It may be shown, however, in opposition to the former of these opinions, that in Italy neither the mo numents of ancient taste were destroyed, nor the re mains of living science exterminated by her conquer ors; and that, in the various principalities into which this country was separated, the arts were never en tirely, forgotten, but, on the contrary, were cultivated, and by natives. The couquerors of this fairest por tion of the empire were less ignorant and brutal than those by whom the distant provinces were finally oc cupied. They had been reared in the armies of Rome —they spoke her language—they venerated her gran deur. When the fury of contest had passed, therefore, when conquest was secure, they Were more disposed to encourage than to suppress the useful arts, or ele gant studies of their more cultivated, but unwarlike subjects. These acquirements in fact added to their splendour; and the earliest erections of the Gothic chiefs are evident though rude imitations of works of the Caesars. Of these princes also we have still re maining several mandates prohibiting the destruction of ancient buildings, and offering encouragement to those who could repair or imitate them. Of these (fforts in architecture and in sculpture, for these arts were inseparable, a series we have stated might easily be selected, uniting the reign of the last of the emper ors with the establishment of the first of the modern republics. That these essays, such as they are, were the productions of native Italians, the names of the architects or sculptors, Bonani, Diotisalvi, Antelztmt, Beduini, Gramonti, Viligelmi, and many others, all living previous to the twelfth century, furnish evi dence.
In regard to the latter assertion that Italy borrow ed her rem iving arts from the rival capital, it appears that so far limn advancing the progress of western art, Constantinople could send forth no artists supe rior to those who flourished in the same age in Italy. During the thirteenth and fourteenth century, Dante, Petrarch, Boccacio, in energy of intellect far trans cend any name which adorns the eastern empire; the country which could produce and relish these had surely nothing to fear from a rivalry in talent. Still more to our present purpose a more numerous and ingenious population, greater and more useful indus try animated the Italian republics of this era, than were contained within the pale of the Byzantine em pire. The fall of its capital so far front advancing the progress of western art, took place alter many of the happiest eflbt is of modern genius had already been accomplished. Sculpture had created works which have since been declared woi thy of paradise; architec ture had reared on the banks of the Arno the first dome of modern times—the exemplar of that edifice the most majestic ever reared by human skill.
Is there then no source whence we may derive mo dern sculpture at once consistent with the veracity of history, with the philosophy of art itself, and with the condition of mankind? Revolutions or improve merits which deeply and permanently affect the habits or character of a people can be promoted by great in ternal changes only. For such then we must search
in the present instance, and shall be able to discover another proof of the constant intimacy existing be tween the social happiness, the moral dignity of man, and his progress in refinement.
The subjugation of the western empire might have proved an event in the highest degree fortunate for Europe. In every part of the Roman dominion the powers of' genius, moral worth, social virtue, all that dignifies man's nature, had long rapidly declined. The engrafting then of the rude but honest virtues and energetic character of their conquerors upon the refinement that yet remained to the Italians, would have wrought a material improvement. A new im pulse would have been given, and civilization would have recommenced as from a new era. Unhappily for this reciprocal melioration, throughout the wide extent of these conquests, the feudal government was uniformly established; than which no system could be more directly opposed to individual happiness or ge neral improvement among the people. The affections and the energies of the human heart were alike be numbed where the human race acknowledged the sole relation of tyrant and slave, or its sympathies were roused only in deeds of violence and of lawless power. A deathlike depression overspread the empire of in telligence. Some vital change could alone break the dismal solitude of the mind, and restore its nobler faculties to activity. Accordingly, when about the commencement of the eleventh century, the cities of Italy threw off the the yoke of feodality, and proclaim ed themselves independent, the sound of liberty broke !he unhallowed calm—the waters were moved—the healing influence was shed abroad—cleansing from mental degradation and political debasement. In the train of freedom sculpture and the arts appeared among the earliest attendants. The moral history of these republican cities presents indeed an agreeable and brilliant contrast to their political annals. The latter exhibit a fearful record of the turbulence, vacil lation, and injustice of popular authority and licen tious liberty. In the former are strongly illustrated by their effects, those generous and dignified princi ples of legislation, which originate riot in artificial systems, but in the heart and constitution of man— which interest the noblest feelings in defence of the dearest rights.
The arts, as moral causes of powerful efficacy, and as pursuits of general concern, were from the first cultivated with ardour. Their labours, especially those of sculpture, were, from the earliest, dedicated to the service of religion; next exercised on public works, uniting utility with magnificence; and finally, consecrated to embalm the memory of patriotic deeds and virtuous characters. While his acquirements were thus prized, the intelligent artist was honoured as the ornament of his country. Reciprocal sympa thies thus gave and received inspiration.