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terrible tragedies of the Carbonari is most interesting. The great equality in Florence is well noticed, accounting for the little real distress among the poor, and the simplicity of life of the nobles. She next enters into an account of modern Italian literature, which she ranks high, and hopes much from. The same struggle between romanticists and classicists existed as in other countries; and she classes Manzoni with Walter Scott, though admitting that he has not the same range of character. Mary and her party next proceeded by sea to Rome. Here, again, the glories of Italy and its art failed not to call forth eloquent remarks from Mary's pen; and her views, though at times somewhat contradictory, are always well expressed. She, at least, had a mind to appreciate the wonders of the Stanze, and to feel that genius and intellect are not out of their province in art. She only regrets that the great Italian art which can express so perfectly the religious sentiment and divine ecstasy did not attempt the grand feelings of humanity, the love which is faithful to death, the emotions such as Shakespeare describes. While this wish exists, and there are artists who can carry it out, art is not dead. After a very instructive chapter on the modern history of the Papal States, we again find Mary among the scenes dearest to her heart and her nature: her next letter is dated from Sorrento. She feels herself to be in Paradise; and who that has been in that wonderful country would not sympathise with her enthusiasm! To be carried up the heights to Ravello, and to see the glorious panorama around, she considered, surpassed all her previous most noble experiences. Ravello, with its magnificent cathedral covered with mosaics, is indeed a sight to have seen;