The glory and sentiment which overshadowed the Verona of another day have passed, and now the noise of electric trams and the hoot of automobile horns awaken the echoes in the same thoroughfares where one day trampled the feet of warring hosts.

Instead we have the modern note sounding over all, and, if it is true that the “fair Juliet sleeps in old Verona’s town” hers must be a disturbed sleep. The romance of Juliet Capulet and Romeo Montague was real enough; that is, there was a real romance of the sort, and there were real Capulets and Montagues. Just where the scene of this particular romance was laid one is not so sure.

The “House of Juliet” at Verona, one of the stock sights of the guide books, is of more than doubtful authenticity. Certainly, to begin with, it does not comport in the least with the dignified marble palace and its halls with which the stage-carpenter has built up the settings of Shakespere’s drama or Gounod’s opera. Perhaps they embroidered too much. Of course they did!

In 1905 the “Juliet House” was in danger of collapsing. As it is nothing more than a picturesque old house, such as northern Italy abounds in, perhaps it would not have mattered much had it fallen. It is no more Juliet’s house than Juliet’s tomb is the tomb of Juliet. This indeed has latterly been adjudged a mere water-trough. No house, it is asserted, in Verona to-day can be declared with certainty as the house of a Montague or a Capulet. Henry James points the moral of all this in “The Custodians,” and whether we can always make head and tail out of his dialogues or not, his judgments are always sound.

In Verona the very gutters are of white marble. Balustrades, window-sills and hitching posts are all of white or coloured marbles. Verona is luxurious, if not magnificent, and its architecture is marvellously interesting and beautiful, though frequently rising to no great rank.

The great Roman Arena, so admirably preserved, is surrounded by the Piazza Vittorio Emanuele. The contrast between yesterday and to-day at Verona is everywhere to be remarked. Its old Arena and the Visconti gateway seen by moonlight look as ancient as anything on earth, but the cafés with their tables set out right across the Piazza, with a band playing on a temporary platform, set up on trestles in the middle, and electric trams swishing around the corner, are as modern as Earl’s Court or Coney Island, without however many of their drawbacks.

Verona is a city of marble and coloured stone, of terraces and cypresses and all the Italian accessories which stagecraft has borrowed for its Shakesperean settings. The cypresses planted around the outskirts of Verona are said to be the oldest in Europe, but that is doubtful. They are, some of them, perhaps four hundred years old, but on the shores of the Etang de Berre, in old Provence, is a group of these same trees, less lean, greater of girth and denser of foliage. Surely these must have five hundred years to their credit according to Verona standards.

Verona is one of the cities of celebrated art where the authorities control one’s desire to dig about with a view to discovering buried antiquities, even in one’s own cellar or garden; much less may one sell an old chimney pot or urn.

Recently a Signor and Signora Castello, who owned an ancient house in Via del Seminario, sold the magnificent red marble portals and two balconies without permission from the Government. They were fined two thousand five hundred lire each, and ordered to replace the objects of art.

After a long chase the Verona police discovered the articles in a warehouse where they had been temporarily deposited previous to shipping them abroad.

The balconies are of the same epoch as the famous one said to have been the scene of the meeting of Romeo and Juliet. “American collectors keep off” is the sign the Verona police would probably put up if they dared.

CHAPTER XVII

THROUGH ITALIAN LAKELAND

Coming from the east through Verona, the traveller by road might do worse than make a detour of a hundred kilometres out and back to Mantua.

Mantua, on the banks of the Mincio, sits like a water-surrounded town of the Low Countries. Mantua, above all, is a place of war, one of the strongest in North Italy, forming with Verona, Legnago and Peschiera the famous “Quadrilatera.” Mantua has at least a tenth part of its population made up of Jews. It sits partly surrounded by an artificial lake formed by the Mincio, and the marsh land to the south can be flooded, if it is deemed advisable, in case of siege. A great walled enclosure, a series of fortified dykes, and a collection of detached forts roundabout, put Mantua in a class quite by itself. It is a melancholy, unlovely place from an æsthetic standpoint, but picturesque in a certain crude way. The ancient Palazzo Gonzague of the Dukes of Mantua, now known as the Corte Reale, is one of the most ambitious edifices of its class in Italy. The view of the Palazzo Ducale at Mantua, with the rising background of roofs, towers and domes, as seen from the further end of the cobble-stone paved bridge over the Mincio, is delightful. Artists do not like it as a general rule because of the ugly straight line of the bridge, and the “camera fiend” makes a hopeless mess of it, unless he seeks an hour or more for a “point of view;” but for all that the scene is as quaint and beautiful a composition as one can get of unspoiled mediævalism in these progressive times, when usually telegraph poles and tram cars project themselves into focus whether or no. There is nothing of the kind here.

