When we had looked sufficiently at the sculpture, Powers proposed that we should now go across the street and see the Casa del Bello. We did so in a body, Powers in his dressing-gown and slippers, and his wife and daughters without assuming any street costume.

The Casa del Bello is a palace of three pianos, the topmost of which is occupied by the Countess of St. George, an English lady, and two lower pianos are to be let, and we looked at both. The upper one would have suited me well enough; but the lower has a terrace, with a rustic summer-house over it, and is connected with a garden, where there are arbors and a willow-tree, and a little wilderness of shrubbery and roses, with a fountain in the midst. It has likewise an immense suite of rooms, round the four sides of a small court, spacious, lofty, with frescoed ceilings and rich hangings, and abundantly furnished with arm-chairs, sofas, marble tables, and great looking-glasses. Not that these last are a great temptation, but in our wandering life I wished to be perfectly comfortable myself, and to make my family so, for just this summer, and so I have taken the lower piano, the price being only fifty dollars per month (entirely furnished, even to silver and linen). Certainly this is something like the paradise of cheapness we were told of, and which we vainly sought in Rome. . . . .

To me has been assigned the pleasantest room for my study; and when I like I can overflow into the summer-house or an arbor, and sit there dreaming of a story. The weather is delightful, too warm to walk, but perfectly fit to do nothing in, in the coolness of these great rooms. Every day I shall write a little, perhaps,—and probably take a brief nap somewhere between breakfast and tea,—but go to see pictures and statues occasionally, and so assuage and mollify myself a little after that uncongenial life of the consulate, and before going back to my own hard and dusty New England.

After concluding the arrangement for the Casa del Bello, we stood talking a little while with Powers and his wife and daughter before the door of the house, for they seem so far to have adopted the habits of the Florentines as to feel themselves at home on the shady side of the street. The out-of-door life and free communication with the pavement, habitual apparently among the middle classes, reminds me of the plays of Moliere and other old dramatists, in which the street or the square becomes a sort of common parlor, where most of the talk and scenic business of the people is carried on.

June 5th.—For two or three mornings after breakfast I have rambled a little about the city till the shade grew narrow beneath the walls of the houses, and the heat made it uncomfortable to be in motion. To-day I went over the Ponte Carraja, and thence into and through the heart of the city, looking into several churches, in all of which I found people taking advantage of the cool breadth of these sacred interiors to refresh themselves and say their prayers. Florence at first struck me as having the aspect of a very new city in comparison with Rome; but, on closer acquaintance, I find that many of the buildings are antique and massive, though still the clear atmosphere, the bright sunshine, the light, cheerful hues of the stucco, and—as much as anything else, perhaps—the vivacious character of the human life in the streets, take away the sense of its being an ancient city. The streets are delightful to walk in after so many penitential pilgrimages as I have made over those little square, uneven blocks of the Roman pavement, which wear out the boots and torment the soul. I absolutely walk on the smooth flags of Florence for the mere pleasure of walking, and live in its atmosphere for the mere pleasure of living; and, warm as the weather is getting to be, I never feel that inclination to sink down in a heap and never stir again, which was my dull torment and misery as long as I stayed in Rome. I hardly think there can be a place in the world where life is more delicious for its own simple sake than here.

I went to-day into the Baptistery, which stands near the Duomo, and, like that, is covered externally with slabs of black and white marble, now grown brown and yellow with age. The edifice is octagonal, and on entering, one immediately thinks of the Pantheon,—the whole space within being free from side to side, with a dome above; but it differs from the severe simplicity of the former edifice, being elaborately ornamented with marble and frescos, and lacking that great eye in the roof that looks so nobly and reverently heavenward from the Pantheon. I did little more than pass through the Baptistery, glancing at the famous bronze doors, some perfect and admirable casts of which I had already seen at the Crystal Palace.

The entrance of the Duomo being just across the piazza, I went in there after leaving the Baptistery, and was struck anew—for this is the third or fourth visit—with the dim grandeur of the interior, lighted as it is almost exclusively by painted windows, which seem to me worth all the variegated marbles and rich cabinet-work of St. Peter's. The Florentine Cathedral has a spacious and lofty nave, and side aisles divided from it by pillars; but there are no chapels along the aisles, so that there is far more breadth and freedom of interior, in proportion to the actual space, than is usual in churches. It is woful to think how the vast capaciousness within St. Peter's is thrown away, and made to seem smaller than it is by every possible device, as if on purpose. The pillars and walls of this Duomo are of a uniform brownish, neutral tint; the pavement, a mosaic work of marble; the ceiling of the dome itself is covered with frescos, which, being very imperfectly lighted, it is impossible to trace out. Indeed, it is but a twilight region that is enclosed within the firmament of this great dome, which is actually larger than that of St. Peter's, though not lifted so high from the pavement. But looking at the painted windows, I little cared what dimness there might be elsewhere; for certainly the art of man has never contrived any other beauty and glory at all to be compared to this.

The dome sits, as it were, upon three smaller domes,—smaller, but still great,—beneath which are three vast niches, forming the transepts of the cathedral and the tribune behind the high altar. All round these hollow, dome-covered arches or niches are high and narrow windows crowded with saints, angels, and all manner of blessed shapes, that turn the common daylight into a miracle of richness and splendor as it passes through their heavenly substance. And just beneath the swell of the great central dome is a wreath of circular windows quite round it, as brilliant as the tall and narrow ones below. It is a pity anybody should die without seeing an antique painted window, with the bright Italian sunshine glowing through it. This is "the dim, religious light" that Milton speaks of; but I doubt whether he saw these windows when he was in Italy, or any but those faded or dusty and dingy ones of the English cathedrals, else he would have illuminated that word "dim" with some epithet that should not chase away the dimness, yet should make it shine like a million of rubies, sapphires, emeralds, and topazes,—bright in themselves, but dim with tenderness and reverence because God himself was shining through them. I hate what I have said.

All the time that I was in the cathedral the space around the high altar, which stands exactly under the dome, was occupied by priests or acolytes in white garments, chanting a religious service.

After coming out, I took a view of the edifice from a corner of the street nearest to the dome, where it and the smaller domes can be seen at once. It is greatly more satisfactory than St. Peter's in any view I ever had of it,—striking in its outline, with a mystery, yet not a bewilderment, in its masses and curves and angles, and wrought out with a richness of detail that gives the eyes new arches, new galleries, new niches, new pinnacles, new beauties, great and small, to play with when wearied with the vast whole. The hue, black and white marbles, like the Baptistery, turned also yellow and brown, is greatly preferable to the buff travertine of St. Peter's.

From the Duomo it is but a moderate street's length to the Piazza del Gran Duca, the principal square of Florence. It is a very interesting place, and has on one side the old Governmental Palace,—the Palazzo Vecchio,—where many scenes of historic interest have been enacted; for example, conspirators have been hanged from its windows, or precipitated from them upon the pavement of the square below.

It is a pity that we cannot take as much interest in the history of these Italian Republics as in that of England, for the former is much the more picturesque and fuller of curious incident. The sobriety of the Anglo-Saxon race—in connection, too, with their moral sense—keeps them from doing a great many things that would enliven the page of history; and their events seem to come in great masses, shoved along by the agency of many persons, rather than to result from individual will and character. A hundred plots for a tragedy might be found in Florentine history for one in English.

