Over the years spent travelling, Blessington developed a great passion for art. During her first recorded journey, to the Isle of Wight, she was unsure of her critical judgement and thus unwilling to give details of the artwork she beheld (IoW 35). Yet later, when in the Netherlands and France, she counted herself among ‘the lovers of painting’ (NtP 39) and devoted considerable attention to depicting works of art (NtP 72, 106– 8). When setting out on her tour through French and Italian cities, Blessington thus had been predisposed to make the most of their cultural heritage. This anticipation is well reflected when she enthuses over the artistic treasures of Florence: ‘Beautiful art! that snatches loveliness from the rude grasp of all- devouring time, and transmits to us the charms that inspired genius to work such prodigies’ (IiI 2: 121). She spent more than nine months in the city, and the account of the period includes numerous museological entries in which the narrator, already confident in her judgements, approaches works of art as if she were trained as a critic. She appears to be taking her readers for a walk through the city's galleries, providing them with specific information on the works, artistic techniques, styles or motifs as well as offering her own comments on each noteworthy piece.

As I have already shown, religious sites are typical topographical features in Blessington's cityscapes, and their architecture and ornamentation deeply influence her visual sensations. Once churches are entered, their potential becomes even greater, since wandering through them and beholding their murals and carving is like undertaking yet another tour (NtP 70). Each niche, side altar and chapel constitutes a scene worth looking at and reflecting on. It is clear from Blessington's reflections that she is attracted to these scenes, but the feelings that accompany her on such occasions are not easily defined.

Generally, in her writings Blessington does not reveal much of her personal religious views. What we know is that she was born into an Irish Catholic family, but, at least in her adult years, her attitude towards religion was never ‘formal’ and rather ‘sentimental’ (Lovell 1969, 14). Such is her attraction to religion, which she demonstrates during her travels, especially to Italy.