rome. Despite 
 its metamorphosis into a Christian basi- 
 lic, dedicated to Saint Peter, which has 
 mutilated it. the edifice is still interesting 
 for art. The three naves are separated 
 by eighteen marble Corinthian columns ; 
 an ambo of precious marbles is one of the 
 works called Alexandrine, from the em- 
 peror Alexander Severus, who invented 
 or improved this kind of mosaic. The 
 balustrade of the choir, ornamented with 
 mosaics and elegant miniature columns, 
 is the workmanship of the celebrated 
 Cosmati, a family, who for more than 
 three centuries, practiced and taught 
 sculpture and mosaic at Rome with ho- 
 nour. 
 
 CHAPTER XV. 
 
 Road lo Rome.— Aversa.— Hospital.— Wine.— Capua. 
 — Amphitheatre. — Caluedral.— Ancient Minluinae. 
 — Via Appia.— Garigllano. — Gaeta. — Castellone.— 
 Villa and tomb of Cicero. — Fontana Artachb.— 
 Itri.— Fondi. -Death of Esmenard. 
 
 Aversa was famous for its madhouse, 
 which some foreigners have thought un- 
 deserving its reputation. Its only merit 
 was, perhaps, to have been the first, in 
 Italy, to deliver these unfortunates from 
 the chains with which they were shack- 
 led. Aversa was the ancient Atella, 
 noted for its satirical farces, a kind of 
 prelude to the Latin theatre, said to have 
 been played in the Oscan tongue, the 
 ancient vernacular language of Italy, 
 which survived in some measure there, 
 even after the Latian idiom became pre- 
 dominant with the Roman power. 
 
 The convent of Saint Peter, at Ma- 
 jella, formerly the castle, was the place 
 at which Andrea, the husband of Queen 
 
Chap. XV.] 
 
 CAPUA.-GAETA. 
 
 Giovanna, was strangled and thrown 
 from the window; there too Giovanna 
 herself also perished, and Charles of 
 Duras, her second husband, an accom- 
 plice in the murder. 
 
 The sparkling wine of Aversa, called 
 asprino, is mentioned by Redi in his di- 
 thyramb, and it is given to inexperienced 
 amateurs for Champagne. 
 
 The magnificent amphitheatre of Ca- 
 pua shows the wealth, the power, of 
 this queen of the Campania, whose 
 Etruscan civilisation long preceded that 
 of Rome. It has been regarded as the 
 oldest amphitheatre and the model of 
 all others. The Campanians invented 
 gladiatorial combats. Cicero pretends 
 that the fertility of the soil caused the 
 ferocity of the inhabitants, an extraordi- 
 nary effect, but explained by other ex- 
 amples : how many times has blood 
 flowed in the midst of banquets, flowers, 
 and perfumes! The republic of Capua 
 was treated by the Romans with an 
 excess of barbarity unheard-of in history ; 
 the people were reduced to slavery and 
 sold by auction, and the senators beaten 
 with rods and beheaded. And yet Ci- 
 cero, one of the mildest of men, shrunk 
 not from approving such horrors, which 
 he attributes rather to prudence than 
 cruelty, non crudelitate.... sedconsilio. 
 The voluptuous and sanguinary Capuans 
 first used the velarium (a silk curtain of 
 many colours stretched over the amphi- 
 theatre to keep off the sun) which pro- 
 cured them from the Romans the re- 
 proach of effeminacy, though they them- 
 selves were not slow to adopt it. The 
 amphitheatre of Capua is the only one 
 existing that has some constructions in 
 the centre the use of which is not yet 
 explained. Florus wittily expresses the 
 common error refuted by Montesquieu 
 on the protracted sojourn of Annibal at 
 Capua, when he says that he was better 
 pleased with enjoying than taking ad- 
 vantage of his victory, cum victoria 
 posset uti, frui maluit. Capua was re- 
 built by Julius Caesar, who settled a co- 
 lony there ; it was burnt in 840 by the 
 Saracens, and the amphitheatre, built by 
 Caesar's colony, repaired and embellished 
 under Adrian, and dedicated to Anto- 
 ninus Pius, became a citadel. Being 
 besieged by Athanasius, bishop of Naples, 
 the Saracens defended themselves, and 
 then the statues perisl ed, the columns 
 were overthrown, and the walls and ar- 
 
 cades fell. To aggravate this destruc- 
 tion, the ruins furnished materials for 
 the duomo, the steeple, and the tower of 
 the princes of Conca. 
 
 The modern Capua is a kind of forti- 
 fied town which might be dismantled 
 without much harm, as it is combined 
 with no strategic operation, and could 
 make but a feeble resistance. It has a 
 practical school for artillery and engi- 
 neering. 
 
 The Gothic cathedral has many co- 
 lumns of antique granite. A Piety and 
 Christ in the sepulchre, in the subter- 
 ranean chapel, statues vaunted by La- 
 lande and other travellers, as Bernini's, 
 are neither good nor by him, but by his 
 pupil Vaccaro. 
 
 The fabulous and poetical Liris, after 
 bearing a succession of names in anti- 
 quity, took the barbarous name of Ga- 
 rigliano about the ninth century. Its 
 current is as dilatory and dull as in the 
 days of Horace : 
 
 Nod rura, quae Liris quieta 
 Mordel aqua, tacitu.nus amnis. 
 
 In 1832 a new iron suspension bridge 
 was thrown oyer it by M. Girard, the 
 first erected in Italy. These construc- 
 tions of modern industry, very useful 
 certainly and preferable to the old fer- 
 ries and vacillating boat bridges, must 
 nevertheless contrast with the rich ma- 
 terials, the majesty, and the associations 
 of antique monuments. The French 
 army was defeated by Gonsalvo on the 
 picturesque banks of the Garigliano, a 
 formidable military position. Machia- 
 vel, in reporting the events of this war 
 to his government which had an interest 
 therein, said that "on the French side 
 there was money and the best troops, 
 and fortune on the Spanish side." Bran- 
 tome, rather a courtier and selfish man 
 than a Frenchman, who more than once 
 regrets not having attached himself to 
 some foreign court, evinces a more pa- 
 triotic emotion on the subject of this 
 reverse than usual, when he exclaims 
 with a degree of feeling and imagina- 
 tion : " Helas! fay veu ces lieux-ld 
 derniers, etmesmes le Garillan, et c'es- 
 toit sur le tard, a soleil couchant, que 
 les ombres et les manes commencent a 
 se paroistre comme fantosme plustost 
 qtfaux autres heures du jour, oil il me 
 sembloit que ces dmes genereuses de 
 nos braves Francois la morts s'esle- 
 
voient sur la terre et me parloient, et 
 quasi me respondoient sur mes plain- 
 tes que je leur faisois de leur combat 
 ct de leur mort." • 
 
 Here begins the ViaAppia, the oldest 
 and grandest of ancient highways, sur- 
 narned the queen of the Roman roads 
 (regina viarum), which has given to 
 immortality the naineof the severe blind 
 old censor Appius Claudius ; it was once 
 lined with superb mausoleums, temples, 
 triumphal arches, and other monuments, 
 and extended to Benevento and Brindae; 
 while its management and reparation 
 have thrown glory on Csesar, Augustus, 
 Vespasian, Domitian, Nerva, Trajan, 
 and Theodoric. 
 
 Between the Garigliano and Mola are 
 (he ruins of an aqueduct, a theatre, and 
 a fine amphitheatre, the remains of the 
 ancient Minturnae, whose marshes and 
 reeds concealed Marius. 
 
 Gaeta, with its orange and lemon 
 orchards on the seaside, has an enchant- 
 ing aspect. The women are handsome, 
 dressed in a picturesque manner, and 
 wear pretty tresses of riband in their 
 hnir; which, instead of the glossy black 
 of Italian females, is of a- light chesnut, 
 like Akina's. 2 There arc some vestiges 
 of a theatre, an amphitheatre, a temple 
 of Neptune, and of the villas of Scaurus 
 and Adrian. It was on these same 
 shores that Laelius and Scipio made ducks 
 and drakes, and returned to the games of 
 infancy like many other celebrated men. 
 
 In the baptistry of the cathedral of 
 Gaeta, an antique monument, there is a 
 line basso-relievo. The steeple is remark- 
 able, as also the celebrated column 
 of twelve faces, with the indication of the 
 winds in Greek and Latin. 
 
 The citadel of Gaeta is famous for two 
 fine defences; thefirstinl501, the second 
 in 1806. It presents, on its highest 
 point, the picturesque lower visible at a 
 great distance, called the Tower of Or- 
 lando, after the Italian practice of giving 
 the name of Charlemagne's paladin to 
 certain great old edifices. This monu- 
 ment is antique, and the inscription 
 proved it to have been the tomb of L. Mu- 
 natius Plancus. 
 
 Castellone di Gaeta, delightfully si- 
 tuated, is the ancient Formiae; a part of 
 
 ' Vie de Gonzalve de Cordoue. 
 1 See ante, book xr. ch. v. 
 3 Prince Caposele. See his letter to madame Itrun 
 of Copenhagen, entitled Antichitd Ciceroniane ed 
 
 CAPUA.-GAETA. [Book XIV. 
 
 the walls and a door still exist. The 
 celebrated villa of Cicero, the site of 
 which now belongs to the estate of a man 
 of erudition, 3 stood between Mola and 
 Castellone. It is said that when Al- 
 fonso V. of Aragon, king of Naples, 
 justly surnamed the Magnanimous, was 
 besieging Gaeta, he refused to take stones 
 from the house reputed to have been 
 Cicero's, for the purpose of loading his 
 great guns, declaring that he would 
 rather leave his artillery inactive than 
 profane and destroy the house of such a 
 philosopher and orator. The lofty mo- 
 nument in ruins called Torre diCicerone, 
 is not, as asserted, Cicero's tomb, nor yet 
 the temple he had erected to Apollo, as 
 the abbe Chaupy pretended. The tomb 
 erected to the great Roman orator by his 
 freedmen, would be, according to other 
 conjectures, the vast rectangular mauso- 
 leum, the ruins of which are at the foot 
 of Mount Acerbara, opposite the tower, 
 to the right of the Via Appia. * Marius, 
 in his prison at Minturnae, is respected 
 by the Cimbrian ; Cicero dies by the 
 hand of the tribune Popilius, whom he 
 had defended : the barbarian with his 
 savage instinct was more easily moved 
 than the Roman, the agent of the trium- 
 virs; and the father of his country was 
 destined to die near the spot where the 
 proscriber of Rome was saved. 
 
 At the very place where Cicero pe- 
 rished, the young Conradin was taken 
 and betrayed by the lord of Astura; this 
 enchanted strand seems fatal to innocence 
 and genius. 
 
 Notwithstanding the ever suspicious 
 prepossessions of every man in favour of 
 his own, the fountain of Artachia, neai 
 which Ulysses met the daughter of Anti 
 phates, king of the Lestrigons, who was 
 going thither for water, may possibly be 
 in the above mentioned little town ren- 
 dered famous by the ruins of Cicero's 
 house. 5 
 
 Itri was the urbs Mamurrarum of 
 Horace, where he lodged at Murena's 
 and supped at Capito's : 
 
 Murena praebente doiuuui, Capitoue culinain. 
 
 The soil is of a deep red, and the valley 
 savage. 
 
 iscrizioni esistenti nella villa Formiana in Caitcl- 
 lone di Gaeta. Naples, 1827, 8vo. 
 
 4 See the Antichitd, p. 17 el seq. 
 
 "> Id. p. 35 et seq. 
 
Chap. XVI.] 
 
 TERRACINA . -ALBANO . 
 
 497 
 
 Fond i , an a ncient town, has now a most 
 dismal aspect; it was again destroyed a 
 second time and burnt by the famous cor- 
 sair Barbarossa II., enraged at not being 
 able to carry off the beautiful and witty 
 Giulia Gonzaga, widow of Vespasiano Co- 
 lonna, and countess of Fondi, that he 
 might present hertoSoliman II. : Giulia, 
 alarmed in the dead of night and seized 
 naked in her bed by a gentleman whom 
 her jealous and ungrateful modesty 
 caused afterwards to be put to death, had 
 only the time to leap from a window, 
 jump on a horse and gain the mountain. 
 
 The schoolroom where Saint Thomas 
 taught theology at Fondi was under 
 repair when I passed, and was, I believe. 
 about to be converted into a chapel. His 
 chamber is also shown, his well, and a 
 partly withered orange-tree, which he 
 planted head downwards, a phenomenon 
 now acknowledged as very possible. This 
 noble plant accorded with Saint Tho- 
 mas, as the cypress with Saint Dominick. ' 
 
 It was at one of the rapid descents of 
 this road that the bard of Navigation 
 was thrown from his carriage amid the 
 rocks, in consequence of which he died 
 six days after at Fondi, while his fellow- 
 traveller, the excellent Granet, was 
 nowise injured. The academician, Es- 
 menard's successor, ingeniously alludes 
 to this catastrophe in the following pas- 
 sage : " Propitious muses, said Horace, 
 ye ever watch over him who joins your 
 choirs, who drinks the pure waters of the 
 sacred fountain : under your conduct he 
 shall safely pass the precipitous paths of 
 the country of the Sabines. — This sweet 
 oracle of the prince of lyrics was then 
 fated to be falsified almost on the very 
 spot where it was inspired. " * 
 
 CHAPTER XVI. 
 
 Road to Romecontinued.— Measures against banditti. 
 — Garbaronl.— Terracina.— Palace or Theodoric. 
 — Port.— Cathedral.— Pontine marshes. — Monte 
 Circello.— Walls, temples of Cora.— Velletri. — 
 Genzano.— lorricla.— Chigi palace. — Church.— 
 Albano. — Tombs.— Gallery.— Castel-Gandolfo.— 
 lake. — Emissario. — Patriotic superstition of 
 Rome.— Nymphea.— Palace.— Church.— Barberini 
 villa.— View of the Campagna of Rome. 
 
 The measures taken against banditti 
 on the road to Rome were really formi- 
 dable in 1826. The military posts were 
 
 1 See ante, boot; vin, cb. 6. 
 
 so near each other that the road had the 
 appearance of a long camp. The capi- 
 tulation of Garbaroni, the last of the 
 Roman banditti, had contributed to the 
 extinction or rather suspensionof robbery. 
 Garbaroni was at firstconfined in the castle 
 of Saint Angelo, but afterwards removed 
 to Civita Vecchia, to seclude him from 
 the curiosity of travellers, several of 
 whom had even thought proper to make 
 him presents. He pretended that he 
 was slandered, having killed only thirty- 
 five persons instead of the hundreds at- 
 tributed to him. The moral education 
 and material prosperity of the people, 
 would be far preferable to all these 
 violent external remedies, the cosmetics 
 of brute force and police regulations, 
 which keep down the evil but do not 
 cure it. 
 
 Terracina, the first town of the Roman 
 states, is the ancient and opulent town 
 of the Volscians, Anxur, the pillage of 
 which enriched the Roman army of the 
 military tribune Fabius Ambustus. Its 
 steep hill still presents the bright aspect 
 painted by Horace : 
 
 Imposltum saxis late candentibus Anxur. 
 
 The ruins of the palace of Theodoric, 
 of the beginning of the fifth century, 
 whence there is an admirable view, are 
 a curious monument of the construction 
 of Roman edifices in the earlier days of 
 the decline. 
 
 The remains of the ancient and now wa- 
 terless port of Terracina, eleven hundred 
 and sixty metres in circumference, prove 
 that it was built for an extensive and 
 very active navigation ; one may see the 
 marble modillions with holes through 
 which the cables were passed in mooring 
 vessels. The mole, or boundary wall, 
 appears even now of amazing solidity. 
 Nothing is known of the epoch or founder 
 of this port, a monument of the civilisa- 
 tion, power, and wealth of the ancient 
 Terracina, but, from the kind of its reti- 
 culated fabric, it must be regarded as 
 among the first regularly built ones in 
 Italy. 
 
 The cathedral has several fine fluted 
 columns of white marble, procured from 
 a temple of Apollo, and other antique 
 pillars. 
 
 A splendid palace, vast granaries, and 
 
 * Di$eoura de reception de M, Ch. lacretelte. 
 42. 
 
(98 
 
 TERRACINA.-ALBANO. 
 
 [Book XIV 
 
 other buildings erected by Pius VI., 
 show the bold enterprise of this pope for 
 draining the Pontine marshes, as well as 
 the fertility of these insalubrious plains, 
 unreasonably feared by travellers who 
 only pass over them. The digging of 
 numerous canals, the uniform manage- 
 ment of the canal of the LineaPia, some 
 maritime establishments as in the days 
 of the ancients, would be the best means 
 of restoring prosperity to this boggy 
 coast, in past times so populous and 
 flourishing, which, as Pliny informs us, 
 once counted twenty-three cities. 1 
 
 Monte Circello, at the western extre- 
 mity of the Pontine marshes, deserves a 
 visit from the traveller, whether poet, 
 antiquary, mineralogist, or botanist. 
 This ancient cape of Circe, a calcareous 
 perpendicular rock that every thing 
 demonstrates to have been once washed 
 by the waves, still retains the grotta 
 della Maga, one of those vast caverns 
 whence marble and alabaster are pro- 
 cured. At the summit are some ruins 
 and substructions which belonged appa- 
 rently to an ancient temple of the Sun. 
 It is worthy of remark that herds of 
 wild hogs are still pretty numerous on 
 this coast. No mortal can boast a more 
 ancient genealogy than these pigs, as 
 they descend from the companions of 
 Ulysses, and their ancestors were sung 
 by Homer. In Brittany they talk of the 
 noble pigs of MM. d'e Rohan; they are 
 of a very insignificant family in compa- 
 rison. Circe is the most ancient of bo- 
 tanists, according to Bernardin de Saint- 
 Pierre, who thinks that not a single 
 plant known in her day is lost, as may 
 be seen by her herbal, which Homer has 
 partially handed down to us. 3 These 
 plants must more especially be found on 
 Monte Circello, which has a great va- 
 riety of them. An amiable young lady 
 of Terracina, Signora Elizabetta Fiorini, 
 is celebrated in Italy for her skill in bo- 
 tany ; though not less learned than the 
 daughter of the sun, her enchantments 
 are less to be dreaded. Signora Fiorini, 
 a pupil of the illustrious mineralogist 
 Brocchi, has been zealously occupied on 
 the Flora of the Pontine marshes, and 
 I have heard that she has discovered and 
 ingeniously classed a considerable num- 
 ber of plants. 
 
 ' See Ihe fine work of M. de Prony, Des Marait 
 tonlins, 1'uiis, Iiupr. Roy., 18H, in sio. 
 
 The small town ofCori, the ancient 
 Cora, beside its antique walls which 
 long resisted the Romans, has two superb 
 temples of Hercules and C;istor and 
 Pollux; the first erected in the reign of 
 Claudius, regarded for its lightness as 
 the most perfect model of the Grecian 
 Doric order, and wonderfully posed on 
 a basement of perfectly insulated rock; 
 of the other, only two Corinthian co- 
 lumns and the inscription remain 
 
 Velletri, ill-built, is remarkable for 
 the truly rare beauty of the women, 
 their pretty costume, and magnificent 
 marble stairs of the ancient Lancellotti 
 palace. The architect was Martino 
 Longhi the elder, the cleverest of the 
 three of that name, and superior to his 
 son and grandson. In the church of 
 Santa Maria dell' Orto, is a painting, 
 cited as of good design and colouring, 
 the Virgin, the infant Jesus, with 
 angels in Roman dresses, the work of 
 Rositi, a painter of Forli, of the sixteenth 
 century. The Atti della Societd Volscca 
 Velliterra, published at Velletri and 
 forming altogether two octavo volumes, 
 contain some learned memoirs and the 
 biographies of learned academicians. 
 The pretty lake of IN'emi, which from its 
 form and the clearness of its waters was 
 gracefully styled in the mythology the 
 mirror of Diana (speculum Diance), is 
 bordered with a smiling and luxuriant 
 vegetation of flowers and trees. On 
 one side of it is Genzano, of four thou- 
 sand inhabitants, renowned for its air, 
 wine, pears, and the charming mosaic of 
 flowers with which the pavement of the 
 approaches to its spacious church is co- 
 vered on the octave of the festival of 
 Corpus Domini : a brilliant decoration, 
 indicative of some kind of taste and in- 
 clination for art even in a Utile town. 
 
 The modern Larricia, of a thousand 
 souls, occupies the place of the fortnss 
 of the ancient Aricia, some ruins of 
 which are visible lower down, and the 
 remains of the Via Appia, which was 
 destroyed in 1791 to pave the new 
 road. 
 
 The severe Ghigi palace, and the 
 church, are among the most distin- 
 guished of Bernini's works. The cupola 
 of the latter is ingenious, but the details 
 are too profuse on the ceiling. In these 
 
 1 ttudes de la Nature, l. i. p. 239. 
 
Chap. I. ] 
 
 ROME. 
 
 499 
 
 two edifices may be remarked the cha- 
 racter of Bernini's talent, a superior 
 architect for effect and disposition, but 
 bad in details. 
 
 Albano is the most fashionable sum- 
 mer residence in the environs of Rome. 
 The population is about five thousand 
 persons. On the door of the church of 
 Santa Maria della Rotonda, are some 
 magnificent marble ornaments sculp- 
 tured in acanthus leaves, taken from 
 some antique edifice. The two ruins, 
 called the tomb of Ascanius, founder 
 of Alba Longa, and the tomb of the 
 Horatii and Curiatii must have been 
 magnificent mausoleums. The latter, 
 very probably Etruscan, of Tarquin's 
 time, has recently been given for the 
 tomb of Aruns, son of Porsenna, and by 
 other archeologues for the cenotaph con- 
 secrated to Pompey by Cornelia : the 
 five cones it presents would then be 
 allusions to the five victories of the Ro- 
 man captain. 
 
 The Gallery, a fine avenue of ever 
 green oaks, leads from Albano to Castel- 
 Gandolfo. The lake which fills the 
 nearly oval crater of an ancient volcano, 
 also offers its superb emissario, a tunnel, 
 of half a league iu length, cut through 
 the mountain, which, after 2230 years, 
 
 attests the power of Rome in her earlier 
 days, a monument of that patriotic su- 
 perstition which contributed so much to 
 her greatness.' A Ny mphea, called by the 
 peasants grotta di Bergantino, and by 
 the learned the bath of Diana, a reticu- 
 lated construction in the form of a grotto, 
 formerly intended for a cool retreat, and 
 enveloped by a vigorous vegetation, is 
 of a singularly picturesque aspect. 
 
 The large village of Castel-Gandolfo 
 dates only from the twelfth century. 
 The plain palace is the only country 
 house possessed by the pope. The cathe- 
 dral, consecrated by Pope Alexander VII. 
 to Saint Thomas of Villanova, and built 
 by Bernini, has, at the high altar, a 
 picture by Pietro of Gortona, and an 
 Assumption, by Carlo Maratta, painters 
 of the period of declining taste, like the 
 architect of the palace Carlo Maderno. 
 
 The vast gardens of the Barberini villa 
 present considerable remains of the 
 country house and Thermae of Domitian, 
 mixed with fine trees. Here we over- 
 look the whole Campania of Rome, an 
 uncultivated desert, sown with ruins, 
 in which the pontifical city, with its gilded 
 domes, its marble columns, its granite 
 obelisks, its immense palaces, looks like 
 a majestic oasis of monuments. 
 
 BOOK THE FIFTEENTH. 
 
 ROME. 
 
 CHAPTER I. 
 
 Impression.— Saint Peter.— Piazza.— Colonnade.— 
 Obelisk.— Fountain.— Front. — ^avicella.— Door. 
 —Jubilee.— Interior. -Expenditure or tbe basilic. 
 —Canopy.— Cupola.— Pulpit.— Tombs of Paul 111. 
 and Urban Vll I. —Basso-relievo of Attiia.— Tombs 
 of Alexander VII.,— Pius VII.,— Leo XI.— Tomb of 
 Innocent VIII. — Monument of the Stuarts.— Mi- 
 chael Angelo's Piety. — Christina and the countess 
 Matilda.— Rezzonico monument.-Mosaic of Saint 
 Petronilla.— Vatican grottoes.— Sacristy.— Upper 
 part of Saint Peter's.— Ball. 
 
 The name alone of Rome is magical to 
 the traveller who arrives withinher walls : 
 
 * Every body must remember the prophesy of 
 the old Etruscan augur which the senate had the 
 
 to be at Rome seems a sort of honour, 
 one of the important events, one of the 
 grand reminiscences of our after life. 
 Victorious by her arms or dominant by 
 her faith, Rome, for more than twenty 
 centuries, has reigned over the universe, 
 and the imagination cannot conceive for 
 her a farther and more exalted destiny. 
 
 If Rome be the chief object of the 
 traveller in Italy, Saint Peter's is the 
 first wonder that he seeks to contem- 
 plate. 
 
 The famous colonnade, the chef-d'reu- 
 vre of Bernini's theatrical architecture, 
 
 dexterity to get confirmed by Ihe oracle of Delphos. 
 This prediction, which has much the appearance of 
 
3/10 
 
 ROME. 
 
 [Book XV. 
 
 encloses the magnificent oval piazza, 
 and serves as a proscenium to the co- 
 lossal peristyle of Saint Peter's. This 
 double colonnade of travertine marble 
 seems light and simple, from a certain 
 point of tbe piazza ; and I have heard 
 that an Englishman, a conscientious 
 traveller, who, not having been in- 
 formed of it duriDg his stay at Rome, 
 returned post to this spot, alighted 
 from his carriage, and after viewing it a 
 moment resumed his journey with sa- 
 tisfaction. 
 
 In the middle of the piazza rises the 
 obelisk of red granite, perfect as ever, 
 which, being without hieroglyphs, can 
 be only a Roman imitation of the Egyp- 
 tian obelisks, brought over by Caligula. 
 This monument, cleverly reared by Do- 
 menico Fontana, has been, as well as the 
 cross surmounting it, twice sung by 
 Tasso. 1 The two majestic fountains, 
 that throw up their waters on each side 
 of the piazza, worthily complete its de- 
 coration, whether seen in the day, when 
 the rays of the sun form brilliant rain- 
 bows, or at night, when the moonlight 
 adds to the whiteness of their foaming 
 streams, whose unceasing murmurs in- 
 spire and cherish the soul's imaginings. 
 
 The history of the construction of Saint 
 Peter's is almost the history of the art. 
 This first of basilics, begun by Bramante 
 in 1503, erected on the basilic built by 
 Constantine, continued by Giuliano and 
 
 being concerted, announced that tbe Romans 
 would never take Veil if tbe extraordinary rise of 
 the lake, which had taken place without rain and 
 In a dry season, did uot And an issue, otherwise 
 than into the sea. This latter part of the oracle 
 was a means employed by the government of 
 Rome to prescribe with higher authority the irri- 
 gations so useful to agriculture. Cicero seems to 
 have thought in this way when he said : "Ila 
 aqua albana deducta ad uttlitatem agri suburhani 
 non ad arcem urbemque retiuendam (De Dlvinit.)." 
 This undertaking had also a military object, as it 
 formed soldiers to the art of mining, as we see by 
 the one they pushed right under the citadel of 
 Veii, which decided the fate of the place. 
 
 ' Taccia ornai Roma, e taccia il grand' Egitlo, 
 signor, tanto inoalzarsi al ciel lo scerno. 
 
 Rime, part, n., son. (67, 483. 
 
 2 It appears that Raphael, had he lived longer. 
 Intended to deToto himself more to architecture 
 than painting. We read in Bembo's Works (Venice 
 edition, (729, folio, t. iv. lib. ii. num. 43) tbe sin- 
 gularly honourable letter written by the latter in 
 the name of Leo X, naming bim architect of Saint 
 
 Antonio San Gallo, P. Giocondo the 
 Dominican, Raphael, » Baltassare Pe- 
 ruzzi, and Michael Angelo, was not fi- 
 nished till the seventeenth century, by 
 Carlo Maderno. The front, by this last 
 architect, is more fit for a palace than a 
 temple, and by a deplorable fatality, the 
 worst of the projects was the one that 
 prevailed. Under the rich portico, near 
 the staircase of the Vatican, the eques- 
 trian statue of Constantine, by Bernini, 
 is exaggerated and jof very bad taste ; 
 that of Charlemagne by Cornacchini, is 
 also inferior, and unworthy of such a 
 place. A horse like that of the Con- 
 stantine was sent by Bernini for the 
 statue of Louis XIV., but it did not please 
 him ; the grand roi became a Curtius by 
 the means of an antique helmet placed 
 over his large peruke, and the disgraced 
 statue is banished to the extremity of the 
 piece d'eau des Suisses at Versailles. 
 Opposite the principal door is the de- 
 servedly celebrated mosaic called the 
 boat (navicella) of Saint Peter, by Giotto 
 and his pupil Pietro Cavallini, a further 
 proof of the diversified talents of this 
 prodigious artist. The basso-relievos of 
 the middle door, ordered by Pope Eu- 
 gene IV., but adapted under Paul V. 
 to the door of the new basilic, and exe- 
 cuted by Filareta and Simone, Donatello's 
 brother, very inferior to the doors of the 
 baptistry at Florence and to the good 
 works of the same epoch, ate neverlhe- 
 
 Peter's after Bramante's death, with a salary of 
 300 golden crowns (about 86f.). Another Latin 
 letter [lib. x. num. 51, p. 87) charges him with the 
 superintendence and purchase of all the antiquities 
 dug up within ten miles of Rome, and imposes 
 the penalty of from too to 300 gold crowns on per- 
 sons who neglect lo make known their discoveries 
 to him within three days. It is also forbidden, 
 under the like penalty, to saw or injure marbles 
 or inscriptions, quceque servari operie pretium 
 essel ad cultum lilterarum Romanique sermonis 
 elegantiam excolcmlam, until Raphael had examin- 
 ed them and given permission. It is however a 
 matter of deep regret that, during the last six years 
 of his loo brief existence, Raphael, was diverted 
 from painting by his antiquarian and official oc- 
 cupations. Canova has since held tbe same powers, 
 and the example of Leo X. and Raphael was cited 
 in the letter written to him on the 2nd of August 
 1802, in the name of Pope Pius VII , by Cardinal 
 Doria Pamfili, procamerlingo, naming bim In- 
 spector-general of Due arts and antiquities at Rome 
 and throughout the Roman states, with a yearly 
 pension of 400 silver Roman crowns, and also in 
 tbe decree (chirographo) of the 1st of October In 
 the same year relative to these functions. 
 
Chap. I.] 
 
 ROME. 
 
 H 
 
 less distinguished by the grand and 
 beautiful division of their compartments, 
 which contain the figures of the Saviour, 
 the Virgin, St. Peter, St. Paul, and 
 the Martyrdom of the two saints, se- 
 parated by small basso-relievos relating 
 to the history of Eugene IV., chiefly to 
 his conferences with the emperor Paleo- 
 logus on the junction of the Latin and 
 Greek churches, basso-relievos remark- 
 able for extraordinary delicacy of exe- 
 cution, and interesting for accuracy of 
 costume. The frames, supposed antique, 
 but of the decline, present divers subjects 
 of mythology and Roman history, and 
 many medallions : among the small 
 mythological groups may be distinguished 
 Jupiter and Leda, the Rape of Gany- 
 mede, some nymphs and satyrs, with 
 other very singular devices for the en- 
 trance of the most imposing of Christian 
 temples. 
 
 The impression produced by the sight 
 of the basilic inside is not adequate to 
 one's preconceived ideas of its extent, 
 and seems even less than it really is. 
 This sense of disappointment however 
 wears away after a few visits, when the 
 study of the different parts has convinced 
 you of its immensity. Then it becomes 
 a real city through which one loves to 
 wander : its light, though too brilliant to 
 be religious, and its climate, if one may 
 so say, are all softness ; for it has been 
 remarked that the temperature is nearly 
 always the same, and that a kind of 
 agreeable vapour is diffused throughout 
 the air. The population, the manners 
 of this city, moreover offer a thousand 
 contrasts : poor peasants, loaded with 
 
 ■ This door, as is well known, Is the one which 
 the pope demolishes on lhe Christmas eve of each 
 jubilee, to typify the beginning of the period at 
 the end of which it is closed. The table of the 
 number of pilgrims attracted to Rome during 
 more than two cenluries by this great solemnity, 
 is an interesting document of religious statistics : 
 
 TOTAl. 
 
 | 106,848 
 
 { 96,848 men. 
 
 ,57S- 1 10,000 women. 
 
 (609 324,600 
 
 ( 460,269 men. 1 ol% „ ?£ 
 
 \ 22,491 women, f ° 82 ' 760 
 
 (226,711 men. 
 
 1625 
 1650 
 
 1075, 
 
 308,533 
 
 4 226,711 men. i 
 ' [ 81,822 women. J 
 (218,340 men. j 
 '■''■{ 98,437 women, j 311,777 
 
 1700 ; 300,000 
 
 1725 382,140 
 
 1750. 194,832 
 
 their baggage, prostrate themselves on 
 this pavement of marble, and before these 
 altars resplendent with gold and precious 
 stones ; on entering they had kissed the 
 holy door which profane and thoughtless 
 travellers cover with their names; « per- 
 sons of the lower orders talk of their 
 affairs before a confessional with their 
 confessor, who is inside, a familiar con- 
 ference which precedes the confession of 
 each. A penitentiary taps the faithful 
 gently on the head with a long wand as 
 they kneel before him, a species of public 
 penance for venial sins. The peniten- 
 tiaries of the various languages come to 
 receive at their tribunal the ever differ- 
 ing, but still substantially the same, ex- 
 pression of our frailty and wretchedness; 
 confraternities ranged in order, or other 
 monks, take their stations at the altars, 
 while in the distance resound the solemn 
 chant of the priests performing the ser- 
 vices in the chapel of the choir, with the 
 pealing of the organ, or else the slow 
 and harmonious chiming of the bells of 
 Saint Peter's falls on the ear. a At 
 times the basilicis a vast and silent desert ; 
 the pure rays of the setting sun penetrate 
 the diaphanous recesses of the temple 
 with their golden fires, and fall on some 
 brilliant mosaic, the imperishable copy 
 of a masterpiece of painting ; while some 
 artist or some sage undeceived as to this 
 world's things, such as can be found only 
 at Rome, gives way to his musings in 
 some retired corner, or some poor man, 
 still more indifferent, sleeps profoundly 
 stretched along a bench. 
 
 The interior of Saint Peter's is rich, 
 ornate, magnificent, rather than tasteful, 3 
 
 1775 271,970 
 
 ..,. (181,914 men. 1 „ .„„ 
 
 1820 { 91,385 women. J ™<™ 
 
 5 One of these bells, founded under Pius VI., Is 
 eleven palms (nine feet) in diameter and weighs 
 fourteen tons. 
 
 3 According to Fontana's extracts from the chan- 
 cery registers, the money expended on the basilic 
 of Saint Peter amounted at the beginning of the 
 last century to 46,800,498 silver crowns, about 
 8.8OO,0O0<. sterling, one (enth of which at least had 
 been employed under Bernini's direction : the pulpit 
 alone cost above 107,000 crowns. The sale of in- 
 dulgences to supply funds for these expenses is ge- 
 nerally, but improperly, regarded as the cause of 
 the reformation. Luther could easily have found 
 another pretext ; the taxes levied for the war against 
 the Turks excited the same resistance a short time 
 after. 
 
502 
 
 ROME. 
 
 [Book XV. 
 
 but the bad and exaggerated which 
 abounds there, does not fail, in the whole, 
 to contribute to the effect and to have a 
 kind of grandeur. It must ever be a 
 matter of regret for the elegance and 
 majesty of the building, that the Greek 
 cross of Michael Angelo was not preferred 
 to the prolongation of the Latin cross 
 adopted by Carlo Maderno. 
 
 The bronze St. Peter, the foot of which 
 is kissed with devotion, is not, as con- 
 stantly asserted, an ancient Jupiter, but 
 a real St. Peter of barbarous times, a 
 Christian monument of the iiflh century. 
 Statues worn away by the same kind of 
 kisses were common among the ancients : 
 
 Turn, portas propter, auena 
 
 Signa manus dexlras oslendunt attenuari 
 Saepe salutantum tactu, preeterque meantum.' 
 
 Cicero eloquently alludes to the Hercules 
 of Agrigenlum that Verres had attempted 
 to remove. 2 The divinities of poly- 
 theism could not inspire such fervour 
 without all the warmth of imagination 
 peculiar to these people of the south. 
 Juvenal speaks of the bronze statue of a 
 citizen, the hands of which were wore 
 away by the reiterated kisses of the 
 Roman people, an expression of respect 
 far more moral and sensible. 
 
 The baldachin placed over the bodies 
 of Saints Peter and Paul, the work of 
 Bernini, seems an enormous concetto of 
 architecture ; but the caprice of this 
 baldachin is not destitute of ingenuity, 
 brilliancy, and grandeur. The head of 
 an ass braying, on the base of the columns, 
 was meant by Bernini for his rival Bor- 
 romini, an artist more elaborate than 
 himself, who certainly was not entitled 
 to criticize the baldachin. 
 
 The statue of Pius VI. kneeling on his 
 tomb, by Canova, is simple, noble, 
 expressive ; the extreme resemblance and 
 the fitting of the pontifical costume is 
 much admired. The pope, from the 
 place of his exile and captivity, had pre- 
 scribed the position of the mausoleum 
 which should one day receive him, as 
 well as the attitude of the figure praying 
 near the tomb of the two apostles. 
 
 The immortal cupola is said to have 
 been projected by Bramante, but the 
 genius of Michael Angelo could alone 
 execute it; this rival of the great artists 
 
 • Lucretius, I, 3)7. 
 
 of antiquity in painting and sculpture, 
 has surpassed them in architecture. On 
 beholding this sublime creation, one 
 feels a noble pride in the power of man, 
 and gratitude is mixed with admiration 
 of him who raised it so high. The four 
 colossal statues of St. Longinus, St. 
 Helena, St. Veronica, and St. Andrew, 
 by Bernini, Borghi, Mocchi, and Fiam- 
 mingo respectively, are horribly affected, 
 as are most of the statues at Saint Peter's; 
 the last, however, is pow reckoned the 
 least bad of the four. The attitude and 
 flying drapery of the Veronica gave 
 occasion for the humorous answer made 
 to Bernini when he found fault with the 
 motion of these draperies in a close place, 
 to the effect that their agitation was 
 caused by the wind which entered at the 
 crevices of the cupola through the weak- 
 ening of the pillars by the niches and 
 galleries of Bernini. 
 
 The pulpit of Saint Peter's, the 
 most considerable work in bronze 
 after the baldachin, is also by Ber- 
 nini, that inevitable artist, who was 
 entrusted with the principal works under 
 nine popes. The idea of setting the four 
 doctors of the Greek and Latin churches 
 to uphold the apostle's pulpit is grand, 
 but the execution is execrably elaborate, 
 and the graces of these bronze colosses 
 and fathers of the church are perfectly 
 ridiculous. A monument might have 
 been erected with the money this pulpit 
 cost. 
 
 The celebrated mausoleum of Paul III., 
 by Guglielmo della Porta, under the 
 direction of Annibale Caro, the finest 
 mausoleum at Saint Peter's, seems a 
 reflection of Michael Angelo. The two 
 admired statues of Prudence and Justice 
 are however inferior to that of the pope, 
 whose humpback is most adroitly con- 
 cealed. The statue of Justice has been 
 decently clothed by Bernini with a bronze 
 tunic, painted to imitate marble, doubt- 
 less to prevent a second attempt like that 
 of the Spaniard, who, being in love with 
 the statue, remained all night in Saint 
 Peter's and renewed the obscene trans- 
 ports excited in ancient times by the 
 Venus of Praxiteles. 
 
 The tomb of Urban VIII. restored the 
 once tottering reputation of Bernini : the 
 two figures of Charity and Justice are 
 truly Rubens in sculpture ; the marble of 
 
 * De Signis, xliif. 
 
Chap. I.] 
 
 ROME. 
 
 SOS 
 
 the heads has certain reddish stainswhich 
 would make one supp.ose them coloured. 
 
 At the altar of Saint Leo, the enor- 
 mous basso-relievo of Attila, by Algardi, 
 the greatest, doubtless, that has ever 
 been executed, long noted as a prodigy 
 of art, is pitiful in style and drawing. 
 In Attila's little page, however, we dis- 
 cover the grace of this sculptor or chil- 
 dren, as Algardi has been surnamed. 
 The last pope of the name of Leo (della 
 Genga), reposes at this altar, and the 
 inscription on the plain slab that covers 
 his remains was written by himself. 
 
 The mausoleum of Alexander VII., 
 over a door, although of Bernini's old 
 age and his last work, has all the warmth, 
 enthusiasm, and youth of his bad taste. 
 The nudity of the figure of Truth having 
 given offence, it was draped by order of 
 Innocent XI. 
 
 The Clementine chapel has received 
 the tomb of Pius VII., the last mauso- 
 leum admitted to Saint Peter's. This 
 monument, erected at the cost of Car- 
 dinal Consalvi, is by Thorwaldsen, but 
 little worthy of him, and is perhaps the 
 only one that Rome will preserve of the 
 celebrated Danish sculptor who passed 
 his life in her bosom. The same chapel 
 contains the heavy mausoleum, by Al- 
 gardi, of Pope Leo XL, likewise of the 
 Medici family, but obscured by his glo- 
 rious predecessor, although he had been 
 charged as legate to receive the abjura- 
 tion of Henry IV., which is sculptured 
 on the mausoleum ; he only wore the 
 tiara the first twenty-seven days of 
 April 1605, and his death was occasioned 
 by his not finding a shirt to change 
 himself on returning to the palace after 
 the ceremony of the Possesso. A cir- 
 cumstance not generally known proves 
 that this pope was worthy of the name of 
 Medici. Having been informed that 
 Clement VIII. had determined on 
 taking from Saint Agnes extra muros 
 the four unique columns of marble of 
 porta santa and of pavonazetto,' for 
 the purpose of decorating the chapel of 
 his family at Santa Maria sopra Mi- 
 nerva, the cardinal de' Medici, then 
 commendatory of Saint Agnes, without 
 complaining to the pope, procured at 
 his own expense four columns for the 
 
 1 See post, ch. xxii. 
 
 3 Diario Diss, di Marco Antonio Vatena, cited by 
 the abbe Cancellieri in bis Storia del solenni pos- 
 sesai dei sommi ponlefici, p. ^59, a. i. 
 
 chapel, and, attending a pontifical au- 
 dience, he offered them to the pope. 
 The latter, touched by such an action, 
 embraced the cardinal, gave him the 
 sapphire that he wore on his finger, and 
 thanked him for having prevented such 
 a spoliation, the blame of which he threw 
 on his ministers. The Italian historian 
 (in manuscript) pretends that God re- 
 compensed this respect for the antique 
 columns by raising the cardinal to the 
 see of Saint Peter, which, however, he 
 was not long to occupy. 2 
 
 In the chapel of the choir, the simple 
 and elegant tomb of Innocent VIII. , by 
 Antonio Pollajolo, is the only ancient 
 monument of art subsisting among the 
 perpetual embellishing of Saint Peter's. 
 In the orchestra of this chapel the body 
 of the last pope is always provisionally 
 placed, as in the vestibule of his last 
 abode. 
 
 The monument of the Stuarts, though 
 by Canova, and praised by Perticari, 
 Quatremere, and Stendhal, is paltry in 
 style, without invention, and perfectly 
 unworthy of its author; the Genii are 
 languid and ordinary, like the last scions 
 of that race, whom A 1 fieri, with a lo- 
 ver's rancour, has handled in so angry 
 and unbecoming a manner : 
 
 Obbrobriosi giorni 
 
 Quivi favola al mondo, onta del trono, 
 Scberno di tutti, orribilmente Yivi 
 
 The paintings of the cupola in the 
 chapel of the baptistry, imitating basso- 
 relievos, are perfect in execution. 
 
 The celebrated Piety of Michael An- 
 gelo, in the chapel of that name, is ill- 
 placed, and produces no effect. Some 
 parts of this group, the last work of 
 Michael Angelo's gentle style, are ex- 
 ceedingly beautiful, but it is not the ar- 
 tist's best. Michael Angelo was in his 
 twenty-fourth year when he made it for 
 Cardinal Jean Villiers de la Grolaie, 
 abbot of our Saint-Denis. He justified 
 the Virgin's youthful appearance which 
 seems in contradiction with her son's 
 maturity, in a singular and not very con- 
 clusive manner, by referring to the 
 ordinary fresh healthy appearance of 
 chaste women .4 To avoid for the future 
 
 3 Maria Stuart, atto t. sc. i. 
 
 4 see tbe following curious passage from Condfrvi, 
 Michael Angelo's friend and biograpUer : "JNon sai 
 tu cbe le donne caste molto piu freecue si manlen- 
 
504 
 
 HOME. 
 
 [Book XV. 
 
 the mistake of these Milanese amateurs 
 who had wounded his self-love by at- 
 tributing the Piety to their countryman 
 Gobbo, Michael Angelo suffered himself 
 to be shut up in Saint Peter's one eve- 
 ning, and during the night he engraved 
 his name on the Virgin's girdle, the 
 only one of his works that he ever 
 signed. 
 
 The splendid but formal tomb of 
 Christina has inspired Alessandro Guidi 
 with a fine poem : 
 
 BeocUe tu spazi nel gran giorno eterao ; 
 
 a basso-relievo by the French Tcudon 
 represents the Queen's abjuration at 
 Inspruck; opposite is the judiciously 
 composed tomb of the countess Matilda. 
 These two women showed themselves 
 differently devoted to the Holy See, 
 but the friend of Gregory VII, amid the 
 agitations of the middle ages, was gene- 
 rous, enthusiastic, powerful, respected ; 
 Christine, at an epoch of civilisation and 
 intelligence, was egotistic, philosophical, 
 indifferent, without consideration and 
 real greatness. The countess Matilda 
 was not laid in Saint Peter's till 1635, 
 by Pope Urban VIII., who charged Ber- 
 nini with the execution of the monu- 
 ment; the design and the head of the 
 statue are by him, the rest by his brother 
 Ludovico ; Matilda had been interred at 
 the monastery of Saint Benedict at Po- 
 lizone : some years before the transla- 
 tion, the duke of Mantua had the cu- 
 riosity to have the tomb opened, and the 
 body, after nearly five centuries, was 
 found in a wonderful state of preserva- 
 tion. 
 
 Among the rich ornaments that em- 
 bellish the chapel of the Holy Sacrament, 
 may be remarked the magnificent cibe- 
 rium oflapis-lazuli, in the form of a little 
 temple, an imitation of the circular one 
 at Saint Peter in Montorio, a master- 
 piece of Bramante's. 1 The tomb of Gre- 
 gory XIII., who reformed the calendar, 
 
 gono che le non caste 1 Qua u to maggiormente una 
 vergine nclla quale non cadde inai pur un rainimo 
 lasclvo desiderio che alterasse quel corpo! Anzi li 
 vo' dlr di piii, che lal freschezza e flore di gioventu, 
 oltre che per tale natural via in lei si manlcnue, e 
 auche credibile cbe per dKin' opera in lei fosse 
 ajutato a comprovare al mondo la vergiulla e pu- 
 rita perpetua della madre. II cbe non tu necessario 
 nel Qglluolo, anzi piuttosto il contrario, perche 
 ■volendo mostrare che'il Dgliuol di Dio prendesse, 
 «ome prese verauieute, corpo umano, c sottoposlo 
 
 by Camillo Rusconi, is even inferior to 
 that execrable artist of the beginning of 
 the eighteenth century, a great man in 
 his day, who was then reckoned to unite 
 the accuracy and majesty of the an- 
 cients with the expression and charm 
 of the moderns ; a judgment which is 
 now perfectly ridiculous, and proves the 
 fragility of all circumstantial reputa- 
 tions in arts as well as letters. 
 
 The chapel della Madonna, still called 
 Gregoriana, from its founder Pope Gre- 
 gory XIII., is from. Michael Angelo's 
 designs. Under the altar is the reverend 
 body of the immortal saint Gregory of 
 Nazianze. The mosaics of the cupola, 
 by Muziani, have been highly extolled. 
 Close by is the ordinary tomb of the ex- 
 cellent Benedict XIV. 
 
 The beautiful,, noble, and severe mo- 
 nument of Rezzonico, stamped (he repu- 
 tation of Canova. It was uncovered on 
 the Wednesday before Easter 1795, 
 under the glare of the great cross of tire, 
 which illuminated Saint Peter's on that 
 day. The artist, then thirty-eight years 
 of age, whom it had cost eight years' la- 
 bour, mixed with the crowd in the cos- 
 tume of an abbe" to learn the various 
 opinions, and the impression produced 
 by this novel sculpture. The figure of 
 the pope, a plain old man at prayer, is 
 admirable ; the two lions are the finest 
 executed by the moderns : the lion sleep- 
 ing is such as Dante would have given : 
 
 A gulsa di leon, quando si posa. 
 
 The lion roaring, as an allusion to the 
 pontiff's strength of mind in refusing 
 the destruction of the Jesuits to the 
 Spanish ministers, is not very natural. 
 The stiffly draped figure of Religion is 
 the feeblest : the funereal Genius, de- 
 spite the merit of the trunk, seems listless 
 rather than afflicted. 
 
 The mosaic of Saint Petronilla, after 
 Guercino, is the best executed in Saint 
 Peter's. 
 
 a tuttoquel cheunordinai'iouoraosoggiace,ecccl(o 
 che a peccato, non bisognd col divino lenere in- 
 dietro 1' umano, ma lasciarlo nel corso ed ordine 
 suo, slccbe quel tempo moslrasse che avevnappunlo. 
 1'crtanto non ti hal da meravigllare se per ml ri- 
 spetto io feci la sanlissima Vcrgine madre di Dio I) 
 comparazione del fjgliuolo assai pin giovone rfl 
 quel cbe quell' eta ordinariatnente rlcerca, e II U- 
 gliuolo lasciai nell' eta sua.'' 
 1 See post, cb. xzvlii. 
 
Chap. L] 
 
 ROME. 
 
 505 
 
 The grottoes of the Vatican, the sub- 
 terranean church of Saint Peter, with 
 the exception of some mosaics and old 
 monuments, do not altogether cor- 
 respond with the idea one forms of the 
 ancient Christian catacombs; they are 
 narrow, confused, and tortuous. Here 
 are the tombs of Charlotte, queen of 
 Jerusalem and Cyprus; of the emperor 
 Otho II., Popes Adrian IV., Boni- 
 face VIII., Nicholas V., Urban VI., 
 and Paul II. The monument of Boni- 
 face VIII., of 1301, is with all its naked- 
 ness curious as a work of art. Though 
 Vasari and Baldinucci attribute it to 
 Arnolfo, it is not by him, but probably 
 by Giovanni Cosmate, a Boman sculptor 
 of the fourteenth century. This sculp- 
 ture reminds one of Dante's satirical 
 verses on Boniface, when he makes Saint 
 Peter say in a sublime speech, that his 
 cemetery is become a common sewer of 
 blood and fillhiness : 
 
 Fatto ha del cimilerio mio cloaca 
 Del sangue e della puzza ' 
 
 Some persons have pretended, but er- 
 roneously, that the erection of the rich 
 sacristy, of such indifferent taste, led to 
 the demolition of an antique temple of 
 Venus, in the last century. The oldest 
 and most correct plans of Saint Peter's 
 indicate no trace of such a building. 
 Jesus Christ giving the keys to St. Peter, 
 by Muziani, is feeble. The statue of 
 Pius VI., who founded the sacristy, by 
 the Boman sculptor Penna, is deficient 
 in expression and nobleness. At the 
 bottom of the corridor is the copy, as 
 ancient as the emperor Heliogabalus, of 
 the celebrated inscription of the rural 
 brethren (fratres arvales), priests insti- 
 tuted by Romulus, some of the verses of 
 which, with the remains of the Salian 
 songs, are the oldest monument of the 
 Latin tongue ; though hardly intelligible, 
 they seem to be a prayer to the gods of 
 the country for an abundant harvest. 
 
 One must ascend to the cupola to 
 judge truly of the extent of Saint Peter's, 
 and to admire Michael Angelo as he 
 deserves ; he was eighty-seven years old 
 when he finished this cupola. It is there 
 that we see him entire, and his beautiful 
 conception is not impaired. Esteem for 
 the man heightens still further our en- 
 
 * Parad. xxvil. 25. 
 
 a The expenditure was 17,(60;., according to the 
 
 thusiasm for the artist. Michael Angelo, 
 accustomed to work for glory or his 
 friends, refused the salary of 600 Bo- 
 man crowns accorded him by Pope 
 Paul III., and for seventeen years he 
 gratuitously directed an undertaking 
 which had enriched most of the first ar- 
 chitects. This expedition to the cupola 
 is a kind of journey. A population of 
 workmen, always occupied in repairs, 
 inhabits the summit of the temple, which 
 seems like a public place in the air. An 
 ever flowing fountain exists at this height 
 and adds to the illusion. The stairs 
 lead to the interior entablature near 
 the glorious promise made to the first 
 apostle, inscribed in letters six feet high : 
 Tu es Petrus, et super hanc petram 
 cedificabo ecclesiam meam, et tibi dabo 
 claves regni coslorum. From the fa- 
 mous bronze ball, which is large enough 
 to hold sixteen persons seated, the aspect 
 of the city, the Campania of Borne, the 
 Apennines, and the sea, is most magni- 
 ficent. 
 
 CHAPTER II. 
 
 Vatican.— fope"s expenditure.— Stairs.— Sala regla. 
 — Sixllne.— I*&s? Judgment.— Ceiling.— Service.— 
 Music. — Panllne chapel. 
 
 The Vatican represents the new reli- 
 gious grandeur of modern Borne, as 
 the Capitol did the martial and trium- 
 phant greatness of ancient Borne. But 
 this palace, once noted for its eleven 
 thousand rooms, this pontifical court, 
 long so pompous, is now all simplicity 
 and moderation, the pope's expenditure 
 barely surpassing the income of a pre- 
 sident. 1 The Vatican no longer thun- 
 ders; in our days it is nothing more than 
 the most extensive of museums, and a 
 curious monument of the architectural 
 talents of Bramante, Baphael, San Gallo, 
 Pirro Ligorio, Fontana, Carlo Maderno 
 and Bernini. 
 
 The grand staircase (the Vatican has 
 eight principal and about two hundred 
 small staircases) is one of Bernini's cle- 
 verest and most magical constructions. 
 Among the great frescos of the Sala 
 reyia, representing glorious actions taken 
 from the history of the popes, may be 
 seen Charles IX. confirming the sen- 
 tence of Coligny in Parliament, Co- 
 ligny's body throicn from the window, j 
 
 returns made by the French administration. See 
 Tournon's Eludes slatittiques mr flome,t, n. p. 65. 
 
 43 
 
506 
 
 ROME. 
 
 [Book XV 
 
 and the Massacre of'St. Bartholomew, 
 which, if not planned at Rome, as now 
 appears probable, produced the intoxica- 
 tion of a victory there, and was ap- 
 proved of, in full consistory, by Gre- 
 gory XIII., a learned and virtuous pope. 
 The three best frescos of the Sala regia 
 are : Gregory VI I. absolving the em- 
 peror Henry IV. from his excommuni- 
 cation in presence of the countess 
 Matilda, begun by Taddeo Zuccari, and 
 finished by his brother Federico ; its 
 pendant, the Attack of Tunis in 1535, 
 by the same; and Alexander III. on 
 his throne in the great square of Venice 
 blessing Federico Barbarossa, by Giu- 
 seppe Salviati. 
 
 The Sixtine chapel was ordered by 
 Sixtus IV., a pontiff little acquainted 
 with painting, but who felt and loved 
 the glory that the arts can give. The 
 Last Judgment was a subject singularly 
 suited to the vast and daring genius of 
 Michael Angelo, his skill in drawing, 
 and his cleverness in foreshortening. It 
 appears that he spontaneously turned 
 his attention to this subject, and Pope 
 Paul III., having heard of the studies he 
 had made, visited him attended by ten 
 cardinals to advise him to treat that 
 subject, and almost to entreat him : an 
 honour which stands alone in the annals 
 of painting, and manifests the great im- 
 portance and consideration of the artist! 
 But besides the grandeur of the style and 
 the inspiration of Dante, the spectator 
 feels that this awful fresco, begun after 
 the sack of Rome, is impressed with the 
 desolation of the time and the sombre 
 melancholy of the painter. The elect 
 appear therein almost as furious as the 
 damned. The sublime fresco of the 
 Sixtine, which has suffered from age, 
 humidity, neglect, and the explosion of 
 the powder magazine of Saint Angeio 
 in 1797, narrowly escaped destruction 
 under Paul IV. on account of the nudi- 
 ties inseparable from the subject, and 
 Michael Angelo has represented, under 
 the semblance of Midas with ass's ears, 
 Messer Biagio, master of the ceremonies 
 to the pope, who had stupidly denoun- 
 ced them. Michael Angelo's answer to 
 the person who informed him of the 
 pope's Vandal delermination was severe : 
 "Tell the pope that is but a trifle, and 
 may be easily remedied ; let him correct 
 the world, and I will instantly correct 
 my picture : " DUe «l papa, che questa 
 
 e piccola faccenda, e che facilmente si 
 pud acconciare, che acconci egli il 
 mondo, che le pitture si acconciano 
 presto. Daniel of Volterra, Michael 
 Angelo's greatest pupil, undertook to veil 
 the damned, a ridiculous operation that 
 procured him the surname of Brachet- 
 tone (breeches-maker) and drew down on 
 him the piquant verses of Salvator Rosa : 
 
 E pur era un error si brullo, e grande, 
 
 Che Danlele di poi fecc da sarlo, 
 
 Id quel Giudizio a lavorar mutande. ' 
 
 This extraordinary fresco, finished by 
 Michael Angelo in his sixty-seventh year, 
 after nearly nine year's labour, has pro- 
 duced, like other great masterpieces, a 
 multitude of wretched imitators, and 
 more than once its immortal author has 
 been heard to say of the persons he found 
 drawing in the Sixtine chapel : "How 
 many persons will my work prove to be 
 bunglers! " quanti quest' opera mia 
 ne vuole ingoffi're! Raphael however 
 contrived to escape this danger and to 
 profit by the beauties of Michael A ngclo's 
 execution, when, being clandestinely in- 
 troduced into the chapel by Bramante, 
 he had an opportunity of observing them 
 before they were uncovered. 
 
 In the space of twenty months, from 
 the year 1507, Michael Angelo had exe- 
 cuted, without assistance, at the com- 
 mand of Julius II., the compartments of 
 the immense roof of the Sixtine, paintings j 
 as highly finished as the Last Judgment, 
 representing divers subjects from I he 
 Old Testament with a host of prophets, 
 sibyls, patriarchs, and other academic 
 figures. The Eternal Father, in the 
 Creation of the world, has been revived 
 wild marvellous originality : there is 
 nothing to be seen but his immense head 
 and his hands in a little space, as if to 
 show that God is all intellect and power. 
 The Eve has that native grace which 
 could belong to none but the first woman, 
 and which contrasts with 4,he force and 
 terror of the other paintings, and the 
 grotesque figures of the compartments. 
 The prophets and sibyls, the finest in 
 the world, seem inspired : the Isaiah 
 called to by an angel is turning slowly 
 towards him, so profound is his medita- 
 tion. 
 
 The grandeur of the paintings on the 
 
 • Sat. III. la Pittura. 
 
Chap. III.] 
 
 ROME. 
 
 507 
 
 roof completely annihilates the twelve 
 other frescos of this chapel, by Luca Si- 
 gnorelli, Alessandro Filippi, Cosmo Ros- 
 selli, Perugino, and other masters; many 
 of them are nevertheless remarkable : 
 the Adoration of the Golden Calf, by 
 Cosmo Rosselli ; the Baptism of Christ, 
 by Perugino; Jesus Christ calling St. 
 Peter and St. Andrew to be apostles, 
 by Ghirlandajo. 
 
 I attended the services of the Sixtine 
 chapel, a sight rendered imposing by the 
 presence of the pope and cardinals, who 
 are, however, somewhat negligently 
 dressed. The aspect of this christian se- 
 nate which had not the honour of receiv- 
 ing Francis de Sales, Bossuet, and Fene- 
 lon, shows the power, majesty, and inde- 
 pendence of the Church, an imperishable 
 society which subdued the ancient world, 
 civilised the modern, and would fall 
 short of its destiny in opposing the en- 
 lightenment and improvement of the 
 human race. On AH Saints day, a pupil 
 of the German college, 1 Count Charles 
 Augustus de R*******, delivered, with a 
 sonorous but unmeaning accent, an 
 ineffective Latin discourse, which re- 
 minded me of what Cardinal Maury said 
 of these school-boy orations : "That for 
 the most part they are neither the word 
 of God nor their own." * 
 
 The music of the Sixtine chapel, which 
 was formerly the admiration of artists, 
 seems, like that of Saint Peter's, to be 
 near its end. It is not merely the so- 
 prani that are deficient in the pontifical 
 chapel, but tenors as well : in 1828, out 
 of the thirty-two singers, there were 
 seven places vacant of these two voices. 
 Al! the musical power of the Sixtine 
 chapel is now included in Allegri's fa- 
 mous Miserere, executed by two choirs 
 without an instrument during Passion 
 week, which it was formerly forbidden 
 to copy under pain of excommunication, 
 but of which Mozart made himself com- 
 pletely master, by hearing it twice. 
 
 In the 1'auline chapel, the two frescos 
 of the Crucifixion of St. Peter and the 
 Conversion of St. Paul, finished by 
 Michael Angeloin his seventy-fifth year, 
 were his last work in painting ; they are 
 very inferior to the frescos of the Sixtine, 
 and almost obscured by the smoke of the 
 
 1 The German college, established by Saint Igna- 
 tius for young Germans and Hungarians, was com- 
 prised In the suppression and revival of the Jesuits. 
 
 tapers burnt round the Holy Sepulchre 
 during Passion week. 
 
 CHAPTER III. 
 
 Raphael's Loggia.— Borgia apartment — Aldobran- 
 dinl Marriage.— Corridor of Inscriptions.— Ra- 
 phael's Slanze. — Burning of Borgo. — Doors.— 
 DispuleoT the Holy Sacrament.— School or Athens. 
 — Ileliodorus.— Miracle of Bolsena. — Prison of 
 Saint Peter. — Battle of Constanline. — On excessive 
 encouragement of art. — Chapel of Nicholas V. 
 
 Raphael's Loggia, if not entirely by 
 his hand, must have been executed by his 
 pupils under his guidance. This prince 
 of the Roman School never went to the 
 Vatican without a train of fifty painters, 
 the vassals of his genius, attracted and 
 bound to him by the charm of his cha- 
 racter. This feudalism in the arts, so 
 favourable to great works, was a conse- 
 quence of other manners that cannot 
 rise again. The pretensions, the inde- 
 pendence of present artists, and academic 
 dignity, are opposed to the obedience and 
 subordination which produced the vast 
 and beautiful works wc now contemplate 
 with surprise. 
 
 What must have been the effect, in 
 their primitive freshness, of the brilliant 
 stuccos and arabesques of Giovanni 
 d'Udina, that skilful painter of flowers, 
 fruits, and ornaments of every kind, is 
 proved by the incident of the pope's 
 groom, who, running to fetch a carpet 
 for his master's use, was deceived by the 
 imitation, and snatched at one of the 
 little carpets of the Loggia. The ara- 
 besques of the Seasons, the Ages of life, 
 figured by the Fates, are real pictures 
 full of poetry. The most admirable of 
 the frescos, ideal paintings inspired by 
 the genius of the Scriptures, and known 
 by the appellation of Raphael's Bible, 
 is God dividing the light from the dark- 
 ness, done by Raphael himself as a mo- 
 del for his disciples. This great artist 
 has executed four figures of the Eternal 
 Father, each differing from the others, 
 but all sublime. The Creation of the 
 sun and moon is also of rare beauty. 
 The Deluge, by Giulio Romano, is most 
 powerful and pathetic in expression. The 
 Three Angels appearing to Abraham 
 in the likeness of young men, have a 
 
 It is In the house of these Fathers at the Gesu, and 
 follows the lectures of the Roman college. 
 2 Essai sur I'Eloquence de la chaire, cb. Ixvii. 
 
508 
 
 ROME. 
 
 [Book XV. 
 
 kind of Oriental elegance unlike the 
 Greek forms. The composition of the 
 group of Lot and his daughters flying 
 from Sodom is perfect. Jacob smitten 
 with Rachel, whom he meets near the 
 well, hy Pellegrino of Modena, a fresco 
 full of grace and simplicity, has a land- 
 scape treated with great finesse. The 
 four subjects from the History of Jo- 
 seph are distinguished by rich and inge- 
 nious composition and vigorous colour- 
 ing. The Moses rescued from the water, 
 by its freshness of tone, the gradation of 
 tints and truth of colour in the waters 
 of the Nile, is like the creation of land- 
 scape, which, before Raphael, was merely 
 drawn and not painted in the background, 
 or if painted, it was done without har- 
 mony or perspective. The Judgment of 
 Solomon is not surpassed by Poussin for 
 distinctness, precision, and eloquence in 
 the pantomime of the two mothers. In 
 the last division a Last supper, in good 
 colour and more scientifically executed 
 than its neighbours, seems also by Ra- 
 phael. He seems to have superintended 
 the frescos of the Loggia after his clan- 
 destine inspection of Michael Angelo's 
 frescos in the Sixtine. Most of the fres- 
 cos of the Loggia, especially those by his 
 own hand, have an air of grandeur which 
 proves that some peculiar and important 
 circumstance must have determined this 
 revolution in his talent. 
 
 The Borgia apartment owes its name 
 to the infamous Alexander YI. whom a 
 blasphemous, but well-turned and cu- 
 riously servile distich places higher than 
 Caesar and compares with God : 
 
 Coesare magna fult, nunc Roma est maxima : 
 Rcgnat Alexander; illc Tir, isle Deus. [Seitus 
 
 The stuceos and paintings of Giovanni 
 d'Udina and Perino del Vaga, which 
 adorn the ceiling of the great hall, are 
 decorations superior in style. Among 
 the valuable wrecks of antiquity pre- 
 served in the five rooms of this apart- 
 ment, may be distinguished fragments of 
 the frieze of the Ulpia basilic, the Gius- 
 tiniani basso-relievo of the Education of 
 Bacchus, a marble tripod, and the fa- 
 mous Aldobrandini Marriage, an antique 
 painting supposed to represent the union 
 of Thetis and Peleus, but which the 
 paintings since discovered at Pompeii 
 have stripped of its glory. 
 The long lapidarian gallery has the 
 
 Pagan inscriptions on the right hand, 
 and the Christian on the left, a species 
 of stone manuscripts which are the de- 
 light of the learned. Some monuments 
 arc interesting for mere lovers of curio- 
 sities. Such, for instance, is the grand 
 cippus of Lucius Atimelus, which has 
 two basso-relievos, one representing a 
 shop and the other a cutler's workroom. 
 The pagan inscriptions are placed ac- 
 cording to rank and condition from di- 
 vinities down to slaves; excepting some 
 consular inscriptions, the same hierarchy 
 does not prevail among the Christian in- 
 scriptions. 
 
 The Stanze (chambers) of Raphael are 
 the triumph of painting, and never has 
 this art elsewhere appeared so grand, so 
 varied, or so powerful. These cham- 
 bers were already painted in part when 
 Raphael, in his twenty-fifth year, was 
 summoned from Florence to Rome by 
 Julius II., to work at them with Pietro 
 del Borgo, Bramantc of Milan, Pietro 
 della Francesca, Luca Signorelli, and 
 Perugino. But on beholding the Dis- 
 pute on the Holy Sacrament, his first 
 essay, the pope, enraptured with the pu- 
 rity and expression of the heads, sus- 
 pended the painting of the other frescos 
 and destroyed those already done, with 
 the exception of a ceiling, the work of 
 Perugino, protected by his great and ge- 
 nerous pupil. 
 
 The fresco of the Fire of Borgo Vec- 
 chio, at Rome, which surpasses all Ra- 
 phael's other works in the number of 
 naked figures, rivalling those of Michael 
 Angeloin beauty and expression without 
 equalling them in muscular science, pre- 
 cision of outline, and freedom of action, 
 is rather a sublime and poetical inspira- 
 tion of the second book of the iEneid 
 than a representation of the miracle of 
 Saint Leo and the spectacle of a fire. 
 The fire, flames, smoke, and ail the phy- 
 sical ravages of the disaster are the least 
 prominent parts of the painting ; but the 
 moral picture of the terrors it produces 
 is extremely moving : such is the young 
 man escaping over a wall; and especially 
 the mother who is about to drop her 
 infant child from the top of the same 
 wall into its father's arms, who is stand- 
 ing on tiptoe to catch it. The fine group 
 which might be taken foi an -Eneas saving 
 his father Anchises on his shoulders 
 and followed by his wife Creusa, is by 
 Giulio Romano. The women carrying 
 
Chap. HI.] 
 
 ROME. 
 
 509 
 
 water are superb. Opposite, the ma- 
 jestic Coronation of Charlemagne by 
 Leo III. in the Vatican basilic, is sup- 
 posed to have been only coloured by an- 
 other hand on Raphael's cartoon. Over 
 the window, Leo III., justifying himself 
 before Charlemagne, presents the like- 
 ness of Leo X. and Francis I. in the fi- 
 gures of the pope and emperor. In ihis 
 chamber is the ceiling by Perugino which 
 was spared by Julius II. The graceful 
 carvings in wood on the doors are by the 
 clever Florentine Giovanni Barile, whose 
 labours in the Vatican were directed by 
 Raphael ; Louis XIII. ordered Poussin to 
 take drawings of them, that similar ones 
 
 ■ might, be executed for the Louvre. The 
 scrupulously minute designs of Poussin 
 formed two large volumes, preserved in 
 Colbert's library till 1728, when they 
 were purchased by Mariette; what be- 
 came of them when his rich cabinet was 
 
 I dispersed is unknown. 
 
 The two grand paintings of the Dis- 
 pute on the Holy Sacrament or Theo- 
 logy and the School of Athens aie una- 
 nimously regarded as Raphael's most 
 sublime productions; in no instance has 
 he surpassed them in grace, purity, and 
 elegance of design. In the Dispute, an 
 
 ' ideal poetic picture of the council of Pla- 
 centia, where the controversies on the sa- 
 crament of the Lord's Supper were ter- 
 minated, Dante is placed, according the 
 opinion of the time, among the theolo- 
 gians; « Raphael has there given his own 
 portrait and Perugino's under the figures 
 of mitred personages. It is thought that 
 Arioslo was consulted on the historical 
 composition of the School of Athens. 
 The head of Homer, although the an- 
 tique bust of the poet was not then dis- 
 covered, is perhaps the most astonishing 
 of these fifty-two figures and breathes 
 the highest inspiration ; beside him are 
 Virgil and Dante. The Aspasia, young 
 and beautiful, covered with a helmet 
 like another Minerva, is pensive. The 
 different groups have a natural connec- 
 tion with the principal action. Several 
 figures are portraits : the Archimedes is 
 Bramante; the young man with one 
 knee on the ground, Frederick II. duke 
 of .Mantua ; the two figures to the left of ! 
 Zoroaster with a crown on his head, are 
 
 ' The quality of eximio theotogo is joined to that 
 of poet in the title of Dante's Credo, printed at 
 Home about 1478. 
 
 Perugino and Raphael. The architec- 
 ture, traced by Bramante, presents the 
 perspective of the primitive plan of Saint 
 Peter's. 
 
 The Parnassus, an able and graceful 
 imitation of the antique style, is never- 
 theless inferior to the two frescos above- 
 mentioned, as a whole, and some figures 
 are rather cold in the colouring. Apolio 
 is playing a violin, and, strange to say, 
 Raphael had at first given him a lyre! 
 Some persons have pretended that he 
 was weak enough to suppress it to flatter 
 a musician in favour at court, who ac- 
 companied the songs of the poets at the 
 suppers of Leo X. ; which must be an 
 error, as the Parnassus was painted in 
 1511, two years before the pontificate of 
 Leo. This violin was not, however, so 
 strange as it now appears, as all the che- 
 rubim have played on the same instrument 
 from the revival of painting. According 
 to another conjecture, Raphael meant to 
 do honour to Leonardo Vinci, then about 
 sixty years old, and a great violin player, 
 in representing the god in this manner. 
 Among the illustrious poets may be re- 
 marked Homer between Virgil and 
 Dante, Sappho, Pindar, Callimachus, 
 Ovid, Horace, Petrarch, and Laura un- 
 der the semblance of Corinna, Boccaccio, 
 and Sannazzaro. 
 
 The fresco called Jurisprudence is 
 noble, grand, ideal. 
 
 On the ceiling, the four figures of Theo- 
 logy, Philosophy, Jurisprudence, and 
 Poetry, have the taste and gracefulness 
 of antiquity. 
 
 Heliodorus, the richest, most copious, 
 and most animated of Raphael's compo- 
 sitions, is an allusion to the history of 
 Julius II., who drove the enemies of the 
 church from the patrimony of Saint Pe- 
 ter, and Raphael has given his portrait 
 therein. The superior nature of the two 
 angels over Heliodorus armed is mar- 
 vellously expressed. The groups of the 
 pope borne on the Sella gestatoria, of 
 the women, and of the angel vanquishing 
 Heliodorus, are perfect. The figures in 
 black and white on the ceiling have a 
 beautiful and grand character. 
 
 St. Leo arresting Attila at the gates 
 of Rome is the portrait of Leo X., a great 
 literary pope, but scarcely strong enough 
 for such an action. The cross-bearer, 
 near him, is another portrait of Raphael, 
 always accompanied by his master Pe- 
 rugino, The tranquil majesty of the pa- 
 
 43. 
 
510 
 
 ROME. 
 
 [Book XV. 
 
 pal cortege forms an admirable contrast 
 with the disordered, infuriate army of 
 the barbarians issuing from a defile in 
 the mountains to pour down on the plain 
 of Rome. 
 
 The upper part of the Miracle ofBol- 
 sena, namely the priest, the pope (a por- 
 trait of Julius II.), the altar and the 
 desk, is worthy to be compared, for co- 
 louring, to the finest productions of Ti- 
 tian. The various groups of this dra- 
 matic fresco admirably express the most 
 diversified contrasts: the passions of fear 
 and agitated curiosity in one portion of 
 the spectators, the emotion of the women 
 on seeing the miracle, the rude indiffe- 
 rence of the pontifical grooms kneeling 
 at the bottom of the steps, and the saint- 
 like gravity, the calm and confident faith 
 of the pontiff and cardinals. 
 
 The extraordinary effect of the three 
 different lights in the Prison of St. Pe- 
 ter proves that no part of the art was 
 unknown or impossible to Raphael's ge- 
 nius. This fresco is another allusion to 
 the life of Julius II., who had borne the 
 title of cardinal of Saint Peter in Vin- 
 culis, hereditary in his family. The ar- 
 tist, according to the ingenious d'Han- 
 carville, has composed the countenance 
 of the aposlle by blending together his 
 own features and those of Julius, like 
 Apelles, who, in a portrait made for the 
 temple of Ephesus, made Alexander and 
 Jupiter both recognisable, without im- 
 pairing the youthful appearance of the 
 former or the majesty of the latter. The 
 four subjects in black and white on the 
 ceiling, greatly injured, are treated with 
 exquisite taste. 
 
 The Battle ofConstantine, the largest 
 historical painting known and one of the 
 best composed battle scenes, though 
 executed by Giulio Romano, shows the 
 order, the sagacity, the method, of Ra- 
 phael in his greatest and most vivid 
 compositions. This picture wants no- 
 thing but a richer and more picturesque 
 colour. Poussin, however, was of opi- 
 nion that the rough tints of Giulio 
 Romano were suited to the fury of such 
 a struggle. The enthusiasm and warmth 
 of execution admired in this painting are 
 so great that, according to an able Italian 
 critic, ■ the artist seems to be carried 
 away by the action he depicts, to parti- 
 cipate in the ardour of the warriors, and 
 
 « Bellorl, Descrizione dette Pitlure, p. H6. 
 
 to fight, if the expression be allowable, 
 with his pencil. One of the most touch- 
 ing episodes is thcyoung standard-bearer, 
 whose dead body is raised by an old 
 soldier. The two fine lateral figures of 
 Justice and Benignity are entirely by 
 Raphael. The former, remarkable for 
 her stately and graceful attitude and the 
 full majestic adjustment of the draperies, 
 lays one hand on the long neck of an 
 ostrich somewhat strangely placed beside 
 her. The sheep at the feet of Renignity 
 is a much more natural attribute of that 
 figure, likewise distinguished by its quiet 
 and ingenuous air. 
 
 The Cross appearing to Constantine, 
 by Giulio Romano, displays all his power 
 and boldness. The background contains 
 some of the principal monuments of 
 Rome; the dwarf attempting with both 
 hands to put a helmet on his head is a 
 whimsical episode, unworthy of such a 
 composition. 
 
 Raphael is visible in the fine invention 
 of the Baptism of Constantine. Some 
 parts of Constantine's baptistry, a small 
 octagonal church near Saint John in 
 Laterano, are still in nearly the same 
 state. The personage in black with a 
 velvet cap is Giovanni Francesco Penni, 
 called 11 Fattore because he managed 
 the money matters of Raphael his master; 
 this painting was feebly terminated by 
 him. The clare-obscures of the base- 
 ment, by Polidoro di Caravaggio, are 
 excellent. The ceiling, by Lauretti, all 
 but the temple, the perspective of which 
 is wonderful, presents gigantic and 
 clumsy figures of vulgar forms and harsh- 
 ly coloured. The history of this ceiling 
 is pretty good proof of the bad effects of 
 excessive encouragement. The artist 
 was lodged in the palace, and had ob- 
 tained from Gregory XIII. such favours 
 and a kind of princely state, that, becom- 
 ing used to this pleasant life and wish- 
 ing to prolong it, he had made little 
 haste, and had not finished at the pope's 
 death. Sixlus V., being- less patient, 
 insisted on his scaffold being taken down 
 without delay : thus compelled to expe- 
 dition, Lauretti finished the ceiling some 
 way or other in less than a year: it had 
 not the least success, and the merciless 
 Sixlus not only refused to pay him, hut 
 compelled him to disburse the expenses 
 of his splendid living, and even the keep 
 of a horso he had purchased, by which 
 e was ruined. 
 
CHiP. IV.] 
 
 ROME. 
 
 511 
 
 The little chapel built and decorated 
 by Pope Nicholas V. ought not to be 
 forgotten. This pope had it painted by 
 Fra Angelico, whose charmingly natural 
 frescos represent different incidents of 
 the life of Saints Stephen and Laurence, 
 ami although partially injured, are worthy 
 or the excellent Florentine master of the 
 fifteenth century. Such was the pious 
 simplicity ol'Fra Angelico, that the pope, 
 touched at the condition to which he was 
 reduced by incessant labour and the 
 austerity of his fasts, commanded him to 
 eat meat: " I have not the prior's per- 
 mission," innocently answered the reli- 
 gious artist. 
 
 CHAPTER IV. 
 
 Vatican library.— Nicholas V.— Excommunication. 
 —Virgil.— Terence— Petrarch.— Daute.— Bible of 
 the dukes of Drbino.— Breviary of Mathias Cor- 
 vinus.— Manuscript of the monk of Hie Golden 
 I.-les — Letters of Henry VIII. — Sketch of the first 
 anlos of the Gei uialemme.— Other autographs of 
 lasso.— Printed books. 
 
 The first beginning of ihe Vatican, the 
 oldest library in Europe, was under Pope 
 Saint Hilary, who collected some manu- 
 scripts in his palace of Saint John in 
 Lalerano in 465. This illustrious library 
 was transferred to the Vatican by Ni- 
 cholas V., who must be regarded as the 
 actual founder, an admirable pope, and 
 worthy precursor of Leo X., and not less 
 serviceable than he to letters and the 
 arts, though less renowned. One of his 
 successors, Sixtus IV., also enriched it 
 considerably, as we learn from these 
 verses of Ariosto : 
 
 Di libri antiqui anche ml puoi proporre 
 11 numer grande, che per publico uso 
 Sisto da tutto il mondo fe raccorre. 1 
 
 Sixtus had appointed Platina librarian, 
 and receives from him the same elogium 
 
 ' Sat. vir. 139. 
 
 1 This library, taken at neidelberg by Tllli, was 
 presented to Pope Gregory XV. by Maximilian, duke 
 of Bavaria. It is singular enough that one of the 
 most precious portions of the Vatican is the pro- 
 ceeds of pillage. The manuscripts, thirty-eight in 
 number, which had been brought to Paris, were 
 restored to the university of neidelberg in +815, as 
 well as the eight hundred and forty-seven German 
 manuscripts remaining at Rome, the celebrated 
 Teutonic manuscript of the Paraphrased transla- 
 tion of the Gospel, by Otfrld, and four Latin ma- 
 nuscripts concerning the history of tlie university. 
 
 in these verses, less elegant than he 
 usually wrote : 
 
 Templa, dotuum exposltls, vlcos, fora, mcenla, 
 pontes 
 
 Yirgineam Trivii quod repararll aquarn 
 Prisca licet nautis slalnas dare commoda portus, 
 
 Et Valicanum cingere, Xiste, jugum; 
 rius taroen urbs debet, nam quae squallore latebat 
 
 Cernltur in celebri bibliolheca loco. 
 
 The present spacious edifice appro- 
 priated to the library, of Fontana's ar- 
 chitecture, was ordered by Sixtus V., 
 who, by reiterated menaces, succeeded 
 in getting it built inone year, and painted 
 in the next; but he seems to have paid 
 more attention to the decoration of the 
 building than the increase of the books. 
 It is not improbable that the erection and 
 external embellishments of this library 
 cost more than its manuscripts and books. 
 Leo X., in employing persons to seek for 
 manuscripts in distant parts and copy 
 them, was as zealous as his two succes- 
 sors Adrian VI. and Clement VII. were 
 indifferent, as may be seen by these two 
 opposite and indifferent epigrams by the 
 zealous librarian Sabeus, the first ad- 
 dressed to Leo, the second to his cousin 
 Clement, whowasindeed truly unworthy 
 of the name of Medici : 
 
 Ipse tull pro te discrimiua, damna, labores, 
 
 Et varios casus barbarie in media, 
 Carcere ut eriperem, et vinclls et funere libros 
 
 Qui te conspicerent et patriam reduce. 
 
 Dicere non possum, quod sim tua, visere quam non 
 Hactenus ipse velis, Septime, nee paterls. 
 
 Hinc gemo et illacryraor, quod sim tibi villor alga, 
 Sordidior cceno, Tisiphone horridlor. 
 
 Besides the different purchases made by 
 the popes, the Vatican has successively 
 augmented by the libraries of the elector 
 palatine, a of the dukes of Urbino, 3 of 
 Christina,'' of the marquis Capponi, and 
 
 This university of Heidelberg, so fallen in our days 
 through the unruly conduct of the students, counted 
 among its pupils Sand, the fanatical assassin of 
 Kotzebue, who had profited but little from the res- 
 titution of Ihe manuscript Gospel. 
 
 3 The library or Urbino was founded about the 
 end of fifteenth century by Duke Federico of Mou- 
 tefeltro, a great book-hunter, who, at the taking of 
 Yolterra, in (472, claimed no booty but a Hebrew 
 Bible. 
 
 i Part of Christina's books, like those of the old 
 library of the elector palatine, were obtained by 
 conquest., having been taken at Wurtzburg, Pra- 
 
512 
 
 ROME. 
 
 [Book XV. 
 
 of the Ottoboni family. It now contains 
 a hundred thousand volumes and twenty- 
 four thousand manuscripts, namely : five 
 thousand in Greek, sixteen thousand in 
 Latin and Italian; the last few in num- 
 ber ; and three thousand in different 
 oriental languages. Such is the mystery 
 of its bookcases that no one would suspect 
 what literary treasures it contains, and 
 that the traveller who goes over it is not 
 really struck with anything butthc paint- 
 ings, the Etruscan and Sevres vases, the 
 beautiful column of oriental alabaster, 
 and the two statues of the sophist Aris- 
 tidesand the bishop St. Hippolytus; the 
 latter is a work of the fourth century, 
 and on the seat is sculptured the cele- 
 brated paschal calendar, composed by the 
 saint in the year 223, to combat the 
 error of those heretics who celebrated 
 Easter on the same day as the Jews. 
 Among the objects exposed in the dif- 
 ferent rooms, may be remarked a small 
 fresco of the eighth century representing 
 Charlemagne, and the iron armour of 
 the constable of Bourbon, except the 
 sword, in which he perished during the 
 sack of Rome, a great catastrophe both 
 for letters and the arts, which amid the 
 bright days of the revival, was like a day 
 of the barbarian invasion. « 
 
 On a marble table in the reading-room, 
 nearly always deserted, is the decree of 
 SixtusV., excommunicating any man, 
 even the librarian or his assistants, who 
 should take a single volume out of the 
 
 gue, and Bremen, by her father Gustavus Adolpbus, 
 who carried the libraries of the Jesuits and Capu- 
 chins into Sweden. 
 
 ■ The population of Rome, which under Leo X. 
 had risen from forty thousand to ninety thousand, 
 was reduced to thirty-two thousand. Beside the 
 ravage of the Vatican, a long catalogue might be 
 made of the works and learned labours that were 
 lost In this pillage. It was the subject of an in- 
 teresting treatise by Valeiianoon the misfortunes of 
 men of letters \<le Litleralorum in felicitate). Ra- 
 phael^ school was dispersed by the ill-treatment of 
 the soldiery. See an eloquent answer by Count 
 Casliglione to the dialogue of the secretary Valdes 
 on this event, and the book, by an unknown author, 
 entitled : "Ragguagliu Istorlco di tutto 1' occorso, 
 giornoper giorno, uclsacco di ltoma dell' anno 1527, 
 sc.rTk'.o da Jacopo Buonaparte, gentiluomo Samroi- 
 nlatese, che vi si Irovo presente, trascrilto dell' 
 autograft) di esso." So great was the terror inspired 
 by t lie sack of Home that the name of Bourbon 
 (Oiiilione) continues to be an object of fear and 
 hatred at Rome, and, changed into Barbone, It !s 
 still used as a bugbear to frighten children. The 
 corpse of the constable was long preserved in the 
 
 library without an autograph permission 
 from the pope, a regulation breathing 
 the Roman pontifical spirit, and utterly 
 opposed to the literary habits of France. 
 
 The fifty miniatures of the Virgil are 
 a curious monument of painting in Italy 
 in the fourth and fifth centuries. The 
 portrait of Virgil seems the least uncertain 
 image of his features. Some details of 
 the miniatures, by their simplicity, nature, 
 brightness, and even a kind of dignity, 
 recall older and better times. Most of 
 these compositions, though incorrect and 
 without either clare-obscure or perspec- 
 tive, render the different subjects with 
 great nicety. 
 
 The Terence, of the end of the eighth 
 century or beginning of the ninth, seems 
 a copy ofan.original of earlier date. The 
 figures are animated and expressive, but 
 still more barbarous than those of the 
 Virgil. These two ornaments of the 
 Vatican made part of Bembo's library, 
 from which they passed into that of the 
 dukes of Urbino. The first had pre- 
 viously belonged to the celebrated Pon- 
 tano ; the second, to the Neapolitan poet 
 Porcello Pandonio, who had ceded it to 
 Bernardo Bembo, the cardinal's father. 
 This manuscript is extremely curious for 
 its information respecting the habits of 
 the time and some ancient usages, several 
 of which have continued to our days, 
 such as the use of the neckerchief (suda- 
 riurri), still worn at Rome by servants 
 and other labouring men. 
 
 citadel of Gaeta, and there existed a singular cuslom 
 of changing its costume three limes a year. There 
 is a tradition that the soldier w ho was charged 
 with the duty of dressing this mummy, had said : 
 
 "Questo B grida la nolle come un diavulo, se 
 
 nou si veste a suo tempo." If we may judge by 
 Courier's Letlres ineilites (t. i. p. 36), the Vatican 
 was pillaged with no less fury, ignorance, and cu- 
 pidity in 1795 than in the sack dfi527. By the ar- 
 ticle VIII. of the suspension of aims, concluded ot 
 Bologna June 23, 1796, it was stipulated that Pius VI. 
 should cede live hundred of the Vatican manu- 
 scripts, to be chosen by the commissioners of the 
 republic, and the treaty of Tolentino (art. XIII. | 
 mentions this clause. The commissioners named 
 were Monge, Barthelemy, a painter, Moittc, a 
 sculptor, and Tlnet, who bad but little experience 
 in paleography, and received their directions from 
 Paris, taken from Monlfaucon's Bibliollieca biblio- 
 thecarum. Printed books, vases, and medals, were 
 also taken against the text of the treaty. See I ho 
 work entitled: "ilecensioinanuscriptorunicodiruiii 
 qui ex universa bibliotheca Vaticana selecli.... pro- 
 
 curatoribus Gallorum traditl fuere." I'P ' ■ 
 
 cioiocccin. 8. 
 
Chap. IV.] 
 
 ROME, 
 
 543 
 
 A manuscript palimpsestus of the Va- 
 tican, which, like those of the Ambrosian 
 at Milan, came from the convent of Saint 
 Colomban di Bobbio, has supplied to 
 Cicero's Republica some new fragments, 
 hidden for eight or nine centuries under 
 the text of Saint Augustine's Commen- 
 tary on the Psalms. 
 
 The precious autograph manuscript 
 of Petrarch's Rime shows to what extent 
 he laboured his poems : 
 
 Da indi in qua colante carte aspergo 
 Di peusicri, di lagrime e d' incbiostro, 
 Tanto De squarcio, n' apparecchio, e vergo.' 
 
 Petrarch throws some familiar details 
 of his life among his verses : in this 
 manner he writes that he is called to 
 supper (sed vocor ad ccenam), and 
 other remarks not less prosaic. 
 
 A fine manuscript of Dante in Boccac- 
 cio's writing, was sent by him to Pe- 
 trarch, who, as some say, has annoted 
 it. This manuscript, the most precious 
 of the Divina Commedia in existence, is 
 connected with and represents the three 
 great creators of Italian literature, but it 
 does little honour to Petrarch, as it proves 
 how little eager he was to procure the 
 Divina Commedia, and shows us by the 
 singular answer to which this present 
 gave occasion, that he concealed his 
 envy of Dante's verses under a show of 
 contempt. 
 
 The magnificent Latin Bible of the 
 dukes of Urbino, two large folio vo- 
 lumes, illustrated with figures, arabes- 
 ques, landscapes, is a monument of art 
 which has been reckoned worthy of 
 Perugino or the best painters his con- 
 temporaries. 
 
 The mutilated scroll, thirty-two feet 
 long, of fine parchment covered with 
 miniatures, representing a part of the 
 History of Joshua, which ornaments a 
 Greek manuscript of the seventh or 
 eighth century, is one of the greatest 
 curiosities of the Vatican. 
 
 The menologus, or Greek Calendar, 
 
 ' Trionfi. These Rime, with the note at the 
 Ambrosian and the letter to Dondl (see boob vn. 
 ch. v.), are the principal autographs of 1'etrarch 
 now extant. There is a story stating that in his 
 solitary walks at Vaucluse and Arqua, he had 
 written a great number of verses on his pelisse; 
 but that this garment was burnt at Florence in the 
 sixteenth century, during a plague, as suspected of 
 contagion. See the Preface to the edition of tbe 
 
 ordered by the emperor Basil, embel- 
 lished with four hundred rich and bril- 
 liant miniatures representing martyr- 
 doms of saints of the Greek church, with 
 views of churches, monasteries, and 
 basilics, is a curious and complete mo- 
 nument of the cold, pompous, mono- 
 tonous painting of the Byzantian school 
 at the end of the tenth century. 
 
 The Breviary of Malhias Corvinus is 
 admired for the composition and richness 
 of its miniatures and ornaments. This 
 great king of Hungary had collected at 
 Bude a library of more than fifty thou- 
 sand volumes and manuscripts, confided 
 to two Italians, Galeotti and Ugoletti, 
 the finest of its time; and its pillage by 
 the Turks in 1527, the year in which 
 Rome was sacked by the troops of 
 Charles V., may be regarded as one of 
 the great bibliographic catastrophes of 
 modern times, and one of the chief events 
 of his reign and of the history of his 
 country. Corvinus purchased annually 
 to the amount of 30,000 ducats, a prodi- 
 gious sum, equal to 72,6001. of our 
 present money. This Breviary, of the 
 end of the fifteenth century, seems to 
 have been executed at Florence by one 
 of the clever calligraphers that he main- 
 tained in Italy, of whom he had no less 
 than thirty. 
 
 A Life of Federico, duke of Urbino, 
 presents some fine miniatures by Dom 
 Clovio, a good painter of such portraits, 
 pupil of Giulio Romano and friend of 
 Annibale Caro.*» 
 
 The curious Mexican calendar unfolds 
 and stretches to a prodigious length 
 It is not on human skin like the two 
 horrible Mexican manuscripts of the 
 Dresden and Vienna libraries; the ma- 
 nuscript in the first of these libraries is 
 also a calendar, and both of them have 
 been represented by Humboldt. 
 
 A Plutarch, from Christina's library, 
 has manuscript notes by Grotius. 
 
 The imperfect miniatures of the 
 twelfth century on the manuscript of 
 Donizon's Latin poem present the full- 
 
 Rhne with various readings, followed by the treatise 
 on the Moral Virtues of King Ilobert, who therein 
 takes only the title of king of Jerusalem so as to bo 
 more iike Solomon ; of the Tesoretto, by Brunetto 
 Lalini, and of four Canzoni, by Bindo Bonlcchi, of 
 Siena, Rome, 1642, in folio. 
 
 1 See a charming letter written in his name by 
 tbe latter to a young German lady, also a vignette 
 painter, t. vi. p. 565 el $eq. 
 
5U 
 
 ROME. 
 
 [ Book XV. 
 
 length portrait of the heroical countess 
 Matilda, holding a grenade : her cos- 
 tume is rich and picturesque ; she is 
 covered with a gold cap of a conical 
 form, ornamented with precious stones 
 in the lower part ; a rose-coloured veil 
 is thrown over this cap; the chlamys is 
 lack colour, with a gold hand also set 
 w ith stones ; the gown is sky blue. Some 
 scenes are characteristic: one miniature 
 represents the emperor Henry IV. pros- 
 trated before Matilda, and Hugo, abbot 
 of Cluny, w ith his crosier and mitre ; 
 the inscription is : The king implores 
 the abbot and Matilda also. He was 
 in reality indebted to their intercession 
 for the absolution which the pope had 
 refused him ; but a powerful emperor at 
 the feet of an abbot and a woman shows 
 the spirit of the age. 
 
 The manuscript of the Lives and 
 poems of Provencal poets, by LeMonge, 
 of the Golden Isles, as he was surnamed, 
 of the isles of Hyeres where this monk, 
 who died in 1408, had his hermitage; 
 this brilliant manuscript had belonged 
 to Petrarch and Bembo, and bears some 
 notes by them. If it be not the original 
 and one of the best manuscripts of the 
 troubadours, it must still be esteemed 
 the most curious monument of the an- 
 cient poetry of Provence that the Vatican 
 possesses. 
 
 The manuscript copy of the Treatise 
 on the Seven Sacraments, the work of 
 Henry VIII., sent and dedicated by him 
 to Leo X., and which procured its author 
 the title of Angelic, despite the coarse 
 abuse it lavishes on Luther his adver- 
 sary, is laboriously written. At the 
 bottom of the last page is this distich in 
 the king's hand : 
 
 Aoglorum rex Hemicus, Leo Decline, mitllt 
 Hoc opus, et lidei leslfe et amicllie.' 
 
 The letters of Henry VIII. to Anne 
 Boleyn, his mistress, the title by w hich 
 he addresses her, are seventeen in num- 
 ber : nine in French and eight in English. 
 They were at our great library for 
 eighteen years. Love-letters might have 
 been left in France, where they would 
 
 * See ante, book vm. ch. II. 
 » Lib. II., Eleg. ullim. v. 05. 
 3 This number of four thousand eight hundred 
 is lulien from the catalogue printed at Fisa in 1821 ; 
 
 have been more naturally placed than in 
 the Vatican. 
 
 A sketch of the three first cantos of 
 the Gerusalemme, written by Tasso in 
 his nineteenth year, when living at 
 Bologna under the protection of the 
 duke of Urbino, to whom he dedicates 
 them, is singularly interesting. Of the 
 one hundred and sixteen octaves in this 
 manuscript, several are retained in the 
 poem. It was on reading these fine 
 fragments that the.Bolognese senator 
 Bolognetti, likewise a poet, rapturously 
 repeated the verses of Propcrlius on the 
 jEneid : 
 
 Cedile, Romani scriplores, cedite Craii. 
 Nescio quid niajus nnscitur I Made. 2 
 
 The other autographs of Tasso consist 
 of several of his treatises and diaIogu.es : 
 viz.: Riposta a Plutarco sulla for tuna 
 de' Romani, e della virtu d' Alessandro; 
 il Porzio, Dialogo della Virtu ; il Min- 
 turno, Dialogo della Rellezza ; il Ca- 
 taneo, Dialogo delle Conclusioni amo- 
 rose ; il Ficino, Dialogo dell' Arti ; il 
 Malpiglio, secondo Dialogo del Fugir 
 la Moltitudine ; e il Constantino, Dia- 
 logo della Clemenza. 
 
 Some printed works at the Vatican, 
 on vellum, are in the first rank of the 
 masterpieces and rarities of typography; 
 we may enumerate as such : one of the 
 thr. e copies of the Treatise on theSeven 
 Sacraments (London, 1501), sent by 
 Henry VIII. to Leo X. ; one of the four 
 copies of the famous edition of the Rible 
 in four languages, called the Polyglot of 
 Cardinal Ximenes (1514-17) ; the magni- 
 ficent Arabic Rible (Rome, 1671); the 
 fine Greek Rible of Aldus (1518); one 
 of the three copies of the Epistles of St. 
 Jerome (Rome, 1468); one of the three 
 copies of the first and rare edition of 
 Aulus Gellius (Rome, 1469). The li- 
 brary of works on art formed by Cico- 
 gnara, containing more than four thou- 
 sand eight hundred articles, was sold by 
 him for 4,0007. and given to the Vatican 
 by Leo XII. 3 It must be esteemed one of 
 its most important additions. 
 
 the library was farther augmented by Clcognara, 
 and a considerable number of volumes of the Vati- 
 can have since beeu added thereto. 
 
Chap, v.] 
 
 ROME. 
 
 515 
 
 CHAPTER V. 
 
 Museum.— Chiaramonli museum. — Medica Minerva. 
 — Nile. — Pio-Clemenlino museum.— Torso. — Me- 
 leager.— Canova's Perseus, Wrestlers.— Mercury. 
 — Laocoon. — The Apollo. — Hall of animals. — 
 Ariadne— Jupiter.— Visit by torchlight.— Grego- 
 riano museum.— Geographical maps.— Arazzi. 
 
 The museum of the Vatican, the finest 
 and richest in the world, was begun 
 about fifty years ago in a court and a 
 garden. One hardly knows which to 
 admire most, the zeal of the late pontiffs, 
 or the singular fecundity of a soil which 
 has produced so many chefs-d'eeuvre in 
 so little time. Pliny states that in his 
 day there were more statues at Rome 
 than inhabitants. The abbe' Barthelemy 
 calculated that, notwithstanding the ra- 
 vages of centuries and the mutilations of 
 the barbarians, the number of statues 
 exhumed at Rome up to the present 
 century exceeded seventy thousand. If 
 we likewise consider the great number 
 of its columns, differing in size and 
 workmanship, without including those 
 destroyed or transported to other coun- 
 tries, how numerous must the edifices 
 have been, how glorious the splendour 
 of the eternal city, when peopled with 
 this multitude of figures, uninjured or 
 new, placed in these same sumptuous 
 edifices! A bishop of Tours, the vene- 
 rable Hildebert, who died in 1139, ce- 
 lebrated the antique statues then dis- 
 covered at Rome in verses remarkably 
 elegant for the time, and with a kind o"f 
 profane reverence extraordinary in a 
 bishop of the twelfth century : 
 
 Nee tamen annorum series, nee flamma, nee ensis 
 
 Ad plenum potuil tale abolere decus, 
 Hie tuperum formas superl miranlur et ipsi 
 
 Et cupiunt fictis vultibus esse ares. 
 Nee potuit Natura Deos hoc ore creare 
 
 Quo miranda Deuni signa cieavit homo. 
 Cultus adest his numinibus, poliusque coluntur 
 
 Artiflcls studio, quam deitalcsua. 
 
 It is impossible to contemplate un- 
 moved this great number of personages 
 known and unknown, of these names, 
 stones, and inscriptions, which are like 
 an apparition, a resurrection of anti- 
 quity. The physiognomies of many of 
 these personages differ much from their 
 fame : the features of Nero, of a noble 
 expression, are not disfigured by crime ; 
 Marcus Aurelius has not a very fine face; 
 Claudius might be supposed a wit. 
 
 The vast Chiaramonti museum was 
 created by Pius VII. and classed by Ca- 
 nova. The following articles may be 
 distinguished : a fine fragment of a basso- 
 relievo of Apollo seated; a statue of 
 a woman with the attributes of Autumn ; 
 the hermes, called Plato, Sleep, or the 
 bearded Bacchus, but which seems to 
 be a portrait of a person unknown ; the 
 curious little hermes presenting the dou- 
 ble emblem of Bacchus, young and old ; 
 a statue of Domitian ; a Discobulus in a 
 niche of Braccio Nuovo; a head of 
 Apollo near.it; the Lucius Verus naked, 
 as a hero, cleverly restored by Bacetti, 
 the head and trunk only being antique; 
 the bust of Commodus ; the beautifully 
 elegant Minerva, erroneously called 
 Medica, in perfect preservation, the best 
 of all statues of Minerva, surnamed by 
 Canova, the Apollo of draped figures; 
 the colossal Nile, noble and poetic, with 
 the sixteen little figures, emblems of the 
 sixteen cubits necessary to inundate 
 Egypt; a pretty little Anadyomene Ve- 
 nus ; an unknown Greek philosopher 
 resembling a Homer in* the head; the 
 superb statue of Fortune ; Antonia, 
 mother of Claudius ; the Juno, called 
 Clemency ; the bust of Caracalla when 
 young; an Euripides, full of character; 
 a graceful Ganymedes ; a Demosthenes, 
 whose stuttering is seen and heard by 
 the motion of the lips ; a Nerva supe- 
 riorly draped ; Antinous under the form 
 of Vertumnus; two heads, one of which 
 passes for Sappho, the other for Niobe ; 
 a bust of Adrian ; a head of Venus of 
 admirable outline; Sabina, Adrian's 
 wife, as Venus ; the bust supposed 
 to be Trajan's father; a fine head of 
 Cicero. 
 
 The Pio -Clementino museum takes 
 its name from the popes Clement XIII., 
 Clement XIV., and Pius VI., who began 
 and augmented it ; the latter bought 
 more than two thousand statues. The 
 sarcophagus of peperino and the noble 
 and simple inscriptions taken from the 
 tomb of the Scipios, seem to have been 
 torn away by a real profanation; and 
 they would be of far more touching effect 
 in that solitary place, « than exposed 
 amid a promiscuous crowd of statues in 
 a museum; the inscription of the sarco- 
 phagus, stating it to be that of Cornelius 
 Lucius Scipio Barbatus, the conqueror 
 
 1 See post ch xliv. 
 
546 
 
 ROME. 
 
 [ Book XV. 
 
 of the Sammites and of Lucania, is not, 
 as Jong supposed, the oldest in Latin, 
 though among the most ancient. 
 
 The sublime torso of Apollonius, per- 
 haps the best piece of sculpture in the 
 Vatican, is apparently one of the latest 
 masterpieces of art among the Greeks 
 before the loss of liberty. No other 
 figure has the flesh so true. Winekelman, 
 ■whose science is very superior to his 
 taste, falls into a singular exaggeration 
 in his Pindaric description of the Torso, 
 both in comparing the back to a chain 
 of pleasant hills of muscles, and in pre- 
 tending that the body is above human 
 wants, that it has ho veins, and that it 
 is made to enjoy life and not to eat : 
 this stomach, with all its ideal, is that of 
 a man of excellent digestion. Michael 
 Angelo used to say that he was the pupil of 
 the Torso : he was indebted to it for his 
 grandeur, as may be seen by the naked 
 of the figures in the chapel of the Tombs, 
 and he has almost copied it in the St. Bar- 
 tholomew of the Sixtine. The tradition 
 that he when aged and blind often felt 
 the Torso with his hands, despite its un- 
 certainty, is characteristic of the spirit of 
 the time and the passion for antiquity 
 that prevailed among the artists of that 
 epoch. 
 
 The legs and drapery of the fine Me- 
 Jeager, one of the best preserved antique 
 statues, are hard and format : the boar's 
 head is perfect, and proves the care with 
 which the ancients executed animals 
 and treated the different accessories. 
 
 The Perseus, by Canova in his youth, 
 and not one of his good works, was his 
 first heroic statue. Notwithstanding the 
 artist's opposition, it was set on the pe- 
 destal of the absent Apollo, and obtained 
 the surname of the Consolatrice. With 
 all the merit of the muscles and inge- 
 nuity of contrast, the Damoxenes and 
 Creugas have the air of pugilists; it is 
 difficult to imagine a more ignoble con- 
 queror than the first of these wrestlers : 
 it is the triumpn of brute force in its 
 most abject state. 
 
 The Mercury, long erroneously called 
 the Antinous of the Vatican, is perfect 
 in grace, vigour, and softness. 
 
 The Laocoon seems to be of the times 
 of the first emperors. The three artists 
 of this immortal chef-d'oeuvre, so finely 
 blending strength, expression, and pain, 
 which Pliny and Diderot reckon the sub- 
 limest performance known, were Age- 
 
 sander and his two sons, Polydorus and 
 Athenodorus, of Rhodes. Sadolet cele- 
 brated the discovery of the Laocoon in an 
 eloquent poem, his best work. A lucra- 
 tive recompense was accorded by Ju- 
 lius II. to Felice de'Fredis, whohad found 
 it in his vineyard ; he and his sons re- 
 ceived a portion of the galiel dues at the 
 gate of Saint John in Later ano, and 
 when Leo X. restored this revenue to 
 the basilic, he gave them in compensa- 
 tion the office then called oflicium scrip- 
 toria; apostolica>, which is now abolished. 
 A curious letter from Cesare Trivulzio 
 to his brother Pomponio, written from 
 Rome on the 1st of June 1506, gives an 
 account of the festival then celebrated 
 by the Roman Poets. Laocoon and his 
 sons.lhough sacrificing at the altar in the 
 temple of Minerva, are quite naked, and 
 yet on beholding this isolated ideal re- 
 presentation of suffering humanity, of 
 this spectacle of terror and pity excited 
 by the anguish of the father and his 
 children, the eye does not miss the cos- 
 tume of the high priest, or the fillets of 
 Laocoon, so much is truth superior to 
 reality, so completely does the imagina- 
 tion pass over the iatter to contemplate 
 the former. Of the multitude of pro- 
 ductions inspired by the Laocoon, per- 
 haps the happiest is by Canova, who has 
 imitated the head of Laocoon in the 
 dying Centaur of his Theseus. 
 
 On an enormous granite tomb is a 
 fine basso-relievo representing Augustus 
 about to offer a sacrifice. 
 
 The Apollo was discovered near Ostia, 
 in Nero's baths, and madame de Stael 
 shrewdly expressed her surprise that he 
 could look at this noble figure without 
 a generous emotion. The convulsive 
 group of the Laocoon was found in the 
 hot-baths of Titus : the two chefs-d'oeuvre 
 might have been displaced. Winekel- 
 man, in his celebrated and emphatic 
 description of the Apollo, deems it the 
 sublimest of antique statues; his country- 
 man, Mengs, with still more exaggera- 
 tion, will have it the only complete 
 example of the sublime. All this studied 
 enthusiasm seems to have caused a reac- 
 tion in opinions concerning the Apollo. 
 M. de Chateaubriand thinks it trop 
 vante; Canova and Visconti are inclined 
 to suppose it an improved imitation of a 
 statue of bronze of much greater anti- 
 quity, that of Calamis, which the Athe- 
 nians placed in the Ceramicus when 
 
Chap. V.] 
 
 ROMS. 
 
 517 
 
 they were delivered from the plague. 
 The shuddering anger of the conqueror 
 of Python, though rather theatrical, does 
 not impair his divine beauty. Such 
 is the privilege of Italy, and such was 
 our long barbarism in the arts, that the 
 Apollo, placed by Michael Angelo in the 
 court of the Belvedere, has reigned over 
 the other masterpieces of antique slatuary 
 for three hundred years, whilst our 
 Diana, which is neither less animated 
 nor less noble, and, when placed in juxta- 
 position with the Apollo for fifteen 
 years by our victories, appeared not in- 
 ferior and is even preferred by some 
 good judges of the present day, was neg- 
 lected and misesteemed in the gallery of 
 Versailles, by the court, the men of ge- 
 nius of the seventeenth century, and the 
 wits of the following. 
 
 The Hall of Animals, a brilliant mu- 
 seum of beasts, a menagerie of art, is 
 unique. It is a further proof of the 
 wonderful skill of the ancients in repre- 
 senting animals, and in imparting to 
 them their peculiar kind of beauty. A 
 Stag of flowered alabaster, a Tiger, a 
 Lion in yellow breccia, a great Lion in 
 bigio marble, a Griffin, of flowered ala- 
 baster, are worthy of particular notice. 
 The emperor Commodus on horseback, 
 throwing a javelin, is living, and like 
 the great Tiberius of the principal niche, 
 is not misplaced amid the ferocious 
 beasts of this gallery. 
 
 The gallery of statues presents a fine 
 Caligula; a superb Amazon drawing a 
 bow, horribly repaired; a small and very 
 pretty Urania; the two remarkable 
 seated statues of Menander and Possi- 
 dippus, formerly called Marius and 
 Sylla; a Venus with a vase, supposed to 
 be an antique copy of the Venus of 
 Praxiteles; Ariadne forsaken, long called 
 Cleopatra, a noble composition, which 
 has almost given a reputation for dignity 
 and constancy to this frivolous and vo- 
 luptuous Egyptian, the real Armida of 
 antiquity. The discovery of this figure, 
 which is somewhat dry in the draperies 
 and perhaps only a copy of a more per- 
 fect original, inspired the Count Casti- 
 glione with one of those elegant pieces 
 that the literati of the revival produced 
 on the apparition of the antique chefs- 
 d'oeuvre, which concludes with a Vir- 
 gilian panegyric of the age of Leo X. 
 
 In the last chamber of the busts is the 
 celebrated statue of Jupiter seated, tran- 
 
 quil, with the sceptre and thunderbolt in 
 his hands, and the eagle at his feet. 
 
 The cabinet called delle Maschere, 
 ornamented with precious marble and 
 the magnificent mosaic pavement of 
 Adrian's villa, contains the graceful 
 Ganymedes and the eagle, the Venus 
 ready to bathe, the basso-relievo of 
 Adrian's Apotheosis, and a Diana. 
 
 In the hall of the Muses, of which 
 Melpomene, I believe, is the finest, the 
 portraits ofillustrious persons with names 
 in Greek are extremely interesting : a 
 hermes of Sophocles, very rare; the 
 orator jEscltines, unique; an inferior 
 Aspasia veiled ; a hermes of Pericles 
 covered with a helmet, very scarce; Al- 
 cibiades ; a hermes of Socrates. The 
 Apollo Citharwda crowned with laurels, 
 in a long robe, singing and dancing, is 
 very fine. 
 
 The well-lighted rotunda, the rich 
 mosaic pavement of which is one of the 
 largest existing, has a magnificent bowl 
 of porphyry, found in the thermae of 
 Titus, a colossal head of Jupiter, and a 
 colossal Juno. 
 
 The door of the spacious hall of the 
 Greek Cross is one of the most imposing 
 ever seen. In the entrance, the two 
 enormous sphinxes of red granite and 
 in the centre on the pavement a Pallas, 
 a mosaic of hard coloured stones, are 
 superb. A half-naked statue of Au- 
 gustus is precious, and very rare, be- 
 cause it retains its original head. 
 
 In the grand staircase, the head of one 
 of the two rivers recumbent was restored 
 by Michael Angelo, but, though fine, it 
 does not accord well with the rest of the 
 statue; the independence of his genius 
 must make him a most unfaithful re- 
 storer; instead of the majestic indolence 
 common to rivers, this head has some- 
 thing agitated, violent, satanic. 
 
 The apartment of the Car, so called 
 from the elegant antique car, very well 
 repaired, which stands in the middle, 
 has the pretended Sardanapalus, which 
 is only a bearded Bacchus ; a Bacchus ; 
 a statue of a man veiled in the act of 
 sacrificing, the drapery of which is rich 
 and in good taste; two horses, one anti- 
 que and restored, the other modern. 
 
 The long gallery of Candelabra has 
 some excellent ones; a great Bacchus in 
 wonderful preservation; a fine fountain 
 supported by syrens. A mosaic repre- 
 senting fish, a pullet, asparagus, dates, 
 
 U 
 
548 
 
 ROME. 
 
 [ Book XV, 
 
 is curious from its having been the 
 floor of a triclinium. 
 
 Notwithstanding the cortege with 
 which the visit of the statues by torch- 
 light is generally made, a cortege mun- 
 dane enough and but little favourable to 
 emotion, ten years have not obliterated 
 the impression it made on me. By this 
 light the coloured marble glows and 
 becomes flesh ; all the physiognomies 
 of the Roman emperors are alive again ; 
 they seem animated with the violent, 
 sanguinary, or abject passions of those 
 masters of the world, and the head of 
 Tiberius seems overloaded with his 
 crimes. The anatomical details and the 
 slightest touches of the chisel are dis- 
 tinctly shown by the reflection of the 
 torches which the custodi dexterously 
 wave close by the outlines. This visit 
 also affords an interesting study in an 
 artistical point of view, as some of the 
 antique masterpieces, such as the Lao- 
 coon, placed in obscure subterranean 
 thermae, were intended to be viewed by 
 this light. 
 
 TheGregorianomuseumisconsecrated 
 to Etruscan art; it seems called to high 
 archeological destinies, and already de- 
 serves a place in the foremost rank of 
 similar collections by its tombs, its fur- 
 niture, its jewels, and especially its 
 bronzes and painted vases. Among the 
 bronzes may be distinguished : the tripod; 
 the celebrated statue of a woman found 
 at Vulci; the military figure of Todi, 
 which is not inferior to it; the mirror, 
 formerly supposed the patera of Tha- 
 myris; the arm and fragments of the 
 colossal image found in the dock of Ci- 
 vita Vccchia, apparently intended for 
 Trajan; the beautiful spinster. Among 
 the vases : Minerva making Jason 
 young again by means of the dragon 
 which rejects him ; the Poet between 
 two victories; the celebrated vase of 
 Jupiter accompanied by Mercury scal- 
 ing Alcmena's window, and the cu- 
 rious amphora of Orpheus pursued by 
 an enraged woman. 
 
 The geographical maps of P. Ignatius 
 Danti, painted on the walls of the fine 
 corridor called after them, procured that 
 Dominican the archbishopric of Alatri, 
 so much was the court of Rome then in- 
 clined to encourage the sciences. The 
 grandfather of Danti, Yincenzo Rainaldi, 
 who had a passion for Italian poetry and 
 for Dante in particular, after presump- 
 
 tuously attempting to imitate his style, 
 took his surname, which passed to his 
 descendants. 
 
 Although the colour of the tapestry 
 (arazzi) executed at Arras and in the 
 towns of Flanders from the cartoons of 
 Raphael is now faded, these celebrated 
 productions faithfully express the broad 
 design and the style of Raphael. The 
 most admirable of these compositions, of 
 the artist's best days, probably executed 
 in the last two years of his life, and one 
 of the first monuments of his mighty 
 genius, are : St. Peter and St. John 
 healing the cripple, which, under a rich 
 portico and beside the noblest figures, 
 offers the contrast of the two lame beg- 
 gars, the ideal of deformity ; the Massa- 
 cre of the Innocents, so touching and 
 fearful in expression; Elymas the sor- 
 cerer struck blind by St. Paul before 
 the proconsul, of which only the half es- 
 caped the sack of 1527, remarkable for 
 the stupefaction of the proconsul and 
 spectators, and the gestures of Elymas 
 suddenly deprived of sight, who stretches 
 out his arms, to seek support, and grope 
 his way ; Jesus Christ giving the keys 
 to St. Peter, pure and noble in design 
 and effect, proving also by its scenery 
 that Raphael could have excelled in 
 landscape; Ananias struck dead by 
 St. Peter, which seems by Raphael 
 alone, in such high degree does this con- 
 ception blend the ensemble of the qua- 
 lities that constitute and even serve to 
 define the pictorial art : the group of 
 apostles, in which St. Peter is most con- 
 spicuous, shows the simplicity of these 
 fishermen become preachers and mis- 
 sionaries : Ananias violently thrown on 
 the ground, and the two persons behind 
 him, admirably explain his imposture 
 and the death that ensued ; the Miracu- 
 lous draught of fishes, lively, fresh, 
 and brilliant, the waters of which, with 
 the sky, the scenery, and the aquatic 
 birds of the foreground, seem by Gio- 
 vanni d'Udina ; St. Paul preaching at 
 Athens, reckoned the finest of these 
 tapestries, which includes in the phy- 
 siognomies of the characters the different 
 degrees of examination, faith, and unbe- 
 lief; St. Paul and St. Barnabas in the 
 town of Lystra, restoring the use of hi? 
 limbs to a cripple and refusing the Mo 
 latrous worship of the inhabitants, a dis 
 tinct, varied, and speaking composition; 
 the Ascension, grand, and the Adora- 
 
Chap. VI. ] 
 
 ROME. 
 
 519 
 
 Hon of the Kings, so striking for the 
 diversity of the clothes and ornaments, 
 the pomp of the Asiatic cortege with its 
 elephants and camels, and especially by 
 the contrast of such gorgeous grandeur. 
 at the feet of a child with a manger for 
 a cradle. Italy no longer possesses the 
 cartoons of this precious collection, or- 
 dered by Leo X., a part of the exquisite 
 ornaments of which allude to the glory 
 of the Medici, and show with what art 
 Raphael had appropriated to himself the 
 taste and system of the historiographical 
 sculpture of Trajan's column; seven of 
 the principal cartoons have passed into 
 England, and may be seen in the gallery 
 of Hampton-court palace. 
 
 CHAPTER VI. 
 
 Gallery.— Transflguration.— Communion of St. Je- 
 rome.— Saint Romuald.— The Madonna di Foli- 
 gno.— Oilier paintings.— Portrait of George IV. 
 
 The gallery of the Vatican has not 
 fifty pictures, but three or four of them 
 make it the first in the world. The 
 Transflguration, the chef-d'oeuvre of 
 painting, praised, admired, celebrated for 
 three centuries, brought Raphael little 
 more than a thousand crowns of the pre- 
 sent currency, and it was intended for a 
 small town of France, Narbonne, of 
 which Cardinal Giulio de' Medici, who 
 ordered it, was archbishop. Every body 
 knows that this immortal work was the 
 finest decoration of Raphael's funeral, 
 deceased in his thirty-seventh year : 
 what might he not have done had he 
 lived the ninety-nine years of Titian, or 
 the eighty-six of Michael Angelo ? Rut 
 who knows that his unique destiny was 
 not complete, that he was not oppor- 
 tunely withdrawn by Providence, and 
 that, after attaining perfection, being in- 
 capable of surpassing himself, he was 
 not favoured even in his death? Some 
 learned judges have reproached the 
 Transfiguration with want of unity, 
 but its twofold action, in conformity with 
 the evangelical narrative, is connected 
 and proceeds simultaneously. It may 
 even be said that in this magnificent 
 composition, heaven, earth, and hell al- 
 legorically contribute to recognise the 
 God-man. The latter figure really ren- 
 ders the divinity visible. The upper 
 part is superb; the side of the apostles 
 very pathetic; the woman kneeling and 
 
 the demoniac are of a less despairing 
 perfection, and may have been finished 
 by Giulio Romano. 
 
 The celestial expression of resignation 
 given by Domenichino to his St. Jerome 
 has almost procured the irascible and 
 impetuous doctor of the Latin church a 
 reputation for mildness which his writ- 
 ings and combats contradict. The arts 
 have an immense moral power to which 
 the genius of eloquence or even poelry 
 cannot attain. If there are talents that 
 precede great and good taste, there are 
 others not less admirable that survive 
 it : Masaccio and Domenichino, models 
 equally classical at different periods, are 
 the different prodigies of these phases of 
 painting. The Communion of St. Je- 
 rome, admirable for the unity and judg- 
 ment of its composition, and the truth, 
 the simplicity of its figures, is regarded 
 as the best painting at Rome after the 
 Transfiguration, and deserves all its re- 
 nown : yet, might not one suppose the 
 perfect nudity of the saint rather strange 
 amid personages so richly clothed and 
 under so fine a portico? The angels in 
 the upper part of the picture, too, would 
 seem more poetical if painted with a va- 
 poury tint, instead of having the same 
 carnation and the same prominency as 
 the terrestrial figures. The tone of the 
 painting is a reddish black, a defect to be 
 attributed to the bad practice of the Ro- 
 lognese school of painting on canvas 
 printed red, which in process of time 
 overcomes the shades and the half-tints. 
 Domenichino received only fifty crowns 
 for this chef-d'oeuvre, and had the an- 
 noyance of seeing an indifferent French 
 artist paid double for a copy. 
 
 The history of St. Nicholas ofBari, 
 in several compartments, by Fra Ange- 
 lico, has all his charm. The Sibyl and 
 Augustus, by Garofolo, is remarkable 
 for the radiant and bearded head of the 
 emperor. 
 
 A Piety is one of Mantegna's best 
 works. A Doge of Venice, a fine por- 
 trait, and the Virgin with saints, ex- 
 cellent, are by Titian. Sixtus IV. in- 
 stalling Platina as librarian of the 
 Vatican, by an unknown author, is of 
 interest for the action and the resem- 
 blance of the portraits. The Descent 
 from the Cross, the masterpiece of Mi- 
 chelangelo di Caravaggio, has a po- 
 tency of effect, a force of expression, and 
 a vigour equally extraordinary ; but how 
 
520 
 
 ROME. 
 
 [Book XV. 
 
 is it possible to recognise in those mean 
 heads, though so cleverly painted, the 
 image of Christ and the Virgin? Cara- 
 vaggio, the exaggerated antagonist of his 
 contemporary the Cav. d'Arpino, has 
 fallen into the ugly, through horror of 
 mannerism. 
 
 The St. Helena is of the best days of 
 Paolo Veronese. A Resurrection of 
 Christ is of Perugino's earlier style : the 
 sleeping soldier is said to be the portrait 
 of Raphael, who, on his side, painted 
 Perugino in the figure of a soldier flying 
 in terror. 
 
 The Crowning of the Virgin in the 
 middle of the angels, abandoned and 
 resumed by Raphael, was finished after 
 his death by Giulio Romano and II Fat- 
 tore, his pupils and legatees: the former 
 did the upper part ; the latter the lower. 
 It is easy to distinguish the work of these 
 two masters. The group of apostles 
 scarcely reaches mediocrity. 
 
 St. Romuald and his disciples, by 
 Andrea Sacchi, was long regarded as 
 one of the four paintings of Rome. If 
 unworthy so high a rank, it is neverthe- 
 less difficult to contemplate it unmoved : 
 there is in each of these monks a cha- 
 racter of piety, different, but equally 
 true, profound, and melancholy. 
 
 The Crucifixion of St. Peter, by Gui- 
 de, is poor in design and deficient in 
 energy. The Martyrdom of St. Eras- 
 mus, though the largest of Poussin's 
 paintings, is one of the worst : the mar- 
 tyr's head has a fine expression. The 
 St. Thomas, one of Guercino's good j 
 works, is correct in design and harmo- 
 nious in colouring. The Ecstasy of 
 Saint Micheline, Baroccio's masterpiece, 
 is false in colouring, affected in design, 
 and poor in composition : its only merit 
 is a kind of freedom and facility of pen- 
 cil. The Martyrdom of Sts. Processus 
 and Martinian, an energetic painting, 
 and Valentin's best, but getting too black, 
 recalls the vivacious petulant manner of 
 Michelangelo di Caravaggio. 
 
 The Madonna di Foligno, one of Ra- 
 phael's first chefs-d'oeuvre, presents in 
 its two parts the expression of divine 
 and human nature: the Infant standing, 
 with its head and eyes turned upwards 
 to the Virgin, and holding a kind of ta- 
 blet, is ravishing for gracefulness, beauty, 
 and shape; to the left, kneeling, the 
 chamberlain of Pope Julius II., Sigis- 
 mundo Conti, who had ordered the paint- 
 
 ing, seems rather life itself than paint; 
 the St. John Baptist, though eulogised by 
 Vasari, is the least perfect in execution 
 of all the personages in this admirable 
 composition. 
 
 The Redeemer on the rainbow amid 
 the angels, and holding out his arms as 
 if to draw all men to him, by Correggio, 
 was. ordered of him for his native town; 
 without being among his most finished 
 works, it is still remarkable and precious. 
 
 The full length portrait of George IV., 
 given by him to Pope Pius VII., is in the 
 gallery. A portrait of a king of Eng- 
 land placed with honour in the Vatican, 
 would have been a strange event two 
 centuries ago. I cannot forget the odd 
 and contradictory impression produced 
 on me by this work of Lawrence put in 
 the first room. On entering, it appeared 
 to have effect, brilliancy, and a kind of 
 noble reality; but when going out, after 
 contemplating the classic masterpieces 
 of the great masters of the Italian schools, 
 it seemed frightful, deformed, illumi- 
 nated, and I found that this royal figure, 
 with all its ribands, had the air of an ac- 
 tor dressed for his part and practising in 
 his closet. The study of the writers of 
 the age of Louis XIV. would probably 
 be a no less fatal ordeal to the verse and 
 prose of certain great authors now living. 
 
 CHAPTER VII. 
 
 Mosaic workroom.— Cav. Barberi.- Garden.— 
 Villa Pia. 
 
 The vast workroom (studio) of mosaic, 
 placed under the direction of S. Camuc- 
 cini, occupies a part of the ancient pa- 
 lace of the tribunal of the Inquisition, 
 created by the violent Pius V. The col- 
 lection of enamels of various shades 
 amounts to nearly seventeen thousand. 
 This slow work (twenty years being in 
 some cases necessary to make a picture), 
 Ibis patient handicraft, gives immortality 
 to the perishable chefs-d'eeuvre of paint- 
 ing ; but after all it is only a copying imi- 
 tative talent. The necessity of occupying 
 this manufacture has some disadvantages 
 for Saint Peter's, which has already re- 
 ceived too many ornaments, and is here 
 menaced with a perpetuity of the evil. 
 
 This art of mosaic, which, according 
 to the fine expression of the poet : 
 L' arte cbe i dipiuti einula e serba, • 
 1 Monti. 
 
Chap. VIII.] 
 
 ROME. 
 
 521 
 
 seems indigenous at Rome, and its his- 
 tory is preserved from the fourth cen- 
 tury. In our days it has been cleverly 
 practised by the Cav. Michelangelo 
 Barberi, of Rome, whose grand and poe- 
 tic compositions decorate the palaces and 
 houses of London, Munich, "Vienna, and 
 Saint Petersburg. The workroom of 
 this mosaist, which must not be con- 
 founded with the shop of S. Giovacchino 
 Barberi in the Piazza di Spagna, affords 
 foreigners equal pleasure and interest, 
 for the Cav. Barberi is both a superior 
 artist and a man of parts. 
 
 The gardens of the Vatican, begun by 
 Nicholas V., were enlarged and em- 
 bellished by Julius II., under the di- 
 rection of Bramante. The colossal pine- 
 apple with the two peacocks in bronze is 
 said to have surmounted Adrian's mau- 
 soleum; but it could not have been on 
 the top of the Pantheon, as the roof is 
 open at the place where it must have 
 been set. The pedestal of the column 
 of Antoninus Pius, with fine sculptures, 
 and the apotheosis of Antoninus and 
 Faustina, is perfect. 
 
 But the principal ornament of these gar- 
 dens is the charming Villa Pia or Casino 
 del Papa, erected by Pius IV., from the 
 designs of the illustrious antiquary Pino 
 Ligorio, one of the smallest and most 
 celebrated monuments of Rome, per- 
 haps the most original creation, and one 
 of the most perfect, of modern architec- 
 ture. The gushing fountain falls into a 
 basin of violet marble, more valuable 
 for its workmanship than material; at 
 the extremities, the two groups of chil- 
 dren on a dauphin are Roman and of a 
 good epoch. This villa, a happy and 
 poetical inspiration from the ancients, is 
 covered with exquisite figures and orna- 
 ments, taken from fable and mixed with- 
 out impropriety with biblical subjects, 
 grander and more numerous. A curious 
 collection of antique basso-relievos in 
 burnt earth, was formed by Canova. 
 
 CHAPTER VIII. 
 
 Coliseum.— Impression of tbe ruins.— Moonlight. 
 
 The Coliseum represents ancient 
 Rome, as Saint Peter's new and Chris- 
 tian Rome : in no part of the world are 
 there monuments that speak more forcib- 
 ly to the soul in different ways. The his- 
 tory of the Coliseum shows the various 
 
 changes that have taken place in society 
 during nearly eighteen centuries : a 
 magnificent circus of gladiators under 
 Titus, an arena of martyrs under Dio- 
 cletian, it became a military post in the 
 middle ages, a kind of redoubt con- 
 tended for by the rival families of Fran- 
 gipani and Annibaldi ; it is a hospital 
 during plagues, or brilliant lists for 
 knights. At the close of the fourteenth 
 ceniury, the epoch of its principal de- 
 struction, for it was less injured by the 
 barbarians than reviving science and ci- 
 vilisation, it is only a stone-quarry, fur- 
 nishing till the middle of the next cen- 
 tury, materials for the building of several 
 great palaces of Rome. Sixtus V. wanted 
 to convert it into a woollen factory and 
 make shops under the arcades, a project 
 that his death putaside, though the clever 
 architect Fontana had given a plan of this 
 vulgar transformation. In the last cen- 
 tury, the president Debrosses, an inge- 
 nious and learned traveller, but tainted 
 with the corrupt taste of the time, pro- 
 posed to pull down the ruined half of the 
 Coliseum to mend the other with, and 
 thus to have a half Coliseum in good 
 repair, rather than leave the whole in 
 latlers. The ruined appearance is on 
 the contrary one of the beauties of the 
 Coliseum, and I freely confess that I have 
 lately thought it too much rebuilt, reno- 
 vated, and modernized. 
 
 The Coliseum did not take its mo- 
 dern name, due to its colossal mass, till 
 about the eighth century, and it is most 
 wonderful that a Christian, Gaudentius, 
 is reputed the architect of this Flavian 
 amphitheatre, so fatal to his religion, and 
 thus named from Vespasian who begun 
 it. 
 
 The impression made by ruins dif- 
 fers according to the age of the spec- 
 tator: they please in youth, because they 
 contrast with the life, ardour, and hopes 
 that one feels within ; but in a more ad- 
 vanced age, when this disposition has 
 changed, and one's self is nothing more 
 than another kind of ruin, they sadden, 
 and all this vanished greatness only 
 makes you reflect that yourself must also 
 pass away. Ruins, whatever the poet 
 may say, do not console each other, and 
 this grand image, applicable perhaps to 
 sudden reverses of fortune, is not so to 
 the irreparable ravages of time. 
 
 The effect of the Coliseum, when one 
 climbs and goes over the different stages, 
 
 Hi. 
 
522 
 
 ROME 
 
 is wondrous; the variety of the views is 
 renewed at each arcade, and presents a 
 thousand details of ruins that cannot be 
 expressed. This first of amphitheatres 
 might perhaps contain more than a hun- 
 dred thousand spectators, eighty-seven 
 thousand on the raised seats, and twenty 
 thousand under the porticos. The Cal- 
 vary founded by Clement X., and re- 
 stored by Benedict XIV., with its cross 
 of painted wood and fourteen little cha- 
 pels, is too paltry for such a place; there 
 ought to have been a more solid, more 
 imposing monument, to bear witness to 
 the triumph of Christianity in the very 
 scene of its persecutions : Michael Ange- 
 lo's Christ victorious would have a fine 
 effect there. 1 In the evening I heard a 
 monk preach in the Coliseum ; he was 
 surrounded by a brotherhood whose cos- 
 tume left the eyes 'Only visible. Not- 
 withstanding the inspiration he might 
 tiave drawn from recollections of the 
 martyrs and the neighbourhood of the 
 Forum, his.discourse was but a poor ser- 
 mon on penance; he delivered it from 
 a kind of hustings (palco), continually 
 stepping from one side to the other, and 
 his agitation, a kind of evolution, was 
 cold and almost uniform. 
 
 There are some usages among travel- 
 lers not remarkable lor good sense, but 
 the practice of visiting the Coliseum by 
 moonlight is not of that number. Its 
 ruins then appear aggrandised, and its 
 arcades are truly resplendent. I cannot 
 forget the evening that I passed there 
 with the ladies G** and our excellent 
 painter Schnetz. We climbed to the 
 summit, and went under vaults recently 
 cleared. A man preceded us with a 
 torch, and Schnetz made ingenious dis- 
 positions so as to show the wonderful 
 effects of light and shade. 
 
 CHAPTER IX. 
 
 Forum.— Tabularlum.— Temples of Fortune,— of 
 Concord.— Arch of Septimlus Severus — Column 
 of Phocas.— Columns of the temple of Jupiter 
 Stator.— Curia.— Via Sacra. -Temple of Antoninus 
 and Faustina.— Basilic of Constanllne. — Temple 
 of Venus and Borae. — Arch of Titus. — Palatine. — 
 Palace of the Caesars. — Farnesc gardens.— Vigna 
 Palatiua.— Arch of Constanllne. — Basso-relievos. 
 
 The Forum, the most illustrious spot in 
 
 1 See post, cli. ixin. 
 
 * Under Pius VII., the cattlemarket was removed 
 outside the Porta Flaminia, near the Tiber, and 
 
 [Book XV. 
 
 the universe, became the ignoble Campo- 
 Vaccino ; antiquarians had restored its 
 noble name without changing its destiny : 
 the lowing of oxen was heard where the 
 magnificentlanguageoftheRomanorator 
 once resounded, and, for all butsimplicity 
 of manners, one might say as in the 
 time of Evander : 
 
 Tassimque armenla videbant 
 
 Romanoque foro, et lautis muglre carinis.* 
 
 The rostra were in the'eentre, till Caesar 
 had them removed to the corner near 
 the Velabrum. The excavations of the 
 Forum, begun by the French adminis- 
 tration, which cleared the principal 
 monuments, have been since resumed, 
 and carried on with intelligence and 
 activity, and while other capitals are 
 increasing by new edifices and buildings, 
 Rome is enlarged and embellished by 
 the discovery of its antique ruins. The 
 monuments in the Forum were crowded, 
 confused, not having the clear open space 
 considered indispensable before modern 
 monuments. 
 
 Descending towards the Forum, we 
 pass under the vast substructions of the 
 Tabularium, the only considerable build- 
 ■ing prior to the emperors now remain- 
 ing, the sole state edifice of ancient Rome, 
 and one of its most majestic monuments, 
 thearchivesin which the senatus-consulta 
 and other public acts were kept on tables 
 of bronze, the brazen diplomas of the 
 grandeur of the imperial people. The 
 stern arches of the Tabularium, of tra- 
 vertino and peperino, seem in analogy 
 with the harsh government and policy of 
 republican Rome : 
 
 Nee ferrea jura, 
 
 Insanumque Forum, aut popull tabularla vidlt.* 
 
 The temple of Fortune, for a long time 
 supposed the temple of Concord, accord- 
 ing to a learned German antiquary, is 
 the Juliana basilic. It is composed of 
 fragments of divers epochs, some of the 
 best days of art, but the plan belongs to 
 the decline. 
 
 The same antiquarian, whose authority 
 does not appear infallible, sees the wreck 
 of a temple of Saturn in the three elegant 
 columns of the temple of Jupiter Tonans, 
 erected by Augustus, after his preser- 
 
 thls change contributes to public security, which 
 was compromised by the oien passing through the 
 streets. 3 Georg. n. 501. 
 
Chap. IX.] 
 
 ROME. 
 
 523 
 
 vation from lightning, which fell one 
 night near his litter in the Spanish war. 
 
 The temple of Concord, in which 
 Cicero assembled the senate during Cati- 
 line's conspiracy, was burnt under Vitel- 
 lius, rebuilt under Vespasian, and burnt 
 again in the middle ages; it is now a 
 shapeless ruin, of no interest but for its 
 associations. 
 
 The majestic but heavy arch of Sep- 
 timius Sevcrus announces the epoch of 
 decline. It waserected, as the inscription 
 slates, by the Roman senate and people 
 to Septimius Severus and his sons Cara- 
 calla and Geta, in memory of the victory 
 over the Parthians, Arabians, and the 
 inhabitants of Adiabena : Geta's name 
 was effaced after his death by his bar- 
 barous brother, a fact opposed to the 
 hypocritical apotheosis which he decreed 
 him. 
 
 The name of Phocas has also been 
 obliterated from his column by his suc- 
 cessor Heraclius. This column to a 
 tyrant has but little interest near the noble 
 theatre of Roman liberty. In style, it 
 appears long prior to Phocas, and must 
 be of the epoch of the Antonini : the 
 exarch Smaragdus probably took it from 
 some edifice to consecrate it to his master. 
 
 The three superb Corinthian columns, 
 said to belong to the temple of Jupiter 
 Stalor, most certainly never formed part 
 of that edifice. In 1828 and even in 1830, 
 it was the opinion of antiquaries that they 
 belonged to a Greecostasis, a building for 
 the reception of ambassadors from the 
 Greek republics and other allied nations, 
 where they attended the deliberations of 
 the Forum, or awaited an audience of the 
 senate ; a vast diplomatic tribune, thus 
 named from the Greek ambassadors sent 
 by Pyrrhus, the first ever received at 
 Rome. The old building had perished, 
 but it was magnificently rebuilt by An- 
 toninus Pius on the same spot of the 
 former pretended Graecostasis. 
 
 The ancient Curia Hostilia, where the 
 senate assembled, erected by the third 
 king of Rome, whose name it took, was 
 rebuilt by Augustus, who gave it the 
 surname of Julia in honour of Caesar. 
 These wrecks consist of three well-built 
 walls, in the middle of the south side of 
 the Forum. Between the Curia and 
 
 1 The word cipoltino (little onion) is given by 
 tbe Italians to this marble, which has several va- 
 rieties, because tbe disposition of its veins seems to 
 
 Comitium stood the famous figtree, called 
 ficus ruminalis, under which, according 
 to a pious and patriotic tradition, Romulus 
 and Remus were suckled by the wolf; 
 and thus named from the word Ruma 
 (teat), a sacred symbol of the empire and 
 eternity of Rome. 
 
 On beholding the pavement of the Via 
 Sacra, recently discovered, I fancied I 
 saw Horace advancing, as he was wont, 
 plunged in his trifling reveries : 
 
 Ibam forte via Sacra, slcut meus est mos, 
 Nescio quid meditans nugarum, tolas in i His ; 
 
 and my thoughts dwelt with pleasure on 
 that charming scene of Roman manners, 
 without any trace of Greek imitation, so 
 generally prevalent in Latin poetry and 
 philosophy. 
 
 The. temple of Antoninus and Faustina, 
 erected by the senate, shows the magni- 
 ficence and arrangements of antique 
 temples. The ornaments on the frieze 
 and of its six columns of cipollino, 1 the 
 highest known of that brilliant marble, 
 are esteemed as classic models of taste. 
 
 The elegant temple of Romulus and 
 Remus is still remarkable for its bronze 
 door, still retaining the fastening, a 
 curious monument of ancient lock-work. 
 
 The three majestic arcades, said to 
 belong to tbe temple of Peace, the sub- 
 ject of hot disputes among antiquarians, 
 are more probably part of the basilic 
 erected by Constantine after his victory 
 over Maxentius. 
 
 The temple of Venus and Rome was 
 planned by Adrian, a Caesar-architect 
 still more jealous of his architect Apol- 
 lodorus, whom he put to death, than of 
 the emperor Trajan. 
 
 The arch of Titus was erected after his 
 death by the senate and the people. The 
 two principal basso-relievos are the best 
 Roman works known : one represents 
 Titus on a triumphal car conducted by 
 an allegorical figure of Rome; the other, 
 the captive Jewish soldiers, the table, 
 the seven-branched golden candlestick, 
 and other spoils from the temple of 
 Jerusalem. When we remember that 
 this city was utterly destroyed by Titus, 
 he seems little worthy his surname of 
 the delight of mankind, which he would 
 
 bear some resemblance to the strata of an onion. 
 The ancients procured the cipollino from Egypt, 
 but tbe quarries of that country are now unknown. 
 
522 
 
 ROME. 
 
 [Book XV. 
 
 is wondrous; the variety of the views is 
 renewed at each arcade, and presents a 
 thousand details of ruins that cannot be 
 expressed. This first of amphitheatres 
 might perhaps contain more than a hun- 
 dred thousand spectators, eighty-seven 
 thousand on the raised seats, and twenty 
 thousand under the porticos. The Cal- 
 vary founded by Clement X., and re- 
 stored by Benedict XIV., with its cross 
 of painted wood and fourteen little cha- 
 pels, is too paltry for such a place; there 
 ought to have been a more solid, more 
 imposing monument, to bear witness to 
 the triumph of Christianity in the very 
 scene of its persecutions : Michael Ange- 
 lo's Christ victorious would have a fine 
 effect there. 1 In the evening I heard a 
 monk preach in the Coliseum ; he was 
 surrounded by a brotherhood whose cos- 
 tume left the eyes -only visible. Not- 
 withstanding the inspiration he might 
 have drawn from recollections of the 
 martyrs and the neighbourhood of the 
 Forum, his.discourse was but a poor ser- 
 mon on penance; he delivered it from 
 a kind of hustings (palco), continually 
 stepping from one side to the other, and 
 his agitation, a kind of evolution, was 
 cold and almost uniform. 
 
 There are some usages among travel- 
 lers not remarkable for good sense, but 
 the practice of visiting the Coliseum by 
 moonlight is not of that number. Its 
 ruins then appear aggrandised, and its 
 arcades are truly resplendent. I cannot 
 forget the evening that I passed there 
 with the ladies G" and our excellent 
 painter Schnelz. We climbed to the 
 summit, and went under vaults recently 
 cleared. A man preceded us with a 
 torch, and Schnetz made ingenious dis- 
 positions so as to show the wonderful 
 effects of light and shade. 
 
 CHAPTER IX. 
 
 Forum.— Tabularium.— Temples of Fortune,— of 
 Concord.— Arch of Septimlus Severus.— Column 
 of Phocas.— Columns of tbe temple of Jupiter 
 Stator.— Curia.— Via Sacra. -Temple of Antoninus 
 and Faustina.— Basilic of Constanline. — Temple 
 of Venus and Rome. -Arch of Titus.— Palatine — 
 Palace of the Caesars. — Farnese gardens.— Vigna 
 Palatiua.— Arch of Constanline. — Basso-relievos. 
 
 The Forum, the most illustrious spot in 
 
 1 See post, cli. xxm. 
 
 * Under Pius VII., the cattlemarket was removed 
 outside tbe Porta Ftaminia, near the Tiber, and 
 
 the universe, became the ignoble Campo- 
 Vaccino ; antiquarians had restored its 
 noble name without changing its destiny : 
 the lowing of oxen was heard where the 
 magnihcentlanguageoftheRomanorator 
 once resounded, and, for all butsimplicity 
 of manners, one might say as in the 
 time of Evander: 
 
 Passimque armenta videbant 
 
 Romanoque foro, et lautls muglre carinis.* 
 
 The rostra were in the'eentre, till Caesar 
 had them removed to the corner near 
 the Velabrum. The excavations of the 
 Forum, begun by the French adminis- 
 tration, which cleared the principal 
 monuments, have been since resumed, 
 and carried on with intelligence and 
 activity, and while other capitals are 
 increasing by new edifices and buildings, 
 Rome is enlarged and embellished by 
 the discovery of its antique ruins. The 
 monuments in the Forum were crowded, 
 confused, not having the clear open space 
 considered indispensable before modern 
 monuments. 
 
 Descending towards the Forum, we 
 pass under the vast substructions of the 
 Tabularium, the only considerable build- 
 ing prior to the emperors now remain- 
 ing, the sole slate edifice of ancient Rome, 
 and one of its most majestic monuments, 
 the archivesin which the senatus-consulta 
 and other public acts were kept on tables 
 of bronze, the brazen diplomas of the 
 grandeur of the imperial people. The 
 stern arches of the Tabularium, of tra- 
 vertino and peperino, seem in analogy 
 with the harsh government and policy of 
 republican Rome : 
 
 Nee ferrea jura, 
 
 Iusanumque Forum, aut popull tubular iu vidlt. 3 
 
 The temple of Fortune, for a long time 
 supposed the temple of Concord, accord- 
 ing to a learned German antiquary, is 
 the Juliana basilic. It is composed of 
 fragments of divers epochs, some of the 
 best days of art, but the plan' belongs to 
 the decline. 
 
 The same antiquarian, whose authority 
 does not appear infallible, sees the wreck 
 of a temple of Saturn in the three elegant 
 columns of the temple of Jupiter Tonans, 
 erected by Augustus, after his preser- 
 
 this change contributes to public security, which 
 was compromised by the oien passing through lb« 
 streets. 3 Georg. u. 501. 
 
Chap. IX.] 
 
 ROME. 
 
 523 
 
 vation from lightning, which fell one 
 night near his litter in the Spanish war. 
 
 The temple of Concord, in which 
 Cicero assembled the senate during Cati- 
 line's conspiracy, was burnt under Vitel- 
 lius, rebuilt under Vespasian, and burnt 
 again in the middle ages ; it is now a 
 shapeless ruin, of no interest but for its 
 associations. 
 
 The majestic but heavy arch of Sep- 
 timius Sevcrus announces the epochof 
 decline. Itwaserected, aslheinscription 
 states, by the Roman senate and people 
 to Septimius Severus and his sons Cara- 
 calla and Geta, in memory of the victory 
 over the Parthians, Arabians, and the 
 inhabitants of Adiabena : Geta's name 
 was effaced after his death by his bar- 
 barous brother, a fact opposed to the 
 hypocritical apotheosis which he decreed 
 him. 
 
 The name of Phocas has also been 
 obliterated from his column by his suc- 
 cessor Heraclius. This column to a 
 tyrant has but little interest near the noble 
 theatre of Roman liberty. In style, it 
 appears long prior to Phocas, and must 
 be of the epoch of the Antonini : the 
 exarch Smaragdus probably took it from 
 some edifice to consecrate it to his master. 
 
 The three superb Corinlhian columns, 
 said to belong to the temple of Jupiter 
 Stalor, most certainly never formed part 
 of that edifice. In 1828 and even in 1830, 
 it was the opinion of antiquaries that they 
 belonged to a Graecostasis, a building for 
 the reception of ambassadors from the 
 Greek republics and other allied nations, 
 where they attended the deliberations of 
 the Forum, or awaited an audience of the 
 senate ; a vast diplomatic tribune, thus 
 named from the Greek ambassadors sent 
 by Pyrrhus, the first ever received at 
 Rome. The old building had perished, 
 but it was magnificently rebuilt by An- 
 toninus Pius on the same spot of the 
 former pretended Graecostasis. 
 
 The ancient Curia Hostilia, where the 
 senate assembled, erected by the third 
 king of Rome, whose name it took, was 
 rebuilt by Augustus, who gave it the 
 surname of Julia in honour of Caesar. 
 These wrecks consist of three well-built 
 walls, in the middle of the south side of 
 the Forum. Retween the Curia and 
 
 1 The word eipoltino (little onion) is given by 
 the Italians to this marble, which has several va- 
 rieties, because the disposition of its veins seems to 
 
 Comitium stood the famous figtree, called 
 ficus ruminalis, under which, according 
 to a pious and patriotic tradition, Romulus 
 and Remus were suekled by the wolf; 
 and thus named from the word Ruma 
 (teat), a sacred symbol of the empire and 
 eternity of Rome. 
 
 On beholding the pavement of the Via 
 Sacra, recently discovered, I fancied I 
 saw Horace advancing, as he was wont, 
 plunged in his trifling reveries : 
 
 Ibam forte via Sacra, slcut metis est mos, 
 Nescio quid meditans nugarum, totus in illis; 
 
 and my thoughts dwelt with pleasure on 
 that charming scene of Roman manners, 
 without any trace of Greek imitation, so 
 generally prevalent in Latin poetry and 
 philosophy. 
 
 The. temple of Antoninus and Faustina, 
 erected by the senate, shows the magni- 
 ficence and arrangements of antique 
 temples. The ornaments on the frieze 
 and of its six columns of cipollino, 1 the 
 highest known of that brilliant marble, 
 are esteemed as classic models of taste. 
 
 The elegant temple of Romulus and 
 Remus is still remarkable for its bronze 
 door, still retaining the fastening, a 
 curious monument of ancient lock-work. 
 
 The three majestic arcades, said to 
 belong to the temple of Peace, the sub- 
 ject of hot disputes among antiquarians, 
 are more probably part of the basilic 
 erected by Constantine after his victory 
 over Maxentius. 
 
 The temple of Venus and Rome was 
 planned by Adrian, a Caesar-architect 
 still more jealous of his architect Apol- 
 lodorus, whom he put to death, than of 
 the emperor Trajan. 
 
 The arch of Titus was erected after his 
 death by the senate and the people. The 
 two principal basso-relievos are the best 
 Roman works known : one represents 
 Titus on a triumphal car conducted by 
 an allegorical figure of Rome; the other, 
 the captive Jewish soldiers, the table, 
 the seven-branched golden candlestick, 
 and other spoils from the temple of 
 Jerusalem. When we remember that 
 this city was utterly destroyed by Titus, 
 he seems little worthy his surname of 
 the delight of mankind, which he would 
 
 bear some resemblance to the strata of an onion. 
 The ancients procured the cipollino from Egypt, 
 but the quarries of that country are now unknown. 
 
526 
 
 ROME. 
 
 [Book XV. 
 
 that of the emperors sways over the Pa- 
 latine, and the Christian Rome, isolated 
 and solitary, reigns at the Vatican. 
 
 CHAPTER XI. 
 
 Museum.— Colossus of Marforio.— Plan of Rome.— 
 lilac table.— Mosaic of the rigeons.— Chambers of 
 the Emperors, and of the Philosophers.— Faun.— 
 Gladiator. — Antinous.— Tenus. 
 
 The museum of the Capitol, with its 
 little staircase and its narrow rooms, is 
 far removed from the magnificence of 
 the halls of the Vatican, and its neglected 
 appearance does not altogether corres^ 
 pond with the importance of the chefs- 
 d'oeuvre it contains. 
 
 The celebrated colossal statue called 
 Marforio, from the supposed forum of 
 Mars where it was found, and which 
 appeared to me a personation of the 
 Ocean, may possibly be the Rhine and a 
 part of the bronze monument and eques- 
 trian statue of Domilian erected in the 
 Forum. Under the vestibule, may be 
 remarked a semi-colossal torso; a co- 
 lossal Minerva ; a Neith, the Egyptian 
 Minerva, taken for an Isis, of black 
 granite; the Diana as a huntress, so 
 perfect in its draperies; the colossal 
 statue restored as a Mars, seemingly a 
 Pyrrhus, with a cuirass in excellent 
 style; a fragment of porphyry statue of a 
 woman, superb. 
 
 In the chamber of Canope, thus called 
 from its Egyptian statues proceeding 
 from Adrian's villa, may be admired : 
 the hermes of Isis and Apis on a lotus- 
 flower, and the marble bust of Adrian. 
 The chamber of consular and imperial 
 Inscriptions, more than a hundred and 
 twenty-two in number, has few remark- 
 able sculptures, except the square altar 
 presenting the labours of Hercules, a 
 work of the oldest Greek style. The 
 chamber of the Urn owes its name to the 
 great and precious sarcophagus, supposed 
 that of Alexander Severus, because its 
 subjects are from the life of Achilles, 
 whom that emperor was ambitious to 
 imitate. The basso-relievo of the Ar- 
 chigallus or first priest of Cybele, with 
 the attributes and symbols of the Goddess, 
 is beautiful and curious. 
 
 On the landing of the first floor is a 
 plan of Rome under Septimius Severus 
 and Caracalla, drawn on twenty-six 
 slabs of marble; it is incomplete, but 
 
 these fragments are indelible, and well 
 suited to the image of the eternal city. 
 The chamber of the Vase is so named 
 from its superb Greek vase of pentelic 
 marble. Another vase, of bronze, was 
 given by Mithridates to the gymnasium of 
 the Eupatoristes, as may be seen by its 
 Greek inscription. The celebrated Iliac 
 table is a curious but inferior monument 
 of Roman art, or Greek art among the 
 Romans, probably intended, by theGreek 
 rhetoricians charged with the education 
 of Roman youth, as an' exposition of the 
 principal features of mythology. A fine 
 sarcophagus covered with masks in mo- 
 saic, presents the amours of Diana and 
 Endymion. Anothersarcophagus, badly 
 sculptured, is of interest for the philoso- 
 phical history of the ancients, as it re- 
 presents, with a sort of artlessness, the 
 doctrines of later Platonic philosophers 
 on the formation and destruction of 
 souls. The celebrated mosaic of the 
 Pigeons is justly esteemed one of the 
 most perfect and delicate that has de- 
 scended to us. This mosaic has as many 
 as a hundred and sixty bits of marble in 
 every oncia of the Roman palm ; the 
 great mosaic of Pompeii « has only a 
 hundred and twenty-five. In the gallery 
 are two well-preserved busts of Marcus 
 Aurelius and Septimius Severus; the 
 famous Jupiter, called della Valle, from 
 the family to which it belonged; the 
 sarcophagus with the Birth and Educa- 
 tion of Bacchus; the bust of Scipio 
 Africanus; a fine hermes with the head 
 of Amnion. 
 
 The precious collestion of portraits of 
 emperors gives its name to the chamber 
 containing it. The most remarkable are 
 those of Tiberius, Drusus, his brother; 
 of Antonia, wife of Drusus; of Caligula 
 in green basalt, Messalina, the second 
 Agrippina, incomparable for its attitude ; 
 oflS'ero, Poppeia, Galba, Olho, Vitellius; 
 the three last are scarce ; of Julia, 
 daughter of Titus; of Plotina, Trajan's 
 wife; Marcia, his sister; Matidia, his 
 daughter; of Adrian; Julia Sabina, his 
 wife; of Commodus, his wife Crispina, 
 Pertinax, SeptimiusSeverus, and Julian. 
 The basso-relievos of Andromeda de- 
 livered by Perseus, and, especially, of 
 Endymion asleep on a rock, with bis 
 dog, are exquisite. 
 
 The chamber of Philosophers, so called 
 
 ' See ante, boob xiv. ch, ?. 
 
CHAP. XII.] 
 
 HOME. 
 
 527 
 
 because they are most numerous, though 
 there are some poets and historians, has the. 
 excellent basso-relievo of a Bacchanal 
 scene, inscribed with (he name of the cele- 
 brated sculptor Callimachus. A pretty 
 little statue of bronze is Camillus, a 
 young minister of the sacriGces. The 
 remarkable portraits are : Homer, As- 
 pasia, but little resembling the authentic 
 bust at the Vatican ; Epicurus, Metro- 
 dorus, Sappho, Thucydides ; the seven 
 heads of Plato are nothing but bearded 
 or Indian images of Bacchus. A very 
 fine bust, said to be Cicero, is perhaps 
 only Maecenas. The portrait of Gabriele 
 Faerno, a Latin poet and fabuiist of 
 Cremona in the sixteenth century, is one 
 of the few busts 3Iichael Angelo executed ; 
 for the haughty independence of his 
 genius would scarcely submit to the 
 restraint of resemblance. 
 
 The saloon has some fine statues: 
 Jupiter, Esculapius, two superb Cen- 
 taurs, amazingly preserved, and bearing 
 the names of two Greek artists, Aristeas 
 and Papias ; the infant Hercules, a co- 
 lossus of green basalt; two Amazons, one 
 drawing her bow, the other wounded ; a 
 group called Veturia and Coriolanus, 
 which are only portraits of persons un- 
 known under the forms of Venus and 
 Mars; the statue of Julia Pia, wife of 
 Septimius Severus, well draped ; that of 
 Lucius Antonius, brother of the triumvir, 
 which is also taken for a Marius ; the Isis, 
 graceful; a Gymnasiarch, which has been 
 taken for a Mercury, and is probably 
 only a morra player, a game still po- 
 pular among the Italians, handed down 
 from the ancients, and called by Cicero 
 micare digitis; a Hecuba disconsolate ; 
 a superb Harpocrates crowned with a 
 lotus. 
 
 The fine Faun intoxicated, of rosso 
 antico, gives its name to the room in 
 which it stands. A curious bronze in- 
 scription presents a part of the decree of 
 the senate which confers on Vespasian 
 the imperial authority as held by Au- 
 gustus, Tiberius, and Claudius. The 
 sarcophagus representing the Amours of 
 Diana and Endymion is one of the best 
 known for workmanship and expression. 
 There are other articles also worthy of 
 
 1 Those Conservators, whose secular magistracy 
 only lasts six months, form with the immoveable 
 senator of Rome, what is called the Roman Senate ; 
 they have a guard and a livery ; in public ceremo- 
 
 notice : the altar consecrated to Isis with 
 the mystic cistus of Anubis and Harpo- 
 crates; a child playing with a mask, the 
 best executed that antiquity has left us ; 
 and, above all, the magnificent and well- 
 preserved sarcophagus with its true and 
 pathetic basso-relievos of the Defeat of 
 the Amazons. 
 
 The celebrated Gladiator seems now 
 a young barbarian dying; perhaps he 
 represents some Gaul whose statue was 
 an accessory of a group alluding to the 
 adventurous expedition of our ancestors 
 in Greece. Some few incorrect parts do 
 not weaken the artless effect of the com- 
 position, or the noble and pathetic expres- 
 sion of the head. The right arm has been 
 restored by Michael Angelo. Most of 
 the sculptures in this room are in the 
 first rank of antique chefs-d'oeuvre, such 
 as : the majestic Juno, with drapery so 
 cleverly executed ; the fine head of 
 Alexander; another of Ariadne ; the 
 group of Cupid and Psyche ; the Faun, 
 copied from that of Praxiteles or Pro- 
 togenes; the graceful Antinous, worthy 
 of its celebrity, and the most perfect of 
 his numerous statues ; the Flora, smiling 
 and elegant, but whose elaborate details 
 indicate approaching decline ; the Venus 
 leaving the bath, the truest, most lifelike, 
 freshest, and most desirable of all the 
 Venuses; the rare and perhaps unique 
 bust of Marcus Brutus, in design most 
 pure and speaking. 
 
 CHAPTER XII. 
 
 Palace of the Conservators.— Protomoteca.— Arca- 
 dian academy.— Wolf.— Bust of Brutus.— Capito- 
 line annals.— Head of Michael Angelo.— Statues of 
 Virgil and Cicero. 
 
 The great centre window with its 
 balcony and the other side windows 
 added by the architect Jacopo del Duca, 
 have greatly impaired the simplicity of 
 the front of the palace of the Conserva- 
 tors, « built by Michael Angelo. Under 
 the majestic portico is the statue of Caesar, 
 now the only authentic portrait in Rome 
 of the greatest man of ancient Rome. In 
 the court, exposed to the injuries of the 
 atmosphere and greatly injured by the 
 
 nies they wear a long mantle flowered with gold 
 and purple, and retain the antique and glorious 
 s. P. Q. R. formerly respected by the universal 
 world. 
 
HOME. 
 
 [Boor XV. 
 
 rain, the fine group of the Lion tearing a 
 horse is reputed to have been restored 
 by Michael Angelo. The statue ol Rome 
 triumphant sitting, with two captive bar- 
 barian kings by her side, is remarkable, 
 as are several fragments ofcolossal statues. 
 Eight rooms are devoted to the Pro- 
 lomoteca, or collection of the busts of 
 illustrious Italians. In the first, are the 
 regulations in Latin relative to the mode 
 of admitting the great men of this new 
 Pantheon, founded by Pope Pius VII., 
 when there was no more room in the 
 ancient Pantheon of Agrippa, which it 
 has replaced, and which gave the idea of 
 our Pantheon. Great men can never be 
 admitted till after death, and when they 
 are acknowledged as spirits and capa- 
 cities of the first order, possessing the 
 requisite qualities for immortality : the 
 proposal of persons deserving this honour 
 is singularly confided to the three con- 
 servators of Rome, commonly princes or 
 great lords, who are not always very 
 competent judges of great men ; and this 
 charge might be more fitly entrusted to 
 the different academies, who are only 
 consulted. The decree is issued by the 
 pope who decides when the votes are 
 equal. The execution of this decree, 
 and maintenance of" a kind of temple, 
 belong to the Conservators. This first 
 room presents the portraits of six fo- 
 reigners, looked on as naturalised Italians 
 on account of their labours and long 
 residence in Italy, namely : Poussin, 
 d'Agincourt, Raphael Mengs, "Winckcl- 
 mann, Angelica Kauffmann, and Suve'e, 
 director of the French Academy atRome. 
 The busts of the third room, containing 
 the artists of the sixteenth century, were 
 all, except Raphael, executed by the hand 
 or at the expense of Canova ; and those 
 in the sixth room, intended for poets, 
 were sculptured at his order, except 
 Annibale Caio, Trissino, and Metastasio. 
 Most of these busts are of inferior exe- 
 cution. It is in the principal room of the 
 Protomoteca that the famous Arcadian 
 academy holds its grand sittings, which 
 are independentoftheTbursday meetings. 
 The Arcadian academy, presided by a 
 custode general, two under-custodes, 
 and twelve members, admits females. 
 Sovereigns, princes, literati of different 
 nations, have thought themselves ho- 
 noured in being among its members, but 
 the title, lavished rather too indiscrimi- 
 nately, has not always escaped ridicule. 
 
 On the staircase of the Conservators is 
 an imitation of the celebrated rostral 
 column, erected to Duillius. The in- 
 scription, regarded as a copy of the ori- 
 ginal taken in the times of the emperors, 
 one of the oldest monuments of the Latin 
 tongue, was discovered in the sixteenth 
 century ; the column is of the same epoch. 
 The celebrated basso-relievo of Mettius 
 Curtius, general of the Sabincs, thrown 
 by his horse into the miry soil between 
 the Palatine and Capitoline, is very an- 
 tique. The two basso-relievos relative 
 to the history of Marcus Aurelius, taken 
 from his arch demolished by Alexan- 
 der VII. to enlarge the Corso, are curious 
 for the facts they represent, and because 
 they give the aspect of several monuments. 
 
 The first of the rooms of the Con- 
 servators bears the name of the Cav. 
 d'Arpino, because he has painted several 
 incidents of Roman history there : the 
 Birth of Romulus and the Battle of the 
 Romans and Sabines are the best of his 
 frescos. Those of Laureli, in the next 
 room, are nowise remarkable. The 
 friezes of Danicllo da Volterra, in the 
 third room, are not distinctly visible ; the 
 colour is faded, but the figures are in 
 good style and well drawn. In the 
 centre of this room is the famous she- 
 wolf, one of the most astonishing monu- 
 ments of the antique arts of Rome, which 
 manifests Etruscan art, and on which it 
 would be easy to write a volume; this 
 wolf was celebrated by Cicero in prose 
 and verse, in his Catiline orations and 
 the poem on his Consulship. The Ro- 
 mulus and Remus are modem. The 
 young man, naked, who is pulling a 
 thorn out of his foot, an Etruscan figure 
 in bronze, is very graceful. A superb 
 and precious bronze bust of the first 
 Brutus still presents the physiognomy of 
 the people of Rome, as it may be ob- 
 served in the squares, markets, in fact, 
 on all sides, where its old race has not 
 been impaired. The next room presents 
 on the wall the celebrated marble frag- 
 ments of the Capitolinc annals, formerly 
 in the comitia, ineffaceable diplomas of 
 the grandeur and glory of Rome, which 
 the scientific S. Borghesi has published 
 and illustrated. The Holy Family, at- 
 tributed to Giulio Romano, in the hall 
 of audience, doesnot seem very authentic, 
 and belongs rather to his school. A 
 Medusa in marble, by Bernini, is ter- 
 rible. The bronze bust of Michael An- 
 
Chap. 3311.] 
 
 ROME. 
 
 WV 
 
 gelo, made by him, is the head of a 
 genius. Annibale Carraccio has painted, 
 in the sixth chamber, the Actions of 
 Scipio Africanus. The tapestries are 
 copied from Rubens. The last room has 
 some beautiful busts, two of which are 
 pretended to be Virgil and Cicero. The 
 frescos of Perugino, representing the 
 Battles of the Punic war, are natural ; 
 we therein recognise the talent of the 
 painter to whom Raphael was indebted 
 for his first and picturesque education, 
 but the figures are neither Roman nor 
 Carthaginian. 
 
 The chapel has some good paintings : 
 the Evangelists, by Caravaggio ; the 
 Eternal Father and other figures on the 
 ceiling, by the Carracci ; St. Eustace, 
 St. Cecilia, St. Alexis, theBlessed Luisa 
 Albertoni, by Romanelli; a Virgin, in 
 fresco, by Pinturicchio. 
 
 CHAPTER XIII. 
 
 Sallery. — Sibyl, by Guercino.— Romulus and Remus, 
 by Rubens.— Saint Petronilla, by Guercino. — 
 Reserved cabinets. 
 
 The gallery of the Capitol presents a 
 great number of paintings by celebrated 
 masters; but, excepting some few admi- 
 rable chefs-d'oeuvre, these paintings are 
 of second or even third rate. 
 
 In the first apartment may be distin- 
 guished : St. Lucy, of a higher style than 
 belongs to Garofolo; his Virgin in a 
 glory and some holy doctors ; his Mar- 
 riage of St. Catherine ; his two Holy 
 Families; the portrait of Guido, by 
 himself; the Combat of the Romans 
 and Sabines, by Pietro da Cortona, 
 spirited and picturesque ; the portrait of 
 a man, excellent in colouring, by Velas- 
 quez; the Dismissal of Agar, by Mola : 
 Christ before the doctors, sweet and 
 pleasing, by Dossi; the famous Sibyl 
 Persica, by Guercino, a fine head, weJl- 
 painted, adjusted rather picturesquely, 
 but it has neither the expression, eleva- 
 tion of style, nor costume which should 
 characterise a sibyl ; a Virgin, by Al- 
 bano; a Magdalen penitent, by Tinto- 
 retto ; Christ before the doctors, by Va- 
 lentin ; the Sibyl of Cumce, by Domeni- 
 chino, inferior to that of the Borghese 
 palace; » the Triumph of Flora, by 
 Poussin, a copy or repetition of the paint- 
 
 1 See post, cb. xxxv. 
 
 ing in our Museum ; Cupid and Psyche, 
 by Luti, elegant and in good taste; Ro- 
 mulus and Remus, by Rubens, in which 
 the wolf is exceedingly well painted; 
 St. Nicholas of Bar i, by Giovanni Bel- 
 lini. 
 
 The best paintings in the second room 
 are : another and superb Adulterous 
 Woman, by Titian, who seems to have 
 had a passion for this subject; his Bap- 
 tism of Christ, containing a profile of 
 himself; a portrait of Annibale Carrac- 
 cio; the Battle of Arbeles, one of the 
 most esteemed works of Pietro da Cor- 
 tona ; the Presentation of Christ in the 
 Temple, ascribed to Fra Bartolommeo, 
 and worthy of him ; the Virgin, Infant 
 Jesus, and St. John, by Garofolo; Cleo- 
 patra before Augustus, by Guercino, 
 and above all, his capital work, the ad- 
 mirable St. Petronilla, the first painting 
 in the gallery of the Capitol; the portrait 
 of a Spanish priest, by Giovanni Bellini, 
 which has all the native truth of that 
 old Venetian master; St. Sebastian, by 
 Ludovico Carraccio; Innocence with a 
 dove, by Romanelli ; the celebrated St. 
 Sebastian of Guido; St. Barbara, a 
 half-length, worthy of either Annibale 
 Carraccio or Domenichino ; Tityus chain- 
 ed to his rock, in the Venetian style ; 
 Bathsheba, well coloured, by the elder 
 Palma ; the Graces, by the younger; the 
 Rape of Europa, by Paolo Veronese, 
 a repetition of the chef-d'oeuvre in the 
 Ducal palace at Venice. The portrait 
 of Michael Angelo, said to be his own 
 and praised as such, is very possibly not 
 by him, for it has not the slightest trace 
 of his breadth of style. 
 
 The fine Vanity of Titian, and the 
 celebrated Fortune of Guido, have been 
 removed from the gallery on account of 
 their naked figures. A similar scruple 
 caused the withdrawal of the three 
 Graces, small antique statues, not very 
 extraordinary and by no means indecent. 
 This punctiliousness does not seem over 
 sensible : Titian's Vanity, the far too 
 highly praised Fortune of Guido, and the 
 three Graces would have been scarcely 
 noticed among the other paintings and 
 statues. As this zeal does not go to the 
 extent of destroying them, a much greater 
 inconvenience arises, namely, the im- 
 moral and scandalous creation of the 
 secret cabinet, which one is almost com- 
 pelled to enter with lascivious ideas ; a 
 reserved cabinet, it is true, which the 
 
 45 
 
530 
 
 ROME. 
 
 [ Book XV. 
 
 public does not see, though it is shown 
 to every body. 
 
 CHAPTER XIV. 
 
 Porln,— Piazza del Popolo.— Obelisk.— Santa Maria 
 del Popolo.— Mausoleums of Cardinals Sforza and 
 Kecanali.— Ghigl chapel.— Jonas.-Saint Charles. 
 Count AI. Verri. -Saint Laurence iu Lucina.— 
 Poussin's monument. 
 
 The Porta del Popolo, a kind of 
 triumphal arch, is of a good style of ar- 
 chitecture on the outside, and this part 
 has been attributed to Michael Angelo 
 and Vignola. The interior, hastily fi- 
 nished by Bernini for the entry of Queen 
 Christine, has something petty and af- 
 fected like tbe heroine. 
 
 The Piazza and its pitiful statues are 
 little better than the interior of the gate. 
 Despite its recent regularity, this Piazza, 
 of a confined architectural taste, seems 
 but a poor entrance to Rome, far infe- 
 rior to the gloomy, desolate, ruined as- 
 pect presented by the Coliseum as we 
 approach by the road from Naples. The 
 four modern sphinxes of the obelisk have 
 the air of calves but little enigmatical. 
 This superb obelisk of a single stone co- 
 vered with hieroglyphics was raised at 
 Heliopolis by King Ramses I. to decorate 
 the temple of the Sun : it was brought 
 to Rome by Augustus and placed at the 
 Spina of the Grand Circus : its Greek 
 inscription proves that the Egyptians 
 knew the Trinity. It was drawn from 
 the ruins by Sixtus V. and erected by 
 Fontana. 
 
 According to a popular tradition as old 
 as the close of the eleventh century, a 
 large tree once stood near the gate del 
 Popolo, on which a raven used constantly 
 to perch. The earth was dug up at the 
 foot of this tree, and an urn was found 
 with an inscription stating it to contain 
 the ashes of Nero. They were scattered 
 to the winds, and Pope Pascal II. found- 
 ed, on the spot where the urn was dis- 
 covered, the church of Santa Maria del 
 Popolo. Rebuilt by Sixtus IV. on the 
 designs of BaccioPintelli, and embellish- 
 ed by Julius II. and Alexander VII., it 
 has become very interesting as a work 
 of art. In the chapel of the Virgin, the 
 paintings by Pinturicchio are finished 
 and aerial. Tbe splendid Cibo chapel 
 has a Conception by Carlo Maratta. 
 The third chapel, dedicated to the Virgin 
 
 and several saints, presents some re- 
 markable paintings by Pinturicchio, re- 
 stored by S. Camuccini. On the altar 
 of the fourth chapel, the basso-relievo 
 of St. Catherine between St. Anthony 
 of Padua and St. Vincent the martyr 
 is an elegant work of the fifteenth cen- 
 tury. The ceiling of the choir, superb, 
 is by Pinturicchio; behind the high altar 
 are the beautiful painted windows of 
 the French glass-stainers Claude and 
 Guillaume, invited by Bramante, the 
 only painted windows at Rome, and 
 which after more than three centuries 
 have all their pristine brilliancy. The 
 two celebrated tombs erected by Ju- 
 lius II. to the Cardinals Ascauio Sforza 
 and Recanati present the exquisite sta- 
 tues and ornaments of Conlucci da San- 
 savino. Several tombs of the middle 
 ages are also of a grand style of their 
 kind. In the next chapel is a fine As- 
 sumption, by Annibale Carraccio ; the 
 Crucifixion of St. Peter, and the Con- 
 version of St. Paul, by Michelangelo 
 di Caravaggio, beautifully executed, are 
 so badly placed that it is difficult to see 
 them well. 
 
 The Ghigi chapel, one of the most re- 
 nowned in Rome, is from Raphael's de- 
 signs; he is even said to have executed 
 the cartoons of the four mosaics of the 
 graceful cupola, of the paintings on the 
 frieze, and of the altar-piece, which 
 were finished by Sebastiano del Piombo, 
 Francesco Salviati, and Vanni. The 
 Daniel and the prophet Habakkuk whom 
 an angel is carrying by the hair of his 
 head, are by Bernini ; the Elias, the 
 elegant Jonah sitting on the whale, are 
 by Lorenzetto : the Jonas, an imitation 
 of the Antinous, justly enjoys great ce- 
 lebrity ; it has even been pretended that 
 Raphael modelled it, but the greater 
 probability is that he only gave the de- 
 sign to his favourite pupil Lorenzetto. 
 The sumptuous tomb of the princess 
 Odescalchi Ghigi, designed by Posi and 
 sculptured by Penna, appears at once 
 graceful and fantastical ; a lion is well 
 executed. 
 
 Among the sepulchral stones of this 
 church is one of a man whose death en- 
 sued from the bite of a cat on his 
 finger, as may be seen by the epitapb, 
 which contains a useful moral : 
 
 Hospes, disce novum mortis genus; Improba fells, 
 Dum irahitur, dlgilom mordet, et intereo. 
 
Chap. XV. ] 
 
 ROME 
 
 531 
 
 The tomb of a Roman noble, -who died 
 in 1485 of the venereal disease, as the 
 inscription states, • proves an important 
 medical fact, curious and but little no- 
 ticed, since this shameful death occurred 
 seven years before the discovery of Ame- 
 rica. 
 
 The church of Saint Charles is splendid, 
 but of bad taste. The architects were 
 Onorio Lunghi, his son Martin, and 
 Pietro da Gortona, who finished it. The 
 heavy front, disfigured by the enormous 
 size of its columns and their dispropor- 
 tion to the confined space where they 
 are set, is by the priest Menicucci and 
 the Capuchin Mario da Canepina. In 
 the richest chapel of the church are the 
 formal statues of David with his harp, 
 by Pacilli, and Judith, by Lebrun. The 
 St. Charles presented to Jesus Christ 
 by the Virgin, at the high altar, is the 
 largest and one of the most esteemed 
 paintings of Carlo Maratta. In this 
 church reposes Count Alessandro Verri, 
 author of the Roman Nights, a gene- 
 rous writer, full of Ihe spirit of antiquity, 
 though his exaggerated, turgid, redun- 
 dant, monotonous style, as well as his 
 pure and honourable life, are not unlike 
 an Italian Thomas. Verri has left an 
 inedited history of the French revolution 
 to the Consulate ; it would be interesting 
 to know in what light such a man has 
 considered and judged it. 
 
 The ancient church of Saint Laurence, 
 which retains the Pagan surname of Lu- 
 cina, presents a Crucifix, a fine painting 
 by Guido. Poussin is interred here. I 
 sought the tomb of the great and poetic 
 French painter with singular emotion, 2 
 and I found only the funereal inscriptions 
 of cardinals, of an engraver and anAulic 
 counsellor. M. de Chateaubriand, when 
 ambassador, has since remedied this cul- 
 pable neglect; a late mausoleum, con- 
 fided to French artists, of which Lemoine 
 supplied the design and the bust, has 
 been erected to Poussin : on it is sculp- 
 tured, at the suggestion of M. de Cha- 
 teaubriand, the melancholy landscape of 
 the Arcadia, which its simple disposi- 
 tion renders very suitable for sculpture. 
 
 ' Marco Antonii equitis Romani Alio ex nobili 
 Albertouum familiS corpore animoque insigni qui 
 annum agcns XXX peste inguinaria Interilt an. 
 salulis christians M.CCCCI.XXXV, die XXIII Julii 
 heredes b. m. p. 
 
 CHAPTER XV. 
 
 Saint Ignatius.— Roman College.— Jesuits.— Library. 
 — Christina's notes. — Kircher museum.— Saint 
 Marcellus— Pierre Gilles. — Cardinal Consahi.— 
 Gesu.— Bellarmin. 
 
 The grandeur, the richness, the orna- 
 ments of Saint Ignatius are offensive 
 from their bad taste. The faulty front, 
 by Algardi, is nevertheless imposing ; 
 the paintings on the roof of the gallery 
 are the most considerable work of the 
 famous Jesuit Pozzi, who, with all his 
 vagaries, there exhibits imagination and 
 clever effects of perspective. The tomb 
 of Pope Gregory XV., by our compatriot 
 Legros, is highly spoken of, as well as 
 the basso-relievo of St. Ludovico of 
 Gonzaga, of good mechanical execution, 
 and remarkable for the noble and modest 
 expression of the principal figure. 
 
 The Roman college, of Ammanato's 
 architecture, one of the greatest and 
 most solid masses of building known, 
 adjoins Saint Ignatius. The court is one 
 of the finest in Rome : if the whole has 
 no essential faults, it is still deficient, 
 despite its enormous proportions, in cha- 
 racter and grandeur. The Roman col- 
 lege, directed by the Jesuits, has some 
 monks distinguished for learning and 
 piety; such as P. Pianciani, a great ex- 
 perimental philosopher and chemist ; P. 
 Secchi, a good Grecian and archeologist; 
 and P. Grassi. Several of the students 
 belonged to the highest class of European 
 society ; such as M. Ch. de £***♦******** y 
 nephew of the author of the Genie du 
 Christianisme ; Count c*********** } a p ]e 
 formerly distinguished for his accom- 
 plishments, and some others, sincere 
 men, priests worthy of all respect, who 
 from conviction have relinquished the 
 most brilliant scenes of worldly greatness 
 for the humble life and condition of 
 simple monks. The Jesuits, though in 
 the very heart of their empire, had nu- 
 merous enemies, and a well-informed 
 observer expressed his conviction that 
 they could not maintain their ground. 
 
 The library of the Roman college, 
 which is considerable in number, but 
 greatly behindhand, and has lately expe- 
 
 a M. d'Aginconrt, to put down the pretensions of 
 the Italians, who claimed Poussin on account of 
 bis loDg residence in Italy, had his bust executed at 
 bis own expense, and placed it in the Pantheon 
 with the inscription, Nic. Poussin Pictori Gallo. 
 
532 
 
 ROME. 
 
 I Book XVi 
 
 ricnced losses to the amount of about 
 eleven thousand volumes, did not seem 
 to me very well arranged, and notwith- 
 standing the kindness of the guardians, 
 it was not in reality very easy of access. 
 A Quintus Curtius is annoted in Chris- 
 tina's hand; and she treats Alexander's 
 conduct very shrewdly : He reasoned 
 badly in this case, says she in one 
 place ; and in another : / should have 
 clone just the contrary; I should have 
 pardoned; and further on : / should 
 have shown clemency. The clemency 
 of Christina may seem singular after the 
 murder of Monaldeschi. It appears that 
 it was not the queen, but the woman, 
 the mistress, who took vengeance of the 
 traitor. Christina had a taste for mar- 
 ginal notes. To induce a belief in her 
 strength of mind, she had written on a 
 Seneca, Elzevir : Adversus virtutem 
 possunt calamitates, damna et injuria, 
 quod adversus solem nebula possunt. 
 At page 141 of vol. 1 of the copy of the 
 Bibliotheca Hispana (Rome, 1672, 2 
 vols, fol.), in the library of Santa Croce 
 in Gerusalemme, is the following curious 
 note relating to the work of D. Fran- 
 cesco della Cartera, entitled Conversion 
 de la Reina de Svecia in Roma, 1656, 
 which was there alluded to : Chi V ha 
 scritta, non lo sa; chi lo sa, non V ha 
 mat scritta. The books and manuscripts 
 of Muret, which he bequeathed to his 
 disciple and friend P. Benci, were added 
 to the library of the Roman college, but 
 only a small part remains there, the 
 greater number -being at the Vatican. 
 The compilation of various readings 
 and materials collected by P. Lagomar- 
 sini for a complete edition of Cicero, 
 which has not appeared and which it 
 was reserved for a learned Frenchman 
 lo publish first,' formed thirty large 
 folio volumes; some leaves. have been 
 cut out and two volumes lost, one of 
 which contained the explanations of the 
 referential signs, so that it is almost im- 
 possible to make any use of this long 
 labour. His first work in twelve thick 
 folio volumes had been suppressed on 
 account of some inaccuracies, by this 
 laborious and persevering admirer of 
 Cicero, who had examined for the Mi- 
 lesian oration alone eighty-four ma- 
 
 1 M. J. V. I.e Clerc, professor of Latin eloquence 
 and president of the Faculty of Leltei-6 in Hie Aca- 
 demy of ruiis. 
 
 nuscripts and thirteen editions. Sixty 
 Chinese volumes on the mathematics and 
 astronomy, collected by Jesuit missiona- 
 ries, would perhaps afford some in- 
 teresting discoveries. 
 
 The museum of the learned, laborious, 
 but very chimerical P. Kircher, the 
 creator of hieroglyphic erudition, is cu- 
 rious, though badly arranged, for its fi- 
 gurines, inscriptions, earthen lamps, 
 medals, cameos, glass, and other minor 
 antiquities. It has been very consider- 
 ably augmented by another learned Je- 
 suit, P. Contucci, whose shop of paintings 
 from Pompeii was, however, discovered 
 by the abb£ Bartbilemy to be the fabri- 
 cation of some clever counterfeiter. 
 Among the simple curiosities of this 
 museum, I observed a fine cameo of Sa- 
 vonarola, with an inscription giving him 
 the title of martyr, ordered by the fa- 
 naticism of his partisans, which seemed 
 to have been worn round the neck ; and 
 the unfaithful sword of the constable of 
 Bourbon, whose iron armour is at the 
 Vatican. The constable's name is written 
 on the blade, as well as those of two 
 Italian generals to whom it had pre- 
 viously belonged ; the sword has also 
 some Malabar characters, which prove 
 that it came from India, and not Da- 
 mascus. 
 
 The church of Saint Marcellus, with 
 a front by Carlo Fontana in detestable 
 taste, has some good paintings in the 
 chapel of the Crucifix : the Creation of 
 Eve, by Perino del Vaga, which recalls 
 the Florentine style and .has two little 
 angels that are lifelike; the St. Mark, 
 nearly all the St. John, by the same, 
 and the rest of the chapel, completed on 
 his designs by Daniello da Volterra, as- 
 sisted by Pellegrino of Modena. At 
 Saint Marcellus was interred the ancient 
 French naturalist and traveller, Pierre 
 Gilles, who died in 1555, the author of 
 a superficial catalogue of the fish of the 
 Mediterranean, whom Rabelais has Pan- 
 tagruellically described : " Ung urinal 
 en main, considerant en pfofonde con- 
 templation Vurine de ces beaulx pois- 
 sons." A more serious and contempo- 
 rary tomb is that of Cardinal Consalvi 
 in the chapel of the Crucifix, in which 
 his last will directed his body lobe united 
 to his beloved brother's. The mauso- 
 leum of this accomplished seductive dip- 
 lomatist, this moderate and dexterous 
 reformer of the Roman court, is a much 
 
Chap. XVI. ] 
 
 ROME. 
 
 535 
 
 esteemed work of S. Rinaldo Rinaldi. 
 
 Santa Maria in via lata, gilded and 
 modernised, is said to occupy the spot 
 where Saint Paul and Saint Peter lived. 
 The spring in the subterranean church 
 served to baptise those whom the rude 
 eloquence of the latter apostle converted. 
 The portal, by Pietro da Cortona, was 
 reckoned by him as his masterpiece of 
 architecture. 
 
 The antique church of Saint Mark, 
 several times renovated, has some good 
 works : the Battles, by P. Cosimo, a 
 Jesuit ; the Christ risen, by the younger 
 Palma ; the Adoration of the Magi, by 
 Carlo Marattaj St. Mark the pope and 
 St. Mark the evangelist, by Perugino; 
 the latter saint, and some lateral cha- 
 pels, by Rourguignon ; and the tomb of 
 Leonardo Pesaro, a Venetian, by Ca- 
 nova. 
 
 The church of the Gesu, the professed 
 house of the Jesuits, is of the architec- 
 ture of Vignola and his pupil Jacopo 
 della Porta, who has not in every instance 
 very scrupulously followed his master's 
 design, especially in the construction of 
 the portal in travertine and too ornate 
 decoration of the roof, which is not in 
 keeping with its simple, pure, and ele- 
 gant disposition. There is nearly al- 
 ways a strong breeze near the Gesu, 
 owing to the elevation of Mount Capito- 
 line and the direction of the streets. 
 The Roman populace say that the Devil 
 was one day walking with the Wind, 
 and when he reached this church he said 
 to his companion: "I have something 
 to do in here; wait for me a moment." 
 The Devil never came out, and the 
 Wind is still waiting for him at the door. 
 This splendid church presents good 
 works and a great number of very bad 
 ones. The St. Francis Xavier, by 
 Carlo Maratta, in the false and easy style 
 of Sacchi, and the Circumcision, pleas- 
 ing, by Muziano, have been praised. 
 The frescos of the roof of the gallery and 
 of the great cupola pass for the best of 
 Raciccio, a painter of the Roman school, 
 the friend of Rernini, who aided him 
 with his advice. The sumptuous chapel 
 of Saint Ignatius, from the design of 
 P. Pozzi, seems singularly formal : the 
 globe of lapis lazuli, held by the Eternal 
 Father, is the largest in existence. Two 
 of our compatriots, Th^odon and Legros, 
 seem there to dispute the mastery in re- 
 finement and exaggeration ; the first in 
 
 his group of the Japanese embracing 
 Christianity; the second, in that of 
 Faith overthrowing Heresy, which, not- 
 withstanding the defects of the period, 
 has some well executed parts. Under 
 the altar, the richest altar in the world, 
 the tomb of the saint, of gilt bronze, con- 
 trasts with his life spent in poverty, toil, 
 and sufferings; he reposes on a shroud 
 adorned with precious stones, and his 
 tall statue is of massive silver, partly 
 gilded, and further ornamented with 
 gems. The two little angels over a side 
 door of this chapel are probably the 
 least ridiculous sculptures of Rusconi, 
 and of the eighteenth century. 
 
 The Gesu holds the tomb of Cardinal 
 Rellarmin, the illustrious controversi- 
 alist, who blended the principles of the 
 sovereignty of the people and the pope, 
 revived in our days : his invectives 
 against the temporal powers, and per- 
 haps the naive vanity displayed in the 
 Memoirs of his life, have prevented his 
 canonisation. The design is by Rai- 
 naldi ; the two figures of Religion and 
 Wisdom are by Rernini. 
 
 CHAPTER XVI. 
 
 Aracoeli. — Pietro della Valle. — Column of the apart- 
 ment of the Emperors. — Mausoleum of the Savelli. 
 —Epitaph of De' Fredis.— Tomb of Fra Matteo.— 
 Sanlissimo Bambiuo. — Mamerline prison.— Saint 
 Luke. — Academy of Saint Luke.— Virgin .— False 
 scull of Raphael.— Alvarez. 
 
