A glorious morning welcomed us to this most delightful town. It was really like summer and the views in all directions were most exquisite. Even before I got up I saw through my window the beautiful outline of the mountains of the Riviera all covered with snow, and just a line of the blue Mediterranean above and beyond the crowd of vessels below us in the port. We had rooms at Feder’s hotel--now Trombetta’s--and our bedroom had an oratory in it with a very elaborately carved altar, etc., which has been not very reverently turned now into a sleeping room.
I spent most of my day at the new English church directing the workmen, etc. Lunched with the Shelbells, but did not see Brown the consul, who had gone off to a castle he had bought near Sestri. The church looks fairly well, but it is difficult to make anything lofty enough to compete with the enormous houses which it is the fashion to build now in Genoa and with which it is surrounded.
Walked a little about the city: into the Via Nuova which is straight for the greater part of its length (instead of curved as I fancied)--up and down the goldsmith’s street which seems always to lead to everything--into the cathedral and some of my other old friends among the churches. Noticed particularly the sumptuous effect which the painted palaces produce. The palace now used by the British consul is covered outside with painting, a good deal of which remains in fair condition whilst the two arcades round the courtyard are in a very fairly perfect state. The doors to the houses in Genoa had commonly an oblong panel of sculpture over them. These were cut in slate at or near Savona. The Gothic houses here have arcades below, and corbel tables under the second floor, and the windows divided into lights by very delicate shafts. The best samples are the Doria houses close to S. Matteo.
We left Genoa at 9.00 by steamer for Livorno. The boat was small and full of passengers, but I slept well on the floor of the cabin till we reached our port soon after 5 A.M.
Started by the 9.12 train for Empoli. Murray describes Empoli in such terms as made us feel no regret at having to stop there those three hours. Unfortunately his description turned out to be all wrong, and we found but little to see or sketch. The best thing there is the steeple of the collegiata. The front of this church is a work of about 1600 in white marble and serpentine. And the Pallei building opposite to it is entirely seventeenth century, but has some wall painting outside which somewhat redeems its otherwise uninteresting walls.