miling
Madonna, are so characteristic of the style of Leonardo da Vinci that
the picture would be at once referred to him by one who did not know
its origin. The chamber where Tasso spent the last days of his life is
on the upper floor, and is the most conveniently situated in the whole
building. It is left very much in the same state as when he lived in
it. The walls and ceiling are bare and whitewashed, without any
decoration. Here and there are several pale marks, indicating the
places of objects that had been removed. In one part is painted on the
plaster a false door partially open, behind which is seen the figure
of Tasso about to enter; but every person of good taste must condemn
the melodramatic exhibition, and wish that he could obliterate it with
a daub of whitewash. The custode directed my attention to it with an
air of great admiration, and could not understand the scowl with which
I turned away my face. There are several most interesting relics of
Tasso preserved in this chamber--his table, with an inkstand of wood;
his great chair covered with Cordova leather, very aged and
worn-looking; the belt which he wore; a small German cabinet; a large
China bowl, evidently an heirloom; a metal crucifix of singular
workmanship, given to him by Pope Clement VIII., which soothed his
dying moments; several of his letters, and an autograph copy of
verses. In one corner is the leaden coffin, much corroded, in which
his remains were originally deposited. On the table is a mask in
reddish wax moulded from the dead face of the poet, and placed upon a
plaster bust--a most fantastic combination. From this mask, which is
an undoubted original, numerous copies have been taken, which are
scattered throughout Europe. It is in consequence somewhat effaced,
but it still shows the characteristic features of the poet--the purity
of the profile, the fineness of the mouth, and the spiritual beauty
and fascinating expression of the whole face. But the incoherence of
the adaptation makes it painful to think that this is the best
representation of the poet we possess.

The extensive garden behind the convent combines a considerable
variety of natural features. The monks grow large quantities of
lettuce and fennochio; and interspersed among the beds of vegetables
are orange and other fruit trees, and little trellises of cane,
wreathed with vines. A large tank is supplied with water from a spring
whose murmur gives a feeling of animation t