wished to see twice, except perhaps Mezzofanti, who is a prodigy of language, a Briareus of the parts of speech, a walking library, who ought to have lived at the time of the tower of Babel, as universal interpreter; a real miracle, and without pretension too. I tried him in all the languages of which I knew only an oath or adjuration of the gods against postillions, savages, pirates, boatmen, sailors, pilots, gondoliers, muleteers, camel drivers, vetturini, post-masters, horses, and houses, and everything in post! and, by heaven! he puzzled me in my own idiom.”

of the whole for some years past. Dr. Fraser gives us the following note of the Ospedale Grande :-"A good hospital, and a separate building for clinical cases.

scription of the paintings of Innocenzio da Imola, were made the subjects of three discourses delivered by Professor Giordani in the Academy of Fine Arts in 1812, and published in his works. The Ospedale Grande was founded in 1667, and opened in 1725; the clinical cases are received in a separate building, near the university, called the Ospedale Azzolini, from the Senator Francesco Azzolini, by whom it was founded, in 1706, for the sick and infirm poor of the parish of S. M. Maddalena. In the Borgo di S. Giuseppe is the Ospedale de Settuagenari for the In connexion with the university, aged poor; and in the ancient Benethere remain to be noticed the Bo- dictine Monastery of S. Procolo is the tanical and Agrario Gardens, and the Ospedale degli Esposti, or Bastardini, rePublic Hospital. The Botanical Gar-cently enlarged; a measure whose necesden was formed in 1804, on the site of sity is accounted for by the fact that the the ancient Collegio Ferrerio de' Pie-proportion of illegitimate births at Bomontesi. It has some fine bothouses, logna has not been less than one-seventh arranged under the direction of Professor Scannagatti. It is well managed, and is said to number upwards of 5,000 species. The Agrario Garden, Orto Agrario, one of the results of the French There are at present invasion, was commenced in 1805 un- five hundred students. There is a large der the direction of Professor Re, and collection of anatomical figures, but it was intended as a practical school for is inferior to that at Florence. The agricultural students, for whom a course average number of cases of stabbing' of theoretical and experimental lectures admitted annually into the hospital is on agriculture are delivered. The idea five hundred! This fact I could hardly was undoubtedly a good one, parti- have credited, if it had not been com cularly as the Bolognese territory is so municated to me by good authority, highly celebrated for its rich cultiva- viz., the resident house surgeon, who tion and fertility; but this branch of told us after we had become communistudy unfortunately is not obligatory, cative by long conversation on profesand hence the lectures of the agricul- sional subjects, adding, that the authotural professor are ill attended. The rities did not publish the astounding lecture room is the ancient Palazzino number. If true, and I certainly have della Viola, formerly the villa of Gio- no reason to doubt my authority, it is vanni II., Bentivoglio, and celebrated an important fact, as illustrating the for its superb frescoes by Innocenzio morals of the Bolognese." da Imola, These fine works represent Churches. - Among the hundred Diana and Endymion; Actæon me-churches of Bologna, there are few tamorphosed into a stag; Marsyas, Apollo, and Cybele. There were originally other frescoes by Costa, Chiodarolo, Aspertino, Prospero Fontana, and Niccolò dell'Abate, but they have all been destroyed for the purpose of building additional apartments. The history of the Palazzino, and the de

which do not contain some painting, which, if not itself a masterpiece, supplies an episode in the history of art. In the following pages we have given such details as will enable the traveller to select and judge for himself, amidst the multiplicity of riches; at the same time, the student must bear in mind that

there are none from which he will fail donna and Child, with St. Nicholas

to derive instruction.

