of palazzo among the Italians, these palares do not commonly bear so superb an appellation, but, unless devoted to some public service, they are, in general, more modestly called houses. The architecture of the court of the Archiepiscopal palace is ingenious. The octagonal building of the stables, with its Greek vestibule, a beautiful work of the great Bolognese painter and architect Pellegrini, were by Saint Charles deemed worthy of a nobler use, as they indeed are. In the square, in front of the palace, the Syrens of the fountain, by the sculptor of Carrara, Joseph Franchi are reckoned among the best performances of recent times. In the Corsia de' Servi is the antique statue called by the people the Stone Man Tomo di pietra), the Marforio of Milan, which has been taken for Cicero, Marius, and even Menclozzi, archbishop of Milan in the tenth century; it appears to be a Roman statue, and must always be regarded as one of the most ancient monuments of the town. The new De-Cristoforis gallery, finished in 1832, from the elegant design of S Pizzola, is lined with shops and covered in with glass, the first of this description erected in Italy; this commercial monument may be compared with the finest of its kind, and, for the richness of its materials the pavement is of bardigito and white Carrara marble) must even surpass them. The Durini palace, by Francesco Ricchini, a Milanese architect, has a majevic arcade. The house of Stampa Castiglioni, now dilapidated, was one of the first works of Bramante at Milan, and the paintings in claro-obscuro on the front were executed by him. The court of the seminary, by the Lombard painter and architect, Meda, is a noble and clever structure. The palace della Contabilità (the anrient Helvetian college) by Fabius Manpoi a Milanese architect of the seventeenth century, and Ricchini, passes for the finest in Milan : if the front is worthless, the two courts produce great effect and recall the majesty of the plans of antiquity. The palace of Erba Odescalchi, the ancient residence of the Sforza Visconti, sunt and elegant; it is by Pellegrino Taldi or some one of his school. At the house of Pianca are fourteen portraits of the Sforzas in fresco, by Bernardino Luini, the Raphael of the Milanese school, also five other portraits of the Sforzas in marble, by Professor Marchesi, an able living sculptor. Among the Milanese antiquities and curiosities of the house of Origo, there is in the garden a coarse basso-relievo representing, it is said, the empress, wife of Barbarossa, crowned with her diadem, and occupied in one of the most secret duties of her toilet (in atto di depilarsi), an indecent production, formerly exposed to the public gaze, till Saint Charles Borromeo had it taken down from the Porta Tosa. The most extensive of the palaces of Milan is that of Marini, remarkable for its fine front, built in 1525 by the skilful architect Galeas Alessi, for the farmergeneral of Milan whose name it bears; it is still occupied by the minister of finances and the administration of the customs. At the end of the Strada Marino is the house of Patellani, the abode of Pellegrino Tibaldi, in which he died on returning from Spain, after having, as it were, founded the art of painting there. The ancient house of Bossi, at present Vismara, given by duke Francesco Sforza to Cosmo, the father of his country, preserves on its front two superb figures of armed women, of the richest sculpture, the workmanship of the able Florentine statuary and architect, Micholezzo Michelozzi, who was the first that got clear of the Gothic taste in Lombardy.. The other principal palaces are those del Goberno, of Brera (palace of the arts and sciences), and the houses of Serbelloni, Pezzoli, Belgioso, Cusani, now the casino of the merchants, which has been thought worthy of Palladio; Litta, of very bad taste notwithstanding its magnificence; Annoni, Melleri, Stampasoncino, where there are some very fine paintings; and Trivulzio, once the abode of a noble and amiable family, who had preserved the old baton of marshal of France, not less precious than all the masterpieces of their rich museum and rarities of their library. The new gate of Porta Orientale, recently finished, the work of S. Vantini, is superb, and perhaps the finest of those monuments belonging to the revenue and police, placed at the entrance of modern great cities, and a pretty decisive characteristic of their kind of civilisation. CHAPTER II. Duomo.