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 Autodesk Fusion 360 Surface
Design and Sculpting with T-Spline
Surfaces (6th Edition)

A premium provider of learning products and solutions

www.cadartifex.com

Autodesk Fusion 360 Surface Design and Sculpting with T-Spline

Surfaces (6th Edition)

Author: Sandeep Dogra

Email: [email protected]

Published by

CADArtifex

www.cadartifex.com

Copyright © 2022 CADArtifex

This textbook is copyrighted and CADArtifex reserves all rights. No

 py g g
part of this publication may be reproduced, stored in a retrieval
system, transmitted, transcribed, or translated into any language, in
any form or by any means; electronic, mechanical, photocopying,
recording, scanning, or otherwise without the prior written permission
of the Publisher.

NOTICE TO THE READER

The publisher and the author make no representations or

warranties concerning the accuracy or completeness of the

contents of this work and specifically disclaim all

warranties, including without limitation warranties of fitness

for a particular purpose. The publisher does not guarantee any

of the products described in the text or perform any

independent analysis in connection with any of the product

information contained in the text. No warranty may be created

or extended by sales or promotional materials. This work is

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aware that Internet Websites listed in this work may have

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Textbooks received as examination copies in any
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only and may not be made available for the use of
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is prohibited.

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The electronic file/eBook in any form of this

textbook is licensed to the original user only and
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accuracy of the material described herein, however,
the author makes no warranty, expressed or implied,
concerning the quality, correctness, accuracy, or
freedom from error of this document or the products
it describes.

www.cadartifex.com

Dedication

First and foremost, I would like to thank my parents for being a great
support throughout my career and while writing this book.

Heartfelt gratitude goes to my wife and my sisters for their patience

and endurance in supporting me to take up and accomplish this
challenge.

I would also like to acknowledge the efforts of the employees at

CADArtifex for their dedication to editing the content of this textbook.

Preface
Autodesk Fusion 360 is a product of Autodesk Inc., which is a leading
technology provider for the engineering, architecture, construction,
manufacturing, media, and entertainment industries. It offers robust
software tools for 3D design, engineering, and entertainment
industries that let you design, visualize, simulate, and publish your
ideas before they are built or created. Furthermore, Autodesk is
committed to developing a comprehensive portfolio of cutting-edge
CAD/CAM/CAE software for the global market.

Autodesk Fusion 360 provides a comprehensive set of integrated tools

that are both powerful and intuitive to use. It is the first cloud-based
3D CAD/CAM/CAE software that combines the entire product
development cycle into a single cloud-based platform. It allows you to
design feature-based, parametric mechanical designs by using simple
but highly effective 3D modeling tools. Fusion 360 provides a wide
range of tools that allow you to create real-world components and
assemblies. These components and assemblies can be converted into
2D engineering drawings for production and used for validating
designs by simulating their real-world conditions and assessing the
environmental impact of your products. It also enables you to create
photorealistic renderings, animations, and toolpaths for CNC
machines, in addition to creating rapid prototypes of your design by
using the 3D printing workflow.

Autodesk Fusion 360 Surface Design and Sculpting with T-Spline

Surfaces (6th Edition) textbook is designed to be used for both
instructor-led courses and self-paced learning. It is intended to aid
engineers and designers who are interested in learning Autodesk
Fusion 360 to create complex shape real-world models using surface
and T-Spline modeling techniques. This textbook is a great help for
Autodesk Fusion 360 users who are new to surface and T-Spline
modeling. It consists of a total of 234 pages covering the Surface and
Form/Sculpt environments of Autodesk Fusion 360. It teaches users to
use Autodesk Fusion 360 mechanical design software to create
complex shapes of three-dimensional surfaces and T-spline models
with zero thickness. This edition of the textbook has been developed
using Autodesk Fusion 360 software version: 2.0.16761 (July 2023
Product Update).

This textbook not only focuses on the usage of the tools and
commands of Autodesk Fusion 360 for creating surface and T-Spline
models but also on the concept of design. Every chapter in this
textbook contains tutorials followed by theoretical descriptions, which
provide users with step-by-step instructions for creating surface
designs and sculpting with T-Spline surfaces. Moreover, every chapter
ends with hands-on test drives, which allow users to experience the
user-friendly and powerful capabilities of Autodesk Fusion 360.

Prerequisites

To use this textbook, you must be familiar with the Autodesk Fusion
360 user interface and the basics of creating 3D solid models. You can
refer to the “Autodesk Fusion 360: A Power Guide for Beginners and
Intermediate Users (6th Edition)” textbook of CADArtifex to learn
different design techniques for creating and editing 2D sketches, solid
3D models, assemblies, animations, and 2D drawings.

What Is Covered in This Textbook

The “Autodesk Fusion 360 Surface Design and Sculpting with T-Spline
Surfaces (6th Edition)” textbook is designed to help you understand
everything you need to know to start using Autodesk Fusion 360 for
creating surface design and sculpting with T-Spline surfaces.

Who Should Read This Textbook

This textbook is written with a wide range of Autodesk Fusion 360

users in mind, varying from beginners to advanced users as well as
Autodesk Fusion 360 instructors interested in learning surface and T-
Spline design techniques. The easy-to-follow instructions of this
textbook allow you to clearly understand the functioning of different
design techniques, Fusion 360 surface and T-Spline modeling tools,
and design principles.

Icons/Terms Used in This Textbook

The following icons and terms are used in this textbook:

Note

Notes highlight information requiring special attention.

Tip

Tips provide additional advice, which increases the efficiency of the

users.

Drop-down Menu

A drop-down menu is a menu in which a set of tools is grouped, see

Figure 1.

Check box

A Check box allows you to turn on or off the functions of a particular

option, see Figure 2.

Drop-down List

A drop-down list is a list in which a set of options is grouped, see

Figure 2.
Field

A Field allows you to enter a new value, or modify an existing/default

value, as per your requirement, see Figure 2.

Button

A Button appears as a 3D icon and is used for confirming or discarding

an action, see Figure 2.

Rollout

A rollout is an area in which drop-down lists, fields, selection options,

check boxes, and so on are available to specify various parameters,
see Figure 3. A rollout can either be in the expanded or collapsed
form. You can expand or collapse a rollout by clicking on the arrow
available on the left side of its title bar.
How to Download Online Resources

To download the free online teaching and learning resources of the

textbook, log on to our website (cadartifex.com/login) and then log in
using your username and password. After logging in, click on
Autodesk Fusion 360 > Autodesk Fusion 360 (6th Edition) > Autodesk
Fusion 360 Surface Design and Sculpting with T-Spline Surfaces (6th
Edition).

Note: If you are a new user, you need to first register

(cadartifex.com/register) to download the online resources of the
textbook.

Students and faculty members can download all parts/models used in

the illustrations, tutorials, and hand-on test drives (exercises) of the
textbook. In addition, faculty have the option to download PowerPoint
presentations (PPTs) for every chapter of the textbook.

You can write to us at [email protected], highlighting the name of

the textbook and ISBN for getting the online resources of this
textbook via email.

How to Contact the Author

We value your feedback and suggestions. We would appreciate it if

you could email us at [email protected]. You can also log on to our
website (www.cadartifex.com) to provide your feedback regarding the
textbook and download the free learning resources.

We would like to express our sincere gratitude to you for purchasing

the Autodesk Fusion 360 Surface Design and Sculpting with T-Spline
Surfaces (6th Edition) textbook, hoping that the information and
concepts introduced in this textbook help you to accomplish your
professional goals.
Chapter 1: Introducing Autodesk Fusion 360

In this chapter, the following topics will be discussed:

• Installing Fusion 360

• Getting Started with Fusion 360

• Working with the User Interface of Fusion 360

• Invoking a New Design File

• Working with Workspaces

• Managing Data by Using the Data Panel

• Saving a Design File

• Exporting Design to Other CAD Formats

• Opening an Existing Design File

• Working in the Offline Mode

• Recovering Unsaved Data

• Sharing Design

• Invoking a Marking Menu

• 3D Printing
Welcome to the
360. Fusion 360 world of Computer-aided
is a product of Autodeskdesign (CAD)
Inc., one of with Fusion
the biggest
technology providers for the engineering, architecture, construction,
manufacturing, media, and entertainment industries. It offers robust
software tools for 3D design that let you design, visualize, simulate,
and publish your ideas before they are built or created. Moreover,
Autodesk continues to develop a comprehensive portfolio of state-of-
the-art CAD/CAM/CAE software for global markets.

Autodesk Fusion 360 delivers a rich set of integrated tools that are
powerful and intuitive to use. It is the first cloud-based 3D
CAD/CAM/CAE software that combines the entire product
development cycle into a single cloud-based platform. It allows you to
design feature-based, parametric, mechanical designs by using simple
but highly effective 3D modeling tools. Fusion 360 provides a wide
range of tools that allow you to create real-world components and
assemblies. These components and assemblies can be converted into
engineering 2D drawings for production, for validating designs by
simulating their real-world conditions and assessing the environmental
impact of your products. It also enables you to create photo-realistic
renderings, animations, and toolpaths for CNC machines. Additionally,
it also allows you to create rapid prototypes of your design by using
the 3D printing workflow.

Autodesk Fusion 360 enables multiple design teams to work together

on a single project for collaborative product development. You can
save your designs on a cloud that is secure and provides unlimited
storage and access. It allows you to share your designs with your
partners, and colleagues in smart new ways and tracks each version
of your design, improving knowledge transfer and effectively
shortening the design cycle. Fusion 360 is compatible with Windows
and iOS operating systems.