At one corner of the Palazzo Vecchio is a bronze equestrian statue of Cosmo de' Medici, the first Grand Duke, very stately and majestic; there are other marble statues—one of David, by Michael Angelo—at each side of the palace door; and entering the court I found a rich antique arcade within, surrounded by marble pillars, most elaborately carved, supporting arches that were covered with faded frescos. I went no farther, but stepped across a little space of the square to the Loggia di Lanzi, which is broad and noble, of three vast arches, at the end of which, I take it, is a part of the Palazzo Uffizi fronting on the piazza. I should call it a portico if it stood before the palace door; but it seems to have been constructed merely for itself, and as a shelter for the people from sun and rain, and to contain some fine specimens of sculpture, as well antique as of more modern times. Benvenuto Cellini's Perseus stands here; but it did not strike me so much as the cast of it in the Crystal Palace.

A good many people were under these great arches; some of whom were reclining, half or quite asleep, on the marble seats that are built against the back of the loggia. A group was reading an edict of the Grand Duke, which appeared to have been just posted on a board, at the farther end of it; and I was surprised at the interest which they ventured to manifest, and the freedom with which they seemed to discuss it. A soldier was on guard, and doubtless there were spies enough to carry every word that was said to the ear of absolute authority. Glancing myself at the edict, however, I found it referred only to the furtherance of a project, got up among the citizens themselves, for bringing water into the city; and on such topics, I suppose there is freedom of discussion.

June 7th.—Saturday evening we walked with U—— and J——- into the city, and looked at the exterior of the Duomo with new admiration. Since my former view of it, I have noticed—which, strangely enough, did not strike me before—that the facade is but a great, bare, ugly space, roughly plastered over, with the brickwork peeping through it in spots, and a faint, almost invisible fresco of colors upon it. This front was once nearly finished with an incrustation of black and white marble, like the rest of the edifice; but one of the city magistrates, Benedetto Uguccione, demolished it, three hundred years ago, with the idea of building it again in better style. He failed to do so, and, ever since, the magnificence of the great church has been marred by this unsightly roughness of what should have been its richest part; nor is there, I suppose, any hope that it will ever be finished now.

The campanile, or bell-tower, stands within a few paces of the cathedral, but entirely disconnected from it, rising to a height of nearly three hundred feet, a square tower of light marbles, now discolored by time. It is impossible to give an idea of the richness of effect produced by its elaborate finish; the whole surface of the four sides, from top to bottom, being decorated with all manner of statuesque and architectural sculpture. It is like a toy of ivory, which some ingenious and pious monk might have spent his lifetime in adorning with scriptural designs and figures of saints; and when it was finished, seeing it so beautiful, he prayed that it might be miraculously magnified from the size of one foot to that of three hundred. This idea somewhat satisfies me, as conveying an impression how gigantesque the campanile is in its mass and height, and how minute and varied in its detail. Surely these mediaeval works have an advantage over the classic. They combine the telescope and the microscope.

The city was all alive in the summer evening, and the streets humming with voices. Before the doors of the cafes were tables, at which people were taking refreshment, and it went to my heart to see a bottle of English ale, some of which was poured foaming into a glass; at least, it had exactly the amber hue and the foam of English bitter ale; but perhaps it may have been merely a Florentine imitation.

As we returned home over the Arno, crossing the Ponte di Santa Trinita, we were struck by the beautiful scene of the broad, calm river, with the palaces along its shores repeated in it, on either side, and the neighboring bridges, too, just as perfect in the tide beneath as in the air above,—a city of dream and shadow so close to the actual one. God has a meaning, no doubt, in putting this spiritual symbol continually beside us.

Along the river, on both sides, as far as we could see, there was a row of brilliant lamps, which, in the far distance, looked like a cornice of golden light; and this also shone as brightly in the river's depths. The lilies of the evening, in the quarter where the sun had gone down, were very soft and beautiful, though not so gorgeous as thousands that I have seen in America. But I believe I must fairly confess that the Italian sky, in the daytime, is bluer and brighter than our own, and that the atmosphere has a quality of showing objects to better advantage. It is more than mere daylight; the magic of moonlight is somehow mixed up with it, although it is so transparent a medium of light.

Last evening, Mr. Powers called to see us, and sat down to talk in a friendly and familiar way. I do not know a man of more facile intercourse, nor with whom one so easily gets rid of ceremony. His conversation, too, is interesting. He talked, to begin with, about Italian food, as poultry, mutton, beef, and their lack of savoriness as compared with our own; and mentioned an exquisite dish of vegetables which they prepare from squash or pumpkin blossoms; likewise another dish, which it will be well for us to remember when we get back to the Wayside, where we are overrun with acacias. It consists of the acacia-blossoms in a certain stage of their development fried in olive-oil. I shall get the receipt from Mrs. Powers, and mean to deserve well of my country by first trying it, and then making it known; only I doubt whether American lard, or even butter, will produce the dish quite so delicately as fresh Florence oil.

Meanwhile, I like Powers all the better, because he does not put his life wholly into marble. We had much talk, nevertheless, on matters of sculpture, for he drank a cup of tea with us, and stayed a good while.

He passed a condemnatory sentence on classic busts in general, saying that they were conventional, and not to be depended upon as trite representations of the persons. He particularly excepted none but the bust of Caracalla; and, indeed, everybody that has seen this bust must feel the justice of the exception, and so be the more inclined to accept his opinion about the rest. There are not more than half a dozen—that of Cato the Censor among the others—in regard to which I should like to ask his judgment individually. He seems to think the faculty of making a bust an extremely rare one. Canova put his own likeness into all the busts he made. Greenough could not make a good one; nor Crawford, nor Gibson. Mr. Harte, he observed,—an American sculptor, now a resident in Florence,—is the best man of the day for making busts. Of course, it is to be presumed that he excepts himself; but I would not do Powers the great injustice to imply that there is the slightest professional jealousy in his estimate of what others have done, or are now doing, in his own art. If he saw a better man than himself, he would recognize him at once, and tell the world of him; but he knows well enough that, in this line, there is no better, and probably none so good. It would not accord with the simplicity of his character to blink a fact that stands so broadly before him.

We asked him what he thought, of Mr. Gibson's practice of coloring his statues, and he quietly and slyly said that he himself had made wax figures in his earlier days, but had left off making them now. In short, he objected to the practice wholly, and said that a letter of his on the subject had been published in the London "Athenaeum," and had given great offence to some of Mr. Gibson's friends. It appeared to me, however, that his arguments did not apply quite fairly to the case, for he seems to think Gibson aims at producing an illusion of life in the statue, whereas I think his object is merely to give warmth and softness to the snowy marble, and so bring it a little nearer to our hearts and sympathies. Even so far, nevertheless, I doubt whether the practice is defensible, and I was glad to see that Powers scorned, at all events, the argument drawn from the use of color by the antique sculptors, on which Gibson relies so much. It might almost be implied, from the contemptuous way in which Powers spoke of color, that he considers it an impertinence on the face of visible nature, and would rather the world had been made without it; for he said that everything in intellect or feeling can be expressed as perfectly, or more so, by the sculptor in colorless marble, as by the painter with all the resources of his palette. I asked him whether he could model the face of Beatrice Cenci from Guido's picture so as to retain the subtle expression, and he said he could, for that the expression depended entirely on the drawing, "the picture being a badly colored thing." I inquired whether he could model a blush, and he said "Yes"; and that he had once proposed to an artist to express a blush in marble, if he would express it in picture. On consideration, I believe one to be as impossible as the other; the life and reality of the blush being in its tremulousness, coming and going. It is lost in a settled red just as much as in a settled paleness, and neither the sculptor nor painter can do more than represent the circumstances of attitude and expression that accompany the blush. There was a great deal of truth in what Powers said about this matter of color, and in one of our interminable New England winters it ought to comfort us to think how little necessity there is for any hue but that of the snow.

