manhood. The proportions are beautiful, and the expression perfect; in every respect a work of the highest class."-Hillard.

* II. BEL-VE-DE-RE MERCURY, Vat., No. 53; found on the Esquiline, 1534-50; right ankle unskilfully restored. This statue was formerly, and for a considerable period, called the " Antinous," and as such is described in various works on art. The right arm and left hand are wanting. His chlamys

Mercury-Bologna.

III. MERCURY, No. ican and at Munich. than either of those.

rests upon the left shoulder, and is wound around the left arm.

"There can be little doubt that this statue, though possessed of less "subject' " than the Apollo, in point of art surpasses it."-Wood.

"I am strongly inclined to regard the Mercury Belvedere as an original of Polycletus. It approaches almost the exact proportions prescribed by him; and we know that a statue of Mercury by Polycletus was transported to Rome. Poussin declares the Mercury the most perfect model of the human figure.”—Ampère. "Perhaps this is the most beautiful statue in the world."-Hare.

"It is an exquisite image of blooming youth. For soft and delicate beauty-beauty which, like that of the vernal rose, the sunset cloud, and the breaking wave, is suggestive of brief continuance and early decay-this statue has no superior, hardly an equal. The busts and statues of Antinous (Mercury) all have a certain expression of melancholy. Their beauty seems too ripe for earth.

"In this statue the softness of the limbs just stops short of languid effeminacy. It is beauty, not like that of the Apollo, in action, but in repose; filled to the brim with sweet sensations; neither restless from desire, nor cloyed with enjoyment."-Hillard. 171, Br. Mu. Similar to that of the VatHas the attributes of the god more fully

IV. MERCURY OF THE CAPITOL, represented as the god of commerce, holding a purse, wearing a cloak and a traveller's cap, and winged both on the cap and ankles. In his right hand he bears the Caduceus.

** V. MERCURY, by G. da Bologna, bronze; Saloon VII., Nat. Museum, Florence. A small statue of Mercury standing upon one foot, as in the act of springing into the air. One of the lightest, most airy, and graceful figures ever wrought in bronze or marble.

"It seems a wonder that he did not absolutely fling himself into the air when the artist gave him the last touch. No bolder work was ever achieved; nothing so full of life has been done since."-Hawthorne.

Met'-su, Gabriel, Mer'-zu, 1630-1667, b. at Leyden; one of the most charming genre painters. His favorite subjects were high life, fairs, markets, and interiors, frequently with chickens. His works number 160, and are found in all galleries.

Michael Angelo. See Angelo, Michael.

Mieris, Frans van (mee'-ris), 1635-1681, b. Leyden, pupil of Gerard Dow, and friend of Jan Steen. Pictures are small; subjects genre, and occasionally of high life. His masterpieces are The Tinker, in the Dresden Gall., and The Charlatan in the Uffizi. His works number 140.

Milan (me-lan', mil'-an), It. MILANO (mee-lah'-no). Founded 600 B. C. Under the Romans, Mediolanum was one of the leading cities of Italy. The later Emperors frequently made it the seat of the Empire. In the Middle Ages it was subject to frequent siege in the struggles against the Germans. Totally destroyed by Fred. Barbarossa, 1162, it was rapidly rebuilt, and such was its prosperity and the excellence of its manufactures, that, in 1500, it established and controlled the styles and fashions of Europe, whence the word milliner.

The present city has undergone many improvements within the last 20 years, and has now a pop. of 321,000. It bears the impress of a modern town beyond that of any city in Italy, except Turin. Much as may be found for admiration, there is little besides the cathedral that will compensate delay for the traveller whose tour comprehends Central Italy.

The Principal Places of Interest are the Cathedral; the Galleria Vittorio Emanuele; the Piazza della Scala; the churches of S. Ambrogio, and S. Lorenzo; the Giardini Pubblici; the Arco della Pace; the Brera Gallery, see Part 11.; and Ch. of S. M. delle Grazie; see Grazie.

**The CatheDRAL: The original church built here was destroyed by Attila; rebuilt, it was burned, 1075; rebuilt, and destroyed by Fred. Barbarossa, 1162. The present building was commenced, 1386, under the direction of Heinrich von Gmünd, and is not yet completed. The plan of the cathedral is a Latin cross; it is 480 ft. in length, 183 wide; height of vaulting, 155 ft.; from the pavement to the top of the tower, 360 ft. It has 98 Gothic turrets, and upon the outside, exceeding 2,000 statues— according to Murray, 3,400 of the 4,500 required to complete the original plan of the structure.

Interior: The pavement is marble mosaic. Fifty-two columns,

from 8 to 12 ft. in diam., support the roof. The columns are surmounted by statues in niches in place of capitals. The vaulting is painted in imitation of wrought stone.

S. Aisle Sarcoph. of Bp. Heribertus Antimianus; Gothic mon. to Bp. Marcus Corellus. S. Transept: Mon. to Giac. and Gab. de' Medici, by their bro. Pius IV., 1564. Statue of St. Bartholo

mew flayed, by Marcus a Grate.

