SONETTO.

DI GIAMBATTISTA ZAPPI.

    Amor s’asside alia mia Filli accanto,
      Amor la segue ovunque i passi gira: 
      In lei parla, in lei tace, in lei sospira,
      Anzi in lei vive, ond’ella ed ei puo tanto.

    Amore i vezzi, amor le insegna il canto;
      E se mai duolsi, o se pur mai s’adira,
      Da lei non parte amor, anzi se mira
      Amor ne le belle ire, amor nel pianto.

    Se avvien che danzi in regolato errore,
      Darle il moto al bel piede, amor riveggio,
      Come l’auretto quando muove un fiore.

    Le veggio in fronte amor come in suo seggio,
      Sul crin, negli occhi, su le labbra amore,
      Sol d’intorno al suo cuore, amor non veggio.[I]

After being confined to the house for three days, partly by indisposition, and partly by a vile sirocco, which brought, as usual, vapours, clouds, and blue devils in its train—­this most lovely day tempted me out; and I walked with V. over the Monte Cavallo to the Forum of Trajan.  After admiring the view from the summit of the pillar, we went on towards the Capitol, which presented a singular scene:  the square and street in front, as well as the immense flight of steps, one hundred and fifty in number, which lead to the church of the Ara Celi, were crowded with men, women, and children, all in their holiday dresses.  It was with difficulty we made our way through them, though they very civilly made way for us, and we were nearly a quarter of an hour mounting the steps, so dense was the multitude ascending and descending, some on their hands and knees out of extra-devotion.  At last we reached the door of the church, where we understood, from the exclamations and gesticulations of those of whom we inquired, something extraordinary was to be seen.  On one side of the entrance was a puppet show, on the other a band of musicians, playing “Di tanti palpati.”  The interior of the church was crowded to suffocation; and all in darkness, except the upper end, where upon a stage brilliantly and very artificially lighted by unseen lamps, there was an exhibition in wax-work, as large as life, of the Adoration of the Shepherds.  The Virgin was habited in the court dress of the last century, as rich as silk and satin, gold lace, and paste diamonds could make it, with a flaxen wig, and high-heeled shoes.  The infant Saviour lay in her lap, his head encircled with rays of gilt wire, at least two yards long.  The shepherds were very well done, but the sheep and dogs best of all; I believe they were the real animals stuffed.  There was a distant landscape, seen between the pasteboard trees, which was well painted, and from the artful disposition of the light and perspective, was almost a deception—­but by a blunder very consistent with the rest of the show, it represented a part of the Campagna of Rome.  Above all was a profane representation of that Being, whom I dare scarcely allude to, in conjunction with