He embarked from Marseilles for Genoa in December, 1700, having as his companion Edward Wortley Montague, whom Pope satirises under the various names of Shylock, Worldly, and Avidien. It is unnecessary to follow him step by step in his travels, but the reader of his _Letter to Lord Halifax_ may still enjoy the delight and enthusiasm to which he gives utterance on finding himself among the scenes described in his favourite authors: "Poetic fields encompass me around, And still I seem to tread on classic ground; For here the Muse so oft her harp has strung, That not a mountain rears its head unsung; Renowned in verse each shady thicket grows, And every stream in heavenly numbers flows."[12] The phrase "classic ground," which has become proverbial, is first used in these verses, and, as will have been observed, Pope repeats it with evident reference to the above passage in his satire on the travels of the "young Æneas." Addison seems to have carried the Latin poets with him, and his quotations from them are abundant and apposite. When he is driven into the harbour at Monaco, he remembers Lucan's description of its safety and shelter; as he passes under Monte Circeo, he feels that Virgil's description of Æneas's voyage by the same spot can never be sufficiently admired; he recalls, as he crosses the Apennines, the fine lines of Claudian recording the march of Honorius from Ravenna to Rome; and he delights to think that at the falls of the Velino he can still see the "angry goddess" of the _Æneid_ (Alecto) "thus sinking, as it were, in a tempest, and plunging herself into Hell" amidst such a scene of horror and confusion. His enthusiastic appreciation of the classics, which caused him in judging any work of art to look, in the first place, for regularity of design and simplicity of effect, shows it self characteristically in his remarks on the Lombard and German styles of architecture in Italy. Of Milan Cathedral he speaks without much admiration, but he was impressed with the wonders of the Certosa near Pavia. "I saw," says he, "between Pavia and Milan the convent of the Carthusians, which is very spacious and beautiful. Their church is very fine and curiously adorned, _but_ of a Gothic structure." His most interesting criticism, however, is that on the Duomo at Siena: