,transcriber's note3          ,text     
enclosed by underscores is in italics   
7italics74          ,text enclosed by   
equal signs is in bold face 7bold74     
,the text includes a modest amount of   
,greek1 which has        been rendered  
using available fonts4  ,ruskin used the
        inverted breve popularized by   
,richard ,porson1 an #ahth              
century ,greek scholar1 for the ,greek  
diacritical mark        persipomeni1    
which had until the #aith century been  
printed as a tilde4 ,it is the tilde    
that appears in        most fonts1 and  
is used in this text 7e4g41 74          
,some characters might not display in   
this ,,utf-#h text        version or in 
the html version4 ,if so1 the reader    
should        consult the iso-#hhei-a   
7,latin-#a7 text file #dbiag-h4txt      
or #dbiag4zip3                          
7https3_/_/www4gutenberg4org_/files_/#db
iag_/dbiag-h4txt7        or             
7https3_/_/www4gutenberg4org_/files_/#db
iag_/dbiag-h4zip7          ,footnotes   

have been located to the end of each    
numbered        paragraph4              
,consult the transcriber's note at the  
end of this text        for details4    
,,the ,,eagle',s ,,nest4    ,ten        
,lectures on the ,relation of ,natural  
,science to ,art1  ,given ,before the   
,university of ,oxford1 in ,lent ,term1 
#ahgb    by    ,,john ,,ruskin1         
,,ll4,d41    ,honorary ,student of      
,christ ,church1 and ,honorary ,fellow  
of ,corpus ,christi ,college1 ,oxford4  
,twelfth ,thousand                      
,london  ,george ,allen1 #aef1 ,charing 
,cross ,road  #aijj    ,all rights      
reserved    ,printed by ,ballantyne1    
,hanson  ,co4  ,at the ,ballantyne      
,press          ,,preface4      ,the    
following ,lectures have been written1  
not with less care1 but with  less      
pains1 than any in former courses1      
because no labour could have  rendered  
them exhaustive statements of their     
subjects1 and ,i wished1  therefore1 to 
take from them every appearance of      

pretending to be so3  but the assertions
 ,i have made are entirely deliberate1  
though their  terms are unstudied2 and  
the one which to the general reader will
 appear  most startling1 that the study 
of anatomy is destructive to art1 is    
instantly necessary in explanation of   
the system adopted for the  direction of
 my ,oxford schools4    ,at the period  
when engraving might have become to art 
what printing  became to literature1 the
 four greatest point-draughtsmen        
hitherto  known1 ,mantegna1 ,sandro     
,botticelli1 ,drer1 and ,holbein1       
occupied  themselves in the new         
industry4 ,all these four men were as   
high in  intellect and moral sentiment  
as in art-power2 and if they had        
engraved  as ,giotto painted1 with      
popular and unscientific simplicity1    
would have  left an inexhaustible series
 of prints1 delightful to the most      
innocent  minds1 and strengthening to   
the most noble4    ,but two of them1    
,mantegna and ,drer1 were so polluted   

and paralyzed by  the study of anatomy  
that the former's best works 7the       
magnificent  mythology of the ,vices in 
the ,louvre1 for instance7 are entirely 
revolting to all women and children2    
while ,drer never could draw one        
beautiful female form or face2 and1 of  
his important plates1 only four1  the   
,melancholia1 ,st4 ,jerome in his study1
 ,st4 ,hubert1 and ,the ,knight and     
,death1 are of any use for popular      
instruction1 because in these only1  the
 figures being fully draped or armed1 he
 was enabled to think and  feel rightly1
 being delivered from the ghastly toil  
of bone-delineation4    ,botticelli and 
,holbein studied the face first1 and the
 limbs  secondarily2 and the works they 
have left are therefore 7without        
exception7 precious2 yet saddened and   
corrupted by the influence which  the   
contemporary masters of body-drawing    
exercised on them2 and at last  eclipsed
 by their false fame4 ,i purpose1       
therefore1 in my next course of         

lectures1 to explain the relation of    
these two draughtsmen to other  masters 
of design1 and of engraving4            
,,brantwood1 ,sept4 #bnd1 #ahgb4        
,,contents4                             
,,lecture ,i4                           
,february #h1 #ahgb4                    
,,page    ,,the ,,function ,,in ,,art   
,,of ,,the ,,faculty ,,called ,,by      
,,the ,,greeks a                        
#a                             ,,lecture
 ,,ii4                      ,february   
#aj1 #ahgb4      ,,the ,,function ,,in  
,,science ,,of ,,the ,,faculty ,,called 
,,by    ,,the ,,greeks a                
#be                                     
,,lecture ,,iii4                        
,february #ae1 #ahgb4      ,,the        
,,relation ,,of ,,wise ,,art ,,to ,,wise
 ,,science                 #df          
,,lecture ,,iv4                         
,february #ag1 #ahgb4      ,,the        
,,function ,,in ,,art ,,and ,,science   
,,of ,,the ,,virtue    ,,called ,,by    
,,the ,,greeks                          

#gd                                     
,,lecture ,v4                           
,february #bb1 #ahgb4      ,,the        
,,function ,,in ,,art ,,and ,,science   
,,of ,,the ,,virtue    ,,called ,,by    
,,the ,,greeks                          
#hi                                     
,,lecture ,,vi4                         
,february #bd1 #ahgb4      ,,the        
,,relation ,,to ,,art ,,of ,,the        
,,science ,,of ,,light             #aad 
,,lecture ,,vii4                        
,february #bi1 #ahgb4      ,,the        
,,relation ,,to ,,art ,,of ,,the        
,,sciences ,,of ,,inorganic    ,,form   
#ach                                    
,,lecture ,,viii4                       
,march #b1 #ahgb4      ,,the ,,relation 
,,to ,,art ,,of ,,the ,,sciences ,,of   
,,organic    ,,form                     
#afa                                    
,,lecture ,,ix4                         
,march #g1 #ahgb4      ,,introduction   
,,to ,,elementary ,,exercises ,,in      
,,physiologic    ,,art4 ,,the ,,story   

,,of ,,the ,,halcyon                    
#ahh                                    
,,lecture ,x4                           
,march #i1 #ahgb4      ,,introduction   
,,to ,,elementary ,,exercises ,,in      
,,historic    ,,art4 ,,the ,,heraldic   
,,ordinaries                            
#bbe                                    
,,the ,,eagle',s ,,nest4                
,,lecture ,i4                           
,,of ,,wisdom ,,and ,,folly ,,in        
,,art4,a                                
#hth ,february1 #ahgb4      #a4 ,the    
,lectures ,i have given hitherto1       
though1 in the matter of them           
conscientiously addressed to my         
undergraduate pupils1 yet were greatly  
modified in method by my feeling that   
this undergraduate class1 to which  ,i  
wished to speak1 was indeed a somewhat  
imaginary one2 and that1 in  truth1 ,i  
was addressing a mixed audience1 in     
greater part composed of  the masters of
 the ,university1 before whom it was my 
duty to lay down  the principles on     

which ,i hoped to conduct1 or prepare   
the way for the  conduct of1 these      
schools1 rather than to enter on the    
immediate work of  elementary teaching4 
,but to-day1 and henceforward most      
frequently1 we  are to be engaged in    
definite1 and1 ,i trust1 continuous     
studies2 and  from this time forward1 ,i
 address myself wholly to my            
undergraduate  pupils2 and wish only    
that my ,lectures may be serviceable to 
them1 and1  as far as the subject may   
admit of it1 interesting4      ,a ,the  
proper titles of these lectures1 too    
long for page-headings1        are given
 in the ,contents4      #b4 ,and1       
farther still1 ,i must ask even my      
younger hearers to pardon me  if ,i     
treat that subject in a somewhat narrow1
 and simple way4 ,they have  a great    
deal of hard work to do in other        
schools3 in these1 they must  not think 
that ,i underrate their powers1 if ,i   
endeavour to make  everything as easy to
 them as possible4 ,no study that is    

worth pursuing  seriously can be pursued
 without effort2 but we need never make 
the  effort painful merely for the sake 
of preserving our dignity4 ,also1 ,i    
shall make my ,lectures shorter than    
heretofore4 ,what ,i tell you ,i wish   
you to remember2 and ,i do not think it 
possible for you to remember well  much 
more than ,i can easily tell you in     
half-an-hour4 ,i will promise  that1 at 
all events1 you shall always be released
 so well within the  hour1 that you can 
keep any appointment accurately for the 
next4 ,you  will not think me indolent  
in doing this2 for1 in the first place1 
,i can  assure you1 it sometimes takes  
me a week to think over what it does not
  take a minute to say3 and1 secondly1  
believe me1 the least part of the  work 
of any sound art-teacher must be his    
talking4 ,nay1 most deeply  also1 it is 
to be wished that1 with respect to the  
study which ,i have to  bring before you
 to-day1 in its relation to art1 namely1
 natural  philosophy1 the teachers of   

it1 up to this present century1 had done
  less work in talking1 and more in     
observing3 and it would be well even    
for the men of this century1 pre-eminent
 and accomplished as they are in        
accuracy of observation1 if they had    
completely conquered the old habit  of  
considering1 with respect to any matter1
 rather what is to be said1  than what  
is to be known4      #c4 ,you will1     
perhaps1 readily admit this with respect
 to science2 and  believe my assertion  
of it with respect to art4 ,you will    
feel the  probable mischief1 in both    
these domains of intellect1 which must  
follow  on the desire rather to talk    
than to know1 and rather to talk than to
  do4 ,but the third domain1 into the   
midst of which1 here1 in ,oxford1       
science and art seem to have thrust     
themselves hotly1 like intrusive  rocks1
 not without grim disturbance of the    
anciently fruitful  plain2--your        
,kingdom or ,princedom of ,literature8  
,can we carry our  statement into a     

third parallelism1 for that8 ,it is ill 
for ,science1 we  say1 when men desire  
to talk rather than to know2 ill for    
,art1 when they  desire to talk rather  
than to do4 ,ill for ,literature1 when  
they desire  to talk1--is it8 and rather
 than--what else8 ,perhaps you think    
that  literature means nothing else than
 talking8--that the triple powers of    
science1 art1 and scholarship1 mean     
simply the powers of knowing1 doing1    
and saying4 ,but that is not so in any  
wise4 ,the faculty of saying or  writing
 anything well1 is an art1 just as much 
as any other2 and founded  on a science 
as definite as any other4 ,professor    
,max ,mller teaches you  the science of 
language2 and there are people who will 
tell you that the  only art ,i can teach
 you myself1 is the art of it4 ,but try 
your triple  parallelism once more1     
briefly1 and see if another idea will   
not occur  to you4 ,in science1 you must
 not talk before you know4 ,in art1 you 
must  not talk before you do4 ,in       

literature you must not talk before     
you--think4    ,that is your third      
,province4 ,the ,kingdom of ,thought1 or
 ,conception4    ,and it is entirely    
desirable that you should define to     
yourselves the  three great occupations 
of men in these following terms3--      
,,science4          ,the knowledge of   
things1 whether                         
,ideal or ,substantial4      ,,art4     
,the modification of ,substantial       
things by our ,substantial ,power4      
,,literature4       ,the modification of
 ,ideal things                      by  
our ,ideal ,power4      #d4 ,but now    
observe4 ,if this division be a just    
one1 we ought to have a  word for       
literature1 with the ',letter' left out 
of it4 ,it is true that1  for the most  
part1 the modification of ideal things  
by our ideal power  is not complete till
 it is expressed2 nor even to ourselves 
delightful1  till it is communicated4   
,to letter it and label it--to inscribe 
and to  word it rightly1--this is a     

