70 



veller, how much of the labours of modern artists, since 

 the revival of letters and the Jiiie arts, in Europe, have 

 been dedicated to religious structures and sacred sub- 

 jects. But I shall find occasion to resume this topic. 

 Let us now proceed, to consider the operation of certain 

 grand historical events, on the Jine arts. 



It is observed, by the philosophical historian,* " The rise, 

 " progress, perfection and decline of the arts and sciences, 

 " are curious objects of contemplation, and intimately con- 

 " nected with the narration of civil transactions. The events 

 *' of no particular period can be accounted for, but b}' 

 " considering the degree of advancement men have made 

 " in these particulars. Those, who cast their eyes on the 

 " general relations of society, will find, that all the im- 

 " provements of the human mind had reached nearly to 

 " their state of perfection, about the , age of Augustus. 

 " There was a sensible decline from that period; and men, 

 " thenceforth, relapsed gradually into ignorance and bar- 

 " barism. The unlimited extent of the Roman empire, 

 " the consequent despotism of the monarchs, extinguished 

 " all emulation, debased the generous spirits of men, and 



depressed 



" The more to facilitate the reception of Christianity, Pope Gregory (sur- 

 " named the Great) enjoined Augustine to remove the idols from the Iieathen 

 " altars, but not to destroy the altars themselves; because the people (he 

 " said) would be allured to frequent Christian worship, when they found it 

 •' celebrated in a place which they were accustomed to revere as sacred. 

 " He also exhorted these missionaries to imitate the pagan festivals." Xoc 

 Hume, Vol. I. chap. i. 



* Hume, Hist. England, Vol. III. page 241, et seq. 



