the grade of doctor. The obligatory courses are: religious instruction; theoretical philosophy; pure elementary mathematics; latin philology; moral philosophy; mathematical and experimental physics. The following courses are not obligatory: universal history; natural history; rural economy; pedagogy; history of Austria; historical sciences; archeology and numismatics; diplomatics; classical Latin literature; Greek philology; criticism; Italian literature and language; history of the fine arts; history of philosophy; German language; beraldry. By this table one may judge of the professorships of the university of Pavia and the extent of its education; it will confirm the remark that we have previously made on the pretended obscurantisme of Austria: in this list there Is a course of statistics, which we have never had, and courses in pedagogy and diplomatics in actual progress; real normal and charter schools. As to the instruction. I have been informed by some of the most distinguished professors that it is neither compulsory nor restricted; the salaries have been augmented, and are even higher now than they were under the French government, which had already made some additions to them; they are at least as high as those of the professors of the academy of Paris, and it is well known that living in Italy is far less expensive. The ancient library of Pavia, established by the Sforza family, and chiefly by duke Galeas, with the advice of Petrarch, Was successively despoiled by Louis XII. in 1979, and in 1526 by Marshal Lautrec; the great library of the rue Richelieu is indebted to it for the finest editions of the fifteenth century, of which it now has the richest collection in the world. The present library of the University was founded by Count Firmian, and it has received the greater part of Haller's books Being intended for educational works, it has scarcely any ancient manuscripts except those proceeding from the suppressed monastery of Saint Peter in tel d'oro, and with all its fifty thousand volumes, it contains but few scarce works. Its collection of the memoirs of all the | | scientific societies and academies in the original text, is the largest and most complete in Italy. The portfolios of the professors are carefully preserved there, and must form an interesting compilation. An under-librarian's place was vacant about the middle of 1826, and was about to be competed for, as are all literary functions in the Lombardo-Venetian kingdom. This method, which might be thought the best, and which appears to me very good for nominations to offices of a secondary nature, is however offensive to the Italians, and I have heard it reprobated by men of enlightened minds. There are three free colleges at Pavia, namely, the Caccia, Borromeo, and Ghislieri colleges; the two first are family foundations and are still supported by the founders' munificence. Such foundations are by no means rare in Italy; perhaps aristocracy has no nobler attribute than this perpetual benefit of education conferred on successive generations who must naturally become attached to these same families. The Caccia college receives from twenty-five to thirty pupils, all from Novara, the country of the Caccia family; the Borromeo, thirty-six; and the Ghislieri, sixty, and twelve boarders. The finest of the establishments is the Borromeo college, founded by Saint Charles, as well as a great number of the first schools of Lombardy. With its imposing front, vast porticoes, the elegance of its architecture, the brilliant frescos of Federico Zuccari, representing the History of Saint Charles, which cover the walls and ceiling of the great hall, this superb edifice seems rather a palace than a college. CHAPTER VI. Towers.-Boellus. - Malaspina house.-Museum. I experienced numerous historical disappointments at Pavia: I went to the church of Saint Peter in ciel d'oro to look for the tomb of Boetius, that really great man, minister, scholar, orator, philosopher, poet, musician, and martyr to the public welfare and the truth in an age of barbarism; it was no longer › Dante has some fine verses on the burying of Giuso In Cieldauro, ed essa da martiro, Boethus in Saint Peter in ciel d'oro: E da esillo venne a questa pace. la corpo and ella (l'an-ma santa) fu cacciata giace (PARAD. X. 127.) there the church had been suppressed | thirty years, and I beheld it then encumbered with the forage of a Polish regiment. The body of Boetius had been put in the cathedral, but, in the language of the day, there were no funds to build him a tomb. Certainly the Liutprands and Othos, those princes of the middle ages that we look on as barbarians, some eight or ten centuries ago, had erected and magnificently enlarged the mausoleum of Boetius; they had not yet, to avoid rendering honour to virtue, adopted this eternal and invincible argument of our civilisation. The tomb of Liutprand was at first placed in the church of Saint Adrian, but some time after it was carried to the basilic of Saint Peter in ciel d'oro; in his will he desired that he might be interred at the feet of Boetius, that when he ceased to exist he might not seem to cease testifying his respect for that illustrious man. The coffin of this great king, as we are informed by a learned Pavian, was supported by four small marble columns; his statue in royal robes was placed above. The decision of the council of Trent caused the coffin to be taken down, as it was then decreed that the