Installing Fusion 360

If you do not have Autodesk Fusion 360 installed in your system, you
first need to get it installed. However, before you start installing
Autodesk Fusion 360, you need to evaluate the system requirements
and ensure that you have a system capable of running it adequately.
Below are the system requirements for installing Autodesk Fusion 360:

• Operating Systems: Microsoft® Windows® 10 (64-bit only) version

1809 or newer, or Windows 11, and Apple® macOS 13 Ventura
(version 2.0.15289 or newer), macOS 12 Monterey, macOS 11 Big
Sur

• CPU Type: x86-based 64-bit processor (for example, Intel Core i,

AMD Ryzen series), 4 cores, 1.7 GHz or greater; 32-bit not
supported Apple silicon processors require Rosetta 2

• RAM: 4 GB RAM (6 GB or more recommended)

• Disk Space: 8.5 GB of storage (10 GB or more recommended)

• Graphics Card: Supported for DirectX 11 (Direct3D 10.1 or greater),

Dedicated GPU with 1 GB or more of VRAM, or Integrated graphics
with 6 GB or more of RAM

For more information about the system requirements for Autodesk

Fusion 360, visit the Autodesk website at
knowledge.autodesk.com/support/fusion-
360/troubleshooting/caas/sfdcarticles/sfdcarticles/System-
requirements-for-Autodesk-Fusion-360.html

Once the system is ready, install Autodesk Fusion 360 by using the
downloaded Autodesk Fusion 360 software setup files. You can
download the setup files by logging in to your Autodesk account.

Getting Started with Fusion 360

Once the Autodesk Fusion 360 is installed on your system, start it by

double-clicking on the Autodesk Fusion 360 icon on the desktop of
your system. After all the required files are loaded, the startup user
interface of Fusion 360 appears, see Figure 1.1.

If you are starting Autodesk Fusion 360 for the first time after
installing the software, the QUICK SETUP dialog box appears with the
startup user interface, see Figure 1.2. You can also access this dialog
box by invoking the Help menu in the top right corner of the screen
and then clicking on the Quick Setup tool, see Figure 1.3. In this
dialog box, you can specify default units for the new file. You can also
customize the navigation and view settings for Fusion 360 by using
this dialog box. If you are familiar with any other CAD software such
as SOLIDWORKS or Inventor, you can customize the settings in
accordance with that software by using the options in this dialog box.

Note: The Welcome to Fusion 360 window will appear upon starting
Fusion 360 if you are not already logged into your Autodesk account,
see Figure 1.4. Click on the Sign In button in this window to display
the Sign in page in the default browser, see Figure 1.5. Click on the
NEXT button on the Sign in page after entering your E-mail ID. Next,
enter the password, and then click on the SIGN IN button on the
Welcome page that appears to sign in to the Autodesk account. Next,
click on the Go to product button on the message page that appears
in the browser to open Fusion 360.

Note: The Welcome to Fusion 360 window will appear upon starting
Fusion 360 if you are not already logged into your Autodesk account,
see Figure 1.4. Click on the Sign In button in this window to display
the Sign in page in the default browser, see Figure 1.5. Click on the
NEXT button on the Sign in page after entering your E-mail ID. Next,
enter the password, and then click on the SIGN IN button on the
Welcome page that appears to sign in to the Autodesk account. Next,
click on the Go to product button on the message page that appears
in the browser to open Fusion 360.

Working with the User Interface of Fusion 360

It is evident from the startup user interface of Fusion 360 that it is

intuitive and user-friendly. Various components of the startup user
interface are shown in Figure 1.6 and are discussed next.
Application Bar

Application Bar consists of frequently used tools to access design files,

manage data, create a new design file, export data, save design files,
and undo/redo operations, see Figure 1.7.

Toolbar

Toolbar provides access to various tools for accomplishing different

tasks depending on the activated workspace, see Figure 1.8. You can
activate a workspace by using the Workspace drop-down menu of the
Toolbar, see Figure 1.9. By default, the DESIGN workspace is
activated in the Workspace drop-down menu of the Toolbar. As a
result, the tools for creating and editing solid 3D models (components
and assemblies), surface models, mesh models, and sheet metal
models are available in the SOLID, SURFACE, MESH, and SHEET
METAL tabs of the Toolbar, respectively, see Figure 1.9. You will learn
more about the different workspaces available in Fusion 360 later in
this chapter.
BROWSER

BROWSER appears on the left side of the graphics area and keeps a
record of all objects in the design which includes sketches, bodies,
components, and construction geometries, see Figure 1.10. You can
use BROWSER to control the visibility of each object of the design. For
example, to toggle the visibility of an object in the graphics area, click
on the Show/Hide icon of the object, see Figure 1.10. In BROWSER, a
set of similar objects are grouped under different nodes.

Profile and Help Menus

Profile and Help menus appear in the upper right corner of the
interface. The Profile menu allows you to control your profile, account
settings, and design preferences settings, see Figure 1.11. The Help
menu allows you to access help documents, community forums,
what’s new in Fusion 360 information, and so on, see Figure 1.12.

ViewCube

ViewCube is available at the upper right corner of the graphics area

and is used for navigating the design, see Figure 1.13. You can orbit
or switch between the standard and isometric views of a model by
using ViewCube.

Timeline

Timeline appears in the lower left corner of the interface and keeps a
record of all features or operations performed on the design, see
Figure 1.14. Note that the features appear in the Timeline in the order
they are created. The Rollback Bar appears on the right side of the
last feature in the Timeline. You can drag the Rollback Bar to the left
or right in the Timeline to step forward or backward through the
regeneration order of the features. Note that the features present
after the Rollback Bar get suppressed and do not appear in the
graphics area.

Navigation Bar

Navigation Bar is available at the lower middle part of the graphics

area, see Figure 1.15. Navigation Bar contains navigation tools such
as Zoom, Pan, and Orbit to navigate the design, as well as tools to
control the display settings such as the appearance of the interface
and the visual style of the design.

Invoking a New Design File

Every time you start Autodesk Fusion 360, a new design file with the
default name “Untitled” is invoked, automatically, see Figure 1.16.
Various components such as Application Bar, Toolbar, BROWSER, and
Timeline of the startup user interface of the new design file are
discussed earlier.
In addition to the default design file, you can invoke a new design file
by using the New Design tool of the File drop-down menu in the
Application Bar, see Figure 1.17. On doing so, a new design file with
the default name “Untitled (1)” is invoked and it becomes active by
default. You can also press the CTRL+N keys or click on the +sign,
next to the name of the existing design file to start a new design file,
see Figure 1.18.

As discussed earlier, the tools available in the Toolbar depend upon

the active workspace. By default, the DESIGN workspace is active. As
a result, the tools related to designing 3D models, surface models,
mesh models, and sheet metal models are available in various tabs of
the Toolbar. The different workspaces available in Fusion 360 are
discussed next.

Working with Workspaces

Workspaces are defined as task-oriented environments in which
different tools and commands are organized according to design
objectives. In Fusion 360, different workspaces namely, DESIGN,
GENERATIVE DESIGN, RENDER, ANIMATION, SIMULATION,
MANUFACTURE, and DRAWING are available. You can switch between
these workspaces by using the Workspace drop-down menu of the
Toolbar, see Figure 1.19. Different workspaces are discussed next.

DESIGN Workspace

The DESIGN workspace consists of different sets of tools that are

used for creating 3D solid models, surface models, mesh models,
sheet metal models, as well as free-form 3D solid or surface models in
the respective tabs of the Toolbar. Different tabs of the Toolbar in the
DESIGN workspace are discussed next.

Note: In this textbook, you will learn about creating surface models
and sculpting with T-Spline surfaces. To learn about creating real
world 3D solid components, assemblies, animation, and 2D drawings,
refer to Autodesk Fusion 360: A Power Guide for Beginners and
Intermediate Users (6th Edition) textbook by CADArtifex.

SOLID

The SOLID tab consists of different sets of tools that are used for
creating 3D solid models, which includes designing 3D solid
components and assemblies, see Figures 1.20 and 1.21.

SURFACE

The SURFACE tab consists of different sets of tools that are used for
creating surface models, see Figure 1.22. Surface models have zero
thickness and are generally used for creating models with complex
structures, see Figure 1.23. You will learn about creating surface
models in Chapter 2.
MESH

The MESH tab consists of different sets of tools that are used for
creating mesh bodies, see Figure 1.24. A mesh body is a collection of
polygonal faces composed of vertices and edges, see Figure 1.25.
Mesh bodies have no thickness and are generally used in additive
manufacturing.

SHEET METAL

The SHEET METAL tab consists of different sets of tools that are used
for creating sheet metal components, see Figures 1.26 and 1.27.
FORM

The FORM contextual tab is provided with different sets of tools that
are used for creating or editing free-form T-Spline surface models of
desired shapes, see Figure 1.28. Note that the FORM contextual tab is
the sub-environment of the DESIGN Workspace and can be invoked
by clicking on the Create Form tool in the CREATE panel of the SOLID
tab in the DESIGN workspace, see Figure 1.29. To return to the SOLID
tab, you need to click on the FINISH FORM tool in the Toolbar. You
will learn about creating T-Spline surface models in later chapters.

SKETCH

The SKETCH contextual tab is provided with different sets of tools that
are used for creating sketches for the solid, surface, and sheet metal
models, see Figure 1.30. Note that the SKETCH contextual tab is
invoked by clicking on the Create Sketch tool in the CREATE panel of
the DESIGN workspace, see Figure 1.31.

UTILITIES
The UTILITIES tab is provided with different sets of tools that are
used for creating 3D prints of the design, determining the area and
volume of models, detecting interference between components, and
so on, see Figure 1.32.

