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the friend of Ronsard and master of Tasso, and was honoured with a statue at his death; his masterpiece, however, the tragedy of Cauace, once so applauded and admired, is barely readable now. The inscription on Speroni's tomb was composed by himself; it is remarkable for a certain mixture of complacency, self-love, and vanity, pretty characteristic of his kind of glory and the manners of the age. He speaks therein very plainly of his three daughters and the generations they gave him, although I believe he was never married. The monument was erected by one of them, Giulia Sperona, who is buried near him.' There is an elegant monument, of the beginning of the sixteenth century, which was erected by the Venetian senate in honour of Pietro Barrochi, bishop of Padua. It is in such good taste that it seems by Tullius Lombardo.

The bust of Petrarch, as canon of the cathedral, placed opposite one of the side doors, is very fine, though not by Canova, as some have pretended, but by his pupil Rinaldo Rinaldi of Padua.

rabosco; the large Cavalcade of a pope. attributed to Domenico Brusasorci; a Group of Angels, by Liberi, and a very remarkable old portrait of Petrarch. The gilt silver vase of the sacristy, used in the ceremony of confirmation, is covered with figures in rather profane attitudes; it has been explained by Lanzi, as also the Greek inscription, from which it appears to be one of the vases in which artists' colours were prepared and kept. This sacristy possesses two antique manuscripts very well preserved; one is a book of the Gospels of 1170, the other of the Epistles of 1259. The Missal on vellum paper, printed at Venice, in 1491, with rich miniatures, is also a very fine book.

The little church under the choir has the tomb of St. Daniel, remarkable for its beautiful bronze basso-relievos by Titian Aspetti.

The baptistry, a structure of the twelfth century, near but not joining the cathedral, is much more curious and characteristic. It was built by Fina Buzzacarina, wife of Francesco Carrara the The sacristy of the canons presents some elder, and contains some admirable fine and curious paintings; a half figure paintings by Giotto's pupils, worthy of of the Saviour with Aaron and Mel- himself, and skilfully retouched; they rechizedech beside him; the Four protec- present various subjects out of the Old tors of Padua, and Cherubim, in two and New Testaments, with some histotriangles, by the clever Domenico Cam-rical portraits, such as that of the pious pagnola; a very fine Virgin with the infant Jesus on her knees, an excellent copy of Titian by Padovanino, if it be not original; St. Jerome and St. Francis, by Palma; the Journey into Egypt, the Adoration of the Magi, by Francesco Bassano, so perfect as to have been thought worthy of his father; the Christ carrying his cross, by Padovanino; a Virgin, charming, by Sassoferrato, the painter of the little Madonnas (madonnine); a St. Anthony, lifelike, by Fo

Sperone Speroni
nacque

nel MD di XII d'aprile
mort

nel MDLXXXVIII di II di Giugno. Vivendo si fece l'infrascritto epitafio:

A Messere Sperone Speroni delli Alvarotti, filosofo et cavalier padovano, il quale, amando con ogni cura, che dopo se del suo nome fusse memoria, che almen nelli animi de' viclui, se non plù oltre, cortesemente per alcun tempo si conservasse, in vulgar nostro idioma con vario stile sino all' estremo parlò, et scrisse non vulgarmente sue proprie cose, et era letto ed udito.

founder praying to the Virgin, several of the Carrara family and of Petrarch. Near the door is an excellent bronze basso-relievo of the Beheading of John the Baptist, by Guido Lizzaro, a clever founder of the beginning of the sixteenth century. The old diptych of the altar, of the fourteenth century, representing several incidents of the saint's life, is a beautiful and curious monument of its kind.

The episcopal palace, near the Duomo,

Vivette anni LXXXIIX, mese I, giorni XIII. Mori padre di una figliola, che li rimase di tre che n' hebbe, et per lei avo di assai nepoli; ma avo, proavo, et attavo a descendenti delle altre due, tutti nobili, et bene stanti femine et maschi, nelle lor patrie honorate.