great task1 and it is the part of       
literature which can be most distinctly 
taught4 ,but it is only the  formation  
of its body4 ,and the soul of it can    
exist without the body2  but not at all 
the body without the soul2 for that is  
true no less of  literature than of all 
else in us or of us--litera occidit1    
spiritus  autem vivificat4              
,nevertheless1 ,i must be content to-day
 with our old word4 ,we cannot say      
'spiriture' nor 'animature1' instead of 
literature2 but you must not be  content
 with the vulgar interpretation of the  
word4 ,remember always that  you come to
 this ,university1--or1 at least1 your  
fathers came1--not to  learn how to say 
things1 but how to think them4      #e4 
,how to think them6 but that is only the
 art of logic1 you perhaps  would       
answer4 ,no1 again1 not at all3 logic is
 a method1 not a power2 and  we have    
defined literature to be the            
modification of ideal things by  ideal  
power1 not by mechanical method4 ,and   

you come to the ,university to  get that
 power1 or develop it2 not to be taught 
the mere method of using  it4    ,i say 
you come to the ,university for this2   
and perhaps some of you are  much       
surprised to hear it6 ,you did not know 
that you came to the  ,university for   
any such purpose4 ,nay1 perhaps you did 
not know that you  had come to a        
,university at all8 ,you do not at this 
instant1 some of  you1 ,i am well       
assured1 know what a ,university means4 
,does it mean1 for  instance--can you   
answer me in a moment1 whether it       
means--a place  where everybody comes to
 learn something2 or a place where      
somebody  comes to learn everything8 ,it
 means--or you are trying to make it    
mean--practically and at present1 the   
first2 but it means theoretically1  and 
always1 the last2 a place where only    
certain persons come1 to learn          
everything2 that is to say1 where those 
who wish to be able to think1  come to  
learn to think3 not to think of         

mathematics only1 nor of morals1  nor of
 surgery1 nor chemistry1 but of         
everything1 rightly4      #f4 ,i say you
 do not all know this2 and yet1 whether 
you know it or  not1--whether you desire
 it or not1--to some extent the         
everlasting  fitness of the matter makes
 the facts conform to it4 ,for we have  
at  present1 observe1 schools of three  
kinds1 in operation over the whole of   
,england4 ,we have--,i name it first1   
though1 ,i am sorry to say1 it is last  
in influence--the body consisting of the
 ,royal ,academy1 with the  ,institute  
of ,architects1 and the schools at      
,kensington1 and their  branches2       
teaching various styles of fine or      
mechanical art4 ,we have1 in  the second
 place1 the ,royal ,society1 as a       
central body2 and1 as its  satellites1  
separate companies of men devoted to    
each several science3  investigating1   
classing1 and describing facts with     
unwearied industry4  ,and lastly and    
chiefly1 we have the great              

,universities1 with all their           
subordinate public schools1             
distinctively occupied in               
regulating1--as ,i  think you will at   
once admit1--not the language merely1   
nor even the  language principally1 but 
the modes of philosophical and          
imaginative  thought in which we desire 
that youth should be disciplined1 and   
age  informed and majestic4 ,the methods
 of language1 and its range2 the        
possibilities of its beauty1 and the    
necessities for its precision1 are  all 
dependent upon the range and dignity of 
the unspoken conceptions  which it is   
the function of these great schools of  
literature to awaken1  and to guide4    
#g4 ,the range and dignity of           
conceptions6 ,let us pause a minute or  
two  at these words1 and be sure we     
accept them4    ,first1 what is a       
conception8 ,what is this separate      
object of our  work1 as scholars1       
distinguished from artists1 and from men
 of science8    ,we shall discover this 

better by taking a simple instance of   
the three  agencies4    ,suppose that   
you were actually on the plain of       
,pstum1 watching the  drift of          
storm-cloud which ,turner has here      
engraved4,b ,if you had  occupied       
yourself chiefly in schools of science1 
you would think of the  mode in which   
the electricity was collected2 of the   
influence it had on  the shape and      
motion of the cloud2 of the force and   
duration of its  flashes1 and of other  
such material phenomena4 ,if you were an
 artist1  you would be considering how  
it might be possible1 with the means at 
your disposal1 to obtain the brilliancy 
of the light1 or the depth of  the      
gloom4 ,finally1 if you were a scholar1 
as distinguished from either  of these1 
you would be occupied with the          
imagination of the state of the  temple 
in former times2 and as you watched the 
thunderclouds drift past  its columns1  
and the power of the ,god of the heavens
 put forth1 as it  seemed1 in scorn of  

the departed power of the god who was   
thought by the  heathen to shake the    
earth--the utterance of your mind would 
become1  whether in actual words or not1
 such as that of the ,psalmist3--,clouds
  and darkness are round about          
,him--righteousness and judgment are the
  habitation of ,his throne4 ,your      
thoughts would take that shape1 of their
  own accord1 and if they fell also into
 the language1 still your  essential    
scholarship would consist1 not in your  
remembering the verse1  still less in   
your knowing that judgment was a ,latin 
word1 and  throne a ,greek one2 but in  
your having power enough of conception1 
and  elevation enough of character1 to  
understand the nature of justice1 and   
be appalled before the majesty of       
dominion4      ,b ,educational ,series1 
,no4 #h1 ,e4      #h4 ,you come1        
therefore1 to this ,university1 ,i      
repeat once again1 that  you may learn  
how to form conceptions of proper range 
or grasp1 and  proper dignity1 or       

worthiness4 ,keeping then the ideas of a
 separate  school of art1 and separate  
school of science1 what have you to     
learn in  these8 ,you would learn in the
 school of art1 the due range and       
dignity  of deeds2 or doings--7,i prefer
 the word to makings1 as more general71 
and in the school of science1 you would 
have to learn the range and  dignity of 
knowledges4    ,now be quite clear about
 this3 be sure whether you really agree 
with me  or not4    ,you come to the    
,school of ,literature1 ,i say1 to learn
 the range and  dignity of conceptions4 
,to the ,school of ,art1 to learn the   
range and dignity of deeds4    ,to the  
,school of ,science1 to learn the range 
and dignity of knowledges4    ,do you   
agree to that1 or not8 ,i will assume   
that you admit my triple  division2 but 
do you think1 in opposition to me1 that 
a school of  science is still a school  
of science1 whatever sort of knowledge  
it  teaches2 and a school of art still a
 school of art1 whatever sort of  deed  

it teaches2 and a school of literature  
still a school of  literature1 whatever 
sort of notion it teaches8    ,do you   
think that8 for observe1 my statement   
denies that4 ,my statement  is1 that a  
school of literature teaches you to have
 one sort of  conception1 not another   
sort2 a school of art to do a particular
 sort of  deed1 not another sort2 a     
school of science to possess a          
particular sort  of knowledge1 not      
another sort4      #i4 ,i assume that   
you differ with me on this point2--some 
of you  certainly will4 ,well then1 let 
me go back a step4 ,you will all go thus
  far with me1 that--now taking the     
,greek words--the school of literature  
teaches you to have 1 or conception of  
things1 instead of 1--no  conception of 
things2 that the school of art teaches  
you  of  things1 instead of 2 and the   
school of science 1 instead  of  or     
'ignorantia4' ,but1 you recollect1      
,aristotle names two other  faculties   
with these three1--1 namely1 and a4 ,he 

has  altogether five1 1 1 1 a1 2 that is
 to say1  in simplest ,english1--art1   
science1 sense1 wisdom1 and wit4 ,we    
have got  our art1 science1 and wit1 set
 over their three domains2 and we old   
people send you young ones to those     
three schools1 that you may not  remain 
artless1 scienceless1 nor witless4 ,but 
how of the sense1 and the  wisdom8 ,what
 domains belong to these8 ,do you think 
our trefoil division  should become     
cinquefoil1 and that we ought to have   
two additional  schools2 one of         
,philosophia1 and one of                
,philophronesia8 ,if ,aristotle's       
division were right it would be so4 ,but
 his division is wrong1 and he          
presently shows it is2 for he tells you 
in the next page1 7in the  sentence ,i  
have so often quoted to you17 that the  
virtue of art is the  wisdom which      
consists in the wit of what is          
honourable4 ,now that is  perfectly     
true2 but it of course vitiates his     
division altogether4 ,he  divides his   

entire subject into ,a1 ,b1 ,c1 ,d1 and 
,e2 and then he  tells you that the     
virtue of ,a is the ,b which consists in
 ,c4 ,now  you will continually find1 in
 this way1 that ,aristotle's assertions 
are  right1 but his divisions illogical4
 ,it is quite true that the virtue of   
art is the wisdom which consists in the 
wit of what is honourable2 but  also the
 virtue of science is the wit of what is
 honourable1 and in the  same sense1 the
 virtue of 1 or wit itself1 consists in 
its being  the wit or conception of what
 is honourable4 1 therefore1 is not     
only the  1 but1 in exactly the same    
sense1 the   1 and in this sense1 it is 
the  4 ,and if not governed  by a1 each 
school will teach the vicious condition 
of its own  special faculty4 ,as  is the
  of all three1 so  will be  the  of all
 three4      #aj4 ,now in this1 whether 
you agree with me or not1 let me be at  
least  sure you understand me4 1 ,i say1
 is the virtue1  is the vice1  of all   
the three faculties of art1 science1 and

 literature4 ,there is  for each of them
 a negative and a positive side1 as well
 as a zero4  ,there is a nescience for  
zero in science--with wise science on   
one side1  foolish science on the other3
  for zero in art1 with wise art on  one
 side1 foolish art on the other2 and    
for zero in 1 with  wise  on one side1  
foolish  on the other4      #aa4 ,you   
will smile at that last expression1     
'foolish 4' ,yet  it is1 of all foolish 
things1 the commonest and deadliest4 ,we
  continually complain of men1 much more
 of women1 for reasoning ill4 ,but  it  
does not matter how they reason1 if they
 don't conceive basely4 ,not  one person
 in a hundred is capable of seriously   
reasoning2 the  difference between man  
and man is in the quickness and quality1
 the  accipitrine intensity1 the        
olfactory choice1 of his 4 ,does  he    
hawk at game or carrion8 ,what you      
choose to grasp with your mind is  the  
question2--not how you handle it        
afterwards4 ,what does it matter how    

you build1 if you have bad bricks to    
build with2 or how you reason1 if  every
 idea with which you begin is foul or   
false8 ,and in general all  fatal false 
reasoning proceeds from people's having 
some one false  notion in their hearts1 
with which they are resolved that their 
reasoning shall comply4    ,but1 for    
better illustration1 ,i will now take my
 own special subject out  of the        
three2--4 ,i have said that we have1 for
 its zero1 1  or artlessness--in ,latin1
 'inertia1' opposed to 'ars4' ,well1    
then1 we  have1 from that zero1 wise art
 on the one side1 foolish art on the    
other2 and the finer the art1 the more  
it is capable of this living  increase1 
or deadly defect4 ,i will take1 for     
example1 first1 a very  simple art1 then
 a finer one2 but both of them arts with
 which most of  you are thoroughly      
acquainted4      #ab4 ,one of the       
simplest pieces of perfect art1 which   
you are yourselves  in the habit of     
practising1 is the stroke of an oar     