The road from Mantua to Cremona, following the banks of the Mincio, still preserves its Virgilian aspect. Mantua væ miseræ nimium vicina Cremonæ. From this one infers that it is a bad road, and in truth it is very bad; automobilists will not like it. Cremona’s tower is seen from afar, like the sailors’ beacon from the sea. It is one of the most hardy and the most renowned Gothic towers of Italy and has a height approximating a hundred and twenty odd metres, say a little less than four hundred feet.

Neighbouring upon this great Torrazo is the Palazzo Gonfaloneri, dating from 1292. These two monuments, together with the magnificent Romanesque Lombard Cathedral of the twelfth century, and the Casa Stradivari—where he who gave his name to a violin lived—are Mantua’s chief “things to see.” If the traveller can include Mantua in his itinerary, which truth to tell is not easy without doubling on one’s tracks, he should do so.

Travellers coming westward from Venice and passing Verona, hastening to the Italian and Swiss lakes, usually give that region lying between Verona and Como little heed. Naples, Rome, Florence, Venice and then Switzerland and the Rhine is still too often the itinerary of hurried papas and fond mamas. Even if the automobilist does not drop down on Mantua and Cremona he should take things leisurely through the lake region and stop en route as often as fancy wills. The Lago di Garda is the most easterly of the Italian Lakes and the largest.

It is of great depth, 350 metres or more, is sixty odd kilometres in length, and in places a third as wide. It is a product of the rivers and torrents flowing down from the mountains of the Italian Tyrol. The sudden storms which frequently come up to ruffle its bosom were celebrated by some lines of Virgil and his example has been followed by every other traveller ever caught in one of these storms. “Fluctibus et fremitu assurgens” sang the bard, and the words still echo down through time.

Peschiera and Desenzano are the principal ports at the southern end of the lake, and each in its way is trying to be a “resort.” The environs are charming and the towns themselves interesting enough, though chiefly from the point of view of the artist. The seeker after the gaieties and pleasures of the great watering places will find nothing of the sort here.

Between Peschiera and Desenzano juts out the promontory of Sermione. A village is entered by a drawbridge and a mediæval gate on the south. On the opposite side is a fortified wall that separates it from the northerly portion of the island, and through which opens the only gate in that direction. The old castle, in the form of a quadrangle, with a high square tower, was entered on the north by a drawbridge. This entrance is still well preserved, as well as its small port or darsena, surrounded by crenelated battlements; but the principal entrance is now on the side of the village, by a gate over which are shields bearing the arms of the Scaligers. It is one of the most imposingly militant of all the castles of north Italy. Only that of Fénis in the Val d’Aoste is more so.

Riva, at the Austrian end of the lake of Garda, has its drawbacks but it occupies a wonderful site nevertheless.

While Northern Tyrol is still wrapped in the white mantle of winter’s snow, and winter sports of every description furnish great amusement for old and young, the lovely Lake of Garda is already beginning to show signs of spring. All along the lake the great “stanzoni,” or lemon-houses for sheltering the lemon trees in winter, are, even in January, often filled with blossoms.

The best time to visit Riva is from February to June, and from the middle of August to the end of October, but Riva at all times will be a surprise and a delight to those who do not mind a régime table d’hôte, as the doctors have it, and the fact that everybody round about appears to be a semi-invalid.

To Brescia from the foot of the Lake of Garda is a matter of twenty odd kilometres, through a greatly varied nearby landscape, set off here and there by vistas of the azure of the distant lake, the Alps of Tyrol and the nearer Bergamese mountains.

“Bologna la Grassa” and “Brescia Armata” are two nick-names by which the respective cities are known up and down Italy. Brescia, like most Italian towns, is built on a hill top and is castle-crowned as becomes a mediæval burg. Brescia’s castle is an exceptionally strongly fortified feudal monument. Brescia Armata took its name from the fact that it was ever armed against its enemies, which in the good old days every Italian city was or it was of no account whatever. Brescia’s enemies could never have made much headway when attacking this hill-top fortress, and must have contented themselves with sacking the cities of the surrounding plain. To-day firearms in great quantities are made here, and thus the city is still entitled to be called Brescia Armata.

Brescia’s market place is more thickly covered with great, squat, mushroom umbrellas than that of any other city of its size in Italy.

Brescia is dear to the French because of its wraith of a mediæval castle, once so vigorously defended by the Chevalier Bayard, that famous knight sans peur et sans reproche.

