trated with numerous paintings on vellum, a manuscript of the 13th century. An illuminated version of the Bucolics and Eneid of Virgil, with notes said to be written by Petrarch. Every one of these precious relics had been carried to Paris, and were restored only at the peace of 1815. Our conductor through this institution informed us that it contains about 15,000 manuscripts and from 90 to 95 thousand printed books. In the medal room is a large fresco painting of Bernardo Lovino's, "Christ among the Soldiers," executed with great ability, and in excellent preservation. That part of the numismatic collection which is permitted to be seen, is chiefly of the modern series.

Adjoining the Library, dedicated by its munificent founder to Saint Ambrose, is the Academy of Painting and Sculpture. In the first room are deposited the remains of Gaston de Foix's superb monument, which, together with his statue formerly ornamented the church of St. Martha. This beautiful work in alabaster is by Augustino Busti. Here we were shewn a large folio volume of drawings of engines and machines, civil and military; most of them certified to be by the hand of Leonardo da Vinci: they are accompanied with copious notes and observations also credibly vouched for as his own, and offer a proof as interesting as it is conclusive of that great man's versatility of talent, and wonderful extent of attainments. There are in this apartment some pieces of Roman sculpture. Among various casts in plaster are, a selection from the relievos that adorn the column of Trajan at Rome, and Michael Angelo's superb group of the Virgin and Dead Christ. The architectural designs of Pellegrino Tibaldi are well worthy of examination.

In the Picture Room is Raphael's cartoon of the School of Athens: also the Virgin, Jesus, and St. John, by the same master, Several portraits by Da Vinci; among them that of the Physician who taught him anatomy, and a drawing in red crayons of Leonardo, by himself: a striking dignity in the air and a consummate freedom of touch distinguish this small but attractive head. A Christ on the Cross, by Guido. Our Saviour washing the feet of his Disciples, by Pierino del Vaga, one of the ablest scholars of Raphael, and so much in his finest manner that it is no wonder the picture has usually gone under the name of that illustrious painter. A Madonna and Child, by Lucas van Leyden, with several others of the best pieces of that laborious artist. A repose (Holy Family) in Egypt, considered to be the chef d'œuvre of G. Bassano. A portrait by Andrea del Sarto and another by Titian, both full of expression, and models of colouring. Of Titian's there is a fine picture of the Magi adoring the new-born Messiah, and a second of Christ in the Tomb. A Repose by old Palma. A Holy Family by Lovino, one of Leonardo da Vinci's scholars, and supposed after his design. Jesus as a young man, by the same, is excellent. A Madonna veiled, by Cipioni. A St. John, by Salaino. A gilded Painting by Bourgognone, very curious and clever in its gothic stile. Drawings and Sketches by the great Michael Angelo. A St. Hubert by Albert Durer. John (Velvet) Brueghel's extraordinary performance-the Element of Water; into which he has grouped together fish, amphibious reptiles, and aquatic fowl, in the most accurate manner of delineation, with the greatest brilliancy of colouring, the most exquisite handling, and the highest finish the landscape part has equal charms. A com

panion to this, the Element of Fire, is a less captivating but by no means an inferior effort of elaborate and imitative art. Daniel in the Lions' Den is another wonderful, and perhaps as a subject of composition, a still more meritorious work, by the same master-the animals, the figures, and the landscape of this cabinet picture are accomplished in so correct and delicate a stile as to render it a perfect jewel. The whole of this choice collection was made by the founder in 1600.