-Columns.-Statue of Saint Bartholomew. -View. sculptured and cast with great care and ability. The seventeen basso-relievos of the upper part of the wall surrounding the choir, designed by the same artist, are of a rare delicacy of touch; he also made the model of the grand and rich tabernacle of bronze gilt on the high-altar. Over this last is the brilliant reliquary of the Santo Chiodo (one of the nails of the true cross), a venerated relic, which, on the 3rd of May every year, the anniversary of the terrible plague of 1576, is carried in procession by the bishop of Milan, in imitation of Saint Charles, after being withdrawn from the roof by some of the dignitaries of the chapter, theatrically raised to the place in a painted machine, in the form of a cloud surrounded with little angels. The wooden stalls of the choir are covered with su The Duomo, with its hundred pinnacles, and the three thousand statues perched on it, is but an enormous toy, with more boldness and singularity than beauty; all this marble crowd seems alike in form and expression, and its whiteness, like that of the building, is painful to the eye. In reality there is no steeple; the temporary tower, a kind of pigeon-house which supplies its place, is ugly and ill-placed. The Gothic of the Duomo is deficient in naïveté; being at the same time vague and elaborate, and not the Gothic in all its primitive gran-perb sculptures from the designs of Peldeur of the cathedral of Cologne. The legrino, Brambilla, Figini, and Meda, gates, which are of the Roman order, representing divers incidents of the life and by no means in unison with the gene- of Saint Ambrose, and other bishops of ral character of the edifice, are decorated Milan. with fine basso-relievos and ornaments by Cerani and Fabius Mangoni. The two gigantic columns, each of a single piece of red granite, standing one on each side of the principal entrance, were drawn from the quarries of Baveno, near Lago Maggiore; they are perhaps the highest ever employed in any building. The architectonic painting of the roof, a kind of decoration, doubtless well executed and suitable enough for a new building, has a disagreeable effect in these old monuments where all is commonly so real. Several windows of stained glass, manufactured at Milan after the solid and economical method of Bertini, have been since repaired, and their effect equals, if it does not surpass, that of the old which were destroyed. The four evangelists and the four fathers of the Church, in bronze, of the two pulpits, by Francesco Brambilla, notwithstanding some affectation and confusion in the drapery, are figures * Should the edifice be completed, the number of statues will amount to four thousand five bundred; the front alone has nearly two hundred and nifty. * Some persons have supposed that the Duomo of Milan is an imitation of this cathedral; like ali imitations, it must fall short of its model, nor does the impression left on my mind by the Duomo of Milan contradict this general rule. 3 Non me Praxiteles, sed Harcus finxit Agrales. The celebrated statue, said to be St. Bartholomew, now placed behind the choir, seems to me but little worthy of the chisel of Praxiteles, in spite of the inscription rather presumptuously engraved beneath by the artist. This sort of reality is horrible, nor can I think that the Greeks, who made so many statues of Apollo, ever represented the skeleton of Marsyas.4 It would be difficult to avoid emotion on seeing in the subterranean chapel the body of Saint Charles, who is in a manner the hero of this country; the memory of this vast, ardent, unbending genius, this kind of governing saint, as also that of his family, is pre-eminent there above that of emperors and kings. The holy archbishop is clothed in his pontifica dress enriched with diamonds; his mitred head reposes on a gold cushion; the sarcophagus is of transparent rock crystal, and the features even of the great man may be easily contemplated. It is true that the word humilitas, the family 4 The antique statue, known by the name of Marsyas, formerly at the Villa Borghese, but now in the Royal Museuin, does not belong to the best times of the art; it is a Faun hung to a tree by the hands, and does not represent Marsyas skinned. 