80,000 volumes and 900 MSS., some as old as the thirteenth century. Here are portraits of Ferrara celebrities, including Cardinal Ippolito d'Este, to whom Ariosto dedicated his Orlando. Ariosto's monument, containing his ashes, which the French transported from San Benedetto in 1801, reaches to the ceiling; being of marble, with three inscriptions on it-one by Guarini, beginning "Notus et Here are Hesperiis jacet hic Ariostus et Indis."

his books, wooden chair, inkstand, and the MS. of his poems-an imperfect copy, wanting the title, and having many corrections. It has Alfieri's autograph, with "Vide e venera, 18 Giugno, 1783," added.

Among the other literary treasures are Cardinal Bentivoglio's books, bequeathed in 1730; a complete collection of the writings of Ferrarese authors; Greek palimpsests (ie., parchments written over afresh) of Gregory Nazianzen, Chrysostom, &c.; antiphonaries, or anthem books, with miniatures of the fifteenth century; also, the Gerusalemme of Tasso, with his notes and corrections, and several unedited sonnets composed by him in his confinement; Ariosto's medallion likeness, chair and writing desk, and the MS. of Guarini's Pastor Fido, or Faithful Shepherd.

Guarini was a native, and born here 1557. His house, the seat of the Marchese Guarini, has an inscription on it, beginning "Hercules et Musarum commercio," &c. Ariosto's house, in which he died (1523), in Via di Mirasole, has his bust, and is marked by another verse, "Parva sed apta mihi," &c.

Another interesting building is the old Hospital of *Santa Anna, where Tasso was imprisoned between 1579 and 1586.

"And Tasso is their glory and their shame;

Hark to his strain, and then survey his cell!"—Byron. It was at the court of Alfonso II. that he wrote the best part of the Gerusalemme Liberata, which he frequently read to his patron; but having fallen in love with Alfonso's sister, the Princess Eleonora, he was shut up as a madman in the Convent of St. Francis, 1577. He escaped after a fortnight's confinement, but coming back, he was placed in Santa Anna's, as above, from which he was finally liberated at the intercession of V. Gonzaga. A small Prison room on the ground floor is shown as that in which he was actually confined; and here, though it is as doubtful as Raleigh's cell in the Tower, the visitor will perceive the names of Byron, Delavigne, Lamartine, and others, who have made a pilgrimage hither. Much of the wall is chipped away. But it appears that though under restraint, he was treated with kindness and consideration. Here he wrote and published many of his smaller poetical and philosophical works, and was visited by Montaigne, and Aldo, the printer. In one of his letters he writes that "from the windows of his prison, he can see the tower of the palace where Leonora dwells," which may help to fix the exact position of his dwelling-place during this unhappy period of his life.

The Theatre, in the Strada Giovecca, near the Post Office, is very large and handsome.

Some old MSS., with a letter of St. Jerome, are in the Cotaini Library; and the Scalatrini Museum contains some inscriptions.

A line was opened, February, 1884, to Argenta (21 miles S.E.), and will be continued to Ravenna. About 25 miles east of Ferrara is

Commachio, near the sea (population, 6,000), in the midst of a marshy tract, about 15 miles square, called Valli di Commachio, abounding with eels and other fish, which are used for pickling. It is divided into fishing farms, the inhabitants of which are a curious aquatic race, living in houses built in the shallow water. On the north-east of it, about Volano, &c., wild boar, game, and deer, are hunted in the forest.

From Ferrara, by rail, 29 miles, in 1 hour, to Bologna. The stations areMiles. 8 Poggio Renatico S. Pietro in Casale 14 S. Giorgio

...

............

18

Miles. Castel Maggiore 234 Corticella........... 25

Bologna

...

29

The line passes over a fertile plain, which is liable to be flooded in the season, and produces great quantities of hemp, Indian corn, and other grain.

Poggio Renatico (Stat.) Population, 3,433. Near the Reno, which rises in the Apennines, and winds round in this direction towards the Po.

