¦ :-' ¦ :" • ';'.'"• ' ' . * tf ' - >'. ',:•: ¦ > V... ' , 1'-: ": JOURNAL TOUR IN ITALY. II bel paese Ch' Appenin parte e' 1 mar circonde e I'Alpe. Petbabca: Sonnetto CXIV. VOL. I. LONDON: PRIVATELY PRINTED. To MRS. c ****** * To you, my dearest Julia, I dedicate this Journal, written exclusively for my own use, to assist me in recollecting the many beautiful and interesting objects which would most probably have either escaped my memory, or, at any rate, have left but a confused impression upon it. The manuscript having become so very volumi nous, I have been induced to print it; and as this would appear to give these pages more im portance than, in my opinion, they merit, I must observe, that I am fuUy aware of their deficiencies. My ignorance of architectural terms may render my descriptions of buildings unin telligible to any one but myself; and the detailed IV DEDICATION. accounts of many pictures and statues, of great interest to me, may possibly afford but little to those who are not so passionately fond of the productions of art as I am. Your affection for me will, I know, give you patience to follow my wanderings ; and, as you have always shewn a predilection for Italy, and have not as yet visited that enchanting country, perhaps you may feel gratified in perusing these volumes, written by one who considers you as her oldest and dearest friend. CONTENTS THE FIRST VOLUME. CHAPTER I. Departure from London . PAGE 1 Waldershare . Pictures .... Portraits . Park .... 1 . 1 1 Dunkirk Church of Saint Eloy Saint John's Church Park .... . 2 3 '. 4 5 Bergues. Church of Saint Martin . 5 Oostkapelle and Rousbrugge 6 Tl CONTENTS. PAGE Ypres. Exhibition of Paintings . . 6 The Cathedral . . . . 7 Eeast of Assumption ... 8 Saint Peter's Church . . 9 Church of Saint Jaques . .10 Menin ....... 11 Lille ....... 12 Pont a Marque and Douay. Cathedral of Saint Peter's. . 12 Church of Saint Jaques . .13 The Musee .... 14 Bac a Bincheul and Cambrai. Fenelon's Tomb ... 15 Saint Quentin. Hotel de Ville ... 15 The Cathedral .... 15 The Canal .... 15 CHAPTER II. Prince Polignac . . .19 Ham. NOYON. , Church 19 Compiegne. The Palace .... 20 Hotel de Ville ... 23 Church of Saint Jaques . . 23 Saint Antoine . 24 CONTENTS. vn PlERREFONDS. PAGE Castle 24 Church ..... 24 Senlis 25 Hotel de Ville 26 The Cathedral .... 26 Church 26 La Chapelle. Louvres ..... 26 Le Bourget 27 Paris. Palaces, Louvre, Luxembourg, Palace of Palais Royal 27 Musee d'Artillerie. 27 Gobelin Tapestry 27 Savonnerie Carpets 27 Pantheon ..... 27 Archbishop's Palace 28 Diorama ..... 29 Opera ..... 30 Porte Saint Martin 32 Theatre Fran§ais 32 Ambigu comique 33 Villejuip ...... 34 Fromenteau 34 Essone 34 Penthierry 34 Chailly 34 Fontainbleau. Palace ...... 34 36 Till CONTENTS. PAGE 36 Pont sur Younne .... . 36 Sens. Cathedral 37 41 Villeneuve le Roi 41 Ville Villier .... . 41 41 41 St. Florentin. Canal de Bourgogne Church .... 41 . 42 43 Tonnerre. Church de l'Hopital . Notre Dame . . 43 44 Ancy le Franc .... Chateau de Louvois . 4444 Aizy sur Armancon . 45 The Castle M. de Buffon . 45 . 4646 Ville Neuve les Couvers . 46 Chanceux ..... 46 Val de Suzon ..... . 46 The Mus6e The Cathedral Church of Saint Michael Notre Dame . 46 . 47 50 . 5051 contents. IX Genlis Auxonne ..... Dole ..... Orchamps and Saint Vit Besanqon .... The Cathedral Church of Notre Dame La Madeleine . Saint Peter - Hotel de Ville The Prefecture . Museum of Natural History Fort Chaudane. Promenade de Chamard Fort Bregis Place des Casernes . Merey ..... Ornan ..... Pontarlier .... The Church . Motiers Travers. Rousseau Colombier .... Neuchatel .... Lac de Morat PAGE 52 52 52 53 5454 55 555555 55 55 55 5555 5656 575758 5960 6060 CHAPTER III. Sainte Blaise Erlach 6161 X CONTENTS. PAGE Lake of Bienne ..... 61 Isle de Saint Pierre . . . . 61 Bienne ....... 62 Neustadt and Erlach ... 62 Neuchatel. Villa of La Rochette ... 62 The Cathedral .... 62 The Castle 63 Hotel de Ville ... 63 Yverdun ....... 64 Granson 64 Orbe 66 Morges. The Arsenal .... 67 Nyon 67 Copet ....... 67 Ferney. Voltaire's Chateau ... 69 Gibbon 71 Geneva. Musee Rath . . . .74 The Cathedral ... 80 Rousseau's House ... 82 Morges. Madame de Stael's Chateau at Copet 83 Tour de Tronchin 83 CONTENTS. XI CHAPTER IV. PAGE Thonon 86 Savoy 86 Evien 86 San Giangolpo 87 Vevay 87 Chateau Chillon 87 Saint Meurice ..... 87 Saint Pierre ...... 89 Sion. Castle of Valerie ... 89 The Cathedral .... 90 The Jesuits' Church . . 90 The Church .... 90 The Hermitage ... 92 Brieg. The Jesuits' Church ... 94 ISELLA 97 Dovedro ....... 97 Vasca 97 Domo d'Ossola. The Church .... 98 The Cathedral .... 98 Lago Maggiore 99 Baveno 99 xn contents. PAGE Isola del Pescatore .... 100 Isola Bella ...... 101 Isola Madre 102 Palanzano 102 Domo d'Ossola and Laveno . . • 102 Lake of Orta ..... 105 Omegna ....... 106 Orta 106 La Madonna in Busciola . . .107 San Giulio ...... 107 Arona . . . . . . .110 Varese Ill The Church . . . .112 The Madonna del Monte . . . 1 12 Lugano . . . . . . .115 Caprina 116 Como. The Cathedral . . . .121 Church of 11 Santo Crocifisso . 124 San Cristoforo . 125 San Abbondio . 125 Theatre 125 Villa Odescalchi ... 125 The Casino 125 Villa d'Este .... 126 Villa Tanzy . . . .127 Villa Pliniana . „ . 127 Cascade of Nesso 128 contents. xih PAGE Villa Melzi 128 Villa Serbelloni . . . . .129 Cadenabbia 129 Villa Sommariva 129 Lake of Lecco 131 Unno 131 Lecco 131 Return to Como and Varese . . .131 Laveno ...... 132 Village of Barlessina . . . .132 Desco 132 Viceroy's Villa 132 Monza 132 The Cathedral . . . .132 The Treasury .... 135 Church of Santa Maria Barnavita 135 Santa Maria degli An- geli . . .136 The Theatre .... 136 Villa Gernata 138 The Casino 138 CHAPTER V. Milan The Corso .... . 143 Villa Reale . 144 Palazzo Serbelloni . 144 XIV contents. PAGE Milan (continued). The Brera 145 Pictures .... . 146 School of Drawing . 160 Ambrosian Library . 160 Imperial Palace 164 The Guarda Robba . 166 Church of San Gottardo . 167 Villa Reale . 167 Archbishop's Palace 168 Duke of Litta's Palace . 169 The Gallery Caldarara 170 Duke of Melzi's Palace . 170 Casa Scotti 171 Casa Brocca . 172 Princess Samoi'loff . 172 Palace .... . 172 Statues .... 172 Bossi's Pictures . 174 The Cathedral . 174 Church of San Nazaro . 176 San Lorenzo . 176 Saint Ambrose . . 178 San Eustorgio 180 Madonna di San C elso 181 Madonna delle Gr azie 182 La Passione . 183 11 Foppone 184 Saint Marco . 184 Saint Alexander 184 San Vittore . 185 San Fedele 186 San Sepolcro . 186 CONTENTS. XV Milan (continued). Church of La Vittoria PAGE 187 San Stefano 187 Saint Paul 187 San Maurizio Maggiore The Incoronata 187188 The Hospital and Church . Theatres. 188 La Scala 195 Teatro del Carcano . 195 Re . 196 Girolamo's Theatre . 196 Mechanical Exhibition 197 Wax-works .... 197 Napoleon's Amphitheatre . Porta Romana 198 199 Church of Chiaravalle . 199 Campo Santo . Certosa di Garignano . Casa Simonetta 200201 201 Madonna di Rh6 202 Leinate. Villa Litta .... 202 Saronno. Church 203 Villa of Castellazzo .... 206 Villa Cinesilia 207 Villa Bergami, or Barona . . 207 contents. Pavia. CHAPTER VI. Binasco 209 Carthusian Monastery . . 209 Collegio Borommeo . . . 212 The Cathedral .... 213 Church of San Micheli . .215 II Carmine . . 215 San Marino . . 215 San Francesco . 216 San Salvadore . .216 The University . . . 216 Botanic Garden . . . .217 The Theatre .... 217 Cavaliere Brambilla and Professor Scarpa's Collections of Paintings 217 Borgo Ticinese .... 219 The Sluices .... 219 Castel Pusterlengo .... 220 Villa Belgiojoso .... 220 Corte Olonna 220 Cotogne 221 Matteo ....... 221 Pizzighettone .... 221 Cremona. Grande Place . . . .221 The Cathedral . . . 221 CONTENTS. xvii Cremona (continued). PAGE The Baptistery . 223 Tower of Cremona . 223 Palazzo della Citta . 224 San Pietro al Po . 225 The Church of San Agostino . 226 San Abbondio's 227 Saint Agatha . 227 San Domenico . 227 San Omobono . 228 Palazzo Mazzi 228 Casa San Secondo . 228 Bozzolo 229 The Church of La Madonna delle grazie . . 229 Mantua. The Palace .... 231 Saint Barbara's Church . 234 Theatre ..... 234 Academia delle Scienze . 234 The Library .... 234 The Gallery of Sculpture 235 Palazzo del Te . 236 Palace of the Favorita 238 Palace ofthe Marchese Colleredi 239 Cathedral .... 240 Church of San Andrea 241 San Maurizio 242 San Egidio 242 Saint Barnabas 243 Theatre 243 XV111 CONTENTS. Mantua (continued). Piazza Virgiliana . 244 Ponte San Giorgio 245 Torre della Gabbia . 245 Villages of Serravalle and Quatrelle . 246 OSTILIA 246 Revere. The Church .... 247 Le Stradelle ..... 247 Staletta ...... 247 Ferrara. Library ..... 248 Ariosto ..... 249 Tasso 249 Tasso's Prison .... 250 The Palace .... 251 The Commune .... 252 The Casa Contarini 252 Seminario ..... 253 The Cathedral 254 Church of San Francesco 255 San Andrea 255 The Church and Convent of San i Benedetto .... 256 Church of San Domenico 257 Santa Maria della Rosa 257 I Teatini 257 Santo Spirito 258 San Giorgio 258 The Palazzo Roveredo 258 Villa . 258 CONTENTS. XIX PAGE Ferrara (continued). The Piazza Ariostea . . 259 The Theatre . 259 Campo Santo . 260 The Church . 262 Ponte Lago-scuro .... .-, 262 Bologna. Pinacotheca . 263 The Library . 272 The Museo 273 The Cathedral . 274 Church of San Domenico 275 Saint Paul . . 276 San Bartolommeo 277 San Salvadore . 277 San Giacomo . 278 Saint Catherine . . 278 San Stefano 279 San Martino . 279 The Madonna di Gagliera 280 Palazzo Zambeccari . 280 Ercolani 282 Aldovrandi . 283 Marescalchi 284 Tanari . . 287 Ranuzzi 288 The Gallery Rossi . 289 Baruzzi the Sculptor 290 Basoli .... . 292 Tambroni 292 Rosaspina .... . 293 Puppet Theatre 294 XX contents. PAGE Bologna (continued) The Casino . . . .295 Montagnuola .... 295 The Botanic Garden . . .296 Convent of San Michele in Bosco 296 Carthusian Convent . . . 297 Church of the Madonna di Lucca 300 Marchese Sampieri's Villa . . . 302 Villa Crescentini .... 303 Villa Marescalchi 303 Villa Aldini 303 CHAPTER VII. Departure from Bologna .... 305 Castel San Pietro .... 305 Imola. The Cathedral .... 305 Church of San Domenico . 306 San Agata . . . 306 Palazzo della Commune . . 306 Castel Bolognese 307 Faenza. Capuchin Church . . . 307 The Cathedral .... 308 Church of San Bernardo . . 309 contents. XXI ForlL The Town-house 311 The Cathedral . . 311 Church of Saint Mercuriale 312 San Girolamo . 312 San Filippo Neri 312 The Palazzo Manzoni . . 313 FORLINI Public Promenade . OPOLI 313 . 314 Cesena. The Cathedral 314 The Library . 314 The Palazzo Commune 315 Rimini. San Francesco . 316 Church of San Girolamo . 318 San Agostino . 319 1 Servi . 319 San Giuliano . 319 I Suffragi 319 Palazzo Publico . . 320 The Citadel . . . . 321 The Market-place . 321 Via Emilia and Via Flaminia . 323 Triumphal Arch of Augustus . 323 Catolica 324 Pesaro The Ramparts . 324 The Garden . . . . 324 The Cathedral . . 325 Church of Gesu 325 XXII contents. PAGE Pesaro (continued). Church of San Antonio Abbate . 325 San Francesco 325 San Agostino . 326 Benedictines . 326 Fano. The Cathedral . . 327 Church of San Paterniano 327 San Pietro . . 327 Santa Maria Nuova 328 The Library . 328 The College .... 329 Cascade .... . 329 Cascinella 330 FOSSOMBRONE . 330 The Cathedral 331 Church of San Agostino . 331 The Seminario 332 Furlo . 332 ACQUALAGNA ..... . 333 Cagli. The Cathedral . . 333 Church of San Domenico 333 San Francesco . 333 Cantiano. Cathedral .... 334 Church of San Ubaldo . 334 San Agostino . 334 Palazzo Bartolucco . 335 Ponte della Scheggia 335 . 336 Church of San Agostino . 336 contents. xxm CHAPTER VIII. The Cathedral . . 337 Church of San Giovanni . 338 San Francesco . . 338 Santa Chiara . 338 San Filippo Neri . 338 Foligno. Gregori Palace 339 The Cathedral . . 340 Church of San Nicolo di Bari . 340 Madonna del Suffraggio . 340 Church of Agostino 341 Palazzo Publico . 341 The Ramparts 341 Madonna degli Angeli . . 341 342 Temple of Clitumnus . 342 Spoletto 342 The Cathedral . . 343 Church of San Filippo Neri 344 11 Crocifisso . 344 The Fortress .... 344 The Foundling . . 345 The Palazzo Publico 346 La Strettura .... . 346 346 XXIV CONTENTS. PAGE Papinio. Waterfalls .... . 347 The Cataract . 349 Church of San Salvador . 350 Narni ...... 350 Cathedral .... . 351 Church of San Agostino . 352 Le Vigne ..... . 353 Civitta Castellana 353 Cathedral .... . 354 Nepi. Palazzo Publico 355 Monterossi ..... . 355 Baccano ..... 355 La Storta ..... . 355 Ponte Molle .... 356 Porta del Popolo .... . 356 JOURNAL TOUR IN ITALY. We left London on the 8th of August, 1833, and slept at the Rose at Sittingbourne. The following day we proceeded to Canterbury, where we stopped to see the Cathedral, and then went on to Waldershare, where we spent two days most agreeably. The house is large, and has a spacious hall of entrance, a suite of three drawing-rooms, and a library, and dining- room. Amongst the pictures there is one of the very old school with shutters ; it is ascribed to Albert Durer. There are some good portraits; one of them is a full-length of Mary of Medicis with her daughter, Henrietta Maria, when a little girl. The park is extensive, and contains some fine old trees, and there is a pretty flower-garden. 2 JOURNAL OF A TOUR The distance from Waldershare to Dover is about six miles. We went there on the 11th, and lodged at the York Hotel, from whence we embarked at eight o'clock on the 13th on board the Fire-fly packet, which conveyed us to Calais in two hours and a half. One ofthe passengers, ofthe name of Vernon Graham, apparently about sixty years of age, was very amusing. He spoke a variety of languages, and told several stories ; one was of his being pressed at some hotel to tell his name and destination ; he said he would if the whole of the inhabitants of the house would assemble ; and, when they had done so, he said, " Are you all here?" "Yes." " I do not see the tom-cat, let it be brought also." When this was done, "Well," he said, " my name is the same as it was, and I am going where I intended to go, so now — good morning." After passing our baggage at the Customhouse we set off for Dunkirk. The country is devoid of interest and flat as far as Gravelines. The road winds for some distance through the fortifications of the town. The market-place is large. After leaving Gravelines there are a good many pollards and small trees, and a canal on the left of the road. At the entrance of Dunkirk there is a planted walk. The town is fortified and well built. The streets are wide, the houses low and mostly of white brick. On the market-place there is a marble bust, with hair flowing over the shoulders and an em broidered cravat, on a granite pedestal inclosed by a railing ; it is that of Jean Bart, who was a native of Dunkirk. He rose to the dignity of an admiral, and IN ITALY. 6 was distinguished for his bravery. He lived in the time of Louis the Fourteenth. The church of Saint Eloy is a very handsome structure, the exterior is of Grecian architecture ; the tympanum is supported by ten fluted Corinthian pil lars, and there are two towers at the extremities : "Deo sacro optimo sacrum" is inscribed over the entrance. The inside of the church is Gothic ; there are two aisles on each side of the nave, formed by pointed Gothic arches and clustered pillars without capitals, branching into the ceiling, which is arched as well as the aisles ; they meet behind the choir, which is inclosed by a grating. There are five small chapels behind it. Here are copies ofthe Christ on the Cross, between the two thieves, by Rubens, in the Musee at Antwerp, and of the picture of Saint Roch, by Rubens, in the church at Alost, but the figure of Christ in the copy is placed on the opposite side from that in the original. A priest shewed us a picture, which he said was by Franciscus Pornibus, but it appeared to me to be ofthe Italian school. In the middle division, Saint George is represented kneeling surrounded by a number of figures, the executioner is preparing to behead him. On one shutter, Saint George is seen destroying some idols, and on the other he is represented tied to a tree, preparatory to his martyrdom ; but a violent thunder-storm overthrows the executioners. The body is finely painted, and a figure lying- on the ground struck by lightning has great merit ; but the picture is hung too high, and wants cleaning. 4 journal of a tour A tablet erected to the memory of Jean Bart bears the following inscription : — D. O. M. Cx gist Messire Jean Bart EN SON VIVANT CHEF d'eSCADRE DES ARMEES NA VALLES DU ROT CHEVALIER DE L'ORDRE MILITAIRE DE ST. LOUIS NATIF DE CETTE VILLE DE DUNKERQUE DECEDE LE 27ime d'aVRIL 1702 DANS LE 52*me ANNEE DE SON AGE DONT IL EN A EMPLOYE VINGT-CINQ AU SERVICE DE SA MAJESTE. ET DAME MARIE JACQUELINE TUGGHE SA FEMME AUSSI NATIVE DE CETTE VILLE QUI MOURUT LE 5 FEVRIER 1719 AGEE DE 55 ANS. FRIEZ DIEU POUR LEURES AMES. There is a monument to the memory of " Messire Fran§ois Corneille Bart, Vice-Amiral de France, decede en 1755, age de 78 ans," probably a descendant of the famous Jean Bart. The church is very light from the quantity of win dows, and their being of plain glass ; and the walls and ceiling are whitewashed. A high square isolated tower stands on the opposite side of the street in front of Saint Eloy. Saint John's church contains nothing very remark able. It opens into a cloister hung with pictures. The compositions of some of them are singular. In one, Christ on the Cross is in the centre, two little angels flying near him catch the blood streaming from IN ITALY. O his side; God Almighty is seen in the skies on one side, and on the other the Virgin kneels on a cloud. Immediately under the Creator are some persons sur rounded by flames, with a little angel hovering over them. Another picture represents Moses with a rod and the tables of stone : a dead man is lying at his feet. Christ, with the cross and a dove, is in the background, and a book supported by the attributes of the four Evangelists. A figure in a white transparent tunic is placed in the lower part of the picture. It is probably an allegory relating to the Old and New Testament. There is a theatre at Dunkirk. We lodged at the Hotel de Flandre. The park, as it is called, is simply a planted walk, and there is a quay of some length along the wide ccnal which connects the town with the sea, and con tinues to St. Omers. The sands are good. Several small vessels were in the port. The pier is of wood, and extends beyond the shore. August Wth,. — After leaving Dunkirk we drove by the side of a wide canal. Cattle, pollards, and reeds, were the only objects that presented themselves to our view till we reached Bergues, a fortified and rather nice town, from whence three steeples rise. The Hotel de Ville, in the market-place, has a curious old tower with four turrets and a clock. The church of St. Martin, built in the form of a Latin cross, is very light. The nave and aisles are high. They are divided by round pillars united by Gothic arches. The walls are whitewashed ; and there 6 JOURNAL OF A TOUR are side chapels and a handsome organ ornamented with carved figures in wood. The principal pictures are copies of the Christ, Virgin, and Saint Francis, by Ru bens, in the Musee at Brussels, and of the Saint Sebas tian, by Rubens, in Lord Mulgrave's collection. There was little variation in the appearance of the country as far as Oostkapelle (where we entered Flanders) and Rousbrugge. I remarked in a cemetery we passed long poles planted on the graves, with tablets in the form of a lozenge on the top of them bearing monumental inscriptions. Hops are grown here in great quantities, and trained very high. We saw fields of clover and turnips, with cattle grazing, and occasionally some country-houses with neat gardens in the way to Ypres. We lodged there at l'Hotel de la Chatellenie. It stands on a long market-place, and contains the courts of justice, and a room painted with landscapes in which Maria Theresa was received when she visited Ypres. The Hotel de Ville, also on the market-place, is a striking edifice with a long front of regular and fine Gothic architecture. A large tower rises in the middle, and at each end are two small circular turrets. A double staircase leads to a . spacious hall, where, it being fair time, a number of booths were erected. Most of them were filled with gingerbread ; but there were some good print and toy shops. In another part of the building we saw an exhibi tion of modern paintings. P. A. Debruck, a native of this place, displays a great deal of talent in various styles. A landscape in the style of Ommeganck was IN ITALY. 7 highly finished ; the subject was a hill covered with goats. The inside of a church, in which are some figures, one of a knight, attended by his page, con templating a monument of a warrior lying on a tomb : the light in this picture is beautiful. The interior of the Campo Santo, at Pisa, by the same hand : this is only a sketch. A fruit and flower piece, and some vaulted interiors, were also by this promising young artist. He is only two-and-twenty, is born of poor parents, and bears an excellent character. He has been at Rome. Bohm paints landscapes, and has done a pretty highly finished picture of a woman sitting on a bit of carpet, which hangs over the ledge of a win dow, reading a letter ; she wears a cap, a pale green gown, and has a handkerchief tied loosely round her neck. The cathedral, dedicated to St. Martin, is a fine Gothic church. It is built in the form of a Latin cross and very lofty. Round pillars and high-pointed Gothic arches divide the nave and aisles. Over these is a row of Gothic arches against a dead wall, and above them a row of Gothic windows reaching to the ceiling. They continue all round the transepts. Sta tues of the Apostles, carved in stone, are placed on brackets down the nave. The ceilings are arched and thinly studded with gilt stars. There are two aisles down each side ofthe choir which is formed by a continuation ofthe arches and pillars of the nave, and inclosed by an iron grating. Over the arches is a row of dead Saxon windows. Within the choir there are three marble monuments of 8 JOURNAL OF A TOUR bishops lying on their tombs : the hands of two of them are joined in prayer. The screen ofthe choir is of black and white marble. The oaken pulpit is supported by large figures. On the canopy of it are some angels delicately carved ; and the organ, which is modern, is ornamented in the same manner. The pavement of the church is of black and white marble ; the walls yellow, picked out with white. A large chapel at the bottom of the nave is in closed by pillars of white and an entablature of black marble, in front of which are placed statues of saints in white marble. The gates are of brass. The ceiling is arched and carved, in compartments of wood, alter nately light and dark. Over the altar there is a marble statue of Saint Martin. It was the feast of the Assumption, and a great concourse of people were assembled. A priest was administering the sacrament to numbers who knelt successively round the balustrade of the altar. He carried a communion cup full of wafers; and, as he passed, he placed a wafer on each person's tongue, which was put out to receive it. The ceremony was performed with great rapidity, and the priest did not seem to address any form of prayer to the communi cants. In some parts of the church persons were praying, with their arms extended in the form of a cross, and a priest was preaching with great emphasis to a numerous congregation. The decorations in honour of the fete spoiled the effect of the archi tecture. Some of them were very trumpery, parti- IN ITALY. cularly pasteboard chandeliers, painted blue and yellow, hanging between the pillars. A picture by Van Eyck, finished in 1425, is painted on four panels on both sides. The subjects exposed to view were, Eve springing out of Adam's side ; the presenting him with the apple ; gathering another from the tree of knowledge ; and the ex pulsion of our first parents from Paradise. The heads are good, but the bodies and limbs dry and stiff, though well finished. A large view of Ypres and its environs represents the siege of this city by the Spa niards. The Virgin and Saints are in the skies. A soul conducted by an angel from -purgatory to heaven is the subject of a painting by M. Ducq of Bruges. The church is very light. A procession passed through several streets strewed with leaves to the market-place, where mass was per formed at an altar erected on it. The host was borne under a white canopy, and some dirty men and women, carrying candles, mixed with the procession. Saint Peter's church is of Gothic architecture ; the nave and aisles are divided by round pillars and pointed Gothic arches. Down the sides are Gothic windows. The aisles reach to the end of the choir, which is inclosed by grating. The pillars, statues, and ornamental carving of the altar, are of wood, painted to imitate white marble. Four rather formal figures support the pulpit, which is of oak. The walls are whitewashed, and the pavement of black and white marble. I observed b2 10 JOURNAL OF A TOUR here a small copy of Rubens's " Descent from the Cross." A Calvary is arranged in a small chapel. The church of Saint Jaques is smaller than that of Saint Peter's, and also of Gothic architecture. The nave and aisles are both arched in a semicircular form, and divided by round pillars and wide Gothic arches, over which is a space of dead wall, surmounted by a row of small windows. The choir is inclosed by a wall, in which openings are made by Gothic arches. The pavement is of black and white marble. The walls are whitewashed, and the church is but little orna mented. The pulpit, on which are gilt bas-reliefs, is of dark oak. Two large pictures, of the Feast of Cana and the Pool of Bethesda, appear of a modern date, and have some degree of merit. The best painter at Ypres is M. Utrich. There are two collections of pictures. That of M. de Walwins could not be seen, as he was from home ; but the other, belonging to M. de Koster, was shewn me by his son-in-law M. Verhest, a little man with spectacles, who knew none of the masters ; and, indeed, it would have been difficult to know to whom to ascribe such trash. His wife and daughter came in to stare at me, but only said, " Si pa'pa etait la, il saurait bien." There was one, and only one, pretty small picture by I know not what master. The subject is very simple. Two figures are walking by the sea-shore ; one of them a gentleman in a Spanish costume, handing a lady dressed in green, with feathers in her head. She lightly holds IN ITALY. 11 up her gown. A dog plays by them. The figure of the man is in the style of Le Ducq. A ship is seen in the distance. A portrait of the Baron de Trist, hung in the inn, is the same as that of the Bishop in our collection, but without the paper in the hand. The innkeeper told us of a family, consisting of seventeen females, of the name of Smith, who were travelling, and wondered we did not know them, as they came from London. Ypres is fortified ; it is a handsome town with wide streets and good pavement. The fronts of the houses are pointed in the gable form. The swamps with which the town is surrounded render the air unwholesome. The butter is celebrated for its excel lence ; and, when the waiter brought in a plate of it, he said, " Voici la renommee de notre pais." August \bth. — Our road lay partly through a wood, and we passed some country-houses in the way to Menin, a small town also fortified. The streets are straight ; the church is modern, very light, and has a nave and aisles, divided by round pillars and semicircular arches. The ceiling is arched in the same form, and the walls are whitewashed. The pavement is of black and white marble. The altar-piece by Wolfahrt, a pupil of Ducq's, is not a bad picture. Saint Vat, or Vedastus, the patron of the church, is represented with his mitre, performing three miracles. One is restoring sight to a blind man ; another, curing one sick of the palsy ; and the third, banishing a wolf which was in the habit of committing depredations on the inhabitants. 12 JOURNAL OF A TOUR Several children are introduced in the composition. The sexton would take no remuneration for his trouble in shewing me round the church. The country we passed through was covered with corn-fields, divided by hedgerows. Numerous wind mills surround Lille. We lodged at l'Hotel de l'Europe, and visited the Musee and the church of Saint Maurice. Bricks are made in the neighbourhood of Lille. On the 16th we continued our journey through an open country to Pont a Marque and Douay, where the landlady at the H6tel du Nord asked three francs a-head for our supper, and said, " II n'y a pas besoin de beaucoup de plats, n'est-ce pas, madame, quand ils sont bons?" She pressed me to take a salon joining our rooms, saying, " C'est plus comme il faut," and added, " Les Anglais aiment ce qui est propre." Our windows looked on the market-place, which is of an oblong form. I was much pleased with the cathedral of Saint Peter's, which is of Grecian architecture, oblong and rounded at both ends, as are, also, the transepts which cross the centre. The aisles are formed by high Ionic pillars of grey stone, united by lofty arches. A row of arched windows over them reaches to the roof, and gives a particularly light effect to the interior. The ceiling is arched. A circular chapel at the end, between two small ones, is paved with black and white marble, and ornamented with carving. It has a dome and Ionic pilasters round the walls. IN ITALY. 13 The choir is inclosed by an iron railing, gilt at the top. Plaster statues of Saint Peter and Saint Paul are placed at the sides of the altar. The church was crowded in consequence of a procession going round the aisles : some dirty men carrying lights preceded the priests. During the ceremony the organ was played; it is a very fine one, and the tones particularly sweet. The church of Saint Jaques is small, and in the same style of architecture as the cathedral. The nave and aisles are divided by high Ionic pillars of grey stone, and Roman arches. The aisles meet behind the choir, which is flagged with black and white marble. The ceiling is arched, and the walls white washed. The Hotel de Ville is a Gothic building, with a curious steeple and a chime. We saw here an ex hibition of pictures by living artists, many of which are above mediocrity. A view of the palace and gardens of the Tuileries, by Perrot, is a most exact representation of the original ; and the interior of the Louvre, by Maillot, gives an excellent idea ofthat beautiful gallery. " The Deluge," by Girodet, and many other pictures, are copied in perspective. The interior of Sainte Gene vieve, at Paris, is by Gosse aine. Vandenberghe has painted a very pretty small composition, the subject is an arch of the palace of the Caesars, with a flight of steps seen through it ; at the bottom a monk, who has apparently just descended, discovers a dead body. The effect of 14 JOURNAL OF A TOUR light is beautiful, and the drapery of the monk touched with great boldness. Two pictures by Baet of Ghent representing the choir and the interior of Saint Bavon ; the details of both are well drawn ; the tone of colouring is grey. " La fete du Grandpere" is a highly finished interior, with pictures, japan screens, and a variety of details. It is by Adolphe Roehn. The Musee is very well arranged. It contains a good many stuffed animals and birds, a great variety of butterflies, and a collec tion of old glass, china, antique bronzes, and other curiosities. There are several models in the Cabinet de Physique and a few busts. A marble figure of a prince of Flanders, which once decorated his monu ment, has been placed here. It is well executed. The prince lies extended on a mat partly covered by a drapery. One hand rests on his body, the other lies by his side ; he has a beard. A Madonna and child in stone, a good deal mutilated ; it was brought from the church of the Templars which was built in 1155. The pictures belonging to the Mus6e were all taken down, as the room they hung in was under repair. I did not enter the Anatomical Cabinet. The Botanic Garden is well kept, and the greenhouses are large. When Louis Philippe came to Douay he lodged at the house of M. Jacqueminot. It is at the outskirts of the town, near the barracks, and has a very exten sive garden laid out in serpentine walks and inter sected by canals, over which are several small bridges. There are some fine weeping willows, a good many orange-trees, and statues, and urns placed in different IN ITALY. 