The Palazzo Malvezzi Campeggi, designed by the Formigini, is remarkable for some tapestries from the design of Luca von Leyden, presented to Cardinal Campeggi by Henry VIII. of England.

nichino, a Sibyl by Guido in his early has a ceiling painted by Prospero Fon youth, and some other fine works of tana; but with this exception, the the Bolognese school. chief interest of the palace consists in its connection with Bocchi, who while professor of Greek and Latin, rhetoric and poetry in the University, founded in this palace the academy which bore his name, and established a printing-office, from which several elegant editions of valuable works were issued. He was created a chevalier and count palatine, with the peculiar power of conferring knighthood and the diploma of doctor, and of legitimatising natural children. The senate of Bologna appointed him historiographer, and employed him in writing the history of the city. His principal works are the "Apologia in Plautum," "Carmina in laudem Io. Bapt. Pii," and the "Symbolicarum Quæstionum de Universo Genere, quas serio ludebat," &c. The engravings of the second edition of the latter The were retouched by Agostino Caracci.

The Palazzo Marescalchi, formerly so famous for its pictures by Correggio, the St. Peter of Guido, the St. Cecilia of Domenichino, and other masterpieces, has been despoiled of all its principal treasures. The façade is attributed to Tibaldi; the vestibule at the top of the stairs is painted in chiaroscuro by Brizzi; and so profusely has art lavished her resources at Bologna, that even the chimneypieces are painted by the Caracci, Guido, and Tibaldi.

The Palazzo Pallavicini, formerly the Fibbia, has a noble hall painted by Domenico Santi, and Canuti. interior of the chapel, and the vestibule leading to it, are painted by Michael Angelo Colonna. Twelve busts of illustrious ladies of Bologna are mostly the work of Algardi; the rest are copied from Alfonso Lombardo.

The Palazzo Pepoli, built from the designs of Torri, in the beginning of the last century, occupies the site of the ancient palace of the great captain Taddeo Pepoli, which was sold in 1371 to Gregory XI. to establish there the Gregorian College, then recently founded by Guglielmo da Brescia for poor Bolognese students. On the suppression of the College in 1452, it was granted to the Domenicans, who sold it back to the Pepoli family in 1474. It is a fine building, with frescoes of Colonna and Canuti, illustrating the history of Taddeo Pepoli: its halls and chambers are also painted in fresco by Donato Creti, Ercole Graziani, and other artists.

The Palazzo Piella, formerly the Bocchi Palace, was built by Vignola for the learned Achille Bocchi, who is said to have had some share in its design. The hall on the ground floor

The Palazzo Ranuzzi, formerly the Lambertini, built from the designs of Bartolommeo Triachini, is interesting for its paintings by Bolognese masters prior to the Caracci. The most remarkable of these works are the ceiling of the upper hall, by Tommaso Lauretti, the Virtues by Lorenzo Sabbatini, the Fall of Icarus by Orazio Samacchini, and the death of Hercules by Tibaldi.

The Palazzo Sampieri, once so celebrated for the treasures of its gallery, has become a kind of auction mart; its famous pictures have been sold; the greater part have been transferred to the Brera at Milan, and collections from other quarters are now sent to the palace to find a market. But its fine ceilings and chimney-pieces, by the Caracci and Guercino, are well preserved and will amply repay a visit. - I. In the 1st hall, the ceiling, painted by Lodovico Caracci, represents Jupiter with the Eagle and Hercules; "in form, dignity of feature, and magnificence of character," says Mr. Bell, "finely suited to harmonise as a group. The muscular figure and

-

The Palazzo Tanara has several interesting paintings; the Bath of Diana, the Toilet of Venus, St. Paul shaking off the Viper, and the Last Supper, are by Agostino Caracci; the Kiss of Judas and the Birth of Alexander, are by Lodovico; the Assumption of the Virgin, and the Cumæan Sibyl, are by Guercino; a Madonna by Guido ; the portrait of Albani is by himself; the portrait of S. Carlo Borromeo, by Carlo Dolci; the portrait of a Cardinal by Tintoretto; but the gem of the gallery, Guido's Virgin suckling the infant Saviour, is sold.