5 The Borromeo family was originally from Tuscany and San-Miniato; their establishment at Milan dates from the marriage of Philip, head of the family, with Talda, sister of the unfortunate Beatrix Tenda, a relation of duke Philip Maria Viscond. device of the Borromeo family, which is written on the tomb, is rather in contrast with so great a display of riches. group, a Deposing from the Cross, is of admirable expression, notwithstanding the smallness of the figures: lastly, the celebrated Pallium is here preserved, representing the Birth of the Virgin, embroidered by Louisa Pellegrini, a painter in needlework of the earlier part of the seventeenth century, who obtained by her skill the surname of the Minerva of Lombardy. The tomb of Cardinal Federico Borromeo, not less worthy of remembrance than his cousin the saint, is less magnificent and even too simple. Cardinal Federico ought to have been canonized as well as Saint Charles; but it seems that the expenses attending the canonization of the latter were so great that the family was obliged to decline this new honour. The interesting Promessi Sposi of Man-painter; that of St. Satyrus, by Andreo zon of which Cardinal Federico is, in a sense, the hero, have since made him amends and compensated for the injustice of fate. Under a glass cover, in a chapel, is the crucifix which was carried in procession by Saint Charles, as the inscription imports, during the plague of 1576; this monument of the great archbishop's charity is nobly exposed, as a real trophy, on an altar of his cathedral. The mausoleum of Otho the Great and Giovanni Visconti, uncle and nephew, archbishops and lords of Milan in the thirteenth and fourteenth centuries, is surmounted by an esteemed work of Brambilla, the statue, seated, of Pius IV., maternal uncle of Saint Charles, one of the benefactors of the cathedral. The magnificent mausoleum of Cardial Marino Caracciolo, who died in 1538, appears to be the last performance of Banbaja, an excellent sculptor of Man who first succeeded in working the hard marble of the quarries of Lombardy, The statue of St. Ambrose is by Cesare Procaccini, equally great as statuary or Biffi, after a model by Brambilla. The great basso-relievo in marble of the chapel of the Presentation, so full of grace, nature, and truth, is by Bambaja; a fine statue of St. Catherine, by Cristoforo Lombardo, a clever Milanese architect and sculptor of the sixteenth century. The chapel of Giovanni Jacopo Medici, marquis of Marignan, has been thrown open by taking down the iron railing that enclosed it; this alteration allows a much better view of the splendid mausoleum, from the design of Michael Angelo, erected by Pope Pius IV, his brother, to this bold captain, a mixture of hero, corsair and bandit, the unworthy uncle of Saint Charles. The statues and basso-relievos in bronze which adorn it are an esteemed production of Leone Leoni, a good sculptor, founder, and engraver of Tuscany in the sixteenth century. The Baptistry, by Pellegrino, is elegant and graceful; the great baptismal basin, of porphyry, passes for having belonged to the hot baths of Maximian Hercules at Milan. As in the primitive Over a console of flowers interlaced is the statue of the illustrious pope Mar-church, the Ambrosian rite, which is tin V., seated and giving his benediction, by the famous Jacopino da Tradate, who is also compared to Praxiteles in the inscription on the high altar, which he erected in 1418, so much does this exaggerated comparison seem connected with the general lapidary style of the Duomo. The southern sacristy exhibits the ruins of the rich and antique treasury of this cathedral. The fine statue of Christ bund to the pillar is by Gobbo; a great painting of St. Charles blessing the crosses, by Cerano; two chalices ornamented with little figures of children and divers groups are of wonderful wmanship; a gold patine is a masterpiece of chasing, attributed to the Manese Caradosso, and the principal followed in the diocese of Milan and differs in many points from the Roman rites, has preserved baptism by immer sion. This rite not only dates from a period as remote, as is generally supposed, as that of Saint Ambrose, who at most only reformed it, but it seems to have borrowed its pompous liturgy from the ancient ceremonies of the East. The chapel dell' Albero, thus named from the superb bronze chandelier in the form of a tree, presented by the archpriest of the cathedral, Giambattista