Christ when he turned and looked upon Peter. When he washes his hands, he figures Pilate, who declared that he washed his hands of the blood of that innocent man. When he elevates the consecrated wafer, he expresses the elevation of our Saviour on the cross. When he breaks it, he displays him expiring. These are not interpretations of mine, but are every one taken from the volume I have mentioned, sanctioned and recommended by the church of Rome. Now surely all this partakes greatly of a dramatic character.

Further, there is a very curious ceremony at Messina on the day of the Assumption. The image of the Virgin is carried about the town in procession, as if she were in search of her son. At length, when she is on the point of entering the great piazza, a figure of our Saviour is suddenly presented from a street, opposite to that by which the Virgin approaches. The latter instantly recoils in an ecstasy of surprise and joy at the meeting,

and forthwith half a dozen goldfinches are let loose from her bosom, which fly away, and are supposed to bear the glad tidings to heaven. What can be more dramatic than this?

If the modern Italians then have equalled their ancestors in rendering their religious ceremonies histrionic, neither have they been surpassed by them in the extravagant use of material forms. Thus our Saviour having said metaphorically that he had given to Peter the keys of the kingdom of heaven, that saint, like Janus, is ever represented with such a substantial instrument in his hand. Simeon having told the Virgin that a sword should pierce through her soul on account of the sufferings of her Son, nothing is more common than to observe in Italy and Sicily an image or picture of the Madonna with that weapon buried in her breast. I have seen in the churches, during the forty days which our blessed Lord remained upon earth

after his resurrection, a large wax taper highly ornamented, placed near the altar. On the day of his ascension it was removed; whilst, at the same time, to render it more strikingly emblematical, five pieces of wax or wood, shaped like hearts, and fixed to it by pins, have served to represent the five wounds he received on the cross from the nails and

the spear.

Again-It is not enough for the Italians to read in their Bibles the circumstances of Christ's apprehension and crucifixion-' that a band of men came to seize him, with lanterns, and torches, and weapons'—that upon Peter's denial of him 'the cock crew'-that one of the spectators of his sufferings 'took a sponge and filled it with vinegar, and put it on a reed, and gave him to drink'-that Joseph finally 'took the body down.' But all these particulars must be impressed upon their feelings by some material shapes. Accordingly we find the crucifixes, so numerous by the side

of the high roads, decorated with figures of a lantern, a cock, a sponge, a reed, a ladder, nay, even of pincers and spikes.

And as the death of our Saviour is the subject of symbols, so also is his birth. At Christmas may be seen, both in public places of worship and private houses, grotesque models of the stable at Bethlehem, called Presepi, curiously adorned with foil and tinsel, and branches and artificial flowers; whilst Joseph, the Virgin, the Infant, the wise men from the East, together with cows, mangers, cratches, and other appropriate furniture, are all carefully introduced.

Such has ever been the tendency of the inhabitants of Italy to embody every religious conception in some corporeal form.

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CHAPTER X.

ON CHARMS.

IN countries where credulity triumphs to so great an extent as in Italy and Sicily, charms would of course find very ample encouragement. The mention of some of these was unavoidable in treating of subjects which have already come under observation; others, however, yet remain unnoticed, and to these I wish to devote the present chapter.

I. Of bells, so far as they are used in the service of the mass, I have spoken; but they are in general extremely common as amulets. Hence they are hung about the necks of sheep, goats, oxen, and horses. In many

instances, though not in all, the custom has no doubt survived the consciousness of its origin; and therefore the post-boys would