prejudices? This is not the way to defend the cause of truth. It was not thus that our fathers maintained it in the brilliant periods of our history. Prejudice may be trusted to guard the outworks for a short space of time, while reason slumbers in the citadel; but if the latter sink into a lethargy, the former will quickly erect a standard for herself. Philo. sophy, wisdom, and liberty support each other: he who will not reason is a bigot; he who cannot, is a fool; and he who dares not, is a slave." Vol. i. pref. p. 14, 15.

which was necessary to preserve the aperture above; though exposed to repeated fires; though sometimes flooded by the river, and always open to the rain, no monument of equal antiquity is so well preserved as this rotundo. It passed with little alteration from the Pagan into the present worship; and so convenient were its niches for the Christian altar, that Michael Angelo, ever studious of ancient beauty, introduced their design as a model in the Catholic church."-- Forsyth's Italy, p. 137. 2d edit.

The Pantheon has been made a receptacle for the busts of modern great, or, at least, distinguished, men. The flood of light which once fell through the large orb above on the whole circle of divinities, now shines on a numerous assem. blage of mortals, some one or two of whom have been almost deified by the veneration of their countrymen. For a notice of the Pantheon, see Historical Illustrations," p. 287.

7 This and the three next stanzas allude to the story of the Roman daughter, which is recalled to the traveller by the site, or pretended site, of that adventure, now shown at the church of St. Nicholas in Carcere. The difficulties attending the full belief of the tale are stated in "Historical Illustrations," p. 295.

The castle of St. Angelo." See Historical Illustrations." [This and the six next stanzas have a reference to the church of St. Peter's. For a measurement of the comparative length of this basilica and the other great churches of Europe, see the pavement of St. Peter's, and the Classical Tour through Italy, vol. ii. p. 125. et seq. ch. iv.]

3 ["I remember very well," says Sir Joshua Reynolds, "my own disappointment when I first visited the Vatican; but on confessing my feelings to a brother student, of whose ingenuousness I had a high opinion, he acknowledged that the works of Raphael had the same effect on him, or rather that they did not produce the effect which he expected. This was a great relief to my mind; and, on inquiring further of other students, I found that those persons only who, from natural imbecility, appeared to be incapable of relishing those divine performances, made pretensions to instantaneous rap. tures on first beholding them.-My not relishing them as I

was conscious I ought to have done, was one o humiliating circumstances that ever happened to m myself in the midst of works executed upon prin which I was unacquainted; I felt my ignorance. abashed. All the indigested notions of painting w brought with me from England, where the art lowest state it had ever been in, were to be totally and eradicated from my mind. It was necessary, pressed on a very solemn occasion, that I should b little child. Notwithstanding my disappointment, to copy some of those excellent works. I viewed and again; I even affected to feel their merita them more than I really did. In a short time. and a new perception began to dawn upon me. convinced that I had originally formed a false op. perfection of the art, and that this great painter titled to the high rank which he holds in the a the world."]