ble immortality.

Rome had her Augustan age, an era of poets, philosophers, soldiers,
statesmen, and orators. Crowded into contemporary life, we recognize the
greatest general of the heathen world, the greatest poet, the greatest
orator, and the greatest statesman of Rome. Caesar and Cicero, Virgil and
Octavius, all trod the pavement of the capitol together, and lent their
blended glory to immortalize the Augustan age.

Italy and Spain and France and England have had their golden age. The
eras of Lorenzo the Magnificent, of Ferdinand and Isabella, of Louis
Quatorze and of Elizabeth, can never be forgotten. They loom up from the
surrounding gloom like the full moon bursting upon the sleeping seas;
irradiating the night, clothing the meanest wave in sparkling silver,
and dimming the lustre of the brightest stars. History has also left in
its track mementoes of a different character. In sacred history we have
the age of Herod; in profane, the age of Nero. We recognize at a glance
the talismanic touch of the age of chivalry, and the era of the
Crusades, and mope our way in darkness and gloom along that opaque
track, stretching from the reign of Justinian, in the sixth century, to
the reign of Edward the Third, in the fourteenth, and known throughout
Christendom as the "Dark Ages." Let us now take a survey of the field we
occupy, and ascertain, if possible, the category in which our age shall
be ranked by our posterity.

But before proceeding to discuss the characteristics of our epoch, let
us define more especially what that epoch embraces.

It does not embrace the American nor the French Revolution, nor does it
include the acts or heroes of either. The impetus given to the human
mind by the last half of the eighteenth century, must be carefully
distinguished from the impulses of the first half of the nineteenth. The
first was an era of almost universal war, the last of almost
uninterrupted peace. The dying ground-swell of the waves after a storm
belong to the tempest, not to the calm which succeeds. Hence the wars of
Napoleon, the literature and art of his epoch, must be excluded from
observation, in properly discussing the true characteristics of our era.

De Stael and Goethe and Schiller and Byron; Pitt and Nesselrode,
Metternich and Hamilton; Fichte and Stewart and Brown and Cousin;
Canova, Thorwaldsen and La Place, though all dying since the beginning
of this century, belong essentially to a former era. They were t