Laurence, the Beheading of St. John, the Fall and the Death of St. Paul ; the Baptism of the same saint; the Miracle of the dead man brought to life, a Nativity, by Antonio; the Virgin, the Infant Jesus, St. Joseph, and some other figures, by Giulio; the Saviour giving the keys to St. Peter, by Bernardino, who does not seem of this family. The church of Saint Euphemia, reIonic order in front, has: the Adoration of the Magi, by Fernando Porta, an unequal painter and an imitator of Correggio; à Presentation in the temple, sublime and well designed, by an unknown hand; and the picture of the Virgin, with angels and saints, one of the best works of Marco d' Aggiono. Bramante or Gobbo. The Martyrdom | of St. Nazarius and St. Celsus, a Descent from the Cross, are by Cesare Procaccini, who also made the two marble angels putting the crown on the Virgin's head. Two Martyrdoms of St. Catherine are by Cerano. The great painting of the altar is very fine; it is by Paris Bordone, as well as the two prophets and St. Roch painted in fresco, above and below. The Resurrection of the Sa-markable for its beautiful portico of the viour, easy and original, is by Antonio Campi. The St. Maximus, an Assumption, the Christ leaving his mother at the moment of the Passion,—a painting | which, according to Lanzi, loses nothing by being placed near the best Lombard works in this church,-are by Urbini. | The Baptism of Christ, accurate and graceful, with a very fine glory of angels, is by Gaudenzio Ferrari; a St. Jerome seated, by Calisto Piazza; the Conversion of St. Paul, superb, by Moretto, who contrary to his custom has signed it, as if he attached particular importance to this picture; an Assumption, by Camillo Procaccini. A St. Sebastian is attributed to Correggio. A group of angels well disposed is by Pamfilio Nuvolone. There are some small figures in claro-obscuro executed in perfection by Giovanni da Monte, a pupil of Titian. The frescos on the cupola by Appiani, representing the four Evangelists and the four fathers of the Church, with angels and clouds, are one of the most etherial and most boasted productions of this brilliant decorator. The basilick of Saint Nazarius, built in 382, received the body of the saint from Saint Ambrose. Before entering this edifice, you must cross the mausoleum of Giovanni Jacopo Trivulzio and his family; opposite the door, and almost midway between the lofty ceiling and the floor, is the tomb of this adventurous Italian,-this celebrated marshal, who created the French militia, and died in disgrace at Chartres or Arpajon as a lord of the French court,—and on it is inscribed the epitaph composed by himself :— Joannes Jacobus Trivultius, Antonii filius, qui nunquam quievit, quiescit. Tace. The other tombs of the family, seven in number, are of the same beight. The effect of these great suspended stone coffins is very singular; they really seem as if they aspired to bear even to the skies the "magnifique témoignage de notre néant;" but these tombs are empty, and in accordance with the rule established by the council of Trent respecting burial, Saint Charles had the bones of the Trivulzio transferred to the vaults under the church. At one of the The elegant front of St. Paul's is by chapels the tomb of Manfred Settala, a Cerano, not less clever in architecture mechanician, somewhat pompously surthan in painting; the nave is probably named the Archimedes of Milan, a man by Galeas Alessi. St. Charles and St. whose travels and whole life were deAmbrose is one of the irreprochable voted to the sciences, letters, and arts, productions of Cerano, and even superior contrasts with the warlike tomb of the for colouring to the after-mentioned paint- Trivulzio. The paintings are: an Asings by the Campi, who however are sin-sumption, by Lanzani, and four large gularly brilliant in this church. These and good paintings of Giovanni da Monte paintings are the Martyrdom of St. in the inner portal; a very fine Last The statues put in the niches are by the clever Lorenzo Stoldi, with the exception of the St. John by Fontana, who is also the author of the statues and basso-relievos in the chapel of the Virgin. The stalls of the choir, of great beauty, were designed by Galeas Alessi. upper by Bernardino Lanino, an imitation of the one by Gaudenzio Ferrari. bis master, at the church della Passione. The chapel of Saint Catherine, adJoining Saint Nazarius, and built after the design of Bramante, is still remarkable for the expressive and picturesque frescos, executed in 1546, by Bernardino Lanino, representing the Martyrdom of the Saint, and which leave nothing to be wished, except a little more attention to the drapery; by a whim then common among artists, the painter has represented below his master Gaudenzio Ferrari, in his usual dress, disputing with another of his pupils, J. B. de la Cerva, while he himself in a black cap is attentively listening to them. | sculptor, and highly-spoken of as an engraver, very much admired by Benvenuto Cellini, who knew him at Rome. The miraculous picture of the Virgin is of the eleventh century; the act of the madman who stabbed this image is by the cavaliero Perruzzini, a good painter of Ancona, who died at Milan, and who was an imitator of the Carracci and Guido; the Flight into Egypt, by Federico Bianchi. St. Philip de Neri, pleasing and well designed, passes for one of the best paintings of Peroni. In another sacristy are some ancient paintings and a St. Barnabas, attributed to Beltraffio, an amateur and good Milanese painter of the sixteenth century, the pupil of Leonardo. CHAPTER IV. Saint Sebastian -Saint Alexander in Zebedia.