New Italian sketches

as marble, used in the construction, was brought from the Dalmatian coast. This stone, like the Istrian stone of Venetian buildings, takes and retains the chisel mark with w

es especial comment. A frieze of dancing Cupids, with gilt hair and wings, their naked bodies left white on a ground of ultra-marine, is supported by broad flat pilasters. These are engraved with children holding pots of flowers; roses on one side, carnations on the other. Above the frieze another pair of angels, one at each end, hold lighted torches; and the pyramidal cap of the chimney is carved with two more, flying, and supporting the eagle of the Montefeltri on a raised medallion. Throughout the palace we notice emblems appropriate to the Houses of Montefeltro and Della Rovere: their arms, three golden bends upon a field of azure: the Imperial eagle, granted when Montefeltro was made a fief of the Empire: the Garter of England, worn by t

ing but was of the finest and most excellent quality to be seen there. Moreover, he gathered together at a vast cost a large number of the best and rarest books in Greek, Latin, and Hebrew, all of which he adorned with gold and silver, esteeming them the chiefest treasure of his spacious palace." When Cesare Borgia entered Urbino as conqueror in 1502, he is said to have carried off loot to the value of 150,000 ducats, or perhaps about a quarter of a million sterling. Vespasiano, the Florentine bookseller, has left us a minute account of the formation of the famous library of MSS., which he valued at considerably over 30,000 ducats.

tible or irremovable materials, they retain some traces of their ancient splendour. On the first floor, opening on the vaulted loggia, we find a little chapel encrusted with lovely work in stucco and marble; friezes of bulls, sphinxes, sea-horses, and foliage; with

vo discrimine

usis altera s

nstruments, lutes, viols, and books, some open and some shut. The Bible, Homer, Virgil, Seneca, Tacitus, and Cicero, are lettered; apparently to indicate his favourite authors. The Duke himself, arrayed in his state robes, occupies a fourth great panel; and the whole of this elaborate composition is harmonised by emblems, badges, and occasional devices of birds, articles of furniture, and so forth. The tarsia, or inlaid wood of different kinds and colours, is

e great painter's life and works. They have recently placed in a tiny oratory, scooped by Guidobaldo II. from the thickness of the wall, a cast of Raphael's skull, which will be st

le that into yonder hall, where now the lion of S. Mark looks down alone on staring desolation, strode the Borgia in all his panoply of war, a gilded glittering dragon, and from the da?s tore the Montefeltri's throne, and from the arras stripped their ensigns, replacing these with his own Bull and Valentinus Dux? Here Tasso tuned his lyre for Francesco Maria's wedding-feast, and read "Aminta" to Lucrezia d'Este. Here Guidobaldo listened to the jests and whispered scandals of the Aretine. Here Titian set his easel up to paint; here the boy Raphael, cap in hand, took signed and sealed credentials from his Duchess to the Gonfalonier of Florence. Somewhere in these huge chambers, the courtiers sat before a torch-lit stage, when Bibbiena's "Calandria" and Castiglione's "Tirsi," with their miracles of masques and mummers, whiled the night away. Somewhere, we kn

e-room, we animate it with one scene it witnessed on an April night in 1508. Duke Guidobal

us niger et d

que palus in

vies Styx inte

e doorways. His own ensigns are displayed in groups and trophies, with the banners of S. Mark, the Montefeltrian eagle, and the cross keys of S. Peter. The hall itself is vacant, save for the high-reared catafalque of sable velvet and gold damask, surrounded with wax-candles burning steadily. Round it passes a ceaseless stream of people, coming

ve carnation, deep as her own shame. The man is Giannandrea, broad-shouldered bravo of Verona, Duke Guidobaldo's favourite and carpet-count. The lady is Madonna Maria, daughter of Rome's Prefect, widow of Venanzio Varano, whom the Borgia strangled. On their discourse a tale will hang of woman's frailty and man's boldness-Camerino's Duchess yielding to a low-born suitor's stalwart charms. And more will follow, when that lady's brother, furious Francesco Maria della Rovere, shall stab the bravo in torch-litten palace rooms with twenty poignard strokes twixt waist and throat, and their Pandarus shall be sent down to his account by a varlet's coltellata through the midriff. Imagination shifts the scene, and shows in that same loggia Rome's warlike Pope, attended by his cardinals and all Urbino's chivalry. The snowy beard of Julius flows down upon his breast, where jewels clasp the crimson mantle, as in Raphael's picture. His eyes are bright with wine; for he has come to gaze on sunset from the banquet-chamber, and to watc

dreary barocco emblems mar the dignity of death. A bulky Pietà by Gian Bologna, with Madonna's face unfinished, towers up and crowds the narrow cell. Religion has evanished from this late Renaissance art, nor has the a

tions, and are half way on the road to Fossombrone in a cloud of dust and whirr of wheels before we think of looking back to greet Urbino. There is just time. The last decisive turning lies in front. We stand bare-headed to salute the grey mass of buildings ridged along th

TIAN M

ressions and

takable. But to express the sober truth of those impressions which remain when the first astonishment of the Venetian revela

liquid blue; of distant islands shimmering in sunlitten haze; of music and black gliding boats; of labyrinthine darkness made for mysteries of love and crime; of statue-fretted palace fronts; of brazen clangour and a moving crowd; of pictures by earth's proudest painters, cased in gold on walls of council chambers where Venice sat enthroned a queen, where n

e and the art of man have made the richest in these qualities. Yet the mood engendered by this first experience is not destined to be permanent. It contains an element of unrest and unreality which vanishes upon familiarity. From the blare of that triumphal bourdon of brass instruments emerge the delicate voices of violin and clarinette. To the contrasted passions of our earliest

dging in

lled with Brenta water or Mirano wine take up their station at the neighbouring steps, and then ensues a mighty splashing and hurrying to and fro of men with tubs upon their heads. The brawny fellows in the winebarge are red from brows to breast with drippings of the vat. And now there is a bustle in the quarter. A barca has arrived from S. Erasmo, the island of the market-gardens. It is piled with gourds and pumpkins, cabbages and tomatoes, pomegranates and pears-a pyramid of gold and green and scarlet. Brown men lift the fruit aloft, and women bending from the pathway bargain for it. A clatter of chaffering tongues, a ring of coppers, a Babel of hoarse sea-voices, proclaim the sharpness of the struggle. When the quar

ated gondolier moors his boat beneath the window. My one maid, Catina, sings at her work the whole day through. My gondolier, Francesco, acts as valet. He wakes me in the morning, opens the shutters, brings sea-water for my bath, and takes his ord

oggia with

nings which occur as a respite from broken weather, when the air is windless and the light falls soft through haze on the horizon. As we broke into the lagoon behind the Redentore, the islands in front of us, S. Spirito, Poveglia, Malamocco, seemed as though they were just lifted from the sea-line. The Euganeans, far away to westward, were bathed in mist, and almost blent with the blue sky. Our four rowers put their backs into their work; and soon we reached the port of Malamocco, where a breeze from the Adriatic caught us sideways for a while. This is the largest of the breaches in the Lidi, or raised sand-reefs, which protect Venice from the sea: it affords an entrance to vessels of draught like the ste

uggestion of coast-lines scarcely felt in this infinity of lustre, all remind us that our voyage is confined to the charmed limits of an inland lake. At length the jutting headland of Pelestrina was reached. We broke across the Porto di Chioggia, and saw Chioggia itself ahead-a huddled mass of houses low upon the water. One by one, as we rowed steadily, the fishing-boats passed by, emerging from their harbour for a twelve hours' cruise upon the open sea. In a long line they came,

ndolier will tell you that the Chioggoto loves his pipe more than his donna or his wife. The main canal is lined with substantial palaces, attesting to old wealth and comfort. But from Chioggia, even more than from Venice, the tide of modern luxury and traffic has retreated. The place is left to fishing folk and builders of the fishing craft, whose wharves still form the liveliest quarter. Wandering about its wide deserted courts and calli, we feel the spirit of the decadent Venetian nobility. Passa

n the navy of Carlo Zeno in the Adriatic and the flotilla led by Vittore Pisani across the lagoon. It was in vain that the Republic of S. George strained every nerve to send him succour from the Ligurian sea; in vain that the lords of Padua kept opening communications with him from the mainland. From the 1st of January

ulgar adventures might be revived at the present hour with scarce a change of setting. Such is the force of intimité in literature. And yet Baffo and Casanova are as much of the past

a sea-dinner-crabs, cuttlefishes, soles, and turbots-which we ate at a table in the open air. Nothing divided us from the street except a row of Japanese privet-bushes in hooped tubs. Our banquet soon assumed a somewhat unpleasant similitude to that of Dives; for the Chioggoti, in all stages of decrepitude and squalor, crowded round to be

r to sing. Four of our Venetians had trained voices and memories of inexhaustible music. Over the level water, with the ripple plashing at our keel, their songs went abroad, and mingled with the failing day. The barcaroles and serenades peculiar to Venice were, of course, in harmony with the occasion. But some transcripts from classical operas were even more

her shrine upon the harbour-pile. The city grew before us. Stealing into Venice in that calm-stealing silently and shadowlike, with scarce a ruffle of the water, the masses of the town emerging out of darkness into twilight, till San Giorgio's gun boomed wi

we passed through to supper, I plucked a spray of yellow Banksia rose, and put it in my

rning

to's pictures would injure his carefully trained taste. It is probable that neither anecdote is strictly true. Yet there is a certain epigrammatic point in both; and I have often speculated whether even Venice could have so warped the genius of Poussin as to shed one ray of splendour on his canvases, or whether even Tintoretto could have so sublimed the prophet