Trivulz.o, is ornamented with numerous very pretty basso-relievos by Brambilla, Andreo Fusina, Gobbo, and other excellent artists. The colossal statues of St. Ambrose and St.Charles are esteemed productions of two good Italian sculptors of the present day, SS. Marchesi and Monti of Ravenna. From the top of the enormous pyramid of the Duomo, a sort of marble mountain, the view is truly admirable; the cultivated plains of Lombardy appear an ocean of verdure beneath the azure sky; the eye discovers at once the Alps and the Apennines, and this immense borizon it like a new and superb panorama of Italy. Near the Duomo, in the piazza dei Mercanti, is a colossal statue of St. Ambrose, by the young Milanese sculptor Ludovico Scorzini; it was erected in 1834, | and is the present of another generous Milanese, S. Fossani. Saint Ambrose is represented in the simple episcopal costume of his day; the statue is expressive and the drapery good, in spite of the hardness of the marble, which is the same as that of the Duomo; it nobly replaces a worthless statue of Philip II., formerly placed in the same dark dingy niche, and on the same pedestal as that of the courageous and independent archbishop of Milan. CHAPTER III. Santa Maria della Passione.—Mausoleum of Birago. -Chalcondylas.-Nostra Signora di San CelsoStatues of Lorenzo Stoldi.-Cupola of Appiani. Saint Nazarius.-Trivulzio. The design of the front of Saint Raphael's church is by the great Pellegrino. Several of the pictures in this church are remarkable: the sublime St. Matthew of Ambrosio Figini; St. Jerome, by Cesare Procaccini; Elijah sleeping, by Morazzone; Jonah refusing to obey his father, by Cerano. The new steeple of Santa Maria dei Servi, is in horrible taste, and the clamour of the bells is so annoying that it has diminished the value of the houses near it. The inside of the church is richly decorated: the Virgin with the Infant Jesus and some angels is by Ambrosio Borgognone; the Baptism of St. John by one of the brothers Campi; the St. Philip Benizzi, by Daniel Crespi, Lomazzo lost his sight at the age of thirty-three, if not twenty-three, years; he wrote poetry, composed several works, and dictated his Treatise on Painting, regarded as the most complete in exis | the Christ in the garden of Olives, by Lomazzo, an illustrious Milanese painter, poet, scholar, geometrician, natural philosopher, and distinguished author, whose premature blindness was foretold by Cardan from astrological calculations; ' a beautiful old Assumption, by an unknown author. The paintings of the choir, by Pamfilio Nuvolone, are very good, and an Adoration of the Magi, in the sacristy, has been thought worthy of Bernardino Luini. Santa Maria della Passione, by the architect Gobbo, with the exception of the ridiculous front by his obscure successor, is one of the best churches in Milan, and perhaps the richest in pictures. An Assumption in fresco by Pamfilio Nuvolone adorns the cupola. The Dead Christ, and the Virgin weeping, is by Bernardino Luini; a small Descent from the Cross, by Cesare Procaccini; a St. Francis, by his brother Camillo. The organ is by Carlo Urbini and Daniel Crespi, who have besides executed the different subjects of the Passion, in the best Titianesque taste, the fine paintings of the nave, and a St Charles Borromeo breakfasting on bread and water, whose terrible physiognomy would make one think that he is meditating some violent fanatical act. A fine Last Supper is by Gaudenzio Ferrari. The Christ in the garden of Olives, and a Flagellation, are the best works of Talpino. The Infant Jesus escaping from the Virgin's bosom to run into the arms of St. Joseph, is one of the best holy families of Federico Bianchi. The paintings in the sacristy, by unknown authors, are remarkable, and exhibit the beauties of the ancient Lombard style. A St. Monica is by Giuseppe Vermiglio, reckoned by Lanzi the first painter of Piedmont and one of the best of the seventeenth century. The mausoleum of bishop Daniel Birago, erected by the great hospital of Milan, to which he bequeathed all his property, is a noble, elegant, and graceful monument by Andreo Fusina, one of the first Lombard sculptors in the fifteenth century. The tomb of Demetrius Chalcondylas bears the simple and touching inscription of his pupil Trissino. The ashes of this tence, and even superior to the fragments of Leonardo di Vinci, which are collected