true position must be regarded with earnest interest, and importance
must be attached to that which aids him in attaining to his true plane.

Such aid may be, and is, derived from the influences of Italy. Of those
agencies which have a direct influence upon the action of the artist,
which serve to assist him in manifesting his idea and fulfilling his
purpose, mention will be made in connection with the works which have
been produced in Italian studios. They have less importance than that
great element related to the innermost of the artist's life,--to that
power of which we have spoken, making Art-action necessary.

It is not, however, exclusively antique Art which exercises this power
of elevation. Ancient Art may be a better term; as all great Art bears
a like relation to the student. In Florence the mediaeval influences
predominate. Rome exercises _its_ power through the medium of the
antique.

There is much Christian Art in Rome. Yet its effect is insignificant,
compared with that of the vast collection of Greek sculptures to be
found within its walls. Instinctively, as the vague yearnings and
prophecies of youth lift him in whom they quicken away from youth's
ordinary purposes and associations, his thought turns to that far city
where are gathered the achievements of those who were indeed the gods of
Hellas. To be there, and to demand from those eloquent lips the secret
of the golden age, is his dream and aim, and there shall be solved the
problem of his life.

But antique Art, waiting so patiently twenty centuries to afford aid to
the artist, waits also to sit in judgment upon his worth and acts. Woe
to him who cannot pass the ordeal of its power, and explain the enigma