given in true time4  ,we have defined   
art to be the wise modification of      
matter by the body  7substantial things 
by substantial power1  #c74 ,with a good
 oar-stroke  you displace a certain     
quantity of water in a wise way4        
,supposing you  missed your stroke1 and 
caught a crab1 you would displace a     
certain  quantity of water in a foolish 
way1 not only ineffectually1 but in a   
way  the reverse of what you intended4  
,the perfectness of the stroke implies  
not only absolutely accurate knowledge  
or science of the mode in which  water  
resists the blade of an oar1 but the    
having in past time met that  resistance
 repeatedly with greater and greater    
rightness of adaptation  to the end     
proposed4 ,that end being perfectly     
simple1--the advance of  the boat as far
 as possible with a given expenditure of
 strength1 you at  once recognize the   
degree in which the art falls short of1 
or the  artlessness negatives1 your     
purpose4 ,but your being '1' as an      

oarsman1 implies much more than this    
mere art founded on pure science4  ,the 
fact of your being able to row in a     
beautiful manner depends on  other      
things than the knowledge of the force  
of water1 or the repeated  practice of  
certain actions in resistance to it4 ,it
 implies the practice  of those actions 
under a resolved discipline of the body1
 involving  regulation of the passions4 
,it signifies submission to the         
authority1  and amicable concurrence    
with the humours1 of other persons2 and 
so far  as it is beautifully done at    
last1 absolutely signifies therefore a  
moral and intellectual rightness1 to the
 necessary extent influencing  the      
character honourably and graciously4    
,this is the sophia1 or wit1 of  what is
 most honourable1 which is concerned in 
rowing1 without which it  must become no
 rowing1 or the reverse of rowing4      
#ac4 ,let us next take example in an art
 which perhaps you will think  7though  
,i hope not7 much inferior to rowing1   

but which is in reality a  much higher  
art--dancing4 ,i have just told you 7   
#aa7 how to test the  rank of           
arts--namely1 by their corruptibility1  
as you judge of the  fineness of organic
 substance4 ,the moria1,c or folly1 of  
rowing1 is  only ridiculous1 but the    
moria1 or folly1 of dancing1 is much    
worse than  ridiculous2 and1 therefore1 
you may know that its sophia1 or wisdom1
  will be much more beautiful than the  
wisdom of rowing4 ,suppose1 for         
instance1 a minuet danced by two lovers1
 both highly bred1 both of noble        
character1 and very much in love with   
each other4 ,you would see1 in  that1 an
 art of the most highly finished kind1  
under the government of a  sophia which 
dealt with the strongest passions1 and  
most exquisite  perceptions of beauty1  
possible to humanity4      ,c ,if the   
,english reader will pronounce the o in 
this word as in        fold1 and in     
sophia as in sop1 but accenting the o1  
not the i1 ,i        need not any more  

disturb my pages with ,greek types4     
#ad4 ,for example of the contrary of    
these1 in the same art1 ,i cannot give  
you one more definite than that which ,i
 saw at1 ,i think1 the ,gaiety          
,theatre--but it might have been at any 
,london theatre now1--two years  ago4   
,the supposed scene of the dance was    
,hell1 which was painted in the         
background with its flames4 ,the dancers
 were supposed to be demons1 and  wore  
black masks1 with red tinsel for fiery  
eyes2 the same red light was            
represented as coming out of their ears 
also4 ,they began their dance by        
ascending through the stage on spring   
trap-doors1 which threw them at  once   
ten feet into the air2 and its          
performance consisted in the  expression
 of every kind of evil passion1 in      
frantic excess4      #ae4 ,you will not1
 ,i imagine1 be at a loss to understand 
the sense in  which the words sophia and
 moria are to be rightly used of these  
two  methods of the same art4 ,but those

 of you who are in the habit of         
accurate thinking will at once perceive 
that ,i have introduced a new  element  
into my subject by taking an instance in
 a higher art4 ,the folly  of rowing    
consisted mainly in not being able to   
row2 but this folly of  dancing does not
 consist in not being able to dance1 but
 in dancing  well with evil purpose2 and
 the better the dancing1 the worse the  
result4    ,and now ,i am afraid ,i must
 tease you by asking your attention to  
what  you may at first think a vain     
nicety in analysis1 but the nicety is   
here  essential1 and ,i hope throughout 
this course of ,lectures1 not to be so  
troublesome to you again4      #af4 ,the
 mere negation of the power of art--the 
zero of it--you say1 in  rowing1 is     
ridiculous4 ,it is1 of course1 not less 
ridiculous in dancing4  ,but what do you
 mean by ridiculous8 ,you mean          
contemptible1 so as to  provoke         
laughter4 ,the contempt1 in either case1
 is slight1 in ordinary  society2       

because1 though a man may neither know  
how to row1 or dance1 he  may know many 
other things4 ,but suppose he lived     
where he could not know  many other     
things8 ,by a stormy sea-coast1 where   
there could be no  fresco-painting1 in a
 poor country1 where could be none of   
the fine arts  connected with wealth1   
and in a simple1 and primitive society1 
not yet  reached by refinements of      
literature2 but where good rowing was   
necessary for the support of life1 and  
good dancing1 one of the most  vivid    
aids to domestic pleasure4 ,you would   
then say that inability to  row1 or to  
dance1 was far worse than ridiculous2   
that it marked a man  for a             
good-for-nothing fellow1 to be regarded 
with indignation1 as well  as contempt4 
,now1 remember1 the inertia or zero of  
art always involves this kind of  crime1
 or at least1 pitiableness4 ,the want of
 opportunity of learning  takes away the
 moral guilt of artlessness2 but the    
want of opportunity  of learning such   

arts as are becoming in given           
circumstances1 may indeed  be no crime  
in an individual1 but cannot be alleged 
in its defence by a  nation4 ,national  
ignorance of decent art is always       
criminal1 unless in  earliest conditions
 of society2 and then it is brutal4     
#ag4 ,to that extent1 therefore1        
culpably or otherwise1 a kind of moria1 
or folly1 is always indicated by the    
zero of art-power4 ,but the true  folly1
 or assuredly culpable folly1 is in the 
exertion of our art power  in an evil   
direction4 ,and here we need the finesse
 of distinction1 which  ,i am afraid    
will be provoking to you4 ,observe1     
first1 and simply1 that  the possession 
of any art-power at all implies a sophia
 of some kind4  ,these demon dancers1 of
 whom ,i have just spoken1 were earning 
their  bread by severe and honest       
labour4 ,the skill they possessed could 
not  have been acquired but by great    
patience and resolute self-denial2 and  
the very power with which they were able

 to express1 with precision1  states of 
evil passion1 indicated that they had   
been brought up in a  society which1 in 
some measure1 knew evil from good1 and  
which had1  therefore1 some measure of  
good in the midst of it4 ,nay1 the      
farther  probability is1 that if you    
inquired into the life of these men1 you
  would find that this demon dance had  
been invented by some one of them  with 
a great imaginative power1 and was      
performed by them not at all in         
preference of evil1 but to meet the     
demand of a public whose admiration  was
 capable of being excited only by       
violence of gesture1 and vice of        
emotion4      #ah4 ,in all cases1       
therefore1 observe1 where the           
opportunity of learning  has been given2
 the existence of the art-power         
indicates sophia and its  absence       
indicates moria4 ,that great fact ,i    
endeavoured to express to  you1 two     
years since1 in my third introductory   
,lecture4 ,in the present  course ,i    

have to show you the action of the      
final1 or higher sophia1  which directs 
the skill of art to the best purposes2  
and of the final1  or lower moria1 which
 misdirects them to the worst4 ,and the 
two points  ,i shall endeavour to bring 
before you throughout will be           
these3--,first1  that the object of     
,university teaching is to form your    
conceptions2 not  to acquaint you with  
arts1 nor sciences4 ,it is to give you a
 notion of  what is meant by smith's    
work1 for instance2--but not to make you
  blacksmiths4 ,it is to give you a     
notion of what is meant by medicine1    
but not to make you physicians4 ,the    
proper academy for blacksmiths is a     
blacksmith's forge2 the proper academy  
for physicians is an hospital4  ,here   
you are to be taken away from the forge1
 out of the hospital1 out  of all       
special and limited labour and thought1 
into the ',universitas' of  labour and  
thought1 that you may in peace1 in      
leisure1 in calm of  disinterested      

contemplation1 be enabled to conceive   
rightly the laws of  nature1 and the    
destinies of ,man4      #ai4 ,then the  
second thing ,i have to show you is that
 over these three  kingdoms of          
imagination1 art1 and science1 there    
reigns a virtue or  faculty1 which from 
all time1 and by all great people1 has  
been  recognised as the appointed ruler 
and guide of every method of labour1  or
 passion of soul2 and the most glorious 
recompense of the toil1 and  crown of   
the ambition of man4 ,she is more       
precious than rubies1 and all  the      
things thou canst desire are not to be  
compared unto her4 ,lay fast  hold upon 
her2 let her not go2 keep her1 for she  
is thy life4    ,are not these1 and the 
innumerable words like to these1 which  
you  remember as ,i read them1 strange  
words1 if ,aristotle's statement        
respecting wisdom be true2 that it never
 contemplates anything that can  make   
men happy1            8    ,when we next
 meet1 therefore1 ,i purpose to examine 

what it is which  wisdom1 by preference1
 contemplates2 what choice she makes    
among the  thoughts and sciences open to
 her1 and to what purpose she employs   
whatever science she may possess4       
,and ,i will briefly tell you1          
beforehand1 that the result of the      
inquiry  will be1 that instead of       
regarding none of the sources of        
happiness1 she  regards nothing else2   
that she measures all worthiness by pure
 felicity2  that we are permitted to    
conceive her as the cause even of       
gladness to  ,god--,i was daily ,his    
delight1 rejoicing always before        
,him1--and that  we are commanded to    
know her as queen of the populous world1
  rejoicing in the habitable parts of   
the ,earth1 and whose delights are  with
 the sons of ,men4                      
,,lecture ,,ii4                         
,,of ,,wisdom ,,and ,,folly ,,in        
,,science4                              
#ajth ,february1 #ahgb4      #bj4 ,in my
 last lecture ,i asserted the positive  

and negative powers of  literature1 art1
 and science2 and endeavoured to show   
you some of the  relations of wise art  
to foolish art4 ,to-day we are to       
examine the  nature of these positive   
and negative powers in science2 it being
 the  object of every true school to    
teach the positive or constructive      
power1  and by all means to discourage1 
reprove1 and extinguish the negative    
power4    ,it is very possible that you 
may not often have thought of1 or       
clearly  defined to yourselves1 this    
destructive or deadly character of some 
elements of science4 ,you may indeed    
have recognized with ,pope that a       
little knowledge was dangerous1 and you 
have therefore striven to drink  deep2  
you may have recognized with ,bacon1    
that knowledge might partially  become  
venomous2 and you may have sought1 in   
modesty and sincerity1  antidote to the 
inflating poison4 ,but that there is a  
ruling spirit or  a1 under whose        
authority you are placed1 to determine  