The following inscription, formerly on the pavement of the church, is now on the base of the mo

nument:

Al gran Sperone Speroni
suo padre
Giulia Sperona de' Conti
MDLXXXXVIII.

is interesting with respect to art: the very elegant frescos of the old chapel are by Jacopo Montagnana, an excellent Paduan artist, supposed to have been a pupil of Giovanni Bellini; his altar-piece in three compartments is admirable. The prelate's apartments evince the liberality of his taste: his library is rich; there are many paintings by the great masters of various epochs. Over the library door is a portrait of Petrarch praying to the Virgin, reckoned the most authentic likeness of this great poet; for if the various portraits of Dante resemble each other, his are all different. This portrait was painted on the wall of the poet's house at Padua, which was pulled down in 1581 when the cathedral was enlarged; the Cav. Giambattista Selvatico, professor of canon law at the university, had it cut out of the wall and carried to his house, to insure its preservation; in 1816 it was put up in the archbishop's palace by the marquis Pietro Selvatico, under the advice of his friend Giovanni de Lazara. This por- | trait has been engraved and is prefixed to Marsand's edition of the Rime, which we have already mentioned several times. The Virgin on a throne, holding the infant Jesus by the hand, and two angels, by Gregorio Schiavone, a good pupil of Squarcione, has been praised by Lanzi. The great painting of the Plague of 1631, a masterpiece of Luca of Reggio, which recalls the sweetness of his master Guido, is less animated and pathetic than the description of the author of the Promessi Sposi. The Christ appearing to St. Margaret, by Damini, is teaching A good painting represents the young Napoleone, cardinal Stefano's nephew, killed by falling off kas horse and resuscitated by St. Domimack. A gold patine, on which is an engraving of Christ in the midst of the Apostles, is an exquisite work by Valero Belli, a very clever artist of Vicenza in the sixteenth century.

At Saint Nicholas, a small parochial church near the Duomo, is the tomb of 4 Hancarville, the author of the Recherches respecting the origin, spirit, and progress of the arts of Greece, and also respecting the Hamilton vases, a Frenchman of great parts and systematical erudition, who died at Padua on the 9th Oc

See post.

tober 1805, and not at Rome in 1799 or 1800, as stated in several historical dictionaries. The epoch of his birth is probably given with equal inaccuracy. The parish register of deaths, of the 10th October 1805, imports that the baron d'Hancarville died on the previous day, of a fever, at one o'clock in the morning, after an illness of two months, and having received all the sacraments, at the age of about (circa) eighty-six years; his birth must consequently have occurred in 1719, instead of 1729 as the dictionaries assert. There are some persons of Padua, intimate friends of d'Hancarville, who affirm that so far back did his memory extend that he must have attained that advanced age. Cicognara has given fragments of his unpublished dissertations on Raphael's paintings at the end of chapter II., book vII. of his History of Sculpture. The titles of several others of these same unpublished dissertations are enumerated in the notes of the Italian translation already mentioned of Quatremère de Quincy's History of the life and works of Raphael, by Francesco Longhena. I cannot here pass over unnoticed a charming portrait of d'Hancarville by Signora Albrizzi in her Ritratti.

Saint Anthony, il Santo, as from his popularity this thaumaturgus has been surnamed for six centuries, is the chief and most ancient wonder of Padua. The architecture, by Niccolo Pisano, has something imposing. Over the principal door are, one on each side of the name of Jesus, the two fine and celebrated figures of St. Bernardin and St. Anthony, painted by Mantegna, as he himself informs us in an inscription.

The guardianship of the interior of this temple has been for some years past somewhat singularly entrusted to some Dalmatian dogs, of the shepherd species, which have well fulfilled their charge against all but the despoilers of 1797. The two present guardians of the Santo, some years ago, surprised a domestic of the Sografi family who had remained at his devotions one night after the doors were closed; they took up their positions one on each side, ready to seize him if he made the least movement, and kept him thus in custody till the morning.

The chapel of the saint, one of the richest in the world, by the architects * Andreas Mantegna optumo favente numine perfecii. MCCCCLII. Xi kal. sextil.

