Round the hall are statues and inscriptions to its most eminent men, and over the gate hung a piece of the great ron chain which was brought from Porto Pisano in 1299, but was returned to Pisa in 1860, out of fraternal regard under the new order of things. Another Lazaretto stands at the east end of the port, beyond La Fuggia dockyard and the River Bisagno.

The Exchange, or Loggia di Banchi (or Banchiri), in Santa al Ponte Reale, in a fine hall, by Alessi (of the sixteenth century), resting on columns. It has (among other statues) Vela's statue of Cavour. A little above is the

*Via degli Orefici, a bustling street, where the goldsmiths' shops are found. Over one of them is P. Piola's picture of the Holy Family, covered with glass, and belonging to the Guild; nearly opposite is a bas-relief of the Nativity. Here, little silver arms, legs, &c., are made for ex-voto offerings. Up this street and through Santa Luccoli you turn (behind the hospital) to the fine promenade of the Acquasola, where the band plays on Sundays. Above is a hill, whence there is a splendid view of the city and the sea, from near the railway station; there is an equally good one near the Piazza di Acquaverde, where the new statue of Columbus stands.

Another walk may be taken on the ramparts and by the Aqueduct, which supplies all the town with water, from the Bisagno and Serivia, a distance of 14 or 15 miles. The Ponte Carignano, a bridge across a ravine (about 500 feet deep), rising above the houses, is also worth visiting. It was built 1718-20, and joins the Carignano and Sarzona hills.

The most remarkable buildings are the splendid palaces of the old nobility, and the churches, in some of which a Saracenic variety of the Gothic may be noticed. All the church bells ring at 3 a.m. for an hour, and again in the evening.

CHURCHES.-S. Lorenzo's Cathedral, or *Duomo, in Piazza S. Lorenzo, in the Gothic style, was mostly built about 1100, and restored in 1300, and has a triple portal with deep recessed pointed arches; above which are two or three rows of arcades, a small rose window and a tower (with a little dome at top) 200 feet high. Over the south corner, above the middle door is a bas-relief of the martyrdom of the patron saint (St. Lawrence), and other curious carvings of monsters, are visible. The interior is inlaid with black and white marble, and has been improved by Alessi. It includes a bronze Madonna, with paintings, bust of Columbus, &c., in the side Chapels; one of which was built in 1596, by Doge Senarega. Another Chapel (St. J. Baptist), in the Gothic style, by Della Porta, has statues by Sanseverino; women are allowed to enter it only once a year, because a woman was concerned in the Baptist's death. Some good bronze work, by Zabello, is seen in the choir. In the sacristy, they show the Sacro Catino (basin), a six-sided piece of glass, brought from Cæsarea, in 1101, and reported to be that which held the paschal lamb at the Last Supper. It was given out to be a pure

emerald, till the mistake was detected in Paris by a
scientific judge. It may be seen for 5 lire. The
Archbishop's Palace has frescoes by Cambiaso.

*S. Siro (St. Cyrus), one of the oldest in Genoa,
but modernised by a Grecian front, low dome, &c.,
was that in which the Doges were chosen in public
assembly; and is highly ornamented with marbles,
bronzes (by Puget, at the altar), paintings, &c.
It is supported by sixteen tall white marble pillars.
The painted vault by Carloni.

Santa Maria dei Vigne, also rests on sixteen columns of marble, each being a single block. Paintings of the Annunciation, the Presentation in the Temple, &c.; high altar by Puget; the Virgin Chapel, richly adorned. Marogliano's Christ on the Cross, in wood; and Solaro's bas-relief of the Virgin and Child.

*L'Annunziata, at the corner of that Piazza, was built by Puget, for the Lomellini family and has been lately restored. It abounds with marble works, gilding, &c., in the ceiling and every other part. It has a cupola; the front is good and is adorned with the Last Supper, by Procaccino; but the dome is small and unfinished. Fergusson praises its pure design. "This church is a basilica of considerable dimensions, being 82 feet wide, exclusive of the side chape's, and 250 feet long. The nave is separated from the aisles by a range of Corinthian columns of white marble, the fluting being inlaid with marbles of a warmer colour. The walls throughout, from the entrance to the apse, are covered with precious marbles, arranged in patterns of great beauty. The roof of the nave is divided longitudinally into three compartments, which prevents the awkwardness that is usually observed where windows of a semicircular form cut into a semicircular vault. Here it is done as artistically as it could be done in the best Gothic vaults. The one defect that strikes the eye is that the hollow lines of the Corinthian capitals are too weak to support the pier-arches, though this criticism is equally applicable to all the original Roman basilicas of the Constantinian age; but, nevertheless, the whole is in such good taste, so rich and elegant, that it is probably the very best church of its class in Italy."

*St. Ambrogio, Via del Sellaj (Sadlers), built by the Pallavicini family, is as rich as the last, but has better pictures; as Rubens' Circumcision, and his St. Ignatius (over the altar, which rests on black marble pillars, 26 feet high), and Guido's Assumption.

"In such churches as S. Ambrogio the criticism of the architect must give way to the feelings of the painter, and we must be content to be charmed by the richness of the colouring and astonished at the wonderful elaboration of the details, without inquiring too closely whether or not it is all in the best taste."--Fergusson.