 The church of Aracoeli probably oc- 
 cupies the site of the temple of Ju- 
 piter Capitolinus ; but its twenty-two 
 columns of Egyptian granite cannot 
 have formed part of it, as, according 
 to Plutarch, the columns of that tem- 
 ple were Pentelic marble; differing in 
 size and workmanship, they have been 
 taken where they could be found : the 
 third, on entering, has this inscription 
 in ill-shaped antique letters : A cubi- 
 culo Augustorum ( from the bed-cham- 
 ber of the Caesars on Mount Palatine ). 
 What a strange destiny for this column, 
 to have passed from the apartment of 
 the emperors into a church of Fran- 
 ciscans ! The frescos of the Life of St. 
 Bernardin, the best being the Death of 
 the Saint, are good works by Pinturic- 
 chio; having been restored by S. Ca- 
 muccini, they present true attitudes, a 
 simple and well-conceived expression, 
 
 45. 
 
534 
 
 ROME. 
 
 [Book XV. 
 
 though somewhat stiff and dry in the 
 drawing and execution. 
 
 The famous Roman traveller and pil- 
 grim, Pictro della Valle, cited also as an_ 
 elegant writer, is interred near his be-' 
 loved wife, Sitti Maani Gisrida, a young 
 Assyrian Christian, whom he married 
 at Bagdad ; the companion of his travels 
 and his combats in Persia against the 
 Turks, she died near the gulf of Ormuz, 
 and in this same church of Aracceli he 
 celebrated her funeral with great pomp 
 and delivered a funeral oration. This 
 sensible traveller, an acute observer, 
 according to Gibbon, who had little 
 reason to censure his vanity and pro- 
 lixity, found the system of mutual in- 
 struction practiced by the Hindoos at the 
 beginning of the seventeenth century. 
 
 The celebrated mausoleum of the an- 
 cient Roman family of the Savelli, of 
 the thirteenth century, presents an an- 
 tique sarcophagus at its base, adorned 
 with Bacchic emblems, which forms a 
 singular contrast with the Gothic archi- 
 tecture of the mausoleum, the work of 
 Agoslino and Angelo di Siena, though 
 Vasari says the design was given them 
 by Giotto. The tomb, of another Giam- 
 baltista Savelli, who died a cardinal in 
 1498,isofexcellent sculpture, and has been 
 thought worthy of Sansovino"s school. 
 
 The epitaph of De' Fredis, who found 
 the Laocoon in his vineyard, shows the 
 honour which then attended such dis- 
 coveries, considered as public events, as 
 really noble actions worthy of immorta- 
 lity : ....Qui ob propria s virtutes, et re- 
 pertum Laocoontis divinum, quod in 
 Vaticano cernis, fere respirans simu- 
 lachrum, immortalitalem meruit anno 
 Domini XDXXVIll.' 
 
 The remarkable tomb of Fra Matteo 
 Acquasparta, general of the order, who 
 died a cardinal in 1302, has no inscrip- 
 tion, a singular fact which did not escape 
 Dante's ardent and minute investigation 
 into the things of Italy, when he opposed 
 the liberality and moderation of Fra 
 Matteo d'Acquasparta to the absolute 
 principles and rigour of Ubertino di 
 Casal, another chief of the order of Saint 
 Francis : 
 
 Ma non Da da Casal ne A' Acquasparta, 
 La onde veguon tali alia scritlura 
 CM' uno la lugge e l'allro la coarla. J 
 
 ' See ante, cb. v. * Parad. can. xn. 125. 
 
 J "By lleicules! '' exclaimed tbe African chief 
 
 he paintings of the chapel of Saint 
 Margaret are among the best of the 
 unequal Benefial. The roof of the chapel 
 of Saint Anthony of Padua, by Nicolao 
 Pesaro, is esteemed. A Transfigura- 
 tion, by Sermoneta, evinces a happy 
 imitator of Raphael. 
 
 At the church of Aracceli is preserved 
 the revered miraculous Santissimo Bam- 
 bino, which is carried to dying persons, a 
 small wooden figure which, according to 
 the legend, was made out of a tree of the 
 Garden of Olives by 'a pilgrim of the 
 order of Saint Francis, and coloured and 
 varnished by Saint Luke, while the 
 sculptor was asleep after a three days' 
 fast. The pompous procession of the 
 Bambino takes place every year after 
 vespers, at the feast of Epiphany. This 
 infant Jesus, wilh its swaddling-clothes 
 covered, perhaps, with millions worth 
 of pearls and precious stones, is taken 
 from the crib where it had lain exposed 
 in theatrical state between Augustus and 
 tbe sibyl from Christmas; three times it 
 is shown to the people from the top of 
 the majestic stairs of Aracceli, made of 
 marble taken from the temple of Ro- 
 mulus, and covered with the prostrate 
 and excited multitude. 
 
 The little church of Saint Joseph, 
 which has a Nativity, Carlo Maratta's 
 best work, stands over the ancient and 
 terrible Mamertine prison. This Roman 
 dungeon, formed of enormous volcanic 
 stones joined together without cement, 
 a kind of Cyclopean construction of an 
 aspect still fearful, is now a chapel con- 
 secrated to Saint Peter and Saint Paul, 
 who are said by a tradition to have been 
 imprisoned there ; and the spring still 
 seen there is taken for the miraculous 
 fountain that they made to pour forth 
 water for the baptism of saints Procelsus 
 and Martinian, Mith forty martyrs their 
 companions. In the succession of mo- 
 numents at Rome there is a kind of mo- 
 rality that paints her history : the oldest 
 monument of the kings is a prison, while 
 the tomb of the Scipios, the oldest mo- 
 nument of the republic, represents the 
 glory and virtues of that epoch. It was in 
 the Mamertine prison that Jugurlhadied 
 of shame and hunger, after entering it 
 with a jest; 3 there, too, Syphax. king 
 of Numidia, and Perseus, the last king 
 
 when thrown almost naked Into his prison, " tber- 
 mee are cold at Rome I " 
 
ClTAP. XVII. ] 
 
 ROME. 
 
 535 
 
 of Macedon, were confined ; and after- 
 wards the accomplices of Catiline, who 
 could hear the voice of Cicero accusing 
 them in the temple of Concord, were here 
 strangled without a trial ; different vic- 
 tims that all contributed to the grandeur 
 of Rome. 
 
 The church of Saint Luke was rebuilt 
 by Pietro da Cortona, who was so pleas- 
 ed with its architecture, though in- 
 ferior, that he called it his daughter. 
 The front is so lofty that it masks the 
 cupola, which is in tolerably good style. 
 The rich subterranean chapel in which 
 the body of Saint Martina reposes, the 
 ancient patroness of the church, was 
 erected by the same artist at his own 
 cost, and he left his fortune to Saint 
 Luke, amounting to 100,000 crowns. 
 The Assumption, by Sebastiano Conca, 
 though highly extolled, is ordinary, like 
 the other paintings of the church. 
 
 The Academy of Saint Luke, the in- 
 signe pontificia accademia romana di 
 belle arti di San Luca, a veritable Ro- 
 man Academy of fine arts, created in 
 the year 1588 by Sixtus V., adjoins the 
 church. Its apartments present many 
 works by the great Italian masters and 
 living professors. The patron of pain- 
 ters and of the Academy making the 
 portrait of the Virgin with the infant 
 Jesus, by Raphael, who has painted 
 himself therein, has all his admirable 
 qualities. The skull, so long shown 
 as Raphael's, near which was written 
 Bembo's celebrated and elaborated dis- 
 tich, 
 
 Ille hie est Raphael, timuil quo sospile Tiuci 
 Kerum magna parens, et moriente mori,' 
 
 which young artists used formerly to 
 touch, in great ceremony, once a year 
 with their pencils, this relic of painting, 
 since the discovery of the body of the 
 immortal artist, 8 has sunk into that of 
 the canon don Desiderio de' Adjutori, 
 the obscure founder of the society of the 
 Virtuosi of the Pantheon, — a narrow 
 skull, unworthy of the honours it re- 
 ceived and the pious veneration it so 
 long inspired. 
 
 The statue of Canova, who had been 
 named perpetual president of the aca- 
 demy, commemorates one of the bene- 
 
 ' This distich has been happily translated into 
 Italian : 
 
 Quest! e quel Raffael, cut \ ivo, viata 
 
 volent deeds of that excellent man. It 
 is by the clever Spanish sculptor Alva- 
 rez, who, being without resources 
 during the French occupation of Madrid, 
 had offered to sell some of his works to 
 the viceroy of Italy. Canova, being 
 privately consulted as to their merit, 
 answered : " The sculptures of Alvarez 
 remain on sale in bis studio because they 
 are. not in mine. " Alvarez, afterwards 
 informed of this generous conduct and 
 worthy to feel it, obtained permission of 
 the Academy of Saint Luke to execute 
 gratuitously the statue it had decreed to 
 Canova. 
 
 CHAPTER XVII. 
 
 Saint Theodore.— Saint Gregory.— Frescos of Dome- 
 nichino and Guido. — Imperia.— Navieella. — Saint 
 Stephen il Itotondo— Saint Clement. 
 
 The church of Saint Theodore is reared 
 on the site of the ancient temple of Ro- 
 mulus, on the very spot where he was 
 suckled by the wolf. The first Chris- 
 tians, who had great tact in turning po- 
 pular traditions and prejudices to ad- 
 vantage, consecrated the temple to Saint 
 Theodore, like Romulus, a warrior; 
 with this view they also frequently 
 changed the temples of the mother of 
 the gods into churches dedicated to the 
 Madonna. The people of Rome, who 
 are apt to mix their antique reminis- 
 cences with their Christian creed, have 
 corrupted Saint Theodore into San Tofo; 
 and mothers present their sick children 
 at his altar, that they may be cured, and 
 perhaps one day have the vigour of the 
 first founder of their city. 
 
 The antique church of Santa Fran- 
 cesca Romana, repaired in bad taste 
 in 1615, has the rich tomb of the saint, 
 by Bernini, and that of the French pope, 
 Gregory XI. (Pierre Roger), erected in 
 1384 by the senate and people of Rome : 
 the esteemed basso-relievo of Olivieri, a 
 Roman sculptor and architect of the last 
 century, though not free from the de- 
 fects of the time, represents the Return 
 of the Holy See to Rome in 1377. We 
 there see the desolation and ruin of the 
 eternal city, then reduced to seventeen 
 thousand "inhabitants, and more de- 
 graded, more fallen through the absence 
 
 Esser temea natura, e morto,estlnta, 
 2 See post, ch, xxili. 
 
536 
 
 ROME. 
 
 I 1500K XV. 
 
 of the popes than the inroad of the bar- 
 barians. Under the vestibule is the 
 mausoleum, in tolerably good style, of 
 Antonio Rido of Padua, governor of the 
 castle of Saint Angelo, deceased in 1475, 
 on which he is represented on horse- 
 back and in arms. 
 
 The solitary church of Saint Gregory 
 sul monte Celio, built on the site of the 
 monastery founded by this Roman patri- 
 cian, who became a great pope and a 
 singing-master, is served by the Camal- 
 dulitc monks. The front and double 
 portico are elegant, airy works by Soria, 
 an architect of the seventeenth century, 
 who resisted the progress of bad taste 
 for a considerable period. This church 
 is principally indebted for its celebrity 
 to the rival frescos of Domcnichino and 
 Guido in the chapel of Saint Andrew. 
 The Scourging of the saint, by the for- 
 mer, is a chef-d'eeuvre for elevation, 
 force of design and expression, and 
 beauly of composition ; the Dogger, wilh 
 his back towards the beholder, is admi- 
 rably drawn. The fresco of Guido, St. 
 Andrew adoring the cross before his 
 martyrdom, richer and more vigorous 
 in colouring than Domenichino's, is after 
 all inferior. At the bottom of the cha- 
 pel is a statue of St. Gregory silling, 
 which was rough-hewn wilh genius by 
 Michael Angelo, and finished by his 
 pupil, the sculptor Lorrain Cordier, 
 called Franciosino. The Concert of 
 Angels, by Guido, on the roof of the 
 gallery of the chapel of Saint Silvia, 
 mother of Saint Gregory, though much 
 praised, is not one of his best works. 
 The view of the ruins of the Caesars' pa- 
 lace is wonderfully picturesque from this 
 chapel. The chapel of the Saint has a 
 painting by Annibale Carraccio, superb- 
 ly coloured, representing him. It must 
 be confessed that if Saint Gregory, from 
 religious zeal, was as much the enemy of 
 the fine arts as is falsely pretended, he 
 did not deserve to be so magnificently 
 treated by them : but the anonymous 
 accusation of having destroyed ancient 
 monuments and thrown statues inlo the 
 Tiber, is an undoubted calumny, as no 
 contemporary writer relates this action, 
 which Saint Gregory had no right to 
 execute, and which would have made so 
 much noise at Rome, Constantinople, 
 and throughout the Roman empire. 
 
 1 Seepos/, ch. xilil. 
 
 It was at Saint Gregory that the cele- 
 brated Roman courtesan Imperia, the 
 Aspasia of the age of Leo X., the friend 
 of Reroald, Sadolet, Campani, and Co- 
 locci, obtained the honour of a public 
 monument and strange epitaph : Imperia 
 cortisana Romana, quce digna tanto 
 nomine, rarce inter homines forma 
 specimen dedit; vixit annos xxvi dies 
 xn, obiit 1511 die 15 augxisti. Both mo- 
 nument and inscription were destroyed 
 in the last century,, not for scruple or 
 decency, but by inadvertence during cer- 
 tain repairs. The existence of Imperia, 
 and the kind of dignity of a Roman 
 courtesan, are features characteristic of 
 the pagan manners, if we may say so, 
 of the literati at the revival. 1 Imperia 
 was sung by her learned friends in Latin 
 and Italian verse. Bandello relates that 
 such was the luxury of her apartments, 
 that the ambassador of Spain repeated 
 there the insolence of Diogenes, by spit- 
 ting into the face of a servant, saying he 
 could find no other place for it.' Im- 
 peria seems also to have been very eru- 
 dite, as we see in Bandello's description, 
 that beside her music books, her lute, 
 and other instruments, there lay several 
 richly ornamented works in Latin and 
 the vernacular tongue : Parecchi libretti 
 volgari e latini riccamente adornati. 
 In the fifth chapter of Paolo Gio vio's trea- 
 tise de Romanis piscibus (Basil, 1531), 
 there is a very amusing story of an old 
 Roman parasite, Titus Tamisius, who 
 sent his valet to the market to ascertain 
 where the best fish went to. Being in- 
 formed that the head of an umbra was 
 sent to one of the Conservators (according 
 to an old usage that allowed these offi- 
 cials the head of fishes of extraordinary 
 size), then presented to two cardinals, 
 and to the banker Ghigi, he followed it 
 with much fatigue and anxiety until it 
 last went to Imperia, to whom Ghigi sent 
 it crowned wilh flowers in a gold dish, and 
 with whom the impudent Tamisius suc- 
 ceeded in dining. The daughter of Im- 
 peria, married at Siena, was a model of 
 chastity; being entrapped, like Clarissa, 
 inlo a house of ill fame, by Cardinal Pe- 
 trucci, rather than yield she look poison 
 and fell dead at the feet of her infamous 
 ravisher. Geronimo Negro Jhus speaks of 
 her unhappy fate in a letter to Marcanto- 
 nio Micheli of Grotta Ferrata, of Decem- 
 
 1 fart. Wo, nov, -42. 
 
Cbap. XVIII.) 
 
 ROME. 
 
 537 
 
 ber 19, 1 522 : Questo caso tanto piii e de- 
 gno di esser celebrato, e quasi preposto 
 al fatto diLucrezia, quanto, che questd 
 donna fu figlia di una pubblica e fa- 
 mosa meretrice, che fu V Imperia, cor- 
 tigiana nobile in Roma, come sapete.* 
 
 The ancient church Santa Maria in 
 Dominica, called della Navicella, from 
 a little vessel put in front by Leo X., was 
 cleverly renovated on Raphael's designs. 
 The portico is by Michael Angelo, and 
 the frieze painted in clare-obscure, by 
 Giulio Romano and Perino del Vaga. 
 
 Saint Stephen il Rotondo, which is 
 only open early on Sunday mornings, is 
 an instance of an antique edifice (perhaps 
 a temple dedicated to Claudius) con- 
 verted into a church about the fifth or 
 sixth century: its successive repairs show 
 the retrogression of art. The numerous 
 paintings of Pomarancio and Tempesta, 
 representing different Martyrdoms of 
 Saints, bad enough, are the most hideous 
 and complete collection of executions that 
 can be imagined. 
 
 The antique church of Saint Clement 
 presents the best preserved model of the 
 disposition of the first basilics. How 
 grand and popular does Christianity ap- 
 pear at its birth from this solemn ar- 
 rangement, presenting a double pulpit 
 for the public reading of the Epistle and 
 the Gospel! We feel it a moral, posi- 
 tive, instructive religion, whose precepts 
 are binding on all mankind without dis- 
 tinction. Some traces of this primitive 
 religious equality seem perpetuated at 
 Rome in the practices of the public ser- 
 vices: every body kneels on the bare 
 pavement of the temples, and we see no- 
 thing of the devotional comforts of our 
 parish churches to mark a distinction of 
 rank. The different compartments of the 
 aisles also show the various grades, the 
 holy hierarchy of the catechumens; the 
 Church was then a militant body which 
 had its degrees of advancement, and vir- 
 tue alone produced the distance. It is 
 no unreasonable supposition that in the 
 centre of the atrium formerly stood the 
 fountain in which the pagans purified 
 themselves, probably the origin of the 
 Christian holy-water vase. The foun- 
 dation of the church of Saint Clement, 
 with all its antiquity, is not so old as the 
 fifth century, as some persons have stated, 
 who confound it with another basilic of 
 
 ' leilere <le' Prindpi. Venice, 1562, 1. 1, p. 81. 
 
 the same name, which fell to ruin and 
 was demolished by Pope Adrian I., about 
 the close of the eighth century. The 
 present church is of the ninth century, 
 and it manifests the extent to which most 
 of the traditions and practices employed, 
 in Roman buildings were perpetuated in 
 the west, especially in Italy. The grace- 
 ful frescos of the chapel of Saint Cathe- 
 rine, of Masaccio's youth, though badly 
 retouched, still prove, after little less 
 than four centuries, the talent of that 
 great painter. The most remarkable 
 tomb is cardinal Roverella's, an elegant 
 work of the fifteenth century. 
 
 CHAPTER XVIII. 
 
 Saint John In Laterano.— Piazza. — Obelisk.— Baptis- 
 try. — Scala Santa.— Sancta Sanctorum.— Front. — 
 Apostles.— Corsini chapel. — Agrippa's urn. — Mar- 
 tin V.— Heads of Saints Peter and Paul.— Mosaics. 
 —Painting of Grotto.— Abbe Cancellieri.-On the 
 cultivation of letters in Italy. — Door.— Santa Croce 
 in Gerusalemme. — Convent library.— Porta Mag- 
 Riore.— Basilic of Saint Laurence. — Saint Bibiana. 
 — Bernini's statue.— Saint Eusebius. 
 
 The piazza of Saint John in Laterano 
 presents the most colossal and finest of 
 known obelisks, erected at Thebes by the 
 illustrious Thoutmosis II., the same as 
 King Mocris, the enterprising creator 
 of the lake ; this obelisk, respected by 
 Cambyses, who mutilated and threw 
 down all besides, was carried off by Con- 
 stantine, and exhumed in a broken state 
 from the ruins of the Circus Major by 
 Sixtus V., under the direction of Fon- 
 tana, who re-erected it. This superb 
 obelisk, a single block of red .granite, 
 ninety-nine feet high without the pedestal , 
 covered with hieroglyphics most perfectly 
 sculptured, has been sung by Tasso : 
 
 L'obelisco di note impresso intorno,* 
 
 so much was the poet's imagination in- 
 spired by the apparition of these old and 
 mystic monuments. All history is found 
 at Rome, from that of Egypt to the latest 
 times, from the Pharaohs down to the 
 kings and princes of Napoleon's family. 
 This admirable city assembles the mys- 
 terious monuments of Egypt, the poetic 
 chefs-d'oeuvre of the Greeks, and her 
 own grand monuments. 
 The Baptistry of Constantine, the 
 
 * Rime, Part. II. 345. See ante, ch. i. 
 
538 
 
 ROME. 
 
 [ Book XV. 
 
 founder of Saint John in Laterano, who 
 erected about 324 this first, this mother 
 of Christian basilics (Sacrosanta Latera- 
 nensis ecclesia, omnium urbis et orbis 
 ecclesiarum mater et caput, as it is 
 called), was reared on the supposed place 
 of his doubtful baptism by Pope Silvester. 
 It has been renovated several limes, but 
 still preserves the circular form it had in 
 the ninth century. The eight great 
 paintings of the Life of St. John the 
 Baptist, by Andrea Sacchi, though 
 boasted, are, like the other paintings of 
 this sumptuous edifice, in bad taste and 
 without remarkable qualities. 
 
 The Scala Santa, a beautiful portico, 
 of Fontana's architecture, built under 
 Sixtus V., preserves, according to a pious 
 tradition, the twenty-eight steps of Pi- 
 late's house, which were ascended and 
 descended by Jesus Christ during his 
 passion. These steps were so worn by 
 the faithful, who ascend them on their 
 knees, that it was found necessary to co- 
 ver them with thick planks, which have 
 been worn away and renewed several 
 times. 
 
 At the top of the Scala Santa is a 
 chapel, which is rarely open and acces- 
 sible to few but the pope, cardinals, and 
 clergy; it contains the venerated an- 
 tique image of Christ, seven palms in 
 height (about six feet and a half). Be- 
 hind this chapel is the famous Sancta 
 sanctorum, a walled-up chamber, an 
 obscure sanctuary, the subject of innu- 
 merable popular tales, which must have 
 been more than once opened in secret, 
 and the priestly mystery of which seems 
 little worthy of Christianity in the pre- 
 sent day. 
 
 The theatrical front of Saint John in 
 Laterano, erected by the Florentine ar- 
 chitect Galilei, for Clement XII., is one 
 of the most imposing masses of architec- 
 ture of its kind. In the vestibule is an 
 antique marble statue of Constantine, 
 found in his Thermae on the Quirinal 
 Mount. Under the lateral portico is a 
 great, but indifferent, bronze statue of 
 Henry IV., by Cordier; it has little me- 
 rit except in the casting, and was erected 
 to him by the chapter, as a benefactor to 
 the basilic, and his descendants pre- 
 served the singular title of first canons. 
 Every year, on the 13lh of December, 
 Henry IV. 's birthday, a chapel was held 
 at Saint John in Laterano : the ambas- 
 sador of France there represented the 
 
 most Christian King on an estrade placed 
 in the choir. The bronze gale in the 
 centre, of superior workmanship, be- 
 longed to the Emilian basilic of the 
 Forum ; it is the only model of the an- 
 cient gates called quadrifores. The 
 principal nave, covered by one of the 
 most splendid ceilings ever beheld, 
 though of the elaborate architecture of 
 Borromini, is not deficient in grandeur. 
 The twelve colossal stalues of iheApostles, 
 fifteen feet six inches in height, was a 
 noble undertaking in sculpture, but it 
 was badly executed. The figures, ac- 
 cording to the usage of that period, are 
 draped but not dressed, and the person- 
 ages could not take a step without losing 
 their habiliments. The folds of St. Phi- 
 lip's robe look like splinters of rock, and 
 the artist Mazzuola, Bernini's pupil, has 
 surpassed his master in disorder of dra- 
 pery. The composition of the St. James 
 the Less, Angelo Rossi's best work, is the 
 best of these bad performances. The 
 Prophets painted, despite the elogiums 
 heretofore lavished on Conca's Jonas 
 and Andrea Procaccini's Daniel, are 
 neither less heavy nor less formal than 
 the Apostles. 
 
 The rich, agreeable, and smiling Cor- 
 sini chapel, the most beautiful in Rome, 
 is Galilei's masterpiece, and is distin- 
 guished for the good style of its orna- 
 ments and judicious disposition. The 
 celebrated porphyry urn of the magni- 
 ficent tomb of Clement XII. was under 
 Ihc portico of the Pantheon, which pro- 
 cured it the false surname of the urn of 
 Agrippa, who was interred in the mau- 
 soleum of Augustus. 
 
 The bronze tomb of the great Martin 
 V. (Colonna), who died in 1430, by Si- 
 mone of Florence, Donatello's brother, 
 is remarkable. With this illustrious 
 pope, who replaced Cossa,' begins in 
 some manner the individual history of 
 Rome, a city ever conquered and pil- 
 laged, never possessed, and which has 
 never been subject a moment, except to 
 France. 
 
 The Gothic tabernacle of the high al- 
 tar, a monument curious for the history 
 of art in the fourteenth century, is due 
 to the munificence of the celebrated 
 French pope Urban V. (Grimoard), 
 whose arms it bears, as well as those of 
 the king of France, Charles V., who as- 
 
 1 See ante, book x. ch. ix. 
 
Chap. XV1H. ] 
 
 ROME. 
 
 539 
 
 sisted him; among many other relics it 
 contains the heads of Saint Peter and 
 Saint Paul, found by Urban, at the be- 
 ginning of the year 1368, among the 
 ruins of the old basilic which had been 
 destroyed by fire. This pope, whose 
 lively faith was equal to his learning and 
 charity, after passing all one. night with 
 the cardinals in Saint John in Laterano, 
 opened the doors in the morning to the 
 impatient crowd, and showed them the 
 precious heads, a miraculous discovery, 
 which procured each of these Romans, 
 who were transported with joy and, as 
 Baluze says, thought themselves once 
 more masters of the world, a hundred 
 years and a hundred quarantains of in- 
 dulgences, and it was regarded through- 
 out Europe as one of the most, brilliant 
 events of Urban's glorious pontificate. 
 
 The splendid altar of the Holy Sacra- 
 ment, from Olivieri's designs, has four 
 antique columns of gilt bronze supposed 
 to proceed from the temple of Jupiter 
 Capitolinus, and to have been made 
 by Augustus, of the bronze from the 
 rostra of Egyptian vessels taken at Ac- 
 tium; another tradition says they were 
 brought from Judea to Rome by Vespa- 
 sian. An Ascension is by the Cav. 
 d'Arpino, interred in this church as well 
 as Andrea Sacchi, his contemporary and 
 rival in facility and false taste. The altar 
 of the Saviour, erected by Nicholas IV., 
 still preserves its curious mosaics exe- 
 cuted in 1291 by Jacopo da Turrita, a 
 monk of the Minorite order, and his 
 companion Jacopo di Camerino. The 
 two fluted columns of antique yellow 
 supporting the organ are esteemed the 
 finest of that precious marble. 1 One of 
 the first monuments of art in the basilic 
 is the painting attributed to Giotto, which 
 represents Boniface VIII. between two 
 cardinals, publishing the famous jubilee 
 of 1300. 
 
 Among the new tombs of Saint John 
 in Laterano, may be observed that of the 
 abbe" Cancellieri, near the monument 
 which he consecrated to his protector, 
 Cardinal Leone Antonelli, and who has 
 obtained the honour, reserved to cardi- 
 nals alone, of being buried in this basi- 
 lic. The extensive, easy, indefatigable 
 and almost encyclopedian erudition of 
 
 ' This marble, which the ancients drew from 
 Macedonia, must not be confounded with the Co- 
 rinthian vellow. 
 
 the abbe" Cancellieri is celebrated among 
 the learned. I was fortunate enough to 
 know this true model of Roman urba- 
 nity, who received me most kindly in 
 1826, some weeks before his death. I 
 yet remember his pretty house al mas- 
 cherone di Farnese, with a Latin in- 
 scription and a view of the Tiber, in 
 which this amiable and affectionate old 
 man gave his Sunday morning recep- 
 tions. There, on a long sofa occupying 
 all one side of the saloon, and a longseat 
 parallel to it, sat in two close rows car- 
 dinals, prelates with short cloaks, chiefs 
 of orders with their ample garments, 
 foreigners attracted to Rome by the love 
 of learning, professors, etc., all met to 
 enjoy literary conversation. The dis- 
 covery of a column, a temple, an in- 
 scription, a medal, or a manuscript, be- 
 came there an important event to be 
 discussed with gravity, sometimes with 
 enthusiasm ; it was the same to this 
 learned society as our amendments, ad- 
 dress, and majority are to us. The spirit 
 of investigation, our political and philo- 
 sophic eclecticism, in Italy are occupied 
 with the ruins and monuments of the 
 past. Though ecclesiastics were the 
 most numerous, there was not the least 
 question of theological disputes: the Ro- 
 man clergy have that kind of moderation 
 and security which power imparts, and 
 do not experience the same difficulties 
 as an aspiring and suffering clergy. All 
 these literati cultivated learning and 
 study for the pleasures they afforded; 
 for literature in Italy is not a source of 
 emolument; a man must be rich to 
 write; there is in reality no literary pro- 
 perty, and, most frequently, authors 
 think themselves particularly favoured 
 when the bookseller will bear the ex- 
 pense of printing. Milan, Venice, and 
 Florence are the only towns where ma- 
 nuscripts are occasionally paid for; their 
 price is rarely 40 franks a sheet, which, 
 for a volume of 500 pages, brings the 
 author about 1200 franks. The noblest 
 minds in Italy do not raise by their la- 
 bours the splendid tributes of eminent 
 writers in France and England : the 
 translation of the Iliad procured Monti 
 no more than i,000 francs ; Parini was 
 rather high in his demands when he 
 exacted 150 sequins (nearly 72Z. sterling) 
 of a Venetian bookseller for a reprint 
 of his pretty poems II Mattino and II 
 Mezzogiorno, to which he had added 
 
5*0 
 
 ROME 
 
 [Boot XV. 
 
 la Sera; the first edition of Manzoni's 
 fine tragedy of Adelchi did not clear its 
 expenses, "and his popular Promessi 
 Sposihave returned him but very little. 
 To all these miseries add the obligation, 
 much more rigorous in Italy than in 
 France, of presenting one's book to all 
 sorts of friends, even those who detest 
 you, a compulsory homage ridiculed by 
 the abb6 Galiani, when he published his 
 Reflections on the Neapolitan dialect 
 without the author's name, and said that 
 he knew no belter means of preserving 
 both his books and his friends. 
 
 The curious Gothic cloister of Saint 
 John in Laterano, of the thirteenth cen- 
 tury, presents some singular monuments 
 of the middle ages. 
 
 The gate of Saint John, the ancient 
 Porta Asinaria, was rebuilt under 
 Gregory XIII. by Jacopo delta Porta. 
 It was on this side that Totila penetrated 
 into Rome, through the treason of the 
 Isaurian soldiers. 
 
 The basilic of Santa Croce in Geru- 
 salemme, founded by Saint Helena on 
 the ruins of the gardens of the infamous 
 Heliogabalus and .the remains of the 
 Castrense amphitheatre, ' one of the 
 Roman churches that are visited for 
 obtaining indulgences, is served by the 
 Bernardine monks of the congregation of 
 Lombardy. Its name is derived from 
 the largest of the too numerous pieces of 
 the true cross, preserved among its relics. 
 The Invention of the Cross, by Pintu- 
 ricchio, on the ceiling of the gallery, has 
 several good figures of warriors. The 
 mosaics of the chapel of Saint Helena are 
 by Baltassare Pcruzzi. The convent 
 library is now very limited. Under the 
 French administration it was removed to 
 the Vatican, and when restored to the 
 convent in 1815, it was put in a provi- 
 sional apartment where, a great number 
 of the manuscripts were stolen; several 
 have been found at Petruccis, a book- 
 seller of Rome, who had been previously 
 prosecuted for purchasing articles of this 
 kind. It has a fine copy of Cicero's de 
 Senectute, transcribed by the princess 
 Ippolita Sforza, daughter of Duke Fran- 
 cesco, and consort of the king of Naples 
 Alfonso II., with a great number of 
 thoughts collected by her, a monument 
 of the enthusiasm and ardour for study 
 
 1 See pott, ch. iliii. 
 
 2 See ant( y boots v. cb. xii. 
 
 which animated the greatest ladies of the 
 fifteenth century. * 
 
 The Porta Maggiore, built by Claudius, 
 is a majestic wreck of those aqueducts 
 which, according toM.de Chateaubriand, 
 brought water to the imperial people on 
 triumphal arches. 
 
 The basilic of Saint Laurence extra 
 muros, like Saint Clement's, characte- 
 ristic for its pulpits, real suggesta called 
 ambos, and its disposition, * is said to be 
 as old as Constantine. This church, in 
 which Pope Honorius III. crowned a 
 Frenchman, Pierre de Courtenay, count 
 of Auxerre, emperor of Constantinople, 
 is now chiefly frequented by the country 
 people who come to Rome to sell their 
 produce, and the service is performed 
 before sunrise. Among the frescos of 
 the portico, painted in the beginning of 
 the thirteenth century, and of the Gi a?co- 
 Italian school, representing the Martyr- 
 dom of the saint, the Coronation of 
 Courtenay, and other subjects from the 
 history of Honorius, who built the portico, 
 may be remarked the demons contend- 
 ing for the soul of Saint Michael and 
 weighing his actions, as in the Iliad 
 Jupiter put the fate of the Greeks and 
 Trojans in a balance. A lizard and a 
 frog sculptured on the volutes on t\>o 
 capitals of the twenty-two Ionic columns 
 of granite, were sculptured by Scaurus 
 and Batrachus, artists of Sparta, working 
 at Rome, who, not being allowed to 
 inscribe their names, contrived to make 
 themselves known by representing the 
 two reptiles their homonyms. Near the 
 dcor, is a Roman marriage in basso- 
 relievo on a fine sarcophagus, the tomb 
 of Cardinal Guglielmo Fieschi, nephew 
 of Innocent IV. The twelve precious 
 antique columns almost buried since 
 Pope Honorius raised the pavement of 
 the church, present richly ornamented 
 Corinthian capitals. The "modern paint- 
 ings are all inferior. 
 
 The church of Saint Bibiana, too often 
 shut, contains the simplest, most graceful, 
 and best work of Bernini in sculpture, 
 and one of his first, the statue of the 
 saint, one of the most pleasing produc- 
 tions of modern art : when Bernini 
 executed this, he had not taken such 
 pains to corrupt his style : the present 
 front of this church is also by him. 
 
 ' See the next chapter. 
 
Ckap. XIX. ] 
 
 ROME. 
 
 5U 
 
 The roof of Saint Eusebius, painted by 
 Mengs, was one of his youthful perform- 
 ances, and, as with most men of elabo- 
 rate and systematic talent, it is perhaps 
 the warmest and truest of his works. 
 
 CHAPTER XIX. 
 
 Santa Maria Maggiore. — Chapel of Sixtus V. — 
 Mosaics. — Borghese chapel. — Obelisk. — Saint 
 Praxede.*— Saint Martin. — Landscapes.— Saint 
 Pudenziana. 
 
 The front of Santa Maria Maggiore, 
 rebuilt under Benedict XIV. by Ferdi- 
 nando Fuga, one of the last celebrated 
 architects of Italy in the eighteenth cen- 
 tury, is of inferior architecture. The 
 interior renovation of the basilic, orna- 
 mented with a superb ceiling of gilt 
 panels, the finest church ceiling known, 
 and a baldachin supported by four Co- 
 rinthian columns of porphyry, is infinitely 
 superior and passes forFuga's best work. 
 This decoration, as well as the whole 
 aspect of the splendid edifice, has some- 
 thing gay, showy, worldly, and almost 
 profane. The thirty-six Ionic columns 
 of white marble in the grand nave seem 
 to have belonged to a temple of Juno. 
 The baptistry, formed of a magnificent, 
 richly-ornamented porphyry vase for- 
 merly in the museum of the Vatican, 
 was given by Leo XII. The chapel del 
 Presepio, by Fontana, admired for its 
 form and symmetry, was ordered by 
 Siitus V. when only Cardinal Montalto; 
 Gregory XIII., supposing from such an 
 expenditure that he was very rich, sup- 
 pressed his pension (piatto); and the en- 
 terprise would have remained unfinished, 
 if the architect, no less devoted to the 
 cardinal than anxious to execute his own 
 designs, had not advanced the sum of 
 1,000 Roman crowns, the fruit of his 
 savings. The noble disinterestedness of 
 Fontana was the source of his fortune 
 and procured him the friendship of 
 Sixtus V. : shortly after the Shepherd 
 of Montalto became pope; the chapel 
 was finished, and sung by Tasso. l In it 
 is the tomb of the ambitious pontiff, the 
 approver of regicide, the founder of the 
 ecclesiastical government of the Roman 
 states, a deranged machine which he 
 
 i Rime. Tart. Ilia, la CaDz. IV. Mtra devotamenle 
 alma penlita. 
 2 The quarries of antique red were situated be- 
 
 himself would now doubtless reform in 
 some parts, but retain its spirit of equality 
 and plebeian constitution, its first, most 
 ancient, and wisest principle. 
 
 The mosaics of the choir, by Fra Jacopo 
 da Turrita, though really of the thirteenth 
 century and ordered by Nicholas IV., 
 another shepherd and mountaineer of the 
 Marches, who attained the papal throne 
 before Sixtus V., do not appear of so 
 barbarous an epoch. The mosaics over 
 the arch and columns of the middle nave, 
 representing different subjects from the 
 Old Testament, date from the fifth century 
 and were ordered by Sixtus III., the 
 friend of Saint Augustine, a simple pastor 
 of Rome, who, notwithstanding his evan- 
 gelical poverty, anticipated the encou- 
 ragements that were one day to be la- 
 vished on the arts by so many powerful 
 pontiffs, his magnificent successors. 
 
 The Borghese chapel, prodigiously 
 rich, makes one regret that its accessories 
 are not as pure as its character is grand. 
 Bernini and his school executed the tombs 
 of Clement VIII. and Paul V., the founder 
 of the chapel. The paintings are inferior 
 to those in the chapel of Sixtus V., the 
 best in the basilic. 
 
 Here, too, are the tombs of the popes 
 NicholasIV., ClementlX., the sepulchral 
 stone ofPiatina and themausoleun of a 
 cardinal Consalvi of the thirteenth cen- 
 tury, by Giovanni Cosmate, who bears 
 the noble title of civis Romanus in the 
 inscription. 
 
 The brilliant chapel of the Madonna, 
 which has four angels by theCav. Arpino 
 on its cupola, is especially remarkable 
 for the graceful, living frescos of Guido 
 
 In the square behind the basilic, is the 
 obelisk which was brought to Rome, 
 placed before the mausoleum of Augustus 
 with that on Monte Cavallo, and reared 
 again under Sixtus V. by Fontana. 
 
 At Rome only is it possible to find 
 simplicity and extreme magnificence 
 combined, in the same edifice, to such a 
 degree. For instance, in the little and 
 ancient church of Saint Praxede the 
 ascent to the high-altar, supported by 
 four porphyry columns, is by a double 
 Might of steps of antique red, regarded as 
 the most considerable block of that pre- 
 cious marble. ■■> In the chapel of the 
 
 tween the Nile and the Red sea ; this marble has 
 become rare because they have never been worked 
 since the ancients. 
 
 46 
 
6*2 
 
 ROME. 
 
 IBook XV. 
 
 martyrs Saint Zenon and Saint Valcnti- 
 nian, a large fragment of a column of 
 oriental jasper, brought from Jerusalem 
 in 1223 by Cardinal Giovanni Colonna, 
 passes, as do some other fragments at 
 Saint Anthony of Padua, for a part of 
 that to which the Saviour was fastened 
 when scourged. The fine mausoleum of 
 a Breton cardinal of the family ofTaille- 
 bourg, bishop of Sabina, who died in 
 1474, is an interesting monument in 
 respect to art. The Ascension, on the 
 ceiling, is in the first and better style of 
 the Ca v. d'Arpino. Some figures painted 
 in fresco by Guercino are not without 
 merit. In the sacristy is the celebrated 
 and superb Flagellation, by Giulio Ro- 
 mano. 
 
 The antique church of Saint Martia 
 de' Monti, with its subterranean oratory, 
 its catacombs, its old Madonna, and its 
 modern embellishments, seems a poem 
 with progress and action. Though in- 
 jured by time, its collection of landscapes 
 painted in fresco hy Guaspre Poussin is 
 admirable and unique in churches; the 
 figures are by Nicolas, Guaspre's illlus- 
 trious brother-in-law, a formidable name- 
 sake who has too much eclipsed him. 
 
 The church of Saint Pudenziana, re- 
 paired in 1598, has in its gallery a mosaic 
 of the eighth century, ordered by Pope 
 Adrian I., in astonishing preservation, 
 and reckoned by Poussin one of the best 
 in the old style. In the middle of nu- 
 merous figures and a varied landscape, 
 the Saviour is represented with a book in 
 his hand, on which is written : Dominus 
 conservator ecclesice Pudentianw. 
 
 CHAPTER XX. 
 
 Saint t'cter in Vincoli.— Michael Angelo"s Moses.— 
 Santo Maria of Loretto. — Restorations. — noly 
 Apostles. — Mausoleum of Clement XIV. 
 
 The acclivity leading lo Saint Peter in 
 Vincoli recalls one of the most horrible 
 
 1 Cut e costui cbe in si gran pielra scolto 
 Siede giganle e Ie piii illustri e conle 
 Opre dell' arte avanza, e ha vive c pronto 
 Le labbra si che Ie parole aseolto ? 
 
 Questi e Mose, ben mel diraostra it folio 
 Onor del memo, c il doppio raggio in fronte; 
 Questi e Mose quando scendea dal moate, 
 E gran parte del Nunc a\ea nel volto. 
 
 Tal era allor che Ie sonant) c raile 
 
 crimes of ancient Rome, as it is pretended 
 lo be the place or the street called Scele- 
 rata, because the ambitious and infa- 
 mous Tuilia had there driven her car 
 over the corpse of the king her father. 
 
 The church of Saint Peter in Vincoli 
 was built by the empress Eudoxia, wife 
 of Valentinian III., under the pontifi- 
 cate of Saint Leo the Great, to receive 
 the chain which had bound tlje apostle 
 in the prison of Jerusalem. This vene- 
 rated chain is still shown to the people, 
 and kissed by them on the festival of Saint 
 Peter. The majestic church of Saint Pe- 
 ter in Vincoli, rebuilt by Adrian I., re- 
 paired under Julius II., was put in its 
 present state in 1705 by Francesco Fon- 
 tana, a descendant of Domenico ; the 
 nave has twenty columns remarkable for 
 their Grecian character, which resem- 
 bles divers fragments of the architec- 
 ture of Adrian's villa. 
 
 The tomb of Julius II., though unfi- 
 nished and far short of the immense 
 proportions it ought to have, is the most 
 important created by modern art. It 
 does not, however, contain his corpse, 
 which lies neglected in the Vatican. It 
 must be confessed that there existed an 
 analogy such as is seldom seen between 
 the genius of Michael Angelo and the 
 character of Julius II., who had actively 
 employed him. The bold menacing ex- 
 pression and proud attitude of the co- 
 lossal Moses belong no less to the haughty 
 pontiff than the Hebrew legislator. This 
 famous Moses has inspired two superb 
 sonnets and a multitude of other verses : 
 the first sonnet is by an indifferent poet, 
 Giambattista Zappi; the second, by Al- 
 fieri, is however inferior to the first.' 
 
 The adjustment of the figure, though 
 treated broadly, is open to censure; the 
 head has been thought too little, the 
 beard enormous ; the body seems to wear 
 a flannel waistcoat, and the kind of pan- 
 taloons with gaiters which cover the 
 thighs and long legs arc scarcely in cha- 
 
 Acque ei sospese a se d' intorno, e tale 
 Quando il mar chtuse, c no fe' tomba altrui. 
 
 F. voi, sue turbe, un rio vitello alzaste ? 
 Alzatoaveste imago a questa emiale, 
 Cb' era meu fbllo 1' adorar costui. 
 
 Oh I cht ss' tu, che maestoso tanto 
 Marmoreo siedi ; cd hai scolpito in vollo 
 
Chap. XX.] 
 
 ROME. 
 
 543 
 
 racter for a Moses. But the arms, hands, 
 and feet, admirable for their anatomical 
 science, rival the Laocoon. The four 
 middling statues in the niches are by Ra- 
 phael da Monlelupo, Michael Angelo's 
 pupil. The mausoleum, of formal ar- 
 chitecture, as sometimes happens with 
 this great master, is covered with masks 
 and satyrs, a singular instance of the 
 continuation of the old practice of placing 
 profane emblems on sacred monuments. 
 
 The half-figure of Saint Margaret, in 
 the next chapel, passes for one of Guer- 
 cino's most carefully finished works. 
 The celebrated Deliverance of St. Pe- 
 ter, in the sacristy, is of Domenicbino's 
 younger days. 
 
 The eonvent adjoining is from the de- 
 signs of Giuliano San Gallo, and the cis- 
 tern in the court by Michael Angelo. 
 
 The restoration of Santa Maria of Lo- 
 rello, which was in danger of falling, is 
 one of the works conferring most ho- 
 nour on Antonio San Gallo : thus to re- 
 store, says Vasari, is to create and even 
 something more. It is nearly the same 
 with the restoration of states, much more 
 difficult and rare than founding them. 
 The principal merit of this dome, by 
 Giuliano San Gallo, Antonio's uncle, 
 consists in its being the first erected at 
 Rome on the system of a double vault. 
 The general style is not without some 
 heaviness, a defect aggravated to the eye 
 by the enormous and faulty lantern wilh 
 which this monument has been since 
 overloaded by Jacopo del Duca. The 
 painting at the high altar is esteemed 
 one of Perugino's best. A statue of 5m- 
 sanna, by Fiammingo, is graceful but 
 somewhat affected. 
 
 The talents, the gratitude, the excel- 
 lent personal qualities of Canova are 
 conspicuous at the Holy Apostles. In 
 this church is the cenotaph consecrated 
 by him to the celebrated engraver Yol- 
 pato, his countryman, friend, and fellow- 
 student, the cornpanion of his youth and 
 his hopes, with an ingenious inscription 
 by Monsignor Gaetano Marini, which 
 states that Canova was only twenty-five 
 years old when he made the mausoleum 
 
 Triplice onor, ch' uom nullo ha in se raccollo; 
 Legislator, guerrler, ministro santo ? 
 
 Tu del popol d'Iddio, che in lungo pianto 
 Servo e sul Kilo, i Cerrei lacei uai sciolto; 
 11 tiranno d' Egitlo in mar sepollo ; 
 61' idoli in un con gl' idolalii infranlo. 
 
 of Pope Clement XIV., placed in this 
 same church. Canova refused the order 
 of a statue of the emperor Alexander 
 proposed by the senate of Corfu, that he 
 might honour the ashes of his friend. 
 The noble composition and the figures 
 of Temperance and Meekness of the 
 mausoleum of Clement XIY. announced 
 the end of the horrible taste which had 
 prevailed for a whole century, and the 
 revival of true sculpture. The success 
 was universal, and the satirical Milizia 
 wrote that the ex-Jesuits even praised 
 and blessed the Ganganelli of marble. 
 A monumental and votive tablet, with 
 an inscription, recalls another feature of 
 the touching gratitude of Canova to- 
 wards the Venetian senator Falieri, the 
 man to whom we owe Canova, who 
 drew him from his village and paid his 
 first lessons. 
 
 This interesting church of the Apostles 
 was, until the sixteenth century, the 
 theatre of one of those popular feasts, 
 then common in other churches of Italy, 
 a species of Thespian games, which seem 
 more suitable for a street or a public 
 square than a Christian temple. Every 
 year, on the first of May, the festival of 
 Saint Philip, the patron of the church, a 
 pig was suspended by a rope from the 
 roof, or placed on a stand, and pails of 
 water were thrown from above on those 
 who attempted to seize this unclean 
 prize, the winning of which excited the 
 joyous transports of the multitude. 
 
 Among the paintings of the Holy 
 Apostles, is an esteemed St. Anthony, 
 by Luti, in the chapel of that name, the 
 cupola of which, by Kasini, or rather by 
 Baciccio. is reaily stunning, according to 
 liedi's expression : faceva stordire il 
 mondo. Tbe Martyrdom of St. Philip 
 and St. James, at the high altar, by 
 Domenico Muralori, bad in the colour- 
 ing, is the largest altar-piece in Rome. 
 Under the portico of the church, a great 
 antique basso-relievo, representing an 
 eagle with an oaken crown and ex- 
 tended wings, is one of the finest models 
 of this kind of ornament. 
 
 At the convent of the Minorite Friars 
 
 Quant' eri in terra, in questo sasso or spiri ; 
 Che il divin Michelangelo non tacque 
 Kiuno in le de tuoi caldi alti desirl. 
 
 Michelangel, che a te minor non nacque; 
 E che, intricato in tuoi raminghi giri, 
 Avria fatt' egli scaturir pur 1' acque. 
 
544 
 
 ROME. 
 
 [Boor XV. 
 
 of Saint Francis, who perform the ser- 
 vices of the church, are many tombs and 
 among them that of Cardinal Bessarion. 
 A cenotaph is consecrated to Michael 
 Angelo, the decrepit figure is striking for 
 its truth and resemblance. The funeral of 
 Michael Angelo, like Canova's, was cele- 
 brated at the Holy Apostles, where he 
 would have reposed, as directed by the 
 pope, until the monument he intended to 
 erect to him in Saint Peter's was finished, 
 if Cosmo de' Medici had not caused the 
 body of the illustrious Florentine to be 
 taken away by night and restored to his 
 jealous country. 
 
 CHAPTER XXI 
 
 Saint Silvester.— Dominican nuns.— Saint Charles 
 alle Qualro Fontane. — Saint Andrew. — Sepolte 
 vive.— Sauta Maria della Vittoria. — Group of Saint 
 Theresa. 
 
 The church of Saint Silvester is the 
 place where the cardinals meet pre- 
 viously to going in procession to the con- 
 clave. It has some few paintings. In the 
 fine chapel of the Assumption, the pic- 
 ture on slate, by Scipione Gaelano, is 
 well drawn, of good effect, and graceful 
 in colouring. The four little paintings 
 of the cupola are Domenichino's best; 
 the Esther in a swoon is preferred. 
 There are two tombs of remarkable 
 men : one of the famous jurisconsult 
 Prospero Farinacci, procurator-fiscal, no 
 less vicious than talented, of whom Pope 
 Clement VIII., when according him par- 
 don, said, in allusion to his name, that 
 if the flour were good, the sack was very 
 filthy; the other, that of the illustrious 
 man of letters and politician, Cardinal 
 Gui Benti-voglio, historian of the wars 
 in Flanders, who had prescribed the 
 plainness of his funeral and of this tomb, 
 so embarrassed were his circumstances 
 at the period of his decease. 
 
 To the church of Saint Dominick and 
 Saint Sixtus is annexed the rich monas- 
 tery of the Dominican nuns, loaded with 
 benefactions by the Doria family. The 
 prioress {la madre priora) must always 
 be a Roman princess ; and this aristo- 
 cratic convent reminds us of the chapel 
 of patrician chastity in ancient Rome, 
 the door of which was closed by the Ro- 
 man dames against the wife of a consul, 
 
 ' It was the wife of the consul Volumnius; 
 Irritated at such an outrage, she dedicated a 
 
 because she (a patrician) had married a 
 plebeian. 1 Human pride penetrates even 
 into the practices of religion, and often 
 merely assumes another form. " Sack- 
 cloth," says Nicole, "cilices, and disci- 
 pline are sometimes at its service." 
 There are twelve mothers at the Domi- 
 nican nunnery, and about as many pu- 
 pils belonging to the best houses. The 
 education, neglected, as under the old 
 manners of Italy, is that of women of 
 the world. The cells, with their flowers, 
 birds, and little fountains, are charming. 
 The architecture is considered equal to 
 the finest constructions of the kind. 
 From the terraces on the roof there is 
 nothing to be seen but the best pre- 
 served side of the Coliseum, and it ap- 
 pears perfect thence. In the court is a 
 high tower of brick, which some per- 
 sons supposed to be erected by Augustus 
 or Trajan for the soldiers charged with 
 the guarding of the neighbouring forums, 
 but the greater probability is that it was 
 built about 1300 by Pope Boniface VIII. 
 with ancient and excellent materials. 
 
 The church of Saint Catherine of 
 Siena, another dependance of the Domi- 
 nican nuns, of Sofia's architecture, pre- 
 sents, beside some inferior paintings, a 
 good Magdalen, by Luti, and a fine Re- 
 surrection of the Saviour, one of the few 
 works of Genga, the compatriot of Ra- 
 phael, and like him a pupil of Perugino. 
 
 The small church of Saint Charles alle 
 qaatro Fontane, the fantastical master- 
 piece of Borromini, with a front par- 
 taking of madness, is a kind of tour de 
 force, as it only occupies the space of 
 one of the four pilasters of Saint Peter's 
 cupola. The court of the convent ad- 
 jacent thereto is no less extraordinary, 
 and in its diminutive proportions, it pre- 
 sents a double portico of twenty-five co- 
 lumns one over the other. The painting 
 of the high altar and an Annunciation 
 are by Mignard. 
 
 The church of Saint Andrew of the 
 Jesuits' Noviciate, of Bernini's architec- 
 ture, is a little monument which, not- 
 withstanding its licence, possesses rich- 
 ness, variety, and a certain charm. In 
 the chapel of Saint Francis Xavier, orna- 
 mented with three paintings by Baciccio, 
 the Saint dying in the Chinese isle of 
 Sancian is pathetic. The humble tomb 
 
 temple to plebeian chasttty. 
 x. 24. 
 
 Titus I.ivlus, lib. 
 
(jHAP Ail. J ttt 
 
 of Charles Emmanuel IV., king of Sar- 
 dinia, who abdicated in 1802 and died a 
 Jesuit at this convent in 1819, is by the 
 Piedmontese sculptor Festa. The cha- 
 pel Saint Stanislas Kostka, which has a 
 boasted painting of Carlo Maratta's at 
 the high allar, presents some lateral 
 paintings by our David, before he had 
 completed the reform of his style." In 
 the Noviciate, the chamber of Saint Sta- 
 nislas, converted into a chapel, has the 
 statue of the saint dying, by Legros, a 
 polychromatic figure full of affectation, 
 and of a reality of the very worst taste, 
 whose head, hands, and feet are white 
 marble, the habit and couch of black and 
 yellow. 
 
 In the neighbourhood is the convent 
 of the reformed Capuchin nuns, known 
 by the fearful name of Sepolte vive; 
 whicb, being poor and rigid, forms a 
 true contrast with the sumptuous mo- 
 nastery of the proud Dominicans. Here, 
 the vocations arc sincere, ardent; worldly 
 arrangements or family interests inter- 
 fere not therewith, and the noviciate of 
 a year seems long to these impatient 
 souls. It may be further remarked, 
 that if convents of men were more re- 
 laxed in Italy than in France, the regu- 
 lation of nunneries was more severe. A 
 lady distinguished by her rank and qua- 
 lities, who had obtained from the pope 
 the rare favour of visiting the convents 
 of Rome, described to me with admira- 
 tion the serenity, piety, contentment, 
 and even the joy of these Sepolte vive, 
 who keep a perpetual Lent, have a 
 death's head on the refectory table, and 
 sleep in their coffin; they arc not even 
 sallow or pale, but ruddy. Their sepa- 
 ration from the world is truly eternal, as 
 they never leave their cloister, living or 
 dead, but are buried there. So familiar 
 are they with death, that young nuns 
 have sometimes demolished with their 
 hands the masonry of the tombs, that 
 they might examine the countenances of 
 their companions in their last abode. 
 This kind of passion and curiosity is by 
 no means barbarism, amid the manners 
 and sensualism of hot countries. The 
 reader may remember the young Sici- 
 lian of Boccaccio's touching novel, who, 
 having learned in a dream where the 
 body of her lover, assassinated by her 
 brothers, was lying, went and secretly 
 
 1 See ante, book is. cli. vll. 
 
 disinterred it, cut off the head, shut her- 
 self up with it, covered it with her tears 
 and kisses, and, having put it in a pot of 
 sweet-basil which she moistened with 
 her tears, and with rose and orange 
 water, died of grief when the flourishing 
 and odoriferous plant was taken away 
 from her.* As at La Trappe, when one 
 of the sisters has lost her father or mo- 
 ther, she is not informed of it ; the su- 
 perior only announces to the assembled 
 nuns that one of them has lost a parent, 
 and prayers are said in common: a dread- 
 ful uncertainty, which unceasingly re- 
 news in the heart of these nuns the most 
 cruel grief that we can feel. All the 
 power of religion is necessary to resist 
 such trials; human feelings could not go 
 far, but would succumb to some of these 
 vague and menacing communications. 
 The fearful mystery was on one occasion 
 revealed in a very pathetic manner. The 
 father of a nun was accustomed to send 
 her flowers and fruits on her saint's day ; 
 it seems that he died some days before ; 
 the young nun not receiving her usual 
 present, no longer doubted the loss she 
 had suffered, when the superior came to 
 announce the death of a father, and the 
 unfortunate one fainted in the midst of 
 her companions, who were, for once, 
 delivered from their filial apprehensions. 
 
 The church of Santa Maria della 
 Vittoria takes its title from the image of 
 a Madonna, whose intercession procured 
 several victories over the Turks and he- 
 retics in Germany. The flags hanging 
 from the roof have a most noble origin : 
 they were taken at the raising of the 
 siege of Vienna, on the 12th of Septem- 
 ber, 1683, in the octave of the Nativity. 
 Cardinal Fesch is the titulary of this 
 church : its surname and warlike remi- 
 niscences are well-suited to an uncle of 
 Napoleon. The splendid front, by Soria, 
 was raised at the expense of Cardinal 
 Scipione Borghese, as the price of the 
 fine Hermaphrodite formerly at the villa 
 of that name, now in our museum, a 
 chef-d'ceuvre found in the garden ad- 
 joining the convent of the Carmelite?, 
 who, being doubtless embarrassed with 
 such a statue, ceded it to the cardinal. 
 
 The celebrated group of Saint The- 
 resa, Bernini's reputed masterpiece, was 
 modestly regarded by himself as his least 
 feeble work ; though expressive and pic- 
 
 2 (Horn. lVa, Nov. v. 
 
5*6 
 
 ROME. 
 
 [Book XV. 
 
 turesque, it is deficient in taste, nature, 
 propriety, and that decent grace which 
 the subject required. The angel about 
 to lanch his symbolic dart is only a kind 
 of devout Cupid, and the condition, the 
 reclining attitude of the saint, seem rather 
 a swoon than an ecstasy of the soul. 
 
 The best paintings in the church are 
 the Virgin and St. Francis, by Domc- 
 nichino ; the Trinity, by Guercino, and 
 the portrait of the Cardinal, by Guido. 
 
 CHAPTER XXII. 
 
 Santa Maria degli AngelL— Columns.— Meridian. — 
 Cloister. — Porta I'ia. — Saint Agnes. — Lambs.— 
 Saint Conslanlia— Capucuins.— Trioilade' Monti. 
 — Stairs.— Obelisk. — Descent from the Cross. 
 
 Santa Mariadegli Angeli was the prin- 
 cipal hall of Diocletian's vast Thermae: 
 water is still found on this spot. Michael 
 Angelo was eighty-eight years old when 
 he drew the design of this church. The 
 Greek cross, also changed and lengthened 
 in the last century, shows how prodigious 
 would have been the effect of Saint 
 Peter's, if the plan of Michael Angelo had 
 been followed. Under the vestibule are 
 the tombs of certain celebrated, rather 
 than great personages : Carlo Maralta's, 
 designed by himself, with a bust by his 
 brother; Sal vator Rosa's, with a hyperbo- 
 lic epitaph, attributed to P. Paolo Oliva, 
 general of the Jesuits, which declares 
 him equal to the first painters of his time 
 and the first poets of all ages : Piclorum 
 sui temporis nuUi secundum, poetarum 
 omnium temporum principibusparem ; 
 and that of Cardinal Francesco Alciali, an 
 able jurisconsult and writer, as was his 
 uncle, the famous Andrea, beating the 
 inscription : Virtuti vixil — memoria 
 vivit — gloria vivet. On the tomb of 
 Cardinal Parisio, formerly professor of 
 law at Padua and Bologna, employed by 
 Paul III., are these three verses : 
 
 Corpus uumo tegitur, 
 Fama per ora volat, 
 Spirilus asira tenet. 
 
 The eight colossal columns of granite, 
 left in their original position anil buried 
 at the base by Michael Angelo, on ac- 
 count of the humidity of the soil which 
 he was obliged to raise, supported this 
 spacious hall. A B . Nicholas Albergati, 
 at the altar of the grand chapel, by Gra- 
 ziani, is execrable. The St. Jerome, 
 
 preaching to a crowd of hermits, by 
 Muziano, though well drawn, is rude and 
 disagreeable in effect and colouring. The 
 St. Sebastian, by Domenichino, is 
 injured by time and not reckoned 
 among his best works; it is now less 
 honourable to the talent of the artist than 
 that of the engineer-artisan, Zabaglia : ' 
 this fresco, of twenty-two feet high by 
 thirteen in breadth, was executed at Saint 
 Peter's, but when it was proposed to 
 replace the paintings by mosaics because 
 of the damp, the removal of the Saint 
 Sebastiau, declared impossible by the 
 learned, was effected by Zabaglia, who 
 transported the painted wall, first to the 
 mosaic workroom, and thence to its 
 present place. The Death of Ananias 
 and Sapphira, by Pomarancio, is one of 
 his least false compositions, at Rome. 
 The Fall of Simon the Magician, by 
 Pompeio Batoni, has some very good 
 parts. The author may be regarded as 
 the Vien of the modern school of Rome, 
 but he has had no David to accomplish 
 the reform which he began. The Em- 
 peror Valens, partisan of the heretics, 
 fainting while St. Basil celebrates 
 mass, by Subleyras, of Languedoc, is 
 much extolled for the architecture, co- 
 louring, and draperies. 
 
 The great meridian was determined 
 in 1701 with extreme accuracy, by the 
 learned Francesco Bianchini, assisted by 
 the clever astronomer Maraldi, a worthy 
 descendant of Cassini, who like him 
 settled at Paris and died there. 
 
 The vast cloister of the Chartreuse, 
 buik by Michael Angelo on the site of 
 Diocletian's Thermae, some rooms of 
 which, with a hundred travel tinecolumns 
 supporting the portico, form part of the 
 present buildings, breathes a certain 
 religious and melancholy majesty, which 
 induces oblivion of this world's things, 
 and explains the penitent, contemplative 
 life of the few monks that dwell therein. 
 The decrease of the monastic population 
 in Italy, which we have already re- 
 marked, continues even at Rome, and 
 the number of monks and nuns stated by 
 a Parisian philosophical journal at thirty 
 thousand souls, was only, in 1832, two 
 thousand and thirty-eight of the former, 
 and one thousand three hundred and 
 eighty-four of the latter. In the centre 
 s a fountain, round which Michael An- 
 
 ' See post, ch. miii and xix, 
 
gelo planted four cypresses, gloomy, mo- 
 tionless, monumental trees, which seem 
 (o harmonise with the stillness and austere 
 gravity of the cloister. At the entrance, 
 the grand, sage, touching, and noble 
 statue of St. Bruno, by Houdon, the 
 ideal of humility, and which might be 
 taken for one of Lesueur's figures sculp- 
 tured, is an honour to modern art and 
 the French chisel. " It would speak," 
 said Pope Clement XIV., " if the rule of 
 its order did not prescribe silence." 
 
 In going to the church of Saint Agnes, 
 I passed by the Porta Pia, a work of 
 Michael Angelo's old age, and I was 
 reminded oWtho, Agesilas, and Attila. 
 " It was by the. Porta Pia," rightly, but 
 somewhat affectedly, says M. Quatre- 
 mere, " that all the capricious fantasies, 
 disinterred in after times to destroy ar- 
 chitecture, entered and were introduced." 
 
 Saint Agnes has preserved the form of 
 the ancient Roman basilics better than 
 any other church. This ancient edifice, 
 one ofthe most celebrated establishments 
 of Christianity, was erected by Constan- 
 tino, at the entreaty of his daughter 
 Constantia, on the very spot where the 
 body of the chaste heroine had been 
 found. Her statue is formed of an an- 
 tique torso of oriental alabaster, with 
 head, hands, and feet of gilded bronze, 
 modern. In one ofthe three aisles, four 
 superb columns, two of marble oiporta 
 santa and two of pavonazzetto, which 
 have as many as a hundred and forty 
 flutes.are unique for that singularity. 'The 
 four columns of the baldachin over the 
 tomb are of the finest porphyry. In the 
 chapel of the Madonna is an antique can- 
 delabra, and on the altar a tolerably fine 
 head of Christ, attributed to Michael 
 Angelo, but one half of the skull deficient. 
 
 A pastoral and poetic ceremony takes 
 place on the saint's festival ; two Iambs 
 receive the papal benediction and are 
 sent by the pope to a house of nuns 
 charged to tend them and keep the wool, 
 which is blessed on the eve of Sts. Peter 
 and Paul and kept in a gilt urn under 
 the high altar of Saint Peter's ; and is 
 used by none but the holy father, the 
 archbishops, and the bishop of Ostia, who 
 has the exclusive right of consecrating 
 the pope, if he be not a bishop. 
 
 The round church of Saint Constantia 
 never was a temple of Bacchus as some 
 
 * See ante, cli. i. 
 
 have supposed, because the mosaics ofthe 
 roof presented vine leaves and bunches 
 of grapes, which, despite the difference 
 of religion, were also the emblems ofthe 
 first Christians. The church seems to 
 have been built by Constantine, at the 
 same epoch as Saint" A gnes, and it became 
 the mausoleum of the two Constantias, 
 his sister and daughter. The circular 
 ruins, fronting the church, seem to be 
 of the seventh century, and were proba- 
 bly a boundary wall to unite Saint Agnes 
 >nd Saint Constantia. 
 . The plain church of the Capuchins, 
 called Santa Maria dellaConcezione, has 
 some paintings. The St. Michael, on 
 silk, by Guido, far too much extolled as 
 one of his chefs-d'oeuvre, as the design is 
 weak and affected, the attitude con- 
 strained, the adjustment in the worst 
 taste, bears little resemblance to Ra- 
 phael's Saint Michael, a real archangel, 
 of which Guido's Saint Michael is but an 
 awkward copy. The painter, to revenge 
 certain criticisms of Cardinal Pamfili, 
 afterwards Innocent X., represented him 
 under the hideous features of Lucifer. 
 In his justification, Guido said that the 
 resemblance was the effect of chance, 
 and that it was not his fault that the 
 cardinal was so ugly. He wrote to Car- 
 dinal Francesco Barberini, who had or- 
 dered the painting : Vorrei aver avuto 
 pennello angelico, e forme di paradiso 
 per formare VArcangelo, e vederlo 
 in cielo. Ma to non ho potuto salir 
 tanto alto, e in vano I' ho ricercato in 
 terra. Sicche ho riguardato in quella 
 forma, che nelV idea mi sono stabilito. 
 The St. Francis in ecstasy was a present 
 from Domenichino to the Capuchins : 
 Camassei, a clever pupil of this great 
 master, did the Piety. The St. Paul 
 healed by Ananias, is one of the least 
 incorrect works of Pietro da Cortona. A 
 plain stone on the ground with this 
 humble inscription ; 
 
 Ilic jacet pulvis, cinis et nihil, 
 
 marks the grave of Cardinal Francesco 
 Barberini, brother of Pope Urban VIII., 
 once a Capuchin, who built the church 
 and monastery. The little cemetery, 
 formed of four vaulted rooms, is curious 
 for its skeletons standing erect in Capu- 
 chin's robes and the artistical arrange- 
 ment of the bones. 
 The paintings of the brilliant church 
 
548 
 
 ROME. 
 
 [Book XV. 
 
 of Saint Isidore belong to the first masters 
 of the epoch of the decline, very little 
 esteemed by artists of the present day. 
 These paintings are : two chapels and 
 a Conception, by Carlo Maratta, and the 
 Saint, at the high altar, a boasted work 
 of Andrea Sacchi's. 
 
 The front of Saint Andrew delle frate 
 owes its completion, like several others 
 at Rome, 10 the sale of diplomatic snuff- 
 boxes bequeathed by Cardinal Consalvi ; 
 the other half was devoted to the erec- 
 tion of the mausoleum of Pope Pius VII., 
 his benefactor, at Saint Peter s. The 
 most splendid was the snuff-box of the 
 Concordat of 1801, which cost 30,000 fr. 
 This front, of the judicious architecture 
 of S. Valadieri, contrasts -with the cupola 
 of Borromini and his extravagant steeple, 
 which oscillates with the motion of the 
 bells. The rich chapel of Saint Francis 
 de Paule has two angels by Bernini. 
 The Death of St. Anne is a fine statue 
 by Pacetti. Among many other tombs 
 may be distinguished those of Angelica 
 Kauffmann, the learned Dane Zeoga, 
 and the elegant Prussian sculptor Ro- 
 dolph Schadow, northern tombs that 
 prove the invincible attractions of Rome 
 and Italy for all the lovers of the arts 
 and of antiquity. 
 
 The noble stair of the Trinita de' 
 Monti, though not very pure, was con- 
 structed in the last century by a legacy 
 of Elienne Gueffier, formerly secretary 
 of the French embassy at Rome, who 
 afterwards settled there. 
 
 The obelisk proceeding from the circus 
 in Sallust's garden shows the magnifi- 
 cence of Pius VI., who had it removed 
 from the square of Saint John in Late- 
 rano, where it lay neglected, to erect it 
 in this tine position . The church, found- 
 ed by Charles VIII. at the entreaty of 
 Saint Francis de Paule, was consecrated 
 by Sixtus V., and ornamented with 
 paintings executed at the cost of the car- 
 dinal de Lorraine. Abandonned in 179S, 
 it owes its restoration to the munifi- 
 cence of Louis XVIII. and the talents of 
 Mazois. The fresco of the Assumption. 
 by Daniello of Volterra, has suffered 
 much j nothing is left of the Apostles, 
 and it is barely possible to form an opi- 
 nion of the ensemble of the composition : 
 on the right may be distinguished the 
 portrait of Michael Angelo, the author's 
 
 1 See ante, cli. i. and Yaricles Ilalienncs. 
 
 master ; the circle of little angels around 
 the Virgin is of an elegant, poetic effect. 
 The Massacre of the Innocents has some 
 fine parts well preserved; the cartoon 
 only of this painting is by Daniello of 
 Volterra; it was coloured by his pupil 
 the Florentine Michelangelo Alberti. 
 The celebrated Descent from the Cross, 
 by the same Daniello, was cited by Pous- 
 sin as one of the three best paintings of 
 Rome; despite the sad alterations i;. has 
 undergone, enough of it is still left to de- 
 monstrate that Poussin had accurately 
 classed it. It is much admired for the 
 expression, the pantomime of the group 
 of the Virgin and the holy women, the 
 sublimity, the drawing of the figure of 
 the Christ, who really falls come corpo 
 morto cade,* and the man on a ladder 
 with his back towards the spectator, so 
 full of vigour, so wonderfully drawn. A 
 Procession of penitents during a plague 
 by Saint Gregory the Great under the 
 likeness of Leo X., with the archangel 
 Michael appearing over Adrian's mole, 
 is curious, and shows the form and con- 
 dition of the mausoleum under the latter 
 pope. The church has been ornamented 
 with paintings by pupils of the French 
 Academy, who have since become clever 
 masters. The following are remarkable : 
 St. Louis depositing on the altar the 
 crown of thorns brought from the Holy 
 Land, by M. Thevenin, composed with 
 judgment, but feebly executed ; a Repose 
 in Egypt, by M. Schnetz; a Flagella- 
 tion, of extraordinary facility, by Leon 
 Palliere, a young man of great promise, 
 who died two years after his return from 
 Rome ; the Christ giving the keys to St. 
 Peter, one of the works of M. Ingres, 
 excellent for the character of the heads. 
 
 CHAPTER XXIII. 
 
 Pantheon. — Minerva. — Obelisk. — Inscription.— 
 Christ, by Michael Angelo.— Tombs of I.eo \. and 
 Bembo. — Pagan manners of the rewv.il — Tombs 
 of Fra Angelico and Paulus Mauutius. — Casana- 
 lense library.- Index. — Pontifical.— Prints. 
 
 The piazza of the Pantheon is amirket, 
 with a pretty fountain .surmounted by a 
 little obelisk of Eeypiian granite covered 
 with hieroglyphics. 
 
 The Pantheon of Agrippa, the most 
 elegant edifice of ancient Rome, and the 
 
 > Dante, /«/■., can. v. 142. 
 
Chap. XXIII.] 
 
 ROME. 
 
 best preserved of its antique monuments, 
 is to the present moment the finest mo- 
 nument of modern Rome. The simple 
 and noble portico with itssuperbcolumns 
 of Egyptian marble, the chef-d'oeuvre of 
 Greek and Roman architecture, which 
 displays a prodigious knowledge of sta- 
 tics, presents festoons, candelabra, pa- 
 terae, and other sacred basso-relievos of 
 perfect execution. The two little spires 
 that Pope Urban VIII. obliged Bernini 
 to add thereto, have been compared to 
 two ass's ears, and are singularly absurd 
 over such a pediment. The great bronze 
 door is antique, as well as the palisades 
 placed over it. In the niches on each 
 side stood the colossal statues of Agrippa 
 and Augustus ; for the latter was un- 
 willing to be put in the interior of the 
 temple, and as he refused to have it de- 
 dicated to himself, it was consecrated by 
 his friend, minister, and son-in-law, to 
 Jupiter the Avenger. The majestic in- 
 terior, which retains most of its antique 
 lining of precious marble, being disposed 
 with far more skill than Saint Peter's, 
 seems much more extensive than it 
 really is. The pavement of granite and 
 porphyry, the finest of temple pavements 
 and the only one that is left us, would 
 be sufficient to give an idea of Roman 
 magniflcence, and of the beauty, the so- 
 lidity of the materials then used. This 
 admirable monument of eighteen centu- 
 ries has not been conquered by time ; 
 it has only suffered from men, who have 
 torn away from the roof its brilliant or- 
 naments of silver and gilt bronze, which 
 the ancients always adopted. It is inte- 
 resting to ascend to the exterior opening 
 of the cupola, to form a complete idea of 
 its aspect. We read in a manuscript 
 narrative of the sack of Rome preserved 
 at the Vatican, that Charles V., when 
 he visited this city in 1536, wished to 
 be conducted to the opening of the cu- 
 pola. A young Roman gentleman, 
 Grescenzi, who had been ordered to ac- 
 company him, coc'essed to his father 
 that he was almost tempted to push him 
 into the interior to revenge his country 
 for the. sack of Rome in 1527, and the 
 old Italian said : "My son, such things 
 as that should be done and not talked 
 about." Except the beautiful statue of 
 the Madonna del Sasso, by Lorenzetto, 
 placed in the chapel where his immortal 
 f riend Raphael is interred, and where his 
 oones were found untouched three cen- 
 
 turies after on the 14th of September 
 1833, the Pantheon has no superior work 
 of art, but itself is an all-sufficient wonder. 
 At this same altar of the Madonna is the 
 but little noticed tomb of an illustrious 
 master, Annibale Carraccio. The plain 
 cenotaph enclosing the entrails of Cardi- 
 nal Consalvi, cardinal-deacon of Santa 
 Maria della Rotonda, is by Thcrwald- 
 sen ; the portrait has the merit of resem- 
 blance. The effect of the moon's rays 
 through the lantern of the cupola, and 
 of the fleecy clouds which float through 
 the sky and pass over the silvery disc of 
 theplanetjiscuriousandworlhobserving. 
 
 Behind the Pantheon are the remains 
 of Agrippa's splendid thermae, the first 
 established at Rome, and which, as well 
 as his gardens, he bequeathed at his 
 death to the Roman people. 
 
 In the piazza della Minerva is the 
 smallest obelisk in Rome, which, by a 
 singular coincidence, was dedicated to 
 the goddess Neith, the Egyptian Minerva. 
 It formerly stood near the adjacent tem- 
 ples of Isis and Serapis ; like the one in 
 the piazza of the Pantheon, it has been 
 fantastically placed like a tower, by Ber- 
 nini, on the back of an elephant, the 
 work of his pupil Ferrata. The moral 
 and rather subtile inscription partakes 
 of the affected taste of this school : Sa- 
 pientis Egypti insculptas obelisco fi- 
 guras, ab elephanto, belluarum fortis- 
 sima gestari quisquis hie vides, docu- 
 mentum intellige, robustce mentis esse 
 solidam sapientiam sustinere. The 
 subject was taken from the strange ro- 
 mance of Francesco Colonna, a monk of 
 the fifteenth century, under the title of 
 Hypnerotomachia, or the Dream of Po- 
 lyphilus. 1 
 
 The church della Minerva takes its 
 name from an ancient temple of that 
 goddess erected by Pompey after his 
 victories. Although ceded more than 
 four centuries ago to the Dominicans, 
 who have rebuilt it, by the Benedictine 
 nuns of the Campus Martius, refugees 
 from Greece (an alliance of words only 
 to be found at Rome), this Gothic church, 
 austere and simple, is still worthy of its 
 poetical name from its monuments of 
 art and literary recollections, 
 
 Michael Angelo's Christ, full length, 
 and as if armed with his cross, has an 
 angry air, such as no other artist would 
 
 1 cap. iu, lib. I. 
 
55 
 
 ROME. 
 
 [Book XV. 
 
 ever have conceived. This figure, one 
 of his most scientific and most finished 
 works, is nevertheless destitute of the 
 expression, majesty, and divinity which 
 belong to the Saviour. 
 
 The Last Supper, in one of the first 
 chapels, is Baroccio's latest work. A 
 Crucifix, in a little chapel, is ascribed to 
 Giotto. The great chapel of the Oaraffa 
 of Naples, dedicated to Saint Thomas 
 Aquinas, has the Saint's life, by the 
 young Lippi, in which the Dispute is the 
 most ably treated; the ceiling, by his 
 pupil Raffaellino, called del Garbo, who 
 has surpassed him and seems there ab- 
 solutely worthy of his graceful surname ; 
 the excellent painting at the altar by 
 Fra Angelico; the tomb of Paul IV. 
 (Caraffa), by the illustrious Pirro Ligu- 
 rio. In the next chapel may be remarked 
 the tomb, ornamented with sculptures 
 and mosaics by the Cosmati, of Guillaume 
 Durand, a Frenchman, who preferred 
 his savage bishopric of Mende to the 
 archbishopric of Ravenna, and whose 
 fine Rationale (of 1459) was, according 
 to some bibliographers, the first book 
 printed in movable cast characters, with 
 date and printer's name. The ceiling 
 of the chapel of the Rosary, by Venusti, 
 a happy imitator of Michael Angelo, is 
 esteemed : the Madonna of the altar is 
 by Fra Angelico. The inscription on the 
 tomb of the illustrious scholar Latinus 
 Juvenalis Manelto proudly records that, 
 being named by Pope Paul HI. as guide 
 and antiquarian to Charles V. when he 
 came to view its monuments, he had ad- 
 monished him of the grandeur of Rome : 
 Carolum V. Aug. Romam venientem 
 excipiens, veterum monument a sus- 
 picientem, romance virtutis admonuit. 
 Behind the high-altar are the tombs of 
 Leo X. and his cousin Clement VII., by 
 Baccio Bandinelli. The statue of the 
 former pope has his usual common- 
 place appearance, which seems surpris- 
 ing in the restorer of learning, a person 
 distinguished for elegant taste. His pi- 
 tiful funeral oration was delivered by an 
 obscure cameriere, and what Bern bo, 
 Sadolet, Giovio, Giraldi, and many other 
 eloquent, flowery orators were then 
 doing, is quite a mystery. At the foot 
 of. Leo X.'s mausoleum., on the pave- 
 ment, is the tomb of Cardinal Bembo, 
 which was consecrated to him by his 
 
 1 See ante, ch. xvii. 
 
 natural son Torquato Bembo, whom he 
 had of La Morisina : the inscription 
 states that he was admitted into the Sa- 
 cred College ob singulares ejus virtutes. 
 Illegitimacy of birth was not then a re- 
 proach. These tombs of Leo X. and 
 Bembo, with the life of Imperia, ' ex- 
 hibit, in the manners of the literati of 
 the revival, a reflection of Paganism 
 produced by the new studies, a sort of 
 antique incredulity and corruption which 
 Ariosto, Bembo's friend, forcibly de- 
 picts in the satire he addressed to him 
 respecting the difficulties and even the 
 perils attending the education ofVir- 
 ginio, the most beloved of his two na- 
 tural children. » 
 
 Near the door are the three great 
 mausoleums of the cardinals Alessan- 
 drino, Pimentelli, and Benelli, by Jacopo 
 della Porta, Bernini, and Rainaldi. A 
 plain stone is sacred to a more illustrious 
 man, the Dominican monk, Fra Ange- 
 lico, who deserved his sweet surname 
 by the holiness of his life and paintings, 
 so much do his lovely, grave, and pure 
 figures seem copied from heaven. The 
 inscription happily expresses his talents 
 and his virtues : 
 
 Non mibi sit laudi quod eraoi velut alter Apelles, 
 Sed quod lucra tuis omuia, Cbriste, dabam. 
 
 Altera Dam terris opera eitant, altera coclo 
 Urbs ine Joauucni flos tulit Blrurtw. 
 
 In a column of the nave, opposite the 
 chapel of the Confraternity of the Sa- 
 viour, is the tomb of Paulus Manutius, 
 the worthy son of Aldus the elder. The 
 four words of the inscription, which 
 record his origin, appear sufficient and 
 very beautiful : 
 
 Paulo Manutio 
 
 AldiOlio. 
 Obiit ciDiOLXiiv. 
 
 This inscription seems to have escaped 
 the learned researches of M. Renouard, 
 who says, in his Annales de Vlmprime- 
 rie des Aides, that Paulus.Manutius was 
 buried at the Minerva without any se- 
 pulchral inscription. 
 
 The library of the Minerva, ca'.'ed 
 Casanatense, from the name of the Nea- 
 politan cardinal librarian of the Vatican, 
 so well judged and appreciated by Saint- 
 Simon, who chiefly augmented it and 
 
 * See Sat. VI. and ante, book vn., en. xii and xiii. 
 
Chap. XXIV.] 
 
 ROME. 
 
 551 
 
 endowed it in 1700, with an income of 
 400 piastres, now contains a hundred 
 and twenty thousand volumes exclusive 
 of the detached papers, and four thou- 
 sand five hundred manuscripts. It is 
 the most considerable in Rome for print- 
 ed books, and may be regarded as its 
 first public library. Access to the books 
 is readily accorded with courtesy by the 
 Dominicans, and I experienced every 
 politeness from the R. P. Magno, who 
 has been librarian for thirty years. I 
 even obtained admission into the over- 
 stored cabinet of books prohibited by the 
 papal authorities. The catalogue of these 
 books up to the year 1826 contained 
 works that I was surprised to find there 
 still, such as the Meditations and nearly 
 all the works of Descartes, Fleury's Ca- 
 techisme historique, several of Malebran- 
 ehe's letters and treatises, and one of the 
 finest and most powerful works in favour 
 of religion, Abbadie's Traite de la Ve- 
 rite de la Religion chretienne. It is 
 evident that these condemnatory decrees 
 are irrevocable, as most of those excellent 
 writings are now esteemed the best apo- 
 logies of Christianity. The works of 
 Descartes and the Catechisme were 
 marked with the formula donee corri- 
 gatur, as well as the Decameron and 
 certain licentious works, on which it 
 appears much more reasonable. 
 
 The most ancient manuscript of the 
 Casanatense is a Roman Pontifical of 
 the ninth century, on fine parchment, 
 with curious miniatures representing the 
 different sorts of ordinations; it formerly 
 belonged to Landolfo, bishop of Capua. 
 There is a very rare edition of the Pen- 
 tateuch in Hebrew characters, printed, 
 according to some authorities, at Sora in 
 the kingdom of Naples, according to 
 others at Soriain Spain, and in S.Rossi's 
 opinion, at Soura in Portugal. A large 
 bible on parchment, executed by hand 
 with wooden characters, shows the tran- 
 sition from manuscripts to printing. The 
 collection of prints, the plates of which 
 arepreservedintheCalcografiacamerale, 
 is superb and amounts to several thou- 
 sands. In the great hall, the statue of 
 Cardinal Casanata, by Legros, is distin- 
 guished by the expression of the physiog- 
 nomy and its superior drapery. 
 
 Two theologians, charged to refute the 
 errors or resolve the difficulties in reli- 
 gious matters that may be submitted to 
 them, are attached to the Casanatense. 
 
 They form a gratuitous tribunal, which, 
 as I was informed, is not often consulted. 
 Nevertheless it is only just to do homage 
 to the enlightened and tolerant spirit of 
 the present theologians, the R. P. Magno, 
 and the R. P. Degola, also librarian of 
 the Casanatense, an excellent ecclesiastic, 
 a man of great erudition, full of candour 
 and charity, the ideal of the Christian 
 scholar. 
 
 CHAPTER XXIV. 
 
 Church of Saint Louis of the French.— Frescos of 
 Domenichino. — D'Ossat.— Tombs.— Saint Augus- 
 tine. — Isaiah, by Raphael. — Gorllz. — Angelica 
 library. 
 
 The fine church of Saint Louis of the 
 French was founded by Catherine of 
 Medicis, as the Trinita de' Monti by the 
 cardinal de Lorraine; which shows that 
 the catholic fanaticism of France at that 
 epoch, if it unduly imitated Italian frenzy 
 and perfidy, was, like Italian Catholicism, 
 magnificent and friendly to the arts. The 
 church was dedicated in 1589 to the Vir- 
 gin, Dionysius the Areopagite, and Saint 
 Louis king of France. Its paintings and 
 tombs make it very interesting. A good 
 copy of Raphael's St. Cecilia is by 
 Guido. The frescos of Domenichino re 
 presenting the history of the same saint, 
 are a brilliant decoration. The Death 
 of St. Cecilia is a masterpiece of draw- 
 ing and pathos. The most remarkable 
 of the frescos is that of the Saint distri- 
 buting her effects to the poor, admirable 
 for truth of expression and the panto- 
 mime of those who are receiving or sell- 
 ing what they have received ; one Jew 
 is life-like. The great Assumption of 
 the rich high-altar is one of Francesco 
 Bassano's best works. The Martyrdom 
 of St. Matthew, by Michelangelo di Ca- 
 ravaggio, seems inferior to the Calling 
 of the same Saint, which has some 
 heads of amazing truth, and is one of the 
 author's good productions for delicacy 
 and elegance of execution, and the 
 beauty, the force of the colouring. In 
 the sacristy, a small painting of the Vir- 
 gin passes for a work of Correggio. 
 
 The French tombs of Saint Louis have 
 a different character, and present some 
 touching contrasts : the tomb of Cardinal 
 d'Ossat, the son of a shoeing-smith, who 
 became the ambassador of Henry rv. 
 at Rome, with his portrait in mosaic, as 
 a memorial of merit advanced to honour, 
 
552 
 
 ROME. 
 
 [Book XV. 
 
 and of one of the first, best, and most 
 elegant French writers ; ■ that of d'Agin- 
 court attests a pure and philosophic life, 
 passed in the bosom of Rome, in devo- 
 tion to the arts and to antiquity; the 
 .sarcophagus of Cardinal dc La Grange 
 d'Arquien, father-in-law of the great 
 Sobieski, who died at the age of a hun- 
 dred and five years and eleven days, the 
 oldest cardinal known, would have some- 
 thing patriarchal about it, were it not 
 for the indecent revelations of Saint-Si- 
 mon respecting the unbecoming life of 
 this prelate : " Homme d'esprit, de 
 bonne cqmpzgnie, fait cardinal a, 
 quatre-vingt-deux arts, gaillard, qui 
 eut des demoiselles fort au deld de cet 
 age, qui ne dit jamais son bre'viaire, et 
 qui s'en vanta.it; " the mausoleum con- 
 taining the heart and enlraiis of Cardinal 
 de Bernis commemorates dignity and 
 taste after a youth of frivolity et de 
 petit s vers; opposite, the coffin conse- 
 crated by M. de Chateaubriand to Pau- 
 line de Montmorin, whose misfortunes 
 are her only titles and compose nearly 
 all her epitaph, is deeply affecting; and 
 the recent tomb of the meek and unpre- 
 suming Gue"rin, whose soul was not less 
 pure than his talent, represents the re- 
 surrection and the bright days of our 
 school. 
 
 The church of Saint Augustine was 
 built in 14-83 by an ambassador of France, 
 Cardinal d'Estouteville. The architec- 
 ture has the character of that good epoch 
 of the art; the front, covered with traver- 
 tine said to have been taken from the 
 Coliseum, is elegantly simple. The in- 
 terior was renovated in the last century 
 by Vanvitelli, who built the fine sacristy 
 and Ihc majestic convent adjoining the 
 church. The ingenious cupola, by Bac- 
 cio Pintelli, aFlorentinearchitect, makes 
 an era in the history of cupolas, as it 
 was the first erected at Rome. The ce- 
 lebrated Isaiah, by Raphael, painted by 
 him as an answer to those who found 
 his style too slender, was composed after 
 his examination of Michael Angclo's 
 Prophets ; but this figure, though admi- 
 rably correct in the drawing, has not 
 their grandeur and spirit. The fifty 
 
 1 Ossal's style appears more modern than his 
 lime, and he seems lo belong to an epoch n lien the 
 Inngiiage was much more perfect. It is singular 
 that we find among the travellers in Italy t luce of 
 t!ie (Miters who have had the greatest influence 
 od our language ; Rabelais, Montaigne, d'Ossat. 
 
 crowns asked by Raphael for his fresco 
 were deemed too high a price, and he 
 was not employed on the other paintings 
 of the church. It was restored by Da- 
 niello of Volterra, the sacristan, under 
 Paul IV., having impaired and spoiled 
 it in an attempt lo clean it. The St. 
 Augustine, by Guercino, is excellent. 
 The Nostra Signora of Loretto, by Mi- 
 chelangelo di Caravaggio, is inferior to 
 his paintings at Saint Louis. The group 
 of the Virgin, St. Anne and the infant 
 Jesus, simple, tender, is one of the works 
 that has most honoured the chisel of 
 Contucci da Sansavino, despite some 
 imperfection in the design. It was or- 
 dered, as well as the chapel, by the rich 
 German Goritz, member of the Roman 
 Academy under Leo X., the Mecaenas of 
 modern Latin poets, who assembled them 
 in his chapel whose dedication they had 
 celebrated, 8 and there regaled them with 
 abundant and bacchic suppers, during 
 which they were further occupied with 
 verse and literature. 
 
 The Angelica library, at the convent 
 of the Hermits of Saint Augustine, ad- 
 joining the church and of Vanvitelli's 
 architecture, comprises about eighty-five 
 thousand volumes, sixty thousand nine 
 hundred and sixty documents, and two 
 thousand nine hundred and forty-five 
 manuscripts ; it may be ranked the third 
 in Rome. It Mas founded in 1605 by 
 P. Angelo Rocca, an Augustine monk, 
 afterwards cardinal, whence its name is 
 derived, and has been augmented with 
 a poriiou of the books of the learned 
 Luca Elolslenius, bequeathed by him lo 
 his protector Cardinal Barberini, and, 
 about the close of the last century, with 
 the rich library of Cardinal Passionei, 
 which he had so carefully purged of Je- 
 suitical works. The following may be 
 remarked: a Syriac translation of the 
 Gospel, of the year 616; three Platos, 
 of the fifteenth and sixteenth centuries; 
 three copies of Boetius's Consolations, 
 of the fifteenth century, and his Com- 
 mentaries on Logic, much older; three 
 Dantes, one with miniatures, of the four- 
 teenth and fifteenth centuries ; a manu- 
 script volume, in folio, of the learned. 
 
 The two first, vulh all their licence, handle the 
 court of Rome vtilb considerable delicacy, and are 
 infinitely more circumspect than the Italian au- 
 thors. 
 
 a See the collection entitled Coryciana, Home, 
 1524. 
 
Chap. XXV. 1 
 
 ROME. 
 
 555 
 
 virtuous, and warlike Cardinal Noris, 
 who entered the order of St. Augustine 
 through his enthusiasm for that saint, 
 with the title : Index miscellaneus auc- 
 toritatum et opinionum SS. Pat rum 
 et Scholasticorum, and divers inedited 
 Cophlic and Chinese manuscripts of 
 P. Bonjour, a French missionary of great 
 zeal and erudition. An edition of Wal- 
 ton's polyglot Bible contains the passage 
 of the preface relative to the encourage- 
 ment afforded by the Serenissimus Pro- 
 tector (Cromwell) to that undertaking, 
 a passage which was suppressed and re- 
 placed under Charles II., to whom the 
 work was afterwards dedicated, nor is 
 this change of preface by any means a 
 solitary example. 
 
 CHAPTER XXV. 
 
 Santa Maria in Yallleella.— Saint Philip cf Neri.— 
 Library. — Sanla Maria delta Pace.— Sibyls, by 
 Rapbae!.— Santa Maria dell' Anima.— Saint Agnes. 
 —Saint Andrew dellaValle.— Cupola.— Santa Maria 
 in Campitelli.— Inscription. 
 
 The splendid church of Santa Maria 
 in Vallicella, called also Chiesa Nuova, 
 is interesting for certain of its paintings. 
 The Crucifix, by Scipione Gaetani, sur- 
 named the Roman Tandy ck, is of exqui- 
 site taste. At the high-altar, the three 
 paintings of Rubens' youth arc curious : 
 it is there seen to what an extent he 
 endeavoured to force his talent, which 
 lay wholly in colour and expression, by 
 the ill-directed study of Michael Angelo ; 
 these paintings have neither his vigour 
 nor the brilliancy of his pallet. But his 
 genius as a colourist soon returned after 
 he left Rome. The Presentation of the 
 Virgin in the temple, by Biiroccio, is 
 praised for its gracefulness. This church 
 has the tombs of three cardinals respec- 
 tively eminent for their science, fortune, 
 and genius : the learned Baronius, the 
 father of ecclesiastical annals, Taruggi, 
 esteemed by d'Ossat, and the eloquent 
 Maury, whom the clemency of Pius VII. 
 ordered to be placed between the two 
 first. 
 
 I vis'.ted the lodg*ngs of Saint Philip of 
 Neri, in which are preserved certain 
 articles of furniture used by him. The 
 ceiling is adorned with an easy painting 
 by Pietro da Cortona, and the picture 
 in the small chapel where he used to say 
 mass in private, so profound was the 
 
 emotion that then swelled his bosom 
 and suffused his face with tears, is by 
 Guido. St. Philip of Neri seems almost 
 an Italian Vincent de Paule; like him, 
 he consecrated his charitable zeal to the 
 poor, to infants, and the foundation of 
 vast hospitals. But Italian genius was 
 blended with his apostolical virtues; 
 he extemporised from piety, and he 
 invented the Oratorios, which are still 
 executed in his church, in order to 
 give a religious direction by means of 
 these sacred interludes, composed by the 
 first masters, and executed by the best 
 singers, to the immoderate passion of 
 the Romans for theatrical representa- 
 tions. Like Vincent, he had also com- 
 pleted a private education, that of a 
 young Florentine gentleman, which pro- 
 bably turned out better than the educa- 
 tion of Cardinal Retz. Saint Philip of 
 Neri has had great influence on the 
 Roman clergy relative to the principles 
 which regulate confession. He therein 
 showed himself extremely indulgent and 
 full of commiseration for our frailties. 
 His maxims are still practised by some 
 of the secular clergy of Rome, much 
 more indulgent and conformable to the 
 times than generally imagined. 
 
 The vast convent of Saint Philip of 
 Neri passes for one of the best works of 
 Borromini. It has a pretty good Descent 
 from the Cross, the only painting of 
 this prolific and fantastical architect. 
 The library has a singularly clever roof, 
 possesses a great number of historical 
 and ecclesiastical manuscripts, among 
 which are many autographs of Baronius. 
 It is a pity that this library is not more 
 easy of access. P. Conca, the librarian, 
 was at his confessional when I visited it ; 
 though this holy and excellent man was 
 most obliging, he could only hastily 
 show me a few articles, and the young 
 priest he left with me was very inexpe- 
 rienced. The oldest manuscript is the 
 Explanation of the Psalms by Saint 
 Augustine (Enarrationes in Psalmos), 
 folio, on parchment, 116 pages, of the 
 sixth or seventh century, which Mabillon 
 has not mentioned. A Latin Bible of 
 the eighth century, attributed, according 
 tolheiuscription/toAlcuinus, is perhaps 
 more deserving of that honour than the 
 copy offered for sale with so much ado 
 at Paris some years ago. I also saw a 
 number of papers on the history o 
 France during the reigns of Henr y III 
 
 *7 
 
55* 
 
 ROME. 
 
 [Book XV. 
 
 Henry IV., and Louis XIV., precious 
 documents, which are buried there. 
 
 The four Sibyls, by Raphael, ordered 
 by his protector and friend, the banker 
 Agosiino Ghigi, are the glory of the 
 church of Santa Maria della Pace : the 
 old Stbyl to therightand the. one seated 
 with her head turned to the left, arc 
 admirable, and sufficient to give an idea 
 of the beauty of the work, despite all 
 the injuries and retouchings that have 
 been inflicted on it. It is said that 
 Ghigi, having paid Raphael five hundred 
 crowns on account, for these sibyls and 
 prophets, before paying the rest, con- 
 sulted Michael Angelo as to what price 
 the painter could justly claim ; to which, 
 though he might have been jealous of 
 such a bold imitation, Michael Angelo 
 generously answered that every head 
 was of itself worth a hundred crowns. 
 Raphael supplied the design of the Cesi 
 chapel close by. The four paintings of 
 the elegant cupola are esteemed. The 
 Death of the Virgin, varied, and of 
 good effect, is the masterpiece of Mo- 
 randi; the first of these paintings is the 
 Presentation of the Virgin, by Baltas- 
 sare Peruzzi, who has also executed 
 some excellent paintings taken from the 
 Old Testament and some great figures 
 towards the lop of the last chapel. The 
 graceful frescos on the ceiling of the 
 high-altar are by Albano. Among the 
 tombs of the Ponzetti family in their 
 chapel may be remarked, for its good 
 taste and the bereavement it consecrates, 
 that of two little girls of six and eight 
 years of age, Beatrice and Lavinia, car- 
 ried off on the same day by the plague 
 in 1505. The very elegant cloister is by 
 Bramante. 
 
 On the simple and tasteful front of the 
 church of Santa Maria dell' Anima, of 
 the architecture of Giuliano San Gallo, 
 is this just inscription : Speciosa facta 
 est. The noble and harmonious interior 
 has some good paintings in the third 
 chapel, by Sermoneta; a poor copy in 
 marble of Michael Angelo's Piety, by 
 Nanni di Baceio Bigio, and the cele- 
 brated Madonna of Giulio Romano, da- 
 maged by an inundation of the Tiber 
 and the restorers. The majestic mauso- 
 leum of Pope Adrian VI., who did not 
 merit such a piece of sculpture after 
 his ridiculous misappreeiation of the 
 Laocoon,« was designed by Baltassare 
 i See ante, book y. cb. viii. 
 
 Peruzzi and sculptured by Michelan- 
 gelo Senese and Tribolo; two tombs by 
 Fiammingo and the sepulchral stone of 
 Luca Holslenius, the celebrated prefect 
 of the Vatican, are remarkable. Holsle- 
 nius, who had abjured protestantism, was 
 succeeded by Leo Allatius, originally of 
 the island of Chios, and the latter* by 
 Evode Assemani, of Mount Libanus : 
 which gave occasion for the humorous 
 dislich : 
 
 Prafult haereticus ; posl taunc scbismalicus ; at nunc 
 Turca piaeest : Petri blbllolbeca, vale. 
 
 The front, the two steeples of the rich 
 church of Saint Agnes, are the least fan- 
 tastical of Borromini's works, though 
 the steeples seem too high for the width 
 of the frontispiece. All the basso-relievos 
 of the church are in the very worst taste, 
 including even that of the subterranean 
 room, so highly extolled by Algardi. 
 This vault is said to have been the place 
 of debauch in which the saint was ex- 
 posed, when the sudden growth of her 
 hair saved her chastity from the attempts 
 of the inmates. This subject, which is 
 capable of great effect, is treated pru- 
 dishly by Algardi, and the naked parts 
 are but feebly expressed. 
 
 The vast church of Saint Andrew della 
 Valle, begun by Olivieri, notwithstand- 
 ing the faults of the time, is magnificent, 
 and very remarkable for its paintings. 
 The choir is one of Lanfranco's good 
 works : the four pendentives of Dome- 
 nichino, of broad, easy, and pure execu- 
 tion, arc in that master's loftiest style. 
 The St. John is admirable for grace, 
 vigour, and colouring. The Strozzi 
 chapel, of Michael Angelo's architec- 
 ture, has his Piety in bronze, iu which 
 the Virgin was ludicrously bedecked 
 with a l.n gc silver heart suspended from 
 her neck by a coral necklace. One of 
 the most elegant writers of Italy, and of 
 the sixteenth century, Giovanni della 
 Casa, the celebrated author of the Ga- 
 lateo, is interred in this church. The 
 new mausoleum of Ihe Countess Pras- 
 sede Tomati-Robilant, a Piedmontese, 
 by the Cav. Fabris, is noble. Two por- 
 phyry basso-relievos, representing the 
 parents of Pope Urban VIII., are clever 
 works of Guglielmo della Porta. The 
 tomb of Cardinal Gozzadino, of Bologna, 
 nephew of Gregory XV., recalls his sin- 
 gular destiny. An astrologer had fore- 
 
Cbap. XXVI.] 
 
 ROME. 
 
 553 
 
 told that he would die in prison or from 
 the effects of imprisonment, and the car- 
 dinal, who was loaded with debts, had 
 put some confidence in the horoscope ; 
 but he boasted that all his fears on that 
 head were dissipated when his uncle 
 became pope. However, at Gregory's 
 decease the conclave being assembled, 
 the cardinal left it with a malady under 
 which he succumbed, though only fifty- 
 one years of age, and he agreed that the 
 astrologer had prophesied truly, as the 
 conclave had been for him (the cardinal) 
 a real prison, and the worst of all ; se- 
 veral other cardinals also died, the vic- 
 tims of the same confinement. 
 
 Saint Catherine de' Funari takes its 
 name from the ropemakers, who used to 
 work on the spot it now occupies. The 
 architecture, by Jacopo della Porta, is 
 distinguished for the purity of the pro- 
 files and the fine execution of the side 
 front. It has some works : an Assump- 
 tion, by Scipione Gaetani; a fine copy 
 of the St. Margaret, of Annibale Car- 
 raccio, by his pupil Massari, which he 
 retouched; the dragon is repainted. 
 
 The church of Santa Maria in Cam- 
 pitelli, erected in 1658 by the people of 
 Rome, to receive the miraculous image 
 of the Madonna, is magnificently orna- 
 mented with twenty-two fluted Corin- 
 thian columns of marble, and has several 
 paintings by masters of the decline, such 
 as Conca, Luca Giordano, and Baciccio. 
 On the tomb of a noble Roman lady is 
 the word Umbra in golden letters ; the 
 inscription Nihil on the tomb of her va- 
 liant husband, is another and more for- 
 cible expression of the nothingness of 
 human grandeur, which is so strikingly 
 conspicuous at Rome. 
 
 CHAPTER XXVI. 
 
 Saint Nereus and Achilles. — Saint Sebastian. — Cata- 
 combes. — Saint Paul extra muros;-its rebuilding. 
 — Saint Paul alle Ire Fonlane.— Saint Vincent and 
 Saint Anastasius.— Santa Maria Scala Dei.— Saint 
 Sabina. — Bocca della Verita.— Crescimbeni. 
 
 The ancient church of Saint George 
 in Velabro, which existed in the time 
 of Gregory the Great, which was in the 
 middle agesealledby corruption ad velum 
 
 1 The air of Saint Paul was formerly very salu- 
 brious; ibepopes even went there to pass the sum- 
 mer. It appears tbat the cutting down of a wood, 
 
 ami, which several popes and cardinals 
 repaired and embellished, whose gallery 
 has paintings by Giotto, but ruined 
 by the restorers — this venerable mo- 
 nument would have perished in our 
 days had it not been for the piety of 
 the Congregation of Santa Maria del 
 Pianto, to which it was accorded by 
 Pope Pius VII. 
 
 The little and ancient church of the 
 Saints Nereus and Achilles, Homeric 
 names, was rebuilt by Cardinal Baronius 
 its titulary, in its original shape, which, 
 in an inscription on a marble slab, he 
 entreats his successors not to change. 
 The church is indebted to this wise and 
 touching precaution for keeping its two 
 primitive ambos and the marble pulpit 
 from which Saint Gregory delivered one 
 of his finest homelies, the twenty-eighth, 
 which is partly engraved there. A Coun- 
 cil painted in fresco in the gallery is a 
 work of great talent; several heads are 
 perfect. 
 
 The illustrious basilic of Saint Sebas- 
 tian was rebuilt in 1611 by Cardinal 
 Scipione Borghese. Its celebrated Cata- 
 combs, in the quarries of pozzolana dug 
 by the Romans to cement their vast 
 constructions, extend about six miles, 
 and are said to pass under the Tiber. 
 Ecclesiastical authors relate that fourteen 
 popes and a hundred and seventy-four 
 thousand martyrs were buried in these 
 tortuous and dangerous galleries, the 
 caverns of the faith. At the entrance 
 stands the saint, a fine work by Bernini. 
 
 When I saw the works in ful 1 activity for 
 the rebuilding of Saint Paul, I regretted 
 the enormous outlay, in the midst of an in- 
 fected desert,' which, with all its magni- 
 ficence, will produce but an imperfect 
 substitute for the venerable basilic found- 
 ed by Constantine, rebuilt by Valenti- 
 nian II. and Theodosius, and completed 
 under Honorius. With respect to art 
 and picturesque effect, I do not think 
 such rebuilding desirable. It seems that 
 this forest of columns ravaged, calcined 
 by fire, — that this marble pavement des- 
 troyed, which might be taken for the 
 ruins of an antique way, — that this 
 crumbling vault, these vast gaping walls, 
 —that all this, invested with the garb 
 which time and nature add to ruins, had 
 
 under Pius VI., because it harboured brigands, hat 
 contributed to the present mat' aria. 
 
556 
 
 ROME. 
 
 [Book XV. 
 
 become an object to be admired. Not- 
 withstanding its pretensions to reesta- 
 blish every thing, the present restora- 
 tion will destroy the air of antiquity the 
 monument still preserved, and I have 
 seen some portions demolished that were 
 not included in the new plan. 
 
 Among the portions that escaped the 
 conflagration of 1823, may be remarked : 
 the front with its damaged mosaic of 
 1280 j the indifferent antique basso- 
 relievos of a tomb under the portico, 
 presenting the Apotheosis of a poet, the 
 Punishment of Marsyas, and some little 
 Genii on a ship entering port, an em- 
 blem of another life : in the twelfth cen- 
 tury the tomb became the sepulture of 
 Pier Leone, a petty despot of Rome, in 
 the time of its seditions ; some remains 
 of the great bronze gate, executed in 
 1070 at Constantinople, at the expense 
 of the Roman consul of that period, Pan- 
 taleone, the contemporary of Hildebrand; 
 the forty columns of the two little side 
 aisles, the superb mosaic of 440, made 
 by Saint Leo, representing Christ and 
 the twenty-four elders of the Apoca- 
 lypse ; St. Peter and St. Paul, the 
 high-altar of 1281, where one half the 
 bodies of these two apostles reposes. 
 The cloister of Saint Paul, Gnished about 
 1215, is very remarkable. Several hun- 
 dreds of small columns of different shapes 
 ornamented with mosaics, as well as the 
 exterior entablature, support the por- 
 tico. Under this last are some antique 
 sepulchral marbles, and many inscrip- 
 tions sacred and profane. 
 
 Saint Paul alle tre Fontane, rebuilt 
 at the end of the sixteenth century by 
 Cardinal Aldobrandini, has a good front, 
 of the architecture of Jacopo della Porta. 
 The interior is naked ; there we see 
 the three fountains that sprung forth at 
 the place where the apostle's bead 
 bounded three several times from the 
 earth, -when beheaded in quality of a 
 Roman citizen, and the column to which 
 he is said to have been fastened. The 
 black porphyry columns of the altar 
 of this saint are unique for size and 
 beauty. 
 
 Saint Vincent and Saint Anastasius, 
 of the middle of the seventh century, a 
 plain regular church, has the Twelve 
 Apostles on its pilasters, damaged frescos 
 of Raphael. 
 
 The last of the three churches near 
 Saint Paul, founded on the site called 
 
 by the ancients ad Aquas Salvias, is 
 Santa Maria Scala Dei, of the simple 
 and airy architecture of Vignola. The 
 mosaic of the gallery, by the Florentine 
 Francesco Lucca, is reckoned the first 
 modern work of that kind in good taste, 
 
 Santa Maria of Mount Aventine, over- 
 loaded with ornaments in the last cen- 
 tury, by Giambattista Piranesi, has an 
 antique sarcophagus, used for the tomb 
 of a bishop Spinelli, which has a pro- 
 fane basso-relievo of' Minerva and the 
 Muses. 
 
 Saint Sabina, a monastery of Domini- 
 cans, in a square form and ornamented 
 with a hundred and three antique co- 
 lumns, is most delightfully situated. An 
 inscription in mosaic on the door of the 
 church states that it was founded in 425 
 by an Illyrian priest named Peter, on 
 the site of the saint's abode near the 
 temple of Diana and Juno. The cele- 
 brated Rosary, by Sasso Ferrato, passes 
 for one of his most elegant works. The 
 tomb of a Spanish Dominican, of 1300, 
 a mosaic composed of small black and 
 white stones, on a white marble ground, 
 is remarkable for the composition of the 
 monk's figure. Saint Sabina is the ge- 
 neral rendezvous for explanations after 
 Carnival ; the intrigues begun in the 
 Corso are cleared up in this church, not 
 far from the ancient temple of the chaste 
 Diana and the august Juno. 
 
 The basilic of Santa Maria in Cos- 
 medin, called the Bocca della Verila, 
 built on the still visible ruins of an an- 
 tique temple, to whom dedicated is un- 
 known, which supplied elegant columns, 
 takes its beautiful surname from the 
 large marble mask placed under the 
 portico. Children are told that a liar 
 cannot withdraw his hand from the 
 mouth of this mask. Its concave form 
 indicates that it has probably served as 
 a mouth to some antique cloaca. The 
 ambos recall the disposition of the pri- 
 mitive churches, and, i» the gallery, a 
 curious Confessione ( pontifical chair ) 
 has something of the antique. The ve- 
 nerated Madonna is one of the paintings 
 exported from the East during the per- 
 secution of the Iconoclasts, and is in the 
 best Greek style. Here, too, may be 
 remarked the plain tomb of a man who 
 threw some lustre on Italy by the pre- 
 cocity and variety of his talents, Mario 
 Crescembeni, an Academician at fifteen, 
 and doctor of laws at sixteen, the author 
 
Chap. XXVII.] 
 
 ROME. 
 
 557 
 
 of the Istoria delta volgar poesia and 
 Commentaries, the historian and poet 
 of the celebrated Arcadian academy (the 
 mother of many others of the same name), 
 of which he was a most active member 
 and the principal founder ; at his death 
 he was archpriest of the basilic of Sania 
 Maria in Cosmedin, on which this pious, 
 moderate, and affectionate scholar, has 
 written two quarto volumes. 
 
 CHAPTER XXVII. 
 
 Saint Cecilia.— Saint's Slatue.— Saint Maria in Tras- 
 tevera.— Transleverines.— Monastery of Saint Ca- 
 lixtus. — Bible of Saint Paul. 
 
 In the court of Saint Cecilia stands an 
 antique marble vase, of a large size and 
 beautiful shape. The reclined statue of 
 the saint, slightly clothed, by Stefano 
 Maderno, though somewhat tainted with 
 the affectation of the epoch, is admirably 
 expressive in its attitude. This figure 
 attracts and speaks to the soul in a sin- 
 gular manner. Some persons have sup- 
 posed it Bernini's, and one would be 
 tempted to attribute it to him : so happy 
 an inspiration could proceed from a man 
 of genius only. 
 
 The charming church of Santa Maria 
 dell' Orto was begun by Michael Angelo. 
 The design is by Giulio Romano, and 
 well worthy of him, though the front is 
 by the young Martino Lunghi, who is, 
 however, innocent of the little pinnacles 
 and pyramids, justly censured by Milizia, 
 with which it is bedizened. 
 
 Saint Francis has the graceful and 
 lively Madonna of Baciccio, one of his 
 best works. Below, the statue of the B. 
 Luisa Albertoni dying, by Bernini, is of 
 fine character in the head, but the hands 
 are worthless, and the draperies exces- 
 sively elaborate. 
 
 The rich and beautiful church of Santa 
 Maria in Trastevere contrasts with the 
 solitude and kind of savageness of the 
 inhabitants of this part of Rome. The 
 mosaics of the exterior front, representing 
 the Virgin, the Infant Jesus, and the 
 ten wise Virgins, of the twelfth century, 
 were restored in the fourteenth century 
 by Pietro Cavallini. The Ionic granite 
 columns of the nave must have formed 
 part of a temple of Isis or Serapis, as 
 they present the figures of the two Egyp- 
 tian divinities and Harpocrales. The 
 Assumption, by Domcmchino, may be 
 
 regarded as one of the first frescos in 
 Rome for colour and perspective. He 
 was likewise to have painted the chapel 
 of Santa Maria of Strada Cupa, which 
 he built, but he executed only the excel- 
 lent little figure over the altar. Near 
 the sacristy is the mausoleum of Cardinal 
 Philip d'AIengon, brother of Philip the 
 Fair, of the end of the fourteenth cen- 
 tury, a curious monument of the archi- 
 tecture, sculpture, and painting of that 
 epoch : the author appears to be the 
 Roman sculptor Paolo, who also executed 
 the mausoleum of Cardinal Stefaneschi 
 close by. Among the tombstones, may 
 be observed those of the painters Lan- 
 franco and Giro Ferri, and the learned 
 Bottari, prefect of the Vatican, who died 
 in his eighty-sixth year. 
 
 I remember seeing exposed, at Santa 
 Maria in Trastevere, the corpse of a 
 young girl who had just expired, with 
 the face uncovered, as customary in Italy; 
 she had been placed there the day before 
 and was to remain the w hole day : they 
 were celebrating masses at the different 
 altars. This lingering in the last se- 
 paration, this publicity of death, had 
 something touching, utterly unlike the 
 hasty and barbarous secrecy of our inter- 
 ments. The body was dressed as a nun, 
 and somewhat showily, for the veil was 
 bordered with gold. It is true that this 
 publicity becomes profane enough among 
 the great and wealthy. I met the funeral 
 procession of a Spanish ambassador, who 
 had a hat with plumes on his head. The 
 body of the old Torlonia, in the same 
 costume, with a long sword by his side, 
 was laid out on the floor of the ball-room 
 in his palace, and almost trodden on by 
 the crowds collected to see it. 
 
 The haughty Transteverines., of whom 
 so much has been said, still retain, under 
 their devotion and new fanaticism, some 
 vestiges of the energy and spirit of their 
 ancestors. As in ancient times, the 
 people of Rome are easily excited by 
 spectacles. Its noisy carnival is only a 
 repetition of the Saturnalia. On one 
 occasion, a Swiss of the Pope's guard 
 having repeatedly put back one of these 
 men who was desirous to obtain a too 
 close view of the Pope praying to Saint 
 Peter, at last the Transteverine, drawing 
 back, thus scornfully addressed the hal- 
 berdier : Barbaro, son di sangue ro- 
 mano, anche trojano. Castiglione cites 
 the anecdote of a peasant, who, when com- 
 
 47. 
 
558 
 
 ROME. 
 
 [Book XV 
 
 plaining to tbe podesta of the loss of his 
 ass which had been stolen, wound up 
 his statement and the elogium of his ass 
 by saying, thai w hen he had his panel on, 
 he was quite a Cicero. • This medley of 
 imagination and ancient traditions is 
 found even in the language of women of 
 the lower orders ; and a young Roman 
 girl on seeing a handsome lad pass by 
 would say that he was Console di bcltd. 
 The country people repeat familiarly the 
 words via Appia, via Flaminia, when 
 showing us the road. In no part of the 
 world is the recommendation of a hand- 
 some face so efficient as at Rome, and 
 huachhacks and deformed people are 
 hardly deemed men there. Cardinal 
 Odescalchi. who had a pleasing counte- 
 nance, used occasionally to preach before 
 he became cardinal ; the Roman gossips 
 then met under the pulpit, and made 
 quite a scene in expressing their admira- 
 tion of his face. A cardinal Lante re- 
 ceived thesurnameofthe Can'Hacardinal 
 (charmiug), and he was commonly called 
 by that title in society. 
 
 Near the church of Santa Maria in 
 Trastevere is the vast convent of Bene- 
 dictine monks of Saint Calixtus, which 
 looks like a palace ; but its garden, not- 
 withstanding its orange trees, is little more 
 than an ill-managed kitchen garden. I 
 occasionally had the pleasure of visiting 
 at this convent the R. P. Bini, procurator 
 general of the Benedictiues, ex-professor 
 of tbe university of Perugia, of which he 
 has begun to write an excellent history, 
 and a man of real merit. Saint Calixtus 
 possesses the superb Latin Bible of Saint 
 Paul, a manuscript of the end of the 
 eighth century or the beginning of the 
 ninth, which has even been supposed a 
 present from Charlemagne, a celebrated 
 manuscript, remarkable for its richness, 
 preservation, tbe beauty of the characters, 
 the extraordinary size of its capitals, the 
 multitude, variety, and elegance of its 
 ornaments; the drawing ofitsminiaturcs, 
 which are in some instances ingenious, 
 is horribly incorrect, trivial, and false. 
 The enormous frontispiece represents, 
 on one side, the emperor with two 
 squires, and on the other, the empress 
 with one of her ladies : it is not positively 
 known whether the emperor is Charle- 
 magne or his insignificant grandson 
 
 ' " Cbe quando aveva il suo baslo addosso, parea 
 proprlatnente un Tullio." Cortegiano, lib. 11. 
 
 Charles the Bald, though the bare fore- 
 head and vulgarity of feature would make 
 it the latter ; the empress, in that case, 
 must be his second wife, the imperious 
 Richilda, towards whom he had carried 
 conjugal condescension so far as to accede 
 to her fantasy of presiding a council. 
 
 CHAPTER XXVIII. 
 
 Saint Cbrysogonus.— Corsican tombs. -Saint Peter 
 in Montorlo.— Litlle temple of Bramanle. — Saint 
 Onupbrius.— Tasso's tomb. — Guidt — Gate of San 
 •Spirlto.— Trinity of Pilgrims.— Saint diaries a' 
 Catinari. — Pendentives of Domenii'oluo.— Annl- 
 bale Caro.— Saint Jobn of tbe Florentines.— Za- 
 bagtla. 
 
 The antique church of Saint Cbryso- 
 gonus was rebuilt with magnificence by 
 Cardinal Scipione Borghese, under the 
 direction of Soria. The Saint borne to 
 heaven is only a copy of the vigorous 
 painting of Guercino's second manner, 
 now in England. The Madonna, by 
 the Cav. d'Arpino, is recommended by 
 less feeble colouring than usual with him. 
 This church has many sepulchral inscrip- 
 tions consecrated to Corsicans, the quar- 
 ter of that nation having been in the 
 neighbourhood during the sixteenth and 
 seventeenth centuries. One of these in- 
 scriptions recalls double and affecting 
 misfortunes ; it is that of Anton Padovan, 
 second son of Vannina and Sampiero, 
 assassinated at Rome by some French 
 gentlemen. Another inscription concerns 
 the ancient and now historical family of 
 Pozzo di Borgo. 
 
 The Montorio hill, the most elevated 
 point of the Janiculum, where it is pre- 
 tended that Saint Peter suffered martyr- 
 dom under Nero, takes its name from 
 the golden colour of the sand composing 
 it. 
 
 The church, said to be of Constantine's 
 time, was rebuilt at the close of the fif- 
 teenth century by Baccio Pintelli. The 
 Borgherini chapel, the first to the right, 
 slowly painted in six yearsLy Sebastiano 
 del Piombo after the vigorous drawings 
 of Michael Angelo, is the result of a 
 league between the latter and Sebastiano, 
 his favorite pupil, against Raphael, who 
 had been ranked above Michael Angelo :„ 
 for invention and colouring: ontheceiling 
 is a Transfiguration; the Christ in the 
 Flagellation is not so good as the execu- 
 tioners. At the high altar of Saint Peter 
 in Montorio, the Transfiguration was 
 
Chap. XXVIII. ) 
 
 ROME. 
 
 559 
 
 admired for more than two centuries; it 
 is now replaced by the picture of the 
 Madonna, called della lettera, more ve- 
 nerated, more popular than Raphaels 
 prodigy. 
 
 In the chapel of Saint Paul, the Con- 
 version of the saint is by Yasari, who 
 has painted himself in it; he furnished the 
 drawings of the statues of Religion and 
 Justice, and of the other figures and 
 ornaments on the tombs of the Monte 
 family, sculptured by Ammanato. In 
 the chapel of Saint John, the Saint be- 
 longs to Danielio da Yolterra; Leonardo 
 of Milan, his pupil, executed the other 
 paintings : the superb balustrade of an- 
 tique yellow is composed of columns 
 proceeding from the gardens of Sallust. 
 The paintings of the next chapel are at- 
 tributed, without due reason, to Yandyck. 
 who came to Rome with the intent of 
 making a long stay, but was obliged to 
 quit abruptly through the enmity of the 
 numerous Flemish painters, his compa- 
 triots, who could not forgive his dislike 
 to their tavern meetings and his determi- 
 nation to live more respectably than them- 
 selves. Whoever may be the author of 
 these greatly damaged paintings, repre- 
 senting the Dead Christ and divers 
 subjects of the Passion, they recall the 
 spirited execution of Michelangelo di 
 Caravaggio, but the drawing is worse 
 than his. The little circular temple of 
 Bramante, in the middle of the cloister, 
 despite some critics, is one of the most 
 elegant, most graceful chefs-d'oeuvre of 
 architecture. 
 
 The convent and church of Saint Onu- 
 phrius, occupied by the hermits of Saint 
 Jerome, are immortalised by the death 
 and tomb of Tasso. Under the portico, 
 three fine frescos, ascribed to Domeni- 
 chino and representing some incidents of 
 the illustrious saint's life, seem a noble 
 decoration for the poet's humble resting- 
 place. A monument is slowly arising 
 for the bard of the Gerusalemme ; kings 
 and emperors have subscribed to it, but 
 I doubt whether this pompous and cold 
 mausoleum, notwithstanding the talent 
 
 See the following passage from one of Tasso's 
 letters to his dear Costantini : " Mi sono fatto eon- 
 durre In questo monastero di Sant' Onofrio, non 
 solo percbe 1' aria e lodata da' medici, piu che d' 
 aleun" aitra parte di Boma, ma quasi per comln- 
 ciare da qnesto lnogo emineme. e colla conversa- 
 zione di qoesti divoii Padrl, la mla conversailone 
 In cieio."' Lett. CXCYI. 
 
 of the Cav. Fabris, will produce the pro- 
 found impression of the little slab of 
 marble, provisionally placed by the 
 monks, whose brief inscription began 
 with the words Torquati Tassi Gssa. 
 The latter brought before us the last 
 moments of this great man. and recalled 
 the religious asylum that his ardent piety 
 had chosen. 1 
 
 Another poet's tomb, that passes almost 
 unseen beside the ashes of Tasso, is that 
 of Alessandro Guidi, a gTeat lyric poet, 
 surnamed the Italian Pindar, worthy to 
 be more generally known, and whose 
 fine ode to Fortune excited, revealed the 
 genius of Alfieri. s 
 
 The cause of Guidi's death is extraor- 
 dinary. As he was on the road to Castel- 
 Gandolfo to present to Clement XI. the 
 fine illustrated copy of the pontiffs six 
 homilies, which he had put in verse, 3 he 
 discovered a misprint, which distressed 
 him so much that when he reached 
 Frascati he had an apoplectic fit, and died 
 some hours after, on the 12th of June. 
 The. bibliographic death of Gaidi shows 
 that he was still more annoyed by typo- 
 graphical errors than his noble and sudden 
 disciple, Alfieri, who complained of them 
 most bitterly, and they made him make 
 del sangue verde. according to the ener- 
 getic Italian phrase. 
 
 The tomb of John Barclay, a Scotch- 
 man, author of the Argents, a dull sati- 
 rical allegory in prose and verse, cele- 
 brated under Louis XIII., is another 
 literary tomb eclipsed by the little stone 
 of Tasso 
 
 The high-altar of Saint Onuphrius has 
 some good paintings by Baltassare Pe- 
 ruzzi, and others by Pinturicchio above 
 them, roughly handled by time and the 
 restorers. In a corridor of the monastery, 
 the head of a Virgin in fresco, pretty 
 good but injured, is by Leonardo Yinci. 
 In the garden a tree is pointed out to 
 which the name of Tasso's tree has been 
 given, because he is said to have reposed 
 under its shade. 1 love to believe in the 
 glory of this old oak ; it stands in a mag- 
 nificent point of view, near a pretty 
 
 2 It bad been read in him in Portugal by bis 
 illustrious frieud Calu?o, at the beginning of their 
 intimacy. See p. 23 of the elegant historical pane- 
 gyric of Calnso, in [Latin, pablisbed at Turin in 
 tS33 by his papU S. Boncheron. professor of Greet 
 and Latin eloquence at the University of Turin. 
 
 3 Sei emelie di .V. S. element e II tpitgule in 
 versi. Borne, Franc. Caniaga, 4712. 
 
560 
 
 fountain, and seems to deserve the honour 
 of affording Tasso the hospitable shelter 
 of its boughs. 
 
 The gate of San Spirito, which the 
 death of Antonio San Gallo has left unfi- 
 nished, is one of the best, most vigorous 
 models for a gate in existence. It appears 
 that the jealous rivalry of Michael An- 
 gelo opposed its completion, for the plan 
 of San Gallo was determined, and his 
 gate would have been the finest in Rome. 
 
 The ponle Sisto, the Pons Janiculensis 
 of the ancients, was rebuilt in a plain 
 style by Baccio Pintelli, who made use 
 of the ancient piles that were standing. 
 On both sides of the parapet is the ele- 
 gant inscription : Sixt. IV., pont. max. 
 ad utilitatem P. JR. peregrinceque mul- 
 titudinis ad jubileum venturm pontern 
 hunc quern merito ruptum vocabant a 
 fundamentis magna cura et impensa 
 restituit Syxtumque suo de nomine ap- 
 pellari voluit. MCCCCLXXV. Qui 
 transis Sixti IV. beneficio Deum roga, 
 ut Pontificem Optimum Max. diu nobis 
 salvet ac sospitet, bene vale quisquis es 
 ubi hac precatus fueris. 
 
 The church of the Trinity of the Pil- 
 grims has the Trinity, and a figure of 
 the Eternal Father, by Guido,celebrated, 
 but not above mediocrity. 
 
 The magnificent church of Saint 
 Charles a' Catinari, which has one of 
 the highest cupolas in Rome, takes its 
 name from the potters who used to live 
 in that quarter. Its paintings are ; the 
 Procession ordered by Saint Charles 
 during the plague at Milan, one of 
 Pietro of Corton'a's best works ; the su- 
 perb fresco, hall-figure, of the same 
 saint, by Guido; the four pendentives 
 of the Cardinal Virtues, a broad, easy, 
 learned work by Domenichino, whose 
 pencil is not always so light and free ; 
 the Death of Saint Anne, the master- 
 piece of Andrea Sacchi, the last painter 
 worthy of the Roman school. One of 
 the most learned and wisest apologists 
 for religion, Cardinal Gerdili, of whom 
 Rousseau even, his antagonist, has spoken 
 with respect, is interred in this church. 
 
 The antique church of Saint Laurence 
 in Dcunaso was rebuilt by Cardinal Ria- 
 rio, nephew of SixtusIV., after the de- 
 signs of Bramante, and repaired in 1820. 
 It contains one illustrious literary tomb, 
 that of the pure, elegant, and classic An- 
 nibale Caro, whose bust is by Dosio. The 
 tomb of a Sadolet is not that of the great 
 
 ROME. [ book XV. 
 
 cardinal, but of his younger brother in 
 whose favour he resigned his prebendary 
 of Saint Laurence; the cardinal died 
 poor, and was buried at Saint Peter in 
 Vincoli : the spot is unknown, and the 
 mausoleum which was to have been 
 raised to his memory, and of which he 
 was most worthy, has not been executed. 
 
 Michael Angelo wanted to make the 
 church of Saint John of his compatriots 
 "a temple such as the Greeks and the 
 Romans," said he, " yever had," but the 
 funds were deficient : what became of 
 the beautiful model he had conceived is 
 unknown, and the actual rich church has 
 not the least connection therewith. The 
 noble and aerial front is by Galilei. St. 
 Cosmo and St. Damian, by Salvator 
 Rosa, is one of his most considerable 
 paintings, and the one he thought most 
 calculated to establish his reputation; 
 there is vigour in the execution and a 
 degree of warmth in the colouring, but 
 it is only an additional proof that the 
 artist had not studied sufficiently and 
 knew not how to design. In the chapel 
 of the Crucifix, painted by Lanfranco, is 
 a Christ ascending to heaven, which is 
 cited for its foreshortening. 
 
 The little church of Santa Maria della 
 Transpontina is said to occupy the place 
 where Romulus was interred. St. Bar- 
 bara is one of the most vaunted works 
 of the Cav. d'Arpino. This church con- 
 tains the tomb of the illustrious mecha- 
 nic Nicolao Zabaglia, an artizan of ge- 
 nius like Fcrracino," who died in his 
 eighty-sixth year, architect of Saint Pe- 
 ter's under Benedict XIV., who loved 
 his humour, founder of the confraternity 
 of church workmen called Sanpietrini, 
 and inventor of the scaffold on wheels 
 and machines by means of which the 
 most elevated parts of the immense ba- 
 silic are accessible. 
 
 CHAPTER XXIX. 
 
 Palace— lioman Palaces. -Corso.— Mal'aiia.— Pave- 
 ment.— Baspoll palace.— Staircase.— Coffee-houses 
 or Rome. 
 
 The imposing and severe aspect of a 
 Roman palace has, if one may say so, 
 something selfish; it is not the public 
 architecture of the Romans with its fo- 
 rums, thermae, and amphitheatres made 
 
 • see ante, book v, cu. xiyII. 
 
Chap. XXIX.] 
 
 ROME. 
 
 561 
 
 for the multitude, but the vast and lordly 
 residence of masters, foreign to the in- 
 terests and excluded from the business 
 and the life of their fellow-men. This 
 aspect of the Roman palace offers the 
 most fantastical contrasts : its barred win- 
 dows give it the air of a prison ; grass 
 grows in the court, at the bottom of 
 which may be seen a heavy coach, the 
 only trace of modern magnificence to be 
 found there. The marble staircase is so 
 badly cleaned that it seems brown or 
 black, and its columns are arrayed in 
 cobwebs. On the first floor, always very 
 high, one sees in the anlechamber a 
 lofty canopy covered with the master's 
 arms, a privilege peculiar to the princes 
 and the four Roman marquises, who are 
 called, on that account, canopied mar- 
 quises, and on the balustrade of this 
 monument of vanity hang the meanest 
 household instruments. But amid all 
 these abominations, the ceiling is often a 
 vast picture, the work of some great mas- 
 ter. The servants, many in number, are 
 dirty and dilatory : the custody, a self-im- 
 portant domestic, whose office is to explain 
 the paintings, in which he sometimes suc- 
 ceeds very well, so natural is a taste for 
 the arts to Italians, leads you into the 
 other apartments where the same con- 
 trasts are repeated : the floor, if not mo- 
 saic, is of badly jointed bricks; the door 
 posts are marble, and in the saloon, be- 
 side the most admirable paintings, co- 
 lumns of vert antique or lapis lazuli, the 
 furniture is paltry, a little old timepiece, 
 huge armchairs that seem as if fixed in 
 their places and not to have been moved 
 for centuries, and a little narrow and 
 hard sofa. Such is not the social saloon 
 of France, with its simple, elegant, con- 
 venient furniture, arranged for conver- 
 sation, with its piano, harp, books, 
 flowers, and album, and which one need 
 but cross to feel the charms of the life 
 led there This saloon never has a 
 flower, and the sight of a rose in the 
 apartments would make all the Roman 
 ladies fall into hysterics. A fine ane- 
 mone was one day shown to one of them, 
 
 1 "It is all the fiuer for not stinking." This 
 nasty word puzzare is generally used to designate 
 the perfume of flowers. It seems that the taste of 
 this lady for unscented flowers has not been con- 
 tagious at Rome, for among the unsuccessful spe- 
 culations of an active and estimable Roman manu- 
 facturer, S. Vincenzo Nelli, such as the manufacture 
 of saltpetre, crjstals, paper-hangings, was an espe- 
 
 and she exclaimed with delight : E tanio 
 piu bella che non puzza niente.' In- 
 stead of the merry blazing chimney fire, 
 there is nothing to be seen but the dull 
 and unhealthy brazier. In fine, this 
 majestic abode, the monument of va- 
 nished glory, pretty much in keeping, 
 however, with the gravity of the ponti- 
 fical government, seems as if made to 
 be visited rather than inhabited; there 
 one neither feels the sweetness of a home 
 nor the splendour and pleasures of ihe 
 world, and the transeuntibus may be 
 applied to it, in a different sense, as well 
 as to the Chartreuse. 
 
 The eternal Corso, lined with palaces 
 and shops, a street long famous though 
 little deserving to be so, comprises the 
 minor trades of Rome, and the ennui 
 and vanities of her great, who go there 
 every day to show them in their car- 
 riages at different hours according to the 
 season. The old foot-pavements, rais- 
 ed and uneven, instead of a protection, 
 were, especially at night, really crippling, 
 and the authorities have done wisely in 
 levelling them. The Corsois favourable 
 to the opinion which esteems population 
 a means of salubrity. The air of this 
 trading street passes for the purest in the 
 town, while the beautiful and solitary 
 villas are infected. 
 
 The effects of the mal' aria seem how- 
 ever to have been greatly exaggerated : 
 besides the scientific experiments of the 
 celebrated Lancisi, physician of the popes 
 Innocent XL, Innocent XII., and Cle- 
 ment XI., the illustrious Brocchi dis- 
 covered no vicious principle in the air 
 of Rome, and he analysed it in 1818, a 
 year noted for the prevalence of agues, 
 and at one of the worst points, the valley 
 near the basilic of Saint Laurence extra 
 muros. The flitting changeableness of 
 the climate causes most of the evil ; it is 
 easy to counteract that by hygieine and 
 the use of flannel, as the ancient Ro- 
 mans wrapped themselves in wool. It 
 has been further remarked that this air 
 is good for old men, as the advanced age 
 of a great many who have breathed it, 
 
 riment on the cultivation of ranunculuses. The 
 antipathy of modern Romans for odours is surpris- 
 ing when we remember the frequent use made of 
 them by the ancients in the sacrifices, banquels, 
 baths, funerals, and a host of other circumstances. 
 The nervous system must be weakened by the vo- 
 luptuousness and indolence of later generations. 
 
562 
 
 ROME. 
 
 [Book XV. 
 
 both natives and foreigners, fully proves. 
 Prudent travellers, in easy circumstances, 
 therefore, run no risk in coming to Rome 
 at any season, in settling there, and re- 
 posing themselves after the agitated years 
 of life in that noble retreat. 
 
 In the midst of her decline Rome pre- 
 serves some traces of splendour which 
 belong to her alone. The pavement of 
 the streets is still of basalt, a noble pave- 
 ment, but none the smoother or more 
 convenient on that account, and the 
 horses especially must have very little 
 relish for its antique majesty. It is Irue 
 that the lava is not, as heretofore, cut 
 into polygonal slabs, but into little 
 squares of about four inches, except in 
 the kennel. The stone posts are formed 
 of ancient columns of temples and por- 
 ticos, and retain their name of colo- 
 nette. 
 
 The Ruspoli palace, of Ammanato's ar- 
 chitecture, is of judicious, pure, and well- 
 conceived ordinance. The celebrated 
 staircase, by the younger MartinoLunghi, 
 withiishundredand twenty stepsof v hile 
 marble each of a single block, passes for 
 the finest in Rome. An extensive coffee- 
 house, the first in the city, occupies all 
 the ground floor. The rooms, rather 
 neglected, were painted by two French 
 artists, MM. Leandre and Francois, 
 names of no great celebrity. In each of 
 the window recesses is a distinct croc- 
 chio (circle), one for the lawyers, an- 
 other for the merchants, etc. The most 
 interesting is that of the Arcadian Jour- 
 nal, the literary review of Rome, ma- 
 naged by prince Don Pietro Odescalchi 
 and edited by professor Belli, a distin- 
 guished writer, secretary of the Academy 
 of Saint Luke; the Marquis Bondi, a 
 man of erudition and the elegant trans- 
 lator of Tibullus j the Cav. Borghesi, the 
 Cav. Yisconti, S. Cardinali, etc I had 
 the pleasure of meeting some of these 
 talented writers there, and the aged and 
 eccentric Amati, a great Hellenist, since 
 deceased, who humorously pretended 
 that poor Italy was as if cut into slices 
 of bread and butter, and the driest was 
 the Pope's. The coffee-houses of Rome, 
 under an absolute government, are al- 
 
 1 The Aradian Journal is tbe vehement and 
 sometimes violent champion of tbe classical doc- 
 trines, as tbe grave Anthology of Florence, sup- 
 pressed in 1833. endeavoured to propagate tbe new 
 doctrines. The Italian library of Milan keeps a 
 Kind of neutrality ; but this paper, though several 
 
 most, as the vent-holes and safety-valves 
 of opinion, the same as our journals and 
 opposition : what is printed at Paris, is 
 spoken there; the nervous and rude sar- 
 casm of the frequenters, their violent 
 censures of the Roman court and the 
 acts of the government, sometimes even 
 on ihe part of its agents, may give a to- 
 lerable idea of what the unrestricted li- 
 berty of the press would be among such 
 a people. Every coffee-house has ils 
 distinctive character and, as we sav of a 
 journal, its colour. The Greco coffee- 
 house, or the Barcaccia, is the rendezvous 
 of artists, French, Italian, ap.d German, 
 where they smoke, and speak aloud, with 
 freedom and candour, of the new works 
 and the different reputations. The cof- 
 fee-house of Monte-Citorio, called de' 
 Babbioni,* is frequented by professors 
 and men of learning. I knew several 
 men of extraordinary merit there, and 
 there is a president of the crocchio. The 
 coffee-house of the Trevi fountain was 
 the seat of the abbe Fea ; this is the an- 
 tiquarians' resort, and not the least 
 known, peasants even often Lringing 
 medals or pieces of brick which they 
 have discovered in the fields. In these 
 various companies the scandal of the day 
 is warmly discussed, for the Romans of 
 to-day are neither less curious nor less 
 eager after news than their predecessors 
 in the days of Horace and Juvenal. 
 
 CHAPTER XXX. 
 
 Gljigi palace.— library.— Ancient French music- 
 Roman Antiquarian. — IMazza Colonna.— Colonna 
 Antonina.- Obelisk, and palace of Monte Cltorlo.— 
 tottery.— Customhouse. 
 
 The Ghigi palace, whose owner, 
 Prince Don Agostino Ghigi, was distin- 
 guished for his good qualities, his learn- 
 ing, and literary talents, was begun by 
 Jacopo della Porta; the court and vesti- 
 bule are magnificent, the shape and de- 
 coration of the windows in bad taste. 
 The Skull and Sleeping child, by Ber- 
 nini, emblems of life and death, laid on 
 two cushions, though elaborate, are cle- 
 verly executed. A Venus, an Apollo, 
 
 men of learning write for it, has fallen far below 
 its position in tbe limes of Monti, Perlicari, Gior- 
 dan!, and even their successor Acerb). 
 
 3 Old papas, old quidnuncs : Babbioni is perhaps 
 an aupraontaiive of Babbio, which means a crabbed 
 countenance. 
 
Chap. XXX. ] 
 
 ROME. 
 
 563 
 
 are antique ; the latter appears of Adrian's 
 time. Among the paintings may be 
 distinguished : St. John Baptist drink- 
 ing at a spring, by Michelangelo di 
 Caravaggio ; the Ascension, Garofo'o's 
 chef-d'oeuvre; the Guardian angel, by 
 PietroofCortona; a superb Flagellation, 
 by Guercino ; a Christ dead, foreshort- 
 ened, by Agoslino Carraccio ; a Poef 
 sitting before a Satyr, by Salvator 
 Rosa, probably an allusion to his satires, 
 as the head of the poet is his portrait ; a 
 Magdalen, bv Spagnoletto. 
 
 TheGhigi library, rich in manuscripts 
 and fine editions, -was founded by Pope 
 Alexander VII., a man of meagre cha- 
 racter, described in the manner of Pascal 
 and Moiiere by Cardinal de Relz, 1 but 
 an elegant poet, a passionate lover of an- 
 tiquity, 2 and deserving high elogiums 
 for his patronage of letters. "Now the 
 tastes of the pope are known," wrote a 
 contemporary, '• all the prelates rivalise 
 each other in discovering manuscripts." 3 
 One of these manuscripts, perhaps sought 
 after with a view to personal advance- 
 ment, is the Daniel of the Septuagint, 
 unique. A Dionysius of Haliearnas- 
 sus seems of the ninth century. The 
 Chronicles of St. Benedict and St. An- 
 drew ; a collection of the f apitularies, 
 an inedited Chronicle oLMount Soracle, 
 are other important historical manu- 
 scripts. A Missal, of 1450, has some 
 large miniatures representing divers sub- 
 jects of Sacred History, in excellent taste. 
 A fine folio parchment volume, orna- 
 mented with fanciful figures dated 1490, 
 and containing masses and motetti com- 
 posed in France by French and Dutch 
 musicians .would be interesting for the 
 history of music. A note at the be- 
 ginning, in the handwriting of Alex- 
 ander VII., then Cardinal Ghigi, cer- 
 tiGesthat this music, intended for Spain, 
 is very good : Stimata molto buona. 
 French music, on the decline from 
 Henry IV., crushed under the sarcasms 
 of Rousseau, had great celebrity through- 
 
 1 See in book Y. of his Memoirs Ihe comic re- 
 lation of his conference with this pope. 
 
 2 Being inlormed, on his first journey to Castel 
 Gandolfo, that a peasant had defaced aa antique 
 temple, and its Dne mosaics, which he had chanced 
 to discover, and that on tlie advice of s monk of 
 Saint Augustine who told him that those things 
 were the works of the devil, he sent the peasant to 
 the gallies, not knowing how to punish the frate, 
 who was nevertheless the true culprit. 
 
 out Europe in the fifteenth and first years 
 of the sixteenth century. Our romances 
 and songs Je canzone'tte alia francese) 
 were imitated and even copied by the 
 Italians. It is really curious now to see 
 that Italy then borrowed from our music 
 all that was piii molle, piu delicatoA in 
 its own. But it appears by the col- 
 lection in the Ghigi library, that not only 
 were sentimental and elegant airs im- 
 ported from France, but even grave and 
 perhaps scientific music, more than fifty 
 years prior to the compositions of Pales- 
 trino, pupil of a Flemish master and 
 chief of the Italian school, from which 
 period modern music seems to date. A 
 remarkable letter from Henry VIII. to 
 the Count Palatine requests him to show 
 Luther no mercy. A great number of 
 German and Latin letters byMelancthon 
 have not all been published. Some 
 sketches of sonnets by Tasso are as full of 
 corrections as his other manuscripts. An 
 inedited treatiseon she Primacy of Saint 
 Peter, by Francis de Sales, canonised 
 by Alexander VII., seemed to me, on a 
 cursory perusal, an ingenious and elo- 
 quent production. An autograph draw- 
 ing of Bernini's relates to the embellish- 
 ment of Saint Peter's. Twenty volumes 
 of original documents respecting the 
 peace of Westphalia might be advanta- 
 geously made use of in remodelling some 
 portions of P. Bougeant's History. In 
 short, the Ghigi Library is one of those 
 historical treasures so frequently met 
 with in Italy, and especially at Rome, 
 which, if diligently studied, would be of 
 great service in the rectification of facts 
 and the discovery of truth. Among the 
 printed books, there is a Rationale of 
 Durand. A Polyglot of Paris recalls a 
 singular typographical forgery : some 
 Dutch printers came to Rome in 1666, 
 and changing the frontispiece and dedi- 
 cation of the book, which bears the 
 above date, they offered it to Alex- 
 ander VH., as if issued from their press; 
 but the trick was soon discovered. 
 
 3 " Ora che il geoio del papa e fatto pubblico, 
 tuttl i prelali fanno alle pugna qua per buscar ma- 
 noscrilti." Let. from Ottario Falconicrl tu Magatotti. 
 (065. Lellere d' uom. ill. t. J, p. i23. 
 
 •> See this passage of the discourse of Ladovico 
 Zoccolo suite ragioni del numero del verso ffa- 
 .';.:.".: : " Lamuslca piu molle. piu delicsla, che non 
 soleva costumarsi fra noi Italian!, rece gli ann.i ad- 
 dietro passaggio da Francia in Italia."* 
 
564 
 
 ROME. 
 
 [Book XV 
 
 The Ghigiana was shown to me by its 
 worthy librarian, the celebrated advo- 
 cate Fea, the ideal of an antiquary, 
 •whose whole soul was occupied for more 
 than half a century in the excavations and 
 topography of ancient Rome.' The Ro- 
 man antiquary has not the slightest re- 
 semblance to the independent and scoff- 
 ing philosopher described by Walter 
 Scott; on the contrary, there is no man 
 more serious, ardent, or enthusiastic: 
 his scientific cupidity is extreme, and 
 the gentle Barthelemy, in his impreca- 
 tions against brokers, goes so far as to 
 call a dealci in antiquities a tiger, be- 
 cause his prices were loo high. I still 
 remember the interior of the learned 
 antiquary's cabinet. Heaps of frag- 
 ments of brick, cornices, inscriptions, lay 
 pell-mell on the floor, beside piles of 
 books, maps, and scrolls covered with 
 dust, the instruments of this kind of al- 
 chymy. I went away deeply affected by 
 the courtesy and zeal of this excellent 
 and respectable man, but loaded with 
 pamphlets, plans, and dissertations." The 
 antiquarian, properly so called, brimful 
 of his systems, is not always the best or 
 most agreeable of guides through Rome 
 and its environs. When the grand 
 duchess Helena visited Oslia, she was 
 only conducted by her learned cicerone 
 to an arid plain, near a saline marsh, 
 which must have been the port, and she 
 heard not a word of the charming wood 
 of Castelfusano, 3 on the seaside, till she 
 reached home, after her dull expedition, 
 in which she had seen nothing to give 
 her the least idea of the magnificence of 
 the ancient Romans, if we except the 
 splendid dinner ordered at Fiumicino, a 
 new little town at one of the mouths of 
 the Tiber. 
 
 The Piazza Colonna seems to preserve 
 its antique form. Thee Anlonina co- 
 lumn, erected by the senate and Roman 
 people to Marcus Aurelius, retraces o.i 
 ils basso-relievos, inferior imitations of 
 those on Trajan's column, the victory 
 won in 174 over the Sarmates, the 
 Quades, and Marcomans. This victory 
 was principally due to the Fulminant 
 legion, composed in part of Christians, 
 
 ' He died at Rome in March IS36, aged eigbty- 
 four. 
 
 a Fea's pamphlets alone, from 1790 to IS3i>, form 
 four large octavo volumes, lUree on Home and the 
 other on the environs. Such was his ardour for 
 what he thought the truth, and his dfsinlerested- 
 
 whose prayers obtained a timely shower, 
 attributed in a basso-relievo to Jupiter 
 making rain, who is there represented 
 with water falling from his outstretched 
 arms and his face. The column, w hose 
 present base is by Fontana, has been 
 struck by lightning several times, being 
 attracted.it is said, by the point of Saint 
 Paul's sword, who surmounts it, an in- 
 convenience to which the keys of Saint 
 Peter do not expose Trajan's column. 
 
 The elegant obelisk of red granite in 
 the piazza of Monte Citorio, erected at 
 Heliopo!isbyKingPsammitiehusI.,whois 
 fantastically represented thereon in the 
 form of a sphinx, with a human head 
 and arms, making an offering to the god 
 Phre, was brought to Rome by Augustus 
 for the gnomon of the meridian in the 
 Campus Martius; it was dug up under 
 Benedict XIV. by the clever Zabaglia, 
 and reared under Pius YI. by the archi- 
 tect Antinori, a proof of his talents as 
 an engineer. The Latin inscription, 
 executed in 1782, combines a strange 
 diversity of names and epochs ; Sesostris, 
 to whom Pliny wrongly attributed the 
 obelisk, Augustus, Benedict XIV., and 
 Pius VI. 
 
 The great palace of Monte Citorio is 
 reckoned one of Bernini's wisest edifices. 
 In the balcony of this palace the draw ing 
 of the lottery takes place twice every 
 month, under the presidence of a prelate, 
 in sight of an immense and agitated 
 crowd of Romans, in whose expressive 
 features may be traced the workings of 
 hope, fear, joy, or despair. The exis- 
 tence of lotteries, general in Italy, may 
 be deemed one of the causes of popular 
 misery and vice. At Rome this passion 
 is excessive : the poor will even beg 
 professedly to put in the lottery; the 
 steps of Aracceli are ascended with de- 
 votion to obtain good numbers, which 
 are likewise asked in all confidence of 
 the madmen in the Palazzina. who 
 throw them through the bars of their 
 windows. 
 
 The custom-house, by one of those 
 chances that belong to Italy alone, is an 
 ancient temple, perhaps the one decreed 
 by the senate and the people to Anto- 
 
 ness, that part of these pamphlets were prioled at 
 his own expense, and he distributed them so libe- 
 rally that he sometimes had not a copy left for 
 himself. 
 5 See post, book xvi. cb. vi. 
 
Chap. XXXI. ] 
 
 ROME, 
 
 56S 
 
 ninus Pius, and has a front of eleven 
 majestic fluted columns of -white marble, 
 one of the finest remnants of antiquity. 
 
 CHAPTER XXXI 
 
 Sciarra palace.— Door.— Leonardo Vinci's Modesty 
 and Vanity. — Doria palace. — Gallery. — Torlonia 
 palace.— Groupof Hercules and Lychas, by Canova. 
 —Ball.— Society.— Palace of Venice.— Mallei villa. 
 
 The Sciarra palace, by Plaminio Pon- 
 zio, a clever Lombard architect, whose 
 famous Doric door of marble, one of the 
 best of the kind, has been thought worthy 
 of Vignola, contains a ravishing selec- 
 tion of paintings, of which the most ad- 
 mired are : two large and vigorous 
 works by Valentin, the Beheading of 
 St. John, well composed, but painted 
 on canvas so black that the parts in the 
 shade arc perfectly indistinguishable; 
 and Rome triumphant, remarkable for 
 the trunk and head of the Tiber ; the 
 Vestal Claudia drawing the vessel 
 which had the sacred image of Pessi- 
 nunte on board ; Circe metamorphosing 
 the companions of Ulysses, by Garo- 
 folo; Cleopatra, by Lanfranco; the 
 Young Musician, called il suonatore 
 di Violino, by Raphael ; the celebrated 
 Gamesters, by Michelangelo di Cara- 
 vaggio ; Modesty and Vanity, by Leo- 
 nardo Vinci, a simple, ingenious, and 
 witty composition ; two Magdalens, by 
 Guido ; a Woman's portrait, by the se- 
 cond Bronzino; the Family, by Titian, 
 and a portrait close by ; a Landscape, 
 by Guaspre Poussin. 
 
 The immense Doria palace, in part 
 designed by Borromini, when he was 
 perhaps still retained by Bernini and 
 Pietro of Cortona, whom he afterwards 
 so far surpassed in bad taste, has his 
 name inscribed on the strange profiles 
 of the front. Nearly all the paintings 
 are excellent ; the following may be 
 distinguished : several Landscapes, in 
 distemper and oil, by Guaspre Poussin, 
 among them the Bridge of Lucano, on 
 the Tivoli road ; Abraham's sacrifice, 
 the Mistress, Jansenius, and several 
 portraits, by Titian ; his Hypocrisy, 
 unfinished ; a Descent from the cross, 
 by Paolo Veronese; the portrait of 
 Machiavel, by Andrea del Sarto; the 
 Death of Abel.by Sal vator Rosa, praised, 
 but affected in composition and colour- 
 ing ; the classical portraits of Bartolo and 
 
 Baldo ; a Holy Family, by Raphael ; a 
 graceful figure, by Perino del Vaga ; a 
 Piety, six semicircular lunettes, land- 
 scapes taken from scripture subjects, by 
 Annibale Garraccio ; Agar and Ishmael, 
 by Caravaggio or Guercino, in which 
 Ishmael, dying, is a masterpiece of ex- 
 pression ; Diana and Endymion, by 
 Rubens, his Wife, a Franciscan, his 
 confessor; a Woman's portrait by Van- 
 dyck; Holbein's wife, and himself hold- 
 ing a purse and a pink; Christ disputing 
 with the Doctors, by Dossi Dossoj a 
 good Visitation,one ofthe largest works 
 at Rome, by Garofolo ; two Madonnas, by 
 Sasso Ferrato ; the two finest landscapes 
 of Claude Lorrain, one of which is the 
 famous scene of the Mill; a Flight into 
 Egypt, by Poussin ; two landscapes, by 
 Torregiani, a pupil of Salvator Rosa, 
 who died young ; St. Agnes, by Guer- 
 cino ; a Virgin, by Guido ; the celebrated 
 Misers, by Albert Durer; a rich Land- 
 scape, by Domenichino; a little Christ 
 on the cross, by Michael Angelo; the 
 Country wedding, by Teniers; the beau- 
 tiful portrait of the second queen Gio- 
 vanna of Naples, by Leonardo Vinci. 
 
 The rich palace of the banker Torlo- 
 nia, duke of Bracciano, which has some 
 antique sculptures, is indebted for its 
 principal embellishments to the labours 
 of contemporary Italian artists, SS. Ca- 
 muccini, Landi, and Palagi. The Ban- 
 quet of the gods, a grand ceiling by 
 S. Camucciui, in the room adjoining the 
 gallery, passes for one of his best paint- 
 ings. Notwithstanding some learned 
 suffrages, the colossal group of Hercules 
 and Lychas, by Canova, seems an un- 
 successful attempt at vigour by that 
 graceful sculptor ; his Hercules, which 
 has been humorously likened to a quilted 
 mattress, is rather bloated than strong. 
 The group stands in too confined a 
 space, though made expressly for it, and 
 cannot be seen on all sides, nor has the 
 spectator sufficient room to draw back. 
 The young Lychas is the part best com- 
 posed, the truest, and most picturesque. 
 
 The house of S. Torlonia, the rendez- 
 vous of the colony of travellers, was fa- 
 mous for its balls, which, with the recep- 
 tions of the corps diplomatique, formed 
 all the pleasures of Rome. The native 
 society, but little given to hospitality, 
 was next to nothing. If the ancient 
 Romans created history, the dames of 
 modern Rome, with their adventures, 
 
 48 
 
566 
 
 KOMIi. 
 
 [Book XV. 
 
 passions, and violences, seemed to have 
 undertaken romance : at the present day 
 history and romance are equally past, 
 and some few old dowagers alone kept 
 up, without much honour, the scandal 
 of the old Italian manners. 
 
 The immense palace of Venice, of 
 Giuliano da Majano's architecture, has 
 been the summer residence of several 
 popes, of the proud duke of Ferrara, 
 Borso d'Esle, with a suite of Ave hundred 
 gentlemen clothed in gold and silver 
 brocade, silk, and velvet, and, for one 
 month, of the young and chivalrous king 
 of France Charles VIII., who, when 
 going to Naples, seems almost to have 
 reigned there and governed the eternal 
 city. This kind of battlemented fortress, 
 simple, solid, and severe in its architec- 
 ture, builtwith the stones and materials 
 of the Coliseum, with a fine church and 
 an elegant interior portico, is by moon- 
 light of a superb, majestic effect. The 
 republic of Venice received this palace 
 from Pope Pius IV., because that power 
 was the first to admit the council of 
 Trent. Long abandoned and left to 
 decay, it was carefully repaired in part 
 by Count A*****, Austrian ambassador, 
 who for several years displayed the no- 
 blest and most cordial hospitality there. 
 Countess A***** added an infinite charm 
 to the brilliancy of these fetes, and the 
 politeness, attractions, and virtues of that 
 accomplished lady are one of the remi- 
 niscences of Rome. 
 
 The Maltei villa, on Mount Ccelius, 
 the property of the prince of the Peace, 
 has some paintings of the Spanish school. 
 Two great pedestals, covered with in- 
 scriptions by the fifth cohort of the Vi- 
 giles, prove that the barracks of these 
 firemen of Rome was near. A hermes 
 has supplied authentic busts of Socrates 
 and Seneca, sages widely different, who 
 ought not to be thus associated : the 
 former, true, sublime ; the latter, inge- 
 nious and false, and who is indebted to 
 this recent discovery for his delivery from 
 the mean countenance attributed to him 
 on the authority of the celebrated apo- 
 cryphal bronze in the museum of Naples. 
 The long-neglected gardens have been 
 replanted, but in a petty style. The 
 view of the Aventinc, ever the same, is 
 admirable. 
 
 CHAPTER XXXII. 
 
 Colonna palace— Gallery.— Piazza or Monte Cavallo. 
 — Colosscs.— Quirinal and Rospigliosi palaces.— 
 Guido's Aurora.— Fountain de' Termini.— lions. 
 — Ludovlsl villa.— Guercino"s Aurora. 
 
 The vast and naked Colonna palace 
 dates from the illustrious Martin V. 
 (Colonna). The gallery is one of the 
 first in Rome. The following are re- 
 markable : the superb portraits of Luther 
 and Calvin, by Titian ; a Portrait, by 
 Paolo Veronese, wonderfully true in co- 
 louring; four Portraits united, byGior- 
 gione, no less admirahle; Shepherds 
 sleeping, of a delicacy not always found 
 in Poussin's paintings; a good Holy 
 Family, by Andrea del Sarto. In the 
 garden, the two fine fragments of a well- 
 executed antique frontispiece are said, 
 with equal improbability, to proceed 
 from a temple of the Sun or a temple 
 of Health. What powerful mechanical 
 means must not the ancients have pos- 
 sessed to raise and fix such an entabla- 
 ture ! 
 
 The piazza of Monte Cavallo, on the 
 Quirinal, agreeably situated, ornamented 
 with handsome edifices, and a charming 
 fountain, is more particularly embellish- 
 ed by its superb colosscs of Castor and 
 Pollux, according to the most likely 
 conjecture, chefs-d'oeuvre of the Greek 
 chisel in the golden age of antique sta- 
 tuary, but, despite the Latin inscription, 
 neither by Phidias nor Praxiteles. Ca- 
 nova, who from his first arrival at Rome 
 had made an especial study of these co- 
 losses and was never weary of admiring 
 their noble simplicity, artless grandeur, 
 and anatomical precision, shrewdly re- 
 marked the vicious restoration of the 
 two groups : the horse and esquire must 
 have been originally placed almost facing 
 and on the same line, in order to pro- 
 duce unity of disposition. 
 
 The pontifical palace, begun in 1574 
 by Gregory XIII. and not completed till 
 the last century, is now appropriated to 
 the conclaves. It appears to have no 
 painting of the first order. The pretty 
 chapel, painted in fresco by Guido, has 
 an Annunciation at the high altar, also 
 by him, and highly extolled. The stuccos 
 of a wainscot, representing Alexander 
 at Babylon, are by Thorwaldsen : the 
 clever sculptor of Carrara, Tinelli, had 
 represented, under the French adminis- 
 
Chap. XXXII.] 
 
 ROME, 
 
 567 
 
 tration, the Triumph of Trajan, since 
 changed into that of Constantine. In 
 the garden, the little casino has a View 
 of the piazza of Santa Maria Mag- 
 giore and another of the Piazza of 
 Monte Cavallo, by Pannini, executed 
 ■with great talent. 
 
 The great palace of the Consulta, by 
 Fuga, is disposed with extreme inge- 
 nuity. 
 
 The vast Rospigliosi palace, begun by 
 Cardinal Scipione Borghese, on the de- 
 signs of Flaminio Ponzio, and erected 
 on the Thermae of Constantine, was 
 purchased of the Bentivoglio family by 
 Mazarin, to be made the palace of France ; 
 it remained so until 1704, and the ob- 
 scure father of the cardinal, Pietro, died 
 there in the year 1654, at the age of 
 seventy-eight. Saint-Simon mentions the 
 malicious wit of the Roman journalists, 
 who inserted the following announce- 
 ment : "We learn from our Parisian 
 correspondence that the Signor Pietro 
 Mazarini, father of the cardinal of that 
 name, died in this city of Rome . on, etc." 
 With the exception of the beautiful 
 Aurora, Guido's most celebrated work, 
 perhaps imitated from an antique basso- 
 relievo in a cloister of Saint Paul's, but 
 apparently not superior to his chapel of 
 Saint Dominick at Bologna, which is 
 spoken of much less, the Rospigliosi pa- 
 lace has no remarkable painting ; several 
 pictures even, most of the Rubens, 1 for 
 instance, and a Holy Family, attributed 
 to Raphael, are only copies. The great 
 painting of Adam and Eve in Paradise 
 is mostcertainly in Doraenichino's earlier 
 style. 
 
 The Albani palace, of Domenico Fon- 
 tana's architecture, presents little but 
 the wrecks of its rich library and gallery. 
 The latter has scarcely anything but a 
 Christ by Rubens, and designs by Giulio 
 Romano. 
 
 The fountain de' Termini, of Dome- 
 nico Fontana's architecture, one of the 
 four principal fountains in Rome, but 
 without effect or picturesque, has in- 
 spired Tasso with some fine octaves. 1 
 Before Sixtus Y., water drawn from 
 wells, and put in casks, was carried to 
 Rome on beasts of burden, and sold. 
 The tribune Rienzi was son of one of 
 these water-sellers. Sixtus V employed 
 
 ' See ante, book vm. cb. vi. 
 
 a "Acque, cbe per camin chluso e profundo." 
 
 the ancient aqueducts to convey the 
 water, called from his name Acqua 
 Felice, which is the same as the Alex- 
 andrine, brought to Rome by Alexander 
 Severus. Amid the ruins or resurrec- 
 tion of the eternal city, the water alone 
 remains perfectly antique. The ridi- 
 culous colossal Moses of the fountain, by 
 a sculptor in earthenware of the seven- 
 teenth century, Prospero of Brescia, 
 given by some simpleton travellers for 
 the Moses of Michael Angelo, has the 
 air of a Silenus standing erect, in cos- 
 tume, and able to walk straight. The 
 author, urged on by the impetuous 
 Sixtus V., had sculptured his marble on 
 the spot, without making a model ; he 
 died of grief at the mockery and contempt 
 showered on his work. The two lions, 
 of black basalt and beautiful Egyptian 
 workmanship, were obtained from the 
 Pantheon; they are an allusion to the 
 arms of Sixtus, and would be worthy of 
 a better place; their hieroglyphics, cu- 
 rious in an historical point of view, 
 mark the epoch of King Nectanebus and 
 the middle of the fourth century before 
 the Christian era. 
 
 The Salaria gate, substituted by Ho- 
 norius for the Colline gate, by which the 
 Gauls had entered Rome, seems a fatal 
 entry, which has in all ages been the 
 weak side of Rome : Annibal intended, 
 but was prevented by hurricanes.to attack 
 it on this side, where Alaric and his Goths 
 afterwards made their irruption. 
 
 I obtained the favour of visiting the 
 impenetrable Ludovisi villa, consisting 
 of three fine casinos thrown picturesque- 
 ly into the midst of a large garden 
 laid out by Lenotre. Some few of the 
 sculptures are in the first rank of antique 
 chefs-d'oeuvre; namely: the statue of 
 Apollo, exceedingly well preserved; the 
 superb head of Juno, the finest Juno 
 known; the famous Mars in repose, 
 restored by Bernini; a pretended Agrip- 
 pina, perfect in drapery; the group said 
 to be the young Papirius discovering 
 the secret of the senate to his mother, 
 but which is more probably Orestes 
 recognising Electra, a Greek work by 
 Menelaus, son of Stephanus, according 
 to the inscription ; the celebrated group 
 oflm'a and Pcetus, which is supposed, 
 from the nudity of the persons unusual 
 
 Rime. Part, [la. " Alle acque felici cocdoUein Roma 
 da SS. Sisto Y." 
 
568 
 
 ROME. 
 
 [Book XV. 
 
 with Roman statuaries, to represent 
 Flemon stabbing himself and support- 
 ing Antigone killed by Creon. The 
 Pluto carrying off Proserpine is a good 
 work by Bernini. The ceiling of the 
 Aurora, by Guercino, is considered his 
 chef-d'oeuvre : Guido's fresco has pos- 
 sibly more majesty, but this is superior 
 for movement, picturesque, and colour, 
 though the principal figure appears too 
 big and too strong for an Aurora. Ano- 
 ther ceiling by Guercino, Fame, is ad- 
 mirable. The calcareous concretion of 
 alabaster, bearing the impression of the 
 bones of a man crushed under a rock, is 
 an interesting natural curiosity, pre- 
 sented to the learned and virtuous Pope 
 Gregory XV. (Ludovisi.) 
 
 CHAPTER XXXIII. 
 
 Fountain of Triton.— Barberini palace.— Library.— 
 Thorwaldsen's studio.— Christ and tho apostles.— 
 Trevi fountain.— Water of Home. 
 
 The Barberini palace occupies the site 
 of the Circus of Flora, noted for the abo- 
 mination of the feasts celebrated there at 
 night by torchlight in honour of that 
 deified courtesan, who had bequeathed 
 the wealth acquired by her debaucheries 
 to the Roman people, then unworthy of 
 such an heritage. The rigid Cato, un- 
 willing to interrupt the public pleasures, 
 thought proper to retire from these games, 
 which they date not, out of respect for 
 his virtue, begin in his presence ; and 
 the wags of Rome wittily asserted that he 
 came for the sole purpose of going away. 
 
 The fountain of the Triton, one of the 
 best of its kind, is a poetic and clever 
 composition by Bernini, as he had but a 
 scanty supply of water to dispose of. 
 This fountain forms an object equally 
 pleasing to the eye, whether the rays of 
 the sun form a rainbow in its streams, 
 or the frost ornaments it with its cristals. 
 
 The Barberini palace is for the most 
 part of Bernini's architecture, who fi- 
 nished it and executed the magnificent 
 front. The idea of its fine winding stair 
 is not less ingenious than the ensemble 
 is majestic. Some few of its sculptures 
 
 1 " You bind my body to destroy it, but you loosen 
 my soul for immortality." The prison of La Cenci 
 is still shown in the ancient Tor di Nona, become 
 the theatre of Apollo, the property of S. Totiouia, 
 and the Quest theatre in Rome, lighted in the 
 French style, where grand operas are played dur- 
 
 and paintings place this palace among 
 the first in Rome. The celebrated Sleep- 
 ing Faun is gone to Munich. A Lion, 
 an antique basso-relievo adorning the 
 principal staircase, is superb. The ceil- 
 ing of Pietro of Cortona, one of the 
 largest known, a fantastical half-pagan, 
 half-christian allegory in honour of the 
 Barberini, passes for one of the chefs- 
 d'oeuvre of this master, little esteemed by 
 present judges. His enormous compo- 
 sition evinces nevertheless a kind of fe- 
 cundity, and the double talent of the 
 artist, as a painter and an architect, 
 common to the Italians, and found with 
 still greater brilliancy in their first mas- 
 ters. The five portraits by Titian, in 
 the hall of Portraits, are not of his best. 
 The authenticity of a Piety by Michael 
 Angelo is not thoroughly proved. The 
 Christ and Magdalen by Tintoretto, 
 like all his other paintings at Rome, is 
 little remarkable. The small painting 
 of the Virgin and infant Jesus, by 
 Andrea del Sarto, has all the qualities 
 of his sweet and accurate talent. The 
 Apprehension of Christ, by Gherardo 
 delle Notti, has an illusion produced by 
 the wonderful truth in the play of the 
 light. The Sacrifice of Abraham, by 
 Michelangelo di Caravaggio, prefe- 
 rable to his Musician and Martyrdom 
 of St. Catherine, has all his energy. 
 Germanicus on the point of death 
 making his friends swear to avenge 
 him ( so far was ancient heroism from 
 knowing certain virtues commanded and 
 rendered familiar by Christianity), is a 
 work of Poussin's, well composed, but 
 of feeble execution, far below the page 
 of Tacitus ; and the drawing and adjust- 
 ment of the figures give little idea of 
 Romans of the time of Germanicus. The 
 pathetic head of La Cenci, dressed with 
 elegance and coquetry, is supposed to be 
 the work of Guido's early youth, and to 
 have been made from memory after he 
 had seen the heroine mount the scaffold, 
 where she addressed the executioner, who 
 was binding her hands, in these forcible 
 Roman words : Tu leghi il corpo al 
 supplicio, e sciogli V anima all' immor- 
 talita.' La Cenci, in the opinion of 
 
 ing carnival, and which has replaced the one whose 
 conflagration was the occasion of a pretly poem in 
 the Roman patois, the Incendio di Tor di Nona, by 
 the abbe Carletti, prior of tUe female convicts of 
 ■saint Michael. 
 
Cuap. XXXIII.] 
 
 ROME. 
 
 5C9 
 
 Corona, the witty physiologist of Rome, 
 was the true type of an Italian maiden, 
 and the head attributed to Guido has 
 wonderfully expressed this ardent, sim- 
 ple, and tender character. We may 
 further distinguish: Declaim and Icarus, 
 by Guercino; the celebrated Andrea 
 Corsini, by Guido; a Fornarina, a copy 
 ascribed to Giulio Romano from the 
 blackness of the shade, a head, at first 
 sight little attractive, and requiring some 
 attention to seize all its beauty, and 
 which, notwithstanding the difference 
 of costume and head-dress, must have 
 been taken from the same model as the 
 Fornarina of the Tribuna of Florence, far 
 superior in colouring. A portrait in 
 earthenware of Pope Urban VI II. by a 
 blind man, Giovanni di Gambisi, seems 
 a prodigy. In the antechamber, a coarse 
 oval basso-relievo of the middle ages 
 passes for a Portrait of Rienzi ; he is 
 crowned with olive, cuirassed, and has' 
 altogether the theatrical and pedantic air 
 of that hero. 
 
 The Barberini library possesses about 
 sixty thousand volumes and some pre- 
 cious manuscripts. The Greek manu- 
 scripts^ thousand in number, are consi- 
 dered the most important. The minia- 
 tures and characters of an Exultet, a 
 Latin manuscript of the eleventh cen- 
 tury, by their variety and caprice dis- 
 concert the conjectures of paleographic 
 science. The celebrated manuscript on 
 parchment, of 1321, full of drawings of 
 ancient monuments, and on which Giu- 
 liano San Gallo had begun to work with 
 his own hand as early as 1465, proves 
 incontestably that the Italians were the 
 first to engage in the study of antiquity. 
 The manuscripts of Dante are more than 
 twenty : the manuscript of the four- 
 teenth century, on vellum, a large folio, 
 must be considered as one of the most 
 magnificent that can be cited, for its fi- 
 gures and pretty arabesques. A fine 
 manuscript of the fifteenth century, with 
 miniatures in the Flemish style, is a 
 French translation of the strange book of 
 
 1 The original letters of Peiresc are four hundred 
 In number. They show the prodigious ardour of 
 Ibe French scholar, the friend of Cardinal Barbe- 
 rini, afterwards Drban VIII., and more than twenty 
 years the correspondent ofMalherbe. (See thevolume 
 of Letters addressed to him by the poet, published 
 at I'aris in (822, in 8vo. I The Biograpkie univer- 
 tetle mentions the published letters of Peiresc. 
 Other letters, procured from the library of Carpen- 
 
 Peter Comestor, the Scholastica His- 
 toria, by Gujart Desmoulins, priest, 
 canon, and dean of Saint Peter's of 
 Aire, in 1297, a curious and but little 
 known monument of our old language, 
 bearing the arms of the dukes of Fer- 
 rara, to whom it belonged. The Barbe- 
 rini library is especially rich in auto- 
 graph manuscripts of the most illustrious 
 literati, such as Bembo, della Casa, Ga- 
 lileo, Benedetto Castelli, Peiresc, * Car- 
 dinals Pallavicini and Bellarmin. The 
 Passion of Jesus Christ is the subject 
 of forty original discourses by Chiabrera. 
 A multitude of papers, documents, and 
 reports addressed to Urban VIII. , whose 
 pontificate of twenty-one years was the 
 longest previous to Pius VII., and who 
 first, in 1G30, conferred the title of emi- 
 nence on the cardinals for a Christmas- 
 box ; these papers, chiefly written in 
 French, present new details on the his- 
 tory of the two first Stuarts, and the at- 
 tempts to restore Catholicism in England. 
 A great number of printed books have 
 almost the interest of autographs, from 
 the marginal notes with which they are 
 covered by eminent writers, such as 
 Aldus and Paulus Manutius, Scaliger, 
 Leo Allatius, the first librarian of the 
 Barberiana, Luca Holstenius, David 
 Hoeschel, Barbadori, and, above all, 
 Tasso, whose remarks are spread over 
 more than fifty volumes, a precious 
 discovery made some years ago by 
 S. Rezzi, the present active and intelli- 
 gent librarian. A Plato, the Latin ver- 
 sion of Marsilio Ficino, is not only an- 
 noted in Tasso's hand, but also by his 
 father Bernardo, and it shows to what 
 an extent the beautiful language and 
 poetic dreams of the Greek philosopher 
 were studied and meditated in this fa- 
 mily. The remarks on the Divina Corn- 
 media, which, though Serassi thinks 
 otherwise, appear to be authentic,* bear 
 witness to the profound study that, from 
 his youth, Tasso had made of the great 
 poet, and his high admiration. 3 The 
 volume of the cantos of the Gerusa- 
 
 tras, (he old library of the President Mazaugues 
 whose father had married a great-niece of Peiresc's. 
 by Prospero Balbo, were published at Turin in 1828 
 in a )2mo collection of inedited Letters. 
 
 2 See the letter of S. L. M. Itezzi to S. Rosini, 
 placed before the Poslilte, t. xxx, 1, of the com- 
 plete edition of Tasso. 
 
 3 See Varietis IkUiennes. 
 
 48. 
 
570 
 
 ROME. 
 
 [Book XV. 
 
 lemme liberata, printed in quarto at 
 Venice (1580), to the poet's great dis- 
 pleasure, seems one of the copies that 
 he addressed to his friends to ask their 
 advice, as we learn from some of his 
 letters; he seems to have spared them 
 as little as Ariosto, -who was perpe- 
 tually consulting all that came near him.' 
 Among the rarities, are distinguished : 
 a copy of the edition of the Divina Corn- 
 media, Venice (1477), with autograph 
 notes by Bcmbo; and one of the twelve 
 known copies of the first complete edi- 
 tion, on paper, of the Hebrew Bible 
 (Soncino, 1488). 
 
 Near the Barberini palace, I visited 
 the studio of Thorwaldscn.who, at Rome, 
 seems to have succeeded Canova in the 
 opinion of Europe, and whose pure, 
 severe, and poetic talent is in some res- 
 pects superior to him, particularly in 
 basso-relievos. His thirteen colossal 
 statues of Christ and the Apostles are 
 a noble composition. The Christ, es- 
 pecially, an original figure stamped 
 with the simple and sublime genius of 
 the Gospel, has the majesty without the 
 terror of Jupiter Olympus. These sta- 
 tues, intended for the cathedral of Co- 
 penhagen, show the embarrassment ac- 
 cruing to protestantism from the nudity 
 of its worship and the new pomp it now 
 aims at. Thorwaldsen, despite his 
 twenty years' residence at Rome, conti- 
 nued a man of the North in every res- 
 pect, and his rough appearance, which 
 by no means lessens his politeness or at- 
 tentions, forms a true contrast with his 
 works, imitated, inspired from Grecian 
 art, and the Italian physiognomies that 
 people his studio. 
 
 The palace inhabited by Bernini is 
 interesting from its connection with that 
 superior artist, despite his errors. It 
 presents his statue of Truth, larger than 
 life, a sketch of the fountain in the 
 piazza Navona, and the portrait of King 
 James by Vandyck. 
 
 The Acqua Vergine, the best water 
 of Rome, which a young girl pointed 
 out to Agrippa's soldiers, still flows in 
 torrents from the Trevi fountain, and 
 retains its pleasing name. The water is 
 brought from the distance of eight miles, 
 on the Tivoli road. The great Leone 
 Battista Alberti, whose skill in hydraulics 
 
 ' See ante, book vn. cli. xii. 
 
 % Letter of Claudlo Tolomei written from Rome 
 
 was one of many acquirements, assisted 
 in repairing this ancient aqueduct under 
 Nicholas V. The architectural richness 
 of the new fountain ordered by Cle- 
 ment XII. of Nicolao Salvi is in bad 
 taste, but not without effect, produced 
 by the art with which the waters are 
 made to play. The waters of Rome, 
 so wholesome, light, and abundant, 
 are one of its wonders, and yet how Tar 
 modern Rome is inferior even in that to 
 ancient Rome : Dov' e oggi V Aniene 
 vecchio? Dov' e V dequa Appia? Dov' 
 e la Claudia? Dove la Tiepola, la Giu- 
 lia, V Augusta e le altre?* 
 
 CHAPTER XXXIV. 
 
 Piazza di Spagna.-Foreigners.— Douse of Poussln. 
 — Medici villa. — Academy of France. — Mount 
 Pincio. 
 
 The piazza di Spagna, without the 
 grand and noble structure of the stairs 
 of the Trinity de' Monti, would really 
 appear, with its numerous hotels, clean, 
 new, and characterless, the square of a 
 provincial town. Whatever is great and 
 distinguished visits Rome. Madame de 
 Stael wittily surnamed this admirable 
 city the drawing-room of Europe; and 
 if its monuments are associated with all 
 ages, 3 the foreigners who meet there 
 comprise every country. The simple 
 contemplation of Rome and a prolonged 
 residence, may supply the place of long 
 studies and much travelling. It must be 
 added that these strangers come to see, 
 to know, or to repose themselves, and 
 that they are taken and observed at the 
 best moment. Therefore Rome with its 
 ruins, reminiscences, and the important 
 persons it receives, is the spot of the 
 earth where the gaze of wonder is least 
 seen ; it would be useless and stupid to 
 aim at effect there, and many a wit not 
 apprised of this has thrown off his dis- 
 sertations, thoughts, and witticisms, with 
 only his trouble for his pains. 
 
 The fountain called Barcaccia, by 
 Bernini, if little honourable to his taste, 
 still proves the fecundity and resources 
 of his talent, as the water, though tole- 
 rably abundant, could not be thrown in 
 the air nor rise above this level. 
 
 The little house of Poussin, on Mount 
 
 on the 26th or July, 1543, (o Ciambattisia Grimaldi, 
 on the waters and fountains of Rome, 
 J See ante, ch. iviii. 
 
Chap. XXXIV.] 
 
 ROME. 
 
 371 
 
 Pincio, piazza della Trinita No 9 (such a 
 name excuses these details), which com- 
 municates with the church by a long ter- 
 race, is near the house of Salvator Rosa 
 and opposite that of Claude Lorrain, an- 
 other great and poetical master of the 
 true. This house, which the mould of 
 the Farnese Hercules half-filled, was 
 preferred by Poussin to the house in the 
 garden of the Tuileries given him by 
 Louis "XIII., though that also had its 
 views. He died in this retreat after 
 forty-two years' residence in Rome, ex- 
 cept a two years' visit in France. His 
 taste for simplicity has been erroneously 
 taken for poverty, as he was in the re- 
 ceipt of a handsome and honourable in- 
 come from works painted by request. 
 The old age of Poussin was gloomy and 
 full of suffering. "Sometime ago," he 
 writes, "I forsook my pencils, thinking 
 only of preparing for death, which my 
 body touches on." He was a foreigner, 
 and* without a friend, "for," said he, 
 " there are none in this town ; " a bitter 
 remark, which I heard authenticated by 
 persons who have resided at Rome and 
 were its most ardent admirers. The 
 house of the great French painter has 
 belonged for many years to an English 
 painter, Mr. Dei, living in London and 
 more than a hundred years of age ; his 
 son-in-law, Mr. B******, occupies it at 
 present, but it appears that a lawsuit be- 
 tween the brothers Massani, creditors of 
 Mr. Dei, and Mr. B., which he has al- 
 ready twice lost, will transfer to the 
 two Roman litigants the historical house, 
 the monument of Mount Pincio. 
 
 The Medici villa was built about 1550 
 by Cardinal Giovanni Ricci di Monle- 
 pulciano, on the designs of Annibale 
 Lippi, excepting the elegant interior 
 front, ascribed without proof to Michael 
 Angelo. This fine villa, which once 
 possessed the Venus and other antique 
 masterpieces of the Florence Gallery, 
 and was Galileo's prison during his trial, 
 is now the Academy of France. This 
 institution, founded by Louis XIV. in 
 1666, has been assailed by specious ar- 
 guments : Girodet was one while of opi- 
 nion that the young men should be left 
 to travel where they pleased.' Although 
 
 1 See the Letters XLV. andXLVII. of his Corres- 
 pondence, t. ii. of his OEuvres postliumes, published 
 and arranged by N. P. A. Coupin. Paris, 1S29. At 
 a subsequent period Girodet duly appreciated the 
 cierit of the Academy which he designates (note 7 
 
 since his able letter, dictated by the 
 disgust that a pupil so impatient and 
 full of ardour experienced at the Aca- 
 demy, where however he has executed 
 his best work, the regime of the establish- 
 ment has undergone considerable ame- 
 liorations, there is yet room for more ; the 
 pupils, for instance, though animated 
 with so keen a craving after celebrity, 
 live too much apart and among them- 
 selves, continue too Parisian, and do 
 not study Italy sufficiently. But if there 
 be a possibility of revising the rules of 
 the Academy, giving it more indepen- 
 dence, and putting it more in unison 
 with the march of events, according to the 
 wish of its last and brilliant director,? 
 it would be a lasting subject of regret to 
 suppress so powerful a means of emu- 
 lation for the pupils, which attaches them 
 for several years to the study of the beau- 
 tiful, instead of compelling them to 
 make the art a matter of lucre, and des- 
 troying one of the most munificent en- 
 couragements ever accorded to the arts. 
 Instead of overthrowing the monument 
 of the grand Steele, I would rather see 
 it extended in a proper and novel man- 
 ner. A visit to Italy is singularly useful 
 to the developement of literary talents ; 
 why should not the government send 
 into this classic land the laureats of 
 poetry and eloquence crowned by the 
 Academy? The sojourn at the Villa 
 with its vast gardens and admirable 
 view, presenting, on one side, the com- 
 plete prospect of Rome, Saint Peter's, 
 the Vatican; on the other, the solitude 
 and pines of the Borghese villa, — this 
 melancholy abode would inspire our 
 poets. The artists in their turn would 
 profit by such an association, and we 
 should see a renewal of those intimacies, 
 those friendships between them and the 
 writers, frequent in the fifteenth and 
 sixteenth centuries, which reciprocally 
 contributed to the taste and perfection 
 of their respective works.s The men of 
 letters, scholars, painters, sculptors, ar- 
 chitects, musicians, all the travellers 
 from our country distinguished by their 
 intellectual labours might also, as they 
 passed, be received at the Academy, 
 which would thus become, as it were, 
 
 of the first canto of his poem of the Peintre ) as un 
 bel el utile elublissement. 
 
 i See Horace Vernet's letter written from Borne, 
 September?, 1830, 
 
 3 See ante, book vr. ch. iii. and book yn. ch. xii. 
 
572 
 
 HOME. 
 
 Boor XVj 
 
 the artistical and literary hotel of France 
 in Italy. The non-occupation of the 
 buildings of the convent of the Trinita 
 de' Monti, through the extinction of the 
 French Minims who inhabited it and 
 served the church, was perhaps favour- 
 able to this project. Notwithstanding all 
 the respect due to the nuns of the Sacred 
 Heart, who have been illegally establish- 
 ed in those buildings for some years, I 
 confess that I should have preferred this 
 profane appropriation.' 
 
 Mount Pincio, the ancient Collis hor- 
 torum, so called from the gardens of 
 Sallust.Lucullus, and Domitian, has again 
 become worthy of its first name since 
 the creation of its public promenade, the 
 only one in Rome, begun and far ad- 
 vanced by the French administration, 
 and finished under Pius VII, . 
 
 CHAPTER XXXV. 
 
 Port of Rtpetla.— Borghese palace.— Gallery.— Ma- 
 doma palace. — Raphael's house. — Piazza Navona. 
 — Fountain. — Lago.— Philharmonic Academy. — 
 PamDIi palace.— Donna Olimpia. — Braschi palace. 
 — Pasquino.— Massini palace. — Printing at Rome. 
 —Mattei palace.— Fountain delle Tartarughe.— 
 Costaguti palace. 
 
 The little picturesque port of Ripelta 
 receives the boats loaded with wine, oil, 
 corn, wood, and charcoal, that descend 
 from Sabina and Umbria. The traver- 
 tine of an arcade of the Coliseum, thrown 
 down by the earthquake of 1703, forms 
 part of its structure. Two columns near 
 a fountain mark the different inundations 
 of the Tiber : the highest and most fatal 
 was in the year 1598, which swept away 
 two arches of the Pons Palatinus, thence 
 called Ponte Rotto. 
 
 The fronts of the immense Borghese 
 palace would, if united, surpass in extent 
 that of the Pilti palace at Florence. It 
 is in the form or a harpsichord, and is 
 known by the name of il cembalo di 
 Borghese. The architecture is by the 
 elder Martino Longhi : it is esteemed for 
 
 1 The convent of the Triuita de' Monii, near the 
 Academy of France, has undergone the barbarous 
 change to the Italian clock, from the French mode 
 of counting the hours, which was heard in the time 
 or Hie Minims. The priory of Malla, a building 
 near the other side ot the convent, was bought by 
 the king of Bavaria, and there was question for a 
 moment of establishing an academy like ours there : 
 this convent of nuns devoted to female education 
 would thus have been singularly placed between 
 two schools Qf artists. The nuns of the Sacred 
 
 its court with porticos of two stories, and 
 the judicious and skilful ordinance of the 
 plan, though the soil is very irregular. 
 The gallery, the richest in Rome, and 
 kept in the best order, has seventeen 
 hundred original paintings. Among so 
 great a number of excellent works the 
 following may be recommended to parti- 
 cular notice : by Garofolo, the Descent 
 from the cross, the primest of his paint- 
 ings at Rome, which has several fine 
 figures of an extraordinary power of 
 modelling; by Domenichino, the Chase 
 of Diana, eternally copied, of more de- 
 licate execution than usual with him : 
 some nymphs seem worthy of Correggio 
 for lightness and colour ; the Cumean 
 Sibyl, inferior to Guercino's Sibyl Per- 
 sica, 2 though perhaps more expressive 
 and more inspired ; by Paolo Veronese, 
 St. Anthony preaching to the fish, a 
 mute audience, which one might suppose 
 not over intelligent, but it appears atten- 
 tive, agitated ; the St. Johnin the desert: 
 the landscape is only sketched, the saint 
 is awry, but the three Turklike figures 
 listening to him are of the most brilliant 
 colouring; by Raphael, Christ deposited 
 in the tomb, a masterpiece of his twenty- 
 fourth year, full of grace, of the most 
 touching expression and admirable purity 
 of design ; the terrible Cesare Borgia 
 with Machiavel, the action and thought 
 of the fifteenth century; by Rubens, a 
 Visitation; by Giorgione, a David; by 
 Giulio Romano, another and excellent 
 copy of the Fornarina; by Titian, the 
 exquisite Return of the prodigal son; 
 Divine and profane Love, a pure and 
 precise composition ; his Three Graces, 
 of a colour so fine and rich; by Andrea 
 del Sarto, a Holy Family; by Giovanni 
 Bellini, the Virgin and infant Jesus; 
 by Correggio, a Danae; and by Joseph 
 Vernet, eight of his best and largest 
 landscapes. The fine porphyry vase in 
 the second room, found in the castle of 
 Saint Angelo, whatever they may say, can 
 never have contained the ashes of Adrian. 
 
 nearl, thirteen in number, were invited (rom Paris 
 by Leo XII. to undertake the education of children 
 of quality ; among these ladies was a young Russian 
 princess, L*** o""*". who gave lessons in English 
 and drawing. Notwithstanding the pope's pro- 
 tection and his recommendations to the nobles of 
 Rome to send their children to this house, it nas 
 not in a nourishing condition, the Roman ladies 
 not being willing, it appears, to let their daughters 
 be better educated than themselves. 
 > See ante, cu. xUI. 
 