-Paul Monastero Maggiore. Saint Antony the Abbot is extremely remarkable for its paintings. The roof is by the brothers Carloni of Genoa, able fresco painters of the seventeenth century, who also worked in the choir with Moncalvo, whose St. Paul the Hermit maintains an honorable rank beside their works. A Conception, charming, is by Ambrose Fizini: St. Charles with the The church of Saint Sebastian, foun 'ed holy nail, by Foi Galizia, a clever female by Saint Charles, from the plans of Pelpainter of the early part of the seven- legrino, is one of the most splendid arteeth century. A Nativity, the Temp-chitectural monuments in Milan. The tation of St. Anthony, are by Camillo Procaccini; a Descent from the Cross, a Resurrection, by Malosso. The Christ tarring his Cross, is by the younger Patma: an Annunciation, by Cesare Procaccini, a graceful masterpiece, perhaps too graceful, in which the mutual and almost roguish smile of the Angel and the Virgin appears somewhat out of place St. Gaetanus, an Assumption, are by Cerano. The Virgin, the Infant Jesus, St. Catherine, St. Paul, a beautiful composition, is by Bernardino Camps: the glory of angels was added by Camulo Procaccini. An Holy Ghost, judicious, but faint in the colouring, is by Ferentino. A Nativity, by Annibale Carraccio, appears scarcely worthy that great master. The Adoration of the Magi, by Morazzone, has all the effect and luxury of drapery of the Venetian masters, The sacristy of the church of Saint Satyrius, in the shape of a little octagonal temple, is famed as a work of art the architecture, by Bramante, is worthy of hm, the heads, larger than nature, and the little children, are the distinguished | performances of Caradosso, a clever Martyrdom of the saint, by Bramante, is the best of his paintings in this city, and refutes the opinion of Cellini, who said that he had no talent for painting. The Annunciation, the Massacre of the Innocents, by Joseph Montalto, recall the elegance and grace of Guido, his master. St. Charles, St. Philip, a Crucifix with the Virgin, St. John and Magdalene, are by Francesco Bianchi and Antonio Ruggieri, painters of the eighteenth century, inseparable artists, who have left a better example of concord and friendship than of taste. Saint Alexander in Zebedia, in spite of the abominable taste of the front, is rich and magnificent. Divers incidents in the Life of the saint and of other martyrs, the Trinity, several subjects from the Old Testament, on the roof, in the choir, and at the high altar, are large and sublime paintings by Federico Bianchi, Philip Abbiati, and of his expeditious pupil, Pietro Maggi. The paintings in a chapel adorned with exquisite sculptures, and two others relating to the Life of St. Alexander, pleasing works, full of expression, although somewhat elaborate, are by Agostino Saint Agos tino, the cleverest of the three Saint Agostini. A good Nativity, the Assumption, and a Crucifixion, are by Camillo Procaccini. There is a chape! painted by Ludovico Scaramuccia, a distinguished pupil of Guido and Guercino; he was also a writer on the arts, being the author of the book entitled Le Finezze de' pennelli italiani (on the superiority of the Italian pencil). The Beheading of St. John the Baptist, the Adoration of the Magi, very fine, in the sacristy, are by Daniel Crespi : the roof, composed of graceful little angels, is by Moncalvo. Saint Alexander contains a Splendid tomb, erected to the memory of the celebrated mathematician and natural philosopher Paul Frisi by Count Pietro Verri, a noble Milanese, like this Barnabite, a partisan and propagator of new notions on social improvement. Saint Eustorge, uniformly restored by Ricchini, is one of the oldest churches in Milan. On the outside, at the entrance. is the pulpit, a kind of large stone gallery, from which, according to the inscription, Saint Peter the Martyr refuted the heretics of his time. These religious traditions are touching; no one knows what has become of the pulpits of Bossuet and Massillon; the religious faith of the middle ages was less indifferent and ungrateful to its great men than the rationalism of our enlightened civilisation. The mausoleum of this saint, executed by Giovanni di Balduccio of Pisa, is a very curious remnant of the art in the fourteenth century. It