Not to render some account of the effect produced upon the minds of scholars in the fourteenth and fifteenth centuries by the sight of Roman ruins in decay, would be to omit an important branch of the subject I have undertaken. Yet this part of the inquiry leads us into a region somewhat different from that hitherto traversed in the present chapter, since it properly belongs to the history of enthusiasm. No small portion of the motive impulse that determined the Revival was derived from the admiration, curiosity, and awe excited by the very stones of ancient Rome. During the Middle Ages the right point of view for studying the architectural works of the Romans had been lost. History yielded ever more and more to legend, until at last it was believed that demons and magicians had suspended those gigantic vaults in air. Telesmatic virtues were attributed to figures carved on temple-fronts and friezes, while the great name of Virgil attached itself to what remained unhurt of Latin art in Rome and Naples.[103] The Rome of the _Mirabilia_ was supposed to be the handiwork of fiends constrained by poets of the bygone age with spells of power to move hell from its centre. This transference of interest from the real to the fanciful, from the substantial to the visionary, was characteristic of the whole attitude assumed by the mind in the Middle Ages. History, literature, and art alike submitted to the alchemy of the imagination.[104] At the same time the very grossness of these fables testified to the profound impression produced by the ruins of the Eternal City, and to the haunting magic of a memory surviving degradation and decay. When the Anglo-Saxon pilgrims returned from Rome in the eighth century, the fascination of the great works they had seen expressed itself in a memorable prophecy.[105] 'As long as the Coliseum stands, Rome shall stand; when the Coliseum falls, Rome will fall; when Rome falls, the world will fall.' [Footnote 103: The details of Virgil's romance occupy the first half of Comparetti's second volume on _Virgil in the Middle Ages_. For the English version of this legend see Thoms.] [Footnote 104: See above, pp. 38-49.] [Footnote 105: Gibbon, ch. lxxi.]