iievos. At Saint Justine is the tomb of the learned Piscopia Cornaro, who has a statue at the University, a bust at Saint Anthony, and appears like the muse of Padua.

The celebrated old library of Saint Justine is no longer in existence; in 1810 it was sold and frittered away by the administration, and is now dispersed; the chief part of the more precious articles has passed from the library of S. Melzi into England; its shining shelves of wood from Norway and India are at the University library, and the cloister is converted into a fine large hospital for invalids. Our writers of literary history must in consequence henceforth renounce their continual references to the manuscripts in the library of Saint Justine.

The church delle Grazie has a fine expressive painting by Damini, St. Dominick bringing to life a drowned girl; the Dominican convent, to which this church formerly belonged, is now an asylum for orphans and mendicants.

The church of Saint Sophia, which has been supposed the ancient cathedral, encloses various remains of antiquity: such as the fantastical figures painted on the great door, and especially the apsis, anterior to 1000, constructed of materials proceeding from Roman edifices. The Christ put in the tomb is one of the best paintings of Stefano dall' Arzere; a Madonna, in fresco, of the fourteenth century, is a curious work; the old seats which were formerly used by the priests during the service merit the attention of the learned. Saint Sophia contains the tomb of one distinguished man, the Cav. Mabil, a native of Paris, professor for nearly thirty years at the university of Padua, translator of Titus Livius, all Cicero's Letters, Scipio's Dream, the Life of Agricola, Horace, Phædrus, and of Quillet's strange poem of the Callipédie, in blank verse, with learned notes. In conversation Mabil was excellent and full of wit; he was the friend of Foscolo and Cardinal Maury; he held office under the French administration, and died more than octogenarian on the 25th Fe

See above, chap. II.

Petrus Aloy. Mabil Eqv. Cor. Ferree Origine Gallus Sexennis Italiam Parentib. Deductus Ibiq. Sede Apud Venetos Faustis Ominib. Firmata Post Varios Rerum Casus Fato Modo Ducente Modo Tra

bruary 1836; his epitaph, composed by himself, happily paints his active and agitated life.

The Ognissanti church, of a naked architecture, has an Assumption by Palma ; the ancon in three compartments at the entrance of the sacristy, representing the Virgin, the Infant Jesus, and beside him St. Sebastian and another saint, is a precious wreck of painting in Squarcione's style.3 A painting full of life and expression, the most remarkable in the church, is the Virgin in a glory, with St. Maur and St. Agnes below: Morelli attributes it to Bassano, but it seems rather by his pupil Bonifazio. The following epitaph, a sort of political epigram on a tomb, probably by one of our refugee compatriots, is not void of originality: Cajetanus Molinus N. V. olim aristocraticus, nunc realista, unquam democraticus, civis semper optimus, obiit tertio Id. Dec. MDCCXCVII.

Saint Thomas, or the Philippines, is remarkable for its paintings: the Virgin in the midst of the Magi, in which the child leans gracefully towards St. Joseph, St. Anthony of Padua and the little St. John; St. Philip of Neri and St. Charles Borromeo, in a demilune near the organ; the Visit of St. Elizabeth, the Birth of Jesus Christ, the Presentation at the Temple, the Crowning with thorns, the Ascension, the Descent of the Holy Ghost, and the Assumption of the Virgin, are fine works by Luca of Reggio, rather difficult to discover on the ceiling. A Piety, by the priest Stroifi, bears a happy resemblance to the manner of Cappuccino, his master. Saint Theresa, St. Justine, are by Francesco Minorello, the ablest pupil of Luca of Reggio, and almost his rival; St. Prosdocimus, St. Daniel, St. Agnes, a Nun; the Virgin appearing to St. Philip; the same saint carried to heaven by angels, in the refectory, by Liberi. In the adjoining oratory, the Virgin on a throne with the infant Jesus, is a good painting by an author unknown.

San Giovanni di Verdara contains some tombs of artists and celebrated writers, with some fine paintings. The

hente Tandem Sub Extremo Vita Limine Non Per Ignaviam Transactæ Conditorium Bocce Mihl Morituro Parandum Curavi Anno MDCCCXXXV1. Etatis Mew LXXXIV.