Mr. Powers, nevertheless, had brought us a bunch of beautiful roses, and seemed as capable of appreciating their delicate blush as we were. The best thing he said against the use of color in marble was to the effect that the whiteness removed the object represented into a sort of spiritual region, and so gave chaste permission to those nudities which would otherwise suggest immodesty. I have myself felt the truth of this in a certain sense of shame as I looked at Gibson's tinted Venus.

He took his leave at about eight o'clock, being to make a call on the
Bryants, who are at the Hotel de New York, and also on Mrs. Browning, at
Casa Guidi.

END OF VOL. I.

PASSAGES FROM THE FRENCH AND ITALIAN NOTE-BOOKS

OF

NATHANIEL HAWTHORNE

VOL. II.

PASSAGES FROM HAWTHORNE'S NOTE-BOOKS IN FRANCE AND ITALY.

FLORENCE (Continued).

June 8th.—I went this morning to the Uffizi gallery. The entrance is from the great court of the palace, which communicates with Lung' Arno at one end, and with the Grand Ducal Piazza at the other. The gallery is in the upper story of the palace, and in the vestibule are some busts of the princes and cardinals of the Medici family,—none of them beautiful, one or two so ugly as to be ludicrous, especially one who is all but buried in his own wig. I at first travelled slowly through the whole extent of this long, long gallery, which occupies the entire length of the palace on both sides of the court, and is full of sculpture and pictures. The latter, being opposite to the light, are not seen to the best advantage; but it is the most perfect collection, in a chronological series, that I have seen, comprehending specimens of all the masters since painting began to be an art. Here are Giotto, and Cimabue, and Botticelli, and Fra Angelico, and Filippo Lippi, and a hundred others, who have haunted me in churches and galleries ever since I have been in Italy, and who ought to interest me a great deal more than they do. Occasionally to-day I was sensible of a certain degree of emotion in looking at an old picture; as, for example, by a large, dark, ugly picture of Christ hearing the cross and sinking beneath it, when, somehow or other, a sense of his agony, and the fearful wrong that mankind did (and does) its Redeemer, and the scorn of his enemies, and the sorrow of those who loved him, came knocking at any heart and got entrance there. Once more I deem it a pity that Protestantism should have entirely laid aside this mode of appealing to the religious sentiment.

I chiefly paid attention to the sculpture, and was interested in a long series of busts of the emperors and the members of their families, and some of the great men of Rome. There is a bust of Pompey the Great, bearing not the slightest resemblance to that vulgar and unintellectual one in the gallery of the Capitol, altogether a different cast of countenance. I could not judge whether it resembled the face of the statue, having seen the latter so imperfectly in the duskiness of the hall of the Spada Palace. These, I presume, are the busts which Mr. Powers condemns, from internal evidence, as unreliable and conventional. He may be right,—and is far more likely, of course, to be right than I am,—yet there certainly seems to be character in these marble faces, and they differ as much among themselves as the same number of living faces might. The bust of Caracalla, however, which Powers excepted from his censure, certainly does give stronger assurance of its being an individual and faithful portrait than any other in the series. All the busts of Caracalla—of which I have seen many—give the same evidence of their truth; and I should like to know what it was in this abominable emperor that made him insist upon having his actual likeness perpetuated, with all the ugliness of its animal and moral character. I rather respect him for it, and still more the sculptor, whose hand, methinks, must have trembled as he wrought the bust. Generally these wicked old fellows, and their wicked wives and daughters, are not so hideous as we might expect. Messalina, for instance, has small and pretty features, though with rather a sensual development of the lower part of the face. The busts, it seemed to me, are usually superior as works of art to those in the Capitol, and either better preserved or more thoroughly restored. The bust of Nero might almost be called handsome here, though bearing his likeness unmistakably.

I wish some competent person would undertake to analyze and develop his character, and how and by what necessity—with all his elegant tastes, his love of the beautiful, his artist nature—he grew to be such a monster. Nero has never yet had justice done him, nor have any of the wicked emperors; not that I suppose them to have been any less monstrous than history represents them; but there must surely have been something in their position and circumstances to render the terrible moral disease which seized upon them so generally almost inevitable. A wise and profound man, tender and reverent of the human soul, and capable of appreciating it in its height and depth, has a great field here for the exercise of his powers. It has struck me, in reading the history of the Italian republics, that many of the tyrants, who sprung up after the destruction of their liberties, resembled the worst of the Roman emperors. The subject of Nero and his brethren has often perplexed me with vain desires to come at the truth.

There were many beautiful specimens of antique, ideal sculpture all along the gallery,—Apollos, Bacchuses, Venuses, Mercurys, Fauns,—with the general character of all of which I was familiar enough to recognize them at a glance. The mystery and wonder of the gallery, however, the Venus de' Medici, I could nowhere see, and indeed was almost afraid to see it; for I somewhat apprehended the extinction of another of those lights that shine along a man's pathway, and go out in a snuff the instant he comes within eyeshot of the fulfilment of his hopes. My European experience has extinguished many such. I was pretty well contented, therefore, not to find the famous statue in the whole of my long journey from end to end of the gallery, which terminates on the opposite side of the court from that where it commences. The ceiling, by the by, through the entire length, is covered with frescos, and the floor paved with a composition of stone smooth and polished like marble. The final piece of sculpture, at the end of the gallery, is a copy of the Laocoon, considered very fine. I know not why, but it did not impress me with the sense of mighty and terrible repose—a repose growing out of the infinitude of trouble— that I had felt in the original.

Parallel with the gallery, on both sides of the palace-court, there runs a series of rooms devoted chiefly to pictures, although statues and bas-reliefs are likewise contained in some of them. I remember an unfinished bas-relief by Michael Angelo of a Holy Family, which I touched with my finger, because it seemed as if he might have been at work upon it only an hour ago. The pictures I did little more than glance at, till I had almost completed again the circuit of the gallery, through this series of parallel rooms, and then I came upon a collection of French and Dutch and Flemish masters, all of which interested me more than the Italian generally. There was a beautiful picture by Claude, almost as good as those in the British National Gallery, and very like in subject; the sun near the horizon, of course, and throwing its line of light over the ripple of water, with ships at the strand, and one or two palaces of stately architecture on the shore. Landscapes by Rembrandt; fat Graces and other plump nudities by Rubens; brass pans and earthen pots and herrings by Terriers and other Dutchmen; none by Gerard Douw, I think, but several by Mieris; all of which were like bread and beef and ale, after having been fed too long on made dishes. This is really a wonderful collection of pictures; and from first, to last—from Giotto to the men of yesterday—they are in admirable condition, and may be appreciated for all the merit that they ever possessed.

I could not quite believe that I was not to find the Venus de' Medici; and still, as I passed from one room to another, my breath rose and fell a little, with the half-hope, half-fear, that she might stand before me. Really, I did not know that I cared so much about Venus, or any possible woman of marble. At last, when I had come from among the Dutchmen, I believe, and was looking at some works of Italian artists, chiefly Florentines, I caught a glimpse of her through the door of the next room. It is the best room of the series, octagonal in shape, and hung with red damask, and the light comes down from a row of windows, passing quite round, beneath an octagonal dome. The Venus stands somewhat aside from the centre of the room, and is surrounded by an iron railing, a pace or two from her pedestal in front, and less behind. I think she might safely be left to the reverence her womanhood would win, without any other protection. She is very beautiful, very satisfactory; and has a fresh and new charm about her unreached by any cast or copy. The line of the marble is just so much mellowed by time, as to do for her all that Gibson tries, or ought to try to do for his statues by color, softening her, warming her almost imperceptibly, making her an inmate of the heart, as well as a spiritual existence. I felt a kind of tenderness for her; an affection, not as if she were one woman, but all womanhood in one. Her modest attitude, which, before I saw her I had not liked, deeming that it might be an artificial shame, is partly what unmakes her as the heathen goddess, and softens her into woman. There is a slight degree of alarm, too, in her face; not that she really thinks anybody is looking at her, yet the idea has flitted through her mind, and startled her a little. Her face is so beautiful and intellectual, that it is not dazzled out of sight by her form. Methinks this was a triumph for the sculptor to achieve. I may as well stop here. It is of no use to throw heaps of words upon her; for they all fall away, and leave her standing in chaste and naked grace, as untouched as when I began.