under that title. P. M. Demetrio Chalcondyle Atheniensi Athenian fugitive among the Lombards of this first editor of Homer, who taught Greek to Benedetto Giovio, the brother of Paolo; to Gregorio Giraldi, count Castighone, and other learned Italians; to the German Reuchlin, the English Linacer, the celebrated founders of Grecian learning in their respective countries,-and the gratitude of Trissino, the first restorer of the tragic art in Europe, show how much is due to this nation, and are, on the threshold of Italy, like an advanced monument of the services she has rendered. There are some fine paintings at Saint Peter's in Sessate: St. Maur by Daniel Crespi; several incidents in the life of the same saint, by Moncalvo; an image of the Virgin, under a glass cover, by Bernardino Luini. At the chapel of Saint Ambrose, the works of Bernardino da Treviso and Butinone, painters of the fifteenth century, are remarkable for their perspective; there is a Virgin attributed to Bramante. The old church of Saint Stephen Major was the scene of one of the most terrible catastrophes in Italy during the fifteenth century, the murder of Galeas Maria, the unworthy son of the great Francesco Skrza, assassinated in the midst of his guards, the day after Christmas 1476, by three courageous young men, Carlo Visconti, Lampugnano, and Olgiati, at the instigation of their master, the grammarian Colas, of Mantua; another instance of tyrannicide sterile for liberty. Visconti and Lampugnano were killed in the scuffle, being abandoned by those who were to have seconded them: Olgiati was subsequently arrested and perished at the age of twenty-three by the hand of the executioner; after the torture, when naked upon the scaffold, ready to be mangled with hot pincers and cut in pieces, the skin of his chest being torn off, he uttered these proud and melancholy words: Mors acerba, fama perpetua; stabit vetus memoria facti. The present church of Saint Stephen, embelli-bed by Cardinal Federico Borromeo, has some valued paintings: St. Gercase and St. Protase, by Bevilacqua, in a tolerably good style, despite In studiis litterarum græcarum Qui vixit annos LXXXVII mens. V. the violation of the rules of perspective; the second good Holy family, by Bianchi; the painting of the Trivulzio chapel, by Camillo Procaccini; a St. John the Evangelist, by his brother Cesare. Saint Barnabas is of a good architecture, attributed to the Father Antonio Morigia, a great preacher, afterwards bishop and cardinal. A Dead Christ is an esteemed work of Aurelio Luini, who has not always preserved the nature and grace of his father Bernardino. The Virgin with the Infant Jesus, St. Catherine, and St. Agnes is superb, by Antonio Campi; St. Bartholomew, St. Francis, St. Bernardin, of a beautiful composition, by Lomazzo. Santa Maria della Pace, which was converted into a military magazine, and subsequently into a factory, has still some remains of the frescos of Marco d'Oggiono, the pupil and friend of Leonardo, of Gaudenzio Ferrari, and other clever painters. At the ancient refectory of the convent are a Crucifixion by this same artist, and the copy of the Last Supper, executed at twenty-two years of age by the learned and unfortunate Lomazzo, perhaps some little time before his cruel blindness. Nostra Signora di San Celso, with the marble columns, fine statues, and sculptures decorating its front, the magnificent paintings and frescos of the roof and chapels, the richness of the ornaments, has already all the grandeur and splendour of the churches of Rome. The majestic court is by Bramante, the front by Galeas Alessi. At the entrance, the two statues of Adam and Eve, by the Tuscan sculptor Lorenzo Stoldi, have the grace and purity of the statues of antiquity. The two Sibyls of the fronton, the four statues of the prophets, the Presentation of J. C., the angels on the top of the church, are excellent productions of Annibale Fontana. A Repose in Egypt, a very fine picture of Raphael, now at Vienna, must have made the resemblance greater formerly. The silver cross and six silver candlesticks given by Joseph II. are a feeble compensation for such a loss. It is not positively known whether the plan of this building is by Præceptori optimo et sanclissimo Posuit. This Repose in Egypt has been engraved in a superior manner by a pupil of Longhi, S. Ado Floroul, and it procured him, in 1829, the gold medal |