ders in Venice. A spirited carving of a turbaned Moor leading a camel charged with merchandise, remains above the water-line of a neighbouring building; and all ab

ossibilities, in the Vision of Moses upon Sinai; as the painter of purity and tranquil pathos, in the Miracle of S. Agnes; as the painter of Biblical history brought home to daily life, in the Presentation of the Virgin. Without leaving the Madonna dell'Orto, a student can explore his genius in all its depth and breadth; comprehend the enthusiasm he excites in those who seek, as the essentials of art, imaginative boldness and sincerity; understand what is meant by adversaries who maintain that, after all, Tintoretto was but an inspired Gustave Doré. Between that quiet canvas of the Presentation, so modest in its cool greys an

history in a novel, romantic frame-work of familiar things. The commonplace circumstances of ordinary life have been employed to portray in the one case a lyric of mysterious splendour; in the other, an idyll of infinite sweetness. Divinity shines through the rafters of that

of Christ before the judgment-seat of Pilate, at San Rocco. Of all Tintoretto's religious pictures, that is the most profoundly felt, the most majestic. No other artist succeeded as he has here succeeded in presenting to us God incarnate. For this Christ is not merely the just man, innocent, silent before his accusers. The statio

carnal fascination, with outspread downy rose-plumed wings, and flaming bracelets on the full but sinewy arms, who kneels and lifts aloft great stones, smiling entreatingly to the sad, grey Christ seated beneath a rugged pent-house of the desert. No one again but Tintoretto could have dashed the hot lights of that fiery sunset in such quivering flakes upon the golden flesh of Eve, half-hidden among laurels, as she stretches forth the fruit of the Fall to shrinking Adam. No one but Tintoretto, till w

sm undescribed. And in this picture we have the most perfect of all modern attempts to realise an antique myth-more perfect than Raphael's Galatea, or Titian's Meeting of Bacchus with Ariadne, or Botticelli's Birth of Venus from the Sea. It may suffice to marvel at the slight effect which melodies so powerful and so direct as these produce upon the ordinary public. Sitting, as is my wont, one Sunday morning, opposite the Bacchus, four Germans with a cicerone sauntered by. The subject was explained to them. They waited an appreciable space of time.

"the painter of impossibilities." At rare moments he rendered them possible by sheer imaginative force. If we wish to realise this phase of his creative power, and to measure our own subordination to his genius in its most hazardous enterprise, we must spend much time in the choir of this church. Lovers of art who mistrust this play of the audacious fancy-aiming at sublimity in supersensual regions, sometimes attaining to it by stupendous effort or authentic rev

was the wont of the Venetians to lay their dead for a night's rest before their final journey to the graveyard of S. Michele. So many generations of dead folk had made that house their inn, that it is now no fitting home for living men. San Michele is the island close before Murano, where the Lombardi built one of their most romantically graceful churches of pale Istrian stone, and where the Campo Santo has for centuries received the dead into its oozy clay. The cemetery is at pres

w stroke of the oar. A luggage-train comes lumbering along the railway bridge, puffing white smoke into the placid blue. Then we strike down Cannaregio, and I muse upon processions of kings and generals and noble strangers, entering Venice by this water-path from Mestre, before the Austrians built their causeway for the trains. Some of the rare scraps of fresco upon house fronts, still to be seen in Venice, are left in Cannaregio. They are chiaroscuro allegories in a bold bravura manner of the sixteen

cacy of their shallow chiselled traceries in cream-white Istrian stone. It is enough to indicate the goal of many a pleasant pilgrimage: warrior angels of Vivarini and Basaiti hidden in a dark chapel of the Frari; Fra Francesco's fantastic orchard of fruits and flowers in distant S. Francesco della Vigna; the golden Gian Bellini in S. Zaccaria; Pa

rdens to the metropolitan Church of Venice, San Pietro di Castello. The novella is related

netian

e Grand Canal. Messer Paolo was a widower, with one married daughter, and an only son of twenty years or thereabouts, named Gerardo. Messer Pietro's wife was still living; and this couple had but one child, a daughter, called Elena, of exceeding beauty, aged fourteen. Gerardo, as is the wont of galla

, except on festivals of the Church, the custom of Venice required that gentlewomen should remain closely shut within the private apartments of their dwellings. His request was readily granted; and on the next feast-day the five girls began to play at ball together for forfeits in the great saloon, which opened with its row of Gothic arches and balustrated balcony upon the Grand Canal. The four sisters, meanwhile, had other thoughts than for the game. One or other of them, and some

ght her eye, and glances passed between them, and Gerardo's gondolier, bending from the poop, said to his master, "O master! methinks that gentle maiden is better worth your wooing than Dulcinea." Gerardo pretended to pay no heed to these words; but after rowing a little way, he bade the man turn, and they went slowly back beneath the window. This time Elena, thinking to play

oud, "Nurse, Nurse!" But the old woman did not hear him, and passed into the house and shut the door behind her. Whereupon Gerardo, greatly moved, still called to her, and when he reached the door, began to knock upon it violently. And whether it was the agitation of finding himself at last so near the wish of his heart, or whether the pains of waiting for his love had weakened him, I know not; but, while he knocked, his senses left him, and he fell fainting in the doorway. Then the nurse recognised the youth to whom she had given suck, and brought him into the courtyard by the help of handmaidens, and Elena came down and gazed upon him. The house was now full of bustle, and Messer Pietro heard the noise, and seeing the son of his neighbour in so piteous a plight, he caused Gerardo to be laid upon a bed. But for all they could do with him, he recovered not from his swoon. And after a while force was that they should place him in a gondola and ferry him across to his father's house. The nurse went with him, and informed

some one. So she feigned to sleep, but placed herself within sight of the window. And soon Gerardo came by in his gondola; and Elena, who was prepared, threw to him her nosegay. The watchful nurse had risen, and peeping behind the girl's shoulder, saw at a glance how matters stood. Thereupon she began to scold her charge, and say, "Is this a fair and comely thing, to stand all day at balconies and throw flowers at passers-by? Woe to you if your father should come to know of this! He would make you wish yourself among the dead!" Elena, sore troubled at her nurse's rebuke, turned and threw her arms about her neck, and

d meet his Elena. A glad man was Gerardo, nor did he wait to think how better it would be to ask the hand of Elena in marriage from her father. But when the day arrived, he sought the nurse, and she took him to a chamber in the palace, where there stood an image of the Blessed Virgin. Elena was there, pale and timid; and when the lovers clasped hands, ne

old his son that he had appointed him to journey with it and increase their wealth. "On thy return, my son," he said, "we will bethink us of a wife for thee." Gerardo, when he heard these words, was sore troubled, and first he told his father roundly that he would not go, and flew off in the twilight to pour out his perplexities to Elena. But she, who was prudent and of gentle so

that she was already married, for she knew not whether this would please Gerardo. For the same reason she dreaded to throw herself upon the kindness of Messer Paolo. Nor was her nurse of any help in counsel; for the old woman repented her of what she had done, and had good cause to believe that, even if the marriage with Gerardo were accepted by the two fathers, they would punish her for her own part in the affair. Therefore she bade Elena wait on fortune, and hi

he found poor Elena cold as a corpse. Messer Pietro and all the household rushed, at the nurse's cries, into the room, and they all saw Elena stretched dead upon her bed undressed. Physicians were called, who made theories to explain the cause of death. But all believed that she was really dead, beyond all help of art or medicine. Nothing remained but to carry her to church for burial instead of marriage. Therefore, that ve

Then he called to him the captain of the oarsmen, who was his friend, and unfolded to him all the story of his love and sorrow, and said that he must go that night and see his wife once more, if even he should have to break her tomb. The captain tried to dissuade him, but in vain. Seeing him so obstinate, he resolved not to desert Gerardo. The two men took one of the galley's boats, and rowed together toward San Pietro. It was past midnight when they reached the Campo and broke the marble sepulchre asunder. Pushing back its lid, Gerardo descended into the grave and abandoned himself upon the body of his Elena. One who had seen them at that moment could not well have said which of the two was dead and which was living-Elena or her husband. Meantime the captain of the oarsmen, fearing lest the watch (set by the Masters of the Night to keep the peace of Venice) might arrive, was calling on Gerardo to come back. Gerardo heeded him no whit. But at the last, compelled by his entreaties, and as it were astonied, he a

w he had fared, and set before him tables of disbursements and receipts, he seized the moment of his father's gladness. "Father," he said, and as he spoke he knelt upon his knees, "Father, I bring you not good store of merchandise and bags of gold alone; I bring you also a wedded wife, whom I have saved this night from death." And when the old man's surprise was quieted, he told him the whole story. Now Messer Paolo, desiring no better than that his son should wed the heiress of his neighbour, and knowing well that Messer Pietro would make great joy receiving back his daughter from the grave, bade Gerardo in haste take rich apparel and clothe Elena therewith, and fetch her home. Thes

the L

hambers of the Frari, where the archives of Venice load innumerable shelves. The afternoons invite us to a further flight upo

ding-place, for the Padri are gathering their vintage from the Lido, and their presses run with new wine. Eustace and I have not come to revive memories of Byron-that curious patron saint of the Armenian colony-or to inspect the printing-press, whi

tic in sailing vessels. Of all the Lidi, that of Malamocco is the weakest; and here, if anywhere, the sea might effect an entrance into the lagoon. Our gondoliers told us of some places where the murazzi were broken in a gale, or sciroccale, not very long ago. Lying awake in Venice, when the wind blows hard, one hears the sea thundering upon its sandy barrier, and blesses God for the murazzi. On such a night it happened once to me to dream a dream of Venice overwhelmed by water. I saw the billows roll across the smooth lagoon like a gigantic Eager. The Ducal Palace crumbled, and San M

anopy of cloud, reflected on these shallows, muddy shoals, and wilderness of matted weeds, converts the common earth into a fairyland of fabulous dyes. Purple, violet, and rose are spread around us. In front stretches the lagoon, tinted with a pale light from the east, and beyond this pallid mirror shines Venice-a long low broken line, touched with the softest roseate flush. Ere we reach the Giudecca on our homeward way, sunset ha

ush crimson, and through their rifts the depth of heaven is of a hard and gem-like blue, and all the water turns to rose beneath them. I remember one such evening on the way back from Torcello. We were well out at sea between Mazzorbo and Murano. The ruddy arches overhead were reflected without interruption in the waveless ruddy lake below. Our black boat was the only dark spot in this sphere of splendour. We seemed to hang suspended; and such as this, I fancied, must be the feeling of an insect caught in the heart of a fiery-petalled rose. Yet not these melodramatic sunsets alone are