GENERATIVE DESIGN Workspace

The GENERATIVE DESIGN workspace consists of different sets of tools

that are used for generating different design alternatives to fulfill the
design goals and constraints set by the designer or the engineer, see
Figure 1.33.

RENDER Workspace

The RENDER workspace consists of different sets of tools that are

used for rendering photo-realistic images, see Figure 1.34.

ANIMATION Workspace

The ANIMATION workspace consists of different sets of tools that are

used for creating exploded views of an assembly as well as animation
of a design to represent how the components of an assembly are
assembled, operated, or repaired, see Figure 1.35.
SIMULATION Workspace

The SIMULATION workspace allows you to perform various types of

finite element analysis on a design for simulating its performance
under applied loads and conditions, see Figure 1.36. It helps
engineers to bring product performance knowledge into the early
stages of the design cycle.

MANUFACTURE Workspace

The MANUFACTURE workspace consists of different sets of tools that

are used for creating toolpaths for CNC machines, see Figure 1.37.

DRAWING Workspace

The DRAWING workspace consists of different sets of tools that are

used for creating 2D drawings of a design (component or assembly),
see Figures 1.38 and 1.39.

Managing Data by Using the Data Panel

Fusion 360 is a cloud-based 3D CAD/CAM/CAE software that allows

you to store all your designs safely and securely in the cloud using the
Data Panel. It is a smart new approach to managing data in the cloud.
To access the Data Panel, click on the Show Data Panel tool in the
Application Bar, see Figure 1.40. The Data Panel appears on the left,
see Figure 1.41. The homepage of the Data Panel is divided into three
areas: PROJECTS, LIBRARIES, and SAMPLES. The PROJECTS area
allows you to create a new project folder and sub-folders to save the
files, upload files, collaborate with other users, and access recently
used data. The LIBRARIES area allows you to store projects that
contain assets used by Fusion 360 including templates, libraries, and
other configuration files. The SAMPLES area provides access to sample
projects and training exercises. The methods for creating a new
project folder and sub-folders, uploading files, and collaborating with
other users are discussed next.
Creating a New Project Folder and Sub-Folders

In Fusion 360, the first and foremost step is to organize the Data
Panel by creating the project folder and sub-folders to save files. For
doing so, invoke the Data Panel and then click on the New Project
button, see Figure 1.42. A new project folder is created in the
PROJECTS area of the Data Panel and its default name “New Project”
appears in an edit field, see Figure 1.42. Write the name of the
project in this edit field and then press ENTER. The new project folder
is created in the PROJECTS area of the Data Panel with the specified
name.
After creating the project folder, you can access it to save files. You
can also create sub-folders in the project folder to organize sets of
similar project files. For doing so, double-click on the name of the
project folder in the PROJECTS area of the Data Panel. The selected
project folder is opened in the Data Panel and its name appears at the
top, see Figure 1.43. Next, click on the New Folder button. A new sub-
folder is created, and its default name “New Folder” appears in an edit
field, see Figure 1.44. Write the name of the sub-folder in this edit
field and then press ENTER. A sub-folder with the specified name is
created inside the selected project folder. Similarly, you can create
multiple sub-folders in a project folder.

Note: If you are not connected to the Internet or have lost your
Internet connection, you cannot create project folders and sub-folders
in the Data Panel. However, you can continue to work on your designs
in the offline mode. You will learn more about offline mode later in
this chapter.

Uploading Existing Files in a Project

In Fusion 360, you can also upload one or more existing files to an
active project in the Data Panel. For doing so, click on the Upload
button available at the top of the activated project or sub-folder in the
Data Panel. The Upload dialog box appears, see Figure 1.45.

In the Upload dialog box, the Location field displays the location for
uploading files in the Data Panel. You can change the location by
using the Change Location option available to the right of the Location
field. After specifying the location for uploading the files, click on the
Select Files button. The Open dialog box appears. By using the Open
dialog box, you can select the following types of files:

• All Files (*.*)

• Alias Files (*.wire)

• AutoCAD DWG Files(*.dwg)

• Autodesk Eagle Files(*.sch, *.brd, *.lbr)

• Autodesk Fusion 360 Archive Files(*.f3d, *.f3z, *.fsch, *.fbrd, *.flbr)

• Autodesk Inventor Files (*.iam, *.ipt)

• Catia V5 Files (*.CATProduct, *.CATPart)

• DXF Files (*.dxf)

• FBX Files (*.fbx)

• IGES Files (*.iges, *.ige, *.igs)

• NX Files (*.prt)

• OBJ Files (*.obj)

• Parasolid Binary Files (*.x_b)

• Parasolid Text Files (*.x_t)

• Pro/ENGINEER and Creo Parametric Files (*.asm, *.prt)

• Pro/ENGINEER Granite Files (*.g)

• Pro/ENGINEER Neutral Files (*.neu)

• Rhino Files (*.3dm)

• SAT/SMT Files (*.sab, *.sat, *.smb, *.smt)

• SolidWorks Files (*.prt, *.asm, *.sldprt, *.sldasm)

• SolidEdge Files(*.par, *.asm, *.psm)

• STEP Files (*.ste, *.step, *.stp)

• STL Files (*.stl)

• 3MF Files (*3mf)

• SketchUp Files (*.sku)

• 123D Files(*.123dx)

Tip: You can also drag and drop the files to be uploaded in the Upload
dialog box.

Select one or more files in the Open dialog box and then click on the
Open button. The selected file(s) gets listed in the Upload dialog box.
Next, click on the Upload button. The Job Status dialog box appears
which displays the status of uploading the files on the specified
location in the Data Panel. Once the uploading is completed and the
status appears as Complete in the dialog box, click on the Close
button. The thumbnails of the uploaded files appear in the specified
location of the Data Panel. Now, you can open the uploaded file in
Fusion 360. For doing so, double-click on the thumbnail of the file in
the Data Panel. The selected file is opened in Fusion 360. Now, you
can edit the file, as required.

Collaborating with Other Users

Autodesk Fusion 360 enables multiple design teams to work together

on a single project for collaborative product development. To
collaborate with other users or to share the design with your partners,
subcontractors, and colleagues, click on the People tab in the Data
Panel, see Figure 1.46. The People tab gets activated and displays the
list of people working on the project. Also, the Invite field appears in
the Data Panel, see Figure 1.47.

Now, you can enter an e-mail ID in the Invite field of the Data Panel
and then click on the Invite button to allow specified people to access
your design.

You can also create or switch teams using the Team Switcher in the
top left corner of the Data Panel, see Figure 1.48. Click on the drop-
down arrow beside your name in the Team Switcher. The drop-down
menu displays a list of teams you are a member of. To create or join a
team, click on the Create or join team tool, see Figure 1.49. The
Create or Join Team window appears. In this window, follow the
instructions for creating or joining a team. A team is a collaborative
environment where you can store design data and either work on your
own or with collaborators.

Filtering Project Display in the Data Panel

You can choose to display a set of projects by using the Project Filter
drop-down list on the upper left area of the Data Panel, see Figure
1.50. You can choose to show all projects, pinned projects, owned
projects, or shared projects by choosing the respective option in this
drop-down list. You can also filter the display of projects by using the
Filter field available at the bottom of the Data Panel.

Opening Data Panel in Web Browser

In Fusion 360, you can also view and manage a project on a web
browser. For doing so, open the project folder by double-clicking on its
name in the Data Panel and then click on the Open on the Web tool
available at the top right side of the Data Panel, see Figure 1.51. The
selected project opens in the default web browser, and you can
perform various operations such as uploading a file, deleting a file,
creating folders, and so on in the project.

Saving a Design File

To save a design file created in any of the workspaces of Fusion 360,

click on the Save tool in the Application Bar, see Figure 1.52. The
Save dialog box appears. In this dialog box, enter the name of the
design file in the Name field. The Location field of the dialog box
displays the current location for saving the file. To specify a new
location for saving the file, click on the down arrow next to the
Location field of the dialog box. The Save dialog box gets expanded,
see Figure 1.53.
In the expanded Save dialog box, you can specify the location to save
the file. The Project area of the dialog box displays the list of projects.
You can select the required project folder to save the file in this area.
On selecting the project folder, its sub-folders appear on the right
panel of the dialog box. You can double-click on the sub-folder to
access it to save the file. Note that the Path area of the dialog box
displays the current path/location for saving the file. You can also click
on the project folder or sub-folder in the Path area of the dialog box
to change the location. Besides, you can also create a new project
and sub-folders by using the New Project and New Folder buttons of
the dialog box, respectively.

After specifying the name and location, click on the Save button. The
design file is saved at the specified location.

In Fusion 360, every time you save a file by using the Save tool, a
new version of the file is saved because Fusion 360 keeps track of
each version of your design. By default, when you open a design file,
the latest version of the file will be opened in Fusion 360. However,
you can also open an older version of the design file as well. You will
learn about opening design files later in this chapter.

You can also save an already saved design file with a different name.
For doing so, invoke the File drop-down menu in the Application Bar
and then click on the Save As tool, see Figure 1.54. The Save As
dialog box appears. In this dialog box, specify a new name for the
design file and the location for saving it. Next, click on the Save
button. The design file gets saved with the specified name without
affecting the original design file.

You can also save an older version of a design as the latest version.
For doing so, open an older version of a design that you want to save
as the latest version. Next, invoke the File drop-down menu in the
Application Bar and then click on the Save As Latest tool, refer to
Figure 1.54. A Warning window appears. In this window, click on the
Continue button. The Save As Latest dialog box appears. Specify a
version description in the dialog box, if required. Next, click on the OK
button. The version gets saved as the latest version of the design file.
Exporting a Design to Other CAD Formats

In Fusion 360, you can also export the Fusion 360 design files to other
CAD formats, neutral file formats, or the native Fusion file format. For
doing so, invoke the File drop-down menu in the Application Bar and
then click on the Export tool. The Export dialog box appears, see
Figure 1.55.

