ART. IX. Observations on Italy. By the late John Bell, Fellow of the Royal College of Surgeons, Edinburgh, &c. &c. William Blackwood, Edinburgh, and T. Cadell, Strand, London, 1825.

2. A Journal of a Tour in Italy in the year 1821, with a Description of Gibraltar, accompanied with several Engravings. By an American. New York, printed for the Author, by Abraham Paul, 72, Nassau-street.

THE work which stands first in the list at the head of this article consists of extracts from the manuscripts of the late Mr. Bell; selected with reference not so much to the importance of the subjects, as to the state of preparation for the press in which the papers were left it is, therefore, to be considered, not as a finished performance, but rather as a specimen of what might have been expected from the author, if the rapid progress of a fatal disease had not disqualified him for the task of arranging and revising his observations. They are chiefly criticisms on the fine arts, together with descriptions of natural scenery, conceived with taste and feeling, and frequently expressed in language of considerable eloquence. We wish there had been more of connecting narrative, which makes the reader acquainted, as it were, with an author, by detailing his customary pursuits, the incidents of his journey, and the society he frequents, and which gives a work, over and above the value of information it communicates, something of that peculiar interest which arises from biographical memoirs. The form in which the greater part of Mr. Bell's book is cast reminds us of" Forsyth's Remarks;" the difference of the circumstances under which the two works were written makes it, perhaps, unfair to institute, or at least to pursue, a comparison between them the range of Mr. Bell's subject is less extensive, nor is it treated with so much of historical, antiquarian, and classical knowledge, or illustrated with that variety of anecdotes which Mr. Forsyth's familiar acquaintance with the literature and language of Italy, and his personal intercourse with its society, enabled him to collect-characteristic anecdotes, introduced appropriately, and related with neatness and elegance. Yet Mr. Bell's style is more uniformly simple and perspicuous, his descriptions of scenery more vivid and expressive; there is, moreover, none of that appearance of elaborate effort in composition, none of that affected conciseness which makes Forsyth's sentences frequently obscure, and occasionally inaccurate; nor is there any of that tone of fas

tidious feeling which seems almost unwilling to be pleased, and which seeks apparently, in the contemplation of surrounding objects, materials for criticism, rather than sources of delight. The following passage from the introductory chapter explains the object of the work to which it is annexed; it is written with feeling, and the language of panegyric is not, in this case, pressed beyond the line of discretion and justice.

"The author, during his residence abroad, had many opportunities of judging of the difficulties encountered by young travellers in forming their taste and opinions. Guide-books and Custodi, generally adopting but one language, describe every object as exquisite; he hoped, therefore, that some few observations, founded on principle, and pointing out the subjects most worthy of notice, might render his work not only useful as a book of reference to the unexperienced, but also prove the means of shortening the labours of the amateur, whose leisure did not admit of long investigation. These considerations, combined with the object of giving specimens of the author's various studies, will, the Editor hopes, offer a sufficient apology for this publication; nor will the feeling reader be unwilling to remember the melancholy circumstances under which they were written, by one suffering from the approaches of a fatal disorder,-whose life had been devoted to severe studies, and whose discoveries and useful labours have formed an epoch in his profession. These recollections may so influence his mind as to lead him to trace, in these sketches, the promise of what they would have been, had the author survived to prepare them for the press."—pp. X., xi.

In the month of June 1817, Mr. Bell left Paris in a state of great debility, desirous of trying the effect of a warmer climate, and yet, apparently, indulging slight hopes of eventual recovery. Passing through Fontainbleau, he took the route by Chalons and Macon, to Lyons. In this city, so lately the scene of revolutionary disturbance, he found a diminishing population and a failing trade, a general aspect of desolation and apathy, " to which nothing seemed to give animation but the suspense and agitation awakened by the sounds of revolt." From Lyons Mr. Bell proceeded to Chamberry, and after a little delay near Lans-le-bourg, where some of the bridges had been swept away by the violence of mountain-torrents, he passed Mont Cenis. The view from Rivoli is thus described :

Rivoli, which we reached early in the afternoon, is finely situated on a hill, at the opening of the great valley of the Po; commanding a most beautiful and magnificent prospect. The eye runs along the vast range of Alps, forming a long blue line in the distance; and the gigantic mountains you have just passed, where Mont Cenis presides, are

seen towering, dark and massive, against the light. From the gulley. above Suza, you see the Doria bursting forth, and trace its resplendent waters, pursuing their course through the arches of the long and slender bridges which span its tide; while the evening sun flames. over the mountains, shooting down through the narrow valley, and touching with vivid tints the great monastery of St. Michael, which stands solitary and majestic on its lofty hill. Leaving these sublime objects, and looking in the opposite direction, we distinguished the highest points of the numerous steeples and spires of Turin, tipped with the reddening rays of the setting sun. No smoke ascends, as in northern countries, indicating the spot on which the city stands; but a light transparent haze seemed to hang over it in the pure still air; while magnificent and lofty trees marked its boundaries with a dusky line. The whole of this fine scenery receives an added charm in the softening features of the rich fields and woody plains, which, reaching far to the west, spread out below, enlivened by innumerable white dwellings, giving life and animation to the picture. While thus, after a sultry day, inhaling the refreshing breeze of the evening, and contemplating the varied beauty of the surrounding landscape, we were naturally led to compare it with the climate and aspect of the country we had left; and could not hesitate to prefer Italy, with its splendid sun, its soft, balmy, and clear atmosphere, vast mountains, and noble rivers."―pp. 41-43.