and St. John, is by Sabbatini. The The most ancient church in Bologna, St. James, St. John, and St. Francis, is and one of the oldest and most charac- referred to Lippo di Dalmasio. This teristic in Italy, is that of San Stefano, church has small round windows in formed by the union of seven churches the nave, and has some general resemor chapels. It is, moreover, remark-blance to our old Norman architecture. able, not only for its Greek frescoes of The fifth is formed of the cloister, called the twelfth and thirteenth centuries, the Atrio di Pilato. It has two rows of but for its ancient tombs and madonnas, galleries; the upper one is very elegant its miraculous wells, its Lombard and composed of antique columns dearchitecture, Gothic inscriptions, and rived from the Temple of Isis, which other relics which carry the ima- are coupled with fanciful capitals, gination vividly back to the early composed of monsters supporting small ages of the church. In what is called circular arches, over which is a frieze the first church (del Crocifisso) is a with other whimsical ornaments of the painting, by Teresa Muratori and her same kind. The ancient Greek frescoes master, Gioseffo Dal Sole, representing of this church have suffered greatly; an a father supplicating St. Benedict to ex-voto Madonna, left here by a comintercede for his dying son. The pany of English pilgrims about A.D. Banzi chapel, in which is the marble 1400, may interest the English trasarcophagus containing the body of the veller. The S. Girolamo adoring the Blessed Giuliana de' Banzi, is called Crucifix, with the Magdalen and S. the second church. The third, del Francis, is attributed to Francia. In the Santo Sepolcro, is a round building, small cortile is a large marble vase or supposed to have been the ancient font, bearing an inscription, recording Lombard Baptistery. The marble the names of Luitprand and Ilprand, columns are said to have been derived kings of the Lombards, and of Barbato, from a neighbouring temple of Isis. bishop of Bologna. An adjoining Hall, The upper gallery has long been closed; constructed by Benedict XIV., recalls but the well for immersion sufficiently the ancient "Compagnia de' Lomproves its original destination. The bardi," founded in 1170, and numbermarble sepulchre, with its ancient ing in its annals almost all the illustrisymbols, was erected to receive the ous names in the history of Bologna. body of S. Petronio, who is said to The keys of the gates of Imola, caphave given miraculous qualities to the tured a second time by the Bolognese water of the well. The ancient Greek in 1222, are preserved there. The sixth paintings on the walls will not fail to church (I Confessi) is a kind of crypt, attract the attention of the traveller; and is remarkable only for its ancient they are full of nature and expression, bas-reliefs, and as containing the bodies but many of them have unfortunately of two native saints and martyrs, Vitale perished or been injured in recent and Agricola. The Madonna in the years. The fourth church, dedicated wall is said to have been placed here, to SS. Peter and Paul, is supposed to in 488, by S. Giocondo, bishop of the have been the old Cathedral, founded diocese. The seventh church, called by S. Faustiniano, A.D. 330. It con- la SS. Trinità, also contains some intains a remarkable Crucifixion, by teresting works of ancient art, some of Simone da Bologna, known also as which are regarded as contemporaneous Simone dai Crocifissi, from the ex- with S. Petronio. The St. Martin, cellence with which he treated this bishop, praying for the restoration of a subject; it bears his name, "Simon dead child to life, is by Tiarini, a re

'fecit hoc opus." There are some ara-petition of the same subject painted for besques and an Ionic capital in this the church of S. Rocco. The S. Ursula, church, apparently antique. The Ma- on the wall, is by Simone da Bologna;

Choir and the Holy Trinity is by Samac- Lodovico Caracci. The 6th chapel, dechini. This church is celebrated for signed by Domenico Tibaldi, contains its relics, among which are the bodies a fine picture designed by Fiorini and of forty martyrs, brought by S. Petro-coloured by Aretusi; representing our nio from Jerusalem. Outside these Saviour giving the keys to St. Peter, in churches are two marble sarcophagi, the presence of the twelve apostles; and appropriated in former times by the the celebrated painting of the AnnunciaOrsi and Bertuccini families; one of tion, the last work of Lodovico Caracci. them at least is an ancient Christian The foot of the angel bending before the sarcophagus, and is an interesting relic. Virgin was a little crooked, and it is reIn an adjacent portico is an inscription lated that when the aged artist made the recording the existence of the Temple discovery, he offered to defray the exof Isis, already mentioned as occupying pense of re-erecting the scaffold in order this site. that he might retouch it, but the request was refused, and Lodovico died of grief and chagrin a few days after. In 1830 the error was corrected by Prof. Fancelli, who was employed to clean and restore the paintings in this chapel and in the Sacristy. Returning towards the entrance, the chapels of the opposite side remain to be examined. The first of these is worthy of observation, as it was here, and not in S. Petronio, as Vasari believed, that the ancient Garganelli chapel, painted by Ercole Grande of Ferrara, existed; some re