for  you1 first the choice1 and then the
 use of all knowledge whatsoever2 and   
that if you do not appeal to that ruler1
 much more if you disobey her1  all     
science becomes to you ruinous in       
proportion to its accumulation1  and as 
a net to your soul1 fatal in proportion 
to the fineness of its  thread1--this1  
,i imagine1 few of you1 in the zeal of  
learning1 have  suspected1 and fewer    
still have pressed their suspicion so   
far as to  recognize or believe4        
#ba4 ,you must have nearly all heard of1
 many must have seen1 the singular      
paintings2 some also may have read the  
poems1 of ,william ,blake4 ,the         
impression that his drawings once made  
is fast1 and justly1 fading away1       
though they are not without noble merit4
 ,but his poems have much more  than    
merit2 they are written with absolute   
sincerity1 with infinite  tenderness1   
and1 though in the manner of them       
diseased and wild1 are in  verity the   
words of a great and wise mind1         

disturbed1 but not deceived1  by its    
sickness2 nay1 partly exalted by it1 and
 sometimes giving forth  in fiery       
aphorism some of the most precious words
 of existing  literature4 ,one of these 
passages ,i will ask you to remember2 it
 will  often be serviceable to you--    
,doth the ,eagle know what is in the    
pit1       ,or wilt thou go ask the     
,mole8    ,it would be impossible to    
express to you in briefer terms the     
great  truth that there is a different  
kind of knowledge good for every        
different creature1 and that the glory  
of the higher creatures is in  ignorance
 of what is known to the lower4         
#bb4 ,and1 above all1 this is true of   
man2 for every other creature is        
compelled by its instinct to learn its  
own appointed lesson1 and must          
centralize its perception in its own    
being4 ,but man has the choice of       
stooping in science beneath himself1 and
 striving in science beyond  himself2   
and the ,know thyself is1 for him1 not a

 law to which he must  in peace submit2 
but a precept which of all others is the
 most painful  to understand1 and the   
most difficult to fulfil4 ,most painful 
to  understand1 and humiliating2 and    
this alike1 whether it be held to  refer
 to the knowledge beneath us1 or above4 
,for1 singularly enough1 men  are always
 most conceited of the meanest          
science3--        ,doth the ,eagle know 
what is in the pit1       ,or wilt thou 
go ask the ,mole8    ,it is just those  
who grope with the mole1 and cling with 
the bat1 who  are vainest of their sight
 and of their wings4      #bc4 ,know    
thyself2 but can it indeed be           
sophia1--can it be the noble  wisdom1   
which thus speaks to science8 ,is not   
this rather1 you will ask1  the voice of
 the lower virtue of prudence1          
concerning itself with right  conduct1  
whether for the interests of this world 
or of the future8 ,does  not sophia     
regard all that is above and greater    
than man2 and by so much  as we are     

forbidden to bury ourselves in the      
mole's earth-heap1 by so  much also1 are
 we not urged to raise ourselves towards
 the stars8    ,indeed1 it would at     
first seem so2 nay1 in the passage of   
the ,ethics1  which ,i proposed to you  
to-day for question1 you are distinctly 
told so4  ,there are1 it is said1 many  
different kinds of phronesis1 by which  
every  animal recognizes what is for its
 own good3 and man1 like any other      
creature1 has his own separate phronesis
 telling him what he is to seek1  and to
 do1 for the preservation of his life3  
but above all these forms  of prudence1 
the ,greek sage tells you1 is the sophia
 of which the  objects are unchangeable 
and eternal1 the methods consistent1 and
 the  conclusions universal3 and this   
wisdom has no regard whatever to the    
things in which the happiness of man    
consists1 but acquaints itself only     
with the things that are most           
honourable2 so that we call ,anaxagoras 
and ,thales1 and such others1 wise      

indeed1 but not prudent1 in that they   
know nothing of what is for their own   
advantage1 but know surpassing  things1 
marvellous things1 difficult things1 and
 divine things4      #bd4 ,now here is a
 question which evidently touches us    
closely4 ,we  profess at this day to be 
an especially prudent nation2--to regard
 only  the things which are for our own 
advantage2 to leave to other races the  
knowledge of surpassing things1         
marvellous things1 divine things1 or    
beautiful things2 and in our exceeding  
prudence we are1 at this moment1        
refusing the purchase of1 perhaps1 the  
most interesting picture by  ,raphael in
 the world1 and1 certainly1 one of the  
most beautiful works  ever produced by  
the art-wisdom of man1 for              
five-and-twenty thousand  pounds1 while 
we are debating whether we shall not pay
 three hundred  millions to the         
,americans1 as a fine for selling a     
small frigate to  ,captain ,semmes4 ,let
 me reduce these sums from thousands of 

pounds1 to  single pounds2 you will then
 see the facts more clearly2 7there is  
not  one person in a million who knows  
what a million means2 and that is  one  
reason the nation is always ready to let
 its ministers spend a  million or two  
in cannon1 if they can show they have   
saved  twopence-halfpenny in tape74     
,these are the facts then1 stating      
pounds  for thousands of pounds2 you are
 offered a ,nativity1 by ,raphael1 for  
five-and-twenty pounds1 and cannot      
afford it2 but it is thought you may  be
 bullied into paying three hundred      
thousand pounds1 for having sold a  ship
 to ,captain ,semmes4 ,i do not say you 
will pay it4 ,still your present        
position is one of deprecation and      
humility1 and that is the kind of       
result which you bring about by acting  
with what you call practical  common    
sense1 instead of ,divine wisdom4       
#be4 ,perhaps you think ,i am losing    
,aristotle's notion of common sense1 by 
confusing it with our vulgar ,english   

one2 and that selling ships or          
ammunition to people whom we have not   
courage to fight either for or  against1
 would not by ,aristotle have been held 
a phronetic1 or prudent  proceeding4 ,be
 it so2 let us be certain then1 if we   
can1 what ,aristotle  does mean4 ,take  
the instance ,i gave you in the last    
lecture1 of the  various modes of       
feeling in which a master of literature1
 of science1  and of art1 would         
severally regard the storm round the    
temples of  ,pstum4    ,the man of      
science1 we said1 thought of the origin 
of the electricity2  the artist of its  
light in the clouds1 and the scholar1 of
 its relation  to the power of ,zeus and
 ,poseidon4 ,there you have ,episteme2  
,techne2 and  ,nous2 well1 now what does
 ,phronesis do8    ,phronesis puts up   
his umbrella1 and goes home as fast as  
he can4  ,aristotle's ,phronesis at     
least does2 having no regard for        
marvellous  things4 ,but are you sure   
that ,aristotle's ,phronesis is indeed  

the right  sort of ,phronesis8 ,may     
there not be a commonsense1 as well as  
an art1  and a science1 under the       
command of sophia8 ,let us take an      
instance of a  more subtle kind4        
#bf4 ,suppose that two young ladies1 7,i
 assume in my present lectures1  that   
none are present1 and that we may say   
among ourselves what we like2  and we do
 like1 do we not1 to suppose that young 
ladies excel us only in  prudence1 and  
not in wisdom87 let us suppose that two 
young ladies go to  the observatory on a
 winter night1 and that one is so       
anxious to look at  the stars that she  
does not care whether she gives herself 
cold1 or not2  but the other is prudent1
 and takes care1 and looks at the stars 
only as  long as she can without        
catching cold4 ,in ,aristotle's mind the
 first  young lady would properly       
deserve the name of ,sophia1 and the    
other that  of ,prudence4 ,but in order 
to judge them fairly1 we must assume    
that they  are acting under exactly the 

same conditions4 ,assume that they both 
equally desire to look at the stars2    
then1 the fact that one of them  stops  
when it would be dangerous to look      
longer1 does not show that she  is less 
wise1--less interested1 that is to say1 
in surpassing and  marvellous           
things2--but it shows that she has more 
self-command1 and is  able therefore to 
remember what the other does not think  
of4 ,she is  equally wise1 and more     
sensible4 ,but suppose that the two     
girls are  originally different in      
disposition2 and that the one1 having   
much more  imagination than the other1  
is more interested in these surpassing  
and  marvellous things2 so that the     
self-command1 which is enough to stop   
the  other1 who cares little for the    
stars1 is not enough to stop her who    
cares much for them2--you would say1    
then1 that1 both the girls being        
equally sensible1 the one that caught   
cold was the wisest4      #bg4 ,let us  
make a farther supposition4 ,returning  

to our first condition1  that both the  
girls desire equally to look at the     
stars2 let us put it  now that both have
 equal self-command1 and would          
therefore1 supposing no  other motives  
were in their minds1 together go on     
star-gazing1 or  together stop          
star-gazing2 but that one of them has   
greater  consideration for her friends  
than the other1 and though she would not
  mind catching cold for her own part1  
would mind it much for fear of  giving  
her mother trouble4 ,she will leave the 
stars first1 therefore2  but should we  
be right now in saying that she was only
 more sensible  than her companion1 and 
not more wise8 ,this respect for the    
feelings of  others1 this understanding 
of her duty towards others1 is a much   
higher  thing than the love of stars4   
,it is an imaginative knowledge1 not of 
balls of fire or differences of space1  
but of the feelings of living           
creatures1 and of the forces of duty by 
which they justly move4 ,this is  a     

knowledge1 or perception1 therefore1 of 
a thing more surpassing and  marvellous 
than the stars themselves1 and the grasp
 of it is reached by  a higher sophia4  
#bh4 ,will you have patience with me for
 one supposition more8 ,we may  assume  
the attraction of the spectacle of the  
heavens to be equal in  degree1 and yet1
 in the minds of the two girls1 it may  
be entirely  different in kind4         
,supposing the one versed somewhat in   
abstract  ,science1 and more or less    
acquainted with the laws by which what  
she now  sees may be explained2 she will
 probably take interest chiefly in      
questions of distance and magnitude1 in 
varieties of orbit1 and  proportions of 
light4 ,supposing the other not versed  
in any science of  this kind1 but       
acquainted with the traditions attached 
by the religion  of dead nations to the 
figures they discerned in the sky3 she  
will care  little for arithmetical or   
geometrical matters1 but will probably  
receive a much deeper emotion1 from     

witnessing in clearness what has  been  
the amazement of so many eyes long      
closed2 and recognizing the same        
lights1 through the same darkness1 with 
innocent shepherds and  husbandmen1 who 
knew only the risings and settings of   
the immeasurable  vault1 as its lights  
shone on their own fields or mountains2 
yet saw  true miracle in them1 thankful 
that none but the ,supreme ,ruler could 
bind the sweet influences of ,pleiades1 
or loose the bands of ,orion4 ,i  need  
not surely tell you1 that in this       
exertion of the intellect and the       
heart1 there would be a far nobler      
sophia than any concerned with the      
analysis of matter1 or the measurement  
of space4      #bi4 ,i will not weary   
you longer with questions1 but simply   
tell you1  what you will find ultimately
 to be true1 that sophia is the form of 
thought1 which makes common sense       
unselfish1--knowledge unselfish1--art   
unselfish1--and wit and imagination     
unselfish4 ,of all these1 by            

themselves1 it is true that they are    
partly venomous2 that1 as knowledge     
puffeth up1 so does prudence--so does   
art--so does wit2 but1 added to  all    
these1 wisdom1 or 7you may read it as an
 equivalent word71 added to  all        
these--charity1 edifieth4      #cj4     
,note the word2 builds forward1 or      
builds up1 and builds securely  because 
on modest and measured foundation1 wide1
 though low1 and in the  natural and    
living rock4    ,sophia is the faculty  
which recognizes in all things their    
bearing upon  life1 in the entire sum of
 life that we know1 bestial and human2  
but1  which1 understanding the appointed
 objects of that life1 concentrates  its
 interest and its power on ,humanity1 as
 opposed on the one side to  the        
,animalism which it must rule1 and      
distinguished on the other side  from   
the ,divinity which rules it1 and which 
it cannot imagine4    ,it is as little  
the part of a wise man to reflect much  
on the nature of  beings above him1 as  

