PADUA.

FTER another monotonous drive through level meadows and swamps intersected with canals, we arrived at Padua. Being yet early in the day, and having two or three hours to bestow upon the curiosities of the ancient and learned city, we sallied forth to make the most of them. The environs are peculiar from the many open spaces of waste ground that occur among the irregular streets and villas which seem straggling here and there without any definite plan. This gives

the appearance of a city originally designed to be of a much larger extent than it has attained to; or else of one that has been partially destroyed, and the ruins totally swept away. Beyond the houses there is a large extent of uncultivated and unenclosed land, having somewhat the appearance of English downs, stretching away on every side.

The city walls and fortifications are now little more than dilapidated ruins; but some few towers and gateways still remain, which shew that the once proud appellation of "Padova la Forte" was not misapplied.

According to the earliest tradition, Padua owed its first

origin to Antenor, who founded it when he migrated to Italy, shortly after the destruction of Troy; and I suppose there is not much doubt that it was this same Antenor who, being canonized by the Church during the dark ages, under the cognomen of St. Anthony, became thenceforth the patron saint of the city. This incongruity, extraordinary as it seems, is the less improbable from the fact, that on the discovery, in the thirteenth century, of the supposed skeleton of Antenor contained in a sarcophagus which was dug up in laying the foundations of one of the public hospitals, the mortal remains of the ancient pagan were deposited within the sacred precincts of the Church of San Lorenzo. Though the church has been removed, the sarcophagus is still permitted to remain upon the consecrated ground.

The Cathedral is a huge and massive structure, but with little pretensions either to beauty of ornament or grandeur of design. Michael Angelo was the original architect, but as it was not finished till nearly two centuries after his death, it is probable that little of his plan was carried out.

The building which most excites one's interest, because most connected with the national character and traditions of the Paduans, is the Palazzo della Razione, erected by Pietro Cozzo in the end of the twelfth century. This immense edifice stands in the market-place, and is supported entirely upon open arches. It is surmounted by one great pyramid-like roof, the sombre colour and gigantic proportions of which render it a striking object the moment it comes in view. This roof, indeed, was long one of the wonders of the world, not only on account of certain mechanical principles employed in its formation, but from being the largest ever constructed independent of the support of pillars from the interior. Alas, that in these days it should have to yield in this last respect to many a railway station! We were greatly pleased with the venerable old hall

which it covers. The style is a mixed Gothic, and the general effect at once quaint and imposing. The ceiling, or rather the concave of the roof, is of open rafters, the lower extremities of which reach down almost to the floor. The proportions of the hall are immense, being little short of three hundred feet in length and one hundred feet in breadth; while being less lofty in comparison, these measurements would be guessed as even more. The windows are very small, and just afford light sufficient to cast an impressive gloom through the vast echoing chamber, and upon the strange mystical figures and devices painted upon the walls. The latter are said to have been the work of Giotto; and though some of them are damaged and marred, not less by lame attempts to restore them than by the original cause of damage itself, yet the beauty and antique character of many are still most evident, and have been wonderfully preserved amid repeated casualties that might have occasioned their destruction. The prevailing subjects of these paintings are connected with astronomy and astrology, with personifications, in some of the compartments, of the Moral Virtues, and of the Seasons.

At the top of the hall is what is called the Monument of Livy, whom the Paduans claim as a native of their territory, having been born at Abano. Opposite to this is the sable block of stone called the Lapis Vituperii, on which insolvent debtors were formerly required, during a certain time, to sit exposed to public ignominy, as the condition on which they might be held as cleared.

The chief attraction to the lover of art, in Padua, is a little church erected within the ancient Roman amphitheatre-as its name bears-the Chapel of the "Annunziata della Arena." It is usually, however, called "Giotto's Chapel," on account of the beautiful and elaborate frescoes with which his pencil has

decorated the whole of its interior. These frescoes were the especial admiration and delight of Titian, who adopted many of them as studies and copies in the composition of his own works. The subjects are taken from the Bible, and from the apocryphal books; and it is said that many of the scenes and ideas depicted were suggested to the artist by Dante, who lived in the same house with Giotto, while the latter was engaged in the work. We had so little time to devote to this wonderful chapel, which, it fact, it would require days to do justice to, that I am unable, even if time and space would allow, to give any detailed account of the paintings in it, though several of them struck me powerfully, even in our hasty glance at them. Over the entrance is a representation of the Last Judgment, the general idea of which seems taken from expressions in the Book of Revelation. Far removed as I always feel such subjects to be above the proper and legitimate province of the artist's pencil, I could not but acknowledge that here the figure of our Lord, receiving and welcoming the just in their "white robes," is very grand and solemn.

The general series of paintings on the sides of the chapel is divided into three. The first series contains scenes and incidents from the life of the Virgin-principally from ecclesiastical traditions and legends. Some, however, are very touching and beautiful, both in conception and execution. The second series contains the life of our Lord. This, in the colouring and even outline of many of the figures and groups, has been grievously injured, but in others these are quite fresh and perfect. The Resurrection of Lazarus, which forms the ninth division, is a remarkably fine composition. The body of the entombed man, in the very act, as it were, of casting off the fetters of death, and awaking into life, with the bands and cerements of the grave around him, the awe-struck countenances of the figures standing

by, the calm majesty of the Saviour himself, to whose voice even the dull cold ear of death has thus responded, seemed to me all magnificently brought out. The third series is a continuation of scenes from the history of our Lord. Of this, that which represents the Deposition from the Cross is considered the finest composition-indeed, by some, the masterpiece of all Giotto's works. The deep affliction of the mother of Jesus, and the characteristic expression given to the countenances of the two disciples who are about to receive the body for its burial, are thought to be unrivalled, in force and faithfulness, by any of his other performances. There are other compartments underneath this series, containing subjects of a less interesting description, allegories and symbolical figures of various kinds, --but we could not stay to examine them.

On leaving the chapel we found the hour fixed for starting so close at hand, that we had to abandon all idea of seeing any of the other churches. Hurrying back to the hotel, we ordered out the carriage, and drove down to the Railway Station, in time to catch the afternoon train to Venice; sending Ferdinando and his horses back to Padua, there to enjoy, till our return, the dolce far' niente, of which the latter, at all events, stood not a little in need.