* Santa Maria Carignano, or Church of the Assumption in that Via, is one of the finest in the city, and stands conspicuously on a hill close to the Carignano Bridge which crosses a ravine, at

the top of 250 steps. Built by Alessi for the Sauli |
family in the sixteenth century. It is shaped like a
Greek cross, 165 feet each way, with pilasters in
front, a dome 46 feet diameter over the centre
(whence there is a noble prospect), and four towers
at the corners. Within are four statues by Puget
and David, under the cupola, the best of which is
Puget's Sebastian; rich bronzes by Soldain on the
altar; a fine organ; Procaccini's Virgin (with St.
Francis and St. Charles); Guercino's St. Francis;
paintings by the Piolas and others. The walk from
this church along the walls and ramparts of
S. Chiara gives a splendid view.

St. Matteo (Matthew), in that street and place, is a Gothic church of the thirteenth century, by the Doria family; one of whom, Conrad, humbled Pisa, 1290, and another, Lamba, defeated the Venetians, under Dandolo, at the naval battle of Curzola, 1296. The interior was restored by Montersoli, who built (in the crypt) the tomb of the great Andrea Doria, to whom Paul III. sent a Sword, now kept in the sacristy. The picture of St. Anne is by B. Castello.

St. Sebastiano has the Martyrdom of that saint and St. Clement, by the Castellos.

St. Mary of the Schools has nine marble basreliefs by Schiaffino and Cacciatore, with Guido's Passion.

Santa Maria di Castello, a very old Gothic church of the eleventh century, built by the Castelli family, having three rows of granite pillars. Near the altar are two curious pictures on wood-All Saints, and the Annunciation, by L. Brea, a native artist of the fifteenth century. Another worth

notice is Greghetto's Virgin; but the best is the St. Sebastian of Titian, in the sacristy.

St. Carlo contains a good marble statue of the Virgin, by Parodi.

St. Filippo de Neri is well worth notice for its fine Virgin, by Puget.

St. Francesco di Paolo, outside Porta S. Tommaso, commands a fine view over the city and port, and contains several parti-coloured marble pillars, frescoes, and paintings, especially the Adoration of the Shepherds, by Cambriaso, which the French carried off to Paris, but were obliged to give up again.

*Santa Maria della Consolazione, one of the largest and handsomest churches here, has a dome and a beautiful altar of black marble, veined with gold. One of L. Brea's old fashioned paintings is here. S. Bartolommeo has a "likeness" of Christ painted by St. Luke for Agbarus, King of Edessa.

S. Stefano della Porta, at the top of Santa Giulia, now removed, was a small plain old Gothic church, containing a celebrated work of art, the Martyr dom of St. Stephen, by Raphael and G. Romano. It was the gift of Leo X., and had performed a journey to Paris. S. Agostino is a Gothic church, with a brick tower. S. Donato, a Roman temple, with eight-sided campanile. S. Giovanni di Pre belonged to the Knights of St. John.

There are upwards of sixty churches and chapels. Beyond the walls are those of the Capucini and

Zoccolanti (Franciscans). The Protestant churches are five. The English church is at Casa Rocca, in Via Assarotti. The large Vaudois church is in the same street. Dr. De Sanctis, formerly a priest, became minister of the Chiese Evangelica Italiana, or Italian Evangelical church; and published an Almanacco.

"Genoa (says Dr. Wordsworth) is one of the most interesting cities in Italy for old conventual buildings. You pass out of a busy street, by one of those long, narrow, and rather steep thoroughfares, brilliant with gold, jewellery, and silver filigree work, and coral ornaments, and traversed by long trains of mules, tied to one another's tails, and lane, and come into an old cloistered quadrangle, muzzled with corded nosebags; you enter a byeshaded with orange trees, with an old monastic well in the centre, and you see walls engraved with venerable ancient inscriptions, or adorned with medieval sculpture. Such are the cloistered retreats of St. Andrea, and the Church of St. Matteo, founded in the twelfth century, with its interesting relics of the Dorias." On the front is an inscription recording the victory of Lamba Doria over the Venetians at Curzola, 1296; and the cloisters contain the remains of a colossal statue of Giannetto Doria, the victor of Lepanto, 1571, which the Genoese mob upset in 1797. One-half of the old Dominican Convent is turned into a barrack. Not far from the ruined Church of St. Agostino, with the date, 1263, on its front, is a remnant of a Roman wall and aqueduct, near the courtyard of an old monastery.

PALACES.-Among the Palaces of the nobility are the following: most of which are open to public view between 10 and 3, for 11r. The twelve or fourteen in Strada Nuova were designed by Alessi, who died 1572, and was one of the first architects who figured at Genoa. Some along the harbour, with their marble stairs and splendid rooms, are turned into hotels, such as the Grimaldi Palace, &c. Those within the city are beginning to be renovated by their wealthy owners, who had for a time neglected them. The old nobility, who were dissatisfied with the annexation with Piedmont, are beginning to be more reconciled under the new order of things. They are pious and charitable. When the matron of one of the great hospitals left it for fear of the cholera, her place was taken by a Genoese noble and his wife. palaces, I apprehend (says Forsyth), gave to this city the appellation of Proud; their black and white fronts were once distinctive of the highest nobility; but most of those noble mansions have disappeared. The modern palaces are all faced with stucco, and some are painted in fresco, a fashion first introduced at Venice by Giorgione."

"The

Many of them are painted red or yellow; some green or blue; which produces a rich and sparkling effect in this climate. One beautiful feature is their court-yards, consisting of ranges of marble arcades; but beautiful as they are, with a little more taste and judgment, they might have been made