of beings beneath him4 ,it is immodest  
to suppose  that he can conceive the    
one1 and degrading to suppose that he   
should be  busied with the other4 ,to   
recognize his everlasting inferiority1  
and his  everlasting greatness2 to know 
himself1 and his place2 to be content to
  submit to ,god without understanding  
,him2 and to rule the lower creation    
with sympathy and kindness1 yet neither 
sharing the passion of the wild  beast1 
nor imitating the science of the        
,insect2--this you will find is  to be  
modest towards ,god1 gentle to ,his     
creatures1 and wise for  himself4       
#ca4 ,i think you will now be able to   
fasten in your minds1 first the idea  of
 unselfishness1 and secondly1 that of   
modesty1 as component elements  of      
sophia2 and having obtained thus much1  
we will at once make use of  our gain1  
by rendering more clear one or two      
points respecting its  action on art1   
that we may then see more surely its    
obscurer function in  science4    ,it is

 absolutely unselfish1 we say1 not in   
the sense of being without  desire1 or  
effort to gratify that desire2 on the   
contrary1 it longs  intensely to see1 or
 know the things it is rightly          
interested in4 ,but it  is not          
interested specially in itself4 ,in the 
degree of his wisdom1 an  artist is     
unconcerned about his work as his       
own2--concerned about it  only in the   
degree in which he would be1 if it were 
another  man's--recognizing its precise 
value1 or no value1 from that outer     
standpoint4 ,i do not think1 unless you 
examine your minds very  attentively1   
that you can have any conception of the 
difficulty of doing  this4 ,absolutely  
to do it is impossible1 for we are all  
intended by  nature to be a little      
unwise1 and to derive more pleasure1    
therefore1  from our own success than   
that of others4 ,but the intense degree 
of the  difference is usually unmeasured
 by us4 ,in preparing the drawings for  
you to use as copies in these schools1  

my assistant and ,i are often  sitting  
beside each other2 and he is at work1   
usually1 on the more  important drawing 
of the two4 ,i so far recognize that    
greater  importance1 when it exists1    
that if ,i had the power of determining 
which  of us should succeed1 and which  
fail1 ,i should be wise enough to choose
  his success rather than my own4 ,but  
the actual effect on my own mind1  and  
comfort1 is very different in the two   
cases4 ,if he fails1 ,i am  sorry1 but  
not mortified2--on the contrary1 perhaps
 a little pleased4 ,i  tell him1        
indulgently1 'he will do better another 
time1' and go down  with great          
contentment to my lunch4 ,but1 if ,i    
fail1 though ,i would  rather1 for the  
sake of the two drawings1 have had it   
so1 the effect on  my temper is very    
different4 ,i say1 philosophically1 that
 it was better  so--but ,i can't eat any
 lunch4      #cb4 ,now1 just imagine    
what this inherently selfish            
passion--unconquerable as you will find 

it by the most deliberate and           
maintained efforts--fancy what it       
becomes1 when instead of striving to    
subdue1 we take every means in our power
 to increase and encourage it2  and when
 all the circumstances around us concur 
in the deadly  cultivation4 ,in all base
 schools of ,art1 the craftsman is      
dependent for  his bread on originality2
 that is to say1 on finding in himself  
some  fragment of isolated faculty1 by  
which his work may be recognized as     
distinct from that of other men4 ,we are
 ready enough to take delight in  our   
little doings1 without any such         
stimulus2--what must be the effect  of  
the popular applause which continually  
suggests that the little thing  we can  
separately do is as excellent as it is  
singular6 and what the  effect of the   
bribe1 held out to us through the whole 
of life1 to  produce--it being also at  
our peril not to produce--something     
different from the work of our          
neighbours8 ,in all great schools of art

  these conditions are exactly reversed4
 ,an artist is praised in these1  not   
for what is different in him from       
others1 nor for solitary  performance of
 singular work2 but only for doing most 
strongly what all  are endeavouring2 and
 for contributing1 in the measure of his
 strength1  to some great achievement1  
to be completed by the unity of         
multitudes1  and the sequence of ages4  
#cc4 ,and now1 passing from art to      
science1 the unselfishness of sophia is 
shown by the value it therein attaches  
to every part of knowledge1 new  or old1
 in proportion to its real utility to   
mankind1 or largeness of  range in      
creation4 ,the selfishness which renders
 sophia impossible1 and  enlarges the   
elastic and vaporous kingdom of folly1  
is shown by our  caring for knowledge   
only so far as we have been concerned in
 its  discovery1 or are ourselves       
skilled and admired in its              
communication4 ,if  there is an art     
which puffeth up1 even when we are      

surrounded by  magnificence of          
achievement of past ages1 confessedly   
not by us to be  rivalled1 how much more
 must there be a science which puffeth  
up1 when1  by the very condition of     
science1 it must be an advance on the   
attainments of former time1 and however 
slight1 or however slow1 is  still      
always as the leaf of a pleasant spring 
compared to the dried  branches of years
 gone by8 ,and1 for the double calamity 
of the age in  which we live1 it has    
chanced that the demand of the vulgar   
and the dull  for originality in ,art1  
is associated with the demand of a      
sensual  economy for originality in     
science2 and the praise which is too    
readily  given always to discoveries    
that are new1 is enhanced by the reward 
which rapidity of communication now     
ensures to discoveries that are         
profitable4 ,what marvel if future time 
shall reproach us with having  destroyed
 the labours1 and betrayed the knowledge
 of the greatest  nations and the wisest

 men1 while we amused ourselves with    
fantasy in  art1 and with theory in     
science3 happy1 if the one was idle     
without  being vicious1 and the other   
mistaken without being mischievous4     
,nay1  truth1 and success1 are often to 
us more deadly than error4 ,perhaps no  
progress more triumphant has been made  
in any science than that of  ,chemistry2
 but the practical fact which will      
remain for the  contemplation of the    
future1 is that we have lost the art of 
painting on  glass1 and invented        
gun-cotton and nitroglycerine4 ,can you 
imagine1  the future will say1 those    
,english fools of the nineteenth        
century1 who  went about putting up     
memorials of themselves in glass which  
they could  not paint1 and blowing their
 women and children to pieces with      
cartridges they would not fight with8   
#cd4 ,you may well think1 gentlemen1    
that ,i am unjust and prejudiced in     
such sayings2--you may imagine that when
 all our mischievous inventions  have   

done their worst1 and the wars they     
provoked by cowardice have been         
forgotten in dishonour1 our great       
investigators will be remembered1 as    
men who laid first the foundations of   
fruitful knowledge1 and vindicated  the 
majesty of inviolable law4 ,no1         
gentlemen2 it will not be so4 ,in a     
little while1 the discoveries of which  
we are now so proud will be  familiar to
 all4 ,the marvel of the future will not
 be that we should  have discerned them1
 but that our predecessors were blind to
 them4 ,we  may be envied1 but shall not
 be praised1 for having been allowed    
first  to perceive and proclaim what    
could be concealed no longer4 ,but the  
misuse we made of our discoveries will  
be remembered against us1 in  eternal   
history2 our ingenuity in the           
vindication1 or the denial1 of  species1
 will be disregarded in the face of the 
fact that we destroyed1  in civilized   
,europe1 every rare bird and secluded   
flower2 our chemistry  of agriculture   

will be taunted with the memories of    
irremediable famine2  and our mechanical
 contrivance will only make the age of  
the  mitrailleuse more abhorred than    
that of the guillotine4      #ce4 ,yes1 
believe me1 in spite of our political   
liberality1 and poetical  philanthropy2 
in spite of our almshouses1 hospitals1  
and ,sunday-schools2  in spite of our   
missionary endeavours to preach abroad  
what we cannot  get believed at home2   
and in spite of our wars against        
slavery1  indemnified by the            
presentation of ingenious bills1--we    
shall be  remembered in history as the  
most cruel1 and therefore the most      
unwise1  generation of men that ever yet
 troubled the earth3--the most cruel in 
proportion to their sensibility1--the   
most unwise in proportion to their      
science4 ,no people1 understanding pain1
 ever inflicted so much3 no  people1    
understanding facts1 ever acted on them 
so little4 ,you execrate  the name of   
,eccelin of ,padua1 because he slew two 

thousand innocent  persons to maintain  
his power2 and ,dante cries out against 
,pisa that she  should be sunk in the   
sea1 because1 in revenge for treachery1 
she put to  death1 by the slow pangs of 
starvation1 not the traitor only1 but   
his  children4 ,but we men of ,london1  
we of the modern ,pisa1 slew1 a little  
while since1 five hundred thousand men  
instead of two thousand--7,i  speak in  
official terms1 and know my             
numbers7--these we slew1 all  guiltless2
 and these we slew1 not for defence1 nor
 for revenge1 but most  literally in    
cold blood2 and these we slew1 fathers  
and children  together1 by slow         
starvation--simply because1 while we    
contentedly kill  our own children in   
competition for places in the ,civil    
,service1 we  never ask1 when once they 
have got the places1 whether the ,civil 
,service  is done4      #cf4 ,that was  
our missionary work in ,orissa1 some    
three or four years  ago2--our          
,christian miracle of the five loaves1  

assisted as we are in  its performance1 
by steam-engines for the threshing of   
the corn1 and by  railroads for carrying
 it1 and by proposals from ,english     
noblemen to cut  down all the trees in  
,england1 for better growing it4 ,that1 
,i repeat1 is  what we did1 a year or   
two ago2 what are we doing now8 ,have   
any of you  chanced to hear of the      
famine in ,persia8 ,here1 with due      
science1 we  arrange the roses in our   
botanic garden1 thoughtless of the      
country of  the rose4 ,with due art of  
horticulture1 we prepare for our harvest
 of  peaches2--it might perhaps         
seriously alarm us to hear1 next autumn1
 of a  coming famine of peaches4 ,but   
the famine of all things1 in the country
  of the peach--do you know of it1 care 
for it3--quaint famine that it is1  in  
the fruitfullest1 fairest1 richest of   
the estates of earth2 from  which the   
,magi brought their treasures to the    
feet of ,christ8    ,how much of your   
time1 scientific faculty1 popular       

literature1 has been  given1 since this 
year began1 to ascertain what ,england  
can do for the  great countries under   
her command1 or for the nations that    
look to her  for help2 and how much to  
discuss the chances of a single         
impostor's  getting a few thousands a   
year8    ,gentlemen1 if your literature1
 popular and other2 or your art1 popular
  and other2 or your science1 popular   
and other1 is to be eagle-eyed1         
remember that question ,i to-day        
solemnly put to you--will you hawk at   
game or carrion8 ,shall it be only said 
of the thoughts of the heart of         
,england--,wheresoever the carcase is1  
thither shall the eagles be  gathered   
together8                               
,,lecture ,,iii4                   ,,the
 ,,relation ,,of ,,wise ,,art ,,to      
,,wise ,,science4                  ,the 
morrow after ,st4 ,valentine's1 #ahgb4  
#cg4 ,our task to-day is to examine the 
relation between art and science1  each 
governed by sophia1 and becoming        

