Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Explanation of Symbols:

[?] immediately following word - transcriber was uncertain of this word ?? - illegible word st---? - part of word is legible [] - text inside square brackets was added by transcriber

[1]

Wewere?? ?? ?? itisaclean?? ?? ?? city with its wonderful ?? ?? ?? The men are remarkable [sic] handsome[?] ?? the women fine looks[?] from[?] their large dark eyes. ?? their fashion of wearing only black lace veils on the head ?? is so becoming[?].

Saturday 5 Oct.

Packed in the morning[?] & then rested till time to leave at Twelve The Station is very handsome & the the second class waiting room has some rather good frescoes. A line of trees obstructed the view for a long distance We were rather late to see the Plain of Lombardy for the ground was plowed a little patch that was left untouched show us[?] how exquisitely lovely it must[?] be When covered with green such as[?] we saw. The[?] ?? ?? seem[?] an[?]

[2]

We had a good view of the southern end of Lake Garda as the train crossed it also of the fortifications of Pescheira & further on of Verona Coming in to Venice it was dark & we could only distinguish water on both sides for a long distance before we reached the city from the station we took an omnibus boat to the hotel delighted to find ourselves in Venice at last Coming from Milan we had a splendid view of the chain of the Alps. Sunday we took a guide to search for the Presbiterian [sic] service but[?] liking[?] to take a gondola we ?? to walk accordingly the guide took[?] us[?] through narrow ?? across little bridges[?] over dirty bad smelling[?] canals full of the refuse ?? city & lined by ?? ?? ?? ?? ?? ?? ??

[3] confess[?] that my ideas of the[?] beauty & romance of Venice got a great shock[?] & I became disgusted with the place. After two failures we learnt that there was English service[?] at Hotel de l’Europe so taking a gondola we rowed up the grand canal my idea recovered a little here. The sermon was on the lessons of the cross, a sermon I hope I may never forget. Returning we crossed the Piazza della St. Mark. to the cathedral & spent some time in looking at ?? curious & beautiful mosaics on the vaulted roof of the portico which runs along the face[?] ?? Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[4] down one side they are in a gold---? in the furthest[?] small dome[?] the creation & on ?? right sides the history of Cain and Abel on the left the history of the Deluge cannot[?] begin to give the subject ?? mosaic but[?] they were ?? of scripture history. I was not at all pleased with the cathedral (I mean the exterior for ?? ?? not excessive[?] the interior) for though it is composed of rich material yet the different ?? of marble gives it a look of great confusion[?]. Walking round St. Marks Place we were charmed with Venice. Before going in we[?] saw[?] the Bridge of size [sic].

[5]

Did not go out in the afternoon.

Monday 7th

First ?? went up the Tower[?] of St Marks the ?? ?? remarkable as it ?? ?? ?? instead of steps. Venice looks very well from here ?? left[?] ?? we went to the Doges’s Palace & found it nescessary [sic] to take a guide[?]. The Palace I do not remember much ?? for we were so taken up with the paintings[?] that we did ?? ?? anything else but the impression left that it was very handsome from the large size of the rooms[?] & the magnificent[?] gilding on the ceiling & wall frame[?] ?? paintings ?? The[?] first[?]

[6] room[?] of paintings was the Great[?] ?? Hall[?]. The principal ?? is Tintoretto’s Paradise[?] the largest picture ever painted 84 1/3 ft wide by 34 ft high. An immense amount[?] of figures. Round the walls are paintings[?] illustrating the marked[?] events[?] of the Doge[?] who protects the Pope from Frederic II in 1177[?]. The Pope is discovered ?? ?? ?? group[?] in gondola in the foreground The Pope giving the lighted taper The Ambassadors meet Frederic II in Pavia by Tintretti[?] [Tintoretto?].

[7]

Indeed the whole history till[?] The Pope is restore [sic], by different artists. F. Bassano, Fianninny[?] D. Tintoretto. J. Palma. F. Zucchero. The Emperor submitt–? to the Pope. A beautiful group of a lady kneeling & teaching her little boy to do the same. G. del Moro. P. Veronesse. Palma[?] Giovanna Il Vientino. L. Cl–?. The ceiling by P. Vernoese. Tintoretto. ?? Palma Giovani. Round the Hall[?] the frieze[?] of portraits of the 72 Doges with the black veils in the space for Morin[?] Falier. Many of these by Tintioretto. The next room Sala dello Terutinio[?] is devoted to history illustrating the golry [sic] of Venice Also a triumphal arch to Francesco Morosini with Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[8] some fine paintings & Palm Giovani’s best the Last Judgement a large picture in which you can distinguish ?? ?? figure in Purgatory Heaven & Hell. It is that ?? ?? ?? Young girl ?? ?? ?? Returning into the vestibule we entered the Archaeological Museum containing several corridors in which are ancient marbles. A colossal Minerva & one corridor devoted to the old maps among which were some very curious[?] ones. A Portuguese by Frate Mauro. Also a Turkish one in[?] the[?] shape of a heart along side the wood cast. Ascending the Scala d’Oro the main staircase of the Palace we came to the suite of rooms occupying the upper floor here was pointed out the place where the Lion’s Mouth was ?? to receive the secret denumerations[?]. The principal works in

[9] this suite are The Doge Marino Grimoni[?] on his horses[?] before Faith[?] a great work by Titian. A ceiling containing a figure of an old man &[?] a lovely young woman by P. Veronese On a wall a great work by Tintoretto dead Saviour with Saints & two Doges kneeling. The league of Camboni[?] represented[?] by Venice seated on a Lion defying the rest of Europe represented as a bull by[?] Palma Giovane. Two Doges adoring[?] X by J. Palma. Venice Queen of the Sea the water deities[?] bringing the fruit of the Ocean as coral, pearls, & other precious Christ driving the Money-Changers from Temple by Bonifacio

[10]

Venice triumphant or the Victors[?] of Curzolari (1371) in the Sala del Collegio at the throne end of the chamber the ceiling is entirely by P. Veronese in the large compart---? nearest the door Neptune, Mars & flying children; the centre an oval with Faith & the next Venice seated on the world with Justice & Peace these are surrounded by 8 smaller ones rep. 8 Virtues &[?] by 16 green[?] chiar’-oscuro. in was here the Doge received ambassadors & we were shown a secret door in the wall which the Doge used as an evesdropper [sic]. From this a little square guard room Anti Collegio

[11] with four fine painting by Tintoretto in his best style. The subjects are Mercurey & the Graces, the Forge of Vulcan; Pallas driving away Mars; and Ariadne crowned by Venus while Bacchus approaches her as a youth. A[?] the rape[?] of Europa by P. Veronese. who was seated on a white bull while a female figure leant over her. Returning into the Vestibule we ascended a narrow & dark stair to the famous Sotto Piombi or as the name denotes “under the leads” which though dark are not nearly as horrible as represented only one thing between the cells[?] were places for spies to walk. From Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[12] here we descended the Scalla [sic] d’Oro & came again upon the Grand Gallery runing [sic] round the court from here we entered another door which open into[?] the passage leading to the Bridge of Sighs. We stood upon it for some time & not withstanding the warm[?] sentiment about it was impossible to stand in it & have your guide explain how one passage led to & another from the prison with out communication & not feel a degree of sadness at the picture of misery which immediately rises before you. Returning to the Palace we descented [sic] a trop[?] stairway & the cells which occupy the two lower stories. Very dark

[13]

& intricate passages lead to them The lowest are the worst & it was here that political prisoners were confined & executed at the end of one of the passages the---? bodies being generally sunk in a canal a the out skirts. thoug [sic] very gark [sic] & gloomy they were generally lined with wood one cell was not for it was covered with writing. I was almost forgetting to mention a room formerly used by the Judges of the Inquisition[?] a concealed door leading to the cells where the condemned were taken[?] through. From here to the Accademia delle Belle Arti which is open every from 12 to 3. We first saw

[14] some very old paintings & then entered the Hall of the Assumption[?] of Titian which contain several chefs[?] d’ouvres [sic] of different masters but The Assumption is the finest & considered by some equal to his St Peter Myrteo[?]. The top The Father Centre (the largest division) is the Virgin: beautiful womanly figure full of grace & dignity; below the Twelve Ap--- ?tal[?] [apostles?] that of Peter seated with clasp [sic] hands St. John looking up & an old man. It is one of the finest painting I have ever seen. The Deposition dead body of Christ supported by Mary, Nicodemus kneeling half supporting him & Mary Magdalen; two[?] painted statues of Moses & Faith. This painting is called in an incription [sic] “The Work of God not for any[?] great beauty but because

[15] it was begun by Titian when 98 It was finished by Palm[?] Giovane. Next this is his earliest work the Visitation when 14 years old. Giogione[?], St Mark staying the Tempest. He is seen in the boat of the astonished fisherman in company with St. George[?] & St. Nicholas. the waves are running high & the strange[?] ship full of demons is in sight. The picture is founded on a legend in the year 1341 when an inundation of many days threatened to destroy Venice. A poor old fisherman has moored[?] his vessel to St. Mark’s[?] Place when a man appears & offers him high fare[?] to cross to San Giorgio Maggiore he refuses at first but finaly[?] attempts it & lands his passenger who returns with another compagnon[?] & orders him to row to Nicolo di Lido. he refuses again but goes where[?] a third person is picked up & then he is directed to proceed to the Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Two Castles at Lido which he did his fear being overcome in the presence of his