S. Giorgio (Stat.). A few miles to the right is Cento (population, 6,000), higher up the Reno, and the birth-place, 1592, of Guercino, i.e., the His Squinter, whose real name was Barbieri. father was a wood-cutter. The house in which he lived twenty years is full of his paintings, as well as the Church, or Galerie, as it is styled by his townsmen.

Castel Maggiore (Stat.), on the Naviglio, or Canal, which makes a short cut from the Reno to

BOLOGNA (Stat.),

Called La Dotta (learned) and La Grassa (fat) the ancient Bononia, or Felsina, on the Via Emilia, known for miles around by its Leaning Towers. Population (1881), 123,875, with suburbs. Hotels:

Grand Hotel Brun, by Mr. Frank; comfortable and recommended. (Church Service here in the season).

Grand Hotel d'Italie; first-class hotel, newly re-fitted up with every comfort and good taste; centrally situated.

Hotel Pellegrino; well-conducted, comfortable, and moderate.

Noted for large and small Bologna sausages (hence the word "polony "), called mortadella and cotichini; golden grapes and melons.

Conveyances.-Railway to Parma, Milan, Piacenza, Rimini, Ancona, Ferrara, Padua, Venice, Florence, Rome, &c. Here the Brenner and Mont Cenis routes meet the routes from Brindisi and Rome,

*Chief Objects of Notice.-Two Leaning Towers, Palazzo Pubblico, Duomo, S. Petronio, S. Domenico, S. Giacomo Maggiore, S. Stefano, Madonna di S. Luca, S. Michele in Bosco, Pinacoteca, University, the Bacciocchi, and other Palaces. Museum, and a fine Campo Santo-the last outside the Porta d'Isaia.

The race of Bologna dogs, which figure in the city arms, is extinct. The Bologna stone is a sulphate of barytes, which when laid in the sun attracts its beams and shines in the dark. It gives name to the Bolognese school of painters, viz. :— Of the fifteenth century-M. Zoppo, Francia, and L. Costa; sixteenth century-Lodovico Carracci, Agostino Carracci, and Annibale Carracci; seventeenth century-Domenichino, Guido, Albano, Guercino, Lanfranco, P. F. Mola, and C. Cignani.

This large, wealthy, and ancient city, which till the late revolution ranked next to Rome among the possessions of the Church, and was the first place in the Romagna (or division north of the Apennines), stands on a hill in a fertile plain between the Rivers Reno and Savena, and communicates with Ferrara by a canal or naviglio. It is surrounded by brick walls of a hexagon shape, pierced by twelve gates, and is divided into three sections, called respectively Levante, or east; Ponente, or west; and Mezzogiorno, or south.

The Cathedral, Basilica, Leaning Towers, Palazzo Pubblico, &c., are near the Corso and Strada Maggiore, which run east and west through the town, and are traversed by another main thoroughfare running north and south from Porta Galliera and Montagnuola, near the Railway Station, to Porta S. Mamola. Montagnuola is a hilly, open spot in the north of the city, laid out in public gardens, with a Piazza d'Armi adjoining, and a hall for playing the game of Pallone. Many of the narrow and winding streets are shaded by Arcades, which, though useful for shelter, give the town rather a gloomy appearance. Latterly, some have been widened and improved. The houses are large and massive. Water supplied by a new Aqueduct.

In the civil war between Anthony and the Senate, Bononia sided with the Senate and Pansa, the Consul, who died here of his wounds, after his defeat at Mutina. On an island in the Rhenus (now the Reno), four miles distant, near the Borgo Panigale, Antony Octavius, afterwards Augustus, and Lepidus, concluded the Second Triumvirate. During the middle ages, when it was an independent republic, it adopted "Libertas" for its motto, and took the Guelph side against the Emperor; and its own little war with Modena is celebrated in Tassoni's "Secchia Rapita." It became subject to the Pope about 1512, and remained so down to the late revolution. In 1848 it firmly resisted 15,000 Austrians under Weden and Degenfeld. In 1859 it seized the first opportunity, on the departure of the Austrians, to desert the paternal rule of the Papal Legate and annex itself to Sardinia. Out of 29,000 on the electoral list, 22,000 voted for the change.