capable1 therefore1 of consistent  and  
definable relation to each other4       
,between foolish art and foolish        
science1 there may indeed be all manner 
of reciprocal mischievous  influence2   
but between wise art and wise science   
there is essential  relation1 for each  
other's help and dignity4    ,you       
observe1 ,i hope1 that ,i always use the
 term 'science1' merely as the          
equivalent of 'knowledge4' ,i take the  
,latin word1 rather than the  ,english1 
to mark that it is knowledge of constant
 things1 not merely of  passing events3 
but you had better lose even that       
distinction1 and  receive the word      
scientia as merely the equivalent of our
 ,english  knowledge1 than fall into the
 opposite error of supposing that       
science means systematization or        
discovery4 ,it is not the arrangement of
  new systems1 nor the discovery of new 
facts1 which constitutes a man of       
science2 but the submission to an       
eternal system2 and the proper grasp  of

 facts already known4      #ch4 ,and1 at
 first1 to-day1 ,i use the word art only
 of that in which it  is my special     
office to instruct you2 graphic         
imitation2 or1 as it is  commonly       
called1 ,fine art4 ,of course1 the arts 
of construction1--building1             
carpentering1 and the like1 are directly
 dependent on many sciences1  but in a  
manner which needs no discussion1 so    
that we may put that part  of the       
business out of our way4 ,i mean by art1
 to-day1 only imitative  art2 and by    
science1 to-day1 not the knowledge of   
general laws1 but of  existent facts4 ,i
 do not mean by science1 for instance1  
the knowledge  that triangles with equal
 bases and between parallels1 are equal1
 but  the knowledge that the stars in   
,cassiopeia are in the form of a ,w4    
,now1 accepting the terms 'science' and 
'art' under these limitations1  wise art
 is only the reflex or shadow of wise   
science4 ,whatever it is  really        
desirable and honourable to know1 it is 

also desirable and  honourable to know  
as completely and as long as possible2  
therefore1 to  present1 or re-present1  
in the most constant manner2 and to     
bring again  and again1 not only within 
the thoughts1 but before the eyes2      
describing  it1 not with vague words1   
but distinct lines1 and true colours1 so
 as to  approach always as nearly as may
 be to the likeness of the thing itself4
      #ci4 ,can anything be more simple1
 more evidently or indisputably natural 
and right1 than such connection of the  
two powers8 ,that you should  desire to 
know what you ought2 what is worthy of  
your nature1 and  helpful to your life3 
to know that2--nothing less1--nothing   
more2 and to  keep record and definition
 of such knowledge near you1 in the most
 vivid  and explanatory form8           
,nothing1 surely1 can be more simple    
than this2 yet the sum of art  judgment 
and of art practice is in this4 ,you are
 to recognize1 or know1  beautiful and  
noble things--notable1 notabilia1 or    

nobilia2 and then you  are to give the  
best possible account of them you can1  
either for the  sake of others1 or for  
the sake of your own forgetful or       
apathetic  self1 in the future4    ,now 
as ,i gave you and asked you to remember
 without failing1 an aphorism  which    
embraced the law of wise knowledge1 so1 
to-day1 ,i will ask you to  remember1   
without fail1 one1 which absolutely     
defines the relation of  wise art to it4
 ,i have1 already1 quoted our to-day's  
aphorism to you1 at  the end of my      
fourth lecture on sculpture4 ,read the  
few sentences at the  end of that       
lecture now1 down to        ,,the       
,,best1 ,,in ,,this ,,kind1 ,,are ,,but 
,,shadows4    ,that is ,shakspeare's    
judgment of his own art4 ,and by strange
  coincidence1 he has put the words into
 the mouth of the hero whose  shadow1 or
 semblance in marble1 is admittedly the 
most ideal and heroic  we possess1 of   
man2 yet1 ,i need not ask you1 whether  
of the two1 if it  were granted you to  

see the statue by ,phidias1 or the hero 
,theseus  himself1 you would choose     
rather to see the carved stone1 or the  
living  ,king4 ,do you recollect how    
,shakspeare's ,theseus concludes his    
sentence1  spoken of the poor           
tradesmen's kindly offered art1 in the  
,midsummer  ,night's ,dream8    ,the    
best in this kind are but shadows3 and  
the worst are no worse1 if  imagination 
amend them4    ,it will not burden your 
memories painfully1 ,i hope1 though it  
may not  advance you materially in the  
class list1 if you will learn this      
entire  sentence by heart1 being1 as it 
is1 a faultless and complete epitome of 
the laws of mimetic art4      #dj4 ,,but
 ,,shadows6 ,make them as beautiful as  
you can2 use them only to  enable you to
 remember and love what they are cast   
by4 ,if ever you  prefer the skill of   
them to the simplicity of the truth1 or 
the pleasure  of them to the power of   
the truth1 you have fallen into that    
vice of  folly1 7whether you call her   

or 17 which concludes the subtle        
description of her given by ,prodicus1  
that she might be seen continually      
--to look with love1 and exclusive      
wonder1 at her own shadow4      #da4    
,there is nothing that ,i tell you with 
more eager desire that you  should      
believe--nothing with wider ground in my
 experience for requiring  you to       
believe1 than this1 that you never will 
love art well1 till you  love what she  
mirrors better4    ,it is the widest1 as
 the clearest experience ,i have to give
 you2 for the  beginning of all my own  
right art work in life1 7and it may not 
be  unprofitable that ,i should tell you
 this17 depended not on my love of  art1
 but of mountains and sea4 ,all boys    
with any good in them are fond  of      
boats1 and of course ,i liked the       
mountains best when they had lakes  at  
the bottom2 and ,i used to walk always  
in the middle of the loosest  gravel ,i 
could find in the roads of the midland  
counties1 that ,i might  hear1 as ,i    

trod on it1 something like the sound of 
the pebbles on  sea-beach4 ,no chance   
occurred for some time to develop what  
gift of  drawing ,i had2 but ,i would   
pass entire days in rambling on the     
,cumberland hill-sides1 or staring at   
the lines of surf on a low sand2  and   
when ,i was taken annually to the       
,water-colour ,exhibition1 ,i used to   
get hold of a catalogue before-hand1    
mark all the ,robsons1 which ,i knew    
would be of purple mountains1 and all   
the ,copley ,fieldings1 which ,i knew   
would be of lakes or sea2 and then go   
deliberately round the room to  these1  
for the sake1 observe1 not of the       
pictures1 in any wise1 but only  of the 
things painted4    ,and through the     
whole of following life1 whatever power 
of judgment ,i  have obtained1 in art1  
which ,i am now confident and happy in  
using1 or  communicating1 has depended  
on my steady habit of always looking for
 the  subject principally1 and for the  
art1 only as the means of expressing    

it4      #db4 ,at first1 as in youth one
 is almost sure to be1 ,i was led too   
far by  my certainty of the rightness of
 this principle3 and provoked into its  
exclusive assertion by the pertinacity  
with which other writers denied  it3 so 
that1 in the first volume of ,modern    
,painters1 several passages  occurred   
setting the subject or motive of the    
picture so much above the  mode of its  
expression1 that some of my more feebly 
gifted disciples  supposed they were    
fulfilling my wishes by choosing exactly
 the subjects  for painting which they  
were least able to paint4 ,but the      
principle  itself1 ,i maintain1 now in  
advanced life1 with more reverence and  
firmness than in earliest youth3 and    
though ,i believe that among the        
teachers who have opposed its assertion1
 there are few who enjoy the  mere      
artifices of composition or dexterities 
of handling so much as ,i1  the time    
which ,i have given to the investigation
 of these has only  farther assured me  

that the pictures were noblest which    
compelled me to  forget them4      #dc4 
,now1 therefore1 you see that on this   
simple theory1 you have only to  ask    
what will be the subjects of wise       
science2 these also1 will be1 so  far as
 they can be imitatively or suggestively
 represented1 the subjects  of wise art3
 and the wisdom of both the science and 
art will be  recognized by their being  
lofty in their scope1 but simple in     
their  language2 clear in fancy1 but    
clearer in interpretation2 severe in    
discernment1 but delightful in display4 
#dd4 ,for example's sake1 since we have 
just been listening to ,shakspeare  as a
 teacher of science and art1 we will now
 examine him as a subject  of science   
and art4    ,suppose we have the        
existence and essence of ,shakspeare to 
investigate1  and give permanent account
 of2 we shall see that1 as the scope and
  bearing of the science become nobler1 
art becomes more helpful to it2  and at 
last1 in its highest range1 even        

necessary to it2 but still only  as its 
minister4    ,we examine ,shakspeare1   
first1 with the science of chemistry1   
which  informs us that ,shakspeare      
consists of about seventy-five parts in 
the  hundred of water1 some twelve or   
fifteen of nitrogen1 and the rest1      
lime1 phosphorus1 and essential earthy  
salts4    ,we next examine him by the   
science of anatomy1 which tells us 7with
  other such matters17 that ,shakspeare 
has seven cervical1 twelve dorsal1  and 
five lumbar vertebr2 that his fore arm  
has a wide sphere of  rotation2 and that
 he differs from other animals of the   
ape species by  being more delicately   
prehensile in the fingers1 and less     
perfectly  prehensile in the toes4      
,we next approach ,shakspeare with the  
science of natural history1 which  tells
 us the colour of his eyes and hair1 his
 habits of life1 his  temper1 and his   
predilection for poaching4    ,there    
ends1 as far as this subject is         
concerned1 our possible science of      

substantial things4 ,then we take up our
 science of ideal things3 first  of     
passion1 then of imagination2 and we are
 told by these that  ,shakspeare is     
capable of certain emotions1 and of     
mastering or  commanding them in certain
 modes4 ,finally1 we take up our science
 of  theology1 and ascertain that he is 
in relation1 or in supposed relation1   
with such and such a ,being1 greater    
than himself4      #de4 ,now1 in all    
these successive stages of scientific   
description1 we  find art become        
powerful as an aid or record1 in        
proportion to the  importance of the    
inquiry4 ,for chemistry1 she can do     
scarcely anything3  merely keep note of 
a colour1 or of the form of a crystal4  
,for anatomy1  she can do somewhat more2
 and for natural history1 almost all    
things3  while in recording passion1 and
 affectionate intellect1 she walks hand 
in hand with the highest science2 and to
 theology1 can give nobler aid  even    
than verbal expression of literature4   