[16] strange passengers. At this point of the story a galley[?] of devils is seen hurrying[?] to over throw Venice the sea[?] becomes calm & the saints crossing themselves conjure the spirits to depart which do accordingly. &[?] the passengers were landed at[?] their respective places. The boat man was doubtful about his fare & when he was told to go the Doge for pay, he said very sensible [sic] that perhaps they would not believe his story, where upon the stranger[?] told him who he was & also the name of his compagnons & told him all the trouble had a risen [sic] from a school master who had sold his soul to the Devil & then hanged himself in despair. But this not satisfying him St. Mark gave him a ring[?] & told him to show it . This the fisherman did & the ring[?] not being found in its ordinary place the story was believe [sic] & the man got his pay besides a pension. 40 Palm Giovane. The vision[?] of the 12000[?] & White Horse of the Revelations

[17]

45 Tintoretto the Venetian[?] Slave[?] delivered by St. Mark. The Slave is lying on the ground the broken instruments of torture are lying on the ground one of the executioners is holding up a broken instrument to the master plainly saying in action that it is useless to persevere. The group of wondering[?] men[?] round the prot---? body of slave is fine St. Mark is seen in the air coming to the call of the poor slave & protecting him The action[?] of the whole piece is magnificent This is said to be one of the finest of this ?? works. Padovanino’s best work is here: The Marriage of Cana[?]; I have forgotten everything about it but the name. 55 the Virgin above surrounded by saints St. Dominic[?] distributing roses P. Veronese. There are many other fine paintings which I have forgotten as I spent most of my time at those I have mentioned

[18]

The roof is very handsome gilt the centre is painted by P. Veronese. Round the cornice are portraits of the celebrated Artists of the Venetian School A small room off this is devoted to drawings of old Masters. ?? the Bossi[?] collection many[?] & beautiful dr. of Raphael Mic. Angelo L. da Vinci. The Pinacotesa[?] Conterini a large collection of 270 specimens formed by Count Girolamo & given in 1843 to the Academy in the inner room is a portrait of Titians mother drawn in spite by one of his Artist friends representing her ugly & in a temper. In the corridor leading to the Sale Nuove are among many pictures some portraits by Titian, a Madonna & child by Bellini a portrait by Tintoretto An [sic] Titian’s mother by himself. In the ?? Sala Nuova. The Presentation of the Virgin in the Temple by Titian said to be very fine[?]. It is very large the Virgin ?? on the steps in profile Titians ?? represented ?? eggs[?] & chicken[?] Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[19] trade it[?] the side of the steps 692[?] Paris Bordone[?] the Fisherman presenting the Miraculous Ring to the Doge. I like this very much the perspective is splendid the yellow colour of the steps & platform on which the Doge is seated is very rich & transparent. In the II Sala Nuova 529 Gentile Bellini the recovery of the cross dropped into the Canal near San Lorenzo. A priest has caught the cross which escaped the hands of the other monks who are swiming[sic] in the canal the procession has stopped & several figures are kneeling at seeing the miracle of the wooden part sinking while the cross of solid silver floated. Among those kneeling on the left[?] is the Queen of Cyprus. A series of paintings the history of St Ursula

[20]

& 11000 virgins. In[?] one painting in three parts representing the Prince starting out(?) Asking St. Ursula in Marriage; and the mother & father consulting about the proposal. 547 P. Veronese, our Saviour in the house of Levi only seemed[?] in size & the Marriage of Cana in the Louvre & covering one end of the Hall[?]. Another Sala Nuova from which are 3 rooms of modern painter, the 2nd one of the 18th century. in these rooms are, a beautiful picture, the[?] death of Rachel her face is beautiful as is also that of the woman who holds the infant, two children are crying at the bed Jacob in the background. & a fine painting of Daniel explaining the dream of Neb. [Nebuchadnezzar?] the king is kneeling to Daniel who with surprise & dignity atributes [sic] the Glory to God the wise men are leaving the palace with their books & are looking with jealous[?] eyes

[21] upon Daniel who [sic] figure is slight but majestic. Hercules between Minerva & Venus, the latter[?] is of a qui pant[?] beauty & is exercising all her art to win him. Minerva is very dignified dark brown eyes & deep colour. Hercules is looking down distracted with indecision. Next visited the School of St Roch to see the master piece of Tintoretto the Crucifixion but it was too dark. Went into the Church but the rain & failing[?] daylight prevented us seeing the numerous pictures by Tintoretto & Our Lord dragged along by an executioner by Titian. The Frari Church which was too dark

[22] to see anything but the tombs of Titian which is magnificent & that of Canova designed himself for Archduchess Christina at Venice afterwards for Titian.. It is all in white marble & very beautiful in its simplicity & expression its front is like a pyramid the bronze door [sic] are open, Religion a veiled figure, the two[?] Arts represented by two figures & genius as a youth are walking in a mournful procession up the steps into the tomb on the other side of the door is a crouching winged lion of St Marks the expression of distress on the animals face is admirable Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) below it reclining on the slip a male angel the face full of sorrow. Next this is a very large monument to the Doge Giovanni Pesaro[?] very remarkable[?]

[23] for the colossal M---? of flash[?] marble clothed in torn white jackets & trousers, who support. The dusk[?] prevented us seeing[?] the fine painting over the Pesaro Alter [sic] it ranks next[?] his Peter Martyr. It represents the Virgin seated in an elevated situation within[?] noble architecture. our Saviour in her arms who turns to St. Francis; below[?] is St. Peter with a books [sic] on one side of him St. George a standard below a bishop & five other members of the Pesaro family kneeling before the V. one of whom a yong female figure is partic. lovely. (copied from Murray) I regret very much not seeing this.

[24]

From here we took a gondola & rowed up the Grand Canal to see the city of Palaces one of which is partly fallen over the foundation having slightly sunk an emblem of what I am afraid all the Palaces will soon present as the glory of Venice has left it I am sure if Byron & the other poets were to return to Venice the [sic] would sing[?] with regret of the ruins of “Beautiful Venice! the pride of the sea.”

Tuesday 8th

Was spent in Visiting Churches we went through the Academy again & To the School of St. Roch the lower hall is lined by pictures by Tintoretto who spent 18 years here The best

[25] are the Annunciation & Massacre[?] of the Innocents, on the first landing of the stair case is the Visitation by Tinto. & the Annunciation by Titian both moderate size the walls of the upper part of the staircase is lined by to [sic] immense painting representing the raging of the pestilence[?] & the driving it away in ?? to Venice who promises to erect a church. The Upper Sala also has many[?] by Tin.[?] the Miracle[?] of the loaves, the Last Supper & the Resurrection the best. beautiful sculptures in bas-relief in wood We had a better view of the Crusifixion [sic] which is very much inspired[?]. In an-

[26] other room a beautiful E---? ?? by Titian. In the Church of S. Maria Formosa is the finest work of old Palma St. Barbara a simple figure in a narrow panel a little over life size. Sta. Maria della Salute, erected in thanskgiving [sic] for the cessation of the plague is an immense octagonal church The Nave is covered by a dome supported by 8 pillars the aisle runs round them 8 recesses diverge from it all chapels except one forming the entrance, standing in the centre you Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) have a complete view of the building by turning round which is embelished [sic] by works of great art by Titian (his descent of the Holy Spirit)

[27]

Tintoretto Palma Giovane & Giordano. Church of Santi Giovanni e Paolo has been called the Westminster of Venice from the number of beautiful monuments a colossal one[?] Doges Silvestro, & Bertuccio Vali---? & his wife is very good. The 7 chapel [sic] remarkable for the 6 bas-reliefs illustrating the actions of St Dominick by Camillo Mazza 5 in bronze the other in wood. Monument of the Doge Andrea Vendramin?. We went into the Chapel of the Rosary which has been destroyed in the fire that burnt the celebrated

[28] picture of St. Peter Martyr by Titian Standing on the broken fragments of marble[?] the [sic] strewed[?] the floor we all sympathized[?] with our guide who mourned lost [sic] of so many works of Art especially Peter Martyr & beautiful bas-reliefs in Marble illustrating events in the life of Christ[?] especially the adoration of the Magi & the shepherds on which were spent 20 years of labour by Bonazza of Padua, the great beauty of these bas-reliefs is distinctly seen though blackened by smoke & mutilate [sic] dreadfully. A great number of Churchs [sic] were visited yet there[?] we left many unseen, one of which I regret that of the Jesuits. Venice if a city of Palaces is also one of churches

[29]

& of marble which is very plentiful every building of importance[?] is built of it ev---? the railway station. The Cathedral of St Mark is very old & wonderful as an ancient work of art the mosaics are interesting as specimens of a style only see [sic] in Milan & Venice but unfortunately we did not make time to see the interior throughly [sic]. The floor is of beautifully tessalated [sic] stone but time has left its marks in the unevenness of it the sinking of some parts making it disagreeable to walk on it for you are

[30] stepping down or up most unexpectedly. The Place of St. Mark is very handsome all paved (as every inch of ground is) & lined on one side by the Doges Palace & the cathedral on the other the Imperial Palace & Campinile [sic] & possessing a fine view of the Grand Canal. Left Venice next morning at half[?] past five & reached Florence & [sic] 8 in the evening[?]. The city appeared very handsome by gas light.

