rigid stone with living forms, and inserting living senses within the breathing marble. We see the movement, the wrath and pain, and almost hear the groans. Illustrious Rhodes begot you of old. Long the glories of your art lay hid, but Rome beholds them again in a second dawn, and celebrates them with many voices, in fresh acknowledgment of the old labor. How much nobler, then, to extend our fates by art or toil than to swell pride and wealth and empty luxury. (Leodegarii a Quercu Farrago Poematum, T. ii.) Gruter has introduced this poem with another one of Sadolet into his well-known collection, but with many errors. (Delic. Poet. Italorum. Parte alt.) Note 16, p. 45. De la Peinture, tome iii. p. 516. C’est l’horreur que les Troïens ont conçue contre Laocoon, qui était nécessaire à Virgile pour la conduite de son poëme; et cela le mène à cette description pathétique de la destruction de la patrie de son héros. Aussi Virgile n’avait garde de diviser l’attention sur la dernière nuit, pour une grand ville entière, par la peinture d’un petit malheur d’un particulier. Note 17, p. 51. I say it is possible, but I would wager ten against one that it is not so. Juvenal is speaking of the early days of the republic, when splendor and luxury were yet unknown, and the soldier put whatever gold and silver he got as booty upon his arms and the caparisons of his horse. (Sat. xi.) Tunc rudis et Grajas mirari nescius artes Urbibus eversis prædarum in parte reperta Magnorum artificum frangebat pocula miles. Ut phaleris gauderet equus, cælataque cassis Romuleæ simulacra feræ mansuescere jussæ Imperii fato, geminos sub rupe Quirinos, Ac nudam effigiem clypeo fulgentis et hasta, Pendentisque Dei perituro ostenderet hosti.