#df4 ,and in considering this power of  
hers1 remember that the theology of  art
 has only of late been thought deserving
 of attention3 ,lord ,lindsay1  some    
thirty years ago1 was the first to      
recognize its importance2 and  when ,i  
entered upon the study of the schools of
 ,tuscany in #ahde1 his  ,christian     
,mythology was the only guide ,i could  
trust4 ,even as late as  #ahfj1 ,i had  
to vindicate the true position1 in      
,christian science1 of  ,luini1 the     
despised pupil of ,leonardo4 ,but only  
assuming1 what with  general assent ,i  
might assume1 that ,raphael's dispute of
 the  ,sacrament--7or by its less       
frequently given1 but true              
name--,raphael's  ,theologia17 is the   
most perfect effort yet made by art to  
illustrate  divine science1 ,i am       
prepared hereafter to show you that the 
most  finished efforts of theologic     
literature1 as compared with that piece 
of  pictorial interpretation1 have      
expressed less fully the condition of   

wise religious thought2 and have been   
warped more dangerously into  unwise    
religious speculation4      #dg4 ,upon  
these higher fields of inquiry we are   
not yet to enter4 ,i shall  endeavour   
for some time only to show you the      
function of modest art1 as  the handmaid
 of natural science2 and the exponent1  
first of the beauty  of the creatures   
subject to your own human life2 and then
 of the history  of that life in past   
time2 of which one chief source of      
illustration is  to be found in the most
 brilliant1 and in its power on         
character1  hitherto the most           
practically effective of the            
arts--,heraldry4    ,in natural history1
 ,i at first intended to begin with the 
lower types of  life2 but as the        
enlarged schools now give me the means  
of extending the  use of our examples1  
we will at once1 for the sake of more   
general  service1 take up ornithology1  
of the uses of which1 in general        
culture1  ,i have one or two grave words

 to say4      #dh4 ,perhaps you thought 
that in the beginning of my lecture     
to-day ,i too  summarily dismissed the  
arts of construction and action4 ,but it
 was not  in disrespect to them2 and ,i 
must indeed ask you carefully to note   
one  or two points respecting the arts  
of which an example is set us by        
birds2--building1 and singing4    ,the  
other day1 as ,i was calling on the     
ornithologist whose collection of  birds
 is1 ,i suppose1 altogether unrivalled  
in ,europe1--7at once a  monument of    
unwearied love of science1 and an       
example1 in its treatment1  of the most 
delicate and patient art7--,mr4         
,gould--he showed me the nest  of a     
common ,english bird2 a nest which1     
notwithstanding his knowledge of  the   
dexterous building of birds in all the  
world1 was not without  interest even to
 him1 and was altogether amazing and    
delightful to me4  ,it was a bullfinch's
 nest1 which had been set in the fork of
 a sapling  tree1 where it needed an    

extended foundation4 ,and the bird had  
built  this first story of her nest with
 withered stalks of clematis blossom2   
and with nothing else4 ,these twigs it  
had interwoven lightly1 leaving  the    
branched heads all at the outside1      
producing an intricate ,gothic  boss of 
extreme grace and quaintness1 apparently
 arranged both with  triumphant pleasure
 in the art of basket-making1 and with  
definite  purpose of obtaining          
ornamental form4      #di4 ,i fear there
 is no occasion to tell you that the    
bird had no purpose  of the kind4 ,i say
 that ,i fear this1 because ,i would    
much rather have  to undeceive you in   
attributing too much intellect to the   
lower animals1  than too little4 ,but ,i
 suppose the only error which1 in the   
present  condition of natural history1  
you are likely to fall into1 is that of 
supposing that a bullfinch is merely a  
mechanical arrangement of nervous       
fibre1 covered with feathers by a       
chronic cutaneous eruption2 and         

impelled by a galvanic stimulus to the  
collection of clematis4      #ej4 ,you  
would be in much greater1 as well as in 
a more shameful1 error1  in supposing   
this1 than if you attributed to the     
bullfinch the most  deliberate rivalship
 with ,mr4 ,street's prettiest ,gothic  
designs4 ,the  bird has exactly the     
degree of emotion1 the extent of        
science1 and the  command of art1 which 
are necessary for its happiness2 it had 
felt the  clematis twigs to be lighter  
and tougher than any others within its  
reach1 and probably found the forked    
branches of them convenient for         
reticulation4 ,it had naturally placed  
these outside1 because it wanted a      
smooth surface for the bottom of its    
nest2 and the beauty of the result  was 
much more dependent on the blossoms than
 the bird4      #ea4 ,nevertheless1 ,i  
am sure that if you had seen the        
nest1--much more1  if you had stood     
beside the architect at work upon       
it1--you would have  greatly desired to 

express your admiration to her2 and chat
 if  ,wordsworth1 or any other simple   
and kindly person1 could even wish1 for 
a little flower's sake1        ,that to 
this mountain daisy's self were known   
,the beauty of its star-shaped shadow1  
thrown      ,on the smooth surface of   
this naked stone1    much more you would
 have yearned to inform the bright      
little  nest-builder of your sympathy2  
and to explain to her1 on art           
principles1  what a pretty thing she was
 making4      #eb4 ,does it never occur 
to you1 then1 that to some of the best  
and  wisest artists among ourselves1 it 
may not be always possible to explain   
what pretty things they are making2 and 
that1 perhaps1 the very  perfection of  
their art is in their knowing so little 
about it8    ,whether it has occurred to
 you or not1 ,i assure you that it is   
so4 ,the  greatest artists1 indeed1 will
 condescend1 occasionally1 to be        
scientific2--will labour1 somewhat      
systematically1 about what they are     

doing1 as vulgar persons do2 and are    
privileged1 also1 to enjoy what  they   
have made more than birds do2 yet       
seldom1 observe you1 as being           
beautiful1 but very much in the sort of 
feeling which we may fancy the          
bullfinch had also1--that the thing1    
whether pretty or ugly1 could not  have 
been better done2 that they could not   
have made it otherwise1 and  are        
thankful it is no worse4 ,and1          
assuredly1 they have nothing like the   
delight in their own work which it gives
 to other people4      #ec4 ,but putting
 the special simplicities of good       
artists out of  question1 let me ask    
you1 in the second place1 whether it is 
not  possible that the same sort of     
simplicity might be desirable in the    
whole race of mankind2 and that we ought
 all to be doing human work  which would
 appear better done to creatures much   
above us1 than it does  to ourselves4   
,why should not our nests be as         
interesting things to  angels1 as       

bullfinches' nests are to us8    ,you   
will1 probably1 both smile at1 and      
shrink from1 such a supposition1  as an 
insolent one4 ,but to my thought1 it    
seems1 on the contrary1 the  only modest
 one4 ,that we should be able to admire 
the work of angels  seems to me the     
impertinent idea2 not1 at all1 that they
 should be able  to admire ours4        
#ed4 ,under existing circumstances1 ,i  
confess the difficulty4 ,it cannot be   
imagined that either the back streets of
 our manufacturing towns1 or the        
designs of our suburban villas1 are     
things which the angels desire to  look 
into3 but it seems to me an inevitable  
logical conclusion that if  we are1     
indeed1 the highest of the brute        
creation1 we should1 at least1  possess 
as much unconscious art as the lower    
brutes2 and build nests  which shall be1
 for ourselves1 entirely convenient2 and
 may1 perhaps1 in  the eyes of superior 
beings1 appear more beautiful than to   
our own4      #ee4 ,which shall be1 for 

ourselves1 entirely convenient4 ,note   
the  word2--becoming1 decorous1         
harmonious1 satisfying4 ,we may not be  
able to  build anything sublime2 but1 at
 all events1 we should1 like other      
flesh-invested creatures1 be able to    
contrive what was decent1 and it  should
 be a human privilege to think that we  
may be admired in heaven  for our       
contrivance4    ,i have some difficulty 
in proceeding with what ,i want to say1 
because ,i  know you must partly think  
,i am jesting with you4 ,i feel indeed  
some  disposition to smile myself2 not  
because ,i jest1 but in the sense of    
contrast between what1 logically1 it    
seems1 ought to be2 and what we  must   
confess1 not jestingly1 to be the facts4
 ,how great also1--how  quaint1 the     
confusion of sentiment in our minds1 as 
to this matter6 ,we  continually talk of
 honouring ,god with our buildings2 and 
yet1 we dare  not say1 boldly1 that1 in 
,his sight1 we in the least expect to   
honour  ourselves by them6 ,and         

admitting1 though ,i by no means feel   
disposed to  admit1 that here and there 
we may1 at present1 be honouring ,him by
 work  that is worthy of the nature ,he 
gave us1 in how many places1 think you1 
are we offending ,him by work that is   
disgraceful to it8      #ef4 ,let me    
return1 yet for an instant1 to my bird  
and her nest4 ,if not  actually         
complacent and exultant in her          
architecture1 we may at least  imagine  
that she1 and her mate1 and the choir   
they join with1 cannot but  be          
complacent and exultant in their song4  
,i gave you1 in a former  lecture1 the  
skylark as a type of mastership in      
music2 and  remembering--some of you1 ,i
 suppose1 are not likely soon to        
forget1--the  saint to whom yesterday   
was dedicated1 let me read to you to-day
 some of  the prettiest ,english words  
in which our natural feeling about such 
song  is expressed4        ,and anone1  
as ,i the day espide1      ,no lenger   
would ,i in my bed abide1      ,but unto

 a wood that was fast by1      ,i went  
forth alone boldely1      ,and held the 
way downe by a brook side1        ,till 
,i came to a laund of white and green1  
,so faire one had ,i never in been1     
,the ground was green1 ypoudred with    
daisie1      ,the floures and the greves
 like hie1      ,all greene and white1  
was nothing els seene4        ,there sat
 ,i downe among the faire flours1       
,and saw the birds trip out of hir      
hours1      ,there as they rested hem   
all the night1      ,they were so       
joyfull of the dayes light1      ,they  
began of ,may for to done honours4      
,they coud that service all by rote1    
,there was many a lovely note1          
,some sang loud1 as they had plained1   
,and some in other manner voice yfained1
      ,and some all out with the full   
throte4        ,they proyned hem and    
made hem right gay1      ,and daunceden 
and lepten on the spray1      ,and      
evermore two and two in fere1           
,right so as they had chosen hem to yere

      ,in ,feverere1 upon saint         
,valentines day4    ,you recollect1     
perhaps1 the dispute that follows       
between the cuckoo and  the nightingale1
 and the promise which the sweet singer 
makes to ,chaucer  for rescuing her4    
,and then came the ,nightingale to me   
,and said ,friend1 forsooth ,i thanke   
thee      ,that thou hast liked me to   
rescue1      ,and one avow to ,love make
 ,i now      ,that all this ,may1 ,i    
will thy singer be4        ,i thanked   
her1 and was right well apaied1         
,yea1 quoth she1 and be not thou        
dismaied1      ,tho' thou have heard the
 cuckoo erst than me2      ,for1 if ,i  
live1 it shall amended be1      ,the    
next ,may1 if ,i be not affraied4    ,if
 ,i be not affraied4 ,would she not put 
the if more timidly now1 in  making the 
same promise to any of you1 or in asking
 for the judgment  between her and her  
enemy1 which was to be past1 do you     
remember1 on  this very day of the year1
 so many years ago1 and within eight    

miles of  this very spot8        ,and   
this shall be without any ,nay      ,on 
the morrow after ,st4 ,valentine's day1 
,under a maple that is faire and green  
,before the chamber window of the ,queen
      ,at ,woodstoke1 upon the greene   
lawn4        ,she thanked them1 and then
 her leave took      ,and into an       
hawthorn by that broke4      ,and there 
she sate1 and sang upon that tree       
',terme of life love hath withheld me'  
,so loud1 that ,i with that song awoke4 
#eg4 ,terme of life love hath withheld  
me6 ,alas1 how have we men  reversed    
this song of the nightingale6 so that   
our words must be ,terme  of life1      
hatred hath withheld me4    ,this1 then1
 was the old ,english science of the    
song of birds2 and  perhaps you are     
indignant with me for bringing any word 
of it back to  you8 ,you have1 ,i doubt 
not1 your new science of song1 as of    
nest-building3 and ,i am happy to think 
you could all explain to me1 or  at     
least you will be able to do so before  