[31]

Florence Thursday 10th Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Papa took us to the Ufizzi Gallery & left us there but before I had got down the first corridor I was very sick & after waiting[?] a short time for Papa to return[?] I was obliged to go by myself in a carriage. I wasted the morning at the hotel but in the afternoon though not feeling strange[?] I started again just[?] going to the Cathedral which is a magnificent building of inlaid coloured marble the interior is said to be fine but they were repairing it when we went in & nothing but dust was to be seen except the handsome stained windows an other half hour[?] was wasted here waiting for Papa who had gone back for our waterproofs as it was raining heavily.

[32] the Campinile was closed so we could not ascend which was fortunate as the day was so cloudy. The Camipile [sic] is also of handsome inlaid marble. After a great deel [sic] of troubled we gained admitance [sic] to the Baptisry [sic] or[?] basilic [sic] of St. John, an octagon edifice the exterior principally remarkable for its beautiful bronze gates[?] which as it was raining we left for another time. Of the interior there is the mosaic of the cupola, the centre of the floor was formerly occupied as a font for baptism by immersion but is not built up & the font now used is at the side like the other font now used & possessing very fine bas-reilfs [sic] representing the baptism of Christ (not as we believe it) on one of its 8 sides which are occupied with illustrations of different baptisms spoken of in the New Testament.

[33]

On our way back we went into the S. Maria Novella& were at once struck with the length aof the Nave & isles [sic] on looking at our guide we found it was 98 metres by 28 wide but a singular thing in its structure, the arches of the roof became smaller as they neared the high alter [sic] which deceived one very much as to is [sic] actual legnth. [sic] There are six paintings over alters [sic] in each Nave the first on the right is by Macchietti[?] the ?? ?? G. Naldini[?] fifth J. del Meglio[?]. 6th Ligazzi[?]. There are three chapels on each side of the high Alter containig some fine paintins. The high Alter is modern & of exquisite

[34] inlaid marble the frescoes behind the Alter are by R. Ghirlandajo. & are said to be very fine & illurating [sic] passages[?] in the life of Christ, St. John & Mary. The massacre of the Innocents & Joachim driven out of the Temple. The Spanish Chapel which is entered from the Cloister is covered with frescoes The Grand Cloister is decorated by 52 frescoes in grey & white some much spoilt. Near the hotel we stopped to look at some mosaics.

Friday 11th

Went first to the Ufizzi where we spent the morning till 12 o’clock Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[35]

As I have made notes in our guide book I have not time to copy them. The Venus of Medici[?]; Dancing Fawn; & gladiator sharpening his knife[?] are all in the Tribune[?] one of the most interesting saloons in the Gallery. We were struck with the smalness [sic][?] of the Venus’s head & the largeness of her waist. I like her hands very much better than those of Cass---? Venus which is in the Petti Gallery . The dancing fawn I expected to see a delicate figure instead of which I found it resembling that of a negro slave, one foot

[36] is on a kind of spring & in his hands he holds flat plates which he is in the act[?] of stricking[?] together The action in the statue is marvelous. In this room we saw Raphael’s Virgin of the gold finch very fine. From this gallery we went to the Petti buying some garden bulbs on our way To the Petti you pass over a singular bridge lined on each side with jewellry shops. The stairs leading to the Petti are narrow & low, very different from the Uffizi which is very

[37] handsome but the rooms are much handsomere [sic]. Here we saw Raphael’s best Madonna The Virgin of the Chair or the Madonna della Seggiola which of course[?] are liked exceedingly. At 3 we were turned out. Crossing the strange bridge I mentioned before called Ponte Vecchio, we took a cup of tea in a caffé near & then came out upon the fine square Signoria containing a large equestrian statue in bronze of Casimus[?] I with bas-reliefs & the magnificent fountain of Neptune whose statue in the center in [sic] 6 metres high, the horse [sic] are

[38] fine near the fountain[?] is the old palace with its two giant statues & [sic] David by M. Angelo. To the left of the palace on the west side is the Loggia de Lanzi who’s fine terrace contains several objects of interest two[?] lions guard the entrance. on the face[?] is the old group of the Rape of the Sabines, Perseus in bronze with a pretty pedestal in which are small statues. & the side near the Uffizi Judith Inside are three beautiful groups, the new Rape of the Sabines very lovely by Gian Bologna Ajax Dying, supported by another

[39] figure &[?] Hercules & the Centaur also by Gian Rologne[?]. From here we passed the National Museum the court yard of which is well worth a visit to see its mosaic & frescoes but we had not time to examined [sic] it. along the Via Ghibellina to the Studio of M. Angelo which we found closed but not understanding the girl who told us so & refusing to go away we gained admitance [sic] by showing a franc[?]. I was disappointed in it as I expected to see some of[?] his works but it has been Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[40] decorated in his honour by paintings of other masters, it is a series of small rooms from here we went to the Church of Santa Croce close[?] [part of next line crossed out] The exterior is very fine especially the bas-reliefs above the main door, it is of white & black marble. The interior also good but most interesting for containing the tombs of M. Angelo & Dante. M. Angelo[?] is the first his bust is on the top of his sarcophagus which is of dark marble on the white block of marble supporting it, are the three sister[?] arts; Sculpture in the center

[41] her head[?] resting on her hand thinking sadly of the loss she has suffered, Arche.[?] to the left, her foot resting on a Doric capital a compass in one hand a scrole[?][sic] in the other; Painting to the right, a bunch of brushes[?] in one hand, a broken[?] statue resting on the top of palets [sic] & brushes[?] in the other. The expression of her face also is sad. Next the tomb of Dante who is seated on the top to the right of sarcophagus is a majestic female figure standing erect on her head a kind of crown with a star & drapery falling from it in one hand she holds a sceptre

[42]

& with the other points to Dante On the other side a woman in deep sorrow (probably Beatrice) her arms are crossed over an open book which is lying on the tomb with her head bowed upon them; in her right hand she holds a laurel wreath. It is all in white marble. The next to---? is by Canova erected[?] to Alfieri, a semi circular pedestal supports the sarcophagus upon which a crowned woman is leaning her arm to support her head, her left arm is drooping by side, her whole attitude expresses great sorrow. Next

[43]

Macchiavelli a woman[?] seated on his sarcophagus hoding[?][sic] a medalion & Justice[?] In the Chapel of the Blessed Sacrament are two new tombs[?] one to the[?] Countess[?] of Albany & the other I could not make ou? Probably to a panter [sic] for their [sic] were brushes & palets [sic] on the grond[?] [sic] upon which a beautiful young woman was sitting her head hanging & expressing grief. A great number of chapels of interest one of which closed[?] by a railing[?] are statues of four virtues[?] & of Moses & another scriptur [sic] character

[44]

I have forgotten are[?] in another a tomb to the Countes [sic] Zamoyska[?] representing her lying sick[?] on a couch. In the sp–are [square?] of this church which bears its name is a colossal statue in marble to Dante.

Saturday 12th Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

First crossed the river to visit the church of St. Carmine formerly rich in paintings which have been destroy [sic] along with the church[?] by fire only the Sacristy & the Brancacci[?] Chapel were spare [sic]. In the latter are the five[?] frescoes of Masaccio[?]

[45]

The newly discovered frescoes in the Sacristy which were covered by plaster illustrate the history of Saint Cecilia. Finished the Uffizi gallery & at 12 ascended the Campinile from which we got a fine view of the town & the pretty scenery of the hills[?] surrounding it. Took a look at the gates[?] especially the one facing the cathedral by Ghiberti which M. Angelo said was worthy[?] to be the Gate of Paradise, the bas-reliefs illustrate the

[46] most stricking [sic] events of the Old Testament such as the Creation, the expulsion of our first parents from the garden, Noah after the Deluge The promise made to Abraham the sacrafice [sic] the mount Easau [sic] ceeding [sic] his birthright Joseph & his brothers The Law given on M.S.[?] The walls of Jericho, the battle of the Ammonites & Finaly [sic] the Queen of Sheba. Church of St. Lorenzo was the next place . We went to see the new Sacristy

[47] by M. Angelo in which are his celebrated statues of day & night but unfortunately it was closed by order of Government so nothing would persuade the man to let us in as it was passed[?] [sic] the Nave[?]. Next[?] we saw a fine tomb to Countess Molt---?i an angel is standing on the top of the sarco. supporting a beautiful young woman in his left arm who has her hands clasped over his shoulder looking in the direction to which

[48] he is pointing with his right Two women are below leaning on the Tomb. We left the Church very reluctantly[?] but there was no help for it. Taking a carriage we drove to the fine triumphal arch immediately outside the gate & then to the Castine[?] a fashionable drive like the Bois de Boulogne in Paris Then to buy some photographs & to the Hotel where we got dinner & started by the six o’clock train for Pisa which we reached at nine.