At th

a grove of acacia-trees, shadowy and dreamy, above deep grass, which even an Italian summer does not wither. The Riva is fairly broad, forming a promenade, where one may conjure up the personages of a century ago. For San Nicoletto used to be a fashionable resort before the other points of Lido had be

s, or a lazy half-hour's contemplation of a limitless horizon flecked with russet sails, then we seek Sant'Elisabetta. Our boat is left at the landing-place

of places, under the forms of living human beings, is supplied by the appearance at some felicitous moment of a man or woman who impersonates for our imagination the essence of the beauty that environs us. It seems, at such a fortunate moment, as though we had been waiting for this revelation, although perchance the want of it had not been previously felt. Our sensations and perceptions test themselves at t

r of their sunlight. I had asked myself how would a Greek sculptor have personified the elemental deity of these salt-water lakes, so different in quality from the ?gean or Ionian sea? What would he find distinctive of their spirit? The Tritons o

these qualities almost in exaggeration. The type in him was refined to its artistic perfection. Moreover, he was rarely in repose, but moved with a singular brusque grace. A black broad-brimmed hat was thrown back upon his matted zazzera of dark hair tipped with dusky brown. This shock of hair, cut in flakes, and falling wilfully, reminded me of the lagoon grass when it darkens in autumn upon uncovered shoals, and sunset gilds its sombre edges. Fiery grey eyes beneath it gazed intensely, with compulsive effluence of electricity. It was the wild glance of a Triton. Short blonde moustache, dazzling teeth, skin bronzed, but showing white and healthful through open front and sleeves of lilac sh

humanised; the spirit of the salt-water lakes had appeared to me; the final touch

the monuments of generations to be thus resumed by nature. Yet, knowing nothing of the history of this burial-ground, I dare not affirm so much. There is one outlying piece of the cemetery which seems to contradict my charitable interpretation. It is not far from San Nicoletto. No enc

on most

f with their r

e I saw, well carved with letters legible of Hebrew on fair Itrian marbl

enetian R

eech and race, preoccupied with divers interests and cares. Necessity and the waiter drive them all to a sepulchral syssition, whereof the cook too frequently deserves that old Greek comic epithet-?δου μ?γειρο?-cook of the Inferno. And just as we are told that in Charon's boat we shall not be allowed to pick our society, so here we must accept what fellowship the fates provide. An English spinster retailing paradoxes culled to-day from Ruskin's handbo

cages of all sorts of birds-a talking parrot, a whistling blackbird, goldfinches, canaries, linnets. Athos, the fat dog, who goes to market daily in a barchetta with his master, snuffs around. "Where are Porthos and Aramis, my friend?" Athos does not take the joke; he only wags his stump of tail and pokes his nose into my hand. What a Tartufe's nose it is! Its bridge displays the full parade of leather-bound brass-nailed muzzle. But beneath, this muzzle is a patent sham. The frame does not even pretend to close on Athos' jaw, and the wise dog wears it like a decoration. A little farther we meet that ancient grey cat, who has no discoverable name, but is famous for the sprightliness and grace with which she bears her eighteen years. Not far from the cat one is sure to find Carlo-the bird-like, bright-faced, close-cropped Venetian urchin, whose duty it is to trot backwards and forwards between the cellar and the dining-tables. At the end of the court we walk into the kitchen, where the black-capped little padrone and the gigantic white-capped chef are in close consultation. Here we have the privilege of inspecting the larder-fish of v

ght in

e winter among the high Alps. But the nights of Venice and the n

scending the cloudless sky and silvering the domes of the Salute; pouring vitreous sheen upon the red lights of the Piazzetta; flooding the Grand Canal, and lifting the Rialto higher in ethereal whiteness; pie

ts of the Salute, and push our way along its Riva to the point of the Dogana. We are out at sea alone, between the Canalozzo and the Giudecca. A moist wind ruffles the water and cools our forehead. It is so dark that we can only see San Giorgio by the light reflected on it from the Piazzetta. The same light climbs the Campanile of S. Mark, and shows the golden angel in mystery of gloom. The only noise that reaches us is a confused hum from the Piazza. Sitting and musing there, the blackness of the

I went down to the Molo, where the large reach of the lagoon was all moon-silvered, and San Giorgio Maggiore dark against the blueish sky, and Santa Maria della Salute domed with moon-irradiated pearl, and the wet slabs of the Riva shimmering in moonlight, the whole misty sky,

breathe in those narrow alleys. The gondolier was half asleep. Eustace called him as we jumped into his boat, and rang our soldi on the gunwale. Then he arose and turned the ferro round, and stood across towards the Salute. Silently, insensibly, from the oppression of confinement in the airless streets to the liberty and imm

OLIER'S

who came and went about the table, laughing and joining in the songs, and sitting down at intervals to take her share of wine. The big room looking across the garden to the Grand Canal had been prepared for supper; and the company were to be received in the smaller, which has a fine open space in front of it to southwards. But as the guests arrived, they seemed to find the kitchen and the cooking that was going on quite irresistible. Catina, it seems, had lost her head with so many

ity. The entertainment was theirs as much as mine; and they all seemed to enjoy what took the form by degrees of curiously complicated hospitality. I do not think a well-ordered supper at any trattoria, such as at first suggested itself to my imagination, would have given any of us an equal pleasure or an equal sense of freedom. The three children had become the guests of the whole party. Little Attilio, propped upon an air-cushion, which puzzled him exceedingly, ate through his supper and drank his wine with solid satisfaction, opening the large brown eyes beneath those tufts of clustering fair hair which promise much beauty for him in his manhood.

other in quick succession. Barcaroles, serenades, love-songs, and invitations to the water were interwoven for relief. One of these romantic pieces had a beautiful burden, "Dormi, o bella, o fingi di dormir," of which the melody was fully worthy. But the most successful of all the tunes were two with a sad motive. The one repeated incessantly "Ohimé! mia madre morì;" the other was a girl's love lament: "Perchè tradirmi, perchè lasciarmi! prima d'amarmi non eri così!" Even the children joined in these; and Catina, who took the solo part in the second, was inspired to a great dramatic effort. All these were purely popular songs. The people of Venice, however, are passionate for operas. Therefore we had duets and solos from "Ernani," the "Ballo in Maschera," and the "Forza del Destino," and one comic chorus from "Boccaccio," which seemed to make them wild with pleasure. To my mind, the best of these more formal pieces was a duet between Attila and Italia from some opera unknown to me, which Antonio and Piero performed with incomparable spirit. It was noticeable how, descending to the people, sung by them for love at sea, or on excursions to the villages round Mestre, these operatic reminiscences had lost something of their theatrical formality, and assumed instead the serious gravity, the quaint movement, and marked emphasis which

er of the bride. There was nothing very noticeable in her appearance, except her large dark eyes. Otherwise both face and figure were of a common type; and her bridal dress of sprigged grey silk, large veil and orange blossoms, reduced her to the level of a bourgeoise. It was much the same with the bridegroom. His features, indeed, proved him a true Venetian gondolier; for the skin was strained over the cheekbones, and the muscles of the throat beneath the jaws stood out like cords, and the bright blue eyes were deep-set beneath a spare brown forehead. But he had provided a complete suit of black for the occasion, and wore a shirt of worked cambric, which disguised what is really splendid in the physique of these oarsmen, at once slender and sinewy. Both bride and bridegroom looked u

d dropped them into the boxes. Whether it was the effect of the bad morning, or the ugliness of a very ill-designed barocco building, or the fault of the fat oily priest, I know not. But the sposalizio struck me as tame and cheerless, the mass as irreverent a

mid of artificial flowers, which is placed before her at the marriage-feast, a packet of candles, and a box of bonbons. The comfits, when the box is opened, are found to include two magnificent sugar babies lying in their cradles. I was told that a compare, who does the thing handsomely, must b

the lead in a grand imperious fashion of his own. Wherever he went, he seemed to fill the place, and was fully aware of his own importance. In Florence I think he would have got the nickname of Tacchin, or turkey-cock. Here at Venice the sons and daughters call their parent briefly Vecchio. I heard him so addressed with a certain amount of awe, expecting an explosion of b

of the ferry. When vacancies occur on the traghetti, a gondolier who owns or hires a boat makes application to the municipality, receives a number, and is inscribed as plying at a certain station. He has now entered a sort of guild, which is presided over by a Capo-traghetto, elected by the rest for the protection of their interests, the settlement of disputes, and the management of their common funds. In the old acts of Venice this functionary is styled Gastaldo di traghetto. The members have to con

