There is also a portrait of Savonarola, by Fra Bartolommeo. The face is neither impressive nor attractive. The head is shorn, except the monastic coronal, and shows a small organ of benevolence, and a very large one of self-esteem. The profile is not handsome,--the nose being regularly aquiline, while the mouth is heavy with a projecting upper lip. A strong, blue beard, closely shaven, but very visible, darkens and improves the physiognomy. IV. SANTA MARIA NOVELLA. This church was so beloved by Michel Angelo as to be called his bride. It must be confessed that the great artist was determined in his choice less by the external charms than by the interior excellence of his _sposa_; for although she has now got herself a new front and vamped herself up a little, thus looking a trifle younger than she must have done three hundred years ago, still she has any thing but a bridal or virginal aspect. This church and monastery belong to the earlier German period of Italy, if such a thing as Italian Gothic can be said to have ever existed. The truth is, that with the exception of Milan cathedral, which is modern, exotic, and exceptional, the German, or, to use the common and senseless expression, the Gothic system of architecture never fairly took root in Italy. Certainly, the pointed windows and arches of the Florence _duomo_ and its _campanile_ do not constitute it a Gothic church. The square cornices, vast masses of wall, heavy pilasters, and, in general, the horizontal outlines and heavy expression of all these churches, have a character very remote from that of the airy, upspringing, fantastic German architecture, in which every shaft, arch, vault-girdle, pillar, window-frame, pinnacle, seems struggling and panting upward with an almost audible eloquence. This is not the expression of the _duomo_ here. There is no perpetual _Excelsior_ ringing from point, spire, and turret. On the contrary, the grave, almost rigid aspect of the ancient _basilica_--the Roman business-hall, compounded of Greek elements, and transformed into a Grecian temple--is ever at work repressing that devotional ecstasy which is the characteristic of the Gothic church. The Italian language in the thirteenth and fourteenth centuries was like the Italian architecture of the same period. The different intellectual manifestations, subjected to the same influences, obeyed one general law. The conquering German mind of the Dark Ages easily impressed itself where the soil was still virgin. Throughout _savage_ Europe the dominion was yielded at once to the new power which succeeded to the decrepit empire of Rome. Gaul, Germany, Britain, Iberia obeyed instinctively the same impulse. The children born of that vigorous embrace were of fresh and healthy beauty. The manifestations of the German mind in the cathedrals of Paris, Cologne, Antwerp are undimmed and unrivalled. The early German architecture in the actual realms