I pass over the musical instruments, which, beside their chief use, "piacciono assai al'occhio," especially when made by Lorenzo da Pavia, or Bastiano da Verona. Donatello, Michael Angelo, Alfonso Lombardi, and Cristoforo Romano, are the sculptors he enumerates. The terra cottas are by Pagaino da Modena; the bronzes by Verocchio and Pollaiuolo. Beside antique medals, he admires those of Giovanni Corona of Venice, together with the chasings of Caradosso. Among the works of the latter, he mentions a silver inkstand in basso rilievo, "fatica d'anni venti sei! ma certo divina." Cameos and intaglios should be, he thinks, by the hand of Pietro Maria, Tagliacarne, &c. but above all by Giovanni di Castello. Now for his list of painters: Filippo Lippi, Mantegna, Giovanni Bellini, Leonardo da Vinci, although, he adds, he left but few works.[14] Then follow the younger Lippi, and Perugino, and, heralded with appropriate honours, Raphael, accompanied by Giulio Romano. Pietro della Francesca, and Melozzo da Forlì, are characterized well, as indeed are all the painters. He next mentions some artists, all monks, who wrought in inlaid wood; (commesso, tarsia;) but his highest praises in this department are reserved for Fra Damiano da Bergamo, the artist of the choir of S. Domenico at Bologna. The engravings he speaks of are by Albert Durer and Lucas van Leyden. [14] The author says he was an eye-witness of the Gascon crossbowmen making a target of Leonardo's model for the equestrian statue of Francesco Sforza. Tapestries from Flanders, carpets from Syria, Turkey, and Barbary, figured leather from Spain, are all admitted to be desirable ornaments: "Tutti questi ornamenti ancora commendo perchè arguiscono ingegno, politezza, civilità e cortegiania." The author next describes his own treasures; but, except a head by Donatello and some rare books, he has nothing to boast of. His tastes are characteristic of the age: though a priest, his ambition is to have a collection of arms and armour, if wrought by a good Italian or German armourer; and above all, he aspires to the possession of a large steel mirror, of the kind made by Giovanni della Barba, a German: the mirrors of glass then in use, were, it appears, very small and imperfect. The author's judicious observations (to which I refer you) on the chief use of mirrors, may reconcile you to their occasional introduction over chimney pieces, which, for the rest, are by no means the best places for pictures. The chapter ends with a pleasing story about a mirror and a lady, and Galeazzo Visconti, Duke of Milan, a story not unworthy to be a _pendant_ for "Collalto,"[15] and which might have furnished a subject for the graceful pencil of Stothard; but it is time to make an end. I am yours faithfully, C. L. EASTLAKE. [15] See Rogers's Italy. FINIS. [Illustration: _Maistre, il sembleroit que ne fussiez grandement sage de nous escrire ces balivernes!_]