Considering the great antiquity of Milan, and its geographical position, we should naturally expect to find in it numerous vestiges of Roman grandeur. The devastations, however, to which this important city was, during the middle ages, repeatedly exposed, have left comparatively few monuments of a date anterior to the invasion of the Goths. Among these, the most considerable and interesting are what pass under the name of Le colonne di S. Lorenzo, in the Corso di Porta Ticinese: they consist of a row of fourteen lofty marble columns, with corinthian capitals. There were, it seems, so lately as fifty years ago, sixteen of these; but the two centre pillars are gone, and the vacancy disfigured rather than supplied by an ugly arch surmounted by a still uglier pediment, with the apparent intention of making this fine antique colonnade serve as a portico to the ruinous quadrangle in which St. Laurence's church is situated. The interior of this court of entrance exhibits fragments of the cornice of the Roman Temple or Palace.* St. Laurence is a very

Reichard calls it the ruins of the Temple of Hercules erected by Maximian in 286. Nugent justly observes that the opinion of its being a building of Maximian is contradicted by an inscription to the Emperor Lucius Aurelius Verus (who reigned between A. D. 161 and 170) which is still

curious structure. The chapel of St. Thomas Accolino at the east end, which is circular, is obviously from its exterior conformation of the earliest church architecture; but all the remains of interior antiquity are some rude frescoes, and the tomb of the Regent of France. Bramantino has painted the history of Accolino in another part of the church,

We continued our walk, through a quarter of the city chiefly inhabited by the labouring class, to the gate of Marengo, or Porta Ticinese; it consists of a handsome arch, entablature, and pediment, supported by Ionic columns, and bearing the following inscription:—“ Paci Populorum Sospiti. Dedic. Anno 1815." The gate stands on a bridge over the Ticinello, which, at the moment we passed it, was pouring down in torrents the rain that had swelled its mountain-sources the preceding day..

Near this quarter, but within the walls, stands the Church of the Dominicans of Saint Eustorgio. In this place (says Evelyn) they tell us, formerly lay the bodies of the three Magi, since translated to Cologne in Germany; they however preserve the tomb, which is a square stone, on which is engraven a star, and under it "Sepulchrum trium Magorum." For what object the "Wise Men of the East" were travelling so far to the west, unless to get promoted after death from the rank of Magi to that of Kings! it were difficult to imagine. It is a remarkably old edifice, with several side-chapels, the ceilings of

legible on the columns.-Mr. Evelyn (in 1646) notices the 16 columns of marble, the ruins of a Temple of Hercules, and gives the inscription as then standing, viz. "Imp. Cæsari. L. Aurelio Vero Aug. Armeniaco Medico Parthico Max. Trib. Pot. VII. Imp. IIII. Cos. III. P. P. Divi Hadriani Nepoti Divi Trajani Parthici Pro Nepoti Divi Nervæ Abnepoti Dec. Dec."

which, as usual, are covered with fresco paintings. We entered it during the time of divine service. The people in throngs were constantly going in and out; and their fingers and knees were as constantly in movement with crossings and curtsyings. An overloaded, and, to the common people, an unintelligible ceremonial engrossed their mechanical faculties; but the indications of fervent piety were not observable either in the priests or the congregation.*

From this point we bent our steps in the direction of the new Forum, laid open by Buonaparte. In our way thither we went into a Church, which our guide, I think, called S. Nazario; but the building to whomsoever dedicated, has a forcible share of interest in my recollection, for it contained, in the south-west corner, a crucifix, literally black with age, at the foot of which was affixed a paper, from which I copied the following words:-" Adorazioni, Alle Sacratissime Piaghe di Gesu.-Ogni volta, che si reciteranno cinque Pater ed Ave, in memoria della Passione di Gesu Christo e dei Dolori di Maria Virgine, Leone X. ha concesso dieci mil' anni d' Indulgenza.”—

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Adorations, to the most sacred wounds of Jesus.-Every time that five Pater Nosters and Ave Marias, shall be recited in remembrance of the Passion of Jesus Christ, and of the sorrows of the Virgin Mary, Leo the Tenth

"There is (as Mr. Matthews, with his characteristic pithiness, remarks) something very unsocial in the whole transaction. The priest (during the greatest part of the time) turns his back to the people, and mumbles the prayers to himself. There seems to be no community of worship, except in the general genuflection at the elevation of the Host, The people seem to have no functions to perform, but to look on at a spectacle, which is to me the most fatiguing office in the world."-Diary of an Invalid.