Chap. XXXV.] 
 
 ROMH. 
 
 The vast Madama palace, now the 
 residence of the governor of Rome, of 
 the tolerably noble but too ornamental 
 architecture of Marucelli, was built on 
 the site of Nero's famous thermae, by 
 Catherine of Medicis, from whom the 
 name is derived. It has thus two asso- 
 ciations with crime and blood, separated 
 by fifteen centuries. 
 
 "The Altemps palace does honour to 
 the elder Martiuo Longhi : the porticos 
 of the court are of the solid and charac- 
 teristic architecture of Ballassare Peruzzi. 
 
 The small house of Raphael was in the 
 street de'Coronari; when rebuilt in 1/05, 
 Carlo Maratta painted his portrait in 
 clare-obscure on the front, but it is now 
 nearly. effaced, and the whole exterior of 
 the building announces indifference to- 
 wards the abode of the immortal artist. 
 
 The Cicciaporci palace, in the posses- 
 sion of private persons and occupied by 
 shops, is still remarkable for its good 
 architecture by Giulio Romano. 
 
 Nearly opposite is the Niccolini palace, 
 by Sansovino, also of excellent archi- 
 tecture. 
 
 The piazza Navona, the largest market 
 in Rome, will, like all the markets of 
 great cities, enable a person to form an 
 idea of the administration and police of 
 the country. This market has a granite 
 obelisk, colossal statues, four fountains, 
 but no shelter or sheds of any kind to 
 protect the peasants from the sun or the 
 rain. In the midst of magnificence, every 
 thing exhibits disregard of the useful. 
 The piazza Navona occupies the site of 
 the ancient circus, made or restored by 
 Alexander Severus, and retains the same 
 form. The scene of the inauguration of 
 the great fountain, one of the happiest of 
 Bernini's compositions, a scene perfectly 
 Italian, shows the exceeding address of 
 the.ariist, who was really born to live 
 with princes, as Innocent X. once ob- 
 served. This pope, having been obliged, 
 in spite of his prejudices, to entrust the 
 works to him after an unexpected view 
 of the plan, came to see them when 
 finished, and passed two hours under a 
 tent in examining them. The waters, 
 however, had not, then played, though 
 everything was ready for that purpose. 
 Just before taking his departure, Innocent 
 asked Bernini when he thought the water 
 would arrive. "Not just at present," 
 answered the artist, "we must have 
 time to prepare the road (Strada), but 
 
 al I my zeal will be to serve your Holiness." 
 The pope gave him his benediction and 
 departed, but he had not reached the 
 gate of the first palisade when the noise 
 of the rushing waters made him return. 
 Transported with joy at the sight, he 
 said to the artist : " Bernini, you are 
 always the same; ihe pleasure of the 
 surprise you have procured me will pro- 
 long my life ten years." He sent for a 
 hundred pistoles immediately to distri- 
 bute among the workmen. The obelisk 
 of the fountain, transported to Rome in 
 the reign of Caracalla, had remained 
 buried under the ruins of his circus : the 
 four giants represent the largest rivers 
 of the four quarters of the world, the 
 Ganges, the Nile, the Rio de la Plata, 
 and the Danube. It has been pretended 
 that the veil which covers the head of 
 the Nile, by the sculptor Fancelli, Berni- 
 ni's pupil, instead of being an allusion to 
 the mysterious source of that river, was 
 only an epigram of Bernini's against his 
 implacable rival Borromini, and that 
 this figure concealed its head that it 
 might not see the front of the church of 
 Saint Agnes, the least capricious, how- 
 ever, of Borromini's works. The Da- 
 nube, by Antonio Raggi, another pupil 
 of Bernini, is the best of these giants ; 
 and the figure of Ethiopia, by his other 
 pupil Francesco Baratta, is not without 
 merit. Bernini entrusted the rivers to 
 his pupils, and undertook himself the 
 arrangement of the rock as most difficult. 
 
 On Saturdays, Sundays, and holidays 
 in August, in the afternoon, the piazza 
 Navona is inundated with three feet of 
 water (lago), by closing the pipes that 
 receive the overflowings of the fountains. 
 This manner of watering and cleaning a 
 market is poetical and purely Italian. 
 The flooded piazza is then crossed and 
 recrossed by numbers of carriages, amid 
 the flourishing of trumpets, and the 
 shouts of the people who cover the borders 
 and applaud the dexterous coachmen, 
 while all the windows are crowded with 
 spectators ; it is a kind of coach nau- 
 machy, a diversion not unsuited to the 
 manners of the new Romans. 
 
 The Lancellotti palace is small, but 
 the architecture is by the illustrious Pirro 
 Ligorio. The Philharmonic Academy, 
 founded within these few years and 
 directed by a president and council, 
 occupies it and gives some grand concerts 
 there every year. 
 
574 
 
 ROME. 
 
 [ Book XY. 
 
 The vast Pamfili palace, rather heaped 
 together than built by GeronimoRainaldi, 
 who was obliged to humour the fancies 
 of Innocent X., an eccentric pope, who 
 excommunicated people for taking snuff 
 in Saint Peter's, » would be recommeu- 
 dable for its fine disposition, if the 
 grandeur of the style corresponded with 
 the extent of the mass. This ancient 
 residence of the imperious, dissolute, » 
 and grasping niece of Innocent, donna 
 Olimpia Maidalchini Pamfili, whose 
 cupidity more than once exposed the 
 palace to be pillaged by the people of 
 Rome, who were appeased by some few 
 hundred crowns thrown from the win- 
 dows, 3 was, in 1826, the residence of a 
 sage, the Cav. dTtalinski, Russian mi- 
 nister, then an old man of eighty-three, 
 possessing in the highest degree that 
 superior and true simplicity, so different 
 from that of common life. M. d'ltalinski, 
 twice minister at Constantinople, once 
 at Naples, had been fifty years from 
 Russia, which he had so well served. 
 This patriarch of European diplomatists 
 was a man of immense information. He 
 had worked at the continuation of d'Han- 
 carville's grand collection of Etruscan 
 vases, and his numerous library was 
 chiefly rich in oriental books. < I still 
 remember the vast gallery painted in 
 fresco by Pietro of Cortona, which he 
 never quitted, but made one end his 
 dining-room, the middle his saloon, and 
 the other extremity his closet : a certain 
 column, which the servants were not to 
 pass, was the limit of the latter, when 
 M. Italinski was studying or at work. 
 There was he wont to read every day 
 for amusement, one while Homer, Xeno- 
 phon.orThucydides, at another Terence, 
 Virgil, or Horace, an Arabic grammar, 
 or some scientific journal . This minister 
 of Russia was very unlike his predecessor, 
 the Muscovite ambassador whom Mon- 
 taigne encountered at Rome : " qui ne 
 
 ' This excommunication was raised by Bene- 
 dict X11I. Urban VIII. having made precisely tbe 
 same prohibition for the churches of Seville, Pas- 
 qulno happily quoted a passage In Job : Contra 
 folium, quod venlo rapilur, oslendis potentiam 
 tuain, et slipulam siccam persequeris. 
 
 * See post, bo»k xvi. cb. iii. 
 
 J On the 5th of October t05i, as Olimpia was pre- 
 paring to receive a visit from her uncle, she dis- 
 covered that a considerable portion of ber pearls, 
 gold, and jewels had been stolen. Not long after 
 she received a letter from the thief, who told ber 
 tbe circumstances of the case, pretended that she 
 
 " savoit parler nulle langue que la 
 " sienne, etqui pensoit queVeniseestoit 
 " de la dition du pape. " 5 
 
 The Rraschi palace, of a good style, 
 though erected at the close of last cen- 
 tury, is, with its rich marbles and pom- 
 pous staircase, a monument of the ne- 
 potism that ceased long ago at Rome and 
 has not been revived. Despite the beauty 
 of its colossal Antinous, these huge forms 
 seem incompatible with (he young and ef- 
 feminate favorite of Adrian. Among the 
 paintings may be remarked : the cele- 
 brated Marriage in Cana, by Garofolo; 
 another Adulterous Woman, by Titian; 
 Lucretia, by Paolo Veronese, and the 
 Marriage of St. Catherine, by Fra Bar- 
 tolommeo. 
 
 The celebrated mutilated torso called 
 Pasquino, one of the most vigorous and 
 finished Greek works, representing Me- 
 nelas defending the body of Patroclus, 
 a kind of sculptured fragment of the 
 Iliad, owes its name to the facetious 
 tailor of Rome, near whose shop it was 
 found . The genius of satire is peculiar to 
 the Romans. Pasquino and his satellite 
 Marforio are the opposition of the coun- 
 try, an opposition in which every body 
 dabbles, which is not prosecuted by the 
 government, but is occasionally its mouth- 
 piece to divert public opinion, which no 
 longer, as heretofore, placards the foot 
 of the statue, but still exercises the same 
 violence on individuals, and retains but 
 too much of the pleasantries of Pas- 
 quino and his workmen, its first orators. 
 The profession of a tailor must, more- 
 over, have been very distinguished in 
 Italy, if we may judge by the following 
 title of a work in quarto by Giovanni 
 Pennachino: Nobilta ed antichitd de' 
 Sartori cavata da molti autori appro- 
 rati (Venice, 1650). 
 
 The Massini palace, whose masters 
 pretended to be descended from the Fa- 
 bii of ancient Rome, built by Baltassare 
 
 ought to be much obliged to him for not taking the 
 whole, and advised her to take greater care of n hat 
 remained ; the letter was accompanied by a sum or 
 2000 crowns. The pope, to console his niece a little, 
 had the weakness to grant ber 30,000 crowns in 
 addition. 
 
 4 M. d'ltalinski was a n.ilive of Kief, and died on 
 the 27th of June 182" ; he bequeathed bis library to 
 the emperor of Russia, who remitted to bis heirs 
 the sum of 45,000 rubles, as the amount or lt» 
 worth. 
 
 5 voyage, t. II, p. 143. 
 
Chap. XXXVI.] 
 
 ROME, 
 
 .V; a 
 
 Peruzzi, in a narrow irregular space, 
 passes for the artist's masterpiece and 
 was his last work; it is considered in the 
 first rank of modern palaces. With its 
 court and pretty fountain, it still gives 
 an idea of the habitations of ancient 
 Rome. The superb Greek Discobolus, 
 one of the finest and best preserved sta- 
 tues in Rome, seems a copy of the cele- 
 brated bronze statue of Myron. The 
 paintings in clare-obscure of the front 
 towards the piazza Navona are by Da- 
 niello da Volterra. 
 
 It was in the house near the Massini 
 palace, smaller and rebuilt in good style, 
 by Baltassare Peruzzi, that the second 
 printing-office in Italy was established 
 in 1467 {in domo Petri de Maximis), 
 when the German printers Sweynheim 
 and Pannartz, not agreeing, as it ap- 
 pears, with their countrymen the monks 
 of Subiaco, came to settle at Rome, and 
 printed there Cicero's Orator, without 
 date, and the City of God, in the same 
 year 1467, which were even then very 
 -well executed. 1 Printing at Rome seems 
 very limited now, and of an inferior kind; 
 it was honoured by some good editions 
 there in the sixteenth century, such as 
 the Homer of Eustathius, by Bladus 
 (1542-50), the Latin Bible by Aldus Ma- 
 nutius (1590), then manager of the Va- 
 tican printing-office, now closed for want 
 of funds; and even in the seventeenth 
 century, the epoch of typographic de- 
 cline, by the establishment of the cele- 
 brated printing-office of the Propaganda, 
 by Pope Urban VIII., which is rich in 
 oriental characters. 
 
 The Vidoni palace, unfinished, is the 
 best authenticated and most considerable 
 work of Raphael, as an architect, atRome. 
 The front and basement serving for 
 ground floor are of superior effect, and 
 combine variety, harmony, and strength. 
 The attic superadded is not by Raphael, 
 and impairs the simplicity of his plan. 
 In this palace are preserved the frag- 
 ments of the calendar of Verrius Flac- 
 cus, found at Preneste, in the last cen- 
 tury, and ingeniously supplied by M. 
 Nibby. 
 
 The vast Mattei palace, a noble and 
 pure work of Carlo Maderno, who after- 
 
 1 Tiraboschi and those who have followed him 
 are mistaken In supposing that the bonatns pro 
 puerulis, not a copy of which is extant, had 
 been printed at Subiaco, on the faith of the request 
 presented to SixlusIV. ini472, which doesnot nien- 
 
 Witrds began the decline of the art (a sin- 
 gularity which the history of letters also 
 presents), is ornamented with fine sta- 
 tues, antique basso-relievos, and paint- 
 ings by good masters. On the stairs, 
 seats, a kind of antique stools, are atten- 
 tively placed. A basso-relievo represents 
 a Consul having a criminal punished ; 
 a head of Alexander is remarkable; a 
 ceiling has been painted by Domeni- 
 chino. 
 
 On the piazza, the fountain delle Tar- 
 tarughe, from the design of Jacopo della 
 Porta, has four young figures in bronze, 
 very elegant, by Taddeo Landino, a Flo- 
 rentine sculptor of the end of the last 
 century. 
 
 The ceilings of the Costaguti palace 
 are justly celebrated : Time discovering 
 Truth, by Domenichino, is worthy of 
 that grand master ; there is strong ex- 
 pression in the Armida on a car drawn 
 by two dragons, in Guercino's first style. 
 The gallery has some works which de- 
 serve notice, a grand painting by Pous- 
 sin, two Heads by Domenichino. 
 
 CHAPTER XXXVI. 
 
 Monte Testaccio.— Fete.— People of Rome.— Miuentl. 
 —View. 
 
 The month of October is the most 
 agreeable time at Rome. The soil, re- 
 freshed by the September rains, is ver- 
 dant and flowery; merry troops, clothed 
 in showy colours, wearing hats bedecked 
 with flowers, plumes, and ribands, dan 
 cing the tender, graceful, lively Salte- 
 rello to the tabor and mandoline, singing 
 the popular ballad Viva ottobre che 
 spasso ci da, ramble over the fields; 
 light carrettelle, hackney caleches, carry 
 the populace to Monte Testaccio, while 
 the equipages of the citizens and nobility 
 defile by the Porta Pia. The carrettelle 
 are loaded with two stages of men, and 
 especially women and girls, called Mi- 
 nenti (for eminenti), who all retain their 
 popular costume, instead of sporting the 
 lady or gentleman. Some of these girls 
 are a species of Roman grisettes, but 
 robust, energetic, impassioned grisettes, 
 who will drink to intoxication, and are 
 
 lion it; it was more probably printed at Home 
 about 1468. See p. 44 of the Letter from the abbe de 
 Rozan to the librarian of Naples, already cited, 
 book xit. ch. ?i. 
 
5?6 
 
 ROME. 
 
 [Book XV. 
 
 even capable of the coltellata. The Os- 
 terie (inns and wineshops) of Testaccio 
 are filled villi people; all these physiog- 
 nomies and costumes are characteristic, 
 picturesque : if the Roman people have 
 passed away, we still have the people of 
 Rome. Monte Testaccio, where the cel- 
 lars are noted for extraordinary coolness 
 (the thermometer sometimes reaches as 
 high as 28 degrees (Reaumur) outside, 
 but falls to 8 or 9 there), is composed, as 
 every one is aware, of the wrecks of an- 
 cient jars {testa) which were deposited 
 there. When we consider the population 
 of Rome, it appears surprising that so 
 many fragments have not produced a 
 larger mass : the shape of these pots ex- 
 posed them to frequent breakage, and, as 
 Courier remarks, 1 we must also under- 
 stand by the Latin our barrels which v\ e re 
 unknown to the ancients, and the cele- 
 brated tub of Diogenes was perhaps a 
 large earthen jar. We may add that 
 the use of these was very general; that be- 
 sides wine, they were used to hold water, 
 oil, the ashes of the dead, and for a multi- 
 tude of other usages. The barrels and 
 bottles of a Swiss or German town would, 
 I believe, form a higher mound than the 
 Monte Testaccio in a little time. This 
 hill, too, seems no bad emblem of mo- 
 dern Rome, if we consider all the fallen 
 great that take refuge there ; and itself is 
 but a kind of Testaccio, where all the 
 broken pots of the universe are thrown 
 into a heap. 
 
 From this height, the view of the set- 
 ting sun was admirable. Poussin is said 
 to have frequently drawn inspiration 
 there, and it was impossible, in contem- 
 plating it, not to experience the dreamy 
 charms of his paintings. 
 
 CHAPTER XXXYII. 
 
 Ghetto.— Bridge of the Quatlro Capi.— Tiber.— Fon- 
 tana l'aolina.— Contrast. 
 
 The Ghetto, the Jews' quarter, the 
 most wretched and vilest of those re- 
 ceptacles, presents a paria-like multi- 
 tude in shops crowded one on the other. 
 The number of inhabitants, which the 
 fear of the cholera induced the authori- 
 ties to ascertain for the first time, is three 
 thousand five hundred, and it has been 
 calculated that if the rest of Rome was 
 
 • Correspondance, 1. 1, p. m. 
 
 peopled in proportion, there would not 
 be less that five hundred thousand souls 
 instead of a hundred and fifty-one thou- 
 sand nine hundred and fifty-seven, its po- 
 pulation in 1832. Such, however, is 
 the effect of populousness as a means of 
 salubrity, that this filthy, confined, in- 
 fected quarter, near the Tiber, is not in 
 the least unhealthy, while the mal'aria 
 prevails in the desert parts of Rome and 
 in the bosom of the finest villas. The 
 barbarous exclusion of the Jews, so op- 
 posed to the charitable spirit of Chris- 
 tianity, has not even the specious merit 
 of antiquity, for it began in the pontifi- 
 cate of Paul IV., about the middle of 
 the sixteenth century. He also com- 
 pelled them to wear a yellow badge in 
 front, called lo Sciamahno, which still 
 distinguishes them in the Roman states. 
 At his death a Jew covered the head of 
 the broken statue of that pope with the 
 same Sciamanno. 
 
 The Ghetto forms a kind of commo- 
 nalty, called Universita, whose rectors 
 take the title of cacam; a sum of 
 7,000 crowns, an expense borne by the 
 nine hundred trading families in more 
 easy circumstances,- is devoted to the 
 maintenance of public worship, schools, 
 physicians, and chiefly to relieve the 
 poor, in obedience to the precept of 
 Deuteronomy, which forbids mendicity ; 
 et mendicus non erit inter vos. 
 
 The bridge of the Quatlro Capi, so 
 called from its four hermes of Janus, 
 which leads to the island ofTiberina, was 
 built by L. Fabricius, surveyor of the 
 highways, in the year of Rome 690, 
 and it is now the oldest bridge in the 
 city. 
 
 The Tiber, lined with palaces, and 
 coveted with vessels in ancient times, is 
 now without even a quay; it runs ob- 
 scurely through a corner of Rome, and 
 nothing of its olden aspect survives ex- 
 cept its yellow hue (flavus Tiberinus). 
 A miserable steamboat, which, without 
 its engine, might not be unlike the ship 
 of iEncas, navigates the stream as far as 
 Fiumicino; and so much has the river 
 declined that the modern machine can 
 hardly find water enough to make this 
 voyage in five hours, and would often 
 be in danger of remaining aground 
 without the help of oxen to low it along. 
 The Tiber, the sacred river of ancient 
 Rome, which a magistrate instituted by 
 Augustus was charged to preserve from 
 
Chap. XXXVIII.] 
 
 ROME. 
 
 S7 
 
 all impurities, is the common sewer of 
 new Rome, and receives all the filth of 
 the city. Clelia and her companions, 
 who passed it at the port of Ripa grande, 
 would now require more courage for a 
 repetition of their noble feat, if they had a 
 taste for cleanliness. Its water, which is 
 not used as a beverage except in some few 
 religious houses in the quarter, long pre- 
 served its reputation of being sweet and 
 wholesome : Paul III. had a quantity of 
 it carried with him in his longest jour- 
 neys; Clement VII., by his physician's 
 order, look a supply of it to Marseilles 
 when he went to marry his niece, Ca- 
 therine of Medicis, to the Dauphin's 
 brother, afterwards Henry II.; and Gre- 
 gory XIII., who lived to the age of 
 eighty-four, constantly drank this water, 
 now so dirty and decried. Ariosto ce- 
 lebrates it in verse ; but it was then 
 customary to let it settle for some days, 
 as among the articles that the poet re- 
 commends his brother to prepare for his 
 arrival at Rome, he says : 
 
 Fa ch' io trovi dell' acqua, e nou di fonle 
 Di flume si, cbe gia sei dl yeduto 
 Non abbla Sislo, ne alcun allro ponle. 1 
 
 It appears, according to the analysis in 
 July 1830 by S. Chimenti, professor of 
 chemistry at the Sapienza, of two quan- 
 tities of water each weighing a hundred 
 pounds, the first taken at Ponte Molle 
 above the city, the second below the port 
 of Ripa grande, that the water of the 
 Tiber is not only potable, but of a better 
 quality than that of the Seine and the 
 Thames. In summer the mineral vir- 
 tues and warm temperature of the river 
 made it an excellent bath, which satisfied 
 the Romans of the republic.'' The tem- 
 perature rises from eighteen to twenty- 
 four degrees (Reaumur), and rarely 
 differs more than from two to six degrees 
 from the temperature of the air. The 
 project of excavating the Tiber to obtain 
 the antique statues and pretended trea- 
 sures concealed in its bed, riches spoken 
 of by Montfaucon, who has in some in- 
 stances clothed the tales of the ciceroni 
 with his grave Latin,— this had been pre- 
 viously conceived by Cardinal de Poli- 
 gnac. The experiment made in 1823 
 has proved how chimerical it was. As 
 to the other scheme of turning the Tiber, 
 
 1 Sat. ih 
 
 for the same object, without much con- 
 sidering where it might pass, it is still 
 more ridiculous. 
 
 The Fontana Paolina, on mount Ja- 
 niculum, in a superior situation, the 
 most abundant in Rome, appears in the 
 distance like a triumphal arch with water 
 jets. The noise of its five mouths is 
 quite deafening. Rut the water, which 
 is brought by an aqueduct constructed 
 under Trajan and restored by Paul V., 
 is tartareous and of little use but as 
 a moving power for the manufac- 
 tories and mills situated on its course 
 to the Tiber. It was made of the marble 
 taken from a temple of Pallas, built by 
 Nerva and demolished by Paul V., ano- 
 ther deplorable instance of the destruc- 
 tion of antique monuments at an epoch 
 of civilisation. 
 
 On the summit of the Janiculum one 
 is most struck with the discrepancy be- 
 tween the monuments of Roman grandeur 
 and the most admired modern edifices : 
 the former are less distinguished for 
 their ruins than their majesty ; and be- 
 side the gigantic masses of the temple of 
 Peace, the Coliseum, and the dome of 
 the Pantheon, the Earberini and Far- 
 nese palaces, and even Saint Peter's look 
 diminutive. 
 
 CHAPTER XXXVIII. 
 
 Corsini palace.— Chrislina.— Guercino's Ecce Homo. 
 — Library.— Tbe Farnesiua.— History of Psyche.— 
 Galatea.— Head, by Michael ADgelo.— Lante Villa. 
 
 The Corsini palace, formerly belong- 
 ing to the Riario family, was inhabited 
 by Christina, and the chamber where she 
 died is still shown. There are some 
 curious details respecting her death in 
 a letter by Menzini, an eye-witness and 
 friend of Christina, to Redi, published 
 at the end of the Lettere di Lorenzo il 
 Magnifico e d' altri illustri Toscani 
 (Florence, 1830, in 8vo). These histo- 
 rical details might have supplied the 
 French author of the trilogy of Christine 
 with some new effects. The reading of 
 her will immediately after the scene of 
 despair caused by the queen's last mo- 
 ments, and the disappointment of her 
 dependants, is depicted with a degree 
 of truth scarcely to be expected from a 
 courtier poet such as Menzini : Dopo 
 
 2 See post, ch. xliii. 
 
 49 
 
578 
 
 ROME. 
 
 [Book XV. 
 
 un' oraincircapassammo dalla camera, 
 ove giaceva, in altra stanza contigua, 
 dove si aperse e si lesse il di lei tesla- 
 rnento. Qui io non posso dirle tutte le 
 
 particolarita di esso Lo aver la- 
 
 sciato particolarmente la sua povera 
 famiglia scnza verun conforto, con 
 non farle niente di piu di quel che qui 
 in Roma costumi di fare ogni altro 
 benche mediocre signore, ha fatto cre- 
 dere che questo non sia stato il puro 
 sentimento di cost alta regina, ma che 
 vi si sia adoprata manifattura di per- 
 sone, che per vestire se stesse hanno 
 volentieri e barbaramente fatto che 
 tutti gli altrirestino ignudi... Micreda, 
 che questo ha seccato le lagrime sugli 
 occhi di molti, ed ha fatto si che la re- 
 gina non sia pianta, dove che con ogni 
 piccola amorevole recognizione saria 
 stata pianta eternamente. Christina 
 had founded in the Corsini palace her 
 famous Academy composed of the first 
 literati of the time. With all its defects, 
 the present palace, rebuilt by Fuga, is 
 one of the most commendable in Rome 
 for its skilful disposition, the magnifi- 
 cence of the staircase, and the distribu- 
 tion of the interior. The gallery has 
 some remarkable works : the Ecce Homo, 
 by Guercino, admirable for its expres- 
 sion of me divine sorrows; a Virgin, by 
 Caravaggio, very good ; a Holy Family, 
 by Fra Bartolommeo," perhaps the most 
 graceful he ever produced ; the portrait 
 of Julius II., by Raphael, nowise infe- 
 rior to that of the Tribuna; another 
 Adulterous Woman, by Titian, and his 
 Philip II., which may be a copy; a 
 Rabbit, perfect, by Albert Durer; the 
 Life of a Soldier, by Callot, in twelve 
 little paintings, of feeble execution and 
 without colour, to which the engravings 
 are far preferable; an Annunciation, 
 by Michael Angelo; the celebrated He- 
 rodias with the head of John the Rap- 
 tist on a charger, by Guido, graceful, 
 though the adjustment is affected, in bad 
 taste, and the head of Herodias has not 
 the character becoming her ; a Tiger 
 hunt, by Rubens, finely coloured, but 
 not. universally allowed to be authentic; 
 a Landscape, of Guasprc Poussin's best; 
 a Virgin, by Murillo, soft in execution, 
 extremely fresh in colouring, and one 
 of the largest paintings of the Spanish 
 school at Rome. 
 
 The Corsini library, created by Bene- 
 dict XIII., is rich in manuscripts and 
 
 editions of the fifteenth century; its fa- 
 mous collection of prints must be placed 
 in the first rank for choiceness and 
 number. But these treasures seem never 
 to have been communicated very freely, 
 and the prints are only shown with the 
 autograph permission of the prince. 
 This library has also some of Christina's j 
 letters. 
 
 A charming villa is dependant on the 
 palace, and extends over the steep de- 
 clivity of the Jantfulum. The view of 
 Rome from the casino is complete. 
 
 The Farnesina, a dilapidated monu- 
 ment of the splendour of art in the six- 
 teenth century, ornamented with paint- 
 ings by Raphael and his school, of the ar- 
 chitecture of BaltassarePeruzzi, was built 
 by the Roman banker Agostino Ghigi, 
 who wished to receive LeoX. there and 
 perpetuate his own reputation as a man 
 of taste. Ghigi had already employed 
 Calliergi in his own house in printing 
 the beautiful Pindar, a small quarto, of 
 1515, the first Greek book printed at 
 Rome : this banker must be regarded 
 as one of the most magnificent Maece- 
 nases of modern times. It has been pre- 
 tended that at the banquet given by 
 Ghigi to the pope, fourteen cardinals, 
 and all the ambassadors of Christendom, 
 on Friday, the 30th of April 1518, the 
 gold dishes when taken from the table 
 were thrown into the Tiber; but the his- 
 torian of this famous banquet, Tizio, a 
 friend of the Amphitryon, who states 
 that the price of three fish amounted to 
 250 crowns, does not mention this ex- 
 travagance, most probably a fabrication 
 suggested by Antony's banquet lo Cleo- 
 patra at Tarsus. 
 
 The fresh and vigorous triangle of the 
 three Graces of the Fable of Psyche 
 passes for a work of Raphael. Ghigi, on 
 being informed that he often interrupted 
 his labours to pay a hasty visit to Forna- 
 rina, paid him the attention of inviting 
 her to his house, to save the artist's time. 
 The flying Mercury, seen facewise, is 
 lifelike, aerial ; the group of the Apo- 
 theosis of Psyche, full of grace, and the 
 Jupiter embracing the son of Venus, 
 presents a mixture of majesty, at once 
 na'ive, familiar, and sublime. The Coun- 
 cil, the Banquet of the gods, are mag-; 
 nificent inspirations from Homer. Not- 
 withstanding the elogiums lavished on 
 the retouching, by Carlo Maratta, of this 
 rich decoration, it is probable that the 
 
Chap. XXXIX.] 
 
 ROME, 
 
 general effect has rather lost than gained 
 thereby, and the present ground appears 
 of too deep a blue. The poetical fresco 
 of Galatea, so roughly handled by time, 
 which one would think inspired by the 
 genius of antiquity, is by Raphael. This 
 curious passage of a letter to Castiglione, 
 on the subject of the Galatea, is a mo- 
 dest explanation of some of Raphael's 
 proceedings in the research and choice 
 of the beautiful : Delia Galatea mi terrei 
 un gran maestro, se vi fossero la metd 
 delle tantecose che V, S. mi scrive :ma 
 nelle sue parole riconosco V amore che 
 mi porta, e le dico che per dipingere 
 una bella mi bisogneria vederpiu belle, 
 con questa condizione che V. S. si tro- 
 vasse meco a fare scelta delmeglio. Ma 
 essendo carestia e de' buoni giudici e 
 di belle donne, io mi servo di certa 
 idea die mi viene alia rnente. Se questa 
 ha in se alcuna eccellenza di arte, non 
 so, ben m' affatico d' averla. The 
 paintings of the ceiling, representing 
 Diana on a car and the History of 
 Medusa, by Danielloda Volterra, Sebas- 
 tiano del Piombo, and Baltassare Pe- 
 ruzzi( the latter was also a great painter 
 and inventor of theatrical decorations), 
 produce such an illusion thatTitian him- 
 self took them for ornaments in relievo, 
 and wished to have a ladder brought that 
 he might touch them; a wonderful effect 
 which these paintings still display. The 
 superb colossal head drawn with char- 
 coal by Michael Angelo, and supposed 
 an Alexander, is not, as pretended, a 
 lesson given by him to Raphael on the 
 small proportions of his heads; but he 
 did it while waiting for his pupil Da- 
 nielle, and to advise him of his arrival : 
 it was his visiting card. It would be 
 best, if practicable, to begin the visit of 
 the Farnesina by the two rooms of the 
 first floor, as their frescos, of Raphael's 
 school, with some excellent parts, lose 
 too much if seen after the chefs-d'oeuvre 
 of the ground floor. 
 
 The academy of Naples, instituted by 
 Charles III. in imitation of the French 
 academy, is lodged at the Farnesina. 
 The pupils, under the direction of S. 
 Camuccini, are six in number : two 
 painters, two sculptors, two architects. 
 It is impossible to study more admirable 
 models, and the taste of this school ought 
 to profit by them. 
 
 The Lante villa, a pretty casino on the 
 Janiculum, one of the spots affording 
 
 the finest view of Rome, is a miracle of 
 Giulio Romano's talent in painting and 
 architecture. The eight women's heads 
 in fresco, of the bathing-room, are re- 
 puted portraits of Raphael's mistresses; 
 these faces are ingenuous, graceful, ex- 
 pressive, Italian, such as we find in his 
 different chefs-d'eeuvre, and apparently 
 the source of his inspiration. They, as 
 well as the villa, were ordered of Giulio 
 Romano by Raltassare Turini, datary 
 of Leo X. and Clement VII., the inti- 
 mate friend and testamentary executor 
 of Raphael, a voluptuous prelate, who 
 sought by these sweet images to recover 
 the trace and memory of the man he 
 mourned. 
 
 CHAPTER XXXIX. 
 
 Chancery palace.— Farnese palace.— Court. -Gallery. 
 — Spada palace. — Basso-relievos.— Falconleri and 
 Sacebetti palaces.— Bridge of Saint ADgelo.— Castle. 
 — Girandola.— Palace cle' Converlendi. — Real cause 
 of Raphael's death. 
 
 The Chancery palace, one of the lar- 
 gest structures in Rome, the chef-d'oeuvre 
 of Bramante, to which he first applied 
 the result of his researches on antique 
 monuments, still presents some traces 
 of the previous meagre taste. It was 
 built with the travertine of the Coliseum, 
 and the marble of the arch supposed to 
 be Gordian's. The elegant portal to- 
 wards Saint Laurence in damaso, by 
 Vignola, despite its merit, is not in har- 
 mony with the style of the first architect, 
 a culpable instance of independence, if 
 one may say so, followed with less right 
 by Domenico Fontana, author of the 
 grand portal. Vasari, who painted the 
 History of the life of Paul III., in 
 the saloon, confesses that being obliged 
 to finish promptly, he employed appren- 
 tices, who did not always do exactly as 
 he wished, but the frescos were com- 
 pleted in ahundred days. The Chancery 
 palace was formerly the scene of the 
 fetes, prodigalities, and almost princely 
 magnificence of Cardinal Pietro Otto- 
 boni, a Venetian, nephew of Pope Alexan- 
 der VIII., a gallant prelate, a lover of 
 poetry books, and music, author of dra- 
 matic pieces, poems, and oratorios, who 
 had several times executed in this pa- 
 lace, amid the universal applause of the 
 auditory, the Paraphrase of the Psalms 
 by Benedetto Marcello, with words by the 
 Arcadian Francesco Lorenzini, and who, 
 
580 
 
 ROME. 
 
 [Boor XV 
 
 though loaded with riches by his uncle, 
 died insolvent. The delicate generosity 
 of Ottoboni is evinced by the following in- 
 cident. At Castel-Gandolfo, in order to 
 make the duchess Bernardina Albani ac- 
 cept a walking-stick mounted with dia- 
 monds, which had been manufactured by 
 his order at Venice, he concealed her own ; 
 for it appears that then (in 1700) ladies 
 used them. Me returned it, but would 
 not take back the one he had offered her, 
 saying that he was unworthy to possess 
 it, and that since it had passed into such 
 hands, it had acquired loo high a value. 
 The Farnese palace (il dado Farnese, 
 the Farnese die, though its form is an 
 oblong square) with its piazza laid out 
 for it and adorned with two well-sup- 
 plied fountains, having the largest gra- 
 nite basins known, with regular rows of 
 houses along its sides, is the Gnest pa- 
 lace in Rome, and the true type of Ro- 
 man architecture, differing in its pure 
 and lofty taste from the rudeness of the 
 Florentine, and the showy architecture 
 of the palaces of Naples and Genoa. 
 Three architects of the first order worked 
 at this chef-d'oeuvre: ATatonio San Gallo 
 laid down the plan and erected the ex- 
 terior fronts; the first floor of the court 
 is by Vignola, and Michael Angelo 
 crowned the edifice with its majestic 
 entablature. The travertine of the court 
 consists of stones fallen from the Coli- 
 seum, which was not demolished by 
 Paul III., as some have unjustly pre- 
 tended, to build the palace, as this pon- 
 tiff always showed great zeal in pre- 
 serving ancient monuments, and one of 
 his first acts was to create the learned 
 Latinus Juvenal Mannetto commissary- 
 general of the antiquities of Rome with 
 very extensive powers. The choice and 
 workmanship of this travertine, the pre- 
 cision and excellence of its fittings, have 
 never been surpassed in any building. 
 Since the works of the Romans, there has 
 been nothing constructed in greater per- 
 fection than this court, and it may even be 
 put in competition with the first monu- 
 ments of the imperial people. Under the 
 portico is the great marble sarcophagus 
 of Cecilia Metella, an illustrious Roman 
 lady, the wife of Crassus, whose tomb, 
 though neglected, seems in keeping with 
 the architecture. A vast staircase leads 
 to the gallery painted by Annibale Car- 
 raccio, aided by Agostino, his brother, 
 and several of his pupils, the model of 
 
 all galleries executed in the same style, 
 a magnificent decoration, perhaps sur- 
 charged with ornaments, in accordance 
 with the taste of the age, which cost the 
 artist eight years of toil, and only pro- 
 cured him 500 gold crowns (120/.). The 
 most remarkable of these poetical paint- 
 ings, so sparingly paid, are : the Triumph 
 of Bacchus, in which Silenus on horse- 
 back is perfect; the Galatea, ascribed to 
 Guido ; Aurora and Cephalus in a cha- 
 riot, and the Andromeda. One room, 
 though painted by Salviati, Taddeo Zuc- 
 cari, and Vusari, is deserving of notice : 
 there we see the Peace concluded be- 
 tween Francis I. and Charles V. ; 
 Luther disputing with the nuncio Caje- 
 tano, and some incidents from the his- 
 tory of the Farnese family. The colossal 
 group o.f Alexander Farnese, crowned 
 by Victory, the Scheldt chained al his 
 feet and Flanders kneeling, is the work 
 of the Tuscan sculptor Moschino, and 
 cut out of the marble of one of the co- 
 lumns that supported the roof of the 
 temple of Peace. 
 
 The Spada palace was restored and 
 bed izened by Borromini, who has erected, 
 in a little garden, a colonnade forming a 
 perspective imitated by Bernini in the 
 staircase of the Vatican, a kind of illu- 
 sion that appears a perfect absurdity 
 amid the brilliant realities of such a 
 country. The gallery, without being of 
 the first rank, has some remarkable 
 paintings : the David witlt Goliath's 
 head, by Guercino, adjusted in a very 
 picturesque manner; a portrait, by Ti- 
 tian ; a Roman Charity, by Annibale 
 Carraccio, original in composition, vi- 
 gorous in execution; the Market o, 
 Naples and Masaniello haranguing the 
 army of Lazzaroni, one of the good 
 works of Michelangelo de' Bambocci ; 
 a mother teaching her child to work, 
 called St. Anne and the Virgin, by Mi- 
 chelangelo di Caravaggio, vulgar and 
 true; Dido, by Guercino, the best paint- 
 ing in the gallery; the portrait of Car- 
 dinal Spada, by Guido, one of the fine 
 portraits of Rome. The rooms below 
 contain celebrated antique sculptures : 
 a statue of a philosopher seated in me- 
 ditation, called Aristides, but is more 
 probably an Aristotle : virtue does not 
 need so much cogitation ; the eight basso- 
 relievos proceeding from the stairs of 
 Saint Agnes extra muros, where they 
 formed so many steps with the sculptured 
 
Chap. XXXIX,] 
 
 ROME. 
 
 581 
 
 side downward, the finest basso-relievos, 
 and perhaps the best preserved that we 
 possessor Roman antiquity. The colossal 
 naked statue, said to be Pompey' s, at the 
 foot of which Caesar fell, and which was 
 transported by the republicans in 1798 
 to the Coliseum where Voltaire's drama 
 was played, has recently, by another act 
 of folly, been purchased for 4-,000Z. by 
 an Englishman. This famous statue is 
 only the statue of an emperor on which 
 a head of Pompey has been stuck, a 
 head without either genius or goodness : 
 the imperial fillets still hang on the col- 
 lar, and this Pompey has the Adam's 
 apple of each statue. 1 
 
 The Falconieri palace was repaired by 
 Borromini, who added the front. The 
 numerous gallery, the richest in paint- 
 ings of the Flemish, Dutch, German, 
 and French schools, has been collected 
 with zeal and discernment by Cardinal 
 Fesch. The most distinguished are : a 
 Crucifix with angels, the Virgin, and 
 Saints, in Raphael's first style ; a Hell, 
 one of the fine works of Fra Angelico; 
 a good Holy family with St. Francis 
 adoring the Infant Jesus, by Rubens ; 
 a St. Jerome, full of expression, by Spa- 
 gnoletlo; two Battles, by Bourguignon; 
 a Last Supper, by Albano ; a St. Cecilia, 
 by Guercino; a Council, by Titian, ad- 
 mirable for colouring and the simplicity 
 of the means used to obtain such effect ; 
 some fragments of frescos, by Sebastiano 
 del Piombo, in the most elevated, most 
 majestic style ; a Teniers, and a St. John 
 preaching, by Rembrandt, chefs-d'oeuvre 
 of those masters. Some inferior paintings 
 of this gallery have been sent as presents 
 by the cardinal ; I found several of them 
 in an oratory of Corsican sailors of Ajac- 
 cio ; » others are gone to decorate catholic 
 altars in America, where they peacefully 
 perpetuate the memory of Napoleon, of 
 whom the other parts of the world re- 
 tain such glorious or terrible traces. 
 
 The beautiful Sacchetli palace was 
 erected by the great architect Antonio 
 San Gallo, for his own use. Though the 
 windows of the ground floor have bor- 
 ders overloaded with profiles, and their 
 consoles are heavy and too prominent, the 
 general ordinance and disposition of the 
 
 1 See anle, book iv. ch. ii, the opinion 6f Cico- 
 gnara on another pretended colossal statue of 
 fompey, which is only a Tiberiu;. 
 
 1 See Voyages en Corse, a file d'Etbe el en Sur- 
 daigne, liv. i.,ch. I, 
 
 front are in a judicious and regular style, 
 and have the solid character peculiar to 
 the author's works. The Satchetti pa- 
 lace bears the arms of Pope Paul III. 
 (Farnese), who had remarked the genius 
 of San Gallo (a carpenter when he came 
 to Rome), and made his fortune, as the 
 inscription happily expresses : Tu tnihi 
 quodcumque hoc rerum est. 
 
 The Pons iElius, now the bridge of 
 Saint Angelo and the finest in Rome, 
 except the parapets and some slight re- 
 parations, is antique. The embellish- 
 ment of the ten colossal figures of angels 
 holding the instruments of the Passion, 
 was executed by Bernini and his pupils. 
 It is difficult to imagine anything more 
 ridiculous than the effect of the wind in 
 the vestments of the angels and the con- 
 formation of the wings. The angel bear- 
 ing the cros,s is by Bernini's own hand, 
 and passes for one of his most affected 
 works. With all their defects, these fi- 
 gures have at least the important merit 
 of being in proportion and analogy with 
 the ensemble of the bridge. 
 
 The mausoleum of Adrian, a monu- 
 ment of the talents of the Caesar archi- 
 tect, was built for him and his succes- 
 sors, when he abandoned the tomb which 
 Augustus had erected for himself and 
 the emperors that might come after him. 
 There is something noble in this emula- 
 tion of the masters of the world to pro- 
 vide for death : such tombs have tended 
 no less to the immortality of the two 
 emperors than their palaces. The mau- 
 soleums of Augustus and Adrian have 
 since experienced a sad destiny : the 
 tomb of Augustus is an arena for bull- 
 fights, a circus for horsemanship, and a 
 theatre for fireworks; 3 and the mole of 
 Adrian is a bagne and a prison. Not- 
 withstanding the authority ofProcopius 
 and the common opinion, the Greco- 
 Roman army of Belisarius perhaps did 
 not hurl the beautiful antique statues 
 that adorned this latter mausoleum at 
 the heads of the Goths, and the Barb e- 
 rini Faun, found in the ditches of Saint 
 Angelo, probably fell there in some other 
 revolution or by accident. There could 
 scarcely remain any statues on the mole 
 of Adrian when Belisarius took posses- 
 
 3 The bull and buffalo fights were suppressed by 
 Pope t'ius VIII., but they still exhibit the pretty 
 fiwchclii, and the burning of a great balloon full 
 of fireworks, In this amphitheatre, which will 
 coutai-a several thousand spectators. 
 
 49. 
 
582 
 
 ROME. 
 
 [ Book XV. 
 
 sion of Rome : the barbarians had held 
 the city for sixty years, and more than 
 two centuries before, Constantino had 
 employed the columns of the mausoleum 
 in building Saint Paul's; one may there- 
 fore believe that he also took away the 
 statues placed on those columns. It is 
 a singular thing that the fortifications of 
 the castle of Saint Angelo were. begun 
 by Boniface IX., with the money that he 
 received of the Romans to return to 
 Rome and celebrate the jubilee; this 
 people, ever passionately addicted to 
 shows, sacrificed to this folly the last 
 remnants of their liberty. A long co- 
 vered corridor, the massy masonry of 
 which has a fine effect through the co- 
 lumns of the piazza of Saint Peter, reaches 
 from the Vatican to the castle, that the 
 latter, in case of insurrection, may afford 
 an asylum to the masters of Rome; a 
 monument of fear and menace founded 
 by Alexander VI., and unworthy the 
 peaceful sway of the father of the faith- 
 ful. 
 
 I obtained permission to visit the 
 castle of Saint Angelo, and went over 
 every part of it. My descent, by torch- 
 light, into the subterranean vaults, with 
 soldiers and gaolers, after having passed 
 through the population of prisoners and 
 galley-slaves that throng the castle, gave 
 our expedition an air of romance. All 
 these galley-slaves are not, however, 
 either brigands or criminals, for the pu- 
 nishment of the galleys is applied at 
 Rome to misdemeanors, such as quar- 
 rels, assaults, and even to hissing or 
 making a disturbance at the theatre. 
 The excavations which were then in 
 progress have led to the ancient door of 
 the tomb, which was precisely opposite the 
 bridge, and to the winding passage paved 
 in mosaic on a while ground which com- 
 municated with the different sepulchral 
 chambers. The castle of Saint Angelo 
 is the place where, at Easter and the 
 feast of Saint Peter and Paul, the cele- 
 brated girandola is let off, a double 
 bouquet of four thousand five hundred 
 rockets, imagined by Michael Angelo 
 and improved by Bernini. On the plat- 
 form, the bronze angel sheathing his 
 sword, a work of the Flemish Wensche- 
 feld, commemorates the angel that ap- 
 
 1 See, In the second edition or the Uisloire de la 
 vie et des ouvrages de Rtipliael, by M. Quatiemeie, 
 the note of page 305, where Hie passage of the Ita- 
 
 peared to Saint Gregory in the same at- 
 titude and on the same spot during a 
 procession for the arrest of the plague 
 in 593, and which announced the ces- 
 sation of the scourge. From this plat- 
 form, which it is indispensably neces- 
 sary to ascend, the view is very agree- 
 able. 
 
 The elegant Giraud, now Torlonia, 
 palace, converted into a magazine for 
 ancient and modern objects of art, is 
 from Bramante's designs, excepting the 
 door. 
 
 The vast and beautiful palace de' Con- 
 vertendi (of the converted), is associated 
 with three of the greatest names in the 
 history of the arts : Bramante and Bal- 
 tassare Peruzzi, its architects, and Ra- 
 phael, whose death took place there in 
 the midst of his beloved and worthy pu- 
 pils, a death full of glory, which snatched 
 him from the admiration of Italy ; an 
 apotheosis which has thrown far more 
 glory on this palace than the death of 
 the queen of Cyprus, Charlotte, whom 
 Innocent VIII. had lodged there. Not- 
 withstanding the common opinion, Ra- 
 phael did not die from excessive de- 
 bauchery; it seems certain, from a con- 
 temporary authority recently indicated, 
 that being obliged to hasten suddenly 
 from the Farnesina to the Vatican, he 
 reached it quite breathless, aud stopped 
 in the great hall to discuss the works of 
 Saint Peter's, and he there caught cold ; 
 soon after his return home, he was at- 
 tacked by a fever, and died from no other 
 cause than this sudden chill. 1 
 
 CHAPTER XL. 
 
 University.— Professors.— Elementary instruction. 
 
 The university of Rome, founded about 
 the end of the thirteenth century, takes 
 its title of Sapienza from the inscrip- 
 tion over the entrance : Initium sapien- 
 tiae timor Domini. The building, begun 
 under Leo X. by Michael Angelo, was 
 only finished under Gregory XIII. by 
 Jacopo dclla Porta, who did the interior 
 of the court, remarkable for the simpli- 
 city of its ordinance, perfectly suited to 
 the studious and peaceful appropriation 
 of the edifice. The church and its spiral 
 
 Han text of this document is inserted, from theMllan 
 translation. 
 
 
Chap. XL. ] 
 
 ROME, 
 
 583 
 
 cupola are cited as the most fantastical 
 works of Borromini. The actual orga- 
 nisation of the Sapienza, due to LeoXII., 
 who augmented the salaries of the pro- 
 fessors, is composed of a cardinal arch- 
 chancellor, a rector, and five colleges, 
 namely : the colleges of theology, law, 
 medicine, philosophy, and philology, 
 which answer to our five faculties. The 
 theological college has five chairs : Holy 
 scriptures, doctrinal theology, scholastic 
 theology, sacred eloquence, sacred phy- 
 sics. The college of law has seven chairs : 
 the institutes of the law of nature and of 
 nations, the institutes of public ecclesias- 
 tical law, the canonical institutes, the 
 canonical text, civil institutes, the civil 
 text, criminal institutes. The college of 
 medicine has thirteen chairs : anatomy, 
 physiology, chemistry, botany, pathology 
 and semeiosis, hygieine, medicine theore- 
 tical and practical, clinical medicine, na- 
 tural history, surgery, midwifery, clini- 
 cal surgery, pharmaceutics. The college 
 of philosophy has eleven chairs : logic and 
 metaphysics, ethics, algebra and geo- 
 metry, physics, arithmetic, sublime ma- 
 thematics, mechanics and hydraulics, 
 optics and astronomy, statical and hy- 
 draulic architecture, descriptive geome- 
 try, mineralogy ; the philological college, 
 six chairs : archeology, eloquence, the 
 Greek, Hebrew, Arabic, and Syria- 
 Chaldaic languages. The Sapienza 
 numbers fifty professors, some of whom 
 are very eminent : S. Morichini, pro- 
 fessor of chemistry, perhaps the first phy- 
 sician of Rome ; « S. Trasmondi, the 
 least unskilful surgeon, professor of 
 theoretical surgery; S. Matteis, of cli- 
 nics; Doctor Folchi, of materia medica ; 
 the excentric and book mad Bomba, who 
 was worn at times to mix a little divinity 
 in his lectures on physiology, in which 
 science he is somewhat behindhand ; 
 S. Carpi, professor of mineralogy; S 
 Metaxa, of zoology and anatomy, com- 
 parative and veterinary, whose ingenious 
 lectures have scarcely the order and 
 continuity of a real course; S. Nibby, 
 of archeology, whose lectures I had no 
 opportunity of hearing except the first 
 introductory one, which appeared to me 
 remarkable for its order, precision, and 
 solidity ; S. Sarti, of Hebrew ; S. Lanci, 
 
 ■ Died at Home on the 23th of NoYember, 1836, 
 lged sixty-three. 
 a Died at Rome in May, 1836. 
 
 celebrated for the independence of his 
 biblical criticism, of Arabic ; S. Scarpel- 
 lini, of sacred physics; S. Pieri, a ma- 
 thematician who has the faith of a Pas- 
 cal, of sublime mathematics. The 
 courses of the Sapienza seem to be at- 
 tended punctually and conscientiously, 
 and the lectures on chemistry, physics, 
 medicine, and law, were very nume- 
 rously attended. 
 
 Elementary instruction is in a flou- 
 rishing condition at Rome : the catholic 
 spirit of equality has felt that this in- 
 struction was necessary for all; on the 
 catholic soil of Spain, the lower orders 
 are also able to read; but the teaching 
 of the higher branches of learning is a 
 mania, a kind of privilege that this 
 spirit of equality has not admitted. The 
 number of schools amounts to three hun- 
 dred and seventy-two, and of pupils to 
 fourteen thousand and ninety-nine. The 
 price of the district (regionarie) schools, 
 which are managed by laymen, and 
 many of them leave much to be desired 
 as it regards order and cleanliness, is 
 from 5 to 10 paoli (from 4 to 8 shillings). 
 No master is allowed to have more than 
 sixty scholars without taking an assistant 
 teacher. The use of the whip, but with- 
 out knots and on the fingers only, is 
 still tolerated; but some masters have 
 altogether abandoned it, and their schools 
 seem all the better for it. By a regula- 
 tion purely Italian, deformed persons 
 cannot be schoolmasters, as the scholars 
 would hold them in less respect. 3 The 
 elements of drawing and architecture 
 are part of the course of instruction in 
 the three parochial schools of the Igno- 
 rantine friars, a name they little deserve. 
 The school of Saint Nicholas, a strada 
 Giulia, is another excellent model of a 
 popular school : there, in the evening, 
 after their work, eighty tradesmen's 
 children find a number of zealous priests 
 who give them lessons gratis in reading, 
 writing, arithmetic, nor forgetting reli- 
 gion, and supply them with ink and 
 paper. Charitable donations supply 
 the annual distribution of prizes : there 
 are neither oak nor ivy crowns, nor 
 gilded books, but these prizes arc good 
 useful clothes. 
 
 3 Nullo 
 art. 7. 
 
 in prelio diseipuli habilun sint. Tit. t 
 
584 
 
 ROME. 
 
 [Book XV 
 
 CHAPTER XLI. 
 
 Theatres.— Burattini. 
 
 The interior of the Valle theatre, one 
 of the principal theatres in Rome (the 
 Argentina and the theatre of Apollo are 
 used for grand operas),' though renovat- 
 ed, appeared little more than a series of 
 stalls, badly painted and furnished -with 
 faded hangings ; it is wretchedly enclosed, 
 and so ill warmed as to be almost as 
 cold as the street. With all these im- 
 perfections and its excessive height, it 
 has, like most of the Italian theatres, the 
 first ofgood qualities — the music is heard 
 very well in every part. The orchestra 
 is composed of a kind of amateurs, who 
 work at their trades in the day (the bass 
 was a chairmender), and are paid 3 paoli 
 (sixteen pence) a night. The actors are 
 in general badly dressed. The Osiris, 
 of the Mose, had white dimity panta- 
 loons, and on his head a turban, little like 
 any ever seen in Egypt, ornamented 
 with a bird of paradise feather; Pha- 
 roah was in Greek costume ; Moses wore 
 a long brown peruke, falling over his 
 shoulders, when seen from a dislance 
 not unlike a counsellor's wig, and his 
 nether garments were little better than 
 in Michael Angelo's statue.' What a 
 'distance between these disguises and the 
 faithful and classic, perhaps too classic, 
 costumes of the Mo'ise of our grand 
 Opera ! 
 
 Most of the actors and pieces that 1 saw 
 at the Valle theatre have since appeared 
 on our stage or been added to its reper- 
 tory, except Cosselli, a good counter- 
 tenor, and the opera of Pacini the Arabs 
 in Gaul. 
 
 The dramatical censorship of the Li- 
 bretto is very severe : in S&miramide, 
 the fine opening passage is suppressed, 
 Eccomi alfin in Babilonia, doubtless 
 on account of Petrarch's sonnets on 
 Rome, and especially the famous 
 Avara Babilonia ha colmo 'I sacco ; 
 and in the Barbiere di Siviglia, Figaro 
 is forbidden, out of respect for the mon- 
 signors, to give the monsignor to Alma- 
 viva ; he is only signor conte. The doc- 
 teurs moines, the master of the sacred 
 palace and his companion, personnes 
 cardinalables who left Montaigne the 
 
 ' See ante, ch. xxiiil, 
 1 See ante, cii. xx. 
 
 liberty to retain almost whatever he chose 
 in his Essays, were much less rigorous. 
 
 The Burattini and the Fantoccini ol 
 Rome, 3 are very diverting popular 
 spectacles. One of the most laborious 
 scholars and theologians of the seven- 
 teenth century, Leo Allatius, librarian 
 of the Vatican, one of those learned fo- 
 reigners who experienced the munifi- 
 cence of Louis XIV., is said to have 
 attended them nearly every night, as 
 Bayle went to the puppet-show, and I 
 was conducted thither in the evening by 
 one of the most learned frequenters of 
 the Ruspoli coffeehouse which is close 
 by. It was in October; the scenes o( 
 Monte Testaccio were represented there 
 with much gaiety, * and the mechanism 
 of the personages and the carretella that 
 carried them was perfect. The prin- 
 cipal character of these pieces, Cassan- 
 drino, resembles neither the coarse 
 Girolamo of Milan nor the doctor of Bo- 
 logna; he is a lillle bustling coxcombical 
 old man, someiimes a maestro di ca~ 
 pella and a good singer, speaking in a 
 shrill voice, and his impertinences are 
 satirical allusions to the objects of vulgar 
 ridicule. 
 
 The Burattini also represent serious 
 plays, inferior, it is true, to their pretty 
 and witty representations of popular 
 manners, but neither deficient in inte- 
 rest nor pathos. 
 
 CHAPTER XLII. 
 
 Hospitals.— Hospital of Consolation. — Collellale.— 
 Hospital of the Holy Ghost.— I.ancisiana.— Altar 
 by Palladio. — House of the Termini.— Mendicity 
 at Home. — Hospital of Saint John in Laterano.— 
 Gray sisters in Italy.— Penitents.— Sau Gallicano's 
 hospital. — Benfralelli.— Saint Michael's hospital. 
 — fahzzina.— dumber of marl persons in Italy. 
 
 Rome, ever so rich in religious monu- 
 ments where the soul finds relief, was 
 scarcely less profuse in providing for the 
 infirmities of the body. This multitude 
 of antique, spacious, and superb hospitals 
 shows to what extent the catholic religion, 
 instead of being inapplicable, unsuited 
 to present manners, can be social and 
 friendly to humanity. Different nations, 
 slates, and ages have their hospitals great 
 or small, and the latter are not always 
 
 3 see ante, liv. in. ch. ivill. 
 
 4 See ante, ch. xuti. 
 
Chap. XLII.] 
 
 ROME. 
 
 585 
 
 the less useful. Philanthropy has im- 
 proved some exterior details, but charity 
 had built the edifice. 
 
 The hospital of Consolation, established 
 in the year 1045, Avill receive ninety 
 patients, and the average number is fifty. 
 This house receives the victims of the 
 famous coltellate (stabs with a knife) 
 which, given in open day, used formerly 
 to excite the popular admiration and such 
 singular compassion for the flying mur- 
 derer, always supposed an unfortunate 
 rival or an outraged husband. The col- 
 tellate, though less frequent, have not 
 entirely ceased ; on holidays and in the 
 wineshops they are as freely administered 
 as fistycuffs elsewhere, but they seem 
 proportioned to the nature and vigorous 
 race of these men, for they heal rapidly. 
 The sight of blood does not produce 
 among the Romans the same frenzy as 
 among new nations, whom this sight, if 
 continually occurring, would render 
 ferocious and impel to reckless massacre. 
 These incidental bursts of passion are a 
 kind of remnant of antiquity, a tradition 
 of the circus, and morals are not mate- 
 rially affected thereby. 
 
 The hospital of the Holy Ghost, the 
 most extensive in Rome, composed of 
 constructions of different epochs, presents 
 an imposing mass. It is chiefly devoted 
 to the treatment of fevers; the number 
 of beds is sixteen hundred, and the ave- 
 rage of the patients between five and six 
 hundred. It possesses the rich medical 
 library bequeathed by the celebrated 
 doctor Lnncisi, in which there are many 
 works and some of the most magnificent 
 loo, that the grandeur of LouisXIV. sent 
 as presents to distinguished foreigners. 
 The monks of the Holy Ghost, an order 
 founded at the beginning of the thirteenth 
 century by Guy de Montpellier. its first 
 commander, attend the hospital. It is 
 under the management of a prelate who 
 bears the honourable title of commander 
 of the Holy Ghost, and this hospital office 
 leads to the cardinalship. As art insi- 
 nuates itself every where in Italy, in the 
 
 1 I eaunot omit Inserting here an anecdote that 
 I learned from the Chevalier Artauri, formerly 
 French charge d'affaires at Rome, as it presents a 
 flneelogium on French women. One day ou visit- 
 ing Pope Pius VII., he found him furrounded with 
 a multitude of letters in different languages. The 
 pope, as soon as Ire saw our compatriot, burst out 
 Into a magnificent panegyric of our nation ; then 
 | he went on (o say. that wishing to introduce the 
 
 hall of Innocent VIII. there is an altar 
 of most elegant architecture by Palladio ; 
 he executed it when he came to Rome to 
 draw such happy inspiration from anti- 
 quity, and it is the only work he left 
 there. 
 
 The immense mendicity asylum de' 
 Termini, founded by Pius VII., and 
 converted into a house of industry under 
 Leo XII., appears to be a very well 
 ordered establishment. The different 
 arts and trades were taught there to more 
 than a thousand children, and practised 
 by men far advanced in years. Drawing, 
 music, printing, engraving, were in the 
 course of instruction. Five hundred men 
 were occupied in manufacturing common 
 cotton goods, blankets, and carpets ; the 
 children plaited baskets and made those 
 pretty straw-chairs called volantes, des- 
 tined for the most elegant saloons. An 
 equal number of women were engaged 
 in similar employment in other work- 
 rooms. The expenditure, over and above 
 the proceeds of the articles manufactured, 
 was 35,000 Roman crowns (7490Z.) for a 
 thousand individuals ; and when this 
 number was surpassed, the government 
 added sixpence a day per head. The 
 house de' Termini and the relief com- 
 mittee appointed by the pope at the end 
 of 1826, seemed to" answer the end in 
 view, for the number of beggars is not 
 very considerable at Rome. 
 
 The two great hospitals for women 
 afflicted with fevers and consumption, in 
 the piazza of Saint John in Laterano, are 
 carefully and charitably conducted, and 
 their regimen has recently undergone 
 important ameliorations. The beds have 
 curtains and there are little stoves at 
 intervals of ten beds for warming the 
 medicines. This hospital, which has 
 four hundred beds and an average of two 
 hundred and fifty patients, is the semi- 
 nary of the Gray Sisters established at 
 Rome by Leo XII., an institution of 
 which the good Pius VII. had an idea 
 when he returned from Paris, but he 
 durst not attempt it. « Roman princesses, 
 
 Gray Sisters into Italy, Germany, and Ireland, he 
 had solicited numerous reports from the three 
 countries, and that the answers lie had received 
 proved the scheme impracticable : the Italian 
 woman had not sufficient courage and moral pow ers 
 to stand against so much fatigue; the German was 
 too easy | briccona ) ; the English woman was defi- 
 cient in neither humanity nor enthusiasm, but she 
 was too Mtenvla la word difficult lo render, but 
 
586 
 
 ROME. 
 
 [Book XV. 
 
 among whom was the beautiful 
 princess Catherine Doria, who died some 
 years ago, used regularly to visit this 
 hospital and attend the sick. Four of 
 them had even founded a private hospital 
 for the reception of women of ill-fame 
 who wished to reform and become indus- 
 trious. A person who had been admitted 
 to visit that hospital told me that she 
 found about twenty women there, the 
 youngest about twenty-four years of age ; 
 and, which is singular, there were some 
 of fifty and even sixty. The register of 
 the house stated that several had left it 
 to be married, others to take the veil ; 
 two of the latter, tired of the cloister, had 
 resumed their old profession. In 1835 
 there were three similar houses at Rome, 
 and the number of penitents was forty- 
 eight. 
 
 Every year on the octave of Corpus 
 Christi, the procession of Saint John in 
 Laterano, followed by the cardinals and 
 sometimes by the pope, passes through 
 the hall of the great hospital with music 
 and drums continually playing; for the 
 latter having thought proper to keep 
 silence when their turn was come to 
 relieve the music, the patients insisted on 
 their beating up exactly the same as in 
 the streets. The floor of the room is 
 strown with flowers ; the beds are deco- 
 rated with gaudy-coloured draperies ; the 
 sick people are dressed out, and on that 
 day the most presentable are selected : in 
 this country of fetes and processions, 
 they penetrate even to the secluded asy- 
 lums of pain and the bedside of the sick 
 and dying. 
 
 The hospital of San Gallicano, built at 
 the same epoch as the church by Pope 
 Benedict XIII., is the finest and best 
 managed in Rome. It is devoted to cu- 
 taneous diseases; there arc two hundred 
 and thirty-eight beds, an average of a 
 hundred patients, and it is tended by the 
 Gray Sisters of Saint John in Late- 
 rano. 
 
 The hospital of Saint John Calabita, 
 served by the monks hospitaliers of Saint 
 John of God, called Benfratelli for fale 
 bene fratelli, appropriated to acute dis- 
 orders, and famous for its pharmacy, 
 
 conveying a certain reproach of prudery); the 
 Frenchwoman alone possessed the address, t he con- 
 lidenre, the resolution, the mild command, the 
 strict piety, indispensable for such a state. The 
 Gray Sisters were afterwards established at Naples, 
 
 
 has only an average of forty patients, 
 though there are eighty beds. There is ji 
 only one physician, the friars being able 
 to supply his place, as the study of me- 
 dicine is enforced by their rule. 
 
 The vast hospital of Saint Michael is one 
 of the mostsplendid establishments ofcha- 
 rity . It contains more than seven hundred 
 persons. Beside its old infirm persons 
 of both sexes, its conservatory of girls 
 who receive on dismissal a portion of a 
 hundred Roman crowns, its different 
 workshops of mechanical arts, its great 
 spinning mill, its cloth manufactory for 
 the troops, and even its printing-office, 
 poor children are yiere liberally taught 
 painting, sculpture, architecture, and 
 engraving : several of these pupils of 
 charity have become clever artists, and 
 some of their works are exposed in one 
 of the rooms. The precept Soyez plulot 
 magon is, indeed, perfectly adopted at 
 Saint Michael, and the pupils who do not 
 realise the expectations formed of them, 
 are, after a few months, unrelentingly 
 sent back to the school of trades. A manu- 
 factory of tapestry with figures is depen- 
 dent on this part of the arts of the 
 hospital ; it is the only one in Italy, and 
 we do not know that Rome ought to boast 
 of such an antiquated concern. The recent 
 introduction of a professor of chemistry 
 as applicable to the arts and of a singing 
 school is much better. I visited the hospi- 
 tal of Saint Michael with a young French- 
 man of merit, M. A**" de C****, ex-au- 
 ditor to the council of'state, belongingto 
 one of those official families of the empire 
 and the restoration, so upright, enlight- 
 ened, and zealous in promoting the public 
 weal. He seemed well pleased with the 
 economy of the house, which was shown 
 to -us by the Apostolic Visitor with the 
 utmost courtesy and politeness. There 
 may be perhaps, in France, greater re- 
 gularity in the registers and accounts, 
 but it is impossible to be more attentive 
 to the welfare of the inmates. 
 
 The Palazzina, a madhouse, numbered 
 three hundred and ninety-Seven patients, 
 two hundred and thirty-five men, and a 
 hundred and sixty women ; they were 
 not exclusively catholics, there being 
 
 about 1810, under King Murat. The nrty sisters of 
 saint John in Laterano are only nurses, who by 
 times get drunk, make love, and still remain Ita- 
 lians and women of the populace. 
 
Chap. XL1II. ] 
 
 ROME. 
 
 587 
 
 some few English protestants, and two 
 Jews. Not mere than five or six of the 
 men and eight of the women were raving 
 mad. The harsh treatment formerly 
 practised on these unfortunate was still 
 continued in 1826 ; they were fastened, 
 chained, and the aguzzini threatened 
 and struck them with thongs. Of the 
 simple derangements, some, among the 
 women, were produced by religious 
 scruples, the fear of hell, or disappoint- 
 ment in love, the ordinary maladies of 
 these fanatic and impassioned souls. The 
 insanity which increases with the pro- 
 gress of intellect, the want of enjoyments, 
 and the various agitations of our 
 civilisation, is much less frequent in 
 Italy than in England and the United 
 States. 
 
 The twenty-five Italian madhouses 
 in 1830 contained no more than one 
 thousand seven hundred and five men, 
 and one thousand seven hundred and 
 thirty-six women, giving one insane per- 
 son for every four thousand eight 
 hundred and seventy-nine inhabitants, 
 whilst the proportion in England is one 
 to every thousand and thirty, and in the 
 United States one to one thousand nine 
 hundred and thirteen. Notwithstanding 
 the assistance accorded to eight thousand 
 three hundred and ninety lunatics, and 
 the improvement in this department of 
 the public service in France, the number 
 of insane persons (in the hospitals) has 
 not yet been ascertained, as the minister 
 of the interior acknowledges in his report 
 to the king. 
 
 CHAPTER XLIII. 
 
 Temple of Fortuna Muliebris.— Caslrense amphi- 
 theatre. — Minerva Medica.— Arch of Gallienus 
 
 Thermae ofTilus.— Esquiline.— Forum and temple 
 of Nerva.— Trajan's Forum.— Column. -Prelorian 
 camp.— Mons Sacer.— Serpenlara.— PoDte Solario. 
 —Topography of Titus Livius.-Sallusls gardens. 
 
 Near some antique tombs, one of them 
 with two stories and in good preserva- 
 tion, is the temple of Fort una Muliebris, 
 erected in memory of the meeting of 
 Coriolanus and his mother, a monument 
 majestic in its simplicity and diminutive 
 proportions, but its reputed origin seems 
 very doubtful, as Coriolanus was en- 
 camped on the Via Latina, four miles 
 from the ancient gate of Capena, and 
 
 must have been disarmed bv Yeturia 
 there. 
 
 The Castrense amphitheatre appears, 
 from its remains and brick columns, to 
 be of the first century. The Roman sol- 
 diers played at military games there, 
 and fought with wild beasts ; for in their 
 passion for danger, they seem really to 
 have warred against all nature. The 
 full effect of these semicircular ruins 
 cannot be felt without going outside the 
 gates. 
 
 The beautiful ruin mixed with vege- 
 tation, called the Minerva Medica, from 
 the celebrated Minerva with a serpent 
 which was found there, is not the anato- 
 mical theatre some antiquarians have 
 supposed it, but may perhaps be a pa- 
 vilion of the gardens of Licinius, which 
 Jay on this side. This structure of Dio- 
 cletian's time has lost its roof, which fell 
 in 1828, with the scaffolding placed to 
 support it, and it is now but the ruin 
 of a ruin on the verge of annihila- 
 tion. 
 
 The monument called the Trophies of 
 Marius, . whence proceed the trophies 
 placed before* the Capitol, 1 seems to have 
 been a superb fountain which received 
 the waters of several aqueducts, in 
 order to their distribution through the 
 different quarters of Rome. 
 
 The arch of GaUienus, of moderate 
 dimensions, in large blocks of travertine, 
 was erected to that emperor and his 
 wife Salonina by an obscure Marcus 
 Aurelius Victor. To the chain suspend- 
 ed in the middle there was still attached, 
 some few years ago, the key of the Sal- 
 cicchia gate of the town of Viterbo, 
 which had revolted against the Roman 
 senate of the thirteenth century, who 
 hung it there as a monument of their 
 victory. 
 
 The Romans, who in the early days of 
 the republic used to wash themselves in 
 the Tib.er, made their baths under the 
 emperors, and when the old manners 
 had passed away, vast edifices, real mo- 
 numents, ornamented with statues and 
 paintings, tolerably uniform in their ar- 
 rangements, in which they passed their 
 lives, and which combined all that can 
 satisfy the cravings of the body or the 
 pleasures of the mind. Hence we find, 
 beside the parts destined to the different 
 sorts of baths, to walking, or gymnas- 
 
 See ante, ch. x. 
 
588 
 
 ROME. 
 
 [Book XV. 
 
 tics, galleries and spacious libraries ap- 
 propriated to literary or philosophical 
 conversations. Titus rapidly built his 
 thermae near his residence on Mount 
 Esquiline in the gardens of the palace 
 destroyed by Nero; but nothing remains 
 of these thermae exceptthe name. Some 
 corridors and chambers ornamented 
 with fresh arabesques are a specimen of 
 the luxury and decorative style of the 
 ancients. A French architect of the 
 highest distinclion, who has profoundly 
 studied on the spot the monuments of 
 Greece and Italy, thinks that these 
 chambers, despite the opinion of the an- 
 tiquaries, could not appertain to any 
 constructions of Nero's or any other pa- 
 lace : perhaps they were part of the 
 house of Maecenas, which stood on the 
 Esquiline Mount, and the gardens of 
 which afterwards belonged to Fronto the 
 rhetorician.' The artists of the end of 
 the fifteenth century, and Raphael him- 
 self in the Loggia of the Vatican, imitated 
 these elegant arabesques; but the great 
 artist did not, as calumny has said, wall 
 up the subterranean galleries to hide the 
 traces of his plagiarism, as they were 
 accessible long after his death. Such a 
 barbarous proceeding was unworthy 
 both of his generous character and his 
 talent, which had no need to blush for 
 his ingenious imitations. In 1812 and 
 1813 seven or eight galleries were cleared 
 by the French administration ( one of its 
 most useful works ), and it is now pos- 
 sible to perambulate them by daylight. 
 From the top of the thermae of Titus 
 there is a remarkable view of the Coli- 
 seum, which appears quite entire on that 
 side. 
 
 The solid and curious structure called 
 the Seven Halls, though there are nine, 
 seems to have been a reservoir for the 
 therma;. 
 
 The delightful gardens of Maecenas were 
 on the Esquiline Mount, and the house of 
 Horace too, which was afterwards Ju- 
 venal's; Virgil and Propertius, sweeter 
 and more pathetic poets than the two 
 satirists, also dwelt on this hill, which 
 continues one of the most salubrious 
 parts of Rome : 
 
 Nunc licet Esquiliisbabitare salubrlbus. 2 
 
 The Forum of Nerva was begun by 
 ' See bis Letters, lib. i I. 
 
 Domitian : it was just for posterity to 
 prefer to the tyrant's name that of the 
 prince who, according to Tacitus, had 
 united empire and liberty (principatum 
 ac libertatemj. This forum witnessed 
 the cruel example that Alexander Severus 
 made of one of his favourites, Vetronius 
 Turinus, who promised the emperor's 
 favour to all that gave him presents, as 
 the servants of the great at Rome do 
 still; he caused him to be suffocated by 
 the smoke of straw and green wood, 
 while the public crier repeated the atro- 
 cious play on words : fumo punitur qui 
 vendidit fumum. The two columns, 
 with basso-relievos, well-executed but 
 not very pure, belong to the interior of 
 the forum. The cornice which they 
 support is rich in ornaments of excel- 
 lent workmanship, as well as the basso- 
 relievos of the frieze representing the 
 attributes of Pallas, to whom the Forum 
 was dedicated. 
 
 Of the temple of Nerva, one of the most 
 elegant edifices of ancient Rome, the 
 only remnants now existing are three 
 superb columns and a pilaster of the 
 portico, and a part of the Cella. The 
 architrave and soffit of the portico are 
 magnificently ornamented, and greatly 
 resemble the three majestic columns of 
 the temple of Jupiter Stalor. The boun- 
 dary wall, of pepcrino, a construction 
 really wonderful for its height and soli- 
 dity, must be several centuries anterior 
 to Domitian and his successors who 
 made use of it. 
 
 Trajan's forum, the work of Apollo- 
 dorus, the most splendid and regular of 
 antique forums, was cut in the Quirinal 
 to the height of itscolumn,asits inscrip- 
 tion still shows. It was cleared by the 
 French administration, and now "pre- 
 sents the little imposing aspect of a kind 
 of sunken circus surrounded with an 
 iron balustrade, covered with broken 
 columns, pretended to be set in their 
 original places. These columns are of 
 granite, violet breccio, and other rich 
 materials. From them we may judge 
 of the disposition of the ancient UlpUin 
 basilica, an unique specimen of the plan 
 of ancient basilics. In the centre rises 
 a column dedicated to Trajan by the 
 senate and Roman people, for his vic- 
 tories over the Germans and the Dacians. 
 One of the basso-relievos represents the 
 
 3 Dorat. Sat, Tin. 14. 
 
Cuap. XLIII. I 
 
 ROME, 
 
 589 
 
 spirited emigration of the latter, -who 
 forsook their native land rather than bear 
 the Roman yoke. This admirable co- 
 lumn, the varied basso-relievos of which 
 contain as many as two thousand five 
 hundred figures, apparently the work of 
 the same chisel, and imitated by the first 
 artists of the revival, is now surmounted 
 with a bronze statue of Saint Peter, 
 placed there by Sixtus V. with the face 
 towards the Vatican. The pedestal, of 
 exquisite workmanship and ornamented 
 with trophies, eagles, oak garlands, is 
 the finest extant : the uniforms sculp- 
 tured on the pedestal of the Place Veu- 
 ddme are but little like it : for if the 
 French exploits be greater, that copy of 
 the Roman monument is very inferior 
 to the original. Recent observations of 
 northern travellers and artists tend to 
 prove that the column of Trajan was 
 painted with gold, azure, and other co- 
 lours. This motley colouring of a lofty 
 sculptured column of marble would be a 
 poor discovery, as it would derogate from 
 the noble simplicity of the antique monu- 
 ment. "We may easily conceive that 
 higher spirits, men who have likewise 
 drawn and studied it, dispute and deny 
 the pretended, and, we must say, very 
 tardy discovery. 
 
 The Praetorian Camp ( Castra Preto- 
 ria), built by Sejanus and destroyed by 
 Constantine, because that formidable 
 militia had declared for Maxentius, still 
 presents some remains, which serve for 
 walls to the city and for barracks to the 
 pacific soldiers of the pontiff. 
 
 The Mons-Sacer, a pretty, fertile hill 
 bathed by the Anio, recalls the two ce- 
 lebrated peaceful retreats of the Roman 
 people, and their admirable good sense 
 in the establishment of their liberty. 
 
 One mile distant, at the picturesque 
 Serpenlara, are the ruins of the villa of 
 Nero's freed man, Phaon, where he lied 
 to conceal and kill himself uttering the 
 famous phrase qualis artifex pereo, 
 which seemed madness in this monster, 
 but would be touching and sublime, in 
 the mouth of an artist of genius. 
 
 The ponte Solario, over the Anio, 
 destroyed by Tolila, was rebuilt in the 
 sixth century by Narses, after his victory 
 over the Golhs. It witnessed the com- 
 bat of Manlius and the Gallic soldier who 
 had insolently defied him. On the left 
 bank was the town of the Antemnates, 
 one of the most ancient in Lalium, whose 
 
 inhabitants attended the games an- 
 nounced by Romulus, and it became his 
 first conquest through attempting to re- 
 venge the rape of its maidens. These 
 picturesque borders of the Anio as far as 
 Fidenae were the scene of the continual 
 wars of rising Rome with its neigh- 
 bours, and attest Livy's topographical 
 accuracy. The Latin historian is still a 
 good guide, who satisfies our reason and 
 charms the imagination with his admira- 
 ble narrative. Whatever the learned 
 Niebuhr may pretend, it will always 
 appear impossible to admit that modern 
 criticism is bettered versed in Roman 
 history than Livy and his enlightened, 
 lettered, and learned age. The spirit of 
 a people, the succession of its actions, 
 despite certain marvellous facts mixed 
 up with its origin, the aspect of the places 
 and the monuments are more certain 
 evidence than the dubious fragments of 
 some few palimpsesti. These early events 
 are in conformity with the genius and 
 the whole history of the Roman people ; 
 they therefore present a sufficient degree 
 of certainty, and appear more worthy of 
 confidence than the German prejudices, 
 those haughty and fantastical conjec- 
 tures, so little in accord with themselves, 
 which have transported the clans and 
 manners of Scotland to Italy, and meta- 
 morphosed the dissimilar and heroic 
 times of primitive Rome into cold phi- 
 losophical emblems. 
 
 The gardens of Sallust, immense cul- 
 tivated fens, were created by the Latin 
 historian after returning from his j\"u~ 
 midian proconsulate, where he had re- 
 trieved his fortune dissipated in plea- 
 sures, and amassed immense riches by 
 his peculations. It was in this superb 
 and voluptuous, retreat, which afterwards 
 made part of the imperial domains, and 
 was inhabited by Nero, Vespasian, Nerva, 
 Aurelian, that he so eloquently wrote 
 against luxury, and extolled the simpli- 
 city of the old republican manners. 
 These gardens were burnt by Alaric 
 when he entered Rome. The form of a 
 circus, the ruins of Sallust's house, and 
 a temple supposed to have been dedicated 
 to Venus, may still be traced, and even 
 the famous field of Crime ( Campus 
 Sceleratus), where the vestal virgins 
 who had broken their vows were buried 
 alive. 
 
 50 
 
HOME. 
 
 [Book XV, 
 
 CHAPTER XLIV. 
 
 Portico of Oclaria.— Theatre of Marcellu.;.— Vela- 
 brum. — Arcbesof Janus aud Seplimius Severus. — 
 Cloaca Maxima.— Great Circus.— Valley of Egeiia. 
 — Temple c'ei Dio liedicolo — TUermaeof Caracalla. 
 — Tomb of tbe Scipios.— Arch of Drusus.— Temple. 
 Circus of Romulus.— Tomb of Cecilia Metella. — 
 Temple of Bacchus.— Pyramid of Cestius.— Pro- 
 testant cemetery.— Ponte Sublicio.— Aventine.— 
 Volcanic soil of Rome — Templeof Vesta.— Temple 
 of Foriuua Viriiis.— Douse of fiienzi. —Ponte 
 Bono. 
 
 ^The portico of Octavia. erected by 
 Augustus to his unfortunate sister, a 
 chef-d ceuvre of the Spartan artists Sau- 
 rus and Batrachus, already mentioned.' 
 which comprised -within its walls two 
 temples, the ruins of which are still vi- 
 sible; — this portico, once decorated with 
 the most beautiful statues the Venus of 
 Medicis was found in its ruins), now 
 stands in a filthy square and is occupied 
 by fishmongers, for the Parisian mon- 
 ster called a Poissarde does not exist at 
 Rome. In the miserable buildings of 
 the Strada pescaria I have seen superb 
 fragments of cipollino marble intrusted, 
 in which we recognise the wrecks of the 
 ancient grandeur of this people through 
 its actual degradation. 
 
 The theatre of Marcellus, which might 
 contain thirty thousand spectators, 1 : - 
 consecrated by Augustus to the young 
 son of Octavia, ten j ears after his death, 
 consigned to immortal fame by the ho- 
 roscope of the poet and the deeply pa- 
 thetic passage he inspired. So happj 
 was the distribution of the theatre that 
 the senators, the knights, or the people, 
 whose places were separate, could enter 
 and leave it without meeting. Its ele- 
 gant columns served as models for the 
 Doric and Ionic orders, and the skilful 
 disposition of the two orders placed one 
 over the other is still imitated. After 
 being in the middle ages the fortress of 
 the Pierleoni and the Savelli, it was con- 
 verted into an habitation for the Massimi 
 family by Baltassare Peruzzi, who, as his 
 pupil Serlio confessed, profited consi- 
 derably from the study of the substruc- 
 tions discovered during the works; it 
 afterwards passed to the Orsini family, 
 and this superb Roman monument, 
 which had shops under its porticos, is 
 also the palace of a modern Roman 
 
 ' See ante, ct>. xvUL 
 
 prince. A long ascent leading to the 
 court is composed of the ruins of the 
 theatre. 
 
 The valley of the Telabrum, a marsh 
 drained by the kings by means of the 
 Cloaca maxima and the pulchrum lit- 
 tus, a veritable quay to contain the Ti- 
 ber, preserves some great subterranean 
 vaults, a further proof that the Rome of 
 that epoch was already the capital of a 
 powerful state. 
 
 The arch of Janus quadrifrons, ma- 
 jestic, but of the age of decline, seems 
 to have been dedicated by Seplimius Sje- 
 verus to the bankers and tradesmen of 
 the quarter, or by the latter to flatter 
 him. 
 
 The small marble arch of Septimius 
 Severus, remarkable for the richness of 
 its sculpture and the form of its flat- 
 square opening, was dedicated to him, 
 according to the inscription, as well as 
 to Julia, his wife, and to Caracalla and 
 Geta his sons, by the silversmiths [ar- 
 gentarii) and the cattle salesmen. The 
 name and figure of Geta have disap- 
 peared, as elsewhere, through his bro- 
 ther's hatred. 
 
 The forum boarium (cattle-market) 
 also took its name from the famous 
 bronze cow of Miro which stood there. 
 On this spot Romulus began to trace 
 with his plough the boundary line of the 
 eternal city. 
 
 The Cloaca maxima, only half re- 
 maining, a quarter of a mile in length, 
 through which, according to Pliny and 
 Strabo, a cart loaded w ith hay (perhaps 
 not so high as ours) might pass — this Guest 
 of all common sewers is further evidence 
 of the grandeur of Rome under Tarquin 
 and the kings, when it was more power- 
 ful, civilised, and magnificent than in 
 the first ages of the republic. These 
 superb works, imposed on the Roman 
 people, were one of the grievances ener- 
 getically alleged by Brutus against Tar- 
 quin, although he had also employed 
 Etruscan labourers. 3 If this king had 
 committed no other excesses, he would 
 merit admiration rather than hatred ; 
 for it is impossible to imagine a more 
 noble monument of public utility, than 
 this structure formed of huge blocks of 
 peperino without cement, which after 
 more than twenty-three centuries, is 
 still serviceable. A pretty brook of pure 
 
 • Tit. Lit. , lib. I. 55, 59. 
 
Ciup. XLIT. ] 
 
 ROME. 
 
 594 
 
 and -wholesome water, which the people 
 go to drink in summer mornings, as a 
 specific against certain maladies, falls 
 into the Cloaca. It has been taken for 
 the celebrated and sacred fountain of 
 Juturna near the Forum. 
 
 The great circus commanded by the 
 Palatine, still retaining the stand from 
 -which the emperor gave the signal for 
 the games, the first and most magnifi- 
 cent circus of Rome, was constructed 
 by Tarqumius Priscus in the very valley 
 where Romulus had celebrated his per- 
 fidious games, a brutal interview which 
 ended in the compulsory and happy 
 marriage of the Sabines. It was in this 
 circus, which now covers the bottom of 
 a marsh with its straggling and shape- 
 less ruins, that the famous chariot races 
 took place. Enlarged by Julius Caesar, 
 embellished by Augustus, repaired and 
 further enlarged by Vespasian, it was 
 capable, under this last emperor, of 
 holding two hundred and sixty thousand 
 spectators. 
 
 The site of the vale of Egeria seems 
 authentic; but if the name be sweet and 
 the mysterious tradition touching, the 
 place is ugly enough. A mutilated sta- 
 tue of a young man reclined like a 
 river may be seen at the extremity of 
 the ancient Nymphea, which some per- 
 sons have been disposed to put in the 
 place of the sacred fountain, though only 
 a construction of Vespasian's time. The 
 marble statue recalls the verse of Ju- 
 venal, who regretted that the fountain 
 of Egeria was no longer in its natural 
 slate : 
 
 >'ee iagenuam vlolareut marmora tophum. 
 
 The elegant little temple of the god 
 Redicolo [Campus Rediculi) was erected 
 on the spot whence Annibal decamped, 
 a diis injecto metu recessit, says the 
 grammarian Festus Pompeius. Despite 
 some contradictions. I have, faith in this 
 god who made Annibal retire. It seems 
 that such a monument is in perfect keep- 
 ing with the manners and religion of the 
 Romans, who made their country their 
 first divinity. 
 
 The thermae of Caracalla. a vast chaos 
 of shattered walls interspersed with 
 weeds and wildflowers, through which 
 we catch some marvellous views, gives 
 a high idea of Roman magnificence and 
 the luxury of these constructions. Three 
 
 thousand persons could bath there at 
 once, and the number of rooms orna- 
 mented with marble and porphyry was 
 sixteen hundred. The superficies of 
 these ruined baths is one third larger 
 than the premises of the Hotel of lnva- 
 lides at Paris. Notwithstanding the im- 
 portant labours and persevering resto- 
 rations of our countryman M. Rlouet, 
 the use of many of the rooms is very 
 uncertain ; but the architecture is not 
 unlike that of the later thermae of Dio- 
 cletian, and the style is not free from the 
 corruption of the epoch. 
 
 The tomb of the Scipios, the oldest 
 and one of the most glorious mauso- 
 leums of republican Rome, was on the 
 Via Appia. What a lasting moral les- 
 son must such monuments exposed by 
 the waj side have afforded' What emu- 
 lation must have been excited by this 
 perpetual heroic example of the sacri- 
 fices of a single family in the country's 
 service ! The discovery of the tombs of 
 the Scipios, in 1780, was an event in 
 archeological history; but the illustrioas 
 monument seems not to have been un- 
 known to the literati of the revival, as 
 one of the inscriptions found thereon 
 wai copied a hundred and fifty years be- 
 fore in a manuscript of the Barberini 
 palace, and published half a century be- 
 fore in Doni's miscellany. It is not easy 
 to explain how it could have disappeared 
 after that epoch. The modest Ennius, 
 the client, bard, and companion in arms 
 of Scipio Africanus, whose stone has not 
 been found, was interred in this Roman 
 hypogeum. the noble patronage of Ro- 
 man families extending even beyond the 
 tomb. 
 
 The arch of Drusus, father of the em- 
 peror Claudius, was erected to him, after 
 his decease, by the senate and people 
 for his victories in Germany. It is of 
 travertine, with two columns of Africaa 
 marble, which were added to it when 
 repaired by Caracalla, a man unworthy 
 to touch such a monument. The con- 
 duit made by the latter over the arch is 
 still visible, as well as a part of the aque- 
 duct intended for his baths. 
 
 Nothing but the vault remains of the 
 temple of Romulus, the son of Maxen- 
 tius. Behind the wall, towards the cir- 
 cus of that obscure Romulus, is an ele- 
 gant tomb, in the form of a Greek cross, 
 surrounded with a circular corridor. 
 The circus the best preserved in ex- 
 
5»2 
 
 ROME. 
 
 [Book XY. 
 
 istence, was attributed to Caracalla till 
 the excavations executed at the expense 
 of S. Torlonia in 1825. Each of the 
 many stages would accommodate eigh- 
 teen thousand spectators, and traces of 
 the pedestals of the beautiful statues that 
 decorated the spina are still visible. 
 
 The tomb of Cecilia Metella, a mas- 
 terpiece of elegance, solidity, and gran- 
 deur, the finest known tonib erected to 
 a lady, which served as model for the 
 mausoleums of emperors, was erected to 
 her memory by Crassus, her husband, 
 as the inscription states. It would be 
 good evidence against his reputed ava- 
 rice. A basso relievo represents a tro- 
 phy and part of a figure of Victory 
 writing on a buckler the exploits of Me- 
 tellus, the conqueror of Crete, father of 
 Cecilia Metella, and the less brilliant 
 deeds of Crassus. The ornament of the 
 frieze, consisting of festoons and ox- 
 heads, gave the monument the rude 
 name of Capo di bove : it was used as a 
 fortress by Pope Boniface VIII., whose 
 arms are still visible thereon, and a 
 castle destroyed by Sixtus V. as the 
 haunt of banditti, was added to it. A 
 part of the half Gothic church, built by 
 the Neapolitan architect Massuccio II., is 
 still erect. 
 
 The ruins of the tomb of Marcus Scr- 
 vilius, also on the Via Appia, were dis- 
 covered in 1808 by Canova, who gene- 
 rously left them untouched. 
 
 Two miles further, S. Torlonia pos- 
 sess a vast domain called Roma Vec- 
 cliia, which still exhibits the immense 
 ground plan of an imperial palace, and 
 has procured its owner the somewh.it 
 whimsical name of Marquis della Yec- 
 chia Roma. 
 
 The doubtful temple of Bacchus, in a 
 good situation, well preserved and very 
 ancient, has some ornaments on its roof 
 and a basso-relievo of the best time. It 
 became a church in the middle ages : 
 its paintings of 1011 are interesting for 
 the history of the art. The view is one 
 of the finest in the Campagna of Rome, 
 and the effect of the broken arcades of 
 the aqueducts is singularly picturesque. 
 
 The obscure Caius Sextius, whose re- 
 putation is wholly derived from his beau- 
 tiful pyramid, was one of those Epu- 
 lones whose number was augmented 
 from three to seven under Augustus. 
 This strange dignity consisted in doing 
 the honours of the" banquet (leclister- 
 
 nium) offered to the gods to render them 
 propitious in limes of calamity, or to 
 thank them for victories accorded to the 
 arms of the republic. The Epulones 
 prepared in the temples, around a table 
 sumptuously served, seats and couches 
 covered with carpets and cushions, on 
 which the statues of the gods and god- 
 desses invited were laid. Valerius Maxi- 
 mus asserts that they were very willing 
 to accede to human usages, and that in 
 this ceremony Jupiter lay on a couch 
 while Juno and Minerva sat on stools. 
 The pyramid of Sextius, so well pre 
 served, was erected in three hundred 
 and thirty days, according to the in- 
 scription, "as directed by the will of this 
 kind of house-steward of Olympus, an 
 instrument of the patriotic superstition 
 of Rome. 
 
 The old protestant cemetery, covered 
 with brilliant mausoleums of marble, 
 was so crowded that it was necessary to 
 extend it considerably. The publicity 
 of this burial-place is honourable to the 
 tolerance of the pontifical administra- 
 tion. Among the tombs is one erected 
 to the poet Shelley, who died from ship- 
 wreck on the coast of Spezia in the thir- 
 tieth year of his age, and whose body 
 was burnt in the pagan manner by Lord 
 Byron, his admirer and friend, aided by 
 Captain Medwin and some others. The 
 heart of Shelley would not burn. By- 
 ron, as one of his biographers remarks, 
 does not show in his letters any very 
 acute grief at Shelley's premature end", 
 and he seems to have been more struck 
 with the wild and poetic spectacle of this 
 funeral pile his own hands had lighted. 
 The words on Shelley's stone, cor cor- 
 dium, rather insipid and assuming, in- 
 scribed by his wife, Godwin's daughter, 
 prove that this man, a radical and atheist, 
 as he had signed himself on the album of 
 Montanvcrs, had a soul no less gentle 
 than his genius, despite the harshness 
 and violence of his doctrines. 
 
 The Pons Sublicius, the. first bridge 
 built by the Romans, witnessed the ex- 
 ploit of Horatius Codes, which is how- 
 ever rather dubious, as are all the stories 
 of bridges defended by a single man, 
 imagined by the ancients and the mo- 
 derns to console the self-pride of retreat- 
 ing armies. Livy does not appear to 
 credit the fact when he shrewdly re- 
 marks that the hero rem ausus, plus 
 fanue Itabituram apud posteros, quam 
 
Chap. XL1V.] 
 
 ROME. 
 
 593 
 
 fidei, an observation applicable to se- 
 veral other primitive traits of his history, 
 and a proof that he was not so credulous 
 as modern critics suppose. The Pons 
 Sublicius has been swept away more 
 than once by the Tiber, under Augustus, 
 and in the pontificate of Adrian I. In 
 libi, its ruins were demolished down to 
 the water to serve as cannon-balls, se- 
 veral of which may still be seen at the 
 castle of Saint Angelo. Loaded with 
 fishermen's huts, it is now once more of 
 wood as under the king of Rome Ancus 
 Marlius, when it derived its name of 
 Sublicius from the beams of which it 
 was composed. 
 
 The Aventine mount, the least elevated 
 of the seven hills, famous for the wise 
 retreat of the Roman people, formerly 
 ornamented with temples and palaces, 
 is now deserted, and has only a few re- 
 ligious edifices. The Aventine was suc- 
 cessfully planted with cotton under the 
 French administration. The five reads 
 by which it is approached are in the same 
 direction, and perhaps the very same as 
 those of old. Its poor and scattered po- 
 pulation, with the hermit so admirably 
 painted by M. Schnetz, are singularly 
 picturesque. 
 
 On the slope of the Aventine towards 
 the Tiber, was the cavern of Cacus, the 
 first and most illustrious ancestor of the 
 Roman banditti. The gusts of flame 
 and smoke vomited forth by the son of 
 Vulcan indicate the existence of very 
 active, volcanos, to which no epoch can 
 be assigned, though their traces are still 
 distinctly seen : fable is better informed 
 on this point than history. Virgil re- 
 lates that according to the belief of old 
 ages, the founder of Praenesle had a fire- 
 place for his cradle, w hich caused him to 
 be supposed the son of Vulcan : 
 
 Volcano genitiim 
 
 lnventnmque foeis omnis queui credldit aeias. 
 
 It is astonishing that the ancients were 
 not smitten with the aspect of the soil, 
 which seems in a state of ebullition : 
 dull observers, these powerful Romans, 
 not to have suspected that force of na- 
 ture, older and more terrible than their 
 own passions. 
 
 The temple of Vesta, a model of ele- 
 gance and taste, so Greek-like in work- 
 manship and arrangement, became, bv 
 one of those analogies frequent among 
 
 antique temples and churches, the Ma- 
 donna del sole, which title it retains, as 
 well as the other odd designation of Saint 
 Stephen of the Coaches. This celebrated 
 little temple, so elegantly girt with twenty 
 Corinthian columns of Parian marble, 
 the most exquisite in Rome, seems to 
 have been rebuilt about the end of the 
 second century under the Antonini. 
 
 The temple of Foi tuna Virilis, one of 
 the most ancient in Rome, was conse- 
 crated to the fickle goddess by Servius 
 Tullius, whom she had delivered from 
 the bonds of slavery for the chains of 
 royalty. It was repaired under the re- 
 public, and dedicated to the Madonna 
 about the end of the ninth century. The 
 Ionic order which decorates' it," is the 
 best of the two only specimens of that 
 order existing at Rome. 
 
 The house said to have been Pilate's 
 and Rienzi's very probably harboured 
 neither of those famous guests. It has 
 the appearance of a little fort, and is 
 covered externally with a confused coal- 
 ing of inscriptions and antique fragments 
 for which Rienzi had a peculiar liking, 
 and they seem not unsuited to the elo- 
 quence and eccentric character of that 
 personage. The following verse is as- 
 cribed to his friend Petrarch : 
 
 Adsum Romanls grandis honor popuils. 
 
 The tribuneship of Rienzi w as contem- 
 porary with the democratical conspiracy 
 of the Venetian doge Marino Falieroand 
 the massacres of the Jacquerie in France. 
 The same fourteenth century had seen 
 the great riot of the Ciompi at Florence, 
 the insurrection of William Tell, the 
 revolt of Artevelle in Flanders, and of 
 Wat Tyler and Jack Cade in England. 
 It was one of those epochs of popular 
 eruptions caused by inequality and op- 
 pression. 
 
 The Pons Palatinus, now Ponre Rotto, 
 was the first stone bridge built in Rome. 
 It was finished in the censorship of 
 Scipio Africanus and L. Mummius. 
 Rebuilt by the popes Honorius III., Ju- 
 lius III., and Gregory XIII., it fell a 
 third time, and has not been repaired. 
 The aspect of this quarter and its poor 
 inhabitants, the view of the Aventine, 
 the Janiculum, and the Tiber, especially 
 from the bridge, are very picturesque, 
 and seem a real apparition of primitive 
 Rome. 
 
594 
 
 ENVIRONS OF ROME. 
 
 I Book XVI. 
 
 BOOK THE SIXTEENTH. 
 
 ENVIRONS OF ROME." 
 
 CHAPTER I. 
 
 VUlas.-PamQli villa.— Pines.— Sluccos.— Mount Ma- 
 rio.— Madama villa. — Loggia. — Casino of Pope 
 Julius. — Boighese villa. — New museum. — Casino 
 of Raphael.— Alba ui villa.— Anli nous. 
 
 The villas, those abodes of splendour, 
 are the link that unites, if one may say 
 so, the ancient Romans and the modern. 
 The present palaces of Rome differ from 
 those of antiquity ; the villas of our days 
 are a close approximation to the antique, 
 and in their principal parts they almost 
 resemble their majestic disposition. The 
 national taste for the same magnificence 
 is perpetuated notwithstanding the con- 
 trast between the two states of society. 
 These houses of pleasure are generally 
 turned towards Rome, a superb horizon, 
 in harmony with the pomp of their ar- 
 chitecture, and the marble, statues, co- 
 lumns, vases, and fountains that embel- 
 lish them. The gardens, planted with a 
 noble regularity, so far superior to the 
 zigzags of the English style, do not dis- 
 play the capricious pretention to create 
 sites which are found without already 
 made by nature, but they are destined 
 for the promenade of powerful friends 
 of art who seek, in their repose, to con- 
 template its chefs-d'oeuvre. Though too 
 frequently deserted and suffered to decay, 
 the Roman villas have not lost their ori- 
 ginal character, and their gloom even 
 seems to increase their grandeur. 
 
 ThePamflli-Doria villa, or Belrespiro 
 (one of those poetical Italian surnames, 
 like that of the numerous belvederes), 
 with its wood of umbrella-shaped pines, 
 charming trees, that harmonise so well 
 with the sky of the country, as they af- 
 ford a shade and leave the light ; its 
 view extending to the sea, its verdant 
 turf enamelled with anemonies, its 
 
 1 See ante, book si v. cli. xvl. 
 
 * Le Nfllre was little known before 1050, when he 
 laid out the gardens of Vaux for Fouquet ; be did 
 □ot go to Home till 1678, and Algardi bad begun the 
 I'siuQii villa about 1644. See the excellent and 
 
 grottos, basins, cascades, and antique 
 fragments, is the most diversified, exten- 
 sive, and delightful of Roman villas. The 
 plan is not by Le ]\<5lre, as supposed, 
 but by Algardi; * nature seems to have 
 compelled the elaborate talent of this 
 author to be simple, grand, and true. 
 Several ceilings of the casino are orna- 
 mented with sluccos executed by Al- 
 gardi's own hand, of extreme elegance, 
 and still in all their freshness. He also 
 made the bust of the too celebrated 
 Olimpia Maidalchini PamQIi, whose ill- 
 gotten wealth contributed to the crea- 
 tion of this wondrous place. 3 
 
 For some years since, successful exca- 
 vations have been made at the Pamfili 
 villa ; they have produced the discovery 
 of several well preserved columbaria, a 
 great number of curious inscriptions, 
 which are interesting for the history of 
 the funeral usages and monuments of 
 the ancients, and form a little antique 
 cemetery very picturesquely disposed in 
 the middle of a wood. 
 
 Mount Mario, at the extremity of the 
 Janiculum, planted with a pretty grove 
 of cypress, is one of the most pleasing 
 spots in the environs of Rome, which is 
 seen thence in its most imposing aspect. 
 The antique name of Mount Mario is 
 unknown, its present appellation being 
 derived from a Mario Mellini who built 
 a fine villa on its summit. The vast 
 quantities of marine shells, a proof of 
 the long inundation, at some very re- 
 mote period, of this point at an elevation 
 of four hundred and forty feet above the 
 level of the sea, are a geological fact of 
 some interest. On the declivity of the 
 hill is the Madama villa, so called 
 from having been the residence of Mar- 
 garet of Austria, natural daughter of 
 Charles V., widow of Alessandro de' 
 Medici, and afterwards married to Ot- 
 
 bcautiful work of MM. Fercler and Fontaine, Choix 
 tics plus eclebres maisons de plaisance de Rome el 
 de ses environs, second edition, 1824, folio, p. 13. 
 
 3 See ante, book xv. cb. xxiv, and book xvi. 
 cb. lit. 
 
Chap. I.] 
 
 ENVIRONS OF ROME. 
 
 S9S 
 
 tavio Farnese, duke of Parma. This ce- 
 lebrated casino, begun for Cardinal Giulio 
 de' Medici, on Raphael's designs, and 
 completed by Giulio Romano, has be- 
 come, in its actual dilapidated condi- 
 tion, a kind of modern antiquity unceas- 
 ingly studied and admired by artists. The 
 superb Loggia, the wainscot of one room 
 and a ceiling, are the work of Giulio 
 Romano and Giovanni d'Udina, small, 
 graceful, and exquisite paintings placed 
 beside the Loggia of the Vatican, and of 
 the same school. 
 
 The villa or casino of Pope Julius III., 
 of excellent architecture and most con- 
 veniently disposed, but now in bad con- 
 dition, of which Vasari boasts having 
 given the first designs, seems principally 
 due to Michael Angelo. Vignola, on 
 his return from France, was charged 
 with several embellishments, and we 
 recognise this great architect in the ele- 
 gance of the disposition, and purity of 
 the profiles in the Palazzino. The fine 
 Nymphea, ornamented with the most 
 costly marbles ; and the fountains, are 
 by Ammanato, and Taddeo Zuccari has 
 painted the frescos of the circular gal- 
 lery. A maestro of the sacred palace 
 at that time, Pietrantonio Aliatti, the 
 pope's favorite, had been the torment of 
 the clever men who worked successively 
 at the Yilla, by his intermeddling, pre- 
 tended science, and caprice, which pro- 
 cured him from the irreverent Michael 
 Angelo the ironical nickname of Monsi- 
 gnore tante cose. This delightful villa, 
 with which the pope who created it was 
 so charmed, that he went thither from 
 the Yatican, going up the Tiber in a 
 brilliant vessel; where the cardinals who 
 came for the first time to Rome staid as 
 well as the ambassadors before making 
 their entry, and whence the cortege set 
 forth ; — this monument of art and pon- 
 tifical magnificence became a good ve- 
 terinary school under Leo XII., which 
 was suppressed by his successor, and 
 somewhat strangely transferred to the 
 university of the Sapienza. 
 
 The Borghese villa, one of the places 
 dear to the Roman people, attests the 
 hereditary magnificence of that family. 
 First founded at the beginning of the 
 seventeenth century, by Cardinal Sci- 
 pione, on the designs of Giovanni Van- 
 sanzio, called II Fiammingo, it was 
 considerably enlarged towards the end 
 of last century by Prince Marcantonio, 
 
 and has been very much embellished by 
 the last prince Camillo. Its lake, tem- 
 ple, hippodrome, a fine model of a mo- 
 dern hippodrome, and its- laurel bowers, 
 are known and admired. The celebrated 
 Museum purchased under the empire 
 for our Museum, at the price of thirteen 
 millions and not fourleen as Napoleon 
 told Canova, 1 has since been almost re- 
 placed in three years, so inexhaustible 
 is Italy in chefs-d'oeuvre. Under the 
 portico, a half-colossal torso of Apollo 
 bending a bow is exquisite, and another 
 torso of an emperor's statue seated, very 
 natural. The basso-relievo of Romulus 
 and Remus suckled by the wolf, found 
 near the Tiber by Faustulus and Lau- 
 rentia, an elegant work and among the 
 best Roman productions, is curious as a 
 monument of the origin of Rome. The 
 important basso-relievo of Orvius or 
 Corvius Nasica preceded by lictors and 
 accompanied by a divinity that appears 
 to be public Faith, belongs to the latter 
 times of the republic. The immense and 
 magnificent saloon has : a good head of 
 Vespasian, in the style of his own time ; 
 the colossal, excellent head of Isis, wilh 
 the lotus-flower, the pendant of which is 
 a colossal bead of Diana exquisitely 
 wrought ; the celebrated basso-relievo of 
 a Horseman precipitating himself, 
 restored for a Curtius, despite the vul- 
 garity of both horse and rider ; a Pries- 
 tess, well -draped, over a sepulchral 
 altar, which bears a singular Greek 
 epitaph transmitting us the name of the 
 Roman singer Musa ; two superb colossal 
 heads of Adrian and Antoninus, per- 
 fectly preserved ; a statue of Diana. In 
 the hall of Ceres are : a statue of that 
 goddess, of natural size, the finest, no- 
 blest, and best draped of all known 
 statues of Ceres ; a hermes of Apollo ; 
 another of Mercury, Greek, which ap- 
 pears new ; a portrait of Alcibiades, 
 larger than nature; a statue of Lceda; 
 the famous basso-relievo of the education 
 of Telephus, a work of Adrian's time, 
 which for delicacy of execution seems a 
 large cameo; a torso of a young man 
 naked holding a vase, perhaps a Gany- 
 medes, remarkable for the choiceness of 
 the marble and the morbidezza of the 
 flesh. The fine statue of Hercules, in 
 the hall of that name, is adjusted like the 
 Farnese Hercules : over a sarcophagus 
 
 ' Mlssirlnt's Delia Vita Hi A. Canova, p. 245. 
 
596 
 
 ENVIRONS OF ROME. 
 
 [Book XVI. 
 
 ornamented with Tritons and Nereids, 
 is an admirable fragment of architecture. 
 The hall of Apollo and Daphne, which 
 has two living pictures of animals by 
 the clever Peters, is composed of mo- 
 dern works. The group by Bernini in 
 his eighteenth year, astonishing both for 
 mechanism of art and elaborateness, 
 is full of charm in the ensemble and the 
 details : the Apollo seems rather the 
 jeune dieu, toujours beau, toujours 
 frais, of Fonteneile, than the learned 
 Apollo of the Metamorphoses. On one 
 side of the pedestal are Ovid's verses, 
 and on the other this singular moral 
 distich of Cardinal Maffeo Barberini, 
 afterwards Urban VIII : 
 
 Quisquis anions sequitur fugilivae gaudia formna 
 Fronde manus Implet, baccas seu curpit aiuaras. 
 
 The group of /Eneas and Anchises was 
 executed by Bernini at the age of fifteen 
 years, unless it be his father's, Pietro 
 Bernini ; it is altogether ignoble in com- 
 position, form, and expression. The 
 David killing Goliath, another work of 
 Bernini's youth, represents him in the 
 person of the hero, whom he resembled 
 in shortness of stature; this David, which 
 is not in truth particularly noble, has 
 not the exaggeration of his manner, and 
 may be regarded as one of his most na- 
 tural productions. The rich gallery 
 decorated with basso-relievos of living 
 sculptors and an unique collection of 
 works in porphyry, leads to the cabinet 
 of the Hermaphrodite ; the statue is not 
 so well preserved as ours, but superior 
 in the quality of the material, which is 
 Parian marble ; it has no less grace and 
 truth, and has been restored more judi- 
 ciously and without the ridiculous quilted 
 mattress that Bernini put to the other in 
 his youth. A fearful head of Tiberius, 
 a draped bust of the Genius of the Ro- 
 man people, of a remarkable nicety of 
 execution and lifelike, a fine female head 
 said to be Sappho's, are other antique 
 chefs-d'oeuvre of this cabinet. The hall 
 of Apollo has the statue of the god, Greek, 
 important for the history of the art, no- 
 ble, graceful, but cold in expression and 
 rather stiffly draped. In the Egyptian 
 
 1 This green rock, very much sought after by the 
 ancients, is so called from being speckled like a 
 serpent [o^pli]- It has been generally believed 
 till now that this marble was procured from the 
 mountains that border the lied Sea iu Egypt, but 
 
 hall, the richest after the gallery, are : 
 an Isis, which has the stateliness and 
 elegance that the Greeks and Romans 
 attributed to the goddess of Egypt when 
 they admitted her worship; a group of 
 a Faun astride on a dolphin, which pro- 
 bably gave Bernini the idea of his Triton 
 in the Piazza INavona, called the moor 
 by the common people; a superb hermes 
 of Bacchus crowned with ivy, and an 
 unique vase of ophite marble.' The hall 
 of Bacchus is so called from the Greek 
 group of that god "and Proserpine, a 
 precious monument of antique theogony. 
 The great and curious coloured mosaic, 
 called the Borghcse, found near Torre 
 Nuova in 1834, and entrusted to the 
 clever D. Ruspi for restoration, repre- 
 sents a combat of gladiators against wild 
 beasts; from certain Greek letters, it is 
 attributed to Greek artists, and was 
 executed probably about the middle of 
 the empire ; it is in the first rank of mo- 
 saics for size. 
 
 The little and very plain Nelli villa, 
 near the Borghese villa, was possessed by 
 Raphael. Some frescos of exquisite 
 taste, but much impaired by time, com- 
 pose its decorations : the Marriage of 
 Alexander and Roxana, the best pre- 
 served, was executed by the ancient 
 master of the house, from the graceful 
 description of the picture of, the Greek 
 artist /Etion, crowned at the Olympic 
 games and given by Lucian, the text of 
 which may still help to explain the 
 charming fresco of Raphael. 2 
 
 The Albani villa, a magnificentcreation 
 of Cardinal Alessandro, a passionate lover 
 of the fine arts and antiquity, somewhat 
 pompously styled the Adrian of his lime, 
 was laid out by himself and his architects 
 in the manner of antique habitations. 
 The decorations of the fronts and the 
 details are not however very pure. 
 YVinckelmann, a friend of the cardinal, 
 and the cleverest interpreters of figured 
 antiquity have successively illustrated 
 this true museum, the third of Rome, 
 only surpassed by the Vatican and the 
 Capitol. A pretended Brutus, for som<; 
 time supposed a Harmodius and after- 
 wards an actor, seems now to be only a 
 slave. The first chefs-d'oeuvre are : the 
 
 the labours of our scientific commission in tha 
 Morea have proved that it was obtained in Helopo 
 nesus : the Taygcle is In great part composed of il. i 
 » See Lucian. Herodotus site Mtion. 
 
Chap. II. ] 
 
 ENVIRONS OF ROME. 
 
 mt 
 
 SonsofNiobe shot with arrows ; Apollo 
 Sauroctonos (killer of lizards), in bronze, 
 one of the three remaining repetitions of 
 the work of Praxiteles ; the basso-relievo 
 of the Repose of Hercules, with Greek 
 inscriptions in very small character ; the 
 delicious basso-relievo of Anlinous 
 crowned with a light garland (the crown 
 be holds is modern), the most admirable 
 of the sculptures at the villa, and the only 
 one that escaped the sale made by Prince 
 Albani of the objects retaken fromFrance 
 in 1815; the statue of Pallas; the curious 
 hermes of Mercury, with inscriptions in 
 Greek and Latin ; the Faustina seated ; 
 the sarcophagus of the Marriage of The- 
 tis and Peleus ; the basso-relievo of 
 Diogenes in his pretended tub before 
 Alexander ; » the other basso-relievo in 
 antique red, of Dedalus making his 
 wings; the fine Caryatides or Cane- 
 phorus of the Athenian sculptors Crito 
 and Nicholaus; a Cupid, copied from 
 Praxiteles ; the basso-relievo of the 
 Combat of Achilles and Memnon ; the 
 Candelabrum, which has some dancing- 
 girls on the base thai are among the most 
 exquisite remains of Greek sculpture; 
 the basso-relievo of Berenice offering her 
 hair for the return of her husband Pto- 
 lemceus Evergetes ; the Bacchus, so 
 remarkable for the workmanship of the 
 head. The Parnassus of the gallery 
 ceiling, by Raphael Mengs, formerly 
 boasted as superior to the Parnassus of 
 Raphael, is now, like the other works of 
 Mengs, put in its proper rank : there are 
 some muses in graceful attitudes and a 
 good style of adjustment; butthe Apollo, 
 a kind of statue, is badly postured, ill- 
 drawn, and the execution, though stiff 
 and painstaking, is deficient in power. 
 
 CHAPTER IT. 
 
 Road loTivoli. — PonteMammoIo.— Lake tie' Tartar!. 
 —Tomb of the Plautla family. — Adriana villa.— 
 Flower.— Theatre. — rcecile. — Library. — Palace. — 
 Quarter of the Pretorians.— Thermae. — Canope. — 
 TiYOli.— Girls.— Temple o! Vesta ;— of the Sibyl.— 
 Casca telle. — Grotto of Neptune; — of the Syrens — 
 House of Horace.— Villa of Mecsenas. — Temple 
 delia Tosse.— Villa d'Este— Fouiana dell' Oyalo. 
 
 The road to Tivoli in some parts follows 
 the ancient Via Tiburtina. Alter the 
 tenth mile, we again find the large poly- 
 gonal stones of volcanic basalt, and the 
 
 1 See anie, book xv. ch. miyI. 
 
 stepping-stones with which it was bord- 
 ered. At the fourth mile we pass the 
 Anio, commonly called the Teverone, by 
 the Ponte Mammolo, perhaps the oldest 
 bridge in the environs of Rome, appa- 
 rently taking its name from Julia Mam- 
 mea, mother of Alexander Severus: hav- 
 ing been destroyed by Totila, Narses re- 
 built it with the same materials. The green 
 foliage of the beaches on the bank forms 
 an agreeable coup-d'ceil. The waters of 
 the little lake de' Tartari, impregnated 
 with calcareous matter, cover the bran- 
 ches and roots they touch with brilliant 
 crystals. The canal and lake of the Sol- 
 fatara exhale a strong odour of sulphur : 
 the foam of the latter lake, mixed with 
 dust, leaves, and branches.forms a surface 
 of light agglomerations which have pro- 
 cured it the too poetical name of the 
 lake of the Floating isles. Near there 
 are the ruins of the magnificent baths of 
 Agrippa, which had benefitted Augustus. 
 Nothing remains of the antique bridge 
 of Lucano, destroyed by Totila, but the 
 foundations in the bed of the river. This 
 point of view is the original of one of 
 Guaspre" Poussin's finest landscapes. a 
 The noble mausoleum of the Plautia fa- 
 mily, which has two antique inscriptions, 
 is remarkable for its brilliant cornice and 
 its solidity. In the middle ages, it was 
 used as a fortress, like the sepulchral 
 tower of Cecilia Metella, which it re- 
 sembles in elegance and grandeur. 
 
 Notwithstanding the general admira- 
 tion, perhaps the emperor Adrian's idea 
 of filling his villa with copies of the mo- 
 numents of art or wonders of nature that 
 he had seen in his travels, was not par- 
 ticularly happy. All these different repe- 
 titions, which nevertheless retain an 
 exterior appearance of Roman taste, 
 must have injured each other and made 
 the villa a kind ofantique English garden, 
 unworthy of the artistic genius of Adrian, 
 who had moreover the failing of misap- 
 preciating Homer. The Adriana villa is 
 said to have been despoiled of its prin- 
 cipal masterpieces by Caracal la, who 
 took them to embellish his Thermae ; 
 probably it was sacked by Totila. The 
 duke of Braschi is the present proprietor, 
 and it is now only a species of unhealthy 
 but productive marsh, ravaged by culti- 
 vation; while a strong vegetation of 
 cypresses, fig-trees, holm-oaks, ivy, and 
 
 * See ante, book xv. ch. mi. 
 
598 
 
 ENVIRONS OF ROME. 
 
 I Book XVI. 
 
 clematis, smothers and destroys its ruins. 
 An odoriferous flower, a kind of syringa, 
 planted there by Adrian, is said to grow 
 in no other place. How singular are 
 the powers of nature ! the foreign monu- 
 ments of the master of Rome disappear, 
 strewing the earth with their vast ruins : 
 this simple exotic flower survives them 
 and continues to shed its perfume. 
 Though great numbers of chefs-d'eeuvre 
 have been exhumed in this villa, the soil 
 does not appear exhausted, and new 
 excavations under more judicious ma- 
 nagement might still be successful. 
 
 The Greek theatre preserves its an- 
 tique form, its seats, and some parts of 
 the stage. The house of a peasant has 
 some superb stuccos which decorated 
 'the roof of an ancient Nymphea out of 
 which it was built. The Pcecile, an imi- 
 tation of the glorious portico of Athens, 
 is but a long and lofty wall. A kind 
 of circus, which antiquarians make a 
 swimming bath, is ridiculously called a 
 marine theatre, from the nymphs and 
 sea monsters represented in mosaic on 
 the pavement. The library, divided into 
 Greek and Latin, formed a single edifice, 
 and part of its substructions may still be 
 seen. The Latin library, like the Greek, 
 preceded by a room for the readers, 
 is the least injured. The imperial pa- 
 lace was on the heights. Among its mag- 
 nificent ruins, in the lower part, some 
 remains of an antique painting in excel- 
 lent taste are still visible. The barracks 
 of the Praetorians called Cento Came- 
 relle, in astonishing preservation, are 
 authentic, despite the opinion of the abbe" 
 Chaupy, who thinks them only substruc- 
 tions. The communication between the 
 chambers is modern. The crumbled 
 mass of the Thermae is not so shapeless 
 as to render the different parts indis- 
 tinguishable; it is difficult, however, to 
 ascertain the respective divisions for the 
 two sexes, although we learn from Spar- 
 tian, Adrian's historian, that the disso- 
 lute emperor who made a god of Anti- 
 nous, thought it important that they 
 should bath in separate apartments. The 
 valley called that of Canopus presents a 
 
 1 Horal. Od. VI., lib. II. 
 
 2 See post. Most enthusiastic travellers, misled 
 by guide-books and the ciceroni of Tivoli, place tbe 
 villa of Marcus Brutus at Tibur; the Brutus whose 
 villa preseuts considerable substructions was not 
 Caesar's murderer, but bis ancestor, an opulent and 
 
 copy of an Egyptian temple, which gives 
 an idea of its extraordinary character; 
 the chambers of the crafty priests of Se- 
 rapis may still be seen, as well as the 
 arabesques of a corridor through which 
 the conduits passed that carried water 
 to the exterior front, to fall into the fa- 
 mous canal, the scene of the joyous 
 dances and licentiousness of the Cano- 
 pian feasts. The remains of a temple of 
 Canopus seem the best preserved in the 
 villa, and are sufficient to give an idea 
 of the sumptuousness of the edifice. On 
 the southern hill of the valley, are some 
 extensive ruins that belonged to the 
 Academy and Odeon. Near the latter, 
 are four long corridors leading to the 
 Infernal Regions, and the Elysian Fields 
 were not far distant. 
 
 Tivoli, the ancient, the poetical Tibur, 
 of Greek origin, existed 462 years be- 
 fore the foundation of Rome : 
 
 Tibur Argaeo posltum colono.' 
 
 Tibur joined the Gauls twice, when they 
 made an irruption into Italy : perhaps 
 the inhabitants thought that our ances- 
 tors would contribute to their freedom, 
 but they were reduced by the Romans, 
 and Tibur continued to be a Roman mu- 
 nicipality. Honoured by the residence 
 of Horace, Catullus, Propertius, Au- 
 gustus, Mccaenas,' and the captive Ze- 
 nobia, who dwelt there in obscurity, it 
 was destroyed by Totila, and three years 
 after re-established by him as a military 
 post; it lost its ancient name, assumed 
 that of Tivoli about the eighth century, 
 and suffered the different vicissitudes of 
 Italy during the middle ages, among 
 which the most important was its alliance 
 with Rienzi, when tribune of the Roman 
 people a second time. The present Ti- 
 voli is a town of about seven thousand 
 souls, in a good situation, but dirty, irre- 
 gularly built, and still damp like the 
 udum Tibur of the poet ; it has a bishop, 
 two locande ( the Regina and the Si- 
 billa ), with travellers, artists, numerous 
 manufactories of leather, iron, paper, 
 and oil and powder mills. Notwith- 
 
 peaceable jurisconsult, upon whom there was no 
 room to expatiate. His son tbe orator, an acute 
 and vebemeut accuser, in dicendo vehemenli et 
 callido, as Cicero says, sold the property when it 
 fell to him by inheritance. (Pro Cluenlio, $ li.) 
 
 I 
 
Chap. II. ] 
 
 ENVIRONS OF ROME. 
 
 399 
 
 standing its modern trading aspect, it is 
 impossible notto be struck with the strong 
 and noble beauty, the carriage and mien 
 of the girls of the lower orders. 
 
 The temple of Hercules, the Greek 
 patron ol'Tibur, was the principal in the 
 town ; it is replaced by the cathedral of 
 Saint Laurence, which has a remnant of 
 the Cella behind the choir. It was under 
 the portico of this temple famous for its 
 rich treasury, that Augustus, when he 
 visited IMecaenas at Tibur, familiarly 
 rendered justice, a reminiscence which, 
 despite the magnificence of the edifice, 
 will always be inferior to our oak of Vin- 
 cennes. 
 
 The temple, said to be that of the 
 Sibyl, and afterwards of Vesta, on the 
 point of a rock, above the fall of the 
 Anio, which is precipitated into the 
 valley with much more noise than in 
 Horace's days (prceceps Anio), presents 
 at once a most exquisite wreck of art 
 and one of the finest scenes in nature. 
 The brilliancy of the ten fluted Corin- 
 thian columns (there were eighteen for- 
 merly) and of the foaming waters be- 
 comes still more resplendent by moon- 
 light. The temple of the Tiburtine 
 Sibyl appears, like that of Vesta, of the 
 last century of the republic. The Cas- 
 catelle, interspersed and variegated with 
 a luxurious vegetation, which seem al- 
 most as if formed and arranged by art, 1 
 shine in the sun, and produce beautiful 
 rainbows. The best point of view to 
 observe them is in a vineyard, at the 
 bottom of the valley. The impression 
 of these famous sites, painted, described, 
 and sung thousands of times, must vary 
 according to the disposition of indivi- 
 duals ; their roaring noise, accompanied 
 with the thumping of hammers and the 
 clanking of machines, will not be very 
 agreeable to the lovers of silence. The 
 grotto of Neptune and that of the Syrens 
 are the most picturesque of those antres 
 into which the Anio falls, the horror of 
 the latter grotto, a real inundated ca- 
 vern, and its frightful clatter, strikingly 
 contrast with its pleasing name. 
 
 The straggling arcades of the villa of 
 ManliusVopiscus, celebrated by Statius, 
 
 1 The strong well that contained the Anio and 
 formed the Great Cascatella having been thrown 
 down in November 1826, the Casca telle were left 
 dry for a time. Considerable works, and the cut- 
 ting a tunnel through Mount CatilJo, of two hun- 
 dred and Dfnety-fbur metres long by twenty-five in 
 
 give a most imperfect idea of its magni- 
 ficence ; but the description of the bor- 
 ders of the Anio and the kind of natural 
 bridge it has hollowed out is still very 
 faithful : 
 
 Ipse Anien, miranda Odes ! infraque, superque 
 Saxeus ; hie tumldam rablem spumosaque ponit 
 Murmura, ceu placidi veritus turbare Vopisci 
 Pieriosque dies e! habentes carmina somnos; 
 Littus utrumque domi ; nee te mitlssimus amnis 
 Dividit, alternas servant praetoria ripas, 
 Non externa sibi, fluvlumve obstare queruntur.* 
 
 The pretended site of the house of 
 Catullus, near the old convent of Saint 
 Angelo in Piavola, is by no means au- 
 thentic, as it must have been near Rome. 
 
 Despite the pertinacious contradictions 
 of the abbe - Chaupy, who will not allow 
 Horace more than one house : 
 
 Salis beatus cnicis iabihis, 
 
 the Nymphea of the poet's house in the 
 convent of Saint Anthony seems authen- 
 tic. The estates which made him inde- 
 pendent will still be on the banks of the 
 Digentia, in the country of the Sabines : 
 
 Nihil supra 
 
 Deos lacesso, nee potentem amicum, 
 Largiora flagito, 
 
 and the villa of Tibur his pleasure house. 
 
 Some remains of the splendid villa of 
 Quinctilius Varus still subsist; they are 
 near the church of the Madonna of 
 Quintilioli, which has taken its surname 
 from the general of Augustus whom Ar 
 minius defeated. 
 
 The grand villa called that of Mecae- 
 nas, now an iron foundery moved by an 
 arm of the Anio, was probably a public 
 edifice; it has a corridor with an extra- 
 ordinary ceiling, some porticos, and vast 
 galleries. 
 
 The temple della Tosse, picturesquely 
 situated amid trees and vines, is impos- 
 ing, though of the decline ; according 
 to different learned antiquarians, it was 
 either a temple of the sun, or a tomb of 
 the Tossia family. But its hexagonal 
 form and remains of paintings seem to 
 indicate a Christian edifice. Its vulgar 
 
 width at the opening, an enterprising work of the 
 Cav. Clemen te Folchi, a clever hydraulic engineer, 
 have since nearly repaired the damage, and seem 
 likely to prevent a recurrence of the disaster. 
 » Sylv. i. § 3. 
 
600 
 
 ENVIRONS OF ROME. 
 
 I Book XV! 
 
 designation, according lo the tradition of 
 the place, was given it from the strange 
 manner in which the Virgin opens her 
 mouth, a venerated Madonna, to whom 
 the good women of Tivoli offer a candle 
 to be delivered from their colds, as they 
 have recourse to another old Madonna 
 called della febbre to cure the fever. 
 The worship of these Madonnc della 
 febbre seems to have succeeded that of 
 the goddess of Fever, who had her altars 
 and sacrifices in Greece and at Rome. 
 
 The villa d'Esle, founded by Cardinal 
 Ippolito, second son of Alfonso, duke of 
 Ferrara, named governor of Tivoli by 
 Pope Julius III., and who is not the 
 Cardinal Ippolito I., the exacting Me- 
 csenas of Ariosto, 1 cost him more than 
 a million Roman crowns; it was fur- 
 ther embellished by Cardinal Ludovico 
 d'Este,* whom Ginguene" mistakes for 
 its founder. It is the only monument 
 of modern magnificenceat Tivoli. Sealed 
 on a hill, at the extremity of a long ave- 
 nue of patriarchal pines and cypresses, 
 it still, though degraded, retains its pri- 
 mitive character; its vast gardens, ter- 
 races, and arcades of clipped trees, are 
 a kind of architecture, and its parterres, 
 of mosaic. Nature, there unchanging, 
 seems fashioned like marble and stone. 
 It required the court and royal stale of 
 the cardinals of the house of Este to ani- 
 mate this superb abode, which its founder 
 thought worthy of a great prince : Al- 
 bergo degno di qualunque gran prin- 
 cipe. The plan is by Pirro Ligorio, 
 and Ihe waterworks by a clever hydraulic 
 engineer of Tivoli, Orazio Olivieri, one 
 of whose descendants, an honourable and 
 distinguished man, was colonel of ca- 
 valry in the French armies during the 
 wars of the Empire. The two principal 
 fountains are as fine as any that can be 
 cited, and Michael Angelo surnamed 
 that dell' Ovalo (of the Oval), the queen 
 of fountains. Among the numerous 
 constructions of these gardens, it must be 
 confessed that there are some open to 
 censure, in which lasle has been occa- 
 sionally sacrificed to whimsical and ca- 
 pricious inventions. The little model 
 of Rome in mastic in a bower, and its 
 noble monuments in miniature, are pcr- 
 
 * See ante, book v». ph. ill. This error of Vnsi 
 fj repealed by all travellers: Ariosto could not pos- 
 Bibly uavo lived with Cardinal Ippolilo I. at the 
 villa d'Este, created in tojt, eighteen years after his 
 death. It is more probable that Tasso resided there 
 
 fectly ridiculous. The too highly ex- 
 tolled frescos and stuccos of the palace, 
 by Taddeo and Fcderico Zuccari, are 
 but an abortive imitation of Raphael ; a 
 portrait of Federico as Mercury, painted 
 by himself, is perhaps the best part of 
 them ; the frescos of the Sibyls and 
 Prophets in the chapel, by Muziano, are 
 very superior to the Zuccari's. In the 
 secretary's room, a St. Bernardin of 
 Siena, attributed to Giotto, seems at 
 least of his school. The view from the 
 terrace is immense/and admirable. 
 
 CHAPTER III. 
 
 Torre Piguatara ;— Nuova.— Colonua.— Lake Regl!- 
 lus. — Palestriiia. — Walls.— Temple of Fortune. — 
 Mosaic. — La Rocco. — View. 
 
 On the road to Palestrina, at Torre 
 Pignalara, thus called from its clay 
 vases (Pignatte), are various ruins, and 
 among them the tomb erected by Con- 
 stantine to his mother Saint Helena, 
 whose body was afterwards transported 
 to Constantinople, a mausoleum from 
 which the fine porphyry sarcophagus 
 in Pio-Clementino museum was taken. 
 A rustic chapel replaced the superb ba- 
 silic consecrated by the first Christian 
 emperor to Saint Marcellinus and Saint 
 Peter the exorcist, vhose burial place is 
 shown in the catacombs. 
 
 Torre Nuova, one of the rich domains 
 of the Borghese family, formerly a de- 
 lightful villa, seems, with the multitude 
 of its pines, less perishable than its 
 palace, a fresh Italian oasis in ihe middle 
 of this wilderness. 
 
 Colonna, a village in ruins, for nearly 
 eight centuries a fief of the illustrious 
 family of that name, occupies the top of 
 a high hill, the site of the ancient Labi- 
 cum, mentioned by Virgil as allied with 
 Turnus : 
 
 Et pictt scuta Labici. 
 
 Near there is the source of the Acque 
 felice, taken to Rome by Sixtus V. 3 
 
 A little marsh full of reeds passes for 
 the lake Regillus, celebrated for the vic- 
 tory of the dictator Aulus Posthumius 
 
 at the court of Cardinal Ippolito II., and it Is pre- 
 tended that ils magical disposition gave bim the 
 idea of the palace of Armida. 
 
 a See an'e, book vn. ch. xv. 
 
 3 Sec ante, book xv. ch. xjiii. 
 
Chap. IV.] 
 
 ENVIRONS OF ROME. 
 
 601 
 
 over the Latins, which terminates the 
 supposed fabulous history of the earlier 
 limes of Rome, and destroyed the last 
 hopes of the Tarquins, a victory followed 
 by a treaty which is regarded as one of 
 the principal foundations of the Roman 
 power. 
 
 The origin of Palestrina, some centu- 
 ries more remote than that of Rome, is 
 veiled in obscurity. This town was, 
 and still appears on its mountain, a kind 
 of stronghold. Its cyclopean walls of 
 calcareous rock, upheld without cement, 
 rendered it formidable, even in the four- 
 teenth century, when it became the cita- 
 del of the Colonne and was destroyed by 
 the lieutenants of popes BonifaceVIII. and 
 Eugene IV. The inhabitants ultimately 
 returned from the surrounding country, 
 and settled on the spot where the cele- 
 brated temple of Fortune had stood. The 
 magnificent temple, the most interesting 
 of the ruins of Palestrina, which made the 
 incredulous Athenian philosopher Car- 
 neades, when ambassador to the senate, 
 say that he had never seen a fortune 
 more fortunate than that, and whose 
 oracle (sortes prmnestinw) outlived all 
 others, furnished the famous mosaic of 
 different colours which, though opinions 
 vary extremely, seems to represent the 
 celebration of an Egyptian festival, in 
 the time of the later Ptolemys, for the 
 overflowing of the Nile. The different 
 animals have their names written in 
 very distinct Greek characters. We 
 there see the hippopotamus, so badly 
 described by the Latin writers ; the ibis 
 of the Egyptians, on which the natura- 
 lists were mistaken, and the girafe, de- 
 signated by the name of Nubis. This 
 mosaic, which formed the pavement of 
 the first landing place of the temple,- 
 since converted into a cellar, was dex- 
 terously removed in 1640 by Pietro of 
 Cortona, to one of the apartments of the 
 Barberini palace, which was built by 
 himself over the temple, so that its actual 
 place, damp and obscure, is not very far 
 from the other. 
 
 Prasneste was more than once poeti- 
 cally visited by Horace, who has sung 
 its coolness : 
 
 Vester, Camoenae, vester in arduos 
 Tollor Sabinos ; seu mihi frigidum 
 Traeneste, seu Tibur supinum, 
 Seu liquids plaeuere Baiee. 
 
 ' Annul. lib. xv. cap. xxii. 
 
 He reperused the whole of Homer there : 
 
 Trojani belli scriptorem, maiime Lolli, 
 Dum lu declamas ltomae, Prcenesle relegi. 
 
 The ancient citadel stood above the 
 town. On the road enormous polygonal 
 fragments of the walls of Praeneste prior 
 to the Roman sway, still exist, as well as 
 the wall, repaired at different epochs, 
 which separated the citadel from the 
 place. 
 
 The present fortress, called the Rocca, 
 contains a few houses and some edifices. 
 The feudal castle is in ruins. The ba- 
 ronial church, the burial-place of the 
 Barberini, has a Piety, & grand but un- 
 finished group, ascribed to Michael An- 
 gelo. The antique church of Saint 
 Peter, which has given its name to the 
 mountain, presents the Pasceovesmeas, 
 at the high altar, by Pietro of Cortona, 
 one of his esteemed works, but injured 
 by the damp. The view from the Rocca, 
 one of the most remarkable in the en- 
 virons of Rome, embraces the heroic 
 theatre of her first exploits, of her wars, 
 so vigorously prosecuted, so wisely ter- 
 minated, which early announced the fu- 
 ture masters of the world. 
 
 CHAPTER IV. 
 
 Subiaco. — Nero's villa.— Landscape. — Church.— 
 Monastery.— Priuling-ofUce.— San Speco. 
 
 Beyond Palestrina, at Subiaco, so 
 called from its lake (Sublaqueum), Nero 
 had a splendid villa. While he was di- 
 ningthere, thelightningstruck the palace, 
 overthrew his table, says Tacitus,' and 
 even, according to Philostratus, per- 
 forated the cup from which he was about 
 to drink. 2 It must be regretted, as a 
 providential lesson, that it did not 
 touch him : Nero slain by the vengeance 
 of heaven would have been a grand and 
 good example in history. Some unim- 
 portant remains of the baths dependent 
 on this villa still exist on the height 
 beyond the Anio. Thus the solitary and 
 godly retrealillustrated by Saint Ben-edict 
 had seen the orgies of the Roman tyrant. 
 
 Subiaco is now principally visited by 
 landscape painters, as its charming site, 
 its woods, its lake, its grottos, rocks, 
 cascades, and ruined castle, render it 
 exceedingly picturesque. 
 
 « Life of Apollonius Tyaneus, lib. iv. en. xliii. 
 
 51 
 
602 
 
 ENVIRONS OF ROME. 
 
 [ Boot M. 
 
 The rich church built by Pius VI. at 
 the foot of the hill, without being very 
 pure in its architecture, has a degree of 
 grandeur; the lower church, also mo- 
 dern, is well lighted, in fact too well. 
 The abbots palace, on the height, pre- 
 sents an extensive view of mountains and 
 the valley of the Anio. 
 
 The monastery of Saint Scholaslica, 
 ravaged at the beginning of the seventh 
 century, was rebuilt in 705 by the abbot 
 Stefano. Its different buildings announce 
 the introduction of the Gothic sly Ie into 
 Italy, and make an epoch in the history 
 of the decline of art. In the first cloister, 
 modern, the well has an antique sar- 
 cophagus re; resenting three bacchic sub- 
 jects. Two fine columns, one of yellow 
 antique and the other of porphyry, were 
 procured from Nero's villa. The oldest 
 cloister, of the tenth century, has its ar- 
 cades in ogive, and the principal one, of 
 marble an\l ornamented with basso- 
 relievos, is surmounted by the statue of 
 the Virgin seated on a throne between 
 two lions. Under the portico are two 
 curious monuments. The first, of 981, 
 records the foundation of the church of 
 Saint Scbolastica, and the epoch of its 
 dedication by Pope Benedict VII. ; the 
 inscription is oji the belly of a roebuck, 
 drinking out of the same cup with a stag 
 and beaten by a cock. The other mo- 
 nument registers the domains of the mo- 
 nastery in 1052, and also mentions that 
 year as the time when the steeple was 
 built by the abbot Humbert. The third 
 cloister resembles, in architecture, Saint 
 Paul extra muros, and ma; be regarded 
 as of the thirteenth century. A picture 
 of the Virgin is of the fifteenth. The 
 church, modern, has some very inferior 
 paintings. In the sacri>ty. of the year 
 1578, is a Virgin of Carlo Marattas 
 school. The monastery of Saint Scbo- 
 lastica, where some German monks es- 
 tablished the first printing-office in Italy, ■ 
 retains no trace of this glorious fact, 
 which seems to have very little interest 
 for the present monks, who are more 
 inclined to the pious practices of Saint 
 Benedict than to the learned labours of 
 their predecessors. 
 
 One mile from Saint Scholaslica, and 
 three from Subiaco. the Sacro Speco, a 
 monastery of Saint Benedict, cut in the 
 rock, presents various ornaments : some 
 
 ' See ante, book it. eh. hit. 
 
 paintings of the fifteenth century, b>r, 
 unknown artist; some slabs of mare 
 serving as pavement for the vestibit 
 taken Trom Nero's villa; a statue, [ 
 Bernini, of the young Saint Benedict* 
 the holy cayern converted into a ehaa 
 where he lived as an hermit from i 
 sixteenth year ; and several good modij 
 paintings in the sacristy, among theiii 
 Virgin, Infant Jesus and St. Josef, 
 attributed to Correggio, but perhj 
 by the Canacci. In a garden, a snii 
 parterre of roses was the field oftboi 
 on which Saint Benedict rolled himsd 
 as Saint Francis after him, to appeq 
 the ardour of bis passions. The evel 
 greens of a pretty wood, low a 
 entangled, which were wont to bow 
 him. according to a monks story. ha< 
 remained unmoved ever since his' deal 
 Here nature speaks as loudly of Sui 
 Benedict as the monuments of arl. at 
 both attest, by a succession of miracle 
 the power, ihe virtue of this great legi 
 lator of the monastic orders of ihe wes 
 
 CHAPTER V. 
 
 — Villas or ildobrardini; — TaTerna; 
 Mondrogone : — Rutins — Bracctano ;— Ruflneli 
 —Tc senium.— House and Arademia of Cicero. 
 Tbealre. — Walls. — Citadel. — Grolta-Ferrala. ' 
 Cbapel of Saint Niias. -Marino -Vallev of Fereil 
 tins. 
 
 Frascali has risen near, but below, th 
 ruins of the antique Tusculum. whic 
 was destroyed, utterly destroved at th 
 end of the twelfth century by the Roman 
 of the middle ages, as" ruthless as th 
 citizens of ancient Rome. Then the ur 
 fortunate inhabitants of Tusculum wer 
 compelled to live under huts made c 
 branches fraschc', whence it then de- 
 rived its barbarous Latin name of Fras 
 catum, now Fra-cali. The situation o 
 Frascati is pleasant, and the air f-x. el- 
 lent. The population amounts to fivi 
 thousand souls; the spacious square anc 
 the cathedral are rather imposing, anc 
 the various villas, so harmoniously dis- 
 posed around the town, are magnificent 
 
 d 
 
 The Marconi casino, new and in good 
 taste, has several monuments of a ini- 
 quity in good condition, and a silting 
 statue of Canova, by Ceccarini. 
 
 The Aldobrandini villa, on the de- 
 clivity of the mountain, the most noted 
 of the villas, takes its other name of 
 
Chap. V. ] 
 
 ENVIRONS OF ROME. 
 
 603 
 
 I . J 
 
 Belvedere from its double horizon of sea 
 and mountains. It was founded by 
 Cardinal Aldobrandini, nephew of Cle- 
 ment VIJI., and was begun by Jacopo 
 della Porta,' whom an almost sudden 
 death prevented from finishing it, and 
 completed by Domenichino. This su- 
 perb seat was unfortunately uninhabit- 
 ed and neglected. Its gardens, in the 
 form of an amphitheatre, its vases, 
 statues, columns, fountains, cascades 
 falling over marble, the murmur and 
 music of its waters, in imitation of those 
 water organs of the ancients that pro- 
 duced such ravishing sounds, must have 
 made it a delightful abode formerly. 
 The contrivance and wonderful effects of 
 ts waters are by Giovanni Fontana and 
 Orazio Olivieri. Some rooms of the ca- 
 sino are painted by the Cav. d'Arpino, 
 and are among his best works : a Judith 
 quitting the camp of Holophernes sword 
 in hand, perhaps the finest of the Ju- 
 diths, is admirable for boldness and in- 
 spiration. The frescos of Domenichino 
 in the still fresh hall of Apollo, orna- 
 mented with mosaics, are pleasing but 
 feeble compositions. The artist did them 
 after his return from Naples, in 1631, 
 when he found a refuge in the Aldobran- 
 dini villa, an hospitable retreat in which 
 he merrily forgot his enemies and the 
 envious.* < 
 
 The Taverna villa, also belonging to 
 the Borghese family, of Rainaldi's archi- 
 tecture, and not Vignola's, to whom it has 
 been attributed, owes its origin to Car- 
 dinal Scipione, the worthy nephew of 
 Paul V. It was inhabited by that pope, 
 a great patron of the arts, who found 
 two advantages in building : the first was 
 the embellishment of Rome, the second 
 the employing of the workmen, and he 
 declared that it was better to find work 
 than to give alms. 3 The Taverna villa 
 is less magnificent than the Aldobran- 
 dini, but a more convenient dwelling. 
 
 The immense Mondragone villa, with 
 its three hundred and seventy-four win- 
 dows, the most extensive in the environs 
 of Rome, long falling to decay, owes its 
 foundation to one of the courtier alten- 
 
 1 Jacopo delta Porta, wkcu returning fi'orn the 
 villa with Hie cardinal, was seized with a violent 
 colic, which he endeavoured to keep secret; having 
 fainted away, he was left at the gate of Saint John, 
 where he died a few minutes after. 
 
 2 See aiUe, book xm. cli. vli. and Variilis Ita- 
 liennet. 
 
 tions that paint the ancient magnificence 
 of the Roman court. When Pope Gre- 
 gory XIII., accompanied by Cardinal 
 Altemps, was passing over those heights, 
 struck with the beauty of the' view, he 
 exclaimed : " What a fine position for a 
 villa!" The cardinal had this sump- 
 tuous palace built immediately, and the 
 first time they went into the country 
 (villeg glare), he managed to pass that 
 way with the pope, who was surprised, 
 nay, amazed at the sudden elevation of 
 the edifice. The grand Loggia of the 
 garden is by Vignola, its superb portico 
 by Flaminio Ponzio, and the ingenious 
 waterworks, especially the fountain of 
 the Girandola, by Giovanni Fontana. 
 
 The Falconieri villa, called the Ru~ 
 fina, of Bernini's architecture, has a 
 large ceiling by Carlo Maratta, repre- 
 senting the Birth of Venus, a brilliant 
 fresco, esteemed, but much less curious 
 than the pretty portraits painted in ca- 
 ricature by Pier Leone Ghezzi, of per- 
 sonages of the Falconieri family. 
 
 At the Bracciano, formerly the Mon- 
 talto villa, of good architecture, are some 
 remarkable frescos ; among thema ceiling 
 presents the Course of the sun, a work 
 vigorously executed, in a good style, and 
 altogether worthy of the school of Do- 
 menichino. 
 
 The Rufinella, a delightful villa, in 
 the midst of woods, on the summit of a 
 mountain with an admirable view of 
 Rome and the sea, is in excellent air, 
 like all the old houses of the Jesuits. A 
 pretty anecdote well told by P. Roberti 
 in his letter sul prendere V aria e il sole, 
 proves the reputation of those fathers 
 on this head. A lord of Bologna had 
 ordered of the Cav. Giuseppe Crispi a 
 painting representing his country casino, 
 in which he required the salubrity of the 
 air to be indicated. Crispi made an 
 azure cloudless sky, a limpid brook, cool- 
 ing waters; he painted verdant sward, 
 an abundant vegetation, the vines loaded 
 with the golden grape (uva Paradisa) 
 which ripens at Bologna, is kept and eat- 
 en at the carnival suppers, can even be 
 sent abroad, and of which the Bolognese 
 
 3 Th. Amidenio. " JMcebat tediflc.jndo se duo bona 
 facere; unum, urbem tediflclis augustiorem red- 
 dere; nlterura, plures alere mer«enarios, qui alias 
 vagarentur. Unde existimabat, stipem laborum, 
 eleemoslnae loco redcre. 
 
604 
 
 ENVIRONS OF ROME. 
 
 Book XVI. 
 
 senate made a present to the emperor 
 Charles VI. every year. Despite the 
 smiling aspect of the landscape, the 
 gentleman found that the wholesome- 
 ness of the air of his casino was not 
 precisely indicated, as most of the de- 
 tails painted might be attributed to the 
 goodness of the soil. Crispi then re- 
 solved to place before the door, in a 
 green meadow, just after sunset, two 
 bald Jesuits without caps reading a book : 
 "See now," said he, "whether the air 
 is good or not?" vedete se qui e bon 
 aria? and the exacting master found 
 the argument unanswerable. The pa- 
 lace of Rufinella, by Vanvitelli, is ex- 
 tensive, of good architecture, and has a 
 fine saloon; once possessed by Lucien 
 Bonaparte, and now by the kiug of Sar- 
 dinia, it has divers monuments of anti- 
 quity under the portico, that proceeded 
 from excavations made at Tusculum by 
 these two proprietors. 
 
 The house of Cicero, previously Syl- 
 la's, was on this mountain, which seems 
 still to have an air of antiquity, and of- 
 fers deep, solitary, and philosophic 
 shades, like those that inspired the Tus- 
 culana. Some superb ruins are reputed 
 to have belonged to Cicero's Academia. 
 
 The theatre, wonderfully preserved, 
 still retains its pedestals, and its seats of 
 Tusculum stone. Some traces of an- 
 other theatre in the neighbourhood, sup- 
 posed an Odeon, or hall for rehearsals, 
 shows what the splendour of this town 
 must have been, whereCatoandLucullus 
 had villas also. 
 
 Near, but low er down, are some mu- 
 ral ruins. An aqueduct that ends there 
 is curious, as its last arcade is perfectly 
 Gothic, not the only instance of the kind 
 among the monuments of antiquity, for 
 the Greeks and Romans well knew how 
 to employ it when essential to solidity. 
 
 The citadel, isolated on a hill in the 
 midst of rocks, still shows, though razed, 
 the antique form it had, when the Equi 
 surprised it by night, an event, says Livy, 
 that grieved the Rom;in army, as much 
 as the loss of the Capitol. ■ This citadel, 
 which, from its natural strength, re- 
 quired few men to garrison it, after- 
 wards resisted Annibal ; in the middle 
 ages it was occupied by the counts of 
 
 ' Lib. in. xiiii. 
 
 * Sco hi:< Idler written from Venice in 1426 to 
 Guariui of Verona : " Ad destrain templi cella, et 
 
 Tusculum, and was one of their formi- 
 dable means of oppression. 
 
 Grotta-Ferrala, an abbey of Greek 
 monks of the order of Saint Basil, dating 
 from the year 1000, has the aspect of a 
 fortress of the fifteenth century. The 
 monks always perform the service in 
 their liturgy, and the French Con- 
 sulta at Rome protected them on ac- 
 count of their chant transmitted by tra- 
 dition. Bessarion was the first abbot in 
 commendam of Grotta-Ferrata, and he 
 frequently gave admission to his learned 
 and unfortunate compatriots. It pos- 
 sessed a lake, and enjoyed the privilege 
 of having two fishing-boats on the lake 
 of Fogliano. The library of the mo- 
 nastery has many Greek manuscripts, 
 bettered disposed of than in the time of 
 Francesco Barharo, ambassador of the 
 Venetian republic, who found them in a 
 cellar beside the wine." A charming 
 wood, a fine avenue of elms and plane- 
 trees, with a pretty fountain, render this 
 solitude agreeable. The antique ruins, 
 which the monks have long contended, 
 against the Jesuits, possessing the Rufi- 
 nella, to be those of Cicero's villa, seem 
 now to have belonged to the villa of Lu- 
 cullus. 
 
 The chapel of Saint Nilus, founder of 
 the abbey, by Domenichino, is one of his 
 finest chefs-d'oeuvre. He executed it in 
 his twenty-ninth year, having been re- 
 commended by his master Annibale 
 Carraccio to Cardinal Odoardo Farnese, 
 abbot of Grotta-Ferrata. The Saint re- 
 ceiving the emperor Olho III. is perfect 
 in composition and execution : the grace- 
 ful head of the youth with a white plume 
 on a blue cap, who is drawing back from 
 Otho's prancing horse, is the portrait ol 
 one of those young girls of Frascali, long 
 celebrated for their beauty, whom Do- 
 menichino loved, but could not obtain 
 her hand from her rude and vulgar 
 parents, who, enraged at the sight of this 
 portrait, obliged the artist to make his 
 departure and return to Rome ; the 
 courtier in a green mantle dismounting 
 from his horse, represents the learned 
 prelate Giambaltista Agucchi, Domeni- 
 chino's benefactor; the different expres- 
 sion of thelhree trumpeters on horseback 
 indicates the various tones of their in- 
 
 libris et Libero Paid dicata est, ubl vasa vlnaria 
 sunt, et llbrf gricci, et nuniero et dignilale piffi- 
 siames." 
 
Chap. VI.] 
 
 ENVIRONS OF ROME. 
 
 605 
 
 struments : one really seems to hear this 
 astonishing painting. In the Miracle of 
 the Saint holding up a column, a very 
 natural and picturesque fresco, a scene 
 of masonry, with some burlesque details, 
 St. Bartholomew, the companion of St. 
 Nilus, who is examining the plan of the 
 monastery presented to him by the archi- 
 tect, has a pair of spectacles. The first 
 of the frescos is the Sainthealing ayoung 
 demoniac, whose head and that of the 
 \ monk, taking oil from the lamp of the 
 Madonna, have an admirable expression. 
 The figures of the Greek bishops at the 
 top of the chapel, also by Domenichino, 
 are superb in colour and character. The 
 altar piece, representing St. Nilus and 
 his companion St. Bartholomew im- 
 ploring the Virgin, is one of the feeblest 
 works of Annibalc Carraccio; the little 
 landscape is by his immortal pupil, and 
 the new bust of the latter, so fitly placed 
 beside his superb fresco, by Signora 
 Teresa Benincampi, a good Roman 
 sculptor and pupil of Canova. 
 
 Marino, a charming place, well built, 
 with a square, a palace, and a fountain, 
 is said to take its name from the ancient 
 villas of Marius or Lucius Murena. Its 
 paintings give it the appearance of a 
 small museum in a smiling landscape. 
 ! The St. Barnabas, a fresco in the church 
 of thatapostle, seems of Guercino's school 
 from the strength of colouring and the 
 clare-obscure, and the St. Bartholomew, 
 in the first manner of that artist, far 
 below its fame, has suffered by retouch- 
 ing. The Trinity, by Guido, in the 
 church of that name, is remarkable for 
 the expression and drawing of the figure 
 or the Son. A St. Roch, of the Madonna 
 delle Grazie, is by Domenichino, and 
 little worthy of him. 
 
 The romantic and shady valley of 
 Ferentina witnessed the general assem- 
 bliesof the peopleofLalium. Thelimpid 
 brook, still called Capo d'acqua, that 
 runs through the valley, is the celebrated 
 river-head (Caput aqum Ferenlinw <) in 
 which Tarquinius Superbus drowned the 
 orator of the Latin opposition, Turnus 
 Herdonius Aricius ; that turbulent and 
 factious man, a character, says Livy, to 
 which he was indebted for the influence 
 he possessed among his countrymen 
 (Seditiosus facinorosusque homo, his- 
 que artibus opes domi nactus), had for- 
 
 i Tit. Liv.„ lib. i. ii. 
 
 cibly declaimed in the assembly against 
 the absence of Tarquin, and rejected hir> 
 excuses for his tardy arrival. 
 
 CHAPTER VI. 
 
 Ostia.— Road.— Wood.— New town.— Population.— 
 Santa Aurea.— Old town.— Theatre.— Temple.— 
 Moulh or the Tiber. — Port.— Caslel Fusano.— 
 Pliny's villa. — Isola Sacra.— Buffaloes. 
 
 The road from Rome to Ostia, espe- 
 cially towards the end, is perhaps the 
 least changed in its direction of all the 
 ancient highways. But its great black 
 stones, of basalt, practicable for the 
 Roman chariot or the litter carried by 
 slaves, are too rough for the light con- 
 struction of our vehicles. 
 
 Beyond the inn oiMalafede (which has 
 vainly attempted to take the name of 
 Buonafede), we pass an antique bridge 
 built of square stones, and now called 
 della Refolta. The whole of this district, 
 the theatre of the poetical history of Rome 
 and of the six last books of the iEneid, is 
 gloomy and unpicturesque ; and the wood 
 of Ostia, immortalised by the death of 
 Euryalus and his friend, is but a piece of 
 copsewood, with sdme limekilns, not 
 unlike the wood of Boulogne near Paris, 
 and many a fine remnant of antiquity 
 must have disappeared there. Poggio, 
 in the manuscript narrative of his journey 
 to Ostia withCosmode'Medici, addressed 
 to Florentine Niccoli, says that they found 
 people engaged in reducing a whole 
 temple of marble to lime. We may 
 judge of the rage for demolishing anti- 
 quities by the following passage of the 
 admirable letter written to Leo X. in 
 Raphael's name and under his direction 
 by the Count Castiglione : Ma perche 
 ci doleremo noi, de y Goti, Vandali e d' 
 altri tali perfidi nemici, se quelli, U 
 quali come padri e tutori dovevano 
 difendere quesle povere reliquie. di 
 Roma, essi medesimi hanno lungamente 
 atteso a distruggerle ? Quanti Pontefici, 
 Padre santissimo, li quali avevano il 
 medesimo officio, cheha VostraSantitd, 
 ma non gid il medesimo sapere, ne il 
 medesimo valor e, e grandezzad' animo, 
 ne quella clemenza, che -la fa simile a 
 Dio ; quanti, dico, Pontefici hanno 
 atteso a ruinare -tempj antichi, statue, 
 arclii, e altri edifizj gloriosi ! Quanti 
 hanno comportato, cite solamente per 
 pigliar terra pozzolona si sieno scavati 
 
 51. 
 
606 
 
 ENVIRONS OF ROME. 
 
 [Book XVI. 
 
 dei fondamenti, cnde in poco tempo 
 poi gli ediftcj sono venuti a terra! 
 Quanta calce si e fatta di statue, ed 
 altri ornamenti antichi! che ardirei 
 dire, che tutta questa Roma nuova che 
 ora si vede, quanto grande c/i' ella si 
 sia, anto bella, quanto ornata di 
 palagi, chiese, ed altri ediftcj che la 
 scopriamo, tutta e fabbricata di calce 
 di marmi antichi. These fields, now 
 desolate and pestilential, which excite 
 such regret in pensive minds and the 
 lovers ol' antiquity, have another merit 
 for less meditative persons, for they are 
 a good sporting country ; woodcocks 
 and ducks arc numerous there ; the 
 wild boar is very common on the side 
 towards Ostia, and there are no farmers 
 to prosecute for trespass. I remember 
 that when I visited these ruins, the rustic 
 cicerone who offered to conduct me had 
 a gun on his shoulder, which he thought 
 proper to lay aside during our walk. He 
 was a man of good understanding, and 
 interspersed his antiquarian information 
 with singularsporting exclamations when 
 game sprung up before us, which be re- 
 gretted his inability to kill ; he valued 
 every bird as if he could not possibly 
 have missed one of them, that 1 might 
 not forget the sacrifices he was then 
 making to science. 
 
 The decay, desertion, and ruin of 
 Ostia are not very ancfent; it was po- 
 pulous and powerful in the middle ages. 
 Raphael, by his fresco at the Vatican, 
 has immortalised the victory gained 
 there over the Saracens by ths Neapoli- 
 tans encouraged by Pope Saint Leo, a 
 great man, in whom, according to Vol- 
 taire, the courage of the first ages of the 
 republic was revived, the only Roman 
 conqueror on this shore, where the 
 corsairs of Cilicia took and sunk the 
 fleet commanded by a consul, which 
 Cicero lamented with so much shame 
 for the honour of his country ; ■ where 
 Leo X., in the height of his glory, nar- 
 rowly escaped slavery, and was almost 
 surprised by other barbarians, and where 
 the pontifical navy experienced more 
 than one affront from the pirates of 
 Algiers. In the fourteenth Century, 
 Ostia hail resumed its primitive destina- 
 tion as the port of Rome. It was con- 
 quered by the fiery king of Naples La- 
 dislas. The queen of Cyprus, Charlotte, 
 
 1 Oral, pro lege Manilla* xn. 
 
 when driven from her island by re- 
 volutions, landed there. The French, 
 who had occupied it, were expelled by 
 Julius II., then cardinal and bishop of 
 Ostia. Since that period its excavations 
 have made its only history, and its new 
 personages are the admirable statues 
 discovered there. 
 
 There are now ten persons at Ostia 
 in summer and a hundred in winter when 
 the bad air has passed away. This ghost 
 of a bishopric is nevertheless the first of 
 the suburbicary bishoprics of Rome; it 
 belongs to the senior cardinal of the 
 Sacred College, who has the exclusive 
 right of consecrating the pope when not 
 a bishop. In the square is a sarcophagus 
 used as a fountain. The small episcopal 
 palace has an antique inscription in fine 
 characters. The little cathedral Santa 
 Aurea is in the good taste of works of 
 the fifteenth century ; the arms of La Ro- 
 vcra arc still to be seen and the trophies 
 of the cardinal to consecrate his victory 
 over our army. The abaudoned tower 
 of the same epoch is also a good con- 
 struction. 
 
 The ruins of the antique, agreeable, 
 and flourishing Ostia, lie about a quarter 
 of a mile from the new town. The 
 theatre still exhibits some walls, pilasters, 
 and seals. It may be seen that the an- 
 cient town extended in a semicircular 
 form round the little bay formed by the 
 Tiber. The remains of the magnificent 
 temple called Jupiter's, though its deity 
 is unknown, are an excellent construc- 
 tion of brick wretchedly degraded. A 
 round subterranean chamber.with niches, 
 improperly named Area di Mercurio, 
 doubtless from Area, a name of Mer- 
 cury, which was given to it by the first 
 antiquarians, has some paintings in good 
 preservation, though exposed to the air. 
 Four pedestals, but little injured, have 
 each an inscription. 
 
 The eastern and natural mouth of the 
 Tiber, the only one until the second 
 called Fiumicino was dug by Claudius, 
 is picturesque. The river, ere it falls 
 into the sea, resumes a little of its an- 
 tique nujesty ; its light colour is no longer 
 tarnished Dy the filth of modern Rome; 
 the lsola Sacra divides and widens it. 
 The waters were agitated when I saw it, 
 and in all but the wood, of which its 
 denuded banks show not the slightest 
 trace, it was not altogether unworthy of 
 Virgil's verses : 
 
Chap. VI.] 
 
 ENVIRONS OF ROME. 
 
 607 
 
 Atque hie JEne&s ingentem ex aequore lucum 
 Prospicll. Hunc inter fluvio Tiberlnus amoeuo, 
 Vorticlbus rapid is, et mullS flarus arena 
 In 'ma re prorurnpit. 
 
 The ancient port of Ostia, the Ports- 
 mouth of Rome, seems to have been on 
 the new town side, a little beyond Tor 
 Bovacciana. Its road must have occu- 
 pied the semicircular spot now a sand- 
 bank, for the corsairs of Cilicia, who 
 audaciously braved the majesty of the 
 Roman people, would hardly have ad- 
 vanced very near the houses. The pre- 
 tended port must have taken its name 
 from the wrecks found there. 
 
 Castel Fusano, the palace or casino of 
 Prince Ghigi, is pleasantly situated, in 
 the middle of a forest of lofty pines, 
 planted at the beginning of the last cen- 
 tury. Spring is the most healthy season' 
 for living there. Opposite the palace, a 
 long avenue, always green and flowery, 
 paved with large fragments of basaltine 
 Java, procured from the ancient Via Se- 
 veriana, reaches down to the sea. The 
 palace, in the interior, is no bad repre- 
 sentation of the splendour and incon- 
 venience of Roman dwellings. It is 
 covered with paintings, and the staircase 
 is a real mill ladder ascended by means 
 of ropes. I was informed that it was 
 built in this manner as a provision 
 against a descent of the pirates of Bar- 
 bary, so that it might be easily blocked 
 up with a piece of furniture and defended 
 till succour arrived. The banditti, the 
 pirates, and the plague, must have sin- 
 gularly diminished the pleasures of coun- 
 try life in Italy. 
 
 The celebrated villa of the younger 
 Pliny at Laurentum was situated within 
 the limits of the modern villa of Prince 
 Ghigi, an Academic spirit and literary 
 prince. In this instance we do not find 
 the whimsical contrast occasionally seen 
 in the succession of proprietors. Only a 
 very few fragments of the ancient villa 
 are now recognisable, near the present 
 dove-house; but the rosemary, as in 
 
 1 The reslitulion of an antique monument lias 
 always been obligatory on the pupils of (lie French 
 Academy at Rome ; the fourth and last year but one 
 
 Pliny's time, grows in- great abundance 
 on this coast, now frequented only by 
 shepherds and fishermen, then of so gay 
 an aspect and decorated with so many 
 brilliant abodes. The restitution of this 
 villa by Scamozzi has perhaps helped to 
 encourage that kind of architectural 
 translations, to which we are indebted 
 for finding so many monuments in their 
 primitive state, 1 and which is so service- 
 able even to scholars in explaining an- 
 tique terms of art. The house of Pliny 
 seems the perfect model of Roman and 
 literary comfort. The idea of the library 
 appears to me peculiarly happy ; it was 
 not composed of that multitude of books 
 that are read only once, but of those 
 that we read over and over again without 
 satiety : Quod (armarium) non le- 
 gendos libros, sed lectitandos capit. 
 
 The Isola Sacra, on which the pom- 
 pous festivals of Castor and Pollux were 
 formerly celebrated in presence of the 
 prefect of Rome and a consul, is now de- 
 solate, defiled, and profaned by filthy herds 
 of buffaloes. This animal was never 
 known to the ancients, as Buffon at first 
 supposed. The discovery of a pretended 
 antique buffalo's head for a while de- 
 ceived the illustrious writer, but the 
 error was proved by the abbe" Fea in his 
 notes on Winckelmann. 
 
 The ruins of the port begun by Clau- 
 dius, enlarged by Trajan, and destroyed 
 by Tolila, which had succeeded to that 
 of Ostia choked up with sand, now form 
 a fresh-water pool, the communication 
 with the sea, which has drawn back 
 three miles, being intercepted. Although 
 the hexagonal form of the inner port, 
 the work of the last emperor, may oe 
 distinguished, with its walls, magazines, 
 and the well-built brick aqueduct of the 
 outer port that supplied the town with 
 water, it is difficult to judge by these 
 irregular remains of the grandeur of the 
 works, which were placed in the first 
 rank of the monuments of Roman mag- 
 nificence. 
 
 of their residence at Rome being devoted to that 
 task. 
 
60S 
 
 VEIL 
 
 Book XVI! 
 
 . BOOR THE SEVENTEENTH. 
 
 FIRST ROAD TO FLORENCE.-VITERBO.-ORVIETO.-SIENA.-VOLTERRA. 
 
 CHAPTER I. 
 
 Saint Andrew. — Ponle Molle. — View. — Poussiu's 
 Walk.— Nero's tomb.— Site of Veil. — Cataract — 
 Baccano. 
 
 The road from Rome to Siena lies 
 through a country in general dull and 
 uncultivated ; but a short distance on 
 one side of it are the villa of Pope Ju- 
 lius, the magnificent palace of Caprarola, 
 and the duomoof Orvieto. 1 In this part 
 of Italy, art seems superior to nature. 
 
 The church of Saint Andrew, pure 
 and elegant, by Vignola, erected by 
 Julius III., in memory ofhis deliverance 
 from the imperial soldiers in the sack 
 of 1527, on Saint Andrew's day, was 
 built on this spot because the head of the 
 apostle had been left there some time 
 when it was brought from Peloponesus 
 to Rome. 
 
 The Ponte Molle, formerly Pons Mil- 
 vius, one of the spots most famous in 
 history, which witnessed the arrest by 
 Cicero's order of the Allobroges' envoys, 
 Catiline's accomplices, the nocturnal 
 orgies of Nero, and above all, the reli- 
 gious and social victory of Constantine 
 over Maxentius, retains nothing antique, 
 but some of its piles. The old tower 
 was cut into the form of a triumphal 
 arch in 1805, and the statues were put 
 up at the same time. 
 
 The setting sun, from the centre of this 
 bridge, is one of the finest scenes in the 
 Campagjia ofRome. The gilded mounts 
 of La Sabina, the course of the Tiber, 
 the long files of shattered aqueducts, 
 form one of those sights full of grandeur 
 and melancholy nowhere else to be 
 found. A small foot-path which runs 
 along the river side from the town to 
 Ponte Molle. was one of the favourite 
 walks of Poussin, who selected from this 
 majestic and poetical horizon the skies 
 
 ' See ante, book xvi. ell. i. ; and pott, cb. ii. 
 
 and backgrounds of his landscapes. 
 
 Despite its iuscripti&n and the sculp- 
 ture, of the period of decline, the sar- 
 cophagus of Publius Vibius Marianus 
 and his wife Reginia Maxima is always 
 called Nero's tomb by the postilions, his 
 crimes and great public works having 
 created him a kind of popularity in 
 Italy. 
 
 Half a league east of the Storta post- 
 house, an acclivity separated from the 
 plain by two brooks, which by their 
 union form the Cremera, was really the 
 site of Veii, as the excavations of 1811 
 fully demonstrated, by the discovery of 
 a tomb and several fine fragments of 
 statues. The site had till that time been 
 erroneously supposed at Civita Castel- 
 lane. The citadel and one of the extre- 
 mities of the town occupied the Isola 
 Farnese, a fortress in the middle ages, 
 and now a farm house. The softness 
 of the rock explains the digging of the 
 famous mine which decided the fate of 
 the place, after the conventional ten 
 years' siege of this Roman Troy, which 
 has some details no less fabulous than 
 the siege of the Greek Troy. Beyond 
 the ruins of the rival of Rome, is a very 
 picturesque cataract, near a mill. 
 
 From llaccano, Rome rises gradually 
 to view, and the ball of Saint Peter's is 
 visible there. It was from this little 
 marshy town that Alfieri, who had no 
 doubt slept ill, fulminated his terrible 
 sonnet against Rome : 
 
 Vuota insalubre region, che stato 
 Ti vai uomando, uridi campi incolli ; 
 Squallldt oppressi estenuali voltl 
 Di popol rio codardo e lnsangulnalo : 
 
 Trepotente, e non libero senato 
 Di Tilt astuti in lucid' oslro involti; 
 lllcchi patrizj, e piu cbe ricchi, stolll , 
 l'reuce, cui fa sciocchezza allrui beato : 
 
 Cilia, nun cilladini ; aagusli tempj, 
 Religion non gia ; leggi, che ingiuste 
 Ogui lustra caogiar vede, ma in peggio : 
 
 Cbiavi, die compre ua di schiudeano agli cir.pj 
 Del clef le porle, or per ela vetuste : 
 Ob I se' tu noma, o d' ogui vizlo il segglu? 
 
Chap. II.] 
 
 SUTRI. 
 
 609 
 
 . CHAPTER IT. 
 
 Sulrl. — Amphitheatre. — Caprarola. — Staircase.— 
 Paintings of the Zuccarl.— On the literary protec- 
 tion of the Italian courts in the fifteen and six- 
 teenth centuries.— Palazzuolo.— Soracte. 
 
 After leaving Ronciglione, the traveller 
 must turn to the left to visit the antique 
 Sutrium, remarkable for its tombs dug 
 in a volcanique rock, and especially for 
 its admirable and unique amphitheatre, 
 also cutin the rock, without any building, 
 an Etruscan work of about a thousand 
 paces in circumference, and with all its 
 corridors and six rows of its stages still 
 preserved. Travellers owe their thanks 
 to the owner of the villa on which this 
 amphitheatre depends, the Marquis Sa- 
 vorelli, who has generously cleared away 
 the sand, bushes, and trees with which it 
 Was smothered. 
 
 A road through woods, rocks, and pre- 
 cipices, leads to the castle of Caprarola, 
 built by Cardinal Alessandro Farnese, 
 nephew of Pope Paul III., the chef- 
 d'ceuvre of Vignola and one of the first 
 specimens of modern architecture. The 
 external aspect of the castle, charmingly 
 situated on Mount Cimino, of a character 
 at once majestic, elegant, and solid, 
 seems to blend the palace and the for- 
 tress. One of the many remarkable 
 portions of this palace' is the winding 
 staircase, so remarkable for boldness and 
 -effect. The different rooms, each conse- 
 crated either to some historical trait of 
 the Farnese family, or an allegorical 
 subject, are covered with Yery good 
 paintings by the Zuccari, which justly 
 pass for their best works; the celebrated 
 
 1 Two clever French architects, MM. Debret and 
 T.ebas, have published a description of Caprarola, 
 esteemed for its fidelity, arrangement, and know- 
 ledge of Vignola's style; it heads their line edition 
 of the OEuvres completes de Viijnole ( Paris, 1815 ), 
 which unfortunately remain incomplete. 
 
 3 See Letter Ixxviii of the Lett, poetiche ed erudite. 
 In my opinion the protection accorded to poets and 
 scholars by the Italian courts of the fifteenth and 
 sixteenth centuries has been exaggerated and over- 
 estimated : these men of science or genius were 
 miserable enough there. We have seen the depen- 
 dence of Ariosto ( See ante, book vn. ch. xii | ; the 
 misfortune or Tasso Is universally known ; Anui- 
 bale Caro, despite his title of commander, was not 
 treated much better: lie thus speaks of his condi- 
 tion to Varchi, his friend, and there are many 
 similar passages: " Sono al servigio del cardinal 
 Farnese, e lino a orale falichesono assai, la speranza 
 mediocre, e II profitto magrlssimo. Stento volon- 
 
 and poetical chamber of Aurora, by 
 Taddeo, almost destroyed, is the subject 
 of a very pleasing letter addressed to 
 the artist by Annibale Caro, secretary 
 of Pietro Ludovico, and afterwards of 
 Cardinal Ranuccio Farnese. 3 Notwith- 
 standing the exquisite taste of the writer, 
 we may be allowed to doubt the efficacy 
 of this sort of literary direction and or- 
 dering, as well as of that of Francesco 
 Mo'.za, another poet and author of 
 Novels, in the service of Cardinal Far- 
 nese, who likewise proposed several sub- 
 jects ; for painting, like poetry, has its 
 distinct limits. Taddeo has also repre- 
 sented in the room of the Annals the 
 Entry of Charles V. into Paris, be- 
 tweenFrancisI. and Cardinal Alessandro 
 Farnese, who is on a mule. The three 
 canopy-bearers present the portraits of 
 the brothers Zuccari. Some frescos by 
 Raffaellino da Regio, a painter of great 
 promise who died young, are however, 
 accordingto Baglione, superior to those of 
 the brothers Zuccari, as he pretends that 
 the former seem living, while the latter 
 are only painted. The arabesques and 
 ornaments by Antonio Tempesta, with- 
 out being very pure, are effective. He 
 has painted himself on the top of the 
 stairs, fleeing on horseback in woman's 
 clothes, in which manner he is said to 
 have attempted to escape, but was over- 
 taken and obliged to finish his work. 
 Several decorations in perspective are by 
 Yignola himself, who was endowed with 
 a peculiar talent in that department. It 
 is related that when Saint Charles Bor- 
 romeo visited Caprarola in 1580, he ap- 
 peared almost scandalised at its magni- 
 ficence, and exclaimed : Che sard il 
 
 tieri per non istentare sempre ; e con tutto ci6 non 
 veggo che sla per riuscirmi.'' Lett. ix. of Lett. 
 esortalorie. We may judge of the pensions the 
 Farnese family allowed their servants by another 
 passage of a letter written by Annibale Caro to 
 Cardinal Alessandro : " Di poco pane ho bisoguo, 
 giacche mi trovo si presso all' anno sessantesimo, e 
 dair un canto senza denti da masticarlo, e senza 
 stomaco da smaltirlo.'' Lett. x. of Lett, di Resenti- 
 menlo. We learu from the letters of Giambatlista 
 Don! written in the beginning of the seventeenth 
 century, another epoeh of protectors, with what 
 difficulty that Illustrious scholar, the secretary of 
 the Sacred College and so well-known, found a 
 person to advance the 150 or 200 crowns requisite to 
 print his excellent treatise on the music of the an- 
 cients; and yet Doni did not omit to promise a de- 
 dication to the Maecenas with the customary forms 
 of adulation, 
 
610 
 
 paradiso! Oh! meglio sarebbe stalo 
 aver dato a' poveri tanto danaro spe- 
 soxri; to which Cardinal Farnese sensibly 
 answered : " That instead of giving this 
 money to the poor, he had preferred to 
 let them earn it;" Di averlo egli dato 
 ai poveri a poco a poco, ma~fattogliclo 
 guadagnarecon i loro sudori.* The pa- 
 iace of Caprarola, though neglected, still 
 seems worthy of its renown and the en- 
 thusiasm it formerly excited. The cele- 
 brated commentator of Vitruvius, Da- 
 niello Barbaro, the greatest connoisseur 
 in architecture of his day, and author of 
 the flrst complete treatise on perspective, 
 having determined to examine by him- 
 self, and minutely, an edifice so highly 
 spoken of by public report, agreed that 
 it deserved still greater elogium : Non 
 minuit, immo magnopere vioit pra- 
 sentia famam. 
 
 But there is a small, elegant, and grace- 
 ful composition, which is not, perhaps, 
 less honourable to Vignola than his great 
 and scientific palace, namely, the Pa- 
 lazzuolo or casino of Caprarola, situated 
 in the upper part of the gardens, a 
 charming asylum in the midst of woods, 
 formerly ornamented with flowers, vases, 
 fountains, and a fine cascade. From the 
 last terrace the view commands a vast 
 and superb horizon, the most conspicuous 
 object of which is the pointed azure sum- 
 mit of Soracte, an insulated mountain, 
 detached from the chain of the other Sa- 
 bine mountains, a majestic pyramid com- 
 manding the whole Campagna of Rome, 
 and still appearing to have, as with the 
 ancients, something sacred and poetical : 
 
 VITERBO. [Book XVII. 
 
 lish the new authority of his family. 
 This conscientious and timid usurper 
 afterwards passed as a monk to Mount 
 Casino, for he found that the cell of 
 Soracte was not secluded enough, and 
 that too many travellers, principally 
 Franks, came to visit him. At Mount 
 Casino he had the care of the geese ; 
 without giving much credence to the 
 legendary story of the goose brought by 
 the wolf to Carloman after he had prayed 
 God to restore it, i&not the voluntary 
 retreat of a martial and victorious prince 
 into a cloister a remarkable proof of the 
 ascendency of monastic ideas at that 
 epoch? 
 
 CHAPTER III. 
 
 Vlterbo. — Gradl. — Annius of Vlterbo. — Fontana 
 Grande. — Palace del Comuiie. — Ardenli.— Tombs. 
 — The fair Galiana. -Cathedral.— Conclave in the 
 open air. — Saint ttosa. — Saint Francis. — Sposa- 
 lizio, by Lorenzo of Vilerbo. — Basso- relievos dclla 
 Querela. — Lante villa.— Saint Martin. — Monu- 
 ments of Norchia and Caslel.d'Asso.— Bulicame.— 
 Canino. 
 
 Sancti custos Soractis Apollo. 2 
 
 On the summit of Soracte is the her- 
 mitage of Saint Orestes (a strange name 
 for a saint! ) who gave his name to the 
 mountain as well as the little town half- 
 way up the ascent, which has a charming 
 church by Vignola. This mountain was 
 the first asylum of a son of Charles 
 Martel, elder brother of Pepin-the- 
 Short, uncle of Charlemagne, torn with 
 remorse after gaining a battle, and 
 horror-struck at the thought of how 
 much more blood must be shed to eslab- 
 
 1 A similar remark is attributed to Saint Charles 
 when he went to the Lantc villa, and the same reply 
 to Cardinal Gambera. (See the next chapter. | Car- 
 dinal Scipioue Borghese, as we have seen, was also 
 of the same opiulou. ( See ante, book xvi. ch. v. | 
 
 Near the entrance of Viterbo, outside 
 the Roman gate, is the convent of Domi- 
 nicans di Gradi, which dates from Saint 
 Dominick, remarkable for its fine struc- 
 ture, its charming fountain, covered 
 with a trellis supported by columns, and 
 for the antique aqueduct which begins 
 close by. An old lord of that country, 
 Pietro di Vico, interred in the convent, 
 to which he had bequeathed some great 
 estates that were formerly his principal 
 wealth, ordered his body, in his will, to 
 be cut into seven pieces, in allusion to 
 the seven mortal sins, of which it 
 appears he had been guilty. In the li- 
 brary is the portrait of Annius of Vilerbo, 
 a celebrated literary mystifier, perhaps 
 sincere and the dupe of his learning, who 
 had been a monk in the convent. 
 
 Viterbo, clean, picturesque, well-built 
 and thinly peopled, has a fine pavement 
 of large flags, as at Florence. 
 
 The beautiful fountain called Font ana 
 grande, erected from 1206 to 1279, and 
 very ornate for the time, receives an 
 abundance of water from an antique 
 aqueduct. It justifies the first surname of 
 
 These opinions seem to indicalea rather remark- 
 able liberality of opinion in the Sacred College o 
 the time. 
 3 JEn.XhtSS. 
 
Chap. HI.] 
 
 \ ITERBO. 
 
 6M 
 
 Viterbo, called the town of fine fountains 
 and of handsome girls. 
 
 The palace del Comune, begun in 1264 
 and finished under Sixtus IV., has a 
 small and very elegant fountain in its 
 court, as well as two Etruscan tombs, of 
 a larger size than usual, with inscriptions 
 and figures in relief. The historical and 
 topographical frescos orBaltassare Croce, 
 a pupil of Annibale Carraccio and imi- 
 tator of Guido, in the sala Academica, 
 so called from being used for the sittings 
 of the Academy degliArdenti, one of the 
 oldest and least distinguished in Italy, are 
 easy, harmonious, natural. The cabinet 
 of the academy, formed in 1821, contains 
 several vases, sarcophagi, and other 
 Etruscan and Roman antiquities : two 
 large tombs in burnt earth, with figures 
 half-reclining on the cover, are remark- 
 able. In the room of the paintings, a Ma- 
 donna and St. Joseph, is by Francesco 
 Romanelli. The chapel has a Visitation, 
 true, original, by Crescenzi, a painter of 
 Viterbo, who died young in 1625. 
 
 On the front of the little church of 
 Saint Angelo in Spata is a fine Roman 
 sarcophagus, with a basso-relievo of a 
 boar hunt. On the sarcophagus is an 
 inscription purporting that it contains 
 the ashes of the fair Galiana, who, ac- 
 cording to the ancient and romantic 
 chronicles of Viterbo, was the hand- 
 somest woman of her time, an Helen of 
 the twelfth century, who kindled a war 
 between Rome and the republic of Vi- 
 terbo. It is related that the victory 
 rested with the Viterbians, and that the 
 Romans, ere they retreated, only asked 
 in the capitulation to be allowed a last 
 sight of Galiana, who was accordingly 
 shown to them from one of the windows 
 still existing in the exterior of an old 
 tower of the ancient gate of Saint An- 
 thony. Viterbo seems to have been, at 
 very different periods, the theatre of the 
 adventures of beauty. A French lady, 
 who was nowise inferior to Galiana, was 
 imprisoned there in 1799, after the retreat 
 of our army ; but, says Courier, the sati- 
 rical chronicler of the campaign, she 
 was retaken with the place. 
 
 The Gothiccathedralof Saint Laurence, 
 erected on the site of a temple of Her- 
 cules, has several subjects of the life of 
 St. Laurence and St. Stephen, of Bene- 
 fial's best works : at the high altar the 
 Glory of St. Laurence, by Francesco 
 Romanelli, and some other subjects of 
 
 the Saint's history, by Urbano, his son, 
 also of Viterbo, a young man of great 
 promise, who died young. In the sa- 
 cristy, a large Christ, praised, with the 
 four Evangelists, is by Albert Durer, 
 and a medallion on the roof, by Carlo 
 Maratta. 
 
 The chapter library, not very extensive, 
 is remarkable for the books of the cele- 
 brated critic and scholar of Viterbo, 
 Latino Latini, Mho has covered them 
 with marginal notes, published in part 
 by the canon Magri, ' and for some ma- 
 nuscripts. 
 
 Beside the cathedral, the ancient palace 
 of the bishop, a monument of the thir- 
 teenth century, still retains the hall in 
 which was held the conclave that named 
 Martin IV , after thirty-three months, in 
 obedience to Charles of Anjou, after the 
 insurrection he had excited at Viterbo. 
 Travellers are still shown the part un- 
 covered when the roof was taken off by 
 order of the captain of the people Raniero 
 Gatti, in order to force the eighteen car- 
 dinals of this procrastinating conclave to 
 make their election, and there is pre- 
 served in the town archives a curious 
 demand of these cardinals, whose rations 
 had also been diminished, which is dated 
 from the roofless palace of Viterbo, in 
 which they request permission to let some 
 of their sick colleagues retire. The pa- 
 lace has some other ruins* also associated 
 with pontifical history, namely, the walls 
 of a chamber which the disreputable 
 Vilerbian pope, John XXL, had built, 
 and which, in falling suddenly on the 
 10th of May 1277, caused his death. 
 
 In the church of Death is a boasted 
 St. Thomas putting his finger in the 
 Saviour's wound, by Salvator Rosa. 
 
 At the high altar of Saint Ignatius, the 
 saint is by the Cav. d'Arpino. A Cal- 
 vary, in the sacristy, a small painting 
 attributed to Michael Angelo, seems more 
 probably by Marcel lo Venusti, who, 
 without affecting his style, ably imitated 
 him. 
 
 The pretty fountain of the Herb mar- 
 ket, one of the four fine fountains of 
 Viterbo, has been thought worthy of 
 Vignola. 
 
 The convent of Saint Rosa preserves 
 the body of the saint intact, a black 
 mummy of the maiden who raised the 
 people against the domination of the 
 
 ' Rome, \<m, folio. 
 
.12 
 
 VITERBO. 
 
 [Book XVII. 
 
 •mperor Frederick II., went into exile, 
 ind returned in triumph to her country 
 ifter Frederick's death, a heroine of the 
 thirteenth century, who died at the age 
 if eighteen, and who, in her lifetime, 
 nad been canonised by the Guelph parly 
 of Rome. 
 
 At the church of Saint Francis, near 
 the Roman gale, a Deposition of Christ, 
 by Sebastiano del Piombo, after Michael 
 Angclo's design, a great mulatto figure, 
 the only one left tolerably free from 
 retouching, is of extraordinary effect. 
 
 The elegant fountain of the piazza 
 della Rocca, erected in 1566 by Cardinal 
 Alessanrlro Farnese, legate at Viterbo, is 
 ascribed to Vignola. 
 
 At the antique church of Santa Maria 
 della Veritd, outside the gale of Saint 
 Matthew, thc5posaH,sfo,agrand, naive, 
 and noble fresco little known, is remark- 
 able for the history of art. The artist, 
 Lorenzo di Giacomo of Yilerbo, who 
 finished it in 1469, after having worked 
 at it twenty-five years, seems a worthy 
 pupil and imitator of Masaccio : the 
 personages arc portraits of the most no- 
 table people of the town, and the ancient 
 chronicler of Viterbo stales that he is 
 therein painted under the semblance of 
 an old man of about sixty-eight years, 
 in a violet dress, and black stockings. 
 
 At the church of the Observantines 
 del Paradise*, the Virgin and some 
 saints, a half-lunette on the outside, 
 attributed to Leonardo Vinci, is still 
 very fine. The Flagellation, by Se- 
 bastiano del Piombo, is pointed out by 
 Lanzi as the best painting at Viterbo. 
 
 The church of the great convent of 
 La Quercia, from Bramante*s designs, 
 also filled with those manikins, grotesque 
 ex-voto offerings, of which we have al- 
 ready spoken,' preserves behind the high 
 altar the image of the Madonna on the 
 antique and venerated oak, from which 
 it was found suspended. Over the three 
 doors, some excellent basso-relievos in 
 burnt clay, by the brothers della Rob- 
 bia, though exposed to the air for above 
 three centuries and in the middle of the 
 fields, have still the same freshness as if 
 they had just come from the hands of 
 these brilliant artists. The magnificent 
 
 1 See ante, book ix. ch. xxii ; and book x. ch. xi. 
 a See anle, book xvi. cb. I. 
 
 3 See anle, book xv. cb. xxxv. 
 
 4 Similar traditions exist at tbe Yalentini,a castle 
 
 ceiling of the church is in the style of 
 the splendid ceiling of Santa Maria 
 Maggiore, which it resembles in all but 
 the gilding. 
 
 The agreeable Lante villa, atBagnaja, 
 with its two palaces, terraces, and gar- 
 dens, was begun by Cardinal Riario, the 
 accomplice of the Pazzi, embellished and 
 terminated by Cardinal Francesco Gam- 
 bera, bishop of Viterbo. This villa, now 
 almost deserted, is of the best period of 
 Italian architecture; and has been attri- 
 buted to Yignola. The effects of the 
 water are unexpected, extraordinary, 
 and the water is thrown up and falls like 
 rain from the lops of the trees. Under 
 a thick shade, a stone table, thirty feet 
 long, is divided by a channel of limpid 
 water, to increase the coolness of the 
 air. The modern villa, therefore, fre- 
 quently approximates to the refined prac- 
 tices of ancient luxury, and one would 
 say that it has escaped the ravages of 
 lime, and has never ceased to be inha- 
 bited by the ancient Romans, who might 
 return thither and believe themselves 
 still at home.* The cascade of the Lante 
 villa, in its fall from the mountain, takes 
 the shape of an enormous lobster (gam- 
 bero in Italian), a whimsical allusion lo 
 the name of Cardinal Gambera. 
 