[49]

Sunday 13th Pisa

In the morning went to look for English service but found there was none We then walk round[?] to the tower, baptistry & Cathedral which all stand in an open space at the extremity of the town. I was very much pleased with the pabtisty[?] [sic] which we visited first the outside of the Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) building is perfect symetry [sic] in the shape of a leguthed[?] [sic] dome[?] very gracefully from[?] the ground. the interior also is pleasing from its its imposing simplicity. the walls are lined

[50] with white marble & rise to the height of 190 ft. measuring from the center to the top of the dome. The echo is very peculiar the notes of the voice[?] are answer [sic] back & prolonged like those of a sweet organ. The floor is covered with fine[?] old mosaic. The pulpit is supported by 6 pillars 3 of which are resting on lions the side are handsome bas-reliefs by Nicholas of Pisa, the stairway up is Mosaic as is also the Alter [sic] but it is the baptismal font that is of the greatest interest. It is octagonal four small sircular [sic] places are

[51] round the inside in which the priests formerly stood while they immerse the person of child presented for baptism it is all marble the out side very handsome mosaic. The Cathedral also is very fine especially the tout-ensemble[?] seen by standing in the center it is in the form of a Latin cross the transepts very deep. in the right one is a group of three figures in marble above the alter in the left are two fined old statues of Adam & Eve behind the Alter

[52]

& two statues each side Looking up towards the high alter you see fine specimens of three different kinds of mosaic. Roman where the transepts cross the nave, the cathedral is built on the site of Adrians’s palace & a piece of the mosaic is still retain [sic], florentine in the Alter & Bysantine [sic] in the ceiling. The roof is all gilt which is so good that it has remain [sic] perfect of several centuries without restoration . There[?] are some good paintings, especially a small one of Andrea del Sarto[?] his St. Agnes with her lamb

[53] near the centre is the bronze lamp[?] that Galleleo [sic] watched for so many years till he became convinced of the movement of the earth by is[?] [sic] swaying. In the choir[?] are four small paintings by And. Del Sarto. The famous leaning tower which is so familiar that I need not describe it yet I was struck[?] with wonder & surprise when I saw it as every one must be no matter how well they know[?] it from engravings & books. In the afternoon we wrote[?] home & I to Aunt Carry. Pisa is a very handsome

[54] town on the Arno the streets are wide & well kept. Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Monday 14th

Was spent in travelling to Rome the only disagreeable thing was being fumigated & having our carriage done so . I [sic] is extremely annoying to be sent out of the train & shut up in a room filled with so gaseous[?] an atmosphere as to penetrate everything & almost sufficate [sic] you. In arriving the train was stopped to allow a guard with fixed bayonet to examine the passports[?]

[55]

Finally we reached the Hotel Londre [sic] at half past nine & though very tired we sat up till after one o’clock to write up our journals.

Tuesday 15th

We were up at seven eager to see Rome the city whose name is as familiar to every one, as their own native town. The seat of the great powers that formerly ruled the whole of Europe both pagan & christian. Our desire was to go immediately to the coliseum, Forum, &

[56]

The Vatican but wishing to see the city throughly [sic] we began very methodically from the Porte Ropolo[?] the nearest to our hotel. This gate is said to have been designed by M. Angelo. It opens upon the square of the same name in the centre of which is an ancient obelisk of red granite covered with hierogl. now broken ?? ?? peices [sic] it formerly stood before the Temple of the Sun in Heliopolis & some give[?] as great antiquity as to have been raised by the two[?] brothers who reigned before Ban---? II others give it a later date what ever its age it is very

[57] curious. On each side of this place are two fine fountains on one of which are t---? river duties & a wolf suckling to children recalling immediately the legend of the infancy of Romulus & Remus Above the place is a public promenade. To the left of the gate is the Church of the same name with some handsome Chapels & especially the mosaics of the Chigi[?] Chapel are interesting. Crossing the Square we entered the Corsa but diverging to the right we sought for the Mausoleum of Agustus [sic] which we found to [sic] much sorrounded [sic]

[58] by small house [sic] to see it. stricking[?] again in to the Corsa we came upon the Church of St. Carlo which we did not enter Papa left us hear[?] [sic] to return for his opera glass & we found our way to the church of St. Lorensa[?] to see the Crusifixion [sic] by Guido[?] We found it covered by a curtain & as we had no change we were obliged to wait till Papa returned to ?? the man to uncover it. I spent the time in writing up my journal. As we do not attemp [sic] to Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) remember distinctly the different Churches we visit we seldom examine

[59] them attentively unless of some[?] celebrety [sic] if they have only a single object of interest we see it only & then go. I like the Crucifixion exceedingly though not the subject the perspective of the body is good as is also the expression of the mouth slightly parted & the agonized upward glance of the eyes. It[?] is a single figure ?? minor[?] object to take away the attention & well adapted for an[?] alter peice [sic]. We continued down the Corsa to the Piazza Colonna in the centre of which is the Column of Marcus Aurelius remarkable like that of Trajan

[60] being modeled from it, it represents the same number of battles only in higher relief & is the same height 100 Roman feet. It was formerly thought to be that of Antonius Rius[?] [Antoninus Pius?] which has been found on the Monte Citoria[?]. The statue of St. Paul on the summit is 10[?] ft. high. From the Piazza Colonna we crossed into that of Monte Citorio to see its Obelisk which is of red granite & covered with beautiful hieroglyphics. Among[?] which were seen single ducks & groups of two & three owls also figured largely

[61]

From here we went directly to the Pantheon. I can not describe with what mingled[?] feelings I looked upon a building I had heard so much about. The Portico is magnificent being[?] 110 ft. long by 66 deep & composed of 16 Corinthian columns of granite with capitals & bases of white marble 8 are on the face & the remained [sic] in four lines of two behind them. each column is of a single block 46 ½ Eng. ft high & 5 in diameter. The rotunda

[62] is 142 ft. in dia. exclusive of walls & the height from the pavement to the[?] is 143 the dome occupies half of the height. The [sic] are 7 large recesses The simplicity of the interior is spoilted[?] [sic] by rather paltry Alters a crimson & gilt sounding board over the high alter offends the eye immediately Above the first cornice are 14 niches containing paper statues & between them some fine paintings but independant [sic] of these little incongruities the Pantheon is a fine sight well described in a quotation Murray gives from [63]

Childe Harold commencing[?] — “simple, erect, severe, austere, sublime”— Besides its antiquity[?] the Pantheon is of great interest as containing the burial-place of Raphael who’s tomb is in the third chapel & recognised by a marble slab. And also in the same chapel is the tomb of Annibale Caracci. Returning to the Corsa we continued down[?] for a short way & the[?] struck off to the left to see the Palace Colonna for its pictures which are nothing remarkable Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) though possessing works of the great masters. Walking down

[64] the Via della Pilotta we came upon Trajan’s Column so well known by every one from engravings. nearly very [sic] scene of a soldiers life is illustrate [sic] The bas-reliefs are very fine, there[?] are [space] human figures [space] The former statue of Trajan on the colums [sic] is replaced by a colossal one of St. Peter [space] high. The pillar stands at one end of the forum of the same name only a part of the forum has been discovered but there are signs of its greater size & of a temple under[?] the modern house that surround it. In the place[?] now cleaned are

[65] four lines of broken pillars that have been found & placed upon their original bases which forms[?] two colonades [sic]. We looked upon them with great interest as they were the first we had seen. A little further on we saw the Roman Forum whose ruins immediately awakened[?] our admiration. We would fain have lingered here but strick [sic] adherance [sic] to our plan compelled us to leave it till another day & to pass down its length to the Coliseum, the most interesting ruin in Europe out of Greece

[66]

What words can convey an idea of its magnitude artists & writers have tried to express it but have all failled [sic]; each person must learn[?] it himself by sitting among its ruins. It is impossible to realise its enormus [sic] size from the proportion of the different tiers of arches to its height, the first are 31[?] ft high & the two next 38 ft. the openings in the wall above the arches are merely squres [sic] without any form of symetry [sic] ev–indtly[?] [sic] [evidently?] made hurridly [sic] in the completion. The only way to see it; is to ascend & look down upon the colossal

[67] raches [sic] [arches?] that yet stand. In returning back we went round by the church of St. Pietro in Vincoli[?] which is of interest as containing the Moses[?] of Canova. Notwithstanding the praise of Murray & my inclination to admire anything of that celebrated sculptor I could not but ask why[?] he had given Moses horns & made his bear[?] of so extravagant a length, a caricature if it was not for the graceful beauty of the curling[?] masses. I suppose the anatomy is perfect & you cannot but admire the force & majesty of their colossal proportions. In going from [68] this church to the Corsa we walked along the street in which wicked Tulla[?] drove the chariot over the corpse of her father. It is a miserable dirty lane children & rubbich [sic] mixed indescriminately [sic]. The outraged scence [sic] of smell interfered[?] material with reflection Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) on the act of babarous [sic] cruelty that made this street (more properly lane) famous, After dinner we went for the order to see the coleseum [sic]. And as we did not like standing alone on pavement we went up with Papa. The saying “From the frying pan into the fire” recured [sic] to me very strongly when I compared standing alone to

[69] being in the midst of soldiers. Our condition was slightly better by being asked into the Commadors [sic] office, where there were several officers who did not know exactly what to do on seeing two ladies suddenly in[?] there [sic] room. After standing a short time I very incautiously[?] supposing them unable to comprehend English made a remark upon Italien [sic] politeness which displayed itself rather incon—ntly[?] in not offering us seats where upon chairs were immediately offers [sic] us, an act that rather confused me as it was done immediately after my remark.

