But we will not confine our notice to assertions; we will exhibit at least some of the minor faults upon which our assertions are based,--for it would demand larger space than we could give to enter upon the illustration of the principal faults of the book. First, then, for inaccuracies of statement,--which are the less to be excused, as Mr. Harford had ample opportunity for correctness. For instance, in the description of the tombs of the Medici, Mr. Harford writes of the famous figures of Aurora and Twilight, Day and Night: "The four figures that adorn the tombs are allegorical; and they are specially worthy of notice, because they first set the example of connecting ornamental appendages of this description with funereal monuments. Introduced by so great an authority, this example was quickly followed throughout the whole of Europe." The carelessness of this assertion is curious. The custom of connecting allegorical figures with funereal monuments had prevailed in Italy for a long time before Michel Angelo. Perhaps the most striking and familiar instance, and one with which Mr. Harford must have been acquainted, is that afforded by the tombs of the Scaligeri at Verona, where, on the monument to Can Signorio, of the latter part of the fourteenth century, appear Faith, Hope, Charity, Prudence, and other allegorical figures. Again, in speaking of the old basilica of St. Peter's, he speaks of the unusual _Orientalism_ of this the principal church of Western Europe, whose entrance is towards the _east_ and the altar to the _west_. Now this _Orientalism_ is by no means unusual in the churches at Rome. Indeed, it seems to have been the rule of building for the early churches,--and Santa Maria Maggiore, San Giovanni Laterano, San Sebastiano, San Clemente, and innumerable others, exhibit it in their construction. The priest, officiating at the altar, which stood advanced into the church, looked toward the east. Again, Mr. Harford says, "The pencil of Giotto was employed by Benedict XII. in the year 1340"; but he does not tell us how the pencil answered the purpose for which it was employed in a hand other than its master's. Giotto died in 1336.