She has suffered terribly by the mishaps of her long existence in the marble. Each of her legs has been broken into two or three fragments, her arms have been severed, her body has been broken quite across at the waist, her head has been snapped off at the neck. Furthermore, there have been grievous wounds and losses of substance in various tender parts of her person. But on account of the skill with which the statue has been restored, and also because the idea is perfect and indestructible, all these injuries do not in the least impair the effect, even when you see where the dissevered fragments have been reunited. She is just as whole as when she left the hands of the sculptor. I am glad to have seen this Venus, and to have found her so tender and so chaste. On the wall of the room, and to be taken in at the same glance, is a painted Venus by Titian, reclining on a couch, naked and lustful.

The room of the Venus seems to be the treasure-place of the whole Uffizi Palace, containing more pictures by famous masters than are to be found in all the rest of the gallery. There were several by Raphael, and the room was crowded with the easels of artists. I did not look half enough at anything, but merely took a preliminary taste, as a prophecy of enjoyment to come.

As we were at dinner to-day, at half past three, there was a ring at the door, and a minute after our servant brought a card. It was Mr. Robert Browning's, and on it was written in pencil an invitation for us to go to see them this evening. He had left the card and gone away; but very soon the bell rang again, and he had come back, having forgotten to give his address. This time he came in; and he shook hands with all of us, children and grown people, and was very vivacious and agreeable. He looked younger and even handsomer than when I saw him in London, two years ago, and his gray hairs seemed fewer than those that had then strayed into his youthful head. He talked a wonderful quantity in a little time, and told us—among other things that we should never have dreamed of—that Italian people will not cheat you, if you construe them generously, and put them upon their honor.

Mr. Browning was very kind and warm in his expressions of pleasure at seeing us; and, on our part, we were all very glad to meet him. He must be an exceedingly likable man. . . . . They are to leave Florence very soon, and are going to Normandy, I think he said, for the rest of the summer.

The Venus de' Medici has a dimple in her chin.

June 9th.—We went last evening, at eight o'clock, to see the Brownings; and, after some search and inquiry, we found the Casa Guidi, which is a palace in a street not very far from our own. It being dusk, I could not see the exterior, which, if I remember, Browning has celebrated in song; at all events, Mrs. Browning has called one of her poems "Casa Guidi Windows."

The street is a narrow one; but on entering the palace, we found a spacious staircase and ample accommodations of vestibule and hall, the latter opening on a balcony, where we could hear the chanting of priests in a church close by. Browning told us that this was the first church where an oratorio had ever been performed. He came into the anteroom to greet us, as did his little boy, Robert, whom they call Pennini for fondness. The latter cognomen is a diminutive of Apennino, which was bestowed upon him at his first advent into the world because he was so very small, there being a statue in Florence of colossal size called Apennino. I never saw such a boy as this before; so slender, fragile, and spirit-like,—not as if he were actually in ill health, but as if he had little or nothing to do with human flesh and blood. His face is very pretty and most intelligent, and exceedingly like his mother's. He is nine years old, and seems at once less childlike and less manly than would befit that age. I should not quite like to be the father of such a boy, and should fear to stake so much interest and affection on him as he cannot fail to inspire. I wonder what is to become of him,—whether he will ever grow to be a man,—whether it is desirable that he should. His parents ought to turn their whole attention to making him robust and earthly, and to giving him a thicker scabbard to sheathe his spirit in. He was born in Florence, and prides himself on being a Florentine, and is indeed as un-English a production as if he were native of another planet.

Mrs. Browning met us at the door of the drawing-room, and greeted us most kindly,—a pale, small person, scarcely embodied at all; at any rate, only substantial enough to put forth her slender fingers to be grasped, and to speak with a shrill, yet sweet, tenuity of voice. Really, I do not see how Mr. Browning can suppose that he has an earthly wife any more than an earthly child; both are of the elfin race, and will flit away from him some day when he least thinks of it. She is a good and kind fairy, however, and sweetly disposed towards the human race, although only remotely akin to it. It is wonderful to see how small she is, how pale her cheek, how bright and dark her eyes. There is not such another figure in the world; and her black ringlets cluster down into her neck, and make her face look the whiter by their sable profusion. I could not form any judgment about her age; it may range anywhere within the limits of human life or elfin life. When I met her in London at Lord Houghton's breakfast-table, she did not impress me so singularly; for the morning light is more prosaic than the dim illumination of their great tapestried drawing-room; and besides, sitting next to her, she did not have occasion to raise her voice in speaking, and I was not sensible what a slender voice she has. It is marvellous to me how so extraordinary, so acute, so sensitive a creature can impress us, as she does, with the certainty of her benevolence. It seems to me there were a million chances to one that she would have been a miracle of acidity and bitterness.

We were not the only guests. Mr. and Mrs. E———, Americans, recently from the East, and on intimate terms with the Brownings, arrived after us; also Miss F. H———, an English literary lady, whom I have met several times in Liverpool; and lastly came the white head and palmer-like beard of Mr. ——— with his daughter. Mr. Browning was very efficient in keeping up conversation with everybody, and seemed to be in all parts of the room and in every group at the same moment; a most vivid and quick-thoughted person, logical and common-sensible, as, I presume, poets generally are in their daily talk.

Mr. ———, as usual, was homely and plain of manner, with an old-fashioned dignity, nevertheless, and a remarkable deference and gentleness of tone in addressing Mrs. Browning. I doubt, however, whether he has any high appreciation either of her poetry or her husband's, and it is my impression that they care as little about his.

We had some tea and some strawberries, and passed a pleasant evening. There was no very noteworthy conversation; the most interesting topic being that disagreeable and now wearisome one of spiritual communications, as regards which Mrs. Browning is a believer, and her husband an infidel. Mr. ——— appeared not to have made up his mind on the matter, but told a story of a successful communication between Cooper the novelist and his sister, who had been dead fifty years. Browning and his wife had both been present at a spiritual session held by Mr. Hume, and had seen and felt the unearthly hands, one of which had placed a laurel wreath on Mrs. Browning's head. Browning, however, avowed his belief that these hands were affixed to the feet of Mr. Hume, who lay extended in his chair, with his legs stretched far under the table. The marvellousness of the fact, as I have read of it, and heard it from other eye-witnesses, melted strangely away in his hearty gripe, and at the sharp touch of his logic; while his wife, ever and anon, put in a little gentle word of expostulation.

I am rather surprised that Browning's conversation should be so clear, and so much to the purpose at the moment, since his poetry can seldom proceed far without running into the high grass of latent meanings and obscure allusions.

Mrs. Browning's health does not permit late hours, so we began to take heave at about ten o'clock. I heard her ask Mr. ——— if he did not mean to revisit Europe, and heard him answer, not uncheerfully, taking hold of his white hair, "It is getting rather too late in the evening now." If any old age can be cheerful, I should think his might be; so good a man, so cool, so calm, so bright, too, we may say. His life has been like the days that end in pleasant sunsets. He has a great loss, however, or what ought to be a great loss,—soon to be encountered in the death of his wife, who, I think, can hardly live to reach America. He is not eminently an affectionate man. I take him to be one who cannot get closely home to his sorrow, nor feel it so sensibly as he gladly would; and, in consequence of that deficiency, the world lacks substance to him. It is partly the result, perhaps, of his not having sufficiently cultivated his emotional nature. His poetry shows it, and his personal intercourse, though kindly, does not stir one's blood in the least.