A bastioned wall surrounds the gay little Lombard city in the genuine romance fashion, albeit there is to-day very little romance in Brescia, which lives mostly by the exploitation of its textile and metal industries.

Brescia housefronts are as gaily decorated as those of Nuremberg, many of them at least. It is a remarkable feature of Brescia’s domestic architecture.

The castle or citadel itself was built by the Viscontis in the fourteenth century on the summit of a hill overlooking the town. The Venetians strengthened it and again the Austrians. General Haynau bombarded the low-lying city round about in barbarous fashion, so much so that the memory of it caused him to be chased from London some years later, when he was sent there as Ambassador.

The men of Brescia seem to have a passion for wearing a great Capucin shoulder cloak, which looks very Spanish. It is most picturesque, and is one of the characteristic things seen in all Brescia’s public places, caffés and restaurants, and is worn by all those classes whom a discerning traveller once described as men who work hard at doing nothing, for Brescia’s street corners are never vacant and her caffés never empty.

Between Brescia and Bergamo is the Lake of Iseo; the fourth in size of the north Italian lakes. The vegetation of its shores is purely Italian and vineyards and olive groves abound. A fringe of old castle towers, of walls, palaces and villas surround it, all blended together with a historic web and woof of mediævalism and romance.

From Brescia to Bergamo runs one of the best national highroads in Italy. The automobilist will appreciate this and will want to push on to the end. He would do better to break it midway and drop down on the road to Martinengo, a detour of twenty kilometres only, passing the great Castle of Malpaga built by the celebrated Bartolommeo Colleoni, an edifice which gives a more complete idea of unspoiled, unrestored residence of a mediæval Italian nobleman than any other extant.

Bergamo is a strange combination of the new and the old. The upper and lower towns—for it is built on a rise of the Bergamon Alps—have nothing in common with each other. In the lower town there are great hotels, shops, and even a vast factory which turns out a celebrated make of automobiles. In the upper town there are market-men and women, with chickens, vegetables and fruit to sell, all spread out under an imposing array of great mushroom umbrellas only second to those of the market place at Brescia.

Bergamo’s chief architectural monuments are its churches, but its ancient Broletto, or castle, of not very pure Gothic, but with a most original façade, is worth them all put together in its appeal to one with an eye for the picturesque. Its tower is a remarkably firm, solid and yet withal graceful sentinel of diºgnity and power.

Bergamo’s great fair of Saint Alexander, held every year in August, was once the rival of those great trading fairs of Leipzig and Beaucaire. Of late it is of less importance, but holds somewhat to its ancient traditions. Certainly it filled the Albergo Capello d’Oro to such an extent that it was doubtful for a time if we could find a place. A sight of our mud-covered automobile and of our generally bedraggled appearance—for it had rained again, though that of itself is nothing remarkable in Italy, and we had “mud-larked it” for the last fifty kilometres,—caused somebody’s conscience to smite him and find us shelter.

Beyond Bergamo one enters the classic Italian Lake region, that which has usually been seen through a honeymoon perspective, a honeymoon that is long-lasting, as it invariably is in Italy as some of us know. All through this lakeland of north Italy is an unbroken succession of charms which certainly, from the sentimental and romantic point, has no equal in Italy, or out of it in the same area.

The whole battery of little cities, towns, and townlets which surround Lakes Como, Varese, Lugano and Maggiore are delightful from all points. Theirs is a unique variety of charm which comports with the tranquil mood, not at all the same as that possessed by the average scorching automobilist who reads as he runs, and wishes to eat and drink and absorb his romantic and historic lore in the same up-to-date fashion. Not that the region is unsuited to automobile travel. Not at all, the roads thereabouts are quite the best in Italy, and the towns themselves picturesquely charming, if often lacking in ruined monuments of mediævalism of the first rank. All of it is historic ground, and filled with echoes of fact and fancy which still reverberate from its hills and through its vales.

Not all of these lake-side towns can be catalogued here, no more than are all included in the average itinerary, but from Lecco, at the southern end of the Lecco arm of the Lago di Como, to Orta on the Lago d’Orta will be found myriads of scenic surprises, dotted here and there with quaint waterside towns, the lakes themselves being punctuated with great white winged barques, with here and there the not unpicturesque coil of smoke belching into the clear sky from a cranky, fussy little steamboat.

One most often approaches the lake district from the east, via Lecco on the eastern arm of Lake Como, or as it is locally called the Lago di Lecco. Lecco itself is of no importance. Its site is its all-in-all, but that is delightful. Between Lecco and Milan the highway crosses the Adda by a magnificent bridge of ten arches built by Azzo Visconti in 1335. Very few of the works of the old bridge-builders bear so ancient a date as this. From Lecco to Monza the highroad skirts the Brianza, as the last Alpine foot-hills are called before the mountains flatten out into the Lombard Plain. At Arcore is the villa of the Adda family with a modern chapel.