Choir: Ornate Gothic doorway of the S. Sacristy; mon. to Card. Carraccioli, who crowned Emp. Ch. V. at Aix-la-Chapelle. The 3 great windows contain 350 scriptural subjects. Above is a sitting statue of Pius IV.

N. Transept: * Bronze candelabrum, of the 13th cent., in the form of a tree.

N. Aisle Altar-piece, 1600, by Baroccio. On the altar of St. Joseph, Marriage of Mary, by F. Zucchero. Next chapel contains the crucifix worn by S. Borromeo during the plague of 1576. The Font was formerly the sarcoph. of S. Dionysius. On the high altar is a tabernacle of gilt bronze with figures of Christ and the Apostles.

Beneath the Choir is a subterranean church, used in winter; thence an entrance leads to the chapel of St. Carlo, of which the walls are adorned with silver-gilt bas-reliefs.

The Treasury (fee 1 fr.) contains life-size statues of SS. Ambrogio and Borromeo, said to be in silver (?).

Ascent to the Dome is made from the S. Transept (25 cent.) by nearly 500 steps to the highest gallery. The early morning (cathedral open at 5 A.M.) is most certain to afford a fine view of the Alps. The most prominent peak is Monte Rosa; on the 1. of which are the Matterhorn, Gt. St. Bernard, and Mt. Blanc. **The view of the immense cathedral, with its forest of turrets, pinnacles, and statues, seen from the upper galleries of the dome, is among the most striking and beautiful presented by any structure ever reared.

GAL-LE-RI-A VIT-TO'-RI-O E-MAN'-U-E-LE: a grand and spacious arcade (1865), extending from the Piazza del Duomo to the Piazza della Scala, nearly 1,000 ft. It is in the form of a Latin cross, with a dome 180 ft. high, and is adorned with statues and lined with elegant shops and cafés. In the evening it is a fashionable and a most delightful resort.

THE PIAZZA DELLA SCALA (scah'-lah). Leaving the Galleria by the entrance opposite the Cathedral end, we enter the Piazza

della Scala, noted principally for its monument to da Vinci, erected 1872. Below are four of his most eminent pupils-Marce d'Oggione, Cesare da Sesto, Salaino, and Beltraffio.

The principal business street is Corso Vittorio Emanuele, extending from the rear of the Cathedral n. e. past the Public Gardens to the Porta Venezia.

THE CHURCH OF ST. AMBROGIO, where the Lombard and German Kings and Emperors were crowned with the Iron Crown of Lombardy, was founded in the 4th cent. by St. Ambrose, on the site of an ancient temple of Bacchus. The present structure dates from the 12th cent. This is said to be the church whose doors St. Ambrose closed against Emp. Theodosius after his Thessalonica massacres.

LORENZO, S., CH. оF, the most ancient ch. in Milan, being a portion of the Palace or Baths of Maximian, founded by King Ataulph, whose sarcophagus is in the chapel of St. Aquilinus. In the street is a beautiful *colonnade of Corinthian columns, supposed to be a part of the same structure as the church.

THE GIARDINI PUBLICI (jee-ar-dee'-nee poob-lee'-chee; public gardens), on the n. e. part of the city, are the fashionable promenade, and the avenue on the n. side, the principal drive in the late afternoon, particularly on Sundays. At the s. w. corner is a bronze mon. to Cavour, with Clio inscribing his name on her tablet.

In the n. w. part of the city is the Castello, now occupied as barracks, beyond which is the Piazza d'Armi (dar'-mee'), or drillground. On the side of the Piazza, opposite the Castello, is

*THE ARCO DEL SEMPIONE, or ARCO DELLA PACE, commenced in 1807 by Napoleon, in honor of the construction and as the terminus of the Simplon Road over the Alps. It was completed by Francis I. of Austria, in 1833.

Upon the liberation of Italy from Austrian dominion, the inscriptions which Francis had placed upon the Arch in his own honor were removed, and the present ones substituted.

Routes: To ARONA (Lake Maggiore), 2 hrs., $2.50; $1.75; see Route 44. To COMO (Lake of Como), 11⁄2 hrs., $1.10; $0.75; see Route 45. TO VENICE, 6 hrs., $6; $4.10; see Route 46. TO BOLOGNA, 5% hrs., $4.60; $3; see Route 47 to Piacenza, thence Route 42, Piacenza to Bologna. To GENOA, 5 hrs., $3.50; $2.50. TO TURIN, 3 hrs., $3.40; $2.20; see Route 43. TO PARIS, 22 hrs., $20; $16.50; see Route 43 to Milan, thence Route 40, Turin to Culoz, thence Route 39, Culoz to Paris. Union Station for all trains.

Minerva, Greek PALLAS ATHENA, or ATHENA, myth, dau.