Mr. Fergusson, though an opponent of its revival, thus speaks of Gothic architecture:--“Not even the great Pharaonic era in Egypt, the age of Pericles in Greece, nor the great period of the Roman empire, will bear comparison with the thirteenth century in Europe, whether we look to the extent of the buildings executed, their wonderful variety and constructive elegance, the daring imagination that conceived them, or the power of poetry and lofty religious feeling that is expressed in every feature and in every part of them.” And again, while speaking of its sculpture, which is not usually considered as its strongest point, he remarks:--“The great cathedrals of Chartres and Rheims even now retain some 5000 figures scattered about or grouped together in various parts, beginning with the history of the creation of the world and all the wondrous incidents of the first chapter of Genesis, and then continuing the history through the whole of the Old Testament. In these sculptures the story of the redemption of mankind is told, as set forth in the New, with a distinctness and at the same time with an earnestness almost impossible to surpass. On the other hand, ranges of statues of kings of France and other popular potentates, carry on the thread of profane history to the period of the erection of the cathedral itself. Besides these, we have, interspersed with them, the whole system of moral philosophy, as illustrated by the virtues and vices, each represented with an appropriate symbol, and the reward or punishment its invariable accompaniment. In other parts are shown all the arts of peace, every process of husbandry in its appropriate season, and each manufacture or handicraft in all its principal forms. Over all these are seen the heavenly hosts, with saints, angels, and archangels. All this is so harmoniously contrived and so beautifully expressed, that it becomes a question even now whether the sculpture of these cathedrals does not excel the architecture.” Noble and exquisite, however, as it was, it at length ran its course; and, by some uncontrollable movement of the human mind, it gave way to what the world had, till then, never witnessed--a resuscitated style. I will not attempt to philosophise on this new phenomenon in art. It seems to have originated in a double cause; firstly, the very natural pride felt by the Italians in the antique monuments of their own land and their own race; and, secondly, in the appreciation of these antique monuments which was engendered and fostered by the revived love of classical literature.