15 parts of the grounds. The porter's daughter, a pretty girl of seventeen,. walked round with me. I asked her when she would marry. She said, " Je suis trop jeune." " Mais si voua attendez long temps vous serez vieille fille?" "Oh non! pas jusqu'a vingt-cinq ans." We passed through an ugly country to Bae A Bincheul and Cambrai, where some booths on the market-place were the only traces remaining of the fe'te of the Assumption. I could not leave Fenelon's tomb un visited, though the monument in itself wants elegance, and the figure is clumsy. At Bonavy, a poor hamlet at the foot of a hill, two roads branch off to Paris. One of them passes through Peronne. We chose the other by Saint Quentin, where we arrived, after chang ing horses at Billecourt. Saint Quentin is a large manufacturing town, and several houses, newly built, and others in progress in the immediate vicinity, give it a very thriving appearance. The town is built on a slope. It has a port, whieh was full of barges. We lodged at the Plat d'Etain on the market-place, a large square. There is a well in the middle, with a leaden cover supported by iron pillars. The Hotel de Ville has a richly carved Gothic front. The cathedral is a large handsome church of Gothic architecture. It appeared to me too high in proportion to its length. The nave is broad, and separated from the aisles by high clustered pillars and Gothic arches. Over them there is a gallery of Gothic arches, and above a row of deep Gothic windows reaching to the arched ceiling. The choir is inclosed and ornamented, both inside and out, by stone carving. Two aisles down each side are 16 JOURNAL OF A TOUR divided by high round pillars. The two inner aisles meet behind the choir. At the end of it are five painted glass windows. The pavement is of black and white marble. There are five arched chapels behind the choir. They are inclosed and very lofty. Each of them has three aisles in front resting on a base half-way down the Corinthian pillars which support them. The windows are of painted glass, as well as the rosettes in the other part of the church. The cross, the instruments of the passion, and the tables of stone, are carved on the top of the pulpit. Amongst the pictures are copies of Rubens's " Descent from the Cross," and of the " Madonna and Child," by Van dyck, in the Stafford Gallery, with the addition of Joseph in a brown cloak and two angels above holding a crown over the child's head. A copy of " La belle Jardiniere" is rather disfigured by the variations from the original ; the Virgin's dress is of muslin over blue silk. She is crowned with white roses and has a pro fusion of flowers in her hand. The child is scarcely visible from the quantity of flowers with which it is loaded. August \$th. — Wishing to see the entrance to the canal of Saint Quentin, we hired a covered char-a-banc; but, after seating ourselves in it, found the fumes of the garlic, with which the coachman had impregnated himself, so powerful, that Ellen gave up the excursion and alighted. Her departure altered the equilibrium of the vehicle, and the driver said to the servant who sat by him, " Si monsieur voulait bien se mettre a. cote' de madame." " Non, non," he replied. «' Mais ayez IN ITALY. 17 cette complaisance." The dispute lasted some time, and as one would not, and the other could not yield, I was obliged to promise to sit in the middle to pacify the driver. He was very communicative, and told me he was going next day fifteen leagues' distance to Notre Dame de Liers, and that the miracles she wrought were wonderful. A girl who was about fifteen, and had no inclination to eat or drink, went a pilgrimage to the shrine, and, on returning from it, at the last station, felt her appetite return, and said to her father, " Mon pere,jemangerai tout ce que tu voudras me donner." They turned back immediately to return thanks to the image. An officer who lost his leg at the siege of Antwerp made a vow to the Virgin of Liers that he would make her some great present if he were cured. He went to the shrine on crutches, and returned only needing the support of a cane, which he considered as complete recovery. A Cossack, when the Russians invaded Paris, wanted to go into the church on horseback ; the horse threw him on the pavement and he broke his skull, but the horse was uninjured. " C'etait un animal qui ne faisait que ce qu'on l'obligeait a. faire. II y a des gens qui ne veu lent pas croire aux miracles, mais, ma foi, quand on voit de pareilles choses on ne peut pas faire autrement aussi j'y crois fermement." We drove back on the road we had come nearly to Billecourt. The canal passes under the hill on which it is si tuated, and continues a league and a quarter in a straight line under ground. When the sun is bright, a little spot of white may be seen at the opposite end. The tunnel 18 JOURNAL OF A TOUR is higher than that under the Thames ; it is arched with brick, and the masonry extremely neat. The effect at the entrance is very pretty, but on advancing along the broad pavement at the sides of the water it is so dark as to require a lantern. It was Sunday, and some barges were moored here waiting till next morning for admittance through the tunnel. The hill of Billecourt is planted with acacias, and the church and town would make a pretty subject for a drawing. The canal is conducted most of the way from Saint Quentin through a deep-wooded dell. On my return I saw some Eng lishmen playing at cricket on one of the boulevards which surround the town. These boulevards are planted and afford nice walks. IN ITALY. 19 CHAPTER II. August \9th. — After leaving Saint Quentin, we passed through an ugly country to Roupy and Ham, a small town, where we stopped, and walked round the ci tadel. It has three towers, and the terrace was pointed out to us on which Prince Polignac and his com panions are allowed to walk from eleven to one every day. M. de Chanteleuze makes no use of this liberty, but always remains in his room. Madame de Polignac inhabits a small house in the town, and spends the day with her husband. Near the prison there is a piece of ground planted with avenues. Fruit-trees border the road from hence, and we saw some woods on the left. Guiscard was the next post, after which we ascended a hill. Noyon is a place of some size, with a rampart, on which is a walk. There is a market place and a large church, which is a conspicuous object on approaching the town. Soon after leaving it, we saw a chateau on an eminence on the left, which was once a convent, and some more houses as we approached Ribecourt, where the country grew pret tier. On our left was a fine garden and a stone wall, 20 JOURNAL OF A TOUR and a grating like that at the Tuileries. A broad road, bordered by an avenue of fine trees, leads to Compiegne, where, after crossing a bridge over the Oise, we proceeded to ihe Barillet, which we found, as we had done on our former visit, a very comfortable inn. The palace was our first object. It stands on an elevation overlooking the river, and is a magnificent stone edifice in the form of the palace at Stutgard, with two wings projecting forwards, and connected by a colonnade in front, forming a square court in the interior. The wings are built round hollow oblong courts ; the garden - front is particularly handsome, and, on the terrace before it, was abundance of orange-trees and pomegranates. Some idea of the size of the palace may be formed from its containing twelve hundred lits de maitres. It was here that Napoleon came with his court to receive his bride Maria Louisa, and the King and Queen of the Bel gians also were united in the chapel. There is a copy in it of the " Holy Family," by Raphael, in the studii, at Naples. We ascended by a noble staircase to the principal apartments. The Salle des Gardes du Corps is long and lofty, and ornamented by bas-reliefs in stucco. Four tables, with views of Versailles, Fon- tainbleau, Marly, and Saint Germain, are inlaid in marquetterie by Andrieux Debenson in 1736. Gobelin tapestry, designed after the " Mass " of Bolsena, and other works of Raphael in the Vatican, covers the walls of one room, and many others are hung with pictures. The following struck me as the most re markable. A large composition by Mignard repre- IN ITALY. 21 sents Neptune in his car, drawn by four spirited white horses, and his train of Tritons and Nereids, offering a crown to an effigy of Louis the.Fifteenth, painted in the centre of a sun on a banner carried by a figure of Fame. Coral shells, and all kinds of maritime productions, are scattered on the ground in great profusion. The " Four Seasons," prettily painted in the style of Watteau. Four views of Venice by Canaletto. " La R6ve du Bonheur," by Mayer, is a pretty, poetic composition. A woman asleep, with a child in her arms, reclining on a man behind her, are in a boat steered by Venus and Cupid. There is a tree and a mountain in the background. A rocky scene, in which a centaur is presenting to his female companion a lion he has killed. Two young centaurs, one of whom is covered by a leopard skin, are near them. The picture is by Tardieu. " Phocion preparing to swallow Hemlock," seated, with two figures by him, by Robert Le Fevre. One room is hung with a suite of pictures by Coypel, taken from Don Quixote. A portrait of Erasmus. A copy of the portrait of Raphael and his fencing-master in the Louvre. Several ceilings are painted by Girodet. That ofthe ball-room is arched, and has four allegorical subjects in richly gilt com partments, surrounded by arabesques relative to Napoleon's Russian campaign. When Blucher occu pied the palace, the names were effaced lest he should have had the paintings destroyed, but that of Jena was still perceptible. The ball-room is very handsome. Down the sides are fluted Corinthian pillars, which support a frieze all 22 JOURNAL OF A TOUR richly gilt. A profusion of lustres hang from the ceiling, and there are large mirrors at each end ofthe room. There are two antique statues of Minerva and Diana. That of Minerva is of alabaster, her helmet and the owl in her left hand are gilt. The Diana is of black marble, with a tunic of alabaster. She is drawing her bow. Small copies in marble of the " Moses " of Michael Angelo, of the " Niobe and her Daughter," and of the group of " Papirius and his Mother," and several fine vases of Seve porcelain are placed in the apartments. Many of the sofas and chairs are covered with Beauvais tapestry, illustrating La Fontaine's Fables. During the reign of Louis the Eighteenth, Monsieur, the Duchesse de Berry, the Due de Bordeaux, and the Dukes of Orleans and Bourbon, had apartments in the palace, which they were at liberty to inhabit at any time of the year. That occupied by Monsieur was furnished with satin, on which the pattern was interwoven with gold. In his Salle de Bain were two statues ; all the furniture was of unpainted wood, and the chair-covers and curtains of nankin. The Salle de Bain of the Dauphiness was lined with mirrors reflecting in all directions. The gardens are extensive, and laid out with taste. A berceau walk, a mile and a half in length, reaching from the palace to the forest, was erected at an immense expense by Napoleon on his nuptials with Maria Louisa. It is sixteen feet high, the same in breadth, and winds so as to afford a great variety. We sometimes left it for other walks, and returned to it at particular points. The framework is IN ITALY. 23 of iron, and filled up with wooden trellis, over which creepers are trained. The variety of green and red leaves had a very gay appearance. Dahlias and other flowers grow plentifully, and are supplied from au adjoining nursery. Statuts are placed in different parts of the gardens, which are surrounded by the forest. Many straight alleys are cut through it, where the princes stand, and have the game driven across for them to shoot. Charles the Tenth was very fond of this sport, and we were assured by our guide, " Que sa majeste n'etait pas content quand il n' avait pas tue" au moins quatre cent t6tes de gibier." The Suisse who walked round with us, kept repeating that he and his colleagues only shewed the gardens, " Mais qu'il y avait des garcons d' appartement qui faisaient voir le chateau." I conclude he thought his own the most dignified' office by the pompous tone in which he volunteered the information. Compiegne is a gay little town with some nice shops and a theatre. The market-place is large and the Hotel de Ville rather handsome. The streets are narrow. There are two churches, that of Saint Jaques is the principal ; it is of Gothic architecture and of large dimensions. High clustered pillars and Gothic arches divide the nave from the aisles. Over the arches are a row of dead Gothic windows, and a row of windows over these reach to the ceiling, which is of stone, arched in compartments. In front the choir is inclosed with iron grating, and at the sides by low marble pillars and Saxon arches. Above there is a Gothic gallery with two small coupled arches all round 24 JOURNAL OF A TOUR it, and over this a row of Gothic windows. The aisles meet behind the choir, and the lower part ofthe pillars are cased in wood. There are two large pictures which have a good deal of merit. The subject of one of them is " Louis the Eighteenth's Vow to the Virgin," in which are some pretty groups of monks and children. The other represents the Supper of Emmaus, and has been a little imitated from Paul Veronese. The church of Saint Antoine is large, but inferior in beauty to that of Saint Jaques. It is Gothic, and the nave and aisles are arched and divided by clustered pillars sup porting Gothic arches. The pillars inclosing the choir are higher than those of the nave. The aisles meet behind the choir, and there are small chapels at the back of it. The walls are whitewashed. We had a pleasant drive through the forest of Compiegne to Pierrefonds, an old ruined castle about nine miles distant. It is situated on an elevation above the village of the same name, and bears great marks of its former strength. The thickness of the walls exceeds what is generally seen in similar buildings. It reminded me a little ofthe views ofthe Bastille. The form was oblong, and it once had eight towers with a little turret attached to each. The masonry is beautiful. We ascended a wooden staircase made by Louis Philippe in one of the turrets from whence there is a fine view over a large piece of Mater near the village, and a range of wooded hills on the other side. We went through some of the subterranean passages ; they extend under the whole of the castle, but in parts are IN ITALY. 25 stopped up. In one of the dungeons there is a trap door down which those who were to be got rid of secretly were precipitated, and no trace of these victims of tyranny remained to attest the crime. The village church is neat, but a prettier object without than within, as it is irregular, and contains nothing remarkable. Several straight avenues meet and cross in different parts of the forest, and there are some open spaces ; but I did not see many fine trees. We met a number of peasants singing as they were returning home laden with wood. It was dusk when we set out on our return, and the twilight gave a de gree of solemn grandeur to the forest. We came in a cabriolet drawn by two horses, one harnessed between the shafts, the other outside. August 2Q)th. — Some troops encamped here were reviewed this morning by the Dukes of Orleans and Nemours. They are very popular ; people say, " Ils ne sont pas fiers ceux la, ils saluent tout le monde, et se promenent tout seuls dans la rue." At Lille the Due de Nemours delighted every body by saying, on enter ing a house where there were a number of children, " Mais c'est comme chez nous." We passed by the camp after leaving Compiegne, and drove through part ofthe forest. La Croix Saint Ouen is the first stage, and we went entirely through the forest. Between this and Villeneuve there is a high hill and some birch- wood ; and after this the coun try is open and bleak, with a little wood near Senlis. We lodged there au Grand Cerf. The town is strag gling, and many of the houses have large inclosed vol. i. c 26 journal of a tour gardens. The old ramparts are converted into planted walks. On the Hotel de Ville there is a bust of Henry the Fourth with the following lines under it : — " Mon heur a prins son commencement En la ville de Senlis Dont il s'est depuis seme Et augmente partout notre royaume." Many of the churches of Senlis have been sup pressed ; but the exteriors remain to ornament the town. The Cathedral has a very high steeple, carved and pointed. I went up 272 steps to the top of it, and had a very extensive view. Several forests are seen from thence. The church is Gothic, and the form a Latin cross. Low round pillars and Gothic arches divide the nave and aisles. From a gallery of open Gothic arches, which goes all round the church, the interior is well seen. Over this gallery there is a row of deep Gothic windows. There are two aisles on each side of the nave ; but the outward one is occu pied by chapels. The pillars of the choir are alter nately high and low; the former join the arches of the ceiling. Two aisles meet behind the choir. There are roses in the transepts. All the fleurs-de-lis have, been carefully effaced in the ornaments ofthe church; and the Suisse, who wore an old coat, on which they were embroidered, had orders from Paris to leave it off, in consequence of representations from Senlis. The road to Paris by Peronne joins that by St. Quentin at Senlis. August 22d.— From Senlis to La Chapelle we traversed a forest, and after this, to Louvres. The road IN ITALY. 27 is bordered by trees. Le Bourget is the last stage to Paris, where, on arriving, we drove to the Hotel de Castille ; but, finding it too full to accommodate us, we went to the Hotel Mirabeau, in the Rue de la Paix. Having limited our stay to ten days, we had full employment for every moment. We visited the Louvre, the Luxembourg, the Palace of the Palais Royal, the Musee d' Artillerie, the manufactures of Gobelin tapestry and Savonnerie carpets, the colours of which are most brilliant. At the Gobelins they were copying some of Rubens' s pictures of the His tory of Mary of Medicis. It requires fifteen years' practice to make a complete artist ; but the me chanical part is soon learned where it is a border or flat surface. About twelve or fifteen pictures were in hand. The Pantheon is no longer a church ; the altars have been removed; and on the front the in scription, "Aux grands hommes la patrie reconnais- sante," has been restored. In the subterranean vault we saw the tombs of Voltaire and Rousseau, which were not allowed to be shewn till the last revolution. A statue of Voltaire by Houdon, larger than life, is very inferior to that at the Theatre Frangais. The figure is standing, wrapped in a loose drapery, held up by the left hand, in which is a memorandum-book : a cravat is tied loosely round his throat. A hand, with a flambeau issuing from the tomb of Rousseau, denotes that he still continues to enlighten the world. There is an echo in parts ©f this vault. It only repeats once, but is very loud and distinct. 28 JOURNAL OF A TOUR The Archbishop's Palace, which was joined on one side to the cathedral of Notre Dame, was pulled down by the mob during the glorious days of July in 1830. The shops in the Palais Royal and the different passages and arcades abounded, as usual, in pretty nic-nacs ; but there is, if I may so express it, a mono tony of variety, which has always struck me in the Parisian shops. The same prints, trinkets, bronzes, ribands, &c. displayed in one street, are seen in the next, with only a trifling difference of arrangement. Amongst the exhibitions open were three Charucas savages, lately brought from America, where they are to return in a few months. They were in a garden. One of them, an old man, was lying sulkily on the steps of the door, and when addressed only spoke in monosyllables. He was wrapped in a skin, and wore a sort of fur cap. His companions were a man about nineteen, and his wife, whom he had married on the passage to Europe. She was four-and-twenty, and was sitting on a chair ; her dress was composed of skins, she wore a necklace, was bareheaded, and had two marks in stripes down the front of her nose. Her countenance was very good-humoured, and she laughed heartily at seeing her husband throwing sous into a tin mug, which he did not often succeed in doing, and frequently sat down as if fatigued. His hair was black and short, and his complexion ex tremely dark. He had black eyes and good teeth. A skin hung over his shoulders, and his arms were bare. He both understood and spoke the Spanish language, and amused himself with tracing prints. IN ITALY. 29 At the Diorama we saw three beautiful views. One was of the valley of Chamouny, with a Swiss farm-house, glaciers, and a sprinkling of snow over the country. The foreground is modelled, and the back painted, which adds considerably to the illusion. A moonlight scene in the Black Forest, where a lady and her squire were murdered by banditti, the pines, a rustic bridge over a torrent, and the strong contrast of light and shade, were most ably repre sented. The subject of the third painting was Napoleon's tomb at St. Helena. A willow waves over the grave, which is encircled by an iron grating ; there is a little spring of water near the spot, which the Emperor himself chose for his resting-place. A ship is seen at a distance on the sea which bounds the horizon. A panorama of Algiers gave a perfect idea of the town, which reminded me, in its effect, and the colour of the sea, of Alicant. All the houses have flat roofs, and aloes were growing in the gar dens. A circular table, called la table des marechaux, given by Napoleon to the town of Paris, is beautifully painted on Seve porcelaine, by Isabey. A full-length of Napoleon in his robes is in the centre, and all round are portraits, in medallions, of the marshals. The gilding in which they are set is in good taste, but I did not admire the stand. The table was for sale. The Baron Alibert invited us one day to his house. We went at two o'clock, and found a party of beaux esprits collected ; one of them, of the name of Fabry Garot, sang three pretty songs of his own composition, — " La Sentinelle," " Sermons d'Amour," 30 JOURNAL OF A TOUR and « I'lncertitude." He had a very fine voice, but was a hideous -looking person, and I was ready to laugh when he sang, " Je crois que je suis amoureux." A Madame Saint Severin, who writes little nouvelles, and has a good deal of pretension ; an old M. de Selincourt, who has written a book which Alibert said was not a revenez y; two ladies, another old gentleman, and a young physician, completed the party. There were several pretty birds here, and a land-tortoise was walking about the room. M. Ali bert told us a droll story of M. Dubois, the famous surgeon. He has been married four times, and has had children by all his wives. One of his daughters gave her husband reason to be dissatisfied with her conduct, and he complained to Dubois, who said, " Etes-vous fou de faire du train pour pareille baga telle. Cela m'est arrive" quatre fois puisque j'ai eu quatre femmes, allez soyez raisonable. Vraiment vous n'£tes pas propre a £tre marie. C'est le sort de tout le monde." The son-in-law was not con vinced by these arguments, and insisted on a sepa ration, although by this step he proved himself un homme qui ne savait pas vivre. At the Opera we saw Robert le Diable, which, in parts, reminded me of the Freyschutz. Le Vassehr, a large man, with an enormous throat, acted Robert. A little dancing was introduced, in which Madame Mon- tessu and Mile. Noblet were the best performers. The scenery was very showy. The theatre of the Porte Saint Martin, so celebrated for melodrames, had lately produced la Chambre Ardente, founded on the IN ITALY. 31 history of Madame de Brinvilliers, the celebrated poi soner. The play opens at the time she has taken her only daughter out of a convent, and laments having spent her dowry to satisfy the extravagance of the Che valier Saint Croix, who is the accomplice of her criminal art, she is congratulating herself on his being sent to the Bastille, when in he walks, and insists on further supplies. All her relations have been sacrificed, with the exception of an only brother, who is very rich, and expected to arrive that very day from the country. His doom is decided, and, as he will not eat supper, his sister attends him to his room at a neighbouring hotel, where he asks for some sugar and water, in which she infuses a poison which instantly kills him. The Chevalier insists on marrying Marie, the Mar- chionness's daughter, but she has such a horror of sacrificing her to him that she consents to give him one half of her brother's inheritance instead. The girl is in love with a young nobleman, who asks her hand, and is accepted ; but chance making him over hear the conversation of the Marchioness and Cheva lier, in which they own the murder of her brother, he withdraws his suit. The mother and daughter go to court, where they are told the young man is to marry a friend of Marie's, who laments his loss deeply. Her mother, on hearing the bride elect ask for some lemonade, offers her a glass, in which she drops poison, and is horrified on seeing she carries it into the ball-room. She fears it is for Marie, and screams, but in a few minutes it is announced Madame Henriette is in the agonies of death. The 32 JOURNAL OF A TOUR young nobleman, on witnessing her end, is going to denounce the Marchioness, but the Chevalier poisons him just as he is about to speak. However, the Marchioness is suspected and arrested, but contrives to make her escape into Flanders, and to hide herself in a convent, whence she is decoyed and brought back to Paris. Her daughter follows her, and pro mises to bring her a sealed packet when she is again admitted. A box of papers leaves no doubt as to Madame de Brinvilliers' guilt. She is condemned to be burnt, and as she is led to execution Marie ap pears, tells her she has swallowed the paper which contained poison, to prevent its being taken from her, and dies at her feet. The mother then ascends the pile, and the curtain drops. Mile. Georges acted this part admirably. She is grown very much fatter. This piece is full of horrible scenes ; but the daughter's character is interesting, for she never suspected her mother's guilt, and is devotedly attached to her. At the Theatre Francois we saw tliree pieces, viz., l'Acte de Naissance, a little piece where an elderly woman fancies a young man who pays attention to her daughter is in love with herself. She determines to marry him, but her daughter's guardian, who wants to obtain her hand, threatens to produce her register in a lawsuit which is pending. This decides her, and she allows her daughter to marry the young man, and bestows herself on the guardian. Moliere et ses Amis followed. It is a feast to celebrate his recovery, where all but himself get so tipsy, that they agree to drown themselves ; and it is only by persuading them IN ITALY. 33 to wait to do it in daylight that he prevents the accom plishment of their design, which is, of course, aban doned as soon as the fumes of the grape have evapo rated. Le Mari de ma Femme is very laughable. A young man, to obtain money from his uncle, has pre tended to have been married for some years, and to have a child, while, in fact, his friend has married the lady in question. The uncle suddenly announces his arrival at Paris, and the alarmed nephew is obliged to ask his friend to let him pass as the husband till he can find an opportunity of breaking the matter to his uncle, who appears ; and many ludicrous scenes occur from his insisting on the young couple being left very much alone, and locking them up together at night. The real husband is quite jealous, and the uncle fan cies him a lover, and scolds him for being treacherous to his friend. He proposes to take his nephew and niece to the country, and is actually going to carry them off, when the nephew confesses the deception ; and as an appointment of Secretary of Legation has just been offered for him, provided he is single, the uncle is reconciled, and all ends happily. Duparrai acts the uncle admirably. Les Deux Roses, a melo- drame founded on the wars of York and Lancaster, was the attraction to the theatre of the Ambigu Comique. The scenery was fine, and the dresses very rich. We had to go to the police to have our signalement taken, as, since the Duchess de Berry's disguises, the authori ties are more particular on this point. September 3d. — Soon after we had quitted Paris we saw a large building a little to the right. It re- c2 34 journal of a tour sembles the Tuileries, but has no dome ; on inquiry we found it was Bicetre. The road was very wide, bordered by young trees, and conducted through an open country. Several straight roads are seen in different directions. Villejuif was the first stage. The country improves after Fromenteau, andthe trees are of open growth. On the right there is a wooded bank, and on the left a river and woods. We passed several country-houses with pleasure-grounds and gardens ; and small towns were seen in the distance. Essonne, Penthierry, and Chailly, were the stages to Fontainbleau. From the last place the drive was almost entirely through the forest. It was dusk when we reached the Hotel des Isles Britanniques. The following day we went to see the Palace, a large but not fine structure of reddish stone, consisting of five separate corps de logis, with slated roofs like those of the Tuileries. The Gallerie de Diane is arched at the top ; a number of mythological subjects are painted in compartments in the ceiling. The floor is of oak, and the walls of grey scagliola with pilasters of the same, dividing spaces, in which are placed pictures exhibiting various events in the history of France. One of them, particularly well done, represents Henri IV. and the Capitaine Michaud. Madame Haude- court has painted a beautiful picture in which Fran cis' the First bends towards Diane de Poitiers, who kneels before him to implore her father's pardon. She is dressed in black, and her hair is light : three ladies are behind her. An arch in the back-ground IN ITALY. 