came Joseph Scaliger, akin, on the literary side of his work, to the Italian scholars, but more characteristically occupied in the endeavour to frame a critical chronology of the ancient world; Casaubon, the first who popularized a connected knowledge of ancient life and manners; Bentley, active primarily in the emendation of texts, but also in the higher criticism of classical history and literature; then a long series of eminent names, too long to enumerate, which extends from the days of Porson and Elmsley, of Hermann and Lachmann, to those of Mommsen. Within the last fifty years, many special branches of classical study have either sprung into existence, or become more methodical; comparative philology; epigraphy; palæography; archæology in all its departments. In quite recent times, the exploration of ancient sites, stimulated by, and in turn stimulating, archæological research, has yielded results of fascinating interest. All these developments have lent new life and freshness to classical studies generally: they have given a more vivid reality to antiquity. The ideal of humanism has thus been reinforced in a manner which brings back to us something of the spirit which animated the Renaissance when it was largest and most vigorous. For the enthusiasm of the Renaissance was nourished by the monuments of classical art scarcely less than by the masterpieces of literature. Each statue that was disinterred from Italian soil, every stone or coin or gem that could help to illustrate the past, became a source of delight