The Cathedral, dedicated to St. Peter, is a very ancient foundation, but it has been several times rebuilt. The present fine edifice was begun in 1605; the front and some of the chapels were added in 1748 by the excellent Pope Benedict XIV., from the designs of Torreggiani. The interior is in the Corinthian style, well arranged and imposing in its effect. In the 2nd chapel on the left is preserved among the relics, the skull of St. Anna, presented in 1435 by King Henry VI. of England to the Blessed Niccolò Alber-mains of these pictures were long pregati. In the 3rd chapel is the fine served in the palace of the Tanari family, work of Graziani, a native painter of the and were by them presented to the seventeenth century, representing St. academy. The chapel of the SS. Peter consecrating St. Apollinare; a Sacramento contains a work by Donati commission executed for Benedict XIV., Creti which has been much admired : who was so much pleased with it that he it represents the Virgin in the clouds ordered a repetition for the Apollinare with the infant Saviour, S. Ignatius, at Rome. Cardinal Giovanetti, arch- and angels. The gilt bronze ornabishop of Bologna in 1788, is buried ments were designed by Torreggiani, at here. In the 4th chapel is the St. the cost of Benedict XIV., then CardiPeter commanding Pope Celestine to nal Lambertini, and archbishop of this elect S. Petronius bishop of Bologna, his native city. In the Baptistery is by Bigari; and the Holy Family, and a finely composed and beautifully the frescoes of S. Pancras and S. Petro-coloured painting of the Baptism of nius, by Franceschini, painted in his our Saviour, by Ercole Graziani. On eightieth year. The 5th chapel con- St. Peter's day some fine tapestries are tains the urn of bronze gilt adorned with lapis lazuli, containing the body of the martyr S. Proclus, presented by Benedict XIV., in 1745. The Sacristy contains, among other works of more or less merit, the Crucifixion, by Bagnacavallo; paintings by the Zanotti; and the St. Peter, in the fisherman's dress, mourning with the Virgin for the death of the Saviour, a strange invention of

exhibited in this church, executed at Rome from the designs of Raphael Mengs, and presented by the same pontiff. The Subterranean Church below the choir is curious: it contains numerous relics, and some works of art, among which is that by Alfonso Lombardo representing the two Marys weeping over the dead body of Christ.

The Church of San Petronio, the

largest in Bologna, and though unfi- |3,600 golden florins, the Reverenda nished, one of the most interesting and Fabbrica providing the stone; Vasari remarkable, is a fine monument of the says that he devoted twelve years to religious munificence which charac- the work, and that its completion terised the period of Italian freedom. filled the Bolognese with astonishment. It was founded in 1390, while Bologna The left doorway is remarkable for the was a republic, the architect being angels and sibyls on the arch, by Antonio Vicenzi or di Vincenzo, cele- Tribolo, well known as the friend of brated as one of the sixteen Riformatori, Benvenuto Cellini, who has left an and as the ambassador of the Bolognese amusing record of him in his most to the Venetian Republic in 1396. entertaining of biographies. Of the The original plan was a Latin cross, four subjects on the left pilaster the and if the building had been com- first, third, and fourth are by Tribolo, pleted, it would have been more than as well as the fourth on the right one hundred feet longer than St. Peter's at Rome. Of the exterior, a small portion of its height alone is finished, and of the interior little more than the nave has been completed. In spite of these drawbacks, San Petronio is one of the finest specimens of the Italian Gothic of the fourteenth century. It is almost a museum of sculpture, and its rich pointed windows, although sadly mutilated and transformed, still retain their rich mouldings in perfect preservation, as may be seen on the sides of the building. The three canopied doorways of the unfinished façade are pure and interesting examples of the late Italian Gothic; they are covered with bas-reliefs representing various events of scripture history from the creation to the time of the apostles, and are ornamented with busts of prophets and sibyls which recall the taste and design of Raphael. The central doorway and its bas-reliefs were justly considered the masterpiece of Jacopo dalla Quercia, and were entirely completed by his own hand. They must be carefully studied to appreciate their details; there are no less than thirtytwo half figures of patriarchs and prophets, with the Almighty in the midst; five subjects from the New Testament in the architrave, and five from the Old Testament on each pilaster, from the creation to the deluge. Over the architrave are three statues as large as life, the Virgin and Child, San Petronio, and St. Ambrose. It is recorded that this amiable artist was commissioned to execute this door for the sum of

pilaster, supposing the spectator to be looking at the door. Tribolo was assisted in these works by Seccadenari, Properzia de' Rossi, the Bolognese Sappho; and by Cioli and Solosmeo, pupils of Sansovino. The three other subjects on the right pilaster are by Alfonso Lombardo, and represent different events of the Old Testament. The second subject of the left pilaster, representing Jacob giving his blessing to Isaac, is by an unknown artist. Under the arch is the superb sculpture of the Resurrection, by Alfonso Lombardo, praised by Vasari, and admirable for its simple dignity and truth. The right doorway is another monument of the taste and purity of Tribolo. The angels of the arch, the sibyls, and the eight subjects from the Old Testament on the pilasters, are by this master. Under the arch is the group of Nicodemus with the dead body of Christ, by Amico; the Virgin, is by Tribolo; and the St. John the Evangelist, by Ercole Seccadenari.

