Cunctaque marmoreis ornata peristyla signis. But of these edifices the names only remain annexed to the churches, built on their site or over their ruins-Sta. Maria del Circo, S. Georgio al Palazzo, S. Vittore al Theatro. We must except the baths, of which a noble fragment still stands near the parochial church of St. Lorenzo. It consists of sixteen beautiful Corinthian columns fluted, and of white marble, with their architrave. They are all of the best proportion, and placed at the distance of two diameters and a quarter, the most regular and most graceful intercolumniation. The houses behind these pillars, and indeed the church itself, evidently stand on ancient foundations, and have enabled the antiquary to ascertain with tolerable accuracy the form of the original building. The era of the erection of these baths is not known, but the extreme elegance of the remains is a sufficient proof that they are the work of a period of architectural perfection, and consequently long prior to the iron age of Maximian*. But while the grand features of the ancient are wanting to the modern city, the minor advantages are nearly the same in both; and the plenty, the number of splendid and wellfurnished houses, and till the present disastrous epoch, the *The inscription on one of the pilasters is allowed in general to have no reference to this edifice. simple manly manners of the inhabitants of Milan in the eighteenth century would, perhaps, enable it to vie, without losing much by the comparison, with Mediolanum in the fourth. Copia rerum Innumeræ cultæque domus-fæcunda virorum The mental qualifications which the poet ascribes to the ancient inhabitants of Milan may, perhaps with equal reason be attributed to the modern; especially as the Italians are no where deficient in natural abilities. I do not however find that this city was at any period particularly pregnant with genius, nor do I recollect the names of any very illustrious writers born in it, or formed in its schools. We may therefore consider the import of this verse, as far as it confers on the Milanese any preeminence of talent, as merely poetical and complimentary. Another mark of resemblance I must mention, which is, that the modern like the ancient town is surrounded with a double. wall, which is perhaps raised on the foundations of the old double circumference, and may be considered as an indication that the city covers as great a space now as formerly, and perhaps contains as many inhabitants. I shall say nothing of the intended embellishments, nor of the future Forum of Bonaparte: the present government has a great talent for destruction, and is now occupied in the demolition of ramparts, convents, and houses to make room for the latter magnificent edifice, destined hereafter to outshine that of Trajan itself. When it is to be begun is not known; meantime the work of destruction proceeds. However be these improvements what they may, I must say, that the beauties of Milan are not a little at present, and in opposition to the poet's declaration were, I believe, anciently still more eclipsed by the splendor of Rome. Juncta premit vicinia Romæ, an observation applicable to Milan, to Genoa, and still more to Florence because nearer that Capital, so long the seat of beauty, of empire, and of majesty *. * The mind of the traveller naturally turns to this city; et antiquitas amabilis sed et religio venerabilis sæpe eo vocant, says Lipsius. He would do well to visit, as he easily may, the three cities above-mentioned, to which we may add Turin and Venice, on his way to Rome. As for Naples it derives its attractions not from art but from nature, and will charm as long as its bay with all its isles, its coasts with their windings, its lakes with their wild borders and classic haunts, and its mountains with their fires, fertility and verdure continue to glow with the beams of the sun that now enlightens them. CHAP. XV. ADDUA COMO THE LARIAN LAKE-PLINIANA, THE INTERMITTING FOUN- ON Monday the 27th of September, we set out from Milan, and took the road to Como. The distance is about twenty-six miles, and runs over an extensive plain, presenting in the midst of verdure and fertility many villas, but no object particularly interesting. At Berlasina (about half way) we changed horses; and a few miles further on, the distant Glacieres began to increase in magnitude and grandeur, and at the same time the country around gradually assumed rougher features, and presented hills heightening as we advanced, and exhibiting a variety of wild broken scenery. We left Milan at twelve, and entered Como about the half hour past six o'clock. Comum is like most of the towns between the Alps and Apennines of great antiquity, and like them also owes its origin to a Gallic tribe, and its importance to Roman colonization. For the latter benefit it was indebted partly to the father of Pompey, and partly to Julius Cæsar. It never fell to its lot to make a figure in the world, nor indeed to attract the attention of the historian, either by its glories or by its reverses; and it seems to have derived from its humble mediocrity a greater degree of security and quiet in the numberless disasters of Italy than any of the more powerful and more illustrious cities can boast of. Its principal advantage is its situation, and its greatest glory is the reputation of one of its ancient denizens, Pliny the Younger. Its situation is beautiful. On the southern extremity of the Larian lake it commands a fine prospect of that noble expanse of water, with its bold and varied borders. It is covered behind, and on each side, with fertile hills. It is an episcopal town of some extent, and a pleasing appearance. The cathedral is of white marble, and mixed architecture: the front is of light and not inelegant Gothic; the nave is supported by Gothic arches; the choir and transepts are adorned with composite pillars; a dome rises over the centre. The effect of the whole, though the mixture is incorrect, is not unpleasant. In the front of the cathedral, there is a statue of Pliny with basso relievos alluding to his writings, and on each side of the grand entrance is an inscription in his honour. The inscriptions are more commendable for the spirit than for the style; the best of the two concludes in the following manner: Ordo, populusque Comensis Caium Plinium Secundum suum incomparabilem statuâ et elogio ornavere. Faustus honor, dulcisque juvat me fama Secundum At mage concives hæc posuisse meos. Municipem Without doubt, a writer so much attached to his country on |