were first-rate vocalists; and the service throughout was very solemn. After this was concluded, the bishop retired to change his robes; and, on his return, he sat between two attendants. He then took the sacrament; and afterwards again changed his garments for others of black and gold, which were very rich indeed. All the tapers were then lighted; and the crucifix was carried from the altar, in procession, down to the bier; the bishop going last. Then commenced a most beautiful solo, which was followed by a semi-chorus, from the singers near the altar. Whilst this was proceeding, all the Prince's household and the priests stood round the bier; and, when it was finished, the bishop walked round the corpse, sprinkling it with holy water. The corpse was afterwards removed to the chapel belonging to the family. The chapel is very rich in its decorations; and it is said to contain a portrait of St. John, but there was too little light for us to see it. On this occasion, black drapery, with gold lace, was hung between the pillars of the church; and a most beautiful awning was suspended from the ceiling, over the corpse. The windows were darkened with yellow curtains, which gave to the church a solemn appearance, and produced a very rich effect. When this part of the ceremony was over, we left; and soldiers were stationed round the corpse, which would afterwards be removed into the vault.

We have visited the Palazzo Spada, and saw some excellent paintings. Giordano's celebrated picture, the Death of Dido, is in the gallery; and there is a fine portrait, by Guido,-a whole length of Cardinal Belardino Spada. The chiaro-oscuro is excellent. The face is, as it ought to be, made the principal. The light descends gradually, and sweetly spreads itself throughout. All is enlightened, but with due regard to the principles of harmony. The face has great relief, though it is upon a broad light ground. Behind the figure is a curtain, of a pink colour, which Guido frequently made use of. The flesh is warm; the shadows are clear and transparent. No hair is seen; he wears

a red cap; and the drapery, which is of crimson satin, is well painted. The Cardinal is seated at a table, with a pen in his hand; the other hand is on his knee, and his face is turned up from the writing.

The German fresco-painters, Overbeck, Schnorr, and Cornelius, have each painted a room in this palace. The subjects are taken from the poems of Tasso, Ariosto, and Dante. I thought those executed by Overbeck were the best painted; but they were not equal to what they had been represented to me. drawing is faulty, and the lines are hard. The colours have faded, in several of them; although they have not been executed more than twelve years.

The

This palace contains some fine sculptures. In one room there are eight basso-relievos, said to have been found in the temple of Bacchus. There is, also, a colossal statue of Pompey. He holds a globe in one hand, and the other hand is stretched out, as if he were making a speech. The figure is very fine. This statue was found, in the time of Julius the Third, in a vault under the Strada de Lutari, near the Piazza di Pasquino.

I am, Dear Sir, yours truly,

J. H.

LETTER XI.

THE VATICAN.-RAFFAELLE'S FRESCOES.

To the Editor of the Halifax Express.

Rome, Nov. 16, 1840.

Dear Sir,-In my last I gave you some account of St. Peter's; and I now sit down to describe to you a few of the many wonderful paintings in the Vatican. The building itself, which is of great extent, is the residence of the Pope; and I cannot now give you a particular description of it. It is a vast pile of building, partly ancient and partly modern. According to some authorities, it was originally built by Nero, and given, by Constantine, to the Bishops of Rome. Others think that it was built by Constantine, on the ground which had been occupied as the gardens of Nero. Since its erection it has been constantly receiving additions, from the different Popes; and it is stated to be about seventy thousand feet in circumference.

The Sistine Chapel, which contains Michael Angelo's Last Judgment, is in the Vatican; and there are in it four apartments called the Stanze di Raffaello, containing some of the most splendid frescoes that were ever painted, and which immortalize the artist whose name is given to these magnificent rooms. I have had the gratification of examining these paintings; and they delighted me beyond measure.

The room which is said to have been painted first is that called the Chamber of the Signature, or the Hall of the School of Athens. It contains four principal paintings, the general design of which is to display the

powers of the human mind, and to show its capability of attaining the noblest sciences,-divinity, philosophy, civil law, and poetry. Each of these sciences forms the subject of one of the four paintings; and there are smaller paintings illustrative or explanatory of the larger designs.

It is generally understood that Raffaelle was in the habit of asking the advice of the learned, as to the propriety of introducing certain characters into his compositions; for, having from his infancy devoted himself to painting, he had not had time to read extensively, or to acquire the learning necessary for the work in which he was engaged. On one occasion, he wrote to Ariosto, to obtain his assistance in the picture of Theology. He wished the poet to suggest to him what personages should be introduced, to what countries they belonged, &c. in order that his work might be made as perfect as possible.

The

Each of the four sides of the room is occupied with one of the four subjects I have mentioned, and I will begin with that on Theology. Over the arch of a window is the Eternal Father, presiding over the universe. figure is not more than a half-length, and is looking over the arch. In his left hand is a globe; and the right hand is stretched forth, as in the act of giving the benediction. Under the arch is the Saviour, with a countenance expressive of the utmost benignity. His head reclines a little; and he seems ready, with open arms, to receive the supplications of mankind. On the right of the Saviour is the Virgin, in a supplicating posture; and on his left is seated St. John the Baptist. These figures, with cherubs, compose the upper part of the picture.

The lower part of the painting consists of an assemblage of Divines. The principal figures are four Fathers of the Romish Church,-two on each side of an altar; and the others are all laymen, in various attitudes. Some are writing, and others conversing. The poet Dante is introduced amongst them, on account of the theological character of his great poem.

I cannot tell upon what principle we are to reconcile the effects of the light and shade which Raffaelle has given to this picture. Each of the three persons of the Holy Trinity is represented as surrounded with his own peculiar glory; and they neither receive light from each other, nor diffuse any to the other parts of the painting. All the lower figures partake of daylight, as if the brightness which is above them were not in the picture. Perhaps Raffaelle, by not making use of the lights which he might have made to issue from the Sacred Personages in the upper part of the painting, prevented more or less confusion in the composition of the lower part, and therefore of two evils he chose the least.

This design is commonly called the Dispute of the Sacrament. The business of the picture seems to be to set forth, in a noble and lively representation, the great mysteries of religion, and to excite sentiments of piety and devotion. The expression in the different countenances is very just, and is executed with all that grace and nobleness of style which Raffaelle knew so well how to impart to his productions.

The painting which represents Philosophy, is usually called the School of Athens. It is a very fine picture, and contains a great number of figures, many of which are portraits of the most celebrated philosophers of ancient Greece. Near the base of the picture is a pavement, from which arise four steps, leading up to a magnificent building consisting of three arches. Under the farthest arch, and near the middle of the picture, stand Plato and Aristotle, each of whom is surrounded by his disciples. On the right of Plato is Socrates, in conversation with Alcibiades and two or three others. A little to the left of the picture is Diogenes, seated on one of the steps; and on the pavement below, to the right, is Pythagoras, with his disciples, a large group reaching to the middle of the picture. On the other side of the painting is a smaller group of figures, of which one of the most conspicuous is Archimedes, who is engaged, with his compasses, in forming a mathematical figure on a tablet laid on the ground. Zoroaster and