35 discovers a garden where are a lady and gentleman. The state-bedroom is hung with embroidered silk, given by the town of Lyons to Napoleon. There is a boudoir very elegantly fitted up. The Salle du tr6ne is decorated with gilt ornaments on a gilt ground. There is a crystal lustre, with a large ball hanging from it, which cost 45,000 francs. The walls of Na poleon's room are hung with crimson bordered with gold. Underneath a round mahogany table is en graven on a brass plate, "Le cinq Avril 1814, Na poleon Bonaparte signa son abdication sur cette table dans le cabinet de travail du roi, le douxieme apres la chambre a coucher a Fontainbleau." The suite of rooms inhabited by Pius the Seventh when a prisoner here are hung with tapestry. There is a copy of la Vierge aux Fleurs. Francis the First's gallery is in the style of the palace at Cobourg decorated with stucco medallions, and the ceiling picked out with blue and white. The paintings on the walls are in fresco, and appear to be by Andrea Mantegna. The arms of Francis the First, his cipher, and the fleurs-de-lis, are in stucco. Henri Second's gallery is much wider than the other two. The ceiling is flat, in compart ments with deep divisions : the walls are painted in fresco and sadly defaced. There are five windows down each side, with Saxon arches over them like those seen in churches. On one side they look to a court, and on the other, over a large parterre full of chinaasters, in which is a round and a square basin set round with orange-trees. This gallery was built 36 JOURNAL OF A TOUR for Diane de Poitiers by Henri Second, and her cipher is carved in different parts of it. It is composed of three interwoven crescents surmounted by a crown. On one side of the palace there is a large pond, with a summerhouse in the middle, where Napoleon held conferences with his ministers, and a shrub bery with winding walks and some statues. The Mithras is of the number. The stables are a large building ; and there is also a riding-house. A long avenue leads from the pleasure-ground to the parterre before mentioned. Beyond this is the park which joins the forest, by which it is surrounded. Fon- tainbleau is well paved, and has wide streets. It is a dull place. The church is no way remarkable. A tablet commemorates the Pope's having said mass in it ; and there are copies of la Vierge aux Fleurs, and the Holy Family, by Raphael, at Naples. The cemetery is neat, and contains a number of tombs and crosses, and little parterres. I asked the sexton if any remarkable people were interred here. He said, " Oh, oui, plusieurs ; par exemple, le dernier Gou verneur de Versailles et quelques Anglais." September bth. — Our route lay through the forest, which is composed of small oaks. After we had passed its limits, the country was rather pretty, and planted with vines and walnut-trees. Many of the peasant women about here ride on asses. A broad road, bordered with poplars, continued through an open country to Fossard, Villeneuve, and Pont sur Yonne. The banks of the river are lined with poplars. It is of some width, and there is a IN ITALY. 37 bridge over it. We continued from hence to Sens, having a ridge of hills on the right. Here we lodged at l'Ecu, opposite the Cathedral, a large Gothic building. The nave and aisles are separated by Gothic arches and- round pillars, alternately coupled and clus tered. The latter reach to the ceiling, which is arched and divided into compartments. Over the arches of the nave there is a gallery of small Gothic arches, against a dead wall, and above a range of Gothic windows joining the roof. The aisles meet behind the choir, which is inclosed with stone and grating. In the transepts are two fine rosettes, and some windows with beautifully painted glass. The figures of the saints are large and distinct. I remarked in the number a Magdalen at the foot of the cross. The colours are most brilliant. In three windows the subjects are small ; and there is a good deal of red and blue in them, like that in the windows of the cathedral of Tours. There are chapels behind the choir and down the aisles. The pavement is of black and white marble. There is a piece of delicate stone carving against one of the pillars of the nave, composed of three Gothic canopies. The Virgin and child occupy the centre one, but the Saints under the others have been destroyed. The altar is very handsome; the canopy, and 'the capitals of four Corinthian pillars, of red variegated marble, which support it, are gilt. The martyrdom of Saint Savinus, the first bishop of Sens, is represented in stucco ; the figures are well mo delled, and relieved at the back by a yellow curtain, in beautiful folds, also of stucco. The eyes and hands 38 JOURNAL OF A TOUR of the saint are raised to heaven. He is held by a figure wearing a helmet ; and the executioner, with a drapery round his body, and his back turned to the spectator, is preparing to strike him with an axe. There is a small copy of the Saint Michael by Ra phael. A very fine monument, in the middle of the choir, was erected by Louis the Fifteenth to the Dauphin and Dauphiness, parents of Louis the Six teenth. Two urns of porphyry, with gilt handles, are placed in the tomb. Religion stands at the foot of it, in front ; she has a veil on her head, and a cross in her left hand, and is placing a crown of gilt stars over the urns. Immortality is by her side; she is crowned, and holds both ends of a scarf, in which are placed a looking-glass, a circle, a serpent, and a variety of attributes, uniting all the qualities and virtues the Dauphin possessed: she wears a tunic, and her right breast is bare. A weeping boy, in tended to personate the Genius of arts and sciences, which the Dauphin delighted in, is at her feet; he is measuring distances with a pair of compasses on a globe, and has by him a map, a music-book, and a bust chiselled to represent Sculpture. At the other end of the tomb is a fine muscular figure of Time, rest ing on ruins, and throwing his veil over the Dauphin's urn. A figure of a youth, representing Conjugal Love, holds a reversed torch, and gazes on a Cupid weeping over a broken garland of flowers. " Guillaume Couston, fils de Paris, 1777," is inscribed on the monument. It wants distance, and, in many points, is deficient in ex pression ; but as a whole it is a fine piece of sculpture, IN ITALY. 39 and the marble of which the figures are composed is of a pure white. The following are the inscriptions : — EPITAPHIUM AUGUSTORUM LUDOVICI DELPHINI FRANCIA, ET MARLS JOSEPHS E SAXONIA, ILLIS UXORIS AMANTISSIMJE. D. O. M. HIC JACET OPTIMUS PRINCEPS LUDOVICUS DELPHINUS, .ffiTATE FLORENTE ET SOLIO JAM MATURA, INTER VOTA PRECESQUE POPULORUM PRO SALUTE PRETIOSISSIMI CAPIUS, HEu! FRUSTRA SUPPLUANTIUM, MORTE INVIDA RAPTUS. LUGEAT GALLIA VIRUM PRINCIPEM, OMNIBUS NATURE DONIS ORNATUM, IN OMNI REGIS SORTIS SCIENTIA VERSATUM, PATRL2E AMANTISSIMUM, FILIUM PATRIS SUI AUGUSTI OBSERVANTISSIMUM, CONJUGEM FIDELEM, PATREM LIBEROS SUOS PR.SCEPTIS EX EXEMPLIS ASSEDUE INFORMANTEM ! LUGEAT RELIGIO VIRUM PRINCIPEM NOMINE ET OPERIBUS CHRISTIANUM, ILLIBATO MORUM SPLENDORE, A TENERIS CONSPICUUM, SUMMA ERGA DEUM PIETATE COMMENDABILEM, LEGIS divine; STUDIOSISSIMUM ! FIDE SECURUS, SPE FIRMUS, CARITATE ARDENS, MAGNO SPIRITU V1DIT ULTIMA, ET TERRENA DESPICIENS, AD STERNA TOTO ANIMO SUSPIRANS, Cnt it is of the third century. The bas-reliefs which I most admired were, Mer cury conducting Proserpine from the infernal regions : she is veiled, and sits in a car accompanied by Pluto, Cerberus is at her feet. The Separation of Medea and Jason : the flames raised by the sorceress are raging round Jason's second bride, and her aged father is bending over her in an attitude of despair. Philoc- tetes washing his wound ; a group of Amazons ; some ofthe Labours of Hercules, and Adventures of Venus. Two modern bas-reliefs are well executed ; one of the subjects is the Rape of Europa, who is surrounded by nymphs and Cupids leading the bull and encircling its horns with wreaths of flowers. The other compo sition is Bacchanalian, and represents five boys and a Satyr playing with a goat, on which one ofthe boys is mounted ; in the back-ground there is a tree with a vine creeping round it. Some antique sarcophagi with very fine bas-reliefs. A little way out ofthe town is the Palazzo del Te, so celebrated for the fresco paintings designed and exe cuted by Giulio Romano. It was originally a stud house, and was built in the form ofthe letter T, whence the name is derived ; but it is no longer applicable, the wings having been pulled down. The palace is of Doric architecture, and built round a court. In the first saloon are painted the portraits of six large horses, which once belonged to the stud ; over them are square medallions, in chiaroscuro, representing the Labours IN ITALY. 237 of Hercules. The history of Psyche is painted in me dallions on the ceiling of the next room ; on the walls are the Marriage of Cupid and Psyche, and a feast of Satyrs ; a table is spread with flowers and fruit, and attended by the Graces directed by Mercury, nymphs, Satyrs, and bacchantes. In other co.. partments, Mars and Venus are represented in a bath, and Mars at tempting to kill Adonis and withheld by Venus. The flesh is too much of a brick colour, as is the case in many of Giulio Romano's productions ; but there is great variety in the compositions and attitudes. The ceiling of the mythological and astronomical room is painted with the signs of the zodiac, and on the walls are beautiful small circular medallions, with a variety of subjects poetically treated — such as fishing, shooting, a fair, the capture of a marine monster, &c. The room to which Phaeton gives name is painted by Pri- maticcio and Briziano, and the episode of the fall of the rash charioteer is by Giulio Romano. Caesar's chamber is painted in fresco by Primaticcio, who has recorded, amongst many other noble actions of this hero, the burning of the letters found amongst the spoils of Pompey after his death. There is also a beautiful frieze, painted in grisaille on a gold ground, by Campi, representing children in various attitudes. The ceiling and walls of one of the rooms are en tirely decorated with stuccos ; the bas-reliefs repre senting the life and triumph of the Emperor Sigis mund, are finely executed by Primaticcio. The Sala de' Giganti is too small for the size of the figures painted on it, which require greater distance to 238 JOURNAL OF A TOUR be seen to advantage. Olympus occupies the ceiling, where Jupiter, surrounded by the other deities, is hurling thunder-bolts on the presumptuous giants. Venus presses close to Mars, as if in alarm ; the Hours arrest their car, and all the sylvan throng appear to share the general consternation. The giants are represented on the walls writhing in various postures, crushed under rocks and fragments of architecture. A shower of fire from heaven pours down upon them, and the agony on their countenances amounts almost to caricature. The figures are well drawn, and there is great force in the compositions, but the effect of the whole is not pleasing. A town in the back-ground shews the immense scale of proportion of the giants. The hall is painted with events in the history of David. The floors are of scagliola in mosaic patterns. A small summer-house in the garden called La Grotta, is painted by Giulio Romano in a most deli cate style, with arabesques, in which satyrs and goats are constantly introduced. There are also eleven medallions, painted by Giulio Romano and Prima ticcio, in which the life and labours of man are por trayed. The subjects, beginning with his birth, are treated with great elegance, and represent agricultural employments, a repast, repose, dancing, war, death, religion, decrepitude, the passage of the spirit to eternity, and posthumous fame. There is also a beau tiful triumph of Naiads. The Palace of the Favorita, about half a mile from the town, was built by one of the dukes of Mantua for his mistress,1 and is now inhabited by a IN ITALY. 239 farmer. It a handsome edifice with a grand double staircase, leading to the entrance, but now overgrown with plants and weeds. The rooms are lofty and spacious, but totally unfurnished. The Palace of the Marchese Colleredi in the town is in parts unroofed, and has an air of perfect desolation. The ceilings are painted by the scholars of Giulio Romano, and do credit to their talents. Amongst the subjects are the three Fates, the signs of the zodiac, and the portraits of eight dukes of Mantua. We were taken to see a collection of trash called a gallery of pictures in the Casa Susani, and only escaped being shewn it in detail by saying we would endeavour to call again. In 1816 we saw several collections of pictures at Mantua. That of the Marchese della Valle was very large, and a half-length of a saint by Domenico Feti, and a Venus, were really fine works of art. In a private house I saw a picture representing Adam and Eve with their two sons, said to be by Vandyck. Adam, a fine manly figure, was resting on his crook, little Abel held the hand of Eve, and Cain was looking up at her. The figures were the size of life. A painting of very large dimensions, by Giulio Romano, belonging to a convent of nuns, was stolen during the war, and the convent being suppressed, was not claimed, but remained in an out-house, where we saw it. The subject is Christ on the cross, with an angel on each side catching the blood which trickles from the hands and side. The Magdalen, in green 240 JOURNAL OF A TOUR drapery, with long auburn hair, is kissing his feet. The Mater Dolorosa and Saint John stand at the foot of the cross ; she is wrapped in a grey mantle, and his dress is green with a red drapery. The paint in some places was peeling off, but the faces were in good preservation. I inquired about this picture in 1833, but could learn nothing of it. The Cathedral designed by Giulio Romano is gloomy, and more to be admired for the details of the architecture than for the grandeur of the whole. Fluted Corinthian pillars of marble and Roman arches separate the nave and aisles. The ceiling of the nave is arched and gilt, and those of the aisles are flat with stucco ornaments. Two aisles on each of the sides ofthe nave, and chapels with domes down the sides of the church, have the effect of an additional aisle. There is a row of alternate windows and niches above the arches of the nave ; the niches contain statues, and are ornamented with stucco and gilding. Statues of saints and pictures are placed alternately over the altars of the chapels. The shades in one of the pictures ascribed to Guercino were so black I could not distinguish the beauties it was said to possess. The ceiling of the choir and those of the two transepts are arched in the Roman form, and painted in com partments enriched with a good deal of gilding. The dome is .painted with rows of angels and cherubim, and the figure of the Almighty in the centre. An octagon chapel beyond the transept is very much decorated with arabesques, and contains a large picture by Campi, the subject Christ calling Saint IN ITALY. 241 Peter and Saint Andrew. This painting has replaced one designed and partly executed by Giulio Romano which was taken to Paris. The church of San Andrea is larger than the cathedral, very lofty, and built in the form of a Latin cross. The ceiling of the nave is arched in the Ro man style; the pavement is of marble. There are very deep side chapels down the nave inclosed under high arches, in one of which is a bronze bust of Andrea Mantegna, who was a native of Mantua. The walls are painted in fresco, and very much orna mented with arabesques in grisaille, which decoration gives more the effect of a theatre than of a church. The dome is also painted, and has a row of windows round it. The crypt has a dome supported by eight marble pillars. Here, within a sarcophagus of gilt bronze, enclosed by a grating, is kept some of the earth on which Christ's blood was spilt. It was brought from Mount Calvary by the centurion Longinus, whose body is preserved in the church, and held in high veneration. L'invenzione del sacro sangue, as it is called, is the subject of one of the frescoes. Statues of Truth and Hope, by pupils of Canova, are placed at the sides of the sarcophagus. Some of the fresco decorations were painted by Campi. The dome of San Andrea is one of the principal features in the ex ternal views of Mantua. Passing one evening by this church, some beauti ful music attracted our attention. It was the bene diction, whence, as soon as it was over, the congrega tion adjourned to a small chapel dedicated to the VOL. I. m 242 journal of a tour Virgin. Every one knelt upon the pavement, and the scene, viewed by the light of a partial illumina tion, was solemn and impressive. The women wore black mantillas. During the month of May particu lar devotion is paid to the Virgin. The dome of the church of San Maurizio is also very high. The side chapels have domes, and a good deal of stucco has been employed in the embellish ment of this building. Many of the pictures have stucco frames, and scrolls round them. The Annunci ation is by Ludovico Caracci; the profile of the Virgin is very lovely, but the picture has suffered. The martyrdom of Saint Margaret is attributed by some to Annibal Caracci, by others, to his scholars. The saint is a very graceful figure, her arms are tied to a stake and raised above her head, her feet are bare. A lunette, in which Saint Francis is repre sented, is a very pleasing, well-coloured composition. Several monumental tablets on the walls of the church consecrate the memory of officers who fell in the battles of Austerlitz and Marengo. The interior of San Egidio's church is white washed and ornamented with stucco. It is only re markable for containing the remains of Bernardo Tassio, the father of Torquato, who died in 1559. The following inscription is engraved on a stone in the middle of the church : — D. O. M. POET.B EEUDITISSIMI BEBNABDT TASSI VIBTUTUM SPLENDOBE HEBOIS IN ITALY. 243 PBJECLABISSIMI OSSA QUOD TEMPOEIS IMPBOBITATE MEMOBL3B CESSI HOC DJ LAPIDE BECTOE ^GIDIANUS SCULPSIT. A.D. MDCXCVI. The church of Saint Barnabas is whitewashed and decorated with stucco. The great altar is of pietre dure, beautifully inlaid with the figure of a saint and flowers, and the altar-piece is a copy after Coreggio, but I do not know where the original, is. The Virgin is sitting on a throne, holding the naked child on her lap : one of her feet is bare. Saint Mark and Saint Barnabas stand at the foot of the throne, one in green with a red mantle, and the other in yellow with a blue mantle : the altars down the sides are under arches. On one of them there is a copy of the San Giorgio of Coreggio. Giulio Ro mano was buried in- this church, but when it was repaired, the stone marking the precise spot was displaced. The house this great painter built and inha bited is not far distant ; the front is pretty, and over it is placed an antique statue brought by him from Rome. At the Theatre we saw a romantic melodrama entitled I Cavalieri del Giglio, which seems a sort of institution like the secret tribunal. The scenery and dresses were magnificent, but more might have been made ofthe subject. One ofthe Knights ofthe Lily imprisons an old duke, spreads the report of his death, and sues for the hand of his daughter, who 244 JOURNAL OF A TOUR refuses her consent, and, to compel it, the knight allows her an interview with her father, and threatens to put him to death if she remain obdurate. The duke charges her not to yield merely to secure him a short extension of existence; and her lover, who discovers the crime, and is himself a Knight of the Lily, institutes an investigation, when the guilty knight is condemned to be exterminated. He is left in darkness, but an avenging hand comes and plants a dagger in his heart. This piece was followed by. I miei ultimi soldi, translated from the French. I prigionieri di Boston, a lively piece, was acted another night. The Piazza Virgiliana, which is spacious, was formerly a swamp which materially affected the salubrity of the town, until the French General Miollis, when governor of Mantua, had it drained, filled up, and planted: it is now the public pro menade. The form is circular, and a bust of Virgil, placed on a column, is erected to the memory of the poet. A small theatre, used in summer for daylight performances, has been lately built on this place. Marshes, abounding in reeds, surround Mantua, and the different branches of the Mincio nearly isolating it, add much to the . strength of the extensive fortifications. There is a large lake close to the town, over which the Ponte Mulino, a long bridge, is built. It is so called from a number of mills on it, which form, in some parts, pretty cascades. The town is seen from IN ITALY. 245 hence to great advantage ; its many steeples and the dome of San Andrea give it an air of grandeur. At the extremity of the bridge there is a considerable fort ; one of the gates was designed by Giulio Romano : the style is rather heavy. The Ponte San Giorgio is another handsome bridge. The streets are broad and well paved. The Contrada Pradella, one of the handsomest, widest, and longest, has arcades on both sides which continue along the market-place. The shops are excellent. The prosperity of the town has very much increased since 1816, when it had not recovered from the four months' blockade, and the population had suf fered severely from the conscription. It did not at that time exceed 24,000, and bread was nine English pence per pound, an extraordinary price for this country. There were then some state prisoners in the castle, officers arrested at Milan, of whom only four at a time were allowed to have communication with each other. They were supplied with books and every necessary, and attended by soldiers. The best view over the town is from the Torre della Gabbia, to whose summit I aseended 263 steps. The environs are too flat to afford any beauty of scenery but the quantity of water, the two bridges, and many steeples, form a varied and agreeable prospect. The town derives its name from an iron cage built about half-way up it, in which criminals were formerly imprisoned and left to perish of hunger. I passed through a most 246 journal of a tour desolate suite of rooms to get to the stairs of the tower ; the walls were covered with pictures, hardly distinguishable from the damp to which they have so long been exposed. The owner of the palace lives at Milan, and has removed from hence every thing of value. November Ibth. — On leaving Mantua we crossed the Ponte San Giorgio, and drove for four miles along a sandy road. We passed through the villages of Serravalle and Quatrelle. Willows and very high reeds grow abundantly in this part of the country, and the style of husbandry is the same as that described by Virgil. The oxen are particularly fine, some are white, others grey, and their horns are very wide and pointed. We saw numbers of little one- horse carriages. The female peasants, some ofwhom are very pretty, wear flowers in their hair, and there is a natural grace about all of them. We stopped at Ostilia, a large village near the Po, where the inn-keeper asked thirty francs for a night's lodging, and, contrary to usual custom, would make no abatement. He trusted, no doubt, to our not liking to cross the river as the evening was closing, but found himself mistaken, for we went over on a swinging bridge, and established ourselves for the night at Revere, a small town on the Po. The banks on both sides are flat and uninteresting. The inn was of a very homely description, and the waiter, who had evidently been indulging rather too freely in the juice of the grape, was very angry at our wanting three rooms for the accommodation of five IN ITALY. 247 people, and actually laid covers for ourselves and the servants at the same table. On his saying he had been married a week, I asked what was the name of his wife ; he replied he could not recollect, having had her so short a time, but at last exclaimed it was Ausanna. In the Church there were some tolerable pictures in rich frames and some fresco-paintings. Our road from Revere was along a dyke raised by the side of the Po, on which are several boats with mills. The banks resemble those of the Meuse, the willows still abounded, and the vines, hanging in festoons, re tained their leaves. The quantity of rain which fell during the day made the road heavy, and added to the cheerless appearance of the country. Le Stradelle is the last village in the Mantuan terri tory, and the Papal custom-house is at Staletta, where two additional horses were put to the carriage. Our vetturino would willingly have spun out another day on the road, and lodged us at an inn in a small hamlet, but on inquiry, said, " La locanda e troppo cattiva per lor signori," and we proceded to Ferrara, where we arrived an hour after dark. Le tre Corone, where we lodged, is a large inn, and seems to have been a Palazzo. Ferrara is a large town very thinly peopled ; and this circumstance, added to the great height of the houses, which are chiefly built of brick, with grating to the lower windows, and the foggy atmosphere pre valent at this season gave it a very gloomy appear ance. I was soon, however, totally absorbed by the 248 JOURNAL OF A TOUR interest attached to the recollections of Ariosto and Tasso, and few places have afforded me more gratifi cation than this now forlorn and deserted city. Our first visit was to the library, at the extremity of which the monument of Ariosto, originally in the church of San Benedetto, has been placed. The frieze is supported by four pillars of black and white marble, with white capitals. Under the centre, which is raised in a point, is a bust of Ariosto resting on a cherub, and the three following inscriptions under it. The second is by Guarini. D. O. M. Ludovicus Ariosta, Ter illi max. atq. ore omnium celeber Vati a Carolo V. Coes coronato Nobilitate generis atq. animi clara In reppu administran in regens populis In gravis : ad summ pont. legationib Prudentia, consilio eloquentia Praestantiss : Ludovicus Areostus pronepos nequid Domesticse pietati ad tanti viri Gloriam cumulan desuisse videri Possit magno patruo cujus ossa Hic vere condita sunt. P. C. Ann Sal CIOIOXLT. Vis Ann LIX. Obiit ann. Sal CIOIOXXXHI.: VILT idus. Junii. Notus et Hesperies jacet hic Areostus et Indes, Cui musa sternum Hetrusca dedit, Seu Satyram in vitias exasvit seu comica lusit, IN ITALY. 249 Seu cecinit grandi bella Ducesq. tuba Ter summus vates cui docti in vertue pindi Ter gemina licuit cingere fronde comas. Memorise Posterorum Cineres huic Patrise carrissimos ad D. Benedicti Perdui conditos atque intra Basilicse Ambitum honoris causa Bis traiectos hue tandem cum veteri monum. Omnis ordo municupum intulit ad. VII. id TV. maMDCCCI. The chair used by Ariosto is also kept here, and his inkstand, a little bronze vase, standing on three sphinxes, and surmounted by a figure of Silence. There was a medal with the profile of Ariosto, and on the reverse a serpent, and a hand holding a pair of scissors, with this motto, pro bono malum. The original manuscripts of Ariosto's satires are preserved here, and several others, in the handwriting of both Ariosto and Tasso. That of La Gerusalemme has commentaries, by Ariosto. The first copy of the Orlando Furioso was printed at Ferrara in 1516, and there are only three other copies of this edition besides that in the library. There is a pretty sonnet by the Abbate Girolamo baruffaldi, and eighteen volumes of Psalms, used at the Certosa, are very large, and have paintings on vellum. Four volumes ofthe Testament are illuminated with some lovely little Cupids and ornaments. In the library are several portraits of Ferrarese cardinals, amongst which are those of Ip- polito d'Este, the patron of Ariosto and of Bentivoglio, and a bust of Count Leopoldo Cicognara, who was a native of Ferrara. m2 250 JOURNAL OF A TOUR Ariosto's house, with a small garden behind it, was purchased by the municipality of Ferrara when Giro lamo Cicognara was podesta ; the house is kept in repair and regularly shewn. The following inscrip tions are placed on the front : — Sic Domus hsec Areostea, Propitios Deos habeat, Olim ut Pindarica. Parva sed apta«inde sed, Nulli obnoxia sed non, Sordida parta meo sed Tamen aere domus. Ariosto's study is on the first floor, it is paved with brick, and the glass of the casement is in circular divisions ; there is a chimney and a bust of the poet. Three rooms of an oblong shape are en suite. The prison where Tasso was confined is a large building, tenanted, as it was in his time, by persons bereft of reason. A low wide arched passage leads to the cell he inhabited. Over the entrance is the follow ing inscription : — Kispettate O posteri, La celebrita di questa stanza, dove Torquato Tasso, Infermo piu di tristezza che delirio, Detenuto dimoro anni vn. mese n. die, Scrisse versi e prosa, E fu rimesso in liberta, Ad istanza della citta di Bergamo, Nel giomo vi. Luglio mdlxxxvi. IN ITALY. 251 The cell is arched and has one grated window. On the walls are inscribed the names of many who have visited this spot. Those of Byron, Sam Rogers, Boicldieu, Casimir de la Vigne, Delphine Gay, are of the number. It is impossible not to feel indignation at Tasso having been treated as a maniac by that Alfonso, whose name would scarcely have outlived him had it not been consecrated in the bard's immortal verse. Truly may he be said " to live in history's curse." The Palace of the sovereigns of Ferrara is a fine old building of red brick ; it has four towers, and is surrounded by a moat, over which are bridges. The staircase, which is of brick, is a gradual slope, without steps. We were shewn a small room, the ceiling of which is prettily painted by Dosso Dossi, with a variety of Cupids, called II Gabinetto d' Adulterio, Alfonso d'Este having detected his wife's intrigue with his son from the reflection of the window in a mirror in the hall. The guilty pair were both executed in the court-yard ofthe palace, which seems to have been a fatal abode to lovers. In another room Tasso was discovered by the duke embracing his sister, the Princess Eleonora, for which offence he was imprisoned; it was in the same room the Gerusalemme was begun, and twelve episodes in it are painted round the upper part of the walls. One of the saloons has a coved ceiling painted in fresco, whether by Titian or Dosso Dossi, is a dis puted point. The subjects are Aurora and Night, and a frieze of Cupids. The ceiling of another long saloon 252 JOURNAL OF A TOUR is also coved, and has compartments, in which are naked Cupids at play, painted by Dossi. They are much admired, and called " I nudi di Dossi." The paper on the walls is of the commonest sort, with views of Naples stamped on it. The Pope's legate lives in this suite of apartments, which is comfortably car peted. The private Ducal chapel opens on a little terrace, planted with orange-trees, and inclosed within a court. Three frescoes, by Titian, in the chapel, are sadly in jured by damp. The subjects are Bacchanalian groups ; a Cupid, on a panther, is very beautiful. The Commune occupies part of the Ducal palace, and contains some fine pictures. Christ's agony in the garden, by Garrofalo, is coloured in his richest manner. Christ, in a red drapery, is kneeling with his hands raised towards an angel, who flies down to him with a cup, and resembles a Cupid. In the lower part of the composition the three disciples are repre sented asleep. Saint John, clad in green, with a red drapery, is a lovely figure, of rather a feminine cast ; his hands support his head. Saint Peter's foot is beautifully painted ; he is clad in orange, with a blue scarf. A rich green landscape with a town, a hill, and soldiers in the distance, forms the back-ground. Twelve half-length figures of the Apostles are also by Garrofalo. The Casa Contarini contains a very large collec tion of pictures, including several of the very old school, and also some fine specimens of the Ferrarese. Two separate figures kneeling, by Scarsellino, of Santa IN ITALY. 