kind to see the qualities of complete sculpture: and that we may think of the Northern intellect as still like that of a child, who cares to picture its own thoughts in its own way, but does not care for the thoughts of older people, or attempt to copy what it feels too difficult. This much at least is certain, that for one cause or another, everything that now at Paris or London our painters most care for and try to realize, of ancient Rome, was utterly innocuous and unattractive to the Saxon: while his mind was frankly open to the direct teaching of Greece and to the methods of bright decoration employed in the Byzantine Empire: for these alone seemed to his fancy suggestive of the glories of the brighter world promised by Christianity. Jewellery, vessels of gold and silver, beautifully written books, and music, are the gifts of St. Gregory alike to the Saxon and Lombard; all these beautiful things being used, not for the pleasure of the present life, but as the symbols of another; while the drawings in Saxon manuscripts, in which, better than in any other remains of their life, we can read the people's character, are rapid endeavours to express for themselves, and convey to others, some likeness of the realities of sacred event in which they had been instructed. They differ from every archaic school of former design in this evident correspondence with an imagined reality. All previous archaic art whatsoever is symbolic and decorative—not realistic. The contest of Herakles
