SALVATOR ROSA'S HARPSICHORD.

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tained, the paintings, in many cases, being of far greater value now, than were their most costly contents; curious coverlets, quilted in relief, supposed to have been made about the end of the fourteenth century; one representing the history of the Knights of the Round Table, and the exploits of King Arthur. This ancient relic is considered unique, and of such interest, that it is intended to publish exact copies of all the figures.

Here, too, are pianos, the soul of harmony long departed from their antiquated bodies, but nevertheless of great artistic value, the exterior of their cases being covered with exquisite paintings. The greatest masters not unfrequently bestowed excessive pains on the decoration of these instruments. It is stated in the Life of Salvator Rosa,' that when living in Florence, he was found one day by a visitor strumming on a jingling old harpsichord. How can you, a man of taste, and loving music as you do,' said the latter, 'keep such an instrument in your house? Why 'tis not worth a scudo!' 'Come, come,' replied the painter, 'you must not run down my harpsichord thus. I will lay you what you please that it will be worth one thousand scudi before you see it again. A bet was made, and Salvator forthwith painted charming landscapes with figures on the outside of the cover, and on the end

a skull and music-books. The instrument, thus embellished, sold for one thousand scudi, and the paintings were considered masterpieces.*

From these brief notes of the contents of this new museum, it will be seen that, although but a few months in existence, it already takes high rank among museums of a similar nature in Europe; and as the loan department will always form one of the chief and most attractive features, there is no doubt that, as its objects become better known, the proprietors of important collections in distant parts of the kingdom, will place their treasures at the disposal of the Royal Commissioners for exhibition. But even should it receive few accessions, it will be well worth visiting, and as one of the novelties of Florence, it has been considered desirable to give some account of it here.

*They have been exhibited at the British Institution.

CHAPTER XXII.

Re-discovery of Dante's Remains at Ravenna-Commission appointed to Report on the Circumstances connected with the Discovery-Difficulty in obtaining a Copy of the Document-An obliging Official-Dante's Statue in Florence-Preface to the Report-Names of the Royal Commissioners-Their Instructions -Dante's Tomb-Epitaph-Guido Novello-His Patronage of Dante-Manner of Dante's Death-His Burial--Attempt to Excommunicate and Burn his Remains-Preservation of them by certain Florentines-Endeavour to Remove them to FlorenceMichael Angelo's offer to Design a Cenotaph for them--Dispute between the Frati Minori of Ravenna and the Municipality of that City-Removal of the Poet's Remains from their original Sepulchre-Extraordinary Discovery of a wooden Chest containing Dante's Bones-Inscriptions on the Chest-Identification of these with Frate Santi-Anatomical Examination of the BonesProved to be those of Dante-Description of his Skull-Exhibition of the Remains-Boccaccio's Description of Dante-Great Interest of this Discovery-Codici of Dante's immortal Work.

DEEPLY interesting as was the discovery of Dante's portrait on the wall of the chapel in the Bargello, it is surpassed by the more recent extraordinary rediscovery of the poet's remains at Ravenna. The intelligence of this event, which took place in May 1865, created great sensation at the time.

The

public press made the fac known throughout Europe, and the Italian Government, with proper appreciation of its importance, appointed a commission to inquire into, and report on, all the circumstances connected with the discovery.

Before, however, adverting to this report, it will not be uninteresting to relate the incidents connected with my obtaining possession of a copy of this document. They illustrate, in a remarkable manner, the interest taken in literary and archæological matters in the new capital of Italy.

Having heard that the report in question had been printed, I made enquiries for it shortly after my arrival in Florence. Although these did not immediately lead to any practical result, I supposed that I had not gone to the proper quarters, though it might reasonably be apprehended that every person in Florence of even moderate education, would be more or less acquainted with the labours and results of such a commission as this. But when applications to gentlemen holding high official appointments, including the secretary of the municipality of Florence, were equally fruitless, astonishment was added to disappointment.

As a matter of course, I expected to find the document at Vieussieux's extensive and excellent

RE-DISCOVERY OF DANTE'S REMAINS.

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library; but it was not there, and what was even more surprising, no copy existed at the national library. The librarian, with a courtesy always extended by him to visitors, obligingly placed before me all the publications having reference to the great Dante festival held at Florence last year, numbering upwards of one hundred, but the report I sought was not among them, nor, more extraordinary still, did he, or any of the assistants, know anything respecting it.

As time wore on, the circle of my acquaintance in Florence became widely extended, and accordingly, whenever opportunity offered, I made searching enquiries for the document in question, the hunt for which now became positively exciting. From Florentines generally, you would not perhaps expect much enlightenment, for, as a rule, they are no book-worms; the lines

My only books

Were women's looks,

apply to a large majority of Florentine gentlemen, but whether with the result caustically added by the poet in the line following those quoted-which, however, shall not be cited-is a psychological question into which we need not now enquire. however, may be said; the young, ay, and even

This,