253 Apollonia and Santa Lucia, with draperies, are very graceful. An angel and a virgin, each painted on a circular canvass, hy Garrofalo, are beautiful half figures, and a naked child carrying a red cross, and surrounded by cherubim, is also by this charming painter : it is a circular picture. Ortolano's works so much resemble those of Gar rofalo in composition, that though the colouring is not so brilliant, they are often sold under the name of Garrofalo, who was twenty years posterior. Here is a charming picture by Ortolano, representing the Ma donna, a very graceful figure, standing, looking down on Saint Anthony of Padua, who holds the infant Christ, and carries a lily in his hand ; there are three other saints. The figures are placed under an arch. In another composition Ortolano has painted the Virgin, Joseph, and two shepherds, kneeling before the naked child, who is laid on the ground. The scene is a grotto, two angels with banners stand at the sides of it and look up to a glory of angels and saints. On each side of the picture there are nine divisions of clouds, each containing three angels. A group of five -boys, by Dossi, two of whom car rying a third, is gracefully composed. The creation, with episodes, is by Ercole Grande, a scholar of Lorenzo Costa. Eve pulled out of Adam's side; Adam and Eve driven out of Paradise, Cain and Abel, &c, are amongst the subjects. A Christ on the cross, by Venusti, is similar to ours, but the two figures at the sides are omitted. The most celebrated of the Ferrarese painters are 254 JOURNAL OF A TOUR Garrofalo, Bononi, Ortolano, Scarsellino, Mazzolino, and Dosso Dossi. They excel in rich colouring and draperies, and their style has an affinity to the Venetian school. The Seminario is a large edifice built round a hol low court. The ceiling of a small room in it is painted by Garrofalo. There are four lovely heads in com partments and a frieze of Cupids and Satyrs. The Cathedral is very lofty. A Madonna under an arch and some bas-reliefs decorate the front, and the pillars before it rest on lions of red marble and on grotesque figures ; one of them is humpbacked, and another has his legs crossed. Two of the pillars are detached from the rest. The lions are eight in number. The interior ofthe church is of Grecian architecture. The aisles are divided from the nave by a succession of coupled arches, with a portion of solid wall between them. Within each arch two saints in niches are placed face to face. Down the sides of the church are open chapels, with handsome altars and marble pillars, and within the chapels on each side there is a statue in a niche. The ceiling and walls of the nave are whitewashed ; that of the choir, painted by Berti- nelli, is a copy, but not an exact one, of Michael Angelo's Last Judgment ; a good deal of stucco or naments the end of the choir. Three rows of oaken stalls are inlaid with representations of chairs, tables, cups, &c. Over one of the altars is placed a bronze crucifix, with four saints of the same metal at the foot ; the figure of Saint Michael is very spirited. A IN ITALY. 255 figure of Christ, with a glory of angels, richly gilt, resting on gilded clouds, hangs before a chapel, and lamps are kept burning before it. In the Annunciation, by Garrofalo, the Virgin is very lovely ; she is kneeling, dressed in red, and has a blue mantle. The vase for holy water at the end of the church is supported by two angels, sculptured in Carrara marble. The damp of the weather caused it to ooze very much. The church of San Francesco, in the form of a Latin cross, is large, and the nave and aisles are di vided by round pillars, with capitals and Roman arches. The nave is arched, and the aisles lighted by small domes. The chapels down the sides are entered under arches, and contain some fine pictures by Garrofalo ; one of them represents the Madonna kneeling before the child, which is naked and laid on the ground ; she is dressed in red with a white veil, her arms folded on her breast; Joseph stands by her. The scene is a landscape. The group of the Madonna and child is like that in the magnificent Garrofalo at Dresden. The Murder of the Innocents is a good picture, and there is a beautiful fresco also by Garrofalo ; the subject, Christ betrayed by Judas, who embraces him ; they are surrounded by figures carrying torches, one of whom is in armour. The draperies are very fine. A dark swarthy Madonna and child is attributed to Saint Luke. All the pictures in this church are ill lighted, and perishing from damp and want of varnish. In the centre of the building there is a very distinct echo, 256 JOURNAL OF A TOUR which repeats a number of times. Amongst the mo numents, that of the Marchese Villa is on a large scale. The nave and aisles of the church of San Andrea are formed by square pillars and high Roman arches. Down the sides are nine chapels containing pictures ; one of the subjects is the Madonna on her throne surrounded by saints ; the lights are strong, and the shades rather black. The altar-piece is by Dosso Dossi. In the refectory there is a celebrated fresco by Garrofalo, representing a very large allegorical com position,, embodying the Old and New Testaments. Christ is on the cross ; a female, like those Garrofalo always introduces, is seated on an ox, and has a glove in her hand. Justice, holding her sword and blindfolded, is riding on an ass. In the lower part of the painting are the Jewish high-priest and his attendants. The large convent of San Benedetto is now used as a barrack, and the refectory is the anteroom to the stable. The ceiling, painted by Dossi, represents Para dise, where the centre is occupied by the Almighty, Christ, the dove, and the Virgin ; Saint Peter is on the left of the Creator. Lower down, Ariosto is seen dressed in green drapery between two saints, one of whom is Saint Sebastian ; he has a pleasant counte nance and black hair. It is said he begged Dossi to give him a place in his Paradise as he should not gain admittance to the other. On the right there are glories of little angels, a choir of martyrs and Virgins ; and on the left an assemblage of saints. There are three IN ITALY. 257 courts with arcades ; the pillars which support them are Corinthian, and the arches Roman. The adjoining church, in the form of a Latin cross, is spacious and lofty, and the architecture Grecian ; the ceilings of the nave and transepts are painted in compartments, and arched. There are pictures in the side chapels. Saint Mark, by Cremonese, is a fine figure, with a bald head and expressive countenance, one of his legs is bare ; he is writing, holds his pen in one hand, and turns over a book with the other ; the books are beautifully painted. Ariosto's tomb, originally placed in this church, was transferred to the library, in the time of the revolution. The church of San Domenico only consists of a nave, the architecture is Grecian. A picture of Christ fainting under the weight of the cross is by Garrofalo, and some of the figures are very pretty, particularly one of the three Marys bending over him, and an other with a turban in the style of that of Joan of Naples, painted by Leonardi da Vinci. Santa Maria della Rosa is built in the same style as San Domenico. I admired in it a beautiful group of figures, as large as life, well modelled and coloured, consisting of a dead Christ, two kneeling figures and five standing. Santa Veronica is' amongst the latter, and the sudario she carries is broken. The church of i Teatini is lofty, and of Grecian architecture ; the nave is very wide in proportion to the aisles, and there is a narrow passage through the side chapels, which may also be considered an aisle ; the church has a stucco frieze round the interior, and 258 JOURNAL OF A TOUR is ornamented by pilasters. A picture, by Guercino, represents the high-priest receiving the infant Christ from the arms of the Virgin, Joseph is behind, and two angels above raise a red curtain ; amongst the accessories are two pigeons. In the church of Santo Spirito, which is wide and spacious, and divided into a nave and two aisles, there is a copy of the Pieta. di Caravaggio, in the Vatican. The church of San Giorgio, situated beyond the Porta Romana, is of Grecian architecture, and on its walls, the history of San Benedetto is beautifully painted in fresco ; the figures and draperies of the monks are very fine. The ceiling of the choir, and figures of saints down the side of the nave, are also painted in fresco. The arched picture of the Ador ation ofthe Magi is by Garrofalo. The frames ofthe pictures are richly carved and gilt. There is nothing to remark in the church of Santa Francesca. Large papers are stuck over the churches here, on which are painted, " Pregate per l'anima di Carolina Moranni," or " di Giovanni Albertini," or whatever name was borne by the deceased, and also their coat of arms. Ferrara is a dull town, scarcely a carriage is seen in the streets ; the Strada della Giovecca is the hand somest in the place. The Palazzo Roveredo, a curious old red brick building, joins the lunatic asylum, where Tasso was confined. The Palazzo Villa, belonging to the family of that name, is si tuated at the corner of a street. It is built of stones IN ITALY. 259 cut with four smooth sides sloping up to the middle and meeting in a point. Arabesques deli cately carved in bas-relief ornament the walls of this beautiful edifice. The Piazza Ariostea is a large square, on which a statue of Ariosto on a pedestal has just been placed. The scaffolding round it prevented the effect being seen. The men wear cloaks tied with blue and red, and stare very much, as if they were little accustomed to see strangers. The Theatre is large, and carriages drive up to it under cover. There are four tier of boxes, one of them fitted up with blue, and another with yellow curtains. The drop-scene represents some knights by the side of a fountain, an episode taken from Ariosto. There was no opera during our stay, but La Straniera, a play founded on d'Arlincourt's novel, was very well performed, and the actress who per sonated the heroine of the piece was very graceful in her movements. The scene where she rows the boat, wrapped in a white veil, would have made a pretty picture. Niente di Male, a stupid comedy, and l' Astro- logo per gormandizia, composed another evening's entertainment. The latter is an amusing farce, the plot very simple. A valuable ring has been stolen from a lady, and a man, who is ait a loss how to pro cure a meal, promises to discover the culprit, on con dition three good dinners are previously provided for him. A different servant waits on him at each repast, and they hear him exclaim, when concluded, " Thank 260 JOURNAL OF A TOUR God, there is one ;" "There is a second ;" and, " Here is the third." These words apply to the dinners, but the servants, who have purloined the ring, imagine they are detected, and confess their guilt to the astro loger, who promises not to betray them, and gains great credit by restoring the lost jewel to its owner. Count Cicognara, to preserve the noble edifice of the Certosa, had it converted into the Campo Santo, for which purpose it was admirably adapted. Under the arcades of a large square, built round an open court, a great number of monuments are placed against the walls. One by Canova, to the memory of Varano, erected by his wife, consists of an urn on a pedestal, near to which a female figure is standing ; her hair is dressed low, her right arm hangs down. A long veil falls on her left shoulder, and partly covers the pedestal, on which she rests her elbow. A Genius reposes his right arm on the pedestal, and leans with his left on a reversed torch ; his left leg is beautiful. This monument is sadly disfigured by the many black veins in the marble, and owing to the damp of the weather, water poured in streams from it, which will I fear, in time, injure its highly polished surface. A bas-relief profile in a round medallion, also by Canova, is the portrait of Carolotta Masi nata Mas- sari, her hair is plaited, and a veil partly covers the back of her head. The monument of Trentini, a bas-relief by Bar uzzi, loses much of its effect by the marble of which it is composed being of a grey cast and very much veined. The composition is a bust on a pedestal, on which is a IN ITALY. 261 coat of arms ; a wreath of flowers hangs round the pedestal. History, a graceful female figure, kneeling, writes on the tomb, and a Genius is sitting, holding a reversed torch in his right hand, and a cornucopia in his left. A bas-relief, by Lombardi of Ferrara, represents the Virgin seated in a chair, placed on a throne, holding the naked child on her lap. On one side Saint George, in finely wrought armour, is standing, and on the other, Duke Alfonso d'Este, also in armour, is kneeling. There is a monument to Onofrio Manzoni, the poet, and several to the Cicognara family. One by Trentanove is prettily composed. A father is con ducting his four children to visit the tomb of their mother, on which a Genius is leaning with his elbow, and holds a reversed torch in his left hand. A skeleton is painted over a gravestone, on which are the following lines : — Sol per costei han fin le umane pene Sol per essa si giunge.al sommo bene, Giuseppe Pascasio Appian di Sienna Maestro delle scuole pie Vivente Si elesse questo soggiorno di pace nelT anno 1828 E venne ad arbitare li . . . . Antonio Torchino, the architect, who built the Theatre, is also entombed here. He died in 1815. The chapel has four lunettes, on which the most eminent literary characters of Italy are painted in 262 JOURNAL OF A TOUR groups : Garrofalo with the painters, Ariosto with the poets, and Branchini with the mathematicians. The bodies of men, women, and children, are all classed and placed in separate divisions : a second square is building in the same style as the first. The pillars supporting tbe arcades are all of marble. The Church attached to the Campo Santo is in the form of a Greek cross, and has side chapels, entered under lofty arches. There is a copy of the Holy Family, with the retreating figure of Joseph, in the Stafford collection, and an Adoration of the Magi in the style of that in our possession, by Baldassar Peruzzi. The village of Ponte Lago scuro on the Po is four miles distant from Ferrara. There is a ferry over the river, which is broad at this place, and a small port, where persons going to Venice by water embark. The narrow streets of the village are thinly peopled, and the inhabitants seem very poor. We went there on a Sunday, and they were all assembled on the port. A man, who answered a question we put to him in consequence of his mixing in conversation with our laquais de place, asked for " la mancia." The drive from Ferrara was between ditches bordered by pollards. The peasants wear hoods like the cowls of monks. We left Ferrara on the 19th of November by the Porta del Reno. The road was along a dyke, through a swampy country intersected with dykes and abound ing in reeds, which are used for covering the roofs of the huts. There are some vines, but they have not IN ITALY. 263 that luxuriant appearance so general in Italy. After crossing the Reno, a rapid river, we baited at II Te, a single house, which seemed a good inn, situated near a hamlet. As we approached Bologna the country visibly improved; the trees, vines, and villages, had a more cheerful appearance, and the distant Appe- nines formed a beautiful back-ground. We stopped at the Pellegrino, but not finding the best rooms dis engaged, went on to the San Marco, where we esta bhshed ourselves. Bologna is a handsome, well-built town, with broad streets, most of which have a row of wide flagged arcades on each side, which gives a generally gloomy appearance, but affords to pedestrians equal shelter from rain or sun, and is probably the cause of fewer carriages being seen at Bologna than in most Italian cities. The houses are large, and many have gar dens; the style of architecture is, in general, more re markable for solidity than elegance, but there is great uniformity throughout the streets, and the market-place, though not of a regular form, is large and ornamented by a fine statue of Neptune, in bronze, by Giam- bologna. The figure is standing, his right foot resting on a dolphin ; in his right hand he holds the trident, and his left arm is extended. A great number of churches have been suppressed, but there are still enough for the ornament of the town : one of Gothic architecture is used as a custom-house. There are few finer collections of pictures than that in the Pinacotheca, which are principally of the Bolognese school, and having been collected from the 264 JOURNAL OF A TOUR different suppressed churches and convents, all their subjects are sacred. Those I prefer are the following : — Guercino. — San Bruno and a young monk kneel ing are both habited in white. The former is a most graceful figure, with his hands, which are admirably drawn, crossed on his breast, and a mitre and crosier lie at his feet ; near him are a crucifix, a skull, and a book. The scene is a landscape, with a rock in the fore-ground. The Madonna, with the child on her lap, is in the skies ; she is in red, with a blue mantle and a straw-coloured veil. An angel, hovering over San Bruno, is clad in orange and brown drapery. Another angel, with his back turned, has a pale blue drapery, and a third, below the Virgin, a green scarf. The light falls on San Bruno, and the effect of the picture is more brilliant than what is usually seen in the works of this master. The Creator, holding the globe, by Guercino, is a fine study. A half-length figure of Saint John, in an oval frame, is also by Guercino. The Transfiguration, by Ludovico Caracci, has the grandeur of composition of Michael Angelo. Christ, raised in the air, is robed in white, with a blue and white shot scarf round him ; his right hand is raised, and his left points to the skies ; Moses and Elias, on each side of him, are wrapped, one in pale lilac, the other in pale green drapery ; below are three Apostles, one of whom, in yellow drapery, kneels on one knee ; another, sitting on the ground, is wrapped in a red mantle, which he raises with his left arm, and his right rests on the earth ; the third, standing with his IN ITALY. 265 legs bare, wears a blue dress, with a red yellow drapery ; his right arm shades his eyes from the blaze of light. The Communion of Saint Jerome, by Agostino Caracci. The saint kneels, his hands are pressed to his breast, and he is supported by a figure kneeling behind him. A priest, standing, offers the wafer, and a monk, in a white habit with a brown scapulary behind the priest, holds a book ; five heads are seen in the back-ground, and a figure in the corner is writing ; three figures, one of whom wears a turban, are behind the saint, and a skull lies at his feet. The scene is a chapel, the arches of which are supported by pillars, and a landscape is seen through the window ; two angels, borne on a cloud, are within the dome of the chapel. The colouring of the picture is rather dull, and in this, as well as expression, it is inferior to that of Domenichino of the same subject, but Agostino's was the first idea, and Domenichino improved upon it. The saint, in Agostino's composi tion, is on the left ; in Domenichino's, on the right of the picture. Guido' s works hold a very distinguished place in this gallery. One of the most beautiful is Samson, a very spirited, graceful figure, drinking out of the jawbone of the ass. He stands on his right leg, and with his left tramples on the body of the dead Philistine. Samson's left arm is akimbo, and supports a brown drapery round his body; his right, which holds the jawbone, is raised high, and his head thrown back as he drinks. Some dead bodies are strewed on the ground, and the sea VOL. i. n 266 JOURNAL OF A TOUR forms a dark blue line in the back-ground. The legs are a little in the attitude of those of the Neptune of Giambologna, which has one foot on a dolphin. The Massacre of the Innocents is a celebrated picture by Guido, who has treated this painful subject with un common skill, and several beautiful groups in it have often been copied separately. Two children are lying dead in the fore-ground, and their mother, with her hands clasped, kneels by them, with a look of fixed despair ; a little farther back, a mother is seen flying from the executioners with her child wrapped under her grey cloak; her passionate agony and the hope less calm of the already childless mother are admirably contrasted. One of the infants is crying, another clings to his mother's breast, and two little angels in the skies hold palms to bestow on the infant-martyrs. The ferocious countenances of the soldiers, and the rage with which they pursue their victims, are forcibly expressed. The picture is upright, and not very large, but there is no confusion in the composition. At the end of the gallery hangs an immense up right picture, by Guido, which fills the space from the top to the bottom of the wall, and contains two sepa rate compositions. In the upper part, a most graceful figure of Christ, is lying on the tomb. In the middle, the Virgin, in a grey dress, with a blue mantle, is looking up to heaven in despair: her hands are joined. On the right, an angel, with his hands crossed on his breast, is habited in green, with a red mantle : another lovely angel, on the left, is weeping ; he wears a yellow vest, red sleeves, and a green drapery. The IN ITALY. 267 lower part of the picture is occupied by saints and angels, with a model of the town of Bologna, the walls of which inclose it as if in a tray, in the middle. On one side, San Carlo Borommeo, kneeling, presses the cru cifix to his breast ; San Domenico, in black, is stand ing reading, and San Petronio, in bis episcopal robes, kneels, with his hands joined. Two lovely angels at his feet reminded me of those in Coreggio's Saint George, at Dresden. One of them holds a bunch of lilies in his left hand, and the saint's mitre, on which the other angel leans, in his right. On the other side, are Saint Francis, with his hands crossed on his breast, and Saint Procolo, in a cuirass, with a blue drapery round him ; he has fine black hair, and an expressive countenance; his left arm is akimbo, and a sword lies at his feet. A beautiful little angel, sitting, holds a hatchet, and looks up ; another, with a palm, is standing. This picture has great force and effect, and is in Guido's dark manner. The Crucifixion, by Guido. Christ is on the cross, which the kneeling Magdalen embraces ; the Virgin, dressed in blue, with an olive veil, stands on one side, and Saint John, in a red cloak, on the other: his hands are clasped, and he is looking up. The back ground and general colouring of this picture is dark, and has great effect. The Martyrdom of Saint Agnes is a most magni ficent work of Domenichino, but one cannot help lamenting he should have been employed on- so painful a subject. Saint Agnes, placed on a pile of wood in the centre of the picture, is dressed in white and 268 JOURNAL OF A TOUR yellow brocade, and a red mantle ; her feet are bare. The executioner holds the hair of the youthful martyr with his left hand, and plunges a dagger into her throat with his right : two figures are lying dead at her feet. On the right there is a lovely group, which has been often copied, and is particularly admired for the variety of expression in the countenances. A female, in a turban, with a child in her arms, kneels and clasps her hands with an expression of horror; her dress is yellow, and a blue drapery covers her knees, to which a boy is clinging. An old woman, in red, with green sleeves and a white head-dress, is gazing eagerly at the martyrdom, while a young girl, dressed in grey, with a handkerchief of the same colour on her head, shrinks from it and turns to the old woman. A warrior, and some other figures, are on the other side. In the back-ground there is a colonnade, and some spectators of the scene are on a balcony. Above, are the Almighty and Christ, the latter bends forward and gives a crown and palm to a flying angel, while a number of beautiful angels, playing on different instruments, form a hea venly group. The picture is upright, and of large dimensions. Opposite to it hangs an equally large composition, also by Domenichino, known under the title of the Mysteries of the Rosary. There is a beau tiful group of two lovely girls, looking up at the Ma donna, and two naked boys embracing each other, are coloured with the freshness of Rubens ; but the subject of the picture being mystical wants interest ; however, it is replete with admirable details, and so brilliant as IN ITALY. 269 to injure the effect of whatever is placed in its vicinity. The death of San Pietro Martire, by Domenichino, bears some resemblance to the celebrated picture of the same subject by Titian, at Venice, but I prefer the composition of the latter. Domenichino has repre sented the saint with his head downwards, which has always an unpleasant effect. The Saint Cecilia of Raphael is a magnificent pic ture, richly coloured ; the figure of Saint Paul is par ticularly graceful, and the glory of angels above sweetly painted. Artists are constantly employed in copying this masterpiece. Senft, a German flower-painter, was doing one on a small scale for the King of Prussia, and a female artist asked 400Z. for one she had just finished. A Madonna and child, on a pointed oval glory sur rounded by- cherubim, is by Pietro Perugino. There is an angel on each side, in the style of those in Cardinal Fesch's Raphael, and below are Saint Michael, the figure looking up which Pietro Perugino generally introduces, and two other saints. Francia. — A very graceful Madonna is in red with a blue mantle lined with green ; the child, kneeling in her lap, tries to grasp Saint John's reed, who kneels before him. Saint Sebastian stands tied to a tree, and Saint George in armour holds a banner ; two monks are kneeling. Above are three angels, one of whom holds a palm and a crown, and the other two scatter flowers out of vases ; the landscape is composed of mountains, trees, and a bridge. The date of this pic ture is 1526. 270 JOURNAL OF A TOUR Cavedone is a painter of the Bolognese school, who has great merit, but his productions are rare ; the specimen in the gallery is fine : the Virgin is seated in the clouds with the child in her lap and surrounded. with angels; below a priest, in scarlet robes, is kneeling, and a book before him is held by a young man in white, behind the priest are two boys in sur plices ; San Petronio, wearing a dark coat, with a brown cloak wrapped round him, and white panta loons, is also kneeling. There is great depth without much brilliancy of colour in this picture. The Assumption of the Virgin, by Tiarini, displays wonderful power of foreshortening. Bologna has produced two excellent female paint ers, Elisabetta Sirani and Lavinia Fontana. The As sumption of the Virgin by the former is beautifully treated : the Virgin, with her hair hanging down, stands on a crescent surrounded by angels and cheru bim ; she is dressed in red with a blue mantle . round her, and her hands are folded on her breast ; the Al mighty, immediately above, seems receiving her into heaven. A composition of a Queen kneeling before a saint and presenting her child to him, with her attendants are grouped behind her, is by Lavinia Fontana: the colouring is rich. There is a very pretty, simple composition of a Magdalen by Timoteo della Vite, one of the early painters : she is standing in a cave, and wears a red cloak lined with blue; her hands are joined, her feet naked, and she has long, light hair ; a vase of oint ment on a book lies on the ground. The Marriage of IN ITALY. 271 Saint Catherine, by Parmegiano, is remarkable for a most lovely child : the general colouring of the picture is false, but so harmonious it is impossible not to be pleased with it. A painting on red silk, representing San Filippo Neri in priest's vestments, with his hands joined in prayer, has great effect. The portrait of Clement the Thirteenth, by Mengs, is finely painted : the pope is sitting at a table covered with red velvet, on which is an inkstand. There are several pictures by Innocenzio da Imola. His colouring is good, and he imitates Raphael in his compositions ; but the hair is invariably stiff and crisp. There is a more curious than pleasing collection of pictures of the old school, by Cimabue, Giotto, &c, but they are interesting as marking the progress of art. A copy of the Saint John in the Wilderness by Raphael, in the Tribune at Florence, is ascribed to Giulio Romano. Thirteen of the best pictures in the gallery were carried to Paris, and returned after the peace. Amongst the many artists employed in copying were two young women, one of whom had several times been th'e successful candidate for the prize of painting at Rome, and the other was so pas sionately fond of the art that she made it a condi tion, on marrying, she was to be allowed to continue the profession of it. There was little to admire in the exhibition of the works of the modern artists studying at Rome. One drawing was, however, finely composed, the subject the banishment of the Duca d'Atene from Florence, 272 JOURNAL OF A TOUR on account of tyranny ; his wife and children precede him, and the expression of anger and vexation in the countenance of the duke was forcibly given. The Pinacotheca has a large collection of plaster casts, amongst which are the Aria and Paetus, the Mars in repose of the Villa Ludovisi, the Birberina Faun, the Ercole and Flora Farnese, the Venus Cally- pigiae, the Discobolo, the Dying Gladiator, the Cleo patra, the Dancing Faun, the Wrestlers, and the Faun with the Infant Bacchus. Some marble basso-relievos, by Giuseppe di Maria, a living sculptor, and a beauti ful group in marble, also the production of his chisel, were for sale; the subject of the latter was Virginius holding in his right hand the dagger with which he has stabbed his daughter, and supporting her lovely, drooping figure with his left. The right arm of Vir ginius is not of the same block as the figure, which is a great pity. The Library is in the same building as the gallery. In the corridor leading to it is a bust to the memory of Galvano, the inventor of galvanism ; and in one of the rooms portraits of celebrated authors, amongst whom I remarked those of Ariosto, Newton, Voltaire, Moliere, Madame Dacier, &c. The Abbate Mezzo- fanti, the librarian, has a very extraordinary genius for languages, of which he spoke two-and-thirty, besides a variety of provincial idioms. When I first saw him, in 1816, he was under forty, and had an interesting countenance, black eyes, his hair parted on his fore head and hanging down in curls ; he wore ear-rings. French, German, English, and Spanish, were the IN ITALY. 