One can go north from Lecco to Bellaggio by steamer, when he will arrive in the very heart of lakeland, or he may go directly west by the highroad to Como and take his point of departure from there. The Lake of Como was the Lacus Larius of the Romans and the Lari Maxime of Virgil. It is a hundred and ninety metres above sea level and among all other of the Swiss and Italian lakes holds the palm for the beauty of its surroundings.

At Nesso is the Villa Pliniana, built in 1570. It is not named for Pliny, but because of a nearby spring mentioned in his writings. Pliny’s villa was actually at Lenno, in a dull gloomy site and he properly enough called the villa Tragedia.

Como, the city, is ancient, for the younger Pliny, who was born in the ancient municipium of Comum, asserts that it was then a “flourishing state.” It does not enter actively into history, however, after the fall of the Roman Empire, until 1107, when it became an independent city. It remained a republic for two centuries and then it fell under the dominion of the Visconti since which time its fate has ever been bound up with that of Milan.

The Broletto or municipal palace is curiously built of black and white marble courses, patched here and there with red. It is interesting, but bizarre, and of no recognized architectural style save that it is a reminder of the taste of the people of the Lombard Republics with respect to their civic architecture in the thirteenth century. Como’s Duomo is, on the contrary, a celebrated and remarkably beautiful structure. The distinction made between the taste in ecclesiastical and civic architecture of the time can but be remarked.

The military architecture of Como, as indicated by the gates in its old city wall, was of a high order. The Porta della Torre, the chief of the gates remaining, and leading out to the Milan road, rises five stories in air.

The Palazzo Giovio is now the local museum. Paolo Giovio built the crudely ornate edifice, and began the collection of antiquities and relics which it now contains. Above Como, but outside the city, rises a curious lofty tower called the Bardello. It may have been built as one of the defences of the Lombard Kings, or it may not, but at any rate there is no doubt that it witnessed the rise and fall of the Milanese dynasties from the first. Como, one of the first cities to assert its independence, was the first to lose it. Prisoners of state were put into iron cages and stowed away in the Bardello—like animals or birds in a live stock show. They were all tagged and numbered and were fed at infrequent, uncertain hours. Not many lived out their terms; mostly they died, some of hunger, some eaten up by vermin and more than one by having dashed their brains out on the iron bars of their cages.

All about Como are little lake settlements peopled with villas and hotels where many a mediæval and modern romance has been lived in the real. It is all very delightful, but in truth all is stagey.

At Cadenabbia is the Villa Carlotta, named for Charlotte the Duchess of Saxe-Meiningen. Its structural elements build up into something imposing, if not in the best of taste, and its gardens are of the conventionally artificial kind which look as though they might be part of a stage setting.

Bellaggio, on the eastern shore of the lake, is a place of large hotels, no history of remark, and the site of the villa Serbelloni, with which the proprietor of one of the hotels seems to have some special arrangement, in that he passes visitors to and fro from his establishment to the villa in genuine showman fashion. Beyond its site, which is entrancingly lovely, it has no appeal whatever from either the architectural or the landscape gardening point of view.

Mennagio, Belluno and Varenna are in the same category and are tourist show places only. Gravadona is different in that it has two remarkably beautiful churches, which can be omitted from no consideration of Italian church architecture, and the Palazzo de Pero, built in 1586 for Cardinal Gallio which, with its four angle-towers, is more like a fortress than a prelate’s residence.

Near Gravadona is the outline of an ancient highway known as the Strada Regina. Supposedly it was made centuries and centuries ago by Theodolinda, Queen of the Lombards, and must be one of the oldest roads in existence.

The Lago di Lugano is the most irregular of all the Italian Lakes. In part it lies in Lombardy and in part within the Swiss canton of Ticino. Its scenery is quite distinct from that of the other Italian lakes, not more beautiful perhaps, but less prolifically surrounded by that sub-tropical verdure which is characteristic of Garda and Como. In the northeasterly portion, around Porlezza, the precipitous outlines of the mountains round about lend an almost savage aspect.

Lugano itself is very near the Swiss border but is thoroughly Italian, with deep arcaded streets, and here and there a Renaissance façade such as can be found nowhere out of Italy.