buon padrone. The other satirises the meanness of the poverty-stricken Venetian nobility: pompa di servitù, misera insegna. When they combine the traghetto with private service, the municipality insists on their retaining the number painted on their gondola; and against this their employers frequently object. It is, therefore, a great point for a gondolier to make such an arrangement with his master as will leave him free to show his number. The reason for this regulation is obvious. Gondoliers are known more by their numbers and their traghetti than their names. They tell me that though there are upwards of a thousand registered in Venice, each man of the trade knows the whole confraternity by face and number. Taking all things into consideration, I think four francs a day the whole year round are very good earnings for a gondolier. On this he will marry and rear a family, and put a little money by. A young unmarried man, working at two and a half or three francs a day, is proportionately well-to-do. If he is economical, he ought upon these wages to save enough in two or three years to buy himself a gondola. A boy from fifteen to nineteen is called a mezz'uomo, and gets about one franc a day. A new gondola with all its fittings is worth about a thousand francs. It does not last in good condition more than six or seven years. At the end of that time the hull will fetch eighty francs. A new

hand airy bed-rooms opened out, and two large doors, wide open, gave a view from where we sat of a good-sized kitchen. This arrangement of the house was not only comfortable, but pretty; for the bright copper pans and pipkins ranged on shelves along the kitchen walls had a very cheerful effect. The walls were whitewashed, but literally covered with all sorts of pictures. A great plaster cast from some antique, an Atys, Adonis, or Paris, looked down from a bracket placed between the windows. There was enough furniture, solid and well kept, in all the rooms. A

on me, that, had they been poisoned, I would not have refused to eat them. The conversation grew more and more animated, the women gathering together in their dresses of bright blue and scarlet, the men lighting cigars and puffing out a few quiet words. It struck me as a drawback that these picturesque people had put on Sunday-clothes to look as much like shop-keepers as possible. But they did not all of them succeed. Two handsome women, who handed the cups round-one a brunette, the other a blonde-wore skirts of brilliant blue, with a sort of white jacket, and white kerchief folded heavil

we really liked it all? whether we should come to the pranzo? whether it was true we danced? It seemed to give them unaffected pleasure to be kind to us; and when we rose to go away, the whole company c

d our stomachs with a dish of tea. It makes me shudder now to think of the

anners, who meant business. I envied Eustace his subjection to such a reasonable being. Signora dell'Acqua, though a widow, was by no means disconsolate; and I soon perceived that it would require all the address and diplomacy I possessed, to make anything out of her society. She laughed incessantly; darted in the most diverse directions, dragging me along with her; exhibited me in triumph to her cronies; made eyes at me over a fan; repeated my clumsiest remarks, as though they gave her indescribable amusement; and all the while jabbered Venetian at express rate, without the slightest regard for my incapacity to follow her vagaries. The Vecchio marshalled us in order. First went the sposa and comare with the mothers of bride and bridegroom. Then followed the sposo and the bridesmaid. After them I was made to lead my fair tormentor. As we descended the staircase there arose a hubbub of excitement from the crowd on the canals. The gondolas moved turbidly upon the face of the waters. The bridegroom kept muttering to himself, "How we shall be criticised! They will tell each other who was decently dressed, and who stepped awkwardly into the boats, and what the price of my boots was!" Such exclamations, murmured at intervals, and followed by chest-drawn sighs, expressed a deep preoccupation. With regard to his boots, he need have had no anxiety. They were of the shiniest patent leather, much too

eness of the scene was made for me still more oppressive by Signora dell'Acqua. She was evidently satirical, and could not be happy unless continually laughing at or with somebody. "What a stick the woman will think me!" I kept saying to myself. "How shall I ever invent jokes in this strange land? I cannot even flirt with her in Venetian! And here I have condemned myself-and her too, poor thing-to sit through at least three hours of mortal dulness!" Yet the widow was by no means unattractive. Dressed in black, she had contrived by an artful arrangement of lace and jewellery to give an air of lightness to her costume. She had a pretty little pale face, a minois chiffonné, with slightly turned-up nose, large laughing brown eyes, a dazzling set of teeth, and a tempestuously frizzled mop of powdered hair. When I managed to get a side-look at her quietly, without being giggled at or driven half mad by unintelligible incitements to a jocularity I could not fee

eature in the whole proceeding had its origin in this custom. I noticed that before each cover lay an empty plate, and that my partner began with the first course to heap upon it what she had not eaten. She also took large helpings, and kept advising me to do the same. I said: "No; I only take what I want to eat; if I fill that plate in front of me as you are doing, it will be great waste." This remark elicited shrieks of laughter from all who heard it; and when the hubbub had subsided, I perceived an

of beef, &c., to be supplied; and what they had fairly bought, they clearly had a right to. No one, so far as I could notice, tried to take more than his proper share; except, indeed, Eustace and myself. In our first eagerness to conform to custo

r how they were getting on. It was not long before the stiff veneer of bourgeoisie which bored me had worn off. The people emerged in their true selves: natural, gentle, sparkling with enjoyment, playful. Playful is, I think, the best word to describe them. They played with infinite grace and innocence, like kittens, from the old men of sixty to the little boys of thirteen. Very little wine was drunk. Each guest had a litre placed before him. Many did not finish theirs; and for very few was it replenished. When at last the desert arrived, and the bride's comfits had been handed round, they began to sing. It was very pretty to see a party o

t the end of the gallery, and these late-comers were regaled with plenty by their friends. Meanwhile, the big table at which we had dined was taken to pieces and re

when he had begun to make it answer. He had got a new gondola, and this would have to be hung up during the years of his service. The warehousing of a boat in these circumstances costs nearly one hundred francs a year, which is a serious tax upon the pockets of a private in the line. Many questions were put in turn to us, but all of the same tenor. "Had we really enjoyed the pranzo? Now, really, were

upon patriotic airs-the Marcia Reale, Garibaldi's Hymn, &c. Men danced with men, women with women, little boys and girls together. The gallery whirled with a laughing crowd. There was plenty of excitement and enjoyment-not an unseemly or extravagant word or gesture. My comare careered about with a light

The stars were shining from a watery sky as we passed into the piazza beneath the Campanile and the pinnacles of S. Mark. The Riva was almost empty, and the little waves fretted the boats moored to the piazzet

ck hats and lilac skirts, sat round the table, girt with the red waist-wrapper, or fascia, which marks the ancient faction of the Castellani. The other faction, called Nicolotti, are distinguished by a black assisa. The quarters of the town are divided unequally and irregularly into these two parties. What was once a formidable rivalry between two sections of the Venetian populace, still survives in challenges to trials of strength and skill upon the water. The women, in their many-coloured kerchiefs, stirred polenta at the smoke-blackened chimney, whose huge pent-house roof projects two feet or more across the hearth. When they had served the table they took their seat on low stools, knitted stockings, or drank out of glasses handed across the shoulder to them by their lords. Some of these women were clearly notable housewives, and I have no reason to sup

healthiness of the lagoons, the cheerful bustle of the poorer quarters, the brilliancy of this Southern sunlight, and the beauty which is everywhere apparent, must be reckoned as important factors in the formation of their character. And of that character, as I have said, the final note is playfulness. In spite of difficulties, their life has never been stern enough to sadden them. Bare necessities are marvellously cheap, and the pinch of real bad weather-such frost as locked the lagoo

the more downright natures of us Northern folk break in vain efforts. Our advances are met with an imperceptible but impermeable resistance by the very people who are bent on making the world pleasant to us. It is the very reverse of that dour opposition which a Lowland Scot or a North English peasant offers to familiarity; but it is hardly less insurmountable. The treatment, again, which Venetians of the lower class have received through centuries from

RN

d walls, as though the tainted spirit of the infamous Pier Luigi still possessed the spot, on which his toadstool brood of princelings sprouted in the mud of their misdeeds. Enclosed in this huge labyrinth of brickwork is the relic of which I spoke. It is the once world-famous Teatro Farnese, raised in the year 1618 by Ranunzio Farnese for the marriage of Odoardo Farnese with Margaret of Austria. Giambattista Aleotti, a native of pageant-loving Ferrara, traced the stately curves and noble orders of the galleries, designed the columns that support the raftered roof, marked out the orchestra, arranged the stage, and breathed into the whole the spirit of Palladio's most heroic neo-Latin style. Vast, built of wood, dishevelled, with broken statues and blurred coats-of-arms, with its empty scene, its uncurling frescos, its hangings all in rags, its cobwebs of two centuries, its dust and mildew and discolored gold-this theatre, a sham in its best days, and now that ugliest of things, a sham unmasked and naked to the light of day, is

y after the fatal date of 1494, when national enthusiasm and political energy were expiring in a blaze of art, and when the Italians as a people had ceased to be; but when the phantom of their former life, surviving in high works of beauty, was still superb by reason of imperishable style

world; and in the inconclusive termination of the struggle of that day the Italians were already judged and sentenced as a nation. The armies who met that morning represented Italy and France-Italy, the Sibyl of Renaissance

their spurs upon that waveless plain like blunt rocks jutting out into a tranquil sea. When we reach the bed of the Taro, these hills begin to narrow on either hand, and the road rises. Soon they open out again with gradual curving lines, forming a kind of amphitheatre filled up from flank to flank with the ghiara, or pebbly bottom, of the Taro. The Taro is not less wasteful than any other of the brotherhood of streams that pour from Alp or Apennine to swell the Po. It wanders, an impatient rivulet, through a wilderness of boulders, uncertain of its aim, shifting its course with the season of the year, unless the jaws of some deep-cloven gully hold it tight and show how insignificant it is. As we advance, the hills approach again; between their skirts there is nothing but the river-bed; and now on rising ground above the str

t the French upon the walls of a strong city. Charles could not do otherwise than descend upon the village of Fornovo, and cut his way thence in the teeth of the Italian army over stream and boulder between the gorges of throttling mountain. The failure of the Italians to achieve what here upon the ground appears so simple delivered Italy hand-bound to strangers. Had they but succeeded in arresting Charles and destroying his forces at Fornovo, it is just possible that then-even then, at the e