The political movements were guided by the Countess Tatini, a grand-daughter of Murat, the Commendatore Minghetti, late Prime Minister, and the countess's brother, Marquis Pepoli, afterwards Minister of Commerce, whose black and white family arms, palaces, and tombs are seen everywhere in the streets and churches. The Countess Gozzadini-Serego-Alghieri, a descendant of Dante, was another patriotic woman.

The famous Mortara case occurred here while the

city was under Papal rule. A Jewish child was taken from its parents by the Holy Office, on the pretext that it was baptised, two years before, by a servant, a woman of bad character. An appeal was made for her release to the Holy Office and Pope without effect. When the Papal government fell, the father brought the case before the Minister of Justice, who came to the conclusion that Felletti, the Inquisitor, had disregarded the rules of even his own tribunal. His arrest was ordered and he was imprisoned in the Torrione, a room in a massive tower of the Palazzo del Governo. He declined all explanation on the ground that he had acted by the orders of his only superiors, the Grand Inquisijurisdiction. tor and the Pope, and he refused to admit the lay He was finally released, on the ground that when the offence was committed the Holy Office was the highest authority in the state. Bologna is the birth-place of Benedict XIV. and seven other Popes, and about 100 Cardinals; of the painters Domenichino, the Carracci, &c.; and of Malfighi, Zambecarri, Mezzofanti, and other eminent men, whose lives have been written in nine folio volumes. Statue of Galvani, in Piazza Paraglione. It is the seat of an archbishop and university, and contains about 130 churches and twenty convents.

At the West end of the Corso, where it joins with Strada Maggiore and other streets, are the famous brick Torri Inclinale, or

*Leaning Towers, built during the feuds which prevailed in the times of the republic, and looking like factory chimneys. One called Torre degli Asinelli, erected 1109, by the Asinelli family, is a plain square structure, about 320 feet high, inclining three feet from the perpendicular. It is ascended by 449 steps, and takes in a prospect of Modena, Ferrara, the Apennines, &c. The other, or Torre Garisenda, or La Mozza, built by the Garisendi, in 1110, though only 140 or 150 feet high, leans as much as eight or nine feet. Dante compares it to the stooping Giant Antæus. That the inclination is caused by the slipping of the earth below, is the most natural supposition, as the timber and stonework of both towers throughout are proportionately inclined. But some persons argue that they were built so purposely, to show the skill of their architect.

The Foro de' Mercanti, or della Mercanzia, in the Corso, near the Asinelli, was built 1294 in the Gothic style, and restored in 1836 for a Chamber of Commerce. It is an open loggia or arcade.

Piazza Vittorio Emanuele, formerly Maggiore, in the Corso at the centre of the town, is the

chief open space in Bologna, and is ornamented with fine buildings and a fontana publica, by Lauretti, with a bronze Neptune in his car, and four syrens, cast by G. da Bologna (1564). The water comes from the breasts of the syrens. On the west side is the

Palazzo Pubblico, or del Governo, late the seat of the Cardinal Legate; a large pile, begun 1290, having a Madonna in gilt terra cotta, by N. della Arca, on the front, and Mingante's bronze statue of S. Petronio, originally designed for Gregory XIII., but altered in 1796 to save it from the French Republicans. Inside are a grand staircase by Bramante; a statue of Alexander VII., in the Farnese Room; A. Lombardo's statue of Hercules, in the Hercules Gallery; and frescoes by Cignani, &c., in the seventeenth and eighteenth centuries.

Palazzo del Podestà, facing this, was begun 1204, and the front added 1485. On the Torre dell Aringo, built 1264, are A. Lombardo's statues of the Four Patron Saints of Bologna. In the Sala del Rè Enzio (so called from Hentzius, son of the Emperor Frederick II., who died a prisoner here), a Conclave was held in 1410 for the election of Pope John XXII. Here the public archives are kept.

The Portico de' Banchi, going round two sides of the Piazza, was built by Vignola, in 1562.

