=English Exploration.=--The “Revival of Learning” had been followed in England by a continuous fondness for Greek and Roman literature. Milton, as late as 1654, was writing his political tracts in Latin; and, although such use of the language was abandoned, a familiarity with Latin and at least some acquaintance with Greek continued through the rest of this century and the following one to be the ordinary mark of an educated gentleman. In 1647 Dryden popularised the Æneid of Virgil by translating it, and in 1720 Pope produced his translation of Homer’s Iliad. For the promotion of arts and letters the Dilettanti Society was founded in 1734; and some twenty years later financed the archæological exploration of Stuart and Revett in Greece. Their work, “Antiquities of Athens,” was published in 1762. One of the results of the interest it created was the acquisition through Lord Elgin of the bulk of the sculpture of the Parthenon and a caryatid and column from the Erechtheion which were purchased by the Government (1801-1803). These in turn prompted the researches of the architect, H. W. Inwood, who published in 1831 his study of the “Erechtheion.” =Winckelmann’s Critical Studies.=--Meanwhile in Germany Winckelmann had given to the world in 1763, practically at the same time as the appearance of the work of Stuart and Revett, his famous “History of Art.” The product of thirteen years of study of the antique sculptures in Rome, by one who was a profound classical scholar as well as a man of remarkable independence and extraordinary critical faculty, this work, for the first time, made exact distinction between Greek and Roman examples, established a basis of sound criticism, and analysed the characteristic quality of Greek art. This Winckelmann found to consist in a relation between the whole and the parts, so completely harmonious and so balanced and controlled by refined feeling that, if one quality can be selected as typical of Greek work, it is _repose_. The influence of Winckelmann’s work and that of Stuart and Revett was reciprocal in the two countries. But that the functions of Greek sculpture and Greek architecture were also reciprocal escaped observation. Even [Illustration: LA MADELEINE, PARIS P. 443] [Illustration: ST. GEORGE’S HALL, LIVERPOOL P. 438] [Illustration: PANTHEON, PARIS BY J. J. SOUFFLOT. P. 442] [Illustration: ARC DE L’ETOILE, PARIS P. 443] [Illustration: OPERA HOUSE, PARIS BY CHARLES GARNIER. P. 444] [Illustration: © Detroit Photographing Co STATE HOUSE, BOSTON BY CHARLES BULFINCH. P. 448] [Illustration: CAPITOL AT WASHINGTON ORIGINAL CENTRAL PORTION BY WILLIAM THORNTON, ADVISED BY B. H. LATROBE AND CHARLES BULFINCH. WINGS AND DOME ADDED 1851 TO 1865. P. 446] [Illustration: CITY HALL, NEW YORK BY MANGIN. LOUIS XVI STYLE. P. 448] [Illustration: Courtesy Bertram Grosvenor Goodhue ST. THOMAS, NEW YORK BY CRAM, GOODHUE AND FERGUSON. P. 453] [Illustration: HOUSES OF PARLIAMENT