1 See Appendix, "Historical Notes," No. xxvIII. [Between stanzas cxxxv. and cxxxvi. we find in the original MS. the following:

"If to forgive be heaping coals of fire

As God hath spoken on the heads of foes,
Mine should be a volcano, and rise higher
Than, o'er the Titans crush'd, Olympus rose,
Or Athos soars, or blazing Etna glows:-
True, they who stung were creeping things; but w
Than serpents' teeth inflicts with deadlier throes?
The Lion may be goaded by the Gnat. -

Who sucks the slumberer's bicod?— The Eagle?—No:

the Bat."

3 Whether the wonderful statue which suggested this image be a laquearian gladiator, which, in spite of Winkelmann's criticism, has been stoutly maintained; or whether it be a Greek herald, as that great antiquary positively asserted; or whether it is to be thought a Spartan or barba

* Either Polifontes, herald of Laius, killed by Edipus; or Cepreas, herald of Euritheus, killed by the Athenians when he endeavoured to drag the Heraclidæ from the altar of mercy, and in whose honour they instituted annual games, continued to the time of Hadrian; or Anthemocritus, the Athenian herald, killed by the Megarenses, who never recovered the impiety. See Storia delle Arti, &c. tom. ii. pag. 203, 204, 205, 206, 207. lib. ix, cap. ii.

rian shield-bearer, according to the opinion of his Italian editor; it must assuredly seem a copy of that masterpiece of Ctesilaus which represented "a wounded man dying, who perfectly expressed what there remained of life in him." Montfaucon and Maffei thought it the identical statue; but that statue was of bronze. The Gladiator was once in the Villa Ludovizi, and was bought by Clement XII. The right art is an entire restoration of Michael Angelo.

1, See Appendix, "Historical Notes," Nos. XXIX. XXX. 3 Suetonius informs us that Julius Cæsar was particularly gratified by that decree of the senate which enabled him to wear a wreath of laurel on all occasions. He was anxious, not to show that he was the conqueror of the world, but to hide that he was bald. A stranger at Rome would hardly have guessed at the motive, nor should we without the help of the historian.

This is quoted in the "Decline and Fall of the Roman Empire," as a proof that the Coliseum was entire, when seen by the Anglo-Saxon pilgrims at the end of the seventh, or the beginning of the eighth, century. A notice on the Coliseum may be seen in the " Historical Illustrations," p. 263. 3 1 Though plundered of all its brass, except the ring

Full swells the deep pure fountain of young life, Where on the heart and from the heart we took Our first and sweetest nurture, when the wife, Blest into mother, in the innocent look, Or even the piping cry of lips that brook No pain and small suspense, a joy perceives Man knows not, when from out its cradled nook She sees her little bud put forth its leaves – What may the fruit be yet? I know not - Cain was Eve's.

which was necessary to preserve the aperture above; though exposed to repeated fires; though sometimes flooded by the river, and always open to the rain, no monument of equal antiquity is so well preserved as this rotundo. It passed with little alteration from the Pagan into the present worship; and so convenient were its niches for the Christian altar, that Michael Angelo, ever studious of ancient beauty, introduced their design as a model in the Catholic church." Forsyth's Italy, p. 137. 2d edit.

6 The Pantheon has been made a receptacle for the busts of modern great, or, at least, distinguished, men. The flood of light which once fell through the large orb above on the whole circle of divinities, now shines on a numerous assem. blage of mortals, some one or two of whom have been almost deified by the veneration of their countrymen. For a notice of the Pantheon, sce" Historical Illustrations," p. 287.

7 This and the three next stanzas allude to the story of the Roman daughter, which is recalled to the traveller by the site, or pretended site, of that adventure, now shown at the church of St. Nicholas in Carcere. The difficulties attending the full belief of the tale are stated in "Historical Illustrations," p. 295.

1 The castle of St. Angelo. "See Historical Illustrations." 2 [This and the six next stanzas have a reference to the church of St. Peter's. For a measurement of the comparative length of this basilica and the other great churches of Europe, see the pavement of St. Peter's, and the Classical Tour through Italy, vol. ii. p. 125. et seq. ch.iv.]

3 ["I remember very well," says Sir Joshua Reynolds, "my own disappointment when I first visited the Vatican; but on confessing my feelings to a brother student, of whose ingenuousness I had a high opinion, he acknowledged that the works of Raphael had the same effect on him, or rather that they did not produce the effect which he expected. This was a great relief to my mind; and, on inquiring further of other students, I found that those persons only who, from natural imbecility, appeared to be incapable of relishing those divine performances, made pretensions to instantaneous rap. tures on first beholding them.-My not relishing them as I

was conscious I ought to have done, was one of the most humiliating circumstances that ever happened to me; 1 fours! myself in the midst of works excented upon principles with which I was unacquainted: I felt my ignorance, and stood abashed. All the indigested notions of painting which I bai brought with me from England, where the art was in the lowest state it had ever been in, were to be totally done away and eradicated from my mind. It was necessary, as it is ex pressed on a very solemn occasion, that I should become as a little child. Notwithstanding my disappointment, I proceeded to copy some of those excellent works. I viewed them agua and again; I even affected to feel their merit and admir them more than I really did. In a short time, a new taste and a new perception began to dawn upon me, and I was convinced that I had originally formed a false epinics of the perfection of the art, and that this great painter was well entitled to the high rank which he holds in the admiration of the world."]

Their work on both; some suffering and some tears
Have left us nearly where we had begun :
Yet not in vain our mortal race hath run;
We have had our reward—and it is here,-
That we can yet feel gladden'd by the sun,

1 Mary died on the scaffold; Elizabeth of a broken heart; Charles V. a hermit; Louis XIV. a bankrupt in means and glory; Cromwell of anxiety; and, "the greatest is behind," Napolcon lives a prisoner. To these sovereigns a long but superfluous list might be added of names equally illustrious and unhappy.

2 The village of Nemi was near the Arician retreat of Egeria, and, from the shades which embosomed the temple of Diana, has preserved to this day its distinctive appellation

of The Grove. Nemi is but an evening's ride from the comfortable inn of Albano.

3 The whole declivity of the Alban hill is of unrivalled beauty, and from the convent on the highest point, which has succeeded to the temple of the Latian Jupiter, the prospect embraces all the objects alluded to in this stanza; the Mediterranean; the whole scene of the latter half of the Eneid, and the coast from beyond the mouth of the Tiber to the headland of Circæum and the Cape of Terracina. - See Appendix, "Historical Notes," No. xxxI.