CHURCHES-The churches are shut from 12 to 3. The most noticeable are the following:

*Cathedral, or Duomo of SS. Pietro e Paolo, north of the Piazza Maggiore. Rebuilt 1605, by Fra Ambrozio, with three aisles, in the Corinthian style; the façade, by A. Torrigiano, in the last century, having a triangular top. 3rd chapel on right-E. Graziani's St. Peter and Bishop Apollinarius. Below the choir is an old crypt. Chapter House-L. Carracci's St. Peter and the Virgin bewailing a Dead Christ; and an Annunciation, his last work in fresco.

The Palazzo Arcivescovile, or Archbishop's Palace, lately restored, was built by Tibaldi, 1577, and has a gallery of Bologna artists.

*S. Petronio, on the south side of Piazza Maggiore, an unfinished basilica, and the largest church in Bologna, dedicated to its patron saint, for whom there was a church here as early as 423. The present one, begun 1390, by A. Vincenzi, in obedience to a decree of the Council of the Republic, was to have been 700 feet long, and 520 wide, and to contain fifty-four chapels; but the design was interrupted, and in its present incomplete state it is 385 feet long and 200 wide (making it only one-fifth of the intended size), with five aisles, in the Italian-Gothic style. The three fine entrance doors are ornamented with carvings of Bible subjects, with heads of prophets and sibyls. Over the middle door by Della Quercia (1425), was M. Angelo's bronze statue of Julius I1., which in 1511 was melted down for a cannon called the Julian. The other doors are by M. Tribolo and

Properzia de' Rossi, a female artist. Inside are bas-reliefs of Adam and Eve, and the Annunciation, by the Lombardi. Charles V. was crowned in this church, 1530, by Clement VII. The middle vault is 145 feet high. 2nd chapel on right-A Madonna and Saints, by L. da Perugia and F. Imola. 4th-Crucifix, restored by F. Francia. 9th-Sansovino's statue of St. Anthony of Padua; wall paintings, by G. da Treviso; and paintings on 11th-Tribolo's glass, designed by M. Angelo. Assumption; the Angels, by Properzia di Rossi; G. Campagna's statues of St. Francis and St. Anthony. End of choir-Franceschini's large fresco. 16th-Parmigiano's St. Roch; and the Meridian Line, traced by Cassini, 1655, the gnomon which throws the shadow being 80 feet high. 17th-L. Costa's Annunciation.

In the room called the Reverenda Fabbrica are the plans and models of the church, by various architects, and a bas-relief of Joseph and Potiphar's Wife, by Properzia de' Rossi, in which the lady has introduced portraits of herself and her

lover.

*S. Domenico, south of S. Petronio, is Gothic (1313), in Piazza S. Domenico, which contains a colonnade and the two old tombs of R. Passeggieri, and the Foscherari family, of the thirteenth century. The church attached to the Dominican Convent was rebuilt in the last century, on the site of a more ancient one, and contains the splendid

*Tomb of St. Dominic, the founder of the order, and of the Inquisition, in the 5th chapel on the right, worthy of notice for its sculpture, marbles, and paintings. The bas-reliefs on the white marble tomb, of events in the Saint's life, are by Niccolò da Pisa, 1231; figures of Saints, by Niccolò dell' Arca, 1469; two Kneeling Angels, by M. Angelo; and some later bas-reliefs are the work of A. Lombardi, 1532. The fresco of *St. Dominic in Paradise, is by Guido; St. Dominic Burning Heretical Books, by L. Spada; the Restored Child, by Tiarini. 10thGuercino's St. Thomas Aquinas Writing on the Eucharist. The marquetrie work in the choir stalls is by two Dominican monks. At the high altaris B. Cesi's Adoration of the Magi. 13th chapel -Tomb of King Enzius, or Hentzius, of the thirteenth century, who died here after twenty-two years' captivity. A line of his epitaph refers to the dog in the city arms: "Sic cane non magno sæpe tenetur aper." 14th chapel-G. Francia's St. Michael; and the tomb of T. Pepoli, a magistrate of the old republic. 15th chapel-A portrait of S. Thomas Aquinas, by Simon da Bologna. 19th, or Rosary Chapel-L. Carracci's SS. Mary and Elizabeth; Guido's Assumption. There are Tablets to Guido and his pupil, Elizabeth Sivani, who was poisoned, and is buried with him in this church. 22nd chapel-L. Carracci's S. Raymond Crossing the Sea on his Mantle. Sacristy and Cloister-L. Spada's S. Jerome; with some old inscriptions, and the Magnani library, of 83,000 volumes. The Tribunal of the terrible Sant' Uffizio, or Holy Office of the Inquisition, was seated here.