The interior of San Petronio is particularly imposing, and never fails to excite regret that it has not been completed on its original extensive plan. Some fault might be found with the proportions of the edifice, and the iron ties which hold together the principal arches are a serious disfigurement; but the size and peculiar simplicity of the design produce an effect which rewinds the English traveller of the purer Gothic of the north. "It possesses in a high degree the various peculiarities which characterise the arrangements of

condemned, is by Lorenzo Pasinelli. 9th-Chapel of St. Antony of Padua. The marble statue of the Saint is by Sansovino. The miracles of the Saint,

the Italian Gothic, such as the wide and low pier arches whose span equals the breadth of the nave, the absence of the triforium and of the clerestory string, the great empty circles which occupy | painted in chiaro scuro, are fine works the space of the clerestory, the excessive doming of the vaults, the shallowness of the side aisles, the heavy capitals which surround the piers and half piers like a band of leaves, and the squareness of the piers with their nook shafts; all these serve to make a wide distinction between this example and those of the genuine Gothic; and they are rarely found so completely united even in Italian churches. Each compartment the principal assistant of Lodovico. of the side aisle has two arches, which open into shallow chapels."-Willis.

by Girolamo da Treviso. The windows of painted glass are celebrated as having been coloured from the designs of Michael Angelo. 10th-the large painting of the Coronation of the Madonna del Borgo S. Pietro, and the beautiful fresco opposite it are by Brizzi, one of the favourite pupils of the Caracci: he commenced life as a journeyman shoemaker, and became

11th-Chapel of the Relics. The superb bas-relief of the Assumption, in marble, by Tribolo, formerly at the Y high altar of the Madonna di Galliera. The two angels by the side are by Properzia de' Rossi. The walls of this chapel support the entire weight of the campanile. At the high altar, the two marble statues of St. Francis and St. Antony of Padua, are by Girolamo Cam

On entering the church, the ornaments in relief round the great doorway are by Francesco and Petronio Tadolini. Over the side doors are the fine basreliefs by Lombardo, one representing the Annunciation, the other Adam and Eve in paradise, formerly attributed to Tribolo. In the chapels on the right, there are several objects to engage atten-pagna, and were formerly in the church tion. The 2nd is the chapel of the Pepoli, so celebrated in the history of Bologna; and some of the pictures contain portraits, it is said, of dif ferent members of that illustrious family. The painting of the Almighty has been attributed to Guido; but it was more probably retouched by him. The paintings on the lateral walls, with their Gothic crnaments and inscriptions, are curious; one of the female figures praying on the right wall, bears the inscription, Sofia de Inghiltera fe. fa. 4th chapel-the ancient Crucifixion, repainted, it is said, by Francesco Francia; the Madonna underneath is referred to Tiarini. 6th-St. Jerome, by Lorenzo Costa, the pupil of Francia, spoiled by retouching. 8th the marble ornaments of this chapel were designed by Vignola, and are said to have cost him the loss of his situation as architect to the church through the jealousy of his rival Ranuccio. The St. Francis is by Mastelletta; and the St. Antony raising the dead man to liberate the father who is unjustly

of S. Francesco. 14th-Chapel (left). Sta. Barbara beheaded by her father, considered the best work of Tiarini. 15th- the Archangel Michael, by Calvart (Fiammingo), which explains the celebrated picture by his pupil Guido in the Capuchins at Rome. 16th-St. Roch, larger than life, a portrait of Fabrizio da Milano, by Parmegiano, one of his best works; copied as a study by Lod. Caracci. 17th some fine works by Costa. 19th- the Annunciation, and the twelve Apostles, among the finest works of Costa. The Magdalen by Filippo Brizzi. The pavement of earthenware dates from the earliest times of its manufacture. On the pilaster of this chapel is a statue of S. Petronius, generally believed to be the most ancient likeness of that saint extant, but it has been so altered by frequent restorations that little probably of the original countenance now remains. 20th-the famous paintings of the Magi, and of the Paradiso and Inferno on the opposite wall, formerly attributed