pany the Austrian Archduke to the Lido on his departure.
Mrs. Shelley much admired the expression in the early masters at Padua, though she does not mention Giotto. In Florence, the expense of the hotels again obliged her to go through the tiresome work of seeking apartments. They fortunately found sunny rooms, as the cold was intense. To cold followed rain, and she remarks:—"Walking is out of the question; and driving—how I at once envy and despise the happy rich who have carriages, and who use them only to drive every afternoon in the Cascine. If I could, I would visit every spot mentioned in Florentine history—visit its towns of old renown, and ramble amid scenes familiar to Dante, Boccaccio, Petrarch, and Machiavelli."
The descriptions of Ghirlandajo's pictures in Florence are very good. Mary now evidently studies art with great care and intelligence, and makes some very clever remarks appertaining to it. She is also able to call attention to the fact that Mr. Kirkup had recently made the discovery of the head of Dante Alighieri, painted by Giotto, on the wall of the Chapel of the Palace of the Podesta at Florence. The fact was mentioned by Vasari, and Kirkup was enabled to remove the whitewash and uncover this inestimable treasure. Giotto, in the act of painting this portrait, is the subject of one of the finest designs of the English school—alas! not painted in any form of fresco on an English wall.
From the art of Florence Mrs. Shelley turns to its history with her accustomed clear-headed method. Space will not admit all the interesting details, but her account of the factions and of the good work and