S. Bartolommeo di Porta Ravegana, near the Asinelli Tower, re-built 1653; but the handsome portico by Marchesi (1530), belonged to a former church. 2nd chapel-L. Carracci's S. Carlo at the tomb of Varallo. 4th--Albano's Annunciation. 7th-Martyrdom of S. Bartholomew, by Franceschini. 12th-Tiarini's S. Anthony of Padua.

S. Bartolommeo di Reno, built 1733. Agostino Carracci's Nativity; L. Carracci's Circumcision.

S. Benedetto, near the Montagnola, in the north of the town, built, 1606. Tiarini's Virgin and Magdalene, weeping over the death of Christ.

S. Cecilia, a small chnrch, restored 1874, in Via S. Donato; built 1481, and remarkable for the nine frescoes of the Life of St. Cecilia, by F. Francia and his pupils, L. Costa, G. Francia, Chiodarolo, &c. Corpus Domini, or Santa Catarina, styled La Santa. Franceschini's frescoes, in the cupola: and his Lord's Supper, at the high altar. In one of the chapels, Christ Appearing to the Virgin and another by L. Carracci.

S. Cristina, near Porta Maggiore. L. Carracci's Ascension, at the high altar; G. Francia's Nativity and the Magi.

S. Francesco, a large church, formerly used as the Custom House, or Dogana. It has an old campanile, and its fine marble altar was the work of Venetian sculptors, in 1388.

*S. Giacomo Maggiore, near the Asinelli Tower, and the Liceo Filarmonica; begun 1267, with a fine vaulted ceiling, added 1497. It contains thirtyfive chapels. 1st chapel--Francia's Madonna della Cintura, a small fresco. 10th-L. Carracci's St. Roch. 12th-Frescoes by P. Tibaldi, who was the architect of the chapel. 18th, or Bentivoglio Chapel-Francia's fine Madonna Enthroned; basreliefs by N. dell'Arca and F. Francia, those by the latter relating to Pope John II. 20th-E. Procaccini's Sigismund, King of Poland. 21st-Cesi's Virgin and Saints.

S. Giovanni in Monte, near the Piazza Maggiore, rebuilt 1221 in the Gothic style, and again 1824, on the site of one founded by S. Petronio as far back as 453. In one of the chapels is Guercino's St. Francis.

S. Giuseppe has some paintings of the fourteenth century, and is near the Ospedale de Settuagenari, or Hospital for old people.

S. Gregorio, in Strada Poggiale. Here are Annibale Carracci's Baptism of Christ-one of his earliest oil paintings. D. Calvaert's St. Gregory, at the high altar. Albano, the painter, is buried here.

S. Leonardo, near the Porta S. Vitale, belongs to the Orphan Asylum. L. Carracci's St. Catherine in prison, and his Martyrdom of S. Ursula; A. Tiarini's Annunciation.

S. Lucia, the Barnabite's Church, in Strada Castiglione. Paintings by E. Procaccini, Cignani, Calvaert, &c.; and a library.

Madonna del Baraccano, near the Porta Stefano. Over the door is a Virgin, by A. Lombardo. The chapel of the high altar, by Properzia de' Rossi.

Madonna di S. Colombano. Frescoes by the pupils of L. Carracci, and by Albano.

Madonna di Galleria, near the Duomo; built 1689. 3rd chapel-Franceschini's Madonna, 4th Teresa Muratori's Unbelief of St. Thomas. 6thAlbano's Infant Saviour viewing the Cross. 7thGuercino's St. Philip Neri.

Santa Maria Maggiore. Bas-relief of the Death of the Virgin, by A. Lombardo. Inscription to Bonaparte Ghislieri.