The Lago di Varese is the smallest of all the lakes. In the neighbourhood is produced a great deal of silk, and a species of easily worked marble or alabaster called Marmo Majolica. Varese itself, while not destitute of monuments of architectural worth, is more noticeably a place of modern villas, most of which are occupied by wealthy Milanese.

From Varese to Laveno on the Lago di Maggiore is a matter of fifty kilometres, and here one comes to the most famous, if not the most beautiful, of all the lakes.

The whole range of towns circling this daintily environed lake have an almost inexpressible charm, and its islands—the Borromean Islands—are superlatively beautiful.

Baveno, on the mainland, and its villas, modern though they are, is a charming place, and Stresa, a little further to the south, is even more delightfully disposed. All about the Italian lakeland are the modern villa residences of distinguished Milanese, Turinese and Genoese families.

Arona is at the southern end of the lake. Above this town is a colossal statue of San Carlo Borromeo, the head, hands and feet being cast in bronze, the remainder being fabricated of beaten copper.

The famous Borromean Islands in the Lago di Maggiore number four: Isola Bella, Isola Madre, Isola San Giovanni and Isola dei Piscatori, of which the three former belong to the Borromean family, whilst the latter is divided among small proprietors.

The vast Palazzo of Isola Bella was a conception of an ancestor of the present family in 1671. The great fabric, with its terraces, gardens and grottoes, is an exotic thing of the first importance. It is idyllically picturesque, but withal inartistic from many points of view. The contrast of all this semi-tropical luxuriousness with its snow-capped Alpine background is not its least remarkable feature. It has been called “fairylike,” “a caprice of grandiose ideas,” and “enchanted,” and these words describe it well enough. It looks unreal, as if one saw it in a dream. Certainly its wonderful panoramic background and foreground are not equalled elsewhere and no garden carpet of formal flowerbeds ever made so beautifully disposed a platform on which to stand and marvel. The architect of it all made no allowance apparently for the natural setting, but overloaded his immediate foreground with all things that suggested themselves to his imaginative mind. Somehow or other he didn’t spoil things as much as he might have done. The setting is theatrical and so are the accessories; all is splendidly spectacular, and, since this is its classification, no one can cavil. What other effect could be produced where ten staired terraces tumble down one on another in a veritable cascade simply as a decorative accessory to a monumental edifice and not as a thing of utility?

On Isola Madre is another vast structure surrounded by tropical and semi-tropical trees, flowers and shrubs. A chapel contains many of the tombs of the Borromeo family.

The Isola dei Piscatori is the artists’ paradise of these parts. It lacks the “prettiness” of the other islands but gains in “character” as artists call that picturesqueness which often is unsuspected and unseen by the masses.

Going back to history, here is what happened once on the Isola Bella: It is a warm June night. The mauve summits of the Simplon and the reflets of the mirrored lake throw back a penetrating shimmer to the view. Coming from Baveno, and holding straight its course for Isola Bella, is a gently moving bark. It is the year 1800, and on the stern seat of the boat sits the First Consul, who was once the Little Corporal and afterwards became Napoleon I.

The French army had freed the Alps, some days before. Over the passes of Mont Cenis, of the Simplon, of Saint Bernard, and Saint Gothard they had come, soon to form in battle line on the plains of Piedmont. Moncey was at the gates of Milan, Lannes held the passage of the Po. The First Consul, arriving on the shores of the Lago di Maggiore, decided to pass the night in the Castle of Isola Bella, alone on this enchanting isle, with his thoughts and his plans. Bonaparte jumped first from the boat as it grated on the sands and was received by a grotesquely attired major-domo, in the name of the Counts of Borromeo, the sovereign princes of this tiny archipelago.

In the seigneurial chamber, of which the furniture comprised a great four poster dating from the time of the Medicis, a massive round table, its top laid in mosaic, some chairs and a terrestrial globe, Napoleon shook off the dust of travel forthwith: but he did not seek repose. On the mosaic table-top Napoleon unfolded a great map of Italy, and with forehead in his hands gazed attentively at its tracings, soliloquizing thus: “Yes, Italy is reconquered already; the Austrian army cannot escape me. Fifteen days will suffice to efface the disasters of two years. The Austrian army is already in retreat; its rear guard has become its advance guard. The tricolour of France will yet float on the shores of the Adriatic. I shall march on Rome. I will chase the hateful Bourbons from the Kingdom of Naples for ever. Europe will tremble at the echo of my footsteps.”

