submit a few observations on its progress in this country, and, where possible, on the artists by whom it was practised.
In tracing the history of the arts, generally, from their fall to their revival, the transition from pagan idolatry to the Christian religion, we are naturally induced to reflect on the similarity of causes to which they owed at once their destruction and regeneration.
We owe the revival of the arts wholly to religion; but Christianity, which had made great progress in the third century, notwithstanding its persecution, had scarcely ascended the throne of the Cæsars, when the Christians in their turn became the persecutors; these again became divided, new sects arose, and their consequent antipathies led to universal bigotry. A country so divided became an easy prey to the invader, and degeneracy in civil habits increased, until the pure principles of Christianity were lost in superstition.
These dissensions are the more to be lamented, as Art, and Sculpture more especially, gave promise, under the first emperors who had embraced Christianity, if not of being restored, at least of being sustained with no mean effect.
That Art owes much to the pious regard which all nations have shewn to the dead, the Athenian states offer abundant examples, as also Rome and its colonies, whilst the vast necropolis, lately discovered in the country of the Volscii, the extent of which is yet unknown, displays a degree of magnificence and care for the preservation of the dead, quite astonishing.
This consideration was the more extraordinary, as, though their heroes, it is true, were canonized and presumed to be ever near them, the ethnic doctrines represented death as everlasting sleep; but, when the mysteries of religion became revealed to us, and resurrection assured, through the merits of our Saviour, a new sense arose and a new feeling towards the dead, and the subterraneous depositories, as may be seen in the earliest crypts of Italy, attest the early and firm belief in a future state, in the numerous representations of the raising of Lazarus.
The subjects most usually treated in these early monuments, are, Christ as the good Shepherd, Christ giving His commands to the Apostles, and the Sacrifice by Abraham.
Many of these works were produced by the best sculptors of the age, they are well composed, and executed with great freedom. The prevalent taste was indeed formed on the study
