the fifteenth century there appears to have been an
almost universal rage for classical literature, and we believe some
attempt was made to introduce Latin as a universal language; it is certain
that Italian Art was adopted by nation after nation, and a well known
writer on architecture (Mr. Parker) has observed:--"It was not until the
middle of the nineteenth century that the national styles of the different
countries of Modern Europe were revived."

As we look back upon the history of Art, assisted by the numerous examples
in our Museums, one is struck by the want of novelty in the imagination of
mankind. The glorious antique has always been our classic standard, and it
seems only to have been a question of time as to when and how a return was
made to the old designs of the Greek artists, then to wander from them
awhile, and again to return when the world, weary of over-abundance of
ornament, longed for the repose of simpler lines on the principles which
governed the glorious Athenian artists of old.

The Renaissance in Italy.

Italy was the birthplace of the Renaissance. Leonardo da Vinci and
Raffaele may be said to have guided and led the natural artistic instincts
of their countrymen, to discard the Byzantine-Gothic which, as M. Bonnaffe
has said, was adopted by the Italians not as a permanent institution, but
"faute de mieux" as a passing fashion.

It is difficult to say with any certainty when the first commencement of a
new era actually takes place, but there is an incident related in Michael
Bryan's biographical notice of Leonardo da Vinci which gives us an
approximate date. Ludovico Sforza, Duke of Milan, had appointed this great
master Director of Painting and Architecture in his academy in 1494, and,
says Bryan, who obtained his information from contemporary writers,
"Leonardo no sooner entered on his office, than he banished all the Gothic
principles established by his predecessor, Michelino, and introduced the
beautiful simplicity and purity of the Grecian and Roman styles."

A few years after this date, Pope Julius II. commenced to build the
present magnificent Church of St. Peter's, designed by Bramante d'Urbino,
kinsman and friend of Raffaele, to whose superintendence Pope Leo X.
confided the work on the death of the architect in 1514, Michael Angelo
having the charge committed to him some years after Raffaele's death.

These dates give us a very fair idea of the time at which this important