To make nice distinctions between one word and another, to separate subjects by infinite divisions, not as the real nature of things, but as fancy directed, and to draw conclusions with no moral end in view, were the pursuits of the schoolmen. The decrees of the councils of the Church of Rome, its edicts and ceremonial and ritual observances, were scrupulously regarded instead of obedience to the pure and practical elements of Christianity. Classical learning was entirely neglected. Here is the feature of Roman church history which infidels have endeavored to use falsely against _even Rome_, to wit: the opposition of the churchmen of those times to _classical learning_. This was considered dangerous to true piety, and calculated to corrupt the pure theology of the gospel, because the orators of Greece and Rome were regarded as blind guides of erring reason and seducers to the paths of sin and destruction. Virgil and Horace were looked upon merely as the advocates of a profane and idolatrous mythology, and Cicero was regarded as a vain declaimer, impiously elated with the talent of Pagan eloquence, but the infidel charge that the church has always been in the way of scientific education, _expressed in unqualified terms_, is simply false in fact. That there was a time when she was opposed to classical learning is a well attested fact, but she, at the same time, taught and operated in universities and monasteries, as stated above. The first dawnings of modern literature are seen in connection with the cultivation of the language of Provence and the productions of the Troubadours. The first great teacher in this connection was William, Count of Poiton, a nobleman, distinguished by his powers in the crusades. Many of the men of note who were in the crusades, were of his character. Their writings upon the topics of war, gallantry, satire and history, first roused Europe from her ignorance and lethargy, first taught her to think and reflect and judge upon subjects of imagination. The Troubadours sustained the middle place between Gothic ignorance and Italian excellence, and literature is indebted to them for rearing the first fruits of European genius and inspiring the moderns with the love of poetry. Their influence and language spread over all the countries of Europe. Their bards were in the courts of kings and the castles of barons. The commencement of the crusades and the beginning of the fifteenth century, mark the limits of their fame. Their romance had its rise in the manners of chivalry, and fell into disrepute when chivalry declined. In the fourteenth century men of intellectual genius in Italy resolved to cultivate their own native language and to combine with its grandeur the charms of imagination and the acquirements of classical learning. The poetry of the Tuscan school, the works of Dante, Ariosto, Boccio and Petrarch, have never yet been excelled by four succeeding centuries of genius and literature. The way was open for the revival of