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bearer, carrying torches. This singular mode of burial, it seems, dates back to the year 1240, the date of the origin of the Society of the Misericordia, to which these masked members belong.

CHAPTER XXXVIII.

FLORENCE, NOVEMBER 16.- We spent this fore

9. noon in the Church of Santa Maria Novella, which was completed in 1470, and “from the elegance of its form and proportions” Michael Angelo called it La Sposa, the bride. It contains many very striking fresco paintings, representing “Heaven,” “Hell,” “The Last Judgment,” etc., and there are also some old and some modern paintings on canvas, possessing much merit. In the painting of "The Last Judgment,” which is some twenty feet square, various modes of punishment and torment are depicted --some poor creatures being in a lake of fire, only their lower limbs visible, showing that they were plunged head foremost into the seething lake; others in the most terrible outer darkness of despair, we cannot tell in how many forms; but the kind of sins for which each group was suffering was set down in words. The arch fiend himself, or his executioner, in the form of a raging lion, appeared in the midst of the largest group, and as he had the head and shoulders of Judas in his mouth, the inference was that all were to be thus devoured. So far as Judas was concerned, no one seemed to have any sympathy for him. In the afternoon we visited the studios, all near

together, of Powers, Ball, and Fuller, the latter of whom died a year or two ago. The two brothers, sons of the late Hiram Powers, have their studio in the same place where the writer saw their father in 1867. The elder brother has just completed a beautiful bust of a maiden, giving it the name “Star of Bethlehem," and the younger is engaged on a bust of General Grant. Whether either son will ever become as famous as their father, time will tell. They evidently possess a good deal of artistic talent. They continue to multiply, as they find sale therefor, the more popular statues and busts modeled by Hiram Powers; for instance, those of “Washington,' “Franklin," "Eve," "The Greek Slave," "Faith," “The Fisher Boy," “Genevra," "America,” “Diana,” “ “Charity,” “Proserpine,” “Clytie,” “Hope," and others. We were highly gratified with a view of all these works of art. We were equally well pleased with the works exhibited in Ball's studio, where we were happy to meet his young and promising pupil, Daniel French, who has already made his mark by his statue of “The Minute Man,” lately erected in Concord, Massachusetts—a work regarded by the best judges as possessing great merit. We were delighted with Ball's “L'Allegro” and “Il Penseroso," two revolving busts, with children's faces, a joy to behold; and his statue (full size) of “St. John" is one of the grandest we have anywhere

It represents the Apostle as standing with eyes raised toward heaven-in his right hand a pen and in his left a book-as if listening to the words: “And I heard a voice from heaven saying unto me, write, Blessed are the dead which die in the Lord from henceforth.” The statue in which we were more interested, perhaps, was one of Lincoln and

seen.

the half-kneeling freedman at his feet, his chains broken and eyes fixed in wonder on the land of liberty. Leaning on a pedestal, Lincoln holds his Emancipation Proclamation in his right hand, and is imagined as saying, “And upon this act I invoke the considerate judgment of mankind and the gracious favor of Almighty God." The likeness is excellent. A colossal statue after this model has just been cast in bronze, in Munich, where we saw parts of it at the foundry there, and it is to be erected in Washington City. It cannot fail to be admired. Fuller has left many meritorious works, the most striking of which, perhaps, that we saw is a reclining statue of a mother and infant, illustrative of a passage in Moore's Lalla Rookh—“Paradise and the Peri:"

“My child she is but half divine,
Her father sleeps in the Caspian water.

Sea weeds twine

His funeral shrine,
But he lives again in the Peri's daughter.
Fain would I fly from mortal sight
To my own sweet bowers of Peristan;
But there the flowers are all too bright
For the eyes of a baby born of man.
On flowers of earth her feet must tread,
So hither my light - winged bark hath brought her.

Stranger, spread

Thy leafliest bed
To rest the wandering Peri's daughter."

The mother, the child on her breast, reclines in a fairy “light-winged bark," with a graceful swan for its figure-head. Another beautiful statue is that of * Little Nell," and one of “Blind Lydia,” the Pompeian damsel, is also touchingly striking. We have called once at Gould's studio, where we were much

1

pleased with what is, perhaps, his masterpiece, a charming figure of a maiden, styled the “West Wind,” the light drapery of which has the appearance of being pressed closely around and back of the form by a strong current of air.

The Pitti Palace, aside from its Picture Galleries, is a magnificent edifice. It was the residence of the King when the seat of government was in Florence. The rooms, some twenty or more, which we saw, and their furniture are very fine, and in some of these rooms there are a considerable number of excellent paintings, one of which, in size eight by fifteen feet, represents in a vivid manner “The Battle of St. Martins.” There are here four or five ebony secretaries richly inlaid with lapis lazuli and other precious stones, and many tables inlaid in the same manner, all surprisingly beautiful. A writing table of modern make commanded our admiration on account of its ingenious construction. Its shape is oval and its size that of a common center - table, say three feet and a half long. The guide unlocked what we supposed to be a drawer, but which proved to be the back of a comfortable chair, the withdrawal of which caused the leaf of the table to separate in the middle, presenting a complete writing table, readily adjusted to the proper inclination, with all the necessary compartments of a writing desk. On either side of the seat were drawers, and altogether we thought it the most complete escritoir we had

Moreover, it is a card table as well. One day we visited the Museum of Natural History, where we saw two telescopes and other astronomical instruments used by Galileo, and at the same place one of his fingers, which had been preserved in alcohol and kept in a glass vessel. It was

ever seen.

so shrunken that one would not have taken it for a finger, nor do we understand what the object could be in preserving it, unless to show that “the earth moves” — backward. It is anything but a pleasant sight. Not more disagreeable though than any number of wax forms we saw here, showing the construction of man, beast, bird, and fish in all their minutest details. The horrible sights in the Medical Museum at Washington fall far short of what is to be seen here. The collection of stuffed skins of animals, birds, and various other creatures is very good.

We have been to the Protestant Cemetery, which is on the eastern edge of the city, to see the graves of Elizabeth Barrett Browning, Theodore Parker, and Hiram Powers, whose remains lie buried here. It occupies an elevated spot, one acre or more in extent, and is enclosed by a high iron railing. It is adorned by rows of yew and other trees, shrubbery and flowers, and commands a charming view of the hills of Fiesole and vicinity. Inside, near the gateway, is a small building, occupied by the attendant, who opened the gate for us. There is a gravel walk from the gate through the center of the grounds to the top of the hill, and Mrs. Browning's tomb fronts the left side of this walk near the center. Her monument is of white marble, the upper and more elaborate part, somewhat in the form of a sarcophagus, resting on six small marble pillars. On the front is her profile in bas-relief, under which, on the left, are the letters “E*B*B*,” and on the right “OB* 1861*.” This is all we could see as indicating for whom the monument was erected. There are other carvings of an appropriate character, representing the lyre, harp, flowers, etc. Gathering clover leaves

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