I wrote in my journal: "This day has been spent on the lake, and so much exquisite pleasure I never had on water. The tour, or rather excursion, we have been making surpasses in scenery all that I have ever made; and Wordsworth asserts the same. I write now from an inn where we have been served with all the promptitude of an English hotel, and with a neatness equal to that of Holland. But the pleasure can hardly be recorded. It consists in the contemplation of scenes absolutely indescribable by words, and in sensations for which no words have been even invented. We were lucky in meeting two honest fellows of watermen, who have been attentive and not extortionate. I will not enumerate the points of view and villas we visited. We saw nothing the guide-books do not speak of." On the 31st we slept at Como, and next day went to Milan. * * * * * At the Ambrosian Library we inspected the famous copy of Virgil which belonged to Petrarch. It has in the poet's own handwriting a note, stating when and where he first saw Laura. Wordsworth was deeply interested in this entry, and would certainly have requested a copy, if he had not been satisfied that he should find it in print. The _custos_ told us that when Buonaparte came here first, and the book was shown him, he seized it, exclaiming, "This is mine." He had it bound, and his own _N._ marked on it. It came back when the other plunder was restored. Another curiosity was a large book by Leonardo da Vinci, full of mechanical studies. Wordsworth was much struck with the fact that a man who had produced works of so great beauty and sublimity, had prepared himself by intense and laborious study of scientific and mathematical details. It was not till late that he ventured on beauty as exhibited in the human form. * * * * * But the great attraction of this neighbourhood is the celebrated picture of Leonardo da Vinci in the refectory of the Convent of Maria della Grazia. After sustaining every injury from Italian monks, French soldiers, wet, and the appropriation of the building to secular purposes, this picture is now protected by the public sense of its excellence from further injury. And more remains of the original than from Goethe's dissertation I expected to see. The face of our Saviour appears to have suffered less than any other part. And the countenance has in it exquisite feeling; it is all sweetness and dignity. * * * * * Some of the Apostles have a somewhat caricature expression, which has been far better preserved in the several copies existing, as well as in the engraving of Raphael Morgen. There is a sort of mawkish sentimentality in the copies of St. John, which always offended me. There is less of it in the original. That and St. Andrew are the best preserved next to the face of Christ.