Little Pennini, during the evening, sometimes helped the guests to cake and strawberries; joined in the conversation, when he had anything to say, or sat down upon a couch to enjoy his own meditations. He has long curling hair, and has not yet emerged from his frock and short hose. It is funny to think of putting him into trousers. His likeness to his mother is strange to behold.

June 10th.—My wife and I went to the Pitti Palace to-day; and first entered a court where, yesterday, she had seen a carpet of flowers, arranged for some great ceremony. It must have been a most beautiful sight, the pavement of the court being entirely covered by them, in a regular pattern of brilliant lines, so as really to be a living mosaic. This morning, however, the court had nothing but its usual stones, and the show of yesterday seemed so much the more inestimable as having been so evanescent. Around the walls of the court there were still some pieces of splendid tapestry which had made part of yesterday's magnificence. We went up the staircase, of regally broad and easy ascent, and made application to be admitted to see the grand-ducal apartments. An attendant accordingly took the keys, and ushered us first into a great hall with a vaulted ceiling, and then through a series of noble rooms, with rich frescos above and mosaic floors, hung with damask, adorned with gilded chandeliers, and glowing, in short, with more gorgeousness than I could have imagined beforehand, or can now remember. In many of the rooms were those superb antique cabinets which I admire more than any other furniture ever invented; only these were of unexampled art and glory, inlaid with precious stones, and with beautiful Florentine mosaics, both of flowers and landscapes,—each cabinet worth a lifetime's toil to make it, and the cost a whole palace to pay for it. Many of the rooms were covered with arras, of landscapes, hunting-scenes, mythological subjects, or historical scenes, equal to pictures in truth of representation, and possessing an indescribable richness that makes them preferable as a mere adornment of princely halls and chambers. Some of the rooms, as I have said, were laid in mosaic of stone and marble, otherwise in lovely patterns of various woods; others were covered with carpets, delightful to tread upon, and glowing like the living floor of flowers which my wife saw yesterday. There were tables, too, of Florentine mosaic, the mere materials of which—lapis lazuli, malachite, pearl, and a hundred other precious things—were worth a fortune, and made a thousand times more valuable by the artistic skill of the manufacturer. I toss together brilliant words by the handful, and make a rude sort of patchwork, but can record no adequate idea of what I saw in this suite of rooms; and the taste, the subdued splendor, so that it did not shine too high, but was all tempered into an effect at once grand and soft,—this was quite as remarkable as the gorgeous material. I have seen a very dazzling effect produced in the principal cabin of an American clipper-ship quite opposed to this in taste.

After making the circuit of the grand-ducal apartments, we went into a door in the left wing of the palace, and ascended a narrow flight of stairs,—several tortuous flights indeed,—to the picture-gallery. It fills a great many stately halls, which themselves are well worth a visit for the architecture and frescos; only these matters become commonplace after travelling through a mile or two of them. The collection of pictures—as well for their number as for the celebrity and excellence of many of them—is the most interesting that I have seen, and I do not yet feel in a condition, nor perhaps ever shall, to speak of a single one. It gladdened my very heart to find that they were not darkened out of sight, nor apparently at all injured by time, but were well kept and varnished, brilliantly framed, and, no doubt, restored by skilful touches if any of them needed it. The artists and amateurs may say what they like; for my part, I know no drearier feeling than that inspired by a ruined picture,—ruined, that is, by time, damp, or rough treatment,—and I would a thousand times rather an artist should do his best towards reviving it, than have it left in such a condition. I do not believe, however, that these pictures have been sacrilegiously interfered with; at all events, I saw in the masterpieces no touch but what seemed worthy of the master-hand.

The most beautiful picture in the world, I am convinced, is Raphael's "Madonna della Seggiola." I was familiar with it in a hundred engravings and copies, and therefore it shone upon one as with a familiar beauty, though infinitely more divine than I had ever seen it before. An artist was copying it, and producing certainly something very like a fac-simile, yet leaving out, as a matter of course, that mysterious something that renders the picture a miracle. It is my present opinion that the pictorial art is capable of something more like magic, more wonderful and inscrutable in its methods, than poetry or any other mode of developing the beautiful. But how does this accord with what I have been saying only a minute ago? How then can the decayed picture of a great master ever be restored by the touches of an inferior hand? Doubtless it never can be restored; but let some devoted worshipper do his utmost, and the whole inherent spirit of the divine picture may pervade his restorations likewise.

I saw the "Three Fates" of Michael Angelo, which were also being copied, as were many other of the best pictures. Miss Fanny Howorth, whom I met in the gallery, told me that to copy the "Madonna della Seggiola," application must be made five years beforehand, so many are the artists who aspire to copy it. Michael Angelo's Fates are three very grim and pitiless old women, who respectively spin, hold, and cut the thread of human destiny, all in a mood of sombre gloom, but with no more sympathy than if they had nothing to do with us. I remember seeing an etching of this when I was a child, and being struck, even then, with the terrible, stern, passionless severity, neither loving us nor hating us, that characterizes these ugly old women. If they were angry, or had the least spite against human kind, it would render them the more tolerable. They are a great work, containing and representing the very idea that makes a belief in fate such a cold torture to the human soul. God give me the sure belief in his Providence!

In a year's time, with the advantage of access to this magnificent gallery, I think I might come to have some little knowledge of pictures. At present I still know nothing; but am glad to find myself capable, at least, of loving one picture better than another. I cannot always "keep the heights I gain," however, and after admiring and being moved by a picture one day, it is within my experience to look at it the next as little moved as if it were a tavern-sign. It is pretty much the same with statuary; the same, too, with those pictured windows of the Duomo, which I described so rapturously a few days ago. I looked at them again the next morning, and thought they would have been hardly worthy of my eulogium, even had all the separate windows of the cathedral combined their narrow lights into one grand, resplendent, many-colored arch at the eastern end. It is a pity they are so narrow. England has many a great chancel-window that, though dimmer in its hues, dusty, and perhaps made up of heterogeneous fragments, eclipses these by its spacious breadth.

From the gallery, I went into the Boboli Gardens, which are contiguous to the palace; but found them too sunny for enjoyment. They seem to consist partly of a wilderness; but the portion into which I strayed was laid out with straight walks, lined with high box-hedges, along which there was only a narrow margin of shade. I saw an amphitheatre, with a wide sweep of marble seat around it, enclosing a grassy space, where, doubtless, the Medici may have witnessed splendid spectacles.

June 11th.—I paid another visit to the Uffizi gallery this morning, and found that the Venus is one of the things the charm of which does not diminish on better acquaintance. The world has not grown weary of her in all these ages; and mortal man may look on her with new delight from infancy to old age, and keep the memory of her, I should imagine, as one of the treasures of spiritual existence hereafter. Surely, it makes me more ready to believe in the high destinies of the human race, to think that this beautiful form is but nature's plan for all womankind, and that the nearer the actual woman approaches it, the more natural she is. I do not, and cannot think of her as a senseless image, but as a being that lives to gladden the world, incapable of decay and death; as young and fair to-day as she was three thousand years ago, and still to be young and fair as long as a beautiful thought shall require physical embodiment. I wonder how any sculptor has had the impertinence to aim at any other presentation of female beauty. I mean no disrespect to Gibson or Powers, or a hundred other men who people the world with nudities, all of which are abortions as compared with her; but I think the world would be all the richer if their Venuses, their Greek Slaves, their Eves, were burnt into quicklime, leaving us only this statue as our image of the beautiful. I observed to-day that the eyes of the statue are slightly hollowed out, in a peculiar way, so as to give them a look of depth and intelligence. She is a miracle. The sculptor must have wrought religiously, and have felt that something far beyond his own skill was working through his hands. I mean to leave off speaking of the Venus hereafter, in utter despair of saying what I wish; especially as the contemplation of the statue will refine and elevate my taste, and make it continually more difficult to express my sense of its excellence, as the perception of it grows upon one. If at any time I become less sensible of it, it will be my deterioration, not any defect in the statue.

