Monuments are referable to two distinct classes: those which are intended to recall the memory of life, properly called monuments; and those which are intended to induce veneration of death, properly called shrines or sepulchres. To the first we intrust the glory, to the second the ashes, of the dead. The monument and the shrine are sometimes combined, but almost invariably, with bad effect; for the very simple reason, that the honour of the monument rejoices; the honour of the sepulchre mourns. When the two feelings come together, they neutralise each other, and, therefore, should neither be expressed. Their unity, however, is, when thus unexpressed, exquisitely beautiful. In the floor of the church of St. Jean and Paul at Venice, there is a flat square slab of marble, on which is the word "Titianus." This is at once the monument and the shrine; and the pilgrims of all nations who pass by feel that both are efficient, when their hearts burn within them as they turn to avoid treading on the stone.
But, whenever art is introduced in either the shrine or the monument, they should be left separate. For, again, the place of his repose is often selected by the individual himself, or by those who loved him, under the influence of feelings altogether unconnected with the rushing glory of his past existence. The grave must always have a home feeling about its peace; it should have little connexion with the various turbulence which has passed by for ever; it should be the dwelling-place and the bourne of the affections, rather than of the intellect, of the liv-