25th, Innocent VIII. died, and was succeeded by the very worst pope who has ever occupied St. Peter's chair, Roderigo Borgia, Alexander VI. It was felt at once that the old order of things had somehow ended, and that a new era, the destinies of which as yet remained incalculable, was opening for Italy. The chief Italian powers, hitherto kept in equipoise by the diplomacy of Lorenzo de' Medici, were these-the Duchy of Milan, the Repu

e taxes which they raised upon its wealth for purely selfish ends. When the line of the Visconti ended, in the year 1447, their tyranny was continued by Francesco Sforza, the son of a poor soldier of adventure, who had raised himself by his military genius, and had married Bianca, the illegitimate daughter of the last Visconti. On the death of Francesco Sforza, in 1466, he left two sons, Galeazzo Maria and Lodovico, surnamed Il Moro, both of whom were destined to play a prominent part in history. Galeazzo Maria, dissolute, vicious, and cruel to the core, was murdered by his injured subjects in the year 1476. His son,

ggrandisement in Italy, from which they had hitherto refrained as alien to the temperament of the republic. At the end of the fifteenth century Venice, therefore, became an object of envy and terror to the Italian States. They envied her because she alone was tranquil, wealthy, powerful, and free. They feared her because they had good reason to suspect her of encroachment; and it was foreseen that if she got the upper hand in Italy, all Italy would be the

he burghers, and in the formation of a new aristocracy of wealth. From this class of bourgeois nobles sprang the Medici, who, by careful manipulation of the State machinery, by the creation of a powerful party devoted to their interests, by flattery of the people, by corruption, by taxat

hority, and though the princely Roman houses of Colonna and Orsini were still strong enough to terrorize the Holy Father in the Vatican, it was now clear that the Papal See must in the end get the better of its adversaries, and consolidate itself into a first-rate power. The internal spirit of the papacy, at this time, corresponded to its external policy. It was thoroughly secularized by a series of worldly and vicious pontiffs, who had clea

an despots shared the uneasy circumstances of all Italian potentates, owing to the uncertainty of their tenure, both as conquerors and aliens, and also as the nominal vassals of the Holy See. The rights of suzerainty which the Normans had yielded to the papacy over their Southern conquests, and which the popes had arbitrarily exercised in favor of the Angevine princes, proved a constant source of peril to the rest of Italy by rendering the succession to the crown of Naples doubtful. On the extinction of the Angevine line, however, the throne was occupied by a prince who had no valid title but that of the sword to its possession. Alfonso of Aragon conquered Naples in 1442, and neglecting his hereditary dominion, settled in his Italian capital. Possessed with the enthusiasm for literature which was then the ruling passion of the Italians, and very liberal to men of learning, Alfonso won for himself the surname of Magnanimous. On his death, in 1458, he bequeathed his Spanish kingdom, together with Sicily and Sardinia, to

spite of mutual jealousies and hatreds, on their Italic civilization. They were enormously wealthy. The resources of the papal treasury, the private fortunes of the Florentine bankers, the riches of the Venetian merchants might have purchased all that France or Germany possessed of value. The single duchy of Milan yielded to its masters seven hundred thousand golden florins of revenue, according to the computation of De Comines. In default of a confederative system, the several states were held in equilibrium by diplomacy. By far the most important people, next to the despots and the captains of adventure, were ambassadors and orators. War itself had become a matter of arrangement, bargain, and diplomacy. The game of stratagem was played by generals who had been friends yesterday and might be friends again to-morrow, with troops who felt no loyalty whatever for the standards under which they l

mbassy in his own name, contrived that Lodovico's proposal should be rejected both by Florence and the King of Naples. So strained was the situation of Italian affairs that Lodovico saw in the repulse a menace to his own usurped authority. Feeling himself isolated among the princes of his country, rebuffed by the Medici, and coldly treated by the King of Naples, he turned in his anxiety to France, and advised the young king, Charles VIII., to make good his claim upon the Regno. It was a bold move to bring the foreigner thus into Italy; and even Lodovico, who prided himself upon his sagacity, could not see how things would

veral Italian states at this critical moment deserves to be noticed. The Venetians, as Paolo Antonio Soderini described them to Piero de' Medici, "are of opinion that to keep quiet, and to see other potentates of Italy spending and suffering, cannot but be to their advantage. They trust no one, and feel sure they have enough money to be able at any moment to raise sufficient troops, and so to guide events according to their inclinations." As the invasion was directed against Naples, Ferdinand of Aragon displayed the acutest sense of the situation. "Frenchmen," he exclaimed, in what appears like a prophetic passion when contrasted with the cold indifference of others no less really menaced, "have never come into Italy without inflicting ruin; and this invasion, if rightly considered, cannot but bring univers

idence could have brought so mad an expedition to so successful a conclusion. "Dieu monstroit conduire l'entreprise." No sooner, however, was Charles installed in Naples than the states of Italy began to combine against him. Lodovico Sforza had availed himself of the general confusion consequent upon the first appearance of the French, to poison his nephew. He was, therefore, now the titular, as well as virtual, Lord of Milan. So far, he had achieved what he desired, and had no further need of Charles. The overtures he now made to the Venetians and the Pope terminated in a league between these powers for the expulsion of the French from Italy. Germany and Spain entered into the same alliance; and De Comines, finding himself treated with marked coldness by the Signory of Venice, despatched a courier t

" says De Comines, "in a valley between two little mountain flanks, and in that valley ran a river which could easily be forded on foot, except when it is swelled with sudden rains. The whole valley was a bed of gravel and big stones, very difficult for horses, about a quarter of a league in breadth, and on the right bank lodged our enemies." Any one who has visited Fornovo can un

and harassed the rear of the French host; while raids from the right bank to the left were constantly being made by sharp-shooters and flying squadrons. "At this moment," says De Comines, "not a single man of us could have escaped if our ranks had once been broken." The French army was divided into three main bodies. The vanguard consisted of some three hundred and fifty men-at-arms, three thousand Switzers, three hundred archers of the Guard, a few mounted crossbow-men, and the artillery. Next came the Battle, and after this the rear-guard. At the time when the Marquis of Mantua made his attack, the French rear-guard had not yet crossed the river. Charles quitted the van, put himself at the head of his chivalry, and charged the Italian horsemen, driving them back, some to the

ure in the French host. If, instead of advancing along the left bank of the Taro and there taking up his quarters for the night, Charles had recrossed the stream and pursued the army of the allies, he would have had the whole of Lombardy at his discretion. As it was, the French army encamped not far from the scene of the action in great discomfort and anxiety. De Comines had to bivouac in a vineyard, without even a mantle to wrap round him, having lent his cloak to the king in the morning; and as it had been pouring all day, the ground could not have afforded very luxurious

amp and baggage of the French had been seized. Illuminations and rejoicings made the piazza of St. Mark in Venice gay, and Francesco da Gonzag

otected by bristling spears. They seem, on the contrary, to have abandoned military service with the readiness of men whose energies were already absorbed in the affairs of peace. To become a practised and efficient man-at-arms required long training and a life's devotion. So much time the burghers of the free towns could not spare to military service, while the petty nobles were only too glad to devote themselves to so honorable a calling. Thus it came to pass that a class of professional fighting-men was gradually formed in Italy, whose services the burghers and the princes bought, and by whom the wars of the peninsula were regularly farmed by contract. Wealth and luxury in the great cities continued to increase; and as the burghers grew more comfortable, they were less inclined to take the field in their own persons, and more disposed to vote large sums of money for the purchase of necessary aid. At the same time this system suited the despots, since it spared them the peril of arming their own subjects, while they taxed them to pay the services of foreign captains. War thus became a commerce. Romagna, the Marches of Ancona, and other parts of the papal dominions supplied a number of petty nobles whose whole business in life it was to form companies of trained horsemen, and with these bands to hire themselves out to the republics and the despots. Gain was the sole purpose of these captains. They sold their service to the highest bidder, fighting ir

TNO

l of René of Anjou, who in turn c

BARTOLOMME

montories, heaving like islands from the misty breadth below; and here and there are towers half lost in airy azure, and cities dwarfed to blots, and silvery lines where rivers flow, and distant, vapor-drowned, dim crests of Apennines. The city walls above us wave with snapdragons and iris among fig-trees sprouting from the riven stones. There are terraces over-rioted with pergolas of vine, and houses shooting forward into balconies and balustrades, from which a Romeo might

ther, in one frame-work, the myths of our first parents and Alemena's son; partly, perhaps, because both subjects gave scope to the free treatment of the nude; but partly, also, we may venture to surmise, because the heroism of Hellas counterbalanced the sin of Eden. Here, then, we see how Adam and Eve were made and tempted and expelled from Paradise and set to labor, how Cain killed Abel, and Lamech slew a man to his hurt, and Isaac was offered on the mountain. The tale of human sin and the promise of redemption are epitomized in twelve of the sixteen bass-reliefs. The remaining four show Hercules wrestling with Ant?us, taming the Nemean lion, extirpating the Hydra, and bending to his will the bull of Crete.

