we should have derived great pleasure, and also profitable instruction in our favourite art.

We afterwards visited the Sculpture Rooms. In the first room were a number of copies, in plaister, made, from a statue, by the students of the Academy. Some Basso-Relievos, the work of these young artists, and for which they had received prizes, were beautifully executed. They were distributed throughout the different rooms; and each had attached to it the name of the artist, and the date when the prize was awarded.

Amongst the many statues, casts, &c., were two fine colossal horses. There was, also, a beautiful casting of gates, with the creation, the first sacrifice, Noah, and other scriptural subjects, in basso-relievo. On the walls of these rooms were fixed casts of the Elgin marbles.

On the 29th, we went to the top of the Arc de Triomphe, at the termination of the Simplon route, at the entrance of Milan. The arch is built of white marble. The two facades are supported by four columns, taken from a quarry on the Simplon, and each hewn out of a single block of marble. The bases of the columns have beautiful figures upon them; and the whole is surmounted with bronze statues of horses, &c. From the top, there is a fine prospect of the city and the surrounding district. The country appears flat, except to the left, where mountains are seen in the distance.

The Amphitheatre is a fine building. It was erected by Napoleon, from the designs of Canonica; and it is said to hold more than twenty thousand spectators. The principal entrance is deserving of attention, for its beautiful workmanship.

We visited the Ambrosian Library, where there is a fine drawing, by Raffaelle, of the School of Athens; it is done in Italian chalk, and is of the same size as the original. There are, also, some sketches by Michael Angelo, for his fresco of the Last Judgment. We also saw there some very fine sculptures from the antique, and a very good bust of Canova, by himself.

We went to the suppressed Convent of St. Maria della Grazie; and saw, in the refectory, Leonardo da Vinci's

tresco of the Last Supper. Many persons who examine this picture, feel surprized to see the head of the Saviour finished in the same perfection as those of the Apostles; for the anecdote which has been circulated by many writers is, that the artist left it unfinished, as he despaired of being able to execute it according to the ideas which he had formed of the superior nature of the Redeemer. The head of Christ, and one of his hands, are in the best preservation. The flesh has been stippled up with the greatest care. The expression of the Saviour's countenance is mild and dignified. There is thoughtfulness, mixed with resignation; contrasting finely with the figure on his left, and with the dark countenance of Judas, who has the bag. I was very forcibly struck with the difference in form between the engravings from the picture and the original. The painting appears higher in proportion. There is a cornice, which makes part of the ceiling, and which must have been left out of the engraving; but, when seen with the rest of the composition, it takes away from its length, and gives it a more pleasing form.

The authorities of the city appear to be taking more care for the preservation of this celebrated work, than they formerly did. Some attempts have been made to saw it from the wall, but without success. A platform, about six feet high, and ascended by a flight of steps, is erected close to the picture, and gives an advantage to those who wish to examine the painting closely.

It is a lamentable circumstance that the quadrangular court, of which the refectory forms one side, is occupied as a litter-yard for the Austrian horse soldiers. The cloisters go round the square; and the walls underneath are painted in fresco, with religious subjects.

The church belonging to the convent is a large brick building, in the Byzantine style of architecture. It was erected in 1492; and, from its size, we concluded that the establishment must have been very extensive.

I am, Dear Sir, yours truly,

J. H.

THE

LETTER VII.

VENETIANS. -THE

JOURNEY FROM MILAN TO GENOA. THE CITY OF GENOA.-COLUMBUS.-CHAINS TAKEN FROM ROYAL PALACE. THE CATHEDRAL- -THE PALAZZO DURAZZO.PAINTINGS BY TITIAN, GUIDO, AND VANDYKE. THE PALAZZO BRIGNOLE.-PAINT

INGS BY VANDYKE, CARRAVAGGIO, RUBENS, AND PAUL VERONESE.-THE PALAZZO PALLAVINCINI.-THE PALAZZO SPIGNOLA.-PAINTINGS BY RUBENS AND VANDYKE. THE ALBERGO THE GRAND HOSPITAL.-LEGHORN. THE DUOMO-GIOVANNI'S STATUE OF FERDINAND I.-THE JEWS' SYNAGOGUE.-PISA.THE DUOMO.-THE LEANING TOWER-THE CAMPO SANTO AND ITS TOMBS.-FLORENCE.

