himself with German newspapers at the cafe where he dined, and going
to the play in the evening to hear colloquialisms. The picture
galleries were his daily enjoyment, and he declared the Madonna di
San Sisto fully equal to his anticipations. There is that about the
head of the Virgin which I believe one sees in no other picture, a
dignity and beauty with a mixture of timidity quite indescribable.'

Returning home for Christmas, Coley started again in January 1851, in
charge of a pupil, the son of Lord John Thynne, with whom he was to
go through Italy. The journey was made by sea from Marseilles to
Naples, where the old regime was still in force. Shakespeare and
Humboldt were seized; and after several hours' detention on the score
of the suspicious nature of his literature, Mr. Patteson was asked
for a bribe.

The climate was in itself a great charm to one always painfully
susceptible to cold; and, after duly dwelling on the marvels of
Vesuvius and Pompeii, the travellers went on to Rome. There the
sculptures were Coley's first delight, and he had the advantage of
hints from Gibson on the theory of his admiration, such as suited his
love of analysis. He poured forth descriptions of statues and
pictures in his letters: sometimes apologising.--'You must put up
with a very stupid and unintelligible sermon on art. The genius loci
would move the very stones to preach on such a theme. Again: The
worst is, that I ought to have months instead of days to see Rome in.
I economise my time pretty well; but yet I find every night that I
can only do a little of what I propose in the morning; and as for my
Italian, an hour and a half a day is on an average more than I give
to it. I suffer a good deal from weakness in the eyes; it prevents
my working at night with comfort. I have a master every other day.