273 languages in which he addressed me, the latter he spoke most fluently ; but what particularly struck me was the quickness with which he changed from one language to another. He was very obliging, and shewed us a number of curious books and manu scripts : a Mexican manuscript in hieroglyphics, none of the learned have been able to decipher ; the Rela tion des Voyages Curieux de Thevenot, an interesting work ; the Engravings of the Museo Vaticano ; a col lection of outlines from Michael Angelo's Last Judg ment ; and the splendid edition of Virgil in Italian, illustrated with engravings from drawings taken under the direction of the Duchess of Devonshire, were amongst the many literary treasures displayed. Much of the Abbate Mezzofanti's time is employed in teach ing modern and Oriental languages, which is to be regretted ; for such a genius should be at liberty to follow his own inclinations, and not reduced to the drudgery of imparting knowledge. He was still at Bologna in 1821, but when we passed through it in 1833 he had been some months promoted to the dig nity of librarian to the Vatican, and made a bishop. The post of librarian at Bologna remained unfilled. The Museo contains a collection of Natural His tory. A large under-jaw of a cachalot, or whale, is kept here ; it is lined with large teeth, which assist the animal to catch his prey, but he only eats with small teeth: this is the species of animal by which Jonah is supposed to have been swallowed, and the entire skeleton of a woman was found in one of them near Elba. There are a great variety of specimens of n2 274 JOURNAL OF A TOUR coral ; some old inscriptions on stone ; Egyptian idols in bronze ; Etruscan vases ; the head of a Faun with very laughing eyes; some cups of precious stone, which indicates whether the liquor contained in it is poisoned ; fine pieces of carved ivory ; a large oval tray with bas-reliefs in ivory ; Majolica and old earthen ware ; models of the columns and obelisks at Rome, and of the Mausoleum of Theodoric at Ravenna. The armoury is very small, and contains nothing very remarkable. The Cathedral, though not large, is handsome, and the architecture good; the inside has been lately painted and decorated. The nave is wide, and sepa rated from two arched passages, hardly deserving the name of aisles, by fluted pilasters with Corinthian capi tals and high Roman arches : the choir is small and inclosed by a black and gilt railing, down the sides are fluted Corinthian pillars with gilt capitals, and the ceiling is painted in compartments. Over the altar there is a lunette in fresco, the last production of Ludovico Caracci; the subject is the Annunciation. The Virgin, dressed in red with a blue mantle, is half- kneeling, her hands crossed on her breast. The angel is a very graceful figure : above is a glory of angels. A pretty stucco frieze goes all round the walls of the church, which are of a light grey ; several statues in niches contribute to its decoration, and the gilding is bestowed with great taste. Two lions of red marble, at the end of the nave, support basins used for holy water. There are no side chapels. The church of San Petronio stands on the Grande IN ITALY. 275 Place, and, from its size, seems better adapted for a cathedral than the church which bears that title. The original design for San Petronio has never been com pleted, and only half of the front is cased in marble ; the rest of the building is ugly, and has a clumsy ap pearance. The very wide nave is divided from the aisles by clustered pillars and high Gothic arches, and over these there is a row of round windows : the ceil ings of the nave and aisles are arched. The chapels down the aisles are entered under high arches and inclosed with grating, the frames of the pictures in them are painted with great effect. At the back of the choir there is a fresco by Franceschini, the upper part is occupied by the Virgin and child ; and below Saint Petronio, in his episcopal robes, with his crosier is touching a model of the town of Bologna held by little angels. A picture by Dionysius Calvaert, the master of Guido, seems to have given him the idea of his Saint Michael ; the attitude of the saint is nearly the same, but that of Satan varies, and he has wings. There are some old painted glass windows. Cassini traced a meridian on the pavement of the church, which traverses it obliquely ; the sun shines through a small aperture in the roof, and at noon the light falls precisely on the spot where the day of the month is marked. The church of San Domenico is large, and in the form of a Latin cross ; the nave and aisles are divided by pillars and square pilasters. The chapels down the aisles are entered under high arches ; the largest and most remarkable contains the body of San Domenico, 276 JOURNAL OF A TOUR which is inclosed in a sarcophagus placed on a white marble altar, ornamented with small statues and bas- reliefs, illustrating different events in the saint's life, by Nicola Pisano and Alfonso di Lombardi. Two "kneeling angels, in marble, one of whom holds a candlestick, are by Michael Angelo. Statues in niches decorate the back of the chapel, and in the upper part of it there is a beautiful fresco, called II Paradiso di Guido; the subject is San Domenico's entrance into Paradise : the Virgin, in red with a blue drapery, on one side, and Christ on the other, are surrounded by angels : the back-ground is yellow, and gives great brilliancy to the composition. The chapel is paved with red, white, and black marble, and inclosed by a handsome grating. Guido and Elizabeth Sirani re pose in the opposite chapel, where an inscription is placed to their memory. Guido died at the age of sixty-six, and his pupil was poisoned when only twenty- six, from the jealousy her great talent excited in the rival painters. There is a picture, by Guercino, of Saint Thomas d'Aquino, seated at a table writing, in the dress of a Dominican friar : he is surrounded by angels, and a glory of them above. The Caraccis are interred here, but without any memorial. The ceiling of Saint Paul's, a very pretty church, with a good deal of stucco decoration, is painted in fresco by Franceschini. It is arched, and from this form the pillars painted on it have the effect of being bent, but the little angels are lovely. Three chapels down the sides are entered under arches, and some good pictures, by Cavedone, Guercino, and Ludovico IN ITALY. 277 Caracci, are found in them. The birth of the Virgin is by Aurelio Romano ; an elderly man kneels before the child, and appears going to receive it from the hands of the nurse, a beautiful figure; her face re sembles that of the Madonna della Sedia. A fine group, in white marble, of Saint Paul and the execu tioner, is placed over the altar under a semicircular temple, supported by Corinthian pillars. Saint Paul, his hands crossed and tied together before him, is kneeling, his countenance expressive of resignation. The executioner stands prepared to strike the fatal blow. San Bartolommeo's church contains a fine large picture of the Annunciation by Albano. The Virgin is in red with a blue mantle, the angel is a very grace ful figure, and the glory of angels above worthy of Albano. A beautiful little oval picture, by Guido, under glass, was hid in the time of the French domi nion, and a copy substituted ; the subject is the Ma donna in a blue veil looking down on the sleeping child. Guido kept this picture till his death and be queathed it to the church. The engraving does not do it justice. San Bartolommeo is a long church ; round fluted pillars and Roman arches separate the nave from the aisles. San Salvadore is a handsome lofty church, orna mented by fluted Corinthian pillars, white-washed. It has a dome, and the side chapels down the nave are entered under high arches, and decorated by stucco statues in niches ; the pictures over the altars are in richly gilt frames. A fine picture, by Garrofalo, 278 JOURNAL OF A TOUR arched at the top, represents Saint John as a boy, kneeling before Zacharias, and some saints assembled round them. The Holy Family, by Tiarini, is a good picture. At San Giacomo there is a fine picture of the Virgin and some saints by Innocenzio da Imola. Saint Catherine's is a very pretty small con ventual church, almost entirely painted by that pleas ing painter Franceschini, who is unrivalled for grace, softness, and elegance; and the want of force in his paintings is amply compensated by many other excel lencies. The church has a dome, an arched ceiling, and side chapels. The subject of the altar-piece is Christ giving the sacrament to his disciples, some of whom are kneeling ; one of them in white drapery is walking away, turning his back on Christ, and a devil is flying over his head ; he is of course intended for Judas ; two angels in the skies scatter incense from a censer. The draperies of the figures are in a very grand style. The death of Saint Joseph is also a very fine picture. The saint is lying on a bed, by which Christ is sitting, and tbe Virgin, in a blue veil, bends over him. An angel is at the head and two others at the foot of the bed ; four angels are seen in the skies. In the ceiling there is a beautiful figure of Saint Michael expelling Satan from heaven. The body of Saint Catherine of Bologna, who founded the convent, to which this church is attached, and became one of the community, is kept in a chapel which is locked up. She has been dead 300 years, and though not embalmed, her flesh is unwithered; IN ITALY. 279 the skin of the face, hands, and feet, is black, but there is a light spot on the chin caused, as the sa cristan told us, by a kiss given her by the Lord Jesus. The figure was placed in a sitting posture, dressed in very rich robes, which are changed- two or three times a-year. Rings cover the fingers, and her arms can be raised as easily as those of a living person ; her heart is kept in a gold or gilt case, and sometimes exhales a pleasing odour. She has a high reputation for sanctity. San Stefano contains seven churches within its precincts. In one of them an octagon temple, with coupled pillars, supporting high Roman arches, are the bodies of Saint Stephen and Saint Petronius. Saint Stephen used to pray before the altar in another of the churches, and the marks made by the pressure of his knees, stomach, and head, are impressed on the stone steps. A cloister, of small dimensions, built by Saint Petronius in 430, is used as one of the seven churches; an altar is placed in the middle, and a marble basin, like a font, is said to be that in which Pilate washed his hands. Amongst the relics kept here are the girdle of the Virgin, the foot of Saint Catherine, and manna, out of the wilderness. An old pulpit, with the attributes of the Evangelists, is in the style of that of Saint Ambrogio at Milan. Here is a copy of Guido's Massacre of the Innocents. San Martino, a long church of Gothic architect ure, is formed by square clustered pillars and Gothic arches, and has a nave and two aisles ; the walls are white-washed. A fine picture, by Pietro Perugino, represents the Assumption of the Virgin, and the 280 JOURNAL OF A TOUR Apostles assembled round her tomb. Perugino is a very charming painter, but there is great sameness in his compositions. The Virgin and child, with two angels by her, and some saints, is a fine work of Francesco Francia. The Madonna di Gagliera is a pretty small church with side chapels, and the ceiling arched and painted, but the attraction to strangers is a most beau tiful Alba,no. The subject, Christ as a child, standing on a flight of steps and looking up to the Almighty, who appears in the skies, surrounded by angels ; the youthful Saviour is clad in a red tunic, very grace fully tucked up on one side. The same figure is repre sented in a circular Albano at Florence. Joseph and the Virgin, a most lovely figure, stand one on each side of Christ. The French wished to carry away this picture, but on attempting to remove it, the dryness of it caused the paint to peel, and it was allowed to remain undisturbed. It is very dirty, and will not long be distinguishable. The Palazzo Zambeccari is handsome, and boasts a large collection of pictures, which are hung in eleven rooms. The following are those I preferred : — Elizabeth Sirani. — The Virgin looking down with delight on the infant Saviour in her arms ; it is naked and nestles to her breast. Saint John, with a banner, stands and offers a dove to Christ. The" Virgin is dressed in a red purple gown, with a blue mantle, and wears a white turban with a twisted fold under her chin. Guido never painted a sweeter figure, and the heads are lovely : the back-ground is a landscape. IN ITALY. 281 A Sleeping Magdalen, as large as life, by Guercino, is lying on the ground holding a cross; an orange drapery is thrown round her. A landscape with mountains fills up the back-ground. Carlo Cignani. — Dalilah cutting off the hair of Samson ; her face is beautiful, and the colouring of the picture good. Lucca Giordano. — A Dead Christ resting against a figure behind him ; the Virgin bends over him, and the Magdalen kisses his feet. In the back-ground are several of the Apostles. Tiarini. — Portraits of a man and woman, each with a dog by their side, are finely coloured. A graceful figure of a shepherdess, by Guido Cag- nacci ; her back is turned to the spectator, and she is playing the flute. A full-length figure of the maid-servant of Leonello Spada, by himself, done with great spirit ; she has a long broom in her hand. Judith cutting off the head of Holofernes is a fine work of Michael Angelo Caravaggio. A very pretty small Benvenuto Garrofalo repre sents the Virgin and child playing with Saint John, and Joseph and Elizabeth looking on: the back ground is a landscape. A copy ofthe Misers is said to be by Quintin Metsys. In a small chapel there is a full-length Madonna and child, by Franceschini : the Madonna's robe is of a grey lilac colour, round which a white drapery is thrown ; her feet are bare and rest on the clouds ; she clasps the naked child in her arms and it seems 282 JOURNAL OF A TOUR returning her caresses. The colouring is rather faint, but the figures are graceful and have a very sweet ex pression. In the same chapel there is a fine bas-relief in silver, by Benvenuto Cellini, of the taking down from the Cross, and an ivory crucifix by Algardi. The gallery of pictures in the Palazzo Ercolani pleased me the most of any of the private collections in Bologna. A large hall is hung with paintings by the very old masters, amongst which a small half-length figure of Christ by Guido VAntichissimo, bears the date of 1008. The drawing is stiff, and the colours want blending, but it is curious as a specimen of the early period of art. A large and fine picture, by Francia, represents the Virgin and child sitting on an elevated throne, under an arch; on each side is a saint, clad in red, holding a book. Two angels, their hair flowing in beau tiful ringlets, and black riband round their brows, are at the foot of the throne, one playing the guitar, the other the violin. This picture is in the highest state of pre servation, and the colours as fresh as if just laid on. The death of Saint Ignazio, by Giovanni Viani, a Bolognese, is very much in the style of the Spanish school. The saint is lying on a mat under a tree by the sea-side ; a town is seen in the distance. His countenance, worn by suffering, is expressive of hope and resignation, and illumined by a ray of light, on which a little angel is gliding down towards him; three cherubs are in the skies. The saint's dress is black, his legs and feet are bare ; he has a crucifix in his right hand, and his left falls by his side as if ex- IN ITALY. 283 hausted. A book and a skull are near him ; the colouring is sober throughout the picture. Charity, and three children, is a charming compo sition, by Franceschini. Charity, a very graceful figure, is kneeling, and holds a young child in her right arm, and an apple in her left hand ; another child is asleep, at her feet, and a third raises a blue veil, which is thrown over her. Saint Bartholomew, by Spagnoletto, is a fine picture. A Savoyard, playing the hurdy-gurdy, by Luca Giordano. There is a duplicate or copy of Guido's Fortuna. Some portraits, by Tintoretto and Bronzino, and one of a Cardinal, sitting in a chair, holding a letter, by Velasquez. Leda, sitting, her body uncovered, and a red drapery over her legs, is a finely-coloured picture, by Titian. Her face is beautiful : Cupid is conducting the swan to her. A Virgin and Saints, by Fra Bar tolommeo. Prometheus, in chains, lying on the ground ; and Phoebus, driving his chariot, in the skies, the colouring rich and glowing, are by Annibal Caracci. Mutius Scaevola, letting his hand burn, is by Guercino. Two rooms in the suite are fitted up with fine old japan, let into the walls in panels. The Palazzo Aldovrandi has a fine saloon, the ceiling of which is painted by Bigori, with subjects taken from the life of Cardinal Aldovrandi. There are several pictures of the Dutch school in this col lection: Gerard Douw's own portrait, by himself, is highly finished. Of the Italian school, I liked Saint 284 JOURNAL OF A TOUR Simeon holding Christ in his arms, by Guido; a beautiful portrait of a female, by Titian; a Madonna and child, by John Bellino; and four fine small pictures, by Annibal Caracci. Here, too, are copies of the Marriage of Saint Catherine, by Coreggio, at Paris, of one of the kneeling angels in the Saint Sebas tian of Coreggio, at Dresden, and some, on a small scale, of the colossal heads by Coreggio, in the cathe dral of Parma. A small study, by Baroccio, for his Santa Michellina, is very beautiful. Many fine busts in this palace have been purchased by Lord Hertford. The gallery of paintings in the Palazzo Mares- calchi was formed by the late Count during his resi dence at Paris, where he was employed in the mi nistry by Napoleon. The two most striking pictures are by Coreggio. One of them is a composition with four saints standing : the scene a dark wood. Saint Peter, holding the keys, is by the side of the Virgin, whose whole person is enveloped in a green mantle : she stands on a winged serpent. Next to her is the Magdalen, dressed in yellow with a red drapery round her, and carrying an urn. Saint Leonard in brown, holding shackles, completes the group. The colouring is brilliant, but the picture wants interest, as there is no action going on, or con nexion between the figures. The other picture is square, and represents Christ sitting on the clouds surrounded by angels and cherubim : the figure rather smaller than life. The lower part of the body and the legs are covered with red drapery. The arms are extended and beau- IN ITALY. 285 tifully painted as well as the body : the expression of the countenance is divine. The light diffused through out the picture is most brilliant, and the splendour of the effect is such as almost to dazzle the beholder. Sixty thousand francs was the price asked for it. This picture has since been purchased for the Pope's Gallery at the Vatican. The Virgin and Child by Conegliano is a fine picture. She is seated on a throne under an arch; her dress red with blue drapery : on each side are two saints. A master and his pupil, by Caravaggio, half-length figures; the youth wears a light brown dress with slashed sleeves, and is reading at a table on which are some books and an inkstand. A very ancient picture by Primaticcio, represent ing a sovereign in the character of Orpheus, playing to the brutes, whose heads are all portraits of the courtiers. A fine portrait by Titian. A Madonna and child by Garrofalo, a copy or duplicate of the Raphael in Cammucini's collection. A copy of the Christ by Coreggio, and small copies of Coreggio's Saint Jerome, and Titian's San Pietro Martire. An indifferent copy of the Judith of Allori. There are several Dutch pictures in this gallery, which are rarely seen in Italy, where the collections are almost exclusively Italian. A full-length portrait, by Van der Heist, of a man sitting at a table covered with a Turkey carpet, and his arm leaning on it, is 286 JOURNAL OF A TOUR highly finished. The dress is a complete suit of claret coloured with silk ; a mandolin hangs on the wall, and on the table there is a little statue of the infant Hercules strangling serpents, and an open book, in which is a print of a handsome woman. An unfinished portrait by Rembrandt has great effect. The Adoration of the Magi is a large work of Polen burg 's, highly finished. The interior of a picture gallery by Gonzales Coques, with the pictures painted by different masters, pleased us so much, that, in the course of time, we purchased it. A view of London bridge in its former state, with houses upon it, is by an unknown master. In the hall of the palace, a fresco, representing Medea restoring old .ZEson to youth, is by Pellegrino Tibaldi. A fine collection of pictures in the Sampieri Palace was purchased by Eugene Napoleon when Viceroy of Italy, and forms part of the treasures ofthe Brera; the fine ceilings would also have been disposed of but for the risk of their being injured by the removal; they are finely painted, and the foreshortening and boldness of the figures are much admired. Hercules fighting with Jupiter, who is riding on an eagle, and wears a red cloak, is by Ludovico Caracci. The same hero on a rock, trying to attain to Virtue, who is pointing out to him the obstacles in the way of the pursuit of glory, is by Annibal Caracci, as also Hercules and Atalantas supporting the celestial globe. Hercules, with a little Genius holding a lion's skin on his back, is a master-piece of Guercino. IN ITALY. 287 A picture-dealer who lives at the Sampieri palace, had a beautiful picture, by Sabatini, of the Virgin and child in the skies surrounded by cherubim and angels, some playing on different instruments. A small copy of Andrea del Sarto's Madonna del Sacco at Florence is prettily coloured. The Tanari Palace has three rooms full of pictures hung on apple-green silk. One of Guido's finest works was amongst them, but has been sold since my second tour in Italy. The subject, the Madonna suckling the infant Christ. She is sitting dressed in a scarlet gown with long sleeves, a blue drapery, and a pale yellow veil ; the little Saint John naked stands by her, and points to Christ. The figures are on a colossal scale : in the back-ground there is a small peep of landscape. This picture is engraved by Gandolfi. The Assumption of the Virgin, by Guercino, is much admired, but it is black and dirty. Saint Augustine, dressed in black, is writing on the Trinity, by the sea-side, and a child speaking to him, also by Guercino, is a fine picture : the figure of Saint Augustine resembles that of Saint Thomas d' Aquino in the church of San Domenico. There are several works ofthe Caracci in this gallery, four are portraits of their mistresses. Copies in oil ofthe frescoes by Domenichino and Guido at San Gregorio at Rome, are by Gessi: the colouring is darker than that of the originals. In the copy of the Do menichino there is an angel carrying the palm of 288 JOURNAL OF A TOUR martyrdom flying over Saint Andrew : I do not recollect this figure in the original. Prince Basciocchi is the owner of the Palazzo Ranuzzi so celebrated for the elegance of its staircase. Palladio was the architect, and has contrived in a small space to give an air of grandeur to the entrance. Two flights of marble steps, turning very gradually, meet at the first landing, from whence a straight flight leads to a large square saloon : statues and vases ornament the balustrade. The palace is most comfortably carpeted, furnished in the Parisian style, and the rooms warmed with hot air. There is- a fine picture by Luini of Christ kissing Judas, who em braces him, and has his arm wrapped in a brown cloak ; the head of Christ is beautifully painted and full of divine expression. In the dining-room there are four stoves, on which are casts of Canova's Venus, Hebe, Psyche, and Muses; the ceiling is supported by four Corinthian pillars of scagliola, and the floor is of the same composition. Basoli has displayed much taste in the painting of the billiard-room. Small medallions, with groups representing different ancient games, are painted on a blue ground and encircled with gilt frames. In a boudoir are two pretty small landscapes by Pynacker. The great saloon is hung with family pictures and ornamented by statues : the portrait of Napoleon is full length. A large composition, by Benvenuti, is like most of his works, completely in the French style ; Princess Eliza is sitting full-dressed on a throne, with her IN ITALY. 289 chamberlain behind her; Benvenuti sits at some distance painting her portrait ; a number of ladies and courtiers are grouped around, and Canova, in black, is shewing Elisa's bust to Prince Bassciocchi. The portraits of Madame Letitia and the Empress Josephine are also here ; and the busts of Pauline and Elisa, by Canova, on pedestals, are most beautifully executed : Pauline is much the handsomest. The Gallery Rossi was . for sale in 1835, and contained several good pictures. A portrait, ascribed by some to Raphael, but more like the style of Sebastian del Piombo, has been purchased by Sir Robert Gordon: 30,000 francs was the price asked at the time I saw it. It is that of a bishop with a hlack cap, dressed in white and a black cloak lined with white fur, wbo is sitting holding a letter in his right hand ; he has fine black eyes, a sharp nose, a grey beard, and his complexion is fresh and ruddy. Desnoyers, the French engraver, has lately made a small copy of it, and has given his opinion in writing that it is by Raphael. A head of Saint Francis, painted on silk by Guido, is highly finished. The Visitation is an unfinished work of Guido's, with Joseph in the back-ground: the draperies are good. A portrait oi Elizabeth Sirani hy herself, in the attitude of painting, her complexion is pale, and the expression of her features melancholy : her arm is bare from the elbow, and she wears a blue gown and a mantle of yellow brocade. Sisyphus roll ing the stone up the hill, by Guercino, is a fine figure with a blue scarf loosely thrown round him: the vol. i. o 290 JOURNAL OF A TOUR legs are beautifully painted. David holding Goliath's head and leaning on his sword, resembles the figure of the youthful psalmist by Domenico Feti, at Dresden. There is a copy of the Cupid trying his bow, by Parmegiano, in the Stafford collection, and a small copy of Mr. Carr's Holy Family, by Baroccio. Two pictures, by Gamberini, are rather in the Dutch style, and pleasing without being of value. In one of them Gamberini has represented his master Pasinello sitting drawing patterns for an embroideress ; his hand rests on her knee under the frame, at which two women are working, one of them has her back turned: a little girl is behind it. The subject ofthe companion picture is a schoolmistress holding a rod in her hand, with a boy before her and a girl working at a cushion ; a woman with a child in her arms is standing. Count Bianchetti had a Madonna and child in an oval frame, which he ascribed to Domenichino : the Virgin is holding a rose. A small copy of the San Pietro Martire of Titian, by Annibal Caracci. At Signor Petrazzina's, I liked a Madonna and child by Giovanni Bellino, also two heads, one of them a satyr's, brilliantly coloured by Jordaens, and David with a plume in his cap, leaning on the head of Goliath, a very graceful figure. At the Avocato Salina's there was a beautiful Adoration of the Magi by Simon da Pesaro : it is rather dark in the shades. Baruzzi, the professor of sculpture at the Aca demy of Bologna, was Canova's favourite pupil, and IN ITALY. 291" has inherited much of his divine master's grace. In his studio there was a lovely statue of Psyche sitting on the ground resting on her right hand ; a drapery covers her knees and legs, leaving her feet bare. She has wings, her hair is dressed low, and she holds a gilt butterfly in her left hand : some flowers are scattered on the ground. Leda, sitting on a rock, on which she leans with her right hand ; her left rests on the wings of the swan which is on her lap, raising its beak to her cheek. Her hair is very prettily dressed; a fringed drapery lies under her. The figure is extremely graceful, and the right hand worthy of Canova. Silvia putting flowers in her hair, and bending over a natural mirror of liquid water, is a beautiful statue, of which the Duke of Bedford is the possessor. A pretty little model of a group not yet begun, the subject taken from a poem. The shepherdess Nerina went to bathe, leaving her clothes by the water-side ; the shepherd Filento, passing by, took possession of them, and she is represented on her knees imploring him to return them to her, which he refuses to do . A skin is wrapped round his body, and a Cupid is at his feet. A model of a lovely nymph standing was Ba- ruzzi's first work. His figures are much to be admired for the grace and modesty which characterise them, and which formed a peculiar charm in the works of Canova. Baruzzi, who is a Bolognese, has a lively, happy countenance. An intimate friend of his, Signor Guallardi, takes all the charge of his affairs, which frees him from domestic cares, and leaves him full 292 JOURNAL OF A TOUR leisure to meditate and execute. In short, Guallardi is to Baruzzi what Este; was to Canova. Baruzzi charges 200 or 250 louis for a full-length figure, and thirty louis for a bust. Basoli, a scene-painter, has great fertility of ima gination and facility in composition ; his knowledge of perspective is also very perfect. I was much pleased with several volumes of sketches of composi tions which he shewed us, and which he is willing to dispose of; they are done with a pen. He is now illustrating the Jewish history. Basoli makes great use of the kaleidoscope for his arabesques and patterns, and is convinced it was known to the ancients. He has painted the ceiling of his bed-room with figures of the Hours, poetically placed. One of his brothers is a flower-painter. Signor Tambroni, the director of the gallery, a fine fresh-coloured old man, paints landscapes and restores pictures. He told me he had never seen the Campo Santo, as he thought he should be there long enough to tire of it. A young artist, of the name of Cicoli, has adopted the costume of Raphael, without resembling him in any other point, and is much laughed at for his affect ation. He is handsome without expression, and his long dark hair flows on his shoulders, he wears a velvet cap, put on one side of his head, turned down boots like those in the pictures of Palamedes, and his dress is confined round his waist by a broad girdle. In his studio I saw an unfinished composition of Francesca di Rimini, dressed in black satin; she is IN ITALY. 