 The palace of Saint Martin, belonging 
 to Ihe Doria family, has a superb wind- 
 ing stair by which carriages may pass to 
 the upper stories, and contains a charm- 
 ing portrait of the famous Donna Olim- 
 pia Maidalchini, with her bed, her rich 
 high-heeled brocade slippers, and part 
 of her furniture of leather printed with 
 gold. 5 The traditions of the country are 
 not very favourable to Olimpia's morals, 
 and it is related that the peasants whom 
 she invited to her steakhy rendezvous 
 disappeared through a trap-door, like 
 those of the lewd Margaret of Burgundy, 
 and other anonymous lovers of certain 
 princesses and great ladies.4 
 
 The solitary and gloomy vales of Cas- 
 tel d'Asso and Norchia are worth visiting 
 now for the number and importance of 
 the Tuscan monuments they contain. 
 The ruins of the latter seem lo indicate 
 the existence of some unknown and flou- 
 rishing city. The basso-relievo of one 
 
 near Turin, and near Bellagioon tbe lake of Cosmo. 
 (See ante, book IV, cb. ix, and post, book xxt 
 .cb. ii. ) 
 
Ciup. IV.] 
 
 MONTEFIASCONE. 
 
 6)3 
 
 of its superb lombs, curious monuments 
 of Graeco-Etruscan art, presents the only 
 example in Italy of an antique fronton 
 so complete and extensive. 
 
 Two miles from Viterbo, the famous 
 Bulicame, a small lake of sulphureous 
 ■water which emits vapour and seems al- 
 most boiling, and from which an ever- 
 flowing brook proceeds, still exists as in 
 the days of Dante : 
 
 Quale del Bulicame csce 'I ruscello 
 Che parton poi Ira lor Ie peccatrici, 1 
 
 and of the weak and servile imitator of 
 that great poet, Fazio degli Uberti ; » 
 but the brook is no longer frequented 
 by courtesans, being only applied to the 
 honest purpose of soaking hemp, which 
 it effects in twenty-four hours. 
 
 The town of Canino, eight leagues 
 from Viterbo, has acquired a lasting 
 fame from the excavations made there 
 by Lucien Bonaparte, the brothers Feoli, 
 and the Candelori society. The disco- 
 very of the statues and especially the 
 vases has made a revolution in archeo- 
 logy which throws a vivid light upon 
 ; the history of the religion, manners, ci- 
 | vilisation, arts, festivals, and games of 
 the ancient nations of Etruria, and their 
 ' direct and intimate relations with Greece, 
 whose noble idiom they appear to have 
 I known and perhaps spoken with their 
 vernacular tongue, as most of the in- 
 scriptions are in Greek. The appear- 
 i ance of these treasures buried for more 
 j than twenty centuries has caused, it is 
 [true, the despair of more than one ama- 
 [teur, by rendering certain articles com- 
 j mon and vulgar which he thought unique 
 land inestimable. 
 
 CHAPTER IV. 
 
 ?ia Cassia.— Naviso.— Monteflascoiie.-Catuedral.- 
 Saint Flavian.— Fuger. 
 
 Half way from Viterbo to Monteflas- 
 :one, towards the Fontanile (watering- 
 daces for cattle), a hundred paces from 
 he road on the left, is a long piece, 
 iretty well preserved, of the ancient Via 
 Cassia, with some curious remains of 
 
 ' Inf. can. xrv., 79. 
 
 1 See ch. x of book v. of his DUtamonclo, a kind of 
 2scriptive poem of the fourteenth century, pub- 
 shed at Milan in 1826, with various readings and 
 m-ections by Perticarl and Fr. del Tuiia, who 
 
 the thermae of Mummius Niger Valerius 
 Yigellus, who had been consul. 
 
 A little beyond is the dull Naviso, 
 which several antiquarians suppose the 
 sacred lake Vadimon of the Etruscans, 
 celebrated for the battle they lost there 
 against the Romans, whose two first lines 
 they intrepidly broke through sword in 
 hand, and only yielded to the triarians 
 and the horse. The disappearance and 
 annihilation of the Etruscans dates from 
 this defeat : the political existence of this 
 active nation was then changed into an 
 idle and effeminate town life, and its ab- 
 solute dependence on its conquerors was 
 disguised under the vain title of the 
 united Italian people. The present Na- 
 viso has not preserved the phenomenon 
 of its floating islands covered with grass, 
 rushes, and reeds, which in clashing to- 
 gether seemed to engage in real combats, 
 as we read in the younger Pliny's pleas- 
 ing description.? 
 
 The aspect of Montefiascone, on an 
 isolated hill, is rather commanding, and 
 l he view is admirable. The cathedral, 
 an octagonal cupola, of fine proportions, 
 the circumference of which forms the 
 whole of the temple and a most elegant 
 ensemble, was constructed by San Mi- 
 cheli. Several little palaces of excellent 
 taste, and of the best style in the de- 
 tails and the framework of the doors 
 and windows, are of the youthful and 
 wild epoch of this great artist, who 
 afterwards became so holy and scru- 
 pulous. 4 
 
 At one of the gates on the road to 
 Rome, is the church of Saint Flavian. 
 From the little gallery, on the front fa- 
 cing the valley, Urban IV. (Jacques Pan- 
 taloon), a great pope of Champagne who 
 lived at Montefiascone, gave his benedic- 
 tion to the people. The strange irregu- 
 larity of the arcades of the upper church, 
 and medley of semicircular and diagonal 
 arcades in the subterranean chapel, in- 
 dicate the epochs of the foundation and 
 restoration of the church, the former in 
 1030, the latter in 1262. In the latter 
 chapel the German bishop Fuger is in- 
 terred, who died at Montefiascone from 
 drinking too freely of moscatello wine. 
 He is sculptured lying on his tomb; 
 
 have not succeeded in making it clearer or moro 
 readable. 
 
 3 " Seepe irrter se mojores miuoresque quasi cur- 
 sum certamenque desumunt." Episl. lib. yih., ix. 
 
 4 See ante, book v, ch. xlv. 
 
 52 N 
 
en 
 
 ORVIETO. 
 
 [Book XVII. 
 
 on each side of his mitre and under his 
 arms are two goblets. The chapel, dark 
 and cold, is not unlike a cellar, and were 
 it not for the sanctity of the place, it would 
 seem a last allusion to the prelate's pro- 
 pensities. The most probable explana- 
 tion, in my opinion, of the celebrated 
 epitaph, Est, est, est, et propter nimium 
 est Johannes de Fuger dominus meus 
 mortuus est, seems that given me by a 
 learned Roman. The bishop, a lover of 
 good wine, sent his secretary on before 
 him when travelling to ascertain where 
 the wine was good, and to apprise him of 
 the places by the word est (it is there). 
 It is this fatal est, thrice repeated at the 
 door of the tavern of MonteQascone, 
 that the secretary has engraved on the 
 tomb of Fuger. 
 
 CHAPTER V. 
 
 Orvieto. — Duomo.— Hell. — Stalls. — Chapel of llic 
 Mudona of San Biizio.— flellquary of the Corporal. 
 -Well. 
 
 The many travellers who only take 
 the high roads with the post for their 
 itinerary know little of Orvieto except 
 its white wine, yet this little and pictu- 
 resque town has on its steep rock which 
 the rays of the setting sun seem to gild, 
 one of the most ancient, richest, and 
 most curious monuments of art in Italy, 
 its cathedral, founded in 1290 in me- 
 mory of the miracle of Bolsena, perhaps 
 the most remarkable work of the time, 
 which shows the first steps towards the 
 renovation of architecture. The archi- 
 tect, Lorenzo Maitani, was of Siena, it 
 appears that after giving the plans he 
 returned home, and paid but little at- 
 tention to the works, as the inhabitants 
 of Orvieto constrained him to reside 
 there in 1310, allowed him a salary suf- 
 ficient to enable him to remove bis fa- 
 mily, and granted him the rights and 
 privileges of a citizen. Such was the 
 ardour with which they urged forward 
 the elevation of their pious and national 
 construction, that persons were paid in 
 summer to carry water to the workmen 
 that they might lose no time. The front, 
 one of the finest and most richly orna- 
 mented in Italy, has been frequently 
 struck by lightning, and the great pic- 
 tures in mosaic on the upper part were 
 almost entirely renewed at the end of 
 last century. In spite of Vasari, Lanzi, 
 
 d'Agincoust, and all Ihe travellers and 
 guidebooks, Nicolao Pisano cannot have 
 executed the sculptures of that front, 
 which were done long afier his day; » 
 they must be by Giovanni and his best 
 pupils, as Arnolfo Lapo, Agostino and 
 Angelo of Siena, and especially by Goro 
 di Gregorio, another Sienese, less cited, 
 but equally clever We there see the 
 Last Judgment, Hell, and Paradise, 
 subjects treated before the appearance 
 of the Divina Comrnedia, and most ad- 
 mirable for vigour, fecundity, and ima- 
 gination. The Abraham sleeping has 
 been described by M. de Lamennais : 
 "In his dream the patriarch sees the 
 destinies of his race boundup with those 
 of the world : his mind's eye embraces 
 centuries with a kind of creative power, 
 the entire future of the human race seems 
 to swell beneath the wrinkles of that 
 broad forehead." 
 
 The stalls of the choir, a wonderful 
 mosaic in wood, are the work of Sienese 
 artists of the fourteenth and fifteenth 
 centuries. 
 
 The paintings of the church are : the 
 Madonna, a fresco of 1417, one of the 
 most graceful works of Gentile da Fa- 
 briano; the Marriage of Cana, fresh in 
 colouring; the Virgin praying to Iter 
 son; the Pool of Bethesda, skilful in 
 the naked parts, but of an affected ex- 
 pression and heavy in the architecture, 
 by Pomarancio; the Resurrection of the 
 son of the widow of Nain, by Taddeo 
 Zuccari; the Apprehension of Christ ; 
 Christ before Pilate ; the Flagellation ; 
 Christ crowned with thorns ; Christ at 
 Calvary, easy and expressive works by 
 Muziano. 
 
 The great frescos on wood in the 
 chapel of the Madonna of San Brizio 
 were painted in 1499 by Luca Signorelli, 
 then nearly sixty years old. The Last 
 Judgment, so remarkable for taste, 
 drawing, expression, and anatomical I 
 science, explains the Sixtine chapel, I 
 which it preceded by forty years, and 
 Michael Angelo, who had studied it. Ca- 
 nova also drew from this cha pel, his group 
 of Cupid and Psyche being an imitation 
 of two figures rising from the dead. The 
 fine Choir of Prophets, by Fra Ange- 
 lico, has a superb Moses; his Christ 
 silting in judgment inspired the Christ 
 overwhelming the wicked of the Sixtine. 
 
 ' Cicognara, Slot: del Scuit. II., 138. 
 
Chap. VI.] 
 
 BOLSENA. 
 
 611 
 
 The paintings near these are by Benozzo 
 Gozzoli and several of his pupils. This 
 chapel of the Madonna presents a sin- 
 gular mixture of Christian ideas and 
 Pagan associations, for we also see there 
 the portraits in fresco of Virgil, Ovid, 
 Seneca, Statius, Claudian; the first, in 
 good preservation, has light curly hair 
 and is crowned with laurel; the Descent 
 of JEneas into hell, very much injured 
 by a bishop's tomb ; the Combat of Her- 
 cules and the Centaurs ; Perseus and 
 Andromeda ; the Rape of Proserpine ; 
 Orpheus and Eurydice ; and other my- 
 thological subjects ; Diana, Pallas, Ve- 
 nus, and some lascivious naked figures, 
 some part of which have been prudently 
 covered with wainscot. On contemplat- 
 ing this mixture of sacred and profane 
 antiquity, one would say that the genius 
 of letters and arts had then produced a 
 kind of poetical restoration of poly theism, 
 and that the two religions, as in the first 
 days of Christianity, were again opposed 
 to each other. 
 
 The reliquary enclosing the holy cor- 
 poral of Bolsena is in the shape of the front 
 of the duomo. The figures, ornaments, 
 and paintings in enamel are a precious 
 work of the Sienese goldsmith Ugolino 
 Vieri, and bear the dale of 1338. Among 
 them is the Wolf suckling Romulus and 
 Remus, the artist having wished to 
 comprise an emblem of his country in 
 his marvellous work.' 
 
 Several modern sculptors and archi- 
 tects have successively increased the 
 embellishments of this cathedral of the 
 thirteenth century. San Micheli made 
 the chapel of the Magi, the sculptures of 
 which, highly praised by Vasari, are by 
 Simone Mosca and his son Francesco. 
 Donatello executed the St. John in the 
 baptistry. A Piety, a masterpiece of 
 taste and expression ; a superb St. Se- 
 bastian, for which the artist was paid 
 ten crowns, though it is worth ten times 
 the sum ; the Four Evangelists and the 
 ornaments of the beautiful wooden pul- 
 pit; a St. Thomas; a lifelike portrait of 
 the artist, are by Ippolito Scalza of Or- 
 vieto, a worthy pupil of Michael Angelo, 
 for a long time surveyor of the works of 
 the cathedral at a hundred crowns a 
 year, and author of the elegant front of 
 the public palace, as well as of the orna- 
 ments of the doors and windows of many 
 
 1 See post, ch. xi. 
 
 houses of Orvieto. This great artist of 
 the sixteenth century, so badly paid by 
 his countrymen, who were more liberal 
 to foreign and inferior artists, at last 
 obtained the two hundred crowns of the 
 preceding architects of the duomo, but 
 he was forbidden to sleep a night away 
 from the town without permission of 
 the general council of fifty members, of 
 whom he afterwards, it is true, became 
 one. The St. Matthew, by Giovanni 
 Bologna, resembles the frank and firm 
 style of Michael Angelo. The St. Paul, 
 by Francesco Mosca, is only a bungling 
 copy of the Faroese Hercules. An An- 
 nunciation, a group of extraordinary 
 effect, though the disdainful air of the 
 Virgin, the bound book that she presses 
 to her bosom, and the attitude of an 
 Angel astride on a zig-zag cloud placed 
 on a pedestal, are ridiculous enough, 
 passes for the masterpiece of Francesco 
 Mocchi of Orvieto, the fantastical sculptor 
 of the Veronica of Saint Peter's. 
 
 The wide and deep well with two spiral 
 stairs, one over the other, dug in the 
 rock by Antonio San Gallo when Cle- 
 ment VII. took refuge with his court at 
 Orvieto after the sack of Rome, one of 
 the principal works of this kind, is worthy 
 of the ancients and proves the varied 
 talents of the great artist. 
 
 CHAPTER VI. 
 
 Forest.— Bolsena.— Borders of the late.— Eels.— Is- 
 lands of Bisentina and Martana.— San Lorenzo 
 Nuovo. — Acquapendente.— Contrast.— Radicofani. 
 — Montepulciano. — Madonna di San Biaglo.— 
 Buonconvento. 
 
 On the new road from Orvieto to Bol- 
 sena is a superb forest of oaks, intersected 
 by ridges and ravines, where I one day 
 lost myself and had too much time to 
 contemplate its localities. 
 
 Bolsena was the ancient Vulsinii, ra- 
 ther more towards the mountain, one of 
 the principal of the twelve great Etruscan 
 cities; it was destroyed by the Romans, 
 and they boasted finding there two 
 thousand statues, a population superior 
 to that of the present town, of fifteen 
 hundred souls. The famous miracle, 
 the prodigy of Raphael at the Vatican, 
 took place at the church of Santa Cris- 
 tina. In a damp and dirty chapel, the 
 spot where the blood fell is stiO shown, 
 now covered with an iron grating. The 
 hill of Bolsena, a curious assemblage of 
 
616 
 
 nOLSENA. 
 
 [Book XVII. 
 
 black, hard, sonorous basaltic columns of 
 different forms and crowned with brush- 
 wood, is picturesque, and very interest- 
 ing in a geological point of view. 
 
 The borders of the lake of Bolsenaare 
 enchanting. I had no opportunity to 
 judge of the matelot of eels with white 
 wine sung by Dante, and which Pope 
 Martin IV., expiated by fasting : 
 
 E purga per digiuno 
 
 L'auguille di Bolseua lu la yernaccia ; ' 
 
 for they seem now to have become 
 scarce, and are only caught, as I was told, 
 in spring. These famous eels are the 
 subject of a pretty story in a letter ad- 
 dressed by Petrarch to great French 
 pope Urban V., a letter burlesquely dis- 
 playing all the ancient national pride of 
 the Italians : Quum Benedicto XII. Vul- 
 sinii laciis anguillw, mi roe magnitu- 
 dinis, el saporis insoliti, misses essent, 
 exigud sibi parte servatd, non midtis 
 post diebus, ditmad eum ex more adve- 
 nissent, earumdem menlione ortd, ut 
 erat jocosus in sermone, si prcegus- 
 tassem, inquit, scivissemque, quales 
 erant, non fuissem tarn largus distri- 
 butor ; sed nunquam credidi, tale ali- 
 quid nasci posse in Italia. ( Pope Be- 
 nedict XII., a baker's son, and surnamed 
 Founder from his father's trade, was 
 from the neighbourhood of Foix. ) Quo 
 dicto Io. de Columnd cardinalis subilb 
 sic exarsit, ut diceret, mirari se, quod 
 ltd vir doclus, qui multa legisset, ex- 
 cellentcm cunctis in rebus Italiam 
 ig nor are. * 
 
 The two little islands, now almost 
 without inhabitants, Isola. Bisentina 
 and Isola Martana, were formerly vi- 
 sited with great pomp in autumn by 
 Leo X., who, after enjoying the plea- 
 sures of the chase in the environs of 
 Viterbo, went there for Ashing, the only 
 resemblance this magnificent pontiff 
 bore to the first apostles. In the island 
 of Martana, the smallest and wildest of 
 the two, the great queen of the Goths, 
 Amalasonle, the only daughter of Theo- 
 doric, was secluded and murdered by 
 order of her second husband Theodatus : 
 this lady's misfortune contrasts with the 
 gay pastimes of the two popes. Tradi- 
 
 1 I'uryat. xxiv. 22. It is adduced iu support of 
 Dante's accusation that these two Hues were written 
 ou Marline tomb : 
 
 tion pretends to point out the remains of 
 the fort where Amalasonle was con- 
 fined, and also the trace of a stair cut in 
 the rock which led down to the shore, i 
 On Ihese islands were likewise pleasure- i 
 houses belonging lo the Farnese family ; 
 but nothing now subsists except a few 
 ruins of palaces and a church which they ! 
 had built, and which the pencil of the 
 Carracci had embellished. 
 
 The village of San Lorenzo Nuovo, 
 with a fine squaYe, was generously 
 founded by Pius VI. at his own cost, to I 
 afford an asylum for the inhabitants of 
 San Lorenzo Veccbio, who were afflicted 
 with summer fevers arising from its 
 unhealthy situation at the bottom of a 
 ravine, which has since become Ihe occa- 
 sional resort of banditti. 
 
 The small and miserable town of 
 Acquapendenle, the last in the Roman 
 stales, on a steep hill, with its cascade 
 (supplied with rain water only), is pic- 
 turesque. 
 
 A wide desert ravine, mixed with tor- 
 rents, woods, and rocks, forms a natural 
 and imposing boundary between the Ro- 
 man state and Tuscany. 
 
 The moment one enters this latter 
 country, a perfume of civilisation seems 
 to be diffused around : the fields, the 
 roads, the houses, the garments, the phy- 
 siognomies especially are no longer the 
 same, and one feels a certain physical 
 and moral culture which the neighbour- 
 ing state has not. The barbarism of the 
 Italian clock ceases; the custom-officers 
 will hear reason and are not venal; the 
 people can read, and the bread is excel- 
 lent, a last and infallible symptom of 
 welfare and improvement. 
 
 The town of Radicofani, in Ihe midst 
 of pointed volcanic rocks, has the castle 
 lhat was occupied, doubtless in the man- 
 ner of other illustrious princes and cap- 
 tains, by the brave bandit-chief Ghino di 
 Tacco, in early life a medical student, 
 who took our indolent, opulent, and 
 obese abbot of Clugny captive, despite 
 his pompous cortege, and so well cured 
 him by bread, white wine, and spare 
 diet, that he had no occasion to take the 
 waters at Siena. 3 The portico of the 
 chief inn, and the fountain opposite, offer 
 even in this wild solitude some traces 
 
 Gaudcnt anguilla?, quod inorluus bicjacet llle, 
 Qui quaM morl reas eicoriabat eas. 
 
 3 Sentt. l. yij. ep. 7. ^ Borate. Giorn. x. Not. 2 
 
Chap. VII] 
 
 SIENA. 
 
 617 
 
 and a certain effect of art which belong 
 only to Italy. 
 
 The little and ancient town of Monte- 
 pulciano is the country of Politian and 
 Bellarmin. The wine of Montepulciano 
 was once famous; Redi makes Bacchus 
 intoxicated proclaim it the king of wines : 
 
 Montepulciano d" ogoi vino e il re ; 
 
 a superiority already celebrated by Chia- 
 brera : 
 
 Se chiedi oggi chi regna, 
 Regna Montepulciano. 
 
 The traveller will find this town worth 
 turning aside to observe for the good ar- 
 chitecture of its palaces ; several are by 
 Antonio San Gallo. The church of the 
 Madonna di San Biagio, by that great 
 architect, may be regarded as one of the 
 most perfect models of taste. The an- 
 tique duomo, of travertine, though re- 
 stored, is imposing. 
 
 Near the road, stands the castle of 
 Buonconvento, one of the oldest, most 
 historical, and least injured in the cara- 
 pagna of Siena. It dates from the thir- 
 teenth century. The emperor Henry VII., 
 one of the most eager conquerors of Italy, 
 the warlike enemy of the good king Ro- 
 bert, died there on the 24th of August 
 1313, and Dante, who had so impe- 
 riously called him and had written a 
 proud letter to excite him against the 
 Guelfs of Florence, which letter was the 
 cause of his exile, composed a magnifi- 
 cent canzone on his death, one of the 
 most prominent events of that epoch. 1 
 This plain count of Luxembourg, who 
 became emperor, was not, however, 
 poisoned with a wafer by the Dominican 
 monk Politian of Montepulciano, as the 
 learned Baudrand has since almost de- 
 monstrated, notwithstanding the autho- 
 rity of contemporary writers. 2 The an- 
 tique church of the castle, which seems 
 the older of the two and appears of the 
 
 i See ante, book vi. en. v.; book Si. ch. xl. and 
 post, book xviii. ch. xiii. 
 
 * See also in Muratori, (. xv. p. /i!), of the great 
 edition of the Rerum. Italicarum Scriptures, a very 
 Jong and excellent remark of the Sienese critic 
 Cberlo Benvoglienti on the question whether Hen- 
 ry VII. was poisoned, which he is inclined to look 
 on as a fabrication originated by the despairing 
 Ghibelines and adopted by popular credulity. 
 
 3 This Sienese probity struck me when last there; 
 on my arrival, I entered a bookseller's shop to buy 
 the best description of the town. The worthy man 
 
 twelfth century, has three Virgins, old 
 paintings of the first age of the school 
 of Siena, monuments curious for the his- 
 tory of the art, which prove the wealth 
 and importance of this little town of 
 Bnonconvento in the thirteenth and four- 
 teenth centuries. 
 
 CHAPTER VII. 
 
 Siena.— Cathedral.— I'ainted windows.— Pavement. 
 — Chapel del Void.— Painting of Ducciodella Buon- 
 insegna. —Tabernacle, by Baltassare Peruzzi. — 
 Chapel of Saint John Baptist. — Library. — Frescos. 
 —Group of the three Graces.— Choir books. — Doly- 
 wator vases.— Cupola.— Carroccio masts. — Pulpit. 
 
 Siena gives an early confirmation to 
 the favourable impression received on 
 entering Tuscany. Its population is at 
 once merry, intelligent, honourable ; 3 
 but one feels that its mild civilisation, 
 the offspring of the manners and its old 
 liberty, is ancient, and proceeds from a 
 remoter source than the modern science 
 and the philosophical reform of Leopold. 
 The Byzantine poet Marullo Tarcagnola, 
 the rival in love and almost in poetry of 
 Politian, 4 composed this pretty piece in 
 praise of Siena : 
 
 Mater nobilium nuruum, 
 Antiqui soboles Rerui 
 Sena, deliciae ltalae. 
 Sou libet positum loci, 
 Convallesque beatas 
 Tot clrcumriguis aquis, 
 Seu verconspicere annuum, 
 Nativisque rosariis 
 Semper purpureum solum, 
 Et colles virldantes. 
 Nam quid dicam operum mantis, 
 Ant totditla marmora ? 
 Quid spirantia signa tot 
 Passim ? quid fora ? quid vias ? 
 Quid Deum sacra iempla ? 
 Adde publica civium 
 Jura,parque jugum, et pares 
 Cunclis imperii vices, 
 Adde tot populorum opes, 
 Tot parentia late 
 
 told that there was a more recent edition, and sent 
 his man with me to the shop where it was sold. In 
 the evening, at the coffeehouse, they returned me 
 half the price of an ice that I had magnificently 
 paid for as at Florence 4 grasses (2I?2d. ). At that 
 time 1 was obliged to use a lotion of camphor water 
 for my eyes : my phial, which I had refilled in the 
 towns, cost me a paul at Florence, six grasses at 
 Siena (rather more than half a paul) and three 
 pauls at Leghorn. 
 J See ante, book xi. ch, il. and post, cb. xv. 
 
 52. 
 
618 
 
 SIENA. 
 
 [Book XVII. 
 
 OppliJA, adde vlrum Ingenia, 
 Adde arles, nee in hospita 
 Corda rieridum choris. 
 vere soboles Rerai, 
 Digna nomine, dlgna 
 Urbs lanlls lilulis palrum ! 
 Te concordia, le bona 
 Fax alal, ramis et minarum 
 Immunem, libl dellu.it 
 Flavis Brandus arenis. 
 
 The cathedral, one of the oldest, most 
 splendid, and most characteristic in Italy, 
 appears of divers epoch and architects ; 
 but its ensemble must go back to the 
 thirteenth century. The present church, 
 finished in 1331, was only to have formed 
 one of the side naves of the grand edi- 
 fice which had been projected, but was 
 abandoned on account of the fatal plague 
 of 1348. Among the numerous orna- 
 ments of the airy front of 1339, the sta- 
 tues of the prophets and the two angels 
 prostrate before the name of Jesus, are 
 by Jacopo della Quercia. The busts of 
 animals over the capitals allude to the 
 cities allied with the republic: the grif- 
 fin, Perugia; the horse, Arezzo, etc. 
 The three busts over the doors represent 
 three Sienese saints. The religious and 
 political reminiscences of the country 
 are thus associated on the front of this 
 temple. 
 
 The steeple, an old tower of the Bis- 
 domini, was covered with marble and 
 embellished from the designs of the bro- 
 thers Agostino and Angelo of Siena, 
 sculptors of the beginning of the four- 
 teenth century, disciples of the Pisan 
 school, and the former was employed in 
 the works of the cathedral from the age 
 of fifteen years. One of the bells in the 
 form of a barrel is dated 1148. 
 
 The interior of the basilic, incrusted 
 with black and white marble, with its 
 bold and lofty roof of azure studded with 
 golden stars, and its hexagonal cupola, 
 is singularly religious and venerable. 
 The two majestic columns of the door- 
 way, sculptured in 1483, support an ele- 
 gant gallery with four basso-relievos re- 
 presenting the Visitation, a Sposalizio, 
 the Removal of the Virgin's body, her 
 Assumption, excellent works, but hardly 
 visible. The painted glass of the cir- 
 cular window, executed in 1549 by the 
 clever Sienese artist Pastorino di Gio- 
 vanni Micheli, on the designs of Perino del 
 Vaga, is of extreme richness. Among 
 the numerous seriesof popes on the frieze, 
 
 the bust of Pope Zaccharias is an ancient 
 head of Pope Joan thus metamorphosed 
 in 1600 by order of the grand duke, at 
 the request of Clement VIII. and the 
 archbishop, Cardinal Tarugi. Mabillon 
 endeavoured to find this bust of Pope 
 Joan, but was unsuccessful : Montfaucon 
 is wrong in saying that it was changed 
 into the prophet Zacharias. 
 
 The pavement, now unique, compa- 
 rable to the most precious mosaics of 
 Greece and Rome, but of Italian inven- 
 tion and Sienese execution, a vast niello 
 in marble in the best style of composi- 
 tion, ought to be seen from above. It 
 must ever be considered an error on the 
 part of the Sienese artists to have placed 
 figures in clare-obscure on the ground, 
 which cannot be trod upon without in- 
 jury, and are consequently obliged to be 
 covered. I saw this brilliant pavement 
 cleared of its ignoble planks for the fes- 
 tival of the Assumption : it was a plea- 
 sure to kneel there, though the view of 
 such fine works rather interfered with 
 one's devotions. The ten superb Sibyls 
 are of the end of the fifteenth century. 
 The Seven ages of man, Faith, Hope, 
 Charity, Religion, by Antonio Fcde- 
 righi, are not inferior to his Erythrean 
 Sibyl; he designed the vigorous compo- 
 sition of the Battle of Jephthah, sculp- 
 tured by Bastiano di Francesco. The 
 Absalom hanging by his hair is of 1424. 
 The Samson, the Judas Machabeus, the 
 Moses, the Five kings of the Amorites, 
 taken in the cave of Makkedah, after 
 Joshua's victory, the vast Deliverance 
 of Belhulia, by the old Sienese master 
 Duccio della Buoninsegna, of the four- 
 teenth century , of that school from which, 
 says a contemporary historian, as many- 
 good painters proceeded as warriors 
 from the Trojan horse (ex cujus officina 
 veluti ex equo Trojano pictores egregii 
 prodierunt), are the most ancient mo- 
 saics. The most perfect, among which 
 is a charming Eve after the fall, and an 
 Abel, are by Beccafumi, who from a 
 shepherd became one of the greatest ar- 
 tists of the sixteenth century, and who 
 made this pavement the pastime of his 
 whole life. The fine Moses on Mount 
 Sinai, executed in 1531 for the sum of 
 840 crowns, was his last work. Other 
 compartments represent Mercury Tris- 
 megistus offering the Pimander (a 
 book of mystical philosophy by a Chris- 
 tian Platonist, attributed to Hermes 
 
Chap. VII. ] 
 
 SIENA. 
 
 6t< 
 
 Trismegistus, but of more than doubtful 
 authenticity) to a Gentile and a Chris- 
 tian; the arms of Siena, in the midst of 
 those of the cities its allies; Virtue on 
 a steep rock which Socrates and Crates 
 are climbing, whilst Fortune and other 
 figures stand below; the wheel of For- 
 tune with four philosophers in the 
 corners. 
 
 The sumptuous chapel del Voto was 
 erected by Pope Alexander VII. in ho- 
 nour of the image of the Advocata,wh\ch 
 has been venerated for centuries at Siena. 
 The St. Jerome, the group of angels in 
 bronze, a well executed but incorrect 
 Magdalen, are by Bernini ; the St. Ca- 
 therine and St. Bernardin, by his pupils 
 Raggi and Ercole Ferrata. A Visita- 
 tion, by Carlo Maratta, a St. Bernardin, 
 by Calabrese, are reckoned some of their 
 best works. Bernini furnished the mo- 
 del of the indifferent statue of Alexan- 
 der VII., sculptured by Ferrata. The 
 painting, coated with gold and ultra- 
 marine, by Duccio della Buoninsegna, 
 of 1310, is a work of high importance 
 for the history of the art. The superb 
 carvings in wood of the choir, stalls, 
 desk, and seats of the hebdomadary, be- 
 long to different epochs : the oldest, of 
 1387, were sculptured by Francesco Ton- 
 ghi and his son, and ornamented in 1503 
 with clever works by Fra Giovanni of 
 Verona ; » the most modern are of 1569, 
 from the designs of Maestro Riccio, and 
 executed by Teseo Bartolino of Siena 
 and Benedetti of Montepulciano. The 
 Trinity, in the midst of angels, restored 
 in 1813, is of the old age of Beccafumi, 
 as well as the two frescosplaced beneath. 
 The high-altar, simple and pure, is cited 
 as one of the chefs-d'oeuvre of Baltassare 
 Peruzzi, called also Baltassare of Siena. 
 The bronze tabernacle of exquisite work- 
 manship, finished in 1472, escaped Ci- 
 cognara's observation ; it cost the Sienese 
 sculptor and painter, Lorenzo di Pietro 
 del Vecchielta, nine years' labour. The 
 eight angels in bronze, on elegant con- 
 soles likewise of bronze, were the last 
 works of Beccafumi. The bronze basso- 
 relievo on the ground, covering the grave 
 of Giovanni Pecci, bishop of Grosseto, de- 
 ceased in 1426, is by Donatello. 
 
 The circular chapel of Saint John the 
 
 1 See ante, book v. ch. xiv. 
 
 2 S. Targioni Tozzeltl, professor of chemistry, 
 and S. Benvenuti, director of the Academy of Fine 
 Arts at Florence, seem of this opinion in their 
 
 Baptist, of Baltassare Peruzzi's architec- 
 ture, is decorated externally with excel- 
 lent basso-relievos and ornaments in 
 marble of Giovanni di Stefano, Lorenzo 
 di Mariano Fucci, Crescenzio di Mario, 
 Calisto di Paolo, artists of Siena, and by 
 the Florentines Raffaello and Filippo da 
 Settignano; internally with elegantgilded 
 basso-relievos of 1596; divers subjects 
 from the History of Adam and Eve, 
 sculptured on the altar by Jacopo della 
 Quercia, and the statue of the saint by 
 Donatello, over the place where the relic 
 of his arm is preserved, which was ob- 
 tained by Pius II. of Thomas Paleologus, 
 the despot of the Morea. 
 
 At the entrance of the nave is a charm- 
 ing marble decoration composed of pi- 
 lasters and wainscot sculptured by the 
 brothers Antoniolo and Bernardino Ja- 
 como Marzini, and a little altar with a 
 St. John Evangelist in basso-relievo, 
 of 1451, by Urbano and Bartolommeo 
 of Cortona, and a Dead Christ, a work 
 in burnt earth, by Mazzuola, of 1717, 
 very inferior, as may be imagined, to 
 all the rest. 
 
 The room called the Library, where 
 the huge old choir-books are preserved, 
 is, with the pavement of the cathedral, 
 the finest of all. The ten frescos repre- 
 senting the most memorable actions of 
 the life of Pius II {JEneas Sylvius Pic- 
 colomini), and the eleventh, outside, the 
 Coronation of Pius III., his nephew, 
 who ordered this library to be built, 
 were executed on the sketches and de- 
 signs of Raphael, then in his twentieth 
 year, by Pinturicchio, who, despite his 
 fifty years and his established fame, had 
 the good sense to become almost his 
 pupil. These paintings, already worthy 
 of Raphael, have not, however, the high 
 degree of grace and power which he de- 
 veloped in the chambers of the Vatican, 
 and the dry timid manner of Pinturic- 
 chio predominates. But the frescos of 
 the Vatican are extremely impaired, 
 whilst the preservation of these and most 
 of the other frescos of Siena, is extraor- 
 dinary, and it has recently been attri- 
 buted, with some foundation, to the qua- 
 lity of the colouring earths of the country.* 
 The history of the great, learned, and 
 talented Pope Pius II., a man of letters, 
 
 written approval of S, Narzocebi's mode of his mak- 
 ing colours, which were used by S. Benvenuti for 
 the frescos of the cupola of Saint Laurence. 
 
620 
 
 SIENA. 
 
 [Book XVII. 
 
 a traveller, story teller, and moralist, is 
 interesting : he was crowned poet by 
 the emperor Frederick III., to whom he 
 had been sent by the antipope Felix, and 
 who made him his secretary. The roof 
 of the kind of sacristy adjoining the ca- 
 thedral is covered with mythological 
 subjects, and the Greek group of the 
 three Graces, in the middle, which Ca- 
 nova imitated, comprises the most vo- 
 luptuous forms, which would be much 
 more appropriately placed in the Insti- 
 tute of Fine Arts. It was found in the 
 foundations of the church, in which edi- 
 fice it even remained for a considerable 
 time. This group of the three Graces 
 stands between two tombs of brilliant 
 white marble : the first, by S. Ilicci, is 
 Mascagni's, an illustrious Sienese surgeon 
 and anatomist of Siena; the second Giu- 
 lio Dianchi's, governor of the town, and 
 is a very elegant work by S. Tenerani. 
 The superb choir-books, ornamented 
 with rich miniatures by Fra Benedetto 
 da Matera, a monk of Mount Casino, 
 and Fra Gabrielle Matei, a Servile of 
 Siena, were formerly more numerous; 
 some of them were taken away by Car- 
 dinal Burgos and carried to Spain ; others 
 have passed to the public library. 
 
 A monument sacred to the memory 
 of Bandino Bandini present a pleasing 
 little statue of Christ risen from the 
 dead, a Seraph, and two Angels, of Mi- 
 chael Angelo's fiercely youth. He also 
 executed at Florence, by order of Car- 
 dinal Francesco Piccolomini, afterwards 
 Pius III., two of the statues of the ma- 
 jestic altar erected by that cardinal, in 
 1485, on the designs of the clever Lom- 
 bard sculptor Andrea Fusina. A beau- 
 tiful Epiphany, bySorri, has been judi- 
 ciously restored by S. Monti, a Sienese 
 artist. 
 
 The holy-water vases are two chefs- 
 d'oeuvre differing in kind : one of them, 
 an antique candelabrum, presents some 
 ornaments and mythological details of 
 exquisite workmanship ; the other, 
 mounted on a pedestal by Jacopo della 
 Quercia, maintains the parallel. 
 
 Against two pilasters of the unique 
 and elegant hexagonal cupola, are two 
 high masts of the Carroccio ■ taken from 
 the Florentines by the Sienese in the 
 battle of Monteaperti, on the 4th of Sep- 
 tember 1260, a day of carnage alluded 
 
 ■ See ante, book v. cU. !v. 
 
 to by Dante, the bard of all the places and 
 all the feats of Italy in his day : 
 
 uniJ' io a iui : Lo strazio e 'I grande scemplo 
 Che fece 1' Arbia colorata in rosso. 
 Tale orozion fa far net nostro tempio,' 
 
 which shows to what a pitch the ancient 
 Italian valour was maintained in the 
 civil wars of the middle ages, among 
 these citizen soldiers, and before the in- 
 troduction of the mercenary arms of the 
 condottieri. They' did not then think, 
 as was shortly afterwards pretended by 
 the cautious Florentine historian Malteo 
 Villani, that the military service of ci- 
 tizens was useless and often fatal. This 
 Carroccio was bravely defended by an 
 old man of seventy, the Cav. Giovanni 
 Tornaquinci, senior member of the 
 Guelph party, who seeing the Florentines 
 routed, encouraged his sons and other 
 companions to imitate him, rushed head- 
 long amid the enemy, resolved not to 
 survive the ruin of his country, and was 
 slain fighting. I contemplated the great 
 black wooden cruciGx which the people 
 of Siena carried to the battle ; it is placed 
 over the altar, on an inferior white 
 stucco basso-relievo of the last century, 
 which renders it very conspicuous. This 
 crucifix of Monteaperti, as it is called, 
 reminded me of the traitorous and in- 
 consistent exile Farinata, put in hell by 
 Dante, who had combatted the Florentine 
 army, but refused openly to destroy Flo- 
 rence, his country. After the victory, 
 the Sienese gave their town the title of 
 City of the Virgin (Civitas Virginis), 
 added on their coins to the words Sena 
 Vetus ; pompous feasts were celebrated 
 on the occasion, and the captive Carroc- 
 cio figured there, drawn backwards. 
 
 The admirable pulpit, by Micolao Pi- 
 sano, which he executed in less than 
 two years for the magnificent sum of 
 8 sols per day (the sol of that time was 
 equal to the present livre) for himself, 
 4 sols for his son Giovanni, and 6 for his 
 pupils (the whole expence was 05 livres); 
 this splendid monument, of a sculpture 
 so noble, natural, poetic, and so terrible 
 in the compartment of the damned of 
 the Last Judgment , attests the progress 
 of the art and of the great artist too. 
 The ornaments of gilt cristal, the works 
 ofPastoriio di Giovanni Micheli, costs 
 98 livres 8 sols. The elegant stair, 
 
 a inf. x. 8r. 
 
Chap. VIII. ] 
 
 SIENA. 
 
 621 
 
 worthy of comparison with the antique 
 master-pieces, seems taken from some 
 design of the illustrious Peruzzi. 
 
 CHAPTER VIII. 
 
 Hospital della Scala.— Frescos of tbe Infirmary.— 
 -Saint Joun Baptist.— Carmine.— Saint Augus- 
 tine.— Steeple.— Tolomei college.— Innominati.— 
 Saint Peler.— Saint Martin.— Conception.— Tri- 
 nity.— Educatorio of the nobles. 
 
 The hospital of Santa Maria della 
 Scala, one of the most ancient hospitals 
 known, dates from the year 832 ; it was 
 founded by Fra Sorore, who instituted 
 the congregation of lay brothers of the 
 order of Saint Augustine, and is, like 
 the other hospitaliers, a monument of 
 that religious civilisation which preceded 
 the various kinds of civilisation in Eu- 
 rope. The splendid church was rebuilt 
 in 1466, on the designs of Guidoccio 
 Cozzarelli. At the high-altar the fine 
 bronze statue of Christ risen is by Vec- 
 chietta, and a Christ dead, extended, a 
 basso-relievo by Mazzuola, is tolerably 
 effective. The great Pool of Bethesda 
 of the gallery, for which some sick per- 
 sons of the hospital sat, is regarded as 
 the best painting of Sebastiano Conca. 
 The five frescos of the infirmary of Pel- 
 legranajo, painted in 1440 by Domenico 
 di Bartolo, represent the attentions of 
 Christian charity towards the sick, the 
 Marriage of young girls, the Indul- 
 gence accorded to the hospital by Ce- 
 lestine III., an incident from the Life 
 of the Blessed Agoslino Novello, divers 
 Saints, Patriarchs, and Prophets; they 
 are of great interest for artists, and Ra- 
 phael and Pinturi'cchio have imitated 
 the national costumes and the noble ac- 
 tion of the horses. But whatever the 
 merit and originality of these paintings 
 may be, it is difficult coolly to contem- 
 plate them, when immediately beneath 
 are dying or diseased human beings, 
 whose real and living pains, sunken eyes, 
 and languishing countenances snatch 
 you from the sweet impressions produced 
 by the efforts of art. The hospital of La 
 Scala contains more than three hundred 
 beds and is excellently managed. It 
 has recently acquired a lustre by the la- 
 bours and discoveries of Mascagni, the 
 founder of pathological anatomy, who 
 is a native of a village near Siena. 
 
 1 See ante, book x. ch. vii. 
 
 The graceful oratory of the quarter 
 della Selva, begun in 1499 by the cor- 
 poration of Weavers, was finished in 
 1507 on the designs of Baltassare Pe- 
 ruzzi. There is a spirited and easy 
 Epiphany, by Petrazzi, a Sienese artist 
 of the seventeenth century, who, as well 
 as the other painters of his school, pre- 
 served the taste of a better time at an 
 epoch of decadence ; a St. Sebastian, 
 warm in colouring and well composed, 
 by Sorri. The front portal of travertine 
 also displays Peruzzi's manner. 
 
 Saint John the Baptist, formerly a 
 baptistry, a vast church which plunges 
 under the duomo, with a high front of 
 the year 1317, belongs to the first Tus- 
 can sculptor ; the Baptism of Jesus 
 Christ, St. John conducted to Herod, 
 are by Ghiberti, as his Commentaries 
 prove, which have been discovered in 
 manuscript at the Magliabecchiana ; • 
 Herod's banquet is by Pietro Pollajolo; 
 the Calling of St. Joachim, by Dona- 
 tello ; the Birth of the Forerunner, the 
 Preaching in the desert, some few of 
 the little statues are by Jacopo della 
 Quercia, and the elegant basso-relievos 
 of the tabernacle are ascribed to Vec- 
 chietta. 
 
 The cloister del Carmine and the 
 light steeple of the church are by Pe- 
 ruzzi. The remarkable paintings of the 
 latter are : a Nativity, begun by Riccio 
 and finished by Arcangelo Salimbeni; 
 5*. Michael, by Beccafumi; the Mar- 
 tyrdom of St. Bartholomew, pathetic 
 and varied, the chef-d'eeuvre of Casolani, 
 reckoned a true painter by Guido, who 
 said of him, on passing through Siena, 
 that painting had taken refuge in Caso- 
 lani. 
 
 In the court of the convent is a narrow 
 and very deep well, still called Pozzo di 
 Diana, which for a long time made the 
 Sienese believe that the fabulous river 
 of Diana flowed under their town, a 
 pretension derided by Dante : 
 
 Tu 11 vedrai tra quella genie vana 
 Che spera in Talamone, e perderagli 
 Piii di speranza, cU'a trovar la Diana. 2 
 
 I confess that in looking down the well 
 of Diana, the tradition of the middle ages 
 did not appear so foolish to me as to the 
 poet, since the researches of M. Arago 
 respecting the circulation of many sub- 
 
 a Purgat, xiii., tol. 
 
SIENA. 
 
 fBoOK XVII. 
 
 terranean rivers and the existence of im- 
 mense sheets of water in stratified 
 ground, an accident to which the soil of 
 Siena may very likely be inclined. 
 
 The oratory of Saint Ansano in Castel 
 Vecchio, rebuilt in H53, has on its door 
 an animated fresco by Rustichino, who 
 also did a noble and simple picture of 
 the saint, the Eternal Father, and an 
 Annunciation, near the altar. 
 
 The church of San Quirico and Saint 
 Juliet, which is supposed to have been a 
 temple to Quirinus (a surname of Ro- 
 mulus), was rebuilt in the Tuscan order, 
 in 1598, by one of its rectors, Ottavio 
 Preziani, who adorned it with good 
 paintings. The following may be dis- 
 tinguished : a Dead Christ, expressive, 
 by Casolani; some little Angels, elegant, 
 in the choir, by Salimbeni; another 
 angel, very fine, on the Tomb of Jesus 
 Christ, by the same, his last work ; and 
 two of the best paintings of Francesco 
 Vanni, the Meeting of Christ and the 
 Virgin, touching, true, and a Flight 
 into Egypt, in the style of thcBolognese 
 school, imperfectly imitated by Albano. 
 
 At Saint Paul, the Ascension, of the 
 high altar, is a beautiful and correct work 
 of Brescianino, the pupil and successful 
 imitator of Soddoma. 
 
 The church of the confraternity of Saint 
 Lucy presents another masterpiece of 
 Francesco Vanni, the Death of the Saint, 
 whose head is sublime. 
 
 The ancient church of Saint Augustine, 
 repaired and completed by Yanvitelli, is 
 rich, and remarkable for its paintings : 
 the Communion of St. Jerome, perhaps 
 a compulsory imitation of the Carracci, 
 is by Petrazzi ; an admirable Epiphany, 
 altogether in Leonardo Vinci's style, is 
 by Soddoma ; a Bearing of the Cross, 
 full of expression, by Ventura Salimbeni; 
 a St. Jerome, by Spagnoletto; the Saint 
 writing his treatise on a Happy Life, 
 by Sorri ; the Baptism of Constajitine, 
 a spirited composition, by Francesco 
 Vanni. 
 
 The ancient and long celebrated Tolo- 
 me college, confided to the regular friars 
 of the Pious Schools, has occupied the 
 convent of the Augustines since 1820. 
 This fine college, who might receive a 
 hundred pupils, but has now only thirty 
 or thereabouts, was once exclusively 
 devoted to the education of the nobility, 
 and the P. Ricca, then a brilliant pro- 
 fessor (but when I saw him an infirm old 
 
 man), having taken advantage of the 
 French administration to propose the 
 admission of plebeian youth, the grand 
 duchess refused her assent, and upheld 
 the aristocratic privilege of the college. 
 Latterly this regulation has been adhered 
 to less rigidly; the principles of equality 
 professed by a great part of the nobility, 
 gradually insinuate themselves into the 
 very heart of the absolute states of Italy, 
 and the Tolomei college now receives 
 the children of the. enlightened and in- 
 dependent classes of society. The de- 
 crease in the number of pupils does not 
 imply a decJine in the studies, for it is 
 probable they never were better : several 
 professors are men of great merit, such 
 asP.Linari, professor of physics, Pendola, 
 of philosophy, both professors at the uni- 
 versity. This decrease seems principally 
 to arise from families in the north of 
 Italy being prohibited from sending their 
 children to study out of the country. 
 
 The convent of the Augustines is also 
 the place for the sittings of the academy 
 degV Innominati, which has greatly 
 fallen from its olden fame, like most of 
 the academies of this kind, and is now 
 perfectly worthy of its modest title. 
 
 The elegant oratory of Saint Joseph, 
 the original design of which was by 
 Peruzzi, has a Virgin, of the sweetest 
 expression, of the year 1504, and by 
 Bartalini, the favourite pupil of Vanni. 
 
 At the ancient parish church of Saint 
 Peter in Castel Vecchio, repaired at 
 various epochs, are.: a fine Assumption, 
 by Rustichino ; a Repose of the Holy Fa- 
 mily, in Guercino's best style, the mas- 
 terpiece of Rutilius Manetti, buried by its 
 side. 
 
 The church of Saint James is a monu- 
 ment of the victory won in the 25th of 
 July 1526, at the Camollia gate, by the 
 Sienese over the Florentines, the allies 
 of Clement VII. , from whom they took 
 fourteen pieces of cannon, their flags, 
 and baggage. Lorenzo Lini, the first of 
 the old masters of the revival of good 
 painting at Siena, who was at the battle, 
 was charged by the town with the exe- 
 cution of the little painting of the Virgin, 
 St. John Baptist, St. Christopher and 
 St. James. The Martyrdom of the saint, 
 a fine work by Rutilius Manetti, appears 
 in the style of Gherardo delle Notti. In 
 the sacristy, a Bearing of the Cross 
 obtained the encomiums of Soddoma. 
 
 The majestic church of Saint Martin 
 
CHAP. IX.) 
 
 SIENA. 
 
 625 
 
 was erected in 1537 on the designs of 
 Giambattisla di Pasquino del Peloro ; the 
 front, of 1613, is by Giovanni Fontana, 
 of Cosmo. The Battle gained by the 
 Sienese at the Camollia gate, in 1526, 
 is a curious painting by Lorenzo Cini; 
 he received for his salary, and that of 
 his assistant Vincenzodi Mo. Pietro, eight 
 some of wine, J 22 measures {staja) of 
 corn (about 15 gallons), 6 measures of 
 salt, and 6 florins. The Circumcision 
 by Guido cost 1,500 crowns. A Martyr- 
 dom of St. Bartholomew, by Guercino, 
 now horribly black and spoiled, produced 
 him 800 ducatoni, and 14 braccia (nearly 
 eight yards) of plush (peluzzo) of Siena. 
 The statues in burnt earth, by Jacopo 
 della Quercia, have been ridiculously 
 coloured. 
 
 In the oratory of Saint Justus, the 
 Virgin, St. John Baptist and divers 
 saints, is a brilliant work by Manetti. 
 
 In the little square of Saint Justus, a 
 column of red oriental granite is whim- 
 sically placed upside down in contempt 
 of the idol which was formerly worshipped 
 there. 
 
 The Conception, of the bold and simple 
 architecture of Baltassare Peruzzi, sup- 
 ported by ten columns of granite, several 
 of which are in one block, has some 
 remarkable paintings : a Nativity, warm 
 and harmonious, by Casolani; a Birth 
 of the Virgin, in Guercino's style, by 
 Rutilius Manetti; a Massacre of the 
 Innocents, by Matteo di Giovanni, of 
 1491, one of the most esteemed repe- 
 titions of his naive composition ; a majestic 
 Crowning of the Virgin, by Fungai, in 
 which this Sienese artist of the sixteenth 
 century has gone back to the imitation of 
 Mantegna and the ancient manner ; an 
 Annunciation, in which the Virgin and 
 Angel are of Francesco Vanni's youth, 
 and the stuccos by Franchini; another 
 fine Annunciation, by Vanni, unskilfully 
 retouched. 
 
 At Trinity church are : the majestic 
 fresco of the Victory of Clovis over 
 Alaric king of the Visigoths, by Raf- 
 faello Vanni ; a ceiling, majestic and bril- 
 liant, by Ventura Salimbeni ; a Virgin, 
 delicately painted, by Matteo di Giovanni. 
 
 The church of the house appropriated 
 
 i The soma was the load of a beast of burthen, 
 varying in quantity in different towns. The soma 
 of Siena was equivalent to two hundred and fifty- 
 six Tuscan pounds (nearly two hundred weight). 
 
 to the education of noble females, called 
 il Refugio, has a pathetic Sposalizio of 
 Saint Catherine, by Francesco Vanni ; 
 a little and very graceful St. Raymond 
 (the confessor of Saint Catherine and pa- 
 tron of the church) healing a sick person, 
 by Rustichino ; an Epiphany, by Pe- 
 trazzi, like Paolo Veronese for the rich- 
 ness of the garments, and aline St. Gal- 
 gan in the desert, by Salimbeni. 
 
 I was obligingly invited by two excel- 
 lent ladies of the Refugio, who had been 
 so kind as to show me the paintings of 
 the church, to visit their house, which is 
 much too large for their twenty pupils. 
 But the proofs of nobility requisite for 
 admission to the Refugio, founded by a 
 descendant of the banker Ghigi, are 
 exacted with such unreasonable rigour 
 that it is by no means surprising to sec the 
 number so low, and the establishment so 
 languishing. The same decay attacks 
 most of these noble boarding-schools that 
 are so determined in keeping up their 
 dignity, and are fit for nothing now but 
 to corrupt infancy by the pretensions of 
 superannuated pride. 
 
 CHAPTER IX. 
 
 San Spirito.-Coni Gandinelll.— Santa Maria dl Pro- 
 vensano.— Saint Francis.— Door. — Christ at the 
 column, by Soddoma.— Saint Bernardin.— Saint 
 Catherine of Siena.— Saint Dominicli. — The oldest 
 Italian painting. — Fonte Giusta.— Sibyl, by Pe- 
 ruzzi. 
 
 The grand portal of the church of 
 San Spirito, is by Peruzzi. The paint- 
 ings are: St. James, St. Anthony, Si. 
 Sebastian ; the Virgin and divers saints, 
 by Soddoma; a clever St. Hyacinth, by 
 Francesco Vanni ; four subjects from the 
 Life of the same saint, lively and grace- 
 ful, by Salimbeni; an easy Descent of the 
 Holy Ghost, by Nassini ; Christ, the 
 Virgin, St. John and the Magdalen, a 
 fresco admirable for sweetness and har- 
 mony, by Fra Bartolommeo , in a corridor; 
 an elegant Cataletto, * by Vanni ; a fine 
 Crowning of the Virgin with Sts. Peter 
 and Paul, by Pachiarolto, a Sienese 
 painter of the fifteenth century, who 
 would have been hung as the ringleader of 
 a riot without the help of the Observantine 
 
 1 A kind of bier, estremely ornamented, ou 
 which the confraternities remove the dead from the 
 house to the church, and on which they remain ex- 
 posed. 
 
624 
 
 SIENA. [ Book XVII. 
 
 friars, lo whom he was indebted for the 
 means of passing lo France- He worked 
 with the Florentine Rosso at the frescos 
 of the palace of Fontainebleau; but he 
 did not die there as supposed, for he re- 
 turned to Siena. 
 
 The thirty-eight windows of the steeple 
 of Saint George are allusions to the 
 thirty-eight companies of soldiers that 
 fought at the battle of Monteaperti, and 
 the Martinella, the bell of the Carroc- 
 cio taken from the enemy, was hung 
 there. The church, the front of which 
 is ridiculously praised by Lalande, was 
 renovated in 1741 on the irregular designs 
 of the Milanese Cremoni. The clever 
 Sienese painter of the sixteenth century, 
 Francesco Vanni, is interred in this 
 church ; his tomb, of coloured marble, is 
 by Michael Angelo Vanni, his son, who 
 boasts, in the inscription, that he had 
 discovered the means of colouring the 
 marble. Francesco Vanni, in his passion 
 for the great men of the art, had given 
 his two sons the names of Michael Angelo 
 and Raffaello. The latter appears to 
 have sustained his dangerous surname 
 better (han his brother, and the title of 
 cavalier which they both obtained, as 
 may be seen by the Christ at Calvary, 
 placed on the left of the cross-aisle of the 
 church, and reckoned his masterpiece. 
 
 At Giovannino in Pantaneto, may 
 be remarked a graceful little Nativity 
 of the Virgin, by Martelli, an imitator 
 of Salvator Rosa ; the Saint in the De- 
 sert, by Petrazzi. At the entrance is 
 the following epitaph consecrated by 
 Alfieri to his only and veritable friend, 
 Gori-Gandellini, a silk-merchant of Siena, 
 son of the author of the History of En- 
 gravers, who requested him to compose 
 his Congiura de' Pazzi, and whose 
 mind and virtues he has so poetically ce- 
 lebrated ; ■ this epitaph is diffuse, and of 
 a low order of lapidarian style, but 
 touching, and characteristic of its au- 
 thor : 
 
 Ulc jacet 
 
 Franeiscus Gori-Gandellini 
 
 Senensis Civis 
 
 Cujus forlasse nomen 
 
 Posteris minus inuoleseel 
 
 Eo ipso quod 
 
 1 See Hie sonnets cixv, cxci, cxcn, exem, where 
 be thus speaks of Gandellini : 
 
 Alle virtudi, ed umll fama 
 
 E scrllto In vlso : lo son d' alia Datura. 
 
 Vanitatum omnium vere contemptor 
 
 lnclarescere noluii. 
 
 Praernatura mortc suis tropins 
 
 Neuiini graviorem luclum reliquif 
 
 Quam Victorio Alferio Astensi 
 
 Qui virluiis ejus sibi penilus cognitae 
 
 /Estimator non emptus 
 
 Breve hoc illi posuit monumentum 
 
 ISunquam perituree amicitiae. 
 
 Visit annos XLVI mensem I dies XXVll 
 
 Obiit die tertio septembris 
 
 Ann. Dni MDCCLXXXIV. 
 
 The collegiate church of Santa Maria 
 di Provensano, begun in 1594 and fi- 
 nished in 1611, of a light and noble 
 architecture, by Fra Schifardini, a Car- 
 thusian of Siena, and Flaminio di Turco, 
 has an Annunciation, by Rustichino, of 
 whom Lanzi said, that if he pleased in 
 his other works, he was ravishing in 
 this; the Holy Family, given by La- 
 lande as one of Andrea del Sarto's best 
 things, is not by him, and the real author 
 is unknown. 
 
 The vast church of Saint Francis, 
 erected by the people of Siena, on the 
 designs of the brothers Angelo and Agos- 
 tino, presents sundry precious objects of 
 art saved from the fire of the 23rd of 
 August, 1655, which consumed the roof, 
 part of the front, and several excellent 
 paintings. The portal, so noble and 
 simple, constructed in 1517 by Luca of 
 Montepulciano, is like the antique door 
 of Saint Cosmo in the Catnpo Vaccino. 
 The four enormous pictures at the altars 
 in the nave, by Nasini, highly praised by 
 Cochin, and thought admirable by La- 
 lande, appear below mediocrity. At the 
 first altar, the Limbo of the holy Fathers 
 is a justly celebrated painting by Becca- 
 fumi. Annibale Carraccio found few- 
 pictures equal to the Deposition, by 
 Soddoma, who also did the Christ at the 
 column, a superb fresco in the first 
 cloister, the finest work of the author, 
 which some have even preferred to Mi- 
 chael Angelo's frescos, nor is it inferior 
 to them. The lower part of this Christ 
 has been destroyed by the humidity pro- 
 ceeding from the well of the convent 
 kitchen; the upper part bears the marks 
 of musket shots fired by the different 
 troops that have been lodged in the con- 
 
 And the begiuning of the last sonnet : 
 
 Dehl torna spesso entro a miei sogni, o solo 
 Yero amico ch' lo avessl al mondo mai. 
 
Chap. IX.] 
 
 SIENA. 
 
 62 
 
 vent : these balls, on beholding such a 
 chef-d'oeuvre, seem for a moment al- 
 most as sacrilegious as the outrages on 
 the Saviour. 
 
 The oratory of Saint Bernardin, com- 
 posed of two little rooms one over the 
 other, is an admirable monument of 
 Sienese art, so resplendent is it with 
 works of its first masters. The Virgin, 
 the Saint, and St. Catherine, is by Fran- 
 cesco Vanni, then only sixteen years old; 
 the graceful Tobia Tolomei dying; a 
 Dying Woman and three Angels are by 
 Rutilius Manetti ; three Angels, pleasing, 
 the lunettes of the Child gored by a 
 Bull, and the Drowned person, by Ven- 
 tura Salimbeni; the Assumption, in 
 Leonardo's style ; the excellent fresco of 
 the Visitation ; the Presentation of the 
 Virgin at the Temple, very noble, and 
 the finest painting in the oratory ; a St. 
 Louis, defaced, which was praised by 
 Aretino, by Soddoma; the Death of the 
 Virgin, so vaunted by Vasari; a Sposa- 
 lizio, remarkable for the architecture, 
 by Beccafumi; the Annunciation, the 
 Nativity of the Virgin, perfectly com- 
 posed, by Pacchiarotto. In the sacristy, 
 a graceful basso-relievo of the Virgin 
 with John the Baptist and two angels, is 
 by Giovanni of Siena, the worthy son of 
 Agostino, one of the authors of the ce- 
 lebrated sculptures on the front of the 
 duomo of Orvieto. 1 
 
 Saint Peter a Ovile possesses the Death 
 of St. Joseph, the best work of Simondio 
 di Ventura Salimbeni, and a Holy Fa- 
 mily, one of the least mannerised works 
 of Folli, a Sienese artist of the beginning 
 of the seventeenth century. 
 
 At Saint Christopher, a little church 
 that was modernised in 1800, is the very 
 fine Virgin with St. Paul, and the 
 blessed Bernard, by Pacchiarotto. 
 
 The house of Saint Catherine of Siena, 
 in the Strada dell' Oca, the dyer's shop, 
 and the Fullonica, of her father, have 
 been converted, by a decree of the grand 
 council of the republic and the town, 
 into pious oratories magnificently orna- 
 mented. The paintings represent divers 
 subjects from the marvellous history of 
 that saint, that mystic, who was con- 
 nected with the events and politics 
 of her times, and was eloquent and a 
 purist without knowing how to write => 
 In the house may be distinguished : 
 
 • See ante, ch. v. 
 
 the Demoniac delivered by St. Cathe- 
 rine, grand, and in Paolo's style, by 
 Sorri ; the Christ taking the saint's 
 heart ; her Canonisation, the two crowns 
 that were offered her, by Francesco 
 Vanni ; the roof is among the most 
 vaunted works of Nasini, and the mira- 
 culous image of Jesus Christ crucified, 
 which stigmatised the saint, the work of 
 the celebrated Giunta of Pisa, who flou- 
 rished at the beginning of the thirteenth 
 century and is esteemed the first propa- 
 gator of the art in Tuscany. In the 
 oratory of the ancient Fullonica are : 
 the Stigmata of the saint, by Soddoma ; 
 two elegant loggie by Jacopo Cozzarelli ; 
 the ideal and rich Visit of St. Catherine 
 to Saint Agnes of Montepulciano when 
 dead, by Pacchiarotto ; the Saint pur- 
 sued by the Florentines, by Ventura 
 Salimbeni. 
 
 The ancient and spacious church of 
 Saint Dominick, successively embellished 
 and enlarged by the decrees of the re- 
 public of Siena, being begun in 1220 and 
 not finished till 14C5, attests the magni- 
 ficence of this state. The pointed arch 
 which boldly sustains the cross-aisle 
 merits and attracts the notice of archi- 
 tects. We may distinguish : an expres- 
 sive Nativity of the Virgin, by Casolani ; 
 St. Catherine reciting the service with 
 Jesus Christ; her Death, by Gambe- 
 relli; her portrait, contemporary, and 
 reputed a likeness, by Andrea di Vanni, 
 a painter of the close of the fourteenth 
 century, an important personage in the 
 republic, captain of the people, and am- 
 bassador to the pope, whom Lanzi sur- 
 named the Rubens of his age, and to 
 whom Saint Catherine addressed a letter 
 on the art of good government ; a Cru- 
 cifix, ascribed to Giotto ; the clever and 
 precise Martyrdom of St. Peter, by 
 Arcangelo Salimbeni; the elegant and 
 pure Demoniac, by Francesco Vanni; 
 the Ecstasy, a Miracle, the St. Cathe- 
 rine fainting away and aided by two 
 sisters, a chef-d'oeuvre of Soddoma : 
 the latter is affecting, Raphael-like, and 
 reckoned by the enraptured Peruzzi as 
 the most perfect imitation of a swoon ; a 
 dramatic Miracle of the loaves and 
 fishes, by Ludovico Dondo of Mantua ; 
 the B. Ambrose, in Beccafumi's taste, 
 by Rustichino; at the high altar, the 
 marble Tabernacle and two Angels, at- 
 
 See post, ch. xiv. 
 
 53 
 
SIENA. 
 
 [Book XVII. 
 
 tributed to Michael Angelo; the cele- 
 brated Madonna, of 1221, by Guido di 
 Ghezzo, of Siena, the most ancient Ita- 
 lian painter, prior to Cimabue, whose 
 Virgin and graceful infant Jesus have 
 already lost the squinting and stiff ex- 
 pression of the Byzanlian works; a noble 
 Crucifix, one of Ventura Salimbeni's 
 best paintings; a St. Hyacinth, by 
 Vanni, picturesque. 
 
 In the cloister, which has a vault re- 
 markable lor its ancient construction, 
 are several tombs of professors. One of 
 these tombs, that of the Bolognese pro- 
 fessor Guglielmo Tolomei, proves the 
 old reputation of the university of Siena 
 and the courageous compassion of this 
 master for youthful frailties. On his 
 tomb we read the following anecdote of 
 1321 : in that year the students of Bo- 
 logna, led by Tolomei, came to settle 
 at Siena, because the life of one of their 
 comrades, Jacopo of Valencia, condemn- 
 ed to death for an attempt to carry off 
 a girl, had been refused to the united 
 prayers of them and their masters. 
 
 At Saint Sebastian, Folli has distin- 
 guished himself by his graceful frescos in 
 clare-obscure on the roof, and his other 
 fresco of the Saint before Diocletian. 
 The two Martyrdoms of the sameSaint, 
 by Sorri, recall Tintoretto's style. 
 
 The present church of the convent of 
 Saint Jerome was built in 1681 by a le- 
 gacy of the sister Innocenza Guelfi, in- 
 creased by a large donation from D. Agos- 
 tino Ghigi, who does not appear very 
 disinterested, as he had seven daughters 
 in the convent. The inner church has 
 some frescos of Vasari's school, and the 
 cloister a Crowning of the Virgin, by 
 Perugino. 
 
 The church of Fonte Guista was built 
 in commemoration of the battle won in 
 1482 by the Sienese over the Floren- 
 tines. A Visitation, drawn by Riccio, 
 was coloured by his pupil and relative 
 Anselmi, then very young, who left this 
 work only at Siena, and afterwards 
 attained celebrity at Parma.' The mar- 
 ble altar, sculptured in 1517 by the bro- 
 thers Mazzini, is an exquisite work. The 
 famous Sibyl announcing to Augustus 
 the advent of Jesus Christ, by Peruzzi, 
 so divinely inspired, but greatly da- 
 maged, is not surpassed by the Sibyls of 
 Raphael, not to mention those of Do- 
 
 ' See ante, book ix. cti. vii. yiii. and ix. 
 
 menichino, Guido, and Guercino. This 
 admirable figure is indeed the only one, 
 for Augustus and his favourite Mecaenas 
 appear very vulgar. Among the ex voto 
 of the church of Fonte Giusta there is 
 one really illustrious, namely, the im- 
 mense whalebone, the small wooden 
 buckler encircled with iron, and the 
 sword, consecrated by Christopher Co- 
 lumbus on his return from the new world, 
 as a memorial, according to an antique 
 tradition, of the veneration he had enter- 
 tained from his youth for the Madonna 
 of Fonte Giusta, when he studied at the 
 university of Siena, and of the interces- 
 sion he had obtained from her in saving 
 him from shipwreck. Had it not been 
 built in commemoration of a victory, the 
 immortal names of the unfortunate Co- 
 lumbus and Peruzzi would suffice for the 
 glory of this little church. 
 
 CHAPTER X. 
 
 Piazza del Campo.— Porllco.— Subterranean aque- 
 ducts.— FonleGaja.— Palace del Pubbllco.- Tower 
 del Mangia.— Chapel of the Piazza. — Ball dello 
 Balestre.-Lorenzetti.— Hall of the Consistory. — 
 Archives. — Thealre. — Musical tasle oflhe Sienese. 
 
 The piazza del Campo, a fine structure 
 in the form of a shell, composed of ar- 
 tificial soil supported by strong walls, a 
 real republican and democratic forum, 
 with its gallery, and eleven streets ter- 
 minating therein, is cited by Dante : 
 
 Ojiando vivea piii glorloso, disse, 
 Liberamcnle nel campo di Siena, 
 Ogni vergegna deposta, s' afflsse. 2 
 
 The piazza del Campo was at first called 
 della Signoria; but Dante having given 
 it a new name, the official title disap- 
 peared before the poetical designation. 
 Our poets would have great difficulty to 
 invent a name and make it popular for 
 that large paved and bitumenised square, 
 which was at first called after its royal 
 and worthless creator, afterwards took 
 the fit and bloody name of Place de la 
 Revolution, and has since received the 
 moral name of Concord. The piazza 
 del Campo, the scene of popular tumults 
 in the middle ages, is now merely the 
 theatre of the feast of the famous Palio, 
 on the 15th of August, a horse race in 
 which the prize is contended for by the 
 
 » Purg.xl. 133. 
 
Cuap. X.] 
 
 SIENA. 
 
 627 
 
 different quarters ( contrade) of the 
 town, which retain their ancient names 
 and limits almost unaltered. 1 
 
 The portico of the Corso, now the ca- 
 sino of the nobles, was erected in 1417 
 by decrees of the consuls of the mer- 
 chants, the town of Siena contributing 
 600 florins a year towards it. It became 
 the seat of the tribunal of commerce, 
 whose laws and decisions were the rule 
 and guidance of the other Italian repub- 
 lics. The St. Peter and St. Paul are 
 by Vecchietta ; St. Ansan, so admired 
 by Michael Angelo; St. Victor, by Ja- 
 copo della Quercia; the paintings on the 
 roof, by Matteino and the brothers Rus- 
 tici. The beautiful marble seat is said 
 to have been designed by Peruzzi. 
 
 The subterranean aqueducts, fifteen 
 miles in length, bringing an abundant 
 supply of water to Fonte Gaja, twelve 
 other fountains and three hundred and 
 eighty cisterns, works now in bad repair, 
 which occupied two centuries in their 
 construction, are a singular honour to 
 the Sienese republic. Charles V., after 
 inspecting them, thought Siena more 
 admirable below than above-ground, 
 and they seemed worthy of the Romans 
 to Cosmo III. This republic was in this 
 instance much more prudent than Flo- 
 rence, where for want of aqueducts 
 which might bring water from Fiesole, 
 they are obliged to drink unwholesome 
 wellwater. 2 The arrival of the water at 
 the fountain of the piazza del Campo on 
 the 1st of June 1343, the feast of Pente- 
 cost, was celebrated by great rejoicings: 
 for eight consecutive days every com- 
 pany repaired thither in costume, dan- 
 cing and singing till evening, returning 
 at night after traversing the whole city 
 by torchlight with dance and song. " I 
 have seen," says the chronicler of the 
 lime, Agnolo di Tura, "more than five 
 thousand torches burning there at once, 
 without including innumerable small 
 ones." The basso-relievos of the foun- 
 tain, the most important work of Jacopo 
 della Quercia, unhappily damaged, pro- 
 cured that great artist his celebrated 
 surname of Jacopo della Fonte. 
 
 The palace deZPt(66Zi'co, begun in 1295 
 and finished in 1308, the architecture 
 
 * See Yarietes ilatiennes. 
 
 * See ante, book x. ch. xii. 
 
 3 Tbis tribunal, which was Instituted under the 
 republic, bad authority over tbe taiss, confisca- 
 
 by the brothers Angelo and Agostino, 
 breathes the liberty of the middle age, 
 and perhaps its traces have been nowhere 
 preserved more religiously. That was 
 the epoch of great constructions and po- 
 pular and anarchical governments in 
 Tuscany. Such was the antipathy 
 against the nobles at that day, that a 
 despotic law had been enacted in con- 
 cert by the different states, to the effect 
 that none should be admitted to public 
 offices without renouncing their nobi- 
 lity, an example followed at Bologna, 
 Padua, Modena, and other towns of 
 Italy. 
 
 The tower del Mangia, begun in 1325 
 and terminated in 1344, takes its name 
 from the mechanic who made the wooden 
 statue, coated with iron plates, which 
 struck the hours. Leonardo Vinci came 
 to examine this tower in 1502, and he 
 admired its boldness. 
 
 The chapel in the piazza before the 
 palace, built to commemorate the cessa- 
 tion of the plague of 1348, the most ter- 
 rible of the six plagues that have wasted 
 Siena, which, in the space of four months, 
 carried off more than eighty thousand in- 
 habitants, was not finished till 1376. It 
 had been demolished four several times 
 by seditious and bigotted artisans of 
 that democracy, to whom it was offen- 
 sive. 
 
 The apartments of the ancient tribunal 
 di Biccherna i offer some good paint- 
 ings. The following may be remarked : 
 the Two thousand Sienese sent to the 
 crusade of 1098, by Domenico Rutilius 
 Manetti. Over the door of the chancery, 
 a Holy family with the saints Ansan 
 and Galgan, by Soddoma, is perfect. The 
 Crowning of the Virgin, a vast fresco 
 in this chancery, of the year 1445, by 
 Sano di Pietro Lorenzetti, a harmonious 
 composition, full of variety, and already 
 remarkable for the draperies, was re- 
 novated by Ventura Salimbeni; beneath 
 it, among some verses addressed by the 
 first painter to the Virgin, are these 
 pious lines : 
 
 Sleti raccommandata 
 La tua dritta e fedel citla di Siena. 
 
 On the ceiling, the Coronation of 
 
 tions, weights and measures, civil registry, public 
 exhibitions, etc.; it was abolished at the promul- 
 gation of Leopold's regulations. 
 
>'28 
 
 SIENA. 
 
 [Book XVII. 
 
 Pius II.; St. Ansan, St. Savinus, St. 
 Crescentius; the Donation of Radico- 
 fani by Pius II. ; the Privileges ac- 
 corded to Siena by that pope, are by 
 Astolfo Pctrazzi; and the St. Victor 
 and St. Joseph, graceful, by Tornioli, a 
 good pupil of Rutllius Manetti. At the 
 archives della Communita, a Christ 
 risen, a fresco by Soddouia, almost in- 
 visible from the darkness of the corner 
 where it is placed, presents several diffi- 
 cult foreshortenings treated in a supe- 
 rior manner. The hall delle Balestre 
 (of the Crossbows), covered with allego- 
 rical patriotic paintings, a really na- 
 tional monument, shows the spirit of the 
 times as well as of the republican govern- 
 ment of Siena, and might make one 
 think that Montaigne judged it too se- 
 verely when he said : "Que laville est de 
 tout temps en partialite, et se gouverne 
 plus follement que ville a" Italic" In 
 this hall are pictures of the Virtues ne- 
 cessary to the prosperity of a state, and 
 of the Vices tending to its destruction, 
 naive frescos, executed in 1338 by Am- 
 brosio Lorenzetti, restored in 1491 by 
 Pietro di Francesco degli Oriuoli, in which 
 artists may cull a rich booty. In the 
 hall ofthe council, St. Ansan, St. Victor 
 and St. Bernard, other chefs-d'eeuvre of 
 Soddoma, the great Sienese master, were 
 done for 272 livres. Above, the fresco 
 in clare-obscure representing the ge- 
 neral of the Sienese, Guido Ricci da 
 Foliano di Reggio at the assault of 
 Monte Massi, is the only work extant 
 of Simone di Marti no, whom Petrarch 
 celebrated : the madders and warlike 
 engines are curious; they were made by 
 Lando di Pietro, the public military en- 
 gineer of Siena. The immense fresco of 
 the Virgin and infant Jesus, on a 
 throne in the midst of angels under a 
 baldachin, the poles of which are held 
 by ihe apostles and the patrons of the 
 town, of 1287, and extraordinary at that 
 epoch for grandeur and invention, was 
 ascertained in 1809 to be the work of 
 Sermino di Simone, retouched in 1321 
 by Simone di Martino. The chapel and 
 room adjoining, executed in 1416, by 
 Taddeo Bartolo, the best painter of the 
 time, are still characteristic. The cha- 
 pel has several subjects from the History 
 of the Virgin ; and at the altar, the 
 Holy Family and St. Calixtus, resem- 
 
 1 See ante, book yiii. cb. il. 
 
 bling Raphael, by Soddoma. The fine 
 position of the organ speaks Peruzzi's 
 taste. The room adjoining has a gal- 
 lery of illustrious republicans of old, in 
 Sienese costumes, and uttering sentences 
 in Latin and Italian for the instruction 
 of the citizens of Siena. The roof in 
 the hall of the Consistory, by Beccafumi, 
 despite some affectation in the design 
 and altitudes of the figures, is wonder- 
 fully brilliant, fresh, and transparent, 
 and procured him from Lanzi the sur- 
 name of the Correggio of Lower Italy : 
 his Justice, so clever in. the light and 
 foreshortening, was regarded by Vasari as 
 the best of Justices. A lively A ssumption 
 is by Raphael Vanni; a Nativity, in the 
 Carracci style, by Mei, a Sienese painter 
 of the seventeenth century; St. Ansan 
 justified before thepope by geese, by Pe- 
 trazzi. There may also be remarked, as 
 a proof of Sienese intelligence, the por- 
 traits of eight popes and thirty-nine-car- 
 dinals natives of the town. As to writers, 
 their number amounts to more than two 
 thousand. The adjoining room has a 
 pleasing Procession, by Marcucci. The 
 lunettes of the great room upstairs are 
 by Francesco Vanni and his school. 
 
 The archives delle Reformagioni con- 
 tain the records of the deliberations of 
 the state councils during the republic, 
 government papers, the correspondence 
 and proceedings of the Balxa and the 
 Biccherna, a great number of ancient 
 contracts collected in the volumes ofthe 
 Kaleffi and Leoni, which are moreover 
 interesting as works of art, as they have 
 elegant miniatures (one of which, of 
 1334, is by JNicolao di Sozzo), and two 
 excellent drawings with the pen by Giu- 
 liano Periccioli. These archives, most 
 interesting for the history of the middle 
 ages, were removed to Paris under the 
 empire, whence, as the keeper acknow- 
 ledges, they returned in better order than 
 they went. 
 
 The antique grand council chamber of 
 the republic is converted into an elegant 
 theatre, one of Bibiena's best.' 1 at- 
 tended several satisfactory performances 
 of Bellini's Norma : the choruses even 
 were executed with an ensemble not 
 usual in Italy ;» they displayed the in- 
 nate musical taste of the Sienese, and 
 did not surprise me when I remembered 
 the melodious and tasteful popular cho- 
 
 2 see (iiile, book x. cb. xsii, 
 
Chap. XL] 
 
 SIENA. 
 
 629 
 
 ruses I had heard sung in good time 
 by the young people in the streets, on 
 the Dreceding nights. 
 
 CHAPTER XI. 
 
 Palace del Magrilflco. — Saraclni palace. — Wolf.— 
 Piccolomini Bellanti palace. — Beccafunii's bouse. 
 —Roman gale.— San Tiene. — Fonte Follonla.— 
 Loggia.— Piccolominl and Guigi palaces.— Beauly 
 of ihe Slenese ladies.— Fonte iXiiova,— Branda.— 
 Lizza. 
 
 The palace del Magnifico, erected in 
 1504 by the magnificent Pandolfo Pe- 
 trucci, tyrant of Siena, one of whose 
 descendants was destined to throw the 
 body of Coligny out of window, 1 still 
 preserves on its front some fine rings and 
 branches in bronze, excellent works, too 
 little noticed, cast by Antoniolo Marzini 
 and Jacopo di Benedetto Cozzarelli . The 
 use of these bronze ornaments is doubt- 
 ful; some pretend that they were in- 
 tended to receive tapers ; it is more 
 likely they served to fasten the horses of 
 the nobles of Siena and their attendants 
 when visiting each other, before the use 
 of carriages. The immense and pictu- 
 resque Saracini palace, which possesses 
 several chefs-d'ceuvre of the Sienese 
 painters, presents in its chapel a Cal- 
 vary, in Raphael's style, by Soddoma. 
 
 The ceilings of the two great halls of 
 the Piccolomini palace are painted by 
 Bernard Van Orlay of Brussels, one of 
 Raphael's pupils, who was entrusted by 
 him to superintend the execution of his 
 cartoons for the celebrated tapestries of 
 the Vatican ; he died in 1550 painter to 
 Charles V. 
 
 The w r olf on a column of the piazza 
 di Postierla (of the little door) was 
 sculptured by Jacopo della Qucrcia. 
 
 Siena, like most Italian towns, has 
 paintings in its streets, 1 and by its first 
 masters. On the front of the Bambacini 
 house, near the piazza del Carmine, the 
 Virgin and the dead Christ is a work 
 of Soddoma, very much praised, and re- 
 garded as very remarkable by Vasari. 
 Near the arcade of the two doors is a 
 beautiful Madonna and St. John Bap- 
 tist, by Peruzzi. 
 
 The new palace of the Cav. Piccolo- 
 mini Bellanti, a lover of the arts and of 
 antiquity, presents a rich gallery and di- 
 vers rarities which he has assembled 
 
 ' See post, cb. xv. 
 
 there : the fresco of Scipio restoring a 
 Spanish chieftain's wife to her hus- 
 band, by Peruzzi; two graceful Virgins, 
 by Pacchiarotto and Beccafumi; a pale 
 and living Savonarola preaching, by his 
 sectarian Fra Bartolommeo, with the 
 saints' aureola and gilt flames on the 
 hood, in token of his martyrdom: the 
 portrait of Laura in Provencal costume, 
 engraved and embellished by Morghen 
 for Marsand's edition of Petrarch; Ci- 
 cognara, though he has since changed 
 his opinion, had supposed this one of 
 the contemporary portraits by Simone 
 Memmi, Petrarch's friend, but it must 
 still be of nearly the same epoch. 
 
 The Pollini palace is reputed to be 
 from the designs of Peruzzi or Riccio. 
 The frescos of Susanna and Scipio are 
 ascribed to Beccafumi, and also an an- 
 cient Judgment of Paris with the Burn- 
 ing of Troy in the background, ridicu- 
 lously metamorphosed into a Lot, whose 
 two daughters were Juno and Pallas, and 
 the wife changed into a pillar of salt, 
 Venus; the burning of Troy is meant for 
 Sodom, although the great wooden horse 
 is left. 
 
 In the street called dei Maestri, from 
 its being the residence of the artists in 
 the best times of painting at Siena, is 
 the house built for his own habitation 
 by Beccafumi. In this little brick-built 
 house of three stories, plain and in good 
 taste, he passed his life in tranquillity, 
 scarcely ever leaving Siena. 
 
 At the Bandinelli Bianchi palace, the 
 ceiling of the hall of Aurora, by Mei, was 
 thought Guercino's by Joseph Vernet. 
 
 The front of the Pannilini palace, 
 towards the piazza of Saint Augustine, 
 is reputed to be by Peruzzi, who has 
 painted divers mythological subjects in a 
 little room. A Lot is in Beccafumi's 
 manner. 
 
 The great and old Buonsignori palace 
 is of a fine Gothic. Further on, in the 
 street del Casato, a dead Christ, on the 
 front of the Mensini house, was painted 
 by Folli; and the Labours of Hercules, 
 on the front of the Nastasi house, are a 
 clever work in clare-obscure by Giam- 
 battisla di Jacomo del Gapanna. 
 
 The majestic Roman gate, of the ar- 
 chitecture of the brothers Angelo and 
 Agostino, was built in 1327, and not 
 about 1391, as stated by M. d'Agincourt, 
 
 a See ante, book y. cb. it!. 
 53, 
 
630 
 
 SIENA. 
 
 [Book XVII. 
 
 A Crowning of the Virgin, a fine fresco 
 of 1422, by Sano Lorenzetti, who re- 
 ceived 1,200 livres for it, still attests, 
 though defaced, the precocious progress 
 of painting at Siena. 
 
 The fine gate ofSanViene, formerly of 
 Pispini, of 1326, by the architect Maestro 
 Moccio, paints the faith and pious ar- 
 dour of the Sienese. It was by this gate 
 that the body of Saint Ansan, found by a 
 shepherdess near the Arbia, made its 
 solemn entry, headed by bishop Gual- 
 frcd, amid the joyous acclamations of 
 the people, who cried : II santo viene, 
 whence the name of the gate. It offers 
 a superb Nativity, by Soddoma ; the 
 foreshortening of the angel is admired. 
 
 The grand Fonte di Follonica, a re- 
 stored edifice, of 1249, was presented in 
 1489 to the town of Siena by its clever 
 architect the celebrated Francesco di 
 Giorgio. He executed near this foun- 
 tain the elegant Piccolomini Loggia, 
 ordered by Pius II., where the lottery is 
 now drawn, as well as the majestic Pic- 
 colo nini (now the Government) palace, 
 the finest in Siena, so remarkable for the 
 entablature of its front. 
 
 The Ghigi palace has been magnifi- 
 cently decorated by its possessor the 
 marquis Angelo Ghigi, of Siena, a gentle- 
 man distinguished for his amenity and 
 goodness : this nobleman, now governor 
 of Siena, instead of pompously it stalling 
 himself at the Government palace, has 
 the good sense to remain at his own 
 house. The Ghigi palace is also a kind 
 of exhibition of the products of Sienese 
 industry, for its brilliant furniture is of 
 home manufacture. The grand land- 
 scapes of the gallery are by Pianpia- 
 nino, and S. Nenci has painted a little 
 poetical fresco of Hope on the ceiling 
 of a little saloon. A very splendid ball 
 was given at this palace by the marquis 
 Ghigi during the fetes in August 1834 
 to the grand duke and his family. I 
 had then an opportunity of remarking 
 the charms, the gracefulness of the 
 Sienese ladies, long famous in Italy. 
 
 The fountain, still called Fonte Nuova, 
 of the year 1259, notwithstanding the 
 inaccurate inscription which makes it 
 only of 1298, is a masterly construction. 
 
 The Fonte Branda, made in 1193 by 
 
 ■ Inf. xxx. 78. 
 
 > See the letler written on the 1st of March 1832 
 by S. A. Bend to Professor L. de Angells of Siena, 
 who has replied thereto. 
 
 the sculptor Bellamin at the command 
 of the consuls of Siena, as the end of the 
 inscription still states : ita Bellaminus 
 jussu fecit eorum, is not, perhaps, des- 
 pite the general belief, the Fonte Branda 
 sung by Dante : 
 
 Ma s' to vedessi qui 1' anlma trisla 
 Di Guido o d' Aiessandro o dl lor frate, 
 Per fonte Branda non darei la vista,' 
 
 which for very specious reasons must 
 have been in the Casentino and near 
 Borgo alia collinas This fountain may 
 be consoled with other verses by Al- 
 fieri, who speaks of it lovingly, as well 
 as of Siena : 
 
 Fonte-Branda ml trae megllola sete, 
 Parmi, cbe ogni acqua di cilia latlna. J 
 
 The upper part, one of the ancient 
 monuments of Sienese art, fell in 1802, 
 and when I saw the fountain it was used 
 by tanners. 
 
 The pleasant and cool promenade of 
 the Lizza : 
 
 E in su la Lizza it fresco veololino, ■■ 
 
 ornamented with statues, occupies the 
 site of a rampart, designed by Peruzzi, 
 and of a fortress erected in 1551 by 
 Charles Y., which the people of Siena, 
 excited by France, demolished the year 
 following with such eagerness, that they 
 were on the point of throwing down the 
 very walls of the town. 
 
 Opposite the old edifice intended for 
 drying cloth, stands a house, the habita- 
 tion of a joyous band of Sienese Epi- 
 cureans of the middle ages, whom 
 Dante so satirically ridicules : 
 
 Tiannc lo Strlcca 
 
 Cbe seppe far le temperate spese, 
 
 E Nlccolo che la cosluma ricca 
 Del garofano prima discoperse 
 Nell' orto dove tel seme s' appicca, 
 
 E traone la brigata in cbe disperse 
 Caccia d'Asciano la vlgna c la fronda 
 E 1' Abbagliato suo senno proferse. 5 
 
 Over the Camollia gate is this inscrip- 
 tion, said to have been made in 1604 for 
 the grand duke Ferdinand, but it now 
 speaks to the traveller only, and is borne 
 
 3 See Sonnets cxi. and cm. 
 
 4 Alfleri.Son. cm. 
 
 5 Inf. «ix. 125. 
 
Chap. XIII. ] 
 
 SIENA 
 
 634 
 
 out by the polite hospitality of the Sie- 
 nese : 
 
 Cor magis tilii Sena paudlt. 
 
 In the dusty avenue of the Camollia 
 gate: 
 
 A Camoilla ml godo il polverone,' 
 
 a column erected in 1452 marks the 
 spot where the emperor Frederick met 
 his consort Eleonora of Portugal, on the 
 23rd of February, conducted by the 
 amiable iEneas Sylvius and accompa- 
 nied by four hundred Sienese ladies, a 
 cortege of honour that may give some 
 idea of the then splendour and riches of 
 Siena, which has so prodigiously fallen 
 since the loss of its ancient liberty. 
 
 CHAPTER XII. 
 
 University.— Mausoleum of Arringhierl. 
 
 The university of Siena, which dates 
 from the year 1203, is now organized 
 the same as that of Pisa; 2 but it has 
 rarely more than three hundred students, 
 and the professors' appointments are in- 
 ferior. 
 
 The mausoleum of Nicolao Arringhieri, 
 professor of law, formerly in the cloister 
 of Saint Dominick, is curious as a work 
 of art. It cannot be, as pretended on 
 Cicognara's authority, by Goro di Gre- 
 gorio di Sanese, as his celebrated basso- 
 relievos on the tomb of Saint Cerbonius 
 at Massa della Maremma are of 1323 and 
 this tomb is of 1374 ; it is more probably 
 by the Sienese master Gano. The basso- 
 relievo representing Arringhieri's lec- 
 ture room is perfectly simple, natural, 
 and true. It is impossible not to be 
 struck by the importance, the considera- 
 tion attached to instruction on beholding 
 such a monument consecrated to a pro- 
 fessor; the most illustrious of our times 
 are assuredly treated much less magnifi- 
 cently than this legist of the fourteenth 
 century. 
 
 CHAPTER XIII. 
 
 Institute of Fine Arts. — Sienese school. — Palming, 
 the expression of society.— Painters, a civil body 
 
 and functionaries.— Old paintings. 
 
 The antique school of Siena, the rival 
 of the Florentine, and perhaps not less 
 
 * Alfieri, son. cm. 
 
 numerous, offers a free, gay, easy, and 
 poetical style, in perfect uniformity with 
 the character of the inhabitants, and 
 painting seems in this case the true ex- 
 pression of society. The painters in this 
 democracy were not a simple confrater- 
 nity, nor a vain academy, but they formed 
 a civil corps, from which the first magis- 
 trates were sometimes chosen, and their 
 statutes received the approbation in 1355, 
 not of the bishop, but of the government. 
 Most of the schools are proud when they 
 can cite two or three masters of the 
 thirteenth century; the school of Siena 
 has a considerable number of them, and 
 some few of a remoter period. The in- 
 stitute of Fine Arts has secured several 
 of their old and glorious works, formerly 
 dispersed in the churches, viz. : a St. 
 Peter, and a St. John on a tbrone, though 
 he is more frequently represented in the 
 desert, of 1100, by Pierrolino or Pietro 
 di Lino; a Christ, of 1215, byGuiduccio; 
 a Virgin, of 1249, by Gilio di Pietro ; a 
 Crucifix, of 1305, by Massarello; an An- 
 nunciation, St. Paul, St. Romuald, a 
 painting in four compartments, extraor- 
 dinary for its time, the finest work of 
 Segna di Buonventura, a Sienese painter 
 of the beginning of the fourteenth cen- 
 tury ; a Crucifix, of 1344, and a St. Paul, 
 by his son Nicolao; St. Michael, by 
 Simone di Martino; the Assumption, by 
 Pielri di Giovanni ; the Crucifix, by Ste- 
 fano di Giovanni; the St. Sebastian, by 
 Andrea di Vanni. 
 
 The more recent chefs-d'oeuvre are : 
 a Nativity, in Mantegna's manner, by 
 Francesco di Giorgio, likewise a sculptor 
 and famous architect of Siena in the 
 fifteenth century ; a St. Nicholas preach- 
 ing, of. 1440, by Giovanni di Paolo of 
 Siena, who has given the saint a Jupiter's 
 head ; several saints, by Brescianino; a 
 Virgin and a Nativity, by Perugino ; the 
 Virgin visiting St.Elizabeth,and below, 
 an Annunciation full of grace and na- 
 ture, by Pacchiarotto ; the two little 
 figures of the Magdalen and Saint Reina, 
 by Fra Bartolommeo ; the St. Michael, 
 the Trinity, the Birth of the Virgin, 
 and particularly the St. Catherine stig- 
 matised, by Beccafumi ; this last paint- 
 ing is regarded as one of his best works, 
 and in his first manner, before he had 
 strained his talent by an impotent imi- 
 tation of Michael Angelo's energy ; a 
 
 2 see ante, book xi, cli, xiil. 
 
632 
 
 SIENA. 
 
 [Book XYM. 
 
 Paradise, by Riccio; a Purgatory, a 
 Descent of the Holy Ghost, by Sorri ; 
 St. Eloi, by Manetti ; a St. Charles Bor- 
 romeo, by Rustichino; a Nativity, ad- 
 mirably true, by Soddoma, iu which 
 there is a graceful angel, the reputed 
 portrait of the author in his youth. 
 
 CHAPTER XIV. 
 
 Library. — Introuotl.— Gospels. — Letters of Saint 
 Catherine of Siena and of Socinus.— Miniatures. — 
 l'oi'tfollos of Giorgio Sanese, I'eruzzi, aud Giu- 
 liano San Gallo.— Letters of Metastasio. 
 
 The library of Siena, consistingofabout 
 fifty thousand volumes and five or six 
 thousand manuscripts, is located in the 
 ancient great hall of the celebrated Aca- 
 demy of the Intronati (Simpletons), 
 which passes for the oldest in Italy, but 
 its glory, like that of most other poetical 
 academies of the same kind, is now nearly 
 extinct. In the vestibule are the busts 
 of the archdeacon Bandini (a writer on 
 political economy, the author of a re- 
 markable work on the Maremme, in 
 which he anticipated, as early as 1737, 
 the opinions of the French economists), 
 whose books laid the foundation of the 
 library in 1758, and of P. Giuseppe Az- 
 zoni, an Augustine, professor at the 
 university, who had considerably aug- 
 mented that of Saint Augustine now 
 added to this; and several antique sculp- 
 tures. In the library itself are the busts 
 of the satirical and learned Gigli, pub- 
 lisher of Saint Catherine of Siena, and of 
 the great Sienese improvisatore Perfetti, 
 crowned in 1725 at the Capitol with the 
 laurel of Petrarch and Tasso, but his 
 triumph doubtless escaped the strange 
 accidents to which the Canzoniere was 
 exposed.* 
 
 The oldest manuscript is a copy of the 
 Gospels in Greek, of the eighth or ninth 
 century, spoken of by Montfaucon, though 
 he did not see it. The characters are fine, 
 the figures rather aukward, but well co- 
 
 • Petrarch Informs us in his Lotin letters that the 
 aurel of the Copiloi [laurea Capitolina) rendered 
 him obnoxious to many envious persons ; and that, 
 on the day he was crowned, instead of the scented 
 water usually sprinkled on such solemnities, he re- 
 ceived on his head a quantity of corrosive water 
 which made him bald for the rest of his life. His 
 historian, Dolce, further relates that an old woman 
 emptied on tttai a vessel full of stale urine, per- 
 
 loured and gilded : a magnificent binding 
 ornamented w ith nielle covers this pre- 
 cious volume, which belonged to the 
 imperial chapel of Constantinople, was 
 sold at Venice on the fall of the Greek 
 empire, and bought by the agents of tLv 
 great hospital of Siena, whence it passed 
 to the library. 
 
 The manuscript of the remarkable 
 prose translation of the iEneid, of the 
 thirteenth century, by Ciampolo de Meo 
 de' Ugaruggieri, a Sienese, explained by 
 the late diligent librarian P. Ludovico de 
 Angelis, deceased in 1832, proves the 
 ancient fitness of the Italian language 
 for that kind of work, in which it has 
 been since honoured by the chefs- 
 d'eeuvre of Annibale Caro, a Davanzati, 
 Cesarotli, Monti. 
 
 The manuscript of the Letters of Saint 
 Catherine of Siena, who could not write, 
 is by one of her secretaries, and seems to 
 contradict, by the correctness and purity 
 of style, Buffon's remark that persons 
 who write as they speak, though they 
 speak well, write badly. 
 
 Three autograph letters of Faustus 
 Socinus, who sprung from an opulent 
 family of Siena, 3 only recently extinct, 
 are addressed to Belisario Bulgarini, an 
 Italian author of the sixteenth century, 
 who wrote against Dante ; the two first 
 of these letters, all in a good hand, are 
 dated from Lyons, on the 28th of July 
 and the 27th of September 1561 ; the third 
 is dated from Bude on the 30lh of Oc- 
 tober 1577. It is a singular coincidence 
 that such a saint as Catherine and such 
 heresiarchs as the Socinians should be 
 born in the same town; their respective 
 manuscripts preserved at the library of 
 Siena show the transports and almost the 
 delirium of faith beside its absence and 
 its hatred. 
 
 Several manuscripts with miniatures 
 are curious with respect to art; namely, 
 the Ordo officiorum Sencnsis ecclesiw, 
 executed drily, but in 1213, by the canon 
 of Siena, Oderico, bordered with animals 
 and little figures ; the Gradual of Lec- 
 
 haps kept seven weeks for that very purpose ( ser- 
 vjla in sabbata seplem ). 
 
 ' Two other translations of the JEuelO, published 
 bince Annibal Caro's, though of much less note, are 
 not deemed inferior; these translations are by 
 Augelucci and the P. Beverlni. 
 
 3 The Malavoltl palace, recently built, occupies 
 the site of their bouses. 
 
Chap. XV.] 
 
 SIENA. 
 
 635 
 
 celo, of 1490, by the blessed Antonio 
 Cerretani. 
 
 The autographs of Francesco di Gior- 
 gio on civil and military architecture, 
 illustrated with drawings by him, gave 
 even then directions for mining and other 
 underground works, which this great 
 artist had taught the celebrated general 
 of engineers Pietro Navarra, to whom the 
 invention is too often attributed, though 
 he was only the first to put it in prac- 
 tice. 
 
 The portfolios of the two great artists 
 of the fifteenth century, Baltassare Pe- 
 ruzzi and Giuliano San Gallo, are ex- 
 t remely curious. The portfolio of the latter 
 is a small octavo, in which he has traced 
 on parchment ornaments of exquisite 
 taste, inscriptions, and even machines. 
 The portfolioofPeruzzi, a quarto volume, 
 is a precious collection of sketches of 
 things that had pleased him or of his 
 invention. There is, in particular, a 
 sketch of the Sibyl, different from the 
 fresco in the drapery and head-dress. 
 The latter is more simple in the sketch, 
 for the hair of the Sibyl is not surmounted 
 by that kind of little yellow bonnet which 
 Peruzzi afterwards added. A plan of 
 fortification for the gate of Saint Mark 
 of Siena, some unfinished works of which 
 are still visible, proves that Peruzzi may 
 be ranked with the great military engi- 
 neers, like most able artists of that epoch. 
 
 Divers autograph letters of Metastasio, 
 of but little interest and published in 
 part, are addressed : twenty-five to P. 
 Azzoni, from 1764 to 1782 ; sixty to abbe" 
 Pasquini, a Sienese man of letters, from 
 1744 tol768; one, of the 1st of April 
 1773, is written to Maria Fortuna, a 
 poetess of some celebrity ; and another, 
 of the 12th of November 1738, to the 
 architect Bibiena . These autographs are 
 in a handwriting at once neat and ele- 
 gantlike his talent. Several display that 
 complaisance and that weakness common 
 to men of great renown of praising and 
 seeming to admire all the books and 
 verses presented to them. 
 
 CHAPTER XY. 
 
 Environs. — L'Osservanza. — Pandolfo l'etrucci. — 
 Belcaro.— Judgment of Paris. — Loggia. — Chapel. 
 Cannon-balls.— Catalelto. 
 
 The environs of Siena, though not 
 studded with villas like those of Flo- 
 
 rence, are pleasant and worth seeing. 
 
 L' Osscrvanza, one mile from Siena, is 
 a vast convent of Franciscans, well si- 
 tuated on the hill delta Capriola, with a 
 fine wood of evergreen oaks and limpid 
 springs in the valley. The church has 
 great basso-relievos of the Crowning of 
 the Virgin, in burnt earth, by the brothers 
 Luca della Robbia, and a pathetic Cal- 
 vary, by Riccio, horribly defaced, and 
 well deserving to be repaired. The ce- 
 lebrated tyrant of Siena, Pandolfo Pe- 
 trucci, called the Magnificent, the friend 
 and correspondent of Machiavel, whose 
 policy he cleverly practised, and the ally 
 of Cesare Borgia, is interred in a vauil 
 of the convent, which had been enlarged 
 by him. Pandolfo, when above seventy 
 and infirm, died of an asthma in 1512, 
 after oppressing his country for twenty- 
 five years, from the day he was the first 
 to scale its ramparts. The sons of 
 the Magnificent were expelled and 
 spoiled ; his somewhat plain tomb, of 
 travertine, was executed by one of Pe- 
 ruzzi's assistants, and it is easy to recog- 
 nise the taste of that grand master in the 
 disposition and ornaments. 
 
 Three miles from Siena is the castle of 
 Belcaro, celebrated for various historical 
 events, and curious for its immense 
 view. In the tenth century, when it was 
 a feudal manor, Catherine induced the 
 government of the republic to sanction 
 the legacy which made it hers, and in- 
 stalled herself there with some young 
 nuns; but the ardent founder of this 
 convent could not rest quiet in such a 
 solitude, and accordingly left it to run 
 over France and Italy, to reconcile the 
 differences between the pope and the 
 Romans, between the people of Florence 
 and the signiory, and if death had not 
 intervened, between the pope and the 
 Neapolitan court. The holiness and 
 abilities of Catherine had then made her 
 a real mediating power. In the fifteenth 
 century, Belcaro became once more a 
 castle, and in the sixteenth it was the 
 villa of the banker Crescentius Turamini, 
 a lover of the arts, who employed Pe- 
 ruzzi to embellish it. On the ceiling of 
 the vestibule is the great Judgment of 
 Paris, cited by Lanzi as the masterpiece 
 of the illustrious artist. Paris is seated 
 with the goddess in front and three wo- 
 men behind, the waiting-maids of th e 
 former, who were not before known t 
 have been in attendance ; in the back„ 
 
654 
 
 ground, on the same side as the goddesses, 
 are two rivers. A conjecture of cer- 
 tain competent judges is a sufficient elo- 
 gium for this fresco, which is not known 
 enough : it appears that it was executed 
 from a design by Raphael, of whom Pe- 
 ruzzi had taken lessons at Rome; this 
 design is now lost, though it was used by 
 MarcantonioRaimondi, for the engraving 
 he made from it, in 1539, of a Judgment 
 of Paris, like the fresco. 
 
 The Loggia of three arcades, at the 
 end of the terrace, once presented orna- 
 ments, medallions, and little mytholo- 
 gical figures in perfect taste; but this 
 charming decoration, a happy imitation 
 of the Loggia at the Vatican, was greatly 
 injured by the rain and the whitewash 
 which a mother's scruples had caused to 
 be smeared over the most voluptuous 
 figures about the end of last century ; it 
 will be indebted for its regeneration to 
 the talent of S. Monti, of Siena, a very 
 skilful retoucher, who has already de- 
 livered them from a part of their rude 
 veils, at the same time removing certain 
 indecencies, and to the zeal of S. Cama- 
 jori, whose family purchased Belcaro of 
 the last Turamini in 1721, who found 
 this villa almost in ruins, and, a worthy 
 rival of his predecessor, the magnificent 
 Crescentius, became its liberal and in- 
 telligent restorer. 
 
 Like Palladio at Maser, 1 Peruzzi, on 
 his return from Rome, also risked his 
 little Pantheon in the construction of the 
 elegant chapel of Belcaro with its painted 
 cupola. One feels, in the two villas 
 which I have been the first of French 
 travellers to describe, the admiration 
 that the antique monument had excited 
 in these two men of genius. This cha- 
 pel is a condensation of Peruzzi's archi- 
 tectural talent. He has covered the 
 quadrilateral and elliptical roof with 
 exquisite figures and ornaments : small 
 genii or angels support the escutcheon of 
 the Turamini, whilst others show and 
 scatter flowers and crowns; at the cor- 
 ners, are four angels bearing golden 
 candelabra; they have no wings, which 
 the situation and their functions would 
 hardly permit, but they do not seem less 
 aerial or celestial on that account. The 
 great Madonna in the midst of saints, 
 most of whom are sufficiently cold and 
 
 1 See anle, book v. ch. ixx. 
 3 See ante, ch. ii. 
 
 SIENA. [ Book XVII. 
 
 formal, though correctly drawn, was not 
 regarded as Peruzzi's by Wicar; but he 
 may be recognised by the Virgin so full 
 of nobleness and modesty, and he must 
 have left the work unfinished. This at- 
 tention to the principal figure and indiffe- 
 rence about the rest of the composition 
 was common with him, and we have 
 seen thatin the Sibyl, she alone is worthy 
 of his pencil. 5 
 
 Part of the ancient fortifications, a 
 kind of long bastions, dependent on the 
 villa, now form a very pleasant prome- 
 nade, wonderfully airy. There may be 
 seen incrustcd six balls shot by the ar- 
 tillery of Charles V., anally of Cosmo I., 
 when he besieged Siena in 1554. These 
 wrecks reminded me of the courage and 
 endurance of the citizens, and the fide- 
 lity of the peasants hanged by the ene- 
 my's general, the merciless marquis de 
 Marignan, incensed because their rustic 
 daring braved his cannon, and who soon 
 fixed his head-quarters at Belcaro. 
 
 A small wood of holmoaks borders on 
 the villa. On a stone the following ap- 
 posite verse of Petrarch is engraved : 
 
 E r ombra folta, e 1' aure dolci estive. 
 
 The clergyman was my cicerone at 
 Belcaro, and he did not fail to point out 
 at the church a Madonna of the Rosary, 
 curious for its antiquity. This active 
 and obliging guide boasted during our 
 walk of having withdrawn from a damp 
 place a Cataletto.* an excellent copy of 
 another Catalctto, painted by Pacchia- 
 rotto, and now in England. I was 
 anxious to see it, though in the hen-house. 
 This wreck of painting excited in me but 
 little less regret than the ruins of Pe- 
 ruzzi's frescos in the Loggia. It was 
 impossible not to be struck with the 
 expression of a head of St. Francis 
 stigmatised, the nobleness of a Ma- 
 donna, the beauty of a great St. Ber- 
 nardin and the gracefulness of the orna- 
 ments. Such is the power, the poetry of 
 Italian art! these figures oii a kind of 
 bier, barely visible behind the fowls that 
 were roosting there, and in a musty place 
 hot enough to stifle one, caused me the 
 same emotions as the chefs-d'oeuvre ex- 
 posed in the most brilliant galleries. 
 
 5 See anle, ch. ili. 
 
Cuap. XVII.] 
 
 COLLE 
 
 635 
 
 CHAPTER XVI. 
 
 The draining of the maremma of Siena, 
 begun in 1828, is nearly terminated. 
 Industry and cultivation will confer sa- 
 lubrity on these vast plains, which, when 
 inundated, were a focus of disease and 
 contagion. The population of the town 
 of Grosseto, which in 1833 was two 
 thousand three hundred and twenty-one, 
 was more than quadrupled in 1836. The 
 marshes of Albarese and Giuncola, the 
 lakes of Bernardo and Lagacciolo, the 
 districts of Scarlino, Compiglia, Piom- 
 bino, are dry, and likewise the marsh of 
 Castiglione, the most astonishing under- 
 taking of the whole. Certain new and 
 expeditious means of draining, which 
 the work now printing at Florence on 
 the subject of recovering the maremma 
 will doubtless make known, have been 
 employed there. The plans of the learn- 
 ed and venerable Count Fossombroni, 
 the grand duke's prime minister, were 
 ably executed by the engineer Manetti 
 and Professor Pianigiani of Siena. Such 
 results are honourable to the thrifty go- 
 vernment of Tuscany, and to the prince 
 whose solicitude has powerfully contri- 
 buted thereto, and they must be placed 
 in the foremost rank of these useful and 
 difficult works. 
 
 CHAPTER XVII. 
 
 Colie.— Invention of paper.— Cathedral.— Saint 
 Augustine.— Tower of Arnolfo. 
 
 Colle, an ancient and industrious town 
 of five thousand four hundred inhabi- 
 tants, is divided into an upper and lower 
 town, the latter called Spugna, from 
 the calcareous matter covering the soil. 
 The waters of the Elsa have the property 
 ofincrusting with stalactites and harden- 
 ing any substance thrown into them, a 
 peculiar quality remarked by Dante, for 
 the Homer of the middle ages, like him 
 of antiquity, is still an authority for the 
 natural sciences ; these abundant waters 
 work the celebrated paperraills, which 
 are said to date from the invention of 
 paper. It is surprising that the epoch 
 of such a discovery, one of the most im- 
 portant of modern times, should be so 
 uncertain. Montfaucon indicates the 
 end of the eleventh century as the pe- 
 
 riod; Muratori thinks it much older; 
 Francesco Stelluti, academician of the 
 Lincei, in bis notes on the satires of 
 Persius, pretends that it was 990, and 
 that the honour of it is due lo Fabriano, 
 his native place, whence it passed lo 
 Colle. Paper seems to have been in- 
 vented by the Arabs ; it was out of use 
 from the seventh to the tenth century, 
 which doubtless contributed to the igno- 
 rance and barbarity of those times. The 
 papermills of Colle were in a flourishing 
 condition about the end of the fourteenth 
 century ; and their number, now reduced 
 to eleven, was then twenty-two. The 
 establishment of a printing-office ranked 
 with the first in Italy followed a century 
 after the introduction of painting, and 
 its founder was Lorenzo Lippi, a great 
 Hellenist, and a native of Colle. 
 
 The town was shown to me by one of 
 those learned, obliging, and excellent 
 men, such as may be found in every 
 corner of Italy, the canon C***", the 
 owner of a select library and a very cu- 
 rious collection of autograph letters. 1 
 
 The fine cathedral was enlarged in 
 the sixteenth century by the first bishop 
 Usimbardo Usimbardi of Colle, who also 
 built the episcopal palace. A Christ in 
 bronze, by Giovanni Bologna, is one of 
 his good works. 
 
 The great and noble church of Saint 
 Augustine, of the fourteenth century, 
 has a Deposition from the cross, attri- 
 buted to Domenico Ghirlandajo or Sod- 
 doma, and worthy of those masters, 
 though it is really by Agostino della 
 Porta, who, as well as this painting, is 
 entirely overlooked by Lanzi. Another 
 Deposition with St. Jerome, St. Fran- 
 cis, St. Catherine, by Cigoli, the finest 
 painting in the town, remarkable for the 
 sunken appearance of Christ's body, is da- 
 maged, but well deserving of restoration. 
 The tower of Arnolfo di Lapo, con- 
 structed by him, was until lately inhabited 
 by the family of that great architect, now 
 nearly extinct, as none but females are 
 left. This tower had just been aban- 
 doned on account of its insalubrious site. 
 Arnolfo, though of German origin, was 
 born at Colle, which town has produced, 
 beside its beneficent bisnop Usimbardi 
 and its learned printer Lippi, the painter 
 of the fifteenth century, Cennino Cen- 
 nini, praised by Vasari, and perhaps the 
 
 » See Tarietis itatiennes. 
 
656 
 
 VOLTEIlilA. 
 
 [Book XVI i. 
 
 first who wrote on the nature of colours 
 and the manner of employing them ; 
 Bartolommeo Scala, the "illustrious se- 
 cretary and historian of the Florentine 
 republic ; the Dominican Giovanni Maria, 
 a geographer and poet, qualities that are 
 but rarely combined; the Florentine 
 diplomatist Paolo di Ser Giovanni; Fra 
 Giovanni Tolosani, an astronomer of the 
 sixteenth century ; and in the last cen- 
 tury, the clever engineer Fernando Mo- 
 rozzo, who left unpublished some va- 
 luable papers on history and hydraulics. 
 
 CHAPTER XVIII. 
 
 Votterra.— Walls.— Porta dell' Arco.— Xatuedral.— 
 Oratory of Saint Charles.— Saint John.— Mauso- 
 leum or Volterrano. — San Dalmazlo. — Saint 
 Francis.— Confraternity of tue Cross. 
 
 The enormous and extensive walls of 
 Vol terra, laid and held together without 
 lime or cement, and its gates, one of 
 which, called dell' Arco, formerly d'Er- 
 cole, from the temple near it, is in such 
 wonderful preservation,' bear testimony 
 to its ancient magnificence, and make it 
 appear like the capital of that moun- 
 tainous and arid part of Etruria. The 
 gate dell' Arco, the chief monument of 
 Volterra, covered with weeds and ve- 
 getation, costs nothing in repairs and 
 keeps itself in good condition. The an- 
 tiquarians pretend that the three great 
 heads on the side towards the country 
 represent rural divinities, the tutelary 
 gods of the town, or more simply three 
 lions as on the gates of Mycenae and 
 sacred edifices; but these heads are so 
 changed and worn by time that it is 
 impossible to determine what they are. 
 According to the custom of the Etrus- 
 cans, the outer front of the arch was 
 more embellished than the inner. In no 
 part of Italy are the Etruscan structures 
 so imposing, so characteristic, and Maffei 
 affirms that he who has not been at Vol- 
 lerra can form no conjecture of Etruscan 
 antiquity from description. 
 
 The modern town, though greatly 
 fallen from the rank it held at the begin- 
 ning of the thirteenth century, the period 
 of its consuls and popular government, 
 seems now to recover a little, and the 
 population, which was only eight thou- 
 sand six hundred and eighty-three in 
 1814, was nine thousand eight hundred 
 and eighty-three in 1832. 
 
 Sonic of the edifices arc very remark- 
 able, and the churches contain some ex- 
 cellent paintings and sculptures. 
 
 At the church of Saint Peter in Selci 
 the Immaculate Conception is a good 
 work by Brini, a painter of the seven- 
 teenth century, whose country and school 
 are unknown. 
 
 Saint Augustine has, in the choir, an 
 esteemed Crucifix, by Currado; a Pu- 
 rification, a feeble work by Volterrano, 
 then only nineteen years of age, and' re- 
 turned home during the plague that ra- 
 vaged Florence in 1630; a fine and mi- 
 raculous Crucifixion of the beginning of 
 the fifteenth century, and, in the sa- 
 cristy, a curious painting in distemper 
 of the year 1408. 
 
 The oratory of Saint Anthony has a 
 Virgin, St. Anthony the abbot, and 
 St. Bartholomew, by Ghirlandajo, which 
 does not seem altogether worthy of that 
 great master, and in the sacristy are se- 
 veral Saints executed in 1418 by the 
 Sienesc Taddeo Bartolo, 
 
 The church of Saint Michael, depen- 
 dent on the college of the Pjpus Schools, 
 has the Saint and the Virgin carrying 
 the infant Jesus, a distinguished work 
 of Carlo Maratta, and the Saint the 
 founder of the Order, a copy by Zocchi, 
 and superior to the original by Antonio 
 Franchi. This college of the friars of 
 the Pious Schools, formerly celebrated, 
 is still rather flourishing, and I cannot 
 forget the worth and courtesy of the 
 young professor of rhetoric, P. Fernando 
 Baffo, who was kind enough to be al- 
 most my cicerone at Volterra. 
 
 The grand cathedral appears by Nico- 
 lao Pisano; its restoration and embel- 
 lishment in 1574 were ordered by bishop 
 Guido Serguidi, and executed on the de- 
 signs of Leonardo Ricciarclli, a nephew 
 of the great painter Daniello of Volterra. 
 The traveller may distinguish : at the 
 entrance of the choir, on two spiral co- 
 lumns of good workmanship, two charm- 
 ing angels, and the marble tabernacle of 
 the high altar, by Mino di Fiesolc ; the 
 Virgin, St. Francis, and St. John, Vol- 
 terrano's chef-d'oeuvre, so remarkable 
 for the beauty of the evangelist's head; 
 the elegant tomb of Saint Octavian, 
 whose intercession delivered Volterra 
 from the plague of 1522, which tomb 
 was ordered by the people of Raphael, 
 called Giovanni Cioli di Settignano; the 
 rich chapel of the Holy Sacrament, from 
 
Chap. XVIII.] 
 
 VOLTERRA. 
 
 637 
 
 Vasari's designs; a Resurrection of La- 
 zarus, very true, by Santi Titi, better 
 in colouring than usual with him; St. 
 Sebastian, scientific in the naked parts, 
 by Pietro Cungi daBorgo San Sepolcro; 
 an Annunciati on, yfiih a pretty landscape 
 in the background, of 1497, without au- 
 thor's name, worthy of Ghirlandajo ; the 
 basso-relievos of the pulpit, probably of 
 the thirteenth century ; the bust of Pope 
 Saint Linus, by Lucca della Robbia, and 
 the united fragments of the ancient and 
 majestic paliotto of the high altar, by 
 Mino di Fiesole, in the canons' cloister; 
 the stuccos of Giovanni di San Giovanni 
 in the chapel of Saint Paul, so varied, 
 so rich in marbles from the quarries of 
 Volterra, and ornamented with a fine 
 Conversion of the Saint by Domeni- 
 chino, insolently retouched by the Flo- 
 rentine Veracini and Franchini d'Arezzo ; 
 his Martyrdom, not over graceful, by 
 Currado or Guercino, and the Saint re- 
 ceiving his despatches ordering him to 
 imprison the Christians of Damascus, 
 by Matteo Rosselli ; in the sacristy are a 
 silver reliquary of excellent workman- 
 ship, and four small paintings in a good 
 style ; one of them, a Deposition from 
 the cross, has been attributed to Sod- 
 doma. 
 
 The oratory of Saint Charles, adjoining 
 the cathedral, seems a perfect museum. 
 A Magdalen in ecstasy might be sup- 
 posed by Guido, had he not himself 
 written to Captain Francesco Incontri 
 that the author was one of his pupils, 
 named Camillo, probably of that ancient 
 family of Volterra, and that he had only 
 made the design, retouched the head 
 and some other parts; a Virgin, by 
 Leonardo of Pistoja, has two little an- 
 gels singularly graceful ; an Annuncia- 
 tion, by Luca Signorelli, is very natural. 
 The other good works of this brilliant 
 oratory are : a Nativity, by Benvenuto of 
 Siena, dated 14.70, barbarously blacken- 
 ed by the smoke of tapers ; the Depo- 
 sition from the cross, by Rosso; the 
 Presentation at the temple, fine in the 
 colouring, one of Naldini's best com- 
 posed paintings; the Nativity of theVir- 
 gin, of an admirable colour, by Currado. 
 The tomb of the bishop of Cavaillon, 
 Mario Maffei, of Volterra, a learned 
 prelate, who enjoyed the confidence of 
 Julius II., whose nuncio he was in 
 France, of Leo X., Clement VII., and 
 a friend of Paul III. in his infancy, a 
 
 magnificent mausoleum that must belong 
 to one of the clever artists proceeding 
 from the workshops and quarries of the 
 Tuscan town of Settignano; the St. Jo- 
 seph, of Volterrano's youth; the Holy 
 name of Jesus, given to the town of 
 Volterra by its author Saint - Bernardin 
 of Siena, when he introduced that devo- 
 tion there in the year 1424; and, in the 
 chapel of the Virgin, the frescos of Be- 
 nozzo Gozzoli. 
 
 Saint John, Gothic, in an octangular 
 form and covered with marble of various 
 colours, may be as old as the ninth cen- 
 tury. The inside has been renovated. 
 An expressive Ascension passes for the 
 chef-d'oeuvre of Pomarancio, who has 
 signed v under the title of Volterrano. 
 The figures of the ancient baptistry are 
 an exquisite work by Andrea di San Sa- 
 vino. 
 
 The monastery of the nuns of Saint 
 Linus was founded by Raphael Maffei, 
 called II Volterrano, the feeble trans- 
 lator of the Odyssey, the OEconomicon 
 of Xenophon, the Discourses of St. Ba- 
 sil, but the learned author of Commen- 
 tarii TJrbani, which procured him Poli- 
 tian's esteem and the encomiums of 
 Ariosto : 
 
 O dotta compagoia, che seco mena 
 Fedra, Cappella, Forzio, il Bolognese, 
 Filippo, il Volterrauo, il Maddalena. 
 
 He founded the academy of the Se- 
 polti of Volterra, still existing, which 
 has for its arms a silkworm's shell with 
 the pretty motto, Operantur sepulti. 
 Volterrano, after having been appointed 
 by Sixtus V. secretary of legation to the 
 cardinal of Aragon in Hungary and at 
 Ferrara, on returning to his country, 
 lived almost like a hermit, lodging in a 
 boarded cell, sleeping on straw, and tak- 
 ing no food but bread and water. He 
 renounced all profane erudition, and 
 composed nothing afterwards but lives 
 of saints. His remarkable mausoleum, 
 erected by his brother the bishop of Ca- 
 vaillon, Marius Maffei, was begun by the 
 able sculptor Silvio of Fiesole and fi- 
 nished by Fra Montorsoli and Stagi of 
 Pietra Santa. The inscriptions are not 
 free from exaggeration, and the sic itur 
 ad astra put between the hands of Vol- 
 terrano scarcely comports with works 
 like his. A Virgin and St. Linus, dated 
 1597, is an excellent painting by Currado. 
 
 54 
 
658 
 
 VOLTERRA. 
 
 [Book XYU. ; 
 
 The conventof San Dalmazio is of Am- 
 manato's architecture. In the church, a 
 Deposition from the Cross, with a great 
 number of figures, by Rossetti, a pupil 
 or Daniello of Volterra, has that mas- 
 ter's vigour. 
 
 The church and convent of Saint Fran- 
 cis were erected by the cotnune and 
 people of Volterra, in the year 1251 : 
 the arms of the comune may be seen' on 
 the front of the church, and those of the 
 people in the court of the convent. The 
 celebrated and venerated reliquary con- 
 tains a piece of the loaves multiplied by 
 the Saviour; it is of bailey, and seems 
 still soft. A fine sepulchral marble stone, 
 in good preservation, curious for the cos- 
 tumes and armour of the persons sculp- 
 tured thereon, covers the remains of Mi- 
 chele di Pigio dei Buonaguidi of Volterra, 
 who rose in arms against his country, 
 negociated with the ambassadors sent to 
 him on the 26th of January 1370, and ob- 
 tained an amnesty for himself and his 
 partisans, the enjoyment of his property, 
 and the possession of the castle of Monte- 
 verdi, receiving an indemnity of 300 
 golden florins for the fortifications he 
 had erected there. The painting at the 
 altar of the Crucifix passes for the best 
 work of Daddi, a good Florentine painter 
 and master of the able Volterrano. An 
 animated and graceful Nativity, dated 
 1591, is by Balducci ; a good Conception, 
 by Naldini; a Virgin and divers saints, 
 ordered of Luca Signorelli by a monk of 
 the convent. The tomb of the illustrious 
 prelate Guarnacci, spoken of hereafter, 
 was ordered by him in his lifetime. 
 
 The confraternity of the Cross del 
 Giorno, built in 1315, adjoins the church 
 of Saint Francis. The richness of the 
 painting in this Gothic chapel, with its 
 azure vault studded with stars of gold, 
 is truly extraordinary. Our witty and 
 pathetic painter Delaroche Wj^s struck 
 with it and liked the style, beside the 
 four Evangelists on the ceiling, dated 
 1410, ascribed to Jacopo of Florence, and 
 the Massacre of the Innocents, the In- 
 vention of the Cross, with other sacred 
 subjects, painted at the same epoch on 
 the walls, by Cenni di Francesco di Ser 
 Cenni, the Crucifix of the altar, by Sod- 
 doma, is excellent. 
 
 CHAPTER XIX. 
 
 Toner de! Maslio.— Theatre.— Palace del I'ubblico 
 
 —Library. -Museum.— Pretoria. — Reservoir 
 
 House of Daniello of Volterra; — bis Elijah.— 
 Water of San Felice. 
 
 On a rock in the highest part of the 
 town stands the tower del Mastio, built 
 in 1347 by the duke of Athens, then ab- 
 solute master of Florence. Occupied 
 for ten years by ar Florentine garrison, 
 it was the instrument of that new ty- 
 ranny which forced a Florentine on the 
 town as captain of the people. When 
 converted into a state prison, it received 
 the unfortunate disciple of Viviani, Lo- 
 renzo Lorenzini, unjustly suspected by 
 Cosmo III. of aiding the correspondence 
 of ids wife, the princess Margaret of Or- 
 leans, with Prince Ferdinand. Lorenzini 
 employed the eleven years of his capti- 
 vity in composing the work on conic 
 sections, the unpublished manuscript of 
 which, in four thick folio volumes, is pre- 
 served in the Magliabecchiana library. 
 I visited the frightful dungeon said to 
 have been Lorenzini's place of confine- 
 ment, where he could never see the sun, 
 and the trace of his steps is still shown 
 on the brick floor; when Leopold saw it, 
 he was horror-struck, and ordered it ne- 
 ver to be used again. There was then, 
 in 1834, another state prisoner at the 
 Mastio ; but he, a merchant of Leghorn, 
 was smoking a cigar at his ease on the 
 terrace near the centinel ; his chamber 
 had a large glazed window, and his din- 
 ner was supplied him from the Locanda. 
 If I lamented the loss of his liberty, I 
 could not avoid being struck with the 
 contrast. 
 
 The old Guarnacci house with its three 
 towers, one of them as old as the year 
 1200, has a superb Greek Hercules and 
 several other statues. 
 
 The abundant, wholesome, and never 
 failing Docciola fountain is a good con- 
 struction of the year 1245. 
 
 On the. front of the Ducci house is a 
 funeral inscription in memory of a young 
 Roman of Persius's family, which fa- 
 vours the opinion that the precise and 
 obscure Latin satirist was born at Vol- 
 terra. 
 
 The theatre of Volterra, built in 1819, 
 is one of the finest in Tuscany ; it is pret- 
 tily painted by S. Contestabili, and e lie 
 curtain represents Persius led by the 
 
Chap. XX. ] 
 
 VOLTERRA. 
 
 639 
 
 Muse to Parnassus, where Apollo shows 
 him the temple of Glory. 
 
 The palace del Pubblico, formerly the 
 residence of the first magistrate of Vol- 
 terra, was finished, as the inscription 
 states, in 1247, and though of the infancy 
 of art, it produces a fine effect from the 
 great square. It is now occupied by the 
 library and museum of. Etruscan anti- 
 quities. The library, established in the 
 hall where public affairs used to be dis- 
 cussed, was bequeathed to the town by 
 a zealous citizen, Monsignor Guarnacci. 
 It is endowed with a yearly income for 
 its maintenance and augmentation by 
 this learned prelate, who died at the 
 close of the last century, the creator of 
 the Etruscan system, since adopted with 
 such ardour. This library of twelve 
 thousand volumes possesses several edi- 
 tions of the fifteenth century of the Greek 
 and Latin classics, of works on antiquity 
 sacred and profane, with several manu- 
 scripts ; an ivory crosier of the fifteenth 
 century is of excellent workmanship. 
 The museum, begun in 1731 by dona- 
 tions from antiquarians of the town, has 
 been enriched with the fine collection 
 formed by Monsignor Guarnacci, and 
 generously bequeathed by him. Not- 
 withstanding the obscurity and confusion 
 of the nine little rooms of the museum, 
 it is impossible not to be forcibly struck 
 with the antiquity and splendour of 
 Etruscan civilisation on beholding these 
 numerous monuments of stone or ala- 
 baster covered with emblems, divinities, 
 the different scenes and accidents of 
 human life, such as sacrifices, banquets, 
 hunting,war, dancing, games, marriages, 
 abductions, enchantments, navigation ; 
 these statues, basso-relievos, mosaics, 
 coins, vases, utensils, patera?, mirrors, 
 lamps, candelabra, bracelets, and other 
 precious wrecks, and the wonderful re- 
 semblance of this civilisation to the man- 
 ners and arts of Greece.' A stone statue 
 of a woman with an inscription at bot- 
 tom, seems to be the goddess Nortia, 
 the Fortune of the Etruscans. The 
 basso-relievo in tufo, of the bearded 
 soldier, is perhaps the oldest of so many 
 old monuments. 
 
 In the great square, the Pretorio pa- 
 lace, now a prison, though of uncertain 
 date, must, from its construction, be at 
 least of the tenth century. Daniello of 
 
 ' See ante, cb. lii. 
 
 Volterra, in his youth, painted a Justice 
 on the ceiling of the saloon, which is 
 now almost invisible through the repairs 
 of the edifice. 
 
 The ceiling of a small room, by this 
 great artist, in the Masselli house, is 
 worth notice. 
 
 At the point called Castello, the re- 
 servoir supported by six columns, with 
 its pavement of cement (signinum opus) 
 and its walls of mortar, is a solid and 
 noble Etruscan monument. 
 
 The house of Daniello of Volterra still 
 exists, and his family, one of the most 
 distinguished of the town, inhabits it. 
 This house is in bad condition, but it is 
 embellished by a superb Elijah which 
 recalls the artist's glory. 
 
 The fountain of San Felice was or- 
 dered in 1319 by the counsel of the 
 twelve defenders of the people of Vol- 
 terra, in order to receive the waste 
 water; this water possesses some of the 
 properties of sea-water, and is still effi- 
 cacious in maladies of the skin, obstruc- 
 tions, and other complaints. 
 
 The thermae of Volterra, composed 
 of several small rooms and two baths, 
 were discovered by Monsignor Guar- 
 nacci during his unsuccessful search 
 after the amphitheatre ; they prove that 
 the Etruscan thermae must have preceded 
 the Roman. 
 
 CHAPTER XX. 
 
 Environs.— Baize.— Badla of San Salvadore.— Salt- 
 springs. 
 
 The environs of Volterra present a de- 
 solate aspect ; the mountain is intersected 
 with deep ravines, black or gray, pro- 
 duced by the rain, which has undermined 
 and washed away the soil. The most 
 fearful of these abysses and of all in Tus- 
 cany, called Baize, are those of San 
 Giusto, six hundred fathoms long, four 
 hundred broad, and two hundred deep, 
 near the church of the same name erected 
 in place of the old one, which was en- 
 gulfed in 1627 by the Baize. The near 
 approach of one of these quicksands ne- 
 cessitated the demolition of another small 
 church of San Giusto in 1651. It has 
 been vainly attempted several times, and 
 last in 1830, to collect the waters that 
 filter through into another channel, but 
 it appears that the nature of the soil will 
 not admit of it. In this case the inbabi- 
 
610 
 
 PIOMBINO. 
 
 [Book XVII. 
 
 tant is not menaced by the glaring death 
 of Herculaneum or Pompeii, but by a 
 subterranean deluge of mud. 
 
 The Badia of San Salvadore is one of 
 those unfrequented monuments that 
 ought to hold the first rank with artists. 
 This monastery of Camaldulites, in a 
 good situation, with a majestic columned 
 cloister, possessed the Sts. Romuald, 
 Benedict, Attinia and Greciniana, with 
 other saints, perhaps the best preserved 
 of Ghirlandajo's paintings. A charming 
 figure of Innocence, dated 1552, which 
 supports the holy-water vase, is worthy 
 of the epoch. Several pleasing works 
 are by a monk of the Mascagni convent, 
 called Fra Arsenio : the Nativity of the 
 Virgin; a Marriage ofCana in the re- 
 fectory, and, in the abbot's apartment, 
 Job with his friends and his wife, the 
 latter elegantly dressed as a Tuscan vil- 
 lager. A fine Deposition from the 
 Cross, by Rossetti, is also remarkable for 
 boldness and the skilful foreshortening 
 of the Magdalen kissing the Saviour's 
 feet. An Elijah on the ceiling of the 
 strangers' apartment (forestaria) is a 
 superb fresco by Volterrano. In the 
 room next the Job, are five curious and 
 highly-finished paintings, representing 
 subjects in the history of Yollerra, as- 
 cribed to Ghirlandajo. 
 
 An Etruscan hypogeum, recently dis- 
 covered, seemed to me something like 
 tbeNoraghe of Sardinia, but not so well 
 preserved, as the base only was left. 
 
 The salt springs of Vollerra are real 
 manufactories, and, with the marble 
 and alabaster quarries, form its richest 
 produce. In several marshes of salt 
 water on the banks of the river Cecina 
 deep wells have been sunk;, the water 
 drawn from them is put into caldrons of 
 iron or lead and boiled for about five 
 hours in summer and rather longer in 
 winter. A hundred pounds of water 
 give at least twenty-six pounds of white 
 salt, the finest in Italy, and the well of 
 San Giostohas yielded thirty-six in sum- 
 mer. The number of workmen is two 
 hundred, half of whom are engaged in 
 bringing fucl t repairing roads and build- 
 ings. The works are carried on by the 
 government, which grants the town an 
 indemnity of 18,611 lines. The pro- 
 duce amounts to nineteen or twenty 
 million pounds of salt, and the Moja 
 (factory) of Saint Leopold, founded by 
 the beneficent grand duke of Tuscany, 
 
 but since enlarged, is a magnificent mo- 
 nument of industry. 
 
 The young Byzantine poet Marallo 
 Tarcaguota, when going on horseback 
 towards Piombino, where he meant to 
 lake ship, after a long sojourn at Vol- 
 terra with his learned friend Volterrano, 
 was drowned in attempting, contrary to 
 his guide's advice, to cross the Cecina, 
 then swelled, and since famous by his 
 death. The tomb of this refugee poet, 
 who had both cultivated letters and fol- 
 lowed the career of arms, stands in the 
 church of the old and large town of the 
 Pomaranci, which has some pictures by 
 the celebrated and inferior painters of 
 the place; it was erected by Volterrano, 
 but the inscription he put has disap- 
 peared. The death of Marullo drew a 
 Latin elegy from Ariosto, in which we 
 find these two verses on the dependent 
 condition of Italy at that epoch : 
 
 Quid nostra an Gallo regl, an servlre Latino, 
 SI sit Idem lilnc, alque bine, nou leve servitium ? 
 
 Generous sentiments, but very far from 
 the ardent, enduring, inexhaustible pa- 
 triotism of Dante and Petrarch in the 
 first days of Italian poetry. 
 
 CHAPTER XXI. 
 
 piombino. — Saint Antimo.— Applanl. — Ass, device. 
 — Slone of Tra Palazzi.— Fountaiu. — Port.— ropu- 
 lonia.— Via Emilia. 
 
 Piombino, a little Tuscan town, is 
 perhaps more closely associated with the 
 memory of the French empire and the 
 family of Napoleon than any other place. 
 One would say that on this secluded, in- 
 salubrious coast, Piombino has been put 
 under glass as a specimen. The arms of 
 the princess Elisa Baciocchi, profusely 
 lavished on the church of Saint An- 
 timo when she had it restored, remain 
 untouched ; in the centre of the ceiling a 
 bad painting represents Saint Napoleon 
 distributing crowns, and Saint Elisa and 
 Pope Saint Felix kneeling before him, 
 an allusion to the princess and prince 
 Felix her husband. This respect of the 
 past is not void of justice : Signora Ba- 
 ciocchi founded the fine existing hos- 
 pital of seventy beds, paved the town, 
 repaired the citadel, and created the 
 roads, arsenals, and a bagno. 
 
 This church of Saint Antimo, of the 
 fourteenth century, so strangely raoder- 
 
Chap. XXI. ] 
 
 PIOMBINO- 
 
 644 
 
 nised, has two ancient monuments very 
 superior to the imperial fresco on its 
 roof. Some charming sculptures of the 
 best times ornament the baptistry. Be- 
 hind the choir is the Gothic tomb, rather 
 elegant, but ridiculously whitewashed, 
 of Gherardo, son of Jacopo I., head of 
 the Appiani family, sovereigns of Piom- 
 bino, from 1393 to 1603. This tomb 
 has an odd emblem : an ass is seated on 
 the arms, alluding to the origin of the 
 authority of that house. Jacopo Vanni 
 d'Appiano, afterwards Jacopo I., having 
 been called an ass by Pietro Gamba- 
 corta, who governed the republic of 
 Pisa, of which Piombino was a depen- 
 dency, with the title of protector of the 
 people and captain of arms, excited 
 an insurrection. As Gambacorta was 
 mounting his horse to appease it, he 
 assassinated him, forgetful of all the 
 confidence and benefits he had received 
 at his hands; almost immediately after he 
 strangled Gambacorta's son, and on the 
 third day, the 21st of October 1393, he 
 reigned. This usurping murderer took 
 the ass for device, with the ludicrous 
 distich that the whitewashing of the 
 church has concealed : 
 
 tin usiQO sono, e con il raio sapeve, 
 Gli aliri stan ritti ed io sto a sedere. 
 
 In the street of Tra Palazzi, a round 
 stone with a cross marks the place where 
 Alessandro I., Appiani, natural son of 
 Jacopo VI., a detested prince, was as- 
 sassinated, on the evening of September 
 28, 1590, when leaving the house of his 
 mistress. The conspirators, five in 
 number, armed with guns, swords, and 
 halberds, had been stimulated by his 
 wife Donna Isabela Mendoza, countess 
 of Binasco, and her lover Don Felix 
 of Aragon, bastard of Philip II., com- 
 mander of the Spanish garrison, who 
 intended to marry and govern together. 
 Their ambition was disappointed ; a 
 Spanish detachment arrived from Naples 
 three months afterwards and restored 
 the authority to Jacopo VII., the legiti- 
 mate heir, under the guardianship of his 
 mother, who they pretended to believe 
 had no share in the murder; Don Felix 
 was recalled to Madrid, was tried, and 
 never afterwards heard of. The assas- 
 sins, arrested on the feast of Epiphany 
 in the middle of a ball given for that 
 
 express purpose, were sent to Orbitello 
 to be tried; they were condemned to 
 death and brought back to Piombino, 
 where they were conducted in a car 
 drawn by two oxen, after being torn 
 with pincers on the road, to the very 
 spots of Alessandro's murder, and there 
 hung and quartered. The stone bears 
 these nearly effaced letters : I. P. M. D. 
 (Ingrati Plumbinenses Mortem Dede- 
 runt), a declamatory inscription which 
 the victim did not merit. 
 
 The abundant fountain of the Cinque 
 Canali, from the number of its mouths, 
 is one of those useful monuments of 
 Pisan domination whose civilising effects 
 I had to admire in Corsica and Sardinia. 
 
 The port of Piombino, the ancient 
 port of Trajan, might, if cleared, be 
 made one of the finest and safest in the 
 Mediterranean. 
 
 I was anxious to visit the remains of 
 the ancient Populonia, a powerful city of 
 the Etruscans, perhaps the only maritime 
 town they occupied, for they settled in 
 the inland districts alone. It is reputed 
 to have been built by the inhabitants of 
 Volterraon a little mountain command- 
 ing the sea, in order to make it their 
 port. The commander of the fort of 
 Baratti, formerly the port of Populonia, 
 to whom I was addressed, is a decore of 
 our army, a brave and intelligent soldier 
 who possesses in his ruinous tower a 
 real museum of Etruscan antiquities 
 found in the vicinity. Populonia, fallen 
 in the latter days of the Roman republic, 
 is now only a large farm, with a high 
 battlemented tower and demilune, be- 
 longing toSignora d******\ a great land- 
 owner in that country. The Etruscan 
 walls are interspersed and adorned with 
 the light clematis, which shoots up be- 
 tween and girds their enormous blocks. 
 The walls, at the place calied I Massi, 
 near a few other ruins which are only 
 Roman, show the talent of the Etrus- 
 cans in fortification, and we see in them 
 the hand of free and intelligent citizens. 
 One of my ciceroni at Populonia was a 
 cannoneer of the Baratti -fort, who 
 acknowledged that his cannon would be 
 ineffective against such ramparts, and 
 in the lower part of the demilune some 
 Etruscan blocks are left, as if to brave 
 the thunder of the moderns. 
 
 The road leading from Piombino to 
 Leghorn is excellent. At the tower of 
 San Yincenzo begins the Via Emilia, 
 
 54. 
 
6*2 
 
 NARN1.-TERNI. 
 
 [Book XVIII. 
 
 which disappears and is again visible at 
 intervals ; the most considerable piece is 
 at San Vincenzo, and a milliary column 
 
 between that sorry post-town and the 
 village of Castagnetta, still bears its an- 
 tique inscription Via Emilia. 
 
 BOOK THE EIGHTEENTH. 
 
 SECOND ROAD TO FLORENCE.-PERUGIA.-CORTONA.-AREZZO. 
 
 CHAPTER I. 
 
 Nepl.— ClvitaCastellana.— French exploit.- Otricoli. 
 — Narni — Bridge of Augustus. -Temi.— Cascade. 
 — Papigno.— Valley of tbe Nera.— Fuga.— Grotto. 
 —Lake Pie dl Luco.— Echo. 
 
 Nepi, a little and poor town, men- 
 tioned by Livy as one of the two gates 
 of Rome on the side of Etruria, and a 
 fortress in the middle ages, offers some 
 antique inscriptions on the outside of its 
 old public palace, and the arcades of an 
 aqueduct encumbered with vegetation. 
 
 Civita Caste) lana has a cathedral, and 
 a citadel built by Julius II., now a state 
 prison. The bridge over a torrent roll- 
 ing through a deep bed bordered with 
 rocks, is very picturesque. This mo- 
 nument, oije of the finest of the pontifical 
 power, has something antique, like many 
 other modern works of Italy ; ■ it resem- 
 bles the bridge of the Card. 
 
 It was in this plain, near Borghetto, 
 an insalubrious and ugly place, consist- 
 ing of little more than the post-house 
 and some old walls, that Macdonald, 
 with less than eight thousand French- 
 men, beat, on the 4th of December 1798, 
 forty thousand Neapolitans, who could 
 not hinder him from passing the Tiber, 
 whose waves had never received such 
 heroic warriors since the Romans. 
 
 On the ascent, before arriving at 
 Otricoli, are several remarkable ruins 
 of the ancient and brilliant Ocriculum. 
 
 Narni, a strong position, has a little old 
 citadel. Half a mile from the road are 
 the superb remains of the bridge of 
 
 1 See ante, book xiv. eh. xi. 
 
 3 This surname is derived from the incrustations 
 resembling marble that the waters of the cascade 
 oave on the different objects tuey touch. Tbe sta- 
 
 Augustus, the ancient passage of the Via 
 Flaminia over the Nera. At the con- 
 vent of the Zoccolanli is one of the rare 
 works of Spagna, next to Raphael the 
 best pupil of Perugino, whom he re- 
 sembled in colouring, and to whom this 
 grand picture was attributed until the 
 recent discovery of documents which 
 have restored it to Spagna. It repre- 
 sents an Episcopal ceremony, and is 
 distinguished by the fine disposition of 
 the numerous figures, as well as the no- 
 bleness and purity of the design. 
 
 The road as far as Terni, through a 
 country planted with olives, and with 
 the double view of the green plains of 
 Umbria, and the woody summits of the 
 Apcnnine, both studded with conspi- 
 cuous white mansions, becomes more 
 and more captivating and magnificent. 
 
 Terni, a charming town, which has 
 vainly claimed the honour of giving birth 
 to Tacitus, and preserves the remains of 
 a theatre and some curious inscriptions 
 in its cathedral and public palace, is 
 more especially celebrated for its cas- 
 cade, one of the wonders of Italy, but an 
 artificial one, and the work of the Ro- 
 mans. This admirable cascade, formed 
 by the fall of the Velino into the Nera, 
 the name of which even (delle Marmore) 
 seems that of a monument of art, • does 
 not roll nor bound like a savage cataract 
 through step and barren rocks, but 
 falls into a smiling and fertile valley 
 planted with orange-trees; it showers 
 around its impetuous dew over the 
 flowers and herbage, and is in perfect 
 keeping with the sky, the sun, and the 
 
 lactites and stalagmites have also a kind of cele- 
 brity from the fantastical forms of trees, columns, 
 bunches of grapes that they present. 
 
Chap. II ] 
 
 SPOLETO. 
 
 643 
 
 horizon of Italy. Though contrary to 
 custom, the cascade ought to be seen 
 from below. The road passes through 
 the little village of Papigno, famous for 
 the size and flavour of its peaches, the 
 Montreuil of that country, where the 
 roaring of the cascade, though three miles 
 distant, is already audible. After pass- 
 ing the rapid waters of the Velino and 
 Nera united, the traveller reaches the 
 delightful villa of Graziani, which was 
 once occupied by the princess of Wales, 
 and then descends into a valley through 
 a succession of woods and enchanting 
 spots which make this valley one of the 
 finest districts in the world. On the 
 other side of the river are the remains of 
 a very ancient bridge, ascertained to be 
 older than the cascade. 
 
 The cascade is generally viewed from 
 a kind of balcony on a rock. Visitors 
 also ascend to the Fuga, immediately 
 over the fall, and also go down into the 
 grotto to see the different effects of the 
 stalactites. But it would be very in- 
 teresting in the fine season to go about 
 two miles farther to the little lake of 
 Pie di Luco, of a character totally diffe- 
 rent from the lakes we have hitherto seen, 
 being covered with the large flowers of 
 the water-lily, which unfold their superb 
 cups on the surface, and extend their 
 green and floating foliage over this watery 
 plain. From daybreak, young and robust 
 females in picturesque costumes are seen 
 rowing about the lake, when they carry 
 their meals to their husbands at work in 
 the neighbouring fields. In the middle 
 of the lake, surrounded by rocks bristling 
 with old towers, the snowy tops of which 
 are frightful, confused, fantastical, ad- 
 vances the charming hill of Caperno, 
 looking like an island, and surmounted 
 with a little church, whence the moun- 
 tain echoes will repeat with the utmost 
 distinctness every syllable of the most 
 majestic hexameter or pompous alexan- 
 drine. 
 
 CHAPTER II. 
 
 Somma. — Aqueduct. — Monte Luco.— Hermitages. — 
 Oak.— Spolcto.— Gate of Annibal.— Cathedral.— 
 I.ippi.— Maternal heroism.— Temple of Clitum- 
 nus.-Foligno.-Eartbqualie.— Spello.— Orlaudo. 
 —College. 
 
 The mountain of La Somma presents 
 the majestic beauties of savage nature, 
 and the oxen of the Clitumnus, which 
 
 help the weary horses of the vetturino 
 to draw you over it, were formerly grand 
 and sacred victims, that conducted the 
 triumphers of Rome to the temples of 
 the gods : 
 
 Hinc albi, Clitumne, greges, et mamma taurus 
 Victima, saepe tuo perfusi fl limine sacro 
 Romanes ad templa Deum duxere triumplios. 
 
 After La Somma, the country assumes 
 a sweeter aspect, and we descend to 
 Spoleto through little woods of ever- 
 greens. The aqueduct, remarkable for 
 the height of its arches, over which a 
 long and narrow bridge passes, has been 
 attributed to the Romans, and, with 
 greater reason, to the not less warlike 
 Lombard dukes of Spoleto. 
 
 Monte Luco is worth visiting for its view, 
 its lower atthe monastery of Saint Julian, 
 a construction of the tenth century, and 
 its hermitages. The most considerable, 
 that of the Madonna delle Grazie, has 
 a pretty church. Such are the charms 
 of this religious solitude, from which 
 freedom and comfort are not entirely 
 banished , that men belonging to the 
 first classes of society (among whom we 
 may mention a Count Potocki ) have 
 ended their days there. A Latin poet 
 but little known, of the close of the 
 fifteenth century, originally of Spoleto, 
 Pier Francesco Giustolo, has melodiously 
 sung the hermitages of Monte Luco in 
 verses that also describe the political 
 tribulations of the times : 
 
 fortunatum nimium, cui ducere vltam, 
 Delitiis orbis sprelis, opibusque relictis, 
 lllarumque siti, vaui et certamine honoris 
 Hlsce datum lucis, atque ocia carpere dia 
 Anguslls casulis, celsive crepidiue saxi, 
 Ciide notet nulla mole impediente, serenis 
 Noctibus eoo surgenlla cardine signa, 
 Et septem obliquo gradientia sidera limbo. 
 Hunc neque cura gravis, Veneris neque dira cupldo 
 Sollieitat, non damna movent, non Irislia lorquent 
 Funera natorum, sterilis non lerritat annus, 
 Non grave Saturni junctum cum Pleiade sidus ; 
 Non furcr ardentis phrixeo e vellere Martis, 
 Regibus aut trepidls intentans fata cometes : 
 Non extrema horret crudelis lernpora mortis, 
 Tuicarum hie, Rbenive nilnas, ut gaiuca oesta 
 Arce Padl saevum modo qua pepulere tyrannum 
 Sforliadem, I.atiamque parant avertere gentem. 
 Cuncta sed Intrepldus, veluli qui fluctihus altls 
 Intaetas tuto cernit de liltore puppes, 
 Despicit, iustabilis rldens iudlbria sorlis. 
 
 Monte Luco is crowned with a kind of 
 sacred wood of patriarchal holmoaks. 
 
(Hi 
 
 SPOLETO. 
 
 which the ancient municipal laws forbid 
 to be cut down, and among which cattle 
 cannot be pastured. One of these oaks, 
 near the convent of Saint Anthony, is 
 seventeen yards in girth and about thirty- 
 five in height : this rival of the famous 
 chesnut of Sicily, said to be the largest 
 oak in Italy, is one of those mighty 
 trees that stand forth the living monu- 
 ments of nature, and attest her strength 
 and duration. 
 
 The citadel of Spoleto, on a hill, has 
 some remains of Cyclopean Malls. The 
 gate called Annibal's, a Roman work of 
 Theodoric's time, bears witness to the 
 resistance opposed by this ancient town 
 to the Carthaginian captain, and proves 
 its fidelity to the Romans ; it further 
 shows how powerful the towns of Italy 
 must have been to brave such a conqueror 
 and arrest his progress. 
 
 The cathedral, an interesting monu- 
 ment of the first times of the revival, 
 with an elegant portico in Bramante's 
 style, is ornamented with great and 
 beautiful frescos by the elder Filippo 
 Lippi. It contains the tomb of that ad- 
 venturous artist, a fugitive from the 
 cloister, a slave in Barbary, but freed 
 and honoured for his talent; he died in 
 1469 at Spoleto, his native place, aged 
 more than sixty, from the effects of poison 
 administered to him by the relatives of a 
 great lady whose affections he had won. 
 Lippi, in his youth and when a monk, 
 had carried off a boarder from a convent 
 of Prato, Lucrezia Buti, by whom he 
 had a son who bore his name and was 
 also a painter, but inferior to his father. 
 Lorenzo de' Medici, when passing through 
 Spoleto, entreated the magistrates to let 
 him transport the ashes of the elder Lippi 
 to Florence, where he intended to deposit 
 them at Santa Maria Novella ; but the 
 inhabitants were unwilling, and he could 
 only erect this tomb to his memory, a 
 monument of the honours then accorded 
 t.o talent. The epitaph was written by 
 Politian : 
 
 Cunditus hlc ego sum pictures fama Fullippus; 
 
 Villi ignola meae est gratia mira manus. 
 Artifices potui digllis auimare colore;, 
 
 SperalSque animos fallere voce did. 
 Ipsa mi'ls stupuit natura expressa figuiis, 
 
 Meque suis fassa est artibus esse parem. 
 Marraoreo tumulo Medices Laurentius tile me 
 C-indldit ; ante bucuili pulvere tcctus eiaiu. 
 
 The Virgin, by Annibale Canacio, is 
 
 (Boor XVIII. 
 
 The 
 
 almost destroyed by a restoration, 
 chapel of the Relics is charming. 
 
 The church of Saint Dominick has a 
 superb copy of the Transfiguration, of 
 which the Spoletans are justly proud, 
 and they ascribe it to Giulio Romano. 
 
 A fine fresco' by Spagna, formerly on 
 an interior wall of the fortress, has been 
 placed in the public palace under the 
 superintendence of S. Fontana, ex-gon- 
 falonier, a clever natural philosopher, 
 and an amateur of the arts and antiquity. 
 
 In the piazza delta Porta Nuova, a 
 small Madonna with a blue veil, by the 
 national painter Crevelli, dated 1502, in 
 wonderful preservation, is another mo- 
 nument of the street painting so often 
 found in Italy. 
 
 The inhabitants of Spoleto, cited by a 
 living Italian writer for their finesse and 
 cunning, ■ carried political fanaticism to 
 the extreme verge of ferocity in the civil 
 wars of the Guelphs and Ghibelines. In 
 one of their chronicles I found the fol- 
 lowing horrid tale, which might supply 
 our painters and poets with a pathetic 
 subject. When the Ghibelines were 
 selling lire to the houses of their adver- 
 saries, a woman married to a Guelph, 
 seeing her Ghibeline brother directing 
 her house to be set on fire, went to the 
 top of the tower with her two children 
 in her arms, and asked him to pity them 
 and herself. The rulhless Ghibeline told 
 her to throw the two embryo Guelphs 
 into the flames, and he would save her; 
 but a mother's love was strongest, and 
 the woman was burnt with her two 
 children. 
 
 The valley of Spoleto is magnificent, 
 and the town of Trevi, which rises like 
 an amphitheatre on the slope of the 
 mountain, is very picturesque. 
 
 A I the gate of the post town delle Vene 
 rises the Clitumnus, a river once sacred, 
 sung by Virgil, and ingeniously described 
 by Pliny, who seems to have supplied the 
 name of the place : Hunc subter fons 
 exit, et exprimitur pluribus vents. 
 The Clitumnus, now a mere brook, is no 
 longer navigable to its source as in Pliny's 
 days. The enchanting site, and the 
 pretty antique chapel of the early times 
 of Christianity, were, I believe, the ori- 
 ginal of Poussin's landscape of Phocion, 
 
 1 s. Rosiui. " La scaltrezza d' un Luceheso, die 
 avrebbe fatto la salsa ugli Spoletini. ' la Vomica 
 (ll Aloe ;«. Cap. xiv. 
 
Chap. HI.] 
 
 ASSISI. 
 
 645 
 
 and it is surprising that they only in- 
 spired Byron -with a piece so frigid. 
 
 Foligno, of twelve thousand souls, is 
 rich, industrious, well-built, and the 
 roads from Rome, Tuscany, and the 
 Marches meet there. The majestic ca- 
 thedral, uninjured by the dreadful earth- 
 quake of January 1832, has a baldachin 
 imitated from Saint Peter's, and a good 
 Sposalizio, by Ventura Salimbeni. 
 
 Spello, a little town one league from 
 Foligno, is full of antiquities. On the 
 north side, the remains of a Roman gate, 
 called the gate of Venus, are imposing. 
 In 1722 some persons pretended to have 
 discovered the tomb of Propertius, under 
 a house still known as the poet's house 
 and giving that name to the street used 
 as a public promenade. By the side of 
 an antique gate in the wall that runs 
 along the road to Rome is a large phallus 
 of stone, sculptured with a singular 
 distich immodestly commemorating the 
 fabulous glory and exploits of Orlando : 
 
 Orlandi hie Caroli Magni metire nepolis 
 Ingentes artus : ceetera facta doceut. 
 
 Under these verses, travellers are 
 shown the immense pretended measure 
 of the giant, and the supposed mark of 
 the knee, which is very high. The po- 
 pular traditions and Italian imaginations 
 really make Orlando the Hercules of the 
 middle ages; they have multiplied his 
 traces, his stories, his labours, not unlike 
 those of the antique hero, and Ariosto 
 only brilliantly embodied these different 
 traditions handed down in songs and tales 
 for more than six centuries. 1 
 
 Spello possesses the best paintings of 
 Pinturicchio, namely, in the duomo, an 
 Annunciation, a Nativity, the Dispute 
 with the Doctors, his masterpiece, and, 
 at the Franciscans, a St. Laurence, in 
 which a little St. John has been thought 
 Raphael's. 
 
 But Spello is chiefly indebted for re- 
 putation now to the excellent college, 
 reformed and almost founded by Pro- 
 fessor Rosi, one of the best regulated 
 establishments in Italy with respect to 
 the teaching, moral principles, personal 
 comforts, and gymnastic exercises intro- 
 duced by S. Rosi. 
 
 • Seeanfe, bookxiv. ch. xv. the lower of Orlando. 
 The Rout of Roncesvalles, a poem, is one of these 
 pathetic or burlesque songs diffused among the 
 Roman peasants, given in part and analysed by 
 
 CHAPTER III. 
 
 Santa Maria degli Angell.— Vision of St. Francis, by 
 M. Overbecfe. — Assisi. — Minerva.— Antiquities. — 
 Cathedral.— Saint Clair.— ChiesaN'uova.— Convent. 
 
 — Rapid execution of religious monuments in the 
 middle ages.— Under-ground church. — Mauso- 
 leum of Hecuba of Lusignan. — Giotto's frescos. — 
 On the real epoch of the revival. — Sibyls and 
 Prophets, by Ingegno. — Portrait of Saint Francis. 
 
 — Upper church.— Fresco of Clmabue. — Tomb of 
 Saint Francis.— Saint Francis.— Frati. — Convent. 
 —Saint Damian.— Carceri. 
 
 The church of Santa Maria degli An- 
 geli, called also the Portioncula from the 
 ground ceded to Saint Francis by the 
 Benedictines to found his order there, — 
 this majestic church, executed by Gaieaso 
 Alessi and Giulio Danti on Vignola's 
 designs, was greatly damaged by the 
 earthquake of 1832. The roof opened 
 and shut to again, the cupola and tower 
 clashed in falling, and eight columns were 
 broken. In the middle of the church 
 there stood, as at Loretto, a small house 
 converted into a chapel ; rude walls, in 
 which Saint Francis had given his rules, 
 and resolved to practice evangelical 
 poverty to the letter. The Vision of 
 St. Francis d'Assisi, a remarkable 
 fresco, by M. Overbeck, is the chef- 
 d'oeuvre of that German and catholic 
 painting, which goes back too systema- 
 tically to the ancient Italian manner and 
 almost to the infancy of the art, but 
 which nevertheless has some naive and 
 graceful details. 
 
 Dante, like Homer, exact in his des- 
 criptions, gives a picturesque sketch of 
 the situation of Assisi : 
 
 Fertile costa d' alto monle pende, 1 
 
 This town, dull, deserted, monastic, 
 and full of Saint Francis, commanded 
 by a high citadel now forsaken, and sur- 
 rounded with battlemented walls and 
 towers, was the birth-place of two ele- 
 gant poets, Propertius and Melastasio. 
 
 In the piazza, the ancient temple of 
 Minerva, of uncertain epoch and now 
 converted into the church of Santa Maria 
 delta Minerva, presents a superb por- 
 tico of fluted columns, under which 
 
 Mary Graham in the sequel to her Three Uonth-t' 
 Residence in the Mountains near Rome. 
 3 Parad. xi. 45, 
 
646 
 
 ASSISI. 
 
 t Book XVIII 
 
 sundry antique fragments are collected 
 forming a small and interesting mu- 
 seum : aqueducts, tombs, a theatre, now 
 a stable and encumbered with buildings 
 of ihe middle, ages, a superb wall (the 
 foundation of the church of Saint Paul ) 
 are other wrecks attesting the impor- 
 tance of the ancient Assisium. 
 
 Saint Rufinus was modernised by the 
 clever architect of the sixteenth century, 
 Galeaso Alessi. A fine sarcophagus 
 forms the high altar. 
 
 The church and monastery of Saint 
 Clare were built by Fra Filippo da Cam- 
 pello, pupil of Jacopo ofLapo, about the 
 middle of the thirteenth century, not 
 long after the death of the saint, one of 
 those young, handsome, and rich vir- 
 gins, who had followed the example of 
 Saint Francis, and whose hair he cut ofT 
 with his own hand. The body of the 
 illustrious and first abbess of the Clarists 
 is under the high altar. Near the cross- 
 aisle are some frescos by Giotto, who 
 painted all the church, which have es- 
 caped the mason's barbarous brush. 
 
 The little church, called the Chiesa 
 Nuova, begun in 1612, occupies the site 
 of the house where Saint Francis was 
 born. The traveller may there see the 
 prison in which he was confined, bound 
 like a madman, by his father, a rich 
 tradesman, who was exceedingly pro- 
 voked at the pious dissipation of his alms, 
 and whence his more compassionate mo- 
 ther deliveredhim. 
 
 The convent, on a rock, looks like a 
 fortress at a distance ; and though in this 
 respect it resembles Mount Casino, it 
 differs In character. 1 One is a poor, beg- 
 ging, unlettered, plebeian convent; the 
 other rich, pompous, learned, and aris- 
 tocratic. This immense pile of build- 
 ings, formerly animated with thousands 
 of monks, and in which a dozen are in a 
 manner lost now, was erected in two 
 years, from 1228 to 1230. We have 
 already noticed one example of quick 
 building in the middle ages: ? at that 
 time popular devotion, excited by the 
 indulgences preached by the monks, was 
 more liberal and prompt than our budget 
 votes or the pleasure of princes. The 
 architect, selected from a great number 
 of competitors, was Jacopo of Lapo or 
 il Tedesco, father of the illustrious Ar- 
 nolfo, whom Fra Elia, general of As- 
 
 sise, a great personage in his day, and 
 seemingly too soon forgetful of Saint 
 Francis's precepts of humility and po- 
 verty, had obtained of the emperor Fre- 
 derick II. Saint Bonaventure fiercely 
 defended this magnificence; but we see 
 by the reproaches to which he replied 
 how many enemies the mendicant or- 
 ders had already raised. Item qucero. 
 Cum sancti patres laudentur, in casellis 
 et in vilibus habitaculis habitasse, quid 
 est quod vos alias et magnas domos 
 erigitis, etoratoria sumptuosa, et areas 
 latas magno pretio comparatis, cum 
 sitis pauperes et mendici, et contemp- 
 tores mundanorum esse debeatis ? 
 
 The under-ground church, gloomy 
 and austere, breaths penitence and grief. 
 On a tomb supposed to be that of Ni- 
 colao Spccchi of Assise, chief physician 
 of Pope Nicholas V., is a superb vase of 
 porphyry, according to some antiqua- 
 rians, a present from the Queen of Cy- 
 prus, Hecuba de Lusignan, very obscure 
 despite the beauty of her two names, 
 which recall the hefoic expeditions of 
 the firstnations, ancient and modern, the 
 siege ofTroy and the crusades. The vast 
 mausoleum of that queen, of 1240, is by 
 the Florentine Fuccio : the two angels 
 holding the drapery of Hecuba's bed are 
 graceful ; her statue, sitting, has one leg 
 in the air, thrown over the knee of the 
 other, a very singular posture for a 
 woman, a queen, and a church statue, 
 and the roaring lion, over the bed, seems 
 horribly shocked at the sight. Two old 
 paintings are by the brothers Brasea, 
 dukes of Spoleto. Some incidents from 
 the Life of St. Martin, in his chapel, are 
 by Simone Memmi, the friend of Pe- 
 trarch and painter of Laura. A Cru- 
 cifix and the Virgin weeping, an ex- 
 cellent fresco by Giovanni Taddeo, a 
 pupil of Giotto, was discovered in 1798. 
 The four poetical compartments of the 
 ceiling of the cross-aisle representing the 
 principal virtues practised by Saint 
 Francis, such as Poverty, Chastity, 
 Obedience, and also his Glorification, 
 Giotto's finest frescos, admirable for 
 shape, attitude, and expression, prove 
 how much he had surpassed his master 
 Cimabue, whose remarkable paintings we 
 shall see in the upper church. Dante, 
 who is said to have given his friend 
 Giotto the idea of these pictures, doubt- 
 
 1 See ante, book xiv. cl). xii. 
 
 * See ante, booh XI. cb. x. 
 
Chap. III.] 
 
 ASSISI.': 
 
 6« 
 
 less alludes to this triumph of Giotto at 
 Assisi in the celebrated verses : 
 
 credette Clmabue nella pintura 
 
 Tener lo campo; ed ora ha Giotlo il grido, 
 
 Si cue la fama di coiul s' oscura. 1 
 
 Paintings like these show that the de- 
 signation of epoch of the revival is in- 
 correctly applied to the fifteenth and 
 sixteenth centuries, and that it really 
 belongs to Giotto and the beginning of 
 the fourteenth; those two brilliant cen- 
 turies were the apogee of the art, which 
 shortly after began to decline. The im- 
 mense Crucifixion, the best work of 
 Pietro Cavallini, a Roman mosaist and 
 painter, pupil of Giotto, a work prized 
 by Michael Angelo for its grandeur, 
 presents a number of angels weeping in 
 the sky, and below a crowd of people 
 and soldiers full of variety.in expression 
 and costume. A Deposition from the 
 Cross, a skilful group; the Tomb of Jesus 
 Christ, and several passages from his 
 life on the ceiling of this side, are by 
 Puccio Capanna, a Florentine artist, one 
 of Giotto's pupils, who died young. The 
 Stigmata of St. Francis are another 
 masterpiece of this great and primitive 
 master. A Massacre of the Innocents, 
 by Jacopo Gaddi, was approved by Ra- 
 phael. The most perfect paintings of 
 this basilic are : the groups of the Sibyls 
 and the Prophets, by Andrea of Assisi, a 
 pupil ofPeruginoand a rival of Raphael, 
 who was surnamed II Ingegno (theWit) 
 from his marvellous dispositions ; he fell 
 blind in the flower of his age, and his 
 misfortune excites our regret and pity 
 no less than his talent our admiration. 
 The sacristy has some good frescos by 
 Giorgetti, a pupil of Lanfranco, but 
 without his negligence, and little known 
 except at Assisi his native place. In the 
 second sacristy, over a door, is a curious 
 portrait of Saint Francis, by his con- 
 temporary Giunta of Pisa, the oldest 
 Italian master, withGuido of Siena. 
 
 The upper church is brilliant and lu- 
 minous, forming an ingenious contrast 
 
 1 Purgat. xi. 94. 
 
 a The people believed that Saint Francis was 
 concealed in a vault of the church till then inac- 
 cessible, where he was always praying or in ecstasy 
 and would continue so to the end of the world. This 
 pious search seemed to some persons a kind of 
 profanation and sacrilege. 
 
 3 Vfov. 207. 
 
 with the lower church. The frescos of 
 Cimabue, the best of that Ennius of 
 painting, as Lanzi surnames him, are 
 astonishing for their epoch; Giotto's are 
 still admirable. 
 
 The body of Saint Francis, discovered 
 in December 1818, and withdrawn from 
 the kind ofsubterranean sancta sanc- 
 torum where it lay buried, 2 has been 
 placed in a pretty mausoleum of stucco 
 and marble, surrounded by a light pa- 
 lisade, a modern and shop-like refine- 
 ment, which is offensive on such a tomb, 
 regarded by Sacchetti as the first in the 
 world after the Holy Sepulchre. 3 Saint 
 Francis, sung in sacred strains by Dante 
 and Tasso,4 whose order, founded by 
 him in his twenty-fifth year, has existed 
 more than six centuries without the aid 
 of force or physical means, was one of 
 those powerful men produced by the 
 spirit and necessities of the limes. He 
 had, therefore, for his first disciples and 
 companions men of distinction, young 
 enthusiasts, rich and beautiful maidens, 
 ladies of fashion, and one of the greatest 
 poets then living, Friar Placidus, who 
 had been crowned poet by the emperor 
 Frederick II. As to the lower orders, 
 they found in such an institution a kind 
 of emancipation and security, and es- 
 caped serfdom by becoming monks. It 
 is not surprising that the manners and 
 discipline of such a multitude were soon 
 changed for the worse. We have al- 
 ready mentioned the accusations brought 
 against two of thern even in Saint Bo- 
 naventure's days, not fifty years after 
 their foundation. The great writers of 
 the sixteenth century are unanimous in 
 exclaiming against the Yices of the Frati. 
 Machiavel, who had approved of their 
 institution so far as to say that it had 
 revived Christianity then languishing, 
 and still kept it from perishing by the 
 bad examples of the prelates and clergy, 
 who even approved of the doctrine of 
 Saint Francis as evangelical,' drew the 
 infamous Friar Timoteo of his Mandra- 
 gora. Ariosto and Castiglione seem 
 unjust and extravagant when they accuse 
 
 4 See canto xi. of the Paradiso, and the sonnets 
 xill. and xx. of Tasso, in the Hid part of the Rime. 
 One of the oldest and most accredited commen- 
 tators of Dante, in speaking of Dante's youthful re- 
 solution to become a monk, asserts that he wflre 
 the habit of Saint Francis for a short time. 
 
 5 Discovsi, lib. hi. cap. i. 
 
PERUGIA. 
 
 [BOOK XVIII. 
 
 the Frati of cruelty and the most enor- 
 mous crimes.! It is demonstrated by 
 facts that these monks, -with all their 
 scandals, had no share in any of the 
 great catastrophes, persecutions, or 
 massacres recorded in history. Tasso 
 pretends that charity, like silence, docs 
 not exist in the convents of the Frati, 
 except on paper and the walls. 2 Perhaps 
 the truest and most ingenious satire on 
 the Frateria is to be found in a letter 
 from Annibale Caro to his friend Ber- 
 nardo Spina, a somewhat dissolute 
 nobleman, who was inclined to become 
 a frate; in this letter, a chef-d'eeuvre 
 of taste, reasoning, and eloquence, we 
 read : lYon potele voi esser solitario 
 senza esser frate ? Soggiunrete : 
 Che ? volele ch' io sia romilo ? JY6 ro- 
 mito, ne frate voglio che siate; ma 
 uomo, e uomo da bene, amico di Dio; 
 ritirato prima in voi stesso, che sard 
 il piii hello eremo che possiate tro- 
 vare : di pot per appartarvi dagli 
 uomini, ridolto in qualche villa con 
 li vostri libri, con i voslri passatempi 
 onesti, d' esercizj, di cacce, di pesca- 
 gioni, di agricollura ; in un' ozio con 
 dignitd, in una religione senza ipo- 
 crisia ; tollo dal voigo, non dagli 
 amici ; dalle pompe, non dalle com- 
 modild ; dalle brighe, non dalle azioni 
 virtuose. A questo modo penso io 
 che voi possiate esser consolalo, e 
 buono e santo : e non sarete frate. 
 
 The two cloisters of Assisi correspond 
 with the magnificence of the church. 
 The Heads of Franciscans, by Adone 
 Doni, the best painter of Assisi, in 
 the sixteenth century, are of wonder- 
 ful truth. The refectory, the largest 
 and most superb of its kind, has 
 a great Last Supper by Solimene, 
 one of his most pleasing and rapid 
 works. 
 
 Saint Damian is the monastery of 
 Saint Clare and Clarists ; the relics of 
 the saint are kept there, and among 
 them a ring which was given to her 
 by Pope Innocent IV. when he went 
 to dine at Saint Damian ; on the same 
 
 1 " Ingorda e si crudel canaglia." Sat. V of Ario- 
 slo ; Cortegiano, lib. m. 
 
 s Let. t. it. p. 313. 
 
 3 They were constructed in the beginning of the 
 siiteeDlii century under Paul HI., \»bo demolished 
 
 occasion, having entreated her to bless 
 the table, the loaves were found marked 
 with miraculous crosses. At the bot- 
 tom of the dormitory, is a walled up 
 door, where Saint Clare, armed with 
 the holy Sacrament, is said to have 
 repulsed the Saracens, after they had 
 taken Assisi and were already scaling 
 the convent. 
 
 The hermitage of Santa Maria delle 
 Carceri, in the middle of woods and 
 rocks, was the retfreat of Saint Francis 
 and his companions, who went to medi- 
 tate there in rustic cells. The church, 
 which is of doubtful origin, and has 
 even been supposed built by Saint Fran- 
 cis, has on its walls one of those 
 speaking crucifixes of the middle ages. 
 In the chapel of the Virgin, a Ma- 
 donna, another antique fresco, is an- 
 terior to Ihe saint. The grotto or bed 
 of Saint Francis, Ihe oratory where he 
 almost lost his sight by his tears, are 
 other monuments of the labours and 
 holy sorrows of his penitence. In the 
 oratory is the crucifix which he used in 
 his travels and during his powerful 
 sermons. It is related that Cardinal 
 Peretti, nephew of Sixtus V., had ob- 
 tained possession of this crucifix and 
 placed it on a rich altar, but that it 
 disappeared by night, and returned to 
 the extremity of his pious grotto, where 
 it still remains- 
 
 CHAPTER IV. 
 
 Perugia.— Fortifications.— Churches.— Saint Peter. 
 —Carved work in the choir. — Cathedral — Baroc- 
 cio's Deposition from tho cross — Chapel of the 
 convent of San Sever.— Saint Angelo.— Saint Fran- 
 cis.— Gonfalone.— Braccio Forlcbracci. 
 
 Perugia on a mountain, with its ci- 
 tadel formerly inhabited by the popes, 
 and its fortifications by Antonio San 
 Gallo, 3 the ditches of which are filled up 
 and converted into a public promenade, 
 with a fine amphitheatre for the game of 
 pallone, to which ihe Italian are much 
 
 one of the finest quarters of the town for the pur- 
 pose. The following threatening inscription w»» 
 long legible in the court : Ad coercendam Perusi- 
 norum audaciam Paulut III. mdificavit. 
 
 I 
 
Cbap. IV.] 
 
 PERUGIA. 
 
 649 
 
 addicted, is picturesque, and its rude 
 aspect still accords very well with the 
 reputed ferocity of its ancient inhabitants, 
 doubtless greatly softened now.' This 
 fine town now appears rather deserted; 
 its population has declined from forty 
 thousand to fourteen thousand ; but it is 
 interesting with respect to art, antiqui- 
 ties, and literature. 
 
 There are no less than a hundred 
 and three churches at Perugia, without 
 counting thirty regular monasteries and 
 nunneries. 
 
 The convent of the Benedictines of 
 Saint Peter, one of the most extensive 
 and richest ecclesiastical establishments 
 in the Roman states, was formerly used 
 for the diet of the order. The church, 
 which has some of Vasari's best paint- 
 ings, is more particularly remarkable for 
 the fine wood carvings of the choir, exe- 
 cuted from Raphael's designs. 
 
 At the church of Saint Dominick, 
 which retains nothing Gothic but a large 
 window of coloured glass at the bottom 
 of the choir, of a religious effect, is the 
 mausoleum of Benedict XI., who died 
 at Perugia in 1304, and not in 1301, a 
 work esteemed for the closeness to na- 
 ture of the pontiffs reclining figure, and 
 the grace of the two angels that hold up 
 the drapery. 
 
 The oratory of Saint Peter the Martyr 
 has a very elegant Madonna by Peru- 
 gino, which has even been attributed to 
 Raphael. 
 
 The cathedral of Saint Laurence, of a 
 bold Gothic, has the celebrated Deposi- 
 tion from the Cross by Baroccio, executed 
 while suffering from poison administered 
 to him by certain envious artists in a 
 repast to which they had invited him. 
 This painting, very well composed, is in 
 a chapel of great curiosity for its coloured 
 windows, the work of P. Francesco di 
 Barone Brunacci, a monk of Mount Ca- 
 sino, and of Costantino di Rosato, as well 
 as for its ornaments in stucco and wood. 
 A good Sposalizio, by Wicar, replaces 
 the former one by Perugino, which offered 
 the same beautiful perspective as that of 
 , his Saint Peter in the Sixtine, a plagia- 
 rism often committed by Perugino, and 
 which he defended by saying that he 
 never robbed any but himself; and, in- 
 
 1 The poison of Perugia, called acquella, was 
 dreaded. This dislich was written against a pre- 
 late who governed in a harassing manner: 
 
 deed, it seems quite allowable for artists 
 as well as writers. This chef-d'oeuvre 
 disappeared at the epoch of the first levy 
 of paintings that followed the treaty of 
 Tolentino, and nothing is known of it. 
 
 The library of the chapter has several 
 rare manuscripts, among them a Gospel, 
 perhaps of the eighth century, and a 
 Breviary of the ninth. 
 
 In the church of Santa Maria del Po- 
 polo is a fine picture by Gherardi, a 
 good Florentine painter, a pupil of Ra- 
 phael, for the upper part, which is grace- 
 ful ; and for the lower part, which is 
 spirited and vigorous, by Lattanzio della 
 Marca, a clever artist of the sixteenth 
 century, who quilled the pencil to be- 
 come bargello (chief of sbirri) of Pe- 
 rugia, probably a more important office 
 then than since. 
 
 At the convent of Camaldulites of 
 Saint Severus is a chapel painted in 
 fresco by Raphael, greatly damaged by 
 the carelessness of the monks, but in- 
 debted for its preservation to the atten- 
 tions of the municipal magistrates. 
 
 The great architect Galeaso Alessi, 
 whose talents were an honour to Pe- 
 rugia, his country, was interred with 
 great pomp in 1572 in the church of San 
 Fiorenzo; but he obtained neither epi- 
 taph nor monument, though his family 
 was rich and in the first rank of society 
 at Perugia : perhaps this family had the 
 weakness to blush for its artist, as if 
 Michael Angelo was not of a house good 
 enough"? 
 
 The curious church of Saint Angelo 
 was built on an antique temple conse- 
 crated to Vulcan, with its materials and 
 those of another temple situated at Ci- 
 vitella d'Arno not far distant; it seems 
 to have retained its ancient circular form, 
 which is equally appropriate to the re- 
 quirement of christian worship. 
 
 The oratory of La Giustizia, with a 
 front ornamented with basso-relievos by 
 the brothers della Robbia, has a fine 
 Virgin by Perugino. 
 
 The church of Saint Francis has lost 
 most of the chefs-d'oeuvre of painting 
 with which it was formerly adorned. A 
 tolerably good copy of Christ being laid 
 in the sepulchre was substituted for Ra- 
 phael's original chef-d'oeuvre by Paul V., 
 
 Monsignor, non tanta fretta ; 
 Che a Perugia c' e 1' acquetta. 
 
 55 
 
650 
 
 PERUGIA 
 
 [ Book XYIII 
 
 who sent the Cav. d'Arpino to Pe- 
 rugia to execute it. This copy presents 
 certain pieces of clare-obscurc which 
 are not in the original, now in the Bor- 
 ghese gallery. It is said that the guar- 
 dian of the Franciscans, just before he 
 was despoiled of the Deposition, cut oil 
 those parts and kept them in the sacristy 
 until 1799, when they passed to the mu- 
 seum of the Louvre, and in 181.5 to the 
 gallery of the Vatican. The chapel of 
 the Gonfalons preserves the religious 
 standard venerated at Perugia, a talis- 
 man invoked by the people when suf- 
 fering under natural scourges; its solemn 
 procession is not accorded by the bishop 
 but at the urgent request of the muni- 
 cipal magistrates and with the most rigid 
 formalities. In the sacristy, several sub- 
 jects taken from the History of St. Ber- 
 nardin, miniature paintings, but the 
 colouring is harsh and the flgures too 
 long and loo dry, are attributed to 
 Pisanello. This sacristy contains the 
 bones of the illustrious Braccio Forte- 
 bracci, an able Italian captain and tac- 
 tician of the fifteenth century, lord of 
 Perugia, the great man of that town and 
 one of the ephemeral conquerorsof Rome. 
 But it is impossible to suppress one's in- 
 dignation at the manner in which these 
 glorious remains are shown; the sacris- 
 tan takes them out of a miserable cup- 
 board and throws them on the table for 
 travellers to examine as a kind of curio- 
 sity. It is high time that the patriotism 
 of the Perugians had put an end to this 
 indecent profanation, and consecrated to 
 Braccio the mausoleum he deserves. 
 
 CHAPTER V. 
 
 Corso.— Substructions. — Public palace.— Luxury In 
 dress emong ladies of Ibe fourteenth century.— 
 Cambio.— Fountain.— Statue of Julius III.— Arch 
 ol Augustus. 
 
 The fine Corso and the piazza del So- 
 prammuro, which is parallel thereto, are 
 further remarkable for their immense 
 substructions, that fill the space between 
 the two hills on which the duomo and 
 fortress stand. A part of them, executed 
 in the lime of Braccio Fortebracci's so- 
 vereignty, still bear the name bfJnurt di 
 Braccio. 
 
 The vast public palace, of a fine Go- 
 thic, the residence of the delegate and 
 the magistratura (the municipality), 
 
 contains the archives of the town. Some 
 twenty years ago, they discovered there 
 a walled chamber, a kind of secret ar- 
 chives, containing precious manuscripts 
 of the time when Perugia was opulent 
 and free. These documents were pro- 
 bably concealed in this manner when 
 the republic was abolished, to prevent 
 their removal to Rome, and the conse- 
 quent loss of the title-deeds of ancient 
 privileges. It is presumed that these ar- 
 chives supplied thfe article on the sump- 
 tuary laws of Perugia in the fourteenth 
 century, published by S. Vermiglioli, a 
 document valuable as a specimen of the 
 Perugian dialect, and remarkable for 
 the severity of the measures it contains, 
 which are chiefly directed against the 
 extravagant dresses of the ladies. It 
 seems that the taste for dress was then 
 excessive in Italy , as similar edicts existed 
 at Florence and in the other states, and 
 Dante, an admirable painter of manners, 
 wrote vehemently against it : 
 
 Non avea eatenella, not) corona, 
 Non donnecontigiate, non cinlura 
 Che fosse a veder piu che la persona. 1 
 
 The hall del Cambio, the Exchange of 
 Perugia in the fifteenth century, is de- 
 corated with frescos by Perugino, who 
 was aided in this work by his pupil II 
 Inyegno, as Vasari and his copier Lanzi 
 pretend. These admirable frescos re- 
 present the portraits of illustrious men 
 of antiquity, and in the chapel adjoining 
 divers subjects from the Old and New 
 Testaments, with Perugino's portrait, 
 and they have been ably celebrated by a 
 poet of our own days, S. Mezzanotte, 
 professor at the university. 
 
 The fountain of the piazza is one of 
 the first and best works of Giovanni Pi- 
 sano, who also sculptured the basso-re- 
 lievos of the first conch. 
 
 The piazza del Papa has at last re- 
 ceived the bronze statue of Julius III.; 
 this persecuted monument, a martyr of 
 the revolutions of Italy', had remained 
 for some time suspended in the ropes 
 that were used to remove it from the great 
 piazza, and was successively lodged 
 in the palace of the inquisition, in the 
 fortress, and in a dark cellar of the Mo- 
 naldi palace. This statue, of Danti's 
 youth, as the inscription purports : Via- 
 centius Dante, Perusinus, adhuc puber 
 
 ' farad, xv, 100. 
 
Chap. VI. ] 
 
 PERUGIA. 
 
 &* 
 
 faclebat, is already of marvellous work- 
 manship, for facility, nobleness, vigour, 
 and, like many first works of artists and 
 writers, it is free from those defects that 
 sometimes arise from habit, routine, or 
 overweening confidence of talent. 
 
 The piazza Grimara presents the finest 
 remains of the Etruscan circuit of the 
 town. The majeslic gate flanked with 
 two towers, called the Arch of Augustus, 
 takes that name only from the inscription 
 Augusta Perusia, subsequently added 
 by the Romans. 
 
 CHAPTER YI. 
 
 University.— Professors.— Cabinet of archeology.— 
 Etruscan inscriptions. — Quadriga.— Cahinet of 
 medals.— Latin inscriptions.— Academy of Fine 
 Arts. — Gallery. — Pio college.— Library. - - Mad- 
 house.— Reading-room. 
 
 The university of Perugia, the best in 
 the Papal states after those of Rome and 
 Bologna, is one of the most distinguished 
 in Italy. Founded in 1320, it received 
 numerous privileges from popes and em- 
 perors, and is indebted to the French 
 administration for its magnificent edi- 
 fice, the old convent of the Olivetans. 
 The number of students was from three 
 to four hundred. Some of its professors 
 are men of extraordinary merit; such 
 are : S. Yermiglioli, a celebrated anti- 
 quarian, a clever and indefatigable inter- 
 preter of the monuments of his country, 
 professor of archeology; S. Mezzanotte, 
 a poet imbued wilh the ancients, an ex- 
 cellent translator and commentator of 
 Pindar, of Greek,- the amiable marquis 
 Antinori, an elegant and graceful poet, 
 of Italian literature; Doctor Bruschi, a 
 botanist and good physician, of materia 
 medica ; S. Martini, a learned experi- 
 mental philosopher, of physics. The 
 French administration likewise extended 
 the course of instruction at this univer- 
 sity. A member of the Consulla of 
 Rome, M. de Ge'rando, who had contri- 
 buted to this amelioration, received two 
 years after a touching and disinterested 
 token of gratitude from the inhabitants 
 of Perugia; they sent him a fine painting 
 by Perugino, now at Paris. While the 
 monuments seized by victory were taken 
 from our squares and palaces, this pic- 
 
 « See the learned description that he has given 
 of it, which, in accordance with a singular and 
 not unfrequeut Italian custom, was published at 
 
 lure, the prize of an honourable action 
 and the memorial of an enlightened con- 
 quest, reached unnoticed the abode of a 
 man of worth, where it was destined to 
 remain in security from all such violent 
 vicissitudes. 
 
 The botanical garden counts about 
 two thousand species. The cabinet of 
 mineralogy was presented by S. Canali, 
 ex-professor of physics and now rector 
 of the university. 
 
 The archeological cabinet, created by 
 the generous donations of different in- 
 habitants of Perugia, and proceeding 
 from excavations made in its territory, 
 is rich in Etruscan inscriptions, of which 
 there are now more than eighty; the 
 longest consists of forty-five lines. The 
 rich ornaments and carved figures of the 
 Etruscan quadriga, a votive offering, 
 according to the authoritative opinions 
 of SS. Yermiglioli and Micali, found in 
 1810 by a peasant of Castel San Maria- 
 no, make us regret the absence, of the 
 other dispersed fragments of this wooden 
 car, and especially its superb basso- 
 relievo of gilt silver restored by M.Mil- 
 lingen, which is now in the British Mu- 
 seum. The figures of the fine yellow 
 and red vase with a black bottom repre- 
 sent a Bacchanal on one side, Admetes 
 and Alcestes on the other, offering an 
 expiatory sacrifice to Diana, according to 
 S. Vermiglioli,' but Atalanta and Me- 
 leager, according to the more probable 
 opinion of the abbeZannoni. 
 
 The cabinet of medals is select rather 
 than numerous. 
 
 The walls of the corridors of the Uni- 
 versity, particularly on the second floor, 
 are incrusted with a fine series of Latin 
 inscriptions. 
 
 The Academy of Fine Arts, in the 
 same building as the University, has 
 some good paintings by masters of Pe-, 
 rugia arranged chronologically, chiefly' 
 proceeding from suppressed churches. 
 One of Perugino's receipts for the price 
 of a painting is there exposed in a glazed 
 frame. 
 
 Among the private galleries we may 
 distinguish that of Baron della Penna, 
 which has a masterpiece of Perugino ; 
 the gallery of the marquis Monaldi, con- 
 taining a great Neptune on a marine 
 car, ordered of Guido by Cardinal Mo- 
 
 Terugia in 1831, ou the marriage of the marquis 
 Ghino Rraccescbi wilh the countess Aarelia Me 
 niconi. 
 
652 
 
 PERUGIA. 
 