gigantic bulk of Hercules is impos- tano Gandolfi: it was damaged, howing without extravagance; a perfect ever, by retouching in 1819. In the acquaintance with the human figure great hall and the adjoining chamber is displayed, with admirable fore- is a series of very beautiful paintings shortening, and great skill and bold- by the same master, illustrating the ness in composition and execution. history of Æneas, which seems to have The artist's knowledge of anatomy is been a favourite subject of the Bologdiscoverable from his correct propor- nese school. tions and fine bendings, but is not obtruded on the eye by caricatured or forced lines." The chimney-piece of the same apartment has a painting by Agostino Caracci, representing Ceres with her torch in search of Proserpine, and in the background the Rape of the Goddess. II. The 2nd hall has a ceiling by Annibale Caracci, representing the Apotheosis of Hercules, conducted by Virtue. III. The ceiling of the 3rd hall, by Agostino Caracci, represents Hercules and Atlas supporting the Globe. The chimneypiece of this hall, by the same master, represents Hercules holding down Cacus, preparing to pierce him with has a fine gallery, rich in works of the sharp end of his club. IV. In the Caracci and other masters of the the 4th hall, the ceiling, represent- Eclectic school. Among these may be ing Hercules strangling Antæus, is by noticed Jacob's Ladder, and Abraham Guercino. "A superb piece, with fine at table with the Angels, by Lodovico deep-toned colouring, and wonderful Caracci; the Dead Christ, by Agospower of chiaroscuro. The figure of tino; the Sibyl, the Elijah, and the Hercules is very grand, but seems to Madonna and Child, by Guercino; have occupied rather too much of the the Marriage of St. Catherine, by artist's care. Antæus is wanting in Albani; portrait of Cardinal de' Mevigour; the resisting arm is not drawn dici, by Domenichino; his own porwith force or bulk corresponding to trait, by Baroccio; St. John, by Cathe action; neither are the figures suf-ravaggio; a St. Sebastian, and the ficiently connected. But the whole portrait of Charles V. by Titian; a piece, although liable to these criticisms, is a work of great vigour, and unquestionable merit. In one of the accompanying ornaments of the ceiling there is a beautiful little painting by Guercino, of Love (I think it should have been Ganymede) carrying off the spoils of Hercules, the skin of the Nemean lion, and the club. The motto under it is Hæc ad superos gloria pandit."" Bell.

The Palazzo Sedazzi, formerly the Leoni, has a façade designed by Girolamo da Treviso. Under this portico is the fine Nativity by Niccolò dell' Abate, well known by the engraving of Gae

The Palazzo Zambeccari da S. Paolo

fine Landscape by Salvator Rosa; and the six mistresses of Charles II., by Sir Peter Lely. Besides these works, there is a Crucifixion, in silver, a very beautiful work of Benvenuto Cellini.

Scarcely, if at all inferior in interest to these palaces, is the Casa Rossini, built in 1825 for the great "Maestro di Musica," and covered with Latin inscriptions in large gold letters, taken These chiefly from classic writers. decorations are not in the best taste, and were added it is said by the architect, during the absence and without the knowledge of Rossini, whose fair fame does not require so much osten

tatious parade. In the front, is the kind are perpetrated. Alidosi estifollowing from Cicero:

"Non domo dominus, sed domino domus." On the side is an inscription from the Æneid:

"Obliquitur numeris septem discrimina

Vocum

Inter odoratum lauri nemus."

Another interesting Casa is the house of Guercino, in which the great painter lived during his residence at Bologna: it is in the small piazza behind the Church of St. Niccolò degli Albári, No. 1647.

mated the height at 260 feet without the cupola; Taruffi, at 263 feet, but without stating the point from which his measurement began; Fra Leandro Alberti gives it as 316 feet; and Masini as 376, the estimate which was followed by Mitelli in his print of the Seven Towers of Italy, and thus propagated among succeeding writers, who have taken him as their guide. Of English travellers, Mr. Woods, by far the best authority on architectural subjects, gives it as 256 feet; Mrs. Of the other public buildings and Starke 327 Paris feet; Mr. Penninginstitutions of Bologna, one of the ton, 376 feet; and Mr. Williams, 476 most interesting to the architectural feet! The inclination of the tower antiquary is the Foro de' Mercanti, or was ascertained by careful measurePalazzo della Mercanzia, the best pre- ments, in 1706, to be 3 feet 2 inches, served example of Italian Gothic in as is recorded by an inscription under the city. It was built in 1294 of the statue of St. Michael the Archmoulded brick-work, and restored by angel, in the niche of the western the Bentivoglio during their political ascendency. It is the seat of a Chamber of Commerce; but it has nothing beyond its architectural details to require more particular description.

It

wall.

After the earthquake of 1779, it was again measured, but no alteration was discovered. In 1813, the Abbé Bacelli, professor of physics in the University, assisted by Professor Antolini, again measured the inclination, and found that it had slightly

A flight of 447 steps conducts to the summit by a winding staircase, which is one of the rudest and most impracticable in Italy. The view is fine, extending to the hills about Verona, embracing Modena, Ferrara, and Imola; and bounded on the south by the lower slopes of the Apennines, studded with villages and beautifully wooded.

