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described with some degree of precision, or at least of probability. Their forms were various, their proportions just; but they all were attended with two imperfections, very repugnant to our modern notions of taste and conveniency. These stately rooms had neither windows nor chimneys. They were lighted from the top, (for the building seems to have consisted of no more than one story,) and they received their heat by the help of pipes that were conveyed along the walls. The range of principal apartments was protected towards the south-west by a portico five hundred and seventeen feet long, which must have formed a very noble and delightful walk, when the beauties of painting and sculpture were added to those of the prospect.

[Footnote 118: Constantin. Orat. ad Coetum Sanct. c. 25. In this sermon, the emperor, or the bishop who composed it for him, affects to relate the miserable end of all the persecutors of the church.]

[Footnote 119: Constantin. Porphyr. de Statu Imper. p. 86.]

Had this magnificent edifice remained in a solitary country, it would have been exposed to the ravages of time; but it might, perhaps, have escaped the rapacious industry of man. The village of Aspalathus, ^120 and, long afterwards, the provincial town of Spalatro, have grown out of its ruins. The Golden Gate now opens into the market-place. St. John the Baptist has usurped the honors of Aesculapius; and the temple of Jupiter, under the protection of the Virgin, is converted into the cathedral church.

For this account of Diocletian's palace we are principally indebted to an ingenious artist of our own time and country, whom a very liberal curiosity carried into the heart of Dalmatia. ^121 But there is room to suspect that the elegance of his designs and engraving has somewhat flattered the objects which it was their purpose to represent. We are informed by a more recent and very judicious traveller, that the awful ruins of Spalatro are not less expressive of the decline of the art than of the greatness of the Roman empire in the time of Diocletian. ^122 If such was indeed the state of architecture, we must naturally believe that painting and sculpture had experienced a still more sensible decay. The practice of architecture is directed by a few general and even mechanical rules. But sculpture, and above all, painting, propose to themselves the imitation not only of the forms of nature, but of the characters and passions of the human soul. In those sublime arts, the dexterity of the hand is of little avail, unless it is animated by fancy, and guided by the most correct taste and observation.

[Footnote 120: D'Anville, Geographie Ancienne, tom. i. p. 162.]

[Footnote 121: Messieurs Adam and Clerisseau, attended by two draughtsmen visited Spalatro in the month of July, 1757. The magnificent work which their journey produced was published in London seven years afterwards.]

[Footnote 122: I shall quote the words of the Abate Fortis. "E'bastevolmente agli amatori dell' Architettura, e dell' Antichita, l'opera del Signor Adams, che a donato molto a que' superbi vestigi coll'abituale eleganza del suo toccalapis e del bulino. In generale la rozzezza del scalpello, e'l cattivo gusto del secolo vi gareggiano colla magnificenz del fabricato." See Viaggio in Dalmazia, p. 40.]

It is almost unnecessary to remark, that the civil distractions of the empire, the license of the soldiers, the inroads of the barbarians, and the progress of despotism, had proved very unfavorable to genius, and even to learning. The succession of Illyrian princes restored the empire without restoring the sciences. Their military education was not calculated to inspire them with the love of letters; and even the mind of Diocletian, however active and capacious in business, was totally uninformed by study or speculation. The professions of law and physic are of such common use and certain profit, that they will always secure a sufficient number of practitioners, endowed with a reasonable degree of abilities and knowledge; but it does not appear that the students