bedizened war-horse, who is throwing up his head, showing all his teeth,
and crying ha, ha, with all his might,--has a very dramatic effect.

Of the Lippo Lippis, the Lorenzo di Credis, the Ghirlandaios, the
Peruginos, and the other great masters of the fifteenth century, of whom
are many masterpieces in this collection, there shall, for the present, not
a word be said.

There is also a portrait of Savonarola, by Fra Bartolommeo. The face is
neither impressive nor attractive. The head is shorn, except the monastic
coronal, and shows a small organ of benevolence, and a very large one
of self-esteem. The profile is not handsome,--the nose being regularly
aquiline, while the mouth is heavy with a projecting upper lip. A strong,
blue beard, closely shaven, but very visible, darkens and improves the
physiognomy.


IV.

SANTA MARIA NOVELLA.

This church was so beloved by Michel Angelo as to be called his bride. It
must be confessed that the great artist was determined in his choice less
by the external charms than by the interior excellence of his _sposa_;
for although she has now got herself a new front and vamped herself up a
little, thus looking a trifle younger than she must have done three hundred
years ago, still she has any thing but a bridal or virginal aspect.

This church and monastery belong to the earlier German period of Italy,
if such a thing as Italian Gothic can be said to have ever existed. The