3 See the preceding chapter.

mausoleum of Andrea Riccio, who made the famous chandelier of the Santo, was surmounted by his portrait in bronze, said to have been lifelike, but it was barbarously torn away: bronze, a metal which that artist had so cleverly wrought, was a fitting and sacred ornament on his tomb. Another great artist, Luca of Reggio, one of Guido's best pupils, a noble, graceful, and expressive painter, who passed the greater part of his life at Padua, is interred in this church. An elegant monument, though only an inferior imitation of Bembo's mausoleum at the Santo, has been consecrated to Lazzaro Buonamico, one of those great professors of the sixteenth century, one of those renowned and influential men that were eagerly sought after and courted by princes and cities, whose life, widely differing from the peaceful existence of their successors in France and Germany, was full of adventures and ratastrophes, and who by their lessons more than their works contributed so much to the glory of modern letters. The monument erected in 1544 to the professor of law Antonio Rossi is of capricious taste; but the bust, by an unknown author, is a precious work. The paintings are: a very graceful Nativity, by Rotari; the Virgin, the Infant Jesus, St. Anthony and St. Bernardin; a great and noble Crucifixion, by Stefano dell' Arzere; the two former with St. John Baptist and St. Augustine in an agreeable landscape;in the sacristy a Madonna, very fine, in a smiling rural scene, with St. John Baptist and St. Anne, by Don Pietro Bagnara, a canon of Saint John de Latran, a feeble but graceful imitator of his master Raphael. On the last painting the pious artist has inscribed these words, which are also found on several of his works: Orate Deum pro anima hujus pictoris. Saint Augustine giving the book of his Constitutions to the monks of his order, is by Luca of Reggio.

In the small church of Saint Maximus there are only three paintings, by Tiepolo, which are excellent; the recumbent statue of Giuseppe Pino, who died in the wer of his age, in 1560, is a work worthy

*The inscription, which says that he died in 1652 at the age of forty-nine years, is erroneous, his wift. lodged in the archives of Padua, was made at Bergboschiavino in the presence of Francesco Misorello, bis pupil, and is dated February 5, 1654.

of that epoch. Saint Maximus has one illustrious tomb, that of Morgagni, a pious and learned man, who, in an ecstasy of admiration for the author of nature, one day, while dissecting, threw down his knife and cried out: "Oh! that I could but love God as I know him!"

The small church of Saint Matthew is justly proud of two chefs-d'œuvre of Padovanino: the Saint stabbed by a Gentile and an Annunciation.

Saint Joseph has preserved some curious frescos, executed in 1397, as we are informed by an inscription in Latin verse, by Jacopo of Verona, a great artist of the fourteenth century: the Adoration of the Magi presents the portraits of several princes of Carrara; some men of greater fame in the present day are represented among the spectators of the Funeral of the Virgin, known by the names of Dante, Petrarch, and Boccaccio; there too is seen the celebrated physician, philosopher, and heretic, Pietro d'A bano, called in his time the Great Lombard, and perhaps the figure holding a cap in his hand may be the painter himself.

In Saint Fermo is the great and superb Crucifix of wood, by an unknown artist, highly spoken of by Padre della Valle, Vasari's commentator, as one of the finest things in Padua, but the violent agony of Christ as there represented seems rather the suffering of a man than a God. The picture of the Virgin with John the Evangelist, St. Francis d'Assise and Giovanni Bagnara, called the Long, who built the elegant altar where the painting is placed, is by Minorello, and worthy of his master Luca of Reggio. A small painting of St. Peter and St. John Baptist is curious from its antiquity.

