from different arts, and in particular from that of working in gold, which, during the tenth century, boasted its Volvino, who produced the very celebrated altar-piece at S. Ambrogio in Milan, a work which may be pronounced equal in point of style to the finest specimens of the dittici, or small ivory altar-pieces, that the museums of sacred art can boast. Footnote 38: The inscription is annexed to it, and may be found in Bertoli, _Antichità di Aquileia_, num. 516. Footnote 39: See the Dottore Gaetano Bugati, in his Historical and Critical account of the relics and the worship of San Celso the Martyr, p. 1; and the P. M. Allegranza, Explanations and Reflections relating to some sacred monuments at Milan, p. 168. Confining myself, however, to the subject before me, we know that Tiraboschi remarked in the palace of Monza, some of the most ancient pictures belonging to those ages, while other similar reliques are pointed out at S. Michele in Pavia, although placed in too elevated a situation to permit us to form an exact judgment of them. Others yet more extensive exist in Galliano, of which a description is given in the _Opuscoli_ of P. Allegranza, (p. 193). Upon this point I may observe, that the Treatise upon Painting already mentioned, was discovered in a manuscript in the University of Cambridge to have had this title:--_Theophilus Monachus_ (elsewhere _qui et Rugerius_), _de omni scientiâ artis pingendi. Incipit Tractatus Lumbardicus qualiter temperantur colores, &c._ This is a convincing proof, that if painting could then boast an asylum in Italy, it must have been more particularly in Lombardy. And in the church of S. Ambrogio, just mentioned, proofs of this are not wanting. Over the Confessional is seen a ceiling in _terra cotta_, with figures in basso-relievo, tolerably designed and coloured, resembling the composition of the best mosaic-workers in Ravenna and in Rome, supposed to be the work of the tenth century, or thereabouts. The figures of the Sleeping Saints are also seen near the gate, which must have been painted about the same time, and were at one time covered with lime, though they have since been brought to light and very carefully preserved by the learned ecclesiastics who are entrusted with the care of the temple. The portico has also a figure of the Redeemer, with a holy man worshipping at his feet, wholly in the Greek manner; besides a Crucifixion, which, to judge from the characters, might more suitably be ascribed to the thirteenth century than to the next. I omit the mention of several figures of the Crucified Saviour and of the Virgin, interspersed through the city and the state; contenting myself with referring to those of our Lady placed at S. Satiro and at Gravedona, which are of very ancient date.