To the Editor of the Halifax Express.

Florence, Oct. 13, 1840.

Dear Sir,-We left Milan on the 5th instant, at four o'clock in the afternoon; and we arrived at Genoa at eight o'clock the following morning. We passed Pavia, on our way, and crossed a river, by a bridge of boats, to the Sardinian frontier, where we were kept waiting for two hours, and underwent the most minute search that I was ever subjected to.

After leaving the custom-house, we crossed the river Po, by a very long bridge of boats. The country is flat, but very productive; abounding in corn-fields and vineyards. We passed though several towns, on our route; and to our regret, we had to travel amongst the Appenines during the night, and were thereby deprived of all opportunity of enjoying the scenery.

In Genoa, we found excellent rooms at the Hotel d' Italia; and from that inn we had a good view of the sea and harbour; but the fine prospect had its alloy,— for, when looking out from the window, we could not help seeing a number of convicts, in chains,-men who, for having violated the laws of their country, had been condemned to be chained to the implements with which they were employed in clearing the docks.

The houses in Genoa are well built; but the streets are narrow, and not to be compared with those of the large towns in England. The city is remarkable for the splendour of its palaces; and the vicinity is studded with villas belonging to the rich Genoese.

Genoa

has given birth to some distinguished men, amongst whom was Columbus. A statue of this celebrated navi. gator is placed in the vestibule of the Palazzo Ducale. Admiral Andrea d' Oria is another Genoese of whom his countrymen have reason to be proud.

Over the gates of the city, and in several of the streets, we saw large massive chains hung up, as trophies of a victory over the Venetians, who used these chains to close their harbour; but, at the siege of Chiazza, the Genoese fleet broke these chains asunder, and brought them home as memorials of their triumph. They serve to remind the Genoese of their former greatness, and to make more galling the present degraded position of those Italian states, which were, a few centuries ago, the flourishing seats of commercial enterprise, and the nursing-cradles of political freedom.

The light-house is built upon a promontory, and is a strong building. During the night, its light is very serviceable to the vessels in the bay. The fortifications are a massive pile of masonry. The new mole, which is defended by batteries, extends towards the old one, on the east, and leaves an entrance to the harbour, of the width of seven hundred yards. The harbour is capable of receiving first-rate men of war, and is one of the best ports in the Mediterranean.

The first visit we made was to the Royal Palace, belonging to the King of Sardinia. There are not many

fine pictures to be seen in the collection there, The Magdalen washing Christ's feet, by Paul Veronese, is said to be of first-rate character, as a work of art; but it is not allowed to be exhibited. We saw a good copy from it; but this did not compensate us for the disappointment in not seeing the original. We saw a painting of a boy blowing a firebrand. It is by Leandro Bassano; and it caught our attention, more from its curious effect, than from any great merit it possesses as a painting.

The Cathedral is a fine Gothic structure, built of black and white marble. It contains a few good paintings and other works of antiquity. In the sacristy is the celebrated salver, of emerald, sixteen inches in diameter It is said to have been one of the vessels belonging to King Solomon, and to have been formerly in the temple at Jerusalem. The Crucifixion, by Barrocio, is a very good painting. It has a curtain before it, out is opened to visitors, for a fee. The statues by Francavillia are well executed. The marble tomb of Saint John the Baptist, who is said to have been interred here, was covered with a pall; and permission from the Governor of Genoa was required before it could be uncovered for the inspection of visitors. The canopy of the altar is very splendid, and is supported by four columns of porphyry, the pedestals of which are enriched with bassorelievos by Giacomo della Porta.

We saw the Palazzo Durazzo, built by the celebrated Milanese architect, Domenico Fontana. It has a fine portico, through which we pass to a splendid staircase, each step of which is a single block of marble. The staircase leads to a suite of magnificent rooms, rich in paintings and in ancient furniture.

Amongst the pictures in the first room is the Magdalen, by Titian. It is painted in his best manner. There is a good portrait, by Carracci; and I was much pleased with Roman Charity, by Guido. The old man's head is very good, and contrasts finely with the breast of the female. The back-ground is painted of a stone colour, and enlightened behind the figures, but does not make them obtrusive.