higher principles of art to perceive that to Pompeii the story should be rigidly confined.
Placed in contrast with the mighty pomp of Rome, the luxuries and gaud of the vivid Campanian city would have sunk into insignificance. Her awful fate would have seemed but a petty and isolated wreck in the vast seas of the imperial sway; and the auxiliary I should have summoned to the interest of my story, would only have destroyed and overpowered the cause it was invoked to support. I was therefore compelled to relinquish an episodical excursion so alluring in itself, and, confining my story strictly to Pompeii, to leave to others the honour of delineating the hollow but majestic civilization of Rome.
The city, whose fate supplied me with so superb and awful a catastrophe, supplied easily from the first survey of its remains, the characters most suited to the subject and the scene; the half Grecian colony of Hercules, mingling with the manners of Italy so much of the costumes of Hellas, suggested of itself the characters of Glaucus and Ione. The worship of Isis, its existent fane, with its false oracles unveiled; the trade of Pompeii with Alex-
