Anthony is sold, giving the saint's discourse to the fishes, beginning Cari et amati pesci," and ending with the benediction.

S. Georgio, near St. Anthony's Church, was built 1377, as a Mausoleum for the Lupi family, and has some fresco paintings, by D'Avanzo and Da Zevio.

Gli Eremitani (or the Hermitage Church), near the Arena, built 1376, for the Augustines, has canopied tombs of the Carrara family (an inscription for Jacopo C. is by Petrarch), and Benavides, the priest, by Ammanati; with Quarento's fresco of the Last Judgment in the choir; some by Mantegna and his pupils, &c., in S. Jacopo's Chapel; a St. John Baptist, by Guido, in the sacristy; a funeral urn to William of Orange, by Canova; and a bust by him in the cemetery to Mad. Calemberg. The frescoes by *Mantegna, almost the only frescoes by this master, are falling off the walls, and some of the principal figures have disappeared.

Santa Maria dell' Annunziata or *Madonna dell Arena, on the site of a Roman Amphitheatre, which the predecessors of Enrico di Serovegno, turned into a castle, was built for him, 1303, by Giotto, who also adorned it with a series of frescoes. It is a small, plain Gothic building, usually called "Giotto's Chapel," pierced with windows on one side only, and contains the founder's monument by John of Pisa, and his statue. *Giotto's Frescoes number forty-three, representing the Life of Christ, and the Legends of the Virgin, and include the celebrated Last Judgment, with the Virtues and Vices, which they say was in part prompted by Dante, with whom Giotto lived at the time. They are on a blue ground, with arabesques, saints, &c., filling up the spaces, which are separated by painted borders, without any attempt at architectural ornament. Copies in chromo-lithography have been published by the Arundel Society.

In Scuola del Carmine are paintings by Campagnola, Titian (The Visitation), and P. Vecchio. S. Francesco, built by Sansovino, has paintings by P. Veronese and carved stalls.

Santa Giustina is a handsome lofty building, 307 feet long, on the site of an ancient temple; rebuilt, 1521-49, by A. Riccio and A. Morone; with a fine open lofty nave, and eight cupolas, one of which is 130 feet high. It contains the tomb of St. Luke, by G. Mussato, with P. Veronese's Martyrdom of Santa Giustina, including his own portrait; and a Madonna, by Romanino; beside some seat carvings in the choir.

St. Luke's portrait of the Virgin and Child are also shown. In the cloisters of the great Benedictine Convent to which it is attached, are a very old piece of sculpture (about 1000) and some other clever statues of a later date. It has an excellent library, much of which was dispersed at the Revolution, but it is still rich in first editions, and contains Petrarch's letter to G. Dondi. It is further noted as being on the supposed site of *Livy's Grave, to whom there is an inscription, with a bust marked "P. T. L. C."

Servi di Santa Maria, a Gothic church of the fourteenth century, founded by Francis Carrara's wife (Fina Buzzacarina), has a Madonna over the altar, and a monument to Paolo de Castro and his son (1492).

S. Canzione contains Danini's Miracle of the Miser (with the portrait of Fabricius, the anatomist), and others by A. Riccio.

S. Gaetano was built by Scamozzi, 1586.

The Bishop's Palace (Palazzo Vescovile) has paintings by Ricci and others, one being a portrait of Petrarch. At the Seminario for Priests attached to Santa Maria in Vanzo is a library of 55,000 volumes and 800 MSS. It was here that Forcellini brought out his great Latin Lexicon.

The Palace of the University, called Il Bd (ox) from standing on the site of an inn with that sign, was built 1493-1552, though founded in the thirteenth century, by Frederick II., and numbers about 1,000 students, with forty or fifty professors. In its palmy state it could boast of 18,000 students, but then Padua was able to send 110,000 fighting men into the field. It forms a large pile, with a double gallery, by Sansovino, round the beautiful court, in which are arms of learned members from all parts of Europe, with the statue of the handsome Helen Piscopia, who took her degree as a doctor, and died in 1684. Galileo, Fallopius, Fabricius, &c., were professors here. It comprises an Anatomical theatre (a good collection, as old as 1594), Cabinets of physic and natural history, Library of 100,000 volumes, in the hall of the Giganti, attached to the Capitanio (page 49); Botanic gardens, as old as 1546, in which are many tropical plants, as large agaves and cacti, a fan palm (celebrated in a poem by Goethe), magnolia, araucarias, and an ancient plane tree; Observatory (in Eccelino's old tower of Tommaso), and an institute of rural economy. The Observatory commands a view of the plain, the Tyrolese and Euganean Hills, and of Venice (on a clear day).