293 standing embracing her brother-in-law, who is sitting, dressed in black velvet, trimmed with fur, and blue pantaloons ; her left hand rests on his shoulder. There is a sofa in the back-ground, and a pilaster, behind which the enraged husband appears. At another studio there was a picture of Theseus and Ariadne, in the French style. Rosaspina is a celebrated engraver, but certainly inferior to either Longhi or Morghen. He has en graved the principal pictures in the Bolognese gallery on a small scale, which does not, perhaps, allow of the difference of styles being sufficiently marked. Eosaspina is an old man, but still continued the practice of his art in 1835. At Signor Domenichino's, a picture-dealer, there_ was a pretty composition by Carlo Dolci, or some of his school, of a very handsome man, sitting drawing in a blue slashed dress with ruffles, long hair, a ruff and a red velvet cap ; he looks round at a pretty girl behind him, who puts her right hand round his neck, and her left on his left arm; her neck is bare, and her sleeves are of a red purple ; some painting brushes are on a table by him. Here are copies ofthe Holy Family by Raphael, at Naples, of the Saint Jerome of Coreggio, a small copy of the Tanari Guido, and one of the Duke of Wellington's Coreggio, but of an upright form, and only the Christ and the angel flying above. At Signor Cineri's there were three fine pictures. Psyche holding the lamp to gaze on a most lovely sleeping Cupid, by Domenichino, is finely coloured ; 294 JOURNAL OF A TOUR the frame is oval ; a saint meditating in the wilder ness, an upright picture, by Garrofalo ; and a Ma donna and child, by Conegliano, with hills and the town of Conegliano in the back-ground. There are numbers of picture -dealers at Bo logna, and even the nobility may be ranked amongst them, for they openly avow tbeir wish to sell pictures out of their galleries, and always insinuate that a lower price than what is asked will be taken. One picture- dealer had passed five years in England, and made a point of keeping up his English, by conversing in that language, whenever he had an opportunity ; he shewed us a portrait of a friar, and bade us admire how well " his monkey's dress " was done. A Sybil, pronounced by the Academy of Bologna to be by Domenichino, varies a little from those in the Capitol and the Palazzo Borghese, but there is a dulness about the eyes, which makes me doubt its originality. Bibbiena was the architect of the Theatre, which is large, and much better lighted than is general in Italy. The second tier of boxes, which is nearly the height of the third tier in the London Opera-house, is that preferred by the nobility, and the boxes in it are let at a higher rate than those in other parts of the theatre. The opera we saw was I Capuletti ed i Montucchi, it was followed by the tragic ballet of Virginia, in which there were some fine groups. The performances at the Puppet Theatre are inferior to those at Milan. Arlecchino finto am- malato was the first piece, and the ballet was very good. A Tombola concluded the entertainment, and IN ITALY. 295 the real figures which came on the diminutive stage appeared gigantic. The following lines were painted on the drop-scene : — Fuggendo ozio la morale insegna, Virtude esaltando ogni vizio sdegna. The Casino, of which the Marchese Sampieri is the principal manager, has a handsome suite of rooms well furnished and carpetted, in which the nobility meet once a-week. There are separate rooms for cards, concerts, and balls. The shops are good ; Zecchi's contains an excellent assortment of prints. At a dealer in curiosities I saw sufficient to furnish an excellent shop, either in London or Paris ; and a person of the name of Neri had some fine old ornamental furniture, pier-tables, pictures, &c. The best inns are the Pellegrino and the Albergo di San Marco, both in the same street, but I prefer the former. More itinerant musicians frequent the streets than in the other Italian towns. Though living is one half cheaper than at Rome, few strangers make Bologna a winter residence, although they have every encouragement to do so, for the inhabitants are extremely kind to them, and it is very easy to enter into society. The public promenade, on a little eminence called the Montagnuola, is at the extremity of the town, but within the walls, and commands a view, on one side, over a very rich-looking country, and on the other, a portion of the town, and the Madonna di Lucca. 296 JOURNAL OF A TOUR Part of the promenade is planted ; and after driving on the Corso in the interior of the town, people as semble in the evenings on the Montagnuola, and try to breathe a little fresh air, but the atmosphere is close in summer,' except when refreshed* by a thunder storm ; a band of music is sometimes stationed here, but pedestrians do not so much frequent this walk, since a party, consisting of five women and one man, having remained there late one evening, were dragged outside the town by some ruffians, who beat them, and detained a young girl of the party all night. They were subsequently taken, and condemned to the gal leys, though they pleaded having been in a state of inebriety when the offence was committed. The Botanic Garden is small, and neatly kept, but it does not contain any great variety of plants. The convent of San Michele in Bosco is now used as a prison. It is situated on a hill, which is planted, and commands a delightful view of the town, and, on the right, over a fertile plain, extends as far as the eye can reach. To the left is seen a hill crowned by the Villa Aldini, a very conspicuous object. The Church contains some paintings by Canuti, and a copy, by Gessi, of the full-length of Guido, in the Sciarra palace, at Rome. In the sacristy, Bagna Ca- . vallo has painted the Transfiguration in fresco, on a larger scale than Raphael's. The Annunciation in the library is by Canuti. The walls of the octagon cloister are painted in fresco, by the Caracci, Tiarini, Cavedone, and other Bolognese masters ; in many parts the painting is entirely defaced, but the few IN ITALY. 297 remains attest how fine the whole must have been in its original state. The idea of a figure of Folly, by Ludovico Caracci, seems taken from antique frag ments in the Vatican. Tiarini has treated a curious* legendary subject. It appears, that during eight months, the corpse of a deceased monk resisted all attempts at interment, when it was discovered that the holy wafer administered to him at the last sacrament was the cause, and it was extracted ; the monks are represented intent on its examination. About a mile and a half from Bologna is the Car thusian Convent, which, since the revolution, has been converted into the Campo Santo of Bologna. The Church is Gothic, and has chapels down one of its sides ; the stalls in the choir are of beautiful marquetterie, and the picture-frames of white wood with gilt ornaments. The Baptism of Christ, by Elizabeth Sirani, has some well- composed groups. She has introduced herself with a child, and above are the Almighty and some angels ; Christ in the garden kneeling, with an angel bringing him the cup, is by Bartolommeo Cesi; the attitude of both figures a little resembles those in the Duke of Wellington's Coreggio ; the three Apostles are asleep in the lower part of the picture. Masacci has painted Christ sinking under the cross, and to revenge himself on a cardinal, who refused him pardon for a murder he had committed, he has represented his eminence tight ening the cords round Christ, and setting his foot on his back. A copy of the Communion of St. Jerome, by Agostino Caracci, is by Alberi. Several figures are o 2 298 JOURNAL OF A TOUR painted in fresco on the walls by Cesi, and there are some old frescoes cut out of the walls of suppressed churches. Iu one of these, the Virgin with the child •is represented reading, and two little angels hold a crown over her head. A quantity of relics are pret tily arranged in a large gilt cabinet with panels ; the chains of some slaves, who were ransomed from Algiers by some of the fathers of the convent, are hung up. The cells of the monks are still in ex istence, and are decorated with images and pictures. None but the brethren of the convent were allowed to enter them, and they only dined together once a- week, when they were permitted to break silence : those who said mass never passed the bounds of the convent. The walls of the cloister, which is built round a grass square, are lined with marble and plaster monuments, and many are ornamented with fresco-paintings. Several female skulls and bones are nicely arranged over the skulls of the Carthusian monks ; a number of flower-pots and plants are set round the cloister, and in one part there is a small chapel. Amongst the monuments I remarked that of Admiral Alessandro Zambeccari, who is represented standing in richly wrought armour, his left arm akimbo, and a wand in his right hand ; he has a pointed beard, and his helmet lies at his feet. A bust of Clotilda Tambroni, with a veil over her head, is by Taddolini, a Bolognese settled at Rome. Clotilda was a pro fessor of Greek and Latin, at Bologna, and sister to the Cavaliere Tambroni, and the present professor, the director of the gallery. An inscription under the IN ITALY. 299 bust of Madame Regnaudin, mentions that she was patronised by the Duchess of Hamilton. The cele brated singer Banti has a memorial here. Cassa- rellio's is a beautiful monument of white marble, most delicately executed ; a figure with a book, and the hands folded on the breast, is lying on the tomb, which is ornamented by flowers, leaves, and fruit, sharply cut : the niche in which it is placed is partly painted. The monument to Vigano, the composer of tragic ballets, is a bust, with a bas-relief oh the pedestal, representing a female kneeling before a candelabra, at the foot of which is a lyre. Giacomo di Maria has done the monument of the family of Count Charles Caprara, which is placed in a niche ; a figure of Religion, with a cross and a lion, is sitting on the top of the tomb. The profiles of the Count and Countess are in a medallion, in basso-relievo. The Countess died first and the urn containing her ashes is placed on a slab below the medallion. On the left, her daughter, led by a winged boy, repre senting the Genius of Filial Love, is bringing the urn in which are the Count's remains ; to the right, a veiled figure is. holding a gilt serpent, the emblem of Eternity, in her hand. A marble sarcophagus, resting on two white marble eagles, is by Fran- ceschi. On the bas-relief above, a lady who died in childbirth is represented sitting in a chair, with two female attendants by her, the husband is led from the mournful scene by a friend, and a priest conducts the father and mother away. Four curious old monu ments ofdifferent centuries are in a hall opening out 300 JOURNAL OF A TOUR of the corridors. The bodies of grown-up persons are let into large niches in the walls, in the form of lunettes, and those of children into marble ones, after which they are walled up ; the price of each niche is ten sequins. The inscriptions are on the walls. The poor are buried naked, and thrown into a hole like dogs. A miserable spot is allotted for the Pro testant cemetery. Great additions are making to the Campo Santo in the same style, but neither so exten sive nor handsome as those at Ferrara. The custode was a young man, dressed in a sort of uniform, he had a cocked hat, carried a little switch, and seemed fully impressed with a sense of his own importance ; when asked a question as to any particular monument, he said, " Bisogna seguir 1'ordine," and always answered " Certamente " to every observation. A row of arcades, three miles in length, conducts from the town to the church of the Madonna di Lucca, which is built on the summit of a hill. A carriage-road is continued for a mile and a half; but after this the ascent is too steep to allow of it, and several flights of steps under the arcades have been erected to lighten the toilsome pilgrimage. The view constantly varies from the many turnings, and at each new beauties present themselves. The form of the church is a Greek cross, with a dome and a frieze all round ; the interior of the building is supported by fluted Corinthian pillars. The choir, as well as the dome, is inclosed by an iron railing, gilt and painted. The pavement is of marble, and the walls a pale salmon colour. The Madonna, painted by Saint Luke, has, IN ITALY. 301 like all those attributed to him, a dark brown com plexion ; her dress is very rich, and an immense crown of roses covers her head ; she is loaded with jewels, and some glass cases are filled with necklaces, rosaries, and various trinkets, presented by devotees. Once a- year the Madonna is carried down to the cathedral of Bologna, and remains there for some days; and, on one occasion, when rain was much wanted, she was paraded through the streets under a red awning, pre ceded by several priests, and a confraternita, in white robes and scarlet scarfs, bearing torches, and chanting as they went along. The streets were all hung with crimson drapery, and some houses, unprovided with it, put out quilts as a substitute ; the cathedral was deco rated with scarlet and gold draperies, and crowds of people continued all day paying their devotions to the Madonna. The rain, which fell in torrents soon after wards, was ascribed to her influence. The view from the summit of the hill is enchanting. The -chain of Appenines and the Alps of Pellegrini, which the small hills about Bologna conceal from the town, form a beautiful back-ground to the rich plain, through which the Reno winds, and over which, on the road to Modena, there is a bridge of several arches. The country is like a large meadow, with a good deal of brushwood, and is studded with villas. The Campo Santo is a pretty object. From this height Bologna appears a very compact town, encircled with walls, and its two towers are very remarkable, one from its great height, the other from its slope. The perpendicular tower was the first erected 302 JOURNAL OF A TOUR by a Bolognese noble of the name of Asinelli, who had a daughter ; Garisendi, another nobleman, solicited her hand for his son, but was told by Asinelli he would not give his consent to the alliance unless Garisendi built an edifice as wonderful as his tower. The sloping tower was accordingly begun, and was to have been raised as high as Asinelli's, but when it had ad vanced to its present elevation, the magistrates, con sidering it dangerous, stopped its further progress ; however, the youth obtained his bride, as the sloping tower was considered more extraordinary than the up right one. The expenses of building the church and all the arcades have been defrayed by voluntary contribution from all classes; one range was built by the male and female servants of Bologna, and another, by a com pany of French comedians. Portions of the arcades are frequently sold, and the proprietor has the right of building a habitation over those he has purchased. The whole walk is kept very clean, but it is almost entirely lined with beggars. Another set of arcades are begun from the Campo Santo, and they are to join those going up to the Madonna di Lucca, a mile and a half from the com mencement. The Marchese Sampieri's Villa is about three miles out of the Porta di Saragossa. The pleasure- grounds are extensive, and are bounded on one side by the Reno ; beyond which is a range of hills crowned by a church, and a wooded hill rises immediately be hind the house. In one part of the garden there is IN ITALY. 303 a bridge over a canal to a little island ; a large par terre, full of orange and lemon-trees, and a view of a waterfall formed by the Reno ; a camel, a deer, and some bears, are kept in the grounds. The house con tains a small theatre and a ball-room, and a bath in the garden is painted and tastefully decorated. The Villa Crescentini, built by the composer of that name, is not far from the Villa Sampieri, and consists of a large hall with two rooms on each side. The garden is flat, laid out in the English style, with summerhouses and a bath, and reaches to the canal. The Villa Marescalchi stands on a hill above San Michele in Bosco, which it commands, as well as a view of the town. The grounds are laid out in winding walks, in which are a few small statues and busts, and a large grotto. II Vallone di Marescalchi, behind the houses, is a delightful spot ; the sides of the grassy hill are wooded with noble chestnut-trees, forming a shade impenetrable to the mid-day sun. A path winds through this natural grove and leads to a rustic bridge, where there is a view over a narrower part ofthe valley, which admits a peep ofthe town. The Villa Aldini, on the summit of a hill, above the Vallone di Marescalchi, is a beautiful building, with steps up to it, and an open colonnade around; over the front, a bas-relief represents Jupiter and Juno on their throne, surrounded by other divinities. The view from hence is beautiful and extensive, and the villa is a fine and striking feature in the environs of Bologna. Crowds of beggars infest the churches and streets, 304 JOURNAL OF A TOUR and are so importunate as to take no denial; some are certainly miserable objects, and often very disgust ing, but many are young and strong-looking people. In the time of the French government there were asylums for the indigent, but now they are left to the charity of the public. A woman, with a child by her side, was kneeling on the pavement, her face covered by a thick veil ; our laquais de place told us she had known better days, and was obliged, though ashamed, to beg. The air is close in summer, but not so scorching as at Florence ; and I have seen days at Bologna as dark and gloomy as in our northern latitudes. The environs of Bologna have the character of Poussin's compositions, and the peasants recall to mind the figures in Berghem's landscapes ; the women spin with the distaff as they go along. IN ITALY. 305 CHAPTER VII. November 28th, 1833. — We set out on our journey to Rome. I have always left Bologna with regret, for few of the Italian cities possess so many fine pictures ; and, moreover, they are of a school to which I am very partial. The arcades also make walk ing in the streets very agreeable, and the environs have many beauties to recommend them. The road was flat for some time after we had passed through the Porta Maggiore, and then gently ascended to Castel San Pietro, a pretty village, with some arcades. We had intended sleeping at Faenza, but Domenico, whose object was to be as many days on the roa,d as possible, drove at so slow a pace, we found we had no chance of arriving before dark, and determined on remaining for the night at Imola, where we established ourselves at the Albergo di San Marco; we passed the Campo Santo as we entered the town. The Cathedral is a fine church of Grecian archi tecture, with a dome ; high Roman arches, and fluted Corinthian pillars, separate the nave aud aisles. There 306 JOURNAL OF A TOUR are chapels down the sides of the building, which is paved with brick. The Assumption, with the Apostles and a glory of angels, is a good picture, by Innocenzio da Imola. The Martyrdom of San Cassiano, a school master, is by Tedeschi. He was beaten to death by his pupils, and is represented kneeling on one knee look ing up to heaven, his hands tied behind him ; he has a white beard ; the body and legs are finely painted. A scholar of Cammucini's has copied the two figures of Saint Peter and Saint Paul, by Fra Bartolommeo, in the Quirinal Palace, and added a Trinity to com plete the composition. The crypt is lofty, and has a nave and two aisles, divided by Roman arches and coupled Doric pillars ; the ceiling is arched. The architecture of San Domenico's church is Grecian. The altar-piece, representing the Martyrdom of Saint Ursula, was taken to Paris, and returned from thence, when the pictures were restored after the battle of Waterloo. There are statues in niches down the walls, and a large side chapel. It was so dark when I reached the church of San Agata that a torch was requisite to see the pictures. One of Christ on the cross is by Franceschini. Some female figures in the fore-ground are very graceful. In the sacristy the marriage of Saint Catherine is a good picture, by Innocenzio da Imola. The Flagella tion of Christ is attributed to Raphael; his figure is lying on the ground, and has great elegance in the proportions. The Palazzo della Commune, and a building called II Palazzaccio, face each other, and occupy IN ITALY. 307 two sides of the place. Some of the fronts of the houses are handsomely built in the solid Florentine style, and there are some arcades. The booksellers' shops were numerous. My cicerone, a barber's boy, told me that, at the time of the Revolution in the Papal States in 1830, there were great disturbances at Imola, and that he had taken a part in them ; his father was so angry at the idle habits he had contracted, that he declared he would not support him any longer, and he was living with an aunt. I must say the father was not dissatis fied without reason, as the youth acknowledged he had been in the habit of frequenting coffee-houses and billiard-tables, and said he could assure me he had not looked into a book for two years ; he seemed alarmed at being out late, and, though a native of Imola, said, " II popolo e molto cattivo." After leaving Imola we passed through Castel Bolognese, a nice town with arcades, beyond which is a Capuchin convent. The country is pretty, watered by a river, which we crossed over a fine bridge, and hills are seen in the distance. Between Bologna and Imola, the Italian pine, which gives so peculiar a cha racter to the landscape, first appeared. We stopped at the entrance of Faenza, where a peasant, who keeps the public-house of II Paradiso, offered himself as our guide, and we walked a little way to the right to a Capuchin Church, where there is a beautiful painting by Guido. The Virgin is seated on a throne, under a green canopy, with the naked child on her lap ; her dress is lilac, with a blue mantle 308 JOURNAL OF A TOUR and a white veil. Saint Francis, his hands clasped, kneels before the infant Christ, who holds out his hand to him. A female saint, clad in lilac-grey, and a mantle of shot silk, lined with a yellowish brown, stands with her right hand on her breast, and holds a palm of martyrdom in her left ; her neck is uncovered. The back-ground is a landscape. Five statues of monks, in different attitudes, habited in brown, are placed down each side of the church. The Cathedral has a rough -cast appearance, from. the bricks of which it is built being laid endways and projecting, with a little space left between each ; the style of architecture is Grecian, round and square pillars alternate, and high Roman arches divide the nave and aisles ; the walls are white- washed. The altar is ornamented by four marble statues; two are of angels, and below them Saint Peter and Saint Paul are seated. A monument to one of the Spada family is singu larly composed. A flying figure of Death displays a black marble drapery, on which is an inscription : the body of Death is yellow, and the wings brown. A picture, by Innocenzio da Imola, is rather hard in the outlines. The Virgin is sitting on a throne, on the steps of which Saint John the Baptist, a naked boy, kneels on one knee, looking up to Christ, who is also naked, and stands by the Virgin, and a little angel, with a book, is at her feet. On one side are Eliza beth and Saint Paul, and Joseph and another saint on the other : an angel, flying, carries a banner. IN ITALY. 309 There is a copy of the Saint Michael of Guido in the Capuchin church at Rome. The body of San Pietro Dammiano, in a marble sarcophagus, is kept in a chapel, where there are some paintings, richly coloured. The subjects are a pretty Madonna, a lovely mother looking down on a naked child ; San Carlo, giving the sacrament to the poor attacked by the plague; and the same saint carrying the cross in procession. In both he is attired in his episcopal robes. In the church of San Bernardo, I admired two pictures, by Tommaso Miserali detto II Villano. One of the subjects, the Adoration of the Magi, is richly coloured; the kings appear to be portraits. Above, there is a glory of angels, with flowers, which might be taken for Pagan divinities. The upper and lower part of the picture have separate frames. The other composition represents the Virgin, a very lovely figure, kissing the child ; her veil is slipping off her head ; her gown is pink, and she has a blue mantle, borne by angels. A very graceful female saint, in ecstasy, wears a grey dress, and a yellow petticoat ; in the skies, are some angels and cherubim. The colouring of this picture is most agreeable, and the angels are in the style of Pro cacino. At Le Scuole, a large room is filled with pictures taken out of suppressed convents. One of them, by Giamiattista Bertucci, is a fine specimen of the old school. It is in the style of Francia, and of the Madonna and child, by Holbein, at Dresden. The Virgin is standing and holds the naked child ; she 310 JOURNAL OF A TOUR is in red, with a blue mantle lined with green, held open by two angels, standing by her : two little angels hold a crown over her head. Saint John and two other angels are present, one of whom plays the guitar at her feet ; an arch, in the back-ground, is ornamented with gilding. Two saints are painted on each of the shutters. One of them is San Lorenzo. The Caduta di San Paolo, by Tiarini, and the martyrdom of Saint Ursula and her companions, by II Villano, are good pictures, and some statues, in terra-cotta, of the Madonna and child on a throne, San Rocco, Saint John, &c, by Lombardi, a Venetian artist, are much admired. The earthenware made here, which is called Faenza, after the name of the town, is very coarse and dear. The price of a small group of Bacchus and Ariadne, in white clay, was four scudi. The paint on the coloured figures was put on in daubs. Faenza is a very gay, compact, small town. The market-place is oblong, with a double tier of arcades, supported by light pillars. There are arcades also in some of the principal streets, and several steeples rise in different parts of the town. The Lamono divides it from the suburb at the eastern extremity; and at each end of the bridge over this river there are square towers, in the style of the middle ages, and a Gothic arch under them for the passage of carriages. The peasantry are extremely picturesque, and dressed in a great variety of bright colours, such as yellow, orange, light green, a shade of brown used by Guercini, olive, and an olive-green. Many of the IN ITALY. 311 women wear green jackets, bound with black velvet; the men have straw hats. The road from Faenza to Forli is through a flat country, with mountains in the distance. We lodged at the Albergo Reale at Forli, a large, well-built town, with wide streets, very thinly peopled : many of them have handsome arcades. They are paved with stones, laid in mosaic patterns, and about the churches they are very carefully designed. The Town-house and the church of San Mer curiale are on the principal square. The steeple of the latter is very high, but there is nothing remark able in the interior. The Cathedral is large, and built in the form of a Latin cross ; the nave and aisles divided by high clustered pillars and Roman arches : the walls are whitewashed. At the extremities of the transepts there are two beautiful chapels : that of the Madonna del Fuoco is so called from containing an image of the Madonna that belonged to a house which was burnt down ; but the image was respected by the flames, and this chapel built to receive it : it is paved and lined with marble, principally of a red-veined species. There are some groups, in stucco, round the dome, which is painted by Carlo Cignani, and represents paradise, in which the Virgin occupies a very conspicuous position. A painting of Saint Sebastian is in a hard style, and seems of an epoch prior to Pietro Perugino. The corresponding chapel is painted by Lioro Guati of Forli. On the ceiling are medallions with figures of prophets and sibyls, imitated or copied from 312 JOURNAL OF A TOUR those in the Sixtine chapel. A tabernacle kept under glass is said to be the work of Michael Angelo. At San Girolamo, a convent of Observantine monks, there is a picture of the Conception by Guido Reni, varying slightly from that once belonging to Mr. Watson Taylor.; The Virgin, a most lovely- figure, is looking up to heaven, she is clad in lilac, and has a blue drapery ; her hair is long and flowing, and a veil on her head falls over her shoulders ; her hands are folded on her breast, and the wrist of the right hand is particularly delicate and graceful ; five angels on each side inclose the figure in an oval, filled up by a blaze of glory. She is standing on a crescent supported by two cherubim. Guido never painted a more ethereal being than this Virgin, who realises every idea of purity and loveliness attached to the mother of Christ. The picture is placed in a chapel lighted from above. There is a copy of the Saint Michael, by Guido, in the Capuchin convent at Rome. The church of San Filippo Neri is of Grecian architecture, the dome is painted in perspective. The Annunciation, by Guercino, is one of his most pleasing works. The lovely Virgin is represented in a room with an open door admitting a view of the country : she is kneeling and reading with attention in a book which she holds with both hands ; her head is unco vered, and her dress lilac with long sleeves, and a blue drapery on her right shoulder falls round her knees : the angel holds a lily ; his drapery is blue, his hands are crossed on his breast and his wings spread : the IN ITALY. 