burial-place of saints only should be above the surface of the earth. The ashes of Liutprand were deposited at the foot of a pilaster in the choir; the original epitaph which told of his piety and valour, the wisdom of his laws, his conquest of the Roman state, and his victories over the Saracens in France when he flew to succour Charles Martel, the taking of Ravenna, Spoleto, and Benevento -all these signs of glory had disappeared, and nothing was left on his fallen The tomb of Boetius was erected in the church of Saint Augustine by the king of the Lombards, Liutprand, about 726; the emperor Otho III. erected another and a magnificent one in marble with a very remarkable inscription composed by Gerbert, afterwards pope under the name of Sylvester II. (Notize appartenenti alla storia della sia patria raccolle ed illustrate da Giuseppe Robolini, genliluomo pavese. Pavia, 1826 et seq.; tom. 1. 240, and II. 86.) Gerbert was one of the most learned men of his day, but he did not invent clocks as some have supposed (V. Gallia christiana, tom. x.); be was born in Auvergne, and may be added to the illustrious Auvergnats mentioned by M. de Chateaubriand in his Voyage à Clermont. ■ Notizie appartenenti alla storia della sua patria, raccolte ed ilustrate da Gluseppe Robolini, vol. 1. p. 94. 3 Petrarch, alluding to the birth of an illegitimate son previous to that of this daughter, avows tomb but the words, Here are the bones of king Liutprand; this simple inscription was one day destined to be itself ignobly smothered over with trusses of hay, and I sought it in vain. Pavia, called in the olden times the City of a hundred Towers, has but two now standing. One of those now thrown down, from its extravagant structure, was called the point downwards ( pizzo in giù). The tower which bears the name of Boetius is modern; the tradition even of his imprisonment in a tower can be traced no farther back than Jacopo Gualla, an historian of the fifteenth century. As to the site of the palace of the Lombard kings, probably near the church of Saint Michael, Iwas informed by a learned man whom I consulted that there were fourteen opinions on the subject, without counting his own, I believe; so I had not the courage to look for its locality. In front of the Malaspina house are the busts of Boetius and Petrarch, men greatly differing in fortune, genius, and character, whom chance alone could have brought into juxta-position. An elegant inscription by Morcelli, placed beneath the bust of Boetius, informs us that it was near that spot where he was imprisoned, and composed his book on the Consolations of Philosophy. The inscription on Petrarch's bust states that he came to pass the autumns within the walls of that house, the residence of his son-in-law Brossano, architectural surveyor to Galeas Visconti, and husband of his natural daughter, a trifling incident, but somewhat crude, which sadly disconcerts our imaginings respecting the fidelity of Laura's bard. This daughter bimself, with a sort of Italian simplicity singular enough, how he had thought of escaping from the passion which enslaved bis mind and formed his torment, by yielding to propensities somewhat less platonic. But he pretends that in spite of these indulgences he never really loved any but Laura, that be was always conscious of the disgracefulness of such habits, and ultimately ridded himself of them in his fortieth year. Carm. lib. 1. Ep. 12, et Epist. ad Post. quoted by Foscolo, Essays on Petrarch, XIII. On the death of a child of this daughter's, Petrarch composed some natural and touching Latin verses, which be had engraved on its tomb: Vix mundi novus hospes iter vitæque volantis is the one who, in the absence of her father-in-law and husband, so cordially received Boccaccio when he visited Pavia, and notwithstanding his fifty-five years, his obesity, and pitiful appearance, he did not think it prudent to lodge in her house lest her reputation might be compromised. Marquis Ludovico Malas pina, who died in 1835, above eighty years of age, had erected at his own expense and from his own designs, a noble but plain edifice destined to receive his valuable collection of prints, and his paintings, among which there are not only some of the best Italian masters, but several of the Flemish school, as well as a quantity of antique works and the Inevitable Egyptian museum, fortunately not very extensive. The front is decorated with a basso-relievo presenting the figures of Raimondi, Raphael, and Michael Angelo, by S. Monti of Ravenna, who also executed the statue of the Genius of the Arts, placed opposite the entrance-door. This handsome and useful foundation is besides an academy of the fine arts; it will perpetuate at the same time the memory of the taste, talents, and patriotism of its generous founder. CHAPTER VII. Church of Saint Michael.— Cathedral. --Tomb of Saint Augustin.