is the masterpiece of one of those primitive artists who were so full of nature and truth; | the Gothic Caryatides which represent the different virtues of the saint and support the whole structure, are a combination of boldness and grace; the oddity of some of the details belongs to the epoch and not to the artist, and this work would be perfect if imagination at that period had been regulated by taste. The architecture of the chapel of Saint Peter, founded by Pigello Portinari, a clerk of Cosmo di Medici, seems by Michelozzi: a painting of the time represents the pious and industrious founder kneeling before the saint; the ceiling is one of the fine frescos of the elder Civerchio. A mausoleum ornamented with columns supported by lions, of the close of the thirteenth century, was devoted by Matthew Visconti the Great to one of his | sons, Stephen, who by his courage had contributed to retrieve his father's fortune. The altar of the first chapel, in three compartments, representing the Virgin, the Infant Jesus, St. James and St. Henry, is a good painting by Ambrosio Borgognone the head of the last saint is the best. The very fine roof of the chapel of Saint Vincent is by Carlo Urbini. The chapel erected in 1307 by Cassone Torrione, in which his son Martin reposes, has a Beheading of St. John, in good keeping, although executed by the hands of three painters, Cesare, Camillo, and Antonio Procaccini. There are some fine frescos by Daniel Crespi in the chapel of the Annunciation. The bodies of the three Magi, which are still worshipped at Cologne, were in a chapel at Saint Eustorge, whence they were taken, in the invasion of Federico Barbarossa, by the archbishop of Cologne who accompanied the conqueror. On the wall of this chapel is a basso-relievo in marble of the Passion, a work of the fourteenth century, author unknown, which is destitute of neither simplicity nor grace, and shows that the arts at that early period had made great progress in Lombardy. The coffin which held the doubtful and pompous relic still remains at Saint Eustorge with the strange inscription:-Sepulchrum trium Magorum. Near the sacristy is the tomb of George Merula, the pupil and mortal enemy of Philelphus; the adversary of Politian, Calderino, and Galeotti Marzio; one of the best and most disputatious scholars of the revival of the arts, who treated printing as a barbarous invention (barbarum inventum), a paradox since maintained by other Merulas less erudite that this laborious critic and historian. The tomb of this good hater was, however, erected to his memory by a friend, his pupil, the poet Lancinus Curtius: the inscription he has put thereon is even somewhat touching.' The church of Santa Maria della Vittoria owes its name to the victory gained near it by the Milanese over the emperor Louis the Bavarian. Though not finished on the outside, it is of beautiful architecture, and thought to be by Bernini. There are two remarkable 1 Vixi allis inter spinas, mundique procellas, Nunc hospes cœli Merula vivo mibi. Lancious Curtius f. amicus posuit. paintings: St. Charles administering | The siteen antique columns of Saint mante, has a wonderful effect in the perspective: the legs of the Saviour, from whatever point they are viewed, seem turned towards the spectator, the first instance of this kind of tour de force which has since been so frequently attempted. In the subterranean oratory, made famous by the fervent meditations of Saint Charles, the Christ crowned with thorns is an admirable work of Bernardino Luini. Some statues of burnt clay, by Caradosso, representing the Virgin in a swoon at the sight of her dead son, with the Marys and some saints, form a very pathetic scene. On the heavy front of Saint Mary Porta, the basso-relievo in marble of the Crowning of the Virgin is a fine work by Carlo Simonetta, who has also in the interior a good Magdalene, to whom an angel is administering the communion. There is a St. Joseph by Ludovico Quaini, a distinguished pupil and imitator of Guercino and Cignani; the Adoration of the Magi in the chapel of the Madonna is by Camillo Procaccini. The present church of Saint Laurence Saint George al Palazzo, an old church restored, takes its title, it is said, from the ancient palace of Trajan or Miman having been in its vicinity. There is a St Jerome by Gaudenzio Ferrari The different subjects of the Passion, painted by Bernardino Luini and has pupils, present a happy effect of light. The countenance of the Saviour in the Flagellation is admirably affecting. Over the portal of Saint Sepulchre, the Dead Christ between the Marys, a fresco by Bramantino, the favorite pupi! of Bra 's precious frescos of this great master, bis sm, and pupils, are preserved in an adjacent house, ihe ion of the Cross of Malta, they were taken The church of Saint Maurice, or the Monastero Maggiore, the marble front of which, simple and in good taste, is attributed to Bramantino, has many admirable frescos of Bernardino Luini; the principal of them represent the Apostles, the Flagellation of the Saviour, and divers incidents in the lives of Martyrs. The Adoration of the Magi, at the high altar, by Antonio Campi, a Deposing of the Cross, by Piazza, are excellent CHAPTER V. Saint Ambrose.