appeared so intimately connected with the moral qualities of those who lived in the heart of war, a war of single combats, that generosity, fierceness, command, and height of stature, seemed inseparable, ere intellectual religion had throned man's potency in his soul. As the gods wore our shape, every attribute appears symbolical: the "brawns of Hercules" suggest no recollections of vulgar life, but of divine, almighty will, clothed in supernatural grandeur. Corinne and Oswald finished their day by visiting the studio of the great Canova. The statues gained much from being seen by torchlight, as the ancients must have thought, who placed them in their Thermes, inaccessible to the day. A deeper shade thus softens the brilliant uniformity of the marble: its pallor looks more like that of life. At that time Canova had just achieved an exquisite figure, intended for a tomb; it represented Grief leaning on a Lion. Corinne detected a resemblance to Nevil, with which the artist himself was struck. Our Englishman turned away his head, to avoid this kind of attention, whispering to his beloved: "Corinne, I believed myself condemned to this eternal grief ere I met you, who have so changed me, that sometimes hope, and always a delicious agitation, pervades the heart that ought to be devoted to regret." CHAPTER III. In painting, the wealth of Rome surpasses that of the rest of the world. Only one point of discussion can exist on the effect which her pictures produce--does the nature of the subjects selected by Italy's great masters admit the varied originality of passion which painting can express? The difference of opinion between Oswald and Corinne on this point, as on others, sprung but from the difference of their countries and creeds. Corinne affirmed that Scripture subjects were those most favorable to the painter; that sculpture was the Pagan's art, and painting the Christian's; that Michael Angelo, the painter of the Old, and Raphael, that of the New Testament, must have been gifted with sensibility profound as that of Shakspeare or Racine. "Sculpture," she said, "can present but a simple or energetic life to the eye, while painting displays the mysteries of retirement and resignation, and makes the immortal spirit speak through the fleeting colors. Historical facts, or incidents drawn from the poets, are rarely picturesque. One had need, in order to understand them, to keep up the custom of writing the speeches of their personages on ribbons rolling from their mouths. But religious pieces are instantly comprehended by the whole world; and our attention is not turned from the art, in order to divine their meaning.