S. Martino, built 1217 and restored 1836. Perugino's Assumption; L. Carracci's St. Jerome; F. Francia's Madonna and Saints.

Santa Maria della Purificazione, or the Mascarella Church, built 1706. Here is the cell of St. Dominic, with the Image of the Virgin, which is said to have spoken to him.

S. Mattia, now disused. Here is Guido's Virgin appearing to S. Hyacinth; also I. da Imola's Madonna Enthroned.

S. Niccolò di S. Felice. An. Carracci's Crucifixion. S. Paolo, near Piazza Maggiore, built 1611, and restored 1819. On the front are Mirandola's St. Peter and St. Paul. 2nd chapel-L. Carracci's Paradise. 3rd- Cavedone's Nativity, and the frescoes in the ceiling. 4th-Guercino's Souls in Purgatory.

S. Procolo is attached to an old Benedictine Hospital. Convent and Ospedale degli Espositi, or Foundling

S. Salvatore, west of Piazza Maggiore. Garofalo's St. John the Baptist kneeling to Zachariah. Guercino is buried in this church.

Ai Servi, or Santa Maria dei Servi, in Strada Maggiore, built 1333, with a marble portico, by Fra A. Manfredi, General of the Order; adorned with frescoes, by Tiarini, at the age of ninety. 22nd chapel-F. da Imola's Annunciation. 24thBibiena's St. Andrea. 26th-Albano's Noli me tangere.

*S. Stefano, in Via di S. Stefano, is formed by a union of Seven small churches or chapels, one of which, S. Sepolcro, a bipistery at the centre, is a model of the Holy Sepulchre. It is of the eleventh century, and is annexed to an Atrio di Pilato, or Pilate's Court, supposed to be the site of a Temple of Isis. Each chapel has a particular name; and the whole form a curious group, joined by corridors and passages. 1st chapel-Del Crocifisso; has wall paintings of the Crucifixion. 2nd -Chapel of S. Giuliana de' Banzi. 3rd-S. Sepolcro, circular, or rather an irregular octagon, about sixty feet diameter, having in the middle a small circle of pillars, some single, some coupled, supporting a dome. From this there is a way to several subsidiary chapels. 4th-SS. Pietro e Paolo, said to have been a cathedral formerly. 5th-I Confessi, a crypt or confessional. Santa Trinità. 7th-Madonna della Consolazione. SS. Vitale e Agricola, an old church in Strada S. Vitale, founded by St. Petronius, in 428, and

6th

lately restored. 2nd chapel-Tiarini's Flight into Egypt. 8th-Francia's Angels finding an Image of the Virgin.

Some other churches worth notice are outside the walls.

Annunziata, outside Porta Mamolo, belongs to a convent, and has F. Francia's Annunciation.

The Certosa, or Carthusian Church, near Porta d'Isaia, is now converted into a Campo Santo, or Public Cemetery, established in its cloisters. Here is an Ascension, by Bibbiena; and a Baptism of Christ, by Elizabeth Sirani. Orange, myrtle, rose, and other trees abound here.

*Madonna di S. Luca, built 1731, on Monte della Guardia (a fine point of view), is so-called from a black Virgin, in the Byzantine style; attributed as usual to St. Luke, and brought from Constantinople in 1160. It contains some early efforts of Guido. A long covered portico of three miles, on 640 arches, built 1674-1739, unites this church to Porta de Saragossa.

Madonna di Strada Maggiore, or Gli Scalzi, outside Porta Maggiore, is united to it by a similar portico on 167 arches.

Madonna di Mezzaratta, near Porta Castiglione, has some frescoes of the fourteenth century.

*S. Michele in Bosco, near Porta S. Michele, on a picturesque hill, is attached to a rich convent, founded 1437, and partly converted into a barrack and prison in 1797. The villa part was a country seat of the Cardinal Legate, which was fitted up for Pius IX., in his last progress in 1857; now the seat of the King. Remains of frescoes by Tiarini, Cignani, &c., in the church, and of a series of thirty-seven by the Carracci, in the cloisters, representing the histories of St. Benedict and St. Cecilia-all nearly perished.

