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244 DESCENT TO ITALY.
the road side, to afford shelter to travellers,
in case of sudden storms. Twenty-two
bridges are thrown over the ravines and
torrents, and ten galleries are pierced
through the rocks. The largest gallery,
that of Gondo, is 157 yards long. This
road cost the French government twelve
million livres, or about four hundred and
eighty thousand pounds sterling. Had
such an undertaking been completed in
England, at the public expense, under the
provident care of commissioners and contractors,
it would have cost the nation ten
millions sterling ; if we may estimate the
amount,by a comparison with that generally
expended on our public works.
The view of the rich valley of D’Ocella,
in descending into Italy, is inconceivably
fine. Such is the extraordinary fertility of
the soil, that the earth seems over-bur-
thened with produce : the scene forms a
most striking contrast to the sterile grandeur
of the overhanging rocks in the defiles
of, the Semplon. The change of
climate, too, is almost like enchantment ;
for you descend in a few hours from the
vegetation of Lapland, to a country abounding
with vines, figs, and pomegranates ; nor
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DOMO D OSSOLA. 245
can the traveller see for the first time,
without deep emotion, a land rendered
interesting to him by so many early associations
with history and poetry.
We arrived at Domo d’Ossola early in
the afternoon, and while the dinner was
preparing, we.walked towards a beautifully
wooded hill, called Mont Calvary, on which
there is a large monastery. The road ascends
by a broad zig-zag shady path. We
had not proceeded far when we passed
a low building, about fifty feet in length,
with grated windows, and an open iron
grating in the door. On looking through,
I was surprised to see a numerous group
of figures, as large as life, standing on the
floor. It was the first scene of the Crucifixion,
representing Christ bearing the cross:
the figures were modelled and coloured
after the paintings of the best masters,
and had a very impressive effect. The
mild resignation and deep suffering displayed
in the countenance of Christ, were
most strongly contrasted with the savage
joy and malignant smile of one of the executioners,
who was pulling him to the cross
with a rope. The centurion was on horseback,
in the attitude of giving orders, and
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