emotions of him whose heart was full of grief, knowing as he did that in the band of his beloved disciples there was one who had proved a traitor."

"The purpose being the decoration of a refectory in a rich convent, the chamber lofty and spacious, Leonardo has adopted the usual arrangement: the table runs across from side to side, filling up the whole extent of the wall, and the figures, being above the eye, and to be viewed from a distance, are colossal; they would otherwise have appeared smaller than the real personages seated at the tables below. The moment selected is the utterance of the words, 'Verily, verily, I say unto you, that one of you shall betray me; or rather, the words have just been uttered, and the picture expresses their effect on the different auditors. The intellectual elevation, the fineness of nature, the benign god-like dignity, suffused with the profoundest sorrow, in the head of Christ, surpassed all I could have conceived as possible in art; and faded as it is, the character there, being stamped on it by the soul, not the hand, of the artist, will remain while a line or hue remains visible. It is a divine shadow, and until it fades into nothing, and disappears into nothing, will have the lineaments of divinity. Next to Christ is St John; he has just been addressed by Peter, who beckons to him that he should ask of whom the Lord spake; his disconsolate attitude as he has raised himself to reply, and leans his clasped hands on the table, the almost feminine sweetness of his countenance, express the character of this gentle and amiable apostle. Peter, leaning from behind, is all fire and energy; Judas, who knows full well of whom the Saviour spake, starts back amazed, oversetting the salt; his fingers clutch the bag, of which he has the charge, with that action which Dante describes as characteristic of the avaricious:

'Questi risurgeranno dal sepolcro Con pugno chioso.' (These from the tomb with clenched grasp shall rise.')

His face is seen in profile, and cast in shadow; without being vulgar, or even ugly, it is hateful. St Andrew, with his long grey beard, lifts up his

hands, expressing the wonder of a simple-hearted old man. St James minor, resembling the Saviour in his mild features, and the form of his beard and hair, lays his hand on the shoulder of St Peter-the expression is. Can it be possible? Have we heard aright?' Bartholomew, at the extreme end of the table, has risen perturbed from his seat; he leans forward with a look of eager attention, his lips parted; he is impatient to hear more. On the left of our Saviour is St James major, who has also a family resemblance to Christ; his arms are outstretched, he shrinks back, he repels the thought with horror.

The vivacity of the action and expression are wonderfully true and characteristic. St Thomas is behind St James, rather young, with a short beard; he holds up his hand, threatening- If there be indeed such a wretch, let him look to it.' Philip, young and with a beautiful head, lays his hand on his heart; he protests his love, his truth. Matthew, also beardless, has more elegance, as one who belonged to a more educated class than the rest; he turns to Jude and points to our Saviour, as if about to repeat his words, 'Do you hear what he says?' Simon and Jude sit together (Leonardo has followed the tradition which makes them old, and brothers); Jude expresses consternation; Simeon with his hands stretched out in painful anxiety."-Jameson.

"Leonardo said that he had meditated for two whole years how best to portray on a human face the workings of the perfidious heart of Judas; it is believed that he took for his model the prior of the convent, his bitter and malicious enemy.

The church of Santa Maria di San Celso, near the Porta Lodovica, contains amongst other paintings, the Baptism of Christ, by Gaudenzio Ferrari, a Madonna and Child, with John the Baptist and others, by Borgognone, &c. San Maurizio contains some fine frescoes by Luini.

Amongst the palaces may be mentioned the following: the Palazzo Marino, now the Palazzo

Municipio, near the Scala, the Palazzo Ciani, the Palazzo Saporiti.

THE BRERA, formerly a college belonging to the Jesuits, is one of the most renowned edifices of Milan. Its exterior architecture exhibits a specimen of very simple but solid construction. The quadrangle of the court is surrounded by a double tier of arcades, Doric supporting Ionic columns. This structure is now appropriated to the use of the Academy of Arts and Sciences. In the exhibition rooms are an elaborate copy (the size of the original) from "The Last Supper" of Leonardo da Vinci, by Bossi, casts from some of the Elgin marbles, Appiani's monument by Thorwaldsen, and marble statues by eminent artists. Among the paintings are some curious frescoes by Luini and G. Ferrari, collected during the French regime from the suppressed monasteries. Among the oil paintings are Domenichino's Virgin, Jesus and John," Caravaggio's "St Sebastian," Caracci's "Noli me tangere," the "Marriage in Cana," by Paul Veronese, Tintoretto's St Hubert," the "Virgin standing on a Serpent and Crescent," by Sassoferrato, "Paul the Hermit," by Salvator Rosa, some heads by Titian, and his admirable "St Jerome,' ," "St Peter and Paul," by Guido Reni, the "MARRIAGE OF ST JOSEPH AND THE VIRGIN," by Raphael, the "Dancing Loves," by Albano, and the "Ripudio d'Agar," by Guercino.