 [ Book XVM. 
 
 naldi, legate at Bologna, and a sketch or 
 the same painting by the artist; the gal- 
 lery of the Staffa palace, proud of its 
 admirable and most authentic Virgin 
 by Raphael, for the original treaty be- 
 tween the artist and a Count Staffa long 
 existed in the archives of that family, 
 but is now lost;. lastly the Oddi museum, 
 formerly celebrated, but at present great- 
 ly reduced, which boasts no longer its 
 famous Deposition from the Cross, now 
 at Rome; this ivory group, with its nu- 
 merous figures, is a noble, expressive, 
 and natural work, in fact, among the best 
 of that kind ; but there is not the slightest 
 reason to ascribe it to Michael Angelo, 
 any more than a multitude of other 
 sculptures in ivory, which, had he exe- 
 cuted them all, would have left him no 
 leisure for anything else. 
 
 The Pio college, which takes its name 
 from the protection accorded to it by 
 Pope Pius VII., is managed in a new and 
 superior manner by the worthy professor 
 Colizzi, who is equally distinguished as 
 a professor of public law, a mathema- 
 tician, and a chemist. S. Colizzi makes 
 the study of the ancient languages, which 
 he has simplified, proceed simultaneously 
 with that of the sciences; and his fine 
 establishment, which has sixty pupils, 
 would have more, if the place permitted. 
 
 The library of Perugia, confided to 
 the enlightened management of S. Ca- 
 nali, has about thirty thousand volumes; 
 it possesses a fine collection of the fif- 
 teenth century and some curious manu- 
 scripts. The most remarkable of the 
 latter is the Stephen of Byzantium, 
 reckoned one of the best of this Greek 
 grammarian of the end of the filth cen- 
 tury. The miniatures of a St. Augustine 
 of the thirteenth century, representing 
 the Redeemer with several saints and 
 the Beginning of Genesis, resemble the 
 Greek style in their angular and thick 
 folds, and prove that it was already prac- 
 tised in Umbria. The Opinions of Be- 
 nedetto Capra, a Perugian jurisconsult, 
 of the year 1476, without printer's name, 
 was the first book printed at Perugia. 
 The Funeral oration of the young Gri- 
 fone Baglione, assassinated when 22 
 years old in 1477, with what motive does 
 not appear, by the lieutenant of the lord 
 of Sasso Fcrrato, a discourse by the Pe- 
 rugian scholar Maturanzio, who delivered 
 it over the young victim's grave, is of 
 the same year as his death. The Itine~ 
 
 rary of the Holy Land and Mount 
 Sinai, in Italian, by Gabriele Capodi- 
 lista, of an ancient family of Padua, 
 whose chivalrous French motto (Leal 
 desir) > we have already quoted, though 
 without date or imprint, must appa- 
 rently be one of the good editions of Pe- 
 rugia in the fifteenth century. 
 
 Besides all the various establishments 
 peculiar to Italy, such as its music school, 
 its two philo-dramatic academies, its two 
 theatres, its society de' filedoni (a society 
 of amateurs of the arts that holds public 
 sittings), and even its new and well-con- 
 ducted madhouse, Perugia possesses a 
 reading-room which receives the different 
 foreign Reviews, and bears testimony to 
 the liberal spirit of the principal inhabi- 
 tants. 
 
 CHAPTER VII. 
 
 Towei' of Sou Manno.— Borders of Hie Like.— Emls- 
 sario.— Island.— Pieve.— Palace.— Frescos of Peru- 
 glno.— Moniecoroua. — Todi. 
 
 At the hamlet of San Manno, one 
 mile from Perugia, is the celebrated 
 Etruscan tomb, called the temple of San 
 Manno, which was used as a cellar until 
 cleared out by direction of Professor Co- 
 lizzi, a monument remarkable for its 
 arched roof composed of huge square 
 stones. The inscription of three large 
 lines, surnamed by Mallei the queen of 
 inscriptions, and which perhaps was so 
 in his day, is still one of the finest and 
 longest of known Tuscan inscriptions. 
 
 The aspect oflhe country bordering on 
 the lake of Perugia, the ancient Trasi- 
 menus, perfectly explains the battle de- 
 scribed by Polybius and Livy, "an 
 action," proudly remarks the latter his- 
 torian, " that was one of the few defeats 
 of the Roman people ; " Hcec est nobilis 
 ad Trasimenum pugna, atque inter 
 paucas memorata populi Romani cla- 
 des. It is easily seen that the consul 
 Flaminius had a confined and bad re- 
 treat along the lake, and. one almost 
 expects to see the Numidian cavalry rush 
 from the mountains to intercept him. 
 The superstitious recollection of this 
 disaster produced, to parody the Latin 
 historian, one of the frequent discomfi- 
 tures of the pope's soldiers, who were 
 beaten on that very spot by the army of 
 Lorenzo de' Medici. 
 
 • See ante, book vu. cti. Ill, 
 
Chap. VIII.] 
 
 CORTONA. 
 
 653 
 
 The emissario that traverses the moun- 
 tain del Lago and maintains the level of 
 the lake, is a repaired Etruscan structure, 
 and one of the most magnificent works 
 of Braccio's reign. 
 
 The waters of the lake of Perugia 
 are azure and limpid. On the Isoia 
 Maggiore, one of the pretty isles in the 
 lake, is a convent of Observantines, 
 whence the prospect is superb. 
 
 At the cilia della Pieve, a small town 
 twenty miles from Perugia, near the 
 lake, is the almost royal palace built by 
 Galeaso Alessiforthe duke della Corgna. 
 
 The citta della Pieve, Perugino's 
 birth-place, is also remarkable for its 
 chapel called the Chiesarella, which 
 contains the fresco of the Nativity, one 
 of his most delicious works. The house 
 in which the artist was born still existed 
 in 1828, opposite this chapel, but it was 
 barbarously pulled down by S. T******, 
 in the following year, to make some ad- 
 dition to his habitation. On the road, 
 at a nunnery in the village of Panicale, 
 are some other less remarkable frescos 
 by Perugino. He seems to have covered 
 the country with his paintings, which 
 are too often misprized and disfigured 
 by clownish ignorance. 
 
 The Carnaldulite convent of Monte- 
 corona, twelve miles north of Perugia, 
 seated on the summit of the mount most 
 justly called Belvedere, and surrounded 
 by a superb forest of firs planted by 
 those laborious solitaries in the savage 
 desert which they have brought into 
 cultivation, — this splendid monastery is 
 at the same time one of the most reli- 
 gious and holy. These reformed Ca- 
 maldulites of the order of Saint Romuald, 
 are both cenobites and hermits : each 
 hasa little house to himself and a garden 
 which he cultivates, and they do not as- 
 semble or eat together in the refectory 
 more than once or twice a year, besides 
 on the festival of their founder. These 
 compassionate monks succour the moun- 
 taineers their neighbours, and give a 
 cordial welcome to travellers in their 
 house at the foot of the mountain. One 
 is sometimes startled on finding, under 
 the great white robe and the humble con- 
 dition of these anchorets, the bearing, 
 language, and manners of high life ; 
 for among them are men Mho were 
 once of importance in the world, and 
 even a Prussian general of great ability. 
 Such conversions do not surprise those 
 
 who have contemplated the locality, and 
 especially the calm, pure, and pious 
 souls that inhabit it. 
 
 Todi, a little town near the Tiber, 
 founded by the Etruscans, ever menaced 
 and injured by the falling of the hill on 
 which it stands, was formerly powerful, 
 martial, and rich, as the numerous coins 
 still remaining prove. Though out of 
 the way and not easily approached, es- 
 pecially in wet weather, it deserves a 
 visit for its strong antique walls of long 
 square stones, with phalli ; for the ruins 
 of its singular edifice, the subject of so 
 much archeological disputation, sup- 
 posed by some persons part of a forum 
 and temple of Mars, or rather of a ba- 
 silic of the earlier emperors, and also for 
 the good architecture of most of its 
 churches. The principal one, the fine 
 church of the Madonna, an assemblage of 
 cupolas cleverly grouped, is one of Bra- 
 mante's chefs-d'oeuvre. ■ 
 
 CHAPTER VIII. 
 
 Cortona.— Walls. — Pretorio palace.— Etruscan Aca- 
 demy.— Library. — Museum. — Grotto of Pytha- 
 goras.— Cathedral.— Sarcophagus of Flaminius.— 
 Last grand-master of Malta. — Gesii.— Saiat Mar- 
 garet. — Conventuals.— Saint Domlnick. — Sain 
 Augustine.— Santa Maria deqli Grazie. — Chiusi.— 
 Collections.— Cathedral.— Circus. 
 
 Cortona, one of the most ancient cities 
 in Italy, on a high mountain, like the 
 other Etruscan towns, is admirably si-' 
 tuated. The population is a little above 
 five thousand. Its gigantic cyclopean 
 walls, of oblong and square stones, hold 
 together without mortar, like all similar 
 constructions. The circuit of the present 
 town is exactly the same as the ancient, 
 and the modern gates seem to stand in 
 the ancient places. 
 
 The Pretorio palace is the seat of the 
 Etruscan academy, founded in 1726 by 
 the illustrious antiquarian, Ridolfino 
 Venuti, of Cortona. Its president, called 
 Lucumo, the ancient title of the elective 
 and absolute chief of the peoples of 
 Etruria, whom the Latin historians ho- 
 nour with the title of king, may be 
 chosen among foreigners; but he must 
 have a representative at Cortona, called 
 vice-lucumo. This academy has not 
 gone further than its ten quarto vo- 
 lumes of Memoirs, and it does not seem 
 to have participated in the impulse given 
 
 55. 
 
654 
 
 CORTONA. 
 
 [Book XVIII. 
 
 in our days to the study of Tuscan an- 
 tiquities. 
 
 The rich library, confided to the ma- 
 nagement of S. Ponbucci, possesses the 
 mutilated manuscript of the Notti Co- 
 ritane, in twelve folio volumes, a pre- 
 cious collection of conversations on 
 archeology by the learned lords of Cor- 
 tona. A manuscript of Dante is re- 
 markable for the beauty of its characters 
 and miniatures. 
 
 The small museum is principally re- 
 markable for its Etruscan antiquities. 
 The figure of most importance for my- 
 thology and the history of art is the 
 bronze reckoned by some a Victory, by 
 others a Venus, and also the Mqoii. 
 
 An antique tomb or Etruscan build- 
 ing, remarkable for the construction of 
 its roof and the large stones joined 
 without cement, has been strangely 
 named the Grotto of Pythagoras, the 
 inhabitants of Cortona having from va- 
 nity transposed the R of their town, 
 notwithstanding the crime of the Cro- 
 toniates, who burnt alive the most 
 humane philosopher of antiquity, be- 
 cause he advised them to be tolerant. 
 
 The cathedral, oflhe tenth or eleventh 
 century, was restored internally at the 
 beginning of the last century by the 
 Florentine architect Galilei. The fine 
 basso-relievo of the pretended sarco- 
 phagus of Flaminius, representing the 
 Combat of the Centaurs and the La- 
 pithce, or a Triumph of Bacchus, seems 
 to belong to the Roman period of anti- 
 que art, perhaps the times of the Anto- 
 nini. The best paintings are by Luca Sig- 
 norelli, a native of Cortona, which town 
 possesses pictures in his three manners; 
 his works are : a Deposition from the 
 Cross and a graceful Communion of the 
 Apostles, in which the figure of Christ 
 seems worthy of the Carracci for colour- 
 ing. This cathedral contains the tomb 
 of the last grand-master of Malta, Giam- 
 hattista Tommasi, named by Pius VII. 
 in 1803 and deceased in 1805, an obs- 
 cure successor of I'lsle-Adam and La Va- 
 ictte. 
 
 The Gesii has a delightful Annuncia- 
 tion by Fra Angelico; a Nativity, a 
 Conception, an Eternal Father, by 
 Luca Signorelli : this last painting is in a 
 triangular form, and of his first manner. 
 The Virgin on a throne with St. Roch 
 and St. Ubald, is by Jacone, the chief of 
 those coarse Epicurean Florentines de- 
 
 scribed by Vasari ; it is unfinished, doubt- 
 less owing to his relish for jollity and 
 frolic. 
 
 The majestic church of Saint Mar- 
 garet and its monastery surrounded with 
 cypress occupy the summit of the moun- 
 tain of Cortona. The view is enchant- 
 ing. On the road are some wrecks of 
 Roman thermae frequently given for a 
 temple of Bacchus. The church isbyNi- 
 colaoand Giovanni Pisano, whose names 
 are on the steeple. ,An old fresco, full 
 of expression, represents the tender Mar- 
 garet, a simple villager of the environs 
 of Cortona, discovering under a heap of 
 stones the body of a man whom she 
 loved. The tomb of this amiable saint, 
 whose penitence was afterwards so aus- 
 tere, is of the thirteenth century. A 
 crown of gold ornamented with precious 
 stones and the silver front of the tomb 
 were giyen by Pietro of Cortona, when 
 he received letters of nobility from his 
 country, and tbelatterissaid to have been 
 sculptured from his designs. The St. 
 Catherine is by Baroccio; the Virgin, 
 St. Blase, St. John Baptist, St. Eliza- 
 beth of Hungary, by Empoli ; a Con- 
 ception with St. Louis of Toulouse, 
 St. Francis, St. Dominick, St. Mar- 
 garet, by the elder Vanni. 
 
 The convent of the Minor Conventuals 
 of Saint Francis, of the close of the thir- 
 teenth century, has the best painting of 
 Cortona, Cigoli's Miracle of St. Antho- 
 ny's mule, which converted a heretic. 
 
 The convent of Saint Dominick is an- 
 terior to 1258. A graceful Assumption 
 is attributed to Pietro da Panicale, of 
 Perugia. Fra Angelico is the reputed pain- 
 ter of the picture in the antique style in 
 the choir, with an inscription of liiO, 
 purporting that it was given by Cosmo 
 and Lorenzo de' Medici to the friars of 
 Saint Dominick, to pray for their souls 
 and those of their fathers, A Virgin 
 surrounded with Saints, much da- 
 maged, is by this exquisite painter; the 
 Assumption loith St. Hyacinth, by the 
 younger Parma. 
 
 The convent of Augustuses is one of 
 the oldest in the town. In the church 
 are: the Virgin, St. John Baptist, St. 
 James, St. Stephen, and St. Francis, a 
 work in Titian's style, one of the most 
 extolled and most extraordinary of Pietro 
 of Cortona; the Virgin, St. John Bap- 
 tist and St. Anthony the Abbot, by 
 Empoli. 
 
Chap. IX. ] 
 
 CHIANA.-AREZZO. 
 
 655 
 
 In a valley to the south, not far distant 
 from the town, is the elegant Santa 
 Maria delle Grazie, called del Calcinajo 
 (of the Lime), from an antique picture 
 painted on the corner of an exterior -wall 
 of a tan-yard, a venerated image, ere now 
 the witness of divers miracles, and parti- 
 cularly of that of the oxen, which while 
 ploughing kneeled every time they passed 
 before it. The architecture is not by 
 Antonio SanGallo, as supposed, but by 
 Francesco di Giorgio, of Siena. A Con- 
 ception, an Annunciation, and an Ado- 
 ration of the Magi, works unknown to 
 Lanzi, are by Papacello, a clever artist 
 of Cortona and a pupil of Giulio Romano. 
 
 Chiusi, pleasantly situated on a hill, 
 deserves a visit from the archeological 
 traveller for its rich museum and various 
 Etruscan ruins, although no vestige is 
 left of the famous labyrinth and mauso- 
 leum of Porsenna in his ancient capital. 
 This monument, with its three piles of 
 buildings superposed, as given by Pliny 
 and Yarro, would be absolutely impos- 
 sible, and is now regarded by men of 
 science as fabulous, symbolical, and 
 imaginary. 
 
 Some curious collections have been 
 formed by certain learned inhabitants of 
 Chiusi, chiefly by SS. Casuccini and 
 Paolozzi, antiquarian landowners, who 
 seem less to cultivate than rausack their 
 fields and gardens. The Casuccini mu- 
 seum has more than forty sepulchral 
 monuments of marble much injured, and 
 about a hundred in burnt earth, which 
 comprise some elegant figures of men 
 and women that attest the plastic skill of 
 the Etruscans ; forty tombs of travertine, 
 interesting for their forms and figures, 
 and, above all, some large elegant black 
 vases, independently of bronzes, gold or- 
 naments, etc. The greater part of these 
 monuments have inscriptions which may 
 promote the study of theElruscan tongue, 
 andare indisputable proofs of civilisation. 
 On one of the fine black vases may be 
 remarked an assortment of children's 
 playthings, which in all ages and coun- 
 tries seem nearly the same. The col- 
 lection of S. Paolozzi, rich in vases orna- 
 mented with paintings, with Etruscan 
 urns, bronze medals, and graven 
 stones, has a stone basso-relievo of a 
 remarkable style. 
 
 1 See Ihe Historical hydraulic Memoirs on the 
 vale Chiana, published in (789 by the Cav. Fos- 
 
 The old cathedral of the modern Chiusi 
 may be looked on as another Etruscan 
 museum ; and the first christians of that 
 town, now unhealthy and tradeless, 
 with only two thousand two hundred and 
 twenty-six inhabitants, like the christians 
 of Rome, despoiled their ancient temples 
 and edifices to rear theirchurches. The 
 tomb containing the relics of Saint 
 Mustiola is made of an antique column 
 of Numidian marble. The eighteen 
 unequal columns of different marble 
 which support the arches of the three 
 naves, are doubtless part of some ancient 
 monument. The bishop's chamber has 
 a fine head of Augustus with the sacer- 
 dotal veil, supposed of Adrian's time, 
 and in his garden are a number of tombs 
 and capitals, of various orders, in bad 
 condition. 
 
 The cippus of the church of Saint 
 Francis indicates the existence of a temple 
 of Diana. The lofty column of Ethiopian 
 marble, exquisitely wrought, of the Con- 
 fraternity of Death, must have been 
 procured from a basilic. In the prome- 
 nade of the circus, the trees and stone 
 benches are placed alternately with pe- 
 destals supporting Etruscan or Roman 
 fragments, taken from the grottos of 
 Chiusi, the necropolis of Tuscany. 
 
 CHAPTER IX. 
 
 Vale of Chiana.— Castiglione.— Olrao.— Santa Maria 
 degti fi iaz;e.—Arezzo.— Air.— Illustrious men.— 
 Amphitheatre. 
 
 The vale of Chiana is one of the most 
 splendid monuments of cultivated nature, 
 one of those conquests that display the 
 benevolent empire of man and make his 
 true glory. The wonderful fecundity of 
 its fields is chiefly due to the works of Leo- 
 pold. It appears, however, according to 
 accurate research, that from the tenth to 
 the fourteenth century the course of the 
 Chiana had been skilfully directed, ■ and 
 that Italy, which preceded the other na- 
 tions of Europe in most of the arts, was 
 also their mistress in hydraulic science. 
 
 Castiglione, a little ancient town, 
 pleasant and well situated, counts five 
 thousand three hundred and seventeen 
 inhabitants, enriched by husbandry. 
 The fine parish church (Pieve), of the 
 
 sombroni, now counsellor and prime minister or 
 the grand-duke of Tuscany. 
 
6S6 
 
 AREZZO. 
 
 t Book XVHIj 
 
 close of the fourteenth century, has not 
 lost its character, though it has undergone 
 several restorations. A Nostra Signora 
 and St. Julian, patron of the church, 
 and a St. Michael, by Bartolommeo della 
 Galta, a Camaldulite monk of the fifteenth 
 century, an excellent painter of minia- 
 tures, musician, and architect, are works 
 highly extolled by Vasari, but the Ggures 
 in them are too long. At Saint Francis, 
 the Virgin, St. Anne, St. Silvester, and 
 the Saint, by Vasari, is remarkable in 
 design but feeble in colouring. 
 
 Haifa mile from Arezzo, is Olmo, so 
 called from an antique gigantic elm. 
 Popular tradition makes it as old as An- 
 nibal's time; its vigorous roots injured 
 some houses near, and it was, on that 
 account, mutilated and destroyed by the 
 French administration. At present it is 
 only a black shapeless post, about ten 
 feet high, very different from the ancient 
 majesty of that proud tree, which ten men 
 could hardly embrace, and which filled 
 a hundred carts with its huge boughs 
 and fragments. 
 
 The delightful semi-gothic portico of 
 Santa Maria degli Grazie is something 
 like, though of another character, the 
 admirable Loggia of the Lanzi at Flo- 
 rence. 
 
 Arezzo, an ancient and historical city, 
 one of the three principal Etruscan 
 cities, according to Livy, rises in form 
 of an amphitheatre on lovely hills. The 
 population is ten thousand four hundred 
 souls. When we consider the great 
 number of illustrious or famous men 
 that Arezzo has produced, from Petrarch 
 to Redi, the historian Giovanni Villani's 
 remark on the influence of its climate 
 appears just, « and one might be tempted 
 to take for truth the jest of Michael A ngelo, 
 a native of Caprese, a village of two 
 hundred inhabitants near Arezzo, when 
 he told Vasari that he (Michael Angelo) 
 was indebted to the air of his country 
 for whatever was good in his mind : 
 Giorgio, se io ho nulla di buono nelV 
 ingegno, egli e venuto dalnascere nella 
 sottilitd dell aria del vostro paese di 
 Arezzo. Perhaps also this vivacity of 
 the air which inspired the genius of su- 
 perior men excited in the common people 
 that crabbed party spirit with which 
 
 1 11 sito e I'ttria di Arezzo genera lOtlilimmi 
 tiomini, 1st. lib. I. cap. xlvii. 
 
 2 Pur-gat. XIV. 'iG. 
 
 Dante reproaches the inhabitants of 
 Arezzo : 
 
 Botull trova poi venendo gluso 
 Ringhiosi piii die non cbiede lor possa. 5 
 
 Divers inscriptions mark the abodes of 
 some of the illustrious Aretines, and make 
 the streets of this little town an absolute 
 Pantheon. Besides Petrarch, Redi, and 
 Vasari, we may further distinguish 
 among the historical Adeline : the infa- 
 mous Pietro, the scourge of princes ; 
 Bruni, chancellor of Florence; 3 Fra 
 Guittone of Arezzo, a Benedictine monk 
 of the eleventh century, abbot of the 
 monastery of Fonte Avellana.a proficient, 
 for his time, in Greek, Hebrew, Arabic, 
 Chaldaic, Latin, and, above all, inventor 
 of the solfege and restorer of music in 
 Italy ; the poet of the thirteenth century, 
 GuilloneofArezzo, sometimes confound- 
 ed with the monk, who brought the 
 sonnet to perfection, put in Purgatory 
 by Dante, doubtless for having composed 
 verses without inspiration, and sung 
 rather coldly by Petrarch in his Trionfi : 
 
 Ecco Cin da Pistoja, Guittou d'Arezzo ; 
 
 Guglielmo degli Ubertini, a martial bi- 
 shop and head of the Ghibeline parly in 
 Tuscany ; Margaritone, a painter, sculp- 
 tor, architect, and machinist, of the thir- 
 teenth century, an able imitator of IS'i- 
 colao Pisano and Arnolfo di Lapo ; 
 Spinello, an expressive painter of the 
 fourteenth century ; Albergolti, a great 
 jurisconsult of the same epoch; the lord 
 and bishop of Arezzo, Guido Tarlati, of 
 whom we shall speak here after ; the 
 jurisconsult and professor Marsuppini, 
 the enemy ol'Filelfo;* the family of the 
 Accolti, who seem a tribe of literati, two 
 of whom, Bernardo, surnamed the unique 
 from his marvellous facility as an impro- 
 visatore, and his nephew the Cardinal 
 Benedetto, were celebrated by Ariosto; 5 
 Cardinal Bibiena, author of the Calan- 
 dria ; Giovanni Tortelli, cameriere of 
 honour to the great pope Nicholas V., 
 librarian of the infant Vatican; Antonio 
 Roselli, an orator and jurisconsult of the 
 fifteenth century, called the monarch of 
 science; Andrea Cesalpin, the creator of 
 botany, who had a glimpse of the cir- 
 
 3 See ante, book x. cli.xil. 
 
 i See ante, ibid. 
 
 5 Orlantl. cant. xlyi. st. x, II. 
 
ClIAP. X.] 
 
 AREZZO. 
 
 657 
 
 culation of the blood before Harvey ; 
 Vezzosi, his pupil, the ladies' physician, 
 a poet and philosopher, Tasso's friend ; 
 Colonel Ottaviani, a good soldier, de- 
 ceased in 1609, who had fought all over 
 Europe, and bore the name of Mecaenas, 
 whose descendant he pretended to be, for 
 the friend of Augustus and Horace was 
 also of Arezzo; Marshal d'Ancre, who 
 was killed on the bridge of the Louvre, 
 disinterred, torn to pieces, and his heart 
 cooked and eaten by the populace of 
 Paris ; Francesco Rossi, praetor at Cor- 
 tona, Prato, and Volterra, auditor del 
 Magistrate supremo under Leopold, and 
 a great antiquarian ; Francesco de' 
 Giudici, a critic and scholar of the last 
 century ; Geronimo Perelli, of the same 
 family, the annalist of the literati of 
 Arezzo, of whom he enumerates above 
 five hundred and fifty, fromFra Guittone 
 to the end of the eighteenth century, and 
 the ingenious Pignotti.' 
 
 In the garden of the monastery occu- 
 pied by the monks of Saint Bernard, the 
 ruins supposed to be an amphitheatre, 
 though when built and for what purpose 
 appear doubtful, are an antique wreck 
 of Roman construction, admirable for its 
 extent and solidity. 
 
 The church della Pieve, the most an- 
 cient of the town, rebuilt in 1216, accord- 
 ing to the inscription on the principal 
 door, presents some wrecks of an ancient 
 temple supposed to have been conse- 
 crated to Bacchus. The fantastic capi- 
 tals, columns, and caryatides, by Mar- 
 chione, an artist of Arezzo in the 
 thirteenth century, exhibit great facility, 
 and might, belong to a more advanced 
 epoch. Vasari says that he was charged 
 to repair the interior, to which he applied 
 himself con amore, as this church was 
 associated with his boyish recollections 
 and was the sepulture of his fathers ; he 
 wished to be interred there, in the chapel 
 opposite the high altar, belonging to his 
 family, which has recently become ex- 
 tinct. He boasted of having brought the 
 church to life, but it must ever be regretted 
 that the paintings of the old masters of 
 Giotto's school perished in these repairs : 
 the paintings by Vasari, and even his 
 St. George, behind the high altar, though 
 very good, are no compensation for such 
 a loss. 
 
 The institute of the Fraternila, ap- 
 
 1 See ante, book xi. cli. xi. 
 
 proved by bishopGuillemindegliUberlini 
 in the year 1262, which undertakes to 
 relieve the poor, to protect widows and 
 wards, to rear and provide for orphans, 
 and even to propagate scientific and lite- 
 rary knowledge, is one of those charita- 
 ble institutions arising from the spirit of 
 association which has long existed in Ita- 
 ly, 3 and is usually combined with intel- 
 lectual progress. Vasari was one of the 
 benefactors of this institute. In this ve- 
 nerable palace of the Fraternitd, built 
 in the fourteenth century by Nicolao of 
 Arezzo and remarkable for the majesty 
 of its old front, is the museum of anti- 
 quities and natural history, contiguous to 
 the public library of above ten thousand 
 volumes. 
 
 In the grand Piazza, probably the 
 ancient forum of Arezzo, the porticos of 
 the merchants (Loggie), by Vasari, are 
 a very elegant architectural work and 
 the artist's chef-d'oeuvre. The marble 
 statue of the grand-duke Ferdinand III. 
 is by S. Ricci. 
 
 CHAPTER X. 
 
 Petrarch's bouse.— Well of Tofano, in Boccaccio's 
 novel. 
 
 A mong the illustrious houses of A rezzo, 
 the first is that where Petrarch was born, 
 on Monday, July 20, 130i, in the Borgo 
 dell' Orto, a small street near the cathe- 
 dral, as we are informed by a lengthy 
 inscription put on the outside of the 
 house in 1810. The poet's father, Ser 
 Petracco, Pietro (for it appears that he 
 had not yet a name, which was not un- 
 common among plebeians ), notary of 
 the reformations of Florence, or archivist 
 of the deliberations of the Signiory, had 
 been banished in 1302 with Dante, as 
 belonging to the White party; and his 
 mother Electa de'Canigiani, a coura- 
 geous woman, shared the exile and 
 troubles of her husband's life. On the 
 very night of Petrarch's birth, Ser Pe- 
 tracco, assisted by other "Whites, had 
 attempted a nocturnal attack, which was 
 unsuccessful, in order to regain his coun- 
 try ; and on returning be found his wife 
 just delivered of a son at the imminent 
 peril of her life. But Ser Petracco did 
 not suffer the long exile of Dante, for he 
 was recalled five years after. Petrarch, 
 
 2 See ante, book v. cb. ?li. 
 
658 
 
 AREZZO. 
 
 [Book XVI1L. 
 
 on his road from Rome, was so well re- 
 ceived at Arezzo, that he asserted that 
 town had done more for him, a stranger, 
 than Florence for his fellow-citizen. One 
 of the marks of attention that flattered 
 him most was his being unexpectedly 
 conducted by the magistrates to this 
 house, where he was informed that the 
 proprietor having wished to make se- 
 veral alterations, the town had always 
 been opposed thereto, and had ordained 
 that the place consecrated by his birth 
 should be always kept in the same stale. 
 The room on the ground floor that was 
 shown to me as the scene of Petrarch's 
 birth was an ordinary apartment, with- 
 out any vestige of antiquity. 
 
 Opposite this house is the well near 
 which Boccaccio has placed the scene of 
 the poor Tofano and Monna Ghita his 
 wife, who being shut out at night, like 
 the Angelica of George Dandin, feigned 
 to jump in, but merely threw down a 
 large stone, which stratagem was equally 
 successful in both cases; an admirable 
 comic scene, in which Tofano seems in- 
 ferior to George Dandin, confounded by 
 theSotenvilles; but Monna Ghita crying 
 from the window Allacroce diDio, etc., 
 is very superior to Angelica, who is 
 always speaking like a fine lady. 
 
 CHAPTER XI. 
 
 Cathedral.— Painted glass— Allar, by Giovanni Pl- 
 sano.— Mausoleums of Guido Zarlatl, by Agostino 
 and Angelo of Siena;— of Gregory X., by Marga 
 ritone.— Chapel of Hie Virgin.— lledl.— Archives. 
 —Statue of Ferdinand I. 
 
 The majestic Gothic cathedral, of the 
 thirteenth century, is singularly vene- 
 rable. It seems as if its sombre vaults 
 still resound with the words of the 
 archdeacon Ilildebrand, afterwards Gre- 
 gory VII., when he pronounced from 
 the pulpit the chastisement of the spoilers 
 of the church, and perhaps gave Dante 
 the idea, the inspiration of some of the 
 torments of his Inferno. Over one of 
 the lateral doors are suspended some 
 enormous elephant's tusks, probably fos- 
 silc, which the local patriotism of the 
 Aretines will have proceed from the ele- 
 phants of Annibal, that glorious captain, 
 whose traces are found at every step on 
 this road. Four of the compartments of 
 the nave ceiling, ornamented with stars 
 of gold on an azure ground, date from 
 
 the year 1341, and are by the painters 
 Andrea and Balduccio. The compart- 
 ments of the middle nave were executed 
 in 1500 and 1520 by the Florentine 
 Nofelli and Guillaume de Marseilles, a 
 French painter and Dominican, after- 
 wards a secular priestand priorof Arezzo, 
 a clever imitator of the great figures of 
 the Sixtine; he also did the brilliant 
 painted windows, one of which, the 
 Calling of St. Matthew, excited Vasari's 
 unbounded enthusiasm. We there find 
 says he, * tempj di prospettiva, le scale 
 e le figure talmente composte, e ipaesi 
 si propri fatti, che mat non si penserd 
 cite siano vetri, ma cosa piovuta dal 
 cielo a consnlazione degli uomini. The 
 Crucifix of the old painter of Arezzo, 
 Spinello, is an expressive composition, 
 despite the singularity of the little angels 
 holding cups to catch the blood trickling 
 from the Saviour's wounds. In the cha- 
 pel of Saint Matthew, marvellously paint- 
 ed by Franciabiagio, a German seems 
 living. A skilful St. Mary Magdalen 
 is by Pietro della Francesca, a great 
 Florentine artist of the fifteenth century, 
 who lost his sight at the age of thirty- 
 four ; the St. Ignatius, (he Madonna 
 welcoming the people of Arezzo, re- 
 commended by their protectors, are by 
 two good painters of the country : the 
 first an abbot; the second a gentleman, 
 his pupil. The basso-relievos and 
 small statues of the altar, by Giovanni 
 Pisano, notwithstanding the ordinary 
 monotony and the unhappy choice of his 
 forms, may be regarded as one of the 
 best works of the time and of the artist. 
 The middle compartment represents the 
 Madonna with St. Gregory, the portrait 
 of Pope Honorius IV., on one side, and 
 St. Donatus, the protector of Arezzo, 
 on the other. The basso-relievo of the 
 Death of the Virgin is very touching; 
 but the St. John blowing into a censer 
 appears, in so sorrowful a scene, engaged 
 in a very vulgar occupation, which also 
 swells his cheeks and deprives his coun- 
 tenance of the expression of grief which 
 it ought to have. 
 
 The mausoleum of Guido Tarlati, lord 
 and bishop of Arezzo, erected, from 1320 
 to 1330, by Angelo and Agostino of Siena, 
 was perhaps the most remarkable that 
 had then been erected since the first days 
 of the revival, and many a year elapsed 
 before there was anything to approach 
 it. Giotto, the friend and admirer of 
 
Chap. XII. ] 
 
 AREZZO. 
 
 659 
 
 these two artists, who probably aided 
 them with his advice, though he does 
 not seem to have made the design, as 
 some have supposed, since the age and 
 reputation of Angelo and Agostino would 
 hardly allow them to execute the plan of 
 another, had recommended them to 
 Pietro Saccone di Pietra Mala, Guido's 
 brother. It must be confessed, too, that 
 the history of the ambitious and warlike 
 prelate, a prince and chief of the Ghibe- 
 lines, interdicted and excommunicated 
 by the pope, one of the great men of 
 Italy, was singularly diversified and dra- 
 matic. The different subjects of this 
 history, such as the Crowning of the 
 emperor Louis of Bavaria at Milan, 
 the taking of towns and castles, are seen 
 in sixteen compartments; their little fi- 
 gures, distinct, natural, and elegant, 
 are worthy of the best times, and several, 
 those for instance in the compartment 
 entitled Morte di Messere, are noble 
 and very pathetic. 
 
 The tomb of Gregory X., executed 
 about 1277 by Margaritone, is remark- 
 able for the simplicity of the ensemble 
 and the taste of the draperies. This pope 
 Gregory, though not formally canonized, 
 is honoured as a saint at Arezzo. He 
 died there, after being obliged by the 
 overflowing of the Arno to pass over a 
 bridge at Florence ; and as he had some 
 time before laid that city under an in- 
 terdict, he thought proper to give it a 
 provisional blessing, lest it should be 
 said that a pope had gone through an 
 accursed city, but he interdicted it again 
 when he got out of it. 
 
 The old baptistry presents, on the 
 wall, a fresco of St. Jerome in the 
 desert, expressive but dry, attributed 
 either to Giotto or Spinello, and in good 
 preservation. At an altar near, is the 
 Martyrdom of St. Donatus, an energetic 
 composition, with a well rendered triple 
 effect of light; it is in Guido's manner, 
 and began the reputation of S. Benve- 
 nuti, a native of Arezzo. 
 
 A new chapel, consecrated to the mi- 
 raculous image of the Virgin, constructed 
 by the Florentine architect del Rosso, is 
 decorated with recent paintings, among 
 which are a great Judith, by S. Benve- 
 nuti, and opposite, Abigail going to 
 meet David, by S. Sabatelli, a rival 
 performance, which is not inferior in 
 design, and excels in colouring. 
 
 The elegant mausoleum of Redi, for- 
 
 merly at the church of the Conventual 
 Minorites, was, when that was sup- 
 pressed, removed to the cathedral. Redi, 
 a natural philosopher of acute observa- 
 tion, a reforming physician, and a good 
 poet, is, with the Arabians, Fracastor 
 and Haller, an additional example of the 
 singular relations existing between the 
 art of poetry and the science of medi- 
 cine.' 
 
 The archives of the cathedral, which 
 Ma billon was refused a sight of, on the 
 pretext of the Holy Week, but really be- 
 cause they were not then presentable, 
 have been since put in order and ar- 
 ranged according to date. They con- 
 tain about two thousand documents, 
 among which are diplomas from almost 
 all the emperors, from Charlemagne to 
 Frederick II., in favour of the church 
 and bishop of Arezzo, valuable monu- 
 ments of diplomacy. In the piazza of 
 the Duomo, the marble statue of the 
 grand duke Ferdinand I. is by Giovanni 
 Bologna, and one of his best pupils, the 
 Frenchman Francheville or Francavilla. 
 
 CHAPTER XII. 
 
 Public palace.— Yasari's house.— Badia.— Bacci 
 museum. 
 
 The public palace, built in 1332, ori- 
 ginally Gothic, but barbarously moder- 
 nised during the last century, was an- 
 terior to the Palazzo Vecchio of Flo- 
 rence, where public meetings were still 
 held in the churches. It presents some 
 paintings by artists of Arezzo, the best of 
 which is the Gonfalone of St. Rock 
 (banner of that confraternity), represent- 
 ing divers incidents of that saint's life. 
 
 The house ofVasari (StradaS. Vito), 
 now belonging to the counts of Mon- 
 tauti, has undergone little change, and 
 presents several of his best ornamental 
 paintings. 
 
 The elegant church of the Badia of 
 Santa Flora offers one of those cupolas 
 of architectural painting, extraordinary 
 for perspective, by the famous P. Pozzi. 
 In the ancient refectory of the cloister, 
 the Banquet of Ahasuerus, a vast com- 
 position by Vasari, given by him to his 
 natal town, and containing his own por- 
 trait under the guise of an old man with 
 a long beard, is one of the few works 
 that would have immortalised the artist's 
 
 * See ante, book v. ch. iviil. 
 
660 
 
 CAMPI.-PRATO. 
 
 [ Book XIX. 
 
 name, had he been vise enough to paint 
 Jess. The hall of the Ahasuerus is the 
 place where are held the sittings of the 
 Arezzo Academy of sciences, letters, and 
 arts, which has taken the title of Pe- 
 trarca. 
 
 The museum of the Cav. Bacci, who 
 also possesses the rich Rossi collection, 
 is justly celebrated among antiquaries. 
 The most important are : a great Etrus- 
 can vase found near Arezzo, and repre- 
 senting the combat of the Amazons; a 
 collection of red vases, of which there 
 seems to have been a manufactory at 
 Arezzo, moulds having been found there ; 
 a secespita, or sacrificial knife, and a 
 large Etruscan coin weighing more thau 
 two pounds. S. Bacci, one of whose 
 ancestors, Ludovico Bacci, is supposed 
 to have been the natural father of Pietro 
 Aretino, is descended from that Gualtero 
 
 de' Bacci, an intimate friend of Leo X. 
 and captain of his guards, an employ 
 that Ariosto coveted, which he upbraided 
 his relative Annibale Malaguzzo for not 
 having procured, and which he seemed 
 really worthy to All under such a pope: 
 
 Cugin, con quest' esempio to' die spacci 
 
 Quci che credon die I papa porre innanti 
 Mi debba a Seri, a Vanni, a Lolti, e a Bacci. 
 
 At one mile from Florence stands the 
 antique monastery of San Sal vi, which 
 has in the refectory a Cenacttlum, an 
 admirable fresco, a chef-d'oeuvre of An- 
 drea del Sarlo. It was here, in 1312, 
 that the emperor Henry VII., the hero 
 and ally of Dante, encamped, when, ex- 
 cited by that emigrant of genius, he be- 
 sieged the poet's native town, which, 
 without compassion or clemency, was to 
 banish him for ever from its bosom. 
 
 BOOK THE NINETEENTH. 
 
 ROAD FROM FLORENCE TO GENOA.— PRATO.-PISTOJA.-LUCCA.-MASSA. 
 
 SARZANA. 
 
 CHAPTER I. 
 
 Campl. — Statistical phenomenon.— Preto.— Cathe- 
 dral. —Pulpit by Donalello. — Paintings by Lippi. 
 — Mausoleum of Carlo de' Medici.— Carceii. — t're- 
 torio palace.— Cicognini College. — .Montemurlo. 
 
 Six miles from Florence, Campi, a 
 large town washed by the Bisenzio, of- 
 fers a picturesque castle which was fre- 
 quently taken and ravaged in the wars 
 of the middle ages, and a church, a pious 
 foundation of the same period, but stripped 
 of every thing characteristic by repeated 
 renovations. This town owes its pre- 
 sent fame and the easy circumstances 
 of its inhabitants to the sale of straw hats. 
 Such is the prosperity of the territory of 
 Campi, that it presents the statistical 
 phenomenon of nine hundred and ten 
 persons per square mile. 
 
 The small town of Prato is remarkable 
 for its cleanliness, the developement of 
 
 its industry, and the works ofartin some 
 of its monuments. 
 
 The cathedral and its elegant tower, 
 of the fifteenth century, are still Gothic. 
 The basso-relievo of the Virgin, between 
 St. Stephen and St. Laurence, over (he 
 principal door, is by Luca dcllaRobbia. 
 The little children dancing that decorate 
 the pulpit on the piazza where the mi- 
 raculous cintola (girdle of the Virgin) is 
 shown to the people, are reckoned the 
 most charming of Oonatello's ever grace- 
 ful children. The bronze Crucifix of 
 Tacca is extolled. The paintings of the 
 choir, by Filippo Lippi the elder, per- 
 haps his best work, have been deservedly 
 praised for design, colour, draperies, and 
 expression; in Herod's feast, the author 
 has given his own portrait among the 
 spectators, iu the person of a prelate in 
 black clothes ; and in the Life of Stephen, 
 he has painted his favourite pupil, Fra 
 Diamante, among those who are bu- 
 
Chap. I.] 
 
 CAMPI. 
 
 6C1 
 
 rying the saint and so pathetically mourn- 
 ipg his death. We may further distin- 
 guish in the different chapels a St. 
 Laurence, by Balassi, which doubtless 
 escaped (he "fatal changes that this Flo- 
 rentine artist of the seventeenth century 
 had the mania of operating on his earliir 
 works in his old age; the Virgin giving 
 her girdle to St. Thomas, by Rodolfo 
 Ghirlandajo; the Guardian Angel, by 
 Carlo Doki, and especially the St. Ber- 
 nard in his coffin surrounded by his dis- 
 consolate monks, another of Lippi's fine 
 productions. The balustrade of the 
 chapel of the Madonna della Cintola is 
 a rather elegant work of Simone, Dona- 
 tcllo's brother. The marble pulpit, 
 ■with basso-relieYOS representing subjects 
 taken from the history of the Virgin, by 
 Mino of Fiesole, is so perfectly wrought 
 that it seems of one piece. The Virgin, 
 on the mausoleum of Carlo de' Medici, 
 by Vincenzo Danti, though of broad style 
 and fine forms, is somewhat cold ; the 
 infant Jesus is esteemed for his ingenuous 
 air, and the deep feeling of the execu- 
 tion. This Carlo de' Medici, a bastard, 
 the fruit of the youthful errors of the 
 Father of his country, though a canon of 
 Florence, and archpriest tproposto) of 
 Prato, lived in retirement at Rome, occu- 
 pied with art and literature. Cosmo and 
 his brothers commissioned him to pur- 
 chase medals and manuscripts, and 
 thereby he again appeared worthy of the 
 Medici blood. 
 
 The elegant church of the Madonna 
 delle Carceri (thus called from the mi- 
 raculous image placed over a window of 
 the ancient prisons) is of Giuliano San 
 Galio's architecture. His brother An- 
 tonio, one of the four great architects of 
 that family, has executed the rich high- 
 altar. A God the Father crowning the 
 Virgin by the liands of angels, several 
 of whom are playing on different instru- 
 ments, is by the Florentine Soggi, an ac- 
 curate and careful painter, but without 
 genius, preferred for this work to Andrea 
 del Sarto by the canon of Prato, Baldo 
 Magini, a friend of Leo X., who had or- 
 dered it. The personage kueeling be- 
 fore the bishop, St. Ubald, represents 
 Baldo. 
 
 The Pretorio palace, now a court of 
 justice, the old residence or forLress of 
 the Guazzaliotri, a Guelph family of 
 
 * See ante, book x. cb. vi. 
 
 Prato, which, after aspiring to the sove- 
 reignty, was at last driven into exile 
 and bad all its property confiscated, is 
 allied with reminiscences of the stormy 
 liberty of that little republic, too often 
 subservient to Florence. 
 
 The college generously founded by a 
 citizen of Prato, Francesco Cicognini, and 
 at first confided to the Jesuits, is a hand- 
 some building, which contains a superb 
 theatre and lodges the grand duke when 
 he comes to Prato : though occasionally 
 a palace, a court, and a theatre, I have 
 not heard that this kind of frivolity has 
 affected the regime of the establishment 
 or the solidity of the studies. 
 
 Saint Dominick was probably erected 
 at the impulse of the celebrated cardinal 
 Nicolao di Prato, one of the great men 
 in education and politicsof the thirteenth 
 century, who had attended the lectures 
 of Saint Thomas at Paris, was papal le- 
 gate in Tuscany, Romagna, the province 
 of Trevisa, and whose jurisdictionextcnd- 
 ed over the state of Genoa and the islands 
 of Corsica and Sardinia. On passing 
 through Florence, Nicolao had attempted 
 to conciliate the differences between the 
 nobles and the people, but being equally 
 suspected by Blacks and Whites, he was 
 forced to leave the city, which he anathe- 
 matised. At his death he left a consi- 
 derable sum to enlarge the convent and 
 church of Saint Dominick, monuments 
 remarkable for the history of the art, 
 though modernised in some parts, and by 
 Giovanni Pisano. Two paintings full of 
 nature are by the elder Lippi. 
 
 On the road from Prato to Pistoja, and 
 five miles from the latter place, is th.: 
 castle of Montemurlo, an unfavourable 
 position at the foot of. the Apennines, 
 where the Florentine emigrants, the last 
 and impotent avengers of their country's 
 liberty, were defeated and taken on the 
 1st of" August 1537. The chamber is 
 still shown in which was confined the 
 illustrious Filippo Strozzi, the Cato of 
 Florence,' the prisoner of Alessandro 
 Vitelli, less a warrior than a brigand, 
 till now regarded as the only conqueror 
 of that field, whereas he ought to share 
 the sad honour with Bombaglino of 
 Arezzo, a less famous chief, whom 
 Cosmo I., as tyrants are wont to do, at 
 last deprived of his liberty on slight 
 pretexts.' 
 
 2 See Hie details on Ihe Rolla di Monlemurto 
 56 
 
662 
 
 PISTOJA. 
 
 t Book XIX. 
 
 CHAPTER II. 
 
 I'isloja.— Accent.— Duomo.— A Mar. —Mausoleums or 
 Cardinal Forteguen i ; — of Cino. — Baptistry. — 
 Sieeple.— Saint John.- Holy Ghost.— Organ.— Holy 
 Sacrament.— Saint Peter.— Virgin, by R. Ghirlan- 
 dajo. — Santa Maria del Leilo. — Carmine. 
 
 Pistoja, with straight wide streets and 
 fine edifices, seems deserted; its popu- 
 lation does not exceed ten thousand souls. 
 Its accent is deemed, with that of Siena, 
 the purest in Tuscany. 
 
 The antique cathedral of Pistoja 
 abounds in objects of art of the great- 
 est magnificence and highest interest. 
 Founded in the beginning of the twelfth 
 century by the countess Matilda, it was 
 restored in after times by Nicolao Pi- 
 sano. Over the principal entrance, the 
 basso-relievo of the Virgin, angels, and 
 seraphim, as also the flowers and fruits 
 of the upper window, are by Luca and 
 AgostinodellaRobbia. An antique urn, 
 in the ward-robe, with a basso-relievo 
 of the best style, contained for more than 
 seven centuries the bones of Saint Felix, 
 priest of Pistoja. The tomb of the bi- 
 shop Leone Strozzi was ordered by him 
 and executed at Carrara in his lifetime. 
 In the chapel of Saint James, the silver 
 altar, a rival of the rich and brilliant altar 
 in the baptistry of Florence, a curious 
 monument of silversmith's art and sculp- 
 ture of all the fourteenth century, co- 
 vered with subjects taken from the saint's 
 life, or Bible history, is by the cleverest 
 artists and workmen of the epoch, such 
 as Leonardo di Ser Giovanni (who is not 
 the sole author, as Vasari and other 
 writers have said), Pier, a Florentine 
 goldsmith, Andrea Jacopo Ognabene, a 
 goldsmith of Pistoja, Peter Henry, a 
 German settled in the same town. Two 
 of the Prophets, at the extremities, are 
 by the great Brunelleschi and worthy of 
 him. A Resurrectionm the gallery, the 
 largest painting by the third Bronzino, 
 is unfinished owing to the indolence and 
 caprice of the artist, who was also to 
 have executed the Ascension and the 
 Descent of the Holy Ghost, confided to 
 Florentine painters Veli and Pagani. 
 Two small paintings by Vasari, formerly 
 near the tabernacle, are very good. The 
 
 extracted from tbe inedlted manuscripts of the 
 marquis Ludovico Tempi, published t. xliii. p. 105, 
 of the Antologia. 
 
 Eternal Father in the midst of angels, 
 and the other frescos of the ceiling, are 
 by Passignano, and were done before his 
 visit to Rome. In the chapel of the Holy 
 Sacrament, the Virgin, the infant Je- 
 sus and two Saints, a justly celebrated 
 painting, by Credi, has been attributed 
 to Leonardo Yinci, whose style the au- 
 thor successfully imitated. The marble 
 portrait of the bishop Donato Medici, 
 an elegant basso-relievo by an unknown 
 author, is perhaps -by Bernardo Rossel- 
 lini. The altar of the Madonna delle 
 porrine or pustule, preserves the vene- 
 rated antique picture which formerly 
 healed that cutaneous malady — a fresco 
 prior by about a century and a half to 
 the revival of painting at Florence. The 
 painting of tbe Saints Batontus and 
 Didier, at the Buonfanti altar, is by Ca- 
 labrese. The St. Bartholomew, poor in 
 design, on the altar of the Sapienza, was 
 painied by Bbnecchi, a Florentine artist 
 of the last century, when eighty years 
 old. The tomb of Nicolao Fortegucrri 
 (Carteromaco), an illustrious prelate of 
 the fifteenth century, ancestor of the 
 merry author of Ricciardetto, also of 
 Pistoja, was begun in 147i by Verroc- 
 chio, and terminated by Lorenzetto. 
 The Faith, the Hope, the God the Father 
 in the midst of angels, are also by Ver- 
 rocchio, but unfinished, on account of 
 his departure for Venice, where he had 
 orders to erect the Colleoni monument, 
 which his irritable self-love was destined 
 to render so fatal to him.' 
 
 The mausoleum of Cino da Pistoja is 
 not, as often stated, by Andrea Pisano; 
 but an uncertain Sienese artist, perhaps 
 Goro di Gregorio. Cino, the honour of 
 Pistoja, a great jurisconsult, professor of 
 Boman law, and a graceful poet, was 
 the master of both Bartolo and Petrarch, 
 who so tenderly lamented him," and the 
 friend of Dante, like himself a Ghibeline, 
 and of Boccaccio. The two basso-re- 
 lievos represent him gravely seated in 
 his chair, which he had nobly preferred 
 to the dignity of gonfalonier of Pistoja. 
 In each of these basso-relievos may be 
 observed a woman standing, doubtless 
 Cino's Selvaggia, the object of his poe- 
 tical flame : 
 
 Che viTa e morta li doTea tor pace, 
 
 1 See ante, book vi. ch.xviii. 
 * See the lice sonnet: 
 riangele, donne, econ vol pianga A more 
 
Chap II. ] 
 
 PISTOJA. 
 
 665 
 
 and the less illustrious companion of 
 Laura and Beatrix. The elegant Bap- 
 tistry and its fine sculptures are by An- 
 drea" Ferrucci of Fiesolc. The steeple, 
 an antique tower, perhaps the abode of 
 the podestates of the people, -whose arms 
 are still visible, owes its present form to 
 Giovanni Pisano. 
 
 Saint John Rotondo, octagonal and 
 surmounted with a pyramidal leaden 
 roof, appears of the beginning of the 
 fourteenth century. It is incrusted ex- 
 ternally with black and white marble, 
 and would be, according to Professor 
 Ciarnpi's conjecture, like all similar build- 
 ings, a monument of the reconciliation 
 of the Whites and Blacks, factions which 
 sprung up at Pistoja. 1 The small sta- 
 tues and basso-relievos over the. door 
 are by Nino and Tommaso Pisano, the 
 sons and pupils of Andrea, if they are 
 not older. 
 
 The church of the Holy Ghost seems 
 the culpable performance of a coalition 
 of the first masters of the decline : the 
 plan is by the Jesuit Ramignani, a worthy 
 pupil of the P. Pozzi ; the head of St. 
 Xavier among the infidels is by the lat- 
 ter, who may possibly have done the 
 whole picture ; several altars are by Bor- 
 romini ; the rich high-altar is by Ber- 
 nini, and Our Lord appearing to St. 
 Ignatius, by Pietro of Cortona. The 
 four beautiful columns of vert antique at 
 the high altar came from the villa of 
 Pope Julius III., and were torn from 
 Vignola's chefs-d'oeuvre to be thrown 
 amidst all these horrors. The organ, 
 built by the Flemish Jesuit Joseph Her- 
 mann, who also made the famous organ 
 of Trent, is boasted for its sweetness, 
 variety, and harmony, as one of the won- 
 ders of Pistoja. 
 
 The roof of the church of the Holy 
 Sacrament is painted by Moro Tesi. A 
 Resurrection, a picture by Lanfranco, 
 passes for the best in the town. 
 
 The antique church of Saint Peter 
 Major, of the eighth century, formerly 
 appertaining to the nuns of Saint Bene- 
 dict, whose abbess, in l he middle ages, 
 solemnly espoused the bishop, wLen he 
 took possession of his see, now belongs 
 to the Franciscan nuns. It was rebuilt 
 in the thirteenth century, and the archi- 
 trave over the grand portal, with the 
 Christ, the Virgin, and Apostles in dif- 
 
 1 Vila di Cino, Car. 154. 
 
 ferent niches, of nearly the same epoch, 
 are admirable works for composition and 
 drapery. The present heavy architec- 
 ture is by P. Ramignani. A good Vir- 
 gin with St. Peter and St. Paul, of 
 1509, is by Gerini Gerino, of Pistoja, and 
 has not been removed to the Florence 
 gallery, as Lanzi supposed. A Virgin 
 on a throne with St . Sebastian, St. Gre- 
 gory and tivo other saints, by Rodolfo 
 Ghirlandajo, in Raphael's style, is the 
 finest painting at Pistoja. The new or- 
 gan is reckoned the best yet executed by 
 S. Tronci, a clever organ-builder of Pis- 
 toja, which town is noted for these in- 
 struments. 
 
 The suppressed church of Saint Didier 
 still presents the elegant and majestic- 
 fresco of the Martyrdom of the ten 
 thousand crucified, by Sebastiano Vini, 
 a Veronese painter of the sixteenth cen- 
 tury, who settled at Pistoja. The pre- 
 servation of this fresco is due to the pa- 
 triotic amateur, the Cav. Giulio Amati, 
 the purchaser of the property, and wor- 
 thy of his ancestor Domenico, by whose 
 order it waspainted. 
 
 The Annunziata has some good pic- 
 tures : the Presentation at the temple, 
 Vini's masterpiece ; the painting of the 
 choir, by the Dominican Fra Paolino del 
 Signoraccio, the pupil, friend, and heir 
 of Fra Bartolommeo, or by the second 
 Leonardo Malatesta, another good pain- 
 ter of Pistoja; a Nativity of the Virgin, 
 by Cigoli, a work of the highest order 
 for strength of colouring, boldness of 
 pencil, and skilful management of the 
 light; the six lunettes and five portraits 
 of cardinals, in the cloister, by Poccetti. 
 
 The antique church of Saint Bartholo- 
 mew" in Pantano has some old monu- 
 ments of art end several paintings : the 
 sculpture of the architrave, Christ send- 
 ing forththe Apostles to preach, of 1167, 
 by an unknown author ; a pulpit, of 1250, 
 resting on three columns, with the Na- 
 tivity of Christ, by Guido da Como, one 
 of the first imitators of Nicolao Pisano ; 
 a Crucifix of wood with Greek letters, 
 anterior to 1187; the Virgin, St. Rene- 
 diet and other saints, by Butteri; St. 
 Sebastian, by Malteo Rosselli; the St. 
 Peter Igneus receiving the cardinal's 
 hat, one of the few works of Cipriani, 
 a painter of Pistoja and pupil of Hug- 
 ford ; he died at London in 1790, and the 
 engravings of Bartolozzi will give perpe- 
 tuity to his drawings; in the sacristy St. 
 
m 
 
 PISTOJA. 
 
 [Book XIX. 
 
 John the Baptist, St. James, St. Sebas- 
 tian, by Rossermini, a reputed pupil of 
 Perugino. 
 
 Saint Laurence has ^Deposition from 
 the cross, by Fontebuoni, of Pistoja, 
 who died young, and a Repose in Egypt, 
 by Veracini. 
 
 At Santa Maria del letto, so called 
 from a bed of the old hospital, preserved 
 there, as a memorial of the cure of a 
 sick person by the Virgin's intercession, 
 are : the Martyrdom of St. Catherine, 
 by Naldini; the Virgin with St. Cathe- 
 rine, St. Jerome, and other saints, by 
 Fra Paolino del Signoraccio; a Crowning 
 of the Virgin, which was long counted 
 among the finest works of Daniello of 
 Volierra, but is now ascertained to be his 
 clever pupil's, Benedetto Orsi; the Virgin 
 on a throne and several saints, by Credi, 
 ranked by Vasari among the best paint- 
 ings of Pistoja ; a Virgin in the midst 
 of saints, by Vini, feeble in colouring, 
 good in the design and draperies, con- 
 taining several contemporary portraits: 
 it is pretended that the female counten- 
 ance given to Satan is the likeness of a 
 noble lady of Pistoja, called la Bella 
 Cecchina, who had jilted the painter ; 
 Christ, with the Virgin, St. James, and 
 other saints, a painting badly retouched, 
 by Poppi, a pupil and imitator of Vasari. 
 
 The hospital called the Ceppo has seven 
 compartments on its outside representing 
 different acts of charity, excellent and 
 expressive works, by the brothers Gio- 
 vanni Luca and Geronimo dellaRobbia : 
 the figures in white gowns with a black 
 scapulary are in the costume of the friars 
 who then tended the patients. 
 
 The pretty church del Carmine has a 
 Virgin on a throne, St. Nicholas, and 
 other saints, by the second Leonardo 
 Malatesta, and the Fall of the manna 
 in the desert, a fine painting by Cigoli, 
 which he presented to the canon Baldi- 
 notti, who had rescued him from the hos- 
 pital, and in which the too grateful 
 artist is said to have given Moses the 
 likeness of the canon. 
 
 CHAPTER III. 
 
 Saint l'lillip. — Fabroniasia library. — L'Uinilitii.— 
 Saint John the Evangelist. — Pulpit. — Saint Domi- 
 nick.— Mausoleums of l.azzari and Hossellini — 
 Saint John the Baptist.— Hishop's palace. — nicci. 
 — Saint Francis.— Carradori.— Saint Andrew. 
 
 The cupola of Saint Philip of Neri, by 
 
 Ferretti, a spirited and picturesque pain- 
 ter of the seventeenth century, is es- 
 teemed, and reckoned the best of his 
 frescos. A fine Flagellation is by I.an- 
 franco. The venerated portrait of the 
 Saint, by an artist unknown, was, it is 
 said, executed clandestinely by one of 
 his disciples, a painter. 
 
 The ancient library of the Philippines, 
 a present from Cardinal Carlo Agostino 
 Fabroni, and chiefly composed of eccle- 
 siastical books and manuscripts, is now 
 superintended by the canons of the ca- 
 thedral. The building is superb. Some 
 of the sculptures are by masters of the 
 decline : Cornacchini, who was a native 
 of Pistoja, made two groups of the ves- 
 tibule, and Algardi a bronze Crucifix. 
 
 The magnificent temple of Santa Ma- 
 ria deil' Umilita, which has one of the 
 finest cupolas in Italy, and only wants a 
 front to be complete, honours the talents 
 of an architect of Pistoja, Ventura Vi- 
 toni, a dislinguished pupil of Bramante, 
 disparaged by Vasari, who, being en- 
 gaged to carry on his beautiful and ori- 
 ginal work, spoiled it by superadding 
 bulis'-eyes and a lantern. Several paint- 
 ings are remarkable : a St. James, in the 
 antique style, is ascribed to Gerino ; a 
 Repose in Egypt is among the best works 
 of Lazzaro Baldi, a distinguished pupil 
 of Pietro of Cortona : an Adoration of 
 the Magi, by Francesco Vanni, and one 
 of his best works, but injured by re- 
 touching; an Assumption, by Poppi; a 
 good Annunciation, by Fei. a pupil of 
 Ghirlandajo. On one of the altars, among 
 a number of ex-voto offerings in silver, 
 may be seen the laurel crown awarded 
 at the Capitol to the celebrated Madda- 
 lena Morelli Fernandez, a simple pea- 
 sant of the environs of Pistoja, well 
 known under the Arcadian name of Co- 
 rillaOlimpica, and which she piously con- 
 secrated to the image of the Madonna. 
 
 The architrave of Saint John the Evan- 
 gelist has this Gothic distich under a 
 Last Supper : 
 
 Cenans disripulis Cbristus dat verba salutis ; 
 Cena novam tribuit legem, veterem quoque Dnit. 
 
 The pulpit of this church, of about the 
 end of the thirteenth century, adorned 
 with several heads full of life and energy, 
 appears the work of one of the best pupils 
 and imitators of Nicolao Pisano. The 
 basso-relievo of the Visitation is by the 
 
Chap. III.] 
 
 PISTOJA. 
 
 665 
 
 brothers della Robbia; the Vision of St. 
 John, by Conca ; the Annunciation, by 
 Vini, one of his good works; the fine 
 group of the Divine Virtues, which 
 supports the holy-water vase, by Giovanni 
 lisano. 
 
 The door of the church of Saint Paul 
 is perhaps by Giovanni Pisano, as well 
 as the little statue set on the triangular 
 summit of the front. The Christ in a 
 glory and St. Gaetan is a boasted work 
 of the Neapolitan painter De' Matteis. 
 Fra Paolino del Signoraccio has imitated 
 some heads from his illustrious master 
 Fra Bartolommeo, in his Virgin on a 
 throne in the midst of saints, among 
 whom he is said to have placed the por- 
 trait of their famous brother Dominican 
 Savonarola. 
 
 The church of Saint Dominick has 
 some few works by the first masters in 
 painting and sculpture. The Virgin 
 with the infant Jesus in her arms, a 
 fresco by Fra Bartolommeo ; St. Charles 
 Borromeo raising a child from the 
 dead, by Empoli, containing portraits of 
 the Piospigliosi family ; the tombs of the 
 parents of Clement IX., by Bernini; a 
 Crucifixion with the Virgin, St. John 
 and St. Thomas Aquinas, who is em- 
 bracing the cross with enthusiasm ; the 
 Adoration of the Magi, by Fra Paolino, 
 who has painted himself in the latter 
 picture ; St. Dominick receiving the 
 rosary from the Virgin, by the third 
 Bronzino, who is seen in the background 
 violently disputing about the price of the 
 painting with the sacristan of the convent, 
 who appears utterly unmoved ; the ele- 
 gant tomb of the professor of law Lazzari, 
 by Bernardo Rossellini, which has an 
 expressive and well composed basso- 
 relievo representing his class; an As- 
 sumption, by MalteoRosselli; a St. Mi- 
 chael, by Francesco Romanelli; in the 
 sacristy, the Virgin, St. Catherine of 
 Siena, Magdalen, and St. Dominick, by 
 Fra Paolino; St. Sebastian, St. Jerome 
 andabishop of the order of the Gesuati, > 
 by Ghirlandajo. 
 
 The church of Saint John the Baptist 
 is another fine structure by the great 
 architect of Pistoja, Vitoni. Among the 
 paintings may be remarked : a Virgin 
 on a throne, by Fra Paolino, to which a 
 sorry painter of Pistoja of the last cen- 
 
 ' An order founded in 1367 by Saint John Colom- 
 blul of Siena, aad suppressed in 1 66$ by Clement IX. 
 
 tury, Luca Guerci, has unluckily added 
 a St. Anthony ; a Visitation and He~ 
 rodias dancing, by Melissi, a good 
 Florentine painter of the seventeenth 
 century. 
 
 The bishop's palace, sumptuous and 
 convenient, built in 1787 by the famous 
 Scipione Ricci, would hardly besupposed 
 the abode of a reformer, and its magni- 
 ficence contrasts in a singular manner 
 with the severe doctrines of Port Royal, 
 which Ricci had attempted to transplant 
 beyond the Alps. 
 
 The seminary, of a much more humble 
 aspect, was also built by Ricci. An an- 
 cient church, from Vitoni's designs, is 
 made its chapel. 
 
 At the high altar of Santa Maria degl' 
 Angeli is an Annunciation, by Luti, an 
 excellent work unnoticed by Lanzi, and 
 for some time attributed to Guido. 
 
 The grand arch of Saint Francis, by a 
 German architect, although of 1294, is 
 not in ogive. Saint Francis conlains the 
 tomb of the learned physician, naturalist, 
 and agricultural writer Carradori, by 
 Prato, one of the most zealous propaga- 
 tors, in Italy, of vaccination, which he 
 had essayed on his own son. This church 
 and the convent offer some good and 
 curious paintings: the Annunciation, by 
 Baldi, in which the erudite painter has 
 drawn the Virgin standing, the Hebrew 
 mode of praying ; a Nativity, by an 
 unknown author, for grace and sweetness 
 worthy of Andrea del Sarto; a Purifi- 
 cation, by Poppi, pleasing in expression 
 and colouring; in the antique chapel of 
 Saint Louis, in the sacristy, the amazingly 
 preserved frescos of Puccio Capanna, 
 pupil of Giotto, nearly all whose paint- 
 ings have perished ; a St. Francis on 
 gold, by Lippo Memmi, from Simone's 
 designs ; the Resurrection of Lazarus, 
 by the second Bronzino, who has repre- 
 sented the donor Sozzifanti under the 
 features of the Frate ; the Marriage of 
 Cana, by Pagani, finished by his pupil 
 Matteo Rosselli; a Virgin, after Guido, 
 by his beloved and unfortunate pupil 
 ElisabettaSirani, 1 a beautiful copy which 
 has been struck by lightning and seems 
 in conformity with the artist's destiny ; 
 the frescos of the monks' chapter room, 
 in the first cloister, executed in 1380, by 
 Capanna. 
 
 a See ante, book vm. cb. vl. 
 
 56 3 
 
666 
 
 PISTOJA. 
 
 [Book XIX, 
 
 The antique church of Saint Andrew, 
 rebuilt inside in 1619, though the front 
 is of 1166, has on the architrave, over 
 the principal door, a curious monument 
 of the same epoch, the Adoration of the 
 Magi, a basso-relievo by Gruamonte; 
 below, another sculptor, Enrico of Pistoja, 
 a pupil of Giovanni Pisano, has repre- 
 sented the Visitation and an Annun- 
 ciation : the Virgin in the latter has an 
 embryo on her breast, to express the 
 sudden and positive effect of the miracle. 
 A bust appears the portrait of Gruamonte; 
 the small statue of St. Andrew, on the 
 outside, is by Giovanni Pisano. His 
 celebrated pulpitis but an inferior imita- 
 tion of the one at Saint John the Evan- 
 gelist. The St. Francis de Paule, by 
 the third Bronzino, is a youthful per- 
 formance. 
 
 CHAPTER IV. 
 
 Pretorlo palace. — Palace della Communita.— Forte- 
 guerri.— Library.— Academy.— Houses. 
 
 The Pretorio palace, now a court of 
 justice, was built in 1368 on the houses 
 of the Taviani and Bracciolani. Its ex- 
 terior is picturesque, and the anliquc 
 staircase is of remarkable architecture. 
 
 The palace della Communita. formerly 
 degli Anziani, is of the close of the thir- 
 teenth century. The black marble head 
 near the middle window, is that of a 
 traitor to his country, Filippo Tedici, the 
 tyrant of Pistoja, who married Dialla, 
 the daughter of Castruccio Castracani. 
 Several similar heads without busts exist 
 elsewhere as marks of ignominy, and that 
 of the glorious Grandonio, one of the 
 captains who aided the Pisans in the 
 conquest of the Balearic isles, has been 
 wrongly confounded with them. The 
 iron mace is reputed to have belonged to 
 this valorous Pistojan, whose gigantic 
 form, painted in clare-obscure, is in one 
 of the rooms, with a barbarous quatrain 
 in his honour. On the top of stairs is an 
 old portrait in clare-obscure, by Cino. 
 The palace della Communita, therefore, 
 combines the political, warlike, and 
 poetic reminiscences of Pistoja. 
 
 The Sapienza includes the public 
 schools. This college takes its name of 
 Forteguerri from Cardinal Nicolao the 
 elder, who, in 1473, devoted a conside- 
 rable sum to the instruction of youth. 
 The library, rather superior, possesses 
 
 the manuscripts of the famous canon of 
 Pistoja Sozomene, the companion or 
 Bruni Aretino and Poggio in the learned 
 researches of the monastery of Saint Gall, 
 where he exhumed and transcribed the 
 Commentary of Asconius Pedianus on 
 some of Cicero's orations ; which copy is 
 among the manuscripts. The first edition 
 of the Croce racquistata, by the poet of 
 Pistoja, Francesco Bracciolini, exhibits 
 his autograph corrections, which served 
 for the second. 
 
 An apartment of th« Pistoja Academy 
 of Sciences, Letters, and Arts, has a fine 
 painting by Beccafumi, the Virgin on a 
 throne with divers saints, and a re- 
 markable Annunciation, in two pictures, 
 by Santi Till. 
 
 Several of the houses of Pistoja, the 
 dwellings of distinguished men, perpe- 
 tuate literary names and recollections, 
 and od'er good collections of paintings 
 and books. 
 
 Baron Bracciolini has received by inhe- 
 ritance a duplicate of Poussin's Death of 
 Germunicus, • really by the hand of that 
 illustrious painter, and sent by him from 
 Rome as a present to a Puccini, who had 
 attended him when he fell ill on passing 
 through Pistoja. 
 
 In the chapel of the palace of Prince 
 Giuseppe Rospigliosi, the fresco or the 
 History of St. Catherine, good in co- 
 louring, by Giovanni di San Giovanni, 
 comprises the portraits of all that family. 
 
 The Bracciolini house contains the fine 
 Annunciation, by Filippo Lippi the 
 elder, praised by Yasari, and ordered of 
 the artist by Messer Jacopo Bellucci, 
 whom be has very naturally painted there 
 in the person of the ecclesiastic reading 
 behind the angel. 
 
 The Gothic house of the Cancellieri, 
 an historical Italian family now extinct, 
 has a pig in relievo, on the exterior, from 
 the graceful chisel of Donatello. 
 
 The Tolomei house, once a convent of 
 nuns of Saint Michael, has a gallery 
 painted in distemper by our clever and 
 venerable Boguet, one of those French 
 artists that Borne and Italy, where he has 
 resided more than fifty years, have so 
 well inspired, and five great frescos by 
 Desmarais, another Frenchman, who 
 died a lew years since, president of the 
 Lucca Academy of Fine Arts, gifted for 
 invention and disposition, but feeble in 
 
 ■ See ante, book xv. cb. mill. 
 
Chap. V. 
 
 LUCCA. 
 
 667 
 
 execution. A library of ancient and 
 modern books, very select, is duly sup- 
 plied with modern works by the Cav. 
 Tolomei, the accurate annotator of his 
 country's monuments of art. 
 
 The house of the Cav. Bracciolini dall' 
 Api takes this latter appellative from 
 the permission to add the bees of the 
 Barberini to his arms, which was obtained 
 as a reward for the poem in twenty- 
 three cantos composed by Francesco 
 Bracciolini in honour of the Election of 
 Urban VIII., which poem was afterwards 
 commented on by another pope, Cle- 
 ment IX. This house, called Castsllo 
 Traetto, has in its garden a fine bust by 
 Algurdi, representing Bracciolini, in his 
 poems of the Croce racquistata and the 
 Scherno degh 'Dei, a kind of distant rival 
 of Tasso and Tassoni. 
 
 The Forteguerri house, which has a 
 few paintings, was the cradle of the two 
 men who have thrown most lustre on 
 Pistoja, Cardinal Nicolao the elder, and 
 the author of Ricciardetto, himself the 
 son of a Jacopo Forteguerri, an elegant 
 painter and excellent citizen of Pistoja. 
 
 CHAPTER V. 
 
 Monte Catini. — Pescia. — Lucca.— Cathedral.— Mau- 
 soleum of Metro da Noceto, by Clvitali.— Archives. 
 — Saint Alexander. —Sain! Romanus.— Saint Mi- 
 chel.— Clerks of the Mother of God.— Saint Fredian. 
 —Saint Francis.— Castruccio Castracani. — Cas- 
 truccio Buonamici. 
 
 The ancient baths of Monte Catini, 
 recommended by Cesalpine in his day, 
 enjoy a deserved reputation. The build- 
 ing with arcades, an elegant and cor- 
 rect structure, is by Paoletti, the restorer, 
 the Vien of architecture in Tuscany 
 under Leopold ; but it is little suited to 
 this kind of baths. It is particularly to 
 be regretted that the different springs 
 and their conduits are not covered to 
 preserve the warmth of the water which 
 rises to twenty-six degrees (Reaumur). 
 Redi was of opinion that the baths of 
 Monte Catini were principally efficacious 
 in dysenteries, and he thought that it was 
 rare for any person to die at Florence 
 of that disease. 
 
 Pescia, an industrious town, in a pic- 
 turesque situation, has Gve thousand in- 
 habitants. The elegant cathedral built 
 in 1693 by the Florentine architect 
 Ferri, has some remarkable paintings 
 
 and sculptures. The St. John, over the 
 holy-water vase, is by Luca della Rob- 
 bia. The mausoleum of Baltassare Tu- 
 rini, the elegant creator of the Lante 
 villa, 1 passes for the best work of Ra- 
 phael da Monte Lupo, who successfully 
 imitated the style of his master Michael 
 Angelo. An excellent Deposition from 
 the cross, by Passignano, has been in- 
 judiciously varnished. The great As- 
 sumption of the choir, noble, well 
 draped, is the masterpiece of Gazzi, a 
 painter of Pistoja. The majestic high 
 altar in marble, from the design of 
 Yacca, a sculptor of Carrara, was erected 
 by the musician Grossi of Pescia, oddly 
 called Syphax. 
 
 Lucca is as the chief town of that kind 
 of prefecture given by Europe to a grand- 
 son of Louis XIV. Its situation in a 
 plain almost enclosed by mountains, 
 near the banks of the Serchio and the 
 canal of Ozzori, is charming. Several 
 of its churches and palaces are very in- 
 teresting as works of art. 
 
 The vast cathedral of Saint Martin 
 dates from the year 1060, and the exte- 
 rior front of three stories, by the sculptor 
 Guidetto, is of 1204. A lunette, over 
 the little door, has a Deposition from 
 the cross, by Nicolao Pisano, expressive 
 and well composed; and the architrave 
 an esteemed Adoration of the Magi, by 
 his son Giovanni. The interior of the 
 church is principally ornamented with 
 the chefs-d'oeuvre of the great Lucchese 
 sculptor, Malleo Civitali, whose works 
 are nearly all confined to Lucca and 
 Genoa, and who seems like the transi- 
 tion from the true art of the fourteenth 
 century to the ideal of the fifteenth. 
 The following are by him : the pulpit, 
 remarkable lor the taste of its orna- 
 ments; the noble and elegant mausoleum 
 of Pietro da Noceto, of Lucca, secretary 
 to Pope Nicholas Y., the Bembo of that 
 premature LeoX ; the portrait in marble 
 of his Mecaenas and friend Count Dome- 
 nico Bertini, a little exquisite work; two 
 graceful and pious angels kneeling be- 
 fore the tabernacle in the chapel of the 
 Holy Sacrament; the basso-relievos of 
 the altar of St. Regulus, bishop of Lucca, 
 who is there seen in pontifical robes sit- 
 ting between two angels each holding 
 an open volume for hirn ; a small octa- 
 gonal temple, seventeen years anterior 
 
 * See ante, book xv. ch. xxxviii. 
 
668 
 
 LUCCA. 
 
 [Book XIX. 
 
 to Bramante's at Saint Peter in Mon- 
 torio; and lastly, the ideal statue of St. 
 Sebastian, imitated by Perugino and 
 regarded as the masterpiece of Civilali. 
 The tomb of Illaria del Caretto, wife 
 of Paolo Guinigi, by Jacopo della Quer- 
 ela, is a composition at once simple and 
 elegant. A marble sarcophagus ofGreek 
 workmanship represents Bacchus on a 
 car drawn by Centaurs, conducted by 
 Cupid, and escorted by Fauns and Bac- 
 chantes. The altar of Liberty was con- 
 secrated to Christ in 1369 by the Luc— 
 chese, whom the emperor Charles IV., 
 stimulated only by their gold, had de- 
 livered from the Pisanyoke; the grand 
 statues, larger than nature, of Christ 
 raised from the dead, with Peter and 
 Paul, by Giovanni of Bologna, are not 
 free from affectation both in the attitudes 
 and draperies. Among the paintings 
 may be remarked : a Last Supper, by 
 Tintoretto, which, notwithstanding some 
 defect in perspective, has some angels in 
 the upper part perfect ; a Crucifixion, by 
 Passignano; St. Peter and St. Paul, in 
 the sacristy, by Ghirlandajo; the Virgin, 
 St. Stephenand St. John, and a delight- 
 ful little Angel playing on a lute, an ex- 
 cellent composition for design, expres- 
 sion, and colouring, by Fra Bartolom- 
 meo ; a tender Visitation, by Ligozzi; 
 the Presentation in the temple, by the 
 second Bronzino, and the fresco of the 
 Volto Santo, an antique picture greatly 
 venerated at Lucca, by Cosmo Bosselli. 
 
 The chapter archives and the arch- 
 bishop's hold the Gist rank among the 
 historical treasures that Italy can boast. 
 The former contain more than four thou- 
 sand parchment diplomas, the oldest of 
 which dates from the year 774; the li- 
 brary, bequeathed in 1503 by the bishop 
 Felino Sandei, has some precious manu- 
 scripts and scarce editions of the fifteenth 
 century . The archbishop's archives com- 
 prise about ten thousand diplomas, of 
 which three hundred belong to the eighth 
 century, and two to the seventh, one 
 of G86, the other of 685 ; the latter is per- 
 haps the oldest in Italy. 
 
 Saint John and its vast baptistry ap- 
 pear of the epoch of the Lombards; the 
 Virgin and the twelve Apostles, of the 
 architrave, over the. grand portal, a 
 sculpture of the end of the twelfth 
 century, though still rude, shows by the 
 relief that the revival had in some 
 measure begun : the Latin inscription 
 
 of this architrave seems perfectly unin- 
 telligible. A Christ on the cross and 
 the Virgin at its foot, with St. Francis 
 and a nun, is a good painting by Fran- 
 cesco Vanni. 
 
 Saint Alexander is remarkable for the 
 simplicity of its Lombard front; the in- 
 terior of the church has some antique 
 capitals and columns that must have be- 
 longed to a Boman edifice. 
 
 Saint Bomanus, an old church of the 
 Dominicans, rebuilt Jn the seventeenth 
 century, lias two masterpieces by Fra 
 B.iitolonimeo, admirable for design and 
 colouring, for grandeur, grace and har- 
 mony : the Virgin imploring Christ 
 for the people of Lucca, so misappre- 
 cialed by Vasari, who states the Virgin 
 to be seated ; and the Eternal Father, 
 St. Mary Magdalen and St. Catherine 
 of Siena, the two raised from the ground 
 as if in ecstasy. 
 
 The church of the Holy Crucifix de' 
 bianchi, so called from the sacred image 
 left in this church in 1377 by the While 
 Penitents who came from Spain, has an 
 energetic Assumption, by Spagnoletto, 
 and a St. Bartholomew, by Batoni, the 
 head of which is pretty good, but the 
 attitude rather constrained. 
 
 The church dedicated to Saint Pauli- 
 nus, the first bishop of Lucca, w ho suf- 
 fered martyrdom under Nero, is from 
 the designs of Baccio da lYIontelupo, a 
 clever Florentine artist of the sixteenth 
 century, long established in this town. 
 A Virgin and several saints, is by 
 Vanni; a Martyrdom of Si. Theodore, 
 expressive, by Testa, surnamed Luc- 
 chesino, the friend of Poussin, a disdain- 
 ful and unfortunate artist, who. from ac- 
 cident or despair, perished in the Tiber. 
 An old painting, in the sacristy, the 
 Crowning of the Virgin with divers 
 saints, the town of Lucca in the middle, 
 and in front a bishop kneeling and a 
 warrior with an orange at his feet, is 
 perhaps the one ordered of Giotto by 
 Castruccio Castracani, although the de- 
 tails do not precisely agree with the des- 
 cription given by Vasari, who, indeed, 
 is not always a very close observer. 
 
 The piazza of Saint Michael, though a 
 market, is rather imposing. 
 
 The church is remarkable for its inte- 
 rior, still untouched, ol'tbe bastard Boman 
 architecture of the Lombards, that nation 
 having the warlike archangel for their 
 patron. The front, with a quadruple 
 
Chap. V. ] 
 
 LUCCA. 
 
 669 
 
 colonnade, is however very inferior. 
 Four figures, by the younger Lippi, at 
 the chapel of the Crucifix, are natural 
 and graceful. 
 
 On the architrave of the side door of 
 the old church of Saint Saviour is a Mi- 
 racle of St. Nicholas the Priest, still 
 rude, but displaying a kind of progress 
 in the forms and the relief : it is by Bi- 
 duino, one of those Lombard artists that 
 flourished a short time before Nicolao 
 Pisano. The Ascension, by the elder 
 Zacchia, a good painter of Lucca in the 
 sixteenth century, is not of his best 
 works, the artist having aimed at a 
 broader style than natural to him. 
 
 Santa Maria in corte Landini has : a 
 Nativity of the Virgin, by Vanni ; the 
 Birth of John the Baptist, by Pietro 
 Paolini, of Lucca, a happy imitator of 
 Paolo Veronese; a Christ on the cross 
 with two saints below, by Guido, which 
 combines his two manners; his graceful 
 Madonna delta neve ; an Assumption, 
 by Luca Giordano. The church and 
 convent belong to the regular clerks of 
 the Mother of God, an educational con- 
 gregation instituted about the closeofthe 
 sixteenth century, by Giovanni Leonardi, 
 of Diecimo, a village in the Lucchese ter- 
 ritory, which has produced some learned 
 men, and excellent Latinists, such as the 
 celebrated P. Bartolommeo Beverini, the 
 Livy of Lucca, one of the able Italian 
 translators of the JSneid, J a precocious 
 scholar, who as early as his fifteenth year 
 had written comments on the principal 
 authors of the Augustan age. This con- 
 gregation was spared in the general sup- 
 pression of convents by the French ad- 
 ministration. It possesses a library of 
 about twenty thousand volumes, be- 
 queathed in part by the learned P. Gio- 
 vanni Domenico Mansi, afterwards arch- 
 bishop of Lucca ; the apartment is de- 
 corated with his portrait, a good work 
 by Batoni, who was also of Lucca. 
 
 The present architecture of Saint Au- 
 gustine is of 1324. The, Virgin with 
 divers saints, by Paolini, is a new and 
 able imitation of Paolo Veronese. The 
 Annunciation, by the elder Zacchia, 
 has some little figures in clare-obscure 
 worthy of Polidoro di Caravaggio. The 
 Epiphany, by Gessi, is graceful and well 
 drawn. 
 
 Saint Fredianus, an old basilic of the 
 
 1 See «»(«, boob xvu. ch, sir. 
 
 Lombards, is one of the most characte- 
 ristic monuments.in Italy, as the interior, 
 still in the simple, bastard Boman style 
 in use among that people, has not been 
 altered as in the churches of Monza and 
 Pavia. The front, of much later date, 
 being only of the twelfth century, has a 
 Christ, in a glory, worshipped by two 
 angels, a fine mosaic of the same epoch, 
 and below the twelve Apostles, but far 
 from being of so large a style. The 
 eleven columns of the middle nave, an- 
 tique, as well as their pedestals and ca- 
 pitals, some of which are even Greek, 
 must have belonged to a Boman edifice : 
 they are singularly slender, and it is 
 quite a prodigy that they should have 
 supported a wall and arches so lofty for 
 more than eleven centuries. The mar- 
 ble basin which was used for baptism by 
 immersion, on which are sculptured 
 divers subjects of the old Testament, is 
 a curious work of the end of the twelfth 
 century. The elegant baptistry, by Ni- 
 colao Civitali, bespeaks him a worthy 
 nephew of Malteo. The Virgin crowned 
 by the Eternal Father, with four saints 
 below, by Francesco Francia, is remark- 
 able for the heads, the colouring, and 
 drapery. The figures in demi-relievo 
 by Jacopo della Quercia, in the chapel 
 of the Holy Sacrament, though he some- 
 times had a broader style, are neverthe- 
 less beautiful; the sculpture of his two 
 sepulchral stones of the Trenta family is 
 very good. One cannot help regretting 
 the degraded state of the excellent frescos 
 in the chapel of Saint Augustine, by Ami 
 Aspertini, a compatriot and clever pupil 
 of Francia. » 
 
 The elegant front of the antique church 
 of Saint Peter Somaldi is of 1203, and 
 the basso-relievo of the architrave pro- 
 bably by Guidetto. Two paintings are 
 remarkable, St. Anthony the abbot and 
 other saints, by the elder Palrna, vigo- 
 rous in expression and colouring; and 
 an Assumption, by the elder Zacchia. 
 
 Two tombs in the church of Saint 
 Francis bear witness to the poetic and 
 martial glory of Lucca. The first is that 
 of Giovanni Guidiccioni, his best poet, 
 the friend of Annibale Caro, a harmo- 
 nious imitator of Petrarch, and who, 
 with the platonic love then in vogue, 
 could like him give vent to noble songs 
 on the ills and oppression of Italy. The 
 
 " SeeanK, booh vin.cb. v. 
 
670 
 
 LUCCA. 
 
 [Book XIX 
 
 other tomb, too plainly marked by a 
 brief inscription on the wall, is that of 
 the great Castruccio Castracani degli 
 Antelminelli, sovereign of Lucca and 
 Pisa, deceased in his forty-seventh year, 
 the wonder and terror of Italy in the 
 fourteenth century, one of the strongest 
 ninral characters that ever existed, alter 
 whom the existence of his country, for a 
 moment so brilliant, seems to disappear, 
 and of whom Machiavel, in his romantic 
 and incomplete history of him. says that 
 he would have surpassed Philip in Ma- 
 cedonia and Scipio at Rome. 
 
 The Trinity has two chefs-d'eeuvre of 
 Lucchese artists : the Virgin suckling 
 the infant Jesus, sculptured by Matteo 
 Civitali, and the painting of the high- 
 altar, by Paolini, which proves, despite 
 Baldinucci, that this artist is not desti- 
 tute of grace. 
 
 The beautiful old church of Santa 
 Maria foris portam, rebuilt about 1515, 
 retains its front of the thirteenth cen- 
 tury. Two paintings are by Guercino : 
 St. Lucy and the Virgin; St. Francis 
 and St. Alexander. The death of the 
 Virgin is by a clever Lucchese painter 
 of the fourteenth century, Angelo Puc- 
 cinelli, and is dated 1380. 
 
 Santa Maria de' Servi has three good 
 paintings by Matteo Rosselli : a pleasing 
 Presentation in the temple, the Ma- 
 donna of Sorrows, greatly damaged, and 
 a Nativity. 
 
 At the principal altar of Saint Vincent 
 and Saint Anastasius is a Circumcision, 
 by Ligozzi. which in colouring and com- 
 position resembles Paolo Veronese and 
 Titian. An illustrious Lucchese is buried 
 in this church, Count Castruccio Buona- 
 mici, author of the books De Bello Italico 
 and the commentary De Rebus ad Veli- 
 tras Gestis, a pure, grave, and eloquent 
 historian, who only wanted a grander 
 subject. 
 
 The Carmine has a Conception, by 
 Vasari, which is meant to imitate Mi- 
 chael Angelo ; and in the choir, a good 
 picture by Perugino roughly handled 
 by a retoucher. 
 
 The front of Saint Christopher is im- 
 portant for the. history of art, as it exem- 
 plifies the transition from the first Gothic 
 style to the second, as may be seen by 
 the door and round window in the 
 middle, which are ingenious and fan- 
 tastic works, and by the sculptures of the 
 little arcades. The great Matteo Civi- 
 
 tali, interred in this church, deserves a 
 more noble monument than the marble 
 slab that covers his bones. 
 
 CHAPTER VI. 
 
 Ducal palace.— Paintings.— Library.— Pretorlo pa- 
 lace. — r.oman tbeatre. — Lyceum. — Uoyal Aca- 
 demy.— Painting by Annibale Carraccio. — College. 
 — Public Library.— Ampbilheatre. — Public ar- 
 chives.— Ramparts — Aqueducts.— Culiure.— Po- 
 pulation.— Lucciiese. 
 
 The piazza of the palace, which ought 
 to have been laid out on the other side, 
 was the cause of one of those unlucky 
 demolitions common in our time, and 
 occasioned the destruction of the fine 
 church of the Madonna grande, by the 
 Lucchese architect Gherardo Peuetesi, 
 of the sixteenth century. 
 
 The palace, begun by Ammanato, is, 
 though only half finished, one of the most 
 extensive royal palaces even in Italy. 
 The grand and regal staircase of Carrara 
 marble was constructed by S. NoUolini, 
 a Lucchese architect, who directed the 
 different works-of the palace. The rich 
 furniture is of home manufacture; and 
 it proves that the impetus given to in- 
 dustry by the French administration has 
 been continued and encouraged. The 
 two rooms devoted to the gallery pre- 
 sent chefs-d'oeuvre by the first masters, 
 viz. : by Raphael, his celebrated Madonna 
 de' Candelabri, in his grand style; by 
 Francia, a Virgin, St. Anne, two saints 
 and the little St. John, in his best style, 
 with these modest words : Francia, 
 aurifex Boloniensis p. (painted by 
 Francia, goldsmith, of Bologna) a Christ 
 dead with the Virgin and two angels, 
 superior to the former, and almost equal 
 to Raphael; by Leonardo Vinci, a little 
 Virgin and infant Jesus ; by Correggio, 
 a St. John with his lamb, a majestic 
 little half figure ; by Michael Angelo, a 
 Christ on the cross, with the Virgin 
 and St. John, an expressive little paint- 
 ing ; by Guido, a St. Cecilia, a half fi- 
 gure in his powerful manner; the Mar- 
 tyrdom of St. Appolliha, in his gentle 
 style; by Poussin, the Massacre of the 
 Innocents, remarkable for composition, 
 drawing, and expression; by Sasso Fer- 
 ralo, a little head of the Virgin, one of 
 his most graceful Virgins; by Domeni- 
 chino, three Saints below, and a good 
 Glory in which the Santa Casa of Lo- 
 retto is transported ; by Baroccio, a IVoli 
 
Chap. VI.] 
 
 LUCCA. 
 
 671 
 
 metangere, well coloured; by Gherardo 
 delle Notte, a Christ before Pilate, which 
 has a wonderful effect of light and is one 
 of the most remarkable paintings of this 
 kind; of the three Carracci, a Christ 
 restoring sight to a blindman, by Lu- 
 dovico, in which the blindman is per- 
 fect; Christ raising the widow' s son, 
 a work full of soul, and one of Agostino's 
 most sublime; Christ and the Canaani- 
 tish woman, by Annibale, valuable for 
 facility of design and boldness of pencil. 
 
 The library, modern, has already 
 twenty-five thousand volumes and some 
 rarities, the duke being an amateur of 
 books. A Greek copy of the Gospels, 
 apparently of the tenth century, has 
 some miniatures of a good style, aston- 
 ishing for the epoch. A barbarous Latin 
 version of the Psalms, from the Hebrew 
 text, by an unknown translator, is of the 
 twelfth century. An autograph manu- 
 script of Tasso contains some Latin verses 
 addressed to persons of his day. The 
 Libro di Locuzioni, another autograph 
 manuscript, inedited, of the learned Vin- 
 cenzo Borghini, of the sixteenth century, 
 one of the Roman deputies and censors 
 who corrected the Decameron, * is es- 
 teemed a valuable work on grammar. 
 Two editions of the fifteenth century are 
 curious : the Trionfi, by Petrarch, a 
 little volume, the first book printed at 
 Lucca, and by a Lucchese ( Bartolommeo 
 Civitali, 14-77), and a Latin Grammar 
 by Giovanni Pietro da Lavenza, a school- 
 master of Lucca, who is indebted for 
 his reputation to the learned author of 
 the Literary History of Lucca, the mar- 
 quis Cesare Lucchesini.^ 
 
 The stern old Pretorio palace, now a 
 tribunal, of the end of the fifteenth cen- 
 tury and the beginning of the next, is a< 
 mixture of the Gothic and the style of 
 the revival. 
 
 Some remains of a Roman theatre an- 
 nounce an edifice of no great extent, but 
 of the best period; this theatre is still 
 called Aringo and Parlascio, from which 
 it may be inferred that the citizens of 
 Lucca met there in the middle ages for 
 the purpose of conversation also. 
 
 The Lyceum, organised in 1819, com- 
 bines the different branches of public 
 instruction, and has twenty-six profes- 
 sorships. S. Pacini, a clever professor, 
 has composed' an estimable work on 
 
 See ante, boofe x. cb. v. 
 
 Italian surgery. The royal academy, 
 formerly called degl' Oscuri, composed 
 of thirty-six members, with the duke for 
 perpetual president, holds its sittings 
 there every month, when every mem- 
 ber in his turn reads some piece of his 
 own composition. This academy has 
 been publishing Transactions (Atti) since 
 1817, of which seven octavo volumes 
 have already appeared. In an apart- 
 mentof the Lyceum is an admirable paint- 
 ing by Annibale Carraccio, which would 
 alone repay a journey to Lucca. It was 
 formerly at San Giovannetto, and is said 
 to have been carried away and con- 
 cealed by a nun when the convent was 
 suppressed : the city purchased it for 
 200L, not one tenth of its value. 
 
 The college Carlo Lodovico, another 
 good foundation begun in 1807 and 
 finished in 1819, can accommodate eighty 
 students. The establishment is half ec- 
 clesiastical and half laic, as the professors, 
 the rector, and vice-rector, are priests, 
 and the director, their superior, a layman. 
 
 The public library occupies a spacious 
 building. The librarian, S. Papi, de- 
 ceased at the end of 1834, preceptor of 
 Prince Ferdinand Charles, was an enlight- 
 ened man, who had served as soldier 
 and general in the Rajah of Travancore's 
 army, had visited Egypt and Greece on 
 his return ; he also wrote the curious 
 Letters on the East Indies, translated 
 the Manual of Epictetus, Paradise Lost, 
 Armstrong's Art of Health, and com- 
 posed a great Historg of the French 
 Revolution, for which his Eastern travels 
 and residence at Lucca would scarcely 
 seem to have prepared him. At the 
 library may now be seen the remains of 
 Paolini'simmense paintingofSf. Gregory 
 giving a dinner to poor pilgrims, With 
 Christ amongst them, a rich harmonious 
 composition, with the variety of Paolo 
 Veronese, which heretofore excited the 
 enthusiasm of a multitude of poets, and 
 would be sufficient for the glory of that 
 artist, the best painter of Lucca. 
 
 The grand amphitheatre, encumbered 
 within, but pretty well preserved on the 
 outside, seems of the times of the first 
 Cesars. Like the theatre, it must have 
 been used for political meetings, as it 
 was also called il Parlascio. 
 
 The palace of the marquises Bernar- 
 dini, in the piazza of Saint Benedict, not 
 
 2 Deceased at the age of 75, May 16, 1832. 
 
672 
 
 CARRARA. 
 
 [Book XIX. 
 
 •ar from the spot where Castruccio's 
 'ower and palace stood, is ol' the plain 
 and solid architecture of Malleo Civitali. 
 The old palace of the Guidiccioni is by 
 his nephew Nicolao, likewise celebrated 
 as a military architect. This palace, ap- 
 propriated in 1822 to the public archives, 
 is one of the most remarkable in Lucca, 
 and displays little of the bad taste that 
 prevailed at the epoch of its construction. 
 
 The ramparts of Lucca, ancient forti- 
 fications which cost that petty state the 
 sum of 955,162 crowns (220,422 1), for- 
 merly supplied with handsome and harm- 
 less cannon, never fired except for salutes, 
 and taken away by the French in 1799— 
 these ramparts form a long and charming 
 promenade, well planted and fit for car- 
 riages, infinitely preferable to most of 
 the dull corsi of Italy, and from it the 
 mountains that surround Lucca present 
 a fresh and pleasing amphitheatre. 
 
 The aqueduct decreed by the French 
 administration and finished in 1823, of 
 great utility to Lucca, which till then 
 had only unwholesome well water, is a 
 grand construction of four hundred and 
 fifty-nine arcades with semicircular 
 arches, an honour to the talents of S. 
 Notlolini. 
 
 The traveller passing through the 
 duchy of Lucca must be struck with the 
 pleasing variety of the sites, the richness 
 of the hills covered with vines, olives, 
 and chesnuts, and must in particular 
 admire the laborious intelligence of the 
 Lucchese, an acute and subtle people, 
 good farmers, who may be called the 
 Normans of Italy. This astonishing 
 agricultural prosperity, this population 
 which, in proportion with the superficies 
 of the soil, is one of the most numerous 
 on the earth, ' proves the advantage of 
 small estates, for nearly all even the 
 mountaineers arc landowners ; every 
 year, during the winter months when 
 the labours of husbandry arc suspended, 
 the hundred and fiftieth part of this 
 population emigrates, and finds employ 
 in the hard but lucrative labours of the 
 maremme of Tuscany or the islands of 
 Corsica and Sardinia, whence it brings 
 back additional capital to increase the 
 public weal. A certain social and phi- 
 
 ' M. Adrien Balbi, in bis Balance politique, riu 
 Globe for 1828, places before Lucca for population 
 only Hamburg, Bremen, Frankfort, Lubeck, iu 
 which cases tbe territory consists of little but the 
 town. Tbe population of Lucca amounts to four 
 
 losophical improvement seems to have 
 prevailed for a long time in this little 
 state, which never had any Jesuits. The 
 Encyclopedia was reprinted there in 
 twenty-eight folio volumes (1758-71); 
 philanthropical institutions, such as the 
 mad houses and mendicity asylums, 
 though small, are numerous and well 
 managed ; and Lucca, which was the 
 first town in Italy that had the glory of 
 founding an hospital, as early as the year 
 718, a was also the ficst in southern Italy 
 to introduce vaccination as a public mea- 
 sure. 
 
 CHAPTER VII. 
 
 l'ictra Santa.— Massa.— Carrara. -Luni.—Sarzana.- 
 Sarzanello.— View. 
 
 Pietra Santa, a fine town, has one 
 church, Saint Martin, that might pass 
 for a cathedral. The architecture, of the 
 middle of the fourteenth century, is in 
 good taste, and the front is decorated 
 with several tolerable sculptures of sub- 
 jects taken from the saint's history. Four 
 columnsof the naves, halfof peachbloom- 
 coloured breccio, are of extraordinary 
 beauty ; the ancient octagonal baptistry, 
 of white marble, is ornamented with 
 elegant basso-relievos. 
 
 Massa, near the sea, encircled with 
 mountains, seemed tome of a charming 
 effect. The public square, in particular, 
 I cannot forget ; it is planted with orange 
 trees in quincunx, which were then 
 loaded with their golden fruit. 
 
 In the square is the marble statue of 
 the last sovereign of Massa, Maria Bea- 
 trice d'Este, married to the archduke 
 Ferdinand of Austria, union that appears 
 to have been rather singularly foretold 
 by Tasso, when he represents Godefroi, 
 duke of Lorrain, as being apprised in a 
 dream of the alliance of his house with 
 that of Rinaldo : 
 
 Sara il tuo sangue al suocomniisio ; e dove 
 Progenie uscire gloriosa e cblara. 
 
 I went to the famous quarries of Car- 
 rara in the mountain; the marble that 
 we are accustomed to find in the midst 
 of the wonders of art or of nature cul- 
 tivated and adorned is here to be seen in 
 
 hundred and fifty-six persons to each square mile. 
 ' It was established near the church of Saint 
 Silvester; a second was created iu 721, near Saint 
 Michael, and two others in 757 aud 790. 
 
Chap. VII.] 
 
 CARRARA. 
 
 675 
 
 the bosorn of savage nature. Limpid 
 jstreams ripple along or form cascades 
 among these blocks of dazzling whiteness ; 
 for the noble mineral, like some cha- 
 racters, has all its brightness in the mine, 
 and does not require, as gold does, to be 
 purified and polished ere it shine. It 
 seems as if all these waste fragments that 
 strew and embarrass the road might be 
 ground and made into stucco no less 
 solid or elegant than the marble itself. 
 The view of this mountain of marble, 
 which bears the fine name of Monte 
 Sacro, and which the shining moon 
 rendered still more resplendent, made 
 a singular impression. I called to mind 
 all the busts and statues of emperors in 
 ithe museums and palaces of Rome; I felt 
 Ithat art had shown but little dignity in 
 Ithus indifferently perpetuating the like- 
 ness of so many monsters. In contem- 
 plating the enormous block that lay 
 before me, I preferred its rough and 
 primitive innocence to the splendid pro- 
 stitution of the statuary, and I wished it 
 might ever remain as it was, than be 
 used to perpetuate the features and 
 memory of the wicked. 
 
 This romantic nocturnal ramble to 
 Carrara scarcely permitted me to visit its 
 Academy, a perpetual popular school of 
 sculpture, where children are instructed 
 gratuitously from the most tender age, i 
 nor to observe certain very curious geo- 
 logical phenomena in the quarries, such 
 as that first noticed in 1819, of a kind 
 of soft and transparent jelly which on 
 exposure to the air suddenly becomes 
 opaque, hard, and like chalcedony or 
 fine porcelain. I especially regret that 
 I was unable to penetrate to the sub- 
 terranean labyrinth of the grotto del 
 Tanone, so well described by Spallan- 
 zani, which is more than a mile in length, 
 and even surpasses in extent and magni- 
 ficence the grotto of Antiparos ; or to 
 that of S alia Mattana, less known and 
 less accessible, but said to be still more 
 extensive and interesting. 
 
 In announcing the working of the white 
 
 1 It is not surprising that Carrara has produced 
 so great a number of sculptors, among whom we 
 may notice Baratla, who distinguished himself at 
 Rome, Giuliano Finelli at Naples, rietro and Fer- 
 nando Tacca at FIorcnce,'Danese Cattaneo at Venice. 
 One of the best living sculptors of Italy, S. Tenerani, 
 is of Carrara. The nobility even and the clergy 
 practised sculpture there ; the house of Count Gio- 
 vanni Baratta was, at the close of last century, a se- 
 
 marble quarries of Corsica, it was wrongly 
 pretended that they would advanta- 
 geously replace those of Carrara and 
 Tuscany, then less productive. An un- 
 dertaking begun by Michael Angelo at 
 Carrara, and completed in 1827, had just 
 then opened a new quarry; marble was 
 never more abundant ; the yearly exports 
 amount to 70,000 cubic palms (nearly 
 16,000 yards), and artists now require 
 nothing but genius and great men. 
 
 When Michael Angelo drew from Car- 
 rara the marble intended for the vast 
 mausoleum of Julius II., he conceived 
 the idea of cutting a colossus out of the 
 peak of these mountains that advanced 
 farthest into the sea for a kind of land- 
 mark for mariners. It is a matter of 
 regret that one of the peripetia of the 
 funeral tragedy, as Michael Angelo call- 
 ed it, prevented the execution of this 
 project. Such a monument would now 
 be very curious, and form a savage con- 
 trast with the cupola of Saint Peter's, a 
 chef-d'eeuvre of art and antique imi- 
 tation. 
 
 Nothing remains of the celebrated Lu- 
 ni but the ruins of two towers, of a vast 
 amphitheatre, and traces of a church said 
 to have been dedicated to Saint Peter. 
 There are different opinions as to the 
 destruction of this ancient capital of Lu- 
 nigiana; by some historians it is attri- 
 buted to Alaric, who thereby avenged a 
 rape committed on a young girl of his 
 nation by one of the chief inhabitants 
 of Luni. Dante, who in his exile had 
 twice taken refuge in the environs of 
 Luni, pretends that it perished through 
 civil discord; 2 it is more probable, as 
 Villani supposes, that it was abandoned 
 as unhealthy. 
 
 Sarzana, a clean, pretty little town, 
 has a fine cathedral, which has the Sts. 
 Eutychianus, Philip, and Genesius, by 
 Solimene, and two good lunettes in Gui- 
 do's style by its excellent painter Fia- 
 sella, called Sarzana. 
 
 Sarzana, the native place of the wise, 
 learned, and great pope Nicholas V., 
 
 minary of artists ; and several statues and groups 
 by the Canon Primicerius Cibey, are cited at Car- 
 rara and in the environs. 
 
 2 Parad. can. xvi. 73. It was during Dante's re- 
 sidence with the Marquis Morello Malespina, lord 
 of that country, that the Jong-lost seven first cantos 
 of the Inferno were found and restored to him, 
 which gave him courage to continue his poem. 
 
 57 
 
674 
 
 LA SPEZIA. 
 
 t Book XIX. 
 
 long called Nicholas of Sarzana, was at 
 the beginning of the seventeenth century 
 the residence of Louis-Marie-Fortune 
 Buonaparte, the bead of Napoleon's fa- 
 mily, who went over to Corsica in 161*2, 
 during the war against the Genoese, and 
 settled at Ajaccio. He himself asserted his 
 Italian and Florentine origin,' honoured 
 by two literary compositions of a very 
 different kind, the narrative of the sack 
 of Rome in 1527, by Jacopo Buonaparte, 
 and the pleasing comedy of La Vedova, 
 by Nicolao. 5 
 
 Above Sarzana, the old castle called 
 Sarzanello, erected in 1321 by Castruccio 
 Caslracani when he attacked the place, 
 and now the quarters of the veterans, 
 presents an immense and varied view, 
 which embraces at once hills and valleys, 
 the course of the Magra, the ruins of 
 Luni, the fort of Lavenza, the beach of 
 Viareggio, the city of Pisa, the port of 
 Leghorn, and the islands of Capraja and 
 Gorgona. 
 
 The new road from Sarzana to Genoa, 
 so sweetly varied and picturesque, recalls 
 at every step the remark of Plutarch, a 
 moralist who loved to select his images 
 from navigation, that the most agreeable 
 journeys by land were those along the 
 seaside, and when we embark at Lerici, 
 that the pleasantest sea voyages were 
 those made along the coast. 
 
 The world is indebted to the tardy ar- 
 rival of the felucca from Lerici for one 
 of AlfJeri's finest and most Roman tra- 
 gedies, his Virginia, with which the ac- 
 cidental perusal of a Livy, belonging to 
 a priest, brother to the post-master of 
 Sarzana, inspired him, and with such 
 fervour that, but for bis impatience at 
 the delay of the cursed felucca, he would 
 have completed the piece at once, e I'a- 
 vrH stesa a" un fiato. 
 
 CHAPTER VIII. 
 
 La Spezia.— Gulf.-Founlaln.-Seslri.— Gulf of rta 
 pullo.— Cbiuvarl.— Bridge.— Rapallo.— Nostra Sl- 
 
 gnora oritfonle Allegro.— Uecco.— Nervi S. Coi- 
 
 volto. 
 
 La Spezia, the native place of the ele- 
 gant scholar and historian of the fifteenth 
 
 ' Misslriml. Delia Vita di int. Canova, p. 256. 
 See also ante, book x. eh. lit. 
 
 * See Voyages en Corse, a file d'Elbe el en Sar- 
 daigne, book i. cu. Ixix. 
 
 3 See the excellent little Memoire sur U golfe de 
 
 century, Bartolommeo Fazio, of the Nea- 
 politan academy, is a flourishing and po- 
 pulous town. Its admirable gulf, one 
 of the most extensive and safest in Eu- 
 rope, was called under the French ad- 
 ministration to a high destiny. But the 
 vast military and naval establishment of 
 this Antwerp of the Mediterranean pro- 
 jected by Napoleon could not be created 
 at Spezia itself, the depth of water on 
 its shore having been greatly diminished 
 by sandbanks. The height that com- 
 mands the creeks of Castagno, Porto Ve- 
 nerc, Varignano, and degliGrazie, would 
 be a superb position. i 
 
 On the coast of Marsola, sixty-five feet 
 from the land, is a submarine fountain 
 of fresh water, which bubbles up to the 
 surface ; it seemed to me salt, but it is 
 light and fresh if drunk from nearer the 
 bottom by means of a tube — an unknown 
 Arethusa, because discovered by science, 
 and not alluded to by the poets. 
 
 Sestri di Levante, a charming place, 
 noted for its wax, pastes, and shells, has 
 in its parish church the recent tomb of 
 Maria BrignoleBalbi, with an expressive 
 basso-relievo of Friendship, weeping 
 over her ashes, by S. Gaggini, a good 
 Genoese sculptor, and a touching in- 
 scription by the clever Ragusan Latinist 
 Gagliuffi, who died in February 1834. 
 Sestri is perhaps the spot whence the 
 gulf of Rapallo, interspersed with rocks, 
 formed by the mountain of Portofino, 
 that juts out into the sea, and bordered 
 with pines, olives, cypresses, and ches- 
 nuls, appears the most magnificent. 
 This superb gulf of Rapallo seems to its 
 neighbour the gulf of Genoa what that 
 of Salerno is to the gulf of Naples, that 
 is to say, superior, but less famous, be- 
 cause it has no great city to give it im- 
 portance. 
 
 Chiavari, of eight thousand inhabi- 
 tants, situated in a fertile plain and 
 crowned with hills covered with vines 
 and olives, is a well-built, industrious, 
 and trading town. Its cloths meet with 
 extensive sale, and its solid elegant vo- 
 lante chairs reaih the saloons of Paris and 
 are exported to America. This pretty 
 town seems to have a touch of Tuscan 
 civilisation; it has public schools, a li- 
 
 la Spezi i, by Count do Chabrol, t. n, p. 478, of the 
 Slalislique de t'ancien departement de Montenoite. 
 The first project, which would have cost nearly a 
 million sterling, was reduced to one fourth of that 
 amount. 
 
:hap. vm.] 
 
 LA SPEZIA. 
 
 675 
 
 brary of six thousand five hundred vo- 
 umes, a house of industry for the poor, 
 an hospital for female orphans; its so- 
 ciety for the encouragement of manu- 
 factures, founded in 1 791 by the marquis 
 l;Stefano Rivarola, is a beneficial and -well 
 bordered institution, and the high poplars 
 Hof its promenade on the banks of the 
 Eotella, a river sung by Dante : 
 
 Intra Siestri e Cbiavarl 6' adlma 
 Una flumanabella, 
 
 are something like the Cascines. 
 
 The church of Saint John the Baptist, 
 a kind of cathedral, built in the first half 
 of the seventeenth century, is a rather 
 scientific structure, considering the small- 
 ness of the ground-plot. The artist may 
 remark : the frescos of the choir, the 
 two great paintings of the Preaching of 
 the Saint and Herodias dancing, by 
 G. B. Carlone ; a fine Assumption, by 
 Domenico Piola, who died young, the 
 last scion of a family of Genoese pain- 
 ters distinguished for their talents nearly 
 two centuries, and some figures in wood 
 by Maraggiauo, the popular Phidias of 
 the coast of Genoa. 
 
 The Madonna dell' Orto is the largest 
 and richest church of Chiavari. If the 
 marble front, begun in 1837, were fi- 
 nished, it would be one of the first 
 churches of Italy. The group of the 
 Temptations of St. Anthony is a cu- 
 rious work by Maraggiano. 
 
 The church of Saint Francis, though 
 a modernised Gothic, is of good propor- 
 tions. The Saint performing a miracle, 
 by the Genoese painter Vassallo, has been 
 attributed to Velasquez, and it had the 
 honour of being carried to Paris. 
 
 The door of the Garibaldi house, or- 
 namented with sculptures of the year 
 1442, is magnificent, and some statues 
 of the interior are worth notice. 
 
 The wooden bridge, built in 1810 by 
 the French engineer Lefebvre, was so 
 clever a construction that it has been 
 
 Vellem Guidonem sallem meum Janueusem 
 archiepiscopuoj, et in illo pariler me vidisses, qui 
 Bumma Concordia voluntatum rerumque omnium 
 ab infanlla secum (cum illo) viii, vidisses, mibi 
 crede, hominem corpore licet invalidum animo 
 sic valentein, ut vivacius nil vidisse le diceres, 
 
 given as a model to the Polytechnic 
 
 school. 
 
 The picturesque town of Rapallo, with 
 its torrent, bridge, and gardens, is si- 
 tuated on the steep declivity of a triple- 
 headed mountain. Between the second 
 and third head is the sanctuary of Nostra 
 Signora of Monte Allegro, which is the 
 scene of a merry popular feast every year 
 on the 2nd of July and two following 
 days, when the mountain is illuminated 
 from its summit down to the sea. 
 
 The monastery of Cervara, founded 
 in 1364 by Guido, archbishop of Genoa, 
 the boyish friend of Petrarch, who has 
 drawn a charming portrait of him in a 
 letter to Boccaccio, 1 was the prison of 
 Francis I. when he embarked for Spain ; 
 a few persecuted Trappists, obscure suc- 
 cessors of the illustrious vanquished one 
 of Pavia, were sent there under the Em- 
 pire; since then it has been abandoned, 
 although the world has not wanted other 
 and great victims of fortune's vicissitudes. 
 
 Ruta presents an admirable view of 
 Genoa, of its lighthouse and hills. 
 The church has a Christ between two 
 thieves with the Virgin and Magdalen 
 at his feet, a painting full of expression 
 and truth, of which the inhabitants are 
 justly proud, but it is an error to sup- 
 pose it by Vandyck. 
 
 The church of the town of Recco pos- 
 sesses one of the best paintings of Va- 
 lerio Castelii, a very able painter of the 
 Genoese school. 
 
 Nervi has a fine church. It con- 
 tains the tomb of S. Corvetto ; a long 
 and elegant inscription by Gagliuffi gives 
 a minute portrait and records the ho- 
 nourable career of that Genoese advo- 
 cate, who became a minister of France, 
 a shrewd, ingenious, witty man, whose 
 talents were discerned by Napoleon, and 
 appreciated by Louis XVIII., who, des- 
 pite the difficulty of the times, was of 
 service to our country, and again deve- 
 Iopped the old financial genius of the 
 Italians. 
 
 inque fragili el caduca dorno mafraum bospitcin 
 babitare posse falereris. Quid mullis agam? vidis- 
 ses quem quaeriinus, virum bonum nulla, ni fai- 
 Ior, crebrum, sed nulla aetale bonum rarlus quana 
 nostra." Sen. lib. v., ep.l. 
 
676 
 
 GENOA. 
 
 BOOR THE TWENTIETH. 
 
 [Boor XX. 
 
 GENOA.-ROAD TO NICE. 
 
 CHAPTER I. 
 
 Aspect. — Poll.— Sailors.— l'orto Franco. — Berga- 
 nicse. — Customhouse. —Saint George's Bank. — 
 Bronze table. — Fiesch'.— Old Mole.— Loggia de' 
 Banclii.— Arsenal.— Rostrum. 
 
 The aspect of Genoa, wilh its port, 
 its palaces, its terraces, its balconies of 
 while marble planted with orange-trees, 
 a realisation of hanging gardens, the 
 ramparts that crown its vast amphi- 
 theatre, is truly superb. This city has 
 only three streets, and it is one of the 
 finest in the world. It is indeed la reale, 
 lanobil citta, so poetically sung by Tasso, 
 satirically by Alfieri,' and said by Ma- 
 dame de Stael to have been built for a 
 congress of kings. 
 
 The port of Genoa seems always busy, 
 and whilst Venice is losing her popula- 
 tion and falling to decay, her old rival, 
 the residence of the court some months 
 of the year, appears flourishing. New 
 houses were built, and the population, 
 which was a hundred and twenty-four 
 thousand souls in 1812, is now nearly a 
 hundred and thirty thousand. The di- 
 ligence, skill, and courage of the sailors 
 of the gulf of Genoa, assuetumque malo 
 Ligurem, who are about thirty thousand 
 in number, are extraordinary ; their tar- 
 tans, small craft about the size of a room, 
 on which they sail, reach even the ports 
 of the Ocean; and in the month of Oc- 
 tober 1822, a Genoese vessel had arrived 
 from Peru after a passage of 93 days. 
 This enterprising and laborious race of 
 men, interesting for their manners, fru- 
 gality, and thrift, strikingly contrasts 
 with the inhabitants of most other coun- 
 tries in Italy, and they seem to have 
 preserved something of the navigating 
 instinct peculiar to Italians of the fif- 
 teenth century .a 
 
 See Tasso's Sonnet : Real citta, ch' appoggi it 
 ii.)/;;/ terga. Rime, part. Ha, 68, und sonnet lxxvi 
 of Alfieri : Pfobit citta, die delte Liguri onde, which 
 cods thus : 
 
 Tue ricchezze non spese, eppur corrotte, 
 i-'uu d' Iguoranza uu deuso veto agil uni, 
 
 The service of Porto Franco, a kind of 
 small sea town, was always exclusively 
 reserved to Bergamese porters, all others 
 being rigorously excluded. A strange 
 hereditary aristocracy that one would 
 hardly expect to find there ! These Ber- 
 gamese are recruited from the towns 
 of Piazza and Zugno in the valley of 
 Brembana, so called from the torrent of 
 the Brembana, to the west of Bergamo, 
 and in the hamlets dependent thereon; 
 they, therefore, derive the name of Ber- 
 gamese from the province and not the 
 town of Bergamo. The company of 
 Bergamese porters, known under the 
 Arabic name of caravana, dates from the 
 year 1340, and was instituted by Saint 
 George's Bank; it then consisted of only 
 a dozen : the number has been greatly 
 augmented since ; it has been as high as 
 two hundred and twenty, but was re- 
 duced to two hundred by a regulation 
 of the 20th of Way 1832; previous to 
 the prohibition by royal letters patent of 
 the 10th of November 1823, the carava- 
 nas sold their places to their compatriots 
 at very high prices. The Bergamese 
 seem, however, worthy of their privi- 
 lege, as they have a reputation for dex- 
 terity and uprightness which has endured 
 nearly five centuries. 
 
 The great hall of Saint George, over 
 the customhouse, of happy proportions 
 and with a fir-tree roof as usual in that 
 country, is ornamented wilh the dusty 
 and neglected statues of its founders. 
 Several of the inscriptions record the 
 patriotism of the Genoese patricians ; I 
 read beneath the statue of a J. Grillo, 
 that he had bequeathed a legacy to re- 
 lieve the people of half the duty on 
 wheat. SaintGeorge's Bank, a political, 
 fiscal, and commercial institution, which 
 owned the island of Corsica, Sarzana, 
 
 Superstlzioa lien gli altri ; a tutlie nolle, 
 
 energetic verses which very little resemble (though 
 they express nearly the same ideas ) Montesquieu's 
 Ad'eux de Genes, the vagary of a man of genius, 
 such as might be expected from Colin. 
 1 See ante, book vn. ch. vi. 
 
Chap. I.] 
 
 GENOA. 
 
 677 
 
 and some other towns of the eastern and 
 western coast, was like the India Com- 
 pany of the middle ages; it was under 
 the management of the principal citizens, 
 and, as Montesquieu remarks, was an 
 indirect means of raising them from their 
 abject state. The history of this famous 
 bank, one of the first created in Europe, 
 dating from the year 1334., and finally 
 suppressed in 1815, seems almost the his- 
 tory of Genoa. An ancient marble group 
 shows the proud power of the Genoese ; 
 it represents a griffin holding in its claws 
 an eagle, the emblem of the emperor 
 Frederic, and a fox, the Pisan arms, with 
 this inscription : 
 
 Gryphus ut has angit. 
 Sic hostes GeDua franglt. 
 
 In one room of the customhouse is a 
 great picture of the Virgin, St. John Bap- 
 tist, andSt. George, by DomenicoPiola. 
 
 Over the principal door of the custom- 
 house, are suspended some links of an 
 iron chain which was used to close the 
 port of Pisa, but was borne off in triumph 
 by the Genoese in 1290. 
 
 Over the door, at the old palace of the 
 Padri del Comune, now the tribunal 
 of commerce, is the bronze table, with 
 a very legible inscription of forty-six 
 lines, found in 1506 by a peasant of Pol- 
 cevera, near Genoa, sold by him to a 
 brazier, and fortunately purchased by 
 the senate. The inscription relates to a 
 sentence pronounced, in the year 637 
 from the foundation of Rome, by two 
 Roman jurisconsults, respecting some 
 dispute between the inhabitants of Genoa 
 and those of Langasco, Voltaggio, and 
 Polcevera; it proves the ancient supre- 
 macy of the Genoese over the adjacent 
 countries. This monument, one of the 
 best preserved in Italy, learnedly illus- 
 trated by S. Geronimo Sena, would be 
 more suitably placed in a cabinet of 
 medals than in the inconvenient position 
 where it is difficult to examine it. A to- 
 pographical plan of Genoa in 1164 shows 
 the walls and towers occupied by the 
 Guelphs and Ghibelines in the civil and 
 domestic broils of the middle ages. 
 
 The enclosure now drained and used 
 as a bagno for about seven hundred gal- 
 
 1 Nov. Tart. Ha. ixxviii. 
 
 J The narrative of the conspiracy of Fieschi, 
 
 ley-slaves, was the ancient arsenal of the 
 republic, whence the famous galleys were 
 launched that made its glory. Close by 
 is the basin, in which perished, sunk by 
 the weight of his armour, the brilliant 
 Fieschi, ingeniously justified and praised 
 almost without reserve by Bandello, 1 
 and whose adventurous enterprise must 
 have charmed the youthful fancy of Retz, 
 who has related it with the same genius 
 that he might have employed in conduct- 
 ing it. When we read the Conjuration 
 de Fiesque, by Cardinal de Retz (a won- 
 derful work if we consider that he was 
 only seventeen when he wrote it), the 
 rival of the hero is more prominent than 
 the historian.* 
 
 The gate of the Old Mole, an imposing 
 and solid fortification by Galeaso Alessi 
 who has enriched Genoa with his best 
 works, has on the side towards the sea the 
 following fine inscription by Bonfadio : 
 
 Aucta ex S. G. Mole 
 
 Exlructaq. porta 
 
 Propuguaculo munita 
 
 Urbetu cingebant moeuibus 
 
 Quacumq. allultur mari 
 
 Anno MDL11I. 
 
 The Loggia de' Banchi is a skilful an J 
 economical structure by Galeaso Alessi, 
 which for the boldness of the roof, con- 
 sisting simply of ship masts, the Genoese 
 call un bel azzardo, as if such hazards 
 did not commonly befall men of genius. 
 
 The old convent of the Holy Ghost, 
 converted into a vast arsenal, preserves 
 an antique prow {rostrum). The pilo- 
 tage of the ancients is too inferior to the 
 naval glory of the moderns for this frag- 
 ment to be of much interest; it would 
 be worthy of respect, however, if the 
 tradition be true that it belonged to one 
 of those Ligurian vessels that opposed 
 Mago, Annibal's brother, 3 and failed in 
 protecting their couutry. A cannon of 
 leather and wood taken from the Vene- 
 tians at the siege of Chiozza in 1379, 
 when Genoa, with a republican hatred 
 more implacable than that of kings, 
 rashly thought herself capable of anni- 
 hilating her rival, is cited as the first fa- 
 bricated after the invention of powder. 
 The uncertainty attending the first use 
 of cannon may render this tradition 
 
 book it of the Annals of Genoa, by Bonfadio, is also 
 a very fine historical sketch. 
 3 ». Li?, lib. sxvin, ilvi. 
 
 57. 
 
678 
 
 GENOA. 
 
 [Book XX. 
 
 very suspicious : but this cannon is at 
 all events of great antiquity, for the first 
 used were in this form and bound with 
 iron.' I saw only one of the thirty-two 
 women's cuirasses worn in 1301 by noble 
 ladies of Genoa who joined the crusade; 
 the others were sold in the street for old 
 iron by the English in 1815. The only 
 cuirass that escaped this shameful auc- 
 tion did not appear to offer the outline 
 of a very tender form. 
 
 CHAPTER II. 
 
 Ducal and Royal palaces.— Mcgdalen, by Paolo Ve- 
 ronese.— Bust of Vilellius. — Balbi ( t'overa ) ;— 
 Fillppo Durazzo ; — Brignole ( Rosso ) ; — Tursl 
 Doria ; — Sena palaces. — Saloon.— Splnola ( Ferdi- 
 nand) ;-Carega ;— Lercari ;— Calaneo; — Negroni ; 
 — Spinola (Massiniiliano) palaces.— Marquis di Ne- 
 gro.— 1'allavitiut ;— Spiuola | Giambaltista) pa- 
 laces. 
 
 The Ducal Palace, the most consider- 
 able in Genoa, formerly the residence of 
 the Doges, now occupied by the town 
 senate and government offices, is on a 
 grand plan, and its clever reconstruction 
 in 1778 shows the talent of the Genoese 
 architect Cantone, who had received 
 orders, through an excessive fear of a 
 second conflagration, to employ no tim- 
 ber. The construction of the vaulted 
 roof is no less ingenious than in the Log- 
 gia de' Banchi : the first is a model of 
 solidity, the second of lightness. The 
 statues of the immense hall consecrated 
 to the men who had deserved well of the 
 republic, the last of which was the one 
 erected by the senate to the duke of Riche- 
 lieu, and so pleasingly celebrated by Vol- 
 taire : 
 
 Je la verrai cette statue 
 Que Gfine eleve justement 
 Au heros qui 1'a defendue ; 
 
 — these patriotic statues were broken by 
 the demagogues of 1797; they have been 
 replaced by provisional statues represent- 
 ing the Sciences and the Virtues, statues 
 of straw covered with calico, got up for 
 the ball offered by the city to Napoleon, 
 during the pompous rejoicing that at- 
 tended the loss of Genoese liberty. It 
 was a pity that on this occasion the Ita- 
 lians did not revive their custom of mak- 
 
 * See the llisloire du corps du Genie, par M. Al- 
 lent. Reiiiarques 1-G ct 2-7; and bis Precis des In- 
 stitutions mililaires en Fiance. The Cav. Venturi 
 So IriadeW Origine e de' primi pro<jressi delte 
 
 ing living persons supply the place of 
 statues, as was the case in the ceremonies 
 of the coronation of Leo X., when a 
 nymph delivered a piece in his honour 
 from her niche. It was also customary 
 at that epoch to place such figures in 
 churches instead of statues, on certain 
 solemnities, and particularly on (be ca- 
 nonisation of saints. These figures must 
 have been something like the living ta- 
 bleaux, iirtroanced from Germany, which 
 were in vogue one winter at Paris some 
 years ago, and were executed by the 
 most handsome ladies. The great pic- 
 tures of this hall and the one adjoining, 
 though boasted at Genoa, are indifferent, 
 without celebrity, and justly so. 
 
 The magnificent Marcel Durazzo pa- 
 lace, now the King's, which has two 
 grand white marble staircases to the 
 right and left of the vestibule, by Carlo 
 Fontana, is the only one in Genoa in 
 which carriages can enter and turn 
 with facility, for sedan-chairs only were 
 used in this capital in former times. The 
 first masterpieces of the pictorial art de- 
 corate this and other palaces in Genoa, a 
 rich and mercantile city, a formidable 
 place of war which is not perhaps duly 
 appreciated for its works of art. In the 
 Royal palace may he observed, by Paolo 
 Veronese : the Olinda and Sophronia, 
 brilliant in colouring, full of movement 
 and interest; the admirable Magda- 
 len at Christ's feet, perhaps this master's 
 chef-d'oeuvre; by Vandyck : a portrait 
 in a Spanish costume, of a fine colour; 
 a good portrait of Catterina Durazzo ; 
 a Uoly Family; by Cappuccino : a bi- 
 shop's portrait, a half figure, remarkable 
 for the head and hands ; by Domeniro 
 Parodi, a clever Genoese painter of the 
 seventeenth century : the clare-obscure 
 paintings and gildings of the gallery, in 
 imitation of basso-relievos, a philosophi- 
 cal composition explained by a Latin 
 quatrain, representing the fall of the 
 great empires of antiquity, the Assyrian, 
 Persian, Greek, and Roman, with por- 
 traits of Darius, Sardanapalus, Ptolemy, 
 and Augustulus, supported by Syrens; 
 by AlbertDurer: the Confirmation given 
 before the king of France, a fine paint- 
 ing; by Holbein : an excellent portrait 
 of Anne Boleyn, thin and red-haired, 
 
 mnderne artiglierie. Milan, 1810] says lli.it cannon 
 were used in 1330, and Petrarch speaks of them as 
 common in his treatise De remediis ulriusgue for- 
 tunes. 
 
Chap. II.] 
 
 GENOA. 
 
 679 
 
 but wonderfully costumed ; by Michel- 
 angelo di Caravaggio : St. Peter deny- 
 ing Christ; Christ dead, very vigorous 
 in effect and execution ; by Carlo Dolci : 
 a head of the Virgin, another of the 
 Saviour, works of an extraordinary fi- 
 nish, by this Italian Van dor Werf, hut 
 very ordinary in the drawing; by An- 
 geio Rossi, a facetious Genoese painter, 
 pupil of Domenico Parodi : a Satyr 
 sucking a bunch of grapes; by Ru- 
 bens : Juno attaching the eyes of Argus 
 to the tails of her peacocks, an excellent 
 work; by Titian : a One Nativity; and 
 in the chapel a Christ bearing the Cross ; 
 by the elder Pal ma : the Virgin, St. John 
 Baptist and Magdalen, a charming 
 painting for colour and simplicity. The 
 antique bust of Vitellius, in granite, is, 
 after the Magdalen, the second wonder 
 of this palace, and Giulio Romano was 
 unable to find a better model than this 
 emperor's head to paint the Satyr of his 
 Bacchanal. 
 
 The Bulbi (Povera) palace is remark- 
 able for the proportion of its porticos, the 
 I richness of its nympheum, which termi- 
 nates in a garden of large oranges planted 
 in the soil, of an enchanting effect. 
 
 The monumental Filippo Durazzo pa- 
 lace, from the designs of Bartolommeo 
 Bianco, a Lombard, was enlarged by the 
 Genoese architect Tagliafico, who con- 
 structed the rich, but badly placed, stair- 
 case of white marble. The most re- 
 markable paintings are : a Magdalen, by 
 Titian, said to be the original of that in 
 the Barbarigo palace, which however it 
 would not be easy to prove ; » a Roman 
 Charity; St. Eustace; a graceful Cleo- 
 patra, very skilfully painted; a Child 
 sleeping, an oval painting, full of charms, 
 though the subject would have borne 
 more simplicity, by Guido ; Hagar, Ish- 
 mael, and the Angel, by Grechetto, a 
 Genoese painter of the seventeenth cen- 
 tury, who acquired his elegant surname 
 from the propriety and charms of his 
 colouring; the Marriage of St. Cathe- 
 rine, by Paolo Veronese ; a portrait of 
 Lppolito Durazzo, elegantly thickened 
 and perfect, by Rigaud; the Parnassus, 
 a good fresco on the ceiling, by Gero- 
 nimo Piola ; Christ appearing to the 
 Virgin; the Death of Adonis, a paint- 
 ing with little figures, of excellent com- 
 position; a St. Sebastian, by Domeni- 
 
 ' See ante, boot vi. ch. ii. 
 
 chino ; the young Tobias ; a Child dressed 
 in white ; Two Boys and. a Girl, por- 
 traits of the Durazzo family, in Spanish 
 costumes, of a fine execution and great 
 delicacy of tone, by Vandyck; a very 
 fine and lifelike portrait of Philip IV., 
 king of Spain, by Rubens; a Philoso- 
 pher weeping, true, but without eleva- 
 tion and ordinary in design ; Heraclitus 
 and Democritus, in Caravaggio's style, 
 by Spagnoletto. 
 
 The Brignole {Rosso) palace has some 
 great porticos of fine proportions. The 
 gallery is one of the first in Genoa. The 
 following may be distinguished ; by Ti- 
 tian : a half figure of a Man with a 
 white beard and furred sleeves ; by 
 Paris Bordone : a half-figure of a Man 
 with a black beard and red sleeves; a 
 Bust holding a paper in hand, of great 
 delicacy of tone ; the Virgin, St. Joseph, 
 St. Jerome, St. Catherine and several 
 angels, of a very fine colour; a portrait 
 of a young Man in a pelisse; a half- 
 figure of a Man with a white beard and 
 pelisse ; a Woman with embroidered 
 garments; by Vandjck : two half- 
 figures, Father and Son ; the great 
 Equestrian portrait of the Marquis 
 Antonio Giulio Brignole, son of a doge, 
 ambassador to Philip IV., afterwards a 
 priest, a satirical and comic writer, Je- 
 suit, and preacher; the Give to Ccesar 
 that which is Cwsar's and to God that 
 which is God's, in which the face of 
 Christ shows a mixture of dignity and 
 irony that seems to condemn the future 
 abuses of the sacerdotal power ; the por- 
 trait of Signora Sale Brignole ; a por- 
 trait of a Man standing, \n Spanish cos- 
 tume; by Albert Durer : a Head with an 
 inscription, very well drawn; by Guer- 
 cino : Christ driving the buyers and 
 sellers out of the temple; Cato killing 
 himself, without nobleness; the Virgin 
 on a throne and St. John Baptist, 
 St. John, and St. Bartholomew ; by 
 Michelangelo di Caravaggio : the Resur- 
 rection of Lazarus, of fine effect ; by 
 Guido : & St. Sebastian, a half figure; 
 by Cappuccino : a St. Thomas, whose 
 colouring, natural, vigorous, and har- 
 monious, disparages, says Lanzi, the co- 
 louring, though good, of the other paint- 
 ings in the room ; by Ludovico Carraccio : 
 the Annunciation ; by the elder Palma : 
 an Adoration of the Magi, full of grace 
 and simplicity ; by Paolo Veronese : the 
 Judith, which has an expression of mo- 
 
680 
 
 GENOA. 
 
 [ Book XX. 
 
 desty and firmness that makes one over- 
 look the Venetian costume, a painting 
 of remarkably powerful effect for that 
 master; a Woman, called Vandyck's 
 nurse, sitting in a chair, at her length, 
 and holding, as if with effort, a nosegay, 
 a very natural and gay figure; by Spagno- 
 lelto : a Philosopher holding a paper 
 in his hand; by Pellegro Piola, a Ge- 
 noese painter of great promise, who was 
 waylaid and assassinated in his twenty- 
 third year by his rivals, jealous of the 
 popularity of his Madonna still exposed 
 in Goldsmiths' street, another victim of 
 those violent professional enmities al- 
 ready mentioned : « St. Ursula; a grace- 
 ful Holy Family ; by Holbein : a Woman 
 holding a flower; by Leonardo Vinci : 
 an oval half figure of John the Baptist; 
 by Rubens : the Portrait of a man, in 
 black ; his own and wife's portrait, a very 
 fine painting; by Domenichino:5f Roch 
 praying for the cessation of the plague, 
 true, pathetic, well composed; by Cor- 
 reggio : the Assumption ; by Carlo Dolci : 
 Christ in the Garden of Olives, which 
 has the usual qualities and defects of its 
 author. Several pleasing portraits are 
 by Rigaud and Largilliere, but they are 
 eclipsed beside the portraits of Titian, 
 Paolo Veronese, Rubens, Vaodyck, and 
 Paris Bordone, which enrich this admi- 
 rable gallery. 
 
 The Tursi Doria palace, now added to 
 the royal domains, the finest ornament of 
 the Slrada Nuova, presents a remarkable 
 disposition, a rare character of solidity, 
 and must be regarded as one of the 
 grandest and best sealed edifices in Italy; 
 but one might desire, as in most of the 
 Genoese palaces, greater purity in the 
 details. 
 
 The Sena palace, indifferent with 
 respect to art and badly built, is noted 
 for its saloon on the first floor, which was 
 highly praised during the last century, 
 and surnamed the Palace of the Sun by 
 the President Uupaty; but its decoration, 
 in which there -is truly an excess of 
 mirrors, is rather distinguished by rich- 
 ness than taste. It is said that a mil- 
 lion franks were expended upon this toy, 
 a monument of ostentation and luxury 
 rather -than true magnificence. 
 
 The ancienUIrimaldi palace, now be- 
 longing to Fernando Spinola, one of the 
 fine palaces in the Strada Nuova, which 
 
 1 See ante, book mi. cb. vii. 
 
 was built almost throughout by Galeaso 
 Alessi, resembles the best palaces of 
 Rome by the simple grandeur of its ar- 
 chitecture. It has a vast vestibule; and 
 the gallery leading to the court, the 
 magnificent staircase, the nympheum 
 which terminates the court, and the court 
 of the first floor, are of the finest effect. 
 The gallery has some good paintings .- an 
 Equestrian portrait, a Head, by Van- 
 dyck ; a Venus, believed to be Titian's; 
 a Virgin with the infant Jesus, very 
 pretty, by Giovanni Bellini ; Three c/u7- 
 dren, in Parmegiano's style. 
 
 The Garega palace, from the designs 
 of Galeaso Alessi, built in a confined 
 space, yields to none in Genoa for rich- 
 ness or beauty. The frescos on the 
 roof of the vestibule, by Gaslello il Ber- 
 gamesco, are a brilliant decoration. Two 
 chefs-d'oeuvre, the Adoration of the 
 Magi, by Paolo Veronese; a half figure 
 of Herodias carrying the head of John 
 the Baptist, a horrible mixture of grace- 
 fulness and crime, by Titian, have all 
 the merits of those great masters. 
 
 The Lercari Imperiale palace passes 
 for one of the most harmonious and pic- 
 turesque works of Galeaso Alessi. The 
 original and severe basement forms an 
 agreeable contrast with the elegant gallery 
 of Ionic columns on the first floor. The 
 ceiling of the staircase is adorned with 
 some charming arabesques which were 
 executed under the superintendence of 
 Galeaso Alessi by Taddeo Carlone, an 
 excellent Genoese fresco painter, of the 
 seventeenth century. 
 
 The Grillo Cataneo palace has a con- 
 siderable mumber of paintings by the 
 best masters : a portrait of a Woman 
 sitting, a half figure, by Rubens; a great 
 painting of Christ driving the sellers 
 out of the Temple, much boasted, one 
 of those masterpieces of Salvator Rosa 
 everlastingly met with in Italian galle- 
 ries, which are generally, as in this in- 
 stance, but very ordinary performances; 
 a St. Agnes, by Andrea del Sarto ; a 
 portrait of a Slavonian, by Giovanni Bel- 
 lini ; St. Joseph and the little St. Jolin 
 adoring the Saviour, ascribed to Ra- 
 phael ; Luther and his mistress, by 
 Paris Bordone, of a fine colour and sin- 
 gular expression : Dorothea has a gold 
 necklace, rings, and all the cumber- 
 some dress of the epoch ; Luther has 
 hold of one hand and lays his other hand 
 ou her shoulder; looking at her with a 
 
Chap. III.] 
 
 GENOA. 
 
 681 
 
 serious ralher than an impassioned 
 glance, which seems less a lover's than 
 a theologian's. 
 
 The Negroni palace, well-planned, and 
 with a nympheum of a charming effect at 
 the bottom of the court, has a room, 
 which is perhaps the best painted in Ge- 
 noa, a poetical composition, consecrated 
 to the virtues and glory of the Negroni 
 family, and the best work of Domenico 
 Parodi. 
 
 The Spinola (Maximilian) palace is 
 distinguished by the happy proportion of 
 the porticos in the court, the originality 
 of its cloister-arched roofs, and the room 
 on the first floor, painted at eighteen 
 years of age by Luca Gambiaso, a clever 
 and precocious Genoese artist in the 
 sixteenth century, of a bold and prolific 
 genius, who worked with two pencils at 
 once, but whose good period only lasted 
 a dozen years. 
 
 I visited the charming picturesque 
 retreat of the Marquis Giovanni Garlo 
 di Negro, a perfect model of that cour- 
 tesy and Italian good feeling towards 
 strangers, which can never be sufficiently 
 praised. The garden, Yisited by the 
 pope, the emperor of Austria, the kings 
 of Sardinia and Naples, was worthy of 
 those honours less from its wonderful si- 
 tuation, itslibrary, its exotic plants, than 
 the talents and character of its amiable 
 possessor, a passionate lover of the fine 
 arts, a distinguished improvisatore, and 
 author of a much esteemed Quaresimale 
 in terzines. 
 
 Among the numerous paintings in the 
 gallery of the rich palace Pallavicini, 
 may be remarked : a great Mutius Scce- 
 vola, by Guercino; a Coriolanus, by 
 Vandyck, rich in colouring, but in a 
 style unsuited to the subject ; the Virgin 
 alia colonna, by Raphael, which is not, 
 as stated, and imitation of his Madonna 
 della Grotta, for all the Virgin's heads 
 by Raphael have for the close observer 
 a peculiar physiognomy, which most fre- 
 quently depends on a verydelicate shade. 
 
 The Spinola (Giambattista) palace 
 presents among many works by cele- 
 brated painters : a Woman suckling 
 a child, another reclined, lying down, 
 and two men, by Annibule Carraccio, 
 and one of those fine but monotonous St. 
 
 ' " Divino munere Andreas Doria f.evae F. S. R. 
 ecclesite, Caroli imperaloris calholicl maximi et 
 nvinctissimi, Francisci priml Francorutn regis, et 
 
 Sebastians of Guido, quite a fashionable 
 subject in his time, for there is scarcely 
 a gallery of importance that cannot 
 boast the possession of its St, Sebastian. 
 
 CHAPTER III. 
 
 Palace of Andrea Doria.— Paintings of Perino del 
 Vaga.— Trellis.— Hoedan.— Grotto.— Lighthouse.— 
 Scoglietto. — Pallavicini ( delle Peschlere ) and 
 Sauli palaces. 
 
 The royal palace of Andrea Doria, of 
 the architecture of Fra Montorsoli, who 
 was summoned from Rome to build it, 
 has a long characteristic inscription of a 
 single line under the entablature of the 
 windows, which states that its illustrious 
 founder had been admiral of the pope, 
 of Charles V., Francis I., and of his 
 own country, i an extraordinary man, 
 whose alliance was sought by the greatest 
 princes, who had defeated the Moors 
 and Turks with his own galleys, and 
 was himself almost a power. The poor 
 statue of the old admiral as Neptune 
 stands in the middle of the gardens near 
 the shore ; but bis romantic mustachio 
 of the fifteenth century contrasts strange- 
 ly with the nakedness and classical 
 attributes of the marine deity. The door 
 is from the designs of Perino del Vaga, 
 a pupil of Raphael, who, having escaped 
 the sack of Rome with the loss of his all, 
 was generously welcomed by Doria, and 
 decorated the palace with his finest 
 works. Such are the stuccos and gro- 
 tesques of the vestibule, resembling the 
 Loggia of the Vatican, at which Pe- 
 rino del Vaga had worked; somelittle 
 Children, Horatius Codes, Mutius 
 Scavola, and three other subjects of 
 Roman history, worthy of Raphael for 
 invention and composition, and the 
 ceiling of the War of the Giants, almost 
 equalling the frescos of the Farnesina. 
 The trellis, opposite and above the pa- 
 lace, must have once formed the most 
 charming and magnificent of Italian ter- 
 races. It is now neglected like the rest of 
 this superb abode. The mausoleum of 
 Roedan, the dog given by Charles V. to 
 Andrea Doria, is almost buried. It was 
 placed at the foot of the colossal statue 
 of Jupiter, that the great Roedan, as the 
 
 patriae classis Iriremium 1111. Praerectus ut maximo 
 labore jam fessn corpore honesto otio quiesceret 
 fides sibi et successorlbus instauravlt MDXXYliu; 
 
682 
 
 GENOA. 
 
 { Book XI. 
 
 whimsical epitaph stated, might not 
 cease to guard a prince, even after his 
 death. Doria again returned in triumph 
 to his country, and his dog, so magni- 
 ficently interred, cannot have the merit 
 of that of Ulysses which a French poet, 
 despite the etiquette of our stage, has 
 happily painted in four words : 
 
 At-je encor rtes amis 
 
 Un seul m'etait reste, non parmi les hdmains. 
 
 Not far from Jupiter is the Grotto, 
 from the designs of Galeaso Alessi, a 
 brilliant construction of white marble, 
 forming a terrace, which so admirably 
 finishes the garden andoverlooks the sea. 
 
 The Scoglietto, a villa of ordinary ar- 
 chitecture, is singularly agreeable with its 
 terraces, grottos, cascades, its orange, le- 
 mon, and pomegranate groves, its pine 
 wood, and especially its siteabove the sea. 
 At the top of the garden, in a small pavi- 
 lion, I found a framed collection of en- 
 graved portraits of the members of the 
 Constituent Assembly, an odd decoration 
 for this quiet and cheerful retreat. 
 
 It is interesting to ascend to the 
 lighthouse, called the Lantern at Genoa, 
 a picturesque structure reared on a lofty 
 rock, which serves for its base; the ho- 
 rizon thence discovered is magnificent. 
 
 The Pallavicini palace, surnamed delle 
 Peschiere, from the number of its foun- 
 tains, is of a judicious and elegant ar- 
 chitecture, by Galeaso Alessi; and its 
 position, the charming grotto of the 
 garden, make it one of the most re- 
 markable of Genoa. It is pretended 
 that Cromwell once inhabited it, but 
 nothing can be more uncertain than this 
 tradition. 
 
 The Sauli palace, a chef-d'eeuvre of 
 Galeaso Alessi, formerly one of the no- 
 blest and richest, not only in Genoa, but 
 throughout Italy, with its while marble 
 columns of a single block, is now aban- 
 doned and almost in ruins. 
 
 CHAPTER IV. 
 
 Albaro.— Giustiniani villa. — Imperiale palace.— 
 Paradiso.— Promenades.— Ramparts. — Aqueduct. 
 
 The smiling hill of Albaro is covered 
 with superb villas. The Giustiniani 
 villa, by Galeaso Alessi, does not ap- 
 pear from Michael Angelo's designs, as 
 some have pretended. The ante-room 
 
 in the style of a loggia passes for the 
 most exquisite production of Alessi. 
 This villa has a few antiquities, among 
 them a very scarce statue of Isis in 
 oriental granite. 
 
 The Imperiale palace presents the 
 Rape of the Sabines, a noble and spi- 
 rited composition, one of Luca Cam- 
 biaso's best. A member of this family, 
 Micbele Imperiale, attracted conside- 
 rable notice by the mad excentricity of 
 his conduct and opinjons. For instance, 
 after combatting the damnation of Judas 
 by theological arguments, he left a sum 
 of money by his will to have masses said 
 for the salvation of his soul. 
 
 The Saluzzi palace, called Paradiso,' 
 has some good frescos by Tavarone, a 
 Genoese painter of the sixteenth century, 
 the travelling companion and fellow- 
 labourer of Luca Cambiaso, whose man- 
 ner he almost acquired. This palace 
 was inhabited by Lord Byron; he de-! 
 parted hence for Greece, but returned a 
 moment when becalmed a whole day 
 within sight of Genoa, and he there had ai 
 presentiment of his approaching glorious 
 end. Having expressed a wish to see 
 his palace once more, he went thither 
 accompanied by Count Gamba alone. 
 " His conversation," says the latter,' 
 " took a melancholy turn ; he spoke 
 much of his past life and the uncertainty 
 of the future. 'Where shall we be,' said 
 he, ' a year hence ? ' It was like a gloomy 
 prophecy," adds his friend; "for, the. 
 year after, on the same day of the same 
 monih, he was laid in the tomb of his 
 ancestors." 
 
 If the two or three public promenades.; 
 of Genoa, such as the Acqua verde and 
 the Acqua sola, are not very good, the 
 circuit of the great fortifications is one of. 
 the finest promenades in all Italy. This 
 supeibcoast of Genoa hasnot, indeed, the, 
 poetical and literary associations of the' 
 gulf of Naples, but it is interesting for 
 the French exploits that it recalls : Uouf- 1 
 tiers, Richelieu, Massdna, appeared there' 
 as the representatives of the old and new 
 military glory of Fiance. Among the, 
 various objects that one encounters is a' 
 long piece of the aqueduct that brings 
 the water from a distance of six leagues 
 into the different parts of the city, and 
 even to the upper stories of every house; 
 one of those astonishing and useful works 
 of the middle ages, begun in 1278 and 
 finished in 1335. 
 

 Chap. VI.] 
 
 GENOA. 
 
 683 
 
 CHAPTER Y. 
 
 University.— Library.— Berlo library. 
 
 The palace of the University, with its 
 porticos, columns, and marble staircases 
 of dazzling whiteness, has rather the air 
 of an oriental palacethan a college. It is 
 impossible not to be struck with the happy 
 repartition and vividness of the light. 
 The rooms of the different courts are or- 
 namented with paintings, several of which 
 belong to the great Genoese masters. In 
 the great ball, painted in fresco by Andrea 
 Carlone, is a Circumcision, by Sarzana ; 
 the statues of Faith, Hope, Charity, 
 Justice, and two other Virtues, are by 
 Giovanni of Bologna. The studies of 
 the university, which were excellent in 
 the olden times, and had resumed their 
 ancient lustre under the French admi- 
 nistration, were unfortunately reorga- 
 nised in 1816, and seemed but little in 
 accord with so much luxury, despite 
 the merit of some professors— the prin- 
 cipal of whom were : S. Viviani, pro- 
 fessor of botany, celebrated in Europe 
 for his works, and particularly for his 
 Flora of Libya and Cyrenaica, and the 
 professor of chemistry, S. Giuseppe Mo- 
 jon, whose modesty is equal to his talents, 
 and who first discovered electro-magne- 
 tism, a science since completed by the 
 researches of MM. Ampere, Arago, Biot, 
 Davy, Savary, Faraday, and Nobili. The 
 number of students is only about four 
 hundred, an inconsiderable number for 
 so populous a town as Genoa. 
 
 The library contains forty-five thou- 
 sand volumes; it is composed of the old 
 libraries of the Jesuits and Carmelites, 
 in which theology is rather too predo- 
 minant. Among the few manuscripts is 
 a Quintus Curtius of the fifteenth cen- 
 tury, translated into French by the 
 "honnourable et noble homme Vasque 
 de Lucene, portugallois," a fine but not 
 scarce manuscript, dedicated to Charles 
 the Bold, duke of Burgundy, with minia- 
 tures representing the actions of Alex- 
 ander. There are also some Chinese 
 manuscripts and others in African and 
 Arabic characters. 
 
 The Berio library, presented to the 
 town by a private individual, consists 
 of fifteen thousand volumes and fifteen 
 hundred manuscripts; most of the latter 
 relate to the history of Genoa. A City 
 of God, in Italian, of 1472, is a fine copy 
 
 by a sister Veronica, of the convent of 
 the Holy Ghost at Verona. A History 
 of Venice, not printed, of 1480, is men- 
 tioned by Tiraboschi. A Missal of 
 Cardinal de' Medici, of 1533, has an 
 inscription in his hand. The librarian, 
 P. Valentino Manfredi, a barefooted 
 Carmelite, late a missionary on the Ma- 
 labar coast, seems to live in his library, 
 which is open on winter evenings, and 
 seemed to me pretty well frequented. 
 
 CHAPTER VI. 
 
 Theatre del Falcone.— Saint Augustine and Carlo 
 Felice theatres. 
 
 Among other pieces, I witnessed the 
 performance at the theatre del Falcone, 
 which depends on the Royal palace and 
 is constantly attended by his majesty 
 Charles Felix, of one of Goldoni's Hir- 
 cana, well played by Signora Polvaro 
 Carlolta. Notwithstanding the success 
 of this trilogy at one time and all Gol- 
 doni's boasting of it in his Memoirs, it 
 appeared to me false, cold, and dull, like 
 most dramas on Persian subjects. 
 
 At the theatre of Saint Augustine, they 
 were playing that antique and terrible 
 tragedy of Alfieri's, Polynice. The ac- 
 tors, though but tolerable, were much 
 applauded'; and they not appeared less 
 moved by public favour than in other 
 Italian theatres. ' It was ludicrous 
 enough for those hostile brothers to be 
 opportunely pacified to make their bows 
 of acknowledgment, and, after having 
 just left the stage in a fury, to reappear 
 suddenly with a calm and solemn air, 
 to make their respectful salutations to 
 the pit. All this gratitude and polite- 
 ness seems still more ridiculous in the 
 absence of singing and music. It occa- 
 sionally happens that actors are thus 
 called for several times in succession: in 
 1834, at Leghorn, I saw Cosselli, Duprez 
 and signora Ungheri, who sung the 
 Parisina of Donizetti, called on five con- 
 secutive times. It is true that this frenzy 
 was a kind of reaction against the Matri- 
 monio secreto and Lablache, who had 
 displeased the public the previous even- 
 ing. The delicious chef-d'oeuvre of Ci- 
 marosa had so far made fiasco on that 
 day, that they durst not show it again, 
 so played the Barbiere di Seviglia in its 
 stead. 
 
 1 See ante, book in. ch. xvli. 
 
6S4 
 
 GENOA. 
 
 [Book XX. 
 
 The theatre Carlo Felice, erected from 
 1826 to 1828, is the largest theatre in 
 Italy, alter La Scala and San Carlo. The 
 columns and principal staircases are of 
 white Carrara marble. Despite the vast 
 proportions of the plan and the richness 
 of the materials, the architecture does 
 not appear either very noble or pure, and 
 it has not the kind of lightness and 
 elegance that are suitable to an opera- 
 house. 
 
 CHAPTER VII. 
 
 Saint Laurence.— Sacro Calino.— Bonfadlo.— Saint 
 Syrus.— Annunziata. — Saint Ambrose. — The As- 
 sumption of Carlgnano.— Statues, by Puget. — 
 Bridge. — Tomb of Andrea Doria. — On Guido's 
 Virgins.— San la Maria delta consolazione. 
 
 The church of Saint Laurence, one of 
 the fine cathedrals of Italy, remarkable 
 for the Gothic architecture of its front, 
 was judiciously restored by Galeaso 
 Alessi, who rebuilt the choir, the hemi- 
 cycle, and the cupola. The frescos of 
 the choir ceiling, and particularly the 
 Martyrdom of the Saint, pass for the 
 best public work of Tavarone. The rich 
 chapel of Saint John the Baptist has six 
 statues by Matteo Civitali, one of which, 
 the Abraham, is remarkable for the 
 vesture and a kind of grandeur; the 
 Virgin and the Holy Precursor are by 
 Contucci da Sansavino; the altar, begun 
 by Jacopo della Porta, was admirably 
 terminated by his clever nephew Gu- 
 glielmo. 
 
 The famous Sacro Catino is restored 
 to the cathedral. It was sent to an ar- 
 tizan to be mended when I saw it, for it 
 had been broken and a bit was lost in its 
 
 * The Sacro Calino was formerly kept in an iron 
 safe iu the sacristy, of which the dean alone had 
 a hey; it was only exposed to the public once a 
 year, and then it was set on an elevated place, with 
 a prelate holding It by a cord ; the knights Ctavi- 
 geri, to whom its custody was confided, were ranged 
 around. A law of U76 punished even with death 
 In certain cases whomsoever should touch the 
 Sacro Calino with gold, silver, stones, coral, or any 
 other substance : " In order, said Ihe law. to deter 
 the curious and incredulous from examining the 
 C.atiiin, as by such proceeding it might be injured or 
 even broken, which would be an irreparable loss 
 for the republic of Genoa." M. de La Condamine, 
 Impelled by his natural curiosity ( well known to 
 be rather indiscreet), and his curiosity as a man 
 of science, had concealed a diamond in his coat 
 sleeve when he examined the sacro Calino, for the 
 purpose of making a scratch to prove its hardness; 
 but the inonU yvho was showiDg it to him per- 
 
 passage from Turin to Genoa. Though 
 deprived of its honours, its guards, and its 
 mystery, » the Sacro Catino inspired me 
 with respect, and I found the philosophic 
 lazzi very dull that were thrown at it 
 by Lady Morgan. Of what consequence 
 is it, if instead of being an emerald, the 
 Sacro Catino be only coloured glass? 
 if it were not given to Solomon by the 
 queen of Sheba, or if it were not used by 
 the Saviour at the Last Supper? This 
 glass dish is no less- a memorial of the 
 faith and bravery of those Genoese, the 
 conquerors of Caesarea, who captured it — 
 of those Christian republicans of the 
 middle ages, who, after receiving the 
 communion, scaled the ramparts of the 
 town with no other machines that the 
 ladders of their galleys. I fancied that I 
 heard that bishop of Pisa, Daimbert, a 
 warrior and a prophet, haranguing the 
 crusaders on the eve of the battle, and 
 promising them victory in the name of 
 Jesus Christ; I pictured to myself that 
 Genoese consul who first mounted the 
 breach and defended himself single- 
 handed like another Alexander. These 
 reminiscences of glory, religion; liberty, 
 were sufficient for me, and 1 desired no 
 more. 
 
 Bonfadio,whose condemnation, whether 
 just or not, seems still a mystery," wished 
 to be interred at Saint Laurence, as may 
 be seen by the short, poetical, and touch- 
 ing letter addressed just before his death 
 to one of his powerless protectors, which 
 letter seems a more certain proof of his 
 innocence than all the dissertations there- 
 on. Mi pesa il morir, perche non mi 
 pare di meritar tanto : epurm' acqueto 
 del voler d'Iddio;e mi pesa ancora, 
 
 ceived it in time, and raised the Sacro Catino, hap- 
 pily for himself, as he would have got Into diffi- 
 culties, and for M. de La Condamine, who had pro- 
 bably forgotten the law of Ii76. It appears how- 
 ever that, notwithstanding the observations of 
 M. de La Condamine, who bad observed litlle bub- 
 bles in the Sacro Catino, such as are found in 
 melted glass, it retained its reputation asan emerald 
 for a long time, as the Jews advanced, I was told, 
 several millions on this pledge during the last siege i 
 a singular loan which was no doubt paid after the 
 fashion of the Republic. 
 
 * Ginguene, in the article Bonfadio of the Biogra- 
 phic, does not hesitate, on Tiraboschi's authority, 
 to regard him as guilty of the vice for which be 
 was burned, after being beheaded as a favour, while 
 he brings forward good arguments against Tira- 
 boschi's opinion in the Histoire UUerairt d'Ualie, 
 t. vm, p. 328 et seq. 
 
Chap. VII.] 
 
 GENOA. 
 
 CHS 
 
 perche moro ingrato, non potendo 
 render segno a tanti onorati gen- 
 tiluomini, cheperme hanno sudato, ed 
 angustiato, e massimamente V. S. del 
 grato animo mio... Seppelliranno il 
 corpo mio in S. Lorenzo ; e se da quel 
 mondo di la, sipotrd darqualche amico 
 segno senza spavento, lo faro. Restate 
 tutti felici. 
 
 The ancient church of Saint Syrus, the 
 primitive cathedra), and the richest in 
 Genoa for marble, presents a fine en- 
 semble. The height of the nave is not, 
 however, in proportion to its width. 
 The ceilings are decorated -with stuccos 
 and paintings by the clever Taddeo 
 Carlone. The high altar has some fi- 
 gures of angels and children, by Puget, 
 an artist too little appreciated in our 
 country while living, who has left more 
 works at Genoa than in all France ; the 
 St. Andrew of Avellino, and an As- 
 sumption, are by Sarzana. 
 
 The Annunziata, from the designs of 
 Scorlicone and Jacopo Porta, the largest 
 church in Genoa after the cathedral, re- 
 markable for its ordinance, the proportion 
 of its ten columns of white marble in- 
 crusted with red, and the brilliancy, 
 variety, and harmony of the paintings on 
 its ceilings by the brothers Cartoni, owes 
 all its magnificence to one family of 
 Genoa, the Lomellini, sovereigns of the 
 island of Tabarca in the Mediterranean 
 until about the middle of the seventeenth 
 century. A vigorous Last Supper is by 
 Procaccini ; a Martyrdom of St. Cle- 
 ment, horrible, by Giambattista Carlone; 
 an affecting Virgin at the foot of the 
 cross, by Scotti. In the chapel of Saint 
 Louis, the Saint adoring the cross was 
 first ordered of Bernardo Carbone, but 
 as his performance was not approved of, 
 two others were ordered at Paris, and 
 succeeded each other at the altar, on 
 i which the first painting was at last justly 
 j replaced. Its two Parisian rivals are 
 hung beside it, as if to bear witness to the 
 triumph of the Genoese artist, who was 
 also a very clever portrait painter, and 
 I his works have been frequently taken for 
 i.Vandyck's. I regretted that I did not 
 i find in this chapel a celebrated French 
 I tomb, the one erected by the senate to 
 i the duke of Boufflers, who died in 1747, 
 : while governor of Genoa, which he had 
 so valiantly defended. The Annunziata, 
 as well as the church del Jtedentore at 
 Venice, is served by Capuchins ; the 
 
 gorgeousness of these temples contrasts 
 strangely with the poverty of the men- 
 dicant monks that possess them. 
 
 The vast church of Saint Ambrose has 
 several paintings by celebrated masters, 
 but it is true that they are not all chefs- 
 d'oeuvre; especially a Circumcision by 
 Rubens : his Jesuit saint resuscitating 
 a demoniac is better. A great and ce- 
 lebrated Assumption is one of the most 
 carefully finished works of Guido; a 
 fine Christ on the cross, by our Vouet. 
 
 The Assumption of Carignano, by Ga- 
 leaso Alessi, presents the plan of Saint 
 Peter's in miniature, according to Mi- 
 chael Angelo's project. Its front is of a 
 pleasing proportion, but the exces- 
 sive height of the steeples is injurious to 
 the effect of the cupola. This church, 
 though not one of the largest, is a most 
 complete and finished specimen of ar- 
 chitecture, and its unity is perfect in 
 every way. The Saint Sebastian and 
 the B. Alexander Sauli, chefs-d'oeuvre 
 by Puget, are less esteemed than they 
 deserve ; if the former statue excel the 
 latter, it is because the subject was better 
 suited to the artist's talent, for he was 
 less clever in executing drapery than the 
 naked parts, which he has here expressed 
 with such animated, acute, and painful 
 reality. A St. Francis receiving the 
 stigmata, by Guercino, is not among 
 his best works. It is easy to discover 
 the imitation of this master in the St. 
 Peter and St. John curing a man sick 
 of the palsy, by Domenico Fiola ; a good 
 Virgin with St. Dominick and St. Igna- 
 tius, by the last painter's son, Geronimo, 
 shows his usual imitation of the Carracci. 
 The other paintings of the different Ge- 
 noese artists are nowise remarkable. 
 The painting of northern Italy is some- 
 thing like the language : the nearer we 
 approach the Alps, the ruder and har- 
 sher is the accent. From the cupola, 
 which is noted for its solidity, and may 
 be easily visited in every part, the tra- 
 veller will enjoy a marvellous panorama, 
 extending in fine weather to the island 
 of Corsica. 
 
 The bridge of Carignano, a bold con- 
 struction joining the twohills.with houses 
 seven stories high beneath it, was built 
 by the Sauli family, so devoted w ere the 
 ancient patricians of Genoa to the public 
 welfare and convenience. 
 
 At Saint Stephen's, the Martyrdom 
 of the saint, a celebrated painting given 
 
 58 
 
686 
 
 GENOA. 
 
 [Book XX. 
 
 lo this church by Leo X. and the Car- 
 dinal Giulio de' Medici, is one of the 
 finest and most remarkable chefs-d'eeuvre 
 of Italy. The lower part, by Giulio Ro- 
 mano, may be regarded as his best work 
 in oil ; the upper part is by Raphael, 
 and the saint's head was repainted at 
 Paris by Girodet, and not by David, as 
 often stated. The St. Benedict raising 
 a dead man, by Saltarello, a Genoese 
 painter, who died young, is expressive 
 and judicious ; the St. Frances making 
 a dumb woman speak, by Cappellino, 
 natural, and agreeably coloured. 
 
 The St. Sebastian of the church of 
 that name is a good painting by Giam- 
 battista Castello, remarkable for its rich 
 and careful composition ; Puget made it 
 the model of his statue. The Martyr- 
 dom of St. Clement and St. Agatagnolo 
 isdeficient neither in grace nor accuracy ; 
 it is by Bernardo Castello, a Genoese 
 painter, the friend and correspondent of 
 the Cav. Marini, sung by him and most 
 of the poets of his time, as Leonardo 
 Spinola, AngeloGrillo, Ceva.Chiabrera, 
 and even Tasso, for whom he made the 
 drawings of the Gerusalemme, which 
 were engraved in part by Agostino Car- 
 raccio. 
 
 At Saint Luke, the fine Nativity, by 
 Grechetto, is one of the most famous 
 paintings of the town. 
 
 The church of Saint Matthew, small 
 but noble and majestic, was restored in- 
 side and ornamented by the clever Fra 
 Montorsoli. He also made the statues 
 of the Evangelists in the choir, and those 
 of the Virgin, St. John the Baptist, St. 
 Andrew, David, and Jeremiah, which 
 are ranked with his best works. The 
 St. Anne, by Bernardino Castello, ought 
 to be signalised among the numerous 
 productions with which he has crowded 
 Genoa. In a subterranean chapel is the 
 tomb of Andrea Doria; the inscription, 
 stupidly erased by the demagogues of 
 1797, bad not been restored. It is said 
 that the sword sent by Pope Paul III. to 
 Doria is preserved in the sacristy ; this 
 glorious weapon would be better on the 
 tomb. 
 
 The church of Santa Maria of the 
 Pious Schools has recovered its nine 
 basso-relievos of fine marble, by the 
 Genoese Francesco Schiaffino, pupil of 
 Bernini, and Cacciatore, pupil of Schiaf- 
 fino, basso-relievos which had been re- 
 moved lo Paris, and were more worthy 
 
 of the journey from the material than 
 the workmanship. A head of the Virgin 
 by Guido, instead of being, like Ra- 
 phael's Virgins, the pure, noble, and art- 
 less representation of a model created 
 by the artist's imagination, seems, as do 
 most of Guido's other Virgins, the por- 
 trait of an actress or pretty woman 
 dressed as a Virgin. 
 
 The small church of Saint George has 
 the Martyrdom of the saint, which, for 
 the beauty of the principal personages, 
 the expression of the beholders, the va- 
 riety of the composition, and the force 
 of the clare obscure, passes for Luca 
 Cambiaso's best work. 
 
 At Santa Maria of Castello are : an 
 Annunciation, and divers Saints, by 
 Brea, a painter of Nice at the end of the 
 fifteenth century, the heads of which, 
 though rather drily drawn, have an air of 
 beauty and a remarkable vivacity of co- 
 louring ; the Virgin with St. Catherine 
 and St. Magdalen, by Grechetto; and 
 in the obscurity of the sacristy, a St. Se- 
 bastian, by Titian. 
 
 Saint Silvester has an esteemed Con~ 
 ception by the Neapolitan painter De 
 Malteis, in w hich there are some grace- 
 ful little angels. 
 
 The church of Saint Donatus presents 
 another example of the barbarous white- 
 washing common in Italy : four columns 
 of oriental granite, the finest in Genoa, 
 were long concealed beneath its whiting 
 and size, and were restored to their 
 pristine glory only a few years ago. 
 
 The great and majestic church of Santa 
 Maria delta Consolazione has some 
 paintings and sculptures : St. Thomas 
 of Villanova, by Sarzana; the statue of 
 N. S. of the Rosary, by Santa Croce; a 
 Saint receiving the infant Jesus from 
 the hands of the Virgin, by Domenico 
 Piola. 
 
 CHAPTER VIII. 
 
 Albcrgo.— Hospital de' Pammatone — stone or the 
 insurrection of i146.— Conservatory de' Fieschine: 
 —de' Brignote.— Deaf and dumb institution. -P. 
 Assarotli. 
 
 The Albergo de' poveri, one of thi 
 most extensive hospitals in Italy, wai 
 founded by a society of beneficent Ge- 
 noese about the middle of the seven- 
 teenth century. It has accommodations 
 for two thousand two hundred inmates; 
 but, like most houses of such extent, it 
 
Cdap. IX.] 
 
 GENOA. 
 
 687 
 
 perhaps has the defect of not being suf- 
 ficiently devoted to any one object, and 
 jf combining establishments that would 
 be better separated. The luxury of the 
 arts has been introduced into these asy- 
 i.luras of wretchedness and toil, impart- 
 ing to them a kind of dignity. The sta- 
 tues of the different benefactors represent 
 l ; lhem seated or standing, according to the 
 iimount of their donations. The church 
 . has two excellent pieces of sculpture : a 
 : basso-relievo by Michael Angelo, the 
 Virgin embracing the dead body of 
 {Christ, and a grand, spirited Assump- 
 \tion, by Puget, at the high-altar, which, 
 though in a dangerous approximation, 
 | nobly sustains the honour of the French 
 ■chisel. 
 
 The superb staircase and the porticos 
 of the court of the hospital de 1 Pamma- 
 tone, which contains about seven hun- 
 dred patients, are built with marble of a 
 dazzling whiteness : never had bodily 
 I pain a more magnificent abode, and 
 moral suffering is not better lodged in 
 palaces. As at Ahe Albergo, charity has 
 its ceremonial and etiquette : the donors 
 of a 1,000/. have an inscription, those of 
 2,000/. a bust; 4,000/. are required for 
 a statue. 
 
 Near this asylum for the afflictions of 
 the people exists a monument of its cou- 
 rage. A marble slab with an inscrip- 
 tion marks the spot where, on the 5th of 
 December 1746, the Austrians attempted 
 to compel the people of Genoa by blows 
 to raise one of their mortars, which had 
 broken through into a drain as it was 
 passing along the street. A stone 
 thrown by a child eight years of age, the 
 son of a shoemaker, who was incensed at 
 seeing his father beaten, was the signal 
 for that noble insurrection, which soon 
 became general. Overwhelmed by the 
 stones with which they were assailed, 
 the German soldiers were driven from 
 the town, and their generals consented 
 , to negotiate. The doge, the senate, and 
 the nobility, who had at first essayed to 
 suppress the insurrection, then came to 
 ,the aid of the victorious people, who had 
 J made themselves masters of the arsenals 
 ,and ramparts; troops and money were 
 [sent from France; and the republic of 
 .Genoa, honourably included in the 
 
 '■ • He died on the29th of January, 1829. P. Assa- 
 Irolti, who left all he possessed to the deaf and 
 dumb, has a worthy successor In the abbe Boselll, 
 
 treaty of Aix-la-Chapelle, recovered its 
 ancient limits. 
 
 The conservatory of the Fieschine, a 
 convent and house of industry founded 
 in 1760 by one Domenico Fieschi, cele- 
 brated for its artificial flowers, which 
 are sold in all parts of Europe, presents 
 a piquant contrast : poor and holy 
 maidens bedeck with their garlands the 
 world they have quilted, and these bril- 
 liant, but very dear flowers are offered 
 you for sale through the double grating 
 of a parloar by a Flora in whimple and 
 biggin. 
 
 The conservatory of the BrignoU is 
 also a manufactory and convent ; like the 
 Fieschine, it exhibits a singular alliance 
 of the industry, devotion, and aristo- 
 cratic spirit of the ancient Genoese. 
 
 The deaf and dumb institution, then 
 managed by the illustrious and vene- 
 rable Assarotti,i was one of the most re- 
 markable in existence. This ecclesiastic, 
 ex-professor of the Pious Schools, created 
 his method about 1801, and first tried 
 it, out of charity and in the pious obscu- 
 rity of his cell, on single individuals ; this 
 method is inferior to none, and greatly 
 resembles that practised at Paris, except 
 that its communications are more rapid. 
 The house of Genoa contains twenty- 
 four young men, fourteen girls and twen- 
 ty-five day-scholars. The variety and 
 extent of the course of instruction seem 
 truly extraordinary, as the pupils are 
 taught Latin, Italian, French, German, 
 English, Spanish, universal history an- 
 cient and modern, the mathematics, the 
 elements of astronomy, metaphysics, 
 some portions of rational philosophy, 
 religion, drawing, engraving, and even 
 dancing and pantomime. 
 
 CHAPTER IX. 
 
 Road to Nice.— San Pier d'Arena.— Villa Imperlale. 
 — Cornigllano.— Polypuses.— Sestri.— PegH.— Si- 
 gnora Clelia Grlinaldi.— Voltri.— Cogoleto.— Co- 
 lumbus. — Savona. — Latin-Italian inscription. — 
 Palace of Julius II.— Apartment of Pius VII. 
 
 At San Pier d'Arena, perhaps the 
 most magnificent of all suburbs, the 
 beautiful Villa Imperiale, by Galeaso 
 Alessi, now belongs to a learned Ge- 
 
 a young ecclesiastic, whose talents and serTices 
 procured him the decoration of Saint Maurice In 
 4834. 
 
690 
 
 ALBENGA. 
 
 [BOOK XX. 
 
 a kind of miniature Pontine marsh below 
 the level of the sea, and girded by rugged 
 rocks and lofty mountains, some of which 
 are covered with eternal snows, appears, 
 with its twenty-two towers, its ruined 
 ramparts, and its broad torrent of Centa, 
 well adapted for the scene of the ro- 
 mantic history of the duchess of Cerifalco, 
 who was confined for nine years in a 
 vault by her barbarous husband. » 
 
 The Baptistry, a small octangular 
 antique temple, is of simple architecture 
 and in good taste. It is said to date 
 from the emperor Proculus, originally 
 of Albenga, who disputed the throne of 
 the Caesars with Probus. The Ponte 
 longo, outside the town, and its prin- 
 cipal monument, consisting often arches 
 partly marble, is attributed to Adrian 
 or Constantius, a Roman general. 
 
 Though subject to Genoa, Albenga 
 formed a kind of republic until 1805; it 
 elected its consuls, who might be chosen 
 cither from the tradesmen or artizans, 
 the two only bodies of the state ; it ap- 
 pointed its counsellors and magistrates, 
 one of whom was distinguished by the 
 appellation, degli Virtute, an indepen- 
 dent censor, charged with the mainte- 
 nance of public morality. 
 
 This town of four thousand five hundred 
 souls has produced two distinguished 
 literary characters : the physician Malteo 
 Giorgi, author of a treatise on man and 
 an essay on the principles of Descartes, 
 and the Capuchin Francesco Maria 
 Lamberti, a missionary, who translated 
 the Bible into the Turkish with other 
 Eastern idioms, and wrote several moral 
 works and a Turkish grammar; he died 
 only a few years ago. 
 
 Opposite Albenga is the steep little 
 island of La Gallinaria, now tenanted by 
 rabbits only, but formerly celebrated as 
 the retreat of Saint Martin of Tours. In 
 a little plain at its summit are some 
 remains of the Benedictine monastery, 
 which dated from the year 1004. 
 
 Alassio, of six thousand five hundred 
 souls, sheltered by high mountains, and 
 of a pjeasant aspect from without, has per- 
 haps the mildest climate of these shores. 
 Its active and industrious inhabitants are 
 famous in the military history of the two 
 worlds. They signalized themselves at 
 the battle of Lepanto; Spain employed 
 
 1 See Adele el Theodore, by Madame de Genlls, 
 and tier Memoires, t. hi. p. 48 et seq. 
 
 their courage in conquering Peru, and 
 the Genoese in the Corsican expedition*. 
 
 Oneglia, a pretty town, was the native 
 place of Andrea Doria; his ancestors 
 bought it of the Genoese, who had taken 
 it by surprise, and sold it with the pope's 
 consent. 
 
 San Remo is a wealthy town of about 
 eleven thousand inhabitants; it is orna- 
 mented with gardens and fine buildings, 
 but is more particularly remarkable for 
 the palm-trees of the hermitage of Saint 
 Romulus, which crown its heights and 
 display their oriental pomp beside an 
 abundant Italian vegetation of orange, 
 citron, and olive trees. The Bresca 
 family still enjoys the just privilege 
 granted by Sixtus V., of supplying the 
 churches of Rome with palms on Palm 
 Sunday. This privilege is said to have 
 originated in the following manner, 
 though I find no trace of the anecdote in 
 the best informed contemporary histo- 
 rians; it is, however, in some measure 
 supported by the fresco in the chambers 
 of the Vatican library :— When Fontana 
 was preparing to raise the obelisk of Saint 
 Peter's by the machinery he had invented 
 for that purpose, he required the most 
 profound silence, that his orders might 
 be distinctly heard. The inflexible Sixtus 
 published an edict to the effect that the 
 first by-stander that shouted should be 
 instantly put to death, whatever might 
 behisrankorcondition. At the moment 
 when the ropes as if by magic had raised 
 the enormous mass, almost high enough 
 to place it on the pedestal, when the 
 pope was encouraging the workmen by 
 approving nods, and Fontana, who alone 
 spoke, >vas ordering a last and decisive 
 effort, a man suddenly exclaimed with a 
 Stentorian voice : Acqua alle corde 
 (Wet the ropes), and advanced from the 
 crowd to deliver himself up to the execu- 
 tioner and his satellites who stood near 
 a gallows erected in the piazza. Fontana 
 attentively observed the ropes, and seeing 
 that they were on the point of breaking 
 from extreme tension, ordered them to 
 be instantly welled : they were imme- 
 diately contracted, and the obelisk settled 
 on the pedestal amid universal plaudits. 
 Fontana ran to the man whose advice 
 had been so opportune, embraced him, 
 and presenting him to the pope, asked 
 and obtained an instant pardon. Bresca 
 was further rewarded with a considerable 
 pension and Ihis hereditary privilege of 
 
Chap. XL] 
 
 NICE. 
 
 supplying Rome with palms. Ever since 
 the Easter festival of 1587, a ship has 
 annually sailed with this sacred cargo, 
 and Providence seems to have blessed it 
 'beforehand, for of these two hundred 
 .and fifty vessels, not one has suffered 
 • shipwreck. 
 
 Yintimiglia, seated on a rock, and 
 j somewhat deserted, is an ancient town. 
 ;Cicero mentions it in his Epistolce fa- 
 imiliares, 1 and Tacitus narrates the 
 jaction of that Ligurian mother who pe- 
 i rished in the pillage of the town rather 
 ithan yield up her son to the soldiers of 
 | Otho : she was tortured to make her 
 l;confess where he was concealed, but, 
 Isays the historian, Uterum ostendens, 
 tlatere respondit.* The antique cathe- 
 dral was perhaps the temple of Juno, and 
 the church of Saint Michael that of 
 [Castor and Pollux. Lalte is the fashion- 
 able resort, the Albano of the Ventimi- 
 glians. 
 
 The small state of the prince of Monaco 
 his only an orangery on a rock, 
 i La Turbia has the remarkable ruins of 
 the trophies of Augustus, which were 
 erected to him by the senate in memory 
 of the battle of Actium, and were sur- 
 mounted by his colossal statue ; it is not 
 unlikely that La Turbia takes its name 
 from these trophies (Trophcea Augusti), 
 which at a distance have the aspect of a 
 tower. This tower is the last of the 
 many wonderful points of view on this 
 road. The coast of Italy from Genoa 
 to Nice seems to me superior to 
 the other part extending to Leghorn. It 
 offers a succession of brilliant promon- 
 tories covered with olive groves, whose 
 pale verdure contrasts with the vivid 
 green of the pines, the orange, lemon, 
 and chesnut trees : immense palaces, 
 pretty red-painted houses, cupolas and 
 steeples of churches, add to the effect of 
 this vast decoration, interspersed with 
 rocks and torrents. In some parts beau- 
 tiful valleys under cultivation extend by 
 the side of the sea, and form smiling 
 and tranquil bays of verdure beside the 
 restless azure of the waves. The rising 
 and setting of the sun are admirable on 
 this horizon; nature here unfolds at 
 every step her most magnificent scenery. 
 
 Lib. viii. ep. it, 
 Uisl. II. XIII. 
 
 CHAPTER XI. 
 
 Nice. 
 
 With all its antiquities and its amphi- 
 theatre, Nice seems less an Italian town 
 than one of our old prefectures; the 
 signboards are in French, and the Sa- 
 voyard garrison spoke the same tongue. 
 Nice also belonged to France as a part 
 of the county of Provence ; Malherbe 
 regretted its loss, and in these admirable 
 versesexpressed his wish to see it retaken ; 
 
 Guise en ses moraines forcies 
 Remettra les bornes passees 
 Qu'avoit noire empire marin. 3 
 
 On the gate near the port is a recent 
 inscription, a municipal common place, 
 by which the inhabitants said that they 
 opened their gate and hearts to Charles 
 Felix (Opt . regi Carolo Felici Nicceenses 
 portamet cordapandunt). The climate 
 is genial rather than brilliant, and the 
 population chiefly consists of a languish- 
 ing colony of opulent strangers, most of 
 them victims of the factitious enjoyments 
 of society, who are prematurely destroyed 
 by their apparently happy but really 
 miserable kind of life, of which listless— 
 ness, regret, and disappointment are the 
 incurable disease. The public prome- 
 nade inspires a kind of melancholy : I 
 saw some young English ladies there, 
 who were charming and of fair-com- 
 plexion, but pale, and on the confines of 
 death. 
 
 There are certain maladies against 
 which the climate of Nice, far from being 
 efficacious, as imagined, is mortal ; thus 
 every year's experience tends to prove 
 that it hastens the end of persons attacked 
 by pulmonary consumption. 
 
 Nice presents no object of art deserving 
 of notice, and is only associated in my 
 recollections with the memory of a su- 
 perior woman whom I was fortunate 
 enough to see again there for the last 
 time shortly before she died. The du- 
 chess of Duras, author of Edouard and 
 Ourika, the delicate and pathetic painter 
 of the fatality of social inequalities, then 
 inhabited a small-house at the extremity 
 of the town. It was not, indeed, the 
 animated and brilliant saloon of Paris, 
 
 3 Odo a Marie de M^dicis, sur sa bienvenue en 
 France. 
 
692 
 
 TORTONA.-MARENGO. 
 
 [Book XXI. 
 
 which combined the taste, elegance, and 
 politeness of the French society of past 
 days, and the education, reason, and 
 solidity of the new society, where we 
 met all the eminent men in politics, 
 letters, sciences, and arts; but this lone 
 house, this orange orchard was the hos- 
 pital, the solitude of an invalid assi- 
 duously tended by a beloved daughter. 
 The loss of the duchess of Duras, so 
 
 painful to her friends, Mho alone could 
 know all the truth, activity, devotedness, 
 and enthusiasm of her noble character, 
 seems also a kind of calamity for mere 
 people of the world : such saloons have 
 happy influence over opinion; they dc 
 honour to the country, and promote 
 civilisation; they excite and develope its 
 genius, and represent it nobly in the eyes 
 of foreigners. 
 
 BOOK THE TWENTY-FIRST. 
 
 ROAD FROM GENOA TO TURIN.-TURW.-MOUNT CENIS. 
 
 CHAPTER I. 
 
 Road.— Novi.— Tortona.- Sarcophagus.— Marengo. 
 — Column. — Abbey del Bosco. — Alexandria.— Ci- 
 tadel.- Astl.— Alfieri.— Cathedral.— Saint Peter's. 
 -Wine Truffles. 
 
 The beginning of this road shows the 
 mildness of the climate on the coast of 
 Genoa, even in the month of December, 
 compared with the climate of Piedmont. 
 Some few leagues from the town, on the 
 other side of the mountain of Jovi, I 
 found the fields frozen, and every ap- 
 pearance of winter. 
 
 Novi, sheltered by a mountain, has 
 some palaces. In this plain perished 
 Joubert, one of those brilliant young con- 
 querors of the first wars of Italy, being 
 surprised at daybreak by the impetuous 
 old Suvarow. 
 
 The cathedral of Tortona has a cu- 
 rious basso-relievo of the early times of 
 Christianity, representing in the centre 
 the Fall of Phaeton, and on the sides 
 Castor and Pollux. Two Greek in- 
 scriptions, below the latter, arc to the 
 purport that no person is immortal, and 
 that hardihood is a proof of noble 
 blood. 
 
 I went over the field of Marengo one 
 moonlight night; there was nothing to 
 be seen, but a few scattered lights in 
 the distance, throughout the still and 
 desert plain. What has became of so 
 many heroic men? If, contemplating 
 
 their features in the portraiture of an. 
 able master, 1 you seek an answer to the 
 question, death will give the clue. The 
 column erected on the spot where Desaix 
 was killed is not there now. It is said 
 that a lady living in the neighbourhood, 
 who was an admirer of our arms, had 
 it buried on the spot where it used to 
 stand that it might not be destroyed. 
 There is something touching in these 
 honours of sepulture conferred on a mo- 
 nument of French valour by a foreign 
 lady. This new column is already in- 
 humed like a time-worn monument of 
 Athens or Rome, and it is associated 
 with deeds no less glorious. 
 
 Marengo, now a village of eighteen 
 hundred inhabitants, is ancient and was 
 formerly considerable. The Romans 
 subdued it; the Via Emilia passed by 
 its walls ; it became the residence of the 
 Lombard kings and emperors who went 
 thither for the chase, and the great Otho 
 and Pope Stephen VIII. lived there for 
 a time. 
 
 I visited the fine abbey of the Domi- 
 nicans del Bosco, which has some of 
 Vasari's paintings ; but did not succeed 
 in finding the sculptures of Michael An- 
 gclo announced by the guide-books, 
 although the Dominican who conducted 
 me was from Bologna, and pretended to 
 be conversant with the arts. Pius V., 
 who was born at Bosco of poor parents, 
 
 i See the Revue tie 1800, by M. Isabey. 
 
Chap. LI 
 
 TORTONA.-MARENGO. 
 
 693 
 
 was the founder of the abbey, and di- 
 rected his remains to be interred there : 
 (travellers are shown the empty coffin 
 that he had intended for himself, ac- 
 cording to the inscription. This sove- 
 reign pontiff, obstinate and inexorable, 
 this learned Gregory VII. of the sixteenth 
 century, who humbled the catholic 
 thrones before the chair of Saint Peter, 
 and reformed the sensual habits of the 
 Roman court and clergy, could not ob- 
 tain the sepulture to which his ambi- 
 tion aspired. The convent del Bosco 
 had the honour of supping the conque- 
 irors of Marengo. The first of them, 
 General Kellermann, had not been so 
 preoccupied with his glory as to omit 
 procuring abundant provisions from the 
 rich monastery, a happy incident for 
 every body, as it supplied our soldiers with 
 good wine and gave the monks a safe- 
 guard of great service amid so many 
 famished heroes. 
 
 Alexandria, notwithstanding its ex- 
 tent, the beauty of its name, and its 
 eighteen thousand inhabitants, seems 
 rather vulgar; but the citadel, of itself a 
 town, and strictly forbidden to strangers, 
 has a superb aspect. I was there on the 
 festival of Saint Barbara, the patron of 
 gunners, and a ball was given on the 
 occasion : the file of carriages and light 
 carratelle crossing the drawbridges, and 
 the costume of the women, formed a 
 singular contrast with the redoubtable 
 works of the fortress. The founding of 
 Alexandria, in 1168, recalls one of the 
 most glorious epochs of mediaeval his- 
 tory, when religion and liberty w?ere 
 not disunited, and when the Lombard 
 league, allied with Pope Alexander III. 
 (the same who had urged the general 
 manumission of slaves), swore to drive 
 the emperor Frederick III. from Italy, 
 and pushed forward troops to combat 
 him. 
 
 The Royal palace, formerly the Ghil- 
 lini, is of the excellent architecture of 
 Count Benedetto Alfieri Bianco. The 
 
 i see ante, book i. ch. iv. 
 
 1 Oggi ha sei luslri, appie del colle ameno 
 Che al Tanaro tardissimo sovrasta, 
 Dove Pompeo pianlo sua nobil asta, 
 V aure prime io bevea del di sereno. 
 