In the Type drop-down list of the Export dialog box, select the
required file format [Autodesk Fusion 360 Archive Files (*.f3d), 3MF
Files (*.3mf), Autodesk Inventor 2019 Files (*.ipt), DWG Files
(*.dwg), DXF Files (*.dxf), FBX Files (*.fbx), IGES Files (*.igs *.iges),
OBJ Files (*.obj), SAT Files (*.sat), SketchUp Files (*.skp), SMT Files
(*.smt), STEP Files (*.stp *.step), STL Files (*.stl), or USD Files
(*.usdz)] in which you want to export the file. To specify the location
for saving the file in a local drive of your computer, click on the
Browse button. The Save As dialog box appears. In this dialog box,
specify a location to save the file and then click on the Save button.
The file is saved in the specified file format.

Opening an Existing Design File

In Fusion 360, you can open an existing design file of a project from
the Data Panel or the Open dialog box. You can also open an existing
Autodesk Fusion 360, IGES, SAT/SMT, STEP, etc. file that is saved on
your local computer. The various methods for opening an existing file
are discussed next.

Opening an Existing File from the Data Panel

To open an existing design file of a project from the Data Panel, click
on the Show Data Panel tool of the Application Bar. The Data Panel
gets invoked. Next, browse to the location of the file to be opened
and then double-click on it. The selected file gets opened in Fusion
360. Alternatively, right-click on the file to be opened and then click
on the Open option in the shortcut menu that appears, see Figure
1.56.

By default, when you open a design file, its latest version will get
opened in Fusion 360. However, you can also open an older version of
the file. For doing so, click on the Version icon available in the lower
right corner of the design thumbnail in the Data Panel, see Figure
1.57. All the versions of the respective design file appear in the Data
Panel, see Figure 1.58. Note that in this figure, the V5 icon indicates
that a total of 5 versions are available for the selected design file.
Hover the cursor over the desired version of the file to be opened.
The Open button appears in front of it, see Figure 1.59. The Open
button is used for opening the older version of the file. Click on the
Open button. The selected version of the file gets opened in Fusion
360. If all versions of the selected files do not appear in the Data
Panel, then click on the Show all versions option in the Data Panel.

Note: You can also access the older versions of a file from the
BROWSER. For doing so, open the design file, right-click on the name
of the file (top browser node) in the BROWSER and then click on the
History tool in the shortcut menu that appears, see Figure 1.60. The
HISTORY dialog box appears, see Figure 1.61. In this dialog box,
double-click on the version of the design file to be opened. The
selected version of the design gets opened in Fusion 360.

Opening an Existing File by using the Open tool

To open an existing design file of a project by using the Open tool,

invoke the File drop-down menu in the Application Bar and then click
on the Open tool, see Figure 1.62. The Open dialog box appears, see
Figure 1.63. In this dialog box, click on the name of the project that
appears on the left panel of the dialog box. All the sub-folders or files
of the selected project appear on the right panel of the dialog box.
Select the required design file to be opened from the right panel of
the dialog box. Note that if the design file to be opened is saved in a
sub-folder of the selected project, then you need to double-click on
the sub-folder to display its files. After selecting the design file, click
on the Open button in the dialog box. The selected file gets opened.

Opening an Existing File from the Local Computer

As discussed earlier, you can also open an existing Autodesk Fusion

360, IGES, SAT/SMT, STEP, etc. file that is saved on your local
computer. For doing so, invoke the Open dialog box, as discussed
earlier and then click on the Open from my computer button, refer to
Figure 1.63. Another Open dialog box appears. In this dialog box,
browse to the location where the file to be opened is saved. You can
open Alias files, AutoCAD DWG files, Autodesk Fusion 360 files,
Autodesk Inventor files, Catia V5 files, NX files, IGES files, STEP files,
and so on. After selecting the required file, click on the Open button in
the dialog box. The Job Status window appears with the current
status of the file in the Status column. When the status of the file
appears as Complete in the Status column of the dialog box, click on
the Open option in the Action column of the dialog box. The selected
file gets opened in Fusion 360.

After opening an existing file, you can edit it by adding new features.
However, before you add the new features, it is recommended to turn
on the process of capturing design history in the Timeline for the
newly added features. For doing so, right-click on the name of the file
(top browser node) in the BROWSER and then click on the Capture
Design History tool in the shortcut menu that appears, see Figure
1.64. Similarly, if you do not want to capture design history for a
design, click on the Do not capture Design History tool in the shortcut
menu that appears.