—Bridge. The Gothic church of Saint Michael, one of the oldest monuments of Christian antiquity, seems to be of the sixth centary: among the basso-relievos sculptured on the exterior of this old basilic, may be remarked an Annunciation, in which the child is already grown, actording to the Arian doctrine. The coarse expressive sculpture of Saint Michael is moreover suited to such a sect, which seems to have infused into Christianity the conquering, destructive, and martini spirit of Islamism. In another basso-relievo, is an angel playing on a viulan, from which the great antiquity of Kane deler, boc uno sors mea læta minus, Ce ma le 11 et veræ gaudia vitæ, Salik, et æternæ, tam cito, tam facile. But it una qualer flexum peragraveral orbem. dbris muri, failor, obvia vita fuit. Be Yeartam lerris dedit arbs, rapuitque Papla : her queror, bloc cœlo restituendus eram. This opinion of d'Agencourt, of Malaspina, In that noble instrument may be inferred. The frescos representing the Virgin's coronation, the Four doctors of the Church, and the painting over the altar of the Virgin, are curious productions of Andrino d'Edesia, a painter of Pavia, contemporary with Giotto. A St. Sebastian, and a St. Luke, by Moncalvo, are good. The vast majestic church del Carmine is of the fourteenth century. Several of its paintings are esteemed, namely: a Crucifix, by Malosso; St. Anne, by Moncalvo; St. Sebastian and divers saints, a painting in six compartments, inscribed with the name of Bernardino Cotignola, a painter of the sixteenth century, whose works are scarce. Santa Maria Coronata, commonly called de Canepanova, of a plain but noble architecture, is by Bramante; it contains some fine paintings: Jael and Sisera; David and Abigail, by Moncalvo; a Judith, an Esther, by Tiarini, an excellent painter of the Bolognese school; Rachel at the well; the Hebrews marching towards the land of promise, by Camillo Procaccini; and two other subjects from the Old Testament, by his brother Cesare. At Saint Marino, a Holy Family is attributed to Gaudenzio Ferrari; St. Jerome and the Virgin, to his illustrious pupil Bernardino Luini. Saint Francis has two good pictures: a St. Matthew, by Bernardino Campi; a St. Catherine, by Procaccini. Of the throng of deceptive remains which abound in Italy, Pavia, perhaps, possesses two of the most brilliant and best imagined. The first is the pompous pretended tomb of Saint Augustine, formerly standing in the church of Saint Peter in ciel d'oro, and now in the cathedral. The sculptures which ornament it, consisting of fifty basso-relievos, ninety-five statues, in all four hundred and twenty figures, without including animals, are a singularly remarkable piece of workmanship of the close of the fourteenth century, and the most con his Guide of Pavia, and of Rosmini, In the History of Milan, has been recently contradicted by SanQuintino (Det italiana architettura durant la dominazione longobarda, Brescia, (829). According to San-Quintino, Pavla and the old church of Saint Michael were burnt in 924 by the Hungarians; so that the present church can only be of the end of the eleventh century. the Magi appears to be the last worl the old age of Camillo Procaccini, we are informed by this pathetic insc tion of the time :-Hic Camilli Proc cini manus inclitæ ceciderunt. figure of the Virgin has but little gra fulness and is the weakest part of painting, which is not, however, titute of a sort of variety. siderable of that epoch. The second | counterfeit remnant in the cathedral is the lance of Roland, a sort of oar pointed with iron, suspended from the ceiling. This cathedral is a monument of no great importance; it has been recently repaired, and the old Gothic is nearly hidden by the new constructions. There are some paintings, however, not destitute of merit, as those of the high altar, by Carlo Sacchi, a Pavian painter of the seventeenth century and a clever colorist; at the altar of the Rosary, the Mysteries, by Antonio Solari, surnamed Zingaro, who was born at Venice and not in the Abruzzi, as some have supposed; a St. Syrus and two other paint-naments, of the inhabitants of I ings near it, the best works of Carlo Antonio Rossi, a pupil and follower of Procaccini; a Flagellation; the Virgin and the Marys, by Danielo Crespi. The covered bridge over the Ticino, supported by a hundred columns of granite, with its elegant front on the side towards the town, is a monument of the fourteenth century, which, with the waterworks of the same period, still bears witness to the grandeur and utility of the public works at Pavia under the republican government. CHAPTER VIII. Varese.-Madonna del Monte.-Italfan Catholicism. Before returning to Milan, in 1827, I visited Cosmo. The road, on leaving Sesto Calende, differs completely from the flat and monotonous one leading to Milan. This corner of Lombardy, being nearer the Alps, is picturesque and full of variety. The road passes by Varese, a rich and pretty town, of a joyous aspect and well peopled, near the lake of its own name; it has a theatre, a casino, and some splendid villas, where Italian magnificence is already displayed. A part of the road passes under some beautiful trellis work, belonging, I believe, to the gardens of the neighbouring villas, and the view from thence commands all the country to a great distance. The octagonal baptistry of the principal church is a monument remarkable for its antiquity, and is a remnant of the Lombards. In an elegant little church, the Adoration of Near Varese is the famous Mado del Monte, whose fête the maidens of neighbourhood were then going to c brate (it was in the month of Septem on the eve of the Nativity of the Virg The whole district had that air of j which the catholicism, enlivened by gives to the popular manners of country. The prospect from the A donna del Monte is varied, immer and magnificent, extending from chain of the Alps where Mont-Rose ra its towering summit, as far as Milan. church and the fourteen chapels, b by the roadside, have some good pa ings of the best Lombard