 Nato e cresciiito a rio servaggio in seno, 
 Pur dire osai : Servir, 1' alma mi guasta ; 
 Lcico, ove solo on contra tutli basta, 
 Palria non m' e benche nalio ferreno. 
 
 spacious cathedral contains a marble 
 statue of St. Joseph larger than life, by 
 the extravagant Parodi, one of the few 
 sculptors of Genoa, which for a long 
 time had the good sense to invite foreign 
 artists. There are three printing offices 
 at Alexandria, where the typographic art 
 was introduced in the year 1547, at which 
 period the statutes of the town were 
 printed. 
 
 The ancient city of Astiis progressing 
 in extent and embellishment, and con- 
 tains nineteen thousand inhabitants. I 
 visited the Alfieri palace, which is large 
 and well built, by Count Benedetto 
 Alfieri Bianco. 1 In the chamber where 
 Alfieri was born is a portrait of him and 
 a letter written to his sister. Notwith- 
 standing the independence that charac- 
 terises bis beautiful sonnet on his birth, 3 
 Alfieri congratulates himself in his Me- 
 moirs on being born of noble, rich, and 
 honoured parents; he was thus enabled, 
 like Byron, to attack the existing social 
 order without suspicion of envy. But 
 perhaps this very elevation produced a 
 part of his chimeras, as he himself seemed 
 to confess when he said at a subsequent 
 period: "I know the great, but I do 
 not know the little." The judgments of 
 Alfieri were moreover always capricious : 
 he was a philosopher, but abhorred Fre- 
 derick and Catherine ; a partisan of po- 
 pular sentiments, but could not endure 
 the Contrat social; a lover and eloquent 
 painter of the passions, but could never 
 get through the first volume of the Nou- 
 velle Helo'ise.^ 
 
 The vast Gothic cathedral of Asti has 
 a duplicate ofBassano's Nativity; the 
 same subject, a beautiful old Flemish 
 painting, and a Resurrection of Christ, 
 by Moncalvo, more vigorous than usual 
 with him. The antique rotunda with 
 columns in the parochial church of 
 Saint Peter is supposed to have been a 
 temple of Diana. The steeple of the 
 church of Saint Anne, still remarkable, 
 was the first work of Count Benedetto 
 
 Allre leggi, aliro cielo, infra altra genie 
 Mi dian scarso, ma llbero ricetto, 
 Ov' io peusare e dir possa allamenle. 
 
 Esei dunque, o llmore, escl dal pelfo 
 Mio, die attristarli gia si Iungamenle; 
 Meco albergar non dei solto umil tello. 
 
 Son. ixxvii. 
 
 3 Vita, Ep. in. cap. vii. viii. and It. 
 
694 
 
 TURIN. 
 
 [Book XXI. 
 
 Alfieri Bianco, who was then compelled 
 to practise as a lawyer, and devoted his 
 leisure to the arts," but more especially 
 to architecture. 
 
 The wines of Asti, which produces 
 annually about four hundred and forty 
 thousand brente (the brenta is about 
 nine imperial gallons) are the best of 
 Piedmont, and will bear comparison as 
 they become old with the strongest of 
 Spain. Truffles are abundant in this 
 district, but less so since the destruction 
 of a great number of oaks and elms. 
 Many families earn a livelihood by 
 searching for these truffles, which 
 find a sale in Piedmont and Lombardy 
 notwithstanding their strong odour of 
 garlic. 
 
 CHAPTER II. 
 
 Turin.— Enlargement.— Royal palace.- Museum of 
 arms.-Caslello.— S Bagetli.— Carignani palace. 
 —La Vigna della Regina. -Valentin. -Torri della 
 Cltia. 
 
 To a person returning from Italy Turin 
 has a cold and extraordinary aspect : the 
 streets have a kind of regularity without 
 magnificence which differs considerably 
 from other towns; the medley of Italian 
 manners and martial usages is another 
 peculiarity, and the military splendour 
 of the troops contrasts, by its cleanliness, 
 with the dirty tawdriness previously 
 seen. Turin is daily increasing; I do 
 not believe it to be, as it used to be sup- 
 posed, the smallest capital in Europe, 
 and its population, which was only 
 sixty-three thousand in 1815, now ex- 
 ceeds a hundred and twenty thousand, 
 including above eight thousand work- 
 men. The capital of the king of Sardinia 
 seems to have grown in proportion with 
 his states, an odd assemblage of different 
 peoples and countries, a kind of political 
 chequer-work, which in its diminutive 
 proportions presents disparates of soil 
 and manners not less marked than in the 
 largest empires; which unites the fertile 
 plains of Piedmont, the frozen summits 
 of the Alps, the arid mountains and fo- 
 rests of Sardinia, and which has blended 
 into one common country the indigent 
 and faithful Savoyard, the rich and 
 deceitful Genoese, the intrepid native of 
 Piedmont, and the half African Sardi- 
 nian. 
 
 Most of the clocks in Turin strike the 
 same hour twice in succession, and some 
 
 even, as the clock of Saint Philip'schurch, 
 repeat every quarter the number of the 
 hour last completed. This incessant an- 
 nouncement of passing time makes one 
 impatient and even sad ; one's life seems 
 thus to be hastened along and clipped 
 into disjointed fragments. The noise of 
 these clocks has often brought to my 
 recollection the comic emotion of Count 
 X*** de Maistre, in the Expedition noc- 
 turne autour de ma chambre, when 
 after hearing it strike twelve three times, 
 he exclaimed, stretching out his hand 
 towards the clock: "Yes, I know it's 
 twelve — I know it, I know it but too 
 well." Montaigne says that in his day 
 the clock of Nuremberg struck every 
 minute : this clock, instead of indicating 
 the time, became rather the tocsin of 
 life. 
 
 The gloomy Royal palace, recently 
 ornamented externally from the designs 
 of S. Palagi, was interesting for its col- 
 lection of paintings, especially those of 
 the Flemish and Dutch schools, which 
 were superior to those of the Italian ar- 
 tists, there being no Raphael, Titian, 
 nor Correggio among them ; this col- 
 lection was removed in 1832 to the 
 Pinacotheca in the castle (Castello). In 
 the hall of the Swiss guard, a curious 
 painting by the elder Palma represents 
 the Battle of Saint-Quentin, gained in 
 1557 by the duke Emmanuel Philibert, 
 one of the great disasters of our military 
 annals, which brought France to the 
 very brink of ruin, restored the duke of 
 Savoy to his states, and begun the 
 power of his house. In the Hall of Au- 
 dience, the restive horse of the portrait 
 of Louis XIV., by Mignard, presents the 
 same absurdity as the statue in the Place 
 des Victoires : nothing ought to be re- 
 fractory under Louis XIV. In one of 
 the esteemed ceilings by Beaumont, a 
 painter of Turin, and a feeble imitator of 
 the Carracci school, is a genius holding 
 a cross of the order of Saint Maurice and 
 Saint Lazarus, which the artist coveted, 
 and his painted petition Was crowned 
 with success. Among the paintings of 
 superior merit may be distinguished : by 
 Vandyck, Prince Thomas on horseback, 
 the Children of Charles I., the Painter's 
 portrait; by his pupil Daniel My tens, 
 Charles I. ; by Albano, the graceful ori- 
 ginal of his Four Elements; by Murillo, 
 John Nepomucenes in his confessional 
 with the empress Joan on one side and 
 
Chap. II.] 
 
 TURIN. 
 
 698 
 
 a peasant on the other, an image of 
 , evangelical equality before " those tribu- 
 nals that justify those -who accuse them- 
 selves," as Bossuet beautifully expresses 
 it ; by Paul Potter, his Animals, full of 
 life ; by Rembrandt, the famous Burgo- 
 master; by Gerard Dow, the Woman 
 taking a bunch of grapes; by Holbein, 
 the Portraits of Luther and his wife, 
 both of a serious, pedantic, and rather 
 ordinary appearance. Eleven small pic- 
 tures framed in the wainscot of a closet, 
 representing subjects from the Gerusa- 
 lemme, though by Carle Vanloo, are not 
 devoid of grace. 
 
 The museum of ancient arms, formed 
 by King Charles Albert near his apart- 
 ments, is rich, well arranged, and of a 
 superb effect. There is a suit of armour 
 that belonged to Henry II., which be- 
 comes a kind of trophy there ; but in- 
 stead of being the fruit of conquest in 
 the battle of Saint Quentin, as might be 
 supposed, it was fairly purchased at Paris. 
 
 The castle, called also Palazzo Ma- 
 dama, from the duchess of Nemours, 
 wife of Charles Emmanuel II., who in- 
 habited it, is now a fine public Pinaco- 
 theca ; it has a majestic staircase by 
 Juvara, a prolific and intelligent archi- 
 tect of the early part of the last century, 
 who seems to have been to Turin what 
 Galeaso Alessi was to Genoa. One room 
 contains numerous paintings by the Cav. 
 Bagetti, who died in 1831, a clever 
 painter of contemporary battles, the Ra- 
 phael of aquarelle, and a shrewd writer 
 on art. These distinct and spirited 
 aquarelles, which obtained the success 
 they merited at Paris, are placed in a 
 gallery devoted to the military glory of 
 Piedmont, the paltry asylum of the mar- 
 tial glory of the once powerful Italy. 
 Above the Madama palace, stands the 
 observatory, which is under the manage- 
 ment of the illustrious Plana; it was 
 built by the king Victor Emmanuel, 
 when he recovered his states, much less, 
 it is said, to encourage astronomical ob- 
 servations, that from his taste, and per- 
 haps gratitude, for the speculations of 
 astrology to which that prince had de- 
 voted his attention in his exile, and for 
 the charlatans who had drawn the horo- 
 scope of his restoration. 
 
 The fine piazza of Saint Charles is to 
 receive the bronze equestrian statue of 
 Emmanuel Philibert, surnamed the 
 Ironheaded, duke of Savoy, the work of 
 
 S. Marochetti, and also the four huge 
 allegorical figures representing the 
 county of the vale of Aosta, the princi- 
 pality of Piedmont, the county of Nice, 
 and the duchy of Savoy, which compose 
 the monument. This statue was cast at 
 Paris and has been recently exposed in 
 the court of the Louvre; our artists have 
 praised its conception, movement, bold- 
 ness, and picturesque effect. 
 
 The vast Carignani palace, a chef- 
 d'oeuvre of bad taste and impure in the 
 details, is, like most of the palaces at 
 Turin, perfect in its disposition, in which 
 the Italians nearly always excel as if the 
 talent Mere innate to them. The design 
 is by P. Guarini, an exaggerated imitator 
 of Borromini, an architect and mathe- 
 matician, of reputation in his day, whose 
 substantial edifices seem to present de- 
 monstrations of geometrical problems. 
 
 The old palace of Count Birago di 
 Borgaro, of Juvara's architecture, now 
 occupied by the French embassy, is the 
 finest in Turin, and is cited as a model 
 of taste and distribution. It has some 
 good paintings by Crosato, a Venetian 
 artist of the last century, who was cle- 
 ver in perspective. 
 
 The Vigna della Regina, a pretty, 
 well situated pavilion, built like an am- 
 phitheatre, was the pleasure house of the 
 princess Marie-Anne d'Orleans, consort 
 of King Victor Amadeus II., and daugh- 
 ter of Madame Henriette. I observed 
 there a view of Saint Cloud and its park ; 
 Louis XIV. was on horseback near some 
 ladies in a carriage. With all the im- 
 provements and knowledge of the age, 
 people are still alive to the recollections 
 of that brilliant epoch, when the lan- 
 guage was at once natural and noble, 
 and the manners blended elegance with 
 dignity. A ceiling by Paolo Veronese is 
 cited for the merit of the difficulty over- 
 come. 
 
 Valentino, embellished by Ghristina, 
 queen of Victor Amadeus I., was the 
 pleasant and joyful abode of the worthy 
 daughter of Henry IV. and her little 
 court, which Hamilton has so well de- 
 scribed.' This palace scarcely appears 
 Italian; one would rather call it a 
 great French chateau, with a long ave- 
 nue, seated on the banks of the Seine or 
 Oise ; for the Po, which runs beside it, 
 is rather narrow and very tranquil in 
 
 ' Him. ie Grammont, chap, til. 
 
TURIN. 
 
 [ Book XXI. 
 
 Ihis part, and this ancient king of rivers, 
 long dethroned for ever, is but a mere 
 rivulet at Turin. 
 
 The oldest building in Turin is the 
 palace delle Torri or the towers of the 
 city, to the north, now a prison ; it is 
 supposed to be of the sixth century and 
 of the Lombard epoch. 
 
 CHAPTER III. 
 
 University.— Marble.— Professors. — Opening lec- 
 ture.— I'alimpsesli. — Manuscript of the Imitation. 
 — Seyssel.— Flora of ricdmont. 
 
 The university of Turin, judiciously 
 reformed by Victor Amadeus II. at the 
 beginning of the last century, dates from 
 the year U05. The porticos of its ma- 
 jestic palace present a museum of in- 
 scriptions incrusted on the wall; several 
 of these marbles, published by Maflei, are 
 remarkable, namely : the altar conse- 
 crated by M. Mummius to Jupiter Ado- 
 leseens; the laurobolic altar reared to 
 the organs of generation by Sempronia 
 Eutoxia ; two Bacchanals ; a vow of 
 Q. Vesquasius, who is seen there in the 
 midst of eight canephorae, and near him 
 a car loaded with a barrel of wine, bolh 
 which(thc car and barrel) are much like 
 those used in Piedmont; the mauso- 
 leums of Valerius Crescenlius and Bcebia 
 Vcela ; the former on a bed near a well- 
 served table, the latter with cocks, hens, 
 and sheep on her tomb; a superb frag- 
 ment of an antique basso-relievo, per- 
 haps a Jason taming his two bulls, 
 which seems to have been a metope. In 
 front of the statues of Victor Amadeus 
 and his son Charles Emmanuel III., two 
 cuirassed torsos discovered at Suza in 
 1805 are perhaps the best known speci- 
 mens of antique cuirasses. 
 
 The university of Turin worthily 
 maintained its ancient celebrity ; its lec- 
 tures were zealously followed, and at the 
 entrance of Italy it may be regarded as 
 the most brilliant focus of enlighten- 
 ment in that learned and talented coun- 
 try. The students were above two 
 thousand in number. Several of its 
 professors were in the highest ranks of 
 European learning and science, namely: 
 
 1 Died September 14, 1834. 
 
 a Died December 25, 1832, aged seventy-three. 
 
 :i A biographical panegyric in Latin, a One vo- 
 lume In 8vo, has been consecrated to Caluso by 
 3. Boucheron, it contains the interesting history 
 
 S. Plana, professor of mathematics, 
 worthy of being the nephew of Lagrange 
 and of his education in our Polytechnic 
 school, a man of an expanded indefati- 
 gable mind, whose Theory of the moon's 
 motion, jointly composed with another 
 Italian astronomer, S. Carlini, shared the 
 grand mathematical prize proposed by 
 the Institute of France; S. Bridone, 
 eminent in geometry and physics, pro- 
 fessor of hydraulics; SS. Giobert 1 and 
 Cantu, clever chemists, one professor of 
 general, the other of technical chemistry; 
 S. Borson, director of the museum of 
 mineralogy ; » S. Boucheron, who writes 
 and speaks Latin with wonderful ele- 
 gance, purity, and ease, the brilliant 
 orator of the university solemnities, pro* 
 fessor of Greek and Latin eloquence; 
 and the abbe Peyron, one of the first 
 Hellenists and orientalists of the present 
 day, a pupil, as well as S. Boucheron, 
 of the learned orientalist and friend of 
 Alfieri, Caiuso, professor of oriental lan- 
 guages. 3 
 
 In 18-27 I was present at the opening 
 of the term, a ceremony abandoned in 
 France since M. de Fontanes, and which 
 it would not be improper to re-establish. 
 The discourse on the utility and neces- 
 sity of studying the ancients wasdeliveted 
 by P. Manera, a young Neapolitan Je- 
 suit, then professor of Italian eloquence, 
 but since returned to Rome. Though 
 somewhat too complimentary to digni- 
 taries present, this discourse was not 
 destitute of interest, and it was through- 
 out remarkable for literary indepen- 
 dence, moderation, and impartiality. 
 This Jesuit recognised Machiavcl as the 
 prince of Italian authors; he spoke of 
 Fra Paolo without anger, eulogised Ga- 
 lileo, passed strong encomiums on Al- 
 fieri, who had returned to the ancients 
 alter misappreciating or neglecting them 
 in his youth, and enthusiastically ex- 
 tolled Manzoni's romance of the Pro- 
 messi sposi. 
 
 The rich library of the university is 
 chiefly composed of the ancient collection 
 of books and manuscripts begun by the 
 dukes of Savoy about the middle of the 
 fifteenth century ; this library has more 
 a hundred and twelve thousand volumes. 
 
 of the active literary life of Caluso, as well as 
 judicious tfiid impartial estimate of the various 
 works of different learned men of France aud other 
 countries. Turin, 1833. 
 
CUAP. III.] 
 
 TURIN. 
 
 697 
 
 Of the manuscripts, seventy are He- 
 brew, three hundred and seventy Greek, 
 | twelve hundred Latin, about two hun- 
 dred and twenty Italian, 1 and a hundred 
 and twenty French. 
 
 The Palimpsesti of inedited fragments 
 of Cicero's oration for Scaurus and Tul- 
 lius and against Clodius, published by 
 M. Peyron, proceed, like those of the 
 Ambrosian, from the monastery of Saint 
 Columban diBobbio; the text is covered 
 by that of a treatise of Saint Augustine, 
 included in the eighth volume of his 
 works, Collatio cum Maximino, aria- 
 norum episcopo. Under the new writ- 
 ing, which appears of the twelfth century, 
 it is easy to distinguish the two columns 
 of the ancient manuscript, regarded by 
 M. Peyron as of the third or fourth cen- 
 tury. These manuscripts seem to have 
 suffered less from chemical procedures 
 than the Palimpsesti of the Ambrosian 
 and those of the Institutes of Gaius in 
 the chapter library at Verona. 2 
 
 The Latin manuscript of Sedulius, of 
 the seventh century, and one of the most 
 ancient in the library of Turin, contains 
 his Paschale Carmen, in hexameter 
 verse. 
 
 The celebrated manuscript of the Imi- 
 tation of Jesus Christ, called the ma- 
 nuscript of Arona, on which a congress 
 of scholars deliberated at Saint Germain- 
 des-Pres, in 1637, and which they de- 
 termined to be no less than three hun- 
 dred years old, is now supposed, by nearly 
 all the first scholars of France, Germany, 
 and Italy, only of the end of the fifteenth 
 century; it did not succeed, therefore, 
 in clearing up this .difficult literary 
 question. The anonymous condition of 
 the Imitation is not however without 
 some charm ; this additional mystery 
 seems to comport with the faithful paint- 
 ing of religious feelings and to render 
 them still more touching : no more is 
 then seen of the book or the author; 
 all that is human and vulgar disappears, 
 and the melted soul communicates only 
 with an unknown and consolatory prin- 
 ciple. 
 
 * The thirty-four precious folios of the manu- 
 scripts of the clever architect and learned antiqua- 
 rian Pirro Ligoiio, mentioned in the primed cata- 
 logue of manuscripts given by 1'asiua Rivautella 
 and Berta (Turin, i749, two vols. fol. ), several of 
 which were dedicated to Duke Alfonso of Ferrara, 
 were brought to Paris and are now in the Royal 
 archives of Turin, which possess some other inte- 
 
 The French manuscripts are curious 
 as connected with the history of our an- 
 cient literature, and they have not been 
 sufficiently consulted. An History of 
 Troy, translated from Guido delle Co- 
 lonne, has some singular miniatures : 
 one of them represents a bishop marrying 
 Jupiter and Juno; and in another there 
 is a bishop attended by priests and monks 
 performing the funeral service over 
 Hector. The manuscripts of Seyssel's 
 works, some parts of which are still un- 
 published, are composed of his transla- 
 tion of Appianin two volumes; a trans- 
 lation of Thucydides, one volume; and 
 his French Monarchy, one volume. 
 The translation of A ppian's History has 
 some very fine miniatures, and one of 
 them represents Seyssel presenting his 
 work to Louis XII. Seyssel was the 
 first who wrote French purely. Though 
 anterior to Amyot, who (thanks to Plu- 
 tarch ! ) is much more known, he is by 
 no means inferior to him ; he has some of 
 his good qualities and defects too, such 
 as prolixity. The following remarkable 
 passage in his History of France proves 
 that if liberty had been forgotten in our 
 laws it had taken refuge in public opi- 
 nion : " Les Francais out toujours eu 
 licence et liberte de parler a leur vo- 
 lonte de toutes sortes de gens et mime 
 de leurs princes, non pas apres leur 
 mort, tant seulement, mais encore en 
 leur viv ant et en leur presence." One 
 chapter of his Great Monarchy of 
 France, addressed to Francis I. at the 
 beginning of his reign, tends to demon- 
 strate "comment la moderation et la 
 refrenation de la puissance absolue des 
 rois est a leur grand honneur et prof- 
 ftt."* Seyssel, who was successively 
 master of requests, ambassador, bishop 
 of Marseilles, and archbishop of Turin, 
 had, like Du IJellay, and most public 
 men of that epoch, begun life as a teacher. 
 At the revival of letters, the universities, 
 instead of being isolated from society 
 in general, as at a later period, were in- 
 timately connected with the political af- 
 fairs of the day. These universities 
 
 resting manuscripts, such as the Epitome of Lac- 
 tanlius, the only one in Europe; some Inedited 
 Letters of Count Baltassare Castiglione, and an 
 History of the maritime Alps, by Gloffredo, also 
 inedited. 
 
 2 See ante, book in. ch. ix. and book v. cli. xv. 
 
 3 Chap. iii. premiere partie. 
 
 59 
 
098 
 
 TURIN. 
 
 lltOGK XXI. 
 
 were not unlike those of Germany now; 
 from them proceeded ministers, coun- 
 sellors, ambassadors, prelates, and it 
 must be owned that the supply was not 
 very inferior. Seyssel also, in his Great 
 Monarchy of France, which seems a 
 body of instructions on the ail of govern- 
 ment intended for the new king, is 
 anxious that "les gensde bas etat puis- 
 sent parvenir par vertu et par Indus- 
 trie au plus haut degre. Cet espoir," 
 says he, "est le vray esperon qui fait 
 toutes sortes de gens courir a la voye de 
 vertus ; et un seul qui est eleve par ce 
 moyen en fait courir dixmille, comme 
 on le voit par experience, et est escript 
 en millelieux." ' Seyssel was an illegi- 
 timate son of the house of A ix and a na- 
 tive of Savoy. It is rather singular to 
 find Savoyard writers contributing to 
 the perfection of the French language : 
 Seyssel wrote with perspicuity, Francis 
 de Sales with grace and feeling; Yauge- 
 las, says Voltaire, contributed more than 
 the Academy to purify the language and 
 give it a permanent form; the style of 
 Saint-Re"al was esteemed, even when 
 compared with the great authors of the 
 age of Louis XIV., and in our own 
 days MM. de Maistre, in different com- 
 positions, have done honour to our lite- 
 rature.' 
 
 A translation of Danle's Inferno, in 
 French verse, is of the fifteenth century, 
 but without author's name; it has the 
 same rhythm and number of verses as 
 the original. This translation, a tour 
 de force left unfinished, begins thus : 
 
 D' milieu du chemin de la vie presente 
 Me relroiivay parmy une forest obscure 
 Ou ra estoyeesgate bors de la droicle senle 
 Da combien ce seroil a dire cbose dure 
 De ceste forest (ant aspre forle el sauvage 
 Qu en y pensant ma paour renouvelle ct me dure, 
 etc. 
 
 The university library also possesses 
 some Chinese books of poetry and me- 
 dicine, and a very ancient Game of 
 Taroc. 
 
 A Flora of Piedmont, begun in 1732, 
 and comprising nearly five thousand 
 
 1 Chap, xxv, lie parlie. 
 
 a Were 1 uot fearful of insisting too much on the 
 merit ot these Savoyard writers, I might add that 
 ibe inhabitants of Savoy have no disagreeable ac- 
 cent, like most inhabitants of our provinces. 
 
 i Lyon, chez Guillaume Leroy, 14T3, small 4to. 
 See Ihe Dissertation of S, Gazzera, t, xxvni. p. 352, 
 
 coloured drawings, the work of several 
 generations or the Battione family, has 
 been successfully continued by Signora 
 Angelica Battione, afterwards Signora 
 Rossi. 
 
 Among Hie printed books, the follow- 
 ing may be distinguished : the Ratio- 
 nale, by Guillaume Durand; a very scarce 
 book, the first printed at Lyons, accord- 
 ing to the Abbe Gazzera, the learned sub- 
 librarian of this library, with the strange 
 title of Scelestissiini Sathance litiga- 
 tionis contra genus'humanum liber; 3 
 Ptolemy's Geography, put into Italian 
 verse by Francesco Berlinghieri, a noble 
 Florentine poet, the pupil of Landino 
 and Marsilio Ficino, one of the first 
 works with maps engraved on metal. 
 The magnificent Turin copy reveals a 
 singular bibliographic anecdote which 
 explains the mutilation of several copies. 
 This cosmography was originally dedi- 
 cated to Duke Federico d'Urbino, and 
 in 1481., after his death (which occurred 
 two years before, while the work was in 
 the press), to the adventurous and un- 
 fortunate Zizim, second son of Ma- 
 homet II., brother of Bajazet : the au- 
 tograph letter of Berlinghieri to the 
 Ottoman prince, whom he addresses as 
 Gemma Sultan, and whom he does not 
 despair of seeing again established nel 
 suoregnoMiis incorrect and badly spelled 
 letter, written on the back of the title 
 page of the very copy he had addressed 
 to him, and which is ornamented with 
 the crescent and the principal monu- 
 ments of Constantinople, is another in- 
 stance of the faithlessness of dedications. 
 
 CHAPTER IV. 
 
 Museum of antiquities.— Cupid asleep.— Minerva.— 
 lsiac table.— Cabinet of medals. 
 
 The museum of antiquities, from the 
 obscurity and nakedness of its rooms, 
 seemed rather a dungeon of statues than 
 a museum. Though founded but little 
 more than sixty years ago, it has some re- 
 markable objects : Cupid asleep on a 
 
 of the Memoirs of the Turin Iloyal Academy of 
 Sciences ( t82J ) ; according to two erudite Lronese 
 
 bibliographers, M. B * de L*"*' and M. l'erl- 
 
 caud, the city librarian, the first book printed tbcro 
 with a dale is the Compendium Lolharii, of the same 
 year 1473. See the Ephemirides lyomwses, Sep- 
 tember, p. to. 
 
Chap. VI.] 
 
 TURIN. 
 
 699 
 
 lion's skin, Greek, is charmingly na- 
 tural ; two heads, one of Seneca, the 
 other of a Cyclop ; a marble bust of the 
 emperor Julian, which has the morose 
 expression of his physiognomy ; a Ves- 
 pasian, his neighbour, which forms a 
 most striking contrast, having a gay and 
 satirical air ; a head of Antinous ; the 
 vast mosaic of Orpheus, found near Ca- 
 gliari, comparable to the finest in Rome 
 for the perfection of the figures and ani- 
 mals, wild and domestic, chiefly, of Sardi- 
 nia ; the bronze statue of Minerva, one 
 of the most remarkable known for deli- 
 cacy of execution. 
 
 The famous Isiac table, once the sub- 
 ject of great controversy, has lost its 
 prestige of antiquity, and Champollion's 
 discoveries sanction the opinion that it 
 was made at Rome under Adrian. 
 
 The medal cabinet, one of the richest 
 in Europe, ranking immediately after 
 those of Paris, London, and Vienna, con- 
 tains no less than thirty thousand pieces. 
 It has a quinary of Pertinax; a rare 
 gold medal of Magnia Urbica, the wife 
 of Carinus or the emperor Carus, his 
 father, a princess known only by medals ; 
 and the collection of Parthian and Syrian 
 medals. I felt interested iii contem- 
 plating an Athenian gold coin, the only 
 one of this little module. The venality 
 of the political orators of Greece invo- 
 luntarily presented itself to my mind; 
 perhaps this gold had helped Pericles to 
 establish the almost monarchical power 
 which, according to Thucydides and 
 Plutarch, he exercised during forty years 
 over the people of Athens, or indeed to 
 buy some proud Lacedemonian ; for it 
 is known that he expended ten talents 
 annually in corrupting the Spartans. 
 
 CHAPTER V. 
 
 Royal Academy of Sciences.— Military Academy.— 
 Academy of fine Ails. 
 
 The Royal Academy of Sciences, found- 
 ed in 1759, by the Count of Saluzzo, and 
 made illustrious from its very origin by 
 the labours of Lagrange, had for its last 
 president the late Count Prosper Balbo, 
 minister of state, formerly inspector of 
 the university of France, a man of ex- 
 tensive acquirements, and a great pro- 
 moter of public instruction in his country. 
 The Academy is divided into two classes: 
 the first of mathematical and physical 
 
 sciences, the second of moral, historical, 
 and philological sciences. The number 
 of academicians is forty, exclusive of 
 foreign and corresponding members. 
 
 The Royal military Academy is in- 
 debted for its present universally ap- 
 proved organisation to its commandant, 
 the Cav. Caesare Saluzzo, preceptor of the 
 king's children, a man of great informa- 
 tion, remarkable for his extraordinary 
 educational powers, and the possessor of 
 a rich military library. 
 
 The Academy of Fine Arts, of which 
 the high-chamberlain is the hereditary 
 president, a singular provision that 
 dates from Count Alfieri, the able ar- 
 chitect, and has been maintained without 
 any valid reason, does not seem to attain 
 its purpose or produce effects commen- 
 surate with the encouragements it re- 
 ceives. The Piedmontese are more 
 expert in the sciences, warfare, and 
 handicraft than in the arts; and despite 
 the contemporary names of Migliara, 
 Bosio, and Desgotti, they appear below 
 the other Italians in the latter. There 
 are not more than two or three amateur 
 galleries at Turin. The varied aspect of 
 the country is calculated however to pro- 
 duce landscape painters. 
 
 CHAPTER VI. 
 
 Egyptian museum. 
 
 This rich collection, the first in Europe, 
 was temporarily located in apartments 
 which had not then been put in order, 
 and consequently had more the appear- 
 ance of a warehouse full of antiquities 
 than of a museum. In the court was 
 the stone statue of Osymandias, fifteen 
 feet in height, and weighing eighteen 
 thousand seven hundred and fifty pounds ; 
 the old colossus of Thebes was wrapped 
 up in straw mats like a young shrub in 
 the Flower-market. It was on the sa- 
 cred library of the tomb of Osymandias 
 that the inscription Treasure of remedies 
 for the soul was. formerly written ; I 
 regretted to see the magnificent statue of 
 the most ancient amateur of books amidst 
 such confusion. The kings of Egypt seem 
 to rank almost with the gods. Some 
 other of their statues are admirable; 
 particularly the contemporary statue of 
 the great prince ThoutmosisII., 1 and the 
 
 * See ante, boob xy, ch. xrlil. 
 
TURIN. 
 
 IIIook XXi. 
 
 were not unlike those of Germany now; 
 from them proceeded ministers, coun- 
 sellors, ambassadors, prelates, and it 
 must be owned that the supply was not 
 very inferior. Seyssel also, in his Great 
 Monarchy of France, which seems a 
 body of instructions on the art of govern- 
 ment intended for the new king, is 
 anxious that "les gens de bas e'tat puis- 
 setit parvenir par vertu et par Indus- 
 trie au plus haut degre. Cet espoir," 
 says he, " est le vray esperon qui fait 
 toutes sortes de gens courir a la voye de 
 vertus ; et un seul qui est eleve par ce 
 moyen en fait courir dixmille, comme 
 on le voit par experience, et est escript 
 en mille lieux." ' Seyssel was an illegi- 
 timate son of the house of Aix and a na- 
 tive of Savoy. It is rather singular lo 
 find Savoyard writers contributing to 
 the perfection of the French language : 
 Seyssel wrote with perspicuity, Francis 
 de Sales with grace and feeling; Vauge- 
 las, says Voltaire, contributed more than 
 the Academy to purify the language and 
 give it a permanent form; the style of 
 Saint-Re"al was esteemed, even when 
 compared with the great authors of the 
 age of Louis XIV., and in our own 
 days MM. de Maistre, in different com- 
 positions, have done honour to our lite- 
 rature.* 
 
 A translation of Dante's Inferno, in 
 French verse, is of the fifteenth century, 
 but without author's name; it has the 
 same rhythm and number of verses as 
 the original. This translation, a tour 
 de force left unfinished, begins thus : 
 
 D' milieu du chemin de la vie presente 
 Me relrouvay parmy une forest obscure 
 Ou ro esloye esgare hois de la droicte senle 
 Ua combien ce seroit a dire cbose dure 
 De ceste foresl lant aspie forle et sauvage 
 Qu en y pensant ma paour renouvelle et me dure, 
 etc. 
 
 The university library also possesses 
 some Chinese books of poetry and me- 
 dicine, and a very ancient Game of 
 Taroc. 
 
 A Flora of Piedmont, begun in 1732, 
 and comprising nearly five thousand 
 
 ' Chap, ixv, lie parlie. 
 
 a Were 1 uot fearful or insisting too much on the 
 merit ot these Savoyard writers, I might add that 
 the inhabitants of Savoy have no disagreeable ac- 
 cent, like most inhabitants of our provinces. 
 
 3 Lyon, cnez Guillaume Leroy, 1473, small 4to. 
 See the Dissertation of S. Gazzera, t. xxvin. p. 352, 
 
 coloured drawings, the work of several 
 generations of the Battione family, has 
 been successfully continued by Signora 
 Angelica Battione, afterwards Signora 
 Rossi. 
 
 Among the printed books, the follow- 
 ing may be distinguished : the Ratio- 
 nale, by Guillaume Durand ; a very scarce 
 book, the first printed at Lyons, accord- 
 ing to the Abbe Gazzera, the learned sub- 
 librarian of this library, with the strange 
 title of Scelestissimi Sathana litiga- 
 tionis contra genus humanum liber; 3 
 Ptolemy's Geography, put into Italian 
 verse by Francesco Rerlinghieri, a noble 
 Florentine poet, the pupil of Landino 
 and Marsilio Ficino, one of the first 
 works with maps engraved on metal. 
 The magnificent Turin copy reveals a 
 singular bibliographic anecdote which 
 explains the mutilation of several copies. 
 This cosmography was originally dedi- 
 cated to Duke Federico d'Urbino, and 
 in 1484, after his death (which occurred 
 two years before, while the work was in 
 the press), to the adventurous and un- 
 fortunate Zizim, second son of Ma- 
 homet II., brother of Bajazet : the au- 
 tograph letter of Berlinghieri to the 
 Ottoman prince, whom he addresses as 
 Gemma Sultan, and whom he does not 
 despair of seeing again established net 
 suoregno.lhis incorrect and badly spelled 
 letter, written on the back of the title 
 page of the very copy he had addressed 
 to him, and which is ornamented with 
 the crescent and the principal monu- 
 ments of Constantinople, is another in- 
 stance of the faithlessness of dedications. 
 
 CHAPTER IV. 
 
 Museum of antiquities.— Cupid asleep.— Minerva.— 
 lsiac table. -Cabinet of medals, 
 
 The museum of antiquities, from the 
 obscurity and nakedness of its rooms, 
 seemed rather a dungeon of statues than 
 a museum. Though founded but little 
 more than sixty years ago, it has some re- 
 markable objects : Cupid asleep on a 
 
 of the Memoirs of the Turin Royal Academy of 
 Sciences 1 1825 ) ; according lo two erudite Lyonesu 
 bibliographers, M B****" de L**'** and M. l'erl- 
 caud, the city librarian, tbe first booh printed tbero 
 Willi a dale is l he Compendium Lolharii, of I he same 
 year 1473. Sec tbe Ephemeridet lyonnaises, Sep- 
 tember, p. 10. 
 
Chap. VI.] 
 
 TURIN. 
 
 lion's skin, Greek, is charmingly na- 
 tural ; two heads, one of Seneca, the 
 other of a Cyclop ; a marble bust of the 
 emperor Julian, which has the morose 
 expression of bis physiognomy ; a Ves- 
 pasian, his neighbour, which forms a 
 most striking contrast, having a gay and 
 satirical air ; a head of Antinous ; the 
 vast mosaic of Orpheus, found near Ca- 
 gliari, comparable to the finest in Rome 
 for the perfection of the figures and ani- 
 mals, wild and domestic, chiefly of Sardi- 
 nia ; the bronze statue of Minerva, one 
 of the most remarkable known for deli- 
 cacy of execution. 
 
 The famous Isiac table, once the sub- 
 ject of great controversy, has lost its 
 prestige of antiquity, and Champollion's 
 discoveries sanction the opinion that it 
 was made at Rome under Adrian. 
 
 The medal cabinet, one of the richest 
 in Europe, ranking immediately after 
 those of Paris, London, and Vienna, con- 
 tains no less than thirty thousand pieces. 
 It has a quinary of Pertinax; a rare 
 gold medal of Magnia Urbica, the wife 
 of Carinus or the emperor Carus, his 
 father, a princess known only by medals ; 
 and the collection of Parthian and Syrian 
 medals. I felt interested in contem- 
 plating an Athenian gold coin, the only 
 one of this little module. The venality 
 of the political orators of Greece invo- 
 luntarily presented itself to my mind; 
 perhaps this gold had helped Pericles to 
 establish the almost monarchical power 
 which, according to Thucydides and 
 Plutarch, he exercised during forty years 
 over the people of Athens, or indeed to 
 buy some proud Lacedemonian ; for it 
 is known that he expended ten talents 
 annually in corrupting the Spartans. 
 
 CHAPTER V. 
 
 Royal Academy of Sciences.— Military Academy.— 
 Academy of Fine Arts. 
 
 TheRoyal Academy of Sciences, found- 
 ed in 1759, by the Count of Saluzzo, and 
 made illustrious from its very origin by 
 the labours of Lagrange, had for its last 
 president the late Count Prosper Balbo, 
 minister of state, formerly inspector of 
 the university of France, a man of ex- 
 tensive acquirements, and a great pro- 
 moter of public instruction in his country. 
 The Academy is divided into two classes : 
 the first of mathematical and physical 
 
 sciences, the second of moral, historical, 
 and philological sciences. The number 
 of academicians is forty, exclusive of 
 foreign and corresponding members. 
 
 The Royal military Academy is in- 
 debted for its present universally ap- 
 proved organisation to its commandant, 
 the Cav. Caesare Saluzzo, preceptor of the 
 king's children, a man of great informa- 
 tion, remarkable for his extraordinary 
 educational powers, and the possessor of 
 a rich military library. 
 
 The Academy of Fine Arts, of which 
 the high-chamberlain is the hereditary- 
 president, a singular provision that 
 dates from Count Alfieri, the able ar- 
 chitect, and has been maintained without 
 any valid reason, does not seem to attain 
 its purpose or produce effects commen- 
 surate with the encouragements it re- 
 ceives. The Piedmontese are more 
 expert in the sciences, warfare, and 
 handicraft than in the arts; and despite 
 the contemporary names of Migliara, 
 Bosio, and Desgotti, they appear below 
 the other Italians in the latter. There 
 are not more than two or three amateur 
 galleries at Turin. The varied aspect of 
 the country is calculated however to pro- 
 duce landscape painters. 
 
 CHAPTER VI. 
 
 Egyptian museum. 
 
 This rich collection, the first in Europe, 
 was temporarily located in apartments 
 which had not then been put in order, 
 and consequently had more the appear- 
 ance of a warehouse full of antiquities 
 than of a museum. In the court was 
 the stone statue of Osymandias, fifteen 
 feet in height, and weighing eighteen 
 thousandseven hundred andfifty pounds; 
 the old colossus of Thebes was wrapped 
 up in straw mats like a young shrub in 
 the Flower-market. It was on the sa- 
 cred library of the tomb of Osymandias 
 that the inscription Treasure of remedies 
 for the soul was. formerly written ; I 
 regretted to see the magnificent statue of 
 the most ancient amateur of books amidst 
 such confusion. The kings of Egypt seem 
 to rank almost with the gods. Some 
 other of their statues are admirable; 
 particularly the contemporary statue of 
 the great prince Thoutmosis II., « and the 
 
 1 See ante, boot xy, ch. xrlil. 
 
700 
 
 TURIN. 
 
 [Book XXF. 
 
 wilfully mutilated one of AmenophisII., 
 ihe same with Memnon, a king whose 
 fame is less derived from his conquest of 
 Ethiopia than from his harmonious co- 
 lossus. But the Apollo of the museum 
 and of Egyptian art is the statue (about 
 seven feet high) of Ramses VI. (the great 
 Sesostris) in black basalt spotted with 
 white ; ■ he is seated on a throne in mi- 
 litary costume, and holds a crook-like 
 sceptre in his hand. The physiognomy 
 is mild and spirited; the hands are per- 
 fect, the forms pure, and the feet, which 
 are commonly neglected in Egyptian 
 statues, are in just proportion. The 
 beauty of Egyptian statuary, which ex- 
 cludes movement and variety of attitude, 
 consists in solidity and strength, for it 
 even becomes architecture in some vast 
 edifices, of which it forms the front, the 
 peristyle, or propyleums. The figures 
 of queens and goddesses in many instances 
 have a vulture on their heads, because 
 they were regarded as the mothers and 
 nurses of the people : this savage bird of 
 prey seems a strange emblem to express 
 such a sentiment, and I regret the pintado 
 or Afraavis for which this vulture was 
 for a long time wrongfully taken. 
 
 The collection of steles or pictures 
 sculptured and painted on stone, which 
 are still remarkably bright in colouring, 
 is the most complete in existence. A 
 basso-relievo of rose-coloured granite 
 represents the god Amonra between the 
 goddess Neith and the god Phtha, that is 
 to say, the one God between the creating 
 and preserving powers. All these pictures 
 and basso-relievos present scenes of 
 worshipping the divinity, of honours 
 rendered to the dead, of judgment on 
 the soul, etc. ; it is pleasing to find at so 
 remote an age the sentiments of piety and 
 affection that honour human nature. 
 
 The articles used in the various bu- 
 siness of life are numerous and most 
 interesting. Among the implements of 
 a lady's toilet are two little ivory dogs, 
 one of which still retains the thread that 
 was wound on it more than two thousand 
 years ago ; and this weak flaxen wreck 
 employed in female labours was destined 
 to outlive such a succession of powerful 
 empires. I did not much like, however, 
 the Egyptian shoes of pasted cloth with 
 
 1 The basalt of Egypt is a kind of porphyry, and 
 totally different from the kind of volcanic stone 
 improperly called basalt by the modems. 
 
 figures on the sole; this manner of tread- 
 ing underfoot one's enemies or tyrants 
 seems little worthy of so wise and grave 
 a nation. These figures in general re- 
 present the Pastor kings, who, despite 
 their gentle name, were the oppressors 
 of Egypt more than two hundred years. 
 The domination of the Pastors, a people 
 from the North, was to the Egyptian em- 
 pire what the barbarian invasion was to 
 the Roman. Notwithstanding the harsh 
 judgment pronouncedon the Pastor kings 
 by the new Egyptian historical science, 
 one would wish toexceptKing Sabbacon. 
 of whom Diodorus relates the admirable 
 story quoted by Montesquieu : the god of 
 Thebes appeared to him in a vision and 
 ordered him to kill all the priests in 
 Egypt; he inferred that the gods were 
 no longer pleased that he should reign, 
 as they commanded him to do things so 
 contrary to their ordinary will, and he 
 retired into Ethiopia. 
 
 In the Egyptian museum we also find 
 agricultural implements and arms; se- 
 veral models of ploughs ; a yoke for oxen, 
 arrows, a helmet, and a fine scimitar of 
 bronze. The occupations of husbandry 
 and of war, when found one without the 
 other, announce the weakness or barba- 
 rism of a people ; but on the other hand, 
 if combined, they distinguish the best 
 kind of civilisation. When we observe 
 the immense quantities of mummies, it 
 seems that the instinct of preservation 
 was never carried so far, for it extends 
 even to beasts, and we also see carefully 
 embalmed ibises, jackals, cynocephali, 
 hawks, fishes, crocodiles, and young bulls 
 marked on the forehead with the cha- 
 racteristic sign of the ox Apis ; cats have 
 little wooden sarcophagi to themselves, 
 ornamented with paintings which re- 
 present them playing. But the manu- 
 scripts, on papyrus or rolls of cloth, taken 
 from the catacombs of Thebes, must be 
 the most instructive and important part 
 of this museum : the cacoethes scribendi 
 seems never to have raged more widely 
 than among this primitive people, who 
 in that respect may challenge the most 
 advanced nations. There we find the 
 immense funereal ritual, a superbly 
 written papyrus more than sixty feet long ' 
 — a pompous and minute ceremonial of 
 
 3 There are two of uearly the same length in tlio 
 Louvre. 
 
Chap. VII.] 
 
 TURIN. 
 
 701 
 
 death, the most complete that we possess 
 of the people who paid the grim tyrant 
 the most fervent and assiduous worship ; 
 acts of Pharaoh Amenophis Memnon, 
 ordinances ofSesostris, contracts made 
 in the time of the Ptolemeys, the plan of 
 Ramses Meiamoun's catacomb, a kind 
 of subterranean palace more extensive 
 than the royal residences of other princes, 
 and fragments of a chronological table of 
 above a hundred kings. As I contem- 
 plated all these dusty and mutilated 
 wrecks of the oldest civilised nation of 
 our globe piled up at the foot of the Alps, 
 I said to myself : Perhaps the day will 
 come when our own remains, all our 
 monuments of marble and bronze, all 
 the magnificent evidences of our power 
 and glory, will be shown in the museum 
 of some now savage people, in a desert 
 yet unknown, near a lake of which we 
 have never heard, in the bosom of im- 
 penetrable and gloomy forests or of lofty 
 
 I mountains hardly discovered. TheSacys, 
 Akerblads, Youngs, Champollions, Salts, 
 Seyffarths, and Pfaffs of another world 
 will in their turn write dissertations,- and 
 obstinately defend their different systems. 
 Louis XIV., with his brilliant age and 
 immense works, will be as the great 
 
 I Ramses or Sesostris of those distant days ; 
 and our recent conquests, so rapid and 
 transient, will be like fable after history. 
 
 CHAPTER VII. 
 
 opera.— Carlgnano theatre.— Gianduja.— Dialect of 
 Piedmont. 
 
 The resemblance of the French is very 
 perceptible in Piedmont, but more par- 
 ticularly in the drama. Within the last 
 century this country has produced the 
 only great tragic poet of Italy, and most 
 of its best comic authors, as Federici, 
 Cesare Olivero, Nota, Marchisio, the 
 latter living at Turin, book-keeper and 
 partner in the firm of Riccardi and Co., 
 drapers. » 
 
 There are no performances at the grand 
 Opera except during carnival and on 
 extraordinary occasions. I was present 
 at a rehearsal of a ballet of Ines di Castro 
 
 i The comedies or S. Marchisio have been printed 
 several times without his consent, and from very 
 Incorrect manuscripts, at Venice and Leghorn; the 
 only edition he acknowledges is the one published 
 at Milan by Batelli and Fanfani, under the title of 
 
 (another tragic ballet) ; a the stage was 
 covered with dancing-girls en neglige, 
 and a host of little blackguards carrying 
 sticks, who executed a children's dance; 
 all this was not greatly calculated to pro- 
 duce much illusion by daylight, but I did 
 not the less admire the extent, richness, 
 and excellent plan of the house, one of the 
 most noted in Italy and the chef-d'ceuvre 
 of Count Alfieri. 
 
 The Carignano theatre, tastefully re~ 
 novated, is also from Count Alfieri's 
 designs ; and the tragedies of his illus- 
 trious nephew were there represented 
 for the first time. When I visited this 
 house in 1826 and 1828, there was no 
 dramatical performance on account of 
 Christmas week ; and tumblers and rope 
 dancers occupied this cradle of the Italian 
 stage. 
 
 In 1827 1 went there to see la Cene- 
 rentola and a ballet of the Spaniards in 
 Mexico, composed by a dancer of the 
 theatre, 3Ionticini. The prima donna 
 was a rich English lady, of a fine figure, 
 but possessed of little talent, who was 
 said to be of high birth ; she played to 
 gratify her own taste, without the intoxi- 
 cation of success. This amateur artist 
 seemed to relish applause highly, but had 
 not much of it, and she was eager to come 
 forward after the opera, though the fuori 
 were not very inviting; one young lady, 
 Signora Rainaldi, was a very pleasing 
 and aerial dancer. The ballet was a poor 
 imitation of the ballets of Vigano; all 
 these Mexicans, who were erroneously 
 made to adore the sun as in Peru, were 
 very ridiculously furnished with beards 
 in the fashion of Jupiter Olympius. 
 
 The fantoccini seemed to me not so 
 good as those of Milan, Bologna, and 
 Rome; and, as far as a foreigner can 
 judge of these pleasantries, Gianduja, 
 the buffoon of Turin, was only a defective 
 Girolamo. 3 The dialect of Piedmont, 
 harsh, screaming, and rude, distinctly 
 separating those whospeak it from other 
 Italians, is a kind of historical monu- 
 ment, as it retains some few words of 
 the most ancient tongues, such as the 
 Celtic, Etruscan, Gaulish, Provencal, 
 Spanish, German, and all the barbarian 
 warriors that have successively traversed 
 
 Opere teairali di Slanislao Marchisio, 4 vols. 8vo., 
 consisting of six comedies and two tragedies. 
 
 2 See ante, book Hi. ch. xvii. 
 
 3 See ante, book m. cb. xviii. 
 
 59. 
 
703 
 
 TURIN. 
 
 [Boor XXI. 
 
 the Alps. It is not deficient in origi- 
 nality, character, or spirit, if we may 
 judge of it by the poetry of P. Isler and 
 Doctor Calvo. 
 
 CHAPTER VIII. 
 
 Cathedral. — Church of (he San Suriarlo. —Saint 
 Philip of Neri.— Santa Maria /lei Carmine*- Cor- 
 pus Domini.— Consolata.— Holy Ghost.— Catho- 
 licism ot Rousseau. — Trinity.— Capuchins. 
 
 The cathedral of Saint John, notwith- 
 standing some dry ness, might be supposed 
 of Bramante's time by its profiles; but it 
 has not the pure and elevated taste of 
 that master, and it is doubtless a mistake 
 to attribute it to him. St. Christina, 
 and especially St. Theresa, are highly 
 esteemed statues, by Legros. A Glory 
 of Angels, graceful, by Guidobono, 
 might be supposed of Guido's school. 
 The Virgin and infant Jesus, with St. 
 Crispin and St. Crispinian, is by Albert 
 Durer. Near the sacristy is an inscrip- 
 tion that points out the grave of the il- 
 lustrious Seyssel and enumerates his 
 titles and offices. 
 
 The rich and picturesque church of 
 the San Sudario, adjoining the cathedral 
 and the Royal palace, is of the contorted 
 architecture of P. Guarini, and presents 
 his ordinary mathematical triangles. In 
 its rotunda is preserved, in a silver shrine 
 ornamented with gold and diamonds 
 and put under glass, the sacred winding- 
 sheet that enveloped the body of Christ, 
 a famous relic brought from the East in 
 the time of the Crusades by a French- 
 man, Geoffroy de Charni, a knight of 
 Champagne, like Thibaut and Joinville. 
 Francis I. invoked it before the battle 
 of Marignan, and on his return he went 
 on foot from Lyons to Chambgry where 
 the San Sudario then was, for the pur- 
 pose of worshipping it. This relic, 
 which, indeed, is not the only one that 
 claims the same honour,' is for us at 
 least a national and glorious memorial. 
 
 The church of Saint Philip of Neri, 
 like most of those dedicated to this 
 poetic saiut, is magnificent, and perhaps 
 reckoned the finest in the city. It has 
 been recently repaired and improved by 
 the Cav. Talucchi, according to an old 
 plan by Juvara. Some few paintings 
 
 ' There Is a similar relic in the basilic of Saint 
 Peter's at Rome, and two more beside, one at Be* 
 rnnoon, the other at Cadouln In Perlgord. 
 
 are by the masters of the decline, and 
 the most praised of their works : St. 
 Philip in ecstasy beforethe Virgin, by 
 Solimene; aSt. Laurence, byTrcvisano; 
 the Virgin, St. Catherine of Siena, 
 St. Eusebius, St. John Baptist and the 
 blessed Amadeus IX., by Carlo Mar alia, 
 The ancon of the altar of the blessed 
 Valfrc of Turin, by the Cav. Cavelleri, a 
 Piedmontese painter, which he executed 
 at Rome, has been praised. A fine 
 St. Eusebius and his -acolyte, by Guer- 
 cino, is buried in the sacristy. 
 
 Saint Theresa has : the Saint in 
 ecstasy, supported by two angels, in 
 the presence of the Virgin and St. Jo" 
 seph, who are looking with satisfaction 
 at the dart thrown at her by the infant 
 Jesus, a graceful and well -coloured 
 composition, by Moncalvo ; and the great 
 chapel of Saint Joseph, from Juvara's 
 designs. 
 
 The unfinished church of Santa Maria 
 del Cannme.passes for one of the same ar- 
 chitect's most remarkable constructions, 
 though there are some slight deviations 
 from his plan. The least feeble painting 
 is an Elias, by Giaquinto, pupil of Soli- 
 mene. A Holy Family, by the abbe" 
 Aliberti, would be tolerable but for 
 the greenish hue ( fashionable in the 
 eighteenth century ) with which the artist 
 has besmeared it. 
 
 In the church of San Dalmazio are 
 a good Ulartyrdom of the Saint, by 
 Brambilla, an artist of the last century, 
 of a firm style and a good colourist ; and 
 the Christ put in the tomb, the best 
 work of Molinari, an esteemed painter 
 of Piedmont, who died in 1793. 
 
 The sumptuous interior decorations of 
 the church of Corpus Domini are by 
 Count Alfieri. At the high altar may 
 be remarked, the Miracle, by Caravo- 
 glia, a judicious but languid pupil of 
 Guercino, and in the sacristy the history 
 of the samemiracle, by Olivieri, paint- 
 ings that have some dash of the burles- 
 que, notwithstanding the sanctity of the 
 subject. 
 
 The church of Saint Charles Borromeo, 
 is rich, but of indifferent architecture. 
 The St. Joseph holding the infant Jesus 
 who wounds the heart of St. Augus- 
 tine with an arrow, by the Cav. Dau- 
 phin, is picturesque, and not devoid of 
 fire. This church contains the mauso- 
 leum of Francesco di Broglio, head of 
 that branch of the Broglio family which 
 
Chap. IX.] 
 
 TURIN. 
 
 TOS 
 
 settled in France, who was killed in the 
 wars of Italy in 1656. He was origi- 
 nally of Quiers, as were the Crillons. 
 It is curious enough to see two of the 
 most brilliant names of our military 
 history proceed from a Tillage in Pied- 
 mont, both of which have since been 
 equally honoured by generous senti- 
 ments and the love of a sage liberty.' 
 
 The triple church della Consolata, 
 the finest of con vent churches, has a Cru- 
 cifix and Magdalen, one of the good 
 works of Moncalvo, and in the chapel 
 of the Virgin of the Santuario a venerat- 
 ed picture painted in oil on very fine 
 canvas, attributed by Lanzi to one of 
 Giotto's pupils. 
 
 At Saint Dominick, a Virgin and 
 infant Jesus giving the rosary to the 
 Saint, with St. Catherine of Siena be- 
 low, by Guercino, is more correct and 
 better composed than usual with him. 
 
 The church of Saint Christina, found- 
 ed by Madame Christina of France, and 
 decorated with a majestic portal by 
 Juvara, presents some remarkable ar- 
 chitectural details. 
 
 The ensemble of the church of Santa 
 Croce, from Juvara's designs, with a 
 new front by the Cav. Mosca, is impos- 
 ing. A Descent from the cross is by 
 the Cav. Beaumont, and perhaps the 
 best thing he ever did; a vigorous St. 
 Peter in the pontifical chair, by Mon- 
 calvo. 
 
 Of Blanseri's three paintings in the 
 church of Saint Pelagius, the St. Louis 
 fainting in the arms of an angel is the 
 most esteemed, and the artist seems su- 
 perior therein for the effect of the clare- 
 obscure to his master the Cav. Beau- 
 mont. 
 
 The new church of the Holy Ghost, in 
 the shape of a Greek cross, is not without 
 grandeur. The hospital of the Cate- 
 chumens, founded in 1610 by the con- 
 fraternity of the Holy Ghost, adjoins the 
 church. It was in this house, then an 
 infamous and filthy den, that Rousseau 
 was received, or rather confined, on the 
 12th of April 1728, when Madame de 
 Warens sent him thither to be converted; 
 and after a month's discussion he so- 
 lemnly adjured Calvinism in his sixteenth 
 year. Notwithstanding the impure ori- 
 gin of this Catholicism which Rousseau 
 
 1 The dulse de Crillon, peer of France, deceased 
 in 1820, and Uie duke de Broglte, 
 
 retained till his fortieth year, perhaps he 
 was indebted to it for his escape from 
 the stiffness and dryness of the reformed 
 taste, as he is the only protestant writer 
 of imagination. 
 
 The Trinity, one of the finest chur- 
 ches in Turin, was decorated inside by 
 Juvara. The high-altar is by Seyter, 
 first painter to the kings Victor Ama 
 deus II. and Charles Emmanuel III., a 
 good colourist, who is buried in this 
 church. 
 
 The great church of the Capuchins, 
 on the heights near Turin, is picturesque 
 from its situation and view, like all the 
 Capuchins' churches; it has an Assump- 
 tion, by Morazzone, and a Martyrdom 
 of St. Maurice, by Moncalvo. 
 
 CHAPTER IX. 
 
 Hospitals of Saint John and Saint Louis.— 
 Manicomio. 
 
 The hospitals of Turin are interesting 
 on account of their regimen and the 
 improvements that have been intro- 
 duced. The great and well-managed 
 hospital of Saint John, which has five 
 hundred beds, and to which the revo- 
 lutions have left an income of only 
 6,000/., is abundantly aided by public 
 Charity. At the extremity of the apart- 
 ments is the brilliant contrast of the 
 magnificent chapel built by Castelli, 
 adorned with Ionic columns of Susa 
 marble, which has almost the splendour 
 of vert antique. The Sisters of Charity 
 serve the hospital ; but these, introduced 
 into Piedmont in the year 1781, em- 
 ployed at the military hospital, at the 
 orphans' asylum, and keeping schools in 
 their own house, but little resemble the 
 new infirmary nurses of Rome, and for 
 attention, piety, courage, and meek 
 gravity, they are still French. 2 
 
 The hospital of Saint Louis, founded 
 in 1794 by the holy priest Barucchi, 
 rector of the citadel, and SS. Molineri 
 and Orsetli, though intended to receive, 
 as it were, the refuse of the other hos- 
 pitals, is perhaps one of the cleanest in 
 Europe. The rooms, withoutbeingeither 
 too large or too high, exhale no odour, 
 so cleverly have the ventilators been 
 arranged under the beds and in the 
 ceiling. Operations are not performed 
 
 2 See ante, boob xy. en. xlil, 
 
TURIN. 
 
 (Book XXL 
 
 in the rooms, but in a corridor on one 
 side into which the beds are drawn. In 
 case of death the patients near know 
 nothing of it, as the curtains are kept 
 closed. I was told that the ingenious 
 plan of this hospital, one of the finest 
 buildings in Turin, had been solicited 
 by England and America, but the cle- 
 ver architect, the Cav. Talucchi, would 
 only consent to give it on the truly pa- 
 triotic condition that they should inscribe 
 on all hospitals built from his model : 
 "On the plan of the hospital of Turin." 
 
 A distinguished French Lady, the 
 marchioness de B"***, devoted herself 
 with the most active compassion to the 
 relief of the poor, the sick, and priso- 
 ners. This lady has founded a Mag- 
 dalen hospital for a hundred inmates, 
 whose labour helps to maintain the esta- 
 blishment. Madame de B***** intro- 
 duced infant schools at Turin, and has 
 one of these sweet and gladsome asy- 
 lums for childhood in her own house. 
 
 The vast Manicomio, which will ac- 
 commodate six hundred lunatics, is ano- 
 ther clever building of the Cav. Ta- 
 lucchi's philanthropic architecture. The 
 skulls of most of the madmen are pre- 
 served, forming a collection that may be 
 useful for sci'entiQc observation. Among 
 the moral means employed in the treat- 
 ment of insanity, music is not neglected. 
 An enlightened economist, S. Defen- 
 dente Sacchi of Milan, when visiting 
 the house saw at the piano an idiot 
 whose understanding was perfectly gone, 
 though he executed without halting all 
 his favourite sonatas. A like pheno- 
 menon had struck him at the hospital of 
 Aversa, where an insane person who 
 could not connect two ideas delected 
 the false notes of those he accompanied. 
 
 The deaf and dumb school, which has 
 not many pupils, also prepares masters 
 to instruct the unfortunate of this kind. 
 It is desirable to see it extended to a 
 larger scale, as in the diocese of Turin 
 the number of deaf and dumb amounts 
 to six hundred, and in the whole Sardi- 
 nian states to four thousand. 
 
 CHAPTER X. 
 
 Temple della gran Madre di Dio.— Bridge over the 
 Dcria. 
 
 The expedition with which public 
 works were carried on at Turin was 
 
 rather remarkable. The temple, a copy 
 of the Pantheon, dedicated to the Virgin, 
 alia gran Madre di Dio, by the corpo- 
 ration of Decurions of Turin, to comme- 
 morate the return of Victor Emmanuel, 
 will be magnificent; it is from the designs 
 of S. Bonsignore, government architect. 
 This temple and the finished arch of the 
 Simplon will be, at the entrance of Italy, 
 monuments worthy of its antique trium- 
 phal' glory, and of" its modern religious 
 splendour. It seems, however, that a 
 square with trees wo"uld have been pre- 
 ferable to the new piazza with its lofty 
 buildings crowding round the edifice. 
 
 The stone bridge of a single arch 
 thrown over the Doria, a little river 
 with steep banks and a rapid stream— this 
 bridge, so light and bold, one of the 
 finest modern monuments of the kind, 
 an improved imitation of the fine bridge 
 built by the French over the Po, was 
 erected by S. Mosca, inspector of the 
 corps of civil engineers, an old pupil of 
 our Polytechnic school. The superb 
 cornice with consoles recalls the walls 
 enclosing the temple of Mars Victor. It 
 is evident that this skilful engineer com- 
 bines the science of his profession with 
 the taste of the artist. 
 
 CHAPTER XI. 
 
 Stupinitz.— Hill of Turin. -Superg.i. 
 
 Stupinitz, a hunting palace, the root 
 of which is picturesquely surmounted by 
 a great bronze stag, may be regarded 
 as the most splendid edifice of its kind in 
 Europe, and it is one of Juvara's prin- 
 cipal works. The oval saloon presents 
 a singular and well combined invention; 
 it corresponds with four apartments 
 disposed in the form of a cross, for the 
 princes, with iateral buildings for the 
 lords in waiting, the officers, and hunt- 
 men. Four long avenues proceed from 
 the four glazed windows of this saloon 
 and have a majestic effect. ■ 
 
 The hill of Turin, which I went over 
 at the close of autumn, must be charms 
 ing in summer; it is variegated with 
 woods, vineyards, gardens, beautiful 
 palaces, and handsome houses; there 
 are not, indeed, many good roads, but a 
 multitude of shady and retired footpaths. 
 I saw the rising sun from these heights, 
 and the effect was superb, though the 
 
Chap. XII. ] 
 
 PIGNEROL. 
 
 70S 
 
 horizon was dimmed by vapours : Mount 
 Viso and the whole, chain of the Alps 
 were tinted of a rosy hue by his first rays, 
 and appeared in the distance like im- 
 mense brilliant pyramids. 
 
 The Superga temple, which is said to 
 be so called from its position on the ridge 
 of these mountains, super terga rnon- 
 tium, crowns this beauteous hill. It 
 was built in 1706, by King Victor Ama- 
 deus I., in pursuance of a vow he had 
 made to the Virgin, if the attack he con- 
 certed on that very spot with Prince 
 Eugene should compel the French to 
 raise the siege of Turin. This church 
 and its monastery, of a fine architectural 
 disposition, despite its impurities, pass 
 for the best and most ingenious of 
 Juvara's constructions. The Superga 
 church is the burial place of the sove- 
 reigns of Piedmont, but the modern vaults 
 of this Savoyard Saint Denis, all lined 
 with white, yellow, and green marble, 
 and light as day, seemed to me devoid 
 of majesty and sadness; the fantastic 
 ornaments of the architecture, notwith- 
 standing the richness of its materials, 
 are unsuited to the tombs of kings, and 
 the stone arches, the caverns blackened 
 by ages of the old basilics, are far more 
 fitting for the sanctuaries of death. In 
 a separate vault are the remains of the 
 children and princes of the royal family 
 that never ascended the throne : the first 
 lived but a few days in innocence ; the 
 second may have been honoured as be- 
 nefactors ; both seemed to me happy in 
 having escaped the throne. This little 
 throne of Savoy is, moreover, the one 
 that numbers most abdications. 1 One 
 would say that these kings of the Alps, 
 the sovereigns of ice and rock, whose do- 
 minions are nearest the heavens, take 
 disgust at the earth more easily than 
 others. In the apartment intended for 
 the king is a complete collection of por- 
 traits of the popes, two hundred and 
 fifty-three in number, from Saint Peter 
 to the present possessor of his chair. 
 When we reflect on the fact that the 
 first thirty of these pontiffs were all 
 martyrs, it is impossible not to admire 
 and respect this new courage, unique in 
 history, and this same and intrepid sa- 
 crifice to the same truth. If while con- 
 
 1 Amadeus VIH. ia iZM; Victor Amadeus in 
 1730; Cbarles Emmanuel IV. in H802; Victor Kra- 
 mauuel in 1821., 
 
 templating the portraits of the succeed- 
 ing popes, I sometimes fell on unworthy 
 portions of this great history, the general 
 impression was not destroyed, and in- 
 stead of all the phantoms of human 
 power, the exhibition of material and 
 physical strength that pursues you in 
 the other galleries, I loved to contem- 
 plate all these laborious helmsmen of 
 Saint Peter's bark, the eternal represen- 
 tatives of the greatest moral power that 
 ever acted on the world. 
 
 CHAPTER XII. 
 
 Pignerol.— Fortress.— Iron Masfe, Fouquet, Lauaua. 
 — Vaudese.— Snsa. — Mount Cenis. 
 
 The duties of an old friendship led me 
 to Pignerol, a little, agreeable, busy, gar- 
 rison town, six miles from Turin, the 
 retreat of a lady distinguished by her 
 birtb, her successes, and her misfortunes. 
 A pile of stones on a high mountain is 
 the only remaining vestige of the castle 
 that was the prison of the Iron Mask, 
 Fouquet, and Lauzun, the first an anony- 
 mous victim of policy; the other two, 
 illustrious coxcombs : Lauzun, of the 
 court; Fouquet, of the bar and finance. 
 Though the histories of prisoners are in 
 general most attractive, the memory of 
 the two last confined in Pignerol did not 
 inspire me with the profound pity that 
 belongs to captives who have suffered for 
 some grand conviction of thought or 
 conscience. Perhaps also the vain and 
 pedantic passion of Lauzun and Made- 
 moiselle disposed me but little to the 
 melting mood ; and when we see this 
 princess console herself for her spoiled 
 teeth, because they would remind her 
 lover that she was cousin to the king, it 
 is impossible to suppress a laugh at such 
 egregious coquetry. As I passed over 
 these rugged mountains, I remembered 
 the not inapposite answer of Lauzun, 
 which proves that misfortune may also 
 have its vanity, and that, after a great 
 catastrophe, little troubles seem un- 
 worthy of our notice. Being invited to 
 alight from the carriage at a dangerous 
 pass, he refused, saying, "Those mis- 
 haps are not made for me." At the 
 sight of the ruins of this ancient fortress 
 of France, I regretted that the author 
 of the Le'preux and of Prascovie had 
 declined publishing his novel of the Pri- 
 
706 
 
 VAUD. 
 
 [Book XXL 
 
 sonniire de Pignerol ; • I fancied that 
 his narrative would supply the pathos 
 that seemed to be wanting to the well- 
 known adventures of the prisoners re- 
 corded in history. 
 
 The adjacent valleys, near the river 
 Pel is, were inhabited by the Waldenses, 
 or Vaudese, celebrated for the persecu- 
 tions theysuffered.and for the antiquity of 
 their purified Christianity, which existed 
 four hundred years before the Reforma- 
 tion. It is said that the commissioners 
 of Louis XII., who were charged to visit 
 them when he passed through the Alps, 
 declared that these mountaineers were 
 belterChristians than themselves, though 
 the king's confessor was one of them. 
 The illustrious Sadolet was also favour- 
 able to IheWaldenses, and when bishop of 
 Carpentrashe offered an asylum to some 
 of their fugitives who had been con- 
 demned to the stake by the Provencal 
 parliament, which also ordered the de- 
 struction of their houses and woods, and 
 he humanely pleaded their cause. These 
 hordes form a population of about twenty- 
 thousand persons; the superficies of the 
 valleys is a hundred and thirty thousand 
 hectares, of which not less than ten thou- 
 sand five hundred are cultivated; ten 
 thousand covered with woods ; and the 
 rest unproductive. The Vaudese have 
 thirteen temples and as many moderators 
 (ministers), called also barbes, whence 
 their name of barbets, who have each a 
 salary of 500 francs. One of these mo- 
 derators, M. Appia, was charged, from 
 1815 to 1828, to visit Germany, France, 
 and England; the pecuniary assistance 
 he obtained amounted to above 20,000?., 
 and the greater part was invested in 
 England, which gave rise to the belief 
 that the English paid the moderators. 
 The schools, seventy-five in number, are 
 only open in winter: the principal is that 
 of La Tour, where Greek and Latin are 
 taught. The Yaudese are chiefly hus- 
 bandmen and shepherds. At Villar- 
 Bobbio and La Tour, there are a hun- 
 
 * See a note in the Expedition nocturne autour 
 tie ma Chambre, by Count X. de Maistre. 
 
 dred and fifty men engaged in manufac- 
 turing cloth. There are twelve furnaces 
 and several foundries in the valleys, 
 which produce about five hundred tons 
 of iron a year. The law that forbade 
 the Vaudese to possess property out of 
 their valleys, and the impossibility of 
 obtaining military rank, are unjust ine- 
 qualities that have now nearly ceased, 
 the present king having raised several 
 of them to the rank of officers. 
 
 Susa, a little pleasant town, is noted 
 for itsmarble triumphal arch consecrated 
 to Augustus, remarkable for the basso- 
 relievos of its frieze representing a triple 
 sacrifice,— a monument which recalls the 
 antique arches of Rome, and seemed to 
 me a noble entrance to Italy. 
 
 I have twice crossed Mount Cent's in 
 December when returning to France ; 
 the first time, the weather was mild and 
 foggy ; the paved road was dirty and dull, 
 without physiognomy or character. I 
 passed it on the second occasion in a 
 sledge drawn along the snow, during a 
 hard frost. Mount Cenis was loaded 
 with rime and presented a superb spec- 
 tacle; its torrents were frozen and mo- 
 tionless : nature alone can enchant the 
 devastators she sends, and their festoons 
 of cristal, hanging from the rocks, were 
 like dazzling lustres which beautifully 
 reflected the light and the solar rays. 
 The deep precipices, the black and roar- 
 ing abysses were all silent and gloriously 
 white. If in my journeys through Italy, 
 I often appealed to Dante for descriptions 
 of the sites and monuments of his coun- 
 try, he still offered me, at the summit of 
 the Alps, his harmonious and picturesque 
 language to express the flakes of snow 
 falling lightly on the moantain top ; 
 
 Come di neve in Alpe senza vento- 
 
 I love to close this long and laborious 
 work, inspired by the aspect or recol- 
 lections of Italy, with a passage taken 
 from her greatest poet. 
 
 » Inf. xit. 30. 
 
 THE END. 
 
INDEX. 
 
 Abano, Pietro, pbysician,philosopher,heretic : 
 
 his portrait, 209, 211. 
 Abate, Nicholas dell', painter of the Mode- 
 
 nese school (16lh century), 257, 255, 270. 
 Abbadie t his treatise on the truth of Ihe 
 
 Christian religion still in the Index, 53!. 
 Abbazia, church at Venice, 184. 
 Abbiati. Filippo, painter of the Milanese 
 
 school (17th century), 43. 
 Abbondio, St., his bust at the Lyceum of 
 
 Cosmo, 81. 
 Abundio, St., church at Cremona, 506. 
 Abruzzi, the, 433. 
 Academy, house of Cicero. 472. 
 — , Aldine, at Venice, formed for the exami- 
 nation of the classics; Greek only spoken, 
 
 166. 
 
 — or Cortona, 653. 
 
 — of France at Rome, 571. 
 
 — of Naples at Rome, 579. 
 
 — Arcadian, at Rome, 528, 557. 
 
 — of Fine Arts, at Florence, 379. 
 
 — of Fine Arts, at Mantua, 292. 
 
 — of Fine Arts, at Perugia, 631. 
 
 — of Fine Arts, at Reggio, 270. 
 
 — of Fine Arts, at Turin, 699. 
 
 — of Fine Arts at Venice, 167, 185. 
 
 — of St. Luke, at Rome, 555. 
 
 — of the Innominati, at Orvieto, C32. 
 
 — of the Intronati, at Siena, 632. 
 — , elementary, of Fine Arts at Ravenna, 419. 
 
 — of Sciences, Letters, and Arts, at Padua ; 
 its memoirs; one of its meetings, 197. 
 
 — of Sciences, Letters, and Arts, at Arezzo, 
 660. 
 
 — ■- of Sciences, Letters, and Arts, at Pistoja, 
 668. 
 
 — , Olympic, at Vicenza; its dramatic perform- 
 ances, 128. 
 
 — , Philharmonic, at Rome, 573. 
 
 — , Platonic, at Florence, 571. 
 
 — , Pontaniana, at Naples, 433. 
 
 — , royal, formerly degl' Oscuri, at Lucca, 671 . 
 
 — , royal, of Sciences, at Turin, 699. 
 
 — , royal military, at Turin, 699. 
 
 Academies, poetical and literary, of Italy, 
 advantageouly replaced by scientific so- 
 cieties, 337. 
 
 Accaramboni, Virginia : her elegy on the 
 death of her murdered husband, 54. 
 
 Acciajoli, ancient palace, at Florence, now 
 hotel, 371. 
 
 Acciajuoli, Nicolao, seneschal of the kingdom 
 of Naples, founder of the Chartreuse at 
 Florence, 396 ; his body found entire, 396 ; 
 sends Boccaccio to dine in the servants' 
 hall, 397. 
 
 Accius, L , Latin tragic author, 429. 
 
 Accolti (Cardinal Benedetto) of Arezzo, 355, 
 656. 
 
 — , Bernard, the unique, of Arezzo, 656. 
 
 Acerbara, mountain, 496. 
 
 Acerbi, Austrian consul in Egypt, 195. 
 
 Acheron, river, 472. 
 
 Acong-Kover, Stephen, archbishop of Sinnia ; 
 his tomb, 192. 
 
 Acqua-Buja, fountain, 312. 
 
 Acquapendente, town, 616. 
 
 Acqua-Sola, promenade at Genoa, 682. 
 
 Acunasparta, FraMutteo, cardinal : his tomb, 
 534. 
 
 Acqu a- Verde, promenade at Genoa, 682. 
 
 Acqua-Vergine, water of Rome, 570. 
 
 Acquila, Serafino dell', improvisatore of the 
 15lh century, 429. 
 
 Aequisti, S., sculptor, 69. 
 
 Acteon, house of, at Pompeii, 479 
 
 Actors, comic, of Italy : their merit, 63. Their 
 imperfections, 81 . 
 
 Adda, Count Francesco, Milanese amateur 
 painter (16th century), 48. 
 
 — , river, 69 n. 
 
 Addison, 39«.,212. 
 
 Adjutori, the canon Don Desiderio de' : his 
 skull shown as Raphael's, at the Academy 
 of St. Luke, 533. 
 
 Adonis, house of, at Pompeii, 481. 
 
 Adrian, emperor, 472, 523. His mausoleum, 
 581. His vilia, 597. 
 
 — VI., pope, supposed by some Italian 
 writers to be Ludovico Rampini, born at 
 Renzano, near Salo, 105, 5(1, 534. 
 
 — IV., hfs tomb, 503. 
 
 — , St., church atPavia, 78. 
 
 iEdes Joviae, at Cosmo, 81. 
 
 ^Etion, Greek painter : his Marriage of Alex- 
 ander and RoxaTia,imitated by Rap!iael,S96. 
 
 Affo, P. Ireneo, librarian of Parma : his M&- 
 morie degli Snrittori e Letlerati vartni- 
 giani, 276 n., 279, 287, 288, 292, 308 n. 
 
 Af'ra. St., church at Brescia, 97. 
 
 Agatha, St., church al Ravenna, 418. 
 
 Agesander, sculptor, 516. 
 
 Agigulphus, duke of Turin : his marriage with 
 Queen Theodolinda, 72. 
 
 Agincourt, d' : opinion of the his church of 
 
708 
 
 INDEX. 
 
 St. Michael at Pavia contradicted by San- 
 
 Quintiuo, 79 n.; 531 n. ; his tomb, 352, 
 
 6U, 629. 
 Agli, Antonio degli, a competitor for the 
 
 prize-poem upon True Friendship, adjudged 
 
 to the cathedral of Florence, 351. 
 Aglietli, Dr. Francesco, celebrated physician 
 
 of Venice, editor of Algirotti's works, 161. 
 Aguano, lake of, 470. 
 Agnelli, Barbara, erected a mausoleum to her 
 
 husband, 503. 
 Agnello a capo Napoli, St., church at Naples, 
 
 455. 
 Agues, St., church at Rome, 534. 
 
 — extra muros, church near Rome, 503, 547, 
 580. 
 
 Agnese, female mathematician of Milan: her 
 
 medallion, 62. 
 Agnesiana, library of Vercelli, 53. 
 Agnolo, Baccio d', architect, 338, 344. 
 — , Gabriele, architect, 442. 
 
 — di Tura, chronicler, 627. 
 Agostini, brothers Santi, painters, 50. 
 Agostino, Agostino San, painter, 45. 
 
 — of Siena, sculptor ( 14lh century), 534, 
 614, 618,624, 627, 629,658. 
 
 Agrario, public garden at Bologna, 239. 
 Agrate, Marco, sculptor (15th century) : his 
 
 St. Bartholomew, 58. 
 Agricola, Cav. Filippo, painter, 419. 
 Aguccbi, Giainbattista, learned prelate, 604. 
 Aigle, valley of, 15. 
 
 Airenti, Filippo, bishop of Savona, 689. 
 Akcrblad : his letter to Courier, 212 n. 
 Ala, town, 104. 
 Alassio, town, 680. 
 
 Alba, town of the yEqui, now a village, 494. 
 Albani, countess of, friend of Allien, 325, 
 
 331; her tomb, 356. 
 Albani, villa, 596. 
 
 — palace at Rome, 567. 
 — . cardinal, 429. 
 
 Albano, Francesco, painter of the Bolognese 
 school (16th century), 60,241,244,245, 248, 
 231, 252, 254, 264, 324, 419, 439, 529, 554, 
 581 , 622, 694. 
 
 Albarese, marshes of, near Siena, 635. 
 
 Albaro, hill at Genoa, 682. 
 
 Albenga, town, 689. 
 
 Albergati Gapacelli, palace at Bologna, 256. 
 
 Alberghetti, Alfonso, Ferrarese sculptor 
 (16th century) : his statue of the Virgin 
 dellu Scarpa, 147, 214. 
 
 Albergo de' Poveri, hospital at Genoa, 686. 
 
 Albergotti d' Arezzo, 656. 
 
 Alberoni, legate of Romagna, 421, 426. 
 
 Alberti, Francesco Aliobianco degl", one of 
 the competitors for the prize-poem upon 
 True Friendship, adjudged to the cathedral 
 of Florence, 531. 
 
 — da Borgo San Sepolcro, Alberto, architect 
 (16lh century), 243. 
 
 — , Leone Battista, great Florentine archi- 
 tect (16th century), 291, 295, 297, 331; 
 his gallery and cupola ol the Annunziata, 
 at Florence, 352, 359, 362, 366, 371; his 
 church of St. Francis at Rimini, 423, 570. 
 
 Alberti, Michelangelo, painter of the Floren- 
 tine school (16th century), 548. 
 
 Albertinelli, Mariotlo, Florentine painter 
 
 (16th century), 332. 
 Albertolli, professor Giocondo, 49. 
 Alhizzi, Rinaldodesli, enemy of Cosmo de' 
 
 Medici, 316, 370 ; died at Ancona, 432. 
 Albizzola, town, birth-place of Julius II., 689. 
 Albrizzi, Isabella-Teutoehi : her house, her 
 
 portrait, her Rilratli, 164, 168, 199. 
 Alcamenes, Greek sculptor, 442. 
 Alciati, Francesco: his tomb, 346. 
 Aldighieri, or Altichiero da Zevio, of Verona, 
 
 painter (14th century), 200. 
 Aldini, Giovanni, professor at Bologna, 260. 
 Aldobrandini, cardinal, <556. 
 
 — villa, 602. 
 
 Aldobrandini Marriage, antique painting, 508. 
 
 Aldrovandi, palace, at Bologna, 234. 
 
 Aldrovando, Dlisse: his scientific manuscripts 
 returned to the library of the Bologna uni- 
 versity, 238. 
 
 Aldus the elder, 166; his application to 
 work, 228; books with his manuscript 
 notes, at the Barberini, 469. 
 
 — the younger, his intention of bequeathing 
 the library of his ancestors to Venice, 155 n. 
 
 Alencon, Philip d', cardinal : his tomb, 557. 
 
 Aleni", Tommaso, painter of the Cremonese 
 school (16th century), 306. 
 
 Aleotii, Giambattisla, architect, 283. 
 
 Alessi, Galeaso, of Perugia, architect (16th 
 century), 37, 41, 48, 645, 646, 649,653, 677, 
 680, 682, 684, 685, 687, 688. 
 
 Alessandrin, cardinal : his tomb, 550. 
 
 Alessandrini, professor at the universily of 
 Bologna, 236 n. 
 
 Alexander della Croce, St., church at Ber- 
 gamo, 87. 
 
 — , St., church at Brescia, 97. 
 
 — in colonna, St., church at Bergamo, 87. 
 — , St., church at Fiesole, 590. 
 
 — , St., church at Lucca, 668. 
 
 — in Zebedia, church at Milan, 43. 
 
 — St., church at Parma, 280. 
 
 — dying, colossal head so called, 322. 
 
 — VI. (Borgia) compared to God, 508, 582. 
 
 — VII.. pope, 563,619. 
 
 — VIII., pope, 140. 
 
 — Severus, emperor, 474, 494, 567, 573, 588. 
 Alexandria, town, 693. 
 
 Allien : his verses upon the Brescian women, 
 93, 101 «.; his sonnet on Venice, 162 ; on 
 Arqua, 215; his inscription on the manu- 
 script of the Furioso, 225 ; effect of his 
 pieces at their represenlation, 268; on the 
 patriotism which he created, ibid., 304; his 
 sonnet on Alexander dying, 522 ; his ma- 
 nuscripts and the editions of the ancient 
 authors which he used, at the Laurentian, 
 552; on his Congiura de' Pazzi, 542; his 
 mausoleum at the church of Santa Croce, 
 554; his house at Florence, 378; his furious 
 note to avenge Machiavel of Amirato, 593, 
 595; quoted, 401, 410, 419, 438 n., 503; Ins 
 sonnet upon the Moses of Michael Angelo, 
 542 , 539 ; his anger at typographical errors, 
 539; his epitaph at Gori-Gandellini, 624; 
 his love of Siena, 650, C74, 676 ; represen- 
 tation of his Poly nice, 685; his house at 
 Asti, 693, 696. 
 
INDEX. 
 
 709 
 
 Alfieri Bianco, count Benedetto, architect 
 (18th century),- his facade of the temple of 
 St. Peter, at Geneva, \; his duomo at Ver- 
 celli, 52 ; his steeple of the church of St. 
 Godenzio, atNovara, 33;his royal palace of 
 Alexandria, 693, 699; his opera-house at 
 Turin, 701, 702. 
 
 — , Opening of the theatre of, at Florence, 
 
 382;. 
 
 — , Father Enrico, general of the Franciscan?, 
 his tomb, 418. 
 
 Alfonso I. of Aragon : spares Sulmona in me- 
 mory of Ovid, 436 ; attends the lectures of 
 the monastery of St. Dominick, 436 ; grauts 
 to the commune of La Cava more important 
 privileges than demanded, 482. 
 
 — V. of Aragon: spares, at the siege ofGaeta, 
 the house of Cicero, 496. 
 
 Algaby, gallery of the road of the Simplon, 
 22. 
 
 Algardi, Alessandro, Bolognese sculptor 
 (17lh century), 248, 255, 310; his basso- 
 relievo ofAttila, 503:531, 554, 594,664, 
 667. 
 
 Algarotti, his designation of the masons of 
 Cosmo, 109; original letters addressed to 
 him by Frederick, at Venice, 161; 200, 206, 
 207, 241, 247, 258 «., 269, 273, 294; his 
 mausoleum at the Campo Santo of Pisa, 
 406. 
 
 Aliberti, the abbe, Piemontese painter (18th 
 century), 702. 
 
 Aliense, surname of Antonio Vassilacchi, 
 painter born in Greece (16th century), 151. 
 
 Alighieri, Francesco, last descendant of 
 Dante, erected the tomb of his two brothers, 
 like him learned men of letters, 113. 
 
 Aliotti, Pietrantonio, nicknamed by Michel- 
 Angelo, 595. 
 
 AUatius, Leone, prefect of the Vatican, 554 ; 
 books with notes in his handwriting at the 
 Barberiana, 569. 
 
 Allegranza, Padre : his opinion on the pre- 
 tended sarcophagus of Stilicon and his wife 
 Serena, 46. 
 
 Allegri : his Miserere, 507. 
 
 Allent : his reasonable conjectures on the 
 death of Pietro Navarro, in his Hisloire du 
 Corps du Genie, 460 n. ; 678 n. 
 
 Allio, or Aglio, Jlatteo, of Milan, sculptor 
 
 __ and architect (17th century), 200. 
 
 Aliori, Angelo, Alessandro, and Cristoforo, 
 painters of the Florentine school ( 16th 
 century). See Bronzino. 
 
 Alpino, Prospero, physician, traveller, bo- 
 tanist, introduced coffee into Europe, 130. 
 
 Alps : their appearance from the height of St. 
 j Cergues, 2. 
 ' Altemps, palace at Rome, 573. 
 
 — , cardinal, built the Mondragone villa to 
 obtain the pope's favour, 603. 
 
 Altilio, of the Neapolitan Academy, 433. 
 
 Allimoresca, Ludovico ; his tomb, 453. 
 
 Altoviti, Oddo, Florentine patrician, 562. 
 
 — palace at Florence, 370. 
 
 Alvarez, contemporary Spanish sculptor, 535. 
 Alvisopoli, printing establishment, named 
 
 after the little village where it was founded, 
 
 and transferred to Venice, 167. 
 
 Amadeo, Giovanni-Antonio, of Pavia, sculp- 
 tor (15th century), 87, 507. 
 
 Amadeus VIII., first duke of Savoy, for a 
 moment pope, 18; his retreat to Ripaille, 
 21. 
 
 — III., castle where he died, 52. 
 
 Amadio, Andrea, painter of flowers, a Vene- 
 tian (15th century), 156. 
 
 Amalasonte, queen of the Goths : her death, 
 616. 
 
 Amalfi, 487. 
 
 Amalteo, Pomponio, painter of the Venetian 
 school (16ih century), 140. 
 
 Amati, Cav. Giulio, of Pistoja, preserves Vi- 
 ni's fresco of the Ten Thousand Crucified, 
 663. 
 
 — , the abbe', 562. 
 
 Ambrogino, Fra, carmelite of Florence : his 
 popularity, 565. 
 
 Ambrose, St., church at Florence, 337 — at 
 Genoa, 685— the oldest monument of Chris- 
 tian antiquity at Milan; its description, 45 
 — church at Parma, 279. 
 
 — , St., his portrait drawn from life, 46; mo- 
 saic representing him asleep at the altar, 
 47. 
 
 Ambrosi, Florido, biographer of Mantovano, 
 295. 
 
 Amici, of Modena, celebrated astronomer, 
 583. 
 
 — ,Tommaso, sculptor, of Cremona (15th cen- 
 tury), 506. 
 
 Aminado, Giulio-Cesare, painter of the Par- 
 mesan school (16th century), 283. 
 
 Ammanato, Barlolommeo, Tuscan sculptor 
 and architect (15th century), 204, 214; his 
 fountain in the Piazza of the Grand Duke at 
 Florence, 318; 544, 348, 564, 573, 383, 594, 
 531, 562, 595,638, 670. 
 
 Ammirato, Scipio, historian, 371 n. ; attacks 
 Machiavel, and is censured by Alfieri, 393. 
 
 Ampere, M., 232 n. 
 
 Amphitheatre of Arezzo, 637— of Capua, 493 
 — of Lucca, 671 — of Pompeii, 481 — or 
 Coliseum, of Pozzuoli, 472 — of Sutrium, 
 609 — of Verona, 106. 
 
 Anachronisms of Venetian painters, 99. 
 
 Anastasia, St., church at Verona, 110. 
 
 Ancona, town, 451. 
 
 Ancre, Marshal d', of Arezzo, 657. 
 
 Anderloni, Pietro, engraver, 61. 
 
 Andes, Virgil's native place, 294, n. 298, 303. 
 
 Andrea, painter (14th century), 658. 
 
 — d'Alessandro, of Brescia, sculplor (16th 
 century), 175. 
 
 — d'Assisi, painter of the Roman school (15th 
 century), 647. 
 
 — of Fiesole, sculptor (15th century), 247, 
 250, 566. 
 
 — Pisano, architect (14th century) : error of 
 the Encyclopedic respecting him, 186 n.; 
 343, 345, 663. 
 
 — of Salerno, or Sabbatini, painter of the Nea 
 politan school (16th century), 445, 456. 
 
 — , Giovanni, Milanese conspirator, and his 
 associates invoke St. Ambrose, 46. 
 
 — , Novella d', daughter of the professor of 
 canon, law at Bologna, replaces her father, 
 257. 
 
 60 
 
710 
 
 INDEX. 
 
 Andreasi, Alessandro, Mantuan orator and 
 
 poet; his tomb, 294. 
 — , Giorgio, bishop: his mausoleum, 295. 
 — , Ippolito, painter of the Mantuan school, 
 
 (16th century), 294, 296. 
 — , marquis Geronirao; his tomb, 295. 
 Andreasino. painter, 295. 
 Andrew, St., church at Bergamo, S7 — at 
 Ferrara, 223 — at Mantua. 293 — at Padua 
 203 — at Pistoja, 666 — near Rome. 608 
 —St., della Valle, church at Rome, 654 — 
 dclle Frate, idem, 5i8 — St., of the Jesuits' 
 Noviciate, idem, 344 — St., church at Ve- 
 nice, 173 — at Trevisa, 142— fortress of, at 
 Lido, chef-d'oeuvre of military architecture 
 by San Micheli, 191 — St., church at Ver- 
 celli, 32 — St., Piazza of, at Mantua, 299. 
 Andrew, king of Naples : his tomb, 451, 494. 
 Andrino d'Edesia,Pavian painter of the Mila- 
 nese school (14th century), 79. 
 Angelacci, author of an Italian translation of 
 
 the ^Eneid, 632 n. 
 Angelico, Fra Giovanni of Fiesole, Dominican, 
 painter of the Florentine school (15th cen- 
 tury), 327, 368, 379, 389, 511 , 519 ; his tomb, 
 550, 614, 654. 
 Angelis, the late P., librarian of Siena, 630 m., 
 
 652. 
 Angelleli, professor of Bologna, 236 n. 
 Angelo di Siena, sculptor (l^th century), 
 
 534, 614, 618. 624, 629, 630. 659. 
 Angelo in Paviola, St., ancient convent at 
 Tivoli, 599.— St., church at Milan, 49 — a 
 Nilo, St., church at Naples, 454 — St., 
 church at Perugia, 649 — in Spala, St., 
 church at Viterbo. 611 —St., castle of, at 
 Rome, 581 — bridge of, idem, 582 — Sant', 
 mount, near Naples, 486. 
 Angels, church of the, at Florence, 521— near 
 
 Venice, 190. 
 Anguissola, one of the assassins of Pietro- 
 Ludovico Farnese, founder of the palace of 
 Pliniana, 82. 
 —, Sofonisba, painter of the Genoese school 
 
 (16th centurv), 524. 
 Anio, river, 589, 597, 599. 
 Anna, Baltassare d\ painter of the Venetian 
 
 school (16U» century), 170. 
 Annalena, founded, after the murder of her 
 husband, a convent, at present a theatre, 
 382. 
 Anne, St., church at Asti, its steeple, 695 — 
 
 at Pisa, 407. 
 Annibal, 591 ; grandeur of his campaign, sup- 
 posed remains of his elephants, 658. 
 Annius of Viterbo, literary mystifier, perhaps 
 
 sincere, 610. 
 Annoni, palace at Milan, 37. 
 Annunziata, church of, at Ancona, 431— near 
 Bologna, 262 — at Florence, 351 — Piazza 
 dell', at Florence, 350— church of, at Genoa, 
 685 —at Naples, 466 — nell' Arena, church 
 at Padua, 204 — church at Parma, 279 — at 
 Pistoja, 663. 
 Ansano, St., oratory at Siena, 622. 
 Ansberg, abbess of the convent of St. Julia of 
 Brescia ■. cross given her by King Didier 
 her father, 95. 
 
 Anselmi, Michelangelo, sumamed also Mi- 
 chelangelo of Lucca and Michelangelo of 
 Siena, painter of the Parmesan school (15tii 
 century), 274, 275, 277, 278, 281, 626. 
 Anspert, archbishop of Milan : his epitaph 
 and tomb. 46. 
 
 Antaldo degli Antaldi, Marquis of Pesaro, 
 commentator of Catullus, 428. 
 
 Antelami, Benedetto, Parmesan sculptor 
 (1 2lh century), 276, 277. 
 
 Antimaco, Marcantonio, celebrated Greek 
 professor and translator : his house at 
 Mantua, 300. 
 
 Anthology, a recent publication of Florence, 
 562 n. 
 
 Anthony, St., church of, at Padua, 1C9, 199, 
 237 w. —at Parma, 278 — atPlacentia, 310 
 — St., oratory of, at Vol terra, 636 — the 
 abbot, St., church of, at Milan, 43 — at 
 Naples, 462. 
 
 Antimo, St., church at Piombino, 640. 
 
 Antinori, architect (I8lh century), 564. 
 
 — , Bastiano, one of the deputies appointed 
 to examine the Decameron, 336 n. 
 
 — , Marquis, poet, professor at the university 
 of Perugia, 651. 
 
 Antinous, basso-relievo of, 597. 
 
 Antiquarian, Roman: portrait of a, 564. 
 
 Antonio, of Trevisa, painter of the Venetian 
 school (15th century), 141. 
 
 — , Fra, of Negroponto, painter (15th cen- 
 tury), 171. 
 
 — , Veneziano, painter of the Florentine 
 school (14th century), 404. 
 
 — , Fra, founder of the confraternity of St. 
 Martin, at Florence, 382. 
 
 Antolini, his work on Velleja, 273 n. 
 
 Antonelli, Leoue, cardinal : his monument, 
 539. 
 
 Antoninus Pius, emperor, 472. 
 
 Aosta, town of, 28. 
 
 — , valley of, 28 ; Cretins, ibid. ; Roman anti- 
 quities, arch of Augustus, 29. 
 
 Apennines, their appearance, 312. 
 
 Apollinarius, St., church at Ravenna, 417. 
 
 — in Classe, St., church at Ravenna, 421. 
 
 Apollinius, Greek painter (13th century), 
 344. 
 
 Apollo, Belvedere, 516. 
 
 — , theatre of, at Rome, 518 n., 584. 
 
 Apollodorus, architect, 588. 
 
 Apollonia, St., church of Mantua, 297. 
 
 Apollonius, Julius : his tomb at Verona, 
 110. 
 
 Apostles, the Holy, ancient church of, at Ve- 
 nice, 178 — at Florence, 562 — at Naples, 
 463; its cemetery, ibid. — church of, at 
 Rome, 543. 
 
 Apostolius, Michael, Greek refugee : his af- 
 fecting inscription upon the manuscripts 
 which he had copied, 238. 
 
 Apothecary, profession of, ancient and re- 
 putable at Florence. 561. 
 
 Apothecary's pots, attributed incorrectly to 
 Raphael, 433. 
 
 Apotheosis of Augustus, basso-relievo of tbe 
 basilic of St. Vital, 416. 
 i Appia, Vaudese moderator (minister), 706. 
 
INDEX. 
 
 741 
 
 Appiani, Andrea, Milanese painter in fresco, 
 
 26, 34, 36, 42, 67, 74, 83, 118 n. 
 'Aqueduct of Lucca, 672. 
 — , of Spoleto, 643. 
 Aqueducts of Siena, 627. 
 Aracceli, church at Rome, 533. 
 Arago, M., his opinion that Artesian wells 
 
 were known to the ancients, 215 n. ; 621. 
 Aragon, princes of, glorious era of the history 
 
 of ISaples : their tombs, 436. 
 Ar3gonese, Sebastiano, designer and anti- 
 qi'iary (16th century). The original designs 
 oC his Monumenta antiqua urbis et agri 
 Brixiani, at the library of Brescia, 95. 
 Araldi, Alessandro, painter of the Parmesan 
 school (16th ceniury), 279, 282. 
 I Arborio, bishop of Ivrea : his relics, 31 . 
 Arce, village, 493. . 
 
 Arcetri, hill near Florence, celebrated for its 
 white wine and the prison of Galileo, 387. 
 Arch of Aironso I. of Aragon. at Naples, 440 
 i — of Augustus, at Aosta, 29 — of Augustus, 
 I at Fano, 430— of Augustus, at Perugia, 651 
 — of Conslanline, at Rome, 524— of Drusus, 
 591 — of Gallienus, 587 — of Gavius, at Ve- 
 rona, 108 — of Janus Quadrifrons, at Rome, 
 590— of Septimius Severus, 523 — of Titus, 
 523 — of Trajan, at Ancona, 431— trium- 
 phal, at Susa, 606. 
 Archinto, library at Milan, 56. 
 Architects of the !6lh century, engineers, 
 
 385. 
 Architecture : its contrasts in Italy : Floren- 
 tine architecture, 367; architecture the 
 least free of the arts, 439; architectural 
 strength ol the buildings of the Dominicans, 
 454; architecture of monasteries similar 
 to that of the Roman houses, 490 ; Roman 
 architecture, 580. 
 Archives of the cathedral of Arezzo, 659 — of 
 La Cava, 482 — of Bologna, 233 — of the 
 chapter and archbishop's palace of Lucca, 
 very curious, 668— of Naples, 449— capitu- 
 lary, at Novava, 35 — of Venice, 185 — of 
 Vercelli, 55. 
 Arcimboldi, Angelo, apostolical receiver, 
 
 discovers a manuscript of Tacilns, 328. 
 Arco della Pace, at Milan, 68. 
 — , palace of the counts of, at Mantua, 299. 
 — , Felice, at Cumae, 473. 
 J — , gate of, at Vulterra, 636. 
 Areola; obelisk and bridge of, 125. 
 Arconati, Count. G:u?eppe, collects the basso- 
 relievos of Bambaja at Castellazzo, 71. 
 • Ardenti, ancient academy of Bologna, 236 n. 
 — , academy degii, at Viterbo, 611. 
 Ardenza, promenade at Leghorn, 413. 
 Arditi, Cav., director of the royal museum of 
 
 Naples, 441, 444, 476, 479. 
 Arena, or Circus, at Milan, 68. 
 Arenas : their numbers in the countries under 
 the Roman government, 68. 
 ! Aretino, Leonardo, historian, 336. 
 \ — , Pietro : his friendship with Titian and San- 
 sovino contributed to the good taste of Ve- 
 netian works of art, 246; interred at St. 
 Luke T s, 173, 201,625. 
 Lretusi, Cesare Munari degli, painter ofThe 
 
 Modenese school (17th century), 247, 277, 
 293. 
 Arezzo, town, 286, 322, 584, 596, 656. 
 Argentiere, village ; inscription on the church- 
 door, 14. 
 Argentina, theatre at Rome, 584. 
 Arialdus, deacon, martyr to his sermons, 23. 
 Arici, Cesare, poet t his verses on Fiume 
 La'te, 83; his death, ibid; his verses on 
 the Campo-Santo of Brescia, 101 n. 
 Aricia, modern Larricia, 498. 
 Ariostei, academy degli, formerly degli in- 
 
 trepidi, at Ferrara, 218. 
 — , ancient house of the, 230. 
 Ariosto.Ludovico, great poet: incident of the 
 potter singing his verses in a mutilated 
 form, 107 n.; 123, 127, 165, 218 n., 221, 
 224 ; manuscript of some cantos of the Fu- 
 rioso, 225 ; of the Scolastica, ibid.; his 
 chair, his inkstand, ibid.; his natural chil- 
 dren, ibid.; fixes with the bookseller a 
 moderate price for the copies of his poem, 
 228; his tomb, ibid. ; his house, 229; his 
 love of the theatre, 230 ; his learning, his 
 geographical correctness, 251 ; square at 
 Ferrara named after him, 252; his birth- 
 place mistaken, 269, 307, 347, 546; his 
 verses on Vallombrosa, 394, 395, 422, 428, 
 435, 457 n.; consulted by Raphael for the 
 composition of the School of Athens, 599, 
 511, 550, 570, 577, 600, 609, 637, 640, 647, 
 656, 660. 
 
 Aristeas, Greek sculptor, 527. 
 
 Aristides, statue at the museum of Naples, 
 445. 
 
 Arlotto, vicar of St. Cresci, near Fiesole : his 
 burlesque epitaph, 332. 
 
 Armenians, conyent of the, in the island of 
 St. Lazaro : their printing-office and li- 
 brary, 192; Catholics, ibid. 
 
 Arnaud of Brescia , religious innovator, 95. 
 
 Arnazzo, in the valley of Aosta : famous for 
 its wine, 28 n. 
 
 Arno, riyer, 385. 
 
 Arnoldi, Alberto, Florentine sculptor (14th 
 century), 343. 
 
 Arnolfo, sculptor (15th century), 503. 
 
 Arona, colossus of St. Charles Borromeo, 
 25. 
 
 Arpino, town, 495. 
 
 — , Cav. Guiseppe Cesari, painter of the Ro- 
 man school (17th century), 445, 431, 462, 
 490, 493, 520, 528, 539, 541, 558, 560, 603, 
 611,630. 
 
 Arqua, near Padua : Petrarch's house and 
 tomb at, 112, 193, 215, 286. 
 
 Arringhieri, Nicolao.professorof lawat Siena: 
 his mausoleum, 631. 
 
 Arsenal of Genoa, 677— Venice, 186. 
 
 Arsenio, Fra, painter and monk (161h cen- 
 tury), 640. 
 
 Artachia, fountain of, 496. 
 
 Artaud : his work on Machiavel, 337 »., 
 379 n., 393 n., 397 n. 585 n. 
 
 Artists : their great number, 597; more irri- 
 table than literary men, 452 ; their rude 
 condition In the 16th century, 158. 
 
 Aruns, son of Porsenna: his supposed tomb, 
 499. 
 
712 
 
 INDEX. 
 
 Arvales, brothers : their Inscription, 505. 
 Arzere, Stefano deli', of Padua, painter ot 
 the Venetian school (16th century), 196, 
 205,206, 208, 209, 2t3. 
 Ascanius, tomb of, at Albano, 499. 
 Asdente de' Denti, astrological cobbler,spoken 
 
 of by Dante : his tomb, 280. 
 Asiago, capital of Ihe Sette comnni, ISO. 
 Asinelli tower, at Bologna, 261. 
 Asolo, town, 133. 
 Aspertini, Ami, painter of the Bolognese 
 
 school (15th century), 246, 669. 
 Aspetti, Titian, of Padua, sculpior (16th cen- 
 tury), 171, 198 ; his tomb, 408. 
 Assarotti, director of tlie Deaf and Dumb 
 
 Institution of Genoa, 687. 
 Assemani, Simone, prefect of the Vatican, 
 
 238 n., 328. 
 — , academician ofPadua, 197 n. 
 Assisi, town, 645. 
 Assumption of Carignano, the, church at 
 
 Genoa, 685. 
 Astella, noted for satirical farces in the Oscan 
 
 tongue, 494. 
 Asti, town. 693. 
 
 Astrumi, extinguished volcano, 470. 
 Astura, lord of, betrays young Conradin, 
 
 496. 
 Athenodorus, of Rhodes, sculptor, 516. 
 Atrani, village near Amalh ; the bronze gates 
 of its church the most ancient in Italy, 487. 
 Altavante, Florentine miniature painter,main- 
 
 tained by Matthias Corvin, 115, 365. 
 Attila : his supposed armour at the arsenal of 
 
 Venice, 187. 
 Aubigne", Agrippa d\ his epitaph in Ihe tem- 
 ple of St. Peter; his castle, 4. 
 Augustine, St., his supposed tomb at the ca- 
 thedral of Pavia, 79 ; remarkable work- 
 manship, ibid. — St., church of, at Ancona, 
 431 — at Colle, 635— at Cremona, 306 — at 
 Lucca, 669 — at Modena, 268 — at Padua, 
 141 n.— at Placenlia, 310— at Rome, 552— 
 at Siena, 622— at Trevisa, 141— at Volterra, 
 636— St., theatre at Genoa, 683. 
 Augustine convent at Siena, 622 — Cortona, 
 
 654. 
 Augustus : his mausoleum, 581, 598. 
 Aurea, Santa, cathedral of Ostia, 606. 
 Auria, Domenico, Neapolitan, sculptor of the 
 Fontana Medina (16th century), 439,440, 
 453, 455, 466. 
 — , of San Severino, Andrea d', 455. 
 Avalos, Inigo d', marquis of Ischia, celebrat- 
 ed by Ariosto, 134. 
 Avanzi, Jacopo, painter of the Bolognese 
 
 school (14lh century), 200. 
 Aveliino, the Cav. M., secretary of the Aca- 
 demy Pontaniana of Naples, 453. 
 Avenel, M. : his remark on Machiavel,398w. 
 Aventine, mount, 237, 566, 593. 
 Avernus, lake, 472. 
 Aversa, town, 494, 704. 
 Averulino, Florentine archilect and sculptor 
 (15th century) : his treatise on architecture, 
 57 ; built part of Ihe Great Hospital of Mi- 
 lan, 66. 
 Avogadro, Brteitia, repulses, at the head of 
 
 the Brescian women, the assault of Picoi- 
 
 nino, 93, 99. 
 Avogadro, Count Ludovico, calumniated in 
 
 the Gaston et Bayard of Du Bellay, 93. 
 — , Pietro, of Brescia, painter of the Venetian 
 
 school (18th century), 99. 
 Avogaro, Count Azzoni Rambaldo, anii- 
 
 quary, 142. ' 
 
 Avventi, house, called casa della Rosa, at 
 
 Ferrara, 232. 
 Azzano, near Verona, abode of the great 
 
 Isotta, 122. 
 Azzo, of Correggio, sovereign of Parma, 70, 
 
 286 n. 
 
 , 
 
 Azzoni, Giuseppe, Augustine monk, 632, 633. 
 B. 
 
 Baccano, hamlet near B^pnie, 608. 
 
 Bacchetoni, confraternity at Florence, 361. 
 
 Bacchiaca, surname of Francesco Ubertini, 
 painter of the Florentine school (16th cen- 
 tury), 345. 
 
 Bacci, Cav., of Arezzo : his museum, 660. 
 
 Baccio da Montelupo, Florentine sculptor 
 (15th century), 176, 358, 668. 
 
 Bacciocchi, palace at Bologna, 256. 
 
 — , Elisa, Napoleon's sister, 640. 
 
 Baciccio, surname of Giambaltista Gauili, 
 painter of the Roman school (17th cen- 
 tury), 533, 543, 544, 535, 557. 559. 
 
 Badia, La, church at Arezzo, 639 — church 
 and convent at Florence, 337 — neir Flo- 
 rence, 388 — church at Sulmona, 436 — of 
 San-Salvadore, monastery of Camaldulites, 
 near Volterra, 640. 
 
 Badolocchi, Sisto Rosa, painter of the Tar- 
 mesan school (17th century), 274, 283. 
 
 Baffo, Fernando, professor at Volterra, 636. 
 
 Bagetti, Cav., painter and writer en art, 
 693. 
 
 Baggiolini, archivist of Vercelli, 53. 
 
 Bagnacavallo, surname of Bartolommeo Ra- 
 menghi, painter of the Bolognese school 
 (16th century), 244, 251, 260, 446. 
 
 Bagnaja, village near Viterbo, 612. 
 
 Bagnara, or Bagnaja, Don Pietro, canon of 
 St. John Lateral), painter of the Roman 
 school (16tl» century), 209. 
 
 Bagnoli Greek, professor at the universily of 
 Pisa, 409. 
 
 Baiae, coast of, 470, 472, 473. 
 
 Baignera, Bartolommeo, reads his Itinera- 
 rium italice in the church of St. Francis 
 at Brescia, 98. 
 
 Baines, bishop of Siga ; his sermon on faith, 
 hope, and charity, translated, 32. 
 
 Bajardi, Roman prelate ; commencement of 
 his prelace to the Catalogue of the museum 
 of Portici, in 7 vols. 4to, 477. 
 Balassi, Marius, painter of the Florentine 
 
 school (17th century), 661. 
 Balbi, Adriano, Venetian : his statistical 
 
 works, 186, 672 m. 
 — , Alessandro, Ferrarese architect (1 6th cen- 
 tury), 269. 
 — , Povera, palace at Genoa, 679. 
 Balbianello, on the lake of Como : rent of a 
 house there. 82. 
 
INDEX. 
 
 743 
 
 Balbo, Count Prospero, minister of state at 
 Turin, 569 n., 699. 
 
 Baldelli, biographer of Boccaccio, 217, 337, 
 397 n., 401 n. 
 
 Baldi, Lazzaro, painter of the Florentine 
 school (17th century), 664,665. 
 
 Baidini, Baccio, one of the deputies appoint- 
 ed to examine the Decameron, 336 n. 
 
 Baldinucci, 315 n., 359, 505, 670. 
 
 Baldo, mount, 102. 
 
 Baldovinelti, Atessio, painter of the Floren- 
 tine school (15th century), 544, 351. 
 
 Balducci, Giovanni, painter of the Florentine 
 school (16lh century), 638. 
 
 Balduecio, painter (16th century), 658. 
 
 — , Giovanni di,Pisansculptor(1 4th century): 
 his mausoleum of St. Peter the Martyr, 44. 
 
 Balestra, Antonio, of Verona, painter of the 
 Venetian school (17th century ), 86, 110, 
 207, 294, 454 n. 
 
 Balestrieri, Domenico, Milanese, translator : 
 his medallion, 62. 
 
 Balianche : extract from his Essuis de Pa- 
 lingene'sie sociale, 164 n. 
 
 Ballets, interesting, of Italy, 63. 
 
 Balme, Col de, view, 14; forest, ibid. 
 
 Balzo, Bertrando del, grand justiciary of Ihe 
 kingdom of Naples : his tomb, 454. 
 
 Bambacini, house at Siena, 629. 
 
 Bambaja, surname of Agostino Busti, Mila- 
 nese sculptor (16th century), 39. 
 
 Bambocci, the abbot Antonio, Neapolitan 
 sculptor (15lh century), 453. 
 
 — , Michelangelo de', painter of Ihe Roman 
 school (17th century), 380. 
 
 Banchi, Loggia de', 677. 
 
 —, portico de' at Bologna, 254. 
 
 Bandello : his novel of Romeo and Juliet, 
 106 n. ; 536; justified Fieschi, 677. 
 
 Bandinelli, Baccio, Tuscan sculptor (16th 
 century), 316; bis Hercules, 318, 521, 541, 
 348, 351, 376, 389, 433, 550. 
 
 Bandinelli-Bianchi, palace at Siena, 629. 
 
 Bandini, archdeacon, anticipates the prin- 
 ciples of the French economists, 632. 
 
 — , librarian of the Laurentian : his catalogue, 
 528, 332, 539. 
 
 — , Giovanni; his duel with Martelli, 386, 
 592 M. 
 
 — , one of the murderers of Giuliano de' Me- 
 dici, 342. 
 
 — , Bandino ; his monument, 620. 
 
 Banditti, 435. 
 
 Bank of the Two Sicilies, church of the, at 
 Naples, 466. 
 
 Baptistry' of Albenga, 680— of Constantine, 
 680— of Cremona, 306— of Florence, 342— 
 Of Milan, 39 — of Padua, 198 — of Pisa, 402 
 — ofPistoja, 663— of Ravenna, 416. 
 
 Barabbino, Simone, painter of the Genoese 
 school (16th century), 49. 
 
 Baradello, tower of, at Cosmo, 81, 83. 
 
 Baratta, Francesco, sculptor of Carrara (17th 
 century), 573, 673 n. 
 
 Baratti, fort, 641. 
 
 Barbadori : books with remarks in his hand- 
 writing at the Barbarina, 569. 
 
 Barbaja, Domenico, manager of (he Iheatres 
 of Vienna, Milan, and Naples, 450. 
 
 Barbara, duchess, second wife of Alfonso IL 
 of Ferrara : her mausoleum, 224. 
 
 Barbara, Santa, church at Mantua, 295 — or 
 the Castel-Nuovo, at Naples, 440. 
 
 Barbarigo, palace of Venice, 162, 679. 
 
 Barbaro, Daniele, author of the first complete 
 treatise on perspective, commentator or 
 Vitruvius, 137; his admiration of the cha- 
 teau of Caprarola, 610. 
 
 — , Francesco and Hermolao, scholars of the 
 revival of letters, 59, 168. 
 
 Barbarossa II. destrovs Fondi, 497. 
 
 Barbato of Sulmona, Petrarch's friend, 286. 
 
 Barbed, horse race, 515. 
 
 — , Cav. Michelangelo, Roman mosaist, 521 . 
 
 Barberia, and not Alberghettino, part ot the 
 tower of the old palace of Florence, where 
 Cosmo de" Medici was imprisoned, 316. 
 
 Barbeiini, Maffeo, cardinal, pope under me 
 name of Urban VIII., 596. . . 
 
 — , Francesco, cardinal ; letter be received 
 from Guido, 547; his tomb, ibid. 
 
 — piazza at Rome, 568, 577, 591. 
 — , sculptor, 306. 
 
 — palace at Rome, 568. 
 
 — villa, 499. 
 
 Barberino, Francesco da, Tuscan poet, erects 
 a mausoleum to the memory of Antonio 
 d' Orso, 340 ; bis tomb, 353. 
 
 Barbiani, Giambattista, painter of the Bolo- 
 gnese school (17lh century), 418. 
 
 Barbieri, Paolo-Antonio, painter of flowers 
 and fruit, Guercino's brother, 234 n. 
 
 — , Giuseppe; his evangelical and philosophi- 
 cal preaching, 367. 
 
 — , Giuseppe, architect, 119. 
 
 Barbulejo, Bernardo, or Barbojo, taught 
 Ariosto the rudiments, 233. 
 
 Barca, Cav., of Mantua, painter of the Vene- 
 tian school (17lh century), 113. 
 
 Barcaccia, fountain at Borne, 577. 
 
 Barclay, John, author of the Argents, 5o9. 
 
 Bardi, Count : his ancient villa, 387. _ 
 
 Bargagli, Geronimo : his regghie sanest, 369. 
 
 Bargello, public prison of Florence, 583. 
 
 Barille, Giovanni, clever Florentine sculptor 
 (16th century), 509. . m 
 
 Barnabas, St., church of, at Brescia, 97— 
 Mantua, 297— Milan, 41— Venice, 175. 
 
 Barocchi, Pietro, bishop of Padua : his 
 tomb, 198. 
 
 Baroohe, FedericoBaroccio.orFiori, painter 
 of the Roman school ( 16th century ), 523, 
 326, 431, 432. 
 
 Baroncelli, Tommaso : dies of joy on seeing 
 his master, Cosmo I., return from Rome 
 with the title of grand-duke, 586. 
 
 Baronius, cardinal : his tomb, 535, 555. 
 
 Barotti, librarian of Ferrara : his tomb, 223, 
 225 n. 
 
 Barques, lie des, at Geneva : bronze statue 
 of J.-J. Rousseau, 3. 
 
 Bartalini, painter (16th century), 622. 
 
 Bartalino, Teseo, sculptor of Siena (iGLh cen- 
 tury), 619. 
 
 Barth&emy, painter, one of the commission- 
 ers appointed by the French republic to 
 select the manuscripts of the Vatican, 
 
 Si ) ., 
 
 512 n. 
 
 60. 
 
m 
 
 INDEX. 
 
 Barlhelemy, the abbe\ 423. 477 j bis estimate 
 of the uumber of statues exhumed at Rome, 
 515, 552,564. 
 
 Bartholdy, diplomatist and scholar, 427. 
 
 Bartholomew, St., church at Bergamo, 87— 
 di porta Ravegnara, church at Bologna, 
 252— di Reno, ibid, 244 — church at Milan, 
 49— della Giara, church at Parma, 280. 
 
 Bartolclo, sculptor (15th century), 346. 
 
 Bartolini, villa, near Florence, 594. 
 
 —.Lorenzo, Tuscan, sculptor, 564; his studio, 
 380 ; his group of Charity, ibid. ; 391. 
 
 Bartolo, Domenico, painter of the school of 
 Siena (15th century), 621. 
 
 — , St., mountain near Pesaro, 429. 
 
 — , Taddeo, painter of the school of Siena 
 ( 15th century), 204, 628, 636. 
 
 Bartolommeo. Fra, painter of the Florentine 
 school (13lh century), 60, 527, 334, 349, 
 565, 379, 407, 529, 574, 578, 623, 629, 631, 
 663, 665, 668. 
 
 — , Maestro, architect and sculptor (14th cen- 
 tury), 149, 184. 
 
 — , Maestro, painter of the Florentine school 
 (13th century), 554. 
 
 — in Pantano, St., church at Pistoja, 663. 
 
 — di Cortona, sculptor, 
 
 — di Pola, inlaid worker, 75. 
 Barlolozzi, engraver, 663. 
 
 Barucchi, priest, founder of the hospital St. 
 Louis at Turin, 703. 
 
 Baruffaldi, the abbe" Geronimo, 130 n., 234 ; 
 
 ; his Vila di M. Lod. Jriosto, 268. 
 
 Basaiti, Marco, painter of the Venetian school 
 
 ' (16th century), 190. 
 
 Basilica, public palace of Vicenza, 127. 
 
 Basin, the, ai Genoa, 677. 
 
 Basinio, poet of Parma : his manuscripts in 
 the library of Parma, 272. 
 
 Bassano, surname of Jacopo da Ponte, pain- 
 ter of the Venetian school (16lh century), 
 87 127, 129, 135, 150, 163, 172, 176, 208, 
 210, 259 n. , 290, 325, 446, 693. 
 
 — , Alessandro, celebrated antiquary, 204 n. 
 
 — , Francesco, painter of the Venetian school 
 (16th century), 89,97, 135, 140,142, 198, 
 210,320,490,551. 
 
 — , Cav., Leandro, painter of the Venetian 
 school H7th century), 151,156, 172,173, 
 183, 190, 210, 490. 
 
 — , town, 132: its editions, 133. 
 
 Bassetti. Marcantonio, of Verona, painter of 
 the Venetian school (17th century), 115. 
 
 Bassi, Laura, professor of philosophy at Bo- 
 logna, 237. 
 
 — , Martino, architect (16th century), 45. 
 
 Basso, fortress of Florence, 385. 
 
 Bastards, the house of, at Bologna, 260; pro- 
 portion of natural children to the popula- 
 tion, 465 «. 
 
 Bastaruoio, surname of Filippo Mazuoh, 
 painter of the Ferrarese school (16ih cen- 
 tury), 222, 233. 
 
 Bastianino, surname ofBastianoFilippt, pain- 
 ter of the Ferrarese school (16lh century), 
 218 ; hisLast Judgment, 220, 222 ; his tomb, 
 223, 235. 
 
 Bastiano di Francesco, sculptor (15th cen- 
 tury), 618. 
 
 Bastions, angular : error concerning their 
 inventor, 108. 
 
 Baths of Agrippa, 597— of Livy, 524— of Nero 
 472— of Pisa, 411. 
 
 Batoni, Pompeo, painter, the Vien of the 
 modern Roman school, 48, 546, 668, 669. 
 
 Batrachus, Spartan sculptor, 540, 590. 
 
 Battiferri, Laura, poetess, natural daughter 
 of the legist Battiferri, and wife of Barto- 
 lommeo Ammanato : her lomb, 348. 
 
 Battione, Angelica, authorofa/7ora of Pied- 
 mont, 698. 
 
 Battle of Parma, 284— of Rivoli, 122. 
 
 Baudrand, refutes the statement of the Em- 
 peror Henry VII. being poisoned by a con- 
 secrated wafer, 617. 
 
 Bauli, coast of, 474. 
 
 Bausset, M. de : his Afemoires, 8 «., 285 n. 
 
 Bavaro, Jacopo, bishop of Fiesole, begins the 
 cathedral of that city, 390. 
 
 Baveno, near L*go Maggiore : its quarries of 
 red granite, 58, 50. 
 
 Bayard, the Chev., burlesqued in the Gaston 
 et Bayardol Du Belloy, 93; his chain given 
 to Larive, acting the pait of Bayard, 93 n.\ 
 conjectures as to the house into which he 
 was carried at Brescia, ibid.; his noble re- 
 fusal of money, ibid.; 422. 
 
 Bayle, 11.227. 
 
 Bazzani, Giuseppe, painter of the Mantuan 
 school (.18ih century), 297. 
 
 Beatrice d'Este, archduchess : monument 
 erected by her to the improvisatore Lo- 
 renzi, 111 ; her statue, 672. 
 
 Beatrix, countess, mother of Matilda : her 
 tomb in the sarcophagus of Phedra and 
 Hippolytus : her will one of the oldest do- 
 cuments written in Italian, 406. 
 
 Beaumont, Claudio-Francesco, painter (18th 
 century), 694, 703. 
 
 Beccadelli, nuncio of Julius HI. at Venice, 
 325. 
 
 Beccafumi, artist of the Sienese school (16lh 
 century), 618, 619, 621, 624, 625, 628, 629, 
 631,666. 
 
 Beccarelli, Giuseppe, priest of Brescia, con- 
 demned to the gallies by the inquisition, 
 94. 
 
 Beccaria : his house at Milan, 62, 285. 
 
 Beccaruzzi, Francesco, painter of the Vene- 
 tian school (16th century), 139. 
 
 Becket, John-Baptist, a member of the saint's 
 family, interred at Verona, 144. 
 
 Beffa, Count Antonio, of Mantua : his gallery, 
 300,503n. 
 
 Begarelli, Antonio, Modenese sculptor of 
 earthen figures ( 16th century ) ; admired 
 by Michael Angelo, 278. 
 
 Beggars : not numerous at Rome, 585. 
 
 Bekkcr, one of the editors or the commenta- 
 ries on the Institutes of Gains, 116; his 
 Aristophanes, 418. 
 
 Belcaro, chateau near Siena, 633. 
 
 Belgiojaso, house of, at Milan, 37, 71. 
 
 Beliacci. the blessed Tommasode', 384. 
 
 Bellaggio, on the lake of Cosmo; the tomb of 
 Melzi, 62; the Comcedia of Pliny, 93; Tilla 
 ofMeUi, ibid -612n. 
 
INDEX. 
 
 tts 
 
 Bellamin, Sienese architect (13th century), 
 630. 
 
 Bellarmin, cardinal : his Doctrine, the only 
 work printed in the dialect of the Sette 
 Comuni, 131 ; his harsh behaviour to Gua- 
 rini, 227 ; his tomb, 533 ; his mauuscripts 
 at the Barbarini, 569, 617. 
 
 Belli, Valerio, of Vicenza, sculptor (16th cen- 
 tury), 199. 
 
 Bellincione Berti de' Ravignani : his daugh- 
 ters' modesty, 317. 
 
 Beliini , Geniile , painter of the Venetian 
 school (15th century) 60, 142, 164, 165, 
 167. 
 
 — , Jacopo, painter of the Venetian school 
 (13lh century), 141, 154. 
 
 — , Giovanni, painter of the Venetian school, 
 (16th century), 86, 9S, 128, 141-2, 153, 163, 
 168,170-1,174, 176, 178, 180,182,183,190, 
 274, 325, 429, 447, 529, 572, 680. 
 
 — , Fiiippo, painter of the Roman school 
 (16th century), 431, 432. 
 
 — , burlesque poet, author of the Bucchereid, 
 366. 
 
 —.Sicilian composer, pupil of the conserva- 
 tory of Naples, 449 ; his death, ibid. n.;628. 
 
 Belloni. P., mosaist, 380. 
 
 Belloni-Colombelli, actress, 66. 
 
 Bellori, his Descrizionedelle pitture, 5I0 n. 
 
 Bellosguardo, hill near Florence, 387. 
 
 Bellucci, Jacopo, 666. 
 
 Belluzi, college at San Marino, 427. 
 
 Belrespiro, villa near Rome, 594. 
 
 Belriguardo, celebrated villa of cardinal Lu- 
 clovico d'Este, near Ferrara, 233. 
 
 Beltraffio, Giovanni-Antonio, painter of the 
 Milanese school (16th century), 43. 
 
 Belvedere, San Benedetto, promenade at Pe- 
 saro, 428. 
 
 — , villa, near Naples, 462. 
 
 — , mountain near Perugia, 653. 
 
 Belzoni, Giovanni, Italian traveller: his me- 
 dallion; Egyptian statues given by him to 
 Padua, his native city, 212. 
 
 Bembo, cardinal : his correspondence with 
 Lucrezia Borgia, 54, 121 ; his Jsolani, not 
 composed at Asolo, 133, 166, 225, 305, 329, 
 346 n., 592 n., 429, 500 n., 5I4 ; his distich 
 on Raphael's pretended skull, 885; his 
 tomb, 550 ; his manuscripts at theBarbarini, 
 569 ; 570. 
 
 _, painter of the Cremona school (15th cen- 
 tury), 506. 
 
 — Bernardo, Venetian senator, podesla of 
 Ravenna, 419, 512. 
 
 Benasca, painter, 463. 
 
 Benavides, Marco, celebrated professor of 
 law," has his tomb erected during his life, 
 204 ; his house, 214. 
 
 Benci, S. A., 630 n. 
 
 Bencihi, of the Academy della Crusca, 368. 
 
 Benedetto da Matera, monk of mount Ca- 
 sino, miniature painter, 620. 
 
 — da Montepulciano , sculptor (16th cen- 
 tury), 619. 
 
 Benedict, St., founder of the religious orders 
 of the West, 488 ; his tomb at Monte Ca- 
 sino, 489, 492, 602. 
 
 Benedict, St., church at Bologna, 243-^ch ureta 
 
 and monastery at Ferrara, 221, 228. 
 — , the elder, St., church at Padua, 206. 
 
 — XI., pope, 141 : his mausoleum, 649. 
 
 — XII., pope, 616. 
 
 — XIV., bequeaths his books to the library 
 of Bologna, 238 ; his tomb, 504, 522,, 541, 
 564. 
 
 — , St., theatre of, at Venice. 88. 
 
 Benefial, Marco, painter of the Roman school 
 (17th century), 432, 534, 611. 
 
 Benelli, cardinal; his tomb, 530. 
 
 Benincampi, Signora Teresa, Roman sculp- 
 tor, 605. 
 
 Benintendi, Nicolao, husband of Marietta 
 Ricci, 586 n. 
 
 Benivieni, Antonio, one of the deputies ap- 
 pointed to examine the Decameron, 356 n. 
 
 — , Geronimo, Pico della Mirandola's friend, 
 partisan of Savonarola ; his tomb, 349. 
 
 Bentharn, Jeremy, 9 n. 
 
 Benlivoglio, abbe, subdirector of the Ambro- 
 sian Library, 52. 
 
 — , Francesca , murder3 her husband ; the 
 room, 415. 
 
 — , Gui, cardinal : his tomb, 544. 
 
 — palace at Bologna, 255. 
 
 Benvenuti, Pietro, Florentine painter, 347, 
 399. 
 
 Benvenuto d' Imola, surname of Benvenuto 
 de' Rambaldi, pupil ol'Boccaccio, commen- 
 tator of Dante, 204 n. 265, 330, 490. 
 
 — of siena. painter (15lh century), 637. 
 Benvoglienli. Oberto : his note on the poi- 
 soning of the emperor Henry VII., 617 n. 
 
 Benzoni, countess, of Venice, 465. 
 
 Beolco, surname of Angelo Ruzzante, dra- 
 matic author, 205. 
 
 Beretta, professor of law at the university of 
 Pavia, 76. 
 
 Bergamasco, Guglielmo, architect, 149. 
 
 Bergamese porters of Porto Franco, at Genoa, 
 676. 
 
 Bergamo, town, 86 ; its fair, ibid. 
 
 Bergonze hills, 130. 
 
 Bergonzi, house at Parma, 286. 
 
 Berico, mount, near Vicenza, 150. 
 
 Berlinghieri, Francesco, noble Florentine 
 poet, 698. 
 
 Bernabei, Antonio, surnamed della casa, 
 painter of the Parmesan school (16th cen- 
 tury). 278. 
 
 Bernard, Great St., road for the invaders of 
 Italy, 26; convent, ibid.; tomb of general 
 Desaix, 27; dogs, ibid. ; ruins, 28; meeting of 
 the Swiss society of the Amis des Sciences 
 naturelles at the hospital, ibid. ; the monks, 
 17, 26 ; their charity, 27. 
 
 BernardindeSt. Pierre, 322, 346. 
 
 Bernardini, sculptor (16th century), 453 — 
 palace, at Luca, 671. 
 
 Bernardino , St. , of Feltre, a Franciscan , 
 founder of Monls-de-Piete', 280. 
 
 ■— , St., oratory at Siena, 625 — church at 
 Siena, 637— at Verona, 112. 
 
 Bernardo, lake near Siena, 635. 
 
 Bernardoni, St., 575 n. 
 
 Berni, celebrated poet : his portrait, 351. 
 
 Bernini, Cav. Gioyanni-LorefiSo, 44, &% 
 
716 
 
 INDEX. 
 
 ♦ 79, 269, 273, 432, 434, 498, 499, 500, 501 n., 
 502, 503, 504, 503, 530, 535; his statue of 
 St. Bibiana, 340, 541, 544 ; his group of St. 
 Theresa, 543, 548, 349, 550, 535, 557, 562, 
 563 564, 567, 568, 570, 573, 580, S8I, 582, 
 596, 602, 603, 619, 663, 663, 689. 
 
 Bernini, Pietro, sculptor, father of Bernini, 
 596. 
 
 — ,Ludovico, sculptor, brother of Bernini, r.04. 
 
 Bernis, cardinal de, 482: his mausoleum, 552. 
 
 Beroald, the elder, 236; his monument in the 
 church of St. Martin-Major of Bologna, 
 246. 
 
 Bertani, Giambattista, architect and painter 
 of the Mantuan school (16th century), 295; 
 his house at Mantua, 300, 301. 
 
 Berli, Giorgio, Florentine painter, 366. 
 
 Bertini, Giovanni, glass-stainer, 38. 
 
 Bertoja, Jacopo, Parmesan painter (I6ih cen- 
 tury), 284, 285, 310. 
 
 Bertolo, count Giovanni, jurisconsult, 127. 
 
 Bertoluccio, clever Florentine goldsmith, 
 543. 
 
 Beitozzi, Francesco, sculptor (1 8th century) , 
 214. 
 
 Berzezzi, hamlet: its grotto, 689. 
 
 Bcsozzi, Ambrosio, painter of the Milanese 
 school (17th century), 47. 
 
 Bessarion, cardinal, 57 «.; visits the great 
 Isotta, 123; bequeaths his manuscripts to 
 the library of St. Mark, 153, 238 ; had been 
 governor of Bologna, 238 ; his tomb, 544 ; 
 superior of the monastery of Grotta-Fer- 
 rata, 604. 
 
 Betti, secretary of the Academy of St. Luke, 
 .162. 
 
 Bettinelli, abbe\ dedicates his poem on paint- 
 ing to the painter Tiepolo, 47; his opinion 
 on the origin of the inhabitants of Ihe Setti 
 Gomuni, 150; his manuscripts at the library 
 of Mantua, 293. 
 
 Bettio, abbe\ pupil and successor of Morelli 
 as librarian of St. Mark, 191. 
 
 Beverini, P., of Lucca, 632 n., 669. 
 
 Bevilacqua, Ambrosio, painter of the Mila- 
 nese school (13th century), 41. 
 
 — palace at Bologna, 256. 
 
 — palace at Verona, 117. 
 Bex; its salt-springs, 15. 
 
 Beyle, M. H., or de Stendhal : his letter to 
 Mnie.Belloc on Lord Byron, 60 n. ; 70 n. 
 
 Biagi palace at Bologna, 257. 
 
 Biagio, Messer ; his portrait in the Last Judg- 
 ment by Michael Angelo, 506. 
 
 Biancardi, historian, 464 n. 
 
 Bianchi, Andrea, painter. See Vespino. 
 
 — palace at Bologna, 237. 
 
 — , Francesco, painter of the Milanese school 
 (18th century), 43, 358. 
 
 — , Federico, painter of the Milanese school 
 (18th century), 40, 41, 43, 44. 
 
 — , Gherardo, cardinal : his tomb, 277. 
 
 — , Isodoro, painter of the Milanese school 
 (171b century), 47,73. 
 
 — , Giulio, governor of Siena ; his tomb, 620. 
 
 Bianchini, Francesco, of Verona, 95 ; re- 
 garded as the first man of letters of the 
 18th century j his monument, 110, 546. 
 
 Bianco, Bartolommeo, Lombard architect, 
 679. 
 
 Bianconi, sculptor, 406. 
 
 Bibbiena, cardinal, of Arezzo, 656. 
 
 Bibiana, St., church at Borne, 540. 
 
 Bibiena, Antonio, architect (18th century), 
 259, 628, 633. 
 
 — , the elder, Giovanni Mariano Galli, painter 
 of Ihe Bolognese school (17th century), 
 143, 248, 254,263,285. 
 
 Bible, Latin, of the dukes of Urbino at the 
 Vatican, 513; of St. Paul at St. Calixtus, 
 538. , 
 
 Bicchieri, Cardinal Guala de", 52. 
 
 Bidnne, professor at the University of Turin, 
 696. 
 
 Biduino, Lombard sculptor (15th century), 
 669. 
 
 Biffi, Andrea, Milanese sculptor (17th cent.) 
 59. 
 
 Bigallo, foundling hospital, at Florence, 345. 
 
 Bigari, Vittorio, Bolognese painter, architect, 
 and sculptor (I8tii century), 245. 
 
 Biglia, house, 71. 
 
 Biliberti, Giovanni, painter of the Florentine 
 school (16th century), 549. 
 
 Bindelli, Ippolito, Veronese sculptor (15th 
 century), 220. 
 
 Bini, the B. P., procurator-general of the Be- 
 nedictines, 558. 
 
 Biondi house, at Mantua, 229. 
 
 Biondo, Flavio, unpublished manuscript of 
 his General History, 265. 
 
 Birago di Borgaro, palace, at Turin, 695. 
 
 — , Daniel, bishop ; his tomb, 40. 
 
 Biscioni : his catalogue of the oriental manu- 
 scripts of the Laurentian Library, at Flo- 
 rence, 528, 537. 
 
 Bisentina, isle in Ihe lake of Bolsena, 6I6. 
 
 Bisenzio, river, 660. 
 
 Bisfolo, Francesco, painter of the Venetian 
 school (16th century), 140. 
 
 Bissoni, Giambattista of Padua, painter of Ihe 
 Venetian school (17th century) 206, 207. 
 
 Blandford, marquis of, 349 n. 
 
 Blanceri, Victor, Piedmontese painter (18th 
 century), 703. 
 
 Blasi, Don Salvator Maria, archivist of La 
 Cava, 482. 
 
 Blind Man of Ferrara, author of Mambriano, 
 one of the creators of the modern epic, 
 226. 
 
 Blouet, French architect, 591. 
 
 Bobbio, town : its monastery of St. Colom- 
 ban, 53 and note. 
 
 Boboli, garden of the Pitti palace at Florence, 
 375. 
 
 Bocca della Verita, church at Rome, 556. 
 
 Boccaccino, Boccaccio, painter of Ihe Cre- 
 monese school (I5ib century), 306. 
 
 — , C.imillo, painter of theCremonese school, 
 (16th century), 311. 
 
 Boccaccio, Giovanni, 69, 105, 209; ancient 
 copy of his Decameron at the Laurentian 
 Library of Florence, 328, 350, 340 ; bis 
 Decameron (1471) sold for 2260/-, 349 «.; 
 335, 358, 359, 364, 366 ; the villa del, 388; 
 his Ninfale Ficsolano, 590, 396 ; his resi- 
 dence at Certaldo, 598; his tomb, 400. 
 
INDEX. 
 
 717 
 
 410, 422, 457, 463, 468, 487, 488, 490, 513, 
 616 «., 638. 
 
 Bocchi palace at Bologna, 253. 
 
 Boccaferri, Dr.; his tomb, 260; his bust at 
 
 Pa via, ibid. 
 '—, Achille, learned Bolognese, 255. 
 • Bodoni, printer at Parma : his bust and in- 
 scription at the cathedral, 276, 280 ; his 
 printing-ofSce, 284, 288 n. 
 
 Boetius, his tomb at St. Peter in del d' oro, 
 77; his tower, 78 ; bis diptych, 93 n. 
 
 Boguet, Didicr, French painter, 666. 
 
 Boileau-Despreaux, 429. 
 
 Bojardo, man of learning, doctor in philo- 
 sophy and law, 66. 
 
 Boldriui, Nicolao, carves in wood Titian's 
 [ caricature of Bandinelli's copy of the Lao- 
 coon, 521. 
 
 Bologna, impression: distinction of that city, 
 
 233. 
 — , Giovanni di, Flemish sculptor (16th cen- 
 tury), 238 ; his Giant's Fountain at Bologna, 
 254, 308,316; his statue of Cosmo I., at 
 Florence, 519; his Rape of a Sabine, 520; 
 1 his Mercury, 324, 525, 347, 348. 351, 538, 
 372 ; bis bouse at Florence, 578, 580, 385, 
 401, 453, 615, 633, 659, 688, 683. 
 
 Bologneti, Bolognese senator and poet, 514. 
 
 Bolognini, Giambattisla, painter of the Bolo- 
 gnese school (4 7 til century), 252. 
 iBolsena, town, 6(5. 
 iBelzec, Calvin's adversary, exiled, 5 n. 
 
 Bomba, Roman physician, professor at the 
 Sapienza, 583. 
 
 Bombaglino, of Arezzo, 661. 
 
 Bombasio, Tommaso, of Ferrara, Petrarch's 
 friend, who bequeathed him the lute on 
 which he accompanied his verses, 107 n. 
 
 Bon, M., dramatic author and actor, 66. 
 
 — , Signora Luigia, actress, 66. 
 
 Bonaccolsi, sovereign family of Mantua, 291 . 
 
 — ,Guido, tyrant of Mantua, 298. 
 
 Bonajusti, villa, 587. 
 
 Bonanno, of Pisa, architect, sculptor, and 
 founder (12ih century), 403. 
 
 Bonaparte : his autograph letter to M. Barde, 
 bookseller of Geneva, 7; his literature, 9; 
 his abhorrence of Geneva, ib. ; en- 
 graves the word battaglia upon a laurel 
 of Isola Bella, 24; thrown by his mule at 
 the passage of the Great St. Bernard, 26; 
 promised to compose Desaix's epitaph, 27; 
 letter to Vitletard, 186; one of his uncles 
 a country priest in Tuscany, 354 n. ; dislike 
 of Alfieri, curious anecdote, 284 n. ; suc- 
 cours the duchess of Bourbon at Parma, 
 311; his idea of printing Brunelto Latini's 
 Tesoro with commentaries, 335 ; restores 
 to the pope the statue of the Madona of the 
 church of Loretto, 454 ; 595, 674. 
 
 — , Napoleon-Louis, dies at Forli : his tomb, 
 364. 
 
 Bonaventure, St., his defence of the magni- 
 ficence of the Franciscans, 646. 
 
 Bonaventuri, Pietro, Bianca Capello's hus- 
 band, 564. 
 
 Bonazza, Antonio, of Padua, sculptor (48th 
 century), 203. 207. 
 
 Bonechi, Matteo, painter of the Florentine 
 school (18th century), 662. 
 
 Bonfadio : his exaggerated description of 
 lake Garda, 103; his house at Cologuola, 
 125; 166 m. 677 ; his letter before his death, 
 684. 
 
 Boni, academician of della Crusca, 568. 
 
 Bonichi, Bindo, of Siena, 313 n. 
 
 Boniface VIII.; bronze statue of 237, 316; 
 his tomb, 503, 544, 592. 
 
 Bonifazio, of Verona, painter of the Venetian 
 school (16th century), 142, 151, 168, 176, 
 208, 446. 
 
 — , Andrea ; his tomb, 466. 
 
 Bonington, English painter : his Views of 
 Venice, 143. 
 
 Bonini house at Bologna, 256. 
 
 Bonjnur, the P., French missionary: his ma- 
 nuscripts at the Angelica library at Rome, 
 553. 
 
 Bonnivard, Francois de, founder of the li- 
 brary of Geneva, 6; the real prisoner of 
 ChiJIon, ib. ; his dungeon, 16. 
 
 Bonone, Carlo, painter of the Ferrarese school 
 (16th century), 221, 222; his tomb, 223, 
 235, 248. 
 
 Bonsignore, architect of the Sardinian court, 
 704. 
 
 Bonstetfen, Charles-Victor de, 9; partisan of 
 the Cimbrian origin of the Sette Comuni, 
 130 n. 
 
 Book-trade, Milanese, flourishing, 38 — Nea- 
 politan, languishing, 448. 
 
 Borbonica society of Naples, 472. 
 
 Bordone, Paris, painter of the Venetian school 
 (16th century), 42, 140, 441, 159 ; his Ring 
 of St. Mark, 168, 171, 175, 196, 525, 679, 680. 
 
 Bordoni, Antonio, professor at the University 
 ofPavia, 76. 
 
 Borgani, Francesco, painter of the Manluan 
 school (17th century), 292, 302. 
 
 Borghese, Ippolito, Neapolitan painter (17th 
 century), 466. 
 
 — palace at Florence : its balls, 370. 
 
 — palace at Rome, 572. 
 — , Prince, 443. 
 
 — . Scipio, cardinal, 543, 555, 358, 367. 
 
 — villa, 593 ; its new museum, ibid. 
 Borghesi, Bartolommeo, learned Italian, 
 
 423 n., 427, 430, 528, 362. 
 
 Borghetto, borough, 642. 
 
 Borghi, sculptor (17lli cenlnry), 302. 
 
 — , canon Giuseppe, lyric poet, translator 
 of i'indar, 337. 
 
 Borghini, Vincenzo, one of the deputies ap- 
 pointed to examine the Decameron, 336 «., 
 332. 
 
 Borgia, Cesare, 423, 431, 453. 
 
 — , Lucrezia : her letters and a lock of herhair 
 addressed to Bemho, preserved in the Am- 
 brosian library, 54; her tomb incorrectly 
 stated to beat the church of Corpus Do- 
 mini, at Ferrara, 224. 
 
 Borgnis, professor at the University of Pavia 
 76. 
 
 Borgo-Foite, village on the Po, 289. 
 
 Borgogne, Ambrosio, painter of the Milanese 
 school and architect (16 th century , 40 
 ♦4, 47, 49, 74. '" ' 
 
748 
 
 INDEX. 
 
 Borromean Isles, description of, 24. 
 
 Borromeo, St. Charles : his colossus at Arona, 
 23; his tomb, 39; the family originally 
 from Tuscany, ib. n. ; crucifix carried by 
 St. Charles during the plague of 1576, 39 ; 
 dramatic critic, 53 ; orders the Giant's 
 Fountain at Bologna, 254 ; his reflexions 
 on the palace of Caprarola, and the reply 
 made to him, 609. 
 
 — , count Vitaliano, erecls the palace of Isola 
 Bella, 24. 
 
 — , cardinal Federico : not less worthy of 
 remembrance than the saint, 39; his tomb, 
 ib. ; conlkles the preservation of Ihe Cccna- 
 cuhim to Vespino, 48 n. ; founder of the 
 Ambrosian, S3; forbids a catalogue, ib. 
 
 Borromini, Francesco, architect (i7ih cen- 
 tury), 502, 338; his church of St. Charles 
 alle quatro Fontane, 544, 348, 533, 554, 
 565, 573, 580,, 581, 583, 663. 
 
 Borso, village near Bassano, 435. 
 
 — , first duke of Ferrara, founder of the Char- 
 treuse, 233, 265, 566. 
 
 Borson, late professor at the University of 
 Turin, 696. 
 
 Boschi, Fabrizio, painter of the Florentine 
 school (16th century), 362. 
 
 — , Francesco, idem, 562. 
 
 — Alfonso, Florentine painter : his portrait, 
 263. 
 
 — , Casino de\ 288. 
 
 Bosco. abbey of the Dominicans del, 692. 
 
 Boscoli, Andrea, painter of the Florentine 
 school (16th century), 408, 
 
 — , of Fiesole, sculptor ^15th century), 560. 
 
 Boscovich, the P., learned astronomer, 56. 
 
 Boselli, Antonio, painter of the Venetian 
 school (46th century), 200. 
 
 — , the abbe', director of the deaf and dumb 
 institution of Genoa, 687 n. 
 
 Bossey, village near Geneva, Rousseau's 
 abode in infancy, 42 ; his celebrated walnut- 
 tree cut down and sold, ibid. 
 
 Bossi, ancient house of, at Milan, 37. 
 
 — , Giuseppe, painler and writer ; his oil copy 
 of the Coenaculum, 48 ; his monument, 53 ; 
 his opinion on the colossal statue of Pom- 
 pey atCastellazza, 71; his collection of ori- 
 ginal drawings of the old schools, 169. 
 
 — , Count Ludovico, Milanese, translator of 
 Roscoe's Life of Leo X., 219 n. 235 n. 
 
 Bosso, Matteo, 315. 
 
 Bossons, glacier of, 13. 
 
 Bossuet : house in which he was born, at 
 Dijon, 4; his eulogy of St. Thomas of Can- 
 terbury, 414, 462, 420, 695. 
 
 Botta, Carlo : his history of Italy, 63. 
 
 Bottari, prefect of the Vatican : his tomb 
 557. 
 
 Botticelli, Sandro, goldsmith (15th century), 
 345. 
 
 Boncheron, Carlo, professor at the university 
 of Turin, 696. 
 
 Bourbon, the Constable of : his armour at the 
 Vatican, 542 and note ; his sword at the 
 museum of P. Kircher, 532. 
 
 — , Duchess Antonia of, Ursuline nun, painter 
 at Parma, 311. 
 
 Bourdin, Dom, native of Franche-Comt£, 
 
 not of Normandy : his answer to the Spanish. 
 
 governor of Domo d'Ossola, 23. 
 Bonrguignon, painter of the Roman school 
 
 (17th centurv), 374, 333, 581. 
 Bourrienne, to. de : his Memoirs, 8 n., 26 n. 
 Bouvard, French naturalist, 28 n. 
 Bracceschi, Marquis Guino, his wedding wilh 
 
 the countes3 Aurelia Meniconi, 631 n. 
 Bracchi, Alessandro, Florentine poet, 592. 
 Bracciano, villa, formerly Montalto, at Fras- 
 
 cati, 603. 
 Braccini, of Ajaccio, possessor of several of 
 
 Napoleon's letters, 7 n. 
 Braccio-Forle, monument at Ravenna, 418. 
 Braccio-Furtebracci, seigneur of Perugia; 
 
 indecent exhibition of his bones in the sa- 
 cristy of the church of St. Francis, 630, 
 
 633. 
 Bracciolini, Francesco, poet of Pistoja, 666 ; 
 
 his poem in twenty-three cantos on the 
 
 election of Urban VIII., 667. 
 
 — dul Api, house at Pistoja, 667. 
 Bragadino, Venetian general Hayed alive by 
 
 the Turks : mausoleum of his skin, 182. 
 
 — palace at Asolo, 134. 
 
 Bramante, architect (15th century), 37, 41, 
 42. 43. 48, 60, 61, 68, 70, 79, 80, 86, 254, 
 277, 280, 299, 424, 433, 500, 502, 504, 505, 
 506, 508, 509, 521, 330, 554, 539, 360, 579, 
 582, 612,644,633,701. 
 
 Biamnntino, Milanese architect (15lh cen- 
 tury), 43. 
 
 — , surname of Bartolommeo Snardi, painter 
 of the Milanese school and architect (16th 
 century), 43, 49, 60, 87, 88, 280. 
 
 Brambilla, Francesco, Milanese sculptor (16th 
 century), 38, 39, 75. 
 
 — , Giambattista, Piedmontese painter (18th 
 century), 702. 
 
 Brancaccio, Francesco, cardinal, founder of 
 the Brancacciana, at Naples, 448. 
 
 — , Rinaldo, cardinal : his tomb, 454. 
 
 Brandi, Hyacinth, painter of the Roman 
 school (17th century), 55, 45. 
 
 Brantome, 75, 460, 495. 
 
 Brasca, the brothers, dukes of Spoleto : their 
 tomb, 646. 
 
 Braschi, duke of, 597. 
 
 — palace at Rome, 574. 
 
 Brea, Ludoyico, painter of the Genoese 
 
 school (15lh century), 686. 
 Brembana, valley of : supplies Porto Franco, 
 
 at Genoa, with porters, 676. 
 Brenta, its banks too much praised, 194. 
 Brentana, Simone, painter of the Venetian 
 
 school (17th century), 98, 443. 
 Brenzoni mausoleum. 443. 
 Brera, palace of, at Milan, 37, 48, 56, 60, 237. 
 — , Ludovico, academician of Padua, 497 ■». 
 Bresca, family of : origin of its privilege to 
 
 supply Ihe Roman churches wilh palms, on 
 
 Palm Sundays, 680. 
 Brescello, village, 289. 
 Brescia, town, 83 «., 94; ancient symptom! 
 
 of heresy at Brescia, 94. 
 Bresciani, Benedetto, physician and mathe- 
 matician, 590. 
 Brescianino, Andrea del, painter of ttie 
 
 Sienese school (46th century), 622, 634 . 
 
INDEX. 
 
 71S 
 
 Brescianino, surname of GioviteBresciano, of 
 I Brescia, painter (16th century), 99. 
 Briamonte, his tomb, 168. 
 3i idge. old, at Florence, 584. 
 ; -, of St. George's gate, at Mantua; view, 
 
 298. 
 I—, dei Mulini, at Mantua, 298. 
 .-, new, over the Taro, near Parma, 288. 
 — , over the Ticino, at Pavia, 80. 
 I— , at Rimini, 424. 
 
 I.—, new, over the Doria, at Turin, 704. 
 I Jridget, St., church at Naples, 461. 
 iJrieg, small town, 22. 
 i Jrienne, Gauthier de, duke of Athens : his 
 
 expulsion, 559. 
 — , Lome'nie de, his Memoirs, 2. 
 ferighenli, Maurizio, distinguished architect 
 j and engineer of the legation of Forli, 42a n. 
 Brignole, conservatory de', at Genoa, 687. 
 I'— (Rosso) palace, at Genoa, 679. 
 3ril, Paul, painter of the Dutch school (16th 
 I: century), 445. 
 
 :3rini, Francesco, painter of the 47th cen- 
 tury, 656. 
 i Jrioletto, Veronese sculptor (Hth century) : 
 
 his Wheel of Fortune, 109. 
 Jrizzio, Francesco, painter of the Bolognese 
 
 school (17th century), 242, 256, 237. 
 Brocchi, learned geologist, 455, 561. 
 Broglio, Francesco di : his mausoleum, 702. 
 Jroletto, Piazza of, at Mantua, 298 n. 
 I irongniarl, M. Alex., 127 n. 
 ironzes of the Museum at Naples, 443. 
 j Jronzino, Angelo Allori, the first, painter of 
 i the Florentine school (16th century), 526, 
 | 527, 346, 331, 352, 374. 
 -, Alessandro Allori, the second, painter of 
 the Florentine school f16!h century), 89, 
 323, 351, 333, 537, 548. 349, 560, 364, 3G6, 
 367, 408, 415, 365, 665, 668. 
 -, Cristoforo, Allori, the third, painter of 
 the Florentine school (16th century), 97, 
 532, 574, 662, 665, 666, 669. 
 Srossano, Petrarch's son-in-lav, 78, 216. 
 Jroughton, Andrew, bis tomb at the cathe- 
 dral of Vevey, 17. 
 Jrngnatelli, professor at the University of 
 . Pavia, 76. 
 Jrugnoii, Bernardo, architect, San Micheli's 
 
 nephew, 115. 
 Jrunacci, P. Francesco di Barone, painter, 
 
 649. 
 Jrnnelleschi, Filippo, great Florentine ar- 
 chitect and sculptor (15th century), 521; 
 his cupola of the cathedral of Florence, 
 558, 539, 545, 545, 546, 357 ; his Crucifix, 
 560, 562, 565, 573, 384, 388. 
 Jrnni, Leonardo, of Arezzo ; his libel against 
 his friend Nicolao Niccoli, 350; his tomb, 
 ' 355. 
 
 3rusasorci, surname of Domenico Riccio, 
 painter of the Venetian school (16(h cen- 
 tury), 112, 113,114, 115, 116; his Ca- 
 valcade of Clement VII. and Charles V., 
 418, 498, 294,295,296. 
 -, surname of Felice Riccio, of Verona, 
 painter of the Venetian school (46th cen- 
 tury), 89, 411. 
 
 Bruschi, Doctor Domenico, professor at the 
 university of Perugia, 634. 
 
 Bruyere, La : his disapprobation of literary 
 consultation, 225. 
 
 Bucchianico, Count : his mausoleum, 435. 
 
 Bucentaur ; hymeneal hymn of the Adriatic 
 unintelligible, 487. 
 
 Buch, baron de, German geologist, 28 n. 
 
 Bucket of Modena, 267. 
 
 Budd, scholar of the revival, 57 n. 328. 
 
 Bude deBoisy, proprietor of the chateau ot 
 Ferney, 10 n. 
 
 Bulfalmacco, Buonamico di Cristofano, pain- 
 ter of the Florentine school (16th century), 
 403, 405. 
 
 Buffalora. small town ; its fine bridge, 35. 
 
 Button, 27, 238: his error concerning the 
 buffalo, 607, 632. 
 
 Bugiano, sculptor (loth century), 340. 
 
 Bugiardini. sculptor (17th century) : bis 
 death, 566. 
 
 — , Giuliano, painter of the Florentine school 
 (46th century), 359. 
 
 Buiicame, little lake near Viterbo, 613. 
 
 Bulgarini. Belisario, writer of the 16th cen- 
 tury, 632. 
 
 Buonamici, surname of Agostino Tassi, pain- 
 ter of the Roman school (161h century), 
 557. 
 
 — , Castruccio, of Lucca, good historian : his 
 tomb, 670. 
 
 — , Lazzaro, professor at Padua ; his monu- 
 ment, 209. 
 
 Buonaparte, Louis-Marie-Fortun^, ancestor 
 of Napoleon's family, established in Cor- 
 sica, in 4612, 674. 
 
 — , Ghisilieri, the blessed : his bones in a 
 chapel at Bologna, 252. 
 
 Buonarotti, Michelangelo, the younger, au- 
 thor of the Fiera, forms a picture gallery 
 in the house of his uncle, 377. 
 
 — , Cav. Cosmo: still occupies Michael An- 
 gelo's house, 377. 
 
 — , the senator, antiquary : his manuscripts 
 at Ihe Marucelli library of Florence, 336; 
 his tomb, 335. 
 
 Buonconvento, castle of, 617. 
 
 Buono, Maestro: several artists of Ihe name: 
 at Venice and Pistoja, 177, 403. 
 
 Buonsignori palace at Sienn, 629. 
 
 Buontaleuti, Bernardo, Florentine architect, 
 (16th century), 512, 513 n., 520, 539 n., 
 362, 373, 582, 395, 
 
 Buratti, the late Pietro, Venetian satirical 
 poet, 188. 
 
 Burattini, puppet-show at Rome, 585. 
 
 Burgondio, Giovanni, Pisan judge, a learned 
 man : his tomb, 408. 
 
 Burlington, Lord, architect, admirer and imi- 
 tator of Palladio, 129. 
 
 Busca, Antonio, painter of the Milanese 
 school (17th century), 49, 75. 
 
 Buschelto, architect of the duomo of Pisa, 
 Italian and not Greek (Hth cenlury), 404, 
 407. 
 
 Bussola, Denis, sculptor, 73. 
 
 Butinone, Bernardo, painter of the Milanese 
 school (45lh century), 41. 
 
 Buttafogo, Antonio, painter, 202, 
 
,720 
 
 INDEX. 
 
 Butteri, Giovanni-Maria, painter of the Flo- 
 rentine school (16lh century), 663. 
 
 Bultrigari, the reverend mother : orders an 
 Ascension of Ludovico Carraccio, 251. 
 
 Bultura, poet : his verses on Malesina, his 
 country, 104, 420 n. 
 
 Buzzacariua, Fina, wife of Francesco Carrara 
 the Elder; erects the baptistry of Padua, 
 199 ; and the church of the Servi of Santa 
 Maria, at Padua, 203. 
 
 'Byron, Lord: his inadvertence as to the real 
 prisoner of Chillon, 7 n., 16; verses on 
 Clarens, 17; his admiration of Guercino's 
 Agar, 60; his impressions on viewing Cres- 
 pi's Damned, 70; his residence at Venice, 
 161, 165, 184 n. ; his wish to be buried 
 nearlheLido, 191; his study of Armenian, 
 192; his name on the walls of Tasso's pri- 
 son, 231; his preference of Bologna, 236; 
 his remarkson the abbe" Mezzofanti, 259 »,; 
 visits Dante's tomb in military uniform and 
 deposits there a volume of his works, 419; 
 composes his Prophecy of Dante at the 
 Pineta, 422 ; his residence at Genoa and de- 
 parture for Greece, 682. 
 
 C. 
 
 Cabinet, archeological, of Perugia, 651 . 
 
 Cabinets of reserved articles, at Naples, 443. 
 
 Caccavello, Annibale, Neapolitan sculptor 
 (16lh century), 405. 
 
 Cacciatore, Carlo, sculptor (17th century), 
 686. 
 
 Cacciatori, sculptor, 62. 
 
 Caccini, indifferent Tuscan sculptor, 585. 
 
 Caceioli, Giambatlista, da Budrio, painter of 
 the Bolognese school (17th century), 279. 
 
 Caciali, Giuseppe, architect, 586. 
 
 Cadcnabbia, on the lake of Cosmo, 84. 
 
 Gaffarelli, Neapolitan musician, 258. 
 
 Ca-^es, iron, proved to have been used as a 
 punishment, 81, 298, 509. 
 
 Cagliostro, famous charlatan, 426. 
 
 Cagnola, marquis Ludovico, Milanese ar- 
 chitect, 47, 69 n. 
 
 Cagnoli, Jacopino, professor : his tomb, 267. 
 
 Cairo, Cav. del, painter of the Milanese 
 school (17lh century), 48. 
 
 Cajano, villa near Florence, 591. 
 
 Calabrese, surname of Matteo Preti, painter 
 of Ihe Neapolitan school (17th century), 443, 
 455, 457, 619. 
 
 Calamo, fountain of, at Ancona, 432. 
 
 Calcagni, Antonio, sculptor (16th century): 
 his statue of Sixtus V. at Loretto, 433. 
 
 ."\alcagmni, Ceeho, learned astronomer of 
 the (16th century) : his tomb in the library 
 of the convent of St. Domiuick, at Ferrara, 
 to which he bequeathed his books and in- 
 struments, 221. 
 
 Calccolari, Francesco, botanist; his tomb, 
 122. 
 
 Caldani, Leopoldo, academician of Padua, 
 197 n. 
 
 Calderari, Otho, a good architect of vicenza, 
 of the last century, restorer of the art, 128. 
 
 Calderini, Giovanni-Andrea: his tomb, 250. 
 
 Calderoni, Ansclmo, one of the competitors 
 
 for the prize-poem upon True Friendship, 
 adjudged lo Ihe cathedral or Florence, 331. 
 
 Caldiero, rock of, retreat of the deacon Arial- 
 dus, 25. 
 
 Calendar, paschal, at Ravenna, 416. 
 
 Calendario, Filippo, architect of the ducal 
 palace of Venice; hung as an accomplice 
 of Faliero (16th century), 149. 
 
 Calepino : plundered from the dictionary of 
 Fra Nesior Denis, 34 ; clear copy of his 
 dictionary, 57. 
 
 Calepio, vale of, 20; castle of, ibid. 
 
 Caliari, Benedetto, painter, brother of Paolo 
 Veronese, 190. ' 
 
 — , Carletto, son of Paolo Veronese, 150, 159, 
 214. 
 
 Caligarino, surname of Gabricle Capellini, 
 painter of the Ferrarese school (16th 
 school). 87. 
 
 Calislo di Paolo, Sienese sculptor, 619. 
 
 Calixtus, St., convent of Benedictines, at 
 Rome, 558. 
 
 Cailani, Gaetano, Parmesan sculptor, 278. 
 
 Calle, streets, thoroughfares of Venice ; their 
 number, 144 «., 189 n. 
 
 Callimachus, celebrated sculptor of antiquity, 
 527. 
 
 Callislhenes, historiographer of Alexander, 
 53. 
 
 Callot, painter and engraver (17th century), 
 325, 578. 
 
 Caluso, learned orientalist, 696. 
 
 Calvart, Denis, of Antwerp, suinamed Fiam- 
 mingo, painter of the Bolognese school 
 (16th century), 213, 245, 250, 251, 252, 260. 
 
 Calvin ; hall where he assembled his first dis- 
 ciples, 5; one of his doctor's bills, 7; co- 
 lumn in commemoration of his flight from 
 the city of Aosta, 28; found an asylum 
 with the duchess Rente, at Ferrara, 218. 
 
 Calvo, Doctor, Piedmontese poet, 701. 
 
 Camajori, Giuseppe, 634. 
 
 Camaldnlites, convent near Florence, 595. 
 
 — , convent near Naples, 470. 
 
 — ,of St-Severus, convent of, at Perugia, 649. 
 
 — , of Montecorona, convent of, 653. 
 
 Camassei, Andrea, painter of the Roman 
 school (17th century), 547. 
 
 Cauibiaso, Luca, painter of the Genoese 
 school (16th century), 323, 681, 682, 686. 
 
 Cambio, old exchange of Perugia : its pictures 
 650. 
 
 Cambray Digny, Count, architect, 142. 
 
 Camelio, Viltorio, Venetian sculptor and 
 founder, counterfeiter of antique medals 
 (16th century), 157, 168. 
 
 Camiilo, painter (17th century), 637. 
 
 Campagna, Geronimo, of Verona, sculptor 
 (16th century), 111,118. 150,151,170, 171, 
 172, 174, 178, 179, 182, 185, 184, 187, 200, 
 201,242. 
 
 Campagnolo, Andrea, of Padua, good sculp- 
 tor, little known, 207. 
 
 — , Domenico, painter of the Venetian school 
 (16th century), 196, 198, 202, 206, 211, 214, 
 323. 
 
 Campanile of the duomo of Florence, 342. 
 
 — , or leaning tower of Pisa, 405. 
 
 — of St. Mark at Venice, 148. 
 
 ceoi 
 
 MP! 
 
 Cam, 
 
INDEX. 
 
 721 
 
 Campello, Fra Fitippo da, architect ( 15th 
 
 century), 646. 
 Campese, town, 152. 
 Campi, Antonio, painter of the Cretnonese 
 
 school (16th century), 41, 42, 43, 49. 
 — , Bernardino, idem, 43, 50, 75, 79, 269, 
 
 506, 508. 
 — , Galeazzo, idem, 506. 
 — , Giulio, idem, 42, 94, 306, 307, 308. 
 — , bro! tiers, idem, 40, 306. 
 — , Fra da Ristoro, Florentine architect (15lh 
 
 century), 539. 
 — . town ; statistical phenomenon of its popu- 
 lation, 660. 
 Campo, piazza del, at Siena, 626. 
 Campolongo, Heraclius, celebrated physician: 
 
 his tomb, 203. 
 Campo Santo of Bologna, 263— Brescia, 101 
 — Cesena, 424— Ferrara, 255 — Parma, 288 
 —Pisa, 403— Verona, 119. 
 Campo Vaccino, ancient Forum, at Rome, 
 
 522. 
 Camuccini, baron Vincenzo, Roman pain- 
 ter, 510, 416, 520, 550, 555, 565, 579. 
 Camollia, gate, at Siena, 650. 
 Canal Naviglio, at Milan, 68. 
 — , Grand, at Venice, 159. 
 Canaletlo, Giambattista, painter, 141; his 
 
 views of Venice, 143. 
 Canali, professor, rector of the university of 
 
 Perugia, 651. 
 Canani, Giambattista, anatomist of Ferrara 
 (16lh century) : had some idea of the circu- 
 lation of the biood, 228. 
 Cancellieri, the abbe, 505 n. ; his tomb, 559 ; 
 
 his Sunday receptions, ibid. 
 -, house of the, at Pistoja, 666. 
 Candolle, M. de, of Geneva, 9. 
 Canepina, Mario da, CaDuchin and architect, 
 
 531. 
 Canero, coast of, upon the Lago Maggiore, 
 
 25. 
 Can Grande della Scala, sovereign of Verona ; 
 welcomes to his court proscribed poets and 
 writers, 103. 
 Cani, dei, mines; traces of the Romans, 
 
 24. 
 Canino ; importance of its new excavations, 
 
 613. 
 Canneri, Anselmo, of Verona, painter of the 
 
 Venetian school (16th century), 114. 
 Cannetli, Pietro, Cremona ; founder of the 
 
 library of Ravenna, 418. 
 Cannon, very ancient, at the arsenal of Genoa, 
 
 677. 
 Canoccio da Lendinara, Bernardino, 279. 
 Canonica, architect, author of the Arena, at 
 
 Milan, 68. 
 Canonica-Fachini, Mine. Ginevra, of Ferrara ; 
 her Prospetlo biografico delle donne 
 ilaliane rinomate in litleratura, 125 n. 
 Canossa, Ludovico, bishop of Bayeux, diplo- 
 matist: his palace, 117, 221. 
 — , fortress : its remains, 270. 
 Canova, Antonio, sculptor, 55 n,, 134; his 
 Palamedes, 84; his cenotaph in the church 
 of Lovera, 90, 100, 129; bis church and 
 tomb at Possagno, 135, 136, 138, 140, 145, 
 162, 163; his Hebe, 165, 168 ; his hand, his 
 
 chisel, 169; his monument, at the Frari, 
 177; 187, 203, 212, 214, 258, 275, 278, 296, 
 311, 320, 324, 554; his Venus, 291; 418, 
 427,439,442, 445, 480, 500 «., 502, 503; 
 his monument of Rezznnico, 504, 513; his 
 Perseus, 516 ; his wrestlers, ibid.; 528, 535, 
 535 ; his mausoleum of Clement XIV., 543 ; 
 his group of Hercules and Lychas, 565; 
 566, 592, 593, 614, 620. 
 Canozzi, Lorenzo, of Lendinara, painter, 
 
 sculptor (15Lh century), 202. 
 — , Cristoforo, of Lendinara, inlaid worker, 
 
 202. 
 Cantelmi, Mantuan poet : his tomb, 296. 
 Canti, Giovanni, painter of the Mantuan 
 
 school (17ih century), 297. 
 Cantone, Simone, Genoese architect (18th 
 
 century), 678. 
 Cantu, professor at the university of Turin, 
 
 696. 
 Canuti, Domenico, painter of the Bolognese 
 
 school (17lh century), 255, 263, 294. 
 — , Gaetano, Bolognese, inventor of a new 
 
 method of engraving, 247. 
 Canziano, St., church of Padua, 205. 
 Capanna, Puccio, painter of the Roman 
 
 school (141 h century), 647, 663. 
 — , Giambattista di Jacomo del, painter, 
 
 629. 
 Caparra, surname of Nicolao Grosso, clever 
 
 smith of Ferrara, 572. 
 Capasso, translator into the Neapolitan dialect 
 
 of the seven Hist books of the Iliad, 465. 
 Capece-Latro, late archbishop of Tarento, 
 
 441. 
 Capei, learned jurisconsult, 537. 
 Capello, Bianca : her asylum at Pratolino 
 sungbyTasso, 512; her portrait by Montai- 
 gne, ibidn.; her first husband, 564; her 
 death, 592. 
 *-', Carlo, Venetian ambassador at Florence: 
 
 his horse's epitaph, 384. 
 Caperno, hill : its echo, 643. 
 Capilupi, Lelio, of Mantua, cento-writer : his 
 
 tomb, 296. 
 Capitol, 254 «., 503, 524; its tower, 525. 
 Capo d'Acqua, celebrated rivulet of anti- 
 quity. 605. 
 Capodilista, family of Padua : its pretty 
 French motto, 200; Gab. Capodilista's 
 Itineraire, ibid.; house at Padua, 215; 
 652. 
 Capo di Monte, near Naples : its palace, 468. 
 Caponeri, S. Gaetano, of Bologna, painter, 
 
 245. 
 Caposele, Prince; his letter to Madame Brun, 
 upon Ihe Ciceronian antiquities of his villa, 
 496. 
 Cappellino, Giovanni Domenico, painter of 
 
 the Genoese school (15th century), 686. 
 Capponi, marquis, 369. 
 —palace, at Florence, 569. 
 Cappuccino, surname of Bernardo Strozzi, 
 painter of the Genoese school (17th cen- 
 tury), 22,96, 174, 176, 191. 
 Capra casino, near Vicenza, 129, 214. 
 Caprarola, castle, 609. 
 Caprese. village near Arezzo, 656. 
 Capri, island, 409, 483. 
 
 61 
 
722 
 
 INDEX. 
 
 Capriola, hill near Siena, 633. 
 
 Caprioli, Francesco, painter of the Modenesc 
 
 school (16th century), 143. 
 Capua, town, 493. 
 C'jpuana, gate at Naples, 454. 
 — , the, deserted villa, 83. 
 Capuchin of Sion : effect of his rencontre, 22. 
 Capuchins : the author's contradiction with 
 
 respect to them, 22; 427. 
 — , church of, at Casena, 424. 
 — , convent of, near Faenza, 415. 
 
 — of Fiesole, 390. 
 
 — church at Parma, 2S0. 
 
 — , church of the, at Rome, 547. 
 — , church of the, near Turin, 703. 
 Capuchin nuns, little church of the, at Fer- 
 rara, perfumed with flowers, 223. 
 
 — (new), church at Parma, 278. 
 
 — (reformed), convent of the, at Rome, 
 545. 
 
 Caraccioli, Marino, cardinal: his magnificent 
 
 mausoleum, 59. 
 — , Giambattista, surnamed Balistiello, Neapo- 
 litan painter (17th century), 453. 
 — , Signora Maria Raphale, translator of Fe- 
 nelon and of several English authors, 441. 
 Caradosso, Foppa, Milanese sculptor and en- 
 graver (16th century), 39, 43, 45. 
 Caraffa. cardinal ; inscription upon his tomb 
 
 at Palermo, 483. 
 — , Cardinal Ectore: his pagan mausoleum, 
 
 455. 
 Carampana : origin of this injurious Venetian 
 
 designation, 189 n. 
 Caravaggino, surname of Giambattista Sec- 
 chi, painter of the Milanese school (17th 
 century), 49. 
 Caravaggio, Amerighi, surnamed Michelan- 
 gelo di, painter of Ihe Roman school (46th 
 century), 326, 439, 446, 520, 529, 530, 551, 
 559, 563, 565, 568, 578, 580, 679. 
 — , Polidoro Caldara, or Polidoro di, painter 
 of the Roman school (16th century), 49, 510. 
 Caravoglio, Bartolommeo, Piedmontese pain- 
 ter ((7th century), 702. 
 Carbonc, Bernardo, painter of the Genoese 
 
 school (17lh century), 685. 
 Carburi, Marco, academician of Padua, 197 n. 
 Cardan : foretells the premature blindness of 
 the Milanese painter Lomazzo, 40 ; his 
 Confessions; narrowly escapes shipwreck 
 on lake Garda, 103,296. 
 Carega palace, at Genoa, 680. 
 Caregi, villa near Florence, 592. 
 Carelli, ancientsecretary of the Herculaueuin 
 
 academy, 441. 
 Careni, Giuliano de, prior of SI. Justine, at 
 
 207 n. 
 Caiiani, Giovanni, of Bergamo, painter of the 
 
 "Venetian school (16th century), 87. 
 Carignano palace, at Turin, 695. 
 — , bridge of, at Genoa, 685. 
 —theatre, at Turin, 701. 
 Carletti, the abbe : his poem in Roman patois, 
 entitled Incendio di Tor di Nona, 568 n. 
 — , Lorenzo, painter, 366. 
 Carletlo, son of Paul Veronese, painter, 207 n. 
 Carlini, Cav., Milanese astronomer, 696. 
 — , Ludovico, jun., artist of Rimini, 425 n. 
 
 Carlino, theatre San, at Naples, 450. 
 Carlo-Felice, theatre at Genoa, 684. 
 Carlone, Andrea, painter of the Genoese 
 
 school (17th century), 683. 
 — , Giambattista, idem, 675, 685. 
 — , Taddeo, idem, 680, 685. 
 Carloni, brothers, idem, 43, 685. 
 Carmagnola, Count, monument relating to 
 his conspiracy, subject of a tragedy by 
 Manzoni, 178. 
 Carmelites, church of the, at Padua, 206. 
 Carmignani, professor at the university of 
 
 Pisa, 409. 
 Carmine, church atBre"scia, 98— at Florence, 
 365— at Lucca, 670— at Pavia, 79— at Pis- 
 toja, 664— at Siena, 621. 
 Carneades, Athenian philosopher, 601. 
 Carnevalone of Milan, 65. 
 Carniani Malvezzi, Signora, of Florence, 
 poetess, translator of Cicero and Pope, 
 369. 
 Carnival of Venice, 189. 
 Caro, Annibale, 262, 348 ; his verses on the 
 frescos of Masaccio at the Carmine, 364 n. ; 
 414 «. , 429, 455 ,• 502 ; his tomb, 560 ; bis 
 condition with Cardinal Faruese, 609 n. ; 
 632; his satire on the Frateiia, 648. 
 Carotto, Giovanni-Francesco, of Verona, 
 painter of the Venetian school (15th cen- 
 tury), 411, 112,113,114, 115. 
 Carpaccio, Vittorio, painter of the Venetian 
 school (16th century); his Purification, 168, 
 170, 355,373. 
 Carpi, painter of the Ferrarese school (16th 
 
 century), 223. 
 — , S , professor at the Sapienza, 583. 
 — , Geronimo, architect and painter of Ihe 
 Bolognese school (16th century), 228, 232, 
 246. 
 Carpioni, Giulio, painter of the Venetian 
 
 school (17th century), 127, 129. 
 Carracci, Annibale, painter of the Bolognese 
 school (16th century), 43, 60, 71, 88, 259, 
 241, 247, 249, 252, 254, 256, 260, 264, 274, 
 275, 280, 293, 322, 324, 453, 446, 447, 529, 
 530, 536, 549, 555, 563 ; his Farncse gallery, 
 580; 604, 603, 624, 644, 671, 681. 
 — , Agostino, painter of the Bolognese school 
 (16th century), 60, 88, 163, 218, 240, 244, 
 246, 234, 255, 274 ; his tomb, 276; 283, 324, 
 447,529,563,580,671, 686. 
 — , Ludovico, painter of the Bolognese school 
 (16th century), 60,239, 244, 245, 247, 248, 
 249, 250, 251, 252, 254, 255, 262, 263, 264, 
 274, 275, 296,309, 324, 419, 446, 529, 671, 
 679. 
 — , Paolo, painter of Ihe Bolognese school 
 
 (16th century), 24?, 262, 324. 
 Carradori, Gioachimo, learned physician: his 
 
 tomb, 665. 
 Carraja, bridge at Florence, 585. 
 Carrara, Count Jacopo, of Bergamo, founder 
 of the school of architecture and painting 
 which bears his name, 88. 
 — , its marble quarries, 672. 
 Carrati. Vincenzo, founder of the academy 
 
 de' Filarmonici, 258 n. 
 Carretto, Alfonso, marquis of Finale (16th 
 century), 689. 
 
INDEX. 
 
 725 
 
 Carroccio, sacred car, ark of alliance of the 
 Italian republics in Ihe middle ages, 620. 
 
 Casa, Giovanni della : his tomb, 554 ; his ma- 
 nuscripts at the Barberini, 569. 
 
 Casanova, prisoner of the Piombi : the win- 
 dow by which he escaped, 157. 
 
 Casnrini, Lndovico : his plan for joining Ve- 
 nice to the continent, 144. 
 
 Cascade of Terni, 643. 
 
 Cascades of Tivoli, 599. 
 
 Casciano, San, town near Florence, 397. 
 
 Cascine, promenade near Florence, 397. 
 
 Casella, Dante's friend and music-master, 
 406 m. 
 
 Caserta palace, gardens, aqueducts, 487. 
 
 Casimir, Mme., singer, 64. 
 
 Casino, literary, at Cosmo, 81. 
 
 Casolani, Alessandro, painter of the Sienese 
 school fl6th century), 75, 621, 623, 623. 
 
 Cassana, Giovanni-Francesco, painter of Ihe 
 Genoese school (17th century), 2M. 
 
 — ., Agostiuo, son of the above, painter of ani- 
 mals, 211. 
 
 Cassandrino, principal personage of the Bu- 
 raltini of Rome, 584. 
 
 Cassi, Count, translator of the first books of 
 the Pharsalia, 428. 
 
 Cassian, St., church at Pesaro, 429. 
 
 Cassini, substituted at Bologna the meridian 
 of St. Petronius for that of Ignazio Danti, 
 242. 
 
 Castagnetta, village of Tuscany, 642. 
 
 Castagno, Andrea del, assassin, painter of the 
 Florentine school (15lh century), 567, 145. 
 
 Castel-d'Asso, valley of, 612. 
 
 Castel-di-Sangro, town, 437. 
 
 Castel-Durante, abode of the dukes of Ro- 
 vera; its earthenware, 522. 
 
 Castel-Franco, town, 138. 
 
 Castel-Fusano, 564, 607. 
 
 Caslel-Gandolfo, borough, 85 «., 499. 
 
 Castellaccio, or Castel d'Asso, valley of, near 
 Viterbo; its Etruscan tombs, 612. 
 
 Casteilamare, town, 486. 
 
 Castellazzo, castle near Milan; its basso-relie- 
 vos by Bambaja, 71; its statue of Pompey, ib. 
 
 Castelli, architect, 703. 
 
 — , Benedetto: his manuscripts at the Barbe- 
 rini, 569. 
 
 — , Francesco, sculptor, 150. 
 
 — , Valerio, painter of the Genoese school 
 (17lh century), 675. 
 
 Castello, Bernardo, idem (16th century), 686. 
 
 — , Giambattista, il Bergamesco, painter of 
 the Genoese school (1 6th century), 88, 680, 
 686. 
 
 —palace near Florence, 394. 
 
 Castello dell' Uovo, at Naples, 440, 491. 
 
 Castellone di Gaeta, town, 496. 
 Castello-Traetto, house at Pistoja, 667. 
 Castel-Nuovo, at Naples, 440. 
 Castiglione, Cuiint Baltassare, author of the 
 Cortegiano, 224 n., 291 ; his house at 
 Mantua, 500 ; his mausoleum and that of 
 his wife, 503; on the Cortegiano, 303, 546 
 n., 369, 428, 512 n., 517, 605, 647 ; his in- 
 edited letters in the archives of Turin, 698 n. 
 — , Camillo, son of the preceding : his tomb, 
 303. 
 
 Castiglione, town, 655. 
 
 Castiglioni, Count Carlo-Ottayio, learned phU 
 
 lologer, 130 n. 
 Castor and Pollux, colossal statues of the 
 
 place Montecavallo, at Rome, 566. 
 Castrense amphitheatre, at Rome, 587. 
 Castro, village; curious abyss, 90. 
 Castrnccio Buonamico, Count, historian : his 
 
 tomb, 670. 
 
 — Castracani, sovereign of Lucca, 404, 666, 
 668 ; his tomb, 670 ; 672, 674. 
 
 Casuccini, S., of Chiusi : his museum, 655. 
 Catacombs of St. Januarius, at Naples, 469. 
 
 — of St. Sebastian, at Rome, 555. 
 Cataio, castle near Padua, 215. 
 Catechumens, hospital of the, at Turin, 703. 
 Cathedrals of— Amaifi, 487— Ancona, 431 — 
 
 Aosta, 28— Arezzo, 658 — Asolo, 154 — Asti, 
 693 — Bologna, 243 — Capua, 495 — Chiusi, 
 635— Colle, 635— Cosmo, 80— Cortona, 634 
 — Cremona, 305— Faenza, 415— Fano, 330— 
 Ferrara, 219— Fiesole, 390— Finale, 689 — 
 Florence; prize poem adjudged to it, 331; 
 description, 338— Foligno, 645— Forli, 423 
 —Gaeta, 496— Genoa, 684— Imola, 413— 
 Ivrea, 31 — Lausanne, 18— Lucca, 667 — 
 Mantua, 294— Modena, 267— Montefiascone, 
 615— Naples, 450 — Orvietto, 614 — Padua, 
 197— Parma, 275 ; its baptistry, 276— Pavia, 
 80— Perugia, 649— Pesaro, 429— Pcscia, 667 
 —Pistoja, 662 — Placentia, 309— Pozzuoli, 
 ancient temple, 474— Prato, 660— Ravenna, 
 415 — Reggio, 268 — Sarzana, 673— Siena, 
 618— Sion. 22— Spoleto, 644— Terracina 
 497— Tivoli, 599— Tortona, 692— Turin, 701 
 — Verona, 109— Ventimiglia, 691— Vicenza, 
 128— Viterbo,611— Volterra, 636. 
 
 Catherine, St.: house of her father, 623 ; ma- 
 nuscript of her letters at the library, 632 ; 
 633— chapel at Milan, 43— church at Pisa, 
 407— Venice, 184. — de' Finari, St., at Rome, 
 553— of Siena, St., idem, W—di Strada 
 maggiore, St., cburch at Bologna, 251. 
 
 Catholicism, Italian, 80 ; curious documents 
 on the attempts for the re-establishment of 
 Catholicism in England, at the Barberini, 
 569. 
 
 Cattaneo, S. Gaetano, conservator of the ca- 
 binet of medals of the library of Brera, 56. 
 
 — Danese, of Carrara, sculptor and poet 
 (16th century), 111, 159, 201,673 n. 
 
 Cattani, Don Stefano, of Novara : his philoso- 
 phical and moral maxims at the ancient 
 library of the monastery of St. John, 278. 
 
 Cattolica, village, 428. 
 
 Catullo, professor at the university of Padua, 
 195. 
 
 Catullus : supposed ruins of his house, 101, 
 102, 305, 598. 
 
 Cava, La, near Naples, 482. 
 
 Cavagno, Giovanni Paolo, of Bergamo, 
 painter of the Venetian school (17th cent.), 
 86, 87, 88. 
 
 Cavalcanti, Bartolommeo, Florentine, scho- 
 lar, orator, warrior, politician, voluntary 
 exile after the fall of his country : his tomb, 
 205. 
 
 — , Giovanni, author of a history of Florence, 
 317 n. 
 
724 
 
 INDEX. 
 
 
 Cavalleri, Cav., Piedmontese painter, 702. 
 
 Carallini, Pielro, Roman painter and mosaist 
 (14th century), 500, 537, 647. 
 
 Cavarozzi, Bartolommeo, surnamed Cre- 
 scenzi, painter of the Roman school (17th 
 century), 611. 
 
 Cavazzola, Paolo, painter of the Venetian 
 school, surnamed [he Second Paolo Vero- 
 nese (iGlli century), 412. 
 
 Cavedone, Jacopo, painter of the Bolognese 
 school (10th century), 241, 245,246, 
 
 Cavno, founder and engraver of Padua, sur- 
 named the P'-inc; of Forgers, 204 »i.,2H. 
 
 Ceccarini, sculptor, 602. 
 
 Cecco Bravo, surname of Francesco Monle- 
 latici, painierofihe Florentine school (17th 
 century), 357, 375. 
 
 Cecilia, St., church at Pisa, 407— Rome, 557. 
 
 Cecilia Metella : her sarcophagus, 580, and 
 lomb, 592. 
 
 Cecina, river in Tuscany, 640. 
 
 Cclabene, Alessio, bishop of Trebizond : 
 saves a copy of the Gospels and offers it to 
 Julius II., as a memento of the misfortunes 
 of the Greek nation, 332. 
 
 Celano, author of the Notizie del bcllo, dell' 
 anticocdel curioso della cilia di Nitpoti, 
 460. 
 
 Celesil, Cav. Andrea, painter of the Venetian 
 school (,17th century), 96. 
 
 Celestines, church at Bologna. 248. 
 
 Celibacy : embraced at Venice, towards the 
 end of the republic, by the eldest sons, 160. 
 
 Cellerier, pastor; his Discours familiers 
 d'un Pasteur de campagne, 5 ; his imita- 
 tion of Massillon, ib. 
 
 Cellini, Benvenuto, sculptor, goldsmith, and 
 Florentine founder, 43; manuscript of his 
 treatises on goldsmith's work and sculpture 
 in the library of St. Mark, 136, 238, 295, 
 296, 500, 514 n., 518; his Perseus, 519; 
 321, 323, 345, 351, 364 n.\ house in which 
 he was horn, 376, 384, 385,394. 
 
 Celsus, Julius, scholar of the 12ih century, 
 333. 
 
 Cemetery, English, at Leghorn, 413. 
 
 Cenci, La : her portrait, her prison, 568. 
 
 Cenis, mount, 706. 
 
 Cenni di Francesco di serCcnni, painter (15th 
 century), 638. 
 
 Cennini, goldsmith, 337. 
 
 — , Ccnnino, painter (I5ih century), 633. 
 
 Centa, torrent,680. 
 
 Cento, Guercino's native town: his house, 
 pictures ; sketches of his life there, 235 ; 257. 
 
 Cento Camerelle, 474, 598. 
 
 Ceppo, hospital at Pistoja, 664. 
 
 Ceraechi, Corsican sculptor: wished to finish 
 Michael Angelo's Brutus ; beheaded for 
 conspiring against Bonaparte, 323. 
 
 Cerani, sculptor, 38. 
 
 Cerano, surname of Giambatlista Crespi, 
 painter of the Milanese school ( 16th cen- 
 tury), 34, 39, 40, 42, 43, 49, 50. 
 
 Ceresa, Carlo, of Bergamo, painter of the 
 
 Venetian school ( 17lh century ), 86. 
 Ceresara. Paris, learned Mantuan, 299. 
 Cerretaui, B. Antonio, 633. 
 
 Certaldo, Boccaccio's residence, 398; taste 
 for novels popular in the country, 399. 
 
 Cerva, Giambattista della, painter of the Mi- 
 lanese school (16th century), 45. 
 
 Cervandoz, Benedictine, copyist of the Bible 
 of the 6lh century, in the Laurentian, 332. 
 
 Cervara, monastery, 675. 
 
 Cesilpino, Andrea, of Arezzo, celebrated bo- 
 tanist, 409, 636, 667. 
 
 Cesari, P. Antonio, visited by the author, 65. 
 
 Cesarotti, poet, academician of Padua, 101 
 n., 165, 197 ».; his tomb, 201. 
 
 Cesena, town, 425. , 
 
 Cesenatico, small but good port. 430. 
 