The public library ranks among the richest libraries in Europe, not only for the precious manuscripts which it contains, but also for the choice collection of classical works of all kinds.

The Biblioteca Ambrosiana was founded by Frederick Borromeo, and is one of the most celebrated

in Italy. In it are shown the Rufinus version of Josephus, written in the fourth century on papyrus; a fragment of a manuscript of the third century, consisting of two leaves of the Iliad, illuminated; Pliny's "Natural History," curiously illustrated, with numerous paintings on vellum; an illuminated version of the "Bucolics" and "Eneid" of Virgil, with Notes by Petrarch; and some volumes of Leonardo da Vinci's drawings.

The TEATRO DELLA SCALA (SO called from its having been built on the site of the ancient church

of Santa Maria della Scala) is the largest Opera House in Italy. The interior contains six rows of boxes, each row having from thirty-six to thirty-nine divisions, all of them richly adorned. The theatre is capable of accommodating 3600 persons.

The Ospedale Maggiore (Hospital) is a fine brick building, begun in the 15th century. It has nine courts, the principal of which is surrounded by arcades.

The Castle is now a barrack. Near the Piazza d'Armi, or parade ground, is the Arena, an amphitheatre capable of accommodating 30,000 spectators.

The SQUARE of the Piazza d'Armi contains the Arco della Pace, a triumphal arch, commenced by Napoleon in 1804, as the termination of the Simplon route, and finished under the Emperor Francis in 1830. There are three gateways. The arch is of white marble, ornamented with statues and reliefs. On the top is a bronze figure of Peace in a car drawn by four horses, and at each angle are figures of Fame.

The other principal SQUARES are the Piazzas del Duomo and della Scala. In the latter is a fine statue in marble of Leonardo di Vinci.

The GALLERIE VITTORIO EMAN

UELE connects the Piazza della Duomo with the Piazza della Scala. It is 220 yards long, 16 yards wide, and 88 feet high. In the centre is an octagon, surmounted by a cupola 170 feet high. It is richly decorated with frescoes and sculptures. There are 24 statues of distinguished Italians ranged along the sides. The gallery is occupied by handsome shops. It is the evening promenade of the Milanese, and presents, when illuminated and crowded with visitors, a most striking and animated scene.

The Public Garden, near the Porta Venezia, is a much frequented promenade. The fashionable promenade, between 6 and 7 p.m., is in the Corso Vittorio Emanuele. Another, called the New Public Garden, extends from the Porta Venezia to the Porta Nuova. It is beautifully laid out, with avenues, ornamental pieces of water, &c. Opposite the entrance is a bronze statue of Count Cavour, on a granite pedestal. Clio is represented inscribing his name on her tablets.

In the vicinity is the Museo Civico, to which admission is obtained free on Thursday; on Tuesday, Wednesday, and Saturday the charge is 50 c.; the hours of admission are 11 to 3 o'clock. It contains collections of natural history, ethnology, &c.

Few monuments of a date anterior to the invasion of the Goths now remain. Among these the most considerable and interesting is the Colonna di St Lorenzo, described above.

The new CEMETERY is well worth a visit. It is very extensive, and the whole immense space is surrounded by colonnades. In the colonnades and everywhere in the grounds are statues, temples, and ornamental tombs. In fact, the cemetery is

a vast museum of sculpture. In the grounds is a furnace for cre mation, erected in 1875.

Milan carries on an immense inland trade, and has considerable manufacture of silk goods, ribbons, cutlery, porcelain, and gloves, which last are excellent and cheap. It is the birth-place of Popes Alexander II., Urban III., Celestine IV., Pius IV., and Gregory XIV., and of Beccaria, Agnesi, and Alessandro Manzoni the novelist.