Working in the Offline Mode

Fusion 360 automatically goes to offline mode when you are not
connected to the Internet, lose the Internet connection, an
Random documents with unrelated
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have fitted him in and after the year 1817, it did not so in the
present year 1816, since Hunt was as yet all but unknown to our
poet. Last comes the funny statement about a hectoring landlord
who twice knocked down the non-duelling author of Queen Mab. It
is difficult to guess what this allegation may refer to. Shelley had by
this time had several landlords in different parts of the United
Kingdom; and quite possibly some of them thought his rent unduly
low, or more especially his quarterly or other instalments irregularly
paid, but who can have been the landlord who took the law so
decisively into his own hands, and found so meekly unresisting a
tenant, I have no idea. There was an odd incident on January 19,
1812, when Shelley, then living at Keswick, was (or was said to have
been) struck down senseless on the threshold of his door—
seemingly by a couple of robbers. On that occasion, however, his
landlord, Mr. Dare, appeared in the character of a guardian angel: so
we must dismiss any notion that this incident, the one which in some
of its features seems to come nearest the mark, is that which
Shelley so ingenuously imparted to Polidori.]
June 19.—Leg worse; began my ghost-story. Mr. S[helley?] etc.
forth here. Bonstetten and Rossi called. B[onstetten] told me a story
of the religious feuds in Appenzel; a civil war between Catholics and
Protestants. Battle arranged; chief advances; calls the other. Calls
himself and other fools, for battles will not persuade of his being
wrong. Other agreed, and persuaded them to take the boundary
rivulet; they did. Bed at 3 as usual.
June 20.—My leg kept me at home. Shelley etc. here.
June 21.—Same.
June 22.—L[ord] B[yron] and Shelley went to Vevay; Mrs.
S[helley] and Miss Clare Clairmont to town. Went to Rossi's—had
tired his patience. Called on Odier; Miss reading Byron.
[The expedition of Byron and Shelley to Vevay was that same
Lake-voyage which forms so prominent an incident in their Swiss
experiences. Their starting upon this expedition had hitherto been
dated June 23. Professor Dowden has expressed a doubt whether
June 22 would not be the correct date, and here we find that so it
is.]
June 23.—Went to town; apologized to Rossi. Called on Dr. Slaney
etc. Walked to Mrs. Shelley. Pictet, Odier, Slaney, dined with me.
Went down to Mrs. S[helley?] for the evening. Odier mentioned the
cases of two gentlemen who, on taking the nitrate of silver, some
time after had a blacker face. Pictet confirmed it.
June 24.—Up at 12. Dined down with Mrs. S[helley] and Miss
C[lare] C[lairmont].
[The dates hereabouts become somewhat embarrassing. For the
day which I am calling June 24 Polidori repeats June 23; and he
continues with the like sequence of days up to June 29, when, as he
notes, he "found Lord Byron and Shelley returned." It seems to be
an established fact that the day when Shelley got back to
Montalègre was July 1: he has stated so, and a note to the Letters of
Lord Byron states the same. Thus Polidori seems to have dropped
two days. One is accounted for by substituting June 24 for June 23;
and I shall call the next day June 26, though uncertain as to where
the second error occurs.]
June 26.—Up. Mounted on horseback: went to town. Saw Mrs.
Shelley: dined. To Dr. Rossi's party of physicians: after at Mrs.
S[helley's?].
June 27.—Up at Mrs. Shelley's: dined. No calèche arrived: walked
to G[eneva]. No horses: ordered saddle-horse. Walked to Rossi's—
gone. Went to the gate: found him. Obliged to break off the
appointment. Went to Odier's. Met with Mr. ——, a friend of Lord
Byron's father. Invited me to his house: been a long time on the
Continent. Music, ranz des vaches, beautiful. Rode two hours; went
to Mrs. S[helley]; Miss C[lairmont] talked of a soliloquy.
[This last phrase is not clear: does it mean that Miss Clairmont
talked in a soliloquy—talked to herself, in such a way as to excite
observation?]
June 28.—All day at Mrs. S[helley's].
June 29.—Up at 1; studied; down at Mrs. S[helley's].
 June 30.—Same.
July 1.—Went in calèche to town with Mrs. S[helley] and C[lare]
for a ride, and to mass (which we did not go to, being begun). Dined
at 1. Went to town to Rossi. Introduced to Marchese Saporati;
together to Mr. Saladin of Vaugeron, Countess Breuss, Calpnafur;
and then to a party of ladies.
[The word which I give as Calpnafur is dubious in Charlotte
Polidori's transcript: it is evidently one of those words as to which
she felt uncertain, and she wrote it as near to Dr. Polidori's script as
she could manage. The other three names—Saporati, Saladin, and
Breuss—are not elucidated in any book I have consulted. Perhaps
Saporati ought to be Saporiti—see p. 149. There were two Saladins
of some note in France in the days of the Revolution and Empire—
one of them lived on to 1832; but I can scarcely think that this
Saladin in Geneva was of the same race. He may be the "Syndic
Saladin" mentioned farther on.]
Found Lord Byron and Shelley returned.
July 2.—Rain all day. In the evening to Mrs. S[helley].
September 5.—Not written my Journal till now through neglect
and dissipation. Had a long explanation with S[helley] and L[ord]
B[yron] about my conduct to L[ord] B[yron]; threatened to shoot
S[helley] one day on the water. Horses been a subject of quarrel
twice, Berger having accused me of laming one.
[Before this date, September 5, Shelley, with Mary and Miss
Clairmont, had finally left the neighbourhood of Geneva; they started
on August 29 upon their return journey to England. The statement
that Polidori "threatened to shoot Shelley one day on the water"
brings us back again to that question, of which I spoke under the
date of June 4, about some hare-brained quarrel with Shelley
leading to a challenge for a duel. The natural inference from the
position which this entry occupies in Polidori's Diary certainly is that
the threat to Shelley occurred at some date between July 2 and
August 28—not at the earlier date of June 4; and so I presume it
more probably did. We find also that Polidori's conduct in relation to
Byron was considered not to be correct; and this formed the subject
of "a long explanation" not only with Byron himself but likewise with
Shelley.]
L[ord] B[yron] went to town in pursuit of thieves who came to
steal the anchors after having stolen my sail. Was refused
permission to go out. I went to the Syndic Saladin, and told him I
begged his pardon for our servants, who must have said something
insulting, or else he could not have refused permission to leave the
port. Thieves attempted to break into the house.
An apothecary sold some bad magnesia to L[ord] B[yron]. Found
it bad by experiment of sulphuric acid colouring it red rose-colour.
Servants spoke about it. Appointed Castan to see experiment; came;
impudent; refused to go out; collared him, sent him out, broke
spectacles. Laid himself on a wall for three hours; refused to see
experiments. Saw L[ord] B[yron], told him his tale before two
physicians. Brought me to trial before five judges; had an advocate
to plead. I pleaded for myself; laughed at the advocate. Lost his
cause on the plea of calumny; made me pay 12 florins for the
broken spectacles and costs. Magnesia chiefly alumina, as proved by
succenate[11] and carbonate of ammonia.
Dined twice at Madame de Staël's; visited there also; met Madame
de Broglie and M[onsieur?]; Miss Randall; two Roccas; Schlegel;
Monsignor Brema; Dumont; Bonstetten; Madame Bottini; Madame
Mongelas; young de Staël.
[It will be observed that Dr. Polidori, although he details these
various circumstances likely to create some soreness between Lord
Byron and himself, does not here state in express terms that the
poet had parted with him. At the end of this entry for September 5
he does, however, give a few words to the subject, confirmatory of
Lord Byron's ensuing remarks. Byron, in a good-humoured spirit,
gave a general explanation in a letter addressed to John Murray on
January 24, 1817. He understood that Polidori was "about to return
to England, to go to the Brazils on a medical speculation with the
Danish Consul" (which, however, he did not actually do); and Byron
asked Murray to get the Doctor any letters of recommendation. Then
he adds: "He understands his profession well, and has no want of
general talent: his faults are the faults of a pardonable vanity and
youth. His remaining with me was out of the question. I have
enough to do to manage my own scrapes; and, as precepts without
example are not the most gracious homilies, I thought it better to
give him his congé: but I know no great harm of him, and some
good. He is clever and accomplished; knows his profession, by all
accounts, well; and is honourable in his dealings, and not at all
malevolent." In March 1820 Byron made a few other observations
applicable to his intercourse with Polidori: "The sole companion of
my journey was a young physician who had to make his way in the
world, and, having seen very little of it, was naturally and laudably
desirous of seeing more society than suited my present habits or my
past experience. I therefore presented him to those gentlemen of
Geneva for whom I had letters of introduction; and, having thus
seen him in a situation to make his own way, retired for my own part
entirely from society, with the exception of one English family"—i.e.
Shelley and his two ladies. At times, however, Byron was less lenient
to the Doctor. On June 17, 1817, he wrote to Murray: "I never was
much more disgusted with any human production than with the
eternal nonsense and tracasseries and emptiness and ill-humour and
vanity of that young person: but he has some talent, and is a man of
honour, and has dispositions of amendment in which he has been
aided by a little subsequent experience, and may turn out well."
It may be hardly needful to state that "Madame de Broglie and
Monsieur" (i.e. the Duc Victor de Broglie) were the daughter and
son-in-law of Madame de Staël: they were now but very recently
wedded, February 20, 1816. Byron thought the youthful wife
devoted to her husband, and said "Nothing was more pleasing than
to see the development of the domestic affections in a very young
woman." Of the two Roccas, one is remembered as Madame de
Staël's second husband. He was a very handsome officer of Swiss
origin. They married privately in 1811, she being then aged about
forty-five, and he twenty-two. He only survived his wife about six
months, dying in 1818. August Wilhelm von Schlegel was at this
date about forty-nine years old, celebrated as a translator of
Shakespear and Calderon, and as a scholar of extensive range. He
had travelled much with Madame de Staël, who drew on him for
some of the ideas set forth in her book De l'Allemagne. Monsignor
Brema is a good deal mentioned farther on: he was a son of the
Marchese di Brema (or Brême), who had been a valuable Minister of
the Interior under the Napoleonic régime in Italy. Dumont, who has
been previously named by Polidori as the translator of Bentham, was
also closely associated with the great Mirabeau.]
At Vaugeron, the Saladins, Auguste Mathould, Rossi, Jacques
Naple [?], Brelaz, Clemann, Countess Mouskinpouskin, Breuss, Abate
Gatelier, Toffettheim e figlio, Foncet, Saussure, Lord Breadalbane and
family, a ball; Saladin of Maligny, Slaneys, two balls; Dr. and Mrs.
Freckton White, Galstons (Miss etc. sisters), a ball; Lord Bingham,
Lord F. Cunningham, Lord Belgray, a ball; Mr. Tillotson St. Aubyn,
Mrs. Trevanion, Valence Meers, R. Simmons, Lloyd, Princess
Jablonski, Lady Hamilton Dalrymple, Odiers, Lord Kinnoul, Somers,
Lord Glenorchy, Mr. Evans, Coda (songstress), M. G. Lewis, Mrs.
Davies, Mr. Pictet, Mr. Hobhouse, Dr. Gardner, Caravella, Shelleys, Sir
John St. Aubyn.
[Most of these numerous names must be left to themselves:
several of them are hereafter commented, often caustically, by
Polidori himself. Saussure is not the more celebrated naturalist and
traveller, Horace Benedict, who died in 1799; but is his son, Nicolas
Théodore, who coöperated largely with the father, and produced an
important book of his own, Recherches sur la Végétation. Born in
1767, he lived on to 1845. Mrs. Trevanion may be supposed to have
belonged to the same family as a certain Mr. Trevanion who figured
very discreditably in the history of that Medora Leigh who was the
daughter of the Honourable Mrs. Leigh (Byron's half sister) and
ostensibly of her husband, but who is now said to have been in fact
the daughter of Byron himself. Lady Hamilton Dalrymple ought
seemingly to be Lady Dalrymple Hamilton: she was a daughter of
Viscount Duncan, and wife of Sir Hew D. Hamilton. Somers is
mentioned on p. 150: this is probably the correct spelling, not (as
here) Summers. Matthew Gregory Lewis (whom I had occasion to
name before) was the author of The Monk, which he wrote at the
early age of nineteen, of the musical drama The Castle Spectre, and
of other works whose celebrity has not survived into the present day.
He was now near the end of his brief career, for he died in 1818,
aged forty-two.]
The society I have been in may be divided into three sets: the
canton of Genthoud, Coppet, and Geneva. The canton is an
assemblage of a neighbourhood of about seven or eight families,
meeting alternately on Sundays at each other's houses, and every
Thursday at the Countess Breuss's. The Countess Breuss lives at
Genthoud in a villa she has bought. She has two husbands, one in
Russia, one at Venice; she acted plays at the Hermitage under
Catherine. Not being able to get a divorce, she left Russia, went to
Venice for six days, stayed as many years, married (it is said),
bought villas etc. in the Venetian's name, and separated. Her family
consists of Madame Gatelier, a humble friend, a great lover of
medicaments etc., Abate ——, her Almoner, an excellent Brescian,
great lover of religionists. A mania in the family for building summer-
houses, porticoes, and baths; neatly planned; an island with a ditch
round it; a Tower of Babel round the trunk of a chestnut; a summer-
house by the roadside of a Moorish construction. The Countess is
very good-natured, laughs where others calumniate and talk scandal
with prudish airs, kind to all. The society is extremely pleasant;
generally dancing or music. It was the birthday of Charles Saladin,
who, having been four years in Nap[oleon]'s army, knew nothing of
the matter. She asked to have the fêting of him. They acted first a
charade on the canton of Genthoud. She acted with Mr. Massey
junior, with others, and myself as a woman—the words to blind.[12]
Then came a kind of farce, in which Charles was dressed as the C. B.
[Countess Breuss?], Gatelier as the Abbé, and Miss Saladin as
Gatelier: each took one another off. Written by C. B. When at last
another of the society brought a letter announcing it to be Charles'
birthday. Then they, while he was in his amazement, sang a song to
him, presented him with a bouquet and purse. Then an elegant
supper, and afterwards a ball on the arrival of Madame Toffettheim
with her son. A great party was invited; and after tea two plays were
acted—Le Pachà de Suresne and Les Ricochets. There was an
immense number of spectators. The actors were, in Le Pachà de
Suresne, Madame Dorsan, la Comtesse Breuss; Laure, Madlle.
Brelaz; Aglaé, Clemann; Nathalie, M.; Madlle. Remy, Madame
Gatelier; Perceval, Alexis Saladin; Flicflac, Polidori; Joseph, C.
Saladin.—Les Ricochets—I do not remember the characters. The
actors were Alexis, Charles, Auguste Saladin, Massey le jeune, La
Comtesse Breuss, Madame Mathilde Saladin. The rehearsals before
were frequent.
I got a discretion from the Countess, which I took in the shape of
a Swiss,[13] in consequence of a wager that I could not go straight
home.
La Toffettheim is a nice, unpretending, lady-like woman, pleasing
and affectionate. Her son full of liberty-ideas. It was here, in
consequence of Massey junior dancing extremely well, that, being
defied, I danced a pantaloon-dance, by which I made enemies; for,
upon my refusing it at the Saladins', they thought it was a personal
refusal. Saladins of Vaugeron, father and mother. Father deaf, good-
natured: said to me upon reading my thesis, "Mais, Monsieur, il n'y a
pas de paradoxe." The mother pretended to play shy on account of
Madame B.
[By Madame B. it would appear, from a statement farther on, that
Polidori means Madame Brelaz.]
The daughter—because, the first night I saw her, knowing her by
particular introduction, I stuck to her—thought me in love, and said
so,—fool! Madame Mathilde [Saladin] pretended prude in mine and
Madame B.'s case, while she herself has got Mr. Massey junior
dangling, not unheard, after her. Charles a good boisterous soldier,
at Leipzig, Nassau, and 13 ingwen [?][14] Waterloo business. Makes
up for wit by noise, for affection by slaps on the back. On his
birthday I addressed him with (after supper)—
 "Jeune guerrier dans l'armée du premier des héros,
Dans la cause de la France dédaignant le repos,
Que la chute de vos ans soit tranquille et heureuse,
Comme fut l'aube de vos jours éclatante et glorieuse."