Forsyth relates that a Venetian Senator being once deputed as a visitor to this university, asked the astronomer if the observatory wanted any instrument. "It wants nothing." said Chiminelli,

"except a good horizon." "Horizon!" said the most potent Signor, "why then we must send to London for one." Eccelino's House is now the Santa Lucia Theatre for marionettes. The University Hospital, or Spedale, is in the old Jesuit College, and has a chapel containing Canova's Dr. Caius, monument of Bishop Giustiniani. founder of Caius College, graduated here.

In Via della Delegazione, is the so-called niched sarcophagus of *Antenor, under a brick canopy, near the remains of S. Stefano Church.

Palazzo del Podestà, of the sixteenth century, has paintings by D. Compagnola, Padovanino, &c.

*Palazzo Trente Pappa-fava (or Bean Bread) has Damini's frescoes; and a marvellous group of seventy figures of Falling Angels, cut out of one marble block, by A. Fasolata, in the course of twelve years' work. Above is St. Michael, and

below is Pluto, and the attitudes and grouping of the whole are surprising, considering the circumstances.

"It is a group of sixty figures, representing the angels cast down from heaven, cut out of one solid block of Carrara marble, about 5 feet high. They are in all attitudes that the human form could take in such a headlong descent, and are so animated in appearance that they are almost living. Each angel is separate from the rest, but the whole are twisted and twined together in a complicated manner, and are most exqusitely chiselled, even in the minutest parts. The wonder is how the artist reached the

inner portion of the group. The Archangel Michael, forms the top of the pyramid. Fasolata, the artist, had never executed anything ofconsequence before, but his patron thinking the man a genius, took him under his protection, gave him a block of marble, rooms in his palace, and liberal pay, and desired him to execute a group of figures to prove his talent. The artist stipulated that his work should not be seen till finished; and after twelve years he produced this, which is certainly unique. He was afterwards invited to England to execute a similar work, and died there, our guide added, of

home sickness.' The group is now covered with glass, as a Russian General, some time ago, whilst examining it too closely, had the misfortune to knock off a small portion of one finger."MISS CATLOw's Sketching Rambles.

Palazzo Giustiniani al Santo is a fine building by Falconetto, with Campagnola's frescoes, from Raphael's designs. Count Luigi Cornaro, who wrote on "Long Life," died here, 1566, and it includes a musical rotunda built by him. Palazzo Lazzara a San Francesco has a gallery of paintings of the Venetian school, with many inscriptions, &c. Palazzo Pisani includes an old chapel in which are frescocs, with portraits of the Carrara family.

The small Picture Gallery of the City, or Museo Civico, in St. Anthony's Cloister, contains a fine work by Guercino (Head of J. Baptist), with Padovanino's Woman in Adultery, with the town Library, coins, &c.

Other buildings are the Theatres Nuovo and Nuovissimo, Hospital of S. Giovanni, and the Esposti, or Foundling Hospital, established as far back as 1697. Near the Porto di Torricelle is an old house inscribed "Opifizi di Torricelle," said to have been built in 1217.

Its eminent natives, besides Lily and Pietro d'Abano, are A. Mantegna and Campagnola, the painters; also A. Musalo, the poet, and Davila. Petrarch resided here before his death in 1374; and a statue near the Carmini, was dedicated to him in 1874 at the fifth centenary of this event.

By rail to Ferrara, viâ Abano (page 89), Monselice, Este, Rovigo, &c. (Route 20). By rail, via Camposampiero, Citadella, to Bassano (page 50), 30 miles, up the Brenta.

