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and two or three wild flowers growing near her tomb, we passed on to find the grave of Theodore Parker, which is a few steps beyond on the side hill at the right. It is indicated by a plain head and foot-stone of granite or gray sandstone, and bears the simple inscription: “Theodore Parker. Born at Lexington, Massachusetts, United States of America, August 24, 1810: Died at Florence, May 10, 1860." Over the grave of Hiram Powers-born July, 1805; died June, 1873— is a raised white marble slab, bearing his name and date of birth and death. His grave is on the same side of the main walk with Mrs. Browning's, but higher up and further toward the west. The most prominent monument here is one to the memory of “Frederick Guillaume, Roi de Prusse, MDCCCLVII.” It is a shaft of white marble, twenty feet high, surmounted by a marble cross, the base being of granite. Under his name is the following: "Je suis la ressurrection et la vie. Celui qui croit en moi vivra quand même il seroit mort. St. Jean, xi., 25.” There is a beautiful monument here, also, to the memory of Samuel Reginald Routh, of Farleigh, England, who died at Florence, June 21, 1860, in the forty-seventh year of his age. The inscription states that it was “erected by those who loved him living, who mourn him dead, and who hope through the mercy of God to rejoin him in heaven.” “For in Thee, O Lord, do I hope: Thou wilt hear, O Lord my God.-Psalms, 38, 15.” This monument is also of marble--a square base, six feet in height, with ornamental corners, and supporting a life-size standing figure of a woman, tastefully draped, with eyes raised toward heaven. Another very striking monument is “Sacred to the memory of Arnold Savage Landor, Esq., born 5th of March,

1818; died 2d of April, 1871.” It is likewise of marble, raised some five feet, bearing a life-size statue of a woman, supposed to represent the widow, kneeling on a Prie Dieu, and resting her head on her left hand and holding a wreath in her right, her whole expression full of grief. On the front is carved the family coat of arms. To us there is always a sort of fascination in monumental inscriptions, and we copied those of several other monuments here; but we reproduce only one more-“Henry Florence, son of John A. C. and Susan Gray, of New York, aged nine months:

“ Fare thee well, our youngest treasure!

On the soil that gave thee birth;
By the rippling Arno's water,
Rest thee in Italia's earth,
While the memory of thy sweetness
Cheers a distant home and hearth -
Cheers us while our sad hearts tell -
The dear Lord doeth all things well.”

We do not present this for any special merit, but to show what only a parent's heart, who has been called to part with dear little ones, can feel, that, no matter how young, the loss of a sweet child is always sorrowful. “To-morrow,” once wrote one of our distinguished historians and statesmen, who had just lost a dear infant-“to-morrow we intrust her to her resting-place, and the next day we must take up our solitary journey on the paths of life.”

CHAPTER XXXIX.

FLORENCE, NOVEMBER 17. - Yesterday after

noon we went first to the Medicean Chapel connected with the Church of San Lorenzo. This is a magnificent octagonal room, very high in the walls, and lighted from an arched roof, which is adorned with fine fresco paintings in style not unlike the frescoes in the rotunda of our Capitol, and the walls are lined with marble and inlaid stones of various kinds, polished so brightly that they reflect the pictures from above almost as perfectly as the best mirror could do. In point of magnificence and beauty it is far ahead of either the Marble Room in the rear of our Senate Chamber or the Bank Room of the Treasury.

We next went into the Sagrestia Nuova, also connected with this Church, a small building planned by Michael Angelo for its monuments, which were executed by him, and which are regarded as masterpieces of art. These are the monuments of Giuliano and Lorenzo de Medici and the “Madonna and Child." There are also statues here of “San Damiano” and “San Cosimo”—one on the right and the other on the left of “The Virgin.” There are allegorical figures on Giuliano's monument, or as composing a part of it, representing Day and Night, and on Lorenzo's representing Aurora and Twilight, or Night and Morning. They are in the human form in reclining positions, and are the originals of those forming a part of the new monument to the great artist on San Miniato. In allusion to these statues Rogers wrote:

“There, from age to age,
Two ghosts are sitting on their sepulchres;
That is the Duke Lorenzo, mark him well!
He meditates, his head upon his hand.
What from beneath his helm - like bonnet scowls ?
Is it a face or but an eyeless skull ?
'Tis lost in shade; yet, like the basilisk,
It fascinates and is intolerable.
His mien is noble, most majestical!
Then most so, when the distant choir is heard
At morn or eve."

Lorenzo and Giuliano de Medici were brothers, and from the latter part of the fourteenth till the early part of the eighteenth century the Medici family held the scepter of power almost continuously in Florence, The elder of these brothers was called “Lorenzo the Magnificent," and was regarded as among the ablest and best sovereigns of his time. Leo X., whose pontificate "is celebrated as one of the most prosperous in the annals of the Romish Church," was his son. During the reign of Lorenzo, in 1478, there was a conspiracy, instigated by Sixtus IV., to assassinate Lorenzo and Giuliano and get possession of the government. The place selected for this atrocious deed was during service at the great Cathedral of Santa Maria del Fiore, otherwise called the Duomo, in Florence, and it was intrusted to the archbishop and several priests. Giuliano not making his appearance at church as soon as expected, two of the conspirators, Francesco de Pazzi and Bandini, went to his house “to insure and hasten his attendance.” He accompanied them; “and as he walked between them they threw their arms around him with the familiarity of intimate friends, but, in fact, to discover whether he had any armor under his dress, possibly conjecturing from his long

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delay that he had suspected their purpose. The signal of attack was to be the ringing of the bell, when the priest should raise the consecrated wafer“the people bowed before it, and at the same instant Bandini plunged a short dagger into the breast of Giuliano. On receiving the wound he took a few hasty steps and fell, when Francesco de Pazzi rushed upon him with incredible fury and stabbed him in different parts of the body, continuing to repeat his strokes even after he was apparently dead. Such was the violence of his rage that he wounded himself deeply in his thigh. The priests who had undertaken the murder of Lorenzo were not equally successful. An ill-directed blow from Maffei, which was aimed at the throat, but took place behind the neck, rather roused him to his defence than disabled him. He immediately threw off his cloak, and holding it up as a shield in his left hand, with his right he drew his sword and repelled his assailants.

Bandini, his dagger streaming with the blood of Giuliano, rushed toward Lorenzo; but meeting in his way Francesco Novi, a person in the service of the Medici, and in whom they placed great confidence, he stabbed him with a wound instantaneously mortal. At the approach of Bandini the friends of Lorenzo encircled him and hurried him into the sacristy, where Politiano and others closed the doors, which were of brass." While this bloody scene was being enacted in the Cathedral, “the archbishop and about thirty of his associates attempted to overpower the magistrates and to possess themselves of the seat of government" at the Palace; but being foiled at every point, the conspirators now sought to save themselves by flight. In this they were equally unsuccessful. The archbishop

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