I looked at many of the pictures, and found myself in a favorable mood for enjoying them. It seems to me that a work of art is entitled to credit for all that it makes us feel in our best moments; and we must judge of its merits by the impression it then makes, and not by the coldness and insensibility of our less genial moods.

After leaving the Uffizi Palace, . . . . I went into the Museum of Natural History, near the Pitti Palace. It is a very good collection of almost everything that Nature has made,—or exquisite copies of what she has made,—stones, shells, vegetables, insects, fishes, animals, man; the greatest wonders of the museum being some models in wax of all parts of the human frame. It is good to have the wholeness and summed-up beauty of woman in the memory, when looking at the details of her system as here displayed; for these last, to the natural eye, are by no means beautiful. But they are what belong only to our mortality. The beauty that makes them invisible is our immortal type, which we shall take away with us. Under glass cases, there were some singular and horribly truthful representations, in small wax figures, of a time of pestilence; the hasty burial, or tossing into one common sepulchre, of discolored corpses,—a very ugly piece of work, indeed. I think Murray says that these things were made for the Grand Duke Cosmo; and if so, they do him no credit, indicating something dark and morbid in his character.

June 13th.—We called at the Powers's yesterday morning to leave R——- there for an hour or two to play with the children; and it being not yet quite time for the Pitti Palace, we stopped into the studio. Soon Mr. Powers made his appearance, in his dressing-gown and slippers and sculptor's cap, smoking a cigar. . . . . He was very cordial and pleasant, as I have always found him, and began immediately to be communicative about his own works, or any other subject that came up. There were two casts of the Venus de' Medici in the rooms, which he said were valuable in a commercial point of view, being genuine casts from the mould taken from the statue. He then gave us a quite unexpected but most interesting lecture on the Venus, demonstrating it, as he proceeded, by reference to the points which he criticised. The figure, he seemed to allow, was admirable, though I think he hardly classes it so high as his own Greek Slave or Eva; but the face, he began with saying, was that of an idiot. Then, leaning on the pedestal of the cast, he continued, "It is rather a bold thing to say, isn't it, that the sculptor of the Venus de' Medici did not know what he was about?"

Truly, it appeared to me so; but Powers went on remorselessly, and showed, in the first place, that the eye was not like any eye that Nature ever made; and, indeed, being examined closely, and abstracted from the rest of the face, it has a very queer look,—less like a human eye than a half-worn buttonhole! Then he attacked the ear, which, he affirmed and demonstrated, was placed a good deal too low on the head, thereby giving an artificial and monstrous height to the portion of the head above it. The forehead met with no better treatment in his hands, and as to the mouth, it was altogether wrong, as well in its general make as in such niceties as the junction of the skin of the lips to the common skin around them. In a word, the poor face was battered all to pieces and utterly demolished; nor was it possible to doubt or question that it fell by its own demerits. All that could be urged in its defence—and even that I did not urge—being that this very face had affected me, only the day before, with a sense of higher beauty and intelligence than I had ever then received from sculpture, and that its expression seemed to accord with that of the whole figure, as if it were the sweetest note of the same music. There must be something in this; the sculptor disregarded technicalities, and the imitation of actual nature, the better to produce the effect which he really does produce, in somewhat the same way as a painter works his magical illusions by touches that have no relation to the truth if looked at from the wrong point of view. But Powers considers it certain that the antique sculptor had bestowed all his care on the study of the human figure, and really did not know how to make a face. I myself used to think that the face was a much less important thing with the Greeks, among whom the entire beauty of the form was familiarly seen, than with ourselves, who allow no other nudity.

After annihilating the poor visage, Powers showed us his two busts of Proserpine and Psyche, and continued his lecture by showing the truth to nature with which these are modelled. I freely acknowledge the fact; there is no sort of comparison to be made between the beauty, intelligence, feeling, and accuracy of representation in these two faces and in that of the Venus de' Medici. A light—the light of a soul proper to each individual character—seems to shine from the interior of the marble, and beam forth from the features, chiefly from the eyes. Still insisting upon the eye, and hitting the poor Venus another and another and still another blow on that unhappy feature, Mr. Powers turned up and turned inward and turned outward his own Titanic orb,—the biggest, by far, that ever I saw in mortal head,—and made us see and confess that there was nothing right in the Venus and everything right in Psyche and Proserpine. To say the truth, their marble eyes have life, and, placing yourself in the proper position towards them, you can meet their glances, and feel them mingle with your own. Powers is a great man, and also a tender and delicate one, massive and rude of surface as he looks; and it is rather absurd to feel how he impressed his auditor, for the time being, with his own evident idea that nobody else is worthy to touch marble. Mr. B——— told me that Powers has had many difficulties on professional grounds, as I understood him, and with his brother artists. No wonder! He has said enough in my hearing to put him at swords' points with sculptors of every epoch and every degree between the two inclusive extremes of Phidias and Clark Mills.

He has a bust of the reigning Grand Duchess of Tuscany, who sat to him for it. The bust is that of a noble-looking lady; and Powers remarked that royal personages have a certain look that distinguishes them from other people, and is seen in individuals of no lower rank. They all have it; the Queen of England and Prince Albert have it; and so likewise has every other Royalty, although the possession of this kingly look implies nothing whatever as respects kingly and commanding qualities. He said that none of our public men, whatever authority they may have held, or for whatever length of time, possess this look, but he added afterwards that Washington had it. Commanders of armies sometimes have it, but not in the degree that royal personages do. It is, as well as I could make out Powers's idea, a certain coldness of demeanor, and especially of eye, that surrounds them with an atmosphere through which the electricity of human brotherhood cannot pass. From their youth upward they are taught to feel themselves apart from the rest of mankind, and this manner becomes a second nature to them in consequence, and as a safeguard to their conventional dignity. They put themselves under glass, as it were (the illustration is my own), so that, though you see them, and see them looking no more noble and dignified than other mortals, nor so much so as many, still they keep themselves within a sort of sanctity, and repel you by an invisible barrier. Even if they invite you with a show of warmth and hospitality, you cannot get through. I, too, recognize this look in the portraits of Washington; in him, a mild, benevolent coldness and apartness, but indicating that formality which seems to have been deeper in him than in any other mortal, and which built up an actual fortification between himself and human sympathy. I wish, for once, Washington could come out of his envelopment and show us what his real dimensions were.

Among other models of statues heretofore made, Powers showed us one of Melancholy, or rather of Contemplation, from Milton's "Penseroso"; a female figure with uplifted face and rapt look, "communing with the skies." It is very fine, and goes deeply into Milton's thought; but, as far as the outward form and action are concerned, I remember seeing a rude engraving in my childhood that probably suggested the idea. It was prefixed to a cheap American edition of Milton's poems, and was probably as familiar to Powers as to myself. It is very remarkable how difficult it seems to be to strike out a new attitude in sculpture; a new group, or a new single figure.

