no artist of modern times can produce forms in any degree comparable. Their paintings, according to Pliny and Pausanias, were full of delicacy and harmony; and some even were powerfully pathetic, so as to awaken, like tender music or tragic poetry, the most overwhelming emotions. We are accustomed to conceive the painters of the sixteenth century, as those who have brought their art to the highest perfection, probably because none of the ancient paintings have been preserved. For all the inventive arts maintain, as it were, a sympathetic connexion between each other, being no more than various expressions of one internal power, modified by different circumstances, either of an individual, or of society; and the paintings of that period would probably bear the same relation as is confessedly borne by the sculptures to all succeeding ones. Of their music we know little; but the effects which it is said to have produced, whether they be attributed to the skill of the composer, or the sensibility of his audience, are far more powerful than any which we experience from the music of our own times; and if, indeed, the melody of their compositions were more tender and delicate, and inspiring, than the melodies of some modern European nations, their superiority in this art must have been something wonderful, and wholly beyond conception.
Their poetry seems to maintain a very high, though not so disproportionate a rank, in the comparison. Perhaps Shakespeare, from the variety and comprehension of his genius, is to be considered, on the whole, as the greatest individual mind, of which we have specimens remaining. Perhaps Dante created imaginations of greater loveliness and energy than any that are to be found in the ancient literature of Greece. Perhaps nothing has been discovered in the fragments of the Greek lyric poets equivalent to the sublime and chivalric sensibility of Petrarch.—But, as