From Padua to Venice the country is flat, intersected by numberless canals, and highly cultivated. Villages, churches, and country seats are dispersed

over the whole plain, with the Tyrolese Alps on the north.

Ponte di Brenta (Stat.), near the river, is succeeded by

Dolo (Stat.,) where the rail leaves the Brenta, which may be descended in the barge or barca to Fusina, from which you cross the Lagoon to Venice. But following the rail you come to

Mestre (Stat.), where Palladio built a splendid palace for the Barbaro family; and to Fort Malghera, on the mainland, where the shallow Lagoon, or Laguna, not more than thirteen feet deep, on which Venice is seated, opens to view. Fort Malghera was taken, after a bombardment of five days, in 1849, when the Venetians rose against their Austrian masters, under the leadership of Manin and General Pepe, the patriotic Neapolitan, who died in 1855. Forts St. Giuliano and St. Secondo serve to guard other parts of the Lagoon. It is crossed by an immense bridge, or viaduct, 24 miles long, 14 feet high, on 220 arches, 33 feet span, on 80,000 piles driven into the mud. Besides the arches there are several embankments, the largest of which is 450 feet by 100. It cost nearly £190,000 and terminates at Venice on the Canale Grande at Isola S. Chiara. The mainland on which Mestre stands was styled the Dogada in the old times of the republic.

Venice (Stat.) (See Route 19.)

Rogoredo (Stat.), the line to Piacenza and the south branches off.

The greater part of the line is over flat, rich meadow land, bordered by trees and intersected by the Naviglio Grande and other canals. At

Villa Maggiore (Stat.) On the right is Binasco Castle, an old seat of the Duke of Milan, in which Beatrice di Tenda, wife of Philip Visconti, was beheaded, 1418.

Certosa di Pavia (Stat.), so called from the Carthusian Monastery of Pavia, 5 miles from that city, dedicated to the Beata Vergine della Grazie. It is worth visiting for the splendour of its church and conventual establishment. It was founded by G. G. Visconti, first Duke of Milan, 1396, in remorse for his poisonings; and after being

suppressed by Joseph II. has been again restored. Hither Francis I. was brought after the Battle of Pavia, 1525, which was fought hard by.

The Church, approached by a marble court 320 feet long in which the brethren live, is crossshaped, 250 feet long; built by Henrico da Gamodia, or Zamodia, a German of Gmunden, in the mixed Gothic and Renaissance or cinque-cento styles; but the rich Front (lately painted over with red) with its doors, pilasters, bas-reliefs, figures, so crowded together that scarcely a foot of smooth surface remains, is by Borgognone, 1473-5, and others. As a frontispiece, it is "certainly one of the most beautiful designs of the age. It consists of five compartments, divided vertically by buttresses of bold and appropriate form; the three centre divisions representing the body of the church with its aisles; the outer ones the side chapels. The other features are appropriate and well placed and give relief, with light and shade, to the composition."-(Fergusson.) Eight Chapels run down each side of the interior, which abounds with frescoes, mostly by Borgognone, including his altar-piece of the Crucifixion, gilding, colouring, bronzes, bas-reliefs, medallions, and other ornaments. Women are not admitted further than the nave of this church, the Order being a strict one in its observances. Only the superior is allowed to converse. "I went into the two Cloistral quadrangles. The lesser contains a beautiful garden, rich in flowers; and the walks are adorned with graceful bas-reliefs in terra cotta, representing scriptural subjects. The large cloister enclosed a field of corn. The views of the noble monastery from these courts are very picturesque. Each of the monks has a separate abode which opens into the garden; and there is a little window-like hutch by which his food is introduced."-(Dr. Wordsworth.) They never touch animal food; they have no communication with each other, and never meet except at service and at rare intervals. A large library is attached to the monastery.

CERTOSA CHAPELS.-Down one side are the following chapels and altars, the latter being of rich marble and mosaic work:

Santa Veronica. A Langine's Resurrection; C. Procaccini's Altar-piece; Borgognone's Madonna and Angels.