Finally the twilight faded; back of the mountains of Lugano shone a brilliant star. Napoleon thought it his star of destiny. To the wide open window came the First Consul for a breath of the sweet night air. It acted like champagne. He turned back into the room; he kicked over the terrestrial globe of the Borromeo; he threw the map of Italy to the floor. “What is Italy!” he cried, “a mere nothing! Bah! it’s hardly worth the conquering. Certainly not worth more than a few weeks. But I will leave the memory of my name behind. And then—and then Saint Jean d’Acre, the Orient, the Indies. Allons, we will follow the route of Tamerlane! Poland will come to life again, Moscow, St. Petersburg ...” and then he dreamed.

And that is what passed one night in the Palazzo Borromeo a little more than a hundred years ago.

From the shores of the Lago di Maggiore to Orta, on the lake of that name, is a short dozen kilometres from either Arona or Baveno. At Orta the traveller may take his ease at an humble inn and from its broad balcony overhanging the lake enjoy emotions which he will not experience at every halting place.

Orta’s Municipio, or Town hall, dominating its tiny Piazza is unspeakably lovely though indeed it is a hybrid blend of the architecture of Germany and Italy. It might as well be in Nuremberg, in Bavaria or Barberino in Tuscany for all it looks like anything else in Piedmont.

Out in the lake glitters—glitters is the word—Isola San Giulio, its graceful campanile and ancient stone buildings hung with crimson creepers and mirrored in the clear blue depths. About this island there hangs a legend. The story goes that no one could be found ready to ferry the apostle Julius across to the chosen site of his mission in the year 1500. According to popular rumour the isle was haunted by dragons and venomous reptiles that none dared face. Not to be deterred from his purpose, the holy man spread his cloak upon the water, and floated quickly and quietly across. Nor did the miracle end here, for, as with St. Patrick of Ireland, the unclean monsters, acknowledging his power, retired to a far-away mountain, leaving the saint unmolested to carry on his labours, which were continued after his death by faithful friends. This is the story as it is told on the spot.

The island was held as an outpost against invasions for many years, and for long witnessed the hopeless struggles of a brave woman, Villa, wife of King Berenger of Lombardy, who was besieged there by the Emperor Otho the Great.

CHAPTER XVIII

MILAN AND THE PLAINS OF LOMBARDY

Lombardy is the region of all Italy most prolific in signs of modernity and prosperity, and, with Torino, Milan shares the honour of being the centre of automobilism in Italy. The roads here, take them all in all, are of the best, though not always well conditioned. That from Milan to Como can be very, very good and six months later degenerate into something equally as bad. The roads of these parts have an enormous traffic over them and it is for this reason, as much as anything, that their maintenance is difficult and variable. For the greater part they are all at a general level, except of course in entering or leaving certain cities and towns of the hills and on the direct roads leading to the mountain passes back of Torino, or the roads crossing the lake region and entering Switzerland or the Oberland.

Lombardy in times past, and to-day to some extent, possessed a dialect or patois quite distinct from the Franco-Italian mélange of Piedmont, or the pure Italian of Tuscany. The Lombard, more than all other dialects of Italy, has a decided German flavour which, considering that the Lombard crown was worn by a German head, is not remarkable. In time—after the Guelph-Ghibelline feud—Lombardy was divided into many distinct camps which in turn became recognized principalities.

The Viscontis ruled the territory for the most part up to 1447, when the condottière Francesco Sforza developed that despotism which brought infamy on his head and State, a condition of affairs which the Pope described as conducive to the greatest possible horrors.

Lombardy has ever been considered the real paradise and land of riches of all Italy, and even now, in a certain luxuriousness of attitude towards life, it lives up to its repudiation of the days of the dominating Visconti and Sforza.

Milan is to-day the luxurious capital of Lombardy, as was Pavia in the past. At one time, be it recalled, Milan was a Duchy in its own right. Years of despotism at the hands of a man of genius made Milan a great city and the intellectual capital of Italy. Milanese art and architecture of the fifteenth century reached a great height. It was then, too, that the Milanese metal workers became celebrated, and it was a real distinction for a knight to be clad in the armour of Milan.

Milan has a history of the past, but paradoxically Milan is entirely modern, for it struggled to its death against Pavia, the city of five hundred and twenty-five towers, and was born again as it now is. One should enter Milan in as happy a mood as did Evelyn who “passynge by Lodi came to a grete citty famous for a cheese little short of the best Parmesan.” It was a queer mood to have as one was coming under Milan’s spell, and the sculptured and Gothic glories of the Cathedral, as it stands in completion to-day, are quite likely to add to, rather than detract from, any preconceived idea of the glories of the city and its treasures.

Milan is one of the most princely cities of Europe, and lies in the centre of a region flowing with milk and honey. In Evelyn’s time it had a hundred churches, seventy monasteries and forty thousand inhabitants. To-day its churches and monasteries are not so many, but it has a population of half a million souls.

