Ariadne of Dannecker, at Frankfort, and the statuary at Charlottenburg, by Rauch, are far superior in every respect. But we will pass on to the paintings in this same room, the Tribune. On of the most remarkable is the "Virgin presenting the Infant to St. Joseph," by Michael Angelo; then comes Raphael in all his divine genius-his Madonna, (the Goldfinch,) then his "La Fornarina." This is the most exquisitely beautiful thing on canvas. It is a portrait of his own mistress. It is no angelic face, no spirituelle conception of ideal fancy, but a sure enough beautiful woman, of blood and flesh, capable of loving and being loved, and of continuing to love with passionate devotion, even beyond the grave. Here also is "St. John Preaching in the Desert," by Raphael. It looks as if it stood out from the canvas, and was ready to speak to you as you passed by. Among the many glorious pictures in this magnificent gallery, are "The Venus," by Titian; "Adoration of the Magi," by Albert Durer; "The Virgin kneeling before the Infant Saviour," by Correggio; "Charles V.," by Vandyck; "Medusa's Head," by Leonardo da Vinci; "The Marriage at Cana,' by Tintoretto; "Esther and Ahasuerus," by Paul Veronese; "Martyrdom of St. Sebastian," by Sodoma. A mere description of these treasures in the way of paintings, would fill a volume. This gallery contains 1,500 paintings, each of which would be considered a great prize in this country. Attached to the gallery is a room devoted to gems, and here are seen many antique cameos, with im perial portraits carved on them. Vespasian, Tiberius and Livia, Augustus and Galba, have all left their profiles on imperishable cameos, and done, as our friends the ancients did every thing, in true artistic style. In leaving the pictures, you enter the gallery containing the statuary. Here are miles of "monumental marble," cut into every conceivable size and shape. First, is the Hall of Niobe, in which stand the statues of this unfortunate old lady, with her baker's dozen of sons and daughters, all shot and being shot at by the unerring arrows of the ruthless Apollo. As you pass along the immense corridor, you get into a perfect wilderness of antiques, man and beast, all confusedly mixed together. 'Twas late in the evening when I'quit this immense gallery. My brain was completely bewildered with sight-seeing. I got all confused. The "Ancient Chimera" was jumbled up with the "Head of Holofernes;" while "the Dancing Faun " was pitching into "the Venus de Medici." I went to my hotel, and there I found our countryman Hiram Powers, who had just arrived to dine with We had an elegant dinner, and over a couple of bottles of best Italian wine, we discussed art and science, paintings and statuary, the Grand Duke and Victor Emanuel, not forgetting our own native land. me. Adieu. I shall write you again from this place. H. W. A. LETTER NO. XXVIII. EDITORS ADVOCATE : FLORENCE, ITALY, Oct. 8, 1859. I wrote you a day or two ago from this city, since which time I have visited the churches and other public buildings, together with an occasional ride to the country. The Duomo or great cathedral is, of course, the most remarkable building in all Florence. It is called Santa Maria del Fiore. This is a monster building, and one of the very finest in Europe. It measures 500 feet in length, 306 in width, and 387 feet high. The dome is a wonderful triumph of human ingenuity. In grandeur and simplicity of construction, it is far superior to the domes of St. Mark at Venice, and of the cathedral of Pisa. It served as a model for Michael Angelo, in building the dome of St. Peter's at Rome. It is, in fact, the largest dome in the world, being 138 feet in diameter, and from the cornice of the drum to the eye of the dome, it is 133 feet. The architect was Brunelleschi, and his name is handed down with that of Michael Angelo, as one of the greatest architects that has ever lived. This stupendous cathedral is ornamented with a great deal of fine statuary on the outside. The interior is rather dark, owing to the smallness of the windows, the rich colors of the stained glass, and the sombre color of the stone with which it is built. Immense arches strengthen the pillars which support the huge dome; on these arches are sculptured the armorial bearings of Florence, of the Pope, of the Guelphs and the Ghibellines. The whole design is characterized by grandeur and simplicity. The pavement, being of various colored marbles, adds much to the magnificence and beauty of the structure. As you enter the cathedral, near the door is the portrait of Dante; on your left are Hell and Purgatory, painted in fresco; and in the centre, Paradise in small groups. Near the picture of Dante is a marble tomb ornamented with a cross between two shields, bearing eagles. It is the tomb of Conrad, the son and rival of the Emperor Henry IV. Like Pisa, Florence has her Campanile or tower, and Baptistery. This tower is a beautiful specimen of Italian-Gothic architecture, and was intended by its builders to surpass any thing of the kind ever built by the Greeks or Romans, in their palmiest days of pride and power. It is a square structure, about the size of the Washington Monument at Washington City, and is 275 feet high. It is built of pure marble, and on the basement story are many sculptured reliefs from the Old and New Testaments, the heathen mythology, the arts and sciences, music, poetry, philosophy, &c., &c. In one of these reliefs I noticed that the Deity is represented as pulling Eve bodily out of Adam's side, while he is asleep! On the west side, are the fullsized statues of the four Evangelists; one of them is called the "Zuccone," and it was to this statue the artist Donatello spoke, after he had given the last finishing stroke with the chisel. So pleased was he with his beautiful work, that he struck it, and exclaimed "Parla "-speak. You ascend this tower by a staircase of 414 steps, and when you reach the top, you are richly paid for your labor. Here the whole of Florence, with its beautiful environs, is laid out before you like a map. The Appenines on either hand, with their gentle slopes covered with the olive tree, now in full fruit. The Arno, like a silver thread, winding its devious course way off to the sea; while the wooded hills of Vallambrosa are seen far to the south-east. This prospect is truly delightful; it is one more of beauty than of grandeur, and far excels any other scene of this kind in the world. There is no city like Florence. The Baptistery is in the form of an octagon, and supports a cupola and lantern. It is built of alternate layers of black and white marble, which give it a species of "half-mourning" appearance. Within, are 16 splendid antique columns of gray granite. At each side of the eastern gate is a dark and shattered shaft of porphyry, taken by the |