 Cesi, Bartolommeo. painter of the Bolognese 
 sehooi (16lh century), 246, 247, 249, 250, 
 254, 260, 263. 
 
 — , Pictro Donate ; erects the column of the 
 French, at Ravenna, 422 n. 
 
 Cevas, poet, 686. 
 
 Chabrol, Count : his Memoir on the gulf of 
 La Spezia,fi74 n. 
 
 Chalcondylas, Demetrius, Greek refugee : 
 his tomb and epitaph, 40 ; 388. 
 
 Challant, illustrious family of the valley of 
 Aosta, 28. 
 
 Chambers, English architect, imitator of 
 Palladio, 129.' 
 
 Chamouny, valley of : its discovery erro- 
 neously attributed to Pocock and Wynd- 
 ham,14. 
 
 Champollion, jun., 698, 701. 
 
 Chancery palace, at Rome, 579. 
 
 Chaponiere, Genevese sculptor, 6. 
 
 Charity : its establishments and philanthropic 
 institutions, 99. 
 
 — , church of, at Bologna, 247. 
 
 Charles of Anjon ; called lo the kingdom of 
 Naples, 359; his tomb, 450 ; his statue at 
 the Capitol, 523; excites an insurrection lo 
 cause Mariin IV. to be elecled pope, 611. 
 
 — VIII. : rapidity of his invasion of Italy, 
 205 ii.; 368 ; governs Rome, 366. 
 
 — , St., church at Novara, 54— Rome, 531 
 —theatre at Naples, 449 — oratory at Siena, 
 637— piazza of, at Turin, 695— a Catinari, 
 St., church at Rome, 560— allequattre Fon- 
 lane, St., church at Rome, 544— Borromeo, 
 St., church at Turin, 702. 
 
 Charles V.: his medallion, 95; his admiration 
 of the Campanile, 542 ; of ihe figures of the 
 new sacristy of St. Laurence. 347 ; 377, 549 ; 
 of Ihe aqueducts of Siena, 627. 
 
 Charni, Geoffroy de, knight of Champagne, 
 702. 
 
 Chartreuse of Florence, 396— of Pavia, 74; 
 expenses of its repairs, ibr, impressions 
 produced by it, 75; project of a new des- 
 tination, ib.— of Pisa, 410— St. Martin, at 
 Naples, 61.— of Rome, 54, 46. 
 
 Chasteler, Austrian general, interred at the 
 church of St. John and Paul, at Venice, 
 182. 
 
 Chateaubriand: the author meets him at Ge- 
 neva ; his popular fame, 7 ; his articles 
 against mountains, 15; likes the cartoon of 
 the Sdtool o) 'Athens as well as the picture, 
 55; 155 n., 229 »., 261, 281, 516; erects a 
 mausoleum to Poussin, 531; 540, 552. 
 
INDEX. 
 
 7-25 
 
 Chateauvieux, M. de, author of Lettresnou- 
 vellcs sur I'ltaiie, and of Lettres de St. 
 James, 9, 41 1 . 
 
 Chatelard, chateau of, 16. 
 
 Chaupy, abbe\ 478, 496, 598, 599. 
 
 Chenda, surname of Alfonso Rivarola, painter 
 of the Ferrarese school (17th century", 
 223. 
 
 Cherbuliez, M., bookseller at Geneva, 7. 
 
 Cheruchini, Barduccio, banker and magis- 
 trate of Florence, 542 ; his tomb, 366. 
 
 Chiabrera, Gabriele ; autograph manuscript 
 of his canzoni and of his Rime, at the Ric- 
 cardiana, Florence, 335, 476 ; his forty 
 autograph, discourses on the Passion, at 
 the Barberini, 569; 617, 686; his Latin- 
 Italian inscription, 689. 
 
 Chiaja, quay at Naples, 441. 
 
 Chiana, vale of, in Tuscany, 655. 
 
 Chiappa, S. Giuseppe del, professor at the 
 university of Pa via, 16. 
 
 Chiaravalle, church and monastery or, near 
 Milan, 71. 
 
 Chiavari, town, 674. 
 
 Chiericato, palace at Vicenza, 128. 
 
 Chiesa-nuova, at Assisi, 646. 
 
 Children of the Madonna, at Naples, 463. 
 
 Chillon, castle, 16. 
 
 Chimenti, S., professor at the Sapienza, 577. 
 
 Chinese college of Capo di Monte, 468. 
 
 Chinsica, lady of Pisa s repulses the noc- 
 turnal descent of the Saracens, 410. 
 
 Chioggia, coast of, 193. 
 
 Chiozza, war of, between Yenice and Genoa, 
 195. 
 
 Chiusa : probably the ruin mentioned by 
 Dante, 104. 
 
 Chiusi, town, 322, 653. 
 
 Choron, professor of music, 64. 
 
 Christina, queen of Sweden; bequeaths her 
 library to the Vatican, 6 ; her visit to Guer- 
 cino, at Cento, 255 ; 433 ; her tomb, 501; 
 marginal notes on different works, 532; 
 the reading of her will, 577, 578. 
 
 Christine, St., church at- Bologna, 331— Par- 
 ma, 279— Pisa, 408— Turin, 703. 
 
 Christopher, St., church at Luca, 670— Siena, 
 625— Vercelli, 52. 
 
 Chrysogonus, St., church at Rome, 538. 
 
 Church, reformed: its services, 5; its appear- 
 ance amidst the old basilics, 18. 
 
 Ciampi, professor, hellenist, 337, 409, 663. 
 
 Ciarla, Rafael I o, painter on porcelain (16th 
 century ), 435. 
 
 Cibey, the canon primicerius, sculptor, 
 673 n. 
 
 Cicciaporci palace, at Rome, 573. 
 
 Ciccione, Andrea, Neapolitan sculptor and 
 architect (15lh century), 433, 459; his 
 mausoleum of King Ladislas, 463. 
 
 Cicero: his villa, 472; site of his house at 
 Arpino, 493; his house, his tomb near 
 Gaeta, 496, 500 n., 502, 513, 527, 528 ; his 
 house at Tusculum, 604, G06. 
 Cicogna, Pascale, doge of Venice : his mau- 
 soleum, 184. 
 
 Cicognara, Antonio, clever-miniature-painter 
 (15th century), 306, 
 
 Cicognara, Count Geronimo, podesta of 
 Ferrara; buys and repairs the house of 
 Ariosto, 230. 
 — , Count Leopoldo, author of the Sloria 
 delta Scidtura,!*,^ n., 118 n., 144, 147 
 «., 148 n., 161, 164 n., 167, 169, 204 n., 
 233, 243, 342. 343 n., 344, 345, 560, 561, 
 425 «.; his library of works on art given 
 to the Vatican, 314; 581 n., 614 «., 629, 
 631. 
 
 Cicognini, Francesco, of Prato, founder of 
 the college in that town, 661. 
 
 Cignani, Carlo, Dainter of the Bologneso 
 school f17th century), 247,251,232,234, 
 283. 596, 418, 423. 
 
 — , Felice, son of the preceding, 247. 
 
 Cignaroli, of Verona, painter of the Venetian 
 school (18ih century), 86, 87, 110, 221, 
 223, 278, 281, 294. 
 
 Cigogna, Emanuele-Antonio ; his collection 
 of Venetian inscriptions, 144, 190 n. 
 
 Cigoli. surname of Ludovico Carli, painter 
 of the Florentine school (16th century), 
 316, 324, 327, 356, 538,363, 575, 579, 406, 
 633, 663, 664. 
 
 Cimabue, Giovanni-Gnaltieri, founder of the 
 Florentine school (15th century), 113, 
 164; his Madonna, 126; 128, 626; his fres- 
 cos of St. Francis of Assisi, 647. 
 
 Cimino, mountain, 609. 
 
 Cinelli Calvoli, physician and philologist : 
 materials of his Biblioteca degli Scrillori 
 fiorenlini e toscani at the Magliabec- 
 chiana, 337. 
 
 Cini, Lorenzo, painter (16lh century), 622. 
 
 Cino da Pistoja, poet, jurisconsult, 598 n., 
 662, 666. 
 
 Cinque-Canali, fountain of Piombino, 641. 
 
 Cioli, Valerio, Tuscan sculptor (16th cen- 
 tury), 533. 
 
 — , di Seltignano, Rafaello, called Giovanni, 
 sculptor, 636. 
 
 Cipala, village near Mantua, 298. 
 
 Cippus of Lucius Atimetus, 508. 
 
 Cipriani, painter of Pistoja (18th century), 
 663. 
 
 Circus, the great, at Rome, 591. 
 
 Citadel of Alexandria, 693— Gaeta, 496— 
 Mantua, 298— Spoieto, 644. 
 
 Cittadella, palace at Placentia, 309. 
 
 — , smalltown, 132. 
 
 Civerchio, orVerchio, the elder, ofCremera, 
 painter of the Milanese school (16th cen- 
 tury), 44, 94. 
 
 Civita-Castellana, town, 642. 
 
 Civitali, Matteo, clever sculptor and archi- 
 tect of Lucca (14th century), 667, 668; 
 his tomb, 670, 672, 684. 
 
 — , Nicolao, Lucchese sculplor, nephew of 
 the preceding, 669. 
 
 Civitella d' Arm. village near Perugia, 649. 
 
 Clair, St., church and convent of Assisi, 646 
 — at Naples, 457. 
 
 Clarac, Count, author of the Musie de sculp- 
 ture ; his explanations of the basso-relievos 
 in the Tnrriani mausoleum, 112 n. 
 
 Clarens, village, 16. 
 
 Classe, ancient town near Ravenna, 421 . 
 
 61. 
 
726 
 
 INDEX. 
 
 Claude, French glass-stainer (16th century), 
 550. 
 
 Claudius, 540. 
 
 Clement, St., church al Brescia, 99— oratory 
 at Florence, 352— church at Padua, 206— 
 Rome, 537— island near Venice, 193. 
 
 Clementi, Prospero, sculptor, of Reggio (16th 
 century), 269, 276 ; his tomb of the hishop 
 Giorgio Andreasi, at Mantua, 293. 
 
 Cleomencs, Greek sculptor : his Venus, 326. 
 
 Clergy, Italian, their propriety and good 
 sense, 75 ; diminution of, at Venice, 169 ; at 
 Naples, 458 n. 
 
 Clerks of the Mother of God, an educational 
 congregation at Lucca, 669. 
 
 Clitumnus, river : temple of Clitumna, 643, 
 644. 
 
 Cloaca Maxima, at Rome, 590. 
 
 Closing of the churches in Italy ; its incon- 
 veniences, 50. 
 
 Clotilde, queen of the Frank*; ancient gale 
 of her palace at Geneva, 5. 
 
 Clovio, DouGiulio, miniature painter of the 
 Florentine school (16lh century), 115, 513. 
 
 Coccaglio, mountain, 90. 
 
 Coccajo, Teofilo Folengo, surnamed Merlin, 
 first of the macaronic poets ; his mauso- 
 leum, 132; 298. 
 
 Coccapani, painter, 370. 
 
 — , Camillo, celebrated professor of belles- 
 lettres, 268. 
 
 — , Ludovico, governor of Modena, 268. 
 
 Cocchi, Antonio, celebrated physician and 
 antiquary, 193; his tomb, 356, 382, 412. 
 
 — , first librarian of the Magliabecchiana : 
 his systematic catalogue, 336. 
 
 Coccianiga, Francesco, painter of the Flo- 
 rentine school (18th century). 432. 
 
 Cockerel!, English architect : nis conjecture 
 on the destination of the group of Niobe", 
 322. 
 
 Cocomero, theatre at Florence, 381. 
 
 Coffee-houses of Rome, 562. 
 
 Cogoleto, village, pretended birthplace of 
 Columbus, 688. 
 
 Comdet, doctor, possessor of the MS. of 
 Emile, 7. 
 
 Cola, Gcnnaro di, painter of the Neapolitan 
 school (14th century), 463. 
 
 Colantoni del Fiore, Neapolitan painters 
 (45th century), 445, 447, 453, 462. 
 
 Coliseum of San Germano, 493 — Puzzuoli, 
 472— Rome, 521 ; by moonlight, 522. 
 
 Colizzi, professor, director of (he Pio college, 
 at Perugia, 652. 
 
 Colle, town, 655. 
 
 College Bclluzzi, at San Marino, 427— Bor- 
 romeo, at Pa via, 77— Caccia, atPavia, ib. — 
 Carlo Lodovico, at l.ncca, 671— Cicognini, 
 at Pralo, 661— Flemish, at Bologna, 260— 
 Ghislieri, at Pavia, 77 — Forteguerri, orSa- 
 pienza, at Pistoja, 6C6— German, at Rome, 
 507— Lalatta, at Parma, 585— Military, at 
 Milan, 59— of the Nobles, at Parma, 585— 
 of Patina, called the Seminary; its printing- 
 office and library, 209 — Pio, at Perugia, 
 632— Roman, 551— Spanish, at Bologna, 260 
 — Tolomei, at Siena, 622. — Venturoli, at 
 Bologna, 260. 
 
 Collenuccio, Pandolfo, historian and dra- 
 matic poet strangled in his prison as an 
 agent of Borgia : his manuscripts at the 
 library of Pesaro, 429. 
 
 Colleone, Geronimo, of Bergamo, painter ol 
 the Venetian school (16th century), 87. 
 
 Colleoni, one of the founders of (he art of 
 war in Europe; his chapel and mausoleum 
 at Bergamo, 87; his Colonnade of the piazza 
 of St. Peter's, 499; statue at Venice, 183. 
 
 Colloredo, palace at Mantua, 299. 
 
 Colognola, near Verona, abode of Bonfadio, 
 125. 
 
 Colombini, St. John, founder of the order of 
 theGesuati, 220, 663 «• 
 
 Colonia, on the lake of Cosmo : its Greek 
 origin, 82. 
 
 Colonna, Antonio, architect, 299. 
 
 — , Michele, painter of the Bolognese school 
 (17th century), 244, 245, 247, 230, 256, 280. 
 
 — , Fra Francesco, author of the romance of 
 Hypnerotomachia, 549. 
 
 — , Cardinal Giovanni ; his spirited and hu- 
 morous expression to Pope Benedict XII. 
 on the superiority of Italy, 616 n. 
 
 — , village near Palestrina, 600. 
 
 — , Vittoria,456, 479. 
 
 — palace, at Rome, 366. 
 
 Colorno, palace near Parma, 274, 275, 288. 
 
 Columbus, Christopher, native of the city of 
 Genoa, 342, 626, 688. 
 
 Column of Antoninus, at Rome, 564— of the 
 French, near Ravenna, 422— of Phocas, 523 
 —Trajan's, 564. 
 
 Columns of the temple of Jupiter Stator, 523. 
 
 Comaschi. Giambattista, learned juriscon- 
 sult, 309 n. 
 
 Comelli, Mme., singer, 64. 
 
 Comines, Philippe de : no partizan of con- 
 gresses, 119; admires the Venetian govern- 
 ment, 192; praises Cosmo de' Medici, 345. 
 
 Comino, Giuseppe, of Trevisa, sculptor (17th 
 century), 140, 207. 
 
 Communita, palace della, at Pistoja, 666. 
 
 Como, Guido da, sculptor (13th century), 663. 
 
 Comolli, professor, Piedmontese sculptor, 
 83, 276. 
 
 Compare, Pietro, friend of Pontanus : his 
 mausoleum, 453. 
 
 Gonca, Jacopo, painter, 54. 
 
 — , P., librarian of the convent of St. Phi- 
 lip of Neri, at Rome, 553. 
 
 — , Sebasliano, painter of the Roman school 
 (17th century). 408, 458, 538, 555, 621,665. 
 
 Conception, the, church at Siena, 623. 
 
 Conches, near Geneva, 2. 
 
 Condamine, M. de la : endeavours to make a 
 scratch on the Sacro Calino,-684 
 
 Conde', the great, at the siege of Dole, 2. 
 
 CoDdillac, 271. 
 
 Condivi, biographer of Michael Angelo, 378, 
 503 n. 
 
 Condottieri : their collusive campaigns, 203, ; 
 417; Iheir fatal influence on Italian cou- | 
 rage. 620. 
 
 Conegliano, small town, 139. 
 
 — , surname of Giambattista Cima, painter of 
 the Venetian school (16th century), 61, 
 127, 139, 171, 178,184, 183. 
 
INDEX. 
 
 727 
 
 Gonfigliacchi, professor at the university of 
 
 Pavia, 46. 
 Confraternities of Venice : their splendid 
 
 palaces, 177. 
 Gonradin ; his tomb, 464 ; column erected on 
 
 the place of his execution, ibid. ; 496. 
 Consalvi, cardinal : his tomb, 552, 349. 
 Conservators of Rome, 527 n. 
 Conservatory at Naples, 449. 
 Consolata, church at Turin, 702. 
 Consolation, hospital of, at Rome, 584. 
 Conspiracies, republican, against popular 
 
 chiefs, fatal to liberty, 542. 
 Constantia, St., church at Rome, 547. 
 Constantin, M., painter on porcelain, 572 n. 
 Consults, palace, at Rome, 567. 
 Contabilita, palace at Milan, 57. 
 Contarini,Alessandro, procurator of St. Mark, 
 
 his mausoleum, 201 . 
 — , Cav. Giovanni, Venetian painter, 150, 
 
 202, 565. 
 
 — palace at Venice, 165. 
 
 — , ancient Venetian family : etymology of 
 
 their name, 161 n. ; their chapel, 185. 
 Contavalli, theatre at Hologna, 239. 
 Contestabili, S., painter of Volterra, 658. 
 Conti, Francesco, painter of the Florentine 
 
 school (18th century), 545. 
 — , Giovanni Maria, painter of the Parmesan 
 
 school (17th century), 278. 
 — , deputy-professor at the university of 
 
 Padua, 193. 
 Conti-Crespi, palace at Ferrara, 252. 
 Contucci, P., augmented the museum of P. 
 
 Kircher, 552. 
 
 — da Sansavino, Andrea, Florentine sculptor 
 (15th century), 344, 455, 550, 552, 684. 
 
 Convenevole da Pralo, grammarian, Pe- 
 trarch's first master ; compares King 
 Robert to Jesus Christ, 557. 
 
 Convents of women, at Rome, 545. 
 
 Conventuals, Minor, of St. Francis, their 
 convent at Cortona, 654. 
 
 Convertendi, palace de', at Rome, 582. 
 
 Cooper, the American Walter Scott, 484. 
 
 Coppa, Cav, Antonio-Giarola, of Verona, 
 painter of the Venetian school( 17th century), 
 414. 
 
 Coppet, 2 ; its chateau, 14. 
 
 Coppi, Jacopo, painter of the Florentine 
 school (16th century), 248. 
 
 Corazzi, P. Ercole, oiivetan monk, mathe- 
 matician, 230. 
 
 Cordellina, palace at Vicenza, 128. 
 
 Cordes, Euibichius, of Antwerp, one of the 
 fathers of the Council of Trent, friend of 
 the arts, 207. 
 
 Cordiei^Nicolao.surnamedFranciosino, sculp- 
 tor of Lorrain (16th century), 556. 
 
 Corenno, on the lake of Cosmo ; its Greek 
 origin, 82. 
 
 Corenzio, Belisario, Greek, painter of the 
 Neapolitan school (17th century), 431, 455, 
 459, 462, 466. 
 
 Cori, the ancient Cora : its temple, 498. 
 
 Corilla Olimpica, surname of Maddalena 
 Morelli Fernandez, improvisatrice : her 
 laurel cpnsecrated to the image of the 
 Madonna, 664. 
 
 Cori Paltoni, Mrae., singer, 64. 
 Cornacchini, Agostino, sculptor of Pistoja 
 
 (17th century), 500, 664. 
 Cornara, Carlo, painter of the Milanese 
 
 school (17th century) ; his daughter, 47. 
 Cornario Piscopia, Helena Lucrezia, learned 
 
 lady, Benedictine, doctor in philosophy of 
 
 the university of Padua,495 ; her tomb,208. 
 Cornaro, queen of Cyprus, remains of her 
 
 ancient residence, 154; curious painting 
 
 of her, 155. 
 
 — chapel at Venice, 178 ; mausoleums of the 
 family, ibid. 
 
 — , Count Ludovico, author of the vita so- 
 bria, friend of the great architect Falco- 
 neto, practises his book and lives to the 
 age of ninety-nine, 215. 
 
 Corner.della Ca grande, palace at Venice, 163. 
 
 — Regina, idem, 1 63. 
 
 Cornigliano, bridge of, near Genoa, 688. 
 
 Corona, Leonardo, of Murano, painter of the 
 Venetian school (16th century), 175, 178,. 
 480. 
 
 — , Santa, church at Vicenza, 128. 
 
 Corpus Domini, or La Santa, church at 
 Bologna, 248— Ferrara, 224— Turin, 702. 
 
 Corradi, Bernardino, general, politician and 
 great scholar : his tomb, 303. 
 
 Corradini, Venetian sculptor (18th century), 
 434. 
 
 Correggio, surname of Antonio Allegri, pain- 
 ter of the Parmesan school (16th century), 
 42, 241, 271,275, 274; his Assumption of 
 the cupola at Parma, 277, 278, 279; his 
 frescos of the ancient convent of St. Paul, 
 282; 284, 526, 419, 446, 447, 520, 551, 572, 
 602,670,680. 
 
 Corridor across Florence, 584. 
 
 Corsini, palace at Florence, 572— Rome, 577. 
 
 Corso, of Perugia, 650— Rome, 561.—, por- 
 tico of the, at Siena, 627 — theatre, at Bo- 
 logna, 259. 
 
 — , Giovanni Vincenzo, painter of the Neapo- 
 litan school (16th century), 455. 
 
 Corte imperiale, ancient ducal palace of 
 Mantua, 291. 
 
 Cortona, town, 655. 
 
 Corvetto. minister : his tomb at Nervi, 675. 
 
 Corvi, Domenico, painter of the Roman 
 school (18th century), 451. 
 
 Corvin, Matthias, 57, 265, 515. 
 
 Cosimo, P., Jesuit, painter, 555. 
 
 Cosmate, Giovanni, Roman sculptor (14th 
 century), 503, 541,550. 
 
 Cosme, surnamed Cosmo Tura, painter of 
 the Ferrarese school (15th century), 218, 
 220, 227. 
 
 Cosmo, duke of Tuscany, surnamed the father 
 of his country: his imprisonment, 316 ; his 
 tomb, 545. 
 
 — , town of, 80. 
 
 Cossa, Baltassare, pirate, general, poet, and 
 pope under the name of John XXII.; his 
 tomb in the baptistry of Florence, 344 
 572,456., ' 
 
 — , Briseis, widow Of a Parmesan gentleman, 
 
 Cossale, or Cozzale, of Brescia, painter of 
 
728 
 
 INDEX. 
 
 the Venetian school (17th cenlury), 96, 
 
 98, 99. 
 Cossali.Pietro, academician of Padua, 197 m. 
 Cosselli, singer, 259, 584, 683. 
 Costa, Giovanni, modern Latin poet, of 
 
 Asiago, 134. 
 — , Giambattista, painter ( 17lh century), 34. 
 — , Professor Paolo, of Bologna, 243 n. 
 — , Ippolito, painter of the Mantuan school 
 
 ( 16ih century ), 297. 
 — , Lorenzo, painter of the Mantuan school 
 
 ( 16th century ), 242, 293. 296, 297, 302. 
 — , Ludovico, idem, 293, 297. 
 Costaguti, palace at Rome, 373. 
 Cotignola, Francesco Marcliesi, or Zaganelli 
 
 da, painter of the Bologncse school (16th 
 
 century ), 279, 418. 
 — , Bernardino, painter, 79. 
 — , Geronimo Marchesi da, painter of the 
 
 Bolognese school (16th century ), 429. 
 Council of Ten, their hall at Venice, 131 ; 
 
 their archives nearly destroyed, 183. 
 Coupin, M. P. A. : his anecdote of David, 
 
 273 n.; editor of the posthumous works of 
 
 Girodet, 571 n. 
 Courayer, P. Le, French translator of Fra 
 
 Paolo's History of the Council of Trent, 
 
 136. 
 Courier, Paul-Louis: his blot of ink on the 
 
 Long us of the Laurenlian, 329, 576, 611. 
 Courtesans of Venice, 189— Roman, 536. 
 Cousin, Professor V., 53 »., 134 n. 
 Cowper, Lord Nassau Clavering, at the head 
 
 of the subscription for Machiavel's tomb, 
 
 333. 
 Cozzarelli, Benedetto, sculDtor and founder, 
 
 629. 
 — , Guidoccio, architect (loth century ), 621. 
 — , Jacopo, sculptor and painter of the school 
 
 of Siena ( 15th century ), 623. 
 Cradle of the King of Rome, at Parma, 283. 
 Cre'billon ; house where born, at Dijon, 1 . 
 Credi, Lorenzo, painter of the Florentine 
 
 school ( I5ih century), 340, 379, 662. 
 Cremera, river, 608. 
 Cremona, town, 505, 
 Cremonesi, surname of Giuseppe Caletti, 
 
 painter of the Ferrarese school (17th cen- 
 tury), 221. 
 Cremoni, Pietro, Milanese architect (18th 
 
 century ), 624. 
 Crescenlini, professor at the conservatory of 
 
 Naples, 450. 
 Crescenzi, painter. See Cavarozzi. 
 Crescenzio di Mario, Sienese sculptor, 619. 
 Crescimbeni, Mario, historian, 556. 
 Crespi, Daniele, painter of the Milanese 
 
 school (17ih century), 34, 40, 41,44, 48, 
 
 73, 80; his frescos at the Charterhouse of 
 
 Garignano, 70. 
 — , Cav. Giuseppe, called Spagnnolo, painter 
 
 of the Bolognese school (17lh century), 
 
 87,245. 
 — , Ludovico, painter of the Bolognese school 
 
 ( 18th century), 311. 
 Crest, castle inhabited by Agrippad'Aubigne, 
 
 4. 
 Creti, Cav. Donato, painter of the Bologuese 
 
 school ( 17th century), 244. 
 
 Crevola, its bridge, 27. 
 
 Cricoli, villa Tressino, near Vicenza, 129. 
 
 Crillon, dukede, peer of France, 702. 
 
 Crispi, Cav. Giuseppe, painter, 603. 
 
 Cristina, St., church at Bolsena, 613. 
 
 Cristoforis, gallery at Milan, 57. 
 
 Cristoforo Romano, sculptor : finished the 
 
 mausoleum of the duke Giovanni Galeaso 
 
 Visconti, 73. 
 Crito, Athenian sculptor, 597. 
 Crivelli, house of, 71 . 
 — , Taddeo, miniature painter, 265. 
 — , painter of Spoleto (16lh century), 644. 
 — , Signora, 381. , 
 Cioce, Baltassare, painter of the Bolognese 
 
 school (46th century), 611. 
 
 — Giulio Cesare, poet of the 16th century, 
 237. 
 
 — , alia, gate, at Florence, 384. 
 
 — , Santa, church at Florence, 195, 332, 538, 
 
 343, 353— at Padua, 207— Turin, 703— Vi- 
 cenza, 129— al Mercato, at Naples, 467— in 
 
 Gerusalemme, at Rome, 540. 
 Croma, surname ol Giulio Cromcri, painter 
 
 of the Ferrarese school (16th cenlury), 
 
 223. 
 Cronaca, Giambattista, Venetian painter (18lh 
 
 century), 316, 363 ; his entablature of the 
 
 Strozzi palace, 372, 396. 
 Crosato, Giambattista, Venetian painter 
 
 (18lh century), 693. 
 Cross of Malta, inn at Milan, possessing some 
 
 rare frescos ol Bernardino Luini, 43 n. 
 Crown, the iron, real curiosity of Monza, 73. 
 Crucifix de' Bianchi, Holy, church at Lucca, 
 
 668. 
 — , speaking, 246. 
 
 — carried by the Sienese at the battle of 
 Monte-Aperto, 620. 
 
 Crusaders, Genoese : their cuirasses sold, 
 678. 
 
 Crusca, Academy della. 568. 
 
 Cugini, N., architect of Reggio (18lh cen- 
 tury), 270. 
 
 Cuins, 473. 
 
 Cungi da Borgo S. Sepolcro, Pietro, painter 
 637. 
 
 Curia, Francesco, painter of the Neapolitan 
 school (16lh century ). 451, 463. 
 
 Currado, Francesco, painter of the Floren- 
 tine school (16th century), 524, 538, 549, 
 362, 408, 636, 637. 
 
 Curtalone, near Mantua, 502. 
 
 Curtius, Lincinus, poet, pupil of Giorgio 
 Merula ; erects his master's tomb and writes 
 his epitaph, 44. 
 
 Curloni, Domenico, architect, nephew of San 
 Micheii, 117. 
 
 Cusani, house of, at Milan, 57. 
 
 — palace, at Parma, 284. 
 
 Cuslode : clever in explainingpictures, 561. 
 
 Custom-house of Bologna, old church of the 
 Minorite Friars of St. Francis, 260— of 
 Genoa, 676— of Mantua, once a Carmelite 
 convent, 301 —of Rome, formerly a temple, 
 564— Verona, 118. 
 
 Cuvier, Baron, his Rerherches sur les osse- 
 mentsfossiles, 127 n. 
 
INDEX. 
 
 729 
 
 Cypresses, being numerous, lose their fune- 
 real character in the Veronese, as in 
 Greece, 126. 
 
 D. 
 
 Dalmasio, Lippo, surnamed of the Madonna, 
 painter, Boiognese school (14lh century), 
 249, 250, 252, 262. 
 
 Dalmazio, San, church at Turin, 702— con- 
 vent at Vollerra, 658. 
 
 Damian, St., church al Assisi, 648. 
 
 Damini, Pietro, of Castelfranco, painter of 
 the Venetian school (17th century), 134, 
 159, 199, 200, 205, 206,211. 
 
 Dandini, Cesare, painter of the Florentine 
 school (17th century), 432. 
 
 — , Ottaviano, idem (18th century), 543. 
 
 — , Pietro, idem (17lh century), 349,551, 
 362, 363, 407. 
 
 — , Vincenzo, idem (17th century), 362, 
 370. 
 
 Dandolo, Enrico, doge of Venice, conqueror 
 of Constantinople, 179. 
 
 — , Andrea, doge, historian, friend of Pe- 
 trarch : his tomb, 146. 
 
 Daniel, St., his tomb, 198. 
 
 — , church at Padua, 205. 
 
 Dante Alighieri, 54, 69. 104, 105, 106, 107; 
 incidents with a blacksmith and a mule- 
 teer who niutilateJ his verses in singing 
 them, 107; ids poems accompanied with 
 music and dancing, ibid.; his thesis on land 
 and water, maintained in a church, 111 ; 
 his residence at Gargagnago, 120; 124. 155, 
 187, 204 n., 210, 240 ; his Divina Commedia, 
 248; quitted, 261 ; 265, 280, 294, 504, 306, 
 313 n., 314 «., 517, 322; his letter, refusing 
 to return to Florence, 329 ; superior to his 
 time, 350 ; hisporlrait, ibid.; his answer to 
 the inquisitor of Florence, 334; quatrain 
 and anecdote, ibid. ; 340, 542; stone bench 
 used by him at Florence, 345 ; his new ce- 
 notaph al Santa Croce, 555; 337 n., 358, 
 365, 569, 389 «., 4C6, 410, 418; his tomb at 
 Ravenna, 419; editions of his works dur- 
 ing the four last centuries, 420 n., 422, 429, 
 455, 448, 449, 457, 504, 505, 509 ; manu- 
 script of the Divina Commedia in Boccac- 
 cio's handwriting, 515 ; 534, 616, 617, 620, 
 621, 626, 630, 632, 655, 640, 645, 646, 647, 
 630, 654, 656, 660, 673, 675 ; the Inferno 
 translated into French verse iu the 15th 
 century, 698 ; 706. 
 
 Danti, P. Ignatius, Dominican, mathemati- 
 cian and astronomer, 242, 559 ; his geogra- 
 phical maps, 518. 
 
 — , Vincenzo, sculpior of Perugia (16th cen- 
 tury), 319, 344, 650, 661. 
 
 — , Giulio, architect ( 16th century ), 645. 
 
 Dario palace, at Venice, 161. 
 
 Darn, P., author of the History of Venice, 
 152, 161 «.; his Notions statistiques nul- 
 la librairie, 166 n.;169 n.\ 172 n.; 182 n.\ 
 186, 192, 195 n. 
 
 Dati, Goro, historian, 314. 
 
 Dauphin, Cav. Charles, French painter 
 ( 17th century ), 702, 
 
 Davanzati, Mariotta, one of the competitors 
 
 for the prize offered for a poem on True 
 Friendship, 331, 652. 
 
 David, French painter: impression made on 
 him by the frescos of the cupola at Parma, 
 275 ; his paintings at the church of St. 
 Andrew of the Jesuits' Noviciate, at Rome, 
 545. 
 
 David, father and son, singers, 89. 
 
 Davila, historian and warrior, murdered, 
 124 ; his tomb discovered, ib. 
 
 Deani, Marco-Antonio, Franciscan ; his tomb, 
 101. 
 
 Death, confraternity of, at Chiusi, 653. 
 
 — , church of, at Viterbo, 611. 
 
 Debret, M., French architect, editor of the 
 works ol Vignola, 609 n. 
 
 Deede, Baroness Louisa ; her tomb by Ca- 
 nova, 203. 
 
 Defend, Marchioness, letters of, 11 n. 
 
 De Gerando, M., receives a markof acknow- 
 ledgment from the city of Perugia, for 
 having contributed to extend the course 
 of instruction at the university, 631. 
 
 Degola, the R. P., one of the librarians of the 
 Casanatense, 551. 
 
 Dei, English painter, 571 . 
 
 Delarive, professor at Geneva : gives gra- 
 tuitous lectures on chemistry as applicable 
 to manufactures, shortly after having 
 been first syndic, 2. 
 
 Delaroche, painter of the French school, 638. 
 
 Delaunay, Mile., Duverney's eulogium of, 
 237. 
 
 Delavjgne, M. Casimir, 251, 468, 472. 
 
 Deleclnse, translator ol Luigi da Porto's 
 novel of Romeo and Juliet, 106. 
 
 Delfico, Melchiore : his Memorie storiehe 
 delta Repiibblica di San Marino, 426 ».; 
 473 «., 
 
 Delille, Jacques, 12, 462. 
 
 Demarini, good comedian, 66. 
 
 Demidoff, M., Russian : his actors at Flo- 
 rence, 582 ; his modern villa, now a silk 
 factory, 591. 
 
 Demin, M. Joseph, fresco painter, 137,159, 
 213. 
 
 Denis, Fra Nestor, first author of a dictio- 
 nary, 33. 
 
 — . the P., Petrarch's master, confessor, and 
 friend : believed in judicial astrology, 287. 
 
 Denti, Asdente de', aslrologicai cobbler, 280. 
 
 Denlone, Antonio, painter of the Bolognesc 
 school (17lh century), 183, 247, 252. 280. 
 
 Desaix, general : his tomb at the church of 
 the Great St. Bernard, 27, 692. 
 
 Descartes : his Meditations, and nearly all 
 his works, still in the Index, 551. - 
 
 Deschamps, M. Emile; his translation of 
 Shakspeare's Romeo and Juliet, 106. 
 
 Desgotti, painter, 699. 
 
 Desiderio da Settignano, Tuscan sculptor 
 (15th century), 521, 345; erected the tomb 
 ofMarsuppiui, 336; 562. 
 
 Desmarais, the late, French painter, died in 
 Italy. 666. 
 
 Desmoulius, Gujart, French writer of the 
 13lh century, translator of Peter Comes- 
 tor's Scholaslica Historia, 569. 
 
 Devil, palace of the, at Mantua, 299. 
 
730 
 
 INDEX. 
 
 Devonshire, duche99 of : presents a copy of 
 her Virgil to the library of Mantua, 293. 
 
 Diderot : gives Rousseau a good hint for 
 his Essay, 516. 
 
 Didier, abbot of Monte Casino, afterwards 
 Pope Victor III., 488. 
 
 — , St., ancient church at Pistoja, 663. 
 
 Diecimo, village in the duchy of Lucca, 
 C69. 
 
 Dielai, surname of Giovanni Francesco, 
 painter of the Ferrarese school (16th cen- 
 tury) ; his tomb, 223, 233. 
 
 Dijon, distinguished for its learning, 1 ; pro- 
 gram of its Academy on the effects of the 
 revival of arts and sciences, ib. 
 
 Dimesse, church of Padua, 207. 
 
 Dino di Tura, burlesque poet, 383. 
 
 Dionisi, canon of Verona, 116 n. ; 330 n. 
 
 Dioscorides of Samos, mosaist of antiquity, 
 445. 
 
 Dioli Salvi, architect of the baptistry of Pisa 
 (12th century), 402, 408. 
 
 Diotti, Giuseppe, painter, 61, 100, 300. 
 
 Diplovatazio, Thomas, Greek jurisconsult : 
 his manuscripts at the library of Pesaro, 
 429. 
 
 Docciola fountain, at Vollerra, 638. 
 
 Dolce, historian, 652 n. 
 
 Dolci, Carlo, painter of the Florentine school 
 (17th century), 253,323; his poetry, 572; 
 574, 661 , 679, 680. 
 
 Dole, military anecdote of its capture, 5. 
 
 Dolfini, Andrea, tomb of, 178. 
 
 — palace, at Trevisa, 143. 
 
 Domaco, near the lake of Cosmo : the women 
 of the adjoining mountain dressed like 
 Capuchins, and called frale, 83- 
 
 Domenici, Domenico, bishop of Brescia: his 
 tomb, 96. 
 
 Domenico, of Bologna, painter of the Bo- 
 lognese school (16th century), 307. 
 
 Dominican nuns of Rome, 544. 
 
 Dominiconi, actor, 66. 
 
 Dominick, St., church at Ancona, 432— Bo- 
 logna, 248— Brescia, 97— convent at Cor- 
 tona, 654— church at Cremona, 306— at 
 Ferrara, 221— (Major, St.), at Naples, 454— 
 at Perugia, 649— at Pistoja, 663— at Prato, 
 661— at Ravenna, 417— at Siena, 625— at 
 Spoleto, 644— at Turin, 703— at Vicenza, 
 129-obelisk of, al Naples, 436— and St. 
 Sixtus, church at Rome, 544. 
 
 Dominici, Francesco, of Trevisa, painter of 
 the Venetian school (16th century), 140. 
 
 Domenichino, painter of the Bolognese school 
 (16th century), 60; his Martyrdom of St. 
 Agnes ; his Madonna of the Rosary, 240 ; 
 278 W., 324, 574, 419, 430, 447, 451 ; his 
 communion of St. Jerome, 519; 529, 556, 
 543, 544, 546, 547, 551, 554, 537, 539, 560, 
 565,567, 572, 575, 603; his chapel of St. 
 Nilus, at Grotta Ferrata, 604; 603, 637, 
 670, 679, 680, 689. 
 
 Domo d'Assola, 23. 
 
 Donasso, village, 28 n. 
 
 Donatello, Florentine sculptor (1 5th century), 
 57, 168, 200, 20! ; his Gattamelata, 203, 
 205,213,220; his Judith, 519; 540; his 
 
 Zuccone, 342, b44, 346, 336 ; his St. George, 
 358; 360, 361, 364, 570, 571. 384, 397 ; his 
 mausoleum of Cardinal Brancaccio, 459 ; 
 615,619,621,660,660. 
 
 Donato, Marcello, Mantuan botanist : his 
 tomb, 296, 
 
 — , San, villa near Florence, 391. 
 
 Donatus, St., church at Bologna, 246— at Ge- 
 noa, 686— called the Duomo of Murano, 
 church near Venice, 191. 
 
 Dondi dall' Orologio, Lucrezia , assassinated 
 in the night, victim of her virtue, 212. 
 
 Dondo of Mantua, Ludovico, painter (16th 
 cenlury), 625. 
 
 Doni, Adona, painter "of the Roman school 
 (16th century), 648. 
 
 Doni, Giambattista, scholar of the 47th cen- 
 tury, 609 n. 
 
 Donizzon, monk, author of the poem on the 
 countess Matilda, 406. 
 
 Donna Regina, church at Naples, 452. 
 
 Donnini, Gerouimo, painter of the Bolognese 
 school (17th century), 241. 
 
 Donzclli, Pietro and Ippolito, painters of the 
 Neapolitan school (15th century), 456. 
 
 Doppet, a physician, afterwards a general, 
 8n. 
 
 Doria, Andrea : his palace at Genoa, 681 ; 
 his tomb, 686 ; 690. 
 
 — palace, at Rome. 565. 
 
 — villa, at Pegli, 688. 
 — , river, 28, 704. 
 
 Durigny, Louis, Parisian painter (17th cen- 
 tury), Venetian school, 443. 
 
 Dosio, sculptor, 560. 
 
 Dossi, Giambattista, his tomb, 222. 
 
 Dossi Dosso, painter of the Ferrarese school 
 (16th century), 87,218, 221, 223,264, 297, 
 529, 565. 
 
 Dotto, Vincenzo, of Padua, architect (16th 
 century), 211. 
 
 Dulcino, Fra, chief of the sect of the Gazzari, 
 54. 
 
 Dumont, of Geneva, 9. 
 
 Duomo, an old church at Bergamo, 86— the 
 new and old, at Brescia, 96— of Guastalla, 
 289— of Milan, its description, 39; view 
 from its summit, 40— of N'uova, 33— of Pa- 
 dua, 197— of Pisa, 401— of Salerno, 485— of 
 Trevisa, 140— of Vercelli, 32. 
 
 Dnpaty, the president, 680. 
 
 Duprez, M , singer, 64, 683. 
 
 Durand, Guillaume : his Rationale, 196 ; his 
 tomb, 530 ; 698. 
 
 Duras, duchess of, 692. 
 
 Durazzo, s. Jacopo Filippo, palace of, at 
 Cornigliano, 688. 
 
 — palace (Marcel), at Genoa, 678. 
 
 — palace (Filippo), at Genoa, 679. 
 
 Durer, Albert, painter of the Dutch school 
 (loth century), 88. 159, 163, 232, 525 ; his 
 Misers, 565 ; 578, 611, 678, 679, 702. 
 
 Durini palace at Milan, 57. 
 
 Duval, Valentin Jainery", 384. 
 
 Duverney : his eulogium of Mile. Delaunar, 
 257. 
 
 Dow, Gerard, painter of the Dutch school 
 (17th century), 695. 
 
 Dragonaria, Grotta delta, 474. 
 
LNDKX. 
 
 754 
 
 Duca, Jacopo del, Sicilian architect, 527. 
 
 Ducal palace, at Genoa, 678. 
 
 Ducci house, at Vol terra, 638. 
 
 Duccio della Buoninsegna, painter of the 
 Sienese school (14lh century), 618, 619. 
 
 — , Giovanni, archbishop of Coron ; his tomb 
 at Brescia, his native place, 93. 
 
 Duchino, surname of Camillo Landriani, 
 painter of the Bolognese school (17th cen- 
 tury), 47. 
 
 Dukes of Burgundy, John Fearnought and 
 Philip the Bold ; llieir tombs at the mu- 
 seum of Dijon, 1 . 
 
 E. 
 
 Earthenware manufactory at Faenza, 413. 
 
 Eckel, learned antiquary, 327. 
 
 Edesia, Andrino d', of Pavia, painter of the 
 
 Milanese school (14th century), 79. 
 Education, French, of women in Italy, 469. 
 Egeria, valley of, 591. 
 Egidio, Sant', church of Mantua, 297. 
 Egnazio, Battista, of the Aldine Academy,166 
 
 n. 
 Einelli, clever sculptor of Carrara, 566. 
 Elba, isle of, 437. 
 
 Elci, Cav. Angelod'; his collection of the 
 first editions of the Greek and Latin clas- 
 sics bequeathed to the Laurentian, 332. 
 Elementary instruction at Rome, 583. 
 Emblems, pagan, mixed with Christian sym- 
 bols, 277. 
 Emile, Rousseau's; its condemnation, 3; the 
 manuscript in the possession of Dr.Coindet, 
 of Geneva, 7. 
 Emo, Angelo, Venetian admiral ; his mauso- 
 leum, 187; his character, 188. 
 Empoli, Jacopo Clementi da, painter of the 
 Florentine school (16lh century), 520, 327, 
 545, 549. 331 , 537, 377, 406, 634, 663. 
 Encyclopedic, the, in a convent of Fran- 
 ciscans, 311,- reprinted at Lucca, 672. 
 Engelberge, empress ; her autograph rsalce- 
 rium at the library of Placentia, 509; her 
 monument at the church of St. Sixtus, 310. 
 England, present royal family of, descended 
 
 from the house of Este, 221. 
 English in Italy, 29. 
 
 Enrico of Pistoja, sculptor (1 5th century), 666. 
 Entella, river, 675. 
 Enzius, king, nalural son of Frederick II. ; 
 
 his tomb, 250 ; his tomb, 253. 
 Epicuro, Anlonio, of the Neapolitan academy, 
 
 458. 
 Epilaph, political, of a French emigrant, 208. 
 Epomeus,exlinctvolcanoinlheisle of Ischia, 
 
 474. 
 Equicola, Marius, hislorian of Man!ua: his 
 
 inscription, 304. 
 Erasmus : his singular interview in England 
 with Ludovico Canossa, 117 n. ; his inge- 
 nious passage on literary labour, with res- 
 pect to the proverb Hcrculei labores, 289. 
 Erasmus, St., church at Bergamo, 87. 
 Erba Odescalchi, palace at Milan, 37. 
 Escalade, nocturnal, attempted by the Duke 
 of Savoy against Geneva, 5; monument to 
 the Genevess who perished, ibid. 
 
 Esmenard : his death near Fondi, 497. 
 
 Esquiline, mount, at Rome, 587. 
 
 Este, Alfonso d', Duke of Ferrara; his ar- 
 tillery, 225. 
 
 — , Bofso d', first Duke of Ferrara, celebrated 
 for his splendour, founder of the Chartreuse, 
 263, 366. 
 
 — , Cardinal Ippolito d', the elder ; his por- 
 trait, 224 ; his remark to Ariosto, 224. 
 
 — , Cardinal Ippolito d', ihe younger, 
 founder of the villa <T Este, at Tivoli, 600. 
 
 — , Cardinal Ludovico d'; degradation of his 
 ancient villa of Belriguardo, 233 ; 600. 
 
 — , house of : descent of the present royal fa- 
 mily of England from, 221. 
 
 — , villa d', on the lake of Cosmo, 86; at 
 Tivoli, 600. 
 
 Estouteville, Cardinal d' : builds the church 
 of St. Augustin, at Rome, 552. 
 
 Estr^es, Gabrielle d'; her verses on a ma- 
 nuscript at the Trivulzio library, Milan, 57. 
 
 Euganean hills, 215. 
 
 Euphemia, St., church of, at Brescia, 97 — at 
 Milan, 42— at Novara, 34— at Verona, 111. 
 
 Eusebius, first bishop of Vercelli, 32. 
 
 — , St., church at Rome, 541. 
 
 Eustorge, St., church at Milan, 44. 
 
 Exchange at Ancona, 432. 
 
 Exhibition of the products of Venetian in- 
 dustry in 1827, 159. 
 
 — of prize-works at the museum of Brera in 
 1827 and 1828, 61. 
 
 Fabre, 31., French painter, 325,331; erects 
 
 the countess d'Albani's tomb, 556. 
 Fabriano, Dante's native place, 635. 
 — , Gentile da, painter of the Roman school 
 
 (13th century), 367, 614. 
 Fabricius, L., surveyor of the highways of 
 
 ancient Rome, 576. 
 Fabris, Cav., sculptor, 554. 
 Fabroni, Angelo, biographer and historian ; 
 
 bis manuscripts in the university library, 
 
 at Pisa, 409. 
 Facciolati, scholar, 237. 
 Facini, Pietro, painter of the Bolognese 
 
 school (,16th century), 249. 
 Faelli, Geronimo, parish priest, 279. 
 Faenza, town, 414. 
 Faerno, Gabriele, Latin poet of the 16th cen- 
 
 tury, 527. 
 Fagnani, S. ; his iibrary at Milan, 56. 
 Fair of Bergamo, 86 — ot Seniyallia, 431. 
 Fairs, reflexions on, 86 ; human life compared 
 
 by Tasso to the confusion of a fair, 89. 
 Falcone, theatre del, at Genoa, 683. 
 Falconet, French sculptor (18th century), 
 
 325. 
 Falconetto, Giovanni Maria, of Verona, be- 
 came a great painter and architect from 
 
 chagrin (15th century), 114, 200, 211, 213; 
 
 his house of Giustiniani al Santo, 213. 
 Falconieri palace, at Rome, 581. 
 — , Ottavio ; his letter on the taste of Pope 
 
 Alexander VII. for manuscripts, 563 m. 
 — villa, at Frascati, 603. 
 
732 
 
 INDEX. 
 
 Falieri, Venetian senator, Canova's first pa- 
 tron, 543. 
 
 — palace near Asolo, 134. 
 
 Faliero, Marino, doge, beheaded, 149, 152. 
 
 Famine, tower of, at Pisa, 410. 
 
 Fancelli, sculptor (17ih century), 573. 
 
 — , Pielro, of Bologna, 259. 
 
 Fano, town, 430. 
 
 Fantastiei Sulgher Marchesini, Signora, of 
 Florence, improvisatrice and translator of 
 Bion and Anacreori, 370. 
 
 Fanlin, St., church at Venice, 180. 
 
 Fantoccini, puppet-show, at Milan, 67. 
 
 Fanzaga, Cosmo, sculptor (17th century), 
 459, 452, 456, 489. 
 
 Fanzago, Francesco, professor at the univer- 
 sity ol Padua, 197 n. 
 
 Farinassi, Prospero, famous jurisconsult, 
 544. 
 
 Farinati, Paolo, painter of the Venetian 
 school, surnamed the Third Paolo Vero- 
 nese (,17th century), 112, 1 15, 114, 294. 
 
 Farnese. Alessandro : his equestrian statue, 
 308 ; his tomb at Parma, 281 ; 609, 612. 
 
 — , Pietro, Florentine general; his monu- 
 ment, 340. 
 
 — , Ranuccio, son of the above; his eques- 
 trian statue, 308; differently judged by 
 hislorians, ibid. 
 
 Farnese palace al Placentia, 309. 
 
 — theatre at Parma, 283. 
 
 — palace, the finest at Rome, 580. 
 Farnesina palace at Rome, 578. 
 Farsetti palace at Venice, 163. 
 
 Fasano, Gabriele, Neapolitan poet, translator 
 of the Gerusalemmc , 463. 
 
 Fasolalo, Agostiuo, sculptor of Padua (18th 
 century): his extraordinary group, 213. 
 
 Fasoio, Giovanni Antonio, of Viccnza, pain- 
 ter of the Venetian school (16th century), 
 114. 
 
 Faun, house of the, at Pompeii, 480. 
 
 Fausiin and Giovite, Sts., church at Brescia, 
 99. 
 
 Fava, palace at Bologna, 254. 
 
 Favorite, La, palace at Resina, 475. 
 
 Fazio, Bartoloinmeo, of the Neapolitan Aca- 
 demy, 453. 
 
 — degli Uberti, poet : his unintelligible Dit- 
 tamondo, 613. 
 
 Fe\ Cav. Nicolao, of Brescia, possessor of the 
 
 diptych of Boetius, 93 n. 
 Fea, the abbe' Don Carlo, great archeologisl, 
 
 562, 564, 607. 
 Fedele, San, church at Cosmo, 81. 
 Federici, Piedmontese dramatic author, 
 
 701. 
 Federighi, Antonio, painter of Ihe Sienese 
 
 school (15lh century), 618. 
 Fei, Alessandro, painter of the Florentine 
 
 school (16th century), 664. 
 Felice, San, fountain of Vol terra, 639. 
 Felicity, St., church at Florence, 363. 
 Felix, ofAragon, Don, bastard of Philip II., 
 
 641. 
 — . St., church at Florence, 565— Venice, 185. 
 Feltro, Morto da, painter of Ihe Roman school 
 
 (16th century), 324. 
 Feuaroli, palace at Tavernola, 91. 
 
 Fenice, theatre at Venice, 188. 
 
 Feoli, the brothers, at Can'mo, 613. 
 
 Fereutina, valley, 603. 
 
 Fermo, town, 435. 
 
 — . St., church at Padua, 209,— Verona, 412. 
 
 Ferney, 2 ; description, 10 ; old gardener, i0.; 
 
 anecdote of ihe poacher, 11 n, 
 Ferracino, Bartolommeo, sawyer and clever 
 
 engineer (18lh century), 131; his tomb, 
 
 132; 133,560. 
 Ferramola, Fioravente, of Brescia, painter of 
 
 the Venetian school (16lh century), 98, 99. 
 Fcrrara, 29, 165 «.; its decline exaggerated, 
 
 218 n. ; epic superiority of the Feirarese, 
 
 226 ; one of the most illustrious towns for 
 
 the encouragement of priming, 228; thea- 
 trical representations at Ferrara, 230. 
 Ferrari, Gaudenzio, painter of the Milanese 
 
 school (13th century), 32, 53, 35, 40, 42, 
 
 45, 47, 48, 60, 70, 79, 80. 
 — , Luca, painter of Reggio, 269. 
 — , Ol tavio, professor of elocution at Padua, 
 
 201. 
 — , Maestro, of Ferrara, troubadour : his Col~ 
 
 lection of Provencal Poetry, 265. 
 Ferrata, Ercole, sculptor (17ln centurv), 349. 
 
 619. 
 Ferreri, Andrea, Bolognese sculptor (18th 
 
 century), 220, 221. 223. 
 Ferretti, Giovanni Domenico, painter of Ihe 
 
 Florentine school (17lh century), 357, 664. 
 Ferri, Antonio, Florentine architect (17th 
 
 century), 667. 
 — , Ciro, painter of the Roman school (17th 
 
 century), 87, 374 ; his tomb, 557. 
 Ferii, Bolognese scene painter, 239. 
 Ferrucci, Andrea, ol Fiesole, sculptor (15th 
 
 century), 247, 540, 360, 589, 665. 
 — , Francesco, sculptor (15;h century), his 
 
 tomb, 589. 
 — , Nieodemo,painterof the Florentine school 
 
 (17lh century), 390. 
 Fescb, Cardinal, titulary of Ihe church of 
 
 Santa Maria della Vittoria, 543; his gallery, 
 
 581. 
 Festa, Piedmontese sculptor (19th century), 
 
 591. 
 Festus, Pompeius, grammarian, 448. 
 Fele of Santa Maria di Pie di Grotto, at Na- 
 ples, 440. 
 — , National, of St. Maria at Venice, 181. 
 Fetes of Parma, of greater fame and impor- 
 tance than its history, 283. 
 Feti, Domenico, painter of the Mantuan 
 
 school (17th century), 292. 
 Fiammetta, Boccaccio's mistress: error con- 
 cerning her supposed portrait, 501 n. 
 Fiamminghini, surname of Giovanni Moro 
 
 Rovera, orRossetti, painter of the Milanese 
 
 school (17th century), 509. 
 — , the brothers, painters of the Milanese 
 
 school (17lh century), 71. 
 Fiammingo, surname of Francois de Quesnoy, 
 
 of Brussels, sculptor (17lli century), 463, 
 
 502, 515. 
 — , called also Robert LaLonge, of Antwerp, 
 
 painter of the Cremonese school (17th 
 
 century), 310. 
 Fibbia palace, at Bologna, 255. 
 
INDEX. 
 
 733 
 
 Ficino, Marsilio, director of the Platonic 
 Academy of Florence ; las manuscripts at 
 the Laureutian, 530; his tomb, 340 ; 592, 
 569. 
 
 Fidelis, St., church of Milan, 49. 
 
 Fiera, Baltista, Mantuan poet and physician : 
 his triumphal arch to Virgil and Manto- 
 vano, 294. 
 
 Fieramosca,Guidona, last prince of Mignano: 
 his tomb, 489. 
 
 Fieschi, defended by Bandello, 677. 
 
 Fieschine, conservatory de', atGcuoa : manu- 
 factory of artificial flowers, 687. 
 
 Fiesole, near Florence, 589. 
 
 Figini, Ambrosio, painter of the Alilanese 
 school, 40, 43, 48. 
 
 — , Giovanni Pietro, Milanese carver, 58. 
 
 Filangieri, author of la Science de la Legis- 
 lation, 482. 
 
 Filarela, Antonio, or Averulino, Florentine 
 architect and sculptor (15th century): 
 manuscript of his treatise on architecture, 
 57; his Great Hospital of Milan. 68 ; 500. 
 
 Filarmonici, academy of. at Bologna, 238. 
 
 Filelfo, 291, 314 n., 530, 356. 
 
 Filicaja, the senator : his tomb, 356. 
 
 Filippi, Alessandro, painter, 507. 
 
 — , Lorenzo, archilect, 558. 
 
 Fiiippo da Seltignano, sculptor, 619. 
 
 Filoglotli, academy of Castelfrauco, 139. 
 
 Finale, town, 689. 
 
 Finelii, Carlo, of Carrara, sculptor, 673 m. 
 
 — , Giuliano, of Carrara, sculptor, 673 n. 
 
 Finignerra, Masso (for Tommaso), clever 
 Florentine goldsmith and sculptor (13lh 
 century). 521, 345. 
 
 Fiore, Agnolo Aniello, Neapolitan sculptor 
 (15th century), 455. 
 
 — , Colantoniodel, painter of the Neapolitan 
 school (15th century), 443, 447, 462. 
 
 Fiorengo, St., church of Perugia, 649. 
 
 Fiorentino, surname otOrazio Vajano, painter 
 of the Milanese school (17th century), 42. 
 
 Fiorini, Signora Elisabeta, author of the 
 Flora of the Pontine marshes, 498. 
 
 — , Gianibattista, painter of the Bolognesc 
 school (16 in century), 247. 
 
 Fioroni, Ado, engraver, obtains the gold 
 medal at the exhibition of the academy of 
 tine arts at Milan in 1S29, 41 n. 
 
 Firenzo, St., church at Florence, 557. 
 
 Firmian, count, illustrious governor of Lom- 
 barily : his tomb, 49 ; founder of the uni- 
 versity library at Pavia, 77. 
 
 Fishery, the, country house oi'Hortensia, 474. 
 
 Fiume lalte, torrent, 85. 
 
 Fiumicelli, Ludovico, of Trcvisa, painter of 
 the Venetian school and archilect (16th 
 century), 205. 
 
 Fiumicino, small town on the Tiber, 564. 
 
 Flavian, St., church near Monlehascuna, 6I3. 
 
 Fleury, 490. 
 
 Florence, 512; its ancient government, 516 ; 
 activity and grandeur of the public works 
 at the time of the seigniory, 358 ; its mo- 
 numents connected with religious or pa- 
 triotic motives, 345; its English popula- 
 tion, 570. 
 
 Florentines, 515 ; subject to myopy, 263. 
 
 — , theatre of the, at Naples, 430. 
 
 Florentio, priest: his treatise on music, 37. 
 
 Florian, coffee-house at Venice, 145. 
 
 Floridiana, villa near Naples, 462. 
 
 Florigerio, or Florigorio, Sebastiano, of 
 Udina, painter of the Venetian school 
 (16th century), 211. 
 
 Florus, 495. 
 
 Foggiui, Giambattista, Tuscan scuiptor (17lh 
 century), 528, 355. 
 
 Fogolino, Marcello, of Vicenza, painter, 127. 
 
 Foix, Gaston de : dispersion of his mauso- 
 leum, 71. 
 
 Folchi, Cav. Clemente, hydraulic engineer : 
 his great tunnel through Mount Catillo, 
 599 n. 
 
 — , Doctor, professor at the Sapienza, 583. 
 
 Folco, called Franceschini, palace of Vi- 
 cenza, 128. 
 
 Foligno, town, 643. 
 
 Folli, Sebasiiano, painter of Ihe Sienese 
 school ( 17th century), 625, 626, 629. 
 
 Folliero, Signora, author of an Essay on the 
 improvement of youth, 441. 
 
 Follini, the abbe, librarian ot the Magliabec- 
 chiana, 556, 545 n., 568. 
 
 Follonica, fonledi, 630. 
 
 Fondi, town, 597. 
 
 Fondo, theatre del, at Naples, 450. 
 
 Fontaine, French architect ; his restoration 
 of the Louvre and of Hie Palais Royal, 
 46 n., 594 n. 
 
 Fontana, Annibale, Milanese sculptor f 16th 
 century), 41, 42. 
 
 — , Carlo, architect, 532, 678. 
 
 — , Domenico, architect (16th century ), 439., 
 447, 450, 300, 501 «., 303, 511, 521, 351?" 
 557,341, 567, 579, 690. 
 
 — , Francesco, architect (18th century ), 542, 
 
 — , Francesco, Neapolitan astronomer, 469. 
 
 — , Giovanni, of Cosmo, architect ( 17th cen- 
 tury ), 623. 
 
 — , Giovanni, hydraulic engineer (16th cen- 
 tury), 605. 
 
 — , Prospero, painter of the Bolognese school 
 
 ( 16th century), 236. 
 
 — , Signor, ex-gon!'alonier of Spoleto, 644, 
 
 — Grande, fountain at Viterbo, 610. 
 
 Fonlanini, historian, 429 n. 
 
 Foute, parish-church of Bassano, 135. 
 
 Fonte-Branda, fountain at Siena, 630. 
 
 Fontebuoni, Anastasio, painter of the Flo- 
 rentine school (17th century), 664. 
 
 Fonte-Giusta, church at Siena, 626. 
 
 Fonte-Nuova, fountain at Siena, 630. 
 
 Fontenelle ; his remark on praise, 230; 396 
 437, 468. 
 
 Foppa, Vincenzo, of Brescia, painler of the 
 Venetian school (13th century), S8, 94. 
 
 Forabosco, or Ferabosco, Giroiamo, painter 
 of the Venetian school (17th century), 198. 
 
 Forbin, M. de, 473. 
 
 Forcellini : manuscript of his Latin dic- 
 tionary, 210. 
 
 Forestiere (foreigner), 29; foreigners at 
 Rome, 570. 
 
 Forli, town, 423. 
 
 Formiae ; its remains, 443, 496. 
 
 62 
 
734 
 
 INDEX. 
 
 Formigine, Andrea da, architect and sculptor 
 
 (16th century), 243. 
 Forteguerri, house of, at Pistoja, 667. 
 — , Cardinal Nicolao : his mausoleum, 662. 
 Forti, S. di, literary Florentine, 337. 
 Fortunato, Dom, steward of the Chartreuse 
 
 at Florence, 397. 
 Forum at Pompeii, 480— Boarium, 590— 
 
 Roman, description of, 322— of Nerva, 488 
 
 —of Trajan, 588. 
 Fosca, St., small temple near Venice, 191 . 
 Foscari nalace, at Padua, demolished in 
 
 1827, 204. 
 
 — palace, on the banks of the Brenta, a 
 chef-d'ceuvre ofPalladio, 194. 
 
 — , ancient palace of, at Venice, 16). 
 
 Foscarini, Jacopo, general: his tomb, 173. 
 
 Fosclierari : family of, tomb at Bologna, 249. 
 
 Foscolo, Ugo : his Essays on Petrarch, 34 ; 
 intended to write a life of Gen. Theulie, 
 59; 288,529 «., 354. 
 
 Fossaui, S. Giuseppe, Milanese; his gift of 
 the statue of St. Ambrose, 40. 
 
 Fossano, Ambrosio, painter of the Milanese 
 school and architect (15th century), 73. 
 
 Fossali, painter of the Venetian school, 141. 
 
 Fossi Ferdinando, librarian of the Magliabec- 
 chiana ; his catalogue of the editions of 
 the 15th century, 556. 
 
 Fossombroni, Count Victor de, 655 : his 
 Memoirs on the vale of Chiana, 633 n. 
 
 Fountain, house of the, at Pompeii, 480. 
 
 Fra Bartolommeo (delta Porta, or it (rate), 
 painter of the Florentine school (15th cen- 
 tury). See Bartolommeo, Fra. 
 
 Fracaslor, Aventino, Geronimo's ancestor, 
 physician of Can Grande I.; his tomb, 112, 
 659. 
 
 — , Geronitno, poet, physician, 120 ; serves 
 the views of Paul III. in causing the 
 Council of Trent to be transferred to Bo- 
 logna under pretext of contagion, 236. 
 
 Fraja, Don Ottavio, librariun-archmst of 
 Monte Casino, 490. 
 
 Fra Mauro, Camaldulite monk: his map of 
 the world, 157. 
 
 Fraucavilla, or Francheville, Pierre, French 
 sculptor (16lh century), 556, 585, 401, 
 659. 
 
 Francesca, Pietro della, painter of the Flo- 
 rentine school ( 15lh century), 508, 658. 
 
 — Romana, Sanla, church at Rome, 535. 
 
 — di Rimini, 418 ; conjectures on the site of 
 her house, 425. 
 
 Franceschini, Marcantonio, painter of the 
 Bolognese school ( 17th century ), 247, 248, 
 251, 281, 418. 
 
 Franchi, Antonio, of Lucca, painter of the 
 Florentine school ( 17lh century), 636. 
 
 — , Giuseppe, of Carrara, sculptor, 57, 49. 
 
 Franchini, Nicolao, painter of the Sienese 
 school (18th century ), 623, 637. 
 
 Franchis, jurisconsult : his monument, 455. 
 
 Francis, surname of Francesco Ilaibolini, 
 founder of the Bolognese school (15th cen- 
 tury ), 61, 239, 246, 247, 258, 262, 264, 274, 
 277, 299, 323, 424, G69, 670. 
 
 — , Jacopo, son of the preceding, Bolognese 
 painter, 278. 
 
 Franciabigio, painterof the Florentine school 
 (16th century), 548, 351, 571, 658. 
 
 Francis I.: taken in the Charterhouse park at 
 Pavia, 73; desires to be conducted to 
 church, ib.; his celebrated expression a fic- 
 tion, ib. ».; his Petrarch supposed to be 
 at Parma, 272 ; France appeared barbarous 
 to Italy till his day, 303 ».; 529, 675, 697. 
 
 — , St., his character, his influence, 647 ; las 
 tomb discovered, ibid. 
 
 — de Paule, St., new church at Naples, 439. 
 
 — de Sales, St., at the Glaciers, 14; opposes 
 the violence of a regiment sent to convert 
 the inhabitants of Thonon, 21 ; autograph 
 letter Of, 32; 563, 698. 
 
 Francis in Alto, St., church at Ancona, 452. 
 
 — , St., church and convent of Assisi, 645— 
 church at Brescia, 98— at Castiglione, 656 
 —at Chiavari,675— at Chiusi, 653— convent 
 at Cortona, 654— church at Ferrara ; its 
 echo, 220— at Lucca, 669— ancient church 
 at Mantua, 296— church at Padua, 205— 
 del Prato, St., church at Parma, 278— St., 
 church at Pavia, 79— at Perugia, 649— at 
 Pesaro, 429— at Pistoja, 665— the Great, 
 St., church at Placentia, 310— St., church 
 at Ravenna, 118— at Rimini, 425— at Rome, 
 337— at Siena, 624— of the Vine, St.. church 
 at Venice, 471— St., church at Viterbo, 
 612— church and convent at Volterra, 638. 
 
 Franciosino, sculptor. See Cordier. 
 
 Franco, Angelo, painter of the Neapolitan 
 school (15th century), 435. 
 
 Francois, French painter, 562. 
 
 Frangipani, Giovanni : delivers up Conradin 
 to Charles of Anjou, 465 n. 
 
 Frari, Dei, church at Venice, 167, 176. 
 
 Frascali, town, 602. 
 
 Fratellini, Giovanna, Florentine painter 
 (17th century), 524. 
 
 Fraternita, institute of the, at Arezzo, 657. 
 
 Frati : their vices produce enemies, 647. 
 
 Frederick the Great: his original letters to 
 Algarotti, at Venice, 161. 
 
 — Barbarossa, emperor : remains of his pa- 
 lace at Monza, 74. 
 
 Fredianus, St., church at Lucca, 559— at 
 Pisa, 407. 
 
 Fredis, Felix de' : discovered the Laocoon, 
 334. 
 
 Free port of Venice, 194. 
 
 Fregose, Janus, Genoese, general in the ser- 
 vice of Venice: his hotel, 111. 
 
 French : causes of the antipathy which the 
 Italians formerly bore to them, 66. 
 
 Frisi, canon ; his enthusiasm for the papy- 
 rus of Monza, 73. 
 
 — , Paolo, Barnabitc, great mathematician 
 and natural philosopher : his tomb, 44 ,- his 
 medallion, 62 n. 
 
 Friso, Alviso dal, painter of the Venetian 
 school (16th century), 173. 
 
 Frizzi, Dr. Antonio, learned guide of Fer- 
 rara, 218. 
 
 Fronto : his letters to Marcus Aurelius, 54. 
 
 Frugoni, poet of the last century : his tomb, 
 282, 283 n., 294. 
 
 Fuccio, Florentine sculptor (15th century), 
 646. 
 
INDEX, 
 
 735 
 
 Fucino, lake, 494. 
 
 Fuga, Fernando, architect (18th century), 
 541, 567, 578. 
 
 Fuger, German bishop : explanation of his 
 epitaph, 613. 
 
 Fullonica, at Pompeii, 480. 
 
 Fumagalli, Milanese scholar : his medallion, 
 62 «. 
 
 Fumiani, Giovanni Antonio, painter of the 
 Venetian school (17lh century), 175. 
 
 Fungai. Bernardino, painter of the Sienese 
 school (16th century), 623. 
 
 Fuochetti, fireworks at Rome, 581 n. 
 
 Fuocco del Legno, small -volcano of Tus- 
 cany, 512. 
 
 Furia, Fr. del, 613 n. 
 
 — , librarian of the Laurentian, 528, 368. 
 
 Furlanetto, abbe Giuseppe, edilor of a new 
 edition of Forcellini's Dictionary, 210 n. 
 
 Fusaro, the ancient Acheron, river, 472. 
 
 Fusina, Andrea, Milanese sculptor (15th cen- 
 tury), 39 ; his mausoleum of the bishop 
 Daniel Birago, 40; 620. 
 
 G. 
 
 Gabbia, tower of, at Mantua, 299. 
 
 Gabrielli, Angelo, of the Aldine Academy, 
 166 n. 
 
 Gaddi, Bernardo, Florentine painter (14th 
 century), 384. 
 
 — , Jacopo, painter, 647. 
 
 — , Taddeo, Florentine painter and architect 
 (14th century), 539, 544, 356, 558; his 
 frescos at the chapel of the Spaniards, 361 ; 
 584. 
 
 Gaeta, town, 496. 
 
 Gaetani, Scipione, painter, 544, 533, 555. 
 
 Gaetano, St., church at Florence, 562— at 
 Padua, 203— at Trevisa, 142. 
 
 Gaggini, S., Genoese sculptor, 674. 
 
 GagUuffi, Professor Fausiino, native of Ra- 
 gusa, Latin improvisatore, 674, 688. 
 
 Gagna, painter (,19th century), 48. 
 
 Gaius, jurisconsult : his Institutes discovered 
 at Verona, 116. 
 
 Galateo, of the Neapolitan Academy, 453. 
 
 Galeolti, Sebastiano, painter of the Genoese 
 school (17th century), 278. 
 
 — , one of the conservators of the library of 
 Mathias Corvinus, 513. 
 
 Galiana. the fair Helen of Viterbo, 611. 
 
 Galiani,' the abbe, 441, 444, 454, 540. 
 
 Galen, celebrated physician of antiquity, 
 485. 
 
 Galileo ; his vertebra in the cabinet of natural 
 history at the imiversily of Padua, 195; 
 copy of his Dialogues with his notes, 210; 
 his finger at the Laurentian, 352 ; auto- 
 graph manuscript of his Treatise onFor- 
 tificationm the Riccardiana, 535 ; his mau- 
 soleum at Santa Croce, 353 ; his manu- 
 scripts at the Pilti library, 375 ,- his house at 
 Florence, 378 ; his telescope and eye-glass, 
 385; his house at Arcetri, 387; 525; his 
 manuscripts at the Barberiui, 569, 571. 
 
 Galizia, Foi, female painter of the Milanese 
 school) 17th century), 43. 
 
 Gallery, avenue of holms so called, leading 
 from Albano to Castel-Gandolfo, 85 w., 
 499— of Bologna, 239 ; beauty of the figures 
 of women in this gallery, 242— of the Ca- 
 pitol, 529— of Florence, 520— of Naples, 
 445— of Pitli, 373— of the Vatican, 549. 
 
 Gallia, house of, formerly the museum of 
 Paolo Giovio at Cosmo, 85. 
 
 Galliani, Giuseppp, professor of natural his- 
 tory at Reggio, 270. 
 
 Gallicano, St., hospital at Rome, 586. 
 
 Gallinaria, isle of, 680. 
 
 Gallini, Stefano, professor at the Academy 
 of Padua, 197 «. 
 
 Gallo, Andrea, Ferrarese printer, 228. 
 
 — , Tommaso, abbot, his curious mausoleum 
 in the church of St. Andrew at Vercelli, 
 32. 
 
 Galzoa casino, of Verona, 119. 
 
 Gamba, Battolommeo, of Bassano, biblio- 
 grapher, author of Jem dei lestidilingua 
 itatiana, f 56, 167, 420 n. 
 
 Gambacorta, Pietro, Pisan chief, 641. 
 
 Gambara, Lattanzio, of Brescia, painter of 
 the Venetian (16th century), 98, 99, 100 ; 
 his house embellished by himself, ib. ; 276, 
 285, 502, 407. 
 
 — , Cav. Francesco, author of Geste de' 
 Bresciani, and of historical notices of 
 Brescia, 93. 
 
 — , Veronica, her perpetual mourning for 
 her husband, 123 n, 
 
 Gambasi, Giovanni di, a blind man, makes 
 a portrait in earthenware of Pope Ur- 
 ban VIII. , 569. 
 
 Gambera, Francesco, cardinal, bishop of 
 viterbo, 612. 
 
 Gamberelli, Crescenzio, painter (17th cen- 
 tury), 625. 
 
 Gandini, Antonio, of Brescia, painter of the 
 Venetian school (17th century), 96, 97. 
 
 Gandino, Antonio, his tomb, 458. 
 
 Gandolfi, Gaetano, painter of the Bolognese 
 school (18lh century), 248. 
 
 Gano, Sienese sculptor (14th century), 631. 
 
 Gansigno, Rodoaldo di, his petition to the 
 bishop Grazioso, 53. 
 
 Garavaglia, Giovite, Pavian engraver, 71, 
 574, 379. 
 
 Garbaroni, Roman brigand, 497. 
 
 Garbieri, Lorenzo, painter of the Bolognese 
 school (17th century), 296. 
 
 Garbo, Raffaelino del, painter of the Floren- 
 tine school (16th century), 346, 379, 550. 
 
 Garden, charming, at Lausanne, 19. 
 
 — , Agrario, at Bologna, 239— botanical, at 
 Bologna, 239— at Naples, 469— at Padua, 
 196— at Perugia, 651— at Pisa, 409. 
 
 Gardens of the Vatican, 521. 
 
 Gargagnago, near Verona, residence of 
 Dante, 120. 
 
 Gargallo, marquis, academician of LaCrusca, 
 translator of Horace, 568, 441 . 
 
 Garibaldi bouse, atChiavari, 675. 
 
 Garigliano, river (ancient Liris) : its suspen- 
 sion bridge, 495. 
 
 Garignano, near Milan, 69; its Charter- 
 house, 70. 
 
 Garisenda, tower at Bologna, 262. 
 
756 
 
 INDEX. 
 
 Garofolo, Benvenuto Tisio da, 114, 218, 220 
 221, 222 ; his tomb, 223, 248, 264, 297, 299, 
 506, 326, 374, 446, 447, 319, 529; his As- 
 cension, 563 ; 563, 572. 574. 
 
 Gasse, MM., 'architects, of Naples, 461, 469. 
 
 Gastaidi, Cardinal Geroninio, legate of Bo- 
 logna : instance of his vanity and bad laste 
 in architecture, 245. 
 
 Gatta, Bartolomnieo della, Camaldulile, mi- 
 niature-painter, architect, 656. 
 
 Gatti, Gervasio, painter of the Cremonese 
 school (16lh century), 310. 
 
 Gattinara palace, al Vercelli, 52. 
 
 Gatiola, D. Erasmo, restorer of the archives 
 of Monte Casino, 492. 
 
 Gaudenzio, St., church at Novara, 55. 
 
 Gavasetti, Camillo, painier of the Modenese 
 school (17th century), 310, 311. 
 
 Gavazzi, Giovanni Jacopo, painter, 87. 
 
 Gazano, town, 105 n. 
 
 Gazzari, sect of the 14th century, 34. 
 
 Gazzera, the, abbe', sublibrarian of the uni- 
 versity library at Turin, 698. 
 
 Gazzeri, chemist, professor at the univer- 
 sity of Pisa, 337, 380, 409. 
 
 Gazzi, Ludovico, painter of the Boman school 
 (17th century), 667. 
 
 Geminian, St., ancient church of Venice, 
 142, 173, 179, 191 11. 
 
 Geneva, 2 ; its merit and distinction, 2 and 
 3 ; taste of the Genevesc for reading, 6 ; 
 society, 9; contrast on the road to Italy, 10. 
 
 Genga, Bartolommeo, of Urbiu, architect, 
 429. 
 
 — , Geronimo, painter of the Roman school 
 (16th century), 544. 
 
 Genlis, lime, de, 438, 475, 680 n. 
 
 Gennari, Benedelto, painter of Ihe Bolognese 
 school. Guercino's nephew, 234 n. 
 
 — , Cesare, painter of the Bolognese school, 
 Guercino's nephew, 87, 234 n. 
 
 Genua, 676. 
 
 Gentilis, Valenlino, condemned to death, 
 and after his recantation to make the 
 amende honorable, 3 n. 
 
 Genzano, town, 498. 
 
 George, St., Bank or, at Genoa, 676. 
 
 — , St., church at Bologna, 247; at Brescia, 
 99; at Genoa, 686— gate at Mantua, 298— al 
 Palazzo, St., church at Milan, 45— in Ve- 
 labro, St., al Rome, 555-St., at Siena, 624 
 —of the Greeks, St., at Venice, 170— of the 
 Sclavonians, St., confraternity at Venice, 
 170— Major, St., fine church at Venice, 171 
 —Major, St., church at Verona, 115— St., 
 hall of, over the custom-house at Genoa, 
 676. 
 
 Georgofili, academy de', at Florence, 380. 
 
 Gerard, French painter (19th century), 258, 
 439, 475. 
 
 Gerbert, pope under the name of Silvester II., 
 78 n. 
 
 Gerdil, cardinal : his tomb, 560. 
 
 Gerini Gerino, painter of Pistoja (16th cen- 
 tury), 663, 664. 
 
 Geronimo, the P., of Brescia, Benedictine, 
 architect (16th century), 207. 
 
 — Vecchio, painter of the Venetian school 
 (15th century), 140. 
 
 Gervase, St., church at Mantua, 297. 
 
 — and Protase, Sis., church at Venice, 174. 
 Gessi, Giovanni Francesco, painier of the 
 
 Bolognese school (16th century), surnamed 
 
 the Second Guido, 248, 251, 252, 256, 262 
 
 432, 454, 669. 
 Gesii, church at Coriona, 654— at Ferrara. 
 
 223— at Rome, 535— ntiovo, or Triniti 
 
 Maggiore, church at Naples, 458 
 Gherardesca, palace at Florence, 369. 
 Gherardi, Crisloforo, painter of the Florenline 
 
 school (16th century), 649. 
 Gherardini, Alessandro, the elder, painter of 
 
 the Florentine school '(17th century), 549. 
 Gherardo Appiani, of Piombino : his curious 
 
 tomb, 941 . 
 Gherardo dalle Notli, painter of the Roman 
 
 school (17th century), 566, 568, 671. 
 Ghetto of Manilla, 59, 301— of Rome, 567. 
 Ghezzi, Pier Leone, painter of Ihe Roman 
 
 school (18lh century), 603. 
 Ghiberti, Lorenzo, Florentine sculptor (15lh 
 
 century), 521 ; his shrine of St. Zanobi, at 
 
 the cathedral of Florence, 340; his doors 
 
 of the Baptistry at Florence, 545 ; 358, 384, 
 
 423, 621. 
 Ghigi, Marquis Angelo, governor of Siena, 
 
 630. 
 — , Agostino, banker, 554, 562, 578. 
 — , Prince Don Agostino, 562, 607. 
 
 — palace, at Larricia, 498. 
 
 — palace, at Rome, 562. . 
 
 — palace, at Siena, 630. 
 
 — , Teodoro, painier of the Mantuan school 
 (16th century), 294. 
 
 Ghillini palace, at Alexandria, 693. 
 
 Ghirlandajo, Domenico, painier of the Flo- 
 rentine school (15th century), 320, 527, 
 339, 344, 357 ; his frescos of Santa Maria 
 Novella, 559 ; his tomb, 560; 362, 368, 371, 
 584, 407, 445, 507, 655, 636, 640, 665, 668. 
 
 — , Rodolfo, son of Domenico, Florenline 
 painter, 327, 661,663. 
 
 Ghisolfi, Giovanni, painter of the Milanese 
 school, 45. 
 
 Ghiti, Pompeo, of Brescia, painter of the 
 Florentine school (17lh century), 97. 
 
 Giacometti, Paolo, sculptor and founder of 
 Recanati (16th century), 41S. 
 
 Giacomo di Viterbo, Lorenzo di, painter of 
 the Roman school (15th century), 612. 
 
 Giacomone, or Jacomone, painier of the 
 Roman school (16ih century), 114. 
 
 — da Budrio, surname of Jacopo Lippi, 
 painter of the Bolognese school (17th cen- 
 tury), 262. 
 
 Giadod, architect of Lorrain, 584. 
 Giambaltista, of Verona, sculptor, 113. 
 Giambullari, historian, the Herodotus of 
 
 Florence : his tomb, 560. 
 Gianduja, buffoon of Turin, 701 . 
 Gianelli, keeper of Ihe manuscripts in the 
 
 library of the Sludj, 441. 
 Gianligliazzi, palace at Florence, 378. 
 Gianfilippi, man of letters •• his library, 117. 
 Giannotli, Silvestro, of Lucca, sculptor (17lh 
 
 century), 244. 
 Giaquinto, Corrado, painter of the Roman 
 
 school (18th century), 702. 
 
INDEX 
 
 757 
 
 Gibbon, the historian : his house at Lausanne, 
 48 226. 
 
 Gibb's, James, English architect, imitator of 
 Paliadio, 129. 
 
 Gigli, Geronimq, publisher of St. Catherine 
 of Siena, 632. 
 
 Gilardini, Pietro, painter of the Milanese 
 school (17lh century), 35. 
 
 Gilles, Pierre, ancient French naturalist in- 
 terred at Rome, 532. 
 
 Ginj 
 
 causes Alfieri's manuscripts to be returned. 
 352; 597 «., 428 «., 431, 464 n. 
 
 Ginori, marquis, his porcelain manufactory, 
 135, 594. 
 
 Giobert, professor at the university of Turin, 
 696. 
 
 Giocondo, Fra, Dominican, learned anti- 
 quary and architect (16th century), 1i8, 
 166. 
 
 Gioffredo:his History of the maritime Alps, 
 in the Archives of Turin, 696 n. 
 
 Gioja, composer of ballets, 63, 259. 
 
 — , Flavio, inventor of the mariner's coin- 
 pass, 469. 
 
 Giolfino, Nicolao, Veronese, painter of the 
 Venetian school (15th century), 111, 112, 
 114,115. 
 
 Giordani, Pietro, 230, 236 n., 511, 357, 568, 
 569, 399. 
 
 Giordano, Luca, painter of the Neapolitan 
 school (17th century), 87, 157, 165, 171, 
 173, 176, 207, 566, 568, 574, 445, 452, 454, 
 455, 459, 461, 465, 464, 466, 489, 555, 669. 
 
 Giorgetli, Jacopo, painter of the Roman 
 school (17th century), 647. 
 
 Giorgi, Francesco, a remarkable instance of 
 dissimulation, 557. 
 
 — , Matteo, physician, 680. 
 
 Giorgio, Francesco di, of Siena, sculptor, ar- 
 chitect (15lh century), acquaints the cele- 
 brated engineer Pietro Navarro with the 
 use of the mine, 460; his Piccolomini 
 Loggia, 650 ; 631 ; his autographs on civil 
 and military architecture, in the library of 
 Siena, 633 ; 655. 
 
 Giorgione, surname of Giorgio Barbarelli, 
 painter of the Venetian school, 60, 88, 158, 
 159; his Dead Christ, 142, 159, 165, 178, 
 324, 525, 549, 452, 566, 572. 
 
 Gioruo, confraternity of the Cross del, at 
 Volterra, 638. 
 
 Giottino, called TommasodiStefano, Giotto's 
 grandson, painter and sculptor (14th cen- 
 tury), 445. 
 
 Giotto di Bondone di Vespignano, painter of 
 the Florentine school (14th century), 105, 
 164, 198, 200, 204, 211, 262, 265, 523, 538, 
 339 «.; his tomb, 540, 542, 548, 556, 558, 
 360, 590,417, 420, 457, 460 ; his mosaic of 
 the Navicelta, at St. Peter's, 500; 554, 
 559, 550, 555, 600, 625; his frescos of 
 St. Francis, at Assisi, 646; 647, 638, 659, 
 668. 
 
 Giovanna, first queen of Naples : her tomb, 
 457, 460, 495. 
 
 — II., of Naples, her tomb, 462. 
 
 Giovanelli, count, 150 n. 
 
 Giovanni, natural son of Petrarch, 52. 
 
 — del Batlesimo, San, church at Trevisa, 
 142— del Tempio, San, id., ibid. 
 
 — di Nola, Neapolitan sculptor (16th con 
 tury), 440, 451, 452, 435, 455, 458, 459 ; hi 
 mausoleum of Don Pedro of Toledo, 460; 
 466. 
 
 — Pisano, sculptor (15th century), 205, 559 
 402, 405; interred at the C?.mpo Santa 
 405, 408, 614, 620, 640, 650, 654, 658, 661 
 665, 665, 666. 
 
 — of Siena, sculptor (I4lh century), 625. 
 
 — d'Udina, painter of flowers, 507, 50S, 
 318. 
 
 — , Fra, Ollvetan, of Verona, clever inlaid- 
 worker (16th century ),115; his portrait, ib., 
 619. 
 
 — , Fra, a monk of the Hermits of Padua, 
 architect and engineer (15th century) 204, 
 211. 
 
 — , vetturino, of Ancona, 432. 
 
 — di Stefano, Sienese sculptor, 619. 
 
 — , Stefano di, painter of the Sienese school, 
 
 631. 
 — , Matteo di, painter (15th century), 623. 
 
 — Fiorentino, Ser, 177 n.: his account of 
 the porphyry columns of the baptistry of 
 Florence, 544 n., 656. 
 
 — , Maria, Dominican, geographer and poet, 
 656. 
 
 — in Monte, San, church at Bologna, 252. 
 — , of Fiesole, painter. See Angelico. 
 
 — , Pietro di, painter of the Sienese school, 
 
 631. 
 Giovannino, St., church at Florence, 348. 
 
 — in Pantaneto, St., church at Siena, 624. 
 Giovannozzi da Settignano, Italian sculptor, 
 
 356. 
 
 Giovio, Cassandra, great-niece of Paolo Gio- 
 vio ; her verses on her wedding day, 85 n. 
 
 — , Paolo, bishop of Nocera, venal writer, 
 83n., his History, Panegyrics, Museum at 
 the Gallia. 85, 201 ; tomb and statue which 
 he ordered for himself, 348 ; his inscriptions 
 on the tombs of Lautree and Pietro Na- 
 varro, 459, 460 ; 556. 
 
 — , Giambattista, author of the Lettere La- 
 riane, not the last of his family, 81, 285. 
 
 Giraldi, Giglio, mythologist : his epitaph 
 written by himself, 220. 
 
 Girard, M., engineer, 495. 
 
 Giraud, count, the Roman Dancourt : how 
 his comic powers were revealed to him, 
 224. 
 
 — palace, at Rome, 582. 
 
 Girodet: his probable imitation of Tassoui's 
 verses on Endymion, 267 ; 571 ; repainted 
 the head of Giulio Romano's St. Stephen, 
 686. 
 
 Giudici, Francesco de', man of letters, of 
 Arezzo, 657. 
 
 Giugni, Bernardo, gonfalonier of Florence : 
 his mausoleum, 557. 
 
 Giulia, Nova, village, 455. 
 
 Giulio Pippi Romano, painter of (he Roman 
 school (16th century), 110, 118, 245, 260, 
 291, 292, 295; his tomb and epitaph, 297, 
 299 ; his house at Mantua, 500, 501 ; his Te 
 
 62. 
 
58 
 
 INDEX. 
 
 palace, 301, 502, 303, 311 , 327, 370, 575, 447, 
 507,508,510, 519,5-24,528, 537,542, 554, 
 567, 572, 573, 575, 595, 644, 679 ; his part Of 
 the Martyrdom of St. Stephen, 686. 
 
 Giulini, count Giorgio, Milanese historian, 
 25 «., his medallion, 62. 
 
 Giuneola marshes, 635. 
 
 Giunta, of Pisa, painter of the Florentine 
 school (13th century), 623 ; his portrait of 
 St. Francis, 647. 
 
 Giusti, palace at Verona, 118. 
 
 Giustiani villa, at Genoa, 682. 
 
 — al Santo, house of, at Padua, 215. 
 
 — palace (at the Zatterc) at Venice, 164. 
 
 — Lolin palace, at Venice, 161. 
 Giusiizia, oratory ol La, at Perugia, 659. 
 Giustolo, Pietro Francesco, poet : his verses 
 
 on the hermitages of Monte Luco, 643. 
 
 Glaciers, 13. 
 
 Gladiator, statue at the museum of the Ca- 
 pitol, 527. 
 
 Glycon, Athenian sculptor, 445. 
 
 Gnecchi, Pietro, painter of the Milanese 
 school (16lh century), 48. 
 
 Gnecco, composer, 94. 
 
 Gnomon of the cathedral at Florence, 341. 
 
 Gobbo, surname of Cristoforo Solari, sculptor 
 and architect, 39, 40, 42, 74. 
 
 Goeschen, one of the editors of the commen- 
 taries on the institutes of Gains, 416. 
 
 Goethe: his adventure at Malesina, 104; dis- 
 believes the story about Tasso's prison, 
 232. 
 
 Goldoni : his comedy of the Pettegolezzi 
 dclle Donne, 66 ; 284, 683. 
 
 — theatre at Florence, 381. 
 
 Goldsmiths' trade at Florence in the 45th and 
 16lh centuries, 384. 
 
 Gondi, cardinal of Retz, born in Brie, 372. 
 
 Gonclo, the valley which gives its name to 
 the most considerable of the galleries of 
 the Simplon, 23. 
 
 Gonfalon, standard venerated at Perugia, 
 650. 
 
 Gonnelli, Giovanni, Tuscan sculptor ( 17th 
 century), 358. 
 
 Gonzaga, Francesco; marquis of Mantua: 
 his magnificence, 291, 294. 
 
 — , Giulia, conniess of Fondi, 497. 
 
 Gonzagas, sovereigns of Mantua, 291. 
 
 Gori, antiquary, 527, 332; his manuscripts at 
 the Marucelli, 336; his tomb, 350. 
 
 — , Gandellini, friend of Allien : his epitaph, 
 624. 
 
 Goritz, German, member of the Roman aca- 
 demy under Leo X.; his chapel, 552. 
 
 Goiiago, village, 90. 
 
 Goro di Gregorio, Sienese sculptor (14th 
 century), 614, 631,662. 
 
 Govoni, Giulio, docior of medicine, 430. 
 
 Gozzadini, Betisia, docior of laws at the uni- 
 versity of Bologna, 257. 
 
 — palace, at Bologna, 257. 
 
 Gozzadino, cardinal : his tomb, 554. 
 
 Gozzi, Gaspardo, poet, critic, and philoso- 
 pher, interred at St. Anthony's, Padua : 
 his tomb, house, 201, 288. 
 
 — , Marco, landscape painter, 61. 
 
 Gozzoli, Bcdozzo, painter of the Florentine 
 
 school (15th century), 868; his frescos ot 
 the Campo Santo at Pisa, 404 ; interred in 
 the Campo Sanlo, 404 j 615. 
 
 Gradenigo, doge of Venice, killed in a tu- 
 mult, 170. 
 
 Gradi, convent of Dominicans at Viterbo, 
 610. 
 
 Grado. Francesco da, Parmesan sculptor 
 (16th century), 276, 278. 281, 284. 
 
 Graham, Mary, an authoress, 645 w. 
 
 Granatello, little fort nearPortici, 475. 
 
 Grand Duke, piazza of the, at Florence, 418. 
 
 Gran Guardia, palace dclla, at Verona, 117. 
 
 Grandi, dom Guido, Camaldulite, great ma. 
 thematician : his monument, 408: his ma- 
 nuscripts in Ihe universily library at Pisa, 
 409. ' 
 
 Grandonio, warrior, of Pisa : his iron mace, 
 C66. 
 
 Granet, M., French painter, 100, 475, 497. 
 
 Grange d'Arquien, Cardinal de la, died at the 
 age of 103 : his sarcophagus, 552. 
 
 Grassi palace, at Bologna, 253. 
 
 — , the P., Jesuit, 531. 
 
 Grat, St., chapel ornamented with fine fres 
 cos, 28. 
 
 Grata, Santa, church at Bergamo, 88, 
 
 Grati, Giambattisia, painter of ihe Bolognese 
 school ( 17th century), 243. 
 
 Gravedona, on the lake of Cosmo : its palace 
 83, 84. 
 
 Gravina palace, at Naples, 442. 
 
 Graziani, painter of the Roman school (17th 
 century), 546. 
 
 — , Ercole, the younger, painter of the Bolo- 
 gnese school (17th century), 243. 
 
 — villa, near Terni, 643. 
 
 Grazie (alle), bridge at Florence, 584. 
 
 — ( delle ), church at Padua, 208. 
 Grechctto, surname of Giovanni Benedetto 
 
 Castiglione, painter of the Genoese schoo' 
 (17th century ), 679, 685, 686. 
 Greco, near Monza, 72. 
 
 — coffee house, at Rome, 562. 
 
 Gregorio Armeno, San, monastery at Naples 
 466. 
 
 — of Spoleto, Ariosto's master : died in exile, 
 Ariosto's Latin and Italian verses to him, 
 228, 231. 
 
 Gregory, St., church at Bologna, 247 — (sul 
 monte Celio), at Rome, 536— Trevisa, 142. 
 
 — Nazianziiis, St., his tomb at Mantua, 296; 
 his body at St. Peter's, at Rome, 504. 
 
 — Ihe Great, St., did not destroy Ihe ancient 
 monuments, 556; his pulpit. 535. 
 
 — vii. : his death and bunal at Salerno, 
 483; 504, 658. 
 
 — X. : his tomb, 659. 
 
 — XIII.: inscription in which he accords 
 absolution to all who visit St. George's 
 church at Venice, 172; his tomb, 504; his 
 chapel in St. Peter's at Rome, ibid. ; 506, 
 510,541, 577,593,603. 
 
 Grenier, general ; founder of a military col- 
 lege at Mantua, 296. 
 
 Gretry : well advised by the P. Martini, 
 258 n. 
 
 Grille, Angelo, poet, 686. 
 
 — Cataneo palace, at Genoa, 680. 
 
INDEX. 
 
 739 
 
 Grimaldi, the P., Theatine monk and archi- 
 tect (1 7th century), 451. 
 
 — palace, at Genoa, 680. 
 
 — Dnrazzo, Signora Clelia : her botanical 
 acquirements, 688. 
 
 — villa, at Pegli, 688. 
 Grimana, piazza, at Perugia, 631 . 
 Grimani, Geroniino, Venetian senator : his 
 
 tomb, 171. 
 
 — palace ( St. Luke ), Venice, 262. 
 
 — palace (Santa Maria Formosa), at Venice, 
 163. 
 
 Grisi, Signora, 581 . 
 
 Grismondi Suardi, of Bergamo, poetess, 16 n. 
 
 Gritti, maestro Andrea : his remark on 
 
 French courage and eulogy of Bayard, 95. 
 Grosley, 109 n. 
 Grosselo, town, 655. 
 Grossi, poet, 101 n. 
 — , Giovanni Francesco, of Pescia, musician, 
 
 667. 
 Grosso Caparra, Nicolao, clever Florentine 
 
 smith, 572. 
 Grotius : his manuscript notes on a Plutarch, 
 
 531. 
 Groto, Ludovico, blind dramatic author; 
 
 performed the character of CEdipus at the 
 
 Olympic theatre of Vicenza, 128. 
 Grotta Ferrata, abbey of, 601. 
 
 — del Cane, 471. 
 
 Grotto, Azure, at the isle of Capri, 486— of 
 Neptune, at Tivoli, 599— of Pythagoras, at 
 Cortona, 634— of the Sybil, 472— of the 
 Syrens, at Tivoli, 599. 
 
 Grottos of the Vatican, 305. 
 
 Gruamonte, sculptor (12th century ), 666. 
 
 Gruet, Jacques, Calvin's adversary, beheaded, 
 5 re. 
 
 Guacci, Signora Maria Giuseppa, distinguish- 
 ed poetess, of Naples, 441, 471 n. 
 
 Gnadagni, villa, near Florence, 588. 
 
 Gualbert, S. Giovanni, of the abbey of Val- 
 lombrosa, 595. 
 
 Gualla, Jacopo, historian of the 15th centnrv, 
 78. 
 
 Gualtieri of Padua, painter of the Venetian 
 school (16lh century), 196, 2I4. 
 
 Guarana, painter of the Venetian school, 141 . 
 
 Guariento of Padua, painter of the Venetian 
 school (14th century ), 204. 
 
 Guarini; autograph manuscript of his Pastor 
 fido in the library of St. Mark, 156; his 
 likeness presented under the figure of St. 
 Guirim", 222; another manuscript of his 
 Pastor fido, 226, 228 ; his house at Ferrara, 
 231. 
 
 — ,Alessandro; his incomprehensible enigma, 
 223. 
 
 — , Raymondo, archeologist, 441. 
 
 — , the P., architect (17th century), 695, 
 702. 
 
 Guarino, of Verona, 330. 
 
 Guarnacci house, at Volterra, 638. 
 
 — , Monsignor Mario, founder of the museum 
 library of Volterra, 638, 639. 
 
 Guastalla, voluminous history of, 289. 
 
 Guasta-Verza palace, at Verona, 117. 
 
 Guazzaliotri, a Guelph family of Prato, 661. 
 
 Gueftier, Etienne, ancient secretary of the 
 
 French embassy at Rome, erects the stairs 
 of the Trinita de' Monti, 548. 
 
 Guelphs and Ghibelines : their wars, mater- 
 nal heroism of a Guelph, 644. 
 
 Guerci, Luca, painter of Pistoja (18th cen- 
 tury), 66S. 
 
 Guercino, surname of Gianfrancesco Bar- 
 bieri, painter of theBolognese school (J 7 th 
 century) : his Agar dismissed by Abraham, 
 60 ; his Annunciation at the Great Hospital 
 of Milan, 68 ; his Visitation, 73; his Virgin, 
 73 ; his Martyrdom of the saints Gusmeus 
 and Matthew, 84; his St. John, 87; 114, 
 218, 221, 223; his house and paintings at 
 Cento, his native place, 234; 241, 244, 
 247,248, 249, 231, 252; his house at Bo- 
 logna, 236 ; register of his orders, 256 ; 257, 
 264, 269, 274/294, 509, 310, 326, 418, 419, 
 425, 424, 429. 430, 431 , 432, 439, 458, 504, 
 520; his St. Petronilla, 329 ; 342, 543. 546, 
 532, S58, 565, 563 ; his Aurora at the Ludo- 
 visi villa, 568; 573, 578, 580, 581, 603, 622, 
 629, 670, 679, 681, 685, 702, 703. 
 
 Guerin, painter of the French school (19th 
 century) ; his tomb, 332. 
 
 Guerrieri, marquis, of Manlua, 299. 
 
 Guglielmo, Neapolitan monk, sculptor and 
 founder (15th century), 440. 
 
 — of Bergamo, architect and sculptor (16th 
 century), 213. 
 
 — , Fra, of Pisa, Domenican, architect and 
 sculptor (13th century), 408. 
 
 Guicciardini, Agnolo, one of the deputies 
 apoointed to examine the Decameron, 
 536 re. 
 
 — , Francesco, historian, 566, 578 ; his house 
 at Montici, 387 ; 422, 460. 
 
 Guichard, bishop of Sion; killed by order of 
 his nephew, the baron of Thurn, 21. 
 
 Guides, mountain, 13. 
 
 Guidetlo, sculptor { 15th century ), 667, 669. 
 
 Guidi, Alessamlro, lyric poet, 304; his tomb, 
 559 ; his bibliographic death, ibid. 
 
 — , Guido, clever Florentine physician, 329. 
 
 Guidiccioni, palace, at Lucca, 672. 
 
 — , Giovanni, Lucchese poet : his tomb, 
 669. 
 
 Guido Reni, painter of the Bolognese school 
 (17th century), 60, 64, 164,165, 205,233, 
 24 1, 245, 246, 247, 248; his Reception of St. 
 Dominick's Soul, 249: his tomb, 250; 231, 
 252, 255, 257, 260, 263, 264, 299, 415, 416, 
 419,423, 430,434, 439, 431,434,462, 520, 
 529, 531, 536, 341, 546, 547, 531, 553, 560, 
 365, 566; his Aurora at the Rospigliosi 
 palace, 567; 568, 369.580, 603, 621, 623, 
 637, 651, 665, 669, 670, 679, 681, 685, 686. 
 
 — , archbishop of Genoa, Petrarch's boyish 
 friend, 675. 
 
 — da Como, sculptor (13th century), 663. 
 
 — di Ghezzo, painter of the Sienese school 
 (13th century) : his Madonna, the oldest 
 Italian painting, 626. 
 
 Guidobono, Domenico, painter of the Genoese 
 
 school (17th century), 702. 
 Guidoccio, painter of the Sienese school 
 
 (13th century), 631. 
 Guidoni, father and son, painters, 362. 
 Guidotti palace at Bologna, 255. 
 
740 
 
 INDEX. 
 
 Guillaume tie Marseille, French painler and 
 
 Dominican (16th centuryl, 658. 
 — , French glass-slainer(15th century), 530. 
 Guillelmina, female heretic; founded an 
 
 aposlleship ol women, 72. 
 Guiscard, Robert, Norman chief, 483, 484. 
 Guisoni, or Ghisoni, Fermo, painter of the 
 
 Mantuan school (16th century), 294, 296. 
 Guiltone, of Arezzo, Fra, inventor of the 
 
 solfege. 656. 
 
 — of Arezzo, poet of the 13th century : sung 
 rather coldly by Petrarch, 656. 
 
 Guizzardi, Giuseppe, Bolognese painter, 252. 
 Gurrello Origlia, grand protouotary of Na- 
 ples, 459. 
 
 H. 
 
 Hackert, Filippo, landscape painter to the 
 king of Naples, 475. 
 
 Hahn, Nicholas, German, 265. 
 
 Haller, bailiff of Aigle, 16. 
 
 Hammer, M. de, visits the baptistry of 
 Parma, inferences which he drew from its 
 emblems in support of his system of the 
 worship of lire, 277; also from the zodiac 
 of the cathedral of Cremona, 305. 
 
 Hancarville, d', French scholar; true epoch 
 of his birth and death, 199 ; 204. 
 
 Hangings of the churches in Italy on holi- 
 days, 50. 
 
 Harlequin, his Etruscan genealogy, 89. 
 
 Hawkwood, Sir John, English condotliere, 
 his tomb at the cathedral of Florence, 341 . 
 
 Havez, s. Francesco, of Venice, painter, 61, 
 100. 
 
 Helena, St., church at Verona, 111. 
 
 — the grand duchess : her journey to Ostia, 
 564. 
 
 Heilo'ise, Nouvelle, its topography, 16. 
 Heniu, F., author ol the Journal du siege de 
 
 Peschiera, 102 n. 
 Henry II. : his Prayer Book at the library of 
 
 Parma, 272. 
 
 — 111. : his portrait by Tintoretto, 150. 
 
 — IV. : his letter to the Genevese on the 
 Escalade, 5 ; his armour, except the sword, 
 at the arsenal of Venice, 187 ; 514 ; li is des- 
 cendants first canons of St. John in Late- 
 rano, 558. 
 
 — VII., emperor: praised by Dante, 115; 
 his tomb, 406; 617, 660. 
 
 — VIII., king of England : his autograph sig- 
 nature upon a copy of his book against 
 Luther, dedicated lo Leo X., 514; his let- 
 ters to Anne Boleyn, 565. 
 
 Hercolani palace, at Bologna, 256. 
 
 Herculaneum, 477. 
 
 Hercules, temple of, at Pompeii, 481. 
 
 — , Farnese, at the museum of Naples, 443. 
 
 Hermann, the # P. Joseph, Flemish Jesuit, 
 
 organ-builder, 663. 
 Hermitage, house in ruins near Geneva, 12; 
 
 inscription on its walls, ib. 
 Hermits of Vesuvius, 513. 
 — , church of the, at Padua, 204. 
 Hess, M., author of a life of Zuinglius, 9. 
 Herlaud, French architect; his restoration of 
 
 the chateau of Fontaiaebleau , 46. 
 
 Heyne, man of letters, 328. 
 
 Hilarion, St., church at Parma, 280. 
 
 Hilary, St., pope, 514. 
 
 Hildebert, bishop of Tours, in the 12th cen- 
 tury : his verses on the antique statue dis- 
 covered at Rome, 515. 
 
 Hinzelmann, house of, at Venice, has Ca- 
 nova's Hebe, 164. 
 
 Hceschel, David ; books with notes in his 
 handwriting at the barberini, 569. 
 
 Holer, Andrew, chief of the Tyrohan insur- 
 rection; his embarkation at Limine, 104. 
 
 Holbein, Swiss painter (16lh century), 88, 
 324. 445, 678, 680. 
 
 Holslenius, Lnca, prefect of the Vatican, 552; 
 his tomb, 554; books at the Barberini with 
 notes in his hand writing. 569. 
 
 Holweg, one of the publishers of the com- 
 mentaries on Hie institutes of Gaius, 116. 
 
 Holy Ghost, ancient convent of the, at Ber- 
 gamo, converted into a house of industry, 
 88— church of the, at Florence, 563— church 
 of the, at Parma, 280— at Pisloja, 665— at 
 Ravenna, 417— hospital of the, at Rome, 
 585— church of the, at Turin, 705. 
 
 Holy Sacrament, church at Pesaro, 429— at 
 Pistoja, 663. 
 
 Horace, 50, 74, 83, 101 n., 100, 125, 588, 
 598 ; his villa at Tibur, 599, 601. 
 
 Horatius Codes, 592. 
 
 Horsmayr, historian of the Tyro), 130 n. 
 
 Hornung, Genevese painter, 6. 
 
 Horses, the, of Venice, 148. 
 
 Hospital, Great, of Milan, one of the finest 
 edifices of its hind, 68. 
 
 — of the Poor, at Vicenza, 129. 
 
 Hospitals of Rome, 584. 
 
 House of Acteon, at Pompeii, 479— Diomcdes, 
 478— Pansa, 479— Hie dramatic poet, idem 
 —Industry at Florence, 585. 
 
 Houses bought by parts in Italy, 231 . 
 
 — , gambling, of Venice, kept by the patri- 
 cians, 160. 
 
 Howard, his Appendix to the state of Pri- 
 sons in England, etc.; praises the salu- 
 brily of the Venetian prisons, 157, 582. 
 
 Huber, Genevese painler, 6. 
 
 Hugford, Ignatius, painter of the Florentine 
 school (18th century ), 366. 
 
 — , P. Henry, monk, artist, 380, 594. 
 
 Hugo, M. Victor, 524 m. 
 
 Humbert, the abbot, 602. 
 
 Humboldt, 513. 
 
 Hypogeum, Etruscan, at Volterra, 640. 
 
 I 
 
 Ideal of the imitative arts, 128. 
 
 Ignatius, St , church at Rome, 53I— at Vi- 
 terbo, 61 1 . 
 
 Iliac table, at the Capitol, 526. 
 
 Imitation of Jesus Christ, celebrated manu- 
 script at the Turin library, 697. 
 
 Imola, town, 414. 
 
 lmparato, Geronimo, painter of Ihe Neapo- 
 litan school ( 17th century), 459. 
 
 Imperia, celebrated Roman courtesan, 536; 
 virtuous death of her daughter, ibid. 
 
INDEX. 
 
 741 
 
 Imperiale, Michele : bequeathed money to 
 have masses said for the soul of Judas, 682. 
 
 — palace, at Genoa, 682. 
 
 — villa, near Genoa, 687. 
 
 — , villa of the ancient dukes of Urbiuo, near 
 
 Pesaro, 429. 
 Improvisator!, 515. 
 
 Incaffi, near Verona, Fracastor's house, 120. 
 lucoronata, chinch at Naples, 460. 
 Index, books prohibited in, 551. 
 India, Bernardino, of Verona, painter of the 
 
 Venetian school (16th century), 445. 
 Ingpgno, surname of Andrea of Assisi, painter 
 
 of the Roman school (16th century), 647, 
 
 650. 
 Inghirami, P. Giovanni, great modern astro- 
 nomer, merit of his geometrical map of 
 
 Tuscany, 348. 
 — , S., antiquary, designer, engraver, and 
 
 lithographer, director of the Poligrafiu 
 
 fiesolana, 588. 
 Ingres, M., French painter, 548. 
 Innocent III., third antipope, 483. 
 
 — X., represented by Guido under the sem- 
 blance of Lucifer, 547 ; 574. 
 
 Innocente d'Imola, painter of the Bolognese 
 school ( 16th century), 259, 246, 247, 252, 
 415. 
 
 Inns in Italy : their registers, 29. 
 
 Irmominati, Academy of Ihe, at Siena, 622. 
 
 Inscription, lapidarian, in Italian, 511. 
 
 Institute of Fine Arts of Siena, 651. 
 
 Institute del Miracolo, at Naples, 469. 
 
 Interment at Rome, 557. 
 
 Internari, Signora, singer, 66. 
 
 Intronati, Academy of Ihe, at Siena, 652. 
 
 Invasions of the Barbarians, 51. 
 
 Inviolata, church near Riva, 105. 
 
 Isaac, Armenian; bis toiub, 416. 
 
 Isabey, M., 692 «. 
 
 Ischia, isle of, 474. 
 
 — , Canova made marquis of, 454. 
 
 Isea, lake of, 90. 
 
 Isella, island of Ihe Lago Maggiore, 24. 
 
 Isernia, town, 457. 
 
 Isiac table, at Ihe museum of Turin, 698. 
 
 Isidore, St., church at Rome, 548. 
 
 Isler, P., Piedmontesepoet, 701. 
 
 Isola, monte d', isle of the lake of Isea, 91 . 
 
 — Bella, isle of the Lago Maggiori, 24. 
 
 — Pescatore, idem, 24. 
 
 — Bisentina, isle of the lake of Rolsena, 616. 
 
 — di Sorra, isle of the Liris, 494. 
 
 — Madre, isle of the Lago Maggiore, 24. 
 
 — Maggiore, isle of the lake of Perugia, 655. 
 
 — Mariana, isle of the lake of Bolsena : Queen 
 Amalasonte imprisoned and executed there, 
 616. 
 
 — Sacra, at the moulh of the Tiber, 606, 607. 
 lsotta Nogarola, the great, her pleading for 
 
 Eve against Adam, 122 ; 555, 425. 
 Italian women : their education profound 
 without pedantry, 124; 569, 585 n.; sump- 
 tuary laws against their extravagant dres- 
 ses in the middle ages, 650. 
 
 — language, as old as the Latin, 553. 
 
 — Gothic monuments, 275. 
 
 Italians: military genius neverextinct among 
 them, 87 ; their love of art and local at- 
 
 tachment, 88 ; a people of masons, 96 ; the 
 first navigators, 212; ever dependent, but 
 never degraded, 261 ; less credulous than 
 other people, 426; the first to engage in 
 the study of antiquity, 569. 
 
 ltalinski, Cav-, Russian minister at Rome, 
 427, 574. 
 
 Italy : its aspect, 25; season for visiting it, 
 50; the tomb of the French, 297. 
 
 Ilri, town, 496. 
 
 Ivrea, town, 31. 
 
 Jabalof, rev. P. Francois - Ferdinand, of 
 
 Freuch origin, one of the first Italian 
 
 preachers, 52. 
 Jacohello, brothers, sculptors, of the school 
 
 of Pisa (l 4th century), 147. 
 Jacomodel Capanna,*Giambattista di, 629. 
 Jacone, painter of the Florentine school 
 
 (16lh century), 654. 
 JacopinodaTradate, sculptor (1 5lh century \ 
 
 39. 
 Jacopo di Camerino, mesaist (15th century), 
 
 559. 
 
 — of Florence, painter (15th century), 658. 
 
 — of Valencia, scholar of Bologna, con- 
 demned to death for rape, 626. 
 
 — di Pietro, sculptor (14th century), 519. 
 
 — of Verona, painter (4 4lh century), 209. 
 James, St., church of Certaldo, 500— edifice 
 
 at Naples, 460— of the Spaniards, church 
 at Naples, 560 — Major, St., church at Bo- 
 logna, 246— St., church at Castelfranco, 
 159— cathedral of Pistoja, 662— church of 
 Siena, 622— dall' Orio, church at Venice, 
 176— di Rialto, idem, 478. 
 
 Janelli, Ottaviano, artist of Ascoli, 432. 
 
 Jariuarius, St., cathedral at Naples, 450 ; its 
 chapel, 451 ; the miracle, 452. 
 
 Janus Quadrifrons, arch of, at Rome, 590. 
 
 Japelli, S. Giuseppe, architect of Padua, 212, 
 
 Jean de Bruges, painter, 440. 
 
 Jerome, St., ancient convent at Fiesole, 389 
 —church at Forli, 423— church and con- 
 vent at Siena, 626— ancient confraternity 
 at Venice, 180. 
 
 Jesuits, at Naptes, 458 ; at Rome, 535— church 
 of, at Venice, 484. 
 
 Jesus, St., oratory at Bergamo, 88. 
 
 Jews, inhabit the finest quarter of Florence, 
 218 «.; their house of refuge and industry 
 at Mantua, 501 ; their schools at Leghorn, 
 413— at Rome, 576. 
 
 Joachim, abbot, famous visionary of the 
 eleventh century, 109 n. 
 
 John XXI., pope, 641. 
 
 — St., in Monte, church at Bologna, 232— St., 
 at Brescia, 98— Baptist, St., at Chiavari, 675 
 — St..baptistryof, at Florence, 542— church 
 at Lucca, 668— alle-Case-rotte, church at Mi- 
 lan, 49— the Evangelist, church at Naples, 
 
 435 — di-Verdara, church at Padua, 208 
 
 St.. church at Parma, 277— de" Fuformali 
 church at Pesaro, 429— Baptist, church at 
 Pistoja, 665— the Evangelist, idem, 664— 
 Rotondo, St., idem, 663— del Canale, St,, 
 
742 
 
 INDEX. 
 
 convent and church ofPlacentia, 510— 
 hospital at Turin, 703— the Baptist, chief 
 festival at Florence, 514— Calabila, St., 
 hospital at Rome, 524— Carbonata, St., 
 church at Naples, 564— Baptist, St., church 
 at Ravenna, 417— Ihe Evangelist, St., ba- 
 silic at Ravenna, 417— in Laterano, St., 
 chinch at Rome, 537; its cloister and gale, 
 540— of tlie Florentines, church at Rome, 
 560— Baptist, St., baptistry of Siena, 621 — 
 St., calhedral at Turin, 701— the Almoner, 
 church at Venice, 178, 191— Chrysostom, 
 St., idem, 178— in Bragora, St , idem, 171 
 —and Paul, St., 182, 185— in Fonte, St., 
 church at Verona, 111— St., church at 
 Volterra, 6*7— of God, St., small hospital 
 at Florence, 382. 
 
 Jomelli, composer, 258 n. 
 
 Jones, Inigo, English architect, imitator of 
 Palladio, 129 )i. 
 
 Jorio, canon, of Naples, 441. 
 
 Joseph, St., oratory of Bassano, 133— church 
 of Bologna, 244— Brescia, 99— Florence, 
 357— Milan, 49— Padua, 209— Rome, 554— 
 oratory at Siena, 622— church at Venice, 
 171. 
 
 — , Greek patriarch, died al Florence after 
 the Council ; his lomh, 360. 
 
 Joubert, French general, death of, 692. 
 
 Journal, Arcadian, of Rome, 562 n. 
 
 Journals, Italian, 430, 448. 
 
 Jovi, mountain, 692. 
 
 Jugurlha, place of his death, 534. 
 
 Julian, St., baths of, at Pisa, 411— monastery 
 of, near Spoleto, 643— church at Venice, 
 179— at Vcrcelli, 33. 
 
 Juliet, her pretended sarcophagus at Ve- 
 rona, 106. 
 
 Julius II., orders a sword to be added to his 
 slatue, by Michael Angelo, 243; 255; his 
 portrait by Raphael, 526; consecrates a 
 cannon ball at Loretto, 434 ; 506, 509, 510, 
 516, 521, 530; his tomb, 342 ; 606, 637, 642; 
 his palace at Savoua, 689. 
 
 — III., 593: his villa or casino, 595; 600, 
 608 ; his statues, 650. 
 
 Junte, Toinmaso, printer of Florence, 167. 
 
 Jussy, 4 n. 
 
 Justine, St., church at Padua, 207 ; the old 
 library, 208. 
 
 Justus, St., oratory at Siena, 623. 
 
 Juturna, fountain at Rome, 591. 
 
 Juvara, Filippo, architect (,18th century), 
 695, 702, 703; his Superga temple, 702. 
 
 Juvenal, 451, 502, 562, 591. 
 
 K. 
 
 Kara Mustapha, the grand-visir : his defeat 
 
 before Vienna; his Coran at the library of 
 
 Parma, 271. 
 Kauffman, Angelica, painter, 87, 524, 528 ; 
 
 her tomb, 548. 
 Kaunitz, baron of, interred in the temple of 
 
 St. Peter, at Geneva, 4. 
 Keller, utility of his map of Switzerland, 12. 
 Kellermann, French general, 683. 
 
 Kircher, the P., his museum at Rome, 832. 
 Roller, Austrian general, his funeral at Na- 
 ples, 439. 
 
 L. 
 
 Lahinius, ancient river of Italy, 264. 
 
 Lablache, singer. 65, 449, 683. 
 
 Labus, Doctor, editor of the complete works 
 ofEnnius Qnirinus Visconti, 59; his disser- 
 tation on the antique monuments disco- 
 vered at Brescia, 91; his inscription on the 
 tombof Deani, 10I ; 292. 
 
 Lacretelle, M. Ch., 497 n. 
 
 Lactantius, Epitome of,<at the library of the 
 Turin university, 700. 
 
 Ladislas, king of Naples, conqueror of Italy : 
 his tomb, 462 ; 606. 
 
 La Fontaine, 399 n., 410. 
 
 Lago, mountain del, near Perugia, 653. 
 
 Lago Maggiore, 24 ; fete given to the king of 
 Sardinia, 25. 
 
 Lagomarsini, the P., Lalin scholar : his 
 writings on Cicero, 532. 
 
 Lakes of Agnano, 471— A vermis, 472— Bol- 
 sena, 616— Cosmo, 81— Fucino and its 
 Emissario, 494— Geneva, 2, 3, 20— Garda, 
 101— Isea, 90— Licola, 473— Loppio, 104— 
 Lucrine, 472— Nemi, 498— Perugia, 652— 
 Pie di Luco, 645 
 
 Lalamlc; his erroneous opinion of a manu- 
 script at Ihe Duomo of Vercelli, 32 ; on Ihe 
 steeple of Cliiaravallo, 71 ; 247; on Ihe 
 cathedral of Modena, 267; 508, 341 ; his 
 error respecting two basso-relievos on Ihe 
 bronze door of the Duomo at Pisa, 401, 
 495, 624. 
 
 — , Mme, singer, 449. 
 
 Lalatta college, at Parma, 283. 
 
 Lalonge, Robert, of Antwerp, painter. See 
 Fiammingo. 
 
 Lama, Giovanni Bernardo, painter of the 
 Neapolitan school, 460. 
 
 — , De : his Vita del cav. Giambattista Bo- 
 doni ; anecdote of Napoleon, 284. 
 
 Lamarque, French general, takes Capri, 486. 
 
 Lamarline, M. de, 229, 231. 
 
 Lamberii, Francesco Maria, Capuchin, mis- 
 sionary, and man of letters, 680. 
 
 Lambertini palace, at Bologna, 257. 
 
 Lamberto Lombardo, of Liege, established 
 at Venice, painter of the Venetian school 
 (16th century), 211. 
 
 Lambruschini, s. Rafaello, economist, 559. 
 
 Lamennais, abbe" de, 6I4. , 
 
 Land, doctor ; his Detizie degli erudili Tos- 
 cani, 317 «.; his ineditcil works at the 
 Riccardiana, 535; his tomh, 356; his 
 house, 388. 
 
 Lana, Ludovico, painter of the Moder.ese 
 school (17th century), 264. 
 
 Lancelolti, palace at Rome, 573. 
 
 — , ancient palace at Villetri, 498. 
 
 Lanci, S., professor at the Sapienza, 583. 
 
 Lancisi, celebrated physician, 5S5. 
 
 Landi, Cav. Gaspardo, of Placeulia, painter, 
 100, 509, 510, 565. 
 
 Landino, Cristoforo, commentator on Dante; 
 phenomenon of his dead body, 536 n. ; 355, 
 575. 
 
INDEX. 
 
 745 
 
 Landino, Taddeo, Florentine sculptor (18th 
 
 century), 585. 
 Lando di pietro, military architect of Siena, 
 
 628. 
 Lanfranchi, S., professor at the university of 
 
 Pavia, 76. 
 Lanfranco Giovanni, painter of the Parmesan 
 
 school f17th century), 277, 283, 438. 461, 
 
 465, 534 ; his tomb, 337 ; 360, G47, 664. 
 Lanfrani, Jacopo, Venetian sculptor and 
 
 architect {14th century), 249, 230. 
 Laufreducci palace, at Pisa, 410. 
 Lanino, Bernardino, painter of the Milanese 
 
 school (16th cenlurv), 52, 53, 42, 43, 47, 
 
 71. 
 Lanle, cardinal, surnamed Carino, 338. 
 
 — villa, at Bagnaja, 612. 
 
 — villa, at Rome, 579. 
 
 Lantern, the, lighthouse at Genoa, 682. 
 
 Lanzani, Andrea, painter of the Milanese 
 school (17lh century), 42, 47, 49. 
 
 Lanzi, the author's principal authority on 
 painting, 40, 198, 499, 244, 292 n., 3H ; his 
 tomb, 355 ; 361, 362, 366, 612, 644, 624, 
 625, 628, 635, 647, 650, 655, 665, 663, 679, 
 703. 
 
 — , Loggia de', at Florence, 319. 
 
 Laocoon, group at the museum of the Vatican, 
 316, 554. 
 
 Lapi, Nicolao, painter of the Florentine 
 school (17th century), 345. 
 
 Lapo, Aruolfo di, architect, creator of the 
 Florentine school (15th centurv*, 538 ; his 
 statue, 539; 385, 384, 614, 655. 
 
 — , Jacopo di, or il Tedesco, Arnolfo's father, 
 architect, 646. 
 
 Largilliere, Nicolas, painter of the French 
 school (47th century), 525, 680. 
 
 Largo del Castello, piazza at Naples, 439. 
 
 Larricia, 498. 
 
 Larue, the P., his interpretation of the lique- 
 factaque volvere saxci, 290. 
 
 Lasca, or Grazzini, burlesque poet, 341, 561. 
 
 Lascaris, scholar of the revival, 37, 588. 
 
 Latini, Brunetto, Dante's master, 108, 563, 
 419; his Tresor composed in French, 553; 
 515 n. 
 
 — , Latino, critic and scholar of Vilerbo : 
 books with his notes at the chapter library, 
 611. 
 
 Latte, village, 691. 
 
 Laudivio, tragic poet; the manuscript of his 
 De Caplivitate ducis Jacobi not printed, 
 266. 
 
 Laura, ihe fair : question of her celibacy, 
 216; one of her most authentic portraits 
 in Ihe Laurentian, 552 — error respecting 
 her portrait under the semblance of plea- 
 sure, 561, 629. 
 
 Laurati, surname of Pietro Lorenzetti, painter 
 of the Sienese schuol (14th century, 404. 
 
 Laurence, St., antique columns of the church 
 of, 43 — church at Cremona, 506— at Flo- 
 rence, 545 — Charterhouse at Florence, 596 
 — cathedral at Genoa, 684— church at Na- 
 ples,455— cathedra! at Perugia,649— church 
 at Pistoja, 664 — in Cesarea, ancient church 
 near Ravenna, 421|— St., basilic at Rome, 
 540,— in Damaso, church at Rome, 560— in 
 
 Lucina, idem, 531 —St., cathedral at Tivoli, 
 
 599— church at Venice, 170— cathedra! at 
 
 Viterbo, 611— Laurence, St., national fete 
 
 at Florence, 515. 
 Lauretti, Tommaso, Sicilian, painter of the 
 
 Roman school (16th century , 256, 510, 528. 
 Lauriston, marshal, Law's grand nephew; 
 
 when command ing at Venice, has his uncle's 
 
 tomb removed, 179. 
 Lausanne, description of, 18 ; society and 
 
 environs, 19. 
 Lautrec; tomb of the last of the race, 99; 
 
 tomb erected to Lautrec by the duke of 
 
 Sessa, at Naples, 459 ; mount of Lautrec, 
 
 its grotto, 470. 
 Lauzun, 705. 
 
 Lavino, torrent near the islaudof the Trium- 
 virs, 264 ii. 
 Law, his tomb at Venice, 179. 
 Lawrence, English painter, 520. 
 Laraza, marquis Giovanni di, of Padua, friend 
 
 of letters and the arts, 199 ; his house, 214. 
 Lazaretto of Leghorn, 415. 
 Lazaro, St., islet near Venice; its convent, 
 
 491. 
 Lazzari, professor of law : his tomb, 665. 
 Lazzarini da Murro, Domenico, learned 
 
 scholar of the last century, 205. 
 — , the canon Andrea, painter of the Roman 
 
 school(18th century), poet and writer, 431. 
 — , Gregorio, painter of the Venetian school 
 
 (17th century), 153, 171, 182. 
 Lazzaroni, greatly changed, 438. 
 Leblanc, M., view of Florence from his casino, 
 
 576. 
 Lebas, M., French architect, editor of Vi- 
 
 gnola's works, 609 n. 
 Lebrun, sculptor (48th century ), 551 . 
 — , French painter, 162, 255. 
 Lecclii, Milanese, his medallion, 62. 
 — , count, of Brescia ; his gallery, 100. 
 — , island in lake Garda, 105; its school of 
 
 theology, ibid. 
 Lecco, on the lake of Cosmo, its Greek origin, 
 
 82. 
 Lecler, professor J. v., 53 n., 532. 
 Lefebvrc, French engineer, 675. 
 Lefevre, Valentino, painter (1 7th century), 
 
 Leganez, marquis de, Spanish general, for- 
 bids his bombardiers to fire on the church 
 of St. Christopher at Vercelli, lest the 
 frescos of Ferrari should be injured, 33. 
 
 Leggina, village, 689. 
 
 Leghorn, 412, 683. 
 
 Legnago, Antonio da, scholar, correspondent 
 of Petrarch, his tomb, 112. « 
 
 Legnani, Stefano," called also Legnaniuo, pain- 
 ter of the Milanese school (17th century), 
 55, 45, 49. 
 
 Legros, Pierre, French sculptor (17th cen- 
 tury), 551, 555, 545. 
 
 Lelio, Andrea, called Andrea of Ancona, 
 painter of the Roman school (18th century), 
 431. 
 
 Lemoine, M., French sculptor, 531. 
 
 Lenglet-Dufresnoy, his ludicrous blunder 
 about Cataio, 215. 
 
 Lenno, on the lake of Cosmo, its Greek ori- 
 
744 
 
 INDEX. 
 
 sin, 82; perhaps the Tragcedia of Pliny, 
 85 n. 
 
 Lenotre, French architect, 367, 594. 
 
 Lenzoni-Medici, Signora Carlotta, of Flo- 
 rence, 369 ; repaired Boccaccio's house at 
 Certaldo, 599. 
 
 Leo, S.in, chateau near Rimini, where Ca- 
 ghost ro was imprisoned and buried, 426. 
 
 Leo, St., pope, 536; (he only Roman con- 
 queror at Ostia, 606. 
 
 — X. : error respecting his excommunicating 
 Luther, 227; 528, 371 W., 392; orders his 
 Turkish horse to he taken care of till its 
 death, 322 n. ; his portrait by Raphael, 447; 
 309, Ml, 512,514, 516,519, 557, 548 ; his 
 tomb, 550 ; 578, 582, 603, 606, 616, 637, 660, 
 661, 678, 686. 
 
 — XL: his death, tomb, 503. 
 
 — XII., 503: purchases Cicognara's library 
 of works on art, and gives it to the Va- 
 tican, 514; 541; his organization of the 
 Sapienza, 583; 585, 595. 
 
 Leonard, St., church at Bologna, 246— at 
 
 Trevisa, 111. 
 Leonardi, Giovanni, of Diecimo, founder 
 
 of the congregation of the Mother of God, 
 
 669. 
 Leonardo, of Milan, sculptor and engraver 
 
 (16th century), 559. 
 
 — of Pistoja, painter of the Florentine school 
 (I6lh century), 657. 
 
 — di Ser Giovanni, Florentine goldsmith 
 (14th century), 662. 
 
 Leone, Pier, petty despot of Rome: his tomb, 
 
 536. 
 Leoni, Pompeo, 55. 
 
 — palace, now the Sedazzi, at Bologna, 255. 
 — , Pielro, physician and astrologer, dies in 
 
 the manner himself had predicted. 593 n. 
 Leopoldo, count Jacopo, one of the good 
 
 contemporary Italian poets, 334. 
 — , Alessandro, Venetian sculptor ; his 
 
 bronze pili of the piazza of St. Mark, 146, 
 
 182,- his pedestal to the statue of Colleoni, 
 
 18i. 
 Lercari-Imperiale, ancient palace at Genoa, 
 
 680. 
 Lesueur, French painter (17th century), his 
 
 Resurrection of the Doctor inferior to 
 
 Crespi's frescos, 70. 
 Leucio, St., great silk factory near Caserta, 
 
 its origin, 488. 
 Lewis, St., church at Parma, 282— of the 
 
 French, church at Rome, 531— hospital at 
 
 Turin, 703. 
 
 — II., emperor, his tomb, 46. 
 
 — the Moor, duke of Milan, patron of the 
 arts, 54. 
 
 Lezze, Giovanni, Priamo, and Andrea, their 
 tomb, 184. 
 
 Liberal, St., church of Castelfranco, 138. 
 
 Liberi, Pietro, of Padua, painter of the Ve- 
 netian school (17th century ), 87, 12S, 135, 
 171, 173, 173, 179, 182, 181, 198, 200, 202, 
 207, 208, 211. 
 
 Liberties of the Venetian church, approach 
 nearer the Greek schism than to the spirit 
 of reform, 169. 
 
 Liberty of modern republics, without elo- 
 quence 131 ; auarchic liberty of the middle 
 ages, 299. 
 
 — ol conscience in Lombardy, 59. 
 
 Libraries : Agnesiana, at Vercelli, 53— A:n- 
 brosian, at Milan, 52— Angelica, at Rome, 
 552— of Arezzo, 637 — Barbcrini, at Rome, 
 569— of Bergamo, 88— Berio, at Genoa, 683 
 — Bertoliana, at Vicenza, 127— Brancac- 
 ciana. at Naples, 448— Brera, at Milan, 
 56— or Brescia, 95— Chiavari, 674— Cosmo, 
 81— Corsini, at Rome, 578— Corlona, 631— 
 Ferrara, 224— Geneva, 6— Ghigi, at Rome, 
 563 — linola, 414 — St. 4ohn Carbonara, 463 
 — Laureniian, at Florence, 195, 327— of 
 Lucca, 671 — Maglhbccchiana, at Florence, 
 556, 450— of the Minerva, called Casana- 
 lense, at Rome, 550 — Magnani, at Bologna, 
 230— Malatestiana, 423— Maldotli, at Gus- 
 talla, 289— at Mantua, 295— Maniceili, at 
 Florence, 535— of Alotlena, ancient library 
 of the house of Este, 264— of Parma, 271 ; 
 merit of its successive librarians, 279— of 
 Perugia, 652— of Pcsaro, 429— Ravenna, 
 418— Heggio, 270— Riceardi, at Florence, 
 535, 333 — of Rimini, 425— Siena, 652— Ver- 
 celli, 55— Verona, 116— Vicenza, 127 — Vol- 
 terra, 659— of the Philippines, at Pist"ja, 
 664— of the archiepiscopal palace at Ra- 
 venna, 419—; chapter ) at Verona, 116— Vi- 
 terbo, 611— Perugia, 649— college Forte- 
 gucrri ol Pistoja, 666— of the Roman college, 
 551— of the convent of the Holy Cross of 
 Jerusalem, at Rome, 123 «., 540— of the 
 convent of St. Philip of Neri, at Naples, 448 
 —of the convent of SI. Philip of Neri, at 
 Rome, 553 — of the minister of the interior 
 at Naples, 448— of the monastery of La Tri- 
 nita, at La Cava, 482— of Monte Casino, 
 490— of the ducal palace at Lucca, 671— of 
 the Pitti palace, at Florence, 574— of Pla- 
 centia, 509— royal, at Naples, 447— of the 
 seminary at Novara, 55 — Padua, 209— of the 
 Salute at Venice, 175— St. Mark's, at Ve- 
 nice, 155— Trivulzio, at Milan, 55 «.— of 
 the universities of— Bologna, 258— Genoa, 
 683— Naples, 448— Padua, 196— Pavia, 77— 
 Pisa, 409— Turin, 696— of the city of Na- 
 ples, 448— of the Vatican, 511. 
 
 — , Italian, publication at Milan, 562 n. 
 
 Libri, Geronimo da", of Verona, thus sur- 
 named for his ability as a miniature painter 
 in music and prayer-books ( 16th century), 
 115. 
 
 — , M., mathematician, formerly of the uni- 
 versity of Pisa, 557. 
 
 Licteris, s., under-librarian of Naples; his 
 catalogue or the editions of the 15th cen- 
 tury, 417. 
 
 Lido, ihe, near Venice, 191. 
 
 Ligoiio, Pino, painter, antiquary, architect 
 (16th century), 503; his villa 7'io, 321; 
 550, 575, 600; his manuscripts in the ar- 
 chives of Turin, 696 n. 
 
 Ligozzi, Jacopo, painter of the Florentine 
 school (16th century ), 516,523, 359, 562, 
 406,408,414,668,670. 
 
 Liinone, on the lake of Garda, 10 V. 
 
 Lily, in the arms of Florence, at first white, 
 
INDEX. 
 
 745 
 
 inconsequence of revolutions became red, 
 a change deplored by DaQte, 359. 
 
 Linari, tbe P. Santi, professor at the Tolomei 
 college and at the university of Siena, 622. 
 
 Lincei, academy of the new, at Rome, 525. 
 
 Lino, Pierrolino, or Pietro di, paiuter of the 
 Siencse school (12th century), 651. 
 
 Linterno, near Milan, 56 n.\ inhabited by Pe- 
 trarch, 69; 286. 
 
 Linus, St., convent of Voiterra, 657. 
 
 Lion nf St. Mark, 148. 
 
 Lioni, Lione, of Arezzo, sculptor (46lh cen- 
 tury), 59. 
 
 Lions of Athens, at the arsenal of Venice, 
 187. 
 
 — of the Capitol, at Rome, 525. 
 Liotard, Genevese painter, 6. 
 Lippi, Annibale, architect, 571. 
 
 — , Lorenzo, painter of the Florentine school 
 (17th century), and poet ; his Malmanlile 
 quoted, 242 n.\ his tomb, 560 ; 408. 
 
 Lippi, Filippo, the elder, painter of the Flo- 
 rentine school (15th century), 364, 408; his 
 tomb, 644; 660, 661, 666. 
 
 — , Filippo, the younger, painter of the Flo- 
 rentine school (15th centurv\ 556, 359, 
 364, 550, 669. 
 
 — , learned printer of Colle, 635. 
 
 Lipsius, Justus, his portrait by Rubens, 374; 
 his pen at Loretlo, 434. 
 
 Liris, ancient river of Italy, 494, 495. 
 
 Literati in Italy, 539; get but little money, 
 ibid. 
 
 Literature, more popular before the inven- 
 tion of printing than since, 98, 111, 126. 
 
 Lilta, count Pompeo ; his work on tbe Fami- 
 glie ce.le.bri italiane, 39. 
 
 — palace at Milan, 5"; its library, 57. 
 Liutprand, king of ihe Lombards, erects the 
 
 tomb of Boelius, 78 ; his mausoleum, ibid. 
 Lizza, promenade at Siena, 630. 
 Lizzaro, surname of Guido Minio, of Padua, 
 
 founder (16th century), 198. 
 Locatelli, S., first essay of his astro-lamp at 
 
 La Fenice, 188. 
 Loggia de' Banchi, at Genoa, 677. 
 — , Raphael's, at the Vatican, 507. 
 Lolmo, Giovanni Paolo, of Bergamo, painter 
 
 of the Venetian school (46th century), 87. 
 Lomazzo, Giovanni Paolo, Milanese, 40, 41; 
 
 his Treatise on Painling, 40 n. ; 49, 88. 
 Lombardi, father and son, able sculptors of 
 
 the 15th century, 140, 141, 142, 143, 176, 
 
 185. 
 Lombardo, Pietro, Venetian sculptor and 
 
 architect (15th century), 143, 147, 161, 163, 
 
 174, 180, 181,182. 
 Lombardo, Alfonso, of Ferrara, sculptor 
 
 (I6lh century), 223, 242, 244, 248, 249, 251; 
 
 his basso-relievos of the funeral of the Vir- 
 gin, 253, 254. 
 — , Antonio, Venetian sculptor ()5lh cen- 
 tury), 147, 200. 
 — , Cristoforo, called Tofano and Lombar- 
 
 dino, Milanese architect and sculptor (16lh 
 
 century), 59, 243. 
 — , Geronimo, of Ferrara, sculptor (16th 
 
 century), 148, 433 ; his sons, ibid. 
 — -jLamberto, painter of Li^ge (16th century), 
 
 did several landscapes in the paintings of 
 Titian and Tintoretto, 211. 
 
 Lombardo, Tommaso, Venetian sculptor (10th 
 century), 175. 
 
 — , Tullius, Venetian sculptor (15th century), 
 163, 171, 178, 184,198, 200. 
 
 Lorabardy, description of, 26; route bridges, 
 roads, 55 ; expense of keeping the roads in 
 repair, 36 n. 
 
 Lomellini villa, at Pegli, 688. 
 
 Lomi, Aurelio, painter of the Genoese school 
 (i7lh century), 35), 407. 
 
 Lundonio, painter of the Milanese school 
 (18th century), 61. 
 
 Longhena, architect (17th century), 172; his 
 tasteless mausoleum of Valiero, 182. 
 
 — , S. P.j Italian translator of M. Quatrcmere 
 de Quincy's Histoire de la vie et des oic- 
 wages de Raphael, 118 n., 199. 
 
 Longhi, Luca, of Ravenna, painter of the 
 Bolognese school (16th cenlurv), 225, 417, 
 418, 419. 
 
 — , Francesco, Lnca's son, painter, 418. 
 
 — , Barbara, painter, Luc.Vs daughter, 418. 
 
 — , engraver, poet, and writer, 41; his gallery, 
 62 ; his engraving of the Last judgment 
 begun, ibid. 
 
 Lorenzetli, Ambrosio, painter of the Sienese 
 school (14th century), 628. 
 
 — , Sano di Pietro, painter (15th century), 
 627, 650. 
 
 Lorenzetto, Florentine sculptor (16th cen- 
 tury); his Jonah of the church of Santa 
 Maria del Popolo, at Rome, 530, 549, 662. 
 
 Lorenzi, Bartolommeo, poet and improvi- 
 satore of Verona, his cenotaph, 111, 120. 
 
 — , Battista, Tuscan sculptor (16th century), 
 555. 
 
 Lorenzini, Francesco, Arcadian poet, 579. 
 
 — , Lorenzo, mathematician, imprisoned : his 
 tomb, 363 ; 658. 
 
 Lorenzo, Don, Camaldulile, author of tbe 
 miniatures of a Missal in. the Laurentian, 
 333. 
 
 — , Nuovo, San, village founded by Pius VI., 
 616. 
 
 Loretto, 453. 
 
 Lorrain surname, of Claudio Gelee, painter 
 of the Flemish school (17lh century), 525, 
 445, 447; bis landscape of the Mill, 563 ; his 
 house at Rome, 571. 
 
 Lorraine, cardinal of, 551. 
 
 Loth, Charles, of Munich, painter of the Ve- 
 netian school (17th century), 207. 
 
 Lottery, passion of the Roman populace for 
 the, 564. 
 
 Lotto, Lorenzo, painter of the Venetian 
 school (16lh centurv), 86, 87, 88, 154, 175, 
 176. 
 
 Louis XIV. : pensions professor Ottavio Fer- 
 rari, of Padua, 201; his medallion painted 
 by Petitot, exposed on tbe high altar at 
 Bologna on festivals, 253; founder or the 
 Academy of France at Rome, 571. 
 
 — , XVIII., at Verona, 119 n.. 548. 
 
 Lourdes, French orientalist, 192. 
 
 Lovera, borough, 90. 
 
 Lovers of queens excite but little commise- 
 ration, 463. 
 
 63 
 
746 
 
 INDEX. 
 
 Luca of Montepulciano, architect, 6-24. 
 
 Lucan, 424, 428, 473. 
 
 Lucano, bridge of, on the road to Tivoli, 
 
 597. 
 Lucca, town, 667. 
 Lucchese, shrewd and crafty, good farmers, 
 
 672. 
 Lucchesini, marquis Cesare, author of the 
 
 Literary History of Lucca, 671. 
 Lucchesino, surname of Pietro Testa, painter 
 
 of the Florentine school (17th century), 
 
 668. 
 Lucchino, warrior, Petrarch's friend, 112. 
 Lucian : his description of the painter iEtion's 
 
 Marriage of Alexander and Roxana, imi- 
 tated by Raphael, 598. 
 Lucrelirrs, quoted, 438, 502 n. 
 Lucius III , pope, driven from Rome, 110. 
 Lucy, St., church at Bologna, 231— fountain 
 
 at Naples, 440— de' Magnoli, St., church 
 
 at Florence, 367— sul Prato, St., idem,. 
 
 361— St., church at Padua, 203— at Siena 
 
 262— Venice, 173. 
 Ludovisi villa, at Rome, 567. 
 Ludlow, Edmund ; his tomb at the cathedral 
 
 of Vevey, 17. 
 Lugano, town, 80. 
 Luini, Aurelio, painter of the Milanese school 
 
 (16lh century), 41, 45. 
 — , Bernardino, painter of the Milanese school 
 
 (16th century), 57, 40, 41, 45 ; his frescos 
 
 of St. Maurice, 45, 48, 49, 55, 60, 71, 72, 
 
 73, 75, 79, 80, 297, 446. 
 Luke, St., evangelist, and reputed painter; 
 
 pictures attributed to him, 99, 302, 390, 
 
 334. 
 — , St., portico of, at Bologna, 251— church 
 
 at Genoa, 686— at Rome, 535— at Venice, 
 
 175 — academy of, at Rome, 533. 
 Lullin, Ami, professor of ecclesiastical his- 
 tory, bequeaths his books to the library of 
 
 Geneva, 6. 
 Lunatic asylum at Aversa, 494 — at Rome, 
 
 586. 
 Lunatics, number of, in Italy, 587. 
 Lunghi, Martino, the elder, architect (IClh 
 
 century), 498, 572, 573. 
 — , Martino, the younger, architect (17th 
 
 century), 531, 557, 5B2. 
 — , Onorio, architect (16th century), 551. 
 Luni, its ruins, 673. 
 Lusignan, Hecuba de, Queen of Cyprus ; her 
 
 lomb, 646. 
 Luther, his Hebrew Psalter at the library of 
 
 Parma, 272, 501 n., 514, 680. 
 Luti, Benedetto, painter of the Florentine 
 
 school (17th century), 402, 529, 545, 544, 
 
 665. 
 Lyceum, musical, of Bergamo, 89— Phil- 
 harmonic, of Bologua, 258 n. —of Cosmo, 
 
 81— Luca, 671 — 
 
 M. 
 
 Mabil, Cav. Pietro Ludovico, professor at 
 
 the university of Padua. 208. 
 Mabila, f. di Mazo, .sculptor of Cremona, 
 
 (15th century), 306. 
 
 Mabillon, 53, 434,469; his letters 492; 618, 
 659. 
 
 Micchietti, Geronimo, painter of the Flo- 
 rentine school (16th century;, 343, 359, 
 408. 
 
 Macdonald, general, his campaign in the 
 Rhetian Alps, 85 ; his victory at Bor- 
 ghelto, 642. 
 
 Machiavel : his remark on the disobedience 
 of the Romans to the popes, 110 n., 163, 
 298, 516, 318, S43, 550; his tomb at Santa 
 Croce at Florence, 553, 363, 571 : his ma- 
 nuscripts at the library of the Pitti palace, 
 575; his house at Florence, 378; 582 n., 
 389; his residence and villa at San Cas- 
 siano, 597; 423; on his presence at the 
 massacre of Semgallia, 431 ; 439, 495, 572, 
 633; his romantic and incomplete history 
 of Castruccio Castrucci, 670, 696. 
 
 Machirelli, count Odoardo, of Pesaro, 428. 
 
 Macrin d'Albe, or Giovanni Jacopo Fava, 
 Piedmontese painter (15th century), 75. 
 
 Madama palace, at Home, 573. 
 
 — villa, near Rome, 594. 
 
 — palace, at Turin, 693. 
 Maddaloni palace, at Naples, 442. 
 Maderno, Carlo, architect (16th century). 
 
 499, 500, 502, 505, 573. 
 
 — , Stefano, sculptor (17th century), his sta 
 tue of St. Cecilia, 557. 
 
 Madonna— del Baracano, church at Bologna, 
 251— del Soccorso, idem, 245— del Monte, 
 of Varesa, 80— del Monte, convent near 
 Cesena, 424— of Quintiliolo, church at Ti- 
 voli, 599— dell' Orto, at Chiavari, 675— 
 della Ghiara, at Reggio, 269— delle Car- 
 ceri, at Prato, 661— delle Grazie, principal 
 hermitage of Monte Luco, 643— di Campa- 
 gna (Tempio delta), near Verona, 124— di 
 Galliera, church at Bologna, 244— di Mez- 
 zaratta, near Bologua, 262— di San Biagio, 
 at Montepulciano, 617— di St. Culombano, 
 at Bologna, 247— di San Luca, near Bo- 
 logna, 265— grande, at Vercelli, 52. 
 
 Madonnas of Italy : said to have founded 
 towns, 219. 
 
 Madre di Dio, temple alia gran, at Turin, 
 704. 
 
 Maffei, Francesco, painter of the Venetian 
 school (17th century), 98. 
 
 — , marquis Scipione, 89; his opinion on 
 (he Chiusa, 103 ; on the number of the 
 spectators of the amphitheatre of Verona, 
 107 ft. ; 108, 111, 113; his tomb, 113; H6 
 «., 117; manuscript of his Merope, 117; 
 130 n., 169, 204 n., 213, 214,. 283, 303 H. 
 
 — palace, at Verona, 118. 
 
 — , Jacopo, painter of the Venetian school 
 (17th century), 98, 171. 
 
 — , Mario, bishop of Cavaillon : his tomb, 
 657. 
 
 — , Raffaelo, called U Volterrano, scholar, 
 656, 657; his tomb, ibid. ; 032. 
 
 Magadino, town on Ihe Lago Maggiore, 24. 
 
 Maganza, Alessandro, painter of the Vene- 
 tian school, 127, 128, 129, 297. 
 
 Magdalen, St., church at Bologna, 243— de' 
 Pazzi, at Florence, 357. 
 
INDEX 
 
 747 
 
 Maggl, Pletro, painter of the Milanese school 
 (17th century), 45. 
 
 Magi, the Three, coffin containing their pre- 
 tended relic ia the church of St. Eustorge, 
 at Milan, 45. 
 
 Magini, Baldo, canon of Prato, 661. 
 
 Magistrini, S., professor at the university of 
 Bologna, 236 n. 
 
 Magliabecchi, great bibliographer, 336. 
 
 Masli.ibecchiana, the, library at Florence, 
 57, 336. 
 
 Magnani, architect (16tb century), 284. 
 
 — palace, at Bologna, 255. 
 
 — villa, at Rome, 524. 
 Magnifico, palace del, at Siena, 629. 
 Magno, Cesare, painter, pupil of Gaudenzio 
 
 Ferrari, 71. 
 
 — ■, the R. P., one of the librarians of the 
 Casanatense, 551. 
 
 Magi'i, the canon, 6U. 
 
 Mahomet II.: his correspondence with pope 
 Nicholas V.. 491 . 
 
 Mai, S., 53, 54, 58, 116, 192 M. 528, 448. 
 
 Maiano, Benedetto da, Florentine sculptor 
 and architect (16th century), 517, 340, 
 341,557; his mausoleum of FilippoStrozzi, 
 360, 562, 572, 454, 459. 
 
 — , Giuliano da, Florentine sculptor and ar- 
 chitect (16lh century), 440, 566. 
 
 Maidalchini Pamfili, Donna Olimpia, 574, 
 594 ; her bed, slippers, and part of her fur- 
 niture, 612. 
 
 Maifreda, the abbess, sectarian, vicar of the 
 heretic Guillelmina, 72. 
 
 Maintenon, Mme de, 257. 
 
 Maistre, count Xavier de, 28, 694, 69S, 705 n. 
 
 Maitani, Lorenzo, Sienese architect, 614. 
 
 Malafede, inn on the Ostia road, 605. 
 
 Malagodi, doctor Ludovico, of Fano, 430. 
 
 Malaguzzi, Orazio ; his tomb, 269. 
 
 Malamocco, isle, near Venice, 193. 
 
 Mai' aria, at Rome, 561, 576. 
 
 Malaspina house, at Pavia, 78. 
 
 — , marquis Ludovico, creator of the Pavian 
 museum and academy of fine arts, 79; his 
 opinion on the antiquity of the church of 
 St. Michael of Pavia, contradicted by San 
 Quintino, 79. 
 
 Malatesta, lord of Rimini, visits Petrarch at 
 Linterno, 70. 
 
 ~, Carlo, friend of letters; wrongly accused 
 of throwing a statue of Virgil into the Po 
 or the Mincio, 292. 
 
 — , Pandolfo, lord of Bergamo, chastises the 
 inhabitants of Lovera, 90. 
 
 — , Novello, founder of the Malatestiana, at 
 Cesena, 123. 
 
 — , Sigismundo Pandolfo, lord of Rimini, 272 ; 
 mausoleums of the family, 425. 
 
 — , Leonardo, of Pisloja, painter of the Flo- 
 rentine school (16th century), 461, 637, 
 663. 
 
 Malavolti, Federico, gaoler of Cosmo the 
 elder, 316. 
 
 — palace, at Siena, 652 n. 
 Malchioslro, Brocardo, canon, 140. 
 Malcontenta, village on the Brenta, 194. 
 Maldotti, Marcantonio, founds the library of 
 
 Guastalla, 289. 
 
 Malebranche, several of hi? letters and trea- 
 tises still in the index, 551. 
 
 Malecarni, Francesco, one of the competitors 
 for the prize for a poem on True Friend- 
 ship, 331. 
 
 Malesso, surname of Giambattista Frotti, 
 painter of the Cremonese school (16th cen- 
 tury), 45. 79,- 282, 506, 507, 510. 
 
 Malherbe : his letters to Peiresc, 569 n. 
 
 Mal-Maritate, house of the, at Florence, 365. 
 
 Malsesiue, town on the lake of Garda, 105. 
 
 Malte-Brun, geographer, 130 n. 
 
 Malvasia, count, 247, 250, 253, 257. 
 
 Malvezzi-Bontioli palace, at Bologna, 236 n., 
 257. 
 
 Mamerline, prison of ancient Rome, 553. 
 
 Mamiani della llovera. count Terenzio, poet, 
 428. 
 
 Mammolo, ponte (bridge), 597. 
 
 Mancini, clerk of the Ambrosian library, 52. 
 
 — S., engineer: illustrates the arch of Au- 
 gustus, at Fano, 430. 
 
 Manera, Domenico, sculptor, 134. 
 
 — , the P., Jesuit, professor at the university 
 
 of Turin, 636. 
 Manetli, Tuscan engineer, 655. 
 
 — Giannozzo, scholar : his dissertation on 
 the different crowns of the ancients, intro- 
 duced in the funeral oration of Brum 
 Aretino, 355 n. 
 
 — , Domenico, painter of the Sienese school 
 
 (16lh century), 627. 
 — , RiHilius,painter of the Sienese school (16th 
 
 century;, 407, 622, 625, 625, 652. 
 Manfredi, the P. Valentino, librarian of the 
 
 Berio, at Genoa, 685. 
 Manfredi, Fra Andrea, of Faenza, general of 
 
 the Services, 251. 
 — , Galeotto, lord of Faenza, killed by his 
 
 wife, 415. 
 Manfredini, general marquis Federico : his 
 
 line collection of prints bequeathed to the 
 
 seminary of Padua, 209. 
 — , brothers, Milanese founders of the bronze 
 
 statue, etc , on the Arco delle Pace, 69. 
 Manfrini palace, at Venice, 163. 
 Mangani, Filippo, peasant of Fiesole skilled iu 
 
 mathematics, 590. 
 Manget, M., his work on the lake of Geneva, 
 
 20 n. 
 Mangia, tower del, at Siena, 627. 
 Mangoni, Fabius, Milanese architect, 57,38. 
 Manicomio madhouse, at Turin, 704. 
 Manini, palace of, at Maser, 157. 
 — , last dose of Venice, 138, 152. 
 Manlius Vopiscus ; remains of his villa at 
 
 Tivoli, 599. 
 Mannelli, Amaretto ; his copy of the Deca- 
 meron, 528 ; 564 n. ; his pretended descent 
 
 from the Manilia f.irnily, 366. 
 Mannetto, Latinus Juvenalis, commissary 
 
 general of autiquities at Rome, 550, 580. 
 Manni : his Sigiili, 514 n. 
 Manno, baron Joseph, 568. 
 — , Bolognese sculptor (14th century) ; his 
 
 statue of Boniface VIII., 238. 
 Manno, temple of San, celebrated Etruscan 
 
 monument, near Perugia : its inscription, 
 
 652. 
 
748 
 
 INDEX. 
 
 Mausi, Giovanni Domenico, learned arch- 
 bishop of Lucca, 669. 
 
 Manso, friend of Tasso, -459. 
 
 Mantegna, Andrea, of Padua, painter of Ihe 
 Mautuan school (15ih century), 56, 61,95, 
 ■109, 119, 164, 199, 200, 201, 239 n., 264, 
 292. 294 ; his chapel, 295, 297, 2HS, 299 ; his 
 house at Mantua, 500 ; 425, 519. 
 
 Mantova, Andrea, of Padua, amateur painter 
 (17lh century), 205. 
 
 Manlovano, See Spagnuoli. 
 
 Wanlua, 219 v., 291. 
 
 Manutius, Aldus, the elder: his typographic 
 academy, 166; inscription over his cham- 
 ber-door, ib.; his epitaph on the monk 
 Eusebius, 190; 369, 575, 
 
 — , Paul, his letters, 54 n. ; 166 «., 424, 448; 
 Ii is tomb, 530; books with notes in his 
 hand at the Barberini, 569. 
 
 Manzoni, Alessandro, 22 n ; his interesting 
 Promessi Sposi, 39; his treatise Sulla 
 morale eattolica, 63 ; 101 n., 178, 295, 50i, 
 554 «.; the first edition of his Adelchi did 
 not clear its expenses, 540, 696. 
 
 Marabelli, professor at the university of 
 Pavia,76. 
 
 Maraggiano, sculptor, 675. 
 
 Maraldt, Jacopo Filippo, astronomer, Cas- 
 sini's nephew, 546. 
 
 Maratta, Carlo, painter of Ihe Roman school, 
 499, 550, 531, 553, 534, 545 ; his tomb, 546 ; 
 548, 575, 578, 602, 605, 611, 619, 656, 702. 
 
 Marca, Mattanzij della, painter of the Roman 
 school (16th century ), 649. 
 
 Marcel, of Provence, mosaist, 566. 
 
 Marcellin, St., church at Parma, 279. 
 
 Marcello, author of the psalm music, poet, 
 patrician of Venice, snrnamed the prince 
 of music : his tomb, 98 ; 579. 
 
 Marcellus, St., church at Rome, 532. 
 
 Marchesi, Ponipeo, 37, 40, 56, 61, 69, 7!, 90. 
 
 Marchione, sculptor of Arezzo (I51hcenturv\ 
 657. 
 
 Marchioni, Signora, actress, 66. 
 
 Marchisio, s.stanislao, Piedinontese dramatic 
 author, 701. 
 
 Marco of Siena, painter of Ihe Florentine 
 school (15th century), 415, 454, 435, 456, 
 459, 460, 489. 
 
 Marconi casino, at Frascali, 602. 
 
 — , Rocco, of Trevisa, painter of the Vene- 
 tian school (16th cenlury ), 175, 183, 214. 
 
 Marcucci, Agosliuo, painter of the Sienese 
 school ( Ifilh century), 628. 
 
 Marcus Aurciius : his tellers to Fronto, 54 ; 
 his equestrian statue, 525. 
 
 Mare Morto, ancient port of Misenum, 474. 
 
 Maremma of Siena, draining of the, 655. 
 
 Marengo, field of, 692. 
 
 Marescalchi palace, at Bologna, 256. 
 
 Maresculco, surname of Giovanni Boncon- 
 sigli, of Vicenza, painter of the Venetian 
 school (15lh century ), 127, 129, 476. 
 
 Marescotti, monk and founder (15th century), 
 220. 
 
 Marforio, colossal statue in the museum of 
 the Capitol, 526. 
 
 Margaret, St., gate of, at Cremona, 307. 
 
 — of Austria, natural daughter of Charles V.; 
 
 Margaret, her monument and mausoleum in 
 the church of St. Sixtus atPlaccntia, 310; 
 594. 
 
 — of Orleans, wife of Cosmo III., 392. 
 
 — , St., church and convent near Cortona, 
 634. 
 
 Margaritone of Arezzo, painter of the Flo- 
 rentine school (13th century), 431, 656, 
 659. 
 
 Maria, Maggiore, Santa, church at Bergamo, 
 87— Nuova, Sla., atFano, 430— della Rosa, 
 Sta., at Ferrara, 232— Pomposa, Sla., at 
 Modena, 265 n., 268— la Nova, Sta., at Na- 
 ples, 459— di Campagna, Sta., near Pla- 
 cenlia, 311— in Dominica, Sta., at Rome, 
 537 — in Vallicella, Sla., or Chiesa-Nuuva, 
 at Rome, 553— di Provenzano, sta., 624— 
 dclla Rotunda, Sla., at Albano, 499 — della 
 Piazza, Sta., at Ancona, 432— delle Grazie, 
 Sta., near Arezzo, 656— della Minerva, Sta., 
 at Assisi, 645— delle Carceri, Sta., near 
 Assisi, 648— degli Angeli, S!a., or Ihe Por- 
 lioncula, near Assisi, 645— delle Grazie, 
 Sta., at Bergamo, 88— del Sepnlcro, Sta., 
 idem, 88— delle Grazie, Sta., idem, 98— 
 dei Miracoli, Sla., idem, 98— delle Grazie, 
 Sla., at Cortona, 665— di Bocche, Sta., at 
 Ferrara, 250— del Vado, Sta., 222, 223— Pri- 
 merana, Sta., at Fiesole.390— del Fiore, Sta., 
 at Florence, 358— Maggiore, Sta ,, idem, 
 565 — Novella, Sta., idem, 359— hospital at 
 Florence, 382— di Castello, Sta., church at 
 Genoa, 686— della Consolazione, Sla, idem, 
 686— of the Pious Schools, Sla., idem, 686 
 — Forisportam, Sla., at Lucca, 670— in corte 
 Landini, Sta, idem, 669— de' Servi, Sta., 
 idem, 670— delle Grazie, Sta., near Maulua, 
 502— del Carmine. Sla., at Milan, 49— delle 
 Grazie, idem, 48— della Pace, formerly 
 church and convent, at Milan, 41— della 
 Passione, Sta., church at Milan, 40— de' 
 Servi, Sta.; idem, 40— della Vittoria, Sta.; 
 idem, 44— lncoronata, Sta., 49 — del Car- 
 mine, Sta., at Naples, 464— della Pieta de' 
 Sangri, Sta., chapel at Naples, 454— del 
 Parlo, church at Naples, 461— de' Monti, 
 Sta., convent at Naples, 470 — delle Grazie 
 sopra le Mora, Sta., church at Naples, 452— 
 Coronala, called De Canepauova, at Pavia, 
 79— del Popolo, at Perugia, 649— del Car- 
 mine, Sta., at Pisa, 408— della Spina, Sta., 
 idem, 408— degl' Angeli, at Pistoja, 665— 
 dell' Umilita, Sla., idem, 665— del Letlo, 
 Sta., idem, 663— della Rotonda, Sta., at Ra- 
 venna, 421 — in Porto, idem, 417— degli 
 Angeli, Sta,, at Rome, 546— dell' Aniina, 
 Sla., idem, 554 — dclla Concezione, Sta., 
 idem, 547— dell' Orto, Sta., idem, 557— of 
 Loretto, Sta., idem, 540— della Pace, Sta., 
 idem, 554— della Transpontina, Sta., idem. 
 560— della Vittoria, Sla., idem, 545— of 
 Mount Aventine, Sta., idem, 556— del Po- 
 polo, Sta , idem. 530— in Campitelli, Sta., 
 idem, 555 — in Cosmedin, Sta., or Bocca 
 della Verita, idem, 556— inTrastevere, Sla., 
 idem, 537 — in Via lata, Sta., idem, 533— 
 Maggiore, Sta., idem, 541— Scala Dei, Sla., 
 near Rome, 556— della Minerva, Sta., at 
 Rome, 549— della. Scala, Sta., hospital at 
 
INDEX. 
 
 749 
 
 Siena, 624— del Carmine, Sta., church at 
 Turin, 702— dell' Orto, St., at Velletri, 498 
 — della Pieta, at Venice, 171— dell' Orto, 
 idem, 184— Formosa, idem, 181— Mater 
 Domini, Sta., idem, 176— dei Miracoli, Sta., 
 idem, 181— Zobeuigo, idem, 180— della 
 Scala, Sta., church at Verona, 115— in 
 Organo, Sta., idem, 114; has Ihe finest sa- 
 cristy in Italy, 115— delle Stelle, Sta., cha- 
 pel near Verona, 126— della Verila, Sla., 
 near Viterbo, 612— degli Angeli, St., at 
 Voltri, 688. 
 
 Maria Louisa, the archduchess: has a necklace 
 and bracelets made of the stone of Juliet's 
 sarcophagus, 106; fete given to her in the 
 saloon at Padua, 2I2; 285; founded the 
 hospital della Maternita at Parma, 285 ; her 
 government, ibid; 511, 580, 465. 
 
 — , Maddelena, archduchess of Tuscany : 
 erected a tomb to Arcangiola Paladini, 566. 
 
 Mariano Casa. palace at Vercelli, 52. 
 
 — Fucci, Lorenzi di, Sienese sculptor, 619. 
 Marignan, marquis of, 654, 
 
 Marinari, Onorio, painter of the Florentine 
 
 school (17ih century), 557. 
 Marini, Benedetto, of Urbino, painter of the 
 
 Roman school (17th century), 510. 
 Marini, monsisnor Gaetano, learned prelate, 
 
 110, 214, 258, 276, 545. 
 — , Pielro, canon, 276 n., 426. 
 
 — palace, at Milan, 57. 
 
 — , Cav., 240 n.\ his sarcophagus, 455; his 
 
 tomb, 465 ; 686. 
 Marino, San, republic of, 426; on the UUe of 
 
 Citizen of San Marino, 427. 
 — , St., church at Pavia, 79. 
 — , town, 305. 
 Mario, Crescenzio di, Sienese sculptor, 619. 
 
 — Mount, near Rome, 594. 
 
 Marius, Janus, Neapolitan : his work on the 
 
 Propriety of old words, 447. 
 Mark, St., church at Florence, 548— Milan, 
 
 49— Novara, 54— at Rome, 555— gate at 
 
 Siena, 655— confraternity at Venice, 184— 
 
 basilic or, at Venice, 446— piazza of, at 
 
 Venice, 144. 
 Marocco, barrister : his panegyric of Gen. 
 
 Theulie\ 59 n. 
 Marochetli, S., sculptor, 695. 
 Maroslica, town, 150. 
 Marot, refugee at Ferrara •• protected by the 
 
 duchess Renee, 219. 
 Marriage : political importance which the 
 
 first Venelians, like the Romans, attached 
 
 to it, 180. 
 
 — Aldobrandini, ancient painting, 508. 
 Marsand, professor : his edition of Petrarch's 
 
 Bime, 52 n. ; assists in ascertaining the site 
 
 (if Linterno, 69 n. ; 199, 216 ; 629. 
 Marsigli, general : his monument in the 
 
 church of St Dominick at Bologna, 250 ; his 
 
 observatory, 256 ; 457 n. 
 Maisola, coast of: its submarine fountain of 
 
 fresh water, 674. 
 Marsollier : his Life of St. Francis de Sales, 
 
 14 n. 
 Marsuppini, Carlo, 559, 559 ; his tomb, 556 ; 
 
 656. 
 
 Mai tana, isle in the lake of Bolseua. 616. 
 
 Martelli, Camilla, mislress, afterwards wife of 
 Cosmol. : died in a state of imbecility, 585. 
 
 — , Francesco, bishop : his tomb, 269. 
 
 — , Ludovico, appointed to examine the Z>e- 
 cameron, 556. 
 
 Martelli, Ludovico : his duel with Bandini, 
 586. 
 
 — palace, at Florence, 570. 
 
 — , Lorenzo, painter of the Florentine school 
 
 (17th century), 624. 
 Martellini, Esau, Galileo's pupil, 587 n. 
 
 — palace, at Florence, 571. 
 
 Martha, St.-, popular festival at Venice, 160. ■ 
 
 Martial, St., church at Venice, 185. 
 
 Martigny, town, 8 n., 15, 26 n. 
 
 Martin, St., of Tours, 618— Chartreuse of, at 
 Naples, 461— Major, St., church at Bologna, 
 246— St., church at Conegliano, 159— Flo- 
 rence, 561— brotherhood of, 582— calhedral 
 at Lucca, 667— church at Pisa, 408— at 
 Pietra Santa, 672— de' Monti, St., at Rome, 
 542— Siena, 622— at Trevisa, 142— at Ve- 
 nice, 171— palace of, near Viterbo, 612. 
 
 — IV., elected pope through a riot, 616. 
 
 — V. (Colonna), illustrious pope : his statue, 
 59; his tomb, 558. 
 
 Martinengo, fort, 91. 
 
 — , Marco Antonio della Palata, a Brescian 
 warrior : his singular mausoleum, 99. 
 
 — Colleoni gallery, at Brescia, 100. 
 Martinetti, house of, at Bologna, 258. 
 Martini, S., professor at the university of 
 
 Perugia, 651. 
 — , the P., Franciscan, professor of music, 
 
 258 n. 
 Martino, Pietro di, Milanese architect (15th 
 
 century), 440. 
 — , Simone di, painter, 621. 
 
 — de' Monti, San, church at Rome, 542. 
 Martorelli, scholar, 444. 
 
 Marucelli, archilect, 575. 
 
 — , founder of the library so called ; his 
 
 miscellany, entitled Mare Magnum, in that 
 
 library, 556. 
 — , or Maruscelli, Giovanni Stefano, painter 
 
 of the Florentine school t17lh century), 407. 
 Marullo, Giuseppe, painter of the Neapolitan 
 
 school (17lh century), 466. 
 Mary, queen of Hungary, majestic tomb 
 
 of, 452. 
 
 — St., church at Arona, 26— de' Bulgarie, 
 St., chapel at Bologna, 260— Incoronata, 
 St., church at Bologna, 245— Major, St., 
 idem, 244— Magdalen, St., church at Bolo- 
 gna, 245— St., church at Castelfranco, 159 
 — Magdalen de' Pazzi, St., monastery at 
 Florence, 552— Porta, St., church at Milan, 
 45— of the Garden, St., idem, now a store- 
 house, 49— Major, St., church at Vercelli, 
 52. 
 
 Marzagaglia, learned Veronese, 150 n. 
 
 Marzari Pencati, count Giuseppe, Vicentian 
 geologist, 150. 
 
 Marzi, Angelo, bishop, minister of Cosmo I. : 
 his tomb, 552. 
 
 Marzini, the brothers Antoniolo and Bernar- 
 dino Jacomo, sculptors, 619, 629. 
 
 Marzocchi, S., his method of making colours, 
 619 n. 
 
 63. 
 
750 
 
 INDEX. 
 
 Masaccio, painier of the Florentine school 
 (15th century) : his frescos at the church 
 del Carmi e, 564, 405, 408, 452, 519, 537. 
 
 Masaniello, 464, 487. 
 
 Mascagni, Paolo, celebrated surgeon and 
 anatomist of Siena: his tomb in the ca- 
 thedral, 620; founder of pathological ana- 
 tomy, 621. 
 
 Mascarella, church at Bologna, 245. 
 
 Mascheroni, Lorenzo : his poem on the mu- 
 seum of natural history at Pavia, 16, 127 w. 
 
 Masegne, Pietro Paolo dalle, Venetian sculp- 
 tor at the end of the 14th century, of the 
 school of Pisa, 147. 
 
 Maser, village, 137. 
 
 Masofiniguerra, Florentine engraver (13th 
 century \ 521. 
 
 Massa, town, 672. 
 
 Massarello, painter of the Sienese school (14lh 
 century), 631. 
 
 Massari, Giorgio, Venetian architect (18lh 
 century), 159. 
 
 — , Lucio, painter of the Bolognese school 
 (.16th century), 245, 247, 248, 257, 263, 535. 
 
 Massarolti, Angelo, painter of the Cremonese 
 school (17th century), 306. 
 
 Masselli, house of, at Volterra, 639. 
 
 Massena, general, 122,682; his capitulation 
 of Genoa, called a convention, 688. 
 
 Massillon : his passage on St. Agnes, 402. 
 
 Massimi palace, at Rome, 574. 
 
 Mastellata, Giovanni Andrea Dondurzio, 
 painter of the Bolognese school (16lh cen- 
 tury), 245, 248, 249, 296. 
 
 Mastio, lower of, at Volterra, 658. 
 
 Masuccio T., Neapolitan sculptor and archi- 
 tect (l/ilh century), 442, 450, 451, 462. 
 
 — II., Neapolitan sculptor and architect. 
 452, 453, 454, 455, 457, 458. 
 
 Matcrnila, hospital della, at Parma, 285. 
 Malhias, St., church at Bologna, 247. 
 Matilda, countess, 270, 406, 411 ; her tomb, 
 
 504, 513. 
 Mattei palace, at Rome, 575. 
 
 — villa, at Rome, 566. 
 
 — , Fra Gabrielle, Serviteof Siena, minialure 
 
 painter, 620. 
 Matteino, painter, 627. 
 Matteis, Paolo de, painter of the Neapolitan 
 
 school (17th century), 665, 686. 
 — , S., professor at the Sapienza, 583. 
 
 atlhew, St., church at Genoa, 686— Padua, 
 
 209— Pisa, 408— Salerno, 483. 
 Mattioli, Ludovico, engraver and painier of 
 
 the Bolognese school (17th century), 244. 
 — , house of, at Bologna, 256. 
 Maurice, St., chief of the Thehan legion, 13. 
 — , town, near which the Theban legion was 
 
 massacred, 15. 
 — , St., church at Mantua, 296— or Monas- 
 
 lerio maggiore, church at Milan, 43. 
 — , S., of Geneva, 9. 
 
 Mauro Fra, Camaldulite, celebrated Vene- 
 tian cosniographer of the 15th century ; 
 
 his map ol the world in the library of St. 
 
 Mark, 157. 
 Maury, cardinal : his letter to the abbe" de 
 
 Rozan, 482 ; 507, 553. 
 Mausoleum of Adrian, at Rome, 581. 
 
 Maximii9, St., church at Padua, 209. 
 
 Mayer, Bavarian composer, 89. 
 
 Mazarin, cardinal, 434 ; purchased the Ros- 
 pigliosi palace, where his father died, 567. 
 
 Mazaugues, the president, 569 n. 
 
 Mazois, French architect : his Palace of 
 Scaurus, 545 «.; restores the Trinita de' 
 Monti, 548. 
 
 Mazza, Angelo, lyric poet of Parma : his ac- 
 cidental reconciliation with Monli, his 
 tomb, 288. 
 
 — , Damiano, of Padua, painter of the Vene- 
 tian school (15lh century), 184. 
 
 —.Giuseppe, Bolognese sculptor and painter 
 (18th century), 254, 245,248. 
 
 Mazzaratta, Madonna di, little old church 
 near Bologna, 262. 
 
 Mazzardini, brothers, pirates of the Lago 
 Maggiore. 25. 
 
 Mazzaroppi, Marco, of San Germano, painter 
 of the INeapolitan school (17th century), 
 489, 492. 
 
 Mazzini, brothers, sculptors (16th century), 
 626. 
 
 Mazzoechi, Alexis, learned antiquary : his 
 tomb. 451 ; his letters, 492. 
 
 Mazzola. Hilarion, painter of the Parmesan 
 school (16t,h century), 277. 
 
 — , Gerouimo, idem, 274, 275, 277, 278, 279, 
 281, 284, 294, 299. 
 
 — , Michele, idem, 277. 
 
 — delle Erbette, Filippo, idem, 7 . 
 
 Mazzoni, Guido, Modenese sculptor (45th 
 century), 266. 
 
 Mazzucchelli, the abbe', director of the Am- 
 brosial), 52 ; dies of apoplexy, id. n., 539 n. 
 
 Mazzuola, Giuseppe, sculptor of Volterra 
 (i8th century), 538, fi19, 621. 
 
 M'Crie, Thomas : his History of the progress 
 and suppression of the Reformation in 
 Italy, 95 n. 219. 
 
 Mecaenas : villa bearing his name atTivoli, 
 599. 
 
 Mechitarists, Venetian monks, 192. 
 
 Meda, Giuseppe, Lombard sculptor and ar- 
 chitect (17th century), 59, 38. 
 
 Meda Is, cabinet of, at Bologna, 238— at Naples, 
 445— at Ravenna, 418— at Turin, 699. 
 
 Medici, Cav. de", minister at Naples, 448, 
 450, 
 
 — , S., professor at the university of Bologna, 
 236. 
 
 — , the P., inquisitor, learned and liberal Do- 
 minican, 250. 
 
 — , Alessandro de", duke of Florence, 518. 
 
 — , Garlo de', natural son of Cosmo 1., 661. 
 
 — , Cosmo I. de', lather of his country, re- 
 fugee at Venice : his gilt to- the Benedic- 
 tines of St. George, 172; site of the tower 
 where he was imprisoned, 2i6 ; 321, 535, 
 340, his tomb at the church of St. Lau- 
 rence, 345 ; 346, 533, 336, 368 ; 385, 586, 
 409, 45'i, 661. 
 
 — , Cosmo II., de", son of Ferdinand I., 347. 
 
 — , Ferdinand I., de', duke of Florence, his 
 tomb, 547 ; his equestrian statue, 350 ; 3S9, 
 413. 
 
 — , Giovanni Jacopo de', marquis of Mari- 
 
INDEX, 
 
 7E1 
 
 gnan, his tomb, 59 ; his defence of Musso, 
 84. 
 
 Medici, Giovanni de", called the Great Devil, 
 296, 348. 
 
 — , Giovanni de', Averardo's son, his tomb at 
 the church of St. Laurence, 346. 
 
 — , Don Giovanni de', brother of the grand- 
 duke Ferdinand I., 347, 403. 
 
 — , Giuliano de", duke of Crbino, 342, 546, 
 389. 
 
 — , Lorenzo de', 521 ; character of his literary 
 protection, 530, 540, 544, 346, 549, 363, 
 563, 589, 591 ; his residence and burial- 
 place at Careggi, 592, 415, 644, 654. 
 
 — , Lorenzino de', murderer of his cousin 
 Alessandro, 368. 
 
 — , Pietro de', orders Michael Angelo to 
 sculpture statues of snow, 178; 331 ; his 
 tomb, 546, 551, 593 n. 
 
 — villa, academy of France at Rome, 571 . 
 
 — palace, at Florence, 368. 
 Medina fountain, at Naples, 439. 
 Mediterranean, 438. 
 
 Melius, the abbe", creator of the literary his- 
 tory of Florence, 330 n. 
 Mei, Bernardino, painter of Ihe Sienese 
 
 school (17th century), 628, 629. 
 Meilierie, rocks of, still retain their savage 
 
 aspect, 21. 
 Melanclhoa : his unpublished letlers in the 
 
 Ghigi library at Rome, 365. 
 Melani, brothers, painters of the Florentine 
 
 school (18th century), 408. 
 Melegari, s. Francesco, magistrate of Parma, 
 
 509 n. 
 Melegnano, fortress, 84. 
 Melissi, Agostino, painter of the Florentine 
 
 school (17th century), 663. 
 Melleri palace, at Milan, 37. 
 Mellini, Mario : his villa, S94. 
 Mellio, the abbe" Antonio, jurisconsult; his 
 
 tomb, 507. 
 Melon : extract from his Essai politique sur 
 
 le commerce, 7i. 
 Melone, Altobello, painter of the Cremonese 
 
 school (16th century), 306. 
 Melozzo, F. Francesco, of Forli, painter of 
 
 the Bolognese school (15th century), 423. 
 Melzi, don Gaetano : his library at Milan, 56, 
 
 his tomb, 62. 
 
 — villa, on the lake of Cosmo, 83. 
 Memmi, Lippo, painter of the Sienese school 
 
 (14th century), 408, 665. 
 
 — , Simone, painter of the Sieneseschool(l4th 
 century\ 52, 332, 361, 404, 408, 629, 646. 
 
 Menageot, French painter of the last cen- 
 tury, 429. 
 
 Mendicanti, church dei, at Bologna, 245. 
 
 Meneghelli, the abbe, rector of the univer- 
 sity of Padua : gives the vertebra of Galileo 
 to the cabinet of natural history, 195, 201, 
 214. 
 
 Menelaus, Greek sculptor, 567. 
 
 Menganti, Alessandro, sculptor, surnamed 
 the Unknown Michael Angelo (16th cen- 
 tury), 254. 
 
 Mengs, Anthony Raphael, born in Bohemia, 
 painter and writer of the last century, 243, 
 277 %., 278, 402, 516, 528, 541, 597. 
 
 Menicucci, architect, 531. 
 
 Menoux, the P., 295. 
 
 Mensini house, at Siena, 629. 
 
 Menzini, Florentine poet, 536 «., 384, 577. 
 
 Mcrcanti, piazza dei, at Milan, 40. 
 
 Mercurial, St., church at Forli, 423. 
 
 Mercy, confraternity of, at Florence, 582. 
 
 — , ancient confraternity of, at Venice, 184. 
 
 Mergellina, at Naples, 468. 
 
 Meric-Lalande, Mmc, singer, 64. 
 
 Meridian of the church of St. Petronius, at 
 Bologna, 242 — of the church of Santa Maria 
 degli Angeli, at Rome, 546. 
 
 Merlin, countess, 258 n. 
 
 Mersy, Mme. Adelaide, dancer, 239. 
 
 Merula, George, a disputatious scholar of the 
 revival, and an enemy of printing, 44 ; his 
 epitaph and tomb, ibid. 
 
 Metastasio, 463 ; his autograph letters at the 
 library of Siena, 633, 645. 
 
 Metaxa, S., professor at the Sapienza, 583. 
 
 Melella, Cecilia, illustrious Roman lady : her 
 sarcophagus, 580, 592. 
 
 Meucci, A 7 incenzo, painter of the Florentine 
 school (18lh century), 562, 571. 
 
 Mezzabarba, eminent writer, 527. 
 
 Mezzanotte, s., poet, professor at the univer- 
 sity or Perugia, 650, 651. 
 
 Mezzofanti, cardinal, of Bologna, ancient 
 professor at the university, 236; his exten- 
 sive knowledge of languages, 258, 239 n. 
 
 Micali's magazine at Leghorn, 413. 
 
 — , St. Giuseppe, historian of ancient Italy, 
 537; 651. 
 
 Michaux, M., French naturalist, 28 n. 
 
 Michael in Bosco, St., old convent near Bo- 
 logna, 262— de' Leproselti, St., church at 
 Bologna, 232— Visdomini, St., at Florence, 
 352 — St., piazza and church at Lucca, 668, 
 669 — church at Pavia, 78, 79 — in Borgo, 
 St., at Pisa, 408— St., Placentia, 511 — in 
 Africisco, St., at Ravenna, 417— St., gate 
 at Parma, 274— hospital at Rome, 586— in 
 Murano, St., church near Venice, 189; 
 merit of its arabesques and ornaments, 190 
 —St., atVenlimiglia,691— atVolterra, 636. 
 
 Michael Angelo (Buonarolti), celebrated 
 sculptor, architect, and painter (15lh cen- 
 tury;, 59, 169, 178, 197, 218, 242, 243; his 
 statue of Julius broken by a mob, 255. 278, 
 295, 295, 507, 516: his David, 518, 319, 320; 
 his Bacchus, 521; 523, 527. 536, 537, 338; 
 Piety, his last work at the cathedral of 
 Florence, 343 ; his sacristy of St. Laurence 
 and tombs, 546, 547, 550 ; his tomb at Santa 
 Croce, 555; his application to erect a tomb 
 to Uanle, 554, 558, 559, SCO, 362, 365, 364, 
 367; his Fates, 574, 576; his house at Flo- 
 rence, 577, 579, 580; named director-gene- 
 ral of the fortifications of Florence, 385 
 587; his bastion, 595, 596, 404, 410, 416' 
 440, 442, 445, 446, 431, 458, 475 and note' 
 489, 500, 502; his cupola of St. Peter's, 502' 
 503, 504, 505; his Last judgment, 506 ; his 
 roof of the Sixtine, 506, 507, 508, 516, 547 
 522, 525, 527, 528, 529, 530, 556 ; his tomb' 
 of Julius II., 542, 545, 546, 547, 548- his 
 full length Christ, 549, 554, 557, 558,' 560 
 565, 568, 578 ; his colossal head drawn in 
 
752 
 
 INDEX, 
 
 charcoal at the Farnesina, 579, 580, 582, 
 593, 600, 601, 612, 614, 620, 626, 627, 646, 
 649, 652, 656, 670, 675, 682, 685, 687, 692. 
 
 Michelangelo degliBatfagiia, or de'Bambocci, 
 surnames of Michelangelo Cerquozzi, 
 painter of the Human school, 580. 
 
 Michele, Benedetto, of Arezzo, one of the 
 competitors lor the prize offered for a 
 poem on 'true Friendship, 531. 
 
 Michelei, M.: his Diseours sur lo sysleme el 
 la vie (k Vauleur, prefixed to his transla- 
 tion of Vico's Scienzn nuova, 454 n. 
 
 Micheli, Domenico, doge of Venice : his 
 armour, 163; his tomb, 172. 
 
 — , Alviso, died while addressing the senate ; 
 his tomli, 183. 
 
 — dalle Colonne, palace at Venice, 163. 
 Michelozzo di Bartolommeo, artist ( 14th 
 
 century), 345. 
 
 — Michelozzi, Florentine sculptor and ar- 
 chitect (,15th century), 57, 44; Cosmo de' 
 Medici's companion in exile, 172; 515, 
 544, 3'<9, 336, 587, 589, 592. 
 
 Hicbiel, Mine. Justine Henier •. her work on 
 Venetian fetes, 145 n. 
 
 Migliara, Cav. Giovanni, painler, 61, 100, 699. 
 
 Migliari, S., Roman, learned numismatist, 
 557 n. 
 
 Mignard, Fierre, French painter (17th cen- 
 tury), 525, 544, 694. 
 
 Milan : its aspect and description, 56. 
 
 Milancia, wife of the celebrated canonist 
 Andrea, 237 n-. 
 
 Milani, Aureliano, painter of the Bolognese 
 school (17th century); 252. 
 
 Milizia : his Memcrie derjli Archiletti, 313 n , 
 458, 543, 537. 
 
 Milllu, M., 56. 
 
 Millingen, M.,651. 
 
 Miliot, French historian, 271. 
 
 Mills, Mr. Charles, 524. 
 
 Milton : his imitation of the Bridges in Dante's 
 Inferno, 124; 307, 587; his verses on Val- 
 lomhrosa, 594; 455. 
 
 Minardi, Cav. Thomas, Roman painter : his 
 drawing of Michael Angelo's Last judg- 
 ment, 62. 
 
 Minenti, populace of Rome, 575. 
 
 Minerbe, peak of, 122. 
 
 Minerva Medica, ruin at Rome, 587— statue 
 at the museum of the Vatican, 515— church 
 of, atRoine,549 — piazza della, atRome, ib. 
 
 Mines dei Cane ; traces of the Romans, 24. 
 
 Miniato, San, in Tuscany ; the Borromeo fa- 
 mily originally from, 58 ; 596. 
 
 Minio, Titian, of. Padua, sculptor ( 16th cen- 
 tury), 148, 200,211. 
 
 Mino di Fiesole, sculptor (15th century), 
 557; his sculptured figures in the cathe- 
 dral, 390; 636, 66! . 
 
 Minorello, Francesco, d'Este, painler of the 
 Venetian school ( 17th century ), 208, 209. 
 
 Minozzi, Flaminius, painter of the Bolognese 
 school ( 18th century), 245. 
 
 Minturnte: its remains, 496. 
 
 Minzocchi (Francesco ), painter of the Bolo- 
 gnese school (46th century;, 433. 
 
 Miollis, general, 293, 300;'his festival and 
 temple in honour of Virgil, 505. 
 
 Misadois, hill at Naples, 469. 
 Misiatis, Bernardino de. painter of Pavia, 
 307 n. 
 
 Missirini, S. Melchiore, 142; 595 »., 674 n, 
 
 Milelli, Agostino, painter of (he Bolognese 
 school (47th century), 245, 250. 
 
 — , Giuseppe, his son, Bolognese painter, 231. 
 
 Mithra, worship and mysteries of ; its emblems 
 common on the churches of the middle 
 ages; at thebaplistry of Parma, 277; on the 
 front of the cathedral of Cremona, 303. 
 
 Mocchi," Francesco, sculptor of Orvieto (17th 
 century), author of the Veronica at St. Pe- 
 ter's. 503; 615. 
 
 — , Francesco, Tuscan sculptor, author of Ihc 
 horses of Placentia (17th century), 308. 
 401. 
 
 Moccio, Maestro, architect (14th century), 
 650. 
 
 Mocenigo, Alviso, 467 n. 
 
 — , Tommaso, doge of Venice, 186. 
 
 — palace, at Venice, inhabited by Byron, 
 161. 
 
 Modanino, sculptor, 459. 
 
 Modena, S.. actor, 66. 
 
 — , town, 266. 
 
 Moggiani, sculptor, 279. 
 
 Moglia, S., sculptor, author of the ornaments 
 on the Arco della Pace, at Milan, 69. 
 
 Moilte, sculptor, one of the commissioners 
 appointed by the republic to choose the 
 MS. of the Vatican, 512 n. 
 
 Moja, S. Federico, painter, 61. 
 
 Mojon, S., Giuseppe, professor at the univer- 
 sity of Genoa, 683. 
 
 Mola, painler of the Bolognese school ( 47th 
 century), 529. 
 