to him by the town of Bergamo, surmounts his monument inside the chapel. This was the work of two German masters called Sisto figlio di Enrico Syri da Norimberga and Leonardo Tedesco. The tomb itself is of marble, executed for the most part in a Lombard style resembling Amadeo's, but scarcely worthy of his genius. The whole effect is disappointing. Five figures representing Mars, Hercules, and three sons-in-law of Colleoni, who surround the sarco

curiously anticipates the decline of Italian sculpture. Gaunt, hollow-eyed, with prominent cheekbones and strong jaws, thi

se, are large and prominent; but it is pure and expressive of vivid individuality. The hair curls in crisp, short clusters; and the ear, fine and shaped almost like a Faun's, reveals the scrupulous fidelity of the sculptor. Italian art has, in truth, nothing more exquisite than this still-sleeping figure of the girl who, when she lived, must certainly have been so rare of type and lovable in personality. If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty; if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealize the he

of the numerous petty Lombard princes, and to make himself if possible a captain of adventure. His name alone was a sufficient introduction, and the Duchy of Milan, dismembered upon the death of Gian Maria Visconti, was in such a state that all the minor despots were increasing their forces and preparing to defend by arms the fragments they had seized from the Visconti heritage. Bartolommeo therefore had no difficulty in recommending himself to Filippo d'Arcello, sometime general in the pay of the Milanese, but now the new lord of Piacenza. With this master he remained as page for two or three years, learning the use of arms, riding, and training himself in the physical exercises which were indispensable to a young Italian soldier. Meanwhile Filippo Maria Visconti reacquired his hereditary dominions; and at the age of twenty, Bartolommeo found it prudent to seek a patron stronger than D'Arcello. The two great Condottieri, Sforza Attendolo and Braccio, divided the military glories of Italy at this period; and any youth who sought to rise in his profession had to enroll himself under the banners of the one or the other. Bartolommeo chose Braccio for his master, and was enrolled among his men as a simple trooper, or ragazzo, with no better prospects than he could make for himself by the help of his talents and his borrowed horse and armor. Braccio at this time was in Apulia, prosecuting the war of the Neapolitan Succession disputed between Alfonso of Aragon and Louis of Anjou under the weak sovereignty of Queen Joan. On which side of a quarrel a condottiere fought mattered but little, so great was the confusion of Italian politics, and so complete was the egotism of these fraudful, violent, and treacherou

sing power, and determined, if possible, to ruin him. He was not a man to be easily assassinated; so they sent a hired ruffian to Caldora's camp to say that Bartolommeo had taken his name by fraud, and that he was himself the real son of Pùho Colleoni. Bartolommeo defied the liar to a

, until 1443, in Lombardy, man?uvring against Il Piccinino, and gradually rising in the Venetian service, until his condotta reached the number of eight hundred men. Upon Gattamelata's death at Padua in 1440, Colleoni became the most important of the generals who had fought with Caldora in the March. The lordships of Romano in the Bergamasque, and of Covo and Antegnate in the Cremonese, had been assigned to him; and he was in a position to make independent engagements with princes. What distinguished him as a general was a combination of caution with audacity. He united t

of suspicion and intrigue. His policy was one of endless plot and counterplot. He trusted no man; his servants were paid to act as spies on one another; his body-guard consisted of mutually hostile mercenaries; his captains in the field were watched and thwarted by commissioners appointed to check them at the point of successful ambition or magnificent victory. The historian has a hard task when he tries to fathom the Visconti's schemes, or to understand his motives. Half the duke's time seems to have been spent in unravelling the webs that he had woven, in undoing his own work, and weakening the hands of his chosen ministers. Conscious that his power was artificial, that the least breath might blow him back into the nothingness fr

In that age of confused politics and extinguished patriotism, there was not indeed much scope for scrupulous honesty. But Filippo Maria Visconti proved more than a match for him in craft. While Colleoni was engaged in pacifying the revolted population of Bologna, the duke yielded to the suggestion of his parasites at Milan, who whispered that the general was becoming dangerously powerful. He recalled him, and threw him without trial into the dungeons of the Forni at Monz

le and lucrative office. In his will he charged the Signory of Venice that they should never again commit into the hands of a single captain such unlimited control over their military resources. It was indeed no slight tribute to Colleoni's reputation for integrity that the jealous republic, which had signified its sense of Carmagnola's untrustworthiness by capital punishment, should have left him so long in the undisturbed disposal of their army. The standard and the baton of St. Mark were conveyed to Colleoni by two ambassadors, and presented to him at Brescia on June 24, 1455. Three years later he made a triumphal entry into Venice, and received the same ensigns of military authority from the hands of the new doge, Pasquale Malipiero. On this occasion his staff consisted of some two hundred officers, splendidly armed, and followed by a train of serving-men. Noblemen from Bergamo, Brescia, and other cities of the Venetian territory, swelled the cortége. When they embarked on the lagoons, they found the water covered with boats and gondolas, bearing

uncheon, with good augury and fortune, as sign and warrant of your power. Be it your care and effort, with dignity and splendor to maintain and to defend the majesty, the loyalty, and the principles of this empire. Neith

nducted with no less pomp to his lodgings, and the n

s name. Honors came thick upon him. When one of the many ineffectual leagues against the infidel was formed in 1468, during the pontificate of Paul II., he was named captain-general for the crusade. Pius II. designed him for the leader of the expedition he had planned against the impious and savage despot Sigismondo Malatesta. King René of Anjou, by special patent, authorized him to bear his name and arms, and made him a member of his family. The Duke of Burgundy, by a similar heraldic fiction, conferred upon him his name and armorial bearings. This will explain why Colleoni is often styled "di A

cessary that a man in his position should seek the society of scholars. Accordingly his court and camp were crowded with students, in whose wordy disputations he is said to have delighted. It will be remembered that hi

was profoundly corrupt at heart. His principal lordships in the Bergamasque territory owed to his munificence their fairest churches and charitable institutions. At Martinengo, for example, he rebuilt and re-endowed two monasteries, the one dedicated to St. Chiara, the other to St. Francis. In Bergamo itself he founded an establishment named "La Pietà," for the good purpose of dowering and marrying poor girls. This house he endowed with a yearly income of three thousand ducats. The sulphur baths of Trescorio, at some distance from the city, were improved and opened to poor patients by a hospital which he provided. At Rumano he raised

ate daughters, Ursina and Isotta, were recognized and treated by him as legitimate. The first he gave in marriage to Gherardo Martinengo, and the second to Jacopo of the same family. Two other natural children, Doratina and Ricardona, we

alks every morning for the sake of exercise, and delighted in feats of arms and jousting-matches. "He was tall, straight, and full of flesh, well-proportioned, and excellently made in all his limbs. His complexion inclined somewhat to brown, but was colored with sanguine and lively carnation. His eyes were black; in loo

illiant with frescos, executed by some good Venetian hand, which represent the chief events of Colleoni's life-his battles, his reception by the Signory of Venice, his tournaments and hawking-parties, and the great series of entertainments with which he welcomed Christiern of Denmark. This king had made his pilgrimage to Rome, and was returning westward, when the fame of Colleoni and his princely state at Malpaga induced him to turn aside and spend some days as the general's guest. In order to do him honor, Colleoni left his castle at the king's disposal and established himself with all his staff and servants in a camp at some distance from Malpaga. The camp was duly furnished with tents and trenches, stockades, artil

m by the Duke of Ferrara. It set forth the testator's intention that this money should be employed in defence of the Christian faith against the Turk. One condition was attached to the bequest. The legatees were to erect a statue to Colleoni on the Piazza of St. Mark. This, however, involved some difficulty; for the proud republic had never accorded a similar honor, nor did they choose

riginal of Leopardi's bronze. The annals of sculpture assign to Verocchio, of Florence, the principal share in this statue: but Verocchio died before it was cast; and even granting that he designed the model, its execution must be attributed to his collaborator, the Venetian Leopardi. For my own part, I am loath to admit that the chief credit of this masterpiece belongs

ho can bear comparison with him for purity of public life and decency in conduct was Federigo di Montefeltro. Even here, the comparison redounds to Colleoni's credit; for he, unlike the Duke of Urbino, rose to eminence by his own exertion in a profession fraught with peril to men of ambition and energy. Fed

