She left him the riband from her hair.

They show at Verona, as the tomb of Juliet, an empty trough of stone.

These famous statues recline in the Sagrestia Nuova, on the tombs of Giuliano de’ Medici, third son of Lorenzo the Magnificent, and Lorenzo of Urbino, his grandson. Strozzi’s epigram on the Night, with Michel Angelo’s rejoinder, is well known.

This mocking task was set by Pietro, the unworthy successor of Lorenzo the Magnificent.

Savonarola was burnt for his testimony against papal corruptions as early as March, 1498: and, as late as our own day, it has been a custom in Florence to strew with violets the pavement where he suffered, in grateful recognition of the anniversary.

See his description of the plague in Florence.

Charles of Anjou, in his passage through Florence, was permitted to see this picture while yet in Cimabue’s “bottega.” The populace followed the royal visitor, and, from the universal delight and admiration, the quarter of the city in which the artist lived was called “Borgo Allegri.” The picture was carried in triumph to the church, and deposited there.

How Cimabue found Giotto, the shepherd-boy, sketching a ram of his flock upon a stone, is prettily told by Vasari,—who also relates that the elder artist Margheritone died “infastidito” of the successes of the new school.

The Florentines, to whom the Ravennese refused the body of Dante (demanded of them “in a late remorse of love”), have given a cenotaph in this church to their divine poet. Something less than a grave!

In allusion to Mr. Kirkup’s discovery of Giotto’s fresco portrait of Dante.

Galileo’s villa, close to Florence, is built on an eminence called Bellosguardo.

See the opening passage of the “Agamemnon” of Æschylus.

Philostratus relates of Apollonius how he objected to the musical instrument of Linus the Rhodian that it could not enrich or beautify. The history of music in our day would satisfy the philosopher on one point at least.

The Italian tricolor: red, green, and white.