 — , Antonio, Mantuan sculptor, 293, 501. 
 
 — , Paolo, idem, 295, 301. 
 
 Mole, Old, at Genoa : inscription on its !?a!e, 
 677. 
 
 Molina, painter, 45. 
 
 Molinaii, Giovanni, Piedmontese painter 
 (18th century), 702. 
 
 Molineri, S., one of the founders of the hospi- 
 tal of St. Louis at Turin, 703. 
 
 Molinetti, Antonio, professor of medicine and 
 anatomy, 281. 
 
 Moliui, S., bookseller at Florence, 375. 
 
 Molza, Tarquinia, maid of honour of the 
 beautiful Marfise d'Este, poetess, and Tasso's 
 friend, 375. 
 
 — , Francesco, poet : his tomb, 267 ; 609. 
 
 Mombelli, singer, 89. 
 
 — , Luca, of Brescia, painter of the Venetian 
 school (16th century), 99. 
 
 Mona, or Monna. or Monio, Domenico.painter, 
 Ferrarese school ( 16th century ,221, 223. 
 
 Monaco, state of, 691. 
 
 Monaldi, S., of Perugia ; his gallery, 631. 
 
 Moncalvo surname of Guglielmo Caccia, Pied- 
 montese painter (16th century), 34,53, 41, 
 43, 44, 76, 693, 702, 703. 
 
 Mondini, S., professor at the university of 
 Bologna, 256 n. 
 
 Mondragone villa, at Frascali, 603. 
 
 Monge, or monk of the Golden Isles ; his ma- 
 nuscript of the Lives and poems of Pro- 
 vencal poets, 514. 
 
INDEX. 
 
 75S 
 
 Mouge, one of the commissioners appointedby 
 the republic to choose the manuscripts of 
 the Vatican, 512 n. ; 275. 
 
 Monks : their reform for the def< rice of ca- 
 • tholicism, 492. 
 
 Monnet ; his Jnthologie, 57. 
 
 Monsignori.. Fra Geronimo, Dominican, 
 painter of the Manluan school ( 15lh cen- 
 tury, 292, 297, 302. 
 
 — , Francesco, of Verona, painter of theMan- 
 tuan school (15th cenlury). 112, 113, 114. 
 
 Monlagna, Barloiommeo, of Vicenza. painter 
 of liie Veneiian school (16th century), 75, 
 127, 128, 130, 210. 
 
 Montana, Benedetto, of Vicenza, painter of 
 the Venetian school (16!h century), 128, 
 130. 
 
 — , Leonardo, Veronese scholar; his epitaph, 
 111. 
 
 Montagnana, Jacopo, of Padua, painter of the 
 Veneiian school (15lh century), 199, 200. 
 
 Montaigne: found Milan much like Paris, 36 ; 
 220; has scarcely spoken of lilerature and 
 the arts in his Voyage d'ltalie, 312; his 
 portrait of BiancaCapello, 312 n. ; 315, 326, 
 371, 412, 434, 435. 552 «., 574; slightly cen- 
 sured at Rome, 584 ; his judgment on Siena, 
 628 ; 694. 
 
 Montalli, Ihe abbe Cesave, professor, 427. 
 
 — , surname of Giovanni Slefano Danedi, and 
 Giuseppe, painters of the Milanese school 
 (17lh century), 33, 43, 49, 75. 
 
 Montalto villa, at Frascali, 605. 
 
 Montanvers, mountain of Savoy, 13; the 
 Englishmen's stone shown there, 14. 
 
 Montarfano, Milanese painter (15lh century), 
 99. 
 
 Montbard, 2. 
 
 Mont-de-Piete of Trevisa, its antiquity, 142. 
 
 Monte, Giovanni da, painter of the Venetian 
 school (16lh century), 42. 
 
 Monteaperti • battle lost by the Florentines 
 against the Sienese, 377 n. ; 620, 624. 
 
 Monte-Baldo, mountain surnamed the garden 
 of the Alps. 102. 
 
 Monlebello, village. Victory. New histori- 
 cal name, 127. 
 
 Monte Casino, monastery. 488. 
 
 Monte-Catini, baths of. 667. 
 
 Monlecalino, celebrated professor of the Pe- 
 ripatetic philosophy: his tomb, 222. 
 
 Montecavallo, piazza at Rome, 566. 
 
 Montecehio, mountain and ruined castle, 91. 
 
 Monte Circello, promoniory, 498. 
 
 Monte-Cilorio palace, at Rome, 564. 
 
 Montecorona, convent of : piety of its monks, 
 653. 
 
 Montefeltro, duke Federico of, great amateur 
 
 of books, 511 n. 
 Monlefiascone, town, 613. 
 Montelatici, Francesco, called the cecco 
 bravo, painter of the Florentine school 
 (17th century), 357. 
 — , the P. Ubaldo, agricultural monk, 318. 
 Monte-Luco, near Spoleto, 645. 
 Monte-Lupo, Baccio da, Florentine architect 
 
 (16lh century), 668. 
 — , Rafaello da, sculptor (16th century), 347, 
 435, 545, 667. 
 
 Montemurlo, column in commemoration of 
 the victory of Cosmo I., 362 ; unfavourable 
 military position, 661. 
 
 Montenero, near Leghorn, 414. 
 
 Monte Nnovo, near Naples, 472. 
 
 — «t)liveto, church at Naples, 459. 
 
 — t'incio, promenade at Rome, 572. 
 
 MontepulcianOj town, 617. 
 
 Montesanto, S , physician, academician of 
 Padua, 198 n. 
 
 Montesquieu : his opinion of the state inqui- 
 sitors of Venice, 151, 152; his observation 
 on the Venetian courtesans, 189; 369 w.; 
 erroneously supposes authentic thesenatus- 
 consultum inscribed at Savignano, 424; 
 480, 676 «., 677, 700. 
 
 Montfaucon, 53 ; his Lactantius, 238 ; 265 ; 
 better judge of Greek and Latin that of 
 Italian literature, 265; 463; collection of 
 his letters at Monte Casino, 492; 512 «., 
 577,618,632,635. 
 
 Montliolon, general : his TMdmoires, 125 n. 
 
 Monti, Vincenzo, great poet, visited by the 
 author, 63, 101 n., 120, 288 n., 587 «., 415, 
 428, .467 n., 520 «.; his translation of the 
 Iliad, 539 ; 652. 
 
 — , Francesco, painter of Ihe Bolognese school 
 (18th century), 245,634. 
 
 — , Gaetano, professor at the university of 
 Bologna, 257. 
 
 — , S., of Ravenna, sculptor, 40, 62, 69, 79, 620. 
 
 — , of Milan, sculptor, 69. 
 
 — , Filippo, cardinal, 258. 
 
 — , S., painter of Siena, 621. 
 
 Monlicelli, Cav. Teodoro, secretary of the 
 Neapolitan Academy of Sciences, 441. 
 
 Monlici, near Florence: residence of Guic- 
 ciardini, 587. 
 
 Monticini, S., composer of ballets, 70!. 
 
 Monlini, Bartolommeo, canon : his tomb, 
 276. 
 
 Montmorin, Pauline de : her tomb, 552. 
 
 Montorfano, Giovanni Donato, painter of the 
 Milanese school ( 15lh century), 99. 
 
 Montorio hill, at Rome, 558. 
 
 Montorsoli, Fra, Tuscan sculptor (15th cen- 
 tury ), 547, 461, 637, 681, 686. 
 
 Montreux, village, 16. 
 
 Monuments, primitive, imitations of, 191. 
 
 Monza, near Milan, 56, 72. 
 
 Morandi, druggist, at Forli, 425. 
 
 — , Giovanni Maria, painter of the Roman 
 school ( 47th century), 554. 
 
 Morando, Giambattisla, painter of the 17th 
 century, 54. 
 
 Morato, Giorgio, Armenian, ordered Tibaldi's 
 St. John baptising, 451. 
 
 Morazzone, Jacopo, painter of the Milanese 
 school (15th century ), 40. 
 
 — , surname of Pielro Francesco Mazzuc- 
 chelli, painter of the Milanese school (17th 
 century), 26, 55, 45, 705. 
 
 Morcaldi, the P., philosophical lecturer at 
 La Cava, 482. 
 
 Morcelii, Slefano, clever lapidarian writer : 
 his cenotaph, 62; his inscription for ihe 
 bust of Boetius, at Pavia, 78 ,• 279. 
 
 Moreau St. M6>y, statesman of Parma. 273. 
 
754 
 
 INDEX. 
 
 lorelli, librarian of St. Mark, 153 ; his tomb, 
 190. 
 
 --, Fernandez, Maddelina, peasant who was 
 crowned at the Capitol, 664. 
 
 Moreni, the canon, of Florence, 517 n. 
 
 Moretti, S. Giuseppe, professor at the unii^r- 
 sity of Pa via, 76. 
 
 — , Cristoforo, called also Rivello, painter of 
 tin 1 Cremonese school (16th century) 306. 
 
 Moretto, surname of Alessandro Bonovicino, 
 of Brescia, painter of the Venetian school 
 
 <> (16th century), 42, 87, 94,96,97, 98, 99,115, 
 325. 
 
 Morgagni: his bust, 195; his tomb at Padna, 
 209 ; his pious exclamation while dissect- 
 ing, ibid. 
 
 Morgan, lady, 56, 684. 
 
 Morghen, Rafaello, engraver at Florence, 374, 
 579, 629. 
 
 Morichini, Domenico, physician at Rome, 
 professor ak the Sapienza, 583. 
 
 Morigia, the P. Antonio, architect, an^ car- 
 dinal, 41. 
 
 Mormandi, Francesco, Neapolitan architect 
 ( 16th century i, 466. 
 
 Moro, Giambaitisia dal, painter (16lh cen- 
 lury), 112,115,114, 183. 
 
 — , surname of Francesco Torbido, of Verona, 
 painter of the Venetian school (15th cen- 
 tury \ 110. 
 
 — , Giulio dal, of Verona, sculptor, 150, 178, 
 180,185. 
 
 Morolli, the younger, S. Filippo, artist of 
 Rimini, 425 <K~ 
 
 Morone, Francesco, painter of the Venetian 
 school (15th century), 90, 112, 115. 
 
 Moroni, Giambatlista, painier of the Vene- 
 tian school (16th century ), 86, 87, 88, 115, 
 325, 446. 
 
 Morosini, Francesco, Venetian doge and war- 
 rior, 153; his tomb, 476, 180, 187. 
 
 — , Francesco, called Montepulciano, pain- 
 ter of the Florentine school (17th century), 
 358. 
 
 Morozzo, Ferdinando, clever engineer, 656. 
 
 Mosaic, studio of, at Rome, 520— of the ca- 
 thedral of Ivrea, 31— of Pompeii, 479— of the 
 Pigeons, in the museum of the Capitol, 526 
 —of St. Ambrose, at Milan, 47. 
 
 Mosca, smuggler: employed by Bonaparte as 
 a guide at the battle ol Rivoli, 122. 
 
 — , Francesco, painter (16th century"), 292. 
 
 — Francesco, Tuscan sculptor M6ih century), 
 68. 
 
 — , Giovanni Maria, sculptor of Padua, 177, 
 180. 
 
 — , Simone, sculptor of Carrara (16th cen- 
 tury), 613. 
 
 — , Cav., chief architect of the king of Sar- 
 dinia, 703,704. 
 
 Moscatieilo, Carlo, painter of the Neapolitan 
 school (17111 century), 454, 
 
 Moschino, sculptor of Carrara M6th century), 
 580. 
 
 Moses, St., church at Venice, 179. 
 
 Motta, town of the Trevisan, 140. 
 
 Mount Cenis, 706. 
 
 Mozzi, villa near Florence, 389. 
 
 Mulini, bridge dei, at Mantua, 298. 
 
 Wullcr, writer, 9. 
 
 Munch, M. Ernest, German : his biography of 
 King Enzius 253. 
 
 Mnra, Francesco de", painter of the Neapo- 
 litan school (48th century ), 458. 
 
 Muranesi, Giovanni and Antonio, painters 
 (15th century), 170. 
 
 Murano, isle, near Venice, 489 ; its raanufac 
 lures, 490. 
 
 Muratori, man of great learning, 53,265, 266; 
 his tomb, 268 ; 279, 508 ; his letters at Monte 
 Casino, 492; 617 n., 655. 
 
 — , Domenico Maria, painter of the Roman 
 school ( 47th century.}, 545. 
 
 — , Moneta, Teresa, painier of the Bolognese 
 school (47th century), 244, 252. 
 
 Murazzi, ramparis of Venice, 493. 
 
 Mnret, Marco Antonio, 253 n. ; his books and 
 manuscripts at the Roman college in the 
 Vatican, 552. 
 
 Muri di Braccio, substructions, at Perugia, 
 650. 
 
 Murillo. Spanish painter (47th century), 164, 
 446, 578, 694. 
 
 Museum of antiquities at Bologna, 237— of 
 Brescia, 92— of the Capitol, 526— Casnc- 
 cini, at Chiusi, 653— Egyptian, at Florence, 
 380— of Geneva, 5— of statues at Mantua, 
 292— of the Ambrosian, at Milan. 55— of 
 Brera, at Milan, 60— lapidarian, at Mode- 
 na, 266— Bourbon (Stinlj). at Naples, 442 
 — lapidarian, at Parma, 273 — Lapidarian, 
 at Ravenna, 448 — Chiaramonti. at Rome, 
 515 — of antiquities, at Turin, 699 — of an- 
 cient arms, a! Turin, 695— Egyptian, at Tu- 
 rin, 699— of the Vatican, 315— of the libra- 
 ry of St. Mark, at Venice, 457 — lapidarian, 
 at Verona, H7 — of physics and natural 
 history, at Florence, 382. 
 
 Music, 98 ; at Naples, 449 ; of the Sixline cha- 
 pel, 507; French music anterior to the Ita- 
 lian, 563. 
 
 Musso, castle on the lake of Cosmo; retreat 
 of Giovanni Jacopo Medici, 84. 
 
 — , Cornelius, bishop of Bitonto in the I6lh 
 centurv; his sermon on the Eucharist, 
 434 . 
 
 Mustoxidi, Cav. : his opinion on the horses 
 of Venice, 448 «.; on the lions of Athens, 
 187. 
 
 Musuro, Marco, of the Aldine Academy, 
 466 n. 
 
 Muziani, Geronimo, painter of the Roman 
 school (46th century), 304, 505, 533, 546, 
 600, 614. 
 
 My tens, Daniel, painter of the Flemish school 
 (47th century), 694. 
 
 N. 
 
 Nacerino, Michelangelo, Florentine sculptor, 
 
 376. 
 Naldini, Battista, painter of the Florentine 
 
 school (16th century), 359, 637, 638, 66*. 
 Nanni di Jntonio di Banco, sculptor i43th 
 
 century) : his Mandorla, 539. 
 Nanni di Baccio Bigio, sculptor, 534. 
 Naples, 437. 
 
INDEX. 
 
 735 
 
 Nardi, don Basilio dl Casentino, abbot of 
 
 St. Felix, Florentine general, 56b. 
 ■— , Jacopo, historian, 335. 
 — , S. Ludovico, canon of Rimini : his work 
 
 de' cofitpiti e dell' antico Com'pUo Savi- 
 
 gnanese, 425 n. 
 Nardini, celebrated violinist, Paganini's mas- 
 ter : his tomb near Machiavel's, 555. 
 Narni, town, 642. 
 Nasini, Giuseppe, painter of the Sienese 
 
 school (17th century), 545, 625, 624, 625. 
 Nastasi house, at Siena, 629. 
 Natali, Francesco, painter of the Cremonese 
 
 school (17th century), 280. 
 Navagero, Andrea, of the Aldine academy, 
 
 166 n. 
 Navarra, Pietro, celebrated engineer, taken 
 
 at the battle of Ravenna, 422 ; tomb erec- 
 ted to him at Naples by the duke of Sessa, 
 
 459 ; 633. 
 Navicella, or Santa Maria in Dominica, church 
 
 at Rome T 557. 
 Naviglio canal, partly executed by Leonardo 
 
 Vinci, 68. 
 Naviso, supposed the sacred lake of Vadimou, 
 
 613. 
 Navona piazza, at Rome, 575. 
 Nazarius, St., and St. Celsus, church, at 
 
 Brescia, 93, 97, 1U. 
 — -, St., church at Cremona, 306; at Milan, 
 
 42. 
 Neapolitans, 438, 464, 469, 483 «., 485- 
 Necker, 11. 
 
 Neger, Abraham, Armenian catholic, 258. 
 Negro, marquis Giovanni Carlo di, of Genoa: 
 
 bis house, 681 . 
 Negroni palace, at Genoa, 681. 
 Neipperg, general, called by Mme. de Stael 
 
 the Bayard of the German troops, 285, 
 
 580. 
 .Velli, Florenline senator : his opinion on the 
 
 street where the action of the Mandragore 
 
 took place, 578 n. 
 —, Giambattista Clemen to de' : his Vita e com- 
 
 mercio letterario di Galileo Galilei, 587 n. 
 — , Plantilla, Dominican nun, painter of the 
 
 Florentine school (16th century), 579. 
 — , S. Vicenzo, Roman manufacturer : his 
 
 various speculations, 361 w. 
 —villa, near Rome, 596. 
 Nemi, lake of, 498. 
 Nenci, S. Francesco, Tuscan painter, 386, 
 
 650. 
 Nepi, town, 642. 
 Neptune, throne of, basso-relievos of the 
 
 basilic of St. Vital at Piavenna, 416. 
 Nereus and Achilles, Saints, church at Rome, 
 
 555. 
 Neri-Corsini, Cav., minister of Tuscany, 
 
 372. 
 Nero's villa, at Subiaco, 601. 
 Nervi, town, 673. 
 Nesso, on l he lake of Cosmo : its Greek origin, 
 
 82. 
 Nesti, S., of Florence, sculptor, 62. 
 — , honorary professor at the university of 
 
 Pisa, 409. 
 Newton, sir Isaac, 408. 
 
 Nibby, M. A., antiquary, professor at the Sa- 
 pienza, 575, 583. 
 
 Niccoli, Nicolao, Florentine : his library open- 
 ed to the public by Cosmo de' Medici, 
 335, 534, 550, 564, 605. 
 
 Niccolini, Cav., architect, president of the 
 Borbonica society at Naples, 472. 
 
 — , Giambattista, Florentine orator and poet, 
 557, 545, 539 n.,368. 
 
 — palace, at Rome, 573. 
 
 — , Giuseppe, poet of Brescia, translator and 
 biographer of lord Byron, 101, 158. 
 
 Nice, 691 . 
 
 Nichesola, bishop of Belioua : his mausoleum, 
 110. 
 
 Nicholas IV., pope, 539, 541. 
 
 — V, Tommaso of Sarzana, learned pope, 
 forms the first model of a catalogue for se- 
 veral libraries in Italy, 350; his corres- 
 pondence with Mahometll., 491 ; his tomb, 
 505; 311, 521, 570,667, 673. 
 
 — , St., and St. Felix, church at Bologna, 248 
 — clegli Albari, St., idem, 236— St., church 
 at Florence, 567— at Padua, 199— at Pisa, 
 407— tine Gothic church at Trevisa, 141 — 
 gate of, at Florence, 384. 
 
 Nicolao, Messer, goldsmith at Mantua, 296. 
 
 — d'Arezzo, called also Nicolao Lelli, 
 sculptor and architect (14th century) : his 
 St. Mark, 340, 657. 
 
 — of Pesaro, painter of the Roman school 
 (17th century), 429, 534. 
 
 — Pisano, great architect and sculptor (13th 
 century), 177, 199; his basso-relievos of 
 St. Dominick's tomb at Bologna, 249; his 
 pulpit in the baptistry at Pisa, 403; 406, 
 407, 440, 614 ; his pulpit in the cathedral of 
 Siena, 620 ; 636, 654, 662, 667. 
 
 — di Prato, celebrated cardinal, 661. 
 
 — di Sozzo, miniature painter (1 4th century), 
 628. 
 
 Nicolails, Athenian sculptor, 597. 
 
 Nicole, 344. 
 
 Niebuhr : discovers the commentaries on the 
 
 institutes of Gaius, 116, 589 ; his system of 
 
 Roman history, 589. 
 Nievo, S. Alessandro, of Mantua : his gallery, 
 
 299. 
 Nino of Pisa, son of Andrea, sculptor (14th 
 
 century), 407; his statues of the Madonna 
 
 at the church della Spina, 408; 663. 
 Niobe, scene of, 322. 
 Nisida, isle, 473. 
 Noailles, count, French ambassador at Rome. 
 
 387. 
 Nobili, Leopoldo, of Modena, physician, 270, 
 
 385, 683. 
 Noceto, Pietro da, of Lucca : his elegant 
 
 mausoleum, 667. 
 Nodier, Mr. Charles, 191 n. 
 Nofelli, Florentine painter (16th century), 
 
 658. 
 Nogarola, ancient and distinguished family 
 
 of, at Verona, 122, 123 n. 
 Noli, town, 689. 
 
 Norchia, valley of, near Viterbos its Etrus- 
 can tombs, 612. 
 Noris, cardinal : his manuscript in the Ange* 
 
 lica library at Rome, 543. 
 
756 
 
 INDEX. 
 
 Noslra Signora di Loretto, church, 335 —of 
 Monte Allegro, sanctuary near Rapallo, 
 673— di San-Celso, church at Milan, 41 — 
 di Saronno, near Milan, 70— degli Angeli, 
 at Parma, 278— dei Carmelitani, at Venice, 
 175— del Monte, near Vicenza, 129. 
 
 Nota, baron Alberto, dramatic author : re- 
 marks on his plays, 66 ; 701. 
 
 Koitolini, S. Lorenzo, of Luca, architect. 
 672. 
 
 Kovara, town, 33. 
 
 IS'ovi, town, 692. 
 
 Nuvolone, Giuseppe, painter of the Milanese 
 school (17lh century), 35, 310. 
 
 — , Pamfilio, painter of the Cremonese school 
 (I7lh century), 34, 41, 42, 84, 311. 
 
 0. 
 
 Oak, extraordinary, of Monle-Luco, 644. 
 
 Obelisk of the piazza of St. John in Laterano, 
 S37 — della Minerva, 5'<9— of Monte Cilo- 
 rio, 564— del Popoli, 530— Sanla Maria Mag- 
 giore, 541— of St. Peter's, 500; its erection, 
 680— of the piazza della Trinila de' Monti, 
 348. 
 
 Observan tines del Paradiso, church at Vi- 
 terbo. 612. 
 
 Observatory of Bologna, 256— Florence, 585 
 — Breia, at Milan, 56— Misadois, at Naples, 
 469— of Padua, 196. • 
 
 Occhiali, Gabriele Ferrantini, called Gabriele 
 dagli, painter of the Bolognese school (16th 
 century), 243. 
 
 Occone, eminent writer, 527. 
 
 Oddi, ancient museum of, at Perugia, 652. 
 
 Oderjgo, canon of Siena, miniature painter 
 (15lh century), 632. 
 
 Odescalchi, cardinal, 538. 
 
 — , Don Pietro, director of the Arcadian 
 journal, at Rome, 562. 
 
 — villa, on the lake of Cosmo, 85; on the 
 same spot as the suburbanum of Caniuius 
 Rufus, ibid. 
 
 Oggiono, Marco d', painter, 41, 42. 
 
 Ognabene, Andrea Jacopo, goldsmith of Pis- 
 toja, 662. 
 
 Ognissanti, church at Florence, 362— Padua, 
 202. 
 
 Oil warehouse, at Leghorn, 413. 
 
 Oliva, the P. Paolo, general of the Jesuits, 
 546. 
 
 — , mother of Widus, archbishop of Milan, 
 assails Arialdus in his hermitage, 23. 
 
 Olivero, Cesare, Piedmontese dramatic au- 
 thor, 701. 
 
 Oliverotto, tyrant of Fermo, 433. 
 
 Olivieri, learned antiquary, 429. 
 
 — , Domenico, Piedmontese painter (18th cen- 
 tury), 702. 
 
 — , Orazio, hydraulic engineer (16th century), 
 600, 603. 
 
 — , Pietro Paolo, Roman sculptor and archi- 
 tect (18th century), 535, 539, 554. 
 
 Olivolo, isle of, at Venice, 180. 
 
 Olmo, village near Arezzo, 656. 
 
 Ombrone, river, 591. 
 
 Oneglia, town, 680. 
 
 Onigo, count Agostinc, of Trevisa : his tomb, 
 145. 
 
 — , theatre, at Trevisa, 142. 
 
 Onofri, Antonio: zealous citizen of San Ma- 
 rino, 427. 
 
 Onuphrius, St., church and convent of Rome, 
 229, 339. 
 
 Opera at Bologna, 239 — aL Turin, 704; bnffa, 
 natural and true in Italy, 64. 
 
 — , Giovanni dell', Floreniine sculptor (16th 
 century), 340, 541, 353, 360, 401. 
 
 Orange-trees in Italy, 30. 
 
 Orbesan, Arminios, baron of La Bastide, 
 young Frenchman buried at Padua: his 
 epitaph in Latin and French verse, 202. 
 
 Orbello, surname of Alessandro Furchi, of 
 Verona, painter of the Venetian school 
 (17th century), 82, 111, 115, 114, 113,116 
 his Mater Dolorosa, ib. ; 211. 
 
 Ordelali, Barbara, her iine mausoleum, 423 
 
 Orestes, St., hermitage near Rome, 610. 
 
 Orgagna, and not Orcagna, surname of An 
 drea da Cione, Florentine painter, sculptor 
 architect, and poetT4th century): his Log- 
 gia de' Lanz-i, 519 ; 340, 352; his taberna 
 cie of Or-san-Michele, 358; Ids frescos of 
 the Strozzi chapel, 360, 396, 397, 404, 407 
 420. 
 
 — , Bernardo, elder brother of Andrea, pain 
 terof the Florentine school (14th century) 
 360, 404. 
 
 — , Jacopo di Cione, brother of Andrea 
 sculptor (I4lh century), 340. 
 
 Oiiani, Barnabas, great astronomer and ma 
 thematician, 56. 
 
 Origlia, Gnrello, favourite of King Ladislas, 
 459. 
 
 Origo, house of, at Milan, 37. 
 
 Orinoli, Pietro di Francesco deg!i, painter 
 (loth century), 628. 
 
 Orioli, Bartoloinmco, painter of the Venetian 
 school (17 century), 142. 
 
 — , Giuseppe, painter of the Mantuan school, 
 297. 
 
 — , S. F., professor at the university of Bo- 
 logna, 236. 
 
 Oriandi, consul of the Pisans in the 11th 
 century, 401. 
 
 Orlandini dei Beccuto palace, at Florence, 
 572. 
 
 Orleans, Margaret of, grand-duchess of Tus- 
 cany, 592. 
 
 Orose, Paolo, manuscript of his history in the 
 Lanrenlian, at Florence, 329. 
 
 Or-san-Michele, collegiate church at Flo- 
 rence, 337. 
 
 Orsetli, S., one of the founders of the hospital 
 of St. Louis, at Turin, 703. 
 
 Orsi, Benedetto, painter of the Florentine 
 school (16th 061111117), 664. 
 
 — , S. Vineenzo, Florentine, proprietor of Ca- 
 reggi, 393. 
 
 Orsini, Fernando, duke of Gravina, 442. 
 
 — , Ludovico, murders his sister-in-law, Vir- 
 ginia Accaramboni, 54. 
 
 — , monument of the, at Venice, 176. 
 
 Orso, Antonio d', bishop of Florence, defeats 
 the besieging army ; his tomb at the cathe- 
 dral, 340. 
 
lxNDEX. 
 
 757 
 
 Ortolano, Giambattista Benvenuto, painter of 
 the Ferrarese school (16th century), 218, 
 221 ; his tomb, 223. 
 
 Orvieto, town, 614. 
 
 Oscuri, academy of the, at Lucca, 671. 
 
 Ossa, cardinal: his tomb, 551. 
 
 Osservanza, convent near Siena, 633. 
 
 Ostia, town, 564, 605. 
 
 Otho the great, archbishop of Milan : his 
 tomb, 39. 
 
 Otricoli, borough, 642. 
 
 Ottale, Cuerubino : his ingenious expedient, 
 169. 
 
 Ottaviani, colonel Mecaenas, of Arezzo, 657. 
 
 Ottino, Pascale, of Verona, painter of the Ve- 
 netian school (17th century), 113, 116. 
 
 Ottoboni, cardinal, Pietro, 579. 
 
 Ovato, fountain dell', at Tivoli, 600. 
 
 Overbeck, M. Frederick, painter of the new 
 German school, 645. 
 
 Ovid, 101, 436; his statue at Sulmona, ib., 
 his portrait at the chapel of the Madonna 
 of San Brizio, in the cathedral of Orvieto, 
 614. 
 
 P. 
 
 Pacchiarotto, Jacopo, painter of the Sienese 
 school (15th century), 623,625,629, 631, 
 634. 
 
 Pacchione, Italian bandit; his behaviour to 
 Ariosto, 435. 
 
 Pacchioni, Francesco, arcbilect and sculptor 
 of Reggio (1fith century), 269. 
 
 — , Leonardo, Alberto, and Roberto, sons of 
 the above, architects and sculptors, 269. 
 
 Pacetti, Camillo, Roman sculptor, 47, 62, 
 69,515, 548. 
 
 Paciaudi, the P., formed the library of Par- 
 ma, 271, 273 ; simplicity of his tomb, 279. 
 
 Pacifico, archdeacon, of the 9th century ; his 
 tomb at Verona, 110, 116. 
 
 Pacilli, Roman sculptor C18lh century), 
 551. 
 
 Pacini, S., composer, 64. 
 
 — , professor at the Lyceum of Lucca, 671. 
 
 Padovan, Anton, assassinated at Home, 558. 
 
 Padovanino, surname of Alessandro Varotari, 
 painter of the Venetian school (17ih cen- 
 tury), 87,88,163, 164 ; his Marriage ofCana, 
 168, 171, 173, 174, 175, 176, 183, 198, 202, 
 205, 206, 209, 211, 2I4. 
 
 Padua, city, 194. 
 
 Paesiello, 449; his works complete in auto- 
 graph in the library of the Conservatory, 
 Naples, 450. 
 
 Pagani, Gregorio, painter of the Florentine 
 school (16th century), 662, 665. 
 
 Paganini, S., 556. 
 
 Paganism in the manners of the literati of 
 the revival, 550; poetical restoration of, 
 615. 
 
 Paggi, Giambattista, painter of the Genoese 
 school (16th century), 75, 548, 331, 361. 
 
 Pagnano, village, 158. 
 
 Pagui, Benedetto, painter of the Mantuan 
 school (16th century), 297. 
 
 Pagnossini, Andrea, architect of Trevisa , 
 (17th century), 143. 1 
 
 Painters : a civil body and functionaries, at 
 
 Siena, 631. 
 Painting of streets in Italy, 119, 629, 644. 
 — , antique, in the museum of Naples, 443. 
 Paladini, Arcangiola, poetess, painter, singer, 
 improvisatrice : her tomb and epitaph, 
 366. 
 — , Filippo, painter of Pistoja, 366. 
 Pala d'Oro, mosaic of the church of St. Mark, 
 
 147. 
 Palace, archiepiscopal, of Milan, 57— of Bro- 
 letto, 92— civic (del la Podestadura) of Ber- 
 gamo, 89— communal, of Viterbo, 611 — 
 del Capitanio, of Padua, 211 — di Caravag- 
 gio, at Vaprio, 86— Colloredo, at Mantua, 
 299— del Comune, at Cesena, 424— del Co- 
 nmne, at Forli, 423 — del Comune, at Par- 
 ma. 284— della Comraunita, at Pistoja, 666 
 —of the Conservators, at Rome, 527 — della 
 Contabilita, at Milan, 37 — di Corte impe- 
 riale, at Mantua, 29 1— of Donn' Anna, call- 
 ed palace of Queen Giovanna, 468— del 
 Governo, at Milan, 57— of Justice, at Pa- 
 dua, 211— of the Loggia, at Brescia, 94; ths 
 old palace designedly burnt, ibid.— del 
 Magistrate, at Ferrara, 218— del Magnifico, 
 at Siena, 629— of Pietro of Toledo, at Poz- 
 zuoli, 471— del Pubblico, at Bologna, 254 
 —del Pubblico, at Siena, 627— del Pub- 
 blico, at Volterra, 639— della Ragione, at 
 Verona, 118— of the University, at Fer- 
 rara, 250— of the Caesars, 524— of the De- 
 vil, at Mantua, 299— of the Government, at 
 Siena, 630 — of the Governor, at Loretto, 
 453— ducal , at Genoa, 678— ducal, at Lucca, 
 670— dncal, at Mantua, 291— ducal, at 
 Parma, 283— ducal, at Pisa, 409— ducal at 
 Venice, 149— of the podesta, at Bologna, 
 253— idem, at Padua, 211— King's, at Na- 
 ples, 439— id. at Turin, 694— episcopal, at 
 Padua, 198— Madama. at Turin, 695— Pre- 
 torio, at Certaldo, 661— id., at Cortona, 
 655— id., at Lucca, 671— id., at Pistoja, 666 
 —id., atPrato, 661— id., at Volterra, 659 
 — public, of Arezzo, 639— id. of Cremona, 
 307— id. of Perugia, 650— id. of Placenlia, 
 509— of the Senator, at Rome, 525— royal, 
 of Alexandria, 693— id., at Venice, for- 
 merly the Procuratie nuove, 158— of Rome, 
 360 — old, at Florence, 315 — old, della Ro- 
 gione, at Bergamo, 89. 
 
 Palagi, S. Peiagio, Bolognese painter and ar- 
 chitect, 56, 59, 61, 62, 100, 694. 
 
 Palatine mount, at Rome, 324. 
 
 — bridge, at Rome, 593. 
 
 Palazzina, madhouse, at Rome, 524. 
 
 Paiazzolo, tower of, 90. 
 
 Palestrina, ancient Praenesle : its temple 
 and mosaic, 60I. 
 
 Palestrino, composer, head of the Italian 
 school. 563. 
 
 Palimpsesti (manuscripts), at the Ambro- 
 sian, 53 ; at the chapter library of Verona, 
 116; at the Vatican, 312; at Turin, 696. 
 
 Palio, porta del, at Verona, 108. 
 
 Palladio, Andrea, celebrated architect of Vi- 
 cenza (16th century), 37, 117, 127; his Ba- 
 silica, at Vicenza, 127, 150, 171 ; his house, 
 128, 129; his Trisino palace, 128, 129; 171, 
 
 65. 
 
758 
 
 INDEX. 
 
 173; his church of the Redentore, 173; 194, 
 
 195, 211,243,299,306. 
 Pallavicini, cardinal : his manuscripts at the 
 
 Barberiana, 569. 
 — , palace at Genoa, 681 . 
 
 — palace, surnamed delle Peschieri, at Ge- 
 noa, 682. 
 
 Palliere, Leon, French painter, 548. 
 
 Palraa, Felici, sculptor (16th century), 408. 
 
 — , the younger, painter of the Venetian 
 school (16th century), 43, 86, 89, 97, 114, 
 137, 138, 139, 142, 151, 152, 133, 171, 173, 
 174, 175, 476, 477, 178, 179, 180, 482 ; his 
 tomb, 183, 484, 190,198,203, 206, 207, 208, 
 211, 214 264, 269, 510, 408, 417, 532. 
 
 — , Ihe elder, painter of the Venetian school 
 (46th century), 60, 88, 129, 143, 165, 170, 
 476, 478, 181, 185, 190, 206, 223, 299, 529, 
 669, 679, 694. 
 
 Palmieri villa, called the villa del Boccac- 
 cio, 388. 
 
 — , Matteo, historian, 561,588. 
 
 Palotta, cardinal : his distich beneath the 
 bust of a young girl by Gonnelli, 559. 
 
 Pamfili palace, at Rome, 574. 
 
 — Dorio villa, 594. 
 Pammatone, hospital of Genoa, 687. 
 Pampaloni, S. Ludovico, Florentine sculp- 
 tor, 539 n., 407. 
 
 Pananti, Filippo, poet, captive at Algiers, 
 
 537. 
 Pancotto, Pietro, painter of the Bolognese 
 
 school (16th century), 247. 
 Pandects of the Laurentian, the oldest known, 
 
 728. 
 Pandolfini palace, at Florence, 370. 
 Pandone, Galeaso, chef-d'oeuvre of Giovanni 
 
 of Nola, 456. 
 Panegyrics, Italian, better than the French, 
 
 51. 
 Panetti, Domenico, painter of the Ferrarese 
 
 school (15th century), 223. 
 Panicale, village, 655. 
 — , Masalino da, painter of the Florentine 
 
 school (15th century), 364. 
 — , Pietro dfc of Perugia, painter, 634. 
 Panizza, s. Bartolommeo, professor at the 
 
 university of Pavia, 76. 
 Panizzatto, Mario, one of Ariosto's masters, 
 
 231. 
 Pannartz, German printer (15th century), 
 
 established at Borne, 573. 
 Pannilini palace, at Siena, 629. 
 Pannini, Giovanni Paolo, painter of the Ro- 
 man school (18th century), 446, 567. 
 Panormita, surname o( Antonio di Palermo : 
 
 his Hermaphrodite, 350 ; 456, 455. 
 Pantaleon, St., church at Venice, 475. 
 Pantheon, at Pompeii, 481 ; 548. 
 Paoletti, Gaspardo, Tuscan architect (17th 
 
 century), 667. 
 Paoli, count, of Pesaro, great chemist, 428. 
 Paolina fountain, at Rome, 577. 
 Paolini, Pietro, of Lucca, painter of (he Flo- 
 rentine school (17th century), 669, 670, 
 
 671. 
 Paolino, St., church at Florence, 361. 
 Paolo, Caliste Ui, sculptor of Siena, 619. 
 
 Paolo, Giovanni di, of Siena, painter ( 15th 
 century), 631. 
 
 — , Fra, theologian, 156; his autograph con- 
 sultations, 186; 489, 195. 
 
 — , Veronese, surname of Galiari, celebrated 
 painter of the Venetian school (16th cen- 
 tury); his Martyrdom of St. Afra, 97 ; his 
 St. George, 115; 118, 129,430, 154, 137, 
 138, 150, 151, 153,159; his Rape of Europa, 
 150; his Family of Darius, 162; 165, 165, 
 168,174,173, 174,175, 176, 178,179, 185, 
 184, 490, 206, 207, 211,239 «., 524, 525, 526, 
 574, 446, 520, 529, 565, 566, 572, 574 ; his 
 Magdalen, 678; 679,-680. 
 
 — Veronese, heirs of, paintings executed 
 by them alter his death, 207. 
 
 Paollozzi, S., of Chiusi : his collection of 
 Etruscan antiquities, 655. 
 
 Papa, Simone, painter of the Neapolitan 
 school (45th century), 447, 459. 
 
 Papacello, painter of Corlona (16th century), 
 653. 
 
 Papadopoli, S., possessor of Aglietti's collec- 
 tion of engravings, 161 n. 
 
 Paper, when invented, 635. 
 
 Papi, Lazzaro, librarian of Lucca, author 
 of a History of the French Revolution, 671. 
 
 Papias, Greek sculptor, 527. 
 
 Papigno, village near Terni, celebrated for 
 its peaches, 645. 
 
 Papyri of Herculaneura, how deciphered, 
 443. 
 
 Papyrus of Monza, celebrated, 73— of Ra- 
 venna, 448. 
 
 Paradisino, il, or the Celle, hermitage at Val- 
 lombrosa, 595. 
 
 Paradiso palace, at Genoa, 682. 
 
 Parenti, S., academician of La Crusca, 568. 
 
 Parigi, Florentine architect (16th century ), 
 385. 
 
 Parini, Milanese poet, a passionate admirer of 
 the Ccenaculum, 48; his bust, 56; his me- 
 dallion, 62 ; price he asked of a bookseller 
 for three of his poems, 559. 
 
 Paris: the studies pursued there praised by 
 Boccaccio, 598 n.\ 465 n. 
 
 Parisetti, Ludovico, the younger; his tomb, 
 269. 
 
 Parisio, cardinal: his tomb, 546. 
 
 Parlascio and Aringo, ancient Roman theatre 
 at Lucca, 671. 
 
 Parma, town, 271. 
 
 Parmegiano, surname of Francesco Mazzuoia, 
 painter of the Parmesan school (16th 
 century), 88, 274, 277, 279, 281, 284, 288, 
 325, 4 '<6, 447, 680. 
 
 Parodi, Domenico, painter of the Genoese 
 school (17lh century), 678,681. 
 
 — , Filippo, Genoese sculptor (17th century) ; 
 his mausoleum of the patriarch Francesco 
 Morosini, 476 ; 207, 688, 693. 
 
 Parolini, Jacopo, the last painter of the Fer- 
 rarese school (48th century), 113, 220, 225, 
 233. 
 
 Parr, Mr. Wolstenholme, possessor of the 
 unpublished dissertations of d'Hancarville, 
 204 n. 
 
 Parrhasius, Aulus Janus, professor of the 
 Neapolitan academy, 255, 448, 455, 465. 
 
INDEX. 
 
 759 
 
 Pasinelli, Lorenzo, painter of the Bolognese 
 school (47th centurv ), 242, 254, 265. 
 
 Pasini, 696 n. 
 
 Pasquali, Filippo, ofForli, painter of the Bo- 
 lognese school (17th century), 417. 
 
 Pasqualini, Signora, actress, 66. 
 
 Pasquier, 297. 
 
 — , baron : his report on the roads of France, 
 56 n. 
 
 Pasquino, Greek torso of, at Rome, 574. 
 
 Passaggieri Rolandino, jurisconsult, consul 
 of Bologna in the 13th century : his tomb, 
 249 n. 
 
 Passanti,Barto!ommeo, painter of the Neapo- 
 litan school (17th century), 460. 
 
 Passerotti, Bartolommeo, painter of the Bo- 
 lognese school (16th century ), 245. 
 
 — , Tiburzio, son of the above, Bolognese 
 painter, 245. ■ 
 
 Passignano, surname of Domenico Cresti, 
 painter of the Florentine school (16th cen- 
 tury), 185, 516, 339 n., 349, 364, 390, 407, 
 408, 432, 662, 668. 
 
 Pasta, siguora : her first performances at the 
 Filodrammatico theatre of Milan, 67. 
 
 Pastorino di Giovanni Micheli, painter on 
 glass (16th century), 618, 620. 
 
 Pastrengo, Guglielmo : his manuscript of the 
 De Viris illustribus, 183; 286. 
 
 Patellani house, the abode of the painter and 
 architect Pellegrino Tibaldi, 37. 
 
 Paterins, Florentine heretics: column to com- 
 memorate their defeat, 365. 
 
 Paternian, St., cathedral at Fano, 340. 
 
 Patin, Charles, French physician, son of Guy 
 Patin : his tomb at Padua, 197. 
 
 Patriciate, Venetian : its decline, 160; more 
 ancient than the oldest aristocracies, 161. 
 
 Paul, Roman sculptor (14th century), 557. 
 
 Paul II., pope : his tomb, 505. 
 
 — III., 236, 274; his mausoleum, 502; 505, 
 506, 524, 550, 580, 581, 648 «., 686. 
 
 — IV., 576. 
 
 — V., 649. 
 
 — , St., old convent of, at Parma : its frescos, 
 282— church at Bologna, 248— at Ferrara, 
 222— at Milan, 42— at Naples, 455— at Pisa, 
 408— at Pistoja, 665— alle tre Fontane, St., 
 church near Rome, 556 — extra muros, St.; 
 its rebuilding, 555— St., church at Siena, 
 622— at Venice, 178— at Vercelli, 53— St., 
 door of, at Naples, 453— St., church at 
 Lucca, 622. 
 
 Pauline chapel, at the Vatican, 507. 
 
 Pavement of Rome, still of basalt, 562. 
 
 Pavia, town, 74. 
 
 Peasant of Val d' Arno, 595. 
 
 Pecci, Giovanni, bishop of Grosseto: his 
 tomb, 619. 
 
 Pedrocchi coffee-house, at Padua, 194, 214. 
 
 Pegli, village, 688. 
 
 Peiresc : his autograph letters at the Barbe- 
 riana, 569. 
 
 Pelagia, St., church at Cremona, 307— at 
 Turin, 703. 
 
 Pelagonius, veterinary writer of the 14th 
 century: his only manuscript extant in the 
 Riccardi library at Florence, 333. 
 
 Pellegrini, chapel, chef-d'oeuvre of San Mi- 
 cheli, 112. 
 
 — , Antonio, of Padua, painter of the Vene- 
 tian school (17th century), 202. 
 
 — , Louisa, noted for needle-work, called the 
 Minerva of Lorabardy, 39. 
 
 — , Pellegrino di Tibaldo de', Bolognese pain- 
 ter and architect (16th century), 32, 55, 
 37, 58, 40, 43, 49, 137, 257, 246, 257, 432. 
 
 Pellegrino of Modena, Pellegrino Munari, 
 oftener called Aretusi, painter of the Mo- 
 deuese school (16th century), 264, 508, 
 552. 
 
 Pellico, Silvio, 101 n. 
 
 Peloro, Giambattista di Pasquino del, archi- 
 tect (16th century), 623. 
 
 Pendola, the P., professor of philosophy at 
 the Tolomei college and at the university 
 of Siena, 622. 
 
 Penetesi, Gherardo, architect of Lucca (16th 
 century), 670. 
 
 Penna, the baron delta, of Perugia : his gal- 
 lery, 651. 
 
 Pennachi, Pietro Maria, of Trevisa, painter 
 of the Venetian school (16th century), 140, 
 190. 
 
 Pennachini, Giovanni : his quarto work, 
 entitled NobiltA ed antichitd de' Sarlori 
 cavata da molti autori approvati, 574. 
 
 Penni, Giovanni Francesco, also called II 
 Fattore, painter of the Roman school (16th 
 century), 510, 520. 
 
 Pensabene, Fra Marco, monk, painter of the 
 Venetian school (16th century), 191. 
 
 People, the poor, live in the ancient monu- 
 ments, 107. 
 
 Pepin, king of Italy : his supposed tomb, 109. 
 
 Pepoli, count Carlo, poet, 414 n. 
 
 — , abbe", librarian of St. Michael in Bosco, at 
 Bologna, 264. 
 
 — , Taddeo, popular chief of Bologna : his 
 tomb, 249. 
 
 Peranda, Santo, painter of the Venetian 
 school (17ih century), 174, 175. 
 
 Percier and Fontaine, clever French archi- 
 tects : finish the Louvre, 46 n. ; their Choix 
 des plus celebres Maisons de plaisance de 
 Rome el de ses environs, 594 n. 
 
 Percier, M. ; his tomb of the countess Albani, 
 356. 
 
 Perelli, Geronimo : enumerates the names of 
 more than 550 literati born at Arezzo, 657. 
 
 Perfetti, Sienese improvisatore, 632. 
 
 Pergola, La, theatre at Florence, 381 . 
 
 Pericaud, M., librarian of the city of Lyons, 
 698 n. 
 
 Periccioli, Giuliano, designer with the pen, 
 628. 
 
 Pericolanti, Donne, convent of : pensions 
 granted to vedove jpericolanti, 224. 
 
 Peroni, Don Giuseppe, painter of the Par- 
 mesan school (18th century), 43, 278, 279 : 
 his tomb, 280. 
 
 Persico, couut, author of the description of 
 Verona and its province, 115, 1(8 n., 424. 
 
 Perticari : hteDifesa di Dante, 63 ; his widow, 
 daughter of Monti, ibid. ; considered the 
 Italian language equal to the Latin for the 
 lapidary style, 511 ; 428, 503, 562 «., 615 n. 
 
760 
 
 INDEX. 
 
 Pertinax, emperor, 689 
 
 Perucchini, his agreeab\3 Venetian air, 189. 
 
 Perugia, town, 449, 648. 
 
 Perugino, surname of Pietro Vannucci, 
 painter, chief of the Roman school (15ih 
 century), 51, 61. 73, 244, 247, 506, 352,557, 
 364, 371, 379, 430, 446, 451, 466, 507, 508, 
 509, 513. 518, 529, 533, 543, 631, 649 ; his 
 frescos in the hall del Gambia, at Perugia, 
 650, 631 ; house of his birth at the cita ilella 
 Pieve polled down in 1828, 655, 668. 
 
 Peruzzi, Baltassare, called also Baltassare 
 of Siena, painter and architect (15ih cen- 
 tury), 245, 256, 452, 500, 540, 554, 559, 575, 
 574', 575, 578, 579, 582, 590, 619, 621, 622, 
 623, 625, 626, 627, 628, 629, 630, 655, 634. 
 
 — palace, at Florence, 570. 
 
 — , celebrated commercial company of Flo- 
 rence, 321. 
 
 Peruzzini, Cav. Giovanni, of Ancona, painter 
 of the Bolognese school (17lh century), 43, 
 452. 
 
 Pesaro, town, 428. 
 
 — , Benedetto, general : his mausoleum, 177. 
 
 — , Nicolao di, painter of the Roman school 
 (17th century), 429, 534. 
 
 — , Simone Cantarini di, painter of the Bolo- 
 gnese school (17th century), 429, 430. 
 
 — palace, at Venice, 163. 
 Pescara, fortress and town, 435. 
 Pescario : his tomb, 456. 
 Peschiera, fortress, 105. 
 Pescia, town, 667. 
 
 Petarzano, Simone, painter of the Milanese 
 school (16th century), 50. 
 
 Peteau, counsellor of the parliament of Paris: 
 his collection of books divided between 
 Rome and Geneva, 6. 
 
 Peter, dnke of Savoy, surnamed the Little 
 Charlemagne, 16. 
 
 — , Chrysologus, St. : his tomb, 414. 
 
 — , St., martyr, his pulpit, 44; his tomb, 
 mausoleum, ibid, ; 558— a Majella. St., 
 convent at Aversa, 494— St., convent of 
 Benedictines at Perugia, 649— St. and St. 
 Orso, church at Aosta, 28— St., at Asti, 693 
 —in Oliveto, St., of Brescia, 96— al Po, St., 
 at Cremona, 506— St., at Fano, 430— de' 
 Filippini, St., temple at Geneva, 4— So- 
 maldi, St., church at Lucca, 669— in Ges- 
 sale, St., at Milan, 41— a Majella, St., idem, 
 457— ad Aram, St., at Naples, 466 — al Ro- 
 sario, St., at Novarra, 34— St., atPalestrina, 
 601 — in Ciel d'Oro, St., ancient church at 
 Pavia, 77, 79— the marlyr, St., oratory at 
 Perugia, 649— in Vincoli, St., church at 
 Pisa, 408— Major, St., church at Pistoja, 663 
 — basilic of, atRome, 500 — the interiorde- 
 scribed, 501— cost of ils construction, 501— 
 in Montorio, SI., church at Rome, 558— in 
 Vincoli, St., idem, 542— a Ovile, St., church 
 at Siena, 625— in Castel-Vecchio, St. , idem, 
 622— St., church at Sulmona, 436 ; at Ve- 
 nice, 171 — andPaul, Sts., church at Venice, 
 490— St., at Vicenza, 129— iu Selci, St., at 
 Vol terra, 636. 
 
 Peters, Vinceslas, painter of animals, 596. 
 
 Petraja, La, palace near Florence, 393. 
 
 Petrarch, Francis : his Virgil at the Ambro- 
 
 sian, 52; hislife at Linterno,69;his treatise 
 On the remedies against either fortune, 
 70 ; analogy between his opinions and 
 Montaigne's, ibid. ; his bust at Pavia, 78 ; 
 avowal of his libertinism during his passion 
 for Laura, 78; accompanied his verses on 
 the lute, 107 n. ; his treatise On the duty 
 an d qua lifica lions of those who comma nd, 
 112; discovers Cicero's Epislolae. Fami- 
 liares, 116 ; founder of the library of St. 
 Mark, 155, 162; his various portraits all 
 different, 199; Ihe most authentic, ibid. ; 
 204, 210; his autograph letter to his physi- 
 cian, 210 ; prejudiced against medicine, 
 ibid. ; his house and tomb at Arqua, 112, 
 195, 215 ; impression caused by his tomb, 
 217, 272 ; his cenotaph at Ihe cathedral of 
 Parma, of which he was archdeacon and 
 canon, 276; his house at Parma, 286; his 
 building, 286 ; his life at Parma, 287; 
 visit he received from a blind enthusiast, 
 287 ; composed the greater part of his 
 Africa there, ibid. ; his retreat at Selva 
 Piana, 288, 505 ; his copy of Cicero's Epis~ 
 tolas. Familiares and Epistola ad Jtticum 
 in the Laurentian, 329 ; one of his portraits 
 there, 332, 534, 561, 396, 399, 457, 460 ; wit- 
 nessed a gladiatorial combat, 462, 467 ; 
 autograph manuscript of his Bime in the 
 Vatican, 513, 514, 584. 593, 628; curious 
 incident on the day of his triumph, 632 n. ; 
 house where he was born, al Arezzo, 657, 
 671,675, 678 n. 
 
 Petrazzi, Astolfo, painter of the Sienese 
 school (17th century), 621, 622, 623, 624, 
 628. 
 
 Petrelli, S. Giuseppe, sculptor, 201 «. 
 
 Pelronius ; death of, at Cunise, 573. 
 
 — , St., church at Bologna, 109, 242; apart- 
 ments of the Residenza delta Iiev. Fab- 
 brica, 242 ; different plans for its fagade by 
 the first architects, 243. 
 
 Petrucci, bookseller at Rome, 540. 
 
 — , marquis, ol'Pesaro, learned naturalist, 428. 
 
 — , Antonelle, minister of Ferdinand I. : his 
 supposed corpse, 456. 
 
 — , or the Magnificent, tyrant of Siena: his 
 palace, 629; his tomb, 655. 
 
 Peverelli, architect, Cagnola's pupil, 69 n. 
 
 Peyron, abbe" Amedio, professor at the uni- 
 versity of Turin, 696, 697. 
 
 Pezzana, S. A., librarian of Parma, 271, 279, 
 309 n. 
 
 Pezzo, Marco, learned Veronese, 130 n. 
 
 Pezzoli, house of, at Milan, 57. 
 
 Philelfo, Francesco : his manuscript DeJocis 
 el Seriis, 54 
 
 Philip of Neri, St. : his dwelling, 533— con- 
 vent at Rome, ib.— church at Forli, 423— 
 at Naples, 453— at Novara, 34— at Pistoja, 
 664— Turin, 694, 702. 
 
 Philip the Fair: account of his disbursements 
 during the year 1501,521. 
 
 Philippines, the. church at Padua, 208. 
 
 Philostratus, 601. 
 
 Physicians : inscription expressing Petrarch's 
 dislike of them, 210. 
 
 Pia villa, in the gardens of the Vatican, al 
 Rome, 521. 
 
INDEX. 
 
 761 
 
 Pianca house, at Milan, 37. 
 
 Pianciani, the P. G. B., Jesuit, 331. 
 
 Pianigiani, professor, of Siena, 635. 
 
 Pianpianino, painter, 630. 
 
 Piazza, doctor Antonio, of Padua, 214. 
 
 — , Calisto, of Lotli, painter of the Venetian 
 school (16th century), 42, 45, 97, 100. 
 
 — , Paolo, called Padre Cosmo, painter of 
 the Veneiian school (16th century), 139. 
 
 Piazza di Ariosio, at Ferrara, 232— ot the 
 Grand Duke, at Florence, 518— Virgiliana, 
 at Mantua, 300— di Spagna, at Rome, 570— 
 del Popolo, at Rome, 530 — of St. Mark, at 
 Venice, 144 — delle Erbe, al Verona, 119. 
 
 Piazzc-tta, Giambattista, painter of the Vene- 
 tian school (17th cenlury), 2H. 
 
 Piazzi, the P., astronomer, 469. 
 
 Piccinnino, Jacopo, celebrated general, 266. 
 
 Piccolomini loggia, at Siena, 630. 
 
 — palace, at Siena, 629, 630. 
 Piccolomini Bellanti, Cav., of Siena : his 
 
 gallery and its rarities, 629. 
 
 Pico del la Mirandola, a prince of great learn- 
 ing : his tomb in St. Mark's, at Florence, 
 349 ; 557, 592, 393 W. 
 
 Picturesque in individuals, 12, 485. 
 
 Pictet Deodati, S., librarian of Geneva, 6. 
 
 Pie di Luco, lake, 643. 
 
 Piella palace, at Bologna, 235. 
 
 Pier, Florentine goldsmith (13th century), 
 662. 
 
 Pier d' Arena, San, suburb of Genoa, 687. 
 
 Pieri, S., professor at the Sapienza, 583. 
 
 Piermarini, Giuseppe, of Foligno, architect 
 (18th century), 56; bis ingenious roof to 
 the theatre of La Scala, 64 ; the palace of 
 Monza, one of his best works, 74. 
 
 Pieia de' Turchini, church at Naples, 454. 
 
 Pietatella, idem, 465. 
 
 Pietists, sectarians, 19. 
 
 Pietola : fort on the site of the ancient Andes, 
 Virgil's birthplace, 298; 505. 
 
 Pietra-Mala ; its spring called Acqua buja, 
 and its little volcano called Fuoco del 
 legno, 512. 
 
 Pietra Santa, town, 670. 
 
 Pietro of Cortona, surname of Pietro Berret- 
 tini, painter ol the Roman school (17th 
 century), 327, 552, 563, 574, 436, 529, 531. 
 353, 533, 517, 535, 360, 565; his ceiling of 
 the Barberini, 568, 574, 601, 654, 663. 
 
 — of Toledo, viceroy of Naples : instrumental 
 inrepeopling Fuzzuoli, 471. 
 
 — , Giulio di, painter of the Sienese school 
 (15th centuryt, 631. 
 
 — , Landodi, military architect of Siena, 628. 
 
 Pieve, church at Arezzo, 657— at Castiglione, 
 635. 
 
 — , near Cento, 253. 
 
 — , Cittadella, town near Perugia, 653. 
 
 Pifferari, mountaineers of the Abruzzi and 
 Calabria : their songs during Advent at 
 Rome, 539. 
 
 Pigazzano, near Placentia, villager's house 
 at, with an inscription bv S. Giordani, 511. 
 
 Pigeons of the piazza of St." Mark, 145. 
 
 — , mosaic of the, at the museum of the Ca- 
 pitol, 526. 
 
 I Pigio dei Buonaguidi, Micheledi,of Volterra: 
 his tomb, 658. 
 
 Pigna, Giambattista, historian of the princes 
 of Este, favourite of the duke Alfonso, 
 Tasso's enemy and rival in love, 221 . 
 
 Pignerol, town, 703. 
 
 Pignone, Simone, painter of the Florentine 
 school (17th cenlury), 566. 
 
 Pignotti of Arezzo, poet, physician, natura- 
 list, antiquary : his mausoleum at the 
 Campo-Santo of Pisa, 406, 657. 
 
 Pilate's house, at Rome, 595. 
 
 Pinacoteca, of-Bologna, 239— Brera, at Milan, 
 60— the Capitol at Rome, 529— Verona, 4 1 8. 
 
 Pinali, S., distinguished architect and anti- 
 quary of Verona, 108, 118. 
 
 Pincio, mount, 572. 
 
 Pindemonte, Ippolito, poet, 63, 101 n. -, his 
 monument of Lorenzi, 111. 119, 120, 122, 
 163,168; Academician of Padua, 197 «. ; 
 577 n. 
 
 Pineta, of Ravenna, description, 421. 
 
 Pino, general : his collection of pictures, 62 ; 
 his villa, 85. 
 
 — de' Rossi, rich Florentine, 599. 
 Pintelli, Baccio, Florentine architect (15th 
 
 century), 550 ; his cupola of the church of 
 St. Augustine, 332, 558, 560. 
 
 Pinturicchio, Bernardino, painter of Ih 
 Roman school (13th century), 529, 550 
 535, 540, 559, 619, 62 1. 
 
 Pio, Alberto, prince of Carpi, 255. 
 
 — , Angelo, Bolognese sculptor (17th cen- 
 tury), 237. 
 
 — college, at Perugia, 652. 
 
 Piola, Domenico, painter of the Genoese 
 school (18th century), 675, 685, 686. 
 
 — , Geronimo, painter of the Genoese school 
 (17th century), 679, 685. 
 
 — , Pellegro, idem, 680. 
 
 Pio luogo della Congrega, charitable esta- 
 blishment at Brescia, 100. 
 
 Piombi, the, prison at Venice, 147, 157. 
 
 Piombino, town, 640. 
 
 Piombo, Sebastian del, painter of the Flo- 
 rentine school (16th century), 62, 164. 
 
 Piranesi, Giambattista, engraver and archi- 
 tect (18th century), 556. 
 
 Piron : the author's reason for not seeking 
 the house where he was born al Dijon. 1 . 
 
 Pironi, Geronimo, of Vicenza, sculptor and 
 painter (15th century), 200. 
 
 Pisa, town, 401; first town in Europe that 
 hail a maritime code, 406, 449. 
 
 Pisan, Christina de, 237. 
 
 Pisanello, Vittorio, painter of the Venetian 
 school (15ih century), 111, 113, 650. 
 
 Pisani, sculptor, director of the Modena Aca- 
 demy uf Fine Arts, 267 
 
 Pisani (a Saint Paul) palace, at Venice, 162, 
 
 Pisaroni, signora, singer, 381. 
 
 Pisateilo, river, 423, 424. 
 
 Piscina Mirabile, 474. 
 
 Piso, Calpurnius : his villa at Baiae, 475. 
 
 Pisogna, town, 90. 
 
 Pispini, gate, at Siena, 650. 
 
 Pistoja, town, 662; noted for its organs, 663. 
 
 Pilentino, Alberto, hydraulic architect of 
 Mantua (12th century), 298. 
 
762 
 
 INDEX 
 
 Pitti, Jacopo, one of the deputies appointed 
 to examine the DecameroD, 337 n. 
 
 — palace, at Florence, 573. 
 
 Pittoni, Giambattisia, painter of the Venetian 
 
 school (18ih century), 200. 
 Pius II : his letters to Mahomet II., 491, 619, 
 
 630. 
 
 — IV. : his statue in the cathedral of Milan, 
 39 ; raises a rich mausoleum to his brother, 
 Giovanni Jacopo de' Medici, ibid. 
 
 — V. : his empty coffin at ihe abbey del 
 Bosco, 692. 
 
 — VI. : 498, 501 n. his tomb, 502, 503, 512 n., 
 515, 5/(8, 555 n. 564, 602, 616. 
 
 — VII. : crowned at*t. George's, at Venice, 
 172; 424, 503, 515, 528, 5'.8, 535, 555, 583, 
 652, 634 ; his apartments at Savonn, 689. 
 
 — VIII. suppressed the bull fights, 581 n. 
 Pizzi, S., sculptor, 62. 
 Pizzighettone, fortress, 308. 
 
 Pizzola, S. Andrea, architect, 37. 
 
 Pizzoli, Joachimo. painter of the Bolognese 
 school (17th century ), 245. 
 
 Placidia, Galla Placidia Augusta : her mau- 
 soleum, 416, 417. 
 
 Placidus, Friar, poet, 647. 
 
 placentia, town, 29 ; 308. 
 
 plagues of Italy, 174. 
 
 Plana, S., astronomer, professor at the uni- 
 versity of Turin, 695, 696. 
 
 Plata, Pedro della, ou Prata, Spanish sculp- 
 tor (16lh century), 463, 466. 
 
 Plater, countess Felicity, of Wilna, 434. 
 
 Platina, librarian of the Vatican, 51 1 j his 
 tomb, 541. 
 
 Plautia, mausoleum of the family on the 
 Tivoli road, 597. 
 
 Pliniana, on the lake of Cosmo, not the abode 
 of Pliny, 82; explanation of the ebb and 
 flow of the fountain, 82 n. 
 
 i'liny, the elder : his bust at the Lyceum of 
 Cosmo, 8) ; difference between him and 
 his nephew respecting the Pliniana, 82 n. ; 
 his oldest manuscript in the Riccardi li- 
 brary, at Florence, 333; 476. 498, 515, 516, 
 590. 
 
 — , the younger : his bust at the Lyceum of 
 Cosmo, 81 ; his letter, 82 ; his villa at Lau- 
 rentum, 607, 613, 644. 
 
 Plutarch : his remarks on the colossal head 
 called Alexander dying, 322; 456, 488, 
 555. 
 
 Po : its aspect at Brescello and at Borgoforte, 
 289 ; 695. 
 
 Poccetti, Bernardino Barbatelli, painter of the 
 Florentine school ( 16th century), 325,546, 
 549, 352, 361 . 505, 366, 397, 663. 
 
 Poccianti, S. Pascale, Tuscan architect, 413 n. 
 
 Pocock : his pretended discovery of the valley 
 of Chamouny, 14. 
 
 Podacataro, Livius, archbishop of Cyprus : 
 his tomb, 175. 
 
 Pceslnm : its temples, 483. 
 
 Poetic truth, 162. 
 
 Poets : the eminent poets of Italy and France, 
 born in the north, 101 ; changes of poets, 
 282. 
 
 Poggiali : his Memorie storiche di Piacenza, 
 308 n. 
 
 Poggio di Cajano, Yilla near Florence, 393. 
 —imperiale, palace near Florence ; its avenue, 
 386. 
 
 — Braccoli, called Poggio, 291 ; 330 ; his 
 unpublished letters at the Ricciardini, 354 ; 
 his statue taken for an apostle's, 340 ; 
 550 ?!., 355, 591, 605. 
 
 Poiana, church near Bassano, 153. 
 Pola, Bartolommeo di, sculptor of the (13lh 
 century), 75. 
 
 — palace, at Trevisa, 143. 
 
 Polcastro, Geronimo, academician of Padua, 
 
 197 n. 
 Poleni, marquis, commentator of Vitruvius, 
 
 215. 
 Polenta, family of the, of Ravenna : their 
 
 burial-piace, 418, 419. 
 Politian : his correciions of the Pandects, in 
 
 the Laurentian, 328; his notes on different 
 
 manuscripts of that library, 329, 353; his 
 
 epitaph for Giotto, 340, 342; his tomb in 
 
 St. Mark's, at Florence, 349, 388 ; his verses 
 
 at the Mozzi villa, 589, 391, 592, 450, 617, 
 
 637, 644. 
 Pollaiolo, Anlonio, Florentine goldsmith, 
 
 painter, and sculptor (45th century), 345, 
 
 551, 552, 572 «., 503. 
 — , Pietro, Florentine goldsmith and sculptor 
 
 (15th century), 621. 
 Pollini palace, at Siena, 629. 
 Pollio ; ruins of his villa, 468. 
 Polo, 5la., Bolognese sculptor (16th century), 
 
 244. 
 Polvaro Carlolta, signora, singer, 66. 
 Pomarancio, surname of Nicolao Circignani, 
 
 painter of the Florentine school (16th cen- 
 tury), 264; 537, 546; 614, 637. 
 Pompei, Count Alessandro, good architect, 
 
 119, 126. 
 Pompei della Vittoria palace, at Verona, 117. 
 Pompeii, the ciceroneof, 13 ; description, 477. 
 Pomponaccio, Pietro, wrongly accused of 
 
 atheism : his tomb, 296. 
 Pona, Francesco, physician : his tomb, 115, 
 
 118. 
 Ponale, cascade, 103. 
 Ponbucci, S., librarian of Cortona, 654. 
 Ponchino, Giambattista, called Borzato, of 
 
 Castelfranco, painter of the Venetian school 
 
 (16th century), 138. 
 Pons, French astronomer, 383. 
 Pontano, Joviano, president of the Neapolitan 
 
 Academy : his epitaph, 455, 512. 
 Ponte, Antonio da, sculptor and architect 
 
 (16th century), 151; his bridge of the 
 
 Rialto, 163. 
 Ponte, ancient game, at Pisa, 410. 
 Ponte di Lagoscuro, limit of the papal states, 
 
 217. 
 
 — Longo at Albenga, 680— Molle, near Rome, 
 608— Nuovo, at Ravenna, 421— Rotto, at 
 Rome, 593. 
 
 Pontine marshes, 498. 
 
 Ponti-Rossi, ancient aqueduct at Naples, 470. 
 
 Pontormo, surname of Jacopo Carrncci, 
 painter of the Florentine school (16lh cen- 
 tury), 327, 331. 332, 337, 366, 392. 
 
 Ponzio, Flaminio, architect ( 16th century ), 
 565, 567, 603. 
 
INDEX 
 
 763 
 
 Ponzone, count Ala di : his gallery, 507. 
 
 Pope, Alexander, 507. 
 
 Popes : powerful abroad, but weak at Rome, 
 in the middle ages, HO; collection of popes' 
 portraits, 705. 
 
 Popoli, town, 456. 
 
 Poppi, surname of Francesco Marandini, 
 painter of the Florentine school (46th cen- 
 tury), 664, 665. 
 
 Pordenone, surname of Giovanni Antonio 
 Licino, painter of the Venetian school 
 (16th century), 88, 137, 140, 164; his St. 
 Lorenzo Giustiniani, 468,177,178,190, 282, 
 299,506,311,324,525. 
 
 Porrata, Jacopo, of Cosmo, sculptor (13th 
 century), 305. 
 
 Porsenna : his pretended labyrinth and mau- 
 soleum, 655. 
 
 Porta, Agostino della, painter of the Floren- 
 tine school (15th century), 655. 
 
 — , Fernando, painter of the Milanese school 
 (18th century), 42. 
 
 — , Guglielmo della, Milanese sculptor (16th 
 century), 435, 445 ; his mausoleum of Paul 
 III., 502; 554, 684. 
 
 — , Jacopo della, architect (16th century), 
 533, 540, 550, 555, 556, 562, 575, 582, 605, 
 684, 685. 
 
 Porta Capuana, at Naples, 454— Orientale, 
 gate of, at Milan, 37— Pia, at B.ome, 547— 
 Sliera, quarter of Bologna, 256— San Spi- 
 rito, at Rome, 560— Maggiore, atRome, 540 
 —del Popolo, at Rome, 550. 
 
 Portici, 475. 
 
 Portico of Octavia, at Rome, 590. 
 
 Portin3ri, Folco, founder of the hospital of 
 Santa Maria Nuova, at Florence, 582. 
 
 — , Pigello, clerk of Cosmo di Medici, founder 
 of a chapel, 44. 
 
 Portioncula, church atAssisi, 643. 
 
 Porto, Luigi da ; his novel of Romeo and Ju- 
 liet, 106 n. 
 
 Porto, ancient college of Nobles del, at Bo- 
 logna, 256 n. 
 
 — Barbaran palace, at Vicenza, 128. 
 
 Portraits of painters drawn by themselves, 
 collection of, in the gallery of Florence, 
 524. 
 
 Posi, Paolo, of Siena, architect (17th centu- 
 ry), 560. 
 
 Posilipo, grotto of, 467. 
 
 Positano, town, 487. 
 
 Possagno, village, Canova's native place; his 
 temple, 153. 
 
 Possenti, Giovanni Pietro, painter of the Bo- 
 lognese school (17ih century), 203. 
 
 Possidenti, painter of the Bolognese school 
 (17th century), 294. 
 
 Postieila, piazza di, at Siena, 629. 
 
 Potenze, ancient popular games of Florence, 
 362. 
 
 Potter, Paul, painter of the Dutch school 
 (17th century), 695. 
 
 Poussin, surname of Guaspre Dughet, pain- 
 ter of the Roman school, 370, 542, 56f>, 
 578, 597. 
 
 — , Nicolas, French painter (17th century), 
 62, 325, 419, 465, 479, 508, 509, 510, 520, 
 528, 529; his mausoleum, 530; 542, 548, 
 
 565, 566, 568, 570, 575, 576 ; his walk in the 
 campagna of Rome, 608; 644, 666. 
 
 Poveda, S. Giuseppe de' ; his work entitled 
 Del sepolcro di mess. Giovanni Boccac- 
 cio e di varie sue Memorie, 400. 
 
 Povera palace, at Genoa, 679. 
 
 Pozzano, hill of, 486. 
 
 Pozzetti, 559 n., 393 n. 
 
 Pozzi, bishop of San Donnino, designer, 
 283. 
 
 — , the P. Andrea, of Trent, painter and ar- 
 chitect, corrupter of taste (17th century), 
 413, 141, 551,535. 
 
 Pozzo, the abbe" Agostino dal, author of the 
 Memorie istoriche de' Sette comuni vicen- 
 tini, 430 n. 
 
 — , Louis, Flemish painter, 442. 
 
 — di Diana, celebrated well of Siena, 621. 
 
 Pozzuoli, town, 471. 
 
 Pradier, M., his statue of Rousseau, 3. 
 
 Prati, Bartolommeo, jurisconsult : his mau- 
 soleum, 276. 
 
 Prato, town, 660. 
 
 — , galea/, at Florence, 385. 
 
 Prato, Domenico da, poet, 559 n. 
 
 — , Francesco dal, painter of the Florentine 
 school (46th century), 98. 
 
 —della Valle, square and promenade at Pa- 
 dua, 212; Canova's statue erected there 
 during his life, ibid. n. 
 
 Pratolieri house, at Reggio, 270. 
 
 Pratolino, ancient villa, 512. 
 
 Praxedus, St., church at Rome, 541. 
 
 Praxiteles, Greek sculptor, 442. 
 
 Preaching, protestant, 4; Italian, 54, 522. 
 
 Predora, village; its ruined tower, 91. 
 
 Prefettizio palace, at Vicenza : its loggia 
 427. 
 
 Presentation of the Virgin, church at Bolo* 
 gna, 252. 
 
 Preti, Francesco Maria, architect, of Castel- 
 franco (48th century), 438. % 
 
 Previtali, Andrea, of Bergamo, painter of the 
 Venetian school (46th century), 86, 88. 
 
 Priests, parish (Italian) : learning among 
 them, 279. 
 
 Prujiaticcio, Francesco, painter of the Bolo- 
 gnese school (16th century), 294, 500, 501, 
 302. 
 
 Prina, professor at the university of Pavia, 
 76. 
 
 Prinetti, sculptor, of Novara, 34, 35. 
 
 Printing, flourishing at Milan, 58; formerly 
 an art, now a trade, 466; its present state 
 at Venice, 467; at Naples, 448; at Rome, 
 575. 
 
 Prisons of Italy, 31 ; their accordance with 
 the different degrees of civilisation, 158. 
 
 Probus, Peter, Dutch painter (16th century), 
 323. . 
 
 Procaccini, Andrea, painter of the Roman 
 school (18th century), 538. 
 
 — , Antonio, painter of the Bolognese school 
 (17th century), 44. 
 
 — , Camillo, painter of the Bolognese school 
 (17th century), 54, 40, 41, 42, 45, 44, 45, 48, 
 49, 70, 75, 79, 80, 81 ; his Last judgment, 
 269; 309, 510, 511,685,688. 
 
 — , Ercole, the elder and the younger, pain- 
 
64 
 
 INDEX. 
 
 ter9 of the Bolognese school (16th century), 
 
 47, 48, 49, 87, 264. 
 Procaccini, Giuseppe, painter, 75. 
 — , Giulio Cesare, painter of the Bolognese 
 
 school, and sculptor (17th century), 37, 59, 
 
 40, 41 . 42, 43, 44, 49, 71, 73, 75, 79, 97, 275, 
 
 306, 310. 
 Procida : Greek costume of the girls of that 
 
 island, 475. 
 Procopius : probably in error respecling the 
 
 antique siatue of Adrian's mausoleum, 
 
 581. 
 Proculus, St.. church at Bologna, 248— at 
 
 Florence, 357 — cathedral at Pozzuoli, 
 
 471. 
 Profits of artists, 249, 277, 278 n., 519, 580, 
 
 620, 623, 628, 630. 
 Prony, (he baron; his work on the Pontine 
 
 Marshes, 498. 
 Propertius, 473, 514, 588, 598; his tomb, 
 
 645. 
 Prosper, St., church at Reggie, 269. 
 Prospero of Brescia : his ridiculous colossal 
 
 Moses of the fountain de' Termini, 567. 
 Proto'moteca of the Capitol, 528. 
 Pnccinelli, painter of Lucca (14th centurv), 
 
 670. 
 Pudenziana, St., church at Rome, 542. 
 Puget, French sculptor, architect, and pain- 
 ter (17th century), 685; his Assumption, 
 
 687." 
 Purga di Bolca, mountain near Verona : its 
 
 shells and fossile fish, 126. 
 Pulcinella theatre, at Naples, 450. 
 Pusterla, Angilberto, gives the celebrated 
 
 gold Paliotto to the church of St. Ambrose, 
 
 at Milan, 46. 
 Puzzelle, h6lel delle Tre, residence of Dr. 
 
 Lami, 387. 
 Pyrgoteles, Venetian sculptor, adopted a 
 
 Grecianname (15th century), 181, 200. 
 
 Q. 
 
 Quadri, Geronimo, architect, 48. 
 
 — , s., his statistical tables of the Venetian 
 provinces, 486. 
 
 — , s. Giambattista, of Naples, professor, cle- 
 ver oculist, 448. 
 
 Quaini, Ludovico, painter of the Bolognese 
 school (17th century), 45, 309. 
 
 Quaratesi house, at Florence, 378. 
 
 Qualremere de Quincy, the author's principal 
 authority on architecture, 112 n., 418 w., 
 178 «., 491 n., 297 n., 301 n., 357 n., 378, 
 503, 547, 582. 
 
 Quatro-Capi, bridge of the, at Rome, 576. 
 
 Querci, Luca, painter at Pistoja (18th cen- 
 tury), 665. 
 
 Quercia, convent of La, near Viterbo, 612. 
 
 — , Jacopo della, Tuscan sculptor (15th cen- 
 tury), 242, 618, 619, 620, 621, 622, 627, 629, 
 668, 669. 
 
 Quiers, town, 702. 
 
 Quiete, seminary della, near Fk>rence, 393. 
 
 Quirico, San, and St. Juliet, church at Siena. 
 622. 
 
 Quirina, cardinal, founder of the library at 
 Brescia, 93 ; verses addressed to him by 
 Voltaire, ibid. 
 
 — , San, near Sulmona : its remains of a tem- 
 ple, 436. 
 
 Quisisana, the king's casino at Castelmare, 
 486. 
 
 R. 
 
 Rabelais : his description of the naturalist 
 Pierre Gill es, 532, 552 n. 
 
 Rabula, Syrian scribe, copyist of the Gospels 
 in the Laurentian, 332. 
 
 Racchetti, professor at the university of Pa- 
 dua, 194. 
 
 Radicofani, town, 616. 
 
 Raffaelli, Koman mosaist, executed the ccena- 
 culum, 48 n. 
 
 Raffaellino da Reggio, surname of Raffaello 
 Motta, painler of the Roman school (16th 
 century), 429, 609. 
 
 Raffaello da Settignano, Florentine sculptor, 
 619. 
 
 Raggi, Antonio, called the Lombard, sculptor 
 (17th century), 45, 573, 619. 
 
 Raimondi, Marcantonio, engraver, 634. 
 
 Rainaldi, Geronimo, Roman architect (17tli 
 century), 243, 284. 310, 603. 
 
 — , signora, dancer, 701. 
 
 — , Vincenzo, 518, 533. 
 
 Rainaldo, Italian architect, assistant and suc- 
 cessor of Buschetto at the cathedral of Pisa, 
 401. 
 
 Ramaglianti, tower of, at Florence, 372. 
 
 Ramhaldi, Carlo, painter of the Bolognese 
 school (48th century), 251. 
 
 Ramberti, Benedetto, of the Aldine Academy, 
 126, 166. 
 
 Ramelli, Felice, abbot of Latrano, miniature 
 painter (17th century). 198. 
 
 Ramignani, the P., Jesuit, architect (17th cen- 
 tury), 663. 
 
 Ramirez di Montalvo, Eleonora, poetess, 
 foundress of the conventdella Quiete, 393. 
 
 Ramparts of Lucca, 672. 
 
 Rancureil, the abbe, 524. 
 
 Rangana, Thomas, of Ravenna, physician and 
 philologist: his statue, 179. 
 
 Ranuccio, Jacopo, Bolognese architect (16th 
 century), 243. 
 
 Ranuzzi palace, at Bologna, 256, 237. 
 
 Ranza, S., architect, 32. 
 
 Rapallo, town, 675. 
 
 --, gulf of, 674. 
 
 Raphael, St., church at Milan, 40. 
 
 — , the prince of the Roman school, 41 ; 
 bis cartoon of the School of Athens, 55; his 
 Sposalizio, 60; his portrait, 88; 100, 165, 
 169, 175; his St. Cecilia, 241; 274, 291, 
 503 ■»., 307, 316, 320, 323, 324; the two 
 Holy Families, the St. John in the Desert, 
 326, 327, 544, 364, 370, 372 ; the Madonna 
 della Seggiola, 574 ; the Vision of Eze- 
 kiel, ibid. ; 379, 402, 405, 430, 433, 439, 
 446, 447; architect, 500, 505, 506; his 
 Loggia, 507 ; his Stanzc, 508 ; his School 
 of Alliens, 509, 518; his Transfiguration, 
 519, 520 ; his Madonna di Foligno, 524. 
 529, 535, 537 ; discovery of his body at the 
 
INDEX. 
 
 765 
 
 Pantheon in 1835, 549 ; his Isaiah, 552 ; his 
 Sibyls, 554, 556, 558, 565, 567 ; his house 
 at Rome, 573, 575, 578; his Galatea, 579, 
 581 ; real cause of his death, 582 ; 595, 596, 
 605, 649, 621, 634, 645, 649, 652, 670, 680, 
 681, 686. 
 
 Raseri. the late professor, of Parma, one of 
 the first physicians of Italy, 283. 
 
 Rath, general". Genevese, in the service of 
 Russia : the'museum at Geneva built with 
 the money bequeathed by his daughters, 5. 
 
 Ravel lo, near Amain, 487. 
 
 Ravenna, -415. 
 
 Rayr.ouard, Fr.-Juste-Henri, 63; his re- 
 searches after the original'poetry of the 
 troubadours, 265, 330. 
 
 Re, theatre at Milan, 66. 
 
 Recco, town, 675. 
 
 Red marble, antique : the largest block 
 known, 544. 
 
 Redentore, fine church at Venice, 173. 
 
 Redi, Francesco: medical reformer and poet, 
 582, 386, 543, 619,656; his tomb, 659; 
 667. 
 
 Re folta, bridge della, near Rome, 605. 
 
 Reformagioni, archives delle, at Siena, 628. 
 
 Refugio, school of Siena, 623. 
 
 Reggio, town, 29, 268. 
 
 — , Luca da, painter of the Venetian school 
 (17th century). 199, 200, 205, 206, 209. 
 
 Regillus, lake, 600. 
 
 Regnoli, S., surgeon, professor at the univer- 
 sity of Pisa, 409. 
 
 Reina, French lawyer : his library, at Milan, 
 56. 
 
 — , S., singer, 381 . 
 
 Reinaud, M., keeper of the oriental manu- 
 scripts at the royal library : his interpre- 
 tation of Mahomet ll.'s titles, 491 n. 
 
 Rembrandt, Paul, painter of the Dutch school 
 (17th century), 163, 374, 445, 581, 695. 
 
 Remigio, Fra, Fiorentino, translator of Ovid's 
 Epistles, 436. 
 
 Remondini, brothers, painters at Bassano, 
 133. 
 
 Renaud de Villefranche, grammarian, Pe- 
 trarch's correspondent : his tomb, 112. 
 
 Rene^e, duchess of Ferrara : Calvinism of her 
 little court, 219. 
 
 Renier, St., church at Pisa, 407. 
 
 Renieri, Nicolas, Flemish painter, established 
 at Venice (16th century), 203. 
 
 Reno, river, 264. 
 
 Renouard, M. Antoine-Auguste, publisher of 
 the letters of Paul Manutius; his Annales 
 de I'lmprimerie des Aide, 434 n.; 115 n., 
 550. 
 
 Resina, borough, near Naples, 475. 
 
 Restituta, Santa, church at Naples, 451. 
 
 Reti, Luca, sculptor, 279. 
 
 Retz, Gondi, cardinal of : his turbulent and 
 factious character, 572 ; humorous account 
 of his interview with pope Alexander VII., 
 465, 667. 
 
 Revival of learning : popularity of men of 
 letters at that period, 69; error as to its 
 real epoch, 647. 
 
 Reynolds, Sir Joshua, English painter, 324. 
 
 Rezzi, S., librarian of the Barberiana, 569 
 
 Rezzonico, critic and poet of the 18th cen- 
 tury : his bust at the Lyceum of Cosmo, 
 84. 
 
 — , monument in St. Peter's at Rome, 504. 
 
 Rhamnusio, Fracastor's friend, his tomb, 
 112. 
 
 Rhodiginus, Coelius, author of the Antiquce 
 lectiones .- his tomb, 217. 
 
 Rialto, bridge at Venice, 163. 
 
 Ricasoli, villa, ancient conyent of St. Jerome, 
 389. 
 
 Ricca, the P., one of the directors of the To- 
 lomei college at Siena, professor of phy- 
 sics at the university, 622. 
 
 Riccardi palace, at Florence, 368. 
 
 — , Ricardo •. his tragedy of the Conversion 
 of St. Mary Magdalen, 335. 
 
 Riccati, Giordano, academician of Padua, 
 197 n. 
 
 Ricchiui, Francesco, architect, 37, 44,49, 56, 
 68. 
 
 Ricchino, Francesco, of Brescia, painter of 
 the Venetian school (16th century), 96. 
 
 Ricci, Cav.' A. M., poet, 471 n.; his epic 
 poem on St. Benedict, 489 n. 
 
 — , Stefano, Florentine sculptor (19th cen- 
 tury), 355, 556, 371, 380, 406; his tomb of 
 Mascagni, 620,631. 
 
 — , Pietro, archbishop of Pisa : his tomb, 
 402. 
 
 — , Scipione, bishop of Pistoja : contrast be- 
 tween his palace and his doctrines, 665. 
 
 — , Sebasliano, painter, 285. 
 
 Ricciardi, S.; minister of state, at Naples, 
 471. 
 
 Ricciarelli, Leonardo, nephew of Danielle 
 or Volterra, 636. 
 
 Riccio, surname of Andrea Briosco, of Padua, 
 sculptor (15th century); his basso-relievos 
 on the mausoleum of the Turriani, 442, 
 168 ; his bronze chandelier, the most beau- 
 tiful known, 200, 205, 206; his tomb, 209. 
 
 — , surname of Bartolommeo Neroni, sculp- 
 tor and painter of the Sienese school (46th 
 century), 649, 621, 626, 629, 652. 635. 
 
 Rico, Andrea, of Candia, Greek painter, 589. 
 
 Ricovero, asylum and hospital, at Verona, 
 116. 
 
 Ricovrati, academy of, at Padua, received 
 women, 197. 
 
 Rido, Antonio, of Padua : his mausoleum, 
 536. 
 
 Ridolfi, chief of the consuls dell' Uffizio, at 
 Florence, 344. 
 
 — , Carlo, of Vicenza, painter and writer 
 (17th century), 110. 
 
 — , Claudio, of Verona, painter of the Vene- 
 tian school (16th century), 207. 
 
 — palace, at Verona, 118. 
 
 — , marquis Cav. Cosmo, of Florence, 3l4«., 
 580. 
 
 Rienzi, killed near one of the lions of the 
 Capitol, 523, 567 ; his pretended house, 
 593, 598. 
 
 Riessinger, Sixtus, invited to Naples, by Fer- 
 dinand I. of Aragon, 447. 
 
 Rigaud, Hyacinthe, painter of the French 
 school (45th century), 679, 680 
 
766 
 
 INDEX. 
 
 Riminaldi, Orazio, painter of the Florentine 
 school (17lh century), 402, 407, 408. 
 
 Rimini, town, 424. 
 
 Rinaldo, of Mantua, painter (16th century), 
 296. 
 
 Rinaldo Rinaldi, S., of Padua, sculptor, 165, 
 198, 212, 233. 533. 
 
 Rinieri, Daniele, of the Aldine Academy, 
 166 n. 
 
 Rio, count da; his cabinet of minerals, 215 n. 
 
 Ripa, Don Mattheo, founder of the Chinese 
 college of Capo di Monte, 468. 
 
 Ripaille, ancient castle, 21. 
 
 Ripalta, Antonio of : sold as a slave after the 
 taking of Placentia, 508. 
 
 Ripetta, port of, at Rome, 572. 
 
 Riva, at the point of lake Garda, 404. 
 
 Rivarola, Stefano, 675. 
 
 Rivautella, 696 n. 
 
 Rivaz, Pierre Joseph de, distinguished ma- 
 thematician, 15 n ; his Eclaircissements 
 sur le martyre de la legion thebeenne, 
 ibid. 
 
 Rivola, Giuseppe, painter of the Milanese 
 school (18th century ), 45. 
 
 Rivoli; view ; battle, 122. 
 
 Robbia, the brothers Luca, Geronimo, and 
 Agostino, sculptors in earthenware (15ih 
 century ), 342, 353, 567, 372, 379, 380, 390, 
 396, 398 n., 612, 633, 657, 649, 660, 662, 
 664, 665. 
 
 Robert, king of Naples, 287 »., 537 ; 457. 
 
 Robert!, the P., 603. 
 
 Robolini, S., of Pavia, his Notizie apparte- 
 ■nenti alia storia delta sua patria, 78. 
 
 Robusti, Marietta, Tintoretto'sdaughter, pain- 
 ter, musician, and singer (16th century), 
 185 ; her portrait by herself, 524. 
 
 Rocca, the P. Angelo, Augustine monk, car- 
 dinal, 552. 
 
 Roccabonella, celebrated Venetian physi- 
 cian : his tomb, 206. 
 
 Roch, St., church at Boiogna, 247— at Cone- 
 gliano, 139— at Vicenza, 129— church and 
 confraternity at Venice, 177. 
 
 Roche, village : the great Haller resided in 
 its chateau, 15. 
 
 Rock, Tarpeian, 525. 
 
 Rodari, architect, sculptor (15th century), 80. 
 
 Roedan, Andrea Doria's dog, 682. 
 
 Rohan, Henry, duke of, author of the Parfait 
 capitaine, celebrated writer and warrior, 
 85; his mausoleum in the temple of St. 
 Peter's, at Geneva, 4. 
 
 Roland : his pretended lance at the cathe- 
 dral of Pavia, 80 ; his statue at the cathe- 
 dral of Verona, 109; his tower, 496; his 
 phallus, 645. 
 
 Romagnoii, Signora, actress, 66. 
 
 Romagnols, 414. 
 
 Romanelli, Giovanni Francesco, painter of 
 tne Roman school (17th century), 408, 
 529, 611. 
 
 — , Urbano, son of the preceding, painter 
 of the Roman school (17th century), 611. 
 
 Romanino, Geronimo. of Brescia, painter of 
 the Venetian school (16th century), 97, 
 98,99,115. 
 
 Roraanus, St., church, at Lucca, 668. 
 
 Rome, 449,499; effect of its contemplation, 
 525; plan of ancient Rome, 526 ; moral of 
 its monuments, 534; all history found at 
 Rome, 537 ; society at Rome, 570. 
 
 Romuald, St., church at Ravenna, 418. 
 
 Romulus, St., hermitage of : its palmtrees, 
 680. 
 
 Ronca, valley near Verona, celebrated for its 
 shells and fossile fish, 126. 
 
 Roncalli, Cristoforo, painter of the Roman 
 school (17th century ), 431, 433, 434. 
 
 Roncas d' Aosta, marquis, erected the chapel 
 of St. Grat, 28. 
 
 Ronciglione, town, 609. 
 
 Rondani, Francesco Maria, painter of the 
 Parmesan school (16ih century ), 274, 278. 
 
 Rondi, S., at Brescia, 101. 
 
 Rondinelli, Giovanni, one of the two first li- 
 brarians of the Laurentian, 527. 
 
 — , Nicolao, painter of the Bolognese school 
 (15th century ), 417. 
 
 Rondinosi, Zacario, painter of the Florentine 
 school (17th century), restorer of the paint- 
 ings of the Campo Santo at Pisa, 405. 
 
 Ronti, Matteo, monk: degraded for trans- 
 lating the Divina corn-media into Latin 
 verse, 534. 
 
 Rosa, Anella di, Neapolitan painter (17th 
 century }, 454. 
 
 — , Cristoforo, of Brescia, painter of the Ve- 
 netian school (16th century), 158. 
 
 — , Stefano, of Brescia, painter of the Vene- 
 tian school (16th century), 158. 
 
 — , Francesco, also called Pacicco orPacecco, 
 painter of the Neapolitan school (17th cen- 
 tury), 455. 
 
 — , Pietro, of Brescia, painter of the Venetian 
 school (16th century), 96, 98. 
 
 — , Salvator, painter of the Neapolitan school 
 (17th century), 565, 570, 373, 402, 506; 
 his tomb, 546; 560, 565, 565, 571, 680. 
 
 — , St-, her body intact, at the convent of 
 Viterbo, 611. 
 
 Rosary, church of the, at Cento, called the 
 Gallery, 235. 
 
 Rosato, Constantino di, painter, 649. 
 
 Roscoe: his Life of Leo X , 117 «., 235 n., 
 503 n., 514 «.; his Life of Lorenzo de' 
 Medici, 349 n., 392 n., 393 «., 431. 
 
 Rose, St., convent at A'iterbo, 611. 
 
 Roselli, Antonio, called the monarch of 
 science, 656. 
 
 — , Nicolao, painter of the Ferrarese school 
 (16th century), 233. 
 
 Rosellini, S. Ippolito, professor at the univer- 
 sity of Pisa, 381. 
 
 Rosenberg, Justine Wynne, countess of Ur- 
 sins and of, English literary lady of the last 
 century : her tomb, 206. 
 
 Rosi, professor : his college at Spello, 645. 
 
 Rosini, professor, poet : his Saggio suite 
 azioni e sulle operediF. Guicciardini, 
 387 11., 405, 409, 644. 
 
 Rositi, Giambattista, painter of the Bolognese 
 school (15th century ), 498. 
 
 Rosmini, S. : his Vila di Filelfo, 54; his 
 opinion on the antiquity of St. Michael's, 
 at Pavia, contradicted by San Quintiuo, 
 79. 
 
INDEX. 
 
 767 
 
 llospigliosi, prince Giuseppe : his palace at 
 Pistoja, 666. 
 
 — palace, at Rome, 567. 
 
 Rosselli, Cosmo, painter of the Florentine 
 school (15th century), 545, 351, 557, 507, 
 668. 
 
 — Matteo, painter of the Florentine school 
 ( 16th century), 352, 358, 362, 363, 579, 386, 
 402, 637, 665, 665, 670. 
 
 Rossellini, Antonio, Florentine sculptor (15th 
 century), his mausoleum, 596, 459. 
 
 — , Bernardo, Florentine sculptor (15th cen- 
 tury), 355, 560, 662, 665. 
 
 Rossermini, Domenico, painter of Pistoja 
 (16th century), 664. 
 
 Rossetti, Paolo, of Cento, painter of the Ro- 
 man school (16th century), 640. 
 
 Rossi, author of the Treatise on penal Law, 
 9. 
 
 — , Angelo, painter of the Genoese school 
 (18th century), 174. 
 
 — , Angelo, Genoese sculptor (18th century), 
 538. 
 
 — , Signora Angelica Baltione : her continua- 
 tion of the Flora of Piedmont, 698. 
 
 — , Antonio, painter of the Bolognese school 
 (18th century), 209, 249. 
 
 — , Bertrand : his tomb al Parma, 281. 
 
 — , Carlo Antonio, painter of the Milanese 
 school (17th century), 80. 
 
 — , Francesco, antiquary, of Arezzo, 657. 
 
 — , Geronimo, of Brescia, painter of the Ve- 
 netian school (17th century), 97. 
 
 — , Pietro : his curious mausoleum, 278. 
 
 — , professor Giovanni Bernardone : his col- 
 lection of oriental manuscripts in the li- 
 brary of Parma, 271 ; 285, 551. 
 
 — , Properzia de', painter, sculptor, musi- 
 cian : died of love (16th century), 242, 251 , 
 255. 
 
 Rossini, S. : his house at Bologna, 258, 428, 
 449. 
 
 Rosso palace, at Genoa, 679. 
 
 — , Del, painter of the Florentine school (16th 
 century), 345, 351, 374, 624, 637. 
 
 — , Signor del, professor at the university of 
 Parma, 409. 
 
 — , the late Del, Florentine architect, 659. 
 
 Rostrum, at the arsenal of Genoa, 677. 
 
 Rota, Bernardino, poet: his tomb, 455. 
 
 Rotari, Pietro, of Verona, painter of the Ve- 
 netian school (18th century), 111, 114, 200, 
 209. 
 
 Rotator, the : statue at the gallery of Flo- 
 rence, 326. 
 
 Rote", Michel, official clerk to Renee of France, 
 duchess of Ferrara, 304 n. 
 
 Rotzo, one of the Sette Comuni, 130 n. 
 
 Rouard, M., librarian of the town of Aix, 
 
 482 n. 
 Rousseau, father of J. -Jacques : his autograph 
 letter to Mme. de Wareus respecting his 
 son, 7. 
 — , J. -Jacques : his Discours sur les effets 
 du re'lablissement des Sciences el des 
 Arts, 1; house where he was born, 3 ; his 
 statue at Geneva, ibid. ; his letter on the 
 condemnation of his Emile, 4; two of bis 
 
 autograph letters, 7; 346, 449, 563 ; effect 
 of Catholicism on his talent, 703. 
 
 Rovera, princes of, 428. 
 
 Roveredo, town, 104. 
 
 Roverella, cardinal : his tomb, 537. 
 
 Roveria, forest, 19. 
 
 Rovezzano, Benedetto da, Florentine sculp- 
 tor (16th century), 340, 362, 563. 
 
 Rovigo, town, 217"; its library, ibid. 
 
 Rozan, the abbC da : his letter on the library 
 of LaTrinita, 482. 
 
 Rubaconte, Ponle, or alle Grazie, bridge at 
 Florence, 584. 
 
 Rubens, chief of the Flemish school (16th 
 century), 88, 165, 322, 323, 574, 419, 445, 
 529, 555, 565, 567, 572, 578, 581, 679, 680, 
 685. 
 
 Rubicon, river, 423, 424. 
 
 Rubini, singer, 64, 89. 
 
 Ruccellai, Giovanni Bernardo, epoch of the 
 representation of his Rosmunda, 128 «. ; 
 571. 
 
 BuccellaidellaVigna palace, at Florence, 371. 
 
 Ruffin, priest of Aquilea, translator of Jose- 
 phus, 55. 
 
 Rufinella, villa near Frascati, 603. 
 
 Rufinus, St., church at Assisi, 646. 
 
 Ruggieri, Antonio Maria, painter of the Mi- 
 lanese school (18th century), 45. 
 
 Ruinart, dom : his letters at Monte Casino, 
 492. 
 
 Ruins : different impressions they make, 521. 
 
 Rusca, Milanese sculptor, 55. 
 
 Rusconi, Camillo, Milanese sculptor (18th 
 century), 504, 533. 
 
 Ruspi, mosaist, 596. 
 
 Ruspoli palace, at Rome, 362. 
 
 Russi, Franco de', miniature painter of Man- 
 tua (15th century), 265. 
 
 Rnstichino, surname of Francesco Rustici, 
 painter of the Sienese school (17th cen- 
 tury), 622,623, 624, 623, 627, 632. 
 
 Rustici, Francesco, Florentine sculptor (16th 
 century), 344. 
 
 Ruta, village, 675. 
 
 Sabatelli, Ludovico, Florentine painter, 33, 
 
 389. 
 Sabatti, Cav., his house at Brescia, 100. 
 Sabattini, Lorenzo, painter of the Bolognese 
 
 school (16th century), 241, 246, 237, 260. 
 Sabens, librarian of the Vatican, 511. 
 Sabina, St.. convent at Rome, 537. 
 Sacchetti, 107 n., 341, 360, 396. 
 — palace, at Rome, 381. 
 Sacchi, Andrea, painter of the Roman school 
 
 (16th century), 320, 558; his tomb, 339, 
 
 548, 560. 
 --, Bramante, sculptor of Cremona (14th 
 
 century), 506. 
 — , family of mosaists established three cen- 
 turies at the Chartreuse of Pavia, 75. 
 — . Carlo, of Pavia, painter of the Milanese 
 
 school (13th century), 80. 
 Sacred Heart, nuns of the, at Rome, 572. 
 Sacro Catino, the, 148, 684. 
 Sacro Speco, monastery near Subiaco, 602. 
 
768 
 
 INDEX. 
 
 Sade. abbe" de : his Me'mnires pour la vie 
 de Pelrarque; asserts that Laura had 
 eleven children, 217. 
 Sadolet, cardinal, 236, 266, 316 ; his tomb, 360. 
 Sailors, Genoese, 676. 
 Saint Cergues : description, beauty of its 
 
 view, 2. 
 Saint Gingolph, village, excluded from the 
 
 Nouvelle Heloise for its harsh name, 21. 
 Saint Gusmeus and SaintMatthew, church at 
 
 Gravedona, 84. 
 Saint Maurice, hermit, 15. 
 Baint-Ours, Genevese, painter, 6. 
 Saint-Pierre, Bernardin de; his opinion of 
 
 the colossal head called Alexander Dying, 
 
 522 ; 346, 498. 
 Saint-Simon, duke of, quotation from his 
 
 Memoirs, 212; his opinion on Villeroy's 
 
 surprise at Cremona, 307 n. ; 550; bis sin- 
 gular portrait of the old cardinal de La 
 
 Grange d'Arquien, 552. 
 Sainte-Croix, M. de, his Examen critique 
 
 des anciens historiens d' Alexandre quot- 
 ed, 33. 
 Salaria gate, near Rome, 367. 
 Salario bridge, near Home, 589. 
 Salerno, town, 483, 674. 
 Saleve, mountain near Geneva, 11. 
 Salimbeni, Arcangelo, painter of the Sienese 
 
 school (16th century), 621, 625. 
 — , Simondio di Ventura, painter of the 
 
 Sienese school (17th century), 407, 625. 
 — , Ventura, idem (16th century), 402, 407, 
 
 622, 623, 623, 626, 643. 
 Sallust : Ins house at Pompeii, 479; his gar- 
 dens, 589. 
 Salmegia, Enea, surnamed Talpino, painter 
 
 of the Venetian school (16th century), 40, 
 
 49, 87, 88, 89. 
 Salo, town, 103. 
 Saloon of Padua, 211. 
 Salpion, Athenian sculptor, 443. 
 Salt, duty on, appropriated at Venice to the 
 
 payment of artists, 186. 
 Salt springs of Volterra, 640. 
 Saltarello, Luca, painter of the Genoese 
 
 school (17th century), 686. 
 Salterello, Roman dance, 575. 
 Salutati, Lino Collucio, or Colluccio, poet and 
 
 learned man : his inscription on Dante's 
 
 portrait, 341, 355, 400. 
 Salute, church at Venice, 172. 
 Saluzzi palace, called Paradiso, at Genoa, 
 
 682. 
 Saluzzo, Cav. Cesare, 699. 
 Salvatore, San, church at Bologna, 235 n., 
 
 248. 
 Salvi, Antonio, Florentine goldsmith (15th 
 
 century), 345. 
 — , Dioti, of Pisa, architect, 402, 408. 
 — , S., of Brescia, learned bibliographer •• his 
 
 collection of autographs, 575. 
 — , Nicolao, Roman architect (18th century), 
 
 570. 
 -~, monastery of San, near Florence, 660. 
 Salviano, mount, 494. 
 Salviati, Francesco, painter of the Florentine 
 
 school (16th century), 165, 317, 530. 
 — , surname of Giuseppe Porta, painter of the 
 
 Roman school (16th century), 176, 190, 506, 
 580. ,' ' ' 
 
 Salvini, sculptor (16lh century), 576. 
 Samacehini, Orazio, painter of the Bolognese 
 school (16th century), 241, 246, 257, 260, 
 274, 275. 
 Samoggia, torrent, near Modena, 264 n. 
 Sampferi palace, at Bologna, 257. 
 San Casciano, near Florence : Machiavel's 
 
 villa, 597. 
 Sancio, Luca, or Santios, Greek painter, 390. 
 Sancta Sanclorum : its mystery, 538. 
 Sanctis, De', architect, 452. 
 Sandalio, Bartolommeo'Fabio di, miniature 
 
 painter (15lh century), 492. 
 Sandei, Felino, bishop, 668. 
 Sandrini,Tommaso, of Brescia, painter of the 
 
 Venetian school (17th century), 99. 
 Sandwich, earl of : his Latin impromptu on 
 
 Michael Angelo's Brutus, 325. 
 San Fiore, hamlet, 139. 
 San Galiicano, hospital at Rome. 524. 
 San Gallo, gate of, at Florence, 384. 
 — , Antonio, Florentine architect (16th cen- 
 tury), 431, 500, 504; his restoration of 
 Santa Maria of Loretto, at Borne, 545 ; 560 
 580, 581, 615, 617, 648, 655, 689. 
 — , Francesco, sculptor (16th century), 548, 
 
 352, 558, 433. 
 — , Giuliano, sculptor and architect (15th 
 century), 357, 383, 391, 397, 500, 343, 554, 
 569. 653, 661 . 
 San Germano, at the foot of Monte Casino. 
 
 471,492. 
 — , the P., learned missionary, 493. 
 Sangiorgio, Giovanni da, canonist of Padua, 
 
 237. 
 San Giorgio, S. Abbondio, sculptor, 69. 
 San Giovanni, Giovanni di, painter of the 
 Florentine school (17lh century), 361, 362, 
 365, 373, 374, 588, 394, 657, 666. 
 — Decollato, church at Novara, 34. 
 San Giuslo, balzc of, in the environs of Vol- 
 terra, 639. 
 San Martino, Giuseppe, Neapolitan sculptor 
 
 (18th century), 454. 
 San Micheli, Veronese architect (15th cen- 
 tury), 108, 111 ; his Pelegrini chapel, 112; 
 113, 114, 115, 117, 124, 139, 162,- his castle 
 Of St. Andrew, 191 ; 201 , 274, 613, 615. 
 San Miniato al Monte, basilic near Florence, 
 
 396. 
 Sannazarro, Latin poet : bis verses on Ve- 
 nice, 162, 453, 459 ; his tomb, 461 ; 465 ; bis 
 verses on the Mergellina, 468. 
 San Quintino : contradicts the opinion of 
 d'Agincourt, Malaspina, and Rosmini, on 
 the antiquity of St. Michael's at Pavia, 
 79 n. 
 Sanquirico, scene painter of La Scala, 25, 64. 
 San Remo, town, 680. 
 San Rossore, farm of, 41 1. 
 San Savino, Andrea di , Tuscan sculptor 
 
 (16th century), 637. 
 Sanseverino, Jacopo, Ascanio, and Sigis- 
 mundo, poisoned by their uncle's wife ; 
 their tombs, 466. 
 Sansovino, F., sculptor, 140. 
 — , Jacopo Ta.ta, Tuscan sculptor and archi- 
 
INDEX. 
 
 769 
 
 tect (15th century), 110, \ 15, 446, 148, 151 ; 
 his ancient library at Venice, 158 ; 159, 163, 
 163, 170, 171; his mausoleum, 175; 174, 
 173, 176, 178, 179, 180, 184, 191 n., 195, 
 200, 201 , 233, 340, 351 , 364, 433, 573. 
 
 San Spirito, gale of, at Rome, 560. 
 
 — , church at Siena, 623. 
 
 — , del Morone, formerly convent of the Ce- 
 lestines, near Sulmona, 436. 
 
 Santa Croce, Geronimo, painter of the Ve- 
 netian school (16th century), 170, 171, 178, 
 203, 686. 
 
 — , Geronimo, Neapolitan sculptor (16lh cen- 
 tury), 453, 434, 439, 461, 463, 466. 
 
 Santa Fede, Fabrice, painter of the Neapo- 
 litan school (16th cenlury), 459. 
 
 Santangelo, advocate, of Naples; his coiiec- 
 
 • tion of vases, medals, and his miniature 
 sketch in grey camaieu of Michael Angelo's 
 Last judgment, 442. 
 
 Santarelli, Emilio, Tuscan sculptor, 556. 
 
 Santi, Domenico, surnamed Menghezzino, 
 painter of the Bolognese school (17th cen- 
 tury). 255. 
 
 — , Giovanni, painler, father and first master 
 of Raphael, 61, 430. 
 
 Santini, Giovanni, professor at Ihe university 
 of Padua, 194. 
 
 San tissimo Bambino : procession to the church 
 of Aracceli, at Rome, 334. 
 
 Santi Titi, painter of the Florentine school 
 (16th century), 549,356, 358, 408, 637, 666. 
 
 Santo, ii (St. Anthony), church at Padua, 
 199 ; its treasury, 20I ; cloister, 202. 
 
 Santo Cattaneo, painter, 97. 
 
 Sanuto, Marino, of the Aldine Academy, 166 
 n., 186. 
 
 San Vitale palace, at Parma, 284. 
 
 Sanzio, painter. See Santi, Giovanni. 
 
 Sapienza, university of Rome, 582. 
 
 — , college at Pistoja, 666. 
 
 Saracini palace, at Siena, 629. 
 
 Saraina Toreilo, Veronese antiquary, his es- 
 timate of the number the amphitheatre of 
 Verona would contain, 107 n., his tomb,1 1 3. 
 
 Sarchiani, Giuseppe : his Italian translalion 
 of the treatise of Pelagonius, de Re veteri- 
 naria, 333; the last Dante professor, 358. 
 
 Sarnico, borough, 91 . 
 
 Saronno, near Milan : its fine paintings, 70. 
 
 Sarpi, Pietro, surnamed Fra-Paolo: his Is- 
 toria del Concilia di Trento, 156 ; his auto- 
 graph consultations, 186; his body disco- 
 vered, 189; his new tomb, 190; anatomist 
 and architect, 193. 
 
 Sarti, professor at (he Sapienza, 583. 
 
 Sarto, Andrea Vannucchi, called Andrea del, 
 painter of the Florentine school (16th cen- 
 tury), 264, 274, 323, 524, 326 ; his frescos at 
 the GompaguiadelloScalzo, 348; 35t, 532 ; 
 564, 374, 379; 592, 593, his St. Agnes, 402, 
 447, 365, 566, 568, 572, 624, 660, 665, 680. 
 
 Sarzana, surname of Domenico Fiasella, pain- 
 ter of the Genoese school (17th century), 
 675, 686. 
 
 — , town, 673. 
 
 Sarzanello, castle, 674. 
 
 Sassalelli, Biagio, of Imola, general, 414. 
 
 Sasso Ferrato, Tarquinio Saivi da, painter of 
 
 the Roman school (17th cenlury), 198, 525, 
 434, 446 ; his Rosary, 556 ; 565. 
 
 Satyrius, St., church at Milan, 43. 
 
 Sauli palace, at Genoa, 682. 
 
 Sauron, sculptor of Sparta, 540, 390. 
 
 Saussure : his excellent description of the 
 Great St. Bernard, 27. 
 
 Savelli, family of : their mausoleum, 534 ; 
 590. 
 
 Savi, s. Gaetano, professor at the university 
 of Pisa, 409. 
 
 — , S. Slefano.idem, 409. 
 
 Savignano, borough : senatus-consultum in- 
 scribed on a column there apocryphal, 
 42*. 
 
 Savings' Bank at Milan, 59 ; at Florence, 
 314. 
 
 Savinus, St., church at Placenlia, 310. 
 
 Saviour, St., church near Florence, 396— 
 Lucca, 669— Venice, 178. 
 
 Savoldo, Geronimo, originally from Pa- 
 dua, 215, 314, 516-;his autograph notes in 
 a Bible, 333; his cell in St. Mark's, at Flo- 
 rence, 349 ; 350, 561, 593, 532. 
 
 Savona, town, 688. 
 
 Savorelli, marquis, 609. 
 
 Scaglia house, at Brescia, 100. 
 
 Scala, Bartolommeo, chancellor of the Flo- 
 rentine republic, 335 ; his house, 569 : 
 588. 
 
 — , Alessandra, daughterofthe above, poetess, 
 388. 
 
 — , hospital of Santa Maria dclla, at Siena, 
 6^1. 
 
 Scala, La, of Milan, theatre : performances 
 at, 64. 
 
 — , Santa, 538. 
 
 Scaliger : books annoted by him at the Bar- 
 beriana, 569. 
 
 Scaligers : their tombs at Verona, 105. 
 
 Scalza, Ippolito, sculptor of Orvieto (16th 
 cenlury), 615. 
 
 Sealzi, church near Bologna, 263— at Imola, 
 414— atTrevisa, 141— at Venice, 173. 
 
 Scalzo, compagnia dello : its frescos by An- 
 drea del Sarto, 348. i 
 
 Scamozzi, Vicenzo, of Vicenza, architect 
 (16th century), 89, 124, 128, 150; his Pro- 
 curatie rniove, 158, 171, 175, 205. 
 
 Scandiano, village, 270. 
 
 Scaramuccia, Ludovico, painler of the Ro- 
 man school, artist, writer (17th cenlury), 
 44, 49, 254. 
 
 Scarcleone, author of DeAntiquitatePalavii, 
 204 n. 
 
 Scarpa, Antonio, celebrated anatomist, pro- 
 fessor at the university of Pavia, 76. 
 
 — , Fra, preacher, 51. 
 
 Scarpagnino, A., architect (16th century), 
 174, 177, 178, 191 n. 
 
 Scarpellini, the abbe", clever astronomer, 
 professor at the Sapienza, 525, 583. 
 
 Scarscllino, surname of Ippolito Scaramuc- 
 cia, painter of the Ferrarese school (16lli 
 century), 221, 222, 223, 253. 
 
 Scassi, s., Genoese physician, 68S. 
 
 Scelerate, street of the, at Rome, 542. 
 
 Schadow, Rodolph, Prussian sculptor : his 
 tomb, 548. 
 
 65 
 
770 
 
 INDEX. 
 
 Schialfino, Francesco, Genoese sculptor (17th 
 century), 686. 
 
 Schiassi, abbe" Filippo, of Bologna, professor 
 at the university, 236, 263. 
 
 Schiavone, Andrea, painter of the Venetian 
 school (16th century), 87, 141,159, 171,175, 
 177. 
 
 — , Gregorio, painter of the Venetian school 
 (15th century), 199. 
 
 Schidone, or Schetone, Bartolommeo, of Mo- 
 dena, painter of the Parmesan school (17lh 
 century), 274, 526, 434, 439, 446. 
 
 Schifardini, Fra, Carthusian, architect, 624. 
 
 Schirmer, Matthew, cardinal of Sion, fatal to 
 the French anus in Italy, 22. 
 
 Schnetz, M., French painter, 524, 548, 593. 
 
 Scholastic disputes useful to the progress of 
 knowledge, 457. 
 
 Scholastica, St., St. Benedict's sister; her sta- 
 tue, her tomb, 489 ; her monastery at Su- 
 biaco, 602. 
 
 School, Venetian, 167; Ferrarese, 223; Flo- 
 rentine, 326; Sienese, 631. 
 
 Schools, editice of the, at Bologna, 260. 
 
 —Austrian elementary, in Italy, 57. 
 
 Sciamanna, yellow badge worn by the Jews 
 in the Roman states, 576. 
 
 Sciarra, bandit, 435. 
 
 — palace, at Rome, 365. 
 Scipios, tomb of the, 515. 
 Scoglietto villa, at Genoa, 682. 
 
 Scopetto, village near Siena, where Socinus 
 planted a holm-tree, 12. 
 
 Scorticone, Domenico, architect, 685. 
 
 Scorzini, Ludovico, Milanese sculptor, 40. 
 
 Scotti, painter, 397. 
 
 — , don Angelo, librarian of the Studj, 441, 
 448. 
 
 — , count Orazio : his tomb, 510. 
 
 Scrovigno, Enrico, founder of the Annunziata 
 at Padua, 204. 
 
 Sculpture, formerly practised on wood, mar- 
 ble, clay, bronze, and other metals, 178 n. 
 
 Scuole, edifice of the, at Bologna, 260. 
 
 Scutellari, Marietta, of Ferrara, 234. 
 
 Sebastian, St., church at Genoa, 686— Man- 
 tua, 297, 500— Milan, 43— Rome, 555— 
 Siena, 626— Venice, 174— Verona, 113. 
 
 Sebasliani, Lazaro, painter of the Venetian 
 school (15lh century), 190. 
 
 Sebastiano del Piombo, surname of Fra Bas- 
 tiano Luciano, painter of ihe Venetian 
 school (16(h century), 141, 178, 325. 374, 
 446, 447, 530, 558, 576, 581, 612. 
 
 Secchi, the P. Giovanni Pietro, Jesuit, 561 . 
 
 Sedazzi palace, at Bologna, 255. 
 
 Sedulius, priest and poet (16lh century), 53. 
 
 Segala, Francesco, of Padua, sculptor (,16th 
 century), 146. 
 
 Segna di Buonventura, painter of the Sienese 
 school (14th century), 631. 
 
 -, Nicolao. son of the above, painter of the 
 Sienese school, 651. 
 
 Segneri, the P., Jesuit, reformer of the Italian 
 pulpit, 51. 
 
 Segni, Bernardo, Florentine historian, 387. 
 
 •Selva, S., Venetian architect, 135. 
 
 — , church of, at Siena, 621. 
 
 — Piana, near Parma, abode of Petrarch, 288. 
 
 Selvaggi, s. Gaspardo, of Naples, Greek 
 
 scholar, 441. 
 Seminary, palace of the, at Milan, 57. 
 Semitecolo, Nicoletto, Venetian painter (14th 
 
 century), 196. 
 Seneca : his description of Posilipo, 467, 475 ; 
 
 his portrait in the chapel of the Madonna of 
 
 San Brizio at Orvieto, 615. 
 Senesc, Michelangelo, sculptor, 554. 
 Senigallia: its fair, 431. 
 Seulinella, hill near Naples, 474. 
 Sepolte vive, nuns of Rome, 545. 
 Sepulchre, St., church at Florence, 362— 
 
 Milan, 45— Parma, 278— Pisa, 408. 
 Serafino dell'Aquila.poet'andiraprovisatore: 
 
 bis manuscripts at Ihe library of Pesaro, 
 
 629. 
 Seraglio, or Reale Albergo, poor-house at 
 
 Naples, 469. 
 Serano, Spanish poet ; his Latin verses on 
 
 Ariosto's inkstand, 225. 
 Serapis, Jupiter : his temple, worship, 471, 
 
 472. 
 Serassi : his life of Tasso, 266, 313 n. ; 575, 
 
 569. 
 Serbelloni, house at Milan, 37. 
 
 — villa, 83. 
 
 Serego-Alighieri, countess, descended from 
 
 Dante, 113 »., 120. 
 Serguido, Guido, bishop of Volterra, 66. 
 Seriate, village, 90. 
 Seripandi, Geronimo, cardinal, 463. 
 Serlio, architect, pupil of Baltassare Peruzzi, 
 
 590. 
 Sermino di Simone, painter, 628. 
 Sermione, rock on the lake of Geneva, 102. 
 Sermonetta, Geronimo Siciolante, painter of 
 
 the Roman school (16th century), 554. 
 Serpent, brazen : supposed by the vulgar Ihe 
 
 one raised by Moses in the wilderness, 46. 
 Serra, marquis Geronimo : his illustration of 
 
 the inscription and bronze table in the 
 
 palace of the Padri delle Comune, at 
 
 Genoa, 677. 
 
 — palace, at Genoa, 680. 
 
 Serraglio, at Mantua, description, its Virgilian 
 
 aspect, 289. 
 Serre, M. de, at Monte Casino, 492. 
 Serveius, Michael, Calvin's adversary, burnt, 
 
 5 n. 
 Servi, church at Bologna, 251— of Santa 
 
 Maria, church at Padua, 205. 
 Service, Greek, celebrated in the church of 
 
 St. George, at Venice, 170. 
 Servites, church of the, at Pesaro, 428. 
 Sestini, the abbe Domenico, of Florence, 
 
 numismatist and antiquary, 527, 337. 
 Sesto, Cesare da, painter of the Milanese 
 
 school (16th century), 33. 
 Sesto Calende, on the Lago Maggiore, 24, 25, 
 
 26. 
 Sestri, di Levante, town, 674. 
 — , di Ponente, town, 688. 
 Settala, Manfred, surnamed the Archimedes 
 
 of Milan : his tomb, 42. 
 Sette Comuni : on their Cimbric origin; vi- 
 sited by the author, 130 ; their dialect, 
 
 ibid., n. 
 Seven', celebrated musician, 432. 
 
uNLEX. 
 
 774 
 
 Severit), St., church at Naples, 466. 
 
 Severus, St., convent at Perugia, 649. 
 
 Sevesi, clever artist, 32. 
 
 Sevigne\ Mrne de, 306 ; her observation on 
 the princess Margaret of Orleans, 392 n. 
 
 Sextius, Caius : his tomb, 592. 
 
 Seyssel : his manuscripts at the library ot 
 Turin, 697 ; his style, ibid. ; his tomb, 702. 
 
 Seyter, Daniello, painter of the Venetian 
 school (17th century), 703. 
 
 Sforza, Francesco, duke of Milan, the nrst 
 Italian captain of his day, founder of the 
 great hospital of Milan, 68; his dreadful 
 pillage of Placentia, 308. 
 
 — ,Ippolita, married to Alfonso, king of 
 Naples •. her learning; first Greek book 
 printed in Italy composed by her, 123 ; her 
 copy of Cicero's De Senectute, 540. 
 
 — Catherine, natural daughter of Giovanni 
 Galeaso -. her boldness on the walls of 
 Forli, 423. 
 
 Sgricci, improvisatore, 345. 
 
 Shakspeare,106, 424, 477 n. 
 
 Shelley, Percy Bysshe, poet: his tomb, 592. 
 
 Shops at Pompeii, 479. 
 
 Sibyl, grotto of the, 472. 
 
 — of Cumae, 473. 
 Siena, town, 242 «., 647. 
 
 Sigalon, painter of the French school (19th 
 century), 62. 
 
 Sigismund, St., church near Cremona, 307. 
 
 Signal, parade of the, 49. 
 
 Signoraccio, Fra Paolino del, painter of 
 Pistoja (46th century), 663, 665. 
 
 Signorelli, Luca, painter of the Florentine 
 school (45 th ceniury), 320, 420, 507, 508, 
 644, 637, 638, 654. 
 
 Signorini, Pompeo. Florentine : his tomb, 356. 
 
 Sigonio, celebrated scholar of Modena : his 
 tomb, 268. 
 
 Silius Italicus, 303 n. 
 
 Silk, Italian, exported to England, 404 ; silk 
 first imported into Italy in the 44 th cen- 
 tury, 401 n. 
 
 Silvio of Fiesole, sculptor (45th century), 
 3b0, 637. 
 
 Simon, St., church at Florence, 357. 
 
 Simond, M., author of a Voyage in Italy, 
 considers some of the basso-relievos of the 
 Gate of the Simplon superior to those of 
 the Parthenon, 69, 290. 
 
 Simone, master, painter of the Neapolitan 
 school (44th century), 453. 
 
 — , Donatello's brolher, sculptor (15th cen- 
 tury), 500, 538,664. 
 
 — of Fiesole, Tuscan sculptor (13th century), 
 348 m. 
 
 — di Martino, painter of Ihe Sienesc school 
 (14th century), 628,631. 
 
 — of Bologna, surnamed da' Crocifissi, 
 painter of the Bolognese school (14lh cen- 
 tury), 252. 
 
 — of Pesarp, surname of Simone Cantirini, 
 painter of the Bolognese school (17th cen- 
 tury), 241, 247, 429, 430. 
 
 — , Francesco di, Florentine sculptor (16th 
 
 ceniury), 230. 
 Simonetta, house of, near Milan : its echo, 71 . 
 
 Simonelta, carlo, Lombard sculptor (47th 
 century), 45. 
 
 Simpliciau, St., church at Milan, 49. 
 
 Simplon, gate of the, at Milan, 68. 
 
 — , road over the, 22. 
 
 Sinner, M. Louis de, 354 n. 
 
 Sion, capital of the valais, 24 ; cathedral of, 
 22. 
 
 Sirani, Giovanni Andrea, painter or the Bolo- 
 gnese school (47th century), 245, 252, 263, 
 309. 
 
 — , Elisabeta, daughter of the above, painter 
 of the Bolognese school (47th century), 
 239 «., 244, 244; his lorab, 250, 252, 263, 
 309, 665-. 
 
 Sismondi, author of the Italian Republics of 
 the middle ages, 9, 73 n. r 405 n., 486, 233, 
 345,434. 
 
 Sisto, Fra, Florentine, architect (45th cen- 
 tury), 359. 
 
 — ponte, bridge at Rome, 560. 
 
 Sitillo, Giancolo, translator of the ^Eneid inlo 
 
 Neapolitan verse, 465. 
 Sixtine chapeh at the Vatican, 506. 
 Sixtus, St., church at Pisa, 407— Placentia, 
 
 540. 
 
 — III., St.. friend of St. Augustine : mosaics 
 ordered by him, 541 . 
 
 — IV., enriched the library of the Vatican, 
 544, 530, 575 «., 611,637. 
 
 — V. : his bronze statue at Loretto, 433, 510, 
 511, 512; wanted to convert the Coliseum 
 into a factory with shops, 521, 530, 535,537, 
 538; bis tomb, 541, 548, 567, 587, 592, 
 600, 680. 
 
 Skotnicki, count Joseph, Pole ; his tomb in 
 the church of Santa Croce, at Florence, 
 356. 
 
 Slavino di Marco, Lo, fallen mountain men- 
 tioned by Dante, 104. 
 
 Smith, doctor : mistaken as to the date of the 
 botanical garden of Padua, 197 n. 
 
 Smollett, his tomb at Leghorn, 415. 
 
 Soavi, Giuseppe, of Ascoli, miniature painter 
 (17th ceniury), 492. 
 
 Soccini, Barlolommeo, of Siena, 563. 
 
 Society at Milan, 65; at Venice, 165; Italian 
 society, 233, 369 : society at Rome, 566. 
 
 Socinus, Faustus : his holm-tree at Scopelto, 
 near Siena, cut down, 12; his autograph 
 letters, 632. 
 
 Soddoma, surname of Giovanni Antonio 
 Rozzi, painter of the Sienese school (16th 
 century), 522, 402, 408, 445, 622, 623, 624, 
 625 ; his St. Catherine fainting away, 625, 
 627, 628, 629, 630, 632, 635, 637. 
 
 Soderini, Pietro, the only perpetual gon- 
 falonier the Florentine republic ever had; 
 Michael Angelo threw marble dust into 
 his eyes ; Machiavel's impromptu on his 
 death, 318 ; his cenotaph, 365. 
 
 Soggi, Nicolao, painter of the Florentine 
 school (16th century), 661. 
 
 Sogliani, Giovanni Antonio, painter of the 
 Florentine school (16th century), 345, 357, 
 402. 
 
 Sografi, advocate : his comedy of the Donne 
 avvocate, 88. 
 
 Sojaro, surname of Bernardo, or Bernardin- 
 
772 
 
 INDEX. 
 
 Galti, painter of the Parmesan school 
 
 (16th century), 276, 281, 506, 307, 311. 
 Solagna, borough, 132. 
 Solari, Antonio, surnamcd Zingaro, painter 
 
 of the Venetian school (15th century), 80. 
 Solaro, mount, 480. 
 Soldani, Ambrogio, Camaldulite, 409. 
 Sole, Giovanni Giuseppe del, painter of the 
 
 Bolognese school (16th century) 244, 252. 
 Solfatara at Naples : its cicerone, 15, 471 ; at 
 
 Tivoli, 597. 
 Solimene, Francesco, painter of the Neapo- 
 litan school (17th century), 452, 455,454, 
 
 455 456, 458, 463, 464, 648, 673, 702. 
 Soma!, Placidus Sukias, abbot of St. Lazaro, 
 
 near Venice, 190. 
 Somma, mountain, 643. 
 Sommaripa, Giorgio, poet, 121 «. 
 Sommariva villa, on the lake of Cosmo, 84. 
 Sons, or Soens, John, Flemish painter (17th 
 
 century), 281. 
 Sophia, St., church at Padua, 208. 
 Sopramuro, piazza del, at Perugia, 650. 
 Soracle, mount near Home, 610. 
 Soranza, palace of the, at Castelfranco, 139. 
 Sorbi, S., goldsmith at Florence, 572. 
 Soria, Giambattista, architect (17th century), 
 
 536, 544, 545, 558. 
 Sorra, isola di, isle in lake Fucino, 494. 
 Sorrento, town, 484. 
 Sorri, Pietro, painter of the Sienese school 
 
 (16th century), 402, 620, 621, 622, 626. 632. 
 Soufllot, French archiiect (18tli century), 
 
 421. 
 Sozomene, canon of Pistoja, scholar : his 
 
 manuscripts in the library of the Forte- 
 
 gnerri college, 666. 
 Sozzo, Nicolao di, miniature painter, 628. 
 Spada, Leonello, painter of the Bolognese 
 
 school (16th century), 249, 257, 264, 269 ; 
 
 his tomb, 276, 278, 280, 281 , 285. 
 
 — palace, at Borne, 580. 
 
 — villa, at Rome, 524. 
 
 Spagna, painter of the Roman school (16th 
 
 century), 642, »i44. 
 Spagnoletto, surname of Ribera, painter of 
 
 the Neapolitan school, 55, 446, 451 ; his 
 
 paintings at the Chartreuse of St. Martin, 
 
 at Naples, 461, 462, 466, 563, 581, 622, 668, 
 
 669, 679, 680. 
 Spagnuoli, Battista, surnamed Mantovano : 
 
 his tomb, 294 ; 297. 
 Spallanzani, celebrated naturalist : his auto- 
 graph manuscripts at the library of Keg- 
 
 gio, 270, 673. 
 Spanheim, scholar, 327. 
 Spasiano, S. Gaetano, 484. 
 Specclii, Nicolao, of Assisi, physician : his 
 
 tomb, 646. 
 Spello, town, 645. 
 Sperandio, Mantuan sculptor and founder 
 
 (16th century), 295. 
 Speranza, Giovanni, of Vicenza, painter of 
 
 the Venetian school (15th century), 127. 
 Sperone Speroni : his tomb at Padua, and 
 
 singular epitaph composed by himself, 
 
 498, 205, 212. 
 Spezia, town ; its submarine spring, 674. 
 Spina, Bernardo, Annibale Caro's friend, 648. 
 
 Spinazzi, Innocente, Roman sculptor (18th 
 century), 341, 552. 
 
 Spineda, Ascanio, painter of the Venetian 
 school (16th century), 141, 142. 
 
 Spinelli, Andrea, sculptor, of Parma, 281. 
 
 Spinello of Arezzo, painter of the Florentine 
 school (,14th century), 396, 404, 656, 658. 
 659. 
 
 Spinola, Leonardo, poet of the 17th cen- 
 tury, 686. 
 
 — , Fernando : his palace at Genoa, 680. 
 
 Spinola ( Giambattista ) ) paiace, at Genoa. 
 681. 
 
 — (Maximilian) palace, at Genoa, 681. 
 
 — villa, at Sestri di Ponente, 688. 
 Spoleto, town, 643. 
 
 Spolverini, J. B., poet : his poem of the 
 
 Riseide, 104. 
 Squarcialuui, Antonino, famous organist, 
 
 341. 
 Squarcione, Francesco, founder of a cele- 
 brated school ofpainttnff at Padua (15th 
 
 century), 199. 204, 206, 214. 
 Statins, 485, 599; his portrait in the chapel 
 
 of the Madonna of San Brizio, at Orvieto, 
 
 615. 
 Stae'l, J[me de, 9, H, 106, 232, 257, 500, 438, 
 
 516, 570. 
 — , Baron Augustus de, 11 n. 
 Staffa palace, at Perugia, 652. 
 Stagi of Pietra Santa, sculptor (16th century), 
 
 402, 637. 
 Stair of the Trinila de' Monti, at Rome, 348. 
 Stampa Castiglioni, house at Milan, 37. 
 Stampasoncino house, at Milan, 37. 
 Stanzioni, Cav. Massimo, painter of the 
 
 Neapolitan school (17th century ), 451, 453, 
 
 454, 459, 462, 470. 
 State Inquisitors of Venice: their pretended 
 
 statues apocryphal, 152; the opposition of 
 
 Venice, ib. 
 Statistics, science of, originated at Venice at 
 
 an early period, 186. 
 Statue of Victory in bronze, ancient, found 
 
 at Brescia, 92. 
 
 — ( supposed) of Pompey, at Rome, 581. 
 Steamboats, remarks on, 437. 
 Steccata, church at Parma, 280. 
 Steeples, fide Campanile. 
 Stefaneschi, cardinal : his mausoleum, 557. 
 Stefani, Tommaso di, founder of Neapolitan 
 
 painting (13lh century), 451, 454. 
 
 Slellini, the P. Jacopo, a monk of extensive 
 learning ; his tomb, 207. 
 
 Stelluti, academician of the Lincei : his opi- 
 nion on the invention of paper, 635. 
 
 Stendhal, 503. 
 
 Stephen, St., very old church at Bologna, 
 252— at Florence, 358— in Pane, St. near 
 Florence, 393— St., at Genoa, 685— Major, 
 St., Milan, 41— St., Pisa, 406— il Rotondo, 
 St., Home, 557— St., Venice, 180 -Verona, 
 115— Vicenza, 129. 
 
 Slinche, prisons of Florence : manuscripts 
 copied by the prisoners, 534, 383. 
 
 Slockalpcr family, at Brieg, their castle, 22. 
 
 Stoffella, professor, 130 n. 
 
 Stoldi, Lorenzo, Tuscan sculptor (16th cen- 
 tury), 41,42. 
 
 
INDEX. 
 
 773 
 
 Stone Man, the(Uomo di pietra), statue at 
 
 Milan, 57. 
 Slone on which the insolvent debtors in the 
 
 different towns of Italy were exposed, 2-12. 
 Stones, hard, manufacture of, at Florence, 
 
 380. 
 Strabo, historian, 590. 
 
 Stracciaiuoli, old palace of the drapers' com- 
 pany, at Bologna, 257. 
 Strada a Santa Maria in Percussina, villa near 
 
 Florence, 397. 
 Stradan, John, Fleming, painter of Ihe Flo- 
 rentine school C 16th century), 317, 352, 
 
 364. 
 Stratico, Simone, academician of Padua, 197 
 , n., 204 n. 
 Stringa, Francesco, painter of the Modenese 
 
 school (17th century), 285. 
 Strocchi, Cav. Dionisi, poet and Hellenist, 
 
 415, 422 n. 
 Strolfi, Hermann, priest, painter of the Ve- 
 netian school (17th century ), 208. 
 Strozzi, Antonio, learned jurisconsult ; his 
 • tomb, 560. 
 — , Carlo, 350. 
 — , Ercole, son of Titus Vespasian, Latin 
 
 poet, assassinated : his tomb, 225. 
 — , Leone, bishop of Pistoja : his tomb, 662. 
 — palace, at Florence, 571, 572. 
 — , Giambattista, poet, 547. 
 — , Pietro, tomb of, 295. 
 — , Filippo : his will, 555 ; 560, 572 ; his room 
 
 at Montemurlo, 661. 
 — , Titus Vespasian, Latin poet, disliked as a 
 
 minister : his tomb, 225. 
 Stuarts, monument of the, in St. Peter's at 
 
 Rome, 505. 
 Sludite, Theodore, literary writer of the 14th 
 
 century : his manuscript of the Miscellanea 
 
 in the library of Modena, 265. 
 Studj, museum at Naples, 442, 447. 
 Stupinitz, palace near Turin, 704. 
 Suard, J. B. Antonio, man of letters, 295 n. 
 Subiaco, town, 575 n. 
 Subleyras, Pierre, native of Languedoc, 
 
 painter of the Roman school (81th century), 
 
 $46. 
 Sublicius, bridge at Rome, 592. 
 Sudario, San, church at Turin, 702. 
 Suicide, considered by Benedict XIV. as an 
 
 act of insanity ; does not exclude from 
 
 burial at Rome, 265. 
 Sulmona, town, 456. 
 Superga temple, near Turin, 704. 
 Suriani, Jacopo, physician : mausoleum, 180. 
 Susa, town, 706. 
 Susani, S. Gaetano, of Mantua : his gallery, 
 
 299. 
 Sutri, town, 609. 
 Suve>, director of the French Academy at 
 
 Rome, 528. 
 Snwarrow, Russian general, 511, 692. 
 Sweynheim, German, introduced printing at 
 
 Rome, 575. 
 Sylvester II. (Gerbert), pope, native of Au- 
 
 vergne, 78, 
 — , St., church at Genoa, 686— Rome, 344— 
 
 Venice, 178, 
 
 Syrens, grotto of the, at Tivoli, 599. 
 Syrus, St., church at Genoa, 685. 
 
 Tabarin, the doctor, comic personage of Bo- 
 logna, 258. 
 
 Table, Iliac, 526. 
 
 — , Isiac, in the Museum of antiquities at 
 Turin, 698. 
 
 Tables, the Heraclean in the museum of Na- 
 ples, 444. 
 
 Tabularium, substructions of the, in the 
 Roman Forum, 522. 
 
 Tacca, Fernando, sculptor, 675 n. 
 
 — , Pietro, sculptor ( 16lh century), 547, 350, 
 558, 576, 401 ; ins Four Slaves chained, 415 ; 
 660, 675 n. 
 
 Taoco, Ghino di, bandit-chief, 616. 
 
 Tacitus, ancient manuscripts of, in the Lau- 
 rentian, 528,474, 476, 481,588, 601, 645, 
 691. 
 
 Tadda, Battista del. of Fiesole, sculptor 
 (16lh century), 562. 
 
 Taddei, S., professor at the university of Pisa, 
 409. 
 
 Taddeo, Giovanni, painter (14lh century), 
 646. 
 
 Tadini, count, erects a cenotaph to his son 
 in the church of Lovera, 90. 
 
 Tagliafico, Genoese architect, 679. 
 
 Tugliapietra, Jacopo, Modenese sculptor (16th 
 century), 267. 
 
 — , Paolo, son of the preceding, 267. 
 
 Tagliasacchi, Giambattista, painter of the 
 Parmesan school ( 17th century), 509. 
 
 Tagiioni, dancer, at Milan, 65. 
 
 Talenti, Fra, da Nippozzano, architect (13th 
 century), 559, 561. 
 
 Talpino, painter of the Venetian school (16th 
 century), 40, 49, 87, 88,89. 
 
 Talucchi, Cav. Giuseppe, architect, 702, 704. 
 
 Tambroni, Clotilda, Greek professor at Bo- 
 logna. 257. 
 
 Tamburini, professor at the university of 
 Pavia, 76. 
 
 — , S., singer, 64. 
 
 Tanara palace, at Bologna, 255. 
 
 Tanzi, Rodolfo, warrior, founder of an hosp 
 tal : his tomb, 280. 
 
 Tanzio, A ntonio, painter of the Milanese school 
 (16th century), 35. 
 
 Tarcagnota, Michele Marullo, Byzantianpoet, 
 preferred rival of Politian, 588, 617, 640. 
 
 Targioni-Fozzetti, S., professor at the uni- 
 versity of Pisa, 409, 619 n. 
 
 Tarlati, Guido, lord and bishop of Arezzo, 
 656; his mausoleum, 658. 
 
 Tartagni, Alessandro, celebrated jurisconsult: 
 his tomb, 250. 
 
 Tartari, lake de', on the Tivoli road, 597. 
 
 Tartarughe fountain, at Rome, 575. 
 
 Taruggi, cardinal : his tomb, 553. 
 
 Tasi, Andrea, painter of the Florentine school 
 (15th century ), 544. 
 
 Tasso: his parallel between Italy and France, 
 36 ; autograph madrigals and sonnets, 57, 
 101 n.\ statue at Bergamo, 89, 224; manu- 
 scripts in the library of Ferrara, 226; his 
 
 65. 
 
774 
 
 INDEX. 
 
 supposed prison, 231 ; manuscripts in the 
 library of Modena, 266, 298, 307, 31 2, 31 5 n.\ 
 his manuscripts in the Pitti library, 373; 
 428; his manuscripts in the library of Pe- 
 saro, 429, 430; his pilgrimage to Loretto, 
 434, 435 ; his autographs in the library of 
 Naples, 448; his manuscript of the Geru- 
 saiemme, conquistata transferred from 
 Naples to Vienna, 463, 467 n.; site of his 
 house at Sorrento, 485; his devotion to 
 St. Benedict and his visit to Monte Casino, 
 489, 500; his autograph sketch of the three 
 first cantos of the Gerusalemme and other 
 manuscripts at the Vatican, 514, 537, 541 ; 
 his tomb at St. Oiniphrius, 559 ; sketches 
 of sonnets at the Ghigi library, 563, 567; 
 a Plato and other books annoted in his 
 hand at theBarberiana, 569, 647, 671, 672, 
 676. 
 
 Tasso. Bernardo, father of Tasso, 89; plainness 
 of his sepulture in the church of Bant' 
 Egidio, at Mantua, 297, 348; his casino, 428, 
 429, 485; a Plato in the Barberini annoted 
 by him, 569, 686. 
 
 — , Ludovico, uncle of Tasso, assassinated, 
 89. 
 
 Tassoni, author of the Secchia vapita, 92 «., 
 132 n.: 215, 218n.; on the Secchia, 267, 270, 
 285, 437. 
 
 Taurigny, Richard, of Rouen, sculptor in 
 wood (16th century), 207. 
 
 Tavarone, Lazaro, painter of the Genoese 
 school (16th century), 682, 684. 
 
 Taverna villa, at Fraseati, 603. 
 
 Tavernola, village, 90. 
 
 Te palace, at Mantua, 301. 
 
 Tedaldi, Lattanzio, podesta of Certaldo, 400. 
 
 Telegraphs, suppressed in the Lombardo-Ve- 
 netian kingdom, 81. 
 
 Telgate village : its tower, 90. 
 
 Temperello, surname of Cristoforo Caselli, 
 painter of the Parmesan school (15th cen- 
 tury), 280, 282. 
 
 Tempesta, Antonio, painter of the Floren- 
 tine school (17th century), 366, 537, 609. 
 
 — , Cav., painter (17th century), 24. 
 
 Tempi, marquis Ludovico : his inedited ma- 
 nuscripts, 662 n. 
 
 Temple, ancient, at Brescia, 101— of Anlo- 
 ninus and Faustina, 523— of Bacchus, 592— 
 of Fortuna Muliebris, at Rome, 587— of 
 Fortuna Virilis, 593— or Hercules, at Ti- 
 voli, 599— of Jupiter Serapis, at Pozsuoli, 
 471— della Madonna di Campagna, near 
 Verona, 124— de Nerva, of Rome, 588— of 
 St. Peter, at Geneva, 4— of Romulus and 
 Remus, at Rome, 523— of the Sibyl, at Ti- 
 voli, 599->della Tosse, at Tivoli, 599— of 
 Vesta, 593. 
 
 Tenerani, S. Pietro, sculptor, of Carrara : his 
 Psyche, 369 : his tomb ofGiulio Bianchi, 
 620, 673 n. 
 
 Teniers, Flemish painter (17th century), 565, 
 581. 
 
 Tenore, S., director of the botanical garden 
 at Naples, 469. 
 
 Teotochi Albrizzi house, at Venice, 164. 
 
 Terence, the, at the Laurentian, 329 ) at the 
 Vatican, 512. 
 
 Termini, mendicity asylum of the, at Rome, 
 585. 
 
 — fountain, at Rome, 567. 
 
 Terni villa, its cascade, 642. 
 
 Terracina, town, 497. 
 
 Terribilia, or Trebilia, Francesco, Bologncsc 
 architect, 243, 249, 252, 254, 260. 
 
 Terzi, Francesco, of Bergamo, painter of the 
 Venetian school (16th century), 49. 
 
 Tesi Moro, painter of the Bolognese school, 
 Algarotti's friend, 243, 247, 406, 663. 
 
 Testa, surnamed Lucchesino, painter of the 
 Florentine school (17th century.), 668. 
 
 — , S. Francesco, ofViceirza. bibliographer, 
 121. 
 
 — , Giovanni Francesco, and Pascale, archi- 
 tects and sculptors in wood (16th century), 
 278. 
 
 Testaccio, mount, at Rome. 575, 584. 
 
 Teudon, Ferdinand, French sculptor (17th 
 century), 504. 
 
 Teverone, river, 597. 
 
 Theatines, church of the, at Ferrara, 225. 
 
 Theatre of the Corso at Bologna, 259— ol 
 Apollo, at Rome, 568 n., 584— of Cosmo, 
 81— of Fano, 430— Farnese, 283— of the 
 Florentines, at Naples, 450— of Hercula- 
 neum, 477— of Imola,414 — of Mantua, 300— 
 ofMarcellus, 590— of Modena, 268— Olym- 
 pic, ofVicenza, 127— new, of Parma, 284— 
 Tullio, at Arpino, 493— of Verona, 117— of 
 Volterra, 638. 
 
 — , Italian : the difference of dialects an ob- 
 stacle to its improvement, 66. 
 
 — , tilodrammatieo, of Milan, 67. 
 
 Theatres of Italy, their commodious arran- 
 gement, 67; the music heard well in every 
 part. 584. 
 
 Theban legion : its massacre under Maxi- 
 mian, 15. 
 
 Theodolinda, queen of the Lombards : her 
 golden crown stolen at Paris, 79 ; her re- 
 liquary, 72 ; her adventure with the mu- 
 leteer in Boccaccio's novel, ibid., 342. 
 
 Theodin, cardinal, his tomb, 111. 
 
 Theodou, Jean-Francois, French sculptor 
 (17th century), 553. 
 
 Theodore, St., church at Ravenna. 417— 
 Rome, 535. 
 
 — , St., bishop of Verona, placed in (he tomb 
 of Julius Apollonius and his wife, 110. 
 
 Theodoric, 417; his tomb,' 421: ruins of his 
 palace at Terracina, 497. 
 
 Theonist, St., church at Trevisa, 141. 
 
 Theresa, St., church at Parma, 280— Turin, 
 702. 
 
 Thermae of Agrippa, 549 ; others on the road 
 to Tivoli, 597— of Caracalla, 591— of Dio- 
 cletian, 546— of Pompeii, 479— of Titus, 
 587— of Volterra, 639. 
 
 TheuliC, general, 59. 
 
 Thevenin, M., French painter, 548. 
 
 Thomas, gate of St., at Trevisa, 145. 
 
 Thomas Aquinas, St., one of his autograph 
 treatises in the library of Naples, 448; his 
 family extinct in the 18th century, 455; his 
 cell, lecture room, a fragment of nis pulpit, 
 in the convent of St. Dominick, at Naples, 
 
INDEX. 
 
 775 
 
 456; his popular principles, 457 ; his school- 
 room at Fondi, 497. 
 Thomas II , duke of Savoy : his tomb in the 
 cathedral of Aosta, 28. 
 
 — of Modena, painter (14th century), 141. 
 
 — of Sarzana. See Nicholas V. pope. 
 
 — in terra amara, St., church at Milan, 48— 
 St., church at Padua, 208— Parma, 279— 
 Pisa, 407— Cantuariense, St., church at Ve- 
 rona, 114. 
 
 Thonon, town, 21 . 
 
 Thorwaldsen, Danish sculptor, established at 
 Rome, 84, 352, 406, 503, 549, 566 ; his stu- 
 dio, 570 j his Christ and the Apostles, ibid. 
 
 Thurn, baron, kills his uncle Guichard, bi- 
 shop of Sion, 21. 
 
 Tiarini, Alessandro, painter of the Bolognese 
 school (16th century ),79, 241, 242, 244, 245, 
 248 ; his Child brought to life, 249, 252, 
 269, 280, 374, 407, 434. 
 
 Tibaldi, Domcnico, Bolognese archictect (16th 
 century), 243, 255, 256, 431. 
 
 Tiber : its inundations, 572; its decline, 576; 
 its mouth, 606, 642. 
 
 Tiberius, emperor, 485. 
 
 Tiene, palace at Vicenza, 128. 
 
 Tiepolo, Giambattista, painter of the Vene- 
 tian school (18th century), 47, 89, 99, 151, 
 165,171,200,209. 
 
 — , Boemondo, killed by an old woman, 147. 
 
 — , , count Domenico : his Discorsi sulla 
 Storia Feneta, 152 n., 170 «. 
 
 Tilianeoraus, questor i his curious epitaph, 
 55. 
 
 Tinazzo, torrent, 9. 
 
 Tinello, Cav. Tiberio, painter of the Venetian 
 school (16th century), 325. 
 
 Tinet, one of the commissioners appointed by 
 the Republic to choose the manuscripts of 
 the Vatican, 512 m. 
 
 Tinti, Giambattista, painter of Ihe Parmesan 
 school (16th century), 275, 278, 279. 
 
 Tintoretto, surname of Jacopo Robusti, great 
 painter of the Venetian school (16th cen- 
 tury), 97,115, 150, 151, 152,138,139, 162 ; 
 his Slave Delivered, 168 ; 170, 171, 172, 475, 
 174, 175, 176 ; his Crucifixion, 177, 178, 179, 
 480, 183,184,183,190, 196, 211, 214, 239 n., 
 247, 324, 325, 326, 446, 529, 668, 688. 
 
 — , Domenico Robusli, called Domenico, 
 painter, son of the preceding, 152, 174, 
 483,206. 
 
 Tipografia Virgiliana, at Mantua, 294. 
 
 Tiraboschia, 217, 227, 257 n., 257, 265; his 
 written correspondence at the library of 
 Modena, 266, 272, 283, and note, 396 n. ; 
 his letters at Monte Casino, 492 ; 575 n., 
 684 n. 
 
 Tirali, Andrea, Venetian architect (17lh cen- 
 tury), 127. 
 
 Titian, name of Tiziano Vecellio, great painter 
 of the Venetian school ( 16th century), 60, 
 61 , 62, 88, 89 ; paintings lost, 94 ; 95, 97, 98, 
 100. 110, 127, 140, 146, 150, 431, 152, 153, 
 158, 139, 162, 163, 165, 16", 168, 171, 172, 
 175, I76, 177, 178, 179, 181 ; place of his 
 interment, proposals for raising a monu- 
 ment to him, 176; his Martyrdom of St. 
 Peter the Dominican, 183, 184, 185, 196, 
 
 198, 201, 202, 203, 206, 211, 223, 259 «., 
 240, 256, 297, 310, 320; his caricature, 321, 
 324, 525 ; his two Venuses, 326, 549, 552, 
 574, 430, 433, 439 ; his Philip II., 446, 519. 
 529, 565, 566, 568, 372, 575, 578, 580, 581, 
 679, 680, 686. 
 
 Tito, di, or Santi Titi, painter of the Floren- 
 tine school (16th century), 349, 356, 358, 
 408, 637, 666. 
 
 Titus Livius : his supposed coffin, at Padua, 
 211, 544 n. ; his topographical accuracy, 
 389, 604, 605, 652, 656. 
 
 Tivoli, town, 598. 
 
 Tizio, historian of the famous banquet given 
 to Pope Leo X. by the banker Alessandro 
 Ghigi, 578. 
 
 Tizzone palace, at Vercelli, 32. 
 
 Toecoli, remarkable mausoleum of this house, 
 at Parma, 279. 
 
 Todi, town, 653. 
 
 Tolanelli, S., painter, 34. 
 
 Toledo, street of, at Naples, 442. 
 
 Tolentini, church at Venice, 173. 
 
 Tolentino, Giovanni; his mausoleum and 
 epitaph, 49. 
 
 Tollius, James, Dutch philologer and alche- 
 mist, 329. 
 
 Tolmino, castle, 120, 
 
 Tolomei, Jacopo : his letter on the waters and 
 fountains of Rome, 570 n. 
 
 — , Guglielmo, Bolognese professor : his 
 tomb, 626. 
 
 — college, at Siena, 622. 
 
 — house, at Pistoja, 666. 
 
 Tolosani, Fra Giovanni, astronomer of the 
 16th century, 636. 
 
 Tomati-Robilant,countessPrassede; her mau- 
 soleum, 554. 
 
 Tommaseo, S., literary man, 337. 
 
 Tommasi, Giambattista, last grand master of 
 Malta: his tomb, 654. 
 
 Tommasini, S., ancient professor at the uni- 
 versity of Bologna, 236, 285. 
 
 Tommaso Pisano, sculptor, 663. 
 
 Tonani, the P. Don Ramiro, Benedictine of 
 Parma ; his inscription on the bridge over 
 theTrebbia, 511 n. 
 
 Tonelli, or Torelli, painter of the Parmesan 
 school ( 16th century ), 278. 
 
 — , the lawyer Tommaso, translator of 
 Shepherd's Life of Poggio, 334. 
 
 Tonghi, or del Tonchio, Francesco sculptor 
 (14th century), 619. 
 
 Topaja*villa, near Florence, 594. 
 
 Toppei, Genevese painter, 6. 
 
 Torcello, isle near Venice, 191 ; its duomo, 
 ibid. 
 
 Torelli, count, poet of Ihe 16th century, 117. 
 
 — , Jacopo, of Fano, architect (17th century), 
 430. 
 
 Torlonia, S., dukeofBracciano, banker, 557 
 his palace, balls, 565; 568, 592. 
 
 — palace, at Rome, 565, 582. 
 
 Tornabuoni, Giovanni, Florentine noble, 360. 
 
 Tornaquinci, Giovanni, septuagenarian, kill- 
 ed at the battle of Monte-aperti, after de- 
 fending his Carroccio, 620. 
 
 Tornioli.Nicolao, painter of theSienese school 
 (17th century), 628. 
 
776 
 
 INDEX. 
 
 Torno, on the lake of Cosmo , its factory-con- 
 vent, 82. 
 
 Toro Farnese, group at the museum of Na- 
 ples, 443. 
 
 Torpe, St., church at Pisa, 407. 
 
 Torre, ilella, formerly popular chiefs of the 
 Milanese, 49. 
 
 — , Napoleon della, confined in an iron cage, 
 81. 
 
 — , Pagano della, 402 n. ; his tomb, 72. 
 
 — della Gaveta, near Naples, 473. 
 
 — della Nunziata, near Naples; its powder 
 wills, 461. 
 
 — Nuova, near Paleslrina, 600. 
 
 — Pignatara, on the road to Palestrina, 600. 
 Torregiani, Bartolommeo, painter of the 
 
 Roman school (17th century), 565. 
 
 Torrelti, Giuseppe, sculptor, Canova's first 
 master, 138. 
 
 Torri, palace delle, at Turin, 696. 
 
 Torricelli ; his manuscripts at IhePitli palace, 
 375. 
 
 Torrione, Cassone, 44. 
 
 Torso of the museum of the Vatican, 516. 
 
 Tortelli, Giovanni, of Arezzo, librarian of 
 the Vatican, 656. 
 
 Tortooa, town, 692. 
 
 Toscanelli, Paoli, physician, philosopher, 
 astronomer, and mathematician : his me- 
 ridian in the cathedral of Florence, 341. 
 
 Toschi, S., celebrated engraver at Parma, 
 273. 
 
 Toselli, Ottavio, Bolognese sculptor, died in 
 the hospital, 245. 
 
 Tosi, count Paolo, of Brescia : his gallery, 
 100. 
 
 — , Signora, singer, 449. 
 
 Tour/La, village, 706. 
 
 Tourbillon, an old castle, 21. 
 
 Tournon, M. de, his Eludes statistiques sur 
 Rome, 503 n. 
 
 Touron, M., his sermon on the occasion of 
 the September fast, at Geneva, 4. 
 
 Tower of Boetius, at Pavia, 78— of Cremona, 
 305— of Gabbia, at Mantua, 81 , 298— of Zuc- 
 caro, at Mantua, 299— del Mastio, at Vol- 
 terra, 638— of Palazzolo, 90— of Placenlia, 
 8) —of Telgate, 90. 
 
 Tozzi, the P. Dorn Bruno, rector of the Her- 
 mitage or Celle of Vallombrosa, artist and 
 botanist. 395. 
 
 Tradale, Jacopina da, sculptor (15th cen- 
 tury), 39. 
 
 Traini, Francesco, painter of the Florentine 
 school (14lh century), 407. 
 
 Trajan: St. Gregory obtains his deliverance 
 from hell for the beauty of his forum, 93 n. 
 
 Translators, errors of, 81 n., 290. 
 
 Transleverines, 557. 
 
 Trasimenus, lake, 632. 
 
 Trasmondi, baron Amonio, surgeon at Rome, 
 professor at the Sapienza, 583. 
 
 Treasury, at St. Mark's, 148. 
 
 Trebbia, river, 5M. 
 
 Tremezzine, on the lake of Cosmo, 84. 
 
 Trenlo, Cav., his tomb, 129. 
 
 Trento Pappafava house, at Padua, 215. 
 
 Treves, baron ; constructions in his garden 
 at Padua, 214. 
 
 Trevi, town, 644. 
 
 — , fountain, at Rome, 570. 
 
 Treviglio, Bernardino da, painter of the Mi- 
 lanese school (15th century), 41, 49. 
 
 Trevisa, town, 159. 
 
 — , Geronimo di, painter of the Venetian 
 school (16th century), 242. 
 
 Trevisan palace, at Venice, 161. 
 
 Trevisani, Angelo, painter of the Venetian 
 school (18th century), 96, 702. 
 
 Triachini, Bartolommeo, Bolognese architect 
 (16th century), 237. 
 
 Tribolo, Nicolao, Florentine sculptor (16th 
 century), 242, 375, 393, 394, 402, 433, 434, 
 554. 
 
 Tribonian, 328. 
 
 Tribnna of the Florence gallery, 326. 
 
 Trinity, church of the, at Bologna, 231— Flo- 
 rence, 362— Lucca, 670— Maggiore, church 
 of, at Naples, 458— of the Pilgrims, sur- 
 named Rossi, church at Parma, 283— de' 
 Monti, church at Rome, 548, 572— of the 
 Pilgrims, church at Rome, 560— church at 
 Siena, 623— at Turin, 703— monastery of 
 the, at La Cava, 482— bridge of the, at Flo- 
 rence, 585. 
 
 Trissino : his epitaph on his master Demetrius 
 Chalcondylas. 40; his Sophonisba, 128; his 
 villa, 129, 260. 
 
 — palace, at Vicenza, 128. 
 
 — dal Velio d'oro, at Vicenza, 128. 
 Triton, fountain of the, at Rome, 568. 
 Trivulzio, Giovanni Jacopo : his bdton of 
 
 ma-rshal of France, 37 ; his family mauso- 
 leum, 42; library, 55 «., 56; ascertains and 
 determines the true position of Linterno, 
 69 n. 
 
 — , Teodoro, first introduced the culture of 
 rice into the territory of Verona, 108. 
 
 Tronchi, S., of Pistoja, clever organ builder, 
 663. 
 
 Tronchin, of Geneva, instigator of the con- 
 demnation of Rousseau's Emile, 4. 
 
 Trophies of Marius, at the Capitol, 525, 587. 
 
 Troy, Giovanni of, painter of the French 
 school (18th century), 283. 
 
 Tura, Dino di, burlesque and satirical poet 
 of the 14th century, 383. 
 
 Turamini, Crescentius, banker of Siena, 634. 
 
 Turbia, borough ; its tower, 691. 
 
 Turchi, theP. Adeodato, celebrated preacher, 
 bishop of Parma. 276. 
 
 Turco, Flaminio di, architect, 624. 
 
 Turin, its progression, 694. 
 
 Turiui, Francesco, painter, 373. 
 
 — , Baltassare, testamentary executor of Ra- 
 phael, orders the portraits of the lalter's 
 mistresses, and the Lante villa, of Giulio 
 Romano, 579; his tomb, 668. ' 
 
 Turinns, Vetronius, favourite of Alexander 
 Severus, 588. 
 
 Turriaui, physicians of Verona: their mau- 
 soleum, 442. 
 
 Turrita, Jacopo da, mosaist of the Florentine 
 school (43th century), 344, 539, 541. 
 
 Tursi Dona palace, at Genoa, 680. 
 
 Tuscany: impression it produces on quitting 
 the Roman states, 616. 
 
 Tusculum : its ruins, 602. 
 
INDEX. 
 
 777 
 
 u. 
 
 UbaldiDi, Roberto, Dominican, 349. 
 
 Ubertini, Guglielmo degli, of Arezzo, 636, 
 657. 
 
 Uccelli, S., professor at the university of 
 Pisa, 409. 
 
 Uccello, Paolo, painter of the Florentine 
 school (15th century), 541, 361. 
 
 Udina, Domenico, painter, 364. 
 
 — , Giovanni d', painter of the Roman school 
 (16th century), 164, 527, 307, 508, 5J8. 
 
 Uffizj, of Florence, 320. 
 
 Ugarugsieri, Ciampolo de Meo de\ Sienese of 
 the 13th century, translator of the JEneid, 
 632. 
 
 Ugo, marquis of Tuscany, one of the foun- 
 ders of the Badia, at Florence ; his tomb, 
 557. 
 
 Ugolino of Siena, painter (13th century), 558. 
 
 — , count : his daughter, 369 j his tower at 
 Pisa, 410. 
 
 Ugoni, Camillo, 54 «., 293 n., 554. 
 
 Uguccioni, Benedetto, provveditore of Flo- 
 rence, 339 n. 
 
 — palace, at Florence, 320. 
 Uldaric, St., church at Parma, 278. 
 Ulivelli, Cosmo, painter of the Florentine 
 
 school (17th century), 365. 
 
 Ungher, signora, singer, 683. 
 
 Universality of the French language, aucient, 
 353. 
 
 Universities: Bologna, 236— Genoa, 683— Pa- 
 dua, 194— Parma, 285— Pavia, 76— Peru- 
 gia, 651— Pisa. 409— Siena, 631— Turin, 696. 
 
 Uovo, castello dell', at Naples, 440, 491. 
 
 Urban III., pope : his sepulchral stone, 220. 
 
 — V., Grimoald, great French pope, 488; 
 finds the heads of St. Peter and St. Paul, 
 and lodges them in St. John in Laterano, 
 538, 539; pretty story in one of Petrarch's 
 letters addressed to this pope, 616. 
 
 — VIII : his tomb, 502 ; 504, 549, 569, 574 n. , 
 575 ; confers the title of eminence on the 
 cardinals, 569 ; his moral distich on Apollo 
 and Daphne, 596. 
 
 Urbano of Cortona, sculptor, 619. 
 
 Urbini, Carlo, painter of the Venetian school 
 
 (16th century), 40, 42, 44. 
 Urbino, town, 118. 
 
 Urfe", d' : manuscript of his Herbier, 269. 
 Usimbardi, Usimbardo, bishop ofColle, 695. 
 Uzzano, Nicolao da, Florentine noble, 590. 
 
 V. 
 
 Vacani, S., his History of the campaigns and 
 sieges made by Italians in Spain from 1803 
 to 1813, 58. 
 
 Vacations and numerous holidays of the li- 
 braries in Italy, 250. 
 
 Vacca, sculptor of Carrara, 667. 
 
 — , Flaminio, sculptor of Cremona (16lh cen- 
 tury), 520. 
 
 Vacca-Berlinghieri, Andrea, celebrated sur- 
 geon : his mausoleum at the Campo Santo 
 of Pisa, 406. 
 
 Vaccai, S., composer, 428. 
 
 Vaccaro, Lorenzo, Neapolitan sculptor (17th 
 century), 495. 
 
 Vado, fort of, 689. 
 
 Vaga, Perino del, painter of the Florentine 
 school (46lh century ), 508, 532, 537, 565, 
 618,681. 
 
 Vaillant, eminent writer, 327. 
 
 Valadier, M. Joseph, French architect, 548. 
 
 Valais, 21. 
 
 Vale of Chiana, in Tuscany, 655. 
 
 Valentino, castle near Turin, 612 «., 695. 
 
 — , Mose, painter of the French school (17th 
 century); his Martyrdom of Sts. Processus 
 and Martinian, 520, 529, 565. 
 
 Valeriani, professor at the university of Bo« 
 logna, 256. 
 
 — , S., of Florence, man of learning, 337. 
 
 Valeriano : his work De Lilteratorum mfelv- 
 citate, 512 n. 
 
 Valerio, Vicentino, engraver and founder 
 (16th century J: his crystal casket repre- 
 senting the Passion, 525. 
 
 Valerius Maximus, 592. 
 
 Valets de place : Alfieri's appellation of them, 
 13. 
 
 Valiero, doge of Venice : his tomb, 182. 
 
 Valla, Lorenzo : wanted to burn the Herma- 
 phrodite and its author, Panormita, 330. 
 
 Valle, Pietro deila, Roman traveller and pil- 
 grim, 534. 
 
 — theatre, at Rome, 584. 
 
 Valletta, Nicolao, his inscription on a public 
 house at Posilipo, 465 ; his work on the JeU 
 tatura, 466 n. 
 
 Valley of the Adige, 105. 
 
 Vallombrosa, 394. 
 
 Valloscuro, village, 436. 
 
 Valmarano palace, at Vicenza, 128. 
 
 Valois, Charles of, cause of Dante's exile, 
 464 n. 
 
 Valori, Baccio, senator, one of the two first 
 librarians of the Laurentian, 327; appoint- 
 ed to examine the Decameron, 337 n.; 370. 
 
 Van Dyck, Anthony, painter of the Flemish 
 school (i7th century), 88, 274, 323; his 
 Charles V. after his abdication, 526 ; 374, 
 450, 559, 565, 675, 678, 679, 680, 681, 685, 
 694. 
 
 Vanloo, Carle, painter ( 18th century ), 695. 
 
 Vanni, Andrea di, painter of the Sienese 
 school (16lh century), 625, 631, 654. 
 
 — , Francesco, painter of the Sienese school 
 (16th century), 407, 530,622, 623; his tomb, 
 624 ; 625, 626, 628, 664, 668, 669. 
 
 — , Michelangelo, son of the preceding, sculp- 
 tor, 624. 
 
 — , Giambattista, painter of Ihe Florentine 
 school ( 17th century ) 357. 
 
 — , Raflaello, painter of the Sienese school 
 (17th century), 623, 628. 
 
 — , Turinodi, painter of the Florentine school 
 (14th century), 408. 
 
 — d' Appiano, Jacopo, 641. 
 
 Vannini, Ottavio, painter of the Florentine 
 school (17th century ), 565, 373, 407. 
 
 Van Obstal, Gerard, Belgian, sculptor in 
 ivory : his group of the Sacrifice of 
 Abraham, the largest of the kind, 100. 
 
778 
 
 INDEX. 
 
 Van Orlay, Flemish painter ( 1 6th century), 
 624. 
 
 Vanpraet, man of learning, 52. 
 
 Vansanzio, Giovanni, called // Fiammingo, 
 architect ( 17th century), 595. 
 
 Vantini, professor Rodolfo, architect, 57, 
 101. 
 
 Van vitel!i,Ludovico, architect (18th century), 
 451 , 466 ; his palace of Caserta and aque- 
 duct, 487, 488 ; 532, 604, 622. 
 
 Vaprio, on the road to Bergamo: its colossal 
 virgin in fresco, 86. 
 
 Varario, Costanza, correspondent of the great 
 Isota, 555. 
 
 — , Venanziano : his mausoleum, 555. 
 
 Varchi, Benedetto, poet and historian, 260 n. , 
 550, 348, 349, 353, 378, 383, 394, 609 n. 
 
 Varena, on the lake of Cosmo : mildness of 
 its climate, 83. 
 
 Varese, town, 80. 
 
 Varignana, surname of Domenico Aimo, Bo- 
 lognese sculptor and architect (16th cen- 
 tury), 243. 
 
 Varotari, Darius, of Verona, painter of the 
 Venetian school (16th century), 175, 196, 
 206, 211. 
 
 Varro, 414, 655. 
 
 Vasari, 57 n., 71, 165, 177, 204, 213, 241, 
 242 «., 248, 273, 295, 296, 297 n., 299, 300, 
 316, 517, 318, and n., 339, 320, 324, 526, 
 327, 543, 545, 347 n ,352,353, 357, 365, 372, 
 576, 378, 385, 391 . 393, 396, 404, 405, 407, 
 417, 425 «., 433, 475 n., 505, 520, 534, 543, 
 559, 579, 580, 595, 623, 626, 628, 629, 635, 
 637, 649, 654, 656, 657; his Loggie, at 
 Arezzo, 657 ; 658, 659, 660, 662, 664, 666, 
 668, 670, 688, 692. 
 
 Vase, the Medici, in the Gallery of Florence, 
 524. 
 
 Vases, earthen, in the Gallery of Florence, 
 322. 
 
 — , collection of, in the museum of Naples, 
 444. 
 
 Vasi, 600 n. 
 
 Vassallo, Antonio Maria, Genoese painter 
 (17th century ), 675. 
 
 Vatia, Servilius, Roman senator, 475, 
 
 Vatican, 505. 
 
 Valout, M., 3 n. 
 
 Vaudese, 705. 
 
 Vecchietta, Lorenzo di Pietro del, sculptor 
 (15lh century), 619,621, 627. 
 
 Vecchietii pal;ice, at Florence, 372. 
 
 Vcccllio, Marco, painter, Titian's nephew, 
 151, 183, 191. 
 
 Veii, 500 n., its site, 608. 
 
 Veil, taking the, 466. 
 
 Veja, natural bridge of, in the Veronals: its 
 description, 124. 
 
 Velabrum, 590. 
 
 Velasquez, don Diego Rodriguez de Silvay), 
 Spanish painter (16th century), 523, 447, 
 529, 675. 
 
 Veli, Benedetto, painter of the Florentine 
 school (17th century), 362,662. 
 
 Velino, mount, 494. 
 
 —, viver, 642. 
 
 Vellano, or Bellano of Padua, founder (15th 
 century), 184,205,206. 
 
 Velleja, ancient town, 273. 
 
 Velletri, town, 498. 
 
 Venafro, town, 437. 
 
 Vendome, duke of: his remark on muleteers, 
 
 20. 
 Vendramini, Andrea, doge of Venice : his 
 
 mausoleum, 165; 182. 
 
 — Calergi palace, at Venice, 163. 
 Venerando Consorzio, ecclesiastical congre- 
 gation of Parma, 280. 
 
 Venetian women : without influence at Ve- 
 nice, except the courtisans, 151. 
 
 Venetians : their character, 147, 160, 165. 
 
 Venezia, a quarter of Leghorn, 412. 
 
 Venezze house, at Padua, 214. 
 
 Venice, 143; its decline, 144; project of 
 joining it to the continent, ibid. ; its spirit 
 of society, 165; its ecclesiastical population, 
 169; its plagues, 174, 176; its carnival, 189; 
 return to Venice Ly moonlight, 192; its so- 
 litude, its origin and fall, 194. 
 
 — , palace of, at Rome, 566. 
 
 Venieri, Francesco, doge of Venice : his 
 tomb, 178, 179. 
 
 Ventimiglia, town, 691. 
 
 Venluri, GLambatista : this essay on the phy- 
 sico-mathematical manuscripts of Leo- 
 nardo Vinci, 55 n., 108 n., 266. 
 
 — , Cav. : his Storia dell' origine e de' 
 primi progressi delli moderne arti- 
 glierie, 678 n. 
 
 Venturoli, college, at Bologna, 260. 
 
 Venus Callipyge, at the museum of Naples, 
 443. 
 
 — of the Capitol, 527. 
 
 — of Capua, at the museum of Naples, 442. 
 
 — of Medicis, at the gallery of Florence, 526. 
 Venusli, Marceilo, painter of the Florentine 
 
 school (16th century}, 442, 530, 641. 
 
 Venuti, Ridolfino, antiquary, 653. 
 
 Veracini, Agostino, painter of the Florentine 
 school (18lh century), 545. 
 
 Verbano, the, steam-boat on the Lago Mag- 
 giore, 24. 
 
 Vercelli, town, 51. 
 
 Verdizzotti, Giovanni Maria, landscape pain- 
 ter, Titian's pupil : his letter to Ariosto's 
 nephew, Orazio, taken by Lord Byron for a 
 letter of Titian's to Ariosto, 227. 
 
 Verger, M., singer, 64. 
 
 Verini., Ugolino: manuscript of his poem of 
 the Paradisus at the Laurentian, 330 ; 
 friendship of Lorenzo de' Medici for this 
 family, ibid. 
 
 Verita, mausoleum, 111. 
 
 Verme, Pietro dal •. his tomb, 112. 
 
 Vermiglio, Giuseppe, Piedmontese painter 
 (17lh century), 40. 
 
 Vermiglioli, S., antiquary of Perugia, pro- 
 fessor at the university, 650, 651. 
 
 Vernet, M. Horace, pointer, 571 n. 
 
 — , Joseph, painter, 572, 629. 
 
 Verona: its aspect, 105: contains monuments 
 of various epochs, 120; 2I9 ». 
 
 Verri, count Aless;mdro, Milanese : his me- 
 dallion, 62; his tomb, 531. 
 
 — , count Pietro, Milanese : erects a tomb to 
 Paul Frisi, 44. 
 
 Verrochio, Andrea da, Florentine, painter, 
 
 
INDEX, 
 
 779 
 
 sculptor, architect (15th century) : his 
 horse and statue of the Colleoni monu- 
 ment, 184; his mausoleum of Giovanni 
 and Pietro de' Medici, 346 ; 355, 358, 379, 
 682. 
 Verza, the baroness Silvia Curtoni, of Verona, 
 at the head of the subscription for the Pin- 
 demonte monument, 63 n. 
 Verzelii, Tiburzib, sculptor (16th century), 
 433. 
 
 Vescovo-a-S.-Toscana, porta del, at Verona, 
 
 108. 
 Vespino, surname of Andrea Bianchi, pain- 
 ter (16th century) : the preservation of the 
 Cosnaculum confided to hint by Cardinal 
 Federico Borromeo, 48. 
 
 Vespucci Americanus : site of his ancient 
 palace at Florence, 382. 
 
 Veslris, good actor, 68. 
 
 Vesuvius, the cicerone of, 13; 476; ils pre- 
 tended hermits, ibid. ; ils different erup- 
 tions, ibid. 
 
 Vettori, Pietro, orator, critic, professor at 
 Florence, 348, 352 ; his tomb, 364. 
 
 Vevey, town : Rousseau's journey there, 17; 
 Ludlow and Broughton interred in the 
 cathedral, ibid. 
 
 Vezzosi, of Arezzo, the ladies' physician, 657. 
 
 Via Appia, the oldest and greatest of the 
 ancient highways, 496, 591— Cassia, 613— 
 ^Emilia, 414, 415— Sacra, at the Forum, 
 523— Scelerata, 542— Domiliana, at Pom- 
 peii, 478. 
 
 Viani, Giovanni Maria, painter of the Bolo- 
 gnese school (17th cenlury), 88, 251. 
 
 Vianino, surname of Antonio Maria Viani, 
 painter of the Manluan school (16th cen- 
 tury), 292. 
 
 Vicentini, Alessandro, sculptor, 222. 
 
 Vicentino, surname of Andrea Micheli, pain- 
 ter of the Venetian school (16th century), 
 137,150. 
 
 — , Andrea, painter of the Venetian school 
 (17th century), 128. 
 
 Vicenza, town, 127; indebted to its native 
 artists for its masterpieces in painting and 
 sculpture, 128. 
 
 Vico, on the lake of Cosmo, 83. 
 
 — , Giambattista, author of the Scienza 
 nuova; his tomb, 434. 
 
 —.Pietro di, lord of Viterbo, 610. 
 
 Victor, St., church at Cremona, 307. 
 
 — at corpo, St., church at Milan, 48. 
 
 Victorino, of Feltre, founder of infant schools 
 and elementary instruction, 291. 
 
 Vida, Geronimo, Latin poet, 307. 
 
 Vidal,-St., church at Venice, 180. 
 
 Vidoni palace, at Rome, 575. 
 
 Viene, San, gate at Siena, 630. 
 
 Vieri, Ugolino, Sienese goldsmith (14th cen- 
 tury) : his reliquary of the holy corporal 
 of Bolsena, 615. 
 
 Vieusseux : his scientific and literary establish- 
 ment at Florence, 337. 
 
 Vig'na Palatiua , at Rome, 524. 
 
 Vignali, Jacopo, painter of the Florentine 
 school (17th century), 357. 
 
 Vignola, surname of Jacopo Barozzi, from 
 
 his birth-place, celebrated architect (16th 
 century), 243, 254, 284. 
 
 Villa, marquis of : his mausoleum, 221. 
 
 — reale, promenade at Naples, 440. 
 
 Villas, character of, 594. 
 
 Villana delle Botti, the blessed : spoken fami- 
 liarly of by Sachetti ; her tomb, 360. 
 
 Viilani, Giovanni, 314 «., 531, 586 n. ; his 
 remark on the intellectual influence of the 
 air of Arezzo, 656. 
 
 — , Matteo, Florentine historian, 620. 
 
 — , Filippo : his portrait of Boccaccio, 400, 
 419 n. 
 
 — , the three, Florentine historians and 
 writers : their chapel, 352. 
 
 Villar-Bobbio, village, 706. 
 
 Villemain, M., 53 n. 
 
 Villeneuve, town, 16. 
 
 Villeroi at the siege of Dole, 2 ; his surprise at 
 Cremona, 307. 
 
 Viilers, M. Ch., his Essay on the spirit and 
 influence of Luther's Reformation, 227 n. 
 
 Villetard, secretary of the French legation at 
 Venice, author of several tragedies, died 
 at Charenton,186. 
 
 Villoison, Greek scholar, 134 «., 444. 
 
 Vimercati, Carlo, painter of the Milanese 
 school (17th century), 45. 
 
 Vincent, St., and St. Anastasius, church at 
 Lucca, 670— near Rome, 536. 
 
 Vincenzi, Antonio, Bolognese architect (14th 
 century), one of the riformatori, and am- 
 bassador, 242. 
 
 Vincenzo, St. t village, 641. 
 
 Vinci, Gaudenzio, painter, chief of the Mila- 
 nese school, 26. 
 
 — , Leonardo, great painter of the Milanese 
 school (15th century) : his Treatise on 
 Painting, 40 n. ; his Coznaculum, 48 ; his 
 physico-mathematical manuscripts at the 
 Ambrosian, 55 ; pointed out the motion of 
 the earth before Copernicus, 53 n. ; his 
 vignettes tor the book of Maximilian, son of 
 Louis the Moor, 56; executed part of the 
 Naviglio canal, 68 ; first inventor of angular 
 bastions, 108, 169, 324,326, 344, 558 364 
 374, 379, 419, 446, 509, 539; his Modesty 
 and Vanity, 565, 612, 627, 662, 670, 680. 
 
 Vineis, Pietro de, chancellor ol Frederick II 
 449. ' 
 
 Vini, Sebastiano, Veronese, painter of the 
 Florentine school (16th century), 663 665 
 
 Virgil, 13, 81, 82, 101. 212, 289, 290,291* 
 293; declared lord ofMantuabv the popular 
 voice in 1227,298; his Gothic statue, ibid, n., 
 505, 307, 3.13; the oldest manuscript of 
 Virgil in the Laurentian, 328, 419 452 
 462 ; Columbarium called his tomb, 467' 
 468, 472, 483 ; manuscript with verses 
 added, not printed, 491 ; Virgil of the 
 Vatican, 512, 522, 588,600, 605, 610; his 
 portrait in the chapel of the Madonna of 
 San Brizio, at Orvieto, 615, 644, 676. 
 
 Virgiliana, ancient palace of the dukes of 
 
 Mantua, at Pietola, 305. 
 — , Piazza, at Mantua, 300. 
 Virgina della Regina, pavilion near^un'u 
 695. ' 
 
 Visaed palace, at Florence, 570. 
 
780 
 
 INDEX. 
 
 Visconti, Giovanni, archbishop and lord of 
 Milan : his tomb, 39. 
 
 — , Otho the Great, idem, 39. 
 
 — , Stefano : mausoleum erected to him by 
 his father Malhew, 44. 
 
 — , Hector or Astor : his corpse preserved, 73. 
 
 — , Giovanni Galeaso, duke of Milan, founder 
 of the Charterhouse at Pavia, 74 ; his tomb 
 empty, ibid. 
 
 — , Giovanni Maria, duke of Milan : inters a 
 priest alive, 48 n. 
 
 — , Ennius, great antiquary, 292, 523, 445, 
 51 6j 562. 
 
 — , Filippo Maria, duke of Milan : puts to 
 death the brothers Mazzardini, pirates of 
 the Lago Maggiore, 25, 178. 
 
 Vismara house, at Milan, 37. 
 
 — , Gaspardo, sculptor, 48. 
 
 Viso, S., learned antiquary : rejects the tra- 
 dition concerning Pietola, 305. 
 
 Vital, St., church at Parma. 279— and Agri- 
 cola, church at Bologna, 246— St., basilick 
 at Ravenna, 446. 
 
 Vilale, Bolognese painter (14th century). 262. 
 
 Vite, Timoteo della, of Drbino, painter of the 
 Roman school (15lh century), 241. 
 
 Viterbo, town, 610. 
 
 Vitoni, Ventura, of Pistoja, clever architect 
 (16th century), 664, 665. 
 
 Vitruvius, architect : Fo'rmite and Naples 
 claim the honour of his birth, 108. 
 
 Vittoria, Alessandro, sculptor (<6lh century), 
 96, 128, 137. 440, 149, 150, 171, 173, 173, 
 176, 178, 179,180,483,201. 
 
 Vivarini, Ludovico, painter of the Venetian 
 school (15th century), 478, 482, 593. 
 
 — , Bartolommeo, painter of Hie Venetian 
 school (45th century), 474, 173, 177, 478, 
 480,490. 
 
 Viviani, Vincenzo : his manuscripts at Ihe 
 Pitli palace, 375; his house at Florence, 
 rebuilt with the pension of Louis XIV., 
 378, 387 «., 463. 
 
 — , S., professor at the university of Geneva, 
 685. 
 
 Voghera, S. Ludovico, architect, of Cre- 
 mona, 307. 
 
 Voiturin: the most commodious manner of 
 travelling in Italy, 20. 
 
 Volpato, celebrated engraver: his cenotaph, 
 543. 
 
 Volpi, Milanese sculptor, 49. 
 
 Volta, Alessandro. celebrated professor of 
 the university of Pavia, 76 ; his statue at 
 Cosmo, 81, 512. 
 
 Voltaire : instigator of the condemnation of 
 Rousseau's Emile, 4 ; one of his manuscript 
 letters in the possession of M. Cherbuliez, 
 at Geneva, 7 ; his chamber at Ferney, 40 n. , 
 60,-447, 216, 260, 267, 293; his correspon- 
 dence with Bettinelli, ibid, and note; 452, 
 473, 678, 698. 
 
 Volterra, town, 636. 
 
 — , Danicllo da (Ricciarelli), painter of the 
 Roman school (46th century), 506, 528, 
 532, 548, 552, 559, 575, 579. 
 
 Volterrano, surname of Baltassare Frances- 
 chini, painter of the Florentine school 
 
 (17th century), 351, 352,556, 361, 365, 
 
 366, 390, 393, 411, 636, 637. 
 Voltri, borough, 688. 
 Volvino, Lombard goldsmith, author of the 
 
 Paliolto of the church of St. Ambrose, at 
 
 Milan, 46. 
 Vomero, near Naples, 470. 
 Vouet, French painter (17lh century ), 683. 
 
 W. 
 
 Walls of Volterra, 636. 
 
 Walter Scott : his heroes" names occasionally 
 vulgar, 16 ; 58 n., 564. , 
 
 Weiss, M., librarian o! Besancon, 23 n. 
 
 Well of Orvieto, 615— of Tolano, at Arezzo, 
 658. 
 
 Wenschefeld, Pietro, Flemish sculptor, 582. 
 
 Wicar, painter, 634, 649. 
 
 Widus, archbishop of Milan, 25. 
 
 William of lnspruck, architect (12th cen- 
 tury), 405. 
 
 Winckeimann : 516, 528, 596. 
 
 Windham : his pretended discovery of the 
 valicy of Chamouny, 14. 
 
 Witte, professor Charles, Prussian, editor of 
 the Letters of Dante, 455 
 
 AVolf ol the Capitol, 528. 
 
 Women of Bologna; their learning, 257— or 
 Brescia ; Alfieri's verses on their characters 
 93— of Modena, have a copy ot St. Jerome's 
 Letters executed at their own cost in the 
 12th century, 265— illustrious, of the Re. 
 vival, belong ng to Ihe highest classes, 123; 
 their public character and influence, 335. 
 
 Works, public, of the middle ages : executed 
 rapidly, 402. 
 
 Wren, Sir Christopher, English architect, imi- 
 tator of Palladio, 129 n. 
 
 X. 
 
 Xavier, St. Francis : his letter, a manuscript 
 relic, exposed on his festival in the church 
 of St. Lucy, at Bologna, 251. 
 
 Young, colonel, director of the military col- 
 lege at Milan, 60. 
 
 Zabaglia, Nicolao, engineer-artisan : his tomb, 
 546, 560, 564. 
 
 Zaccagni da Torchiera, Bernardino de', also 
 called Ludedera, Parmesan architect, 277. 
 
 Zacchia, Paolo, Ihe elder, painter of the Flo- 
 rentine school (16lh century), 669. 
 
 Zacharias, St., church at Venice, 470; fete 
 celebrated there, ibid. 
 
 Zaganelti da Cotiguola, painter (loth cen- 
 tury), 279. 
 
 Zago, Santo, painter of the Venetian school 
 ( 46th century), 184. 
 
 Zanibeccari da S. Paolo palace, at Bologna, 
 256. 
 
 Zanchi, Antonio, of Este, painter of the Ve- 
 netian school, 207, 
 
INDEX 
 
 784 
 
 Zandomeneghi, S., Venetian sculptor, 139. 
 Zandriui, S., professor at the university of 
 
 favia, 76. 
 Zanetti, bishop of Trevisa : his tomb, 1 40. 
 Zaunoni, Francesco, of Cittadella, clever 
 
 restorer of paintings (18th century), 211. 
 — , the late abbe\ antiquary of the gallery of 
 
 Florence, 337, 444,651. 
 Zanobi, St., of Florence : shrine, 340. 
 Zanotti, Giovanni Pietro Cavazzoni, painter 
 
 of the Bolognese school (17th century), 
 
 237, 242, 247, 248. 
 Zappi Giambattisla : his sonnet on Cignani s 
 
 vir'gine, del fuoco, 423 ; on Michael An- 
 
 gelo's Moses, 542. 
 Zecca, the Mint, at Venice, 139. 
 Zeccba-Vecchia, at Florence, 314 m. 
 Zelotti, Battista, of Verona, painter of the 
 
 Venetian school (16th century), 128, 215. 
 Zeno, St., church at Bassano, 135— at Verona, 
 
 409. 
 — , St., his singular statue; his tomb, 109. 
 Zeuzaliera, gauze curtain (Venetian cono- 
 
 peum), 100 n. 
 Zevio, Stefano da, or of Verona, painter of 
 
 the Venetian school ( 15th century), 113. 
 Zingarelli, celebrated composer, 450. 
 
 Zingaro, surname of Antonio Solari, born at 
 Venice, and not in the Abruzzi, as sup- 
 posed, 80, 437, 447, 448, 453, 435, 466. 
 
 Zocchi, Giuseppe, painter of the Florentine 
 school (18th century), 636. 
 
 Zoccolanti, convent of the, at Narni, 642. 
 
 Zoccolo, Ludovico ; his curious passage on 
 the delicacy of French music, 563 a. 
 
 Zoega, Danish antiquary: his tomb, 548. 
 
 Zoppo, surname of Giambattista Discepoli, of 
 Lugano, painter of the Milanese school, 48. 
 
 — , Paolo, of Brescia, painter of the Venetian 
 school (16th century), 97. 
 
 Zucca, Francesco, mosaist, 556. 
 
 Zuccari, Federico, painter of the Roman 
 school (16th century), 77, 153, 340 ; his 
 house. 377, 469, 506, 600, 609, 614. 
 
 — , Taddeo, painter of the Roman school 
 (16th century), 510, 506, 580, 595, 600, 609. 
 
 Zuccato, Arminio, painter and mosaist, 171. 
 
 Zucclii, Marco Antonio.arcliitectandsculptor 
 in wood (16th century), 278. 
 
 Zucco, Francesco, of Bergamo, painter of 
 the Venetian school ( 17th century ), 88. 
 
 Zurla, cardinal Placido ; his description o! 
 Fra Mauro's map of the world, 157. 
 
 END OF THE INDEX. 
 


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