S. Ugone (Hugo).-St. Hugo and Angels; altarpiece, by Borgognone and G. Fava.

S. Benedetto.-C. Cornaro's altar-piece of St. Benedict.

S. Crocifisso.-Borgognone's Crucifixion, one of the best of his works.

S. Siro.-C. B. Sacchi's Mosaics; Borgognone's altar-piece of S. Sirus.

SS. Pietro e Paolo. Montaldo's St. Paul restoring a dead man, and Martyrdom of St. Peter. Annunziata.-Montaldo's frescoes.

The chapels down the other side are the following:

Vergine del Rosario.-Polpino's bas-relief of the Adoration of the Magi.

S. Ambrogio.-C. Rosnati's bas-relief of St. Ambrose expelling the Arians; Borgognone's Altarpiece.

Santa Caterina. Rosnati's statues of St. Catherine of Siena and St. Catherine of the Wheel.

St. Giuseppe.-E. Procaccini's Three Wise Men and Herod, and the Angel and St. Joseph; D. Bussola's fine bas-relief of the Massacre of the Innocents (1677).

S. Giovanni Battista.-Carolone's wall-pieces of St. John Baptist.

S. Michele.--Nuvoleno's Abraham and the Three Angels; Orsolino's bas-relief of Jacob's Dream, &c., at the altar; Perugino's altar-piece of God the Father, one of six by him, the other five being replaced by copies. Two originals were carried off by the French, 1796, and the other three are in the National Gallery. Raphael is said to have had a hand in these works of his old master.

Santa Maria Maddalena.-Paintings by F. Bianchi and Peroni.

At the upper end, in the choir and transepts, are the

Sagrestia Nuova (New Sacristy) in the south transept wall. G. Rosnati's bas-relief of the Nativity. A. Solari's (or Il Gobbo's) altar-piece showing the seams where it was joined together, after it had been cut for removal by the French, in 1798. Borgognone's St. Peter and St. Paul. A door, by G. Omodeo, leads to the fountain cloisters (chiostro della Fontana), which had some good terra cotta reliefs.

S. Brunone's Altar in the south transept is of rich alabaster, dedicated to the founder of the order, with reliefs by T. Orsolino; above it are Bramantino's frescoes of the Visconti presenting the design of the Certosa to the Virgin. Near it is the

Mausoleum of G. G. Visconti, the founder, a gorgeous cinque-cento pile, by G. Pelegrini, erected between 1490 and 1562, under a canopy. In the north transept is the monument of Ludovico Visconti and his beautiful wife, Beatrice, by Solari.

Lavatojo de' Monaci, or Little Sacristy.-Bust of the architect, and heads of Duchesses of Milan. A. Carrara's bas-reliefs; stained windows (1477).

Dome.--Frescoes in the Dome, by Casolani; carved stalls in the choir, by V. de' Conti; Frescoes in the choir, by D. Crespi (1563). Two marble pulpits; and six niched statues of St. Peter, St. Paul, Moses, &c., by T. Orsolino.

High Altar, under a tabernacle, is richly ornamented with marble, bronzes, agate, cornelian, &c.; bas-reliefs by Solari; angels, by Volpino.

Sagrestia Vecchia, opposite the Lavatory.Angels, &c., by O. Amadeo; A. Carrara's portrait of

G. Visconti, and Guido's Cardinal Colonna; B. degli Ubbriachi's ivory bas-reliefs from the New Testament. Near this is the

Reliquie Altar, where the chief relics are preserved. Fine mosaics by V. Sacchi, the work of ten years; A. Fontana's beautiful candelabra; statues of the Virgin, &c., by Orsolino and C. Sacchi.

The cupola is a beautiful object, and interesting as the only "important example of a Renaissance copy of the form of dome used by the Italians in the mediæval period."-Fergusson.

The marble Lavatory has a bust of the architect. There are two sacristies, a large refectory, a library, a beautiful fountain court, a brick cloister, all equally adorned with bas-reliefs, altar-pieces, and frescoes, and contributing to the comfort of the inmates, who at one time had an income of £40,000 a year.

Borgognone, whose other name was Da Fossano, painted the Marriage of St. Catherine (now in the National Gallery) for the Robecchino Chapel, near Pavia, which at one time was under the rule of the Certosa.

