between old stone walls--nothing to be seen above them but the tops of fruit trees, and the imprisoning hills. No doubt when those walls were built, the lands belonged to the churches and monasteries. Happy were we when we came to the glen and rushing river, and still happier when, having clomb the eminence, we sate beside the churchyard, where kindly breezes visited us--the warm breezes of Italy! We had here a volunteer guide, a ragged child, voluble with his story trimmed up for the stranger. He could tell the history of the Hero of Uri and declare the import of each memorial;--while (not neglecting the saints) he proudly pointed out to our notice (what indeed could not have escaped it) a gigantic daubing of the figure of St. Christopher on the wall of the church steeple. But our smart young maiden was to introduce us to the interior of the ivied Tower, so romantic in its situation above the roaring stream, at the mouth of the glen, which, behind, is buried beneath overhanging woods. We ascended to the upper rooms by a blind staircase that might have belonged to a turret of one of our ancient castles, which conducted us into a gothic room, where we found neither the ghost nor the armour of William Tell; but an artist at work with the pencil; with two or three young men, his pupils, from Altorf--no better introduction to the favour of one of those young men was required than that of our sprightly female attendant. From this little academy of the arts, drawings are dispersed, probably, to every country of the continent of Europe. [Footnote 53: There is a mistake here as to the date, which renders all subsequent ones inaccurate.--ED.]