could be wrought by the cunning hand of sculpture,—who has commanded the world by her arms, her jurisprudence, her church,—now sways it further by her arts. Pilgrims from afar, where her eagles, her praetors, her interdicts never reached, become willing subjects of this new empire; and the Vatican, stored with the priceless remains of antiquity and the touching creations of modern art, has succeeded to the Vatican whose thunders intermingled with the strifes of modern Europe.1
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1 Works, Vol. I. pp. 275-276
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