[70]

Then we walked leisurely down the Corsa which was crowded it was very interesting to us who had nothing else to do to watch the groupes[?] [sic] that passed under the light of the lamps & then out again into the shade. To reached [sic] the Coleseum [sic] after leaving the Corsa you have to pass up a dirty, badly lit street where we were very busy in looking after our feet & blessing the dirty[?] especially the smells that assail our noses. We sat a short time in the Forum & then went & sat in the Coleseum waiting for the moon to rise[?], we were very comfortable when

[71] a guard came up & warned us not to walk without an escort in the ruins for fear of the brigands who might be concealed in the numerous arches to rob. We sat hear [sic] an hour whatching [sic] the light of the moon creeping in through the higher openings of the eastern side & revealing in a blue misty light the arches & proportions of the opposite side, gradually the light increase [sic] till all was to be seen & as we looked the ruins rose continually in height & majesty increasing[?] till they seemed to streach [sic] away up almost

[72] touching the sky. It is by moonlight when the walls are seen in good relief their height[?] unbroken by the rising[?] lines of arches that one can fully appreciate the sublimity of the ruins. What different views passed[?] through the mind as we sat there coming so vividly as to be painful. This gigantic building, ?? is solemn in picturesque ruin & in such great solitude that the cry of some nocturnal birds fell most startlingly upon the ear & was[?] over[?] gay with the Virtue & Vice personified by the Stern men & stately women that lined its Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[73] sides by now many interesting groups we see some domestic but principally connected with the different men & heros who governed Rome & awed the world some so celebrated for genius other[?] only for vice, but it is the Arena that has most interest for us[?], there the gladiators fought a some[?] for a shaddowy [sic] glory, but[?] some in desperation for life here to the madden bull plunged in fury but we only look with pity upon these passed[?] scenes It is with intense interest & indignation that we recal [sic]

[74] the time when the Amphitheatre was full of a gaily dress [sic] & boistrous [sic] crowded [sic] & the Arena occupied by calm holy men who waited with the dignity of Christian fortitude & the shrinking forms of delicate women only sustained by love & Faith to meet the hungry mouths of wild beast. Oh! What a sight for men to enjoy. The strength of the ruins we are in, awake the surprise that a people so powerful as to raise it should have passed but when we recall the scenes enacted here for the pleasure of that might [sic] race

[75] the wonder is that they were not cut off sooner by the Vengeance of God. These recollections became to painful as they rose so vividly in my mind but I tried in vain to drown then [sic] in frivolous remarks to Millie. In returning back at Nine oclock we found the streets almost deserted.

Wednesday 16th

Drove to the Post office but was disappointed then through the Piazza Novanna which is quite large & contains three fountains, the centre one

[76] is the finest we have seen in room[?]. An immense block in the centre in the caverns of which are seen a lion & another large animal four colossal river Gods, half sitting are chained to it in the water is a stone swan. on the top of the block is a column. This piazza seems to be the principal fruit market From here across the Ponte Angelus[?] with a fine view of the fortress like Castle of the same name & then up to St. Peter’s the most famous of Christian Church [sic]. The Colonnade round the court is very fine surmounted by a line[?] of statues the corridor

[77] in front of the cathedral also is fine on each side is an equestrian statue. It is on entering that you are struck with admiration of the size of the building especially on walking up to what we Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) supposed were marble cherubs of the size of ordinary children supporting fonts for holy water, we found them to be as large as immense men, it was hard[?] to realise it & to convince ourselves we walk & up & back several times between the groups on the first pillars by the main entrance. Judging from these[?]

[78] the statues which look merely large must be colossal figures of 10 or eleven feet. The Church is all marble with a few imitation pilasters over the principal[?] chapels are five cupolas & in different parts of the church others of less size it is from these that St. Peters’s is lighted which it is in a better manner than any other Church we have been in. There are only a few paintings in oil of no particular merit. Put [sic] the pictures of great interest are those in mosaic over nearly every alter [sic] they are copies of celebrated paintings Including the Transfiguration Raphael. [sic] St. Peter Myrtodom[?] [sic] by Greid–?

[79]

The great Communion of St. Jerome. The myrterdom [sic] of St.[?] Petronella the latter[?] represents a woman being lower a pit [sic] the mouth of which is difficult to discovere [sic] as it is almost covered by the saint it is one of the best mosaic [sic] in the building. One cannot conceive the delicacy of outline & colour in these mosaics which make it difficult to remember that you are gazing on stone instead of those from[?] the hand of a finished[?] artist ?? warm[?] & glowing with the finest[?] tints of his palate. Most[?] of the tombs are only remarkable for their size but a few are of interest above all others, that to the Stuarts

[80] by Canova whose beauty & simplicity contrasts favorable [sic] with those around it, the only figures are two Genius of Death with reversed torches[?] it is of white marble Opposite that of M.C. Sobieski wife of James III it is a porphry [sic] sarcophagus with a Genius holding a Medaelon[?]. The Large & fine tomb of Clement XIII by Canova & is the work that established his fame. The pope who ?? figure ?? ?? very fine is kneeling on the top to his right is a figure of Religion rays[?] from her head & holding a cross. To his left a magnificent reclining figure

[81] of a genius with his torch reversed below[?] their feet are two lions acknowledged by all to be master peices [sic] the[?] are guarding the entrance to the tomb one is sleeping & the other roaring. The whole is on a colossal scale like everything else about the Basillica. [sic] The Tribune[?] is from the designs of M. Angelo [sic] at the extremity is the Chair of St. Peter. Enclosed in agorg–? one of bronze & gilt. On each side are two[?] fine tombs, the one on the right to Paul III is by G. Della Porta. The seated statue[?] of the Pope is in Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[82] bronze the two female figure below are said to be portraits of his mother & sister representing Justice & Prudence. Prudence with the key is very lovely & I am inclined be[?] believe the figures represent what we were told in the Church by a stranger, this[?] did[?], the friend of the Pope in her youth & old age, as the oldest figure is looking in a hand glass[?] in which are features are distinctly marked a rather singular occupation for either Prudence of Justice. A bronce [sic] monument of St. Peter is in the right side of the nave St. Apostle[?] toes[?] are nearly worn

[83] away by the lips of devotees. As we were looking at it a Capuchin monk came up & kissed it first rubbing it with his sleave [sic] then kissed it, pressed his head agains [sic] it & the [sic] rubbed it again, which is the manner of doing it. In first entering the churched [sic] we walked round it & then mounted to the dome by a doo [sic] near the entrance After[?] first showing our permission which we had procured at the Rankus[?]. when we reached the roof it was like being among a small villiage [sic] of domes[?] the main one rising like the cathedral to the place

[84]

Around it are four other very large ones but which are overlooked by the enormous size of the centre. ?? ascended between the two domes one covering[?] the other. We entered two inside galleries to look down upon the inside[?] of the cathedral & examine the beautiful mosaics which from below looked like paintings so fine[?] shade & the peices [sic] hardly discernible. What we though [sic] beautiful little cherubs we found to be a giant the[?] leg measuring below the knee over a foot. even up[?] so near them. those opposite looked small. the appostle [sic] seated

[85] above are immense[?] beyond conception the pen[?] St. Luke’s hand is 7 ft long. We ascend to the dome which is[?] much more easily reach than that of St. Paul’s in London. Leaving the church by the main entrance we continued along the portico to the left & came out opposite the Scala Regia which consists of two flight of steps & is remarkable for its perspective, turning out back upon this we walk down the corridor & entered the Vatican by a handsome stairway to our left. We ascend to the Stanze’s[?] [Stanza] of Raphael a suite of four handsome room [sic]

[86] decorated by his brush. in the ceiling of the first one you enter, the interior of a room is represented to life[?] A broken statue lying on the ground seems to be so real that you instinctively feel fear of it falling[?] on you hear [sic] the walls of this room illustrate events in the life of Constantine. The most important paintings designed by Raphael & executed by Guilio Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Romano is one of the largest battle scenes ever painted It represents Constantine in the moment when Maxentius is driven into the Tiber, his white charger is very spirited. a pretty group