Near the Foro de' Mercanti, are the two celebrated leaning towers, called the Torre Asinelli and the Torre Ga-increased. risenda, the most remarkable edifices in Bologna, but so destitute of architectural attractions, that Mr. Matthews likens them to the "chimney of a steam-engine blown a little out of the perpendicular." The Torre Asinelli, begun in 1109 by Gerardo Asinelli, was proved by Tadolini, in his investigations of 1779 and 1782, to have been finished at different periods. is a square and massive brick tower, divided into three portions; the lowest has a projecting battlement, and is occupied by shops; the others contract as they ascend, and the whole is surmounted by a cupola, used occasionally as an observatory. The height from the street to the apex of the cupola, is 256 Bolognese feet 7 inches, according to Bianconi and other local authorities. The statements of travellers, Italian as well as English, on this point, offer an amusing instance of the manner in which errors of this

The other tower, the Torre Garisenda, built by the brothers Filippo and Oddo Garisenda, in 1110, is 130 feet high, according to the local authorities.

Its inclination, measured from its axis, was, in 1792, 8 feet to the east, and 3 to the south; but the experiments of Professors Bacelli and Antolini, in 1813, showed an increase of an inch and a half over the former observations. Alidosi and other writers have endeavoured to maintain that the inclination of the Garisenda is the effect of art; as if Italy did not present an abundance of such examples

in situations where the ground is liable the celebrated anatomist Malpighi is to gradual sinking, and earthquakes by Franceschini; that of Mariani is are of common occurrence. The best by Carlo Cignani: and that of the phianswer to this absurd idea is the losopher Sbaraglia is by Donato Creti. simple fact that the courses of brick In the adjoining chapel of Sta. Maria and the holes to receive the timbers de' Bulgari are some paintings which of the floors are horizontal, which they deserve a visit: the Annunciation, at certainly would not have been if the the high altar, is by Calvart (Fiamtower had been built in its present in- mingo); and the tasteful frescoes on clined form. The Garisenda, however, the walls, representing the history of has a higher interest than that derived the Virgin, sibyls, and prophets, are from this question, since it supplied by Cesi; they are well preserved, and Dante with a fine simile, in which have been engraved by Canuti, the he compares the giant Antæus stoop- able artist who has done so much to ing to seize him and his guide, to this perpetuate and diffuse the knowledge tower, as it is seen from beneath when of the treasures which art has so prothe clouds are flying over it: - digally scattered over his native city. "Qual pare a riguardar la Carisenda

Sotto il chinato, quando un nuvol vada
Sovra essa si, ch' ella in contrario penda,
Tal parve Anteo a me, che stava a vada
Di vederlo chinare, e fu tal ora
Che io avrei voluto ir per altra strada."
Inf. xxxi.

The noble building called the Scuole Pie, the ancient seat of the university before it was transferred to the Institute, is one of the finest edifices in Bologna. It was designed, in 1562, by Terribilia, and has often been erroneously attributed to Vignola. The Scuole Pie were established here in 1808; and as a proof that the great Italian cities are not backward in their education of the poor, they afford gratuitous instruction to the poor children of the town, under the direction of able teachers, partly laymen and partly ecclesiastics. The course of teaching embraces writing, arithmetic, the Latin language, singing, and drawing; and to these the munificent legacy of Professor Aldini has added chemistry and physics, as applicable to the arts. The apartments appropriated to the schools have some good paintings by Samacchini, Sabbatini, and their scholars. In the loggie above are several interesting memorials of deceased professors: that of the physician Muratori is by his accomplished daughter Teresa, with the assistance of Gio Giuseppe dal Sole; that of the Canonico Pier Francesco Peggi, the philosopher, erected by his pupils, is by Giuseppe Terzi; that of

The Collegio Jacobs, or de' Fiamminghi, the Flemish College, was founded in 1650, by Johann Jacobs, a Flemish goldsmith, for the education of young men of Brussels belonging to the parish of Notre Dame de la Chapelle, and elected by the Goldsmiths' Company of that city. The portrait of the founder, preserved here, was painted by his friend Guido.

The Spanish College, with the highsounding title of Almo Collegio Reale della Illustrissima Nazione Spagnuola, was founded in 1364, by Cardinal Albornoz. It was formerly remarkable for the frescoes of its portico by Annibale Caracci, in his youth, but they have mostly disappeared. In the upper loggia is the fine fresco by Bagnacavallo, representing the Virgin and Child in the act of caressing her, St. Elizabeth, St. John, and St. Joseph, with an angel above scattering flowers, and the Cardinal founder kneeling in veneration. But the great fresco of Bagnacavallo, representing Charles V. crowned in S. Petronio by Clement VII., although much injured, is by far the most interesting work, because it is a contemporary record. From this circumstance we may regard the picture as a series of authentic portraits, in the precise costume of the period; and examined with this view each head becomes a study of individual character.

The Collegio di S. Luigi, founded in

1645 by Count Carlo Zani, occupies modern machinery, and has been rea palace built by Torreggiani in the modelled on the plan of the mint at beginning of the last century. It has Paris. a small theatre, remarkable for its' scenes by Bibiena, Scandellari, and Gaetano Alemani.