of Perugino, which shews that Raffaelle did not invent all the beautiful characters we find in his works; they are to be traced, though in a more imperfect state, in those of his master; in this there is much grace. The very famous picture of St. Cecilia,' by Raffaelle, did not entirely answer the expectation I had formed of it from various writers. The composition is simple and well; the figures in good attitudes, but seem in general too short, except the female on the right; they want, in my opinion, a little of the elegance of Parmeggiano." To this he has added at a subsequent period, or "rather of the antique." "The characters too are not equal to some of his; an old head behind, with a crozier, is even mean; in short, I cannot think it worthy to rank with the Correggio at Parma. There is a picture of Domenichino, which has fine parts, but the composition is strangely scattered, and the chiaroscuro too. A picture of Guercino had some good heads."

"11th. At St. Agnese is a picture of Domenichino, which possesses great merit. The colouring of the background is extremely cold, and the upper part of the composition a confused cluster of figures; the lower part is better composed, and the chiaroscuro good."

"12th. St. Michele, in Bosco, situated on the top of a pleasant hill close to the town, from whence is an extensive view of Lombardy. There is an inner octagon court or cloister, the walls of which are covered with pictures, now almost obliterated; the remains of one very fine by Agostino Carracci are still visible, and one of Guido, which must have been uncommonly beautiful. This latter, I should think not irrecoverable, if a skilful artist were employed; and if it could be done, would shew Guido to as much advantage as any b

picture I have seen of him. A picture here, in some part of the convent, of Peter's Vision of Unclean Beasts,' which he is ordered to kill and eat; poor. 'St. Paul' over the altar, a groupe by Algardi; the martyrdom of St. Paul, which has merit, but the saint is deficient in dignity of character, and the executioner in expression or animation-too much made out to be grand."

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"13th. Certosa, a monastery of Carthusians, about a mile and a half from the town, which is a model for neatness and comfort. The church contains some fine pictures; one of St. John Preaching in the Wilderness,' by Lodovico Carracci, has infinite merit; the heads of St. John and several others are beautiful; it is in composition, colouring, and effect, much out of his usual mode, i. e. more in the Venetian manner, but very fine. Two pictures of the Scourging, &c. of our Saviour' are very grandly composed; almost effaced. A fine picture, of Agostino, of 'St. Jerome receiving the Wafer;' some of the heads are excellent, but the tone of colour in general grey and feeble. Domenichino's famous picture at Rome of the same subject is little more than a copy of this." The last sentence has evidently been added after he had reached Rome. "Here is a pretty"-corrected into "fine-picture of Guercino, a ditto of Sirani, Jessi, &c."

"14th. Saw, at Count Zambeccari's, a small picture of Guido from Ann. Carracci, St. Roch distributing of Alms,' one of the finest compositions I ever saw, and full of the most capital figures: there is an etching of this, which is scarce; the original said to be at Dresden, but almost destroyed. N.B. I remember to have seen a small copy, probably done from this, of Guido, being

the same size as Sir Abraham Hume's, which he calls a sketch by Ann. Carracci."

"15th. Church of St. Salvator is a pretty piece of architecture internally, and, I am told, has some fine pictures, but, the church undergoing repair, they were covered up."

"30th. Copy a head of Rubens at the Zampieri gallery."

"31st. Made a little sketch of Andromeda."

"Sept. 1st. St. Pietro Martire; a very fine picture, of Ludovico Carracci, of The Transfiguration,'-one of the best I have seen of this school; the Christ has much beauty, the figures in the foreground are very grand, and the draperies throughout in a very fine style. A picture of Tintoretto here,- The Meeting of Mary and Elizabeth,' I could find nothing to admire in. A little church is near this, with a pretty cupola, called 'La Madonna della Barracano.""

"2nd. Walked in an hour to S. Lucca, situated on a very high hill, about a league from Bologna; the architecture is very pretty, but the wonderful picture of the 'Madonna' a joke almost more than I could digest. All but the heads (which were of a dark brown colour) are covered with jewels. The picture is unlocked with great form and ceremony (after a prayer being said to it), and the people say their prayers to it before they dare to examine it."

"5th. Went to the Instituta, the finest collection of remarkable things I ever saw. The anatomical imitations in wax, by Ercole Lelli, are admirable, and of the highest use to an artist.

The copies of the

antiques, in the gallery of statues, seem most excellent : among the antiques themselves are several bits of fine

sculpture and an Isiac table. Most of the rooms contain models by the students of the Clementine Academy -none very fine. In one room is a ceiling painted by Pellegrino Tibaldi; some of the figures are in the boldest and most admirable attitudes; here is a picture of Philoctetes by Barry (very bad), several prize drawings of the students, some of which are very good."

"6th. Quit Bologna under the care of the Procaccio, who troubled not his head about us; was recommended to go with him in preference to a voiture."

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"9th. Arrived at Florence about nine in the morning. This road from Bologna to Florence is across the whole width of the Apennines; you are continually ascending and descending,-one might almost suppose they had purposely conducted the road over the tops of the hills, instead of endeavouring to find a passage between them. The country reminds one of Savoy (on a smaller scale), but wears rather a more sterile appearance, and is not so romantic, though in some parts pretty much so. Pietra Mala, the officers of the grand-duke examine the baggage; but, though hindered a considerable time from going on, I had not enough to visit the Fuoco di Ligno. Florence is discovered at some distance, surrounded with innumerable seats and villages, thickly spread for a great extent, and invites the traveller with bewitching graces and riches. You lose sight of it soon, and do not see it again till you approach very near. The suburbs (those pleasant additions to a city, which give you an idea of comforts in the people) are very long; you enter by the Porto Gallo, close to which stands a fine triumphal arch, erected to Francis: it is rather too crowded with ornaments."

He arrived on the day of a great "Festa, la Nun

giata, which made the whole city alive, and brought in great numbers of the peasants dressed in all finery." Heard a grand performance of music before the grandduke in the church of L'Annunciata; "it was not remarkably fine;" and walked over "the Cascino, a delightful sort of park, a little out of the town by the side of the Arno, containing a small palace, where the grand-duke refreshes himself when hunting (and at other times). The grounds are prettily laid out, without the least appearance of art, and contain a great plenty of all kinds of game. It is the only thing of the kind I have met with in Italy, and resembles extremely an English gentleman's park, being interspersed with meadows," &c. Here he met the grand-duke and duchess, but he makes no remark upon them; but he observes, "The gaiety of Florence, which had at this time, and in general has, a great number of foreigners; the superior beauty of the women, and their taste in dress, give a stranger just arrived from Bologna the most pleasant contrast possible." But to the passage he has Italicized he subsequently appended a note: "By the bye, was perhaps a little dazzled the first day, and during my stay in Florence was induced to alter my opinion on this head."

He remained two months in Florence, making sketches and observations on every thing that appeared to him worthy of notice. He remarks upon “the cathedral, which is an immense and fine building; the outside of which is inlaid with different-coloured marbles, giving it the appearance of a Chinese cabinet ;" that "the inside is not answerably decorated. The pavement is mosaic, and of an ingenious design; against the wall are busts of Brunelleschi, the architect,