While each individual in such a Church would have a recognized share of responsibility, and an acknowledged duty to his fellows, the clergy would be leaders and agents in every work of practical humanity, and would find their field of pastoral occupation enlarged in proportion to the narrowing of that of pulpit duty.

Whatever of good or beauty or power legitimately belongs to the actual Church would inhere in greater measure in a Church which would neglect no means suited to the development of religious character and life, would be constrained by no formalities, and would not suffer itself to be deprived of the use of any rational mode of influence upon the sentiments and the imagination, or of appeal to the spirit of man. All art, every beneficent or beautiful form of life, would belong to it by right. Proceeding from a natural principle of growth by gradual evolution, and not springing from a violent revolution destructive of historic continuity, it would cherish all ancient and endeared associations, and would incorporate every venerable form consecrated by the experience of the race, leaving undisturbed every conviction, habit, nay, every prejudice as well, that did not interfere with the advance of society in the free inquiry after truth and the independent practice of religion. The social element in the life of this Church is so essentially predominant, that it must adapt itself to the weakness as well as to the strength of man, and must "beware of sundering the sacred links which bind together the generations of men, and of rudely cutting off the solemn perpetuity of the religious commonwealth." "The burning visions of a future brotherhood were inadequate without the support of a religious consciousness of what we owe to past effort."

Nothing can be more fruitless in speculations relating to society than a mere abstract ideal formed without reference to positive conditions, to practical needs, and to actual desires. So far only as the image of the Church which is here sketched conforms to these conditions can it possess any value as a view of a probable development. But whatever may be the worth of the conceptions here presented, there can be no legitimate question of the certainty of coming change in the relation of the Church to society, and of a development of religion as the fun

damental element of progressive social life. The decline in ecclesiasticism and sacerdotalism is the advance of religion, and implies the growth of the true Church of universal humanity, the symbol and manifestation of the brotherhood of man. Such a Church is, indeed, already potentially existing, wherever men, discarding the old notion of religion as something external, to be got by special experience, as a system of dogmas to be accepted, and of forms to be regarded, arrive at the true idea of religion as devotion-utter, absolute devotion — to whatever they know and feel to be best. It exists wherever the individual has learned that he has no private ends, — that for all he is, and all he desires, and all he does, he is responsi ble to the community of which he forms a part, and which endows him with its united powers,- that possession conveys no absolute right to property, but that every man, holds whatever he possesses, be it genius, faculties, opportunities, or lands and goods, not as owner, but as trustee,-and that the true worship of God consists in the service of His children, and devotion to the common interests of men.

C. E. NORTON.

ART. III.1. Pompeianarum Antiquitatum Historia, quam ex Cod. MSS. et a Schedis Diurnisque R. ALCUBIERRE, C. WEBER, etc., etc., quæ in publicis aut privatis Bibliothecis servantur, nunc primum collegit Indicibusque instruxit Ios. FIORELLI. Neapoli. Vol. I. 1860. Vol. II. et Vol. III. Fasc. 1. 1864. 8vo.

2. Giornale degli Scavi di Pompei. Pubblicato da GIUSEPPE FIORELLI, Professore di Archeologia nella R. Università di Napoli, Ispettore degli Scavi di Antichità. Napoli: Stamperia della R. Università. Dall' Anno 1861, in Quaderni mensuali, con Tavole esplicative del Testo.

3. Pompeji in seinen Gebäuden, Alterthümern, und Kunstwerken, für Kunst- und Alterthumsfreunde dargestellt von J. OVERBECK. Zweite vermehrte Auflage mit über 300 Illustrationen. Leipzig: Verlag von Wilhelm Engelmann. 1866. 2 Bände. 2 Bände. 8vo. pp. xviii., 346. ix., 261.

4. Pompeii: Its History, Buildings, and Antiquities. By THOMAS H. DYER, LL. D., of the University of St. Andrew's. With a Map and nearly three hundred Wood Engravings. London: Bell and Daldy. 1867. 8vo. pp. xvi., 579. 5. Pompéi et les Pompéiens. Par MARC MONNIER. Paris: L. Hachette et Cie. 1867. 16mo. pp. 272.

6. Graffiti de Pompéi. Inscriptions et Gravures tracées au Stylet, recueillies et interpretées par RAPHAEL GARRUCCI, de la Compagnie de Jésus, Membre résidant de l'Académie d'Herculanum, etc. 2o Édition augmentée. Paris: Benjamin Duprat. 1856. 4to. pp. viii., 104. Avec Atlas de 32 Planches.

THE bibliography of Pompeii is exceedingly rich and voluminous. The first really important works on the subject were the large folio in nine volumes, entitled, Le Antichità di Ercolano e Pompei, published at Naples between 1755 and 1792, and Martini's Das gleichsam Auflebende Pompeji, which appeared at Leipsic in 1779. Since that time the literature of every European nation has been annually enriched by tomes and monographs illustrating the exhumed city. The genius of the romancer has also supplemented the erudition of the antiquary, and, by a touch with his magic wand, has been able to reanimate the ruins, and

"create a soul

Under the ribs of Death."

