NAPLES, although less noisy than in times of yore, exhibits turmoil and bustle enough to make a retreat from the busy world desirable, and no contrast could be more striking, or more pleasing, than when we turned from the gabbling crowds of Santa Lucia, to seek relief in the silent walk through the famous grotto of Posilippo. The mountain, or hill of Posilippo, rises on the north west side of Naples, close to the city, and extends far into the sea. Beyond the hill is the classical ground, which terminates in Cape Misenum, which Virgil chose as the scene of his infernal regions. That the great poet selected a district breathing life and fulness for his lower world, and which must have been almost as well known to the Romans as Richmond and Windsor to the inhabitants of our own metropolis, has often called forth the surprise of his commentators. It is probable that the preconceived opinion of the ancients on this subject, since the Odyssey may in no small degree have influenced his judgment. But notwithstanding the beauty of the views which here display themselves to the eye of the stranger, there rests on this whole scene a spirit of mysterious gloominess and melancholy, which many of our readers have doubtless often experienced. Wherever we turn, the secret powers of nature are at work, a deep and solemn stillness rests on the lakes, and on the Elysian fields, very different from the joyous feeling of the present, which generally animates the smiling environs of Naples.

To reach these gloomy regions, we pass through the grotto of Posilippo. This remarkable tunnel is nearly half a league in length, broad enough for three carriages, and, in many places, more than sixty feet high. At the entrance is a chapel with a hermit; and, unless times are changed, some three or four old sybils imploring charity; an opening in the middle admits light, and at the end of October the setting sun casts his rays through the whole length of the grotto. It is undoubtedly of great antiquity, and popular tradition assigns the execution of this work to Virgil, but some antiquarians have gravely attributed its erection to Joab, the general of David. Historical testimony there is none, which throws any light upon the subject. Strabo is the first writer who mentions it. Varro ascribes it to Lucullus. King Alphonso I., and after him the Emperor Charles V., widened the grotto, which is, in fact, the gate of Naples towards Pozzuoli and the Elysian fields, and considerably shortens the way thither, now, as it did during the time of Roman

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dominion to the fashionable and aristocratic Bajo. However, in recent times, a new road has been constructed from the bay of Naples upwards round Cape Posilippo. This road was rendered necessary by the increasing number of country houses that were erected on the hill. In 1824, when the Austrian soldiers conferred their assistance on the King of Naples, they did not disdain to imitate the example of the Roman legions. They were employed on the construction of this road, to the no small advantage of the Neapolitan treasury, as they worked for one-third of the sum for which the undertaking had been offered in contract to the labourshunning sons of Naples.

If, leaving the grotto, we ascend the hill itself, we enjoy one of the finest views which this favoured bay affords. To the right, is the Bay of Bajil with Cape Misenum, before us the sea with the islands of Ischia and Procida; to the left, Naples, the harbour, Vesuvius and the range of mountains as far as Castella mare, and the Cape of Torrento, with the island of Capri. The ancient Greeks, who settled here, were so enraptured by the beauty of the scene, that they gave the hill the name, Pausilypa, or Sorrow-stilling. To the left of the entrance into the Grotto, high in the rock a path through a vineyard conducts to a brick vault with several niches, which bears the name of Virgil's tomb, it is a complete columbarium or family burial place. Traces are still visible of the aqueduct which conducted the water from the Serino to the piscina mirabilis.

To its very summit this inviting rocky hill is covered with country houses and beautifully green trees, palms, aloes, and Indian figs. The landscape painter never neglects to make a pilgrimage hither, or to take sketches of the fair landscape and the features of southern vegetation, which may here be seen to great advantage. Descending from the heights to the sea, we arrived at the fine walk, called La Mergellina, which runs from the Villa Reale along the Bay of Naples. Here the poet, Sannagaro, built a country house and the church of Santo Maria del Parto, where his remains were interred, and on his monument these lines, in allusion to the proximity of the supposed tomb of Virgil, were placed,

Da sacro cineri flores, hic ille Maroni
Sincerus, Musa, proximus, ut tumulo.

The statues of Apollo and Minerva adorn the poet's grave, but as it is erected in a Christian church, the heathen deities have been obliged to change their names, and "David" may be read in golden letters under the Apollo, and "Judith" under the Minerva. Not far from hence is an unfinished palace washed by the waves of the sea; it is called the palace of Queen Johanna, whose name figures so remarkably in the history of Naples, but, according to the inscription, it was built for a princess