The railway is carried to the west side of Pavia, to Porta Borgorata, while the Naviglio Grande runs round the east side to the Ticino. This canal is an excellent work constructed by the French in 1807.

PAVIA (Stat.); Pavia "la Dotta," the Learned.

Here lines branch off to Voghera, to Casalpusterlengo, Piacenza, &c.

Population, 29,945; of the province, about 450,000 to 1,285 square miles.

Hotels: Del Pozzo; Croce Bianca; Tre Re. Omnibus, to or from the Railway Station, 25 cts. *Chief Objects of Notice.-Duomo, S. Michele, University. For the Certosa, see above.

Capital of the province, seat of a bishop, University, Chamber of Commerce, &c., on the Ticino, near the Po, in a part of the plain of Lombardy; so fertile that it is called the garden of the Milanese, but also aguish and unhealthy. In Roman times it was called Ticinum, but Papia when it became the seat of the Lombard Kings, whose old palace was replaced by the Viscontis' strong Castle, built 1469, and now used as a barrack, with an old gate, &c., left. The celebrated Battle of 1525, in which Charles V. took Francis I. prisoner, was fought near the Certosa Convent on the Milan Road. It was plundered by the French a few years after, in revenge for the defeat of Francis; and in 1796, by Bonaparte, who gave it up to storm, on account of an attack made on a garrison of 300 French, who, without artillery, bravely defended themselves against 4,000 men-at-arms. Of the "100" brick towers which surrounded it, only a few are left, about 200 feet high, one of which is a Belfry. That which was the prison of Boethius when he wrote his "Consolations of Philosophy, "and wherein

he was beheaded by Theodoric's order, stood till 1584. A portico runs round the Piazza Grande at the centre of the town. The streets are wide, one of the best being the Corso di Porta Nuova, which runs down to the Bridge, and to the suburb of Borgo Ticino. This Bridge, of brick, is about 500 feet long, and, being roofed over with marble, it serves for a promenade. There is another walk called the Stradone, close to it.

S. Stefano, or the *Duomo, is a modern eightsided building, by Bramante (1486), on the site of one of the sixth century, and has some good paintings, with a brick tower.

"The churches of Pavia are very interesting, especially the Cathedral and Church of St. Michael. There is a sombre, severe, and stern aspect in the churches, which, with their fabrics still unfinished, seems to connect the spectator of the present day with centuries long gone by."-(Dr. Wordsworth.) The Cathedral contains a fine cenotaph or altar tomb of St. Augustine, under a Gothic canopy, with more than 200 figures in it, a work begun by Campione in 1362. St. Augustine is not buried here; but his remains, after their translation from Hippo, were brought to Pavia, in 710, by Luitprand, King of Lombardy, and are supposed to lie under the altar of St. Peter's Church, because a silver chest was found there in 1695, with the name "Agostino" in Gothic letters. They also show here the lance of the Paladin Roland.

*S. Michele (St. Michael) Church, in some parts as old as the sixth century, is one of the most ancient in Italy, and a genuine Lombard Romanesque, with the characteristic round arch, tower, &c. It is 190 feet by 80, and full of curious carvings, bas-reliefs, and early frescoes.

"This church, which took its present form either at the end of the eleventh or beginning of the twelfth century, is one of the most interesting of this age, and presents in itself all the features of a perfect round-arch Gothic church. Its wellmarked vaulting shafts spring from the floor to the roof; the pier arches in the aisle are perfectly distinct and well understood features; the angles of the piers are softened and ornamented by shafts and other ornamental arrangements. With other churches of the age, it fails principally from overheaviness of parts, and a certain clumsiness in construction, which wants the refinements necessary for a true work of art. Externally, one of the most pleasing features is the apse with its circular gallery."-Fergusson.

The very old Church of S. Pietro in Cielo d'Oro, which held the tombs of Luitprand, the Lombard King, and Boethius, has been rebuilt. Here the bones of St. Augustine, as above-mentioned, are supposed to lie.

"S. Teodoro may be somewhat older than S. Michele, and has a gallery divided into triplets of arcades by bold flat buttresses springing from the ground. S. Pietro is considerably more modern,