-Ancient and modern pulpits.- of Marcellina.-Missal.-Monastery. The church of Saint Ambrose, the oldest monument of Christian antiquity at Milan, erected in 387, by the great saint whose name it bears, presents a real chaos of architecture; these works of various and remote ages compose a shocking medley: the Italian architects are too often guilty of the fault of not paying attention to the primitive cha thither in 1786 from the oratory of the hospital of the Holy Crown, which was removed at that time. on a column the famous brazen serpent that some have gone so far as to take for the one Moses raised in the desert, or at least made of the same metal, and on which the learned have discussed at such a prodigious length. The populace are persuaded that it will hiss at the end of the world; and the sexton one day in dusting it having somewhat deranged it, the alarm become general when the ominous reptile was seen turned towards the door; it was necessary to put it right immediately, in order to allay the terrors of those who already thought they heard it. Such is the antiquity of the monuments of this church, that the father Allegranza pretended to recognise in the great sar racter of the edifices when repairing | them, which is never the case with good architects in France. Before the church is one of those spacious courts which the architects of the middle ages had already imitated from those of antiquity, and which are found before many of the Italian churches. It was there that, during the existence of paganism, the profane remained, and where, in aftertimes, the rigorous public penances of the early ages of the church took place. There is something religious in the aspect of these old porticoes, and they nobly separate the sanctuary from the tumult of cities. Some portions of this portico of the ninth century evince a taste and imagination singularly remarkable at that epoch. I regretted that, according to some anti-cophagus of white marble placed under quarians, the present gates are not those the present pulpit, the tomb of Stilicon which Saint Ambrose shut against Theo- and his wife Serena. On a pilaster is an dosius, after the massacre of Thessalo- antique portrait of Saint Ambrose, which, nica, when liberty had fled to religion according to the inscription, a barbarous for refuge; when the remonstrances and Latin quatrain, was taken from life; the acts of its ministers, men elected by the marble of the countenance is black, the people, were the only resource, the only head attire and the garment of a lighter opposition against absolute power and the shade. Saint Ambrose, being born in violence of the emperors. With these tra- Gaul, must have been white, and it is ditions before us, it is easy to conceive why difficult to image to one's self the bees dethe republican conspirator of Milan, por-positing their honey in the mouth of this trayed by Machiavel, at the moment of species of blackamoor. delivering his country from the tyrant Galeas, in company with his accomplices invoked Saint Ambrose, after having heard mass and contemplated his statue.3 The celebrated gold Paliotto of the altar, give by the archbishop Angilberto Pusterla, a wonderful production of a Lombard artist of the tenth century, the goldsmith Volvino, is deemed worthy to be compared to the finest ivory diptychs which the sacred museums boast. Beyond the choir two large slabs of white marble, covered with inscriptions, point out the burial place of the emperor Lewis II., a conqueror and lawgiver, who died in 875, and that of the illustrious archbishop of Milan, Anspert, bis contemporary, the founder of Saint Ambrose, a charitable, active, and enlightered pontiff, full of courage and independence In this church there is an immense old pulpit of marble, opposite to the modern one; it is pretty much like the gallery used by the Romans, in which the orators had room to walk about. It struck me. while contemplating it, that in form as well as independence, the Christian pulpit had replaced the suggestum of earlier days. These old pulpits are in much better taste than the kind of deal box suspended in our churches, above which rises a man who twists and agitates himself and seems ill at ease in so narrow a space. Were not one habituated to this manner of preaching, it would appear a very singular exhibition. In the nave of Saint Ambrose is placed as his epitaph says, 4 and who seems to Effector voti, propositique tenax, It is said that these gates are only of the ninth century. 3 See the address of Giovanni Andreo to the statue of Salut Ambrose, book vii. of the History of Fle rence. 4 The verses preceding this give a good sketch of the character of Anspert: |