Turin lies at the distance of nine miles from Rivoli, the approach being through one of the long rectilinear avenues, shaded by a double row of fine trees, so common in the plains of Lombardy. Mr. Bell confesses that this capital excited his admiration, by the breadth and regularity of its streets, the extent of its public squares, and by the views it commands of the surrounding country, embellished by the beautiful Superga, and "so richly wooded and studded with villas, that it seems like a prolongation of the city;" yet he observes, that "there is nothing in Turin from which the traveller can derive much interest or pleasure. It can be regarded only as an elegant place of repose for a few days; to the antiquary it presents no objects of inquiry; to the artist no pictures, statues, or buildings, worthy of particular notice." The front of the king's palace, the Egyptian or Isiac table (both of which are, indeed, mentioned by Mr. Bell), and the paintings in the gallery, by Reubens, Rembrandt, Vandyke, and Teniers, might have saved Turin from this unqualified censure: perhaps the position of this. collection prevents its being duly appreciated; those who pass. this way into Italy are impatient to reach the Tribune and the Vatican, while others, who visit Turin on their return, having seen pictures, even to satiety, are too fastidious to be easily pleased.

On the morning after Mr. Bell's arrival, his attention and feelings were strongly excited by witnessing the execution of an

assassin; the whole scene is described with energy and eloquence, and presents a striking contrast to the manner in which we are accustomed in this country to bring in the solemn rites of religion, to mitigate, when they may not avert, the necessary severity of the law. Private exhortation endeavours to awaken a sense of guilt; the language of consolation is heard in the silent cell; and the momentary publicity of the scene of execution is thought to make the warning sufficiently awful and impressive: we agree with Mr. Bell in condemning as unwise and pernicious the pomp and circumstance of this Catholic execution-the sable car, the flag of death floating above the wretched criminal, the band of priests, the brothers of the Misericordia clothed in black and masked, the tedious procession-all combining to lengthen the period of public exposure, and give to the hour of death the sting of additional bitterness.

Circumstances prevented Mr. Bell from remaining at Milan as long as he had wished, but his remarks on the objects of principal interest which that city contains are sensible and intelligent, removed alike from the language of indiscriminate approbation, and the censure of petulant criticism. The celebrated cathedral is thus described:

"The side of this immense temple, the largest in Europe, except St. Peter's and St. Sophia, presents itself obliquely as you enter the square, the great western front being seen in fine perspective. A broad flight of steps leads up to the front portals, and five gates open, on either side, to the five parts (i. e. the nave and four aisles) into which the body of the church is divided. From the sides of the gates run up a sort of columns, like buttresses, terminating in the most beautiful pinnacles, richly decorated with statues, placed not only along their whole length, but upon the top of each spiry point. Rich, curious, antique, and splendid, are the appropriate terms to be used in describing them; although, were it not for the respect inspired for ancient times, and some mixture of reverence for the religious feelings which guided the founders of this cathedral, this profusion of ornament might certainly be condemned as childish. The effect, however, is gorgeous; but nothing can be truly grand, or noble, that is not simple; and we contemplate the rich and varied embellishments before us, with feelings somewhat akin to those with which we admire the beauty of a curious antique cabinet. The pedestals of these Gothic pillars are enriched with basso relievo, as are also the doors: the consoles are supported by caryatides of the size of life; and the pillars are adorned with statues in the niches. Many of these basso relievos and statues are in the finest style, and were executed by various Italian masters."—pp. 67-69.

This description appears to us accurate, and the criticism just, but we venture to say Mr. Bell's opinion opposes the general feeling

when he adds, "the whole beauty of this edifice may be said to be external, its interior being sombre, cheerless, and vast, without grandeur."-Page 69. Now adaptation to the object proposed is surely one test of architectural beauty, and it seems to us impossible to visit the interior of Milan cathedral without confessing that the prodigious altitude of the pillars, its "high-embowed" roof, and almost immeasurable extent, the varying combinations, formed by the pointed arches of its numerous aisles, the scanty light admitted through its painted windows, and the associations of thought connected with its Gothic ornaments, are calculated to produce impressions of solemnity, and to prepare the mind for the indulgence of devotional feeling.

It is well known that the Milanese owe the completion of this cathedral to the liberal expenditure of Buonaparte, who had conceived various other designs for the improvement and decoration of their city. Mr. Bell speaks thus of the Triumphal Arch which fronts the Simplon road :—

"It is almost as colossal as the barriers of Neuilli, and infinitely more elegant than the Arch of the Carousal, the effect of which is much injured by its various colours, while this is composed of the purest white marble. The design, however, much exceeds the execution; the sculpture is indifferent, and the academic figures incorrect; some conspicuous defect being perceptible in each, either from the too great length of arms, flatness of chest, or disproportioned size of the head; but yet, although critically imperfect, the effect of the whole is very striking. None of the figures are grouped; they stand singly, and their forms are generally elegant. For the embellishments in the finishing of the structure, viz. friezes, cornices, capitals, and enrichments, there is a most splendid collection. But, like the Elephant at Paris, the whole stands encircled by a wooden railing, and its greatest use, probably, will be the producing a few francs a day to the custode who shews it."-p. 81.

The lapse of nearly nine years tends to verify the latter remark, nor can we be surprised that those who now govern the northern provinces of Italy should be unwilling to erect this architectural record of Napoleon's conquests. A more ludicrous instance of this very natural reluctance may be seen in the pictures which decorate the Ducal residence; they are extremely ornamental, and executed with no ordinary skill, and since they consist chiefly of allegorical representations of the triumphs of Buonaparte, his portrait, together with that of Josephine, was often and conspicuously introduced. The present rulers being desirous to remove these unacceptable countenances, and yet unwilling to mutilate the paintings, hit on the following device: they appended to the chin of the Ex-Emperor a philosopher's beard of becoming