313 Almighty is above, holding a globe, on which is the dove. Guercino has portrayed him as a venerable old man, habited in green with a red drapery ; four little angels are round him. The Palazzo Manzoni no longer contains the beautiful dancing nymph by Canova, for which the late owner paid 6000 scudi, and refused double that sum, which was offered for it by an Englishman. It has been purchased by Count Gourieff since the death of Signor Manzoni, who was stabbed in the back when going with his wife to the theatre : the assassin has never been discovered. A monument by Canova im mortalises the victim : it is a bas-relief, representing a female figure sitting on a square stool, her head sup ported by her right hand and her elbow on her knee ; her left arm rests on her left knee, and her feet on a footstool. She has a very handsome profile; her sleeve is confined by four buttons, and a drapery enve lopes her figure. The following inscription is placed on a bas-relief pedestal : — CINERES DOMENICI MANZONI FAVEMTIT5M. There was a bust of Canova by one of his pupils, and a Madonna by Agricola ; her hands are folded on her breast, and she has a white transparent veil, a red dress, and a blue drapery. There is a small flower-garden behind the Palazzo. The Public Promenade is beyond the gate leading to Rimini : it is circular, and in the centre there is an obe lisk and statues of the four Seasons. At one end there vol. i. p 314 JOURNAL OF A TOUR is a pretty temple, two coffeehouses, and a number of stone benches. A drive all round is used for the Corso, which, our cicerone told us, was thronged on great occasions with nobility, who displayed a great number of horses : he had been a Capuchin monk, and since the suppression ofthe convent had occupied the post of facchino at the inn. After leaving ForlI the country abounds in vines and has a great many small trees. We passed by an old bridge. Forlinpopoli has an old fortified castle. We stopped at Cesena, a pretty town, with arcades and crowned by a fortress, situated at the bottom of green hills, on one of which there is a handsome church. Cesena is the birth-place of the Popes Pius the Sixth and Seventh. It is very populous, and appeared particularly gay, as it was market-day, and the place was filled with booths. I observed all those who had any commodity to sell always asked more than their customers chose to give, and ended by saying, " Cosa vuol dare 1" or, " Cosa vuol spendere?" and when the price was named, frequently answered, " Faccia come crede." The peasant women wore on their heads rather thick muslin handkerchiefs, worked all round. The Cathedral is Gothic ; the arches of the nave are high. Over one of the altars there is a marble monument in alto-relievo, on which are sculptured Christ, two saints, and two kneeling figures; above there are two angels flying and two others in round medallions. The Library was built by Malatesta, the sovereign IN ITALY. 315 of Rimini, to whom Cesena once belonged : it is long, the interior resembles a church, being divided down the middle by two rows of fluted Corinthian pillars supporting Roman arches ; there are small desks on tables and benches down the sides, and portraits of Popes Pius the Sixth and Eighth. The manuscripts, four hundred in number, are secured by chains. There is a fine copy of Saint Augustine's De Civitate Dei, in good preservation, and another of Boetio Consulate ; Plato's Dialogues bear the date of 1000 ; a Hebrew Bible of 1348 ; and Plutarch's Lives, with a small portrait of each of his heroes, of 1400. The librarian shewed me an interesting work, now engraving at Milan in periodical numbers ; it consists of portraits of the principal personages of the most dis tinguished Italian families in their old costumes, beautifully drawn and coloured. Antelli, at Mantua, has copied some of the Gonzaga family from the old frescoes at Mantua. The Palazzo Commune is on the market-place, which is ornamented by a handsome fountain. The Palazzo contains a few pictures. The Circumcision, by Francia, is well painted : the Virgin, in red with a blue mantle lined with green, holds the child, who looks back at her and extends its little hands towards the high-priest ; Joseph and an old woman are behind the Madonna. The scene is in the Temple. San Francesco, by Guercino, is kneeling, his arms are stretched out, a monk behind him reading rests his head on his hand. The brown drapery in both 316 JOURNAL OF A TOUR figures is very finely painted ; a cross is placed on a stone with a book : in the back-ground are rocks. Two pictures by /Sasso Ferrata are repetitions, or copies, of the Madonna and child, and Madonna with her hands clasped, so often repeated. There is also a copy of Guido's Magdalen in the Sciarra Palace at Rome, but smaller than the original. The Madonna del Monte, a mile from the town, is said to be a fine church, but we had not time to go there. A range of hills bounded the horizon on the right, and we continued to drive through a flat country, growing vines, Indian corn, and hemp, with hedges ofthe spina marruga and other thorns. We crossed the Rubicon, now called the Pisatello, and after passing through Savignano, a large village with ar cades, the road presented a very animated scene, from the number of little carriages and men on horseback, singing and shouting, whom we met returning from a cattle-fair at San Arcangelo ; it seemed to have been composed of large droves of oxen and the coarse brown pigs peculiar to this part of the country. San Arcangelo is a village three miles from Cesena. Reeds grow here plentifully, and are above six feet high. We arrived at Rimini at dusk, and lodged at the Hotel de la Poste, an excellent inn, newly built, near the market-place. . December 1st — The church of San Francesco is a curious specimen of the style of the middle ages : it was founded by Sigismondo Malatesta, whose cipher IN ITALY. 317 and that of his wife are often introduced in bas-relief in the chapels. The architect was Leandro Alberti, who has bestowed a great deal of ornament on the dif ferent parts ; but as a whole it is in bad taste. The cathedral having been turned into a tennis-court, the church of San Francesco succeeded to the title. It is of marble, but the front, which is decorated with pillars, is not completed. There are three chapels down the aisles, with curi ously carved marble balustrades ; at each side of the chapels are columns supported by two elephants, and divided into three compartments ; on the lower one there is a profile of Sigismondo Malatesta with a wig, in the style of Giovanni Bellino : the figures in the upper compartments are ungraceful, and the relief too flat. In the chapel of San Sigismondo there is a fresco by Petri de Burgo, opus MDCCCCLL, representing Sigismondo Pandolfo Malatesta kneeling before Santo Sigismondo, a venerable old man, resembling the one Garrofalo generally introduces : he is sitting, holding a sceptre in one hand and a ball in the other. Mala testa has a wig, tight red pantaloons, and half-boots of the same colour, and a short white surplice over his shoulders ; behind him are two dogs. The painting is good, but the figures are rather stiff. Against the pillars are some bas-reliefs by Leon Battista Alberti : they are very little raised, and represent children, some of whom are supposed to be in the sea, and their limbs are seen through the waves. The monument of Garatimo, by Giuseppe Maria 318 JOURNAL OF A TOUR of Bologna, is a large arched tablet with a border sculptured round it ; his profile is carved in bas-relief on the pedestal, against which a figure of Justice, stand ing with a sword in her right hand, leans on her elbow; below is seated Innocence, with a lamb in her lap, and Temperance, a graceful figure, with a candle ; a candelabra completes the composition. The decorations of the pillars are varied : sybils and prophets are sculptured on the first, Cupids on the second, and Syrens on the third. On the pillar ofthe cha pel belonging to San Marino the signs ofthe zodiac and the planets are represented in bas-relief; Luna, Mer cury, and Venus, on one side, Saturn, Jupiter, and Mars, on the other: the pillar rests on a bracket held by four Cupids and filled with fruit of a large size. The ceiling is in the gable form, with wooden rafters across. The general effect of the church is gloomy, and it is too much loaded with ornament ; but although the details are in bad taste, there is much to admire in them, and they shew the state of the arts when beginning to revive after their long period of decline. The church of San Girolamo is of an octagon form, but oblong. The altar-piece is by Guercino, the subject San Girolamo sitting by a rock, with red drapery round him and a lion by his side ; he is writ ing, and raises his left arm at the sound of a trumpet blown by an angel, a very light aerial figure, in the skies. Pillars are painted on the walls of the church with green curtains between them, raised by flying Cupid like angels. IN ITALY. 319 The church of San Agostino is lofty. The pictures are in very rich frames ; one of them has a Christ resembling that in the Marescalchi Coreggio. He is sitting on a cloud, surrounded by cherubim and encircled by a glory ; in the lower part of the composition a saint is standing with a book, and a female saint kneels on a broken fluted column. The church of I Servi is loaded with stucco orna ments. Down its sides are three altars decorated by angels in stucco, and six fluted Corinthian pillars, of which four are coupled. The balcony ofthe organ is supported by stucco figures. At the church of San Giuliano there is a pretty picture of the Annunciation by Elisabetta Sirani. San Giuliano was drowned by order of his father who was enraged at his becoming a Christian, and had him thrown into the river with a mill-stone round his neck ; but the saint was miraculously borne up, and walked home uninjured. The cruel parent still determined on his death, put him into a stone coffin, and again consigned him to a watery grave. The coffin was afterwards found, and is now deposited in the church with the mill-stone. The martyrdom is the subject of a fine painting in this church, by Paul Veronese. The front of the church of I Suffragi has tri angular bricks let into it at regular distances, jutting out like steps. Boys ascend by them to the top of the building. I observed another church with a front in the same style. The principal place is oblong. A bronze statue of Pope Paul the Fifth, 320 JOURNAL OF A TOUR placed on a pedestal, was converted into a San Gau denzio, the patron of Rimini, by changing the atti tude of one ofthe hands, and transforming the tiara into a mitre. This was done to preserve the statue, which would otherwise have been destroyed in the revolution. Some pictures are collected in the Palazzo Pub lico. The subject of a large composition, by Tinto retto, is the charter given to the order of San Domenico. It contains a number of figures, and exhibits great fertility of execution and good colouring, but is not one of Tintoretto's happiest efforts. Saint James, by Simon Contarini da Pesaro, is habited as a pilgrim in white with a lilac sash, a blue drapery, and a pelerine on which is a scallop- shell : he is resting on clouds supported by two angels flying, one holding a staff, the other a sword : their legs cross, which has a very ugly effect. A very pretty Holy Family, attributed to Parme giano, is more in the style of the school of Raphael. The Virgin is beautiful ; she is standing dressed in red with a blue mantle, and holds a book in which she is teaching the child to read ; it is naked, and sits on a yellow drapery thrown over a slab ; Joseph is in the back-ground. There is a good picture by Ghirlandajo. Guercino painted twenty-four pictures for the owner of the Casa Ciolli. The figures are half- length, the size of life, and each picture has a com panion in size and subject. Amongst them are Mars conducted by Cupid to Venus, who is asleep ; Apollo IN ITALY. 321 and Marsyas ; Hercules and Omphale ; Cleopatra dissolving the pearl, a man in a wig is by her side ; Angelica and Medoro. Christ and the woman of Samaria is one of the finest paintings, and Saint Cecilia, sitting reading with an organ behind her, is a sweetly interesting figure. These pictures are for sale, and 8000 scudi were asked for the whole twenty- four; but four might be purchased separately, pro vided pendans were selected. The present possessor is a Monsignore, and at a small church where I applied for admittance, the sacristan begged me to wait a little as this identical Monsignore was in it with a nun at confession. The Marchese Utalevi had a collection of indif ferent pictures, amongst which I saw copies of the Judith of Allori, of the marriage of Saint Catherine, by Parmegiano, once belonging to Mr. Morland, and ofthe Guercino at San Girolamo. The Citadel, now much dilapidated, was built by Vallurio in 1446, under the reign of Sigismondo Malatesta. It is called La Rocca, and built of brick : the form is pentagon : part of it is used for a prison. From the top there is a pretty view up the country, and to a hill on which there are several villas ; the hill of San Marino, with its three towers, is a conspicuous object. The Market-place is oval and has stalls round it, inclosed by pillars of rustic workmanship. On the base of one, which is erected on the spot where Caesar harangued his army after passing the Rubicon, is the following inscription : — ¦ p2 322 journal of a tour C. C.JBSAR DlCT. RuBICONE SuPERATO Civili Bel. Commilit Suos hic in Faeo au Ad locvs. The Gioco del Pallone, a favourite amusement in Italy, is played on a part of the rampart. The game consists in throwing balls to a certain distance over a line of demarcation ; and the players wear a particular sort of glove on the right hand with which they hit the ball. The walk on the quay is very pleasant, by the side of a wide canal which forms the port, but where the* water is too shallow to admit any large vessels. It is the mouth of the Marucchia, which falls into the Adriatic. The colour of the sea appeared to me particularly beautiful; in parts it was of a deep blue, in others, green, and near the shore, from the colour of the mud, it had a red tinge. There was just breeze enough to cause the waves to break in white semicircles. Some birds were hovering above, and our guide, the facchino of the hotel, told us that he went out to shoot every morning, and found abundance of game : there is a small pier. The sea once came up as high as the place, and a small chapel on it, erected to Saint Anthony of Padua, marks the spot where he preached, and found the IN ITALY. 323 fish his most attentive auditors : a picture in the chapel represents the scene. The house Saint Anthony occupied is opposite the chapel. The bridge of San Giuliano was begun by Augustus, and finished under the reign of Tiberius. It is built in a straight line from the gate of the town, and has five arches, but they are turned so as to guide the course of the Marucchia more directly to the sea than it originally inclined. It is now reduced to a very narrow stream by the accumulation of sand washed down by the river, and the arches are in consequence much less elevated above its surface than when they were first constructed, and stand partly on the dry bed of the Marucchia. One long wide street traverses Rimini, which is thinly peopled. Many of the principal houses have handsomely worked gratings before the windows. The streets are ill-paved, but the stones, being round, are not unpleasant to walk on. At the inn we were regaled with a fish resembling an eel in shape and length, called the sea-woodcock. The bones are blue, and the roe had a most disagreeable taste, but it is considered a dainty in Italy. The Via Emilia and the Via Flaminia ended at Rimini. We left it on the 2d of December, and, at its extremity, passed under the triumphal arch of Augustus, which is lofty and has a very wide span; -it is of marble, has two fluted Corinthian pillars, and medallions with the heads of Jupiter and other deities : both sides of the arch are orna mented, but the outward is best preserved. 324 journal of a tour We drove for some time near the sea, and passed through Catolica, a small village half-way be tween Rimini and Pesaro. The country improved in appearance after Catolica. It is very fertile, planted with Indian corn, and vines hanging in festoons. We left the sea at some distance, and part of the road was down-hill : the fences were particu larly neat. Pesaro, a very pretty town with well-paved streets, is smaller than Rimini. The Mole is about half a mile distant, and the walk to it along a canal bordered with trees and covered with barges very like Dutch vessels : the sands are not very firm. One broad winding street, on part of one of the sides of which there are arcades, traverses the town. A statue of Pope Urban the Eighth once stood on the the principal square, but it was removed during the French domination. The Ramparts are about a mile in circuit, but many of the houses in Pesaro have gardens which occupy a good deal of space. Near the gate of Rimini there are several pits in which grain is kept, and covered over when filled. An ancient one-arched bridge bears the name of Augustus, and is built over a river flowing from Urbino. A very pretty garden at the end of the town has been made by the late Count Giulio Perticari and the Marchese Cassi, an elderly nobleman, who was walk ing there when I entered it. The site is an old bastion commanding a lovely view of the mole, sea, and surrounding country, over meadows and pastures; IN ITALY. 325 and several villas are studded on the hills at the back of Pesaro. There is a green-house and a corridor down the sides of which are marble busts of various emperors, and four heads in black marble brought from Egypt by Queen Caroline of England. The small narcissus and jonquil were in full bloom, and the temperature of the air was like spring. At the entrance of the garden is inscribed, — Intatto d'ogni tiore Esser qui dee l'onore' Ognun la legge intenda e a rispettarla appkenda. The Cathedral is an insignificant church, but contains a picture of Saint Jerome by Guido, and the Last Supper, and Saint Thomas feeling the wound in the side of Christ, by Baroccio. The church of Gesu has the effect of a picture- gallery from the paintings covering the wall, being only separated by gilt frames, and below them the space for the altars is painted in chiaro scuro in the style of Polidoro da Caravaggio. The ceiling is divided into compartments painted by Baroccio. San Antonio Abbate is a very pretty church, in the same style as that of Gesii. In the upper part of the walls there are large oil-paintings in richly gilt frames, and below Scriptural subjects in bistre. At the church of San Francesco, the altar-piece is by Conca, and there is a copy of the Santa Michel- lina di Pesaro, by Baroccio, now in the Vatican. The 326 JOURNAL OF A TOUR body of the saint is kept here, and we were assured was in perfect preservation ; it is shewn once a-year. Two marble lions before the church of San Agos tino have each a monkey on their backs, scratching its head. In the church there is a curious mural monument ; in the upper part, a bust in white marble projects beyond a tablet of black, encircled by a broad border of red marble ; below, a figure of Death, with wings, standing on one foot, holds with both hands a marble scroll, on which is an inscription. At the Benedictine church the ceiling of the sacristy is prettily painted. I forget in which of the churches I saw the monu ment of a lady, who having been married against her will, let herself die of hunger. Our laquais de place had been coachman to Queen Caroline, and spoke of her as " una brava Signora.'' Bergami is not liked at Pesaro, where he is post master, and is not visited. Since the death of his wife, he has taken a soldier's wife into his house, who rules despotically, makes his daughter very uncom fortable, and dissipates his wealth. From Pesaro there is a direct road to Urbino, but the advanced season prevented my indulging in the wish I had of visiting the birth-place of Raphael, and also of remaining longer at this charming place, where we were most comfortably accommodated at the Al bergo Reale. On the 3d of December we proceeded on our journey, and stopped two hours at Fano, a small town situated a little distance from the sea ; the streets are IN ITALY. 327 straight, and there is a large square with a fountain on which is an antique bronze statue of Fortune, held in great veneration by the lower classes of people. The goddess is standing on a ball, with her left arm raised, and her right hanging down. She holds the end of a perforated mantle with both hands, which swells out behind her like a sail. The Theatre is very large, and remarkably deep ; there are five tier of boxes. The Cathedral is a plain unornamented church, the arches of the nave are Roman. An oval por trait of Raynalducci under glass, by Vandyck, is placed over his monument. There is a bad picture of Saint Anthony of Padua preaching at Rimini to his dumb auditors the fish. A chapel painted in fresco by Domenichino still bears traces of that great master's excellence, but a fire, which nearly destroyed it, has obscured and in part defaced its beauties. The subjects are the An nunciation, Salutation, Adoration of the Shepherds, the Flight into Egypt, and the Death and Assumption of the Virgin. In the church of San Paterniano, one of the handsomest in Fano, there is a fine picture, by Guer cino, of the Marriage of the Virgin ; her figure in profile is in the Grecian style, and very graceful ; she is dressed in lilac, with a blue drapery, and white veil. Joseph is in grey, with a brown mantle, and the priest's robes are green ; two figures are behind the Virgin. There is a pretty glory of angels in the dome of one of the chapels. The church of San Pietro, or I Filippini, is in 328 JOURNAL OF A TOUR the form of a Latin cross. Down the sides are three arched chapels. The ceiling is painted in compart ments, by Viviani, the dome is richly gilt, painted and decorated by figures of saints and angels in stucco. A half figure of Saint Peter, found in the Tiber, occupies a niche in the church ; his body is of wood, and the head of bronze, the right hand is on the breast. The altar-piece, a copy of a Guido, removed from hence in the time of the French, represents Christ giving the keys to Saint Peter. Saint Peter healing the sick is a good picture, by Simon da Pesaro, one of the groups represents a woman holding a child in her arms, which is as lovely as that by Santi di Tito, in the Palazzo Pitti, and swaddled up in the same manner. In the Library belonging to this convent there is a curious drawing of Christ, the Virgin, and Saint John. Their faces are painted, but the draperies are formed by texts of Scripture written distinctly, but in an extremely small character, and signed by Johann Michael Scharnhardtf 1676. A border all round is composed of writing, having the appearance of a trel lised pattern. A lunette in the church of Santa Maria Nuova is said to be by Raphael. The subject is a dead Christ sitting on his tomb, between the Virgin and Saint John, who support him ; Joseph of Arimathea and a soldier are behind him. The picture below the lunette is in the style of Perugino, and represents the Virgin and child seated on a throne under arches, on each side are three saints, one of whom with a vase of IN ITALY. 329 ointment, has a lovely face. The Annunciation also appears to be by Pietro Perugino. The body of a young female was laid out in the church of San Domenico ; the features were so placid she seemed to be asleep ; an old woman sitting by was flapping away the flies from the corpse. The churches at Fano were covered with papers, on which " Pregate per l'anima," &c. was printed in large letters. The nobility have their arms also painted on them, and they remain till worn out by time and exposure to the weather. At the College there is a picture by Domenichino, representing David, with a red drapery, holding up a sword in his right hand, and the head of Goliath with his left ; only half ofthe sword is seen, which has a bad effect ; but the figure is spirited and well-coloured ; the back-ground is a landscape. This picture might be purchased for the sum of 8000 scudi. We saw here copies of the frescoes by Domenichino in the cathedral, which are finely composed. There is a cascade formed by the Metro beyond the gate leading to Pesaro. It seems to have been forced into a narrow channel, and runs down an artificial slope. The inn at Fano is a handsome house, with large rooms and a marble staircase. On quitting Fano we passed the remains of the Arch of Augustus, which is built of marble, cut into large square blocks. A representation in bas-relief of the arch in its perfect state is seen on a small church near it, and shews that the middle arch had two small 330 JOURNAL OF A TOUR arches at the sides, and a balustrade, supported by pillars, along the top. This has totally disappeared, and only one of the small arches remains. I was sorry to bid adieu to the lovely Adriatic, though the country we traversed was extremely pretty, the road, bordered by hills and meadows, inclosed by hedgerows ; on the summit of one of the distant hills there was a village. The climate was sensibly milder than at Bologna ; the oaks still retained their leaves, and there was no indication of the approach of winter ; reeds grew abundantly, but not as exclusively as in the vicinity of the Po. The road became more hilly after we had passed the hamlet of Cascinella, where the peasant women wear straw hats. The Metauro flows in the valley, and its banks in one part are so steep, they resemble the walls of a fortification. There was little water in the river, which has large gravel-beds. We saw se veral pretty oak woods, some of the leaves were turned yellow, others quite dry. Fossombrone, where we halted for the night, is a small town, situated on the Metauro, and embosomed in hills. We lodged at I tre Re, where the bedrooms all opened into a common sitting-room, which we found occupied by two engineer-officers, sent to make a survey of the road. One of them, whose name was Pompeo Mancini, advised us to visit Gub- bia, an ancient town, celebrated by Dante, seven miles from La Scheggia. It has an Etruscan amphi theatre ; and at the Palazzo Communale some an- IN ITALY. 331 tique inscriptions engraven on brass called le tavole Gubbine. The innkeeper waited on us at supper, and amused us by his facetious conversation. He began talking of the priests, and said, that a vetturino on being asked what passengers he had in his carriage, replied, " Tre Cristiani ed un porco." To understand the pith of the story, it must be noticed that one of the tra vellers was a monk habited in black, and that the pigs in this vicinity are of a sable hue. Our host said he never allowed priests to come intimately to his house, but he knew many that did, and were " becchi e con- tenti." I inquired the signification of " becchi," and he answered, " cornuti," when I thought it advisable to change the conversation. There is not much to see at Fossombrone, but a day might be well employed in walking about the environs. On one of the hills near it there is a Ca puchin convent, and on another the old church of San Aldovrando. The Cathedral is a plain, uninteresting church ; the architecture is Grecian, as is also that of San Filippo, which has four arched chapels down the sides, inclosed by marble balustrades, and richly deco rated with stucco. The pillars of the principal altar, two saints, two angels, and several statues in niches, as well as the ornaments of the ceiling, which is arched, are also of this material. The pavement is of mosaic. The church of San Agostino contains a picture of the Visitation, by Baroccio, or a copy after one of his 332 JOURNAL OF A TOUR works. The Virgin, a pretty youthful figure, in red, with a green mantle, is ascending some steps, at the top of which Elizabeth is standing ; behind her is an arch. Joseph is in the back-ground, and a man and a woman in front. The walls of the church are white washed, and down the sides are half-circular pillars, painted, to appear fluted, with gilt capitals. In the Seminario there- is an old Roman pave ment, supposed to have been the floor of a tent, in excellent preservation ; the form is square, a little dog is in the middle, and four square compartments round it. The star pattern and plait, so general in Roman mosaics, are introduced. In the main street, which extends from one ex tremity of the town to the other, there is a row of arcades, and at the end the mutilated remains ofthe statue of a Roman warrior, consisting of one leg, and a cuirass. A bridge, consisting of one arch, over the Metauro, is both a beautiful object in itself, and commands a fine view, of which a convent of Zoccolanti Friars is one of the principal features. We continued our journey along a pleasant road, with hills always in sight, and woods partially dis tributed, and the Metauro flowing through the valley between picturesque rocks. The Furlo, which gives its name to the road, is a pass cut through steep rocks, in the style of the galleries of the Simplon ; but the arch is much higher, and no masonry employed in its construction. The scenery is very grand. I walked through the pass, and observed a great variety of IN ITALY. 333 plants, amongst which the wild rosemary predomi nated. The road winds under cover for a little way, and then continues for half a mile at the foot of the perpendicular rocks, out of which it is hewn. The country after this became more open, with hills, wood, and the river increasing in width, still in view. Acqualagna is a poor village we passed through in our way to Cagli, a picturesque town, situated on a hill, with white houses and slated roofs. It was market-day, and the large place was filled with pea sants and booths. The appearance of the town was thriving. The Cathedral is of Grecian architecture, it has a nave, two aisles, and a dome ; the walls are white washed. There is a plaster statue of Saint Peter sitting, coloured to imitate bronze, and a copy of the Annunciation of Baroccio in the Vatican. At San Domenico, a plain church, there is a fresco in the style of Perugino or Raphael. The Virgin is sitting in a niche, holding the naked child who stands on her lap; on each side there are three saints, and above the Resurrection is represented in a lunette. The church of San Francesco is poorly decorated, but there is a very pleasing picture, either an original or a copy of Baroccio, representing the Virgin sitting reading, with the naked child on her lap. She wears a red petticoat and a blue mantle. The dove is de scending towards her, and an angel with a lily places a crown on her head ; on the right is a pretty female saint holding a vase of ointment, and a bishop on the 334 JOURNAL OF A TOUR left carrying a pix with relics; an old man, some children, and a man and woman, are kneeling. From Cagli we descended the hill on which it stands, and then gradually ascended between stony hills, like some in Derbyshire. There were bridges over the torrent which flows down the valley, one of them, having only one arch, was very picturesque. We met several peasants riding on asses, the women astride, and some had blue cloth veils' hanging over their shoulders. The hay-stacks are very narrow, and have sticks run through them. Cantiano is surrounded by hills, on one of which is the church of San Ubaldo, where there is a miraculous crucifix. It is brought down when rain is wanted, and carried about in procession. We stopped at the Locanda della posta, where I was asked thirty-two pauls for a night's lodging; I would not submit to this imposition, and at the Fortuna on the market-place, paid only twelve pauls for quite as good accommodation. The people seemed little in the habit of receiving travellers, and apolo gised for not being able to procure milk, but we had no reason to be dissatisfied with the fare they pro vided. I went into the Cathedral, where I saw nothing worthy of remark. In the church of San Agostino there was a circular picture, under glass, of the Madonna and two children, by Pietro Perugino, which was given to the church by some devotee, and is a pleasing composition. IN ITALY. 