The

The Accademia di Belle Arti, in the old Jesuits' College, near Porta S. Donato and the Botanic Garden, includes the Picture Gallery, or*Pinacoteca, of about 400 works, chiefly of the Bolognese school, collected from suppressed churches and convents, and placed in eight or nine rooms, with a library, and collections of statuary and old arms. first contains old Bologna painters of the fourteenth and fifteenth centuries; another, the inferior Bolognese school; another, different Italian schools. The next three are devoted to large pictures: first, of the Bologna school; next, the best of this school; then the best Italian masters. Some of the most noticeable pictures are the following:--Albani's Virgin Enthroned, with St. Catherine and St. M. Magdalene; Baptism of Christ. Guercino's St. William of Aquitaine, St. Bruno, and other works. Agostino Carracci's*Last Communion of St. Jerome; *The Assumption. Annibale Carracci's Annunciation and other works. L. Carracci's SS. Dominic, Francis, &c., Adoring the Infant Christ (all portraits of the Bargellini family); and twelve other pictures. G. Cavedone's *Virgin and Child, with Angels and Saints. F. Francia's *Virgin and Child, and Saints. I. da Taola's St. Michael, the Archangel. L. Massari's

Holy Women weeping; Angel presenting a purified Soul to the Trinity. Parmigiano's St. Margaret Guido's (Queen of Scotland) on her Knees. *Madonna della Pietà, with St. Petronius, St. Dominic, and other protectors of Bologna; his *Massacre of the Innocents, *Samson and the Jaw Bone of the Ass, *Crucifixion, and five other pictures. Guido's Portrait, by a pupil, Simone Cantarini (or Pesarese) is in this gallery. Tintoretto's Virgin and St. Elizabeth. Raphael's *St. Cecilia in ecstacy, listening to the Music of the Angels; painted in 1515, for Elena dall' Oglio Duglioli (afterwards canonised). Elizabeth Sivani's St. Anthony of Padua, and other works; she was poisoned when only twenty-six. Tiarini's St. Catherine of Alexandria; St. Catherine of Siena. Catherine Vigri's (called La Santa) Martyrdom of St. Ursula. Domenichino's *Martyrdom of St. Agnes; *Madonna of the Rosary; Martyrdom of St. Peter of Verona. A. Mengs' Portrait of Clement XIII.

The University, said to have been founded by Theodosius II., and revived by Charlemagne, is at least as old as 1119, and is the oldest in Italy after that of Salerno. It was at first seated in the old Archiginnasio, behind St. Petronio Church--an edifice built 1562, by Terribilia, and lately restored: containing tombs of former professors, arms of various countries which sent students, an Etruscan Museum of many thousand bronzes, &c., lately found near S. Francesco's Church, and the Magnani, or City Library.

Here the human body was first dissected, about 1440, by Modini, and galvanism was discovered, in 1701, by Galvani, who was a lecturer of the Instituto delle Scienze (founded by Count Marsigli), which is incorporated with the University. From this (says Dr. Granville) Bonaparte borrowed the name "Institute" for his French Academy. Formerly it was celebrated for its women professors-as Novella d'Andrea, a handsome lecturer on canon law in the fourteenth century, who hid her face behind a veil, out of a considerate regard for the feelings of the distracted students; Laura Bassi, a mathematical professor, in the eighteenth century; and Clotilda Tambroni a learned Greek scholar, who died as late as 1817. The Scuole Pie, or primary school for the poor, established here in 1805, is now annexed to the Convent of S. Domenico.

In 1714 the University was revived, and was afterwards transferred to the new buildings in Strada di S. Donata, originally built by Tibaldi, for Cardinal Pozzi, with a court added by Triachini. It comprises about 600 students and upwards of forty professors in five faculties; one being medicine, which is carefully studied in the Great Hospital, founded 1667, and a Clinical Hospital, founded 1706, both near at hand. Here are frescoes by P. Tibaldi and Niccolò dell' Abate, various cabinets illustrative of anatomy, zoology, mineralogy, physics, &c.; the philosophical instruments of the third Earl of Shaftesbury, author of "Characteristics; " an observatory, and botanic