The college of Padua, called the Seminary, is justly celebrated for its printing-office, its Latin, and its library. The presses are eight in number and seem to have work enough. The library has about fifty-five thousand volumes, eight hundred manuscripts, and the valuable collection of prints, a legacy to the Seminary in 1829 from general marquis Federico Manfredini, a man of ex

Buonamico was at Rome when the troops of the constable of Bourbon sacked that city; be narrowly escaped with his life, and lost all his books and manuscripts.

tensive knowledge, formerly the go- | vernor of Leopold's sons, and a great friend of Morghen. This collection, improperly classed by nations instead of epochs, is difficult of access, or rather almost buried, on account of some engravings of a licentious character. The library of the seminary contains some rare first editions of the Florence Homer, and the Venice Pliny; a copy of the third edition of the same, on vellum paper (Venice, 1472); another Pliny with marginal notes by an unknown person (Venice, Bernardino Benalio, 1497); Cicero's Letters, the first book printed at Venice; some fine manuscripts of Petrarch and Dante. An autograph Letter from Petrarch to his physician and friend Gio- | vanni Dondi, De quibusdam consiliis medicinæ, is curious; it is dated from Arquà, and may be regarded as a very sensible little treatise on hygiene; Petrarch was seventy years old when he wrote it. After the common places on the necessity of yielding to time, as every thing in nature does, Petrarch consents to abandon the use of fish and salt meat; but he defends his regime of fruits and vegetables, the habit contracted in his boyhood of drinking nothing but pure water, and that only once a day, and of strictly fasting one day a week on bread and water. Dondi, on the contrary, wanted him to take wine, and spirits; to eat partridge and pheasant, and opposed his fasts, notwithstanding the example of the hermits of the Thebaid cited by Petrarch. There is also in the library a copy of the Dialogues of Galileo, with notes by himself: the alterations were given in an edition of his works printed

Son of Jacopo, a physician and astronomer, and maker of the famous clock placed in the palace tower at Padua, in 1344. Giovanni was also at the same time an astronomer and physician. He invented and executed with his own bands another clock put up in the library of Glovanni Galeas Visconti at Pavia. Hence did the Dondi family derive the name of degli Orologi.

* It was published in 1808 by the professors of the Seminary at Padua, but a hundred copies only were printed. This letter, the first of book 111. of the Seniles, as printed in the different editions of Petrarch, is full of egregious errors, which are pointed out and corrected at the end of the volume In the Seminary edition.

3 Petrarch was not less prejudiced against medecine and its professors than Montaigne, Molière, and Rousseau. See in the Senil. lib. III. the Epistles and 2, addressed to Giovanni of Padua, a

at the Seminary (1744, in four volumes quarto).

I could not contemplate without a feeling of respect the manuscript in ten folio volumes of Forcellini's great Latin Dictionary, a monument of the learning, perseverance, and modesty of that holy and erudite priest. It is true that we can scarcely expect to find the sentimental and pathetic prefatory to a folio Latin lexicon; nevertheless I know nothing more affecting than the words of Forcellini, addressed to the pupils of the Seminary at Padua, in which he reminds them, with great simplicity, of the time, application, and efforts that he devoted to his work for nearly forty years; Adolescens manum admovi; senex, dum perficerem, factus sum, ut videtis.5 I asked to see the authors he had used in his researches; they were worn almost to destruction, so many times had he turned their leaves over and over again.

The church of the Seminary, a good building of the early part of the sixteenth century, has some fine paintings: the celebrated painting by Bassano representing Christ dead, and carried to the tomb by torchlight by Joseph and Nicodemus; the expression of grief in the Virgin and the other women is admirable; the painter has made this masterpiece almost a family picture: the old Joseph is himself, the Virgin his wife, one of the Marys his daughter; the Virgin on a throne with the infant Jesus, and below the Sts. Peter, Paul, John the Baptist, Catherine, and two angels, one of Bartolommeo Montagna's best works; the Adoration of the shepherds, by Francesco Bassano, or bis brother Lean

celebrated physician. An inhabitant of that town offered to raise a statue to Petrarch at his own expense in the Prato della Valle (See the next chapter), but on the condition of inscribing thereon these words:

Francisco Petrarchæ
Medicorum hosti infensissimo.

This strange proposal was not accepted.

4 The third edition of Forcellini's Dictionary. begun in 1827 and finished in 1834, was superintended by the abbé Gluseppe Furlanetto, of the Seminary of Padua, whom I bave had the honour of visiting, a gentleman every way worthy, from his learning and diligence, of completing that important work. The new edition, in four large 4to volumes, presents more than ten thousand corrections and about five thousand new words.

5 Totius latinitatis Lexicon, t. I. XLVI.