bout it are tastefully laid out. But the two most striking
objects in point of edifices in Vicenza and both constructed by Palladio
are the covered portico and the _Teatro Olimpico_. The covered portico is
two miles in length and leads to the chapel of the _Madonna del Monte_,
situated on an eminence, at that distance from the city. A magnificent
triumphal arch stands before it, and there is an extensive view of the
surrounding country. The _Teatro Olimpico_ is a small, but beautiful
theatre, built strictly after the model of the ancient Greek theatres. It
is peculiarly precious as being the only one of the kind in Europe. How
admirably adapted both for seeing and hearing are such theatres! It has,
for scenery, the model of a Palace, curiously carved in wood, which
represents a Royal Palace, for the ancients never shifted their scenes, and
this may account for their adhering so strictly to the unities. Statues and
bas-reliefs adorn this beautiful little theatre. Many years ago, on
particular occasions, it was the custom to act plays here, either
translated from the Greek, or taken strictly from the Greek model. This
theatre is esteemed Palladio's _chef d'oeuvre_.

The _Campo di Marie_ is a vast _Place_ outside the town. The Place and its
gate are well worth inspecting, so is the famous villa with the Rotonda,
belonging to the Marchese di Capra, the original after which the villa
belonging to the Duke of Devonshire at Chiswick is built. The environs of
this interesting city are very beautiful and present an exceeding rich
soil, highly cultivated in corn, mulberry trees and vines hanging from them
in festoons.

VERONA, 12th June.

I started yesterday morning from Vicenza and arrived here in about three
hours, the distance being nearly the same as between Vicenza and Padua. We
crossed the Adige which divides the city into two unequal parts and drove
to the _Due Torri_, a large and comfortable inn with excellent rooms and
accommodations. Verona is a very handsome city, for here also Palladio was
the designer or builder of many edifices. It has a very cheerful and gay
appearance, tho' not quite so much so as Vicenza. The reason of this
difference is that in Verona the greater part of the buildings are in the
Gothic style, which always appears heavy and melancholy, whereas in Vicenza
all is Grecian. The Amphitheatre of course claimed my first notice. It
yields only to the Coliseum in size and grandeur and is in much better