We may lament that the first steps in every revolution are taken in darkness, and that the reaction of opinions and prejudices is itself accompanied by errors and prejudices of its own. The bigotry of the new faith was not inferior to the old. The reforming Archbishop Grindal substituted the dull and barbarous Palingenius, Sedulius, and Prudentius, for the great classical authors of antiquity. The Reformation opened with fanaticism; and men were reformers before they were philosophers. Had Ascham, a learned scholar, and a man of fine genius, been blessed with the prescient eye of philosophy, he had perceived that there was not more papistry in the solemn "Trionfi" of Petrarch, and not less "honest pastime" in a "merrie tale" of Boccaccio, than in cock-fighting and dicing; and that with these works the imagination of the public was gradually stepping out of a supernatural world of folio legends, into a world of true nature, which led to that unrivalled era which immortalised the closing century. We must recollect that the bigotry of the Reformation, or that which afterwards assumed the form of puritanism, in their absurd notion of the nature of idolatry attached to every picture and every statue on sacred subjects, eventually banished the fine arts from England for a long century, and retarded their progress even to our own days. A curious dialogue has been preserved by Strype, whose interlocutors are Queen Elizabeth and a Dean. The Dean having obtained some of those fine German paintings, those book-miniatures which are of the most exquisite finish, placed them in her majesty's prayer-book. For this the queen proscribed the dean, as she did those beautiful illuminations, as "Romish and idolatrous;" and with a Gothic barbarism, strange in a person with her Attic taste, commanded the clergy "to wash all pictures out of their walls." To this circumstance the painter Barry ascribes the backward state of the fine arts, which so long made us a by-word among the nations of Europe, and even induced the critical historian of the arts, Winkelman, to imagine that the climate of England presented an internal obstruction to the progress of art itself; it was too long supposed that no Englishman could ever aspire to be an artist of genius. The same principle which urged Ascham to denounce all Italian books, instigated his royal pupil "to wash out all pictures;" and even so late as the reign of George the Third, when the artists of England made a noble offer, gratuitously to decorate our churches with productions of their own composition, the Bishop of London forbade the glorious attempt to redeem English art from the anathema of foreign critics. Ascham, whose constitutional delicacy often impeded his studies, died prematurely. The parsimonious queen emphatically rated his value by declaring, that she would rather have lost ten thousand pounds--no part of which, during his life, the careless yet not the neglected Ascham ever shared.