The comment of the usual tourist is invariably: “There is so little to see in Milan.” Well, perhaps so! It depends upon how hard you look for it. Milan is a very progressive up-to-date sort of city, but its storied past has been most momentous, and historic monuments are by no means wanting. Milan is modern in its general aspect, it is true, and has little for the unexpert in antiquarian lore, but all the same it has three magic lode stones; its luxuriously flamboyant Gothic Duomo; its Ambrosian Library and its Palace of arts and sciences, La Brera.

Tourists may forget the two latter and what they contain, but they will not forget the former, nor the Arch of Triumph built as a guide post by Napoleon on his march across Europe, or the Galleria Victor-Emmanuel, “as wide as a street and as tall as a Cathedral,” a great arcade with shops, cafés, restaurants and the like.

There is the Scala opera house, too, which ranks high among its kind.

Milan’s “eighth wonder of the world,” its great Cathedral, is the chef d’œuvre of the guide books. Details of its magnitude and splendours are there duly set forth. Milan’s Cathedral has long sheltered a dubious statue of St. Bartholomew, and tourists have so long raved over it that the authorities have caused to be graven on its base: “I am not the work of Praxiteles but of Marcus Agrates.” Now the throngs cease to admire, and late experts condemn the work utterly. Such is the follow-my-leader idea in art likes and dislikes! And such is the ephemeral nature of an artist’s reputation!

The Palazzo Reale occupies the site of the Palazzo di Corte of the Visconti and the Sforza of the fourteenth century, “one of the finest palaces of its time,” it is recorded. The Palazzo of to-day is a poor, mean thing architecturally, although the residence of the King to-day when he visits Milan. The Archiepiscopal Palace of the sixteenth century is perhaps the finest domestic establishment of its class and epoch in Milan.

Milan’s Castello, the ancient castle of Milan, was the ancient ducal castle, built by Galeazzo Visconti II in 1358, to keep the Milanese in subjection. It was demolished after his death, but rebuilt with increased strength by Gian Galeazzo. On the death of the Duke Filippo Maria, the Milanese rose (1447), and, having proclaimed the “Aurea respublica Ambrosiana,” destroyed the castle. It was rebuilt (1452) by Francesco Sforza, “for the ornament (he said) of the city and its safety against enemies.” This building, completed in 1476, is the one now standing. In the interior is a keep, where the dukes often resided. Philip II added extensive modern fortifications, and caused to be pulled down all the neighbouring towers which overlooked them. The castle was taken by the French in 1796, and again in 1800, when Napoleon ordered the fortifications to be razed. It has since been converted into a barrack. Of the round towers at the angles, those towards the north have been replaced by modern brick ones, while the two towards the city, formed of massive granite blocks, remain. During the vice-royalty of Eugene Beauharnais, a Doric gateway of granite, with a portico, or line of arches, now filled up, on each side, and in the same style, was erected on the northwest side; between each arch is a medallion containing the bas-relief portrait of some illustrious Italian military commander.

The Napoleonic arch, the Arco della Pace, is a remarkably interesting civic monument, a reproduction of a temporary affair first built of wood and canvas in 1806. Now it stands, a comparatively modern work to be sure, but of splendid design and proportions, built of white marble, and elaborately decorated with sculptures all at the expense of Napoleon, who, on his march of migratory conquest, deigned to devote 200,000 francs to the purpose.

Milan’s hotels are of all sorts and conditions, but with a decided tendency towards the good, as is fitting in so opulent a country. Bertolini’s Hotel Europe takes a high rank, at corresponding charges, as for instance four francs for a “box” for your automobile. The Touring Club Italiano endorses the Albergo del Cervo, where you pay nothing for garage and may eat as bountifully as you will of things Italian, real Italian, at from two to three francs a meal. One of the most amusing things to do in Milan is to lunch or dine in one of the great glass covered galleries near the cathedral, and one feasts well indeed for the matter of four francs, with another couple of francs for a bottle of Asti. These great restaurants of the galleries may lack a certain aspect of the next-to-the-soil Italian restaurants, but they do show a phase of another class of Italian life and here “Young Italy” may be seen taking his midday meal and ordering English or German beer or Scotch or American whiskey. He shuns the Italian items on the bill of fare and orders only exotics. You on the contrary will do the reverse.

Pavia, thirty odd kilometres south of Milan, was ever a rival of the greater city of to-day. Pavia is a tourist point, but only because it is on the direct road from Milan.

