From every one of these lurking-places, such crowds of phantom-looking men and women, leading other men and women with twisted limbs, or chattering jaws, or paralytic gestures, or idiotic heads, or some other sad infirmity, came hobbling out to beg, that if the ruined frescoes in the cathedral above, had been suddenly animated, and had retired to this lower church, they could hardly have made a greater confusion, or exhibited a more confounding display of arms and legs.

There is Petrarch's Monument, too; and there is the Baptistery, with its beautiful arches and immense font; and there is a gallery containing some very remarkable pictures, whereof a few were being copied by hairy-faced artists, with little velvet caps more off their heads than on. There is the Farnese Palace, too; and in it one of the dreariest spectacles of decay that ever was seen--a grand, old, gloomy theatre, mouldering away.

It is a large wooden structure, of the horse-shoe shape; the lower seats arranged upon the Roman plan, but above them, great heavy chambers; rather than boxes, where the Nobles sat, remote in their proud state. Such desolation as has fallen on this theatre, enhanced in the spectator's fancy by its gay intention and design, none but worms can be familiar with. A hundred and ten years have passed, since any play was acted here. The sky shines in through the gashes in the roof; the boxes are dropping down, wasting away, and only tenanted by rats; damp and mildew smear the faded colours, and make spectral maps upon the panels; lean rags are dangling down where there were gay festoons on the Proscenium; the stage has rotted so, that a narrow wooden gallery is thrown across it, or it would sink beneath the tread, and bury the visitor in the gloomy depth beneath. The desolation and decay impress themselves on all the senses. The air has a mouldering smell, and an earthy taste; any stray outer sounds that straggle in with some lost sunbeam, are muffled and heavy; and the worm, the maggot, and the rot have changed the surface of the wood beneath the touch, as time will seam and roughen a smooth hand. If ever Ghosts act plays, they act them on this ghostly stage.

It was most delicious weather, when we came into Modena, where the darkness of the sombre colonnades over the footways skirting the main street on either side, was made refreshing and agreeable by the bright sky, so wonderfully blue. I passed from all the glory of the day, into a dim cathedral, where High Mass was performing, feeble tapers were burning, people were kneeling in all directions before all manner of shrines, and officiating priests were crooning the usual chant, in the usual, low, dull, drawling, melancholy tone.

Thinking how strange it was, to find, in every stagnant town, this same Heart beating with the same monotonous pulsation, the centre of the same torpid, listless system, I came out by another door, and was suddenly scared to death by a blast from the shrillest trumpet that ever was blown. Immediately, came tearing round the corner, an equestrian company from Paris: marshalling themselves under the walls of the church, and flouting, with their horses' heels, the griffins, lions, tigers, and other monsters in stone and marble, decorating its exterior.