D VIGN

e Sup

st, the blue of the sky, ascending from pale turquoise to transparent sapphire filled with light. A medi?val mystic might have likened this chord to the spiritual world. For the lowest region is that of natural life, of plant and bird and beast, and unregenerate man. It is the place of faun and nymph and satyr, the plain where wars are fought and cities built and work is done. Thence

ss this chord-poplars shivering in sun and breeze, stationary cypresses as black as night, and tall campanili with the hot red shafts of glowing brick-adds just enough of compositio

f Mont Blanc blended with the Grand Paradis, the airy pyramid of Monte Viso, these are the battlements of that vast Alpine rampart in which the vale of Susa opens like

st of Calig

se it confirms the testimony of the green basalt bust in the Capitol, but also because it

he verge of breaking into the spasms of delirium, is quite peculiar to the Albertina bronze. It is just this which the portrait of the Capitol lacks for the completion of Caligula. The man who could be so represented in art had nothing wholly vulgar in him. The brutality of Caracalla, the overblown sensuality of Nero, the effeminacy of Commodus or Heliogabalus are all absent here. This face idealizes the torture of a morbid soul. It is withal so truly beautiful that it might easily be made the poem of high suffering or noble passion. If the bronze were plastic I see how a great sculptor by but few strokes could convert it into an agonizing Stephen or Sebastian. As it is, the unimaginable touch of disease, the unrest of madness, made Caligula the genius of insatiable appetite; and his martyrdom was the torment of lust and ennui and everlasting agitation. The accident of empire tantalized him with vain hopes of satisfying the Charybdis of his soul's sick cravings. From point to point he

d it blurred in its fine lineaments, furrowed with lines of care, hollowed with the soul's hunger? Unless a life of vice and madness had succeeded in making Caligula's face what the faces of some maniacs are-the bloated ruin of what was once a living

i at V

Saronno, and at Vercelli. In the Church of S. Christoforo, in Vercelli, Gaudenzio Ferrari, at the full height of his powers, showed what he could do to justify Lomazzi's title chosen for him of the eagle. He has indeed the strong wing and the swiftness of the king of birds. And yet the works of few really great painters-and among the really great we place Ferrari-leave upon the mind a more distressing sense of imperfection. Extraordinary fertility of fa

quite original; not only in their type of beauty, which is terrestrial and peculiar to Ferrari, without a touch of Correggio's sensuality; but also in the intensity of their emotion, the realisation of their vitality. Those which hover round the

me subject at Varallo, is by far the best. Ferrari never painted anything at once truer to life and nobler in tragic style than the fainting Virgin. Her face expresses the very acme of martyrdom-not exaggerated nor spasmodic, but real and sublime-in the sufferin

of the Shepherds," with two lovely angels holding the bambino. The "Assumption of the Magdalen"-for which fresco there is a valuable cartoon in the Albertina Collection at Turin-must have been a fine picture; but it is ruined now. An oil altar-piece, in the choir of

r of composition, simplicity of total effect, harmony in coloring, control over his own luxuriance, the sense of tranquillity. He seems to have sought grandeur in size and multitude, richness, éclat, contrast. Being the disciple of Leonardo and Raphael,

at Ve

th Lombard execution constitutes the chief charm of this singular work, and makes it, so far as I am aware, unique. Single figures of the Goddesses, and the whole movement of the scene upon Olympus, are transcribed without attempt at concealment. And yet the fresco is not a bare-faced copy. The manner of feeling and of execution is quite different from that of Raphael's school. The poetry and sentiment are genuinely Lombard. None of Raphael's pupils could have carried out his design with a delicacy of emotion and a technical skill in coloring so consummate. What, we think, as we gaze upward, would the master have given for such a craftsman? The hardness, coarseness, and animal crudity of the Roman school are absent; so also is their vigor. But where the grace of form and color is so soft and sweet, where the high-bred calm of good company is so sympathetically rendered, where the atmosphere of amorous languor and of melody is so artistically diffused, we cannot miss the powerful modelling and rather vulgar tours de force of Giulio Romano. The scala of tone is silvery golden. There are no hard blues,

θοτ?ρα μ?ν ?λι

οντα πολ? πλ?ον

nters felt the antique; how differently from their Roman brethre

ei più volte

le paglie se

spi al tuo c

etail. The intellectual feebleness of his style may be seen in many figures of women playing upon instruments of music, ranged around the walls. One girl at the organ is graceful; another with a tambourine has a so

judge by the fragments which have recently been rescued from whitewash, damp, and ruthless mutilation. What wonderful Lombard faces, half obliterated on the broken wall and mouldering plaster, smile upon us like drowned memories swimming up from the depths of oblivion! Wherever three or four are grouped together, we find an exquisite little picture-an old woman and two young women in a doorway, for example, telling no story, but touching us with simple harmony of form. Nothing further is needed to render their grace intelligible. Indeed, knowing the faults of the school, we may seek some consolation by telling ourselves

zza of

s of stone below, surmounted by a brick building with wonderfully delicate and varied terra-cotta work in the round-arched windows. Before this fa?ade, on the marble pavement, prance the bronze equestrian statues of two Farnesi-insignificant men, exaggerated horses, flying drapery-as barocco as it is possible to be in style, but so splendidly toned w

glimmering lamps, casts the veil of half-shadow over any crudeness and restores the injuries of time; the hour when all the tints of these old buildings are intensified, etherealized, and harmonized by one pervasive glow. When I last saw Piacenza, it had been raining all day; and ere sun-down a clearing had come from the Alps, followed by fresh threatenings of thunderstorms. The air was very liquid. There was a tract of yellow sunset sky to westward, a faint new moon half swathed in mist above, an

t Castigli

series of frescos by Masolino da Panicale, the master of Masaccio, who painted them about the year 1428. "Masolinus de Florentia pinxit" decides their authorship. The histories of the Virgin, St. Stephen, and St. Lawrence are represented; but the injuries of time and neglect have

tudied and well realized. The finest composition of this series is a large panel representing a double action-Salome at Herod's table begging for the Baptist's head, and then presenting it to her mother Herodias. The costumes are quattrocento Florentine, exactly rendered. Salome is a graceful, slender creature; the two women who regard her offering to Herodias with mingled curiosity and horror are well conceived. The background consists of a mountain landscape in Masaccio's simple manner, a rich Renaissance villa, and an open loggia. The architecture pe

many inscriptions to this effect "Erodiana Regina," "Omnia pr?tereunt," etc. A dirty, one-eyed fellow keeps the place. In my presence he swept the frescos over with a scratchy broom, flaying

Cert

zuli and bronze-work, inlaid agates and labyrinthine sculpture, cloisters tenantless in silence, fair painted faces smiling from dark corners on the senseless crowd, trim gardens with rows of pink primroses in spring and of begonia in autumn, blooming beneath colonnades of glowing terra-cotta. The strikin

detail of its ornaments. The only fault in this otherwise faultless product of the purest quattrocento inspiration is that the fa?ade is a frontispiece, with hardly any structural relation to the church it masks; and this, though serious from the point of view of architecture, is no abatement of its sculpturesque and picturesque refinement. At first sight it seems a wilderness of loveliest reliefs and statues-of angel faces, fluttering raiment, flowing hair, love-laden youths, and stationary figures of grave saints, mid wayward tangles of acanthus and wild vine and cu

of style, which nowhere suffers from the languor of exhaustion in the artist or from repetition of motives. It remains the triumph of North Ital

f Italy, blending the repose of the earlier masters and their consummate workmanship with a profound sensibility to the finest shades of feeling and the rarest forms of natural beauty. He selected an exquisite type of face for his young men and women; on his old men he bestowed singular gravity and dignity. His saints are a society of strong, pure, restful, earnest souls, in whom the passion of deepest emotion is transfigured by habitual calm. The brown and golden harmonies he loved are gained without sacrifice of lustre: there is a self-restraint in his coloring which corresponds to the reserve of his emotion; and though a regret sometimes rises in our mind that he should have modelled the li

pirit, this great picture was left unfinished; yet Northern Italy has nothing finer to show than the landscape, outspread in its immeasurable purity of calm, behind the grouped Apostles and the ascendent Mother of Heaven. The feeling of that happy region between the Alps and Lo

ms a strange record of human restlessness resolved into the quiet of the tomb. The iniquities of Gian Galeazzo Visconti, il gran Biscione; the blood-thirst of Gian Maria; the dark designs of Filippo and his secret vices; Francesco Sforza's treason; Galeazzo Maria's vanities and lusts; their tyrants' dread of thun

ad of land

in clay's no

disturbed

erfect peac

e palm of excellence in art and of historical interest must be awarded. Sculpture has rarely been more dignified and true to life than here. The woman with her short clustering curls, the man with his strong face, are resting after that long fever which brought woe to Italy, to Europe a new age, and to the boasted minion of fortu

not detract from his peculiar charm. That is his way, very different from Donatello's, of attaining to the maximum of life and lightness in the stubborn vehicle of stone. Nor do all the riches of the choir-those multitudes of singing angels, those Ascensions and Assumptions, and innumerable bass-reliefs of gleaming marble moulded into softest wax by mastery of art-distract our eyes from the single round medallion, not larger than a common plate, inscribed by him upon the front of the high-altar. Perhaps, if one who loved Amadeo were bidden to point out his masterpiece, he would lead the way at once to this. The space is small; yet

facility and felicity of execution. Wreaths of cupids gliding round the arches among grape-bunches and bird-haunted foliage of vine; rows of angels, like rising and setting planets, some smiling and some grave, ascending and descending by the Gothic curves; saints stationary on their pedestals and faces leaning from the rounds above; cr

flames into the sky. The rice-fields are under water, far and wide, shining like burnished gold beneath the level light now near to sun-down. Frogs are croaking; those persistent frogs whom the muses have ordained to sing for aye, in spite of Bion and all tuneful poets dead. We sit and watch the water-snakes

azzo's convent ever wake to

Maur

maller for the public, the second for the nuns. The walls are pierced with rounded and pilastered windows, ten on each side, four of which belong to the outer and six to the inner section. The dividing wall or septum rises to the point from which the groinings of the roof spring; and round three sides of the whole building, north, east, and south, runs a gallery for the use of the convent. The altars of the inner and outer church are placed against the septum, back to back, with certain differences of structure that need not be described. Simple and severe, San Maurizio owes its architectural beauty wholly and entirely to purity of line and perfection of proportion. There is a prevailing spirit of repose, a sense of space, fair, lightsome, and adapted to serene moods of the meditative fancy in this building which is singularly at variance with the religious mysticism and imaginative grandeur of a Gothic edifice. The principal beauty of the church, however, is its tone of color. Every square inch is covered with fresco or rich wood-work mellowed by time into that harmony of tints which blends the work of greater and lesser artists in one golden hue of brown. Round the arcades of the convent-loggia run delicate arabesques with faces of fair female saints-Catherine, Agnes, Lucy, Agatha-gem-like or star-like, gazing from their gallery upon the church below. The Luinesque smile is on their lips and in their eyes, quiet, refined, as though the emblems of their martyrdom brought back