Pavia was the Lombard capital from 572 to 774. Its old walls and ramparts remain, in part, to-day and the whole aspect of the town is one of a certain mediævalism which comports little with the modernity of its neighbour, Milan, which has so far outgrown its little brother.

Pavia’s Certosa, on the road from Milan to Pavia, is its chief architectural splendour. Of that there is no doubt. It is the most gorgeously endowed and most splendid monastery in all the world, founded in 1396 by one of the Visconti as an atonement to his conscience for having murdered his uncle and father-in-law.

A Venetian, Bernardo da Venezia, was probably the architect of the Certosa, and brick work and superimposed marble slabs and tablets all combine in an elegance which marks the Certosa of Pavia as characteristic of the most distinctive Lombard manner of building of its epoch.

Within the city itself still stands the grim Castello, built on the site of the palace of the Lombard kings. The present building, however, was begun in 1460 and completed in 1469. It formed an ample quadrangle, flanked by four towers, two of which alone remain. The inner court was surrounded by a double cloister, or loggia; in the upper one the arches were filled in by the most delicate tracery in brickwork. The whole was crowned by beautiful forked battlements. In the towers were deposited the treasures of literature and art which Gian Galeazzo had collected:—ancient armour; upwards of 1,000 MSS., which Petrarch had assisted in selecting; and many natural curiosities. All these Visconti collections were carried to France in 1499 by Louis XII and nothing was left but the bare walls. One side of the palace or castle was demolished during the siege by Lautrec in 1527; but in other respects it continued perfect, though deserted, till 1796, when it was again put into a state of defence by the French. They took off the roof and covered the vaultings with earth; and when the rains came on in autumn, the weight broke down the vaultings, and ruined a great part of the edifice. It has since been fitted up as a military barracks. The great ruined gateway, once entered by a drawbridge crossing the fosse, is still the most imposing single detail, and the great quadrangle, with its fourteenth century arcades and windows, “a medley of Gothic and Bramantesque,” is striking, although the marble and terra-cotta ornaments are much dilapidated.

François I’s famous mot: “all is lost save honour,” uttered after the eventful battle of Pavia, will go down with that other remark of his: “Oh, God, but thou hast made me pay dear for my crown,” as the two most apropos sayings of Renaissance times.

One has to look carefully “under the walls of Pavia,” to-day for any historical evidence of the fatal day of François I when he lost his “all, save honour.” Du Bellay has painted the picture so well that in spite of the fact that four hundred years have rolled by, it seems unlikely that even the most superficial traveller should not find some historic stones upon which to build his suppositions.

Pavia’s great University flowered in 1362, and owes much to the generous impulses of Galeas II, who founded its chairs of civic and canonical law, medicine, physics and logic. Galeas II was a great educator, but he was versatile, for he invented a system of torture which would keep a political prisoner alive for forty days and yet kill him at the end of forty-one.

If one returns to Milan via the Bridge of Lodi he will have made a hundred kilometre round of classic Lombard scenery. It possesses no elements of topographic grandeur but is rich and prosperous looking, and replete with historic memory, every kilometre of it.

Lodi has evolved its name from the ancient Laus of the Romans, another evidence of the oblique transformation of Latin into the modern dialect. The men of Lodi were ever rivals of the Milanese, but it is to Napoleon’s celebrated engagement at the Bridge of Lodi that it owes its fame in the popular mind.

Above Lodi, the River Adda circles and boils away in a sort of whirlpool rapid, which Leonardo da Vinci, setting his palette and brushes aside, set about to control by a dam and a series of sluices. How well he succeeded may be imagined by recalling the fact that the Italian Edison Company in recent years availed themselves of the foundation of his plan in their successful attempt to turn running water into electricity.

The panorama to the north of Milan is grandiose in every particular. On the horizon the Alpine chain lies clear-cut against the sky, the Viso, Grand Paradise, Mont Blanc, Splugen and other peaks descending in one slope after another, one foothill after another, until all opens out into the great plain of Lombardy.

North of Milan, towards Como and the Alpine background, is Monza. Lady Morgan called Monza dreary and silent, but her judgments were not always sound; she depended too much upon moods and hers were many.

Monza’s Broletto was built by Frederick Barbarossa, or it was a part of a palace built by that monarch. Italian Gothic of an unmistakable local cast is its style and the effect is heightened by the ringhiera between the windows of the south side.

In Monza’s Cathedral—an antique interior with a Gothic exterior, by the way—is the celebrated Iron Crown of Lombardy with which the German Emperors of Lombardy were crowned. Charles V, Napoleon and Ferdinand I also made use of the same historic bauble which is not of much splendour. It costs a five franc fee to see it, and the sight is not worth the price of admission.