[This little specimen suffices to show that Polidori had no true idea
of French versification: he was evidently unaware that a final e mute
coming before a consonant counts as a syllable.]
Auguste, a simple neat fool, despising learning because he is
noble and has enough to live upon; content to dangle, with a
compliment and a sentiment, after a woman's tail. Alexis, so so,
good-naturedly ignorant husband to Mathilde. Massey senior, active
pleasant man, excellent fencer and dancer—been secretary to
Bertrand. Massey junior, confident, impudent, insolent, ignorant
puppy. Saladins of Maligny, neither good nor bad, rich: to gain a little
more, let their villa to Lord Breadalbane, and retired to a cottage,
though both old and only one ugly vain daughter. Lord Breadalbane,
an excellent, good-sensed though not quick man: answered—when
the Duke of Bedford said to him, "What would you give to have the
Breadalbane estate in Bedfordshire?"—"Why, your Grace, I should be
sorry if my estate would go in Bedfordshire." Gave a very good ball
at which I was. His son Lord Glenorchy, good, shy, not brilliant
young man. His lady not spoken to. His daughter excellent dancer,
rather haughty. Mr. Evans, a good sensible man, biassed in his
thoughts by his cassock. At the society he took up the immortality:
Lord Glenorchy gave a positive No. Saussure, Mrs., a wax talkative
figure. Mr., a would-be scientific gentleman: thought me a fool
because I danced pantaloon, and himself a wise man because he
knows the names of his father's stones. Jacquet, Madlle., got half in
love with her,—no, her 8000 a year: her face and bad-singing
exposures cured me. Foncet, officer of the Piedmontese troops,
jealous of him.
Brelaz, Portuguese lady,—in love with her; I think fond of me too;
imprudent; her daughter also against me on account of it; shows it
too much publicly; very jealous; her daughters, sprightly good-
looking girls. Clemann—got half in love with her; nice daughter. The
Cavalier pleasing. Had a dispute in a public ball with her two fools.
One of the Saladins, Auguste, courts her, and she laughs; she
excites love in every young man's breast. Miss Harriet is rather too
serious for her age, pretty and well-informed in novels and
romances, and rather too sentimental. Cavalier's Marianne is a fine
hoydenish creature: applies when studying, and romps when
playing.
Madame de Staël I have dined with three times; she is better,
those who know her say, at home than abroad. She has married
poor Rocca. She talks much; would not believe me to be a physician;
presented her my thesis, which she told me she had read with
pleasure. Talked about religion, and puts down every [?] of Rocca.
Ugly; good eyes. Writing on the French Revolution; polite, affable;
lectures, and tells all to L[ord] B[yron]. Madame de Broglie, her
daughter, a beautiful, dirty-skinned woman; pleasant, soft-eyed
speaker; dances well, waltzes. Schlegel, a presumptuous literato,
contradicting à outrance; a believer in magnetism. Rocca, a
talkative, good-natured, beautiful man, with a desire for knowledge;
the author of Walcheren and Espagne; excellent at naïve description.
Rocca, the judge, very clever and quick, rising; know little of him.
Been seven years in the courtship of Miss Saladin; she neither
refuses nor accepts him, but keeps him in her train. Miss Randall,
sister to Mrs. Norgate. Monsignor Brema, friend of Ugo Foscolo,
enthusiastic for Italy, encomiast in all, Grand Almoner of Italy, hater
of Austrians. Dumont, a thick, heavy-thoughted body, editor of
Bentham. Bonstetten, friend of Gray.
The first time L[ord] B[yron] went, there was Mrs. Hervey there;
talkative, sister and a great friend of the Noels; she thought proper
to faint out of the house, though her curiosity brought her back to
speak with him.
Bonstetten told me that, upon his saying to Gray that he must be
happy, he took and read to him the criticism of Johnson, which
happens to have been written after Gray's death; he used to go in
the evening to tea, and remain all night reading the English authors
with him. Gray introduced him to society;[15] and, one of the
professors having asked him if he understood what he said, he
replied he thought so, but very diff[idently?]—"So you think so only!"
Gray, hearing this, showed B[onstetten] some passages to ask him,
which B[onstetten] did in a public company, complimenting him
upon [his?] known knowledge; when all the company, one after the
other, began contradicting the Professor's opinion. Then
B[onstetten], turning to him, said, "You perhaps thought you
understood Shakespear." Gray told him that there was none who
could perfectly understand him.
Rossi, an Italian of about thirty, pleasant, agreeable, and good-
natured, professor at Bologna, thence obliged to fly with two others.
One of his companions was beginning his lecture, when the students
called out, "No lecture, but an improvise upon the liberty of Italy";
as he was an improvisatore. He objected, as, on account of Murat's
approach, it might be suspicious. They insisted, and the professors
at hand said, "No harm if not upon present circumstances." He did
it, and the students issued forth to join Murat; they had however
made up their minds to do so before. Rossi joined it more openly
and loudly, and was obliged to fly. He wrote a memoir to defend
himself, in which he said it was only to avoid the Roman dominion,
and give it to the Archduke; who told him that he had better write
another, as Bologna was already ceded to Pius. When he was ruined
thus partially he wrote to the father of his betrothed, to say that he
must not (if he chose) think himself bound by his promise, as he was
not in the same circumstances as when the promise was given. The
father did retract. So far a man of honour. Now how to reconcile his
being with Calandion, a magistrate of G[eneva] violent on the other
side? who says he has made a good profession to him, and at the
same time professing other opinions to others.
Gave me a letter to Milan, and by him I have been introduced to
Saporiti, a good, enthusiastic, ignorant Italian. Talked of the English
landing 100,000 soldiers here and there, as if they were so many
peas.
Slaneys: the husband jealous of every one—Cambridge degree.
When I danced with his wife, he after, when walking with her, came
up and gave an arm too. The wife beautiful, but very simple.
Galston, Miss, very beautiful.
"Genevan Liberal Society" is a muster of Englishmen for debate on
speculative questions. Twice there. Immortality, accomplice's
evidence. The members whom I knew were—Lord Kinnoul, a most
tiresome, long-winded, repeating, thick-headed would-be orator,
Lord Conyngham.
[The MS. gives "Cunningham," which must be a mistake. The Lord
Conyngham of this period began the year 1816 as an Earl, and
ended it as a Marquis. He was born in 1766, and lived on to 1832,
and was husband of a lady, Elizabeth Denison, whose name figures
much in the gossip, not excluding the scandal, of those years.]
Mr. Somers, good head enough. Valence, whom I cried to hear;
and, meeting me after at Chamounix, the first thing he asked me
was, "Why did you laugh at me?" St. Aubyn, Lloyd, Slaney.
Lloyd, of good Welsh blood, his original name Ap Griffith, rode out.
We went out visiting one day, and, in returning in his gig, he
touched a horse of a row of carts. The carter struck me upon my
back with his whip; I jumped down, and six jumped at me. I
fortunately was between a wheel and a hedge, so that they all could
not reach. Lloyd, seeing this, jumped down also; then three left me
and went to him, and another untied a piece of his wagon with
which, while I defended myself from the two (one with a whip), he
struck me while fortunately my arm was striking a blow, so that it
did but just touch my face. He lifted again; I sprang back, and with
all the force of my leap struck him with my fist in his face. His blow
fell to the ground, and with his hand to his nose he retreated. They
then seized stones to throw, but we closed with them; they could
not throw above two, when we saw an English carriage we knew
coming. We called, they came, and immediately the boisterous
[fellows?] were calm. Some who tried to divide us got blows also.
St. Aubyn, an excellent fellow, introduced me to his father at
Genthoud: is a natural son, studying for the Church. His father is a
good polite man, according to the "go" school.[16] Keeps a mistress
now, though sixty-five years: has many children by different
mistresses.
At Dr. Odier's—who is a good old, toothless, chatty, easy-believing
man—there was a society every Wednesday, where I went
sometimes. They danced, sang, ate cakes, and drank tea; English
almost entirely, changing every Wednesday.—Went to a concert of
Madamigella Coda—the theatre dirty.
When Mr. Hobhouse and Davies arrived, we went to Chamounix.
The first day through Chesne, Annemasse, Vetra, Nangy, Contamine,
Bonneville (dinner), Cluses, Sallenches (slept). Next day by Chede in
two char-à-bancs, with each a guide; a fine pine-glen of the Arve, to
Chamounix. We went that evening over the Brisson, and to the
source of the Aveyron. Next day so bad we left, and returned to
Sallenches, taking the fall of Chede in our way; thence to Diodati.
Mr. Scrope Davies played against the marker at tennis: then went,
taking Rushton with him. [Rushton was one of the servants.]
L[ord] B[yron] determined upon our parting,—not upon any
quarrel, but on account of our not suiting. Gave me £70; 50 for 3
months and 20 for voyage. Paid away a great deal, and then thought
of setting off: determined for Italy. Madame de Staël gave me three
letters. Madame B[relaz?] wept, and most seemed sorry.
[I suppose that most likely the "Madame B." here is Madame
Brelaz, with whom, as stated on p. 145, Polidori was "in love." Or it
might perhaps be the Comtesse de Breuss.]