One piece of sculpture Powers exhibited, however, which was very exquisite, and such as I never saw before. Opening a desk, he took out something carefully enclosed between two layers of cotton-wool, on removing which there appeared a little baby's hand most delicately represented in the whitest marble; all the dimples where the knuckles were to be, all the creases in the plump flesh, every infantine wrinkle of the soft skin being lovingly recorded. "The critics condemn minute representation," said Powers; "but you may look at this through a microscope and see if it injures the general effect." Nature herself never made a prettier or truer little hand. It was the hand of his daughter,—"Luly's hand," Powers called it,—the same that gave my own such a frank and friendly grasp when I first met "Luly." The sculptor made it only for himself and his wife, but so many people, he said, had insisted on having a copy, that there are now forty scattered about the world. At sixty years, Luly ought to have her hand sculptured again, and give it to her grandchildren with the baby's hand of five months old. The baby-hand that had done nothing, and felt only its mother's kiss; the old lady's hand that had exchanged the love-pressure, worn the marriage-ring, closed dead eyes,—done a lifetime's work, in short. The sentiment is rather obvious, but true nevertheless.

Before we went away, Powers took us into a room apart—apparently the secretest room he had—and showed us some tools and machinery, all of his own contrivance and invention. "You see I am a bit of a Yankee," he observed.

This machinery is chiefly to facilitate the process of modelling his works, for—except in portrait-busts—he makes no clay model as other sculptors do, but models directly in the plaster; so that instead of being crumbled, like clay, the original model remains a permanent possession. He has also invented a certain open file, which is of great use in finishing the surface of the marble; and likewise a machine for making these files and for punching holes through iron, and he demonstrated its efficiency by punching a hole through an iron bar, with a force equivalent to ten thousand pounds, by the mere application of a part of his own weight. These inventions, he says, are his amusement, and the bent of his nature towards sculpture must indeed have been strong, to counteract, in an American, such a capacity for the contrivance of steam-engines. . . . .

I had no idea of filling so many pages of this journal with the sayings and characteristics of Mr. Powers, but the man and his talk are fresh, original, and full of bone and muscle, and I enjoy him much.

We now proceeded to the Pitti Palace, and spent several hours pleasantly in its saloons of pictures. I never enjoyed pictures anywhere else as I do in Florence. There is an admirable Judith in this gallery by Allori; a face of great beauty and depth, and her hand clutches the head of Holofernes by the hair in a way that startles the spectator. There are two peasant Madonnas by Murillo; simple women, yet with a thoughtful sense of some high mystery connected with the baby in their arms.

Raphael grows upon me; several other famous painters—Guido, for instance—are fading out of my mind. Salvator Rosa has two really wonderful landscapes, looking from the shore seaward; and Rubens too, likewise on a large scale, of mountain and plain. It is very idle and foolish to talk of pictures; yet, after poring over them and into them, it seems a pity to let all the thought excited by them pass into nothingness.

The copyists of pictures are very numerous, both in the Pitti and Uffizi galleries; and, unlike sculptors, they appear to be on the best of terms with one another, chatting sociably, exchanging friendly criticism, and giving their opinions as to the best mode of attaining the desired effects. Perhaps, as mere copyists, they escape the jealousy that might spring up between rival painters attempting to develop original ideas. Miss Howorth says that the business of copying pictures, especially those of Raphael, is a regular profession, and she thinks it exceedingly obstructive to the progress or existence of a modern school of painting, there being a regular demand and sure sale for all copies of the old masters, at prices proportioned to their merit; whereas the effort to be original insures nothing, except long neglect, at the beginning of a career, and probably ultimate failure, and the necessity of becoming a copyist at last. Some artists employ themselves from youth to age in nothing else but the copying of one single and selfsame picture by Raphael, and grow at last to be perfectly mechanical, making, I suppose, the same identical stroke of the brush in fifty successive pictures.

The weather is very hot now,—hotter in the sunshine, I think, than a midsummer day usually is in America, but with rather a greater possibility of being comfortable in the shade. The nights, too, are warm, and the bats fly forth at dusk, and the fireflies quite light up the green depths of our little garden. The atmosphere, or something else, causes a sort of alacrity in my mind and an affluence of ideas, such as they are; but it does not thereby make me the happier. I feel an impulse to be at work, but am kept idle by the sense of being unsettled with removals to be gone through, over and over again, before I can shut myself into a quiet room of my own, and turn the key. I need monotony too, an eventless exterior life, before I can live in the world within.

June 15th.—Yesterday we went to the Uffizi gallery, and, of course, I took the opportunity to look again at the Venus de' Medici after Powers's attack upon her face. Some of the defects he attributed to her I could not see in the statue; for instance, the ear appeared to be in accordance with his own rule, the lowest part of it being about in a straight line with the upper lip. The eyes must be given up, as not, when closely viewed, having the shape, the curve outwards, the formation of the lids, that eyes ought to have; but still, at a proper distance, they seemed to have intelligence in them beneath the shadow cast by the brow. I cannot help thinking that the sculptor intentionally made every feature what it is, and calculated them all with a view to the desired effect. Whatever rules may be transgressed, it is a noble and beautiful face,—more so, perhaps, than if all rules had been obeyed. I wish Powers would do his best to fit the Venus's figure (which he does not deny to be admirable) with a face which he would deem equally admirable and in accordance with the sentiment of the form.

We looked pretty thoroughly through the gallery, and I saw many pictures that impressed me; but among such a multitude, with only one poor mind to take note of them, the stamp of each new impression helps to obliterate a former one. I am sensible, however, that a process is going on, and has been ever since I came to Italy, that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before. It is the sign, I presume, of a taste still very defective, that I take singular pleasure in the elaborate imitations of Van Mieris, Gerard Douw, and other old Dutch wizards, who painted such brass pots that you can see your face in them, and such earthen pots that they will surely hold water; and who spent weeks and months in turning a foot or two of canvas into a perfect microscopic illusion of some homely scene. For my part, I wish Raphael had painted the "Transfiguration" in this style, at the same time preserving his breadth and grandeur of design; nor do I believe that there is any real impediment to the combination of the two styles, except that no possible space of human life could suffice to cover a quarter part of the canvas of the "Transfiguration" with such touches as Gerard Douw's. But one feels the vast scope of this wonderful art, when we think of two excellences so far apart as that of this last painter and Raphael. I pause a good while, too, before the Dutch paintings of fruit and flowers, where tulips and roses acquire an immortal bloom, and grapes have kept the freshest juice in them for two or three hundred years. Often, in these pictures, there is a bird's-nest, every straw perfectly represented, and the stray feather, or the down that the mother-bird plucked from her bosom, with the three or four small speckled eggs, that seem as if they might be yet warm. These pretty miracles have their use in assuring us that painters really can do something that takes hold of us in our most matter-of-fact moods; whereas, the merits of the grander style of art may be beyond our ordinary appreciation, and leave us in doubt whether we have not befooled ourselves with a false admiration.

Until we learn to appreciate the cherubs and angels that Raphael scatters through the blessed air, in a picture of the "Nativity," it is not amiss to look at, a Dutch fly settling on a peach, or a bumblebee burying himself in a flower.

It is another token of imperfect taste, no doubt, that queer pictures and absurd pictures remain in my memory, when better ones pass away by the score. There is a picture of Venus, combing her son Cupid's head with a small-tooth comb, and looking with maternal care among his curls; this I shall not forget. Likewise, a picture of a broad, rubicund Judith by Bardone,—a widow of fifty, of an easy, lymphatic, cheerful temperament, who has just killed Holofernes, and is as self-complacent as if she had been carving a goose. What could possibly have stirred up this pudding of a woman (unless it were a pudding-stick) to do such a deed! I looked with much pleasure at an ugly, old, fat, jolly Bacchus, astride on a barrel, by Rubens; the most natural and lifelike representation of a tipsy rotundity of flesh that it is possible to imagine. And sometimes, amid these sensual images, I caught the divine pensiveness of a Madonna's face, by Raphael, or the glory and majesty of the babe Jesus in her arm, with his Father shining through him. This is a sort of revelation, whenever it comes.