[87] to the left of an old soldier raising a young standard bear [sic] who has been slain. The next the Triumph of the church over her enimies [sic] illustrated by The expulsion of Heliodorus from the temple he is represented fallen under the feet of the spirited white horse on which the avenging angel sits. Anias[?]Arias[?] the high priest is in the background Julius II is borne in his sta–? of state to the left. The miricle [sic] of the wafer Leo I preventing Attila’s entrance into Rome by the appirition [sic] of St. Peter & Paul. The 3rd is the

[88] one of most interest in which is the school of Athens the celebrated painting by Michael Angelo. [sic] A large Ro---? or Temple on the head of a flight of steps stand Plato & Aristotle disputing[?] surrounded by the greatest ?? of the Greek school. Plato is pointing toward heaven the other towards the earth. On the left is Socrates explaining his doctrines[?] to Alcibrades[?] & others on the lower platform also on the left is Pythagoras writing on his knee surrounded by Empedocles & others On the right is Archimedes

[89]

Under[?] the likeness of Bramante he is tracing[?] a geometrical figure on the floor; the young man in blue by his side is Frederigo II duke of Mantua. behind these are Zoroaster & Ptolemy one holding a celestial the other a terrestial [sic] globe representing Astro. & Geo. they are both addressing Raphael & his master Perugino whose faces are seen. Raphael wearing his well known hat. The half naked figure on the Steps is Diogenes. This composition[?] contains 52 figures. Opposite

[90] to this is Theology or the Dispute on the Sacrament In the centre an alter [sic] with the eucharist overshawddowed [sic] by the dove symbol of X [Christ?] on earth. The fathers of the Latin Church Sts. Gregory, Jerome, Ambrose, Augustin [sic] are on either side near them are eminent divines & theologians while at each side a group of Laymen listen to them attentively Raphael has painted himself & master in the background on the left. Near them the figure leaning on a parapet & holding a book is Bramante. Dante[?] is in the right corner seen in profile.

[91]

Poetry & Jurisprudence on the other two walls, one represented by Apollo on Parnassus & the other by Pope Gregory IX delivering the Decretals to an advocate of the Consistory in allusion to the canon law on one side of the window & other other [sic] Justin[?]------The four room [sic] Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) illustrates the Glory of the church. by events in the history of Leo III & Leo IV. Of these room [sic] is the one devote [sic] to paintings illustrating the new doctrins [sic] of the immaculate by some

[92] very fine modern paintings Returning through the Stanze we enter on the stairs & ascending to the upper floor we entered the Gallery of paintings. Passing through the two first rooms we reached the third containing the immortal Transgiguration, [sic] the almost equal Communion of St. Jerome & the Madonna da Foligno. The Transfiguration occupied us for some time indeed it is worthy of months of admiration. At first we were disappointed in the figure of Christ & though[?]

[93] the face wanted expression but as we gazed the face became divine & shaddowing [sic] forth the raptures of the deity as if he had already passed his trial & had saved a world. He is floating in the air with the two[?] prophet [sic] beside him. below on Mount Tabour[?] [Tabor?] are the three favoured disciples John shading his eyes by his hand. The lower[?] group is magnificent the demoniacle[?] boy is presented by his father to the disciples who ??

[94]

?? is beautifully told in the expression of their faces two of them are pointing upwards to the only source of help. two beautiful women half[?] kneeling beside the boy are pointing to him & imploring help. The figure of the boy is of fine that you can all most [sic] see him writh [sic] in his convulsions he is held by the father who gazes fixedly[?] at the Apostle apparently refusing to believe their own accknowledgement [sic] of their[?] inability[?] so fixed is his faith, the faces behind all express terror

[95]

The story so plainly told the life & action, the divine beauty[?], the colour so warm & glowing worked[?] by that skilful hand, all defy description. & make it the wonder of the world & the greatest triumph of art. But who can looked [sic] upon this picture who knows the end of the artist [sic] life & not feel his admiration mixed with saddens [sic] by the though [sic] of the vigorous hand so suddenly staid in its work & recall the scene when the artist

[96] lay cold & stif [sic] in death & above him his picture glowing with life & beauty & symbol of the purity & power of his genius & not deeply regret that so gifted a genius had not been allowed to give us more of the wonderful fruits[?] of his genius. From this we turned to the Communion of Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

St. Jerome. by Domenichino, so true so perfect to life that it holds you in wonder & attention before it. The fade light of life in the eyes only held from extinction[?] by the last effort[?] of religious fervour of the Saint to

[97] receive the Holy Sacrament The face is still fine your[?] the features are disfigured by age & trembling with exhaustion. the body tells the story of the life of the saint of his penance & self denial the skin seems withered by exposion [sic] & neglect. It is support [sic] by a young man St. Paulo[?] kisses the hand of the dying saint. One great point in the beauty of this picture is its symplicity [sic] only a few figures introduce aiding not distracting the attention

[98] from the subject. This painting was designed for the ch.[?] of the Ara Coeli at Rome but the monks quarrelling with Domenichino it was not placed there but hidden & Poussin engaged[?] for the Alter peice [sic] the monks wish him to paint over St. Jerome but he refuse [sic] to commit such sacrilige [sic] threw up his engagements[?] reveiled [sic] the existence of the painting. In this room also is the 3rd great painting of the Vatican collection The Madonna do Foligno. In the fourth room are

[99] some of Titian & other great master [sic] In Room V the principal one is the crucifixion of St. Peter by Guido classed[?] amongst his finest works I liked it very much as I do all his works. The Martyrdom of St. Erasmus by N. Poussin I did not care for at all it looks so cold & dead by the warm tints of Guido. The Ecstasy of S. Michelino is one of the best of Barrocio. A female figure alone in the scene around

[100] dark & in great solitude the face is raised to view the vision of the virgin & child above. Returning we notice in the 2d room one of Murillo’s The Marriage of St. Catherine with the Infant Christ. & liked it very much. Descending to the first floor we proceeded through the Gallery of Inscription[?] but did not pause for any length of time for we did not understand them. On one side is heathen on the other Christian From here[?] we turned down to a gallery to our left called Nuovo Braccio

[101] after passing the Library it is long & contains some very fine statues among the number lining its sides The fourth niche on the right is the celebrated Statue of Agustus [sic]; further on the Statue of Demosthenes[?] next the Athlete small head rather thick neck[?] broad shoulders & slight Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) nervous legs to show the combined requirements of a wrestler & runner. He is represented in the act of cleaning his arm with

[102] a strigil & is in Greek marble spoken of by Pliny & supposed to be by Lysippus. The Meriva[?] Medica one of the finest draped figures in Rome[?] her cloak or robe is thrown over the left shoulder the end seen at the back almost reaching the end of her skirt, it is brought over the front under the right arm across the back & the small remain [sic] over the left shoulder the end reaching a little below the wais [sic], the fall on the right is very low a short garment covers her shoulders & droops most towars [sic]

[103] the left, Statue of Mercury In the centre of this gallery is the immense group of the Nile The deity[?] is in a recumbant [sic] attitude surrounded by 16 small children below & around are symbolical figures of animals[?] returning from here we continue along the Museo Chiaramonti which is a continuation of that of the Incriptions [sic] but devoted to statues[?] & busts. up a few steps into the Museo Pio-Clementino. The Torso Belvedere found near the theatre

[104] of Pompey [sic] attributed to his time from an inscription on its base it was made by Appollonius [sic] son of Nestor of Athens. It is merely a fragment consisting of the body & upper parts of the legs[?]. M. Angelo called it is [sic] Master so perfect did he consider it to represent the human form. It is supposed to represent Hercules in a[?] state of reposed after labour. R---? the small Cortili[?] di Belvedre [sic] which is an unequal octagon are four Portico & four cabinets

[105] in the angles each containing some[?] celebrate [sic] statue especially the Cabinets In The 1st Cab. Are Perseus with the head[?] held at arms length & the two[?] boxers[?] by Canova. They stand vis[?] a vis. in the attitude to stri–? The 2nd Cab. Contains the Belvedere Antinous[?]. The 3rd Cab. The great Tavearn[?] discovered between in [sic] Vigna de Frebis[?] who owner[?] [sic] discovered between the Sette[?] Sale & S. Mario[?] Maggiore. in the reign of Julius II great important [sic] was attached to the discovery & the happy man increased

[106] his revenues by it. It is so well know [sic] by photographs yet I was fassinate [sic] by the awful agony of the father shown in his firm[?] & desperate grasp paternal & physical agony combined & in the vain writhing of the youngest boy who trys [sic] with his litte [sic] might to prevent the fangs of the smaller[?] asp[?] closing on his side. The fourth Cab. the Apollo Belvedere. There Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) are other large halls in this Museum the fine[?] Hall of Animals, of Masks[?] & of the Muses & the Hall[?] of the Greek Cross contains[?] ??