The night before I went, at Madame B[reuss?]'s, they acted C'est
le Même extremely well; a Lausanne girl acting the lady very well.
The costumes also extremely good. Wished nobody good-bye: told
them, though, I was going. Set off with 47 louis, 112 naps.
Le Valais from Schürer's book, Description du Département du
Simplon, 1812, lent me by the Cav[aliere]. See elsewhere.
September 16.—Left Cologny and Lord Byron at six in the
morning. Breakfasted at Doraine, 3 leagues. Dined, Thouson, ditto.
Evrein, 2. Slept St. Gingoux, 4. Passed Meillerie. Saw Lausanne at a
distance, right through this part of Sardinian King's dominions. Read
Madame Brelaz's verses. Wept—not at them, but at the prose.
September 17.—Left St. Gingoux at 6. Walked to ——.[17] Took
bread and wine. Crossed to Chillon. Saw Bonivard's prison for six
years; whence a Frenchman had broken, and, passing through a
window, swam to a boat. Instruments of torture,—the pulley. Three
soldiers there now: the Roman arms already affixed. Large
subterranean passes. Saw in passing the three treed islands. The
Rhone enters by two mouths, and keeps its waters distinct for two
stones' throw.
From Chillon I went to Montreaux—breakfasted—leaving Charney
on my left. I began to mount towards the Dent de Jamanu. Before
beginning to mount Jamanu itself, one has a beautiful view, seeing
only part of the lake, bound by Meillerie, Roches, and the Rhone.
Higher up the view is more extensive, but not so beautiful—nothing
being distinct; the water looking merely as an inlet of sky, but one
could see the Jura as far as Genthoud.
I entered a chalet, where they expressed great astonishment at
my drinking whey, which they give to their pigs only. Refused at first
money.
Descended towards Mont Boyon. What owing to the fatigue and
hardly meeting any one, sick with grief. At Mont Boyon dined, and,
finding they would not dance, slept immediately after.
September 18.—Up at 4. Drank wine and bread. At 6 set off.
Passed the Château d'Ox where there was a fair. After that, hardly
met a soul. Always on the side of the mountains, each side of a river
or torrent; with torrent-beds, pine-forests, chalets, villages without a
visible soul—all at work—and ups and downs: so that this road, if I
had not had that of yesterday, I should have called the worst in the
world. Passed through Château d'Ox; Rougemont, breakfast;
Zwezermann, dinner; Gessenay; Lambeck; Reichenstein;
Weissenbach; Bottingen, tea and night. The French language leaves
off at Gessenay (rather, patois), and they begin their German: found
it difficult to go on.
 September 19.—Got up at 4-1/2. Set off from Bottingen. Went
through Obernoyle. Breakfasted at Wyssenbach: refused my money.
Went to the Doctor, who charged me a nap. Went through
Erlenbach, Lauterbach, Meiningen, to Thun. Splendid scenery;
especially the first look at the Lake by the river's mouth, and the
pass into a great valley. Took dinner, and then a warm bath. Arrived
at 1 o'clock. All the houses are of wood, the foundation only being
stone: great cut ornaments between the rows of windows: the
wood, fir. Felt very miserable, especially these two last days: only
met two persons to whom I could speak—the others all Germans. At
Wyssenbach they all said grace before breakfast, and then ate out of
the same dish; remarking (as I understood them) that I, not being a
Catholic, would laugh.
[It was a mistake to suppose that Dr. Polidori was "not a Catholic."
He was brought up as a Catholic, and never changed his religion, but
may (I suppose) have been something of a sceptic.]
September 20.—Got up at 6. Wrote to St. Aubyn, Brelaz, father,
Vaccà, and Zio, asking letters; to my father, to announce my parting.
[Vaccà was a celebrated surgeon at Pisa, of whom we shall hear
farther. Zio is "my uncle"—i.e. Luigi Polidori, also at Pisa.]
Bought fresh shoes and stockings; found no book-seller's shop.
The man at the post-office made a good reflection: that he was
astonished so many came to see what they who were so near never
want to see, and that he supposed that the English also leave much
unseen in their own country.
Thun is a neat well-situated town, not large, with arcades—as
apparently all the Berne towns. Afraid all day my dog was poisoned;
which grieved me so, at seeing it vomit, that I wept. At 2 o'clock
went in search of a boat: none going immediately, I walked along
the left bank of the lake to Unterseen. The views the most beautiful
I ever saw; through pines over precipices, torrents, and sleepers [?]
[18]
and the best-cultivated fields I ever saw. The lake sometimes
some hundred precipitous feet below my feet; at other times quite
close to its edge; boats coming from the fair; picturesque towered
villages; fine Alps on the other side, the Jungfrau and others far off.
The bottom of the lake is especially magnificent. Lost my way, and
had two little children as guides back again. One small cascade of
seven or eight fountains.
Arrived at 7 at Unterseen: through Nilterfingen, Oberhofen,
Rottingen, Morlangen, Neuchaus, to Unterseen. Found two
Englishmen at supper: sat down with them. Very miserable all the
morning.
September 21.—Got up at 6, having determined to go with the
two to the Grindenwald in a char-à-banc, on account of the state of
my foot. I went to the bridge at Interlachen to see the view coming
between two beautiful isolated crags. Going, met a man, a maréchal,
who had been to Vienna and Bohemia en roulant after his
apprenticeship, to see the world—stopping a day at one place, a day
at another. Returned, breakfasted: and then, after growling at the
innkeeper's wishing us to take two horses, we went off through
splendid pine-clad craggy valleys through Zweihitschirne to
Lauterbrunner; whence to the fall of the Staubach, a bare cataract of
900 feet high, becoming vapour before it arrives—appearing much,
and ending in a little stream. The curate of this village receives
guests: there were the Prince Saxe-Gotha and family. We lunched at
the inn, and went back to Lauterbrunner after having looked at the
Jungfrau at a distance.
Went from Zweihitschirne to the Grindenwald with the Saxe-Gotha
before us, through a more beautiful valley. Saw the glaciers come
into it, with the Eiger, Wetterhorn, and other mountains, most
magnificent. Walking about, found two girls who gave us cherries
and chatted freely. Found that mules were 18 francs a day. A party
came in in the dark at 8 with guides, hallooing and making a lively
sound. Dined at 7, and talked about mules, hoping to get return
ones etc.
September 22.—Got up. Could not get mules under 18 francs: my
foot too bad to walk. Went with Captain Rice and others back to
Interlachen. Got into a boat rowed by two men and a boy. Went by
Brientz, Calne, to the Griesbach cascade, and then to Brientz—
wilder, but not so beautiful as the Lake of Thun. The cascade I did
not mount to see on account of my foot. At Brientz an old woman
would give us her presence and conversation till one of my
companions courted the daughter. Met between Grindenwald and
Interlachen L[ord] B[yron] and Mr. H[obhouse]: we saluted.
September 23.—Got up at 4. Tired of my company; and, finding
the expense more than I could afford, I went to their bedrooms to
wish them good-bye. Set off at 5-1/2; and through fine copse-
wooded crags, along the Aar, with cascades on every side, to
Meyringen; where I breakfasted with two Germans, an old and a
young artist—the old, chatty. Bought a pole. Went to see the
Reichenbach, a fine cascade indeed. Thence through the beautiful
vale of Nach-im-Grunden, where for a moment I planned a
sovereignty; but, walking on, my plans faded before I arrived at
Guttannen, where I dined.
Rode all the way to-day—horrible, only passable for men and
mules: it is the way to St. Gothard. The road is merely huge unequal
masses of granite thrown in a line not the straightest. From
Guttannen the road went through the wildest and most sublime
scenery I ever read of: vegetation less and less, so that, instead of
grass, there was moss; then nothing. Instead of trees, shrubs; then
nothing—huge granite rocks leaving hardly room for the road and
river. The river's bed the most magnificent imaginable, cut deep and
narrow into the solid rock, sinuous, and continually accompanied by
cascades, and amazing bold and high single-arched bridges. Snow
covering in some parts the whole bed of the river, and so thick and
strong that even huge stones have fallen without injuring its crust.
There are only two houses between Guttannen and the Hospital:
one, a chalet wherein I entered; the other, a cow-herd's. Arrived at 6
o'clock precisely, having walked in only 9-1/2 hours 30 miles at least.
[This is a little indistinct in connexion with what precedes. I
suppose that the phrase "rode all the way to-day" must be
understood as meaning "all the way up to Guttannen"; and that,
after leaving Guttannen, there were 30 miles of walking before the
Hospital was reached. Yet this seems an unreasonably heavy day's
work in travelling. After "only 9-1/2" the initial written is "m": but I
presume it ought to be "h" (hours).]
The Hospital is an old stone ugly building, consonant with the wild
scene, where the poor are lodged for nothing; others, us, [as?] an
inn.
September 24.—On account of rain did not get up till 7. Set off
across the Grimsel, a dreary mountain with snow in every hollow—
5000 feet above the Four-canton Lake. Descended on the other side
to Obergustellen, where I breakfasted at 10. Thence through
Verlican, Guesquerman, Munster, Rexingen, Biel, Blizzen; where, out
of the dead flat valley, I began to mount, and the scenery began to
increase in beauty. One bridge especially over the Rhone, which fell
between two clefts' sides, was beautiful. Sinderwald, Viesch, pine-
wood; sax (?) along the rocks, and fine path along the mountain.
