conceptions are not invested with the sublimity of ideal elevation, the beautiful models of real existence are imitated not unsuccessfully. Were the extent and object of art confined to simple imitation, the aim of the sculptor would now nearly be attained. Yet, judging even by the principles of the most refined criticism, one department, during the fifteenth century, acquired a perfection which has not been surpassed, rarely equalled, in succeeding times. Donatello and Ghiberti, the former in high, the latter in low relief, have left models which it does not easily appear possible to excel. The best of these are Donatello's, in the church of San Lorenzo, representing the most memorable events in the life of the Saviour; and Ghiberti's, already noticed, on the gates of the baptistry at Florence. The subjects seem to have imparted to the genius of the sculptors a portion of their own sacred dignity, and calm and holy feeling. Indeed, to the influence of religious impressions, we attribute, to a great degree, the improvement of sculpture during this age, the principal undertakings being from Scripture. CHAPTER VII. NOTWITHSTANDING the very considerable attainments already exhibited, to the perfection of Sculpture, there yet wanted greater ease and grace of execution, more perfect and elevated expression, more refined selection of form and composition,--more, in short, of that heightening charm which fancy lends to reality--of that which constitutes the poetry, not the fiction, of art. The first blush of the times, too, at the commencement of the sixteenth century, seemed to promise a most propitious era for the accomplishment of these remaining improvements. In Italy, yet the only fixed and native seat of art, a spirit of refinement and love of elegance, a high and general respect for art, pervaded all ranks. Universal activity, also, and energy of character, growing out of the conscious dignity of independence, animated the republican cities. Each vied with its neighbour in the splendour of public buildings, and in munificence of patronage. Florence, indeed, from her peculiar advantages and superior opulence, sooner distanced rivalry; but her schools were open to all, and her Medici, the most enlightened of patrons, were as yet but merchants and simple citizens. In those states, too, where free and popular government was not established, kings and princes affected to love and encourage the arts. Literature, in most of the countries of Europe, had spread its lights around; the ancient models of eloquence were known, at least in their precepts, to all who laboured in the fields of genius; and even in sculpture, some of the most breathing fragments had been, or in the course of the century, were restored to day. The stir of spirit had penetrated even the recesses of papal domination and priestly ease. Means of empire were now to be essayed more congenial to the complexion of the times, and to the minds of men, than