[107] very interesting sarcophagnus [sic] of red porphry [sic] one to Constantia[?] the daughter of Constantine. the bas-relief represent a vintage a[?] pagan[?] & christian[?] emblem. This indicates the decline of art. The other That of the Empress Helena the reliefs represent a battle & are in high relief. Ascend a flight of steps we entered the Hall of the Biga containing a chariot on 2 wheels in white marble the horse [sic] are very fine & spirited but[?] are nearly all restorations. Along the Gallery of the

[108]

Candelabras lined with statues & busts to the Arazzi or that of the tapestries from the cartoons[?] of Raphael the [sic] received the first name[?] from being manafactured [sic] at Arras in Flanders. 11 designs were made for Leo X to cover the walls of the Sixtine [sic] Chapel 7 of them are now at Hampton Court Palace London. 10 represent the history of Sts Peter & Paul A second series of 13 were executed[?] by his pupils & are called Arazzi della scuola Nuova[?] the [sic] are mixed indiscriminately

[109] with those by Raphael. The colouring is magnificent besides the beauty of the grouping. After this the Hall of Maps & then to St. Peters where we met an Italian who spoke French he took us through some of the Popes Apartements [sic] as his highness was out walking & we stood on the theshold[?] while[?] Papa entered the room where the wife [Carlota, Empress of Mexico?] of Maxmillian [sic] [Maximilian Habsburg, Emperor of Mexico?] sat[?] for so long imploring attention from the Pope she is the only woman

[110]

I believe that has been in. We also saw the place where the pope blesses the people from his palace.

Thursday 17th

Again disappointed in letters drove to St. Peters to see the Pope [Pius IX] who was coming through the Cathedral previous to presenting himself to the poor people to whom he was giving a dinner. We had a fine view of him as he came into the Church & made his devotions to three different Alters [sic] kissing the toes[?] of St Peter he is not at all devout when at ?? Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[111] prayers taking[?] snuf [sic] rubbing his hands & looking round. His face is very good natured. We then saw the Mosaic of the Vatican for which you can easily get ?? order. There are 10900 different colours in the place used for the shading & you do not wonder after seeing the exquisite mosaics[?] of St. Peter. We tried to see the Sixtine [sic] Chapel but found it shut. We then took a carriage & drove[?] to the theatre of Marcellus through the ?? quarter which is the

[112] dirtiest & most miserable part of Rome & quantity of clothes exposed to sail a glance up the dark close place would make you prefer a dreary m---? as a home. The only part of the ?? seen is a handsome semicircle having two tiers of pillars the Doric Capitals on the first & the Ionic of the second still distinguishable there was formerly another tier probably Corinthian but it has entirely disappeared before the wall of the palace Orisini now occupying the upper stories. From here

[113] to the Temple of Vesta now the church of S. [3 lines crossed out–appear here in italics] Stefano Marra del Bolombo[?]. The guidebook gives the first name but our driver told us the latter whose descriptions agree exactly with the interior. It is circular in form & surrounded by an elegant peristyle of 10[?] Corinthian columns one of which is lost It is not the Great Temple of Vestra [sic] but a later one. The roof is of ugly tiles we did not enter but walk [sic] over to some interesting ruins near hear [sic] now build [sic] into houses the first The To---? of Virilis & the next the House of Riunzi[?] Near here also is the arch of Janus one of throse [sic] arches formerly builted [sic] at the union of streets either for shelter or a covered exchanged [sic]. It is square

[114]

& high & now built up & ?? both sides. A little further on we stopped to see the Cloaca[?] Maximus. The way it is now seen by strangers fails very much to give any idea of the grandeur of work which has lasted centuries & is now in use indeed if it had not been for other sources of information we would neve [sic] have imagined that we were looking at one of the Glories[?] of Ancient Rome but notwithstanding the dirty hole you have to go through & the bad light of the attendant who jabber Italien [sic] all the time we managed to see the immense

[115] arches formed merely with stone without the aid of mortar. From here we went to the Baths of Carracalla the finest ruins in Rome next [sic] the Colleseum [sic]. I was so struck with their beauty that very foolishly I spent my time in making a sketch while Papa & Millie mount one of the pillars & saw very fine & interesting mosaics & tessilated [sic] pavements fragments of Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

Corinthian columns are see [sic] lying around. From here we went to the Rotunda supposed to have been a butcher market but now the Church of S. Stefano Rotondo.

[116]

It is circular, consisting of two[?] concentric rows of grey granite columns with Ionic capitals. 36 columns are in the outer circle & are built up to form the wall of the present building as they were formerly one a wall beyond now destroyed forming[?] the enclosure. The iner [sic] circle has 20[?] & forms the center of the church in which are two Corinthian columns higher than the rest. The walls of this building are cover [sic] with indifferent[?] frescoes repressent [sic] the martyrdom of the saints[?] & events in the life of Christ. I[?][sic] the centre of the church is a large model of a tabernacle

[117] In the Vestibule is a stone[?] chair said to be the one from which St. Gregory the Great read his fourth homilie [sic] To[?] S. Gio. Laterno where we saw the Santa scala[?] a short distence [sic] from the Church several pilgrim [sic] & nuns priests & others were labouring up on their knees. The holy stair is encased in wood to[?] present [sic] it being worn[?] away altogether as some parts of the steps[?] are much lower then others. We were not of course allowed to ascend as we would not go up on our[?] knees but

[118] we reach the top by a side flight & looked in at the iron[?] gratings upon the Chamber at[?] the top the only thing we could make[?] out was that it was in handsome crimson with an alter & a painting outside the grating are two[?] of Christ which the devotees[?] kiss & press their foreheads after[?] accomplishing their task. The Church is very handsome one of the first churches in ?? in Rome as the Pope is crowned here. The finest part of it is the Corsini chapel only second in magnificent [sic]

[119] to the Borghese the most magnificent of private Chapels. St. Maggiore contains two splendid chapels that of the Holy Sacrament or Sixtine & the other the Borghese. This Basilica is also very fine & handsome. From here to the Baths of Diocletian which are now covered by the Church of S. Maria Degli Angeli. Very interest [sic] ?? almost forming a Greek Cross. 8 pillars of the 16, are antique red Egyptian granite. The tomb of Salvatus Rosa is here. Also[?] some

[120] fine paintings formerly in St Peters. St. Sebastian by Domen.[?] & the Presentation in the Temple by Roncalli were the two[?] we like best. The last represented the Virgin as a child of nine or twelve ascending the steps of the temple her hands crossed on her breast clothed in crimson her Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) golden hair blown back & her face blooming with health. The figure of the High-priest though father large, is commanding. The face of St. Anna[?] is good. I don’t think it is a masterpieceby any means but it is pleasing to the eye

[121]

The railway station is also built in the ruins. In returning home we saw the splendid fountain of Trevi the largest we have seen in Rome it is in a comparatively small squre [sic] & altogether lost. The water is made to fall over[?] large rocks in the centre is a colossal figure of Neptune in a ca---? drawn[?] by horses & attended[?] by Linton[?] Many other figures are here. After dinner we walk out[?] by the Popolo Gate looking for the Protestant

[122] burying ground but found we had mistaken the name of the gate

Friday 18th

Went first to the Pontifical Gardens on the Quirinal Hill. I like them better than any I have seen even[?] than[?] those of Versailles which though very beautiful have such an air of the artificial over the cut trees & the singularly shaded buds[?] of flowers arranged according to colour. Here though the hand of the gardener can be trace[?] [sic] in the magnificent hedges of box[?] rising on either side of every walk[?] to nearly 20 ft. in height

[123]

Nature is seen everywhere in here most luxuriant form[?] only guided[?] by Art to form a succession of shades the most delicious I have ever seen. From the gardens we entered the Palace with [sic] is very grand the most interesting objects in it The beautiful Annunciation of Guido. The blue robe of the Virgin is very fine & clear, the earnest & holy face of the angel, The Goblin[?] Tapestries those given by Nap. I. equalled if not surpassed

[124] by those given by the present Emperor of the French [Napoleon III] it is hard to realize that they are not paintings. Coming from the Palace we came[?] out upon the Piazza Monte Cavallo contain [sic] a pretty fountain immediately behind it the Obolesk [sic] of red granite on the base[?] of which are the two Horses[?] said to be Castor & Pollux. At the Capitol[?] we ascend a long incline[?] having a good view of the celebrated Castor & Pollux at[?] the two beside other interest Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[125] peices[?] [sic] of marble. In the Centre the much valued equestrian statue in bronze of Marcus Aurelius. Facing[?] you as you enter the capitol is the Hall of the Senators reared[?] by a double flight of steps. To the right the Hall[?] of the Conservatory & to the left the museum. A flight of steps between[?] the Hall of Senators & Museum leds [sic] to the Church of Ara Coeli in which is the famous Bambino who [sic] healing powers are so wonderful. It is in a small chapel reached