Those who may prefer their archæology in infinitesimal doses "sugar-coated" with fiction will find their taste gratified in Bulwer's popular story, in the "Arria Marcella" of Théophile Gautier, and in the "Pompei" of Signor Vecchi, recently issued by Botta, at Turin. The principal English works are Sir William Gell's "Pompeiana," in two series of two octavo volumes each, and Donaldson's "Pompeii illustrated with Picturesque Views," with engravings by Cooke. These publications, although the result of careful and original researches, do not contain any discoveries later than the year 1826. Owing also to the puerile jealousy of Neapolitan officials towards foreign archæologists, these volumes were prepared under peculiar difficulties, and are therefore less complete than they might otherwise have

been. Under the Bourbon rule, antiquities, like everything else in the Kingdom of the Two Sicilies, became the monopoly of a "ring." Even Sir William Gell, although a resident of Naples and a member of the Academy, was strictly forbidden to make the least sketch, measurement, or other memoranda of the excavations; and this prohibition was finally extended to the collections in the Museum.

The great authority on the architectural remains of Pompeii, comprising tombs, public and private edifices, and all sorts of structures, is the large folio of Mazois, entitled Les Ruines de Pompéi, etc., 4 vols., Paris, Didot, 1812-1838. It contains one hundred and ninety-three plates, and embraces the results of the excavations from 1757 to 1821. The author lived at Naples during the reign of Murat, and enjoyed the patronage of Queen Caroline, who took a lively and generous interest in his antiquarian labors. His restorations of ancient buildings are invaluable to the student of Roman architecture. After the death of Mazois, in 1826, his work was continued by Gau. An Italian work of great magnificence is Niccolini's Le Case ed i Monumenti di Pompei, Napoli, 1855. The text is confided to several scholars of acknowledged ability, and is amply illustrated by cuts, plans, and chromo-lithographs. More than thirty numbers in folio, at fifteen francs each, have already appeared; and the work is but little more than half finished. The genuine bibliophile will certainly desire that it may be completed only with the entire disinterment of the buried city. Zahn, Ternite, and Raoul Rochette are the fullest and most accurate sources of information as regards the paintings and mural decorations of Pompeii.

We have no space to specify all the monographs that have been published on particular subjects, such as Quaranta on mosaics, Avellino on pictures, Ancora on sculptures, Savenko on surgical instruments, Millin on tombs, &c. Some conception of the multiplicity of these separate studies may be derived from the fact that the single mosaic representing the Battle of Issus, which was discovered in the house of the Faun, October 24, 1831, called forth dissertations from Bernardo, Niccolini, Quaranta, Avellino, Vescovali, Fea, Sanchez, Jannelli, Marchand, Quatremère, Schreiber, Welcker, Müller,

Gervinus, and a host of Italian, French, English, Russian, Swedish, and German artists and antiquaries too numerous to mention. The most valuable of such special contributions may be found in the Bulletino Archeologico Napoletano, established by Avellino in 1843, and subsequently conducted by Signor Minervini;* in the Memorie della Reale Accademia Ercolanese di Archeologia di Napoli, commenced in 1822, and forming nine quarto volumes; and in the Annali dell' Istituto di Corrispondenza Archeologica, published alternately at Rome and Paris, from 1829 to 1857. In this connection we may also refer to the elder Niccolini's Museo Borbonico, in fifteen volumes of very unequal merit, but furnishing, on the whole, a peculiarly rich and useful repertory of antiquities.

The works whose titles we have placed at the head of the present article embody the most recent results of the Pompeian excavations. The most full and comprehensive of these is without doubt the Historia of Fiorelli, which stands first on our list. It is not so much a well-digested history as a vast storehouse of historical materials, a careful and complete compilation of the official records of Pompeii, from its resurrection in 1748 to the year 1860. Nothing is omitted; the discovery of a nail or a fragment of common pottery is as conscientiously noted as the exhuming of the finest fresco or the most beautiful statue. To the archæological student this work is indispensable; it is unfortunate, however, that the author has not yet found leisure to add the promised Commentarius perpetuus and Indices locupletissimi, whereby its perusal would be facilitated, and its practical value greatly enhanced. Immediately after the revolution of 1860, by which the union of Naples with the Kingdom of Italy was effected, Fiorelli was appointed Inspector of the Excavations. On the last day of July, 1861, he published the first number of the Giornale degli Scavi, which may be regarded as substantially a continuation of the Historia, and contains not only an exact register of the number and quality of the objects and edifices discovered, con la più minuta descrizione di tutte le particolarità del loro rinvenimento, but also excellent engravings of the best

The publication of this journal was resumed by Minervini in 1860, under the title of Bulletino Archeologico Ita' ano, but survived only two years.