Very fine, though continued hard rain, which drenched me and
hindered my seeing a great deal. To Morel, where I went to bed, and
ate a kind of dinner in bed at 7 o'clock.
September 25.—Up at 5; my foot, from having been obliged to
walk with the shoe down at heel, very much swelled and too painful
to walk. Breakfast. Two students from Brieg, of the Jesuits' College,
came in, who had during the vacations been beyond Constance with
only two écus neufs in their pockets. It costs them ten batsches a
year at College. Impudent one: the other modest-looking, but, when
I gave him six francs because he had no more money, he asked me
for more on other accounts. The Jesuits been restored two years.
At Brieg[19] I sent for the curate, a good old man of sixty. We
conversed together in Latin for two hours; not at all troublesome in
enquiries, but kind in answering them. The Valaisians resisted two
years against the French in 93. It was the only part of the country in
which they did so, except Unterwalden, and then it was only the
peasants, and in every village there was a French party. The cruelty
of the French was dreadful; they stuck their prisoners in a variety of
ways like sheep. One old man of eighty, who had never left his
house but whom they found eating, they strangled, and then put
meat and bottles by him as if he had died apoplectic. They fought
very hard and bravely, but such was the power of numbers united to
the force of treachery that they were obliged to yield. In 1813, after
the French had quitted Brieg, they again attempted to penetrate
from Italy by the Simplon; when the Brieg, Kelor [?], and other
villagers, joined by only one company of Austrians, surrounded them
in the night, and took them prisoners. In Schwytz [?] and
Unterwalden the division was more strongly marked. In Unterwalden
(where was the scene) the men [?] divided and fought against each
other, some joining the French from Stanz [?] to Engelberg. They
were for freedom, and fought as the cause deserved. They killed
5000 French, more than double their own number; women fought;
they were in all 2100 Swiss. One maid in the ranks, when her
comrades were obliged to retreat, seeing a cannon yet unfired, went
with a rope-end and fired it, killing thirty [?] French. She was taken;
a pardon was offered. She said, "I do not acknowledge any pardon;
my action is not pardonable; a thief [one?] pardons, not a just man."
They killed her with swords. The hundred men who came from the
higher part of Schwytz, attempting to go to their relief, were through
their own countrymen forced to cut their way and march by night;
and, when in retreating they came to the other shore of Lucerne
Lake, they had again to cut through their own countrymen to arrive
at their homes, they refusing them permission to pass. The
Austrians, for the help the higher Valaisians gave them, from
sovereigns have made them subjects to the lower Valaisians. The
curate came in again, with a description of the Simplon; sat an hour
and a half, then left the book. When [he was] not here I have
written the part of my Journal I missed at the time, and the extract
from his book. He came in again about 6 with a basket of prunes for
me, and offered to go with me half-way, as he had to go to a church
on the way.
September 26.—Got up at 5. The curate came, and, my foot being
better, I set off. He showed me the bridge over the Massa where was
a battle, and the ruins of a tyrant's tower. We came to his church,
where he showed me the miraculous figure that was found in the
Rhone. He told me the lower Valaisians were ready to join the
French in '13, and that, in spite of this, they [the Austrians?] had
given them a majority of voices. Left me in sight of Brieg, telling me
he hoped to see me again in heaven. I walked on to Brieg;
breakfasted, and then set off along the Simplon, a magnificent road
indeed. It is cut in many places through the rocks, in others built up
to its side. It has caverns and bridges always wide enough for four
carriages; it ascends all the way to the new Hospice, and again
descends from it. At its side are houses of refuge (as they are called)
where many are kept by government, with privilege of selling food to
help the passers-by. There is in each a room with a bed where one
can go in case of rain, accident, etc.; and, when the time for
avalanches etc., these men are obliged to accompany the travellers
from house to house. Just where the rising ends the new Hospital
was to have been erected, and is half done, but stopped now. A little
farther on is the old one; whither I went, and got a dinner in the cell
of one of the monks; bread, wine, cold meat, and nuts. He seemed
very ennuyé; his words slowly fell; said they were St. Augustines,
not St. Bernardites. That St. Bernard was a mere reformer of the
order. They have been here since 1810 only, in an old castle for
which they pay £20 a year. The Simplon was a department of
France, and rather well off on account of the quantity of work and
money, and not having the droits revenues. The Archduke Regnier
was there a few days ago incog., and they did not recognize him—
which mortified them very much. It is six leagues hither from Brieg,
so that I had walked twenty-six miles.
I set off at 2: passed through Sempeln[?], and through the most
magnificent scenery, through the granite galleries. The Italian part is
by far the most difficult and splendid. The first boy that I met before
coming to Isella, in answer to a question in German, answered "Non
capisco";[20] I could have hugged. I arrived after much difficulty at
Isella, knocked up. I was ruined in my feet, and it was not till near
here that the carriages which parted in the morning from Brieg
overtook me. Went to bed immediately in a room where the grease
might be scraped from the floor.
 September 27.—Did not get up till 1 on account of fatigue.
Breakfasted most miserably, everything being bad; and then set off,
but immensely slowly till a cart overtook me. Entered; lay upon the
logs of wood and hay, and was driven to Domo d'Ossola. Is it
imagination only that I find the sky finer, the country where
cultivated extremely rich, green-looking? The dress of the women
picturesque, blue with red stripes here and there; the men more
acute and quicker-eyed. Arrived at Domo d'Ossola at 3; got into a
clean though poor inn, and dined well. A gendarme came in to ask
how it was that my passport had not been viséd yet; and then,
seeing I was a physician, requested a cure for his toothache. It is
useless to describe the picturesque: the best page to turn to for it is
the memory. After one of the most comfortable fireside-evenings I
have had since I left Geneva I went to bed at 7-1/2.
September 28.—Set off at 6 o'clock through vine-country, with
little hills here and there starting out of the low Alps, highly
cultivated, with beautiful little white villas at their tops and sides.
Asked a woman what was a house whereon was painted a
Democritus, Diogenes, etc. Answered, "È roba antica"[21]—though
evidently modern, but deserted. Indeed, the whole of the houses
seem too large for the inhabitants—much falling to ruin. From Domo
d'Ossola went to Vella; to Vagagna, where I breakfasted and saw the
first good-looking Italian girl. The children are pretty, the women
quite otherwise. There began to suffer from my feet so much as that
to go about six more miles took me five hours. No car passed me, or
anything.
I arrived at last at Ornavasco. Could get no car, though they kept
me half-an-hour in the yard standing, in hopes of getting one. At last
agreed with a man that he should set off at 4 o'clock to-morrow to
Fariolo for 4 francs. Looked at a bedroom: shrugged up my
shoulders, but forced. Dinner: no meat, because "meagre." Ate the
fruit. The Italian grapes, nectarines, peaches, and pears, I got
yesterday, excellent. Two bunches of grapes half-a-franc: two at
dinner.
 Sunday, September 29.—Up at 5. Got into the char, or rather cart.
Passed through Gravellino to Fariolo. Asked 10 francs to take me to
Laveno: offered 4—accepted. Got into the boat. Rowed towards
Isola Madre; passed Isola Pescatori; and landed on Isola Bella.
Went over the palace. Many of the floors miserable on account of
their being the mere rock. Some good pictures. A whole set of rooms
below in the style of grottoes, with windows looking on to beautiful
views, close to the lake for il fresco. Looked at the terrace: not
pleasing the style: and, thinking I should see it all in going round,
did not go over the gardens. Went round the island in the boat;
magnificently paved, like terrace on terrace.
Thence towards Laveno, intending to go to Lugano and Como;
but, hearing that I could go all the way by water to Milan, I
preferred this, and accordingly turned round towards Belgirato.
Breakfasted on caffè al latte, uve, and fichi,[22] 4-1/2 francs.
Boatman proposed my joining a party to Sestri-Calende, which I did.
Arona, with the colossus, on my left, Anghera on my right; Monte
Rosa; all the bottom part of the lake richly magnificent.
[The colossus is the celebrated gigantic statue of San Carlo
Borromeo.]
Arrived at an inn—taken for a servant. After some time things got
round, when in came two soldiers with swords by their sides, to
desire me to step to the police-inspector. I did, and found he could
not read the writing in my passport. The boatman came soon after,
offering me a plan for to-morrow for five francs, and showing me
twelve naps. they got for the boat—which cost only seventy francs.
Agreed.
September 30.—Up at 5. Off at 6 in a large barge, with
yesterday's English party and two carriages, by the Tessino and
canal to Milan: at first through a fine hilly country, and rapidly by the
Tessino flood. After, slower, and through a flat plain with trees and
neat villas and hanging grapes, to Milan. Slept out of the town by
the canal.
October 1.—Up at 7.