emphatically the Santo,' of Padua. The best of the series are the S. James thrown down from his sounding, a star fallen from heaven, its nether end a key, which has unlocked the pit and let out the locusts, Rev. ix, 1. 15. Inner jamb or side-wall of the window, in the same line, right wall of the chancel :-Apollyon (apparently) the King of the Locusts, on horseback, Rev. ix, 11. 16 and 17. Suffit of the window arch, to the left:-The Sixth Angel sounding, Rev. ix, 3; Ditto to the right, the four angels bound in the river Euphrates, Rev. ix, 14. 18. Right wall of the chancel, in the same line :-The Angel, standing on the sea and land, and swearing that there shall be time no longer, and the other angel giving John the book to eat, Rev. x, 5–10. 19. Suffit of the small transverse arch to the right on entering the chancel:-To the right, the Temple or City of God, on the side of the heavenly Mount Zion, the two Witnesses ascending to heaven, the Hail-storm and the great Earthquake, Rev. xi, 11-13; to the left, the shower of hail and snow, Rev. xi, 15. Series III. 20. First compartment, middle row, left wall of the chancel: -The seven-headed Dragon attacking the woman with her child, Rev. xii, 1. 21. Second ditto :-War in heaven, the great Dragon cast out, &c. Rev. xii, 7. 22. Middle row, altar-wall, to the left of the altar :-The seven-headed Beast, rising out of the sea, Rev. xiii, 1. 23. Middle row, altar-wall, to the right of the altar :-The Faithful within the City of God; the Lamb, with a glory, elevated on an altar, as in the mosaics, Rev. xiv, 1. : 24. Same line, inner side-wall of the window, to the left :A goat rampant, emblematical of lubricity; below, a hermit on his knees, Rev. xiv, 4. 25. Ditto, to the right:-The three Angels flying in the midst of heaven, Rev. xiv, 6, 7, 8. 26. Right-hand wall, middle row, same line :-Our Saviour holding the sickle, calm and majestic, Rev. xiv, 14, 15. 27. Same line, on the inner face of the smaller transverse arch to the right on entering the chancel:-An angel floating VOL. II. Ꮓ pulpit in the piazza of Jerusalem, an excellent com- down from heaven and presenting a sickle to another angel who Series IV. 28. Suffit of the triumphal arch of entrance, beginning from 29. Ditto, to the right:-Several angels in a row, singing, 30. Ditto, to the left:-The First Vial poured out on the 31. Below No. 30:-the Second Vial, on the Sea, Rev. 32. Below No. 31:-the Third Vial, on the rivers and foun- 33. Lowest to the left:-the Fourth Vial, on the Sun, Rev. 34. Immediately below No. 29, to the right :—the Fifth Vial, 35. Below the preceding :-the Sixth Vial, on the Euphrates, 36. Lowest, to the right:-the Seventh Vial poured out in the Series V. 37. First compartment, lower row, left wall of the chancel :- 38. Second compartment:-the Whore lying drunken on the 39. Lower row, altar-wall, to the left of the altar-The 40. Ditto, to the right of the altar :-Our Saviour on a white 41. Same line, inner side-wall of the window, to the left:- a miracle of S. Philip in Scythia, where he preached for twenty years after the dispersion of the Apostles. They brought him before the statue of Mars, and commanded him to offer sacrifice; a dragon suddenly rushed down from under the base of the altar, and slew the son of the High Priest and the two tribunes who presided, and infected several of the bystanders with its poisonous breath; the Apostle commanded them to throw down the idol and plant the cross in its place, promising that the dead should arise and the sick be made whole, and then, turning to the dragon, and bidding it depart into the wilderness without hurting any one, it went forth and was seen no more. Giusto has rendered the legend with much effect; the temple is a magnificent piece of architecture; the idol rises conspicuous in the centre, on a high altar, and the sudden rush of the dragon The Angel standing in the Sun, and calling on the fowls of heaven, Rev. xix, 17. 42. Ditto, to the right:-The Angel chaining the Dragon, Rev. xx, 1. 43. Same line, lower row, right-hand wall :—The New Jerusalem, Rev. xxi, 10. 44. Inner face of the small transverse arch, to the right hand on entering the chancel:-S. John falling down to worship before the feet of the Angel, Rev. xxii, 9. The small compositions on the altar-piece are as follows, 1. Zacharias in the temple; 2. The Visitation, (very sweet;) 3. The Birth of the Baptist; 4. Zacharias naming him John; 5. His circumcision; 6. The Martyrdom of Zacharias; 7. John, still a child, with his mother in the desert, where she is about to leave him; 8. John preaching; 9. John sending his disciples to enquire of Jesus; 10. The Dance of the daughter of Herodias; 11. The Decollation of S. John; 12. His Burial.-This altarpiece ought to be carefully cleaned. is admirably expressed.-Below this is represented the Crucifixion of S. Philip; the composition reminds one of that in the Menologion,--he is crucified in a long shirt, and the executioners throw stones at him. A great crowd of spectators look on, figures full of dignity, well grouped and relieved; the two centurions on horseback are portraits of Eccelino and Wido, descendants apparently of the celebrated family of Romano, once the tyrants of Padua. The landscape is a shade superior to that of the contemporary Giotteschi in Tuscany. But these frescoes, as indeed those of the Baptistery likewise, have been very much retouched.* * The historical frescoes in this chapel are as follows: From the Legend of S. James. Lunette above the left window of the tribune :—The first Council, at Jerusalem. Lunette above the right window:-Our Saviour appearing to S. James and giving him the Eucharist, the Apostle having vowed not to eat till the Saviour should have risen from the dead. Large lunette, right wall of the chapel :-S. James thrown down from the pulpit, while preaching to the multitude. Large lunette, over the entrance wall, above the arch-His martyrdom. Right hand wall, nearest to the altar of the lower row :—S. James releasing a merchant unjustly detained captive, by tilting to one side the tower in which he was confined, so that he crept out, as from under a bell, through the aperture thus effected.a Same wall, nearest to the door :— -His appearance to a pilgrim Those of the chapel, now known as that of S. Felice, represent the history of S. James the Greater, to whom it was originally dedicated by Bonifazio de' Lupi, Marquis of Soragna, the descendant (according to tradition) of the Queen Lupa of the legend, as related among my notices of the Christian Mythology. Several of the compositions have suffered much, but the story is traceable throughout. They are all, I think, by the same hand, although the progress of improvement is evident. The same style of heads, grouping, relief, costume, architecture, and peculiar feeling, prevails here as in Giusto's acknowledged frescoes, and in those I have yet to speak of in the chapel of S. George; but if by him, which I dare not affirm, they must be of prior execution.* who had lost his way, supplying him with food and guiding him to his destination. From the Legend of S. Philip. In two large compartments, one above the other, on the lefthand wall:-His detection of the dragon, as noticed in the text, and his Crucifixion. From the Legend of the Beato Luca. In the two lower compartments, to the right and left of the window of the tribune:-S. Antony's apparition to him, warning him of the machinations of Eccelino da Romano against the liberties of Padua, the town being seen in the background, a curious bird's-eye view,—and Luca obtaining from Our Saviour that those who seek benefits through his intercession shall obtain them. * The subjects are as follows,—the series beginning on the first lunette on the left-hand wall as you enter the chapel : 1. Interior and lateral porches of a magnificent building; to the left, Hermogenes, the magician, sends Philetes to dispute with S. James; in the centre, S. James, in his pulpit, converts |