Perugia on her way to Florence. In this neighbourhood she explored churches of Assisi, and the Etruscan
tombs, then newly discovered. She was enchanted with
the beauty of Perugia, its noble situation, and its
treasures of early art. Florence interested her less
than " cities more purely Italian, The natural
character is ironed out here, and done up in a French
pattern ; yet there is no French vivacity, nor Italian
either." The Grand Duke was at the time in an impossible position between his allegiance to the liberalizing Pope and his fealty to despotic Austria. Tuscany
accordingly was "glum as death” on the outside, but
glowing with dangerous fire within.
Margaret, before leaving Florence, wrote: "Florence is not like Rome. At first I could not bear the change; yet, for the study of the fine arts, it is a still richer place. Worlds of thought have risen in my mind; some time you will have light from all.”
Here she visited the studios of her countrymen, Horatio Greenough and Hiram Powers, and, after a month's stay, went on to Bologna, where she greatly appreciated the truly Italian physiognomy of the city, and rejoiced in the record of its women artists and professors, nobly recognized and upheld by their fellow- citizens.
Thence she went to Ravenna, prized for its curious remains, its Byronic memories, and its famous Pineta, dear to students of Dante.' After this came a fortnight in Venice, which, like Angelo's Moses, surpassed her utmost expectations: "There only I began to feel in its fulness Venetian art. It can only be seen in its own atmosphere. Never had I the least idea of what is to be seen at Venice."
The city was, in those days, a place of refuge for