HISTORY. Its foundation is attributed to the Insubrian Gauls, but the first notice of it occurs B.C. 221, when it was subdued by the Romans, under whom it acquired so much importance, that in the division of the empire, attributed to Constantine the Great, it ranks as the second city of Italy. In the middle of the fifth century it was sacked by the Huns, under Attila, and again, in the following century, by the Goths. Greater horrors yet awaited it, and the Goths, who had been driven out by Belisarius, having regained possession by the aid of the Burgundians, gave it up to the flames, and put almost all its inhabitants to the sword. Having been rebuilt, it again rose to eminence, and became very flourishing under the Lombards and Charlemagne. Arrogance grew with its prosperity, and it lorded it so haughtily over the neighbouring towns and republics, that in 1162, when the Emperor Frederick I., whose supremacy it refused to acknowledge, had resolved to take summary vengeance, the inhabitants of Pavia, Cremona, Lodi, Como, and Novara eagerly hastened to the task, and razed it to the ground. The cruelties practised produced a reaction, and in 1167 the famous Lombardy league was formed at Pontita, and, among other im

portant results, succeeded in bringing back the Milanese; and the city, again rebuilt, became even more populous and influential than it had ever been before. It long continued, however, to be torn by internal factions, headed by the leading nobility, among whom the Visconti at last gained the ascendancy, and ruled it from 1395 to 1447. They were succeeded by the Sforza, whose last duke died in 1535. The Spanish rule now commenced, and lasted for 170 years, but ultimately, after long wars, in which all the great European powers were engaged, the peace of Utrecht was concluded in 1711, and gave the duchy of Milan to Austria. Her possession was interrupted by the victories of Napoleon, but restored at his downfall, and Milan, which the French had made the capital of their kingdom of Italy, became the capital of Lombardy. After the war of 1859 it became a component part of the kingdom of Italy.

below these heights. During this part of the journey we have an excellent view of Monte Rosa, and the Alpine range connected with it. The village of Somma stands at the summit of the hills of the same name. There is here a castle, once the residence of the family of Visconti, and a cypress tree, said to have been in existence in the time of Julius Cæsar. Somma (12 miles) is situated on a bleak and barren height. The government has, of late years, established a camp here. From this point we descend to Gallarate (17 miles), situated in a very fertile district. Here several lines branch off. Near Legnano (16 miles), Frederic Barbarossa was defeated in 1176. Rho (20 miles) is situated near the confluence of the Olonna and Lura. Here the line from Turin to Milan falls in. We pass through a rich expanse of country, abounding in groves of mulberry trees, pastures, and meadow lands, to MILAN (42 miles). (For a description of this city, see Route 159.)

reached (35 miles), celebrated for its wines. Under its church of S. Giovanni are the remains of an ancient Christian basilica (6th century). Alfieri was born at Asti. A line goes off to Mortara (Milan). The next important station is ALESSANDRIA (56 miles), a fortified place, and an important railway centre. (The railway restaurant is excellent. All trains stop 10 to 20 minutes). Soon after leaving, the train crosses the Bormida. A little over a mile east of the bridge is Marengo, near which was fought the famous battle between Napoleon and the Austrians, June 14, 1800. Novi (70 miles), where a line goes off to Pavia and Milan, and to Piacenza. At Serravalle we enter a broken and hilly region, and pass Arquata, with a ruined castle above it. The scenery increases in beauty and grandeur until we reach BUSALLA (89 miles), near which we enter the longest of the many tunnels on the route. It is more than two miles in length. Soon after passing it the route descends, and the vicinity of a large city is apparent from the villas of the Genoese seen scattered along the line. We soon cross the Polcevera by a long bridge, and presently reach S. Pier d'Arena, a suburban station where passengers going directly to Nice change carriages. We soon see the light-house and citadel, and passing through a tunnel reach GENOA (Hotels: see "HOTEL LIST.")

GENOA (called "La Superba" from its beautiful situation and the attractions of its streets and buildings) is placed between two rivers, the Bisagno and the Polcevera, at the head of the Gulf of its name.

The aspect of Genoa from the sea is, perhaps, not inferior in beauty to that of any other Italian city. The hills of Carignano on the east, and of St Benigno on the west, joined by the intervening mountains, form a splendid amphitheatre, in the centre of which Genoa is built; while the rich and varied appearance of the buildings of the city, the port, and the numberless villas of the neighbourhood, combine to fill up the scene.

The fine harbour, of which the diameter is rather less than a mile, is semicircular, and formed by two piers, at the extremity of one of which stands a lighthouse tower 300 ft. high. Vessels of the largest class can enter the harbour, which, notwithstanding the heavy swells occasioned by the south-west winds, is safe. As yet, however there is no landing-pier for passengers, all of whom, at considerable inconvenience, are carried ashore in row-boats. The harbour is visited daily by French and Italian steamers in communication with other ports in the Mediterra

nean.

Several important establishments are grouped around the port, viz., the arsenal, the convict-prison, the custom house, and the Porto Franco, or free port warehouses, where merchandise may be stored, previous to its re-exportation, free of duty. Genoa is the great commercial depot of a wide extent of country, of which the chief raw exports are olive oil, rice, fruits, cheese, steel, &c.; the manufactured goods exported are