and which the heart alone can feel. Herein is the very essence of the art;-the technical labours of chiaro 'scuro, effect, finish, contrast, &c. are manual;-the energy of passion, the soul, the poetry of painting, are neither to be taught or acquired: -to paint them is first to feel them.

To return from my digression. This battle has all the awful horrors, and confusion, of such a scene. It may be long gazed upon, and still furnish food for the imagination. By the same hand, are some matchless, glowing, waving, sea pieces. Two splendid landscapes of Rubens; his own portrait with his brother's and the two philosophers, Grotius and Lipsius: also his large painting of the Devastations of War, are among the best pictures of this spirited artist, whose conception, and execution, seem equally, and so surprisingly, ready and felicitous. Here, besides, are Michael Angelo's Fates, the three Weird Sisters, like the witches of Macbeth

"So wither'd and so wild in their attire

That look not like the inhabitants of the earth,
And yet are on't."

For a contrast of grace and form, take Giulio Romano's Apollo dancing with the Muses. Here further are some very fine productions by Cigoli, particularly an Ecce Homo: Portrait of Salvator Rosa by himself: Raphael's invaluable Holy Families, La S Famiglia detta dell' Impannata;

and his Madonna della Seggiola. The wonders of this latter picture consist in the maternal tenderness, and dignity, that beam in the eyes, and beauteous face, of the Virgin as she seems to strain her divine, and playful, infant in her arms; while the little St. John, with his arms so unaffectedly clasped, seems replete with mild, and innocent, devotion. So famed is this work of art, that, I believe, almost every engraver of note has attempted to perpetuate it. Here is also this artist's famed portrait of Pope Julius II.

One other painting there is of which I may attempt a description, but cannot give any adequate idea-Guido's Cleopatra, a demi figure of the beautiful Queen applying the fatal asp to her bosom. So struck was I with this picture that, much as I have said of Titian's Venus, perhaps this surpasses it. Her lovely head, uplifted to the skies, she seems to contemplate, so soon to attain, is bound by her dark tresses, still, as ever, tastefully arranged. A light shade is thrown over the throat, and part of the bust, the rest is alabaster; so fair that one might worship it; so round, and real, that one may fancy its palpitations. The effect is produced entirely without labour, or violent contrast; her silken robes are white, and very faint blue, nor is there a single dark shadow throughout This is the Cleopatra that subdued

the canvass. Anthony.

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The Grand Duchess's Bath.

The Grand Duchess has lately had a Bath fitted up for herself in this palace, the extreme elegance and taste of which, strike all visitors. It has columns of Verde Antique with Corinthian capitals of the purest marble, and in the recesses between which are four nymphs, beautifully sculptured. The room is tastefully draped with light blue silk, and silver fringe, while every ornament is appropriate, the entablature being enriched with carvings of dolphins, and sportive sea monsters; the tables inlaid with marine views; and her Highness's chairs are formed as ocean shells, supported by silver swans, whose wings conjoined make an elbow to repose upon.

In another room there are two of the largest columns of the purest Oriental Alabaster I ever saw: the one is plain; the other spiral. Their diameter at the base is 9 inches: their height, without including the capitals, and bases, is 7 feet, 41 inches.

Florence.

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CHAPTER XV.

SANTA CROCE-DANTE ; HIS TOMB AT RAVENNA-LIFE, AND WRITINGS — MICHAEL ANGELO'S TOMB, AND ALFIERI'S REFLECTIONS UPON IT-ALFIERI'S TOMB, AND PASQUINADE -MACHIAVELLI AND GALILEO-DISCOVERY OF THE TRUE CROSS-CATHEDRAL, AND SACRED SYNODS-CAMPANILE—— BAPTISTERY AND BRONZE DOORS-CANOVA'S VENUS-THE COCOMERO THEATRE—TÁCCHINARDI, AND BONINI-ROSSINI -REFLECTIONS ON MUSIC-VALLOMBROSA-ROMANTIC SECLUSION, AND POETICAL SKETCH-ORIGIN, AND ANCIENT LEGEND-VISITED BY MILTON-EXTRACT FROM HIM.

FLORENCE has given birth to many illustrious names. Among those whose bones, and sculptured tombs, repose in the church of Santa Croce are Michael Angelo, Machiavelli, and Galileo.

To recover the relics of Dante, the Florentines have made many efforts, but it was his ungrateful countrymen who banished him; it was at Ravenna that he found an asylum, and a grave; and by a decree of the Pope and a just one, they who sheltered him have the right to keep his hallowed coffin. I admire his epitaph at Ravenna

Exulem a Florentia excepit Ravenna; vivo fruens, mortuum colens.

Tumulum pretiosum musis S. P. Q. Rav. jure ac ære suo tanquam thesaurum suum munivit, instauravit, ornavit.

Ravenna received him when an exile from Florence-enjoying him while living; honouring him when dead.

This tomb, dear to the Muses, the Senate and people of Ravenna, of their own authority, from their own funds, and as their public treasure, have erected, consecrated, and adorned.

The Florentines are now proud even of an old portrait of him in the Duomo, and religiously preserve a stone on which he is known to have sat in the Piazza :-it is also in contemplation to erect a cenotaph to his memory in this church of Santa Croce.

Dante was born at Florence about the middle of the thirteenth century, and held distinguished rank, having been many times invested with the appointment of ambassador. In the various feuds that distracted the city, his party were completely overpowered about the year 1300; first he was banished, and his property forfeited; in 1302 he was condenined to be burnt alive, under base accusation of fraud; and in 1321 he died at Ravenna. Some few years afterwards, honours, almost divine, were paid to his memory; for Dante is the idol of Italy, as Shakspeare is of England.

Each flourishing at a period when letters were but in their dawn, each has created a language, imagery, and idioms peculiarly their own; new fashions, new tastes, and customs have rendered obsolete, and almost unintelligible, some of their allusions, and expressions; yet through centuries, and ages, their fame, and veneration still blooms; while other bards are forgotten; and the greatest that have survived in either country acknowledge the supremacy of the genius of these two.