Jacopo Sansovino and Giovanni Maria Falconetto, is ornamented with pleasing arabesques by Matteo Allio and Geronimo Pironi, and with exquisite bassorelievos by Campagna, Tullius and Artonio Lombardo, and Sansovino. Among the last is a very fine one of a republican subject, which seems rather strangely placed on the tomb and among the divers incidents of Saint Anthony's life: it is Mutius Scævola haughtily burning his hand for having missed Porsenna. A different and less noble subject, but still better executed, is the miracle of the young girl who fell into a slough and was resuscitated by Saint Anthony, a bassorelievo by Sansovino. The stucco ornaments of the ceiling are extremely elegant, by the clever artist, Titian Minio, of Padua, who was also the author of the Redeemer and the twelve Apostles; the majestic altar, the doors, the four angels holding the chandeliers, and the superb statues of St. Bonaventure, St. Louis, and St. Anthony, are by Titian Aspetti, who must not be confounded with the preceding artist. One of the three lamps of massive gold melted down in 1797 to pay the war assessment, was a present from the Grand Turk to Saint Anthony.

In the chapel of the Holy Sacrament, the basso-relievos and the four angels sculptured by Donatello are valuable works. A Crucifixion, of extraordinary beauty and in perfect keeping, is by Damini. The frescos of the chapel of Saint Felix, by Jacopo Avanzi and Aldighieri, great painters of the fourteenth century, but almost unknown, and five antique statues of the altar, are very remarkable. The Martyrdom of St. Agatha, by Tiepolo, in one of the chapels, has been praised by Algarotti for its fine spirited expression, although the drawing be not irreproachable. The St. Louis giving alms, in another chapel, by Rotari, is harmonious and pleasing. I observed in the chapel of Saint Prosdocimus, the sepulture of the Capodilista family, a noble and pleasing chivalrous motto in French, Léal Desir. This ancient Paduan family derives lustre from Gabriele Capo

This act of Mutius Scævola seems to have suited the taste of Italian artists of the sixteenth century: it may be seen on the triumphal arch erected at Rome on occasion of the coronation of Leo X.; it is near the pope's arms and a sacrifice offered by shepherds. See the Chronicle of the Florentine

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dilista, a pilgrim to the Holy Land in 1458, who also wrote his Itinerary, now a scarce book. The Beheading of John the Baptist, in his chapel, by Piazzetta, a bold imitator of Guercino, extolled for the effect of light and shade, is horrible to behold, as also the Flaying of St. Bartholomew, at the next chapel, by Pittoni, one of the octogenarian painters of the Venetian school. At the Orsato chapel is Liberi's St. Francis receiving the stigmata, the very expressive head of which is said to have been done in one night. The antique chapel of the Madonna Mora is curious: the marble figure is a Greek work, but its beauties cannot be perceived on account of the enormous vestments in which it is muffled. Some other paintings and sculptures of Saint Anthony are worthy of remark: the Descent from the Cross, by Luca of Reggio, is natural and of good colouring. The Redeemer, a fresco of Mantegna's school, under a glass, is in pretty good condition. Another fresco of the Virgin and the infant Jesus, larger than nature, with St. Jerome and St. John Baptist, a work of the beginning of the fifteenth century, recalls Giotto's manner. The Virgin on a pedestal, and below Sts. Peter, Paul, Bernardin, and Anthony, is a fine composition by Antonio Boselli, an able Bergamese painter of the sixteenth century. The Crucifix surrounded by prophets, and Sts. Sebastian, Gregory, Bonaventure and Ursula, by Montagnana, is elegant and true. A saint in marble, over the holy-water vase, is by Pyrgoteles. The Burial of Christ, on a door of the chapel of Relics, by Donatello, a famous basso-relievo of clay gilt, which was worthy of being cast in bronze, notwithstanding its beauties, is somewhat exaggerated.

The choir and the high-altar are an assemblage of chefs-d'œuvre of the greatest masters. The great bronze chandelier, pus, is the most beautiful in the world. by Andrea Riccio, the Venetian LysipIt cost the artist ten years' labour; and every part will bear a comparison with the antique chandeliers, but the ensemble

physician Giovanni Jacopo Penni, quoted in the ap pendix to the Life and Pontificate of Leo X., by Roscoe, chap. VII. See post, another painting on the same subject at Saint Laurence of Cremona, book 1x., chap. xxiv.

