In the room leading out of the second della Robbia room is a collection of vestments and brocades bequeathed by Baron Giulio Franchetti, where you may see, dating from as far back as the sixth century, designs that for beauty and splendour and durability put to shame most of the stuffs now woven; but the top floor of the Museo Archeologico in the Via della Colonna is the chief home in Florence of such treasures.

From the Accademia it is but a step to S. Marco, across the Piazza, but it is well first to go a little beyond that in order to see a certain painting which both chronologically and as an influence comes before a painting that we shall find in the Museo S. Marco.

The Via Maggio is now our way, but first there is a museum which I think should be visited, if only because it gave Dickens so much pleasure when he was herethe Museo di Storia Naturale, which is open three days a week only and is always free.

One of these studios, situated in the same building as the Museo de Pinturas, was that of D. Antonio Cabral Bejarano, a man not to be forgotten for his talent, and perhaps also for his wit, the delight of those who knew him.

Becquer did not in fact read German; but in El Museo Universal, for which he was a collaborator, and in which he published his Rimas, there appeared one of the first versions of the Intermezzo, and it is not unlikely that in imitation of the Intermezzo he was led to string his Rimas like beads upon the connecting thread of a common autobiographical theme.

Exceptions to this are, I understand, the Gallery at Florence, and the Museo Vaticano at Rome, which are both open to all and no fees allowed.

" [Footnote 1: Alfredo Chavero, La Piedra del Sol, in the Anales del Museo Nacional de Mexico, Tom. II, p. 247.]

[Footnote 1: Chavero, Anales del Museo Nacional de Mexico, Tom.

[Footnote 1: Anales del Museo Nacional, Tom. ii, p. 257.]

i, printed in the Anales del Museo Nacional; the Codex Telleriano-Remensis, and the Codex Vaticanus, both of which are in Kingsborough's Mexican Antiquities.

The derivation offered by Señor Chavero (Anales del Museo Nacional, Tom. ii, p.116), is merely fanciful; tonal is no doubt from tona, to shine, to warn; and I think cipactli is a softened form with the personal ending from chipauac, something beautiful or clear.

" For a thorough discussion of their place in Mexican mythology, see Anales del Museo Nacional, Tom.

[Footnote 1: Alfredo Chavero, La Piedra del Sol, in the Anales del Museo Nacional, Tom.

Camaxtli is also found in the form Yoamaxtli; this shows that it is a compound of maxtli, covering, clothing, and ca, the substantive verb, or in the latter instance, yoalli, night; hence it is, "the Mantle," or, "the garb of night" ("la faja nocturna," Anales del Museo Nacional,

p. 612, and recently by Señor Orozco y Berra, in Anales del Museo Nacional, Tom. ii, p. 56.]

"Los Nahoas," remarks Chavero, "figuraban la tierra en forma de un cuadrilátero dividido en pequeños quatros, lo que semijaba una estera, petlatl" (Anales del Museo Nacional, Tom. ii, p. 248).

The obscure passage in which Tezozomoc refers to this is ingeniously analyzed in the Anales del Museo Nacional,

[Footnote 1: Anales del Museo Nacional, Tom. ii, p. 367.]

Acosta, J. de Alegre, F.X. Anales del Museo Nacional de Mejico Ancona, Eligio Angrand, L. Annals of Cuauhtitlan Antonio, G. Argoll, Capt Avila, Francisco de Bancroft, H.H. Baraga, Frederick Basalenque, D. Becerra Beltran, de Santa Rosa Berendt, C.H. Bernal Diaz Bertonio, L. Betanzos, Juan de Bobadilla, F. de Boturini, L. Bourbourg, Brasseur de, see Brasseur.

But Michelangelo resolved to make a David; and two wax models, now preserved in the Museo Buonarroti, neither of which corresponds exactly with the statue as it exists, show that he felt able to extract a colossal figure in various attitudes from the damaged block.

Four male figures roughly hewn, which are now wrought into the rock-work of a grotto in the Boboli Gardens, together with the young athlete trampling on a prostrate old man (called the Victory) and the Adonis of the Museo Nazionale at Florence, have all been ascribed to the sepulchre of Julius in one or other of its stages.

A pen-and-ink drawing at the Museo Buonarroti possesses greater merit, find may perhaps have been a first rough sketch for the façade.

First and foremost take the portrait of Bugiardini in Museo Buonarotti.

"In the Museo Civico at Pavia, is a fresco likeness by an unknown hand, in which this fresh red is distinctly recognisable on the face.

Two of these pictures are in the Museo del Prado, at Madrid.