For it must be remarked in justice of the Christian religion, that the Italian people never rose to the honors of originality in the beautiful arts till inspired by Christianity. The Art of ancient Rome was a second-hand copy of the original and airy Greek,--often clever, but never vivid and self-originating. It is to the religious Art of the Middle Ages, to the Umbrian and Florentine schools particularly, that we look for the peculiar and characteristic flowering of the Italian mind. When the old Greek Art revived again in modern Europe, though at first it seemed to add richness and grace to this peculiar development, it smothered and killed it at last, as some brilliant tropical parasite exhausts the life of the tree it seems at first to adorn. Raphael and Michel Angelo mark both the perfected splendor and the commenced decline of original Italian Art; and just in proportion as their ideas grew less Christian and more Greek did the peculiar vividness and intense flavor of Italian nationality pass away from them. They became again like the ancient Romans, gigantic imitators and clever copyists, instead of inspired kings and priests of a national development. The tones of the monk's morning hymn awakened both Agnes and Elsie, and the latter was on the alert instantly. "Bless my soul!" she said, "brother Antonio has a marvellous power of lungs; he is at it the first thing in the morning. It always used to be so; when he was a boy, he would wake me up before daylight, singing. "He is happy, like the birds," said Agnes, "because he flies near heaven." "Like enough: he was always a pious boy; his prayers and his pencil were ever uppermost: but he was a poor hand at work: he could draw you an olive-tree on paper; but set him to dress it, and any fool would have done better." The morning rites of devotion and the simple repast being over, Elsie prepared to go to her business. It had occurred to her that the visit of her brother was an admirable pretext for withdrawing Agnes from the scene of her daily traffic, and of course, as she fondly supposed, keeping her from the sight of the suspected admirer. Neither Agnes nor the monk had disturbed her serenity by recounting the adventure of the evening before. Agnes had been silent from the habitual reserve which a difference of nature ever placed between her and her grandmother,--a difference which made confidence on her side an utter impossibility. There are natures which ever must be silent to other natures, because there is no common language between them. In the same house, at the same board, sharing the same pillow even, are those forever strangers and foreigners whose whole stock of intercourse is limited to a few brief phrases on the commonest material wants of life, and who, as soon as they try to go farther, have no words that are mutually understood.