In coming from the Manfrini, we stopped at the church of "St. Mary of Nazareth." This is one of those whose cost might buy a kingdom. Its gold and marbles oppress one with their splendor. In the centre of the ceiling is a striking fresco of the bearing of "Loretto's chapel through the air;" and in one of the corners a lovely portrait of a boy looking over a balustrade, done by the artist _fourteen years of age_! * * * * * PADUA.--We have passed two days in this venerable city of learning, including a visit to Petrarch's tomb at Arqua. The university here is still in its glory, with fifteen hundred students. It has never declined, I believe, since Livy's time. The beautiful inner court has two or three galleries, crowded with the arms of the nobles and distinguished individuals who have received its honors. It has been the "cradle of princes" from every part of Europe. Around one of the squares of the city, stand forty or fifty statues of the great and distinguished foreigners who have received their education here. It happened to be the month of vacation, and we could not see the interior. At a public palace, so renowned for the size and singular architecture of its principal hall, we saw a very antique bust of Titus Livy--a fine, cleanly-chiselled, scholastic old head, that looked like the spirit of Latin embodied. We went thence to the Duomo, where they show a beautiful bust of Petrarch, who lived at Padua some of the latter years of his life. It is a softer and more voluptuous countenance than is given him in the pictures. The church of Saint Antony here has stood just six hundred years. It occupied a century in building, and is a rich and noble old specimen of the taste of the times, with eight cupolas and towers, twenty-seven chapels inside, four immense organs, and countless statues and pictures. Saint Antony's body lies in the midst of the principal chapel, which is surrounded with relievos representing his miracles, done in the best manner of the glorious artists of antiquity. We were there during mass, and the people were nearly suffocating themselves in the press to touch the altar and tomb of the saint. This chapel was formerly lit by massive silver lamps, which Napoleon took, presenting them with their models in gilt. He also exacted from them three thousand sequins for permission to retain the chin and tongue of St. Antony, which works miracles still, and are preserved in a splendid chapel with immense brazen doors. Behind the main altar I saw a harrowing picture by Tiepoli, of the martyrdom of St. Agatha. Her breasts are cut off, and lying in a dish. The expression in the face of the dying woman is painfully well done.