Italy, exposed as it is to attacks from beyond, and no longer situated in the centre of the known world, has definitively lost its _primato_, or foremost place amongst nations, which some of its sons, carried away by an exclusive patriotism, {188} would restore to it. But though no longer the most powerful nation, and eclipsed in industry, commerce, and even literature and science, it still remains unrivalled in its treasures of art. There is no other country in the world which can boast of an equal number of cities remarkable on account of their buildings, statues, paintings, and decorations of every kind. There are provinces where every village, every group of houses even, delights the eye either by a fresco painting or a work of the sculptor’s chisel, a bold staircase or picturesque balcony. The instinct for art has passed into the blood of the people, and we need not wonder if an Italian peasant builds his house and plants his trees so as to bring them into harmony with the surrounding landscape. This constitutes the greatest charm of Italy; everywhere art goes hand in hand with nature. How many artists are there not in Lombardy, Venetia, or Tuscany who would have become famous in any other country, but whose names will never be remembered, in consequence of their overwhelming numbers, or because their lot was cast in some remote village ! Italy owes the rank it has held for more than two thousand years not merely to its monuments and works of art, which attract students from the extremities of the earth, but also to its historical associations. In a country which has been inhabited for centuries by a civilised people there cannot be a town the origin of which is not lost in the darkness of tradition. The modern cities have replaced the Roman towns, and these latter rose upon the ruins of some Greek, Etruscan, or Gallic settlement. Every fortress, every country house, marks the site of some ancient citadel, or of the villa of a Roman patrician; churches have replaced the ancient temples, and though the religious rites have changed, the altars of gods and saints arise anew in the spots consecrated of old. An examination of these relics of all ages is full of interest, and only the most obtuse can resist the influence of the historical reminiscences which surround him.