[126] through the Sachristy [sic] & kept under lock & key. A priest reveal [sic] the treasure which is in a precious box covered with rich white covers. It is a little wodden [sic] doll cut according to tradition by a pilgrim form a tree on the Mount of Olives & painted by St. Luke as the workman slept. It is richly[?] dress [sic] & broaches [sic] rings & ornaments of every discription[?] [sic] set with precious stone[?] [sic] are attached & covered the dress a splendid crown is on the head . In the museum are specimens of Greek statury[?] [sic] taken from the ruins indeed the museum is entirely composed of them

[127]

The Dying Gladiator is the one[?] that has the greatest fame for its beauty of form & expressiveness of attitude he is supporting his body by one hand resting on the ground his head is drooping. A body but on a mask[?] is also perfect. Equal to any is the beautiful Venus of the Capitol in the same posistion [sic] as the Venus de Medici though much large. [sic] From the Capitol through the Forum

[128] to the Palace of the Caesars which we could not enter A carriage to Palace Barberini to see the pictures, the most interesting one[?] the Beatrice Ceni by Guido said by some to have been painted by him the night before her execution. Returning to het hotel Papa got a letter[?] written to the director of the excavations[?] of the Palace of the Caesars Then[?] out on the Appian way which you enter by passing[?] through the Forum[?] the arches[?] of Titus & Constantine & out by the Sebastian Gate. At first

[129] the view is hidden by stone walls but after you get further out it is very pretty & the numerous ruins make it highly interesting some of the ruins are first the tomb of Precilla the wife of Abascanthus[?] in the time of Domition [sic] but the round tower on the top which is the most striking part is of a latter period further on is the temple of Romulus beside many[?] other ruins of fine temples now only masses of brickwork Several of the Catacombs[?] are on this road. Returning to the city we got out & dismissed the carriage at the Forum where we spent several Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) hours among its highly

[130] interesting ruins. Back of[?] the Capitol in a semicircular enclosure are the arch of Sept. Severus the bas-reliefs of which are still distinguishable. Three beautiful corinthian columns of white marbl[?] [sic] mark the site of the Temple of Vespasian raised to him by Domitian to the right a square raised above the level of the rest with parts of the tesselate pavement still seen is the site of the Temple of Concord to the left & near[?] the temple of Vespasian are eight Ionic columns the only remains of the Temple of Saturn behind these was once the Schola X antha[?] (near which were offices of the Roman notaries) marked by a colonade [sic] of 10 pillars. The old road may be seen

[131] winding under the arch & among these temples, [The following text, in italics, was crossed out] Seperate [sic] from this enclosure by the modern road that leads to the capitol is another large clearing that has revealed the ?? temple of A semicircular terrace is seen immediately under your feet supposing[?] your [sic] are standing on the modern road the [sic] surrounds the[?] space. This semicircle is the Rostra[?] At the end is the remains of the Conicle [sic] pillar from which all distances within the walls were formerly measured. Turning[?] round we see the other space recently excavated in which are the colum [sic] of Phocas spoken of by Byron as the [132]

“Nameless column with a buried base” as it was in his time opposite this & only separate [sic] by a few feet of the old[?] road a short[?] flight of steps are seen which lead to the Bascilica [sic] of Julia the whole floor of this fine temple is[?] now bear[?] [sic] showing the fine marbles that covered it further down in a line from the temple of Saturn are the corinthian columns that have long stood as models for all pillars of that kind there has been much dispute[?] as to what ediface [sic] the [sic] belonged Bas–? thinking that they formed[?] part of the temple to Minerva[?] by Augustus in connection by [sic] the Curia he built now supposed to be marked by an enormus [sic] mass[?] of brick word [sic] back of the columns. At the

[133] extremity of the Forum is the Arch of Titus raised in commemoration of his conquest of Jerusalem. In the bas-reliefs inside of the arch the Seven branched Candlestick forms[?] the most interesting object among the illustrations of the trophies. The Forum is supposed to be been [sic] an oblong the length being from the Capitol to the Arch of Titus near the Coleseum. [sic] The ground has been raised to a great degree from its former level probably by the materials of the former edifaces. [sic] At the right of the forum are the ruins of the Temple of Peace three large arches remain perfect. The Forum Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2)

[134] to me is the most interest [sic] place in Rome there while looking at its ruins recollections of the many tragic events, both real & traditional, that history has recorded as taking place here recur to the mind with double interest. The Coleseum [sic] seen from here recalls the Roman people eager & excite[?] [sic] with their brutal pleasure the Forum at the same time brings before you the crowd of stern face [sic] eagerly[?] discussing about their rights[?] excite [sic] by the declamations of the hero of the day, or witnessing some of those frightfully tragic sarafices. [sic]

[135]

& on one side the enormous[?] pile of ruins of the once magnificent Palace of the Ceasers [sic] recalls them in the luxury & pomp.

Saturday 19th

Went the[?] first to the Sixtine Chapel famous from[?] the labour of M. Angelo who has left on its walls his master peice, [sic] The Last Judgement. It is on the wall opposite the entrance & of course is the first object of attention in this Chapel the most celebrated in the world the[?] side & the roof being covered by the brush[?] of M. A.

[136] each particular detail a study in itself & worth [sic] of a separate fame. The picture is too large to admit of[?] a detailed account & the figures to [sic] numerous to describe, the principal ones are Christ in the center with the Virgin at his side looking down upon the saints to her right. I must confess that I do not care for the figure of Christ. A figure in hell of Man as Mydias with ass ears [or, Man with ass ears as Mydias] is remarkable as being the portrait of Messer Biagio of Cesena the Master of Ceremonies who suggested to the pope the propriety of covering some

[137] or the figure in the painting. M. Angelo in revenge introduced him thus. Biagio applied to the Pope to have his portrait removd [sic] but he refuse [sic] on the plea of having now [sic] power over hell. Time[?], the smoke on [sic] incense & the whims of the different popes have injured[?] the picture very[?] much. The roof is also a miracle of design it continues in a degree[?] the designs of the wall in illustrating bible subjects. From the Creation to the life of Noah The figure of Eva [sic] in the Temptation is said to be the finest conception of female beauty, The Tempter is represented with the body of a

[138] female & the rest[?] a serpent. There[?] are many other subject [sic] a series of groups Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) representing the passages in the history of the Virgin to the birth of Christ. Another event when God interfered[?] in behalf of his people Also seated figures of Prophets & Sybils[?]. From the Vatican we went to the Post Office only to experience a fresh disappointment & the [sic] to the Porte[?] Paolo near which is the Protestant burying ground contain the tombs of Shelley, Keats, Wyatt[?], & Beel[?]. Through the Gate out to St. Paul’s passing the Church on the spot where tradition says the Lord[?] met St Peters [sic] flying[?]

[139] from Rome. It contains a facsimile in marble of the foot prints of Christ left on the marble slab now the most precious relic of those in the Church of St. Sebastian. As I look at it with unbeleiving [sic] eyes I was denied the conviction of the Faithful that it resemble [sic] in every point the foot prints of a human foot. Indeed I though [sic] it a very poor[?] imitation & like the facsimile in the little church we saw first better than the original. I was very much pleased & delighted with St. Pauls. It is the best specimen of a basilica now remaining in Rome the

[140] length 411 ft & the transepts 279 the body of the building is 295 by 214 The first ediface [sic] was burnt down but the one now standing is built on the plan of the old one & has nearly the same proportions. There are four ranges of granite columns from the two[?] aisels [sic] on each side of the nave, the columns which a [sic] far enough apart to allow of an[?] oblique view, & the beautiful inlaid floor forms an impression[?] than [sic] can never be efface [sic]. Running round[?] the nave & transepts & forming a kind[?] of frieze is a line of portraits of the Popes in mosaic

[141]

It is intended to carry it along[?] the aiseles [sic] & the mosaic manafacture [sic] of the Vatican is employed upon the work now. From St. Paul’s we returned to the City to the Palace of the Ceasers [sic] & our request for permission to enter, which we had sent yesterday being granted we were allowed to wander all over the excavations still being carried on. They are one of the most interesting places we have been in especially the underground portions we descended several flights of stairs till we were many

[142] feet below the surface & there we found room after room which must have been magnificent when in use as we found parts[?] of the floor & walls covered with precious marbles & traces[?] of frescoes. There are several ruins those of the Temple of Vespasian, the House of Tiberius, the Palace of Caligula with its baths the site of the House of Romulus[?]. From the Palace of the Caesars we went to the Villa Borgesse out side of the city walls close to the gate Popola [sic] The grounds are very good & form[?] a fashionable drive but they are particularly visited by Tourist Henrietta Muir’s diary, 1867 –Glenbow Archives (M8896/9, vol.2) for the Casino which contains an interest [sic] gallery of statue [sic] the

[143] one like[?] best, a reclining[?] one of Christiana Pauline as Venus Vetrix. The ceilling [sic] are covered with remarkable [sic] good modern frescoes on[?] one room is the famous Aurora she[?] is drawn in a car by horses & surrounded by young women.

Sunday 20th

Went in the morning to English service & in the afternoon to the Catacombs of St. Agnes. They are without the city walls & are reached by

[End of Diary]