lost the chance of one of those famous friendships the very tradition of which becomes a stimulus to culture, and exercises an imperishable influence.
In one of the frescoes of the Vatican, Raffaelle has commemorated the tradition of the Catholic religion. Against a strip of peaceful sky, broken in upon by the beatific vision, are ranged the great personages of Christian history, with the Sacrament in the midst. The companion fresco presents a very different company, Dante alone appearing in both. Surrounded by the muses of Greek mythology, under a thicket of myrtles, sits Apollo, with the sources of Castalia at his feet. On either side are grouped those on whom the spirit of Apollo descended, the classical and Renaissance poets, to whom the waters of Castalia come down, a river making glad this other city of God. In this fresco it is the classical tradition, the orthodoxy of taste, that Raffaelle commemorates. Winckelmann's intellectual history authenticates the claims of this tradition in human culture. In the countries where that tradition arose, where it still lurked about its own artistic relics, and changes of language had not broken its continuity, national pride might often light up anew an enthusiasm for it. Aliens might imitate that enthusiasm, and classicism be-