ed for two great benefactors of the convent, Alessandro de' Bentivogli and his wife, Ippolita Sforza. When the Bentivogli were expelled from Bologna by the papal forces, Alessandro settled at Milan, where he dwelt, honored by the Sforzas and allied to them by marriage, till his death in 1532. He was buried in the monastery by the side of his sister Alessandra, a nun of the order. Luini has painted the illustrious exile in his habit as he lived. He is kneeling, as though in ever-during adoration of the altar mystery, attired in a long black senatorial robe trimmed with furs. In his left hand he holds a book; and above his pale, serenely noble face is a little black berretta. Saints attend him,

ment of his feeling, and the peculiar beauty of his favorite types. The chapel was decorated at the expense of a Milanese advocate, Francesco Besozzi, who died in 1529. It is he who is kneeling, gray-haired and bare-headed, under the protection of St. Catherine of Alexandria, intently gazing at Christ unbound from the scourging-pillar. On the other side stand St. Lawrence and St. Stephen, pointing to the Christ and looking at us, as though their lips were framed to say: "Behold and see if there be any sorrow like unto his sorrow." Even the soldiers who have d

o his subject. Far different is the second episode when Catherine is about to be beheaded. The executioner has raised his sword to strike. She, robed in brocade of black and gold, so cut as to display the curve of neck and back, while the bosom is covered, leans her head above her praying hands, and waits the blow in sweetest resignation. Two soldiers stand at some distance in a landscape of hill and meadow;

ith the freedom of the Milanese ladies. Upon his death, while she was little more than twenty, she retired to Casale and led a gay life among many lovers. One of these, the Count of Cellant in the Val d'Aosta, became her second husband, conquered by her extraordinary loveliness. They could not, however, agree together. She left him, and established herself at Pavia. Rich with her father's wealth and still of most seductive beauty, she now abandoned herself to a life of profligacy. Three among her lovers must be named: Ardizzino Valperga, Count of Masino; Roberto Sanseverino, of the princely Naples family; and Don Pietro di Cardona, a Sicilian. With each of the two first she quarrelled, and separately besought each to murder the other. They were friends, and frustrated her plans by communicating them to one another. The third loved her with the insane passion of a very young man. What she desired, he promised to do blindly; and she bade him murder his two predecessors in her favor. At this time she was

ist's M

air white marble tomb, carved by that excellent Lombar

em Mortis

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gher up are throned two Victories with palms, and at the top a naked Fame. We need not ask who was Lancinus Curtius. He is forgotten, and his virtue has not saved him from oblivion; though he strove in his lifetime, pro virili parte, for the palm that Busti carved upon his grave. Yet his monument teaches in short compass a deep lesson; and his epitaph sums up the dream which lured the men of Italy in the Renaissance to their doom. We see before us sculptured in this marble the

f Gaston de Fo

eems to clasp. So fragile is this wreath that it does not break the pure outline of the boy-conqueror's head. The armor is quite plain. So is the surcoat. Upon the swelling bust, that seems fit harbor for a hero's heart, there lies the collar of an order composed of cockle-shells; and this is all the ornament given to the figure. The hands are clasped across a sword laid flat upon the breast, and placed between the legs. Upon the chin is a little tuft of hair, parted, and curling either way; for the victor of Ravenna like the Hermes of Homer, was πρ?τον ?πην?τη?, "a youth of princely blood, whose beard hath just begun to grow, for whom the season of bloom is in its prime of grace." The whole statue is the idealization of virtù-that quality so highly prized by the Italians and the ancients, so well fitted for commemoration in the arts. It is the apotheosis of human life resolved into un

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not large enough to load the sanctuary with unnecessary wealth. Everything is very quiet in the holy place, and the offerings of the pious seem to have been only just enough to keep the building and its treasures of art in repair. The church co

all his other paintings in this church. The Sebastian, for example, shows an effort to vary the traditional treatment of this saint. He is tied in a sprawling attitude to a tree; and little of Luini's special pathos or sense of beauty-the melody of idyllic grace made spiritual-appears

ety. There is no trace of his violence here. Though the motion of music runs through the whole multitude like a breeze, though the joy expressed is a real tripudio celeste, not one of all these angels flings his arms abroad or makes a movement that disturbs the rhythm. We feel that they are keeping time and resting quietly, each in his appointed seat, as though the sphere was circling with them round the throne of God, who is their centre and their source of gladness. Unlike Correggio and his imitators, Ferrari has introduced no clouds, and has in no case made the legs of his ang

abyss of light above-had an originality which set at naught all criticism. There is such ecstasy of jubilation, such rapturous rapidity of flight, that we who strain our eyes from below feel we are in the darkness of the grave which Mary left. A kind of controlling rhythm for the composition is gained by placing Gabriel, Madonna, and Christ at three points in

superficial reproduction of these Parmese frescos, to fill the cupolas of Italy with veritable guazzetti di rane, was comparatively easy; and between our intelligence and what remains of that stupendous masterpiece of boldness crowd a thousand memories of such ineptitude. On the other hand, nothin

he figures are not too crowded, whether the groups are sufficiently varied and connected by rhythmic lines. Yet the concords of yellow and orange with blue in the "Sposalizio," and the blendings of dull violet and red in the "Disputa," make up for much of stiffness. Here, as in the Chapel of St. Catherine at Mila

that is all a devil's advocate could say. It is possible that the absence of blue makes the St. Catherine frescos in the Monastero Maggiore at Milan surpass all other works of Luini. But nowhere else has he shown more beauty and variety in detail than here. The group of women led by Joseph, the shepherd carrying the lamb upon his shoulder, the girl with a basket of white doves, the child with an apple on the altar-steps, the

nearest to Luini's masterpieces is the legend of St. Benedict, at Monte Oliveto, near Siena. Yet Sodoma had not all Luini's innocence or na?veté. If he added something slightly humorous which has an indefinite charm, he lacked that freshness, as of "cool, meek-blooded flowers" and boyish voices, which fascinates us in Luini. Sodoma was closer to the earth, and feared not to impregnate what he saw of beauty with the fiercer passions of his nature. If Luini had fe

ello of

ove the cathedral porch, so feudal in its medi?val pomp. He and St. Michael are painted in fresco over the south portcullis of the castle. His lustrous armor gleams with Giorgionesque bri

before evening the rain-clouds parted and the sun flamed out across the misty Lombard plain. The Castello burned like a hero's funeral pyre, and round its high-built turrets swallows circled in the warm blue air. On the moat slept shadows, mixed with flowers of sunset, tossed from pinnacle and gable. Then the sky changed. A roof of thunder-cloud spread overhead with the rapidity of tempest. The dying sun gathered his last strength against it, fretting those steel-blue

's Tomb

-an undefined sense of the neighboring Adriatic, a pervading consciousness of Venice unseen but felt from far away. From the terraces of Arqua the eye ranges across olive-trees, laurels, and pomegranates on the southern slopes to the misty level land that melts into the sea, with churches and tall campanili like gigantic galleys s

lay! It is as though archangels, flying, had carried the marble chest and set it down here on the hill-side, to be a sign and sanctuary for after-men. A simple rectilinear coffin, of smooth Verona mandorlato, raised on four thick columns, and closed by a heavy cippus-cover. Without emblems, allegories, or lamenting genii, this tomb of the great poet, the great awakener of Europe from mental letha

Mou

he dark waters of Lugano. It is good to be alone here at this hour. Yet I must rise and go-passing through meadows where white lilies sleep in silvery drifts, and asphodel is pale with spires of faintest rose, and narcissus dreams of his own beauty, loading the air with fragrance sweet as some love-music of Mozart. These fields want only the white figure of Persephone to make them poems; and in this twilight one might fancy that the queen had left her throne by Pluto's side to mourn for her dead youth among the flowers uplifted between earth and heaven. Nay, they are poems now, these fields; with that unchanging background of history, romance, and human life-the Lombard plain, against whose violet breadth the blossoms bend their faint heads to the evening air. Downward we hurry, on pathways where the beeches meet, by silent farms, by meadows honey-scented, deep in dew. The columbine stands tall and still on those green slopes of shadowy grass. The nightingale sings

Ge

ng and handsome. Dosso has made it one most wonderful laugh. Even so perhaps laughed Yorick. Nowhere else have I seen a laugh thus painted: not violent, not loud, although the lips are opened to show teeth of dazzling whiteness; but fine and delicate, playing over the whole face like a ripple sent up from the depths of the soul within? Who was he? What does the lamb mean? How should the legend be interpreted? We cannot answer these questions. He may have been the court-fool of Ferrara; and his genius, the spiritual essence of the man, may have inclined him to laugh a

thing of attractive in his face-the smooth-curved chin, the shrewd yet sleepy eyes, and finely-cut thin lips-a curious mixture of audacity and meekness blended upon his features. Yet this impression was but the prelude to his smile. When that first dawned, some breath of humor seeming to stir in him unbidden, the true meaning was given to his face. Each feature helped to make a smile that was the very soul's life of the man expressed. It broadened, showing brilliant teeth, and grew into a noiseless laugh; and then I saw before me Dosso's jester, the type of Shakespeare's fools, the life of that wild irony, now rude, now fine, wh

ling genius, who flourished two bright torches. On her left hand stood the man of Modena with his white lamb, a new St. John. On her right stood the man of Torcello with his keys, a ne

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red to Ceres' yellow autumn sheaves, wr

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