335 Thirty-two candles were burning on the high altar of another church. I went over the Palazzo Bartolucco by lamp light. A large saloon was hung with indifferent pictures, one of them, representing some gamblers, was a little in the style of Caravaggio. The maid who accompanied me pointed out a picture of Cain and Abel, as being by Raphael, but I felt no temptation to examine it by daylight. One of the rooms was filled with Indian corn. The owner of the palace is a prisoner in the Castle of San Angelo at Rome, having been engaged in the late revolution in the Papal states ; and the palace is open as an asylum to poor unmarried women ofthe upper class, but none have as yet occupied it, although a lady of the family has bequeathed a sum for their maintenance. A cattle-fair was held on the market-place, which was filled with oxen. Domenico was obliged to hire four of these animals, to drag us up a long hill on leaving Cantiano. He took off two horses, which he fastened to the back of the carriage, and harnessed the oxen in front of the other pair. There was little water in the torrent, which still continued through the valley, the hills were fine, and some of them wooded. We stopped at the Ponte della Scheggia, built over a deep ravine, and alighted to examine its con struction. The masonry is very neat, and the effect of the bridge singular. It has an arch at the lower part, and over it a circular aperture of the same width, and two smaller ones at the sides. There are small vaulted 336 JOURNAL OF A TOUR chambers in it, well adapted for the haunts of banditti. In ancient times a temple dedicated to Giove Apenino stood near La Scheggia. I regretted not going to Gubbia, but it would have delayed us too long. The hills were now less elevated, and wider apart, and trees, with vines trained round them, were dispersed over the country. The oaks were fine, their trunks covered with ivy, and their leaves dry. Several ever greens, the size of the olive, were planted over large fields. It was early when we established ourselves at Sigillo, at an inn on the market-place, which, I believe, is the only one in the village, but I was afraid of travelling any part of the way in the dusk, and more particularly in this unfrequented track. The lunettes in the cloister ofthe church of San Agostino are tolerably painted ; the subjects are the miracles wrought by the saint. In the course of my walk I met some flocks of beautiful white goats re turning from their pastures ; they are always attended by a woman and a boy, on account of the wolves, who, when not absolutely famished, are prevented attacking the goats by the sound of the human voice. Jn the evening a large bon-fire was made on the market-place in honour of Saint Nicholas. IN ITALY. 337 CHAPTER VIII. December 6th. — The road from Sigillo ascends through a generally fruitful country, cultivated with vines and olives ; it is thinly peopled : the peasants seem poor, and are sparingly covered with patched and ragged clothes. Some villages are built in pic turesque situations on hills, and distant mountains bound the horizon. We passed several carts drawn by mules and oxen, crawling up a long hill. Gualdo, a small town on an eminence, lies to the left, and the same sort of scenery continued to Nocera, which, from its situation on a hill, surrounded by others, reminded me of a Spanish town. The inn was in the suburbs, and the view from it wild and romantic. The streets in the town are very steep, and there are some arcades. • The Cathedral is situated on the summit of the hill. Down one side there are deep chapels, entered under arches, with Ionic pillars on each side, fluted pilasters are also used in the decoration of this church, which seems to have been repaired at different periods, and no regular plan followed. There is a copy of the Annunciation of Baroccio, and the Presentation seems imitated after Domenichino. The Virgin is in front vol. i. Q 338 JOURNAL OF A TOUR of Saint Anne, her arms crossed on her breast, Saint Anne is dressed in lilac, with a blue mantle ; some cherubim are looking down. A woman leaning her elbow on her knee, and a boy kneeling by her side, are quite in the style of Domenichino's figures : the woman wears a veil, a yellow petticoat, with a grey boddice. Another female has a red drapery, and a turban like that of the Cenci. A boy with a red cap carries the pigeons, and an old man, and a girl with a basket, are also introduced. In the sacristy there is an old picture by Nicolo of Foligno, a pupil of Pietro Perugino. The figures are on a gold ground in Gothic compartments. The sub ject is, the Virgin kneeling in the centre, surrounded by little angels ; the other divisions are occupied by evangelists, saints, and fathers of the church, which are highly finished. San Rinaldo is the patron of Nocera. The church of San Giovanni belongs to a convent of nuns. The subject of the altar-piece is the birth of Saint John. There are three altars with twisted pillars, and pictures in rich gilt frames. At San Francesco's church there is a pretty half- length figure of a saint, with a turban like Domeni chino's Sybil : it is sadly injured. Santa Chiara and San Filippo Neri are small insignificant churches. The view from the summit of the hill is over the mountains surrounding the baths of Nocera, which are two or three miles distant, and much resorted to in summer. Three scudi a-day are paid for a good IN ITALY. 339 apartment, and a bath costs a paul. A Capuchin convent, with its attendant cypresses, is seen from . Nocera. December 1th. — The road we pursued wound con siderably, and skirts the torrent, the hills on both sides are richly wooded with a species of oak, having beautifully cut leaves, many still green. The land scape is very sweetly varied, and the day being bright and sunny, the tints were lovely. We passed through a small village, and descended to an olive and vine- covered plain, in the middle of which Foligno is situated. The trunks of the olives are extremely knotty, and divided into several stems. Here the roads from Perugia and Ancona meet that ofthe Furlo. At the chapel in the Gregori Palace there is an unfinished picture left there by Raphael, who lodged in the palace while he was painting the celebrated Madonna di Foligno. The subject is the Holy Family. Christ is on the lap of the Virgin, in the attitude ofthe child in the above-named picture, ex cept that its right hand is extended ; Saint John is looking up at him. His figure is nearly finished, and that of the Christ entirely so ; but those of the Virgin and Joseph are only sketched, with the ex ception of her hands, which encircle Christ, and the right hand of Joseph. The picture is upright, and on panel, split and injured by time. It was for sale.* * It has since been purchased by Sir Augustus Foster, and exhibited at the British Institution. 340 journal of a tour The Cathedral, built in the form of a Latin cross, is spacious and lofty. Fluted pilasters down the sides support a frieze round the church, and there are stucco statues in niches. The canopy of the altar is supported by twisted pillars of gilt brass, in imitation of that at Saint Peter's. The space in front is in closed by a marble balustrade, within which a double flight of marble steps descends to the crypt. The tribune behind the altar is semicircular, and the Triumph of Religion is painted in fresco on the lunette. A figure of Saint Feliciano in terra-cotta or stone, with a mitre and crosier, like the statue of Saint Peter at Rome, is placed under a canopy. A silver statue of San Feliciano is locked up, and only pro duced on great occasions. The dome is painted in the style of that of the Pantheon. In the sacristy there is a copy of the Ma donna di Foligno. The church of San Nicolo di Bari is of Grecian architecture, and contains a very old picture by Alunno, in the style of Perugino, representing the Adoration of the Virgin, who is kneeling before the child ; Joseph is behind her. In the other compartments are the Resurrection and several saints ; there is also a copy of the Holy Family by Raphael at Naples, and in the sacristy, a daub, in which a community of monks are hung in a row on seven stakes. They have palms of martyrdom in their hands, which are regularly crossed. The Madonna del Suffraggio is an octagon church, with pilasters at the corners. The altar-piece IN ITALY. 341 is framed in stucco, and has pillars of the same at the At the church of San Agostino there is a hand some tribune behind the altar, and a small tabernacle, containing a statue of the Virgin, ornamented by two statues of saints and four fluted pillars, all richly gilt, supported by two angels. In the Palazzo Publico, on the irregularly built market-place, there is a marble sarcophagus, on which is a mutilated bas-relief, and some inscriptions and antique bas-reliefs are let into the walls of one of the rooms. The ramparts afford a pleasant walk, and one part, where there are marble seats with arms, along the wall, is called II passeggio dei canape. The shock of an earthquake was felt some months ago at Foligno ; the town was very much shaken, and beams were placed across several of the streets to prevent the fronts of the houses from falling for ward. During many weeks the inhabitants slept in tents outside the town, and then erected wooden houses, which they occupied for four months. The fine church of la Madonna degli Angeli suffered materially by the earthquake, and the monks were going about to collect subscriptions to repair it. The day was bright and sunny, and the tempera ture warm as summer. Having seen all that was in teresting at Foligno, we continued our route through the vine-covered plain, on which there is a good deal of oak wood. The horizon was bounded by hills, studded with villas, peeping out of olive woods. We 342 JOURNAL OF A TOUR passed on our left the little town of Trevi, situated on the summit of a steep hill, and built in the form of an amphitheatre. A solitary steeple rises from this pic turesque mass of houses, resembling many Spanish towns in appearance and situation. We saw another village in the same style, and stopped before we reached Le Vene to examine the elegant little temple of Clitumnus by the road-side on the left, which is now converted into a church, dedi cated to San Salvador. It is built of large stones. The :/ panum is supported by four pillars, with Co rinthian capitals in the middle, and two fluted pilasters at the ends. The two centre pillars are worked in the style of the bark of a palm-tree, and those next to them are spiral. A passion-flower and some bunches of grapes are carved in bas-relief on the tympanum. At the back of the temple there is a sort of arabesque, composed of two bunches of grapes, a cross in the middle, and some large flowers, imitating jessamine and roses, with a rich border. These ornaments probably date from the time when the heathen temple was con verted into a place of Christian worship. Under the building there is a little vestibule with two side recesses, and an ancient inscription on the ceiling. There were several fields of canape, or hemp, a re markably pretty plant, with pointed leaves growing up the stalk in the shape of a star. We continued through the plain to Spoletto, which is situated on the side and at the foot of a hill, crowned by a fortress. We lodged at the post-house, a good inn, at the entrance of the town. IN ITALY. 343 December 8th. — The Cathedral is situated on a place about half-way up the hill. There is a colonnade before it, and two marble pulpits. The front is of marble, with the Madonna and saints in mosaic, on a gold ground, in the upper part. The nave and aisles are divided by Roman arches and square pillars ; over the arches are a row of windows between Corinthian pilasters ; the walls are white- washed. Part of the pavement is inlaid with marble. There is a dome. The choir is raised, and ascended by a flight of steps, the back of it, painted in fresco, by Filippo Lippi; the subjects are the Annunciation and Nativity; the death of the Virgin, surrounded by the Apostles, and the As sumption, where she is kneeling before the Almighty, in the midst of angels. Against the wall there is a monumental tablet to the memory oi Filippo Lippi. The altar is placed very forward, and has a par ticularly light effect ; the front is carved in bas-relief. There is a fine picture, by Annibal Caracci, of Saint Francis and Saint Catherine kneeling, looking up to the Madonna, who holds the naked child in her arms; her dress is red, with a blue mantle; two angels are crowning her, and another is at her feet. Saint Catherine is dressed in yellow, with a pink drapery ; her right hand is on her breast, a boy carrying flowers behind her, and the donor of the picture behind Saint Francis, who displays the palms of both hands. The fortress and aqueduct of Spoletto are in the back-ground. The altar-piece at the church of La Maddalena 344 JOURNAL OF A TOUR is by Guercino. The subject, a Magdalen scourging herself; her left hand is extended, her foot is bare, a brown drapery encircles her very lovely figure, and white linen is seen above it. The back-ground is a rock, on which a skull is placed. A long- legged angel flying above points to heaven, and three little angels, in different attitudes, hover near him. Another picture, ascribed to Perugino, but more like Baroccio, represents Christ as the gardener, and the Magdalen at his feet in a pretty landscape. The date is 1599. San Filippo Neri is a pretty church, with a dome. The arches down the nave are Roman, and supported by square pillars, faced by Corinthian pi lasters ; above there is a stucco frieze, composed of little angels. Saint Simeon holding the infant Christ in his arms is by Conca ; and the Madonna and child, with some other figures, by a pupil of his, is also a pleasing picture. In a chapel belonging to the.Ancajani family, there is an early picture, by Raphael, of the Adoration ofthe Magi. The faces are finished, but the drapery only traced on the canvass. It is very much in the style of Perugino. The chapel is lined with verd- antique and red marble. A little way out of the town stands the temple of Concord, which has been converted into the church of Il Crocifisso. Part of the ancient front still re mains, and in the church the pillars dividing the nave IN ITALY. 345 and aisles belonged to the temple. Some of them are tutto di un pezzo.* The Fortress is now used as a prison. The view beyond the gate is most beautiful. An ancient aque duct, which supplies the town and fortress with water, unites the hill on which the latter is built with the one opposite, and serves as a bridge over the bed of a torrent, which is sometimes dry, but fills when the rains are heavy : the aqueduct has ten arches. The water is conducted upwards of two miles before reach ing it, and is then compressed into a small leaden tube, which runs along the top, from whence it pours itself out of the fountain on the Piazza into the differ ent quarters of the town. The church of San Giuliano, once a heathen temple, stands on a high hill, and another, imme diately opposite the fortress, is wooded with myrtle and box, and studded with villas. The Foundling is a pretty building, embosomed in a wood* situated on an eminence. The streets of Spoletto are ill paved and lighted, and so steep that * At our first visit to this church in 1816, we met one of the monks belonging to the convent to which it is attached. He told us he was the superior of the three monks who then com posed the community ; the remainder of the brethren were dis persed, and the convent had suffered so much in the time of the French that its re-establishment appeared doubtful. This monk realised the idea of a holy friar ; his cheek was pale and hollow, and his black sparkling eye had lost much of its original fire, his demeanour was mild and unassuming, and although he lamented the events which had so long banished him from his peaceful asylum, yet his language was that of resignation. q2 346 JOURNAL OF A TOUR only carts can be used in them. In the principal one there is a large high tower, and an arch erected in memory of the repulse of Hannibal. It bears the following inscription : — ANNIBAL CiESIS AD TPASYMENUM ROMANIS URBEM ROMAM INTENSO AGMINE PETEUS SPOLETO MAGNA SUORUM DE REPULSUS INS1GNI PUGA PORTA NOMEN FECIT. The Palazzo Publico was shut, and we had no time to go to some churches outside the town. The country about Spoletto is lovely, and became more romantic as we gradually ascended the winding road of the Somma. It is three miles from the foot to the summit of the mountain, which is wooded with fine oaks. Several peasant- women, one of whom- was very pretty, offered us apples. The descent was steep, through lovely woods, amongst which the ilex, box, and pomegranate, flourish abundantly. From La Strettura the road still de scended, and overlooked the dry bed of a river. The olives were thickly spread over the country, and some of their many stems very crooked, and others quite hollow. Terni is situated in a vine-covered plain, bounded by hills. The town is inclosed by walls, and has some gates with square towers. We lodged on the Place, IN ITALY. 347 at l'Hotel de l'Europe, a newly fitted up and very comfortable inn. December 9th. — This day we devoted to the water falls, and from the brightness of the sun and the ver dure of the trees and shrubs, we might have fancied it was summer, had not rather a sharp wind destroyed the illusion. We quitted Terni by the gate of Rieti : the first part of the road is flat, through groves of very old olive-trees ; but about two miles and a half distant we ascended to the little village of Papinio, overlooking a narrow valley watered by the Nera, the banks are richly wooded, and a bridge is thrown over the river. Two casinos on the opposite side are beautifully situated. The drive up the mountain is steep, and only wide enough for one carriage : it gradually unfolds fresh beauties, whether looking down on the windings of the river or up to the craggy summit. We alighted when we reached it, and walked along a serpentine path through a shrubbery to a grotto the sides of which are petrified, having been originally the only outlet to the Velino. Three others have been made. The river rushes with great impetuosity through that called the Clementina. The grotto is large, lighted from the entrance and a hole cut at the top: we viewed the cascade from different spots ; the best is from a little temple overlooking the immense column of water pouring down perpendicularly, and producing masses of brilliant white foam melting into delicate vapours, and relieved by verdant shrubs flourishing on the very brink of the water. After descending in one un- 348 JOURNAL OF A TOUR broken torrent from a great height, a projecting rock causes an interruption, which adds to the beauty of the fall and produces an immense gulf of foam, it continues to the foot of the mountain, where the Nera receives the Velino, and the united rivers rush through a narrow rocky pass and continue a less rapid course till they join the Tiber. We descended by a very winding path cut through, the wood for the Emperor of Austria when he visited Rome, and came to a bed of rocks inclosing the river within narrow bounds, and then crossed a wooden bridge over it and ascended by another path through the wood to a hut where the entire cascade is seen at once, and a more beautiful spectacle can hardly be ima gined ; the rays of the sun, playing on the vapour on each side of the cataract, formed two lovely rainbows, so clear, so etherial, so transparent, that it appeared as if the very beams which illumined them must at the same time dispel them. The height ofthe cascade seen from hence, of which no idea can be formed when over looking it, appeared awfully grand, and the verdure gave a repose and freshness to the scenery that left nothing to desire. This was the third time I had visited these lovely falls, and I always found new beauties to excite my admiration, and often dwell with delight on the recollection of them. The path we now pursued was along the river, through low brushwood and fig-trees, and a grove of walnut-trees ; we passed through a garden planted with alleys of tall orange- trees. A chapel, some cottages, and a large oven, are hewn in the side of the rock, and there is an inn, IN ITALY. 349 kept principally for the accommodation of landscape- painters. The scenery is much more romantic than about Schaffhausen, but the body of water formed by the cataract of the Rhine is very much greater than that of the cascade of Terni. The variety of beautiful, fragrant shrubs and plants which cover the rocks to their summit, reminded me of Mont-Serrat, where they flourish in such luxuriance. We went up by a steep path to the village of Papinio, where we met the carriage: several men and boys followed us, all asking for "qualche cosa," assuring us they kept the paths in order, and had no other means of subsistence ; but our guide warned us not to yield to their impor tunities, as we should in that case be persecuted by the whole population. One ofthe party rode on a donkey part of the way, and although I had declined the offer of another, a boy followed with it and wanted to be paid for his attendance when the walk was ended. A man, who was very importunate, exclaimed, " Si me da qualche cosa me ne vado subito." I pitied a poor boy with whom I had some conver sation ; he told me his mother had been drowned in the cataract ; and his companion afterwards said it was supposed she had been pushed into it, for her husband fell in love with another woman, and promised his brother a reward if he would rid him of this obstacle to his happiness. The poor wife was soon after precipi tated into the abyss, and the husband shortly after married her rival. Some miles beyond the falls there is a beautiful lake, the banks of which afford very fine scenery; 350 JOURNAL OF A TOUR but the days were too short to extend our ex cursion. The situation of Terni, on a fertile plain sur rounded on all sides by mountains, resembles that of Lucca, though it is not so beautiful. The walk round the ramparts is planted, and the town neat and tolerably clean. The market-place is of an irregular oblong form, and there is a pretty fountain on it. The Ca thedral is a large church; the walls are white washed ; the nave and aisles divided by high Roman arches with square pillars, and there are chapels down the sides. The altar is inlaid with verd-antique, lapis lazuli, pavonazzo, &c. Damp has sadly injured the pictures. I asked the sacristan why he kept the church locked ? he said he could not stay in it all day, and that the altar-cloth had been stolen five times. The church of San Salvador was a temple of the Sun : it is very small, circular, and a modern vestibule has been added to it. The churches of San Pietro and San Giovanni are in no way remarkable. An ancient Bridge has been lately discovered at Terni, under a fragment of rock ; and there is a mo dern bridge over the Nera. The road from Terni to Narni is flat, through a country planted with fruit-trees, round which vines cluster. Narni is situated on the summit and slope of a very steep hill, at the foot of which the Nera winds between wooded banks. I alighted when we approached the foot of it and walked to the bridge. My guide took a shell out of his pocket and blew it like a horn, IN ITALY. 351 to give notice that oxen were required to draw the carriage up the hill. From the modern bridge, there is an excellent view of the ruins of the one built by Augustus : it had originally four very high arches, of which only the first is entirely preserved ; the span of the second was much wider than that of the others. The bridge is of grey stone, cut square, and very neatly finished ; it affords in itself and the romantic scenery about it a beautiful subject for painters. There is something in the situation of Narni which reminded me of that of Alcoy, but the number of domes are wanting to complete the resemblance. The principal objects seen from the plain are the convent and church of the Zoccolanti friars, the castle, now used as a prison, on the highest part of the town, and the church of San Agostino. On leaving the bridge I walked up the hill and met two very pictu resque monks in brown habits, with long white beards. A peasant asked me if I had seen la BastardiA, and on inquiring what this was, I found it was a recep tacle for foundlings, to which this very appropriate name had been given. I passed two old gateways, built of very large stones, belonging to the ancient fortifications, and went into the Cathedral, on the market-place, which is rather on a slope. The pillars dividing the nave and aisles are round, with Corinthian capitals, and support very flat curved arches, over which is a dead wall : there are chapels down the aisles. Four marble pillars support the canopy of the altar. 352 JOURNAL OF A TOUR I descended, by two flights of steps with marble" balustrades, to the crypt, where the body of Saint Ju venal, the patron of the city, reposes. The body of San Cassino is also preserved here, and on the anni versary of his martyrdom his blood flows into a little fountain placed before the sarcophagus in which his body is inclosed. His stick is kept as a sacred relic. Part of the pavement is of marble and porphyry, in the style ofthat of the cathedral of Canterbury. There was a pretty picture representing the death of Joseph : he is lying on a couch, the Virgin, wrapped in a pale blue mantle, bending gracefully over him ; Christ is at the foot of the bed, and several angels in the sky look down on the scene. Another picture represents Christ, after his ascen sion, conversing with his disciples in the middle of the street ; some figures looking out of the upper windows of the houses, the sacristan told us were souls from Paradise. He also asserted that the cathedral was built 7000 years before the foundation of Rome. The church of San Agostino is large, but contains nothing remarkable. From Narni we continued along a ridge overlook ing the river, and on the opposite side a succession of hills, wooded with the licinio, or ilex, and olive-trees. The country is romantic and mountainous, and from the different windings of the road the view was con stantly varied, and the rocks by the way-side furnished beautiful fore-grounds to the landscape, in which I could not discover any habitations. Domenico stopped to point out a spot where, some time since, a carriage IN ITALY. 353 had been attacked by banditti, who might plunder in these solitudes without risk of detection. We saw no living creatures, except the attendants on flocks of lovely white goats and mules loaded with stone jars filled with oil, which reminded me of those in Both's landscapes. We descended to Le Vigne, a single house, where we found very tolerable accommodation. The place is prettily situated : near it is a castle on a rock. Before we left Le Vigne some carts stopped at the inn, on their way to Civitta Vecchia, filled with pri soners condemned to the galleys. They were chained, and dressed in a coarse material with broad stripes, like what were called jockos, and sang loudly and merrily as if hardened to their fate. We conti nued to travel through a wild olive country, passed by Otricoli, a small place on a hill, and beyond it saw some vestiges of the ancient town. We crossed the Tiber over the Ponte Felice. Borghetto is a small village, prettily situated; a picturesque old ruined castle stands on a height above it. There are a good many oaks between this place and Civitta Castel lana, a small fortified town. The river, rocks, and dells, about this place afford lovely and varied subjects for landscape-painters ; but the air being considered unwholesome, they do not frequent it. There are bridges at each end of the town, one of them has a double row of arches in the style of the Pont du Gard, and is built over a small river flowing between two steep and richly wooded banks. It is one ofthe most beautiful dells I have seen, and winds 354 JOURNAL OF A TOUR considerably, turning away from the town just below a convent, the garden of which is marked by a magnificent pine. Rocks peep out amongst the wood, and, on the left, a sort of peninsula advances towards the bridge and forms a double dell towards the Citadel. A number of little caverns are hewn in the rocks as places of shelter for the cattle. The bridge at the southern extremity of the town is not built over water, but looks down on a rich garden : a small octagon citadel faces it. The Monte San Oreste, anciently called Monte Soracte, is seen from hence : it is very high, and appears isolated. The Cathedral near the market-place has a covered colonnade in front, and some porphyry and marble inlaid round the principal door of entrance. The pillars separating the nave and aisles are square, and support Roman arches. The pavement of marble and porphyry is like that in the cathedral of Canter bury. Against part of the walls there are tablets in mosaic, with two marble lions supported by little Caryatides. There is a copy of three of the figures in the Communion of Saint Jerome the saint, the priest, and the figure behind. The crypt has nine aisles formed by round pillars with Corinthian capitals. The women at Civitta Castellana throw their petticoats over their heads, which serve as veils ; this does not look ill in front, but has an odd appearance behind. One of these peasants asked me if I had ever been at Rome. I made the same inquiry of her, and after we had both answered in the affirmative, I ob- IN ITALY. 355 Served that it was " una bella citta," to which she replied, with a toss of her head, " Si capo del mondo." I walked about admiring the scenery of this lovely place till it was dark, when I returned to the Locanda della Posta. It is a great drawback to the pleasure of being in Italy to be always warned not to travel or remain out after dark for fear of being attacked. Regular banditti are not always to be feared, but the peasantry are too often tempted to plunder travellers, and, to secure themselves against detection, frequently stab their victims. The answer to an inquiry whether such a road is safe, is invariably, " Non si sente niente adesso," or, "e un pezzo che non e successo niente;" but there never seems to be that security enjoyed in other countries. December 12th. — We quitted Civitta Castellana at day-break. The road ascended towards Nepi, a very picturesque town situated on a steep bank wooded with pines. The walls are built of large stones and covered with ivy. There is a pretty dell and an ancient aqueduct. The Palazzo Publico, with a fountain in front of it, stands on the market place. From hence the country is undulated and depopulated : oaks are scattered over it. Near Mon- terossi, which stands high there, is a small lake. The country is most dreary to Baccano, a single post- house where we baited. Though so near to Rome, nothing indicated the vicinity of a metropolis. A few shepherds and flocks of goats alone appeared, but I saw no trace of habitation. La Storta is the last stage to Rome. 356 JOURNAL OF A TOUR IN ITALY. At the Ponte Molle the suburb commences, and houses continue to the Porta del Popolo. The beautiful twin churches at the entrance of the Corso raise expectations of grandeur which are fully realised on exploring the interior of the Eternal City. We stopped at La Gran Bretagna which was full, and then proceeded to Serney's Hotel, on the Piazza di Spagna, from whence we were recommended to the Hotel Damon Via della Croce, where we engaged apartments on the second floor for three scudi a-day. END OF THE FIRST VOLUME.