See post, book v., chap. xvii.

is inferior; the richness and multiplicity | and impregnated with the false taste and
of so many elegant particulars are inju- frivolity peculiar to the French and Vol-
rious to the real beauty of the work.
The four statues of the protectors of Pa-
dua, the Virgin and the infant Jesus,
and the great bronze crucifix, are admi-
rable works of Donatello, and the stone
statues are by Campagna.

tairian imitation of the Italian authors of

Santo contains some illustrious mausoleums of patricians, generals, distinguished foreigners, and professors. The monument consecrated by the patrician Querini to Bembo is associated with the first names in letters and the arts. The bust of Danese Cataneo obtained the elogium of Aretino; it is pretended that Titian and Sansovino contributed to its perfection by favouring the artist with their counsels; the architecture of the monument, by San Micheli, has a le simplicity; the inscription is by Paolo Giovio. The marble mausoleum of Alessandro Contarini, procurator of Saint Mark, executed under the direction of San Micheli, is full of grandeur; the gures of the chained slaves, by Vittoria, aced as cariatides and excellently dis sed, are vigorous; and the little winged figure on the top of the monument, by 1he same great artist, extremely gracefal. Another splendid tomb is that of he professor of elocution Octavio Ferari, a copious and fluent rhetorician, hose digressions were said to be more esteemed than the subject of his lectures; and such was the amenity of his manners and speech as to procure him the fine title of peace-maker. We are informed by the inscription that this professor of Padua had a pension from Louis XIV., and was a knight of the equestrian order of Christina; the more illustrious Cesaroli, who was pensioned and knighted by Napoleon, has for his monument only a small red stone with the half-effaced inscription:-Ossa Melchioris Cesarotti Patavini anno 1808. Notwithstanding the poetical talent of Cesarotti, his translation of the Iliad is inferior to Monti's

* At last a monument was erected in 1835 to Gaspardo Gozzi through the exertions of Professor Meneg belli; the sculptor, S. Giuseppe Petrelli, has represented the genius of iiterature overwhelmed with sorrow, seated before the bust of Gozzi, with this inscription beneath :

Honorl

Gaspari. Gozzil. Viri. Litteratissimi
Cujus. Cineres, In. Hoc. Sacello

the last century; the simplicity and antique colouring are still farther departed from than in Pope's translation: for instance, he fancied he was making the girdle of Venus more agreeable and becoming by transforming it into a necklace. The translation of Ossian, Cesarotti's best work, is very superior to his Iliad; as a critic, Cesarotti has been justly praised; but it is surprising that a lover of truth, like Sismondi, could proclaim him the first poet of his time. Another celebrated Italian writer, philosopher, poet, and critic, Count Gaspardo Gozzi, eldest brother of the eccentric and merry Carlo Gozzi, is interred at Saint Anthony: neglected by the declining government of Venice, he died indigent, and has not even an inscription. It is difficult to explain such literary indifference in a town like Padua, and beside the sumptuousness of some of its mausoleums.'

The treasury of Saint Anthony, an immense heap of relics, was despoiled of a portion of its riches at the time of the French invasion in 1797. There are exhibited the saint's tongue still unchanged in colour, which, though less eloquent, has moved more men than that of the Roman orator; and the collection of his sermons corrected by himself, written in a legible and even elegant hand.

Casanova relates that at Padua it is believed that Anthony does thirty miracles a day: the number of his masses need not cause any surprise; it is so great that there are neither sufficient altars nor priests to celebrate them, and there is a papal bull authorising the chapter to say, towards the close of the year, certain masses (messone in Venetian) which count for a thousand, as the only means to sweep off the arrear. The price of these masses shows the variations in the value of money. A lady, la Speronella, the richest and most capricious woman,

Antonivs. Meneg bellys
Voti. Pvblici. Interpres
M. P.

Ann. MDCCCXXXV.

Gozzi died in the house of Count Leopoldo Ferro, in the faubourg of the Vignali; S. Meneghelli obtained permission from the present proprietor to place on the outside wall another inscription, alluding to the residence and end of Gozzi.

it is said, in the whole district of Trevisa in the twelfth century, who had been six times a widow, left by will, in 1192, fifty livres, to have a thousand masses said for the repose of her soul. These halfpenny masses in 1292, exactly a century later, had already risen to a penny.