This morning, immediately after breakfast, I walked into the city, meaning to make myself better acquainted with its appearance, and to go into its various churches; but it soon grew so hot, that I turned homeward again. The interior of the Duomo was deliciously cool, to be sure,—cool and dim, after the white-hot sunshine; but an old woman began to persecute me, so that I came away. A male beggar drove me out of another church; and I took refuge in the street, where the beggar and I would have been two cinders together, if we had stood long enough on the sunny sidewalk. After my five summers' experience of England, I may have forgotten what hot weather is; but it does appear to me that an American summer is not so fervent as this. Besides the direct rays, the white pavement throws a furnace-heat up into one's face; the shady margin of the street is barely tolerable; but it is like going through the ordeal of fire to cross the broad bright glare of an open piazza. The narrow streets prove themselves a blessing at this season, except when the sun looks directly into them; the broad eaves of the houses, too, make a selvage of shade, almost always. I do not know what becomes of the street-merchants at the noontide of these hot days. They form a numerous class in Florence, displaying their wares—linen or cotton cloth, threads, combs, and all manner of haberdashery—on movable counters that are borne about on wheels. In the shady morning, you see a whole side of a street in a piazza occupied by them, all offering their merchandise at full cry. They dodge as they can from shade to shade; but at last the sunshine floods the whole space, and they seem to have melted away, leaving not a rag of themselves or what they dealt in.

Cherries are very abundant now, and have been so ever since we came here, in the markets and all about the streets. They are of various kinds, some exceedingly large, insomuch that it is almost necessary to disregard the old proverb about making two bites of a cherry. Fresh figs are already spoken of, though I have seen none; but I saw some peaches this morning, looking as if they might be ripe.

June 16th.—Mr. and Mrs. Powers called to see us last evening. Mr. Powers, as usual, was full of talk, and gave utterance to a good many instructive and entertaining ideas.

As one instance of the little influence the religion of the Italians has upon their morals, he told a story of one of his servants, who desired leave to set up a small shrine of the Virgin in their room—a cheap print, or bas-relief, or image, such as are sold everywhere at the shops —and to burn a lamp before it; she engaging, of course, to supply the oil at her own expense. By and by, her oil-flask appeared to possess a miraculous property of replenishing itself, and Mr. Powers took measures to ascertain where the oil came from. It turned out that the servant had all the time been stealing the oil from them, and keeping up her daily sacrifice and worship to the Virgin by this constant theft.

His talk soon turned upon sculpture, and he spoke once more of the difficulty imposed upon an artist by the necessity of clothing portrait statues in the modern costume. I find that he does not approve either of nudity or of the Roman toga for a modern statue; neither does he think it right to shirk the difficulty—as Chantrey did in the case of Washington —by enveloping him in a cloak; but acknowledges the propriety of taking the actual costume of the age and doing his best with it. He himself did so with his own Washington, and also with a statue that he made of Daniel Webster. I suggested that though this costume might not appear ridiculous to us now, yet, two or three centuries hence, it would create, to the people of that day, an impossibility of seeing the real man through the absurdity of his envelopment, after it shall have entirely grown out of fashion and remembrance; and Webster would seem as absurd to them then as he would to us now in the masquerade of some bygone day. It might be well, therefore, to adopt some conventional costume, never actual, but always graceful and noble. Besides, Webster, for example, had other costumes than that which he wore in public, and perhaps it was in those that he lived his most real life; his dressing-gown, his drapery of the night, the dress that he wore on his fishing-excursions; in these other costumes he spent three fourths of his time, and most probably was thus arrayed when he conceived the great thoughts that afterwards, in some formal and outside mood, he gave forth to the public. I scarcely think I was right, but am not sure of the contrary. At any rate, I know that I should have felt much more sure that I knew the real Webster, if I had seen him in any of the above-mentioned dresses, than either in his swallow-tailed coat or frock.

Talking of a taste for painting and sculpture, Powers observed that it was something very different and quite apart from the moral sense, and that it was often, perhaps generally, possessed by unprincipled men of ability and cultivation. I have had this perception myself. A genuine love of painting and sculpture, and perhaps of music, seems often to have distinguished men capable of every social crime, and to have formed a fine and hard enamel over their characters. Perhaps it is because such tastes are artificial, the product of cultivation, and, when highly developed, imply a great remove from natural simplicity.

This morning I went with U—— to the Uffizi gallery, and again looked with more or less attention at almost every picture and statue. I saw a little picture of the golden age, by Zucchero, in which the charms of youths and virgins are depicted with a freedom that this iron age can hardly bear to look at. The cabinet of gems happened to be open for the admission of a privileged party, and we likewise went in and saw a brilliant collection of goldsmiths' work, among which, no doubt, were specimens from such hands as Benvenuto Cellini. Little busts with diamond eyes; boxes of gems; cups carved out of precious material; crystal vases, beautifully chased and engraved, and sparkling with jewels; great pearls, in the midst of rubies; opals, rich with all manner of lovely lights. I remember Benvenuto Cellini, in his memoirs, speaks of manufacturing such playthings as these.

I observed another characteristic of the summer streets of Florence to-day; tables, movable to and fro, on wheels, and set out with cool iced drinks and cordials.

June 17th.—My wife and I went, this morning, to the Academy of Fine Arts, and, on our way thither, went into the Duomo, where we found a deliciously cool twilight, through which shone the mild gleam of the painted windows. I cannot but think it a pity that St. Peter's is not lighted by such windows as these, although I by no means saw the glory in them now that I have spoken of in a record of my former visit. We found out the monument of Giotto, a tablet, and portrait in bas-relief, on the wall, near the entrance of the cathedral, on the right hand; also a representation, in fresco, of a knight on horseback, the memorial of one John Rawkwood, close by the door, to the left. The priests were chanting a service of some kind or other in the choir, terribly inharmonious, and out of tune. . . . .

On reaching the Academy, the soldier or policeman at the entrance directed us into the large hall, the walls of which were covered on both sides with pictures, arranged as nearly as possible in a progressive series, with reference to the date of the painters; so that here the origin and procession of the art may be traced through the course of, at least, two hundred years. Giotto, Cimabue, and others of unfamiliar names to me, are among the earliest; and, except as curiosities, I should never desire to look once at them, nor think of looking twice. They seem to have been executed with great care and conscientiousness, and the heads are often wrought out with minuteness and fidelity, and have so much expression that they tell their own story clearly enough; but it seems not to have been the painter's aim to effect a lifelike illusion, the background and accessories being conventional. The trees are no more like real trees than the feather of a pen, and there is no perspective, the figure of the picture being shadowed forth on a surface of burnished gold. The effect, when these pictures, some of them very large, were new and freshly gilded, must have been exceedingly brilliant, and much resembling, on an immensely larger scale, the rich illuminations in an old monkish missal. In fact, we have not now, in pictorial ornament, anything at all comparable to what their splendor must have been. I was most struck with a picture, by Fabriana Gentile, of the Adoration of the Magi, where the faces and figures have a great deal of life and action, and even grace, and where the jewelled crowns, the rich embroidered robes, and cloth of gold, and all the magnificence of the three kings, are represented with the vividness of the real thing: a gold sword-hilt, for instance, or a pair of gold spurs, being actually embossed on the picture. The effect is very powerful, and though produced in what modern painters would pronounce an unjustifiable way, there is yet pictorial art enough to reconcile it to the spectator's mind. Certainly, the people of the Middle Ages knew better than ourselves what is magnificence, and how to produce it; and what a glorious work must that have been, both in its mere sheen of burnished gold, and in its illuminating art, which shines thus through the gloom of perhaps four centuries.