masters of fourteenth century. I committed the fault of not go to Lugano, which its lake, the fresco Luini, and its Gazette of the Tici render worthy of a visit from the lov of nature, the arts, and liberty. I was delighted with Cosmo: its pction in a species of valley on the bar of the lake and its many towers ren it picturesque. The marble cathed erected by the people is a vast and be tiful monument of the era of the reviv Rodari, an able architect and sculpto the close of the fifteenth century, little known, executed the elegant lery, the chandeliers of the altar of Si Lucy, the exquisite pilasters of the org the graceful ornaments of a little de the Christ in his mother's arms, i some other excellent statues. On outside wall are the remains of an scription relative to Pliny, which been quoted by Gruter and the div editors of the Latin Epistolary, althou it contains nothing very interesting history. The baptistry is attributed Bramante. The Nativity, the Ador tion of the Magi, the Virgin, St. rome and some saints are by Bernardi Luini; a Flight into Egypt, the Esp sals of the Virgin, by Gaudenzio F rari. D'ornements egoyé.-BOILEAU. The church of San Fedele, the oldest | in the town, is of characteristic architecture. There are some fine frescos attributed to Camillo Procaccini, and the chapel of the Crucifix is of good archilectare. The Edes Joviæ presents, under the vestibules, the porticoes of the court and the staircase, a real museum of antique inscriptions. The device of the Giovio family is several times repeated on the walls, Fato prudentior minor, a parody of that somewhat obscure verse of the Georgics, on the foresight of ravens : Aut rerum fato prudentia major; a motto of a destructive fatalism, little worthy of a scholar and philosopher. The Edes Jovie was the abode of Count Giambattista Giovio, great nephew of Paolo Giovio, a man of erudition, and author of the Lettere lariane, somewhat ostentatiously surnamed the Varro of Cosmo. The library contains ancient manuscripts, some of which are still unpublished ones of Paolo Giovio, Benedetto Giovio, the second scholar of this family, and of the count Giambattista. A magnificent lyceum was founded in 1824. On the front are busts of the illustrious literati of Cosmo from the two Plinys down to Carlo Gaston Rezzonico, a learned critic and tolerably brilliant poet of the last century; busts, which are strangely enough surmounted by that of Saint Abbondio, which would be more suitably placed in the chapel, and its present position might now be occupied by the bust of Volta, the honour of Cosmo. The library of the lyceum had a good beginning, and is already extensive. It is decorated with a large statue by Bernino of St. Isidore keeping his ozen. So perpetually laboured is the talent of this artist, that not only is the air of the saint devoid of every shade of rusticity, but even the calves are formal and have also, in their way, a smack of affectation. Cosmo has a superb literary casino. This establishment of an Italian town of fifteen thousand souls, is superior to all those of the same kind in Paris. The new front of the theatre is a noble piece of architecture, and the interior is pretty handsome; but the players were tectable, and I cannot forget a certain Resina, one of the most affected Italian singers that I ever heard. This worst of the Italian actors is not, however, cold or dull like that of our provincial performers: thanks to the language and the physiognomies of the country, it is hearty, boisterous, expressive, and animated. On an eminence near the road, is to be seen still standing the tower of Baradello, another monument of the intestine broils an revolutions of Italy in the middle ages. It is there that Napoleon della Torre was confined in an iron cage until he perished, after nineteen months of torment; this perpetual chief of the Milanese was made prisoner by the army of the archbishop of Milan, Otho Visconti, whom he had expelled; a defeat which overthrew the power of the Torriani and brought about the sovereignty of the Visconti. Voltaire ridiculed these cage stories; it is clear, however, that the inhabitants of Cosmo shut up in three iron cages Napoleon della Torre and five of his relatives taken with him, because he had inflicted the same punishment on one of their countrymen. The tower of Gabbia, which is still in existence at Mantua, and retains its cage; and the tower of Placentia, which has also a cage, assert this barbarity; it even lasted more than two centuries. The imprisonment of the six Torriani took place in 1277; the same captivity is frequent at the end of the fifteenth century: the duke of Nemours and cardinal La Balue underwent it, and Comines confesses that he had an eight months' taste of it. During the French domination, a telegraph was established on the tower of Baradello; it has since been suppressed, as well as all the others in the LombardoVenetian kingdom: one would say that German sluggishness felt embarrassed by the rapidity of such an instrument. CHAPTER IX. Lake.-Greek names.-Factory-convent.-Pilulana. Meizi viila.- Fiume Latte.-Frate nuns.-Gravedona. Baptistry. - Musso palace. - Sommariva villa.Basso-resievos of Thorwaldsen. - Villa d'Este.-Vico. Odescalchi Villa.- Elm. - Paolo Giovio. It is difficult to describe the variety and the enchanting localities of the lake of Cosmo; with its woods, rocks, and cascades, the mildness of the air, and the olive and citron groves that reach |