The ceiling of the sacristy, representing St. Anthony's entry into heaven, is a fine fresco by Liberi, unfortunately too distant; the wood work of the cupboards is by the brothers Cristoforo and Lorenzo Canozzi; the latter both painter and sculptor, a fellow disciple and rival of Mantegna, famous for this kind of work; a Crucifix, and other ornaments in steel wrought with singular ingenuity by an artisan of Padua, were superintended by the painter Antonio Pellegrini.

Among the numerous tombs of the cloister of Saint Anthony, I remarked that of a great nephew of Ariosto, a boy of thirteen years, illustrious, says the inscription, by the name of his ancestor (Adolescentulo nomine avito claro); that of a Frenchman, Arminius d'Orbesan, baron of La Bastide, a young warrior deceased in 1595, at the age of twenty after a touching Latin inscription, comes this quatrain, which is destitute of neither harmony nor poetry : N'arrose de tes pleurs ma sépulerale cendre, Puisque un jour éternel d'un plus beau ray me luit,

Mais benis le cercueil, où tu as à descendre;
Car il n'est si beau jour qui ne meine sa nuit.

In the cloister of the Presidence is a great sarcophagus surmounted by the recumbent statue of a warrior, with a fine Latin inscription composed by Petrarch."

The Scuola del Santo (the confraternity of Saint Anthony), near the church, presents, on the first floor, some fine and curious frescos by Titian, or of his school; the subjects are taken from the history of the saint, and these are esteemed the best preserved works of that great painter. Two, especially, are admirable; they equally remind us of the jealous violence of husbands at that period, and

Gallus eram, Patavi morlor, spes una parentum, Flectere ludus, equos, armaque cura fuit; Nec quarto in lustro mihi prævia Parca pepercit. Ilic tumulus, sors hæc, pax sit utrique vale. * Miles erain magnus factis, et nomine Mannus. Donatos, quos fama vocat, celebratque vetusti Sanguinis auctores habui, manus inclyta bello Dexteritasque immensa fuit, nec gratia claræ

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Saint Anthony's singular compassion for their wives: one represents a woman poniarded by her husband and brought to life again by the saint; in the other, a wife very much suspected by her husband has her honour vindicated by the child to which she has just given birth recognising its true father, who is greatly moved thereby, a miracle for which he returns thanks to Saint Anthony. Two frescos by an unknown author also exhibit him, the first, fearlessly remonstrating with the tyrant Eccelino, who falls at his feet, swears that he will retire, and immediately quits Padua, which he did not venture to revisit till after the saint's death in the second he appears to the blessed Lucas Belludi, to whom he announces the delivery of his country from the same Eccelino as the protector of women and the redoubted enemy of a tyrant, Saint Anthony is set off to the best advantage in this Scuola.

Some other paintings, many of which represent the saint's odd miracles, are to be remarked: the Saint setting the foot of a young man, by Titian; Saint Anthony dead and recognised a saint by the joyful shouts of children; the Miracle of the glass thrown on the pavement from a window without breaking, which converted the heretic Aleard; the Child thrown into a copper of boiling water and resuscitated by the saint; the Bashful child not daring to ask for cakes, of Titian's school; the Opening of the saint's tomb, which offers near the body the portraits of Jacopo Carrara and his wife Costanza, a good painting by Contarini; St. Francis and St. Anthony in clare-obscure, one on each side the altar; the Child brought to life by the saint, very fine, by Domenico Campagnola. A painter of the last century, named Antonio Buttafogo, has not feared to represent the Death of the saint beside such works; the painting is of 1777; but the temerarious artist might bave spared himself the trouble_of_dating it. In the small under-ground chapel, the Virgin, the Infant Jesus, St. Benedict,

Defuerat formæ, dubiique peritia Martis;
Dum pia justitiæ fervens amor induit arma,
Nil metuens multis late victricia campis
Signa tuli, multos potui meruisse triumphos:
Florentina mihi generosa stirpis origo,
Cara domus Patavum, sedesque novissima busti
Contigit exiguo fessum sub marmore corpus,
Reddita mens cœlo, nomen servate sequentes.

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