you pass your natural science           
examination1 how1 by the accurate       
connection of a larynx with a bill1  and
 by the action of heat1 originally      
derived from the sun1 upon the  muscular
 fibre1 an undulatory motion is produced
 in the larynx1 and an  opening and     
shutting one in the bill1 which is      
accompanied1 necessarily1  by a piping  
sound4      #eh4 ,i will not dispute    
your statement2 still less do ,i wish to
 answer  for the absolute truth of      
,chaucer's4 ,you will find that the     
complete  truth embraces great part of  
both2 and that you may study1 at your   
choice1 in any singing bird1 the action 
of universal heat on a  marvellous      
mechanism1 or of individual life1 on a  
frame capable of  exquisite passion4    
,but the point ,i wish you to consider  
is the relation  to this lower          
creature's power1 of your own human     
agencies in the  production of sound1   
where you can best unite in its harmony4
      #ei4 ,i had occasion only the     

other day to wait for half an hour at   
the  bottom of ,ludgate ,hill4 ,standing
 as much out of the way as ,i could1    
under the shadow of the railroad bridge1
 ,i watched the faces1 all eager1  many 
anxious1 and some intensely gloomy1 of  
the hurried passers by2 and  listened to
 the ceaseless crashing1 whistling1 and 
thundering sounds  which mingled with   
the murmur of their steps and voices4   
,and in the  midst of the continuous    
roar1 which differed only from that of  
the  wildest sea in storm by its        
complexity and its discordance1 ,i was  
wondering1 if the sum of what all these 
people were doing1 or trying to  do1 in 
the course of the day1 could be made    
manifest1 what it would come  to4       
#fj4 ,the sum of it would be1 ,i        
suppose1 that they had all contrived to 
live through the day in that exceedingly
 unpleasant manner1 and that  nothing   
serious had occurred to prevent them    
from passing the following  day         
likewise4 ,nay1 ,i knew also that what  

appeared in their way of life  painful  
to me1 might be agreeable to them2 and  
it chanced1 indeed1 a  little while     
afterwards1 that an active and          
prosperous man of business1  speaking to
 one of my friends of the disappointment
 he had felt in a  visit to ,italy1     
remarked1 especially1 that he was not   
able to endure  more than three days at 
,venice1 because there was no noise     
there4      #fa4 ,but1 granting the     
contentment of the inhabitants of       
,london in  consistently producing these
 sounds1 how shall we say this vocal and
  instrumental art of theirs may        
compare1 in the scheme of ,nature1 with 
the vocal art of lower animals8 ,we may 
indeed rank the danger-whistle of  the  
engines on the bridge as an excruciating
 human improvement on that  of the      
marmot2 and the trampling of feet and   
grinding of wheels1 as the  human       
accentuation of the sounds produced by  
insects1 by the friction of  their wings
 or thighs against their sides3 but1    

even in this comparison1  it may cause  
us some humiliation to note that the    
cicada and the  cricket1 when pleased to
 sing in their vibratory manner1 have   
leisure  to rest in their delight2 and  
that the flight of the firefly is       
silent4  ,but how will the sounds we    
produce compare with the song of birds8 
,this  ,london is the principal nest of 
men in the world2 and ,i was standing in
  the centre of it4 ,in the shops of    
,fleet ,street and ,ludgate ,hill1 on   
each  side of me1 ,i do not doubt ,i    
could have bought any quantity of books 
for  children1 which by way of giving   
them religious1 as opposed to secular1  
instruction1 informed them that birds   
praised ,god in their songs4 ,now1      
though1 on the one hand1 you may be very
 certain that birds are not  machines1  
on the other hand it is just as certain 
that they have not the  smallest        
intention of praising ,god in their     
songs2 and that we cannot  prevent the  
religious education of our children more

 utterly than by  beginning it in lies4 
,but it might be expected of ourselves  
that we  should do so1 in the songs we  
send up from our principal nest6 ,and   
although1 under the dome at the top of  
,ludgate ,hill1 some attempt of the     
kind may be made every seventh day1 by a
 limited number of persons1 we  may     
again reflect1 with humiliation1 that   
the birds1 for better or  worse1 sing   
all1 and every day2 and ,i could not but
 ask myself1 with  momentarily          
increasing curiosity1 as ,i endeavoured 
to trace the emotions  and occupations  
of the persons who passed by me1 in the 
expression of  their faces--what would  
be the effect on them1 if any creatures 
of  higher order were suddenly to appear
 in the midst of them with any such     
message of peace1 and invitation to     
rejoicing1 as they had all been         
professing to commemorate at ,christmas4
      #fb4 ,perhaps you recollect1 in   
the lectures given on landscape during  
the  spring of this year1 my directing  

your attention to a picture of          
,mantegna's in the loan exhibition1     
representing a flight of twelve  angels 
in blue sky1 singing that ,christmas    
song4 ,i ought to tell you1  however1   
that one of our ,english artists of good
 position dissented from  my opinion    
about the picture2 and remarked that in 
,england we wanted  good art1 and not   
funny art4 ,whereas1 to me1 it is this  
vocal and  architectural art of ,ludgate
 ,hill which appears funny art2 and not 
,mantegna's4 ,but ,i am compelled to    
admit that could ,mantegna's picture    
have been realized1 the result would1 in
 the eyes of most men1 have been        
funnier still4 ,for suppose that over   
,ludgate ,hill the sky had indeed       
suddenly become blue instead of black2  
and that a flight of twelve  angels1    
covered with silver wings1 and their    
feathers with gold1 had  alighted on the
 cornice of the railroad bridge1 as the 
doves alight on  the cornices of ,st4   
,mark's at ,venice2 and had invited the 

eager men of  business below1 in the    
centre of a city confessedly the most   
prosperous  in the world1 to join them  
for five minutes in singing the first   
five  verses of such a psalm as the     
#ajcrd--,bless the ,lord1 oh my soul1   
and  all that is within me 7the         
opportunity now being given for the     
expression of their most hidden         
feelings7 all that is within me1 bless  
,his holy name1 and forget not all ,his 
benefits4 ,do you not even thus1  in    
mere suggestion1 feel shocked at the    
thought1 and as if my now  reading the  
words were profane8 ,and cannot you     
fancy that the sensation  of the crowd  
at so violent and strange an            
interruption of traffic1 might  be      
somewhat akin to that which ,i had      
occasion in my first lecture on         
sculpture to remind you of1--the feeling
 attributed by ,goethe to               
,mephistopheles at the song of the      
angels3 ,discord ,i hear1 and           
intolerable jingling8      #fc4 ,nay1   

farther1 if indeed none of the benefits 
bestowed on1 or  accomplished by1 the   
great city1 were to be forgotten1 and if
 search  were made1 throughout its      
confines1 into the results of its       
wealth1  might not the literal discord  
in the words themselves be greater than 
the felt discord in the sound of them8  
,i have here in my hand a cutting from a
 newspaper1 which ,i took with me  three
 years ago1 to a meeting in the interest
 of social science1 held in  the rooms  
of the ,society of ,arts1 and under the 
presidency of the ,prime  ,minister of  
,england4 ,under the 7so called7        
'classical' paintings of  ,barry1       
representing the philosophy and poetry  
of the ancients1 ,mr4  ,gladstone was in
 the chair2 and in his presence a member
 of the ,society  for the ,promotion of 
,social ,science propounded and         
supported the  statement1 not irrelevant
 to our present inquiry1 that the       
essential  nature of man was that of a  
beast of prey4 ,though1 at the time1    

7suddenly called upon by the author of  
,tom ,brown at ,oxford17 ,i feebly      
endeavoured to contradict that ,socially
 ,scientific person1 ,i do not at       
present desire to do so4 ,i have given  
you a creature of prey for  comparison  
of knowledge4 ,doth the eagle know what 
is in the pit8--and  in this great nest 
of ours in ,london1 it would be well if 
to all our  children the virtue of the  
creature of prey were fulfilled1 and    
that1  indeed1 the stir and tumult of   
the city were as the eagle stirreth up  
her nest and fluttereth over her young4 
,but the slip of paper ,i had  then1 and
 have now1 in my hand1,d contains       
information about the state  of the     
nest1 inconsistent with such similitude4
 ,i am not answerable for  the          
juxtaposition of paragraphs in it4 ,the 
first is a proposal for the  building of
 a new church in ,oxford1 at the cost of
 twenty thousand  pounds2 the second is 
the account of the inquest on a woman   
and her  child who were starved to death

 in the ,isle of ,dogs4 ,the bodies were
  found lying1 without covering1 on a   
bed made of heaped rags2 and there  was 
no furniture in the room but a wooden   
stool1 on which lay a tract  entitled   
,the ,goodness of ,god4 ,the husband1   
who had been out of work  for six       
months1 went mad two days afterwards2   
and being refused entrance  at the      
workhouse because it was full of mad    
people1 was carried off1  the ,pall     
,mall ,gazette says not where4      ,d  
,pall ,mall ,gazette1 ,january #bith1   
#ahfi4      #fd4 ,now1 gentlemen1 the   
question ,i wish to leave with you      
to-day is  whether the ,wisdom which    
rejoices in the habitable parts of the  
earth1  and whose delights are with the 
sons of men1 can be supposed1 under     
circumstances such as these1 to delight 
herself in that most closely and        
increasingly inhabited portion of the   
globe which we ourselves now dwell  on2 
and whether1 if she cannot grant us to  
surpass the art of the  swallow or the  

eagle1 she may not require of us at     
least1 to reach the  level of their     
happiness4 ,or do you seriously think   
that1 either in the  life of ,ludgate   
,hill1 or death of the ,isle of ,dogs2  
in the art of  ,ludgate ,hill1 or       
idleness of the ,isle of ,dogs2 and in  
the science and  sanity of ,ludgate     
,hill1 or nescience and insanity of the 
,isle of ,dogs1  we have1 as matters    
stand now1 any clear encouragement to   
repeat1 in  that #ajcrd psalm1 the three
 verses following the five ,i named2 and
 to  believe in our hearts1 as we say   
with our lips1 that we have yet1        
dwelling among us1 unoffended1 a ,god   
who forgiveth all our iniquities1  who  
healeth all our diseases2 who redeemeth 
our life from destruction1  who crowneth
 us with loving-kindness and tender     
mercies1 and who  satisfieth our mouth  
with good things1 so that our youth is  
,,renewed  ,,like ,,the ,,eagle',s8     
,,lecture ,,iv4                    ,,the
 ,,power ,,of ,,modesty ,,in ,,science  

,,and ,,art4                            
#agth ,february1 #ahgb4      #fe4 ,i    
believe1 gentlemen1 that some of you    
must have been  surprised1--and1 if ,i  
succeeded in making my last lecture     
clearly  intelligible1 many ought to    
have been surprised1--at the limitations
 ,i  asked you to admit with respect to 
the idea of science1 and the position   
which ,i asked you to assign to it4 ,we 
are so much1 by the chances of our      
time1 accustomed to think of science as 
a process of discovery1 that ,i  am sure
 some of you must have been gravely     
disconcerted by my  requesting1 and will
 to-day be more disconcerted by my      
firmly  recommending1 you to use the    
word1 and reserve the thought1 of       
science1  for the acquaintance with     
things long since discovered1 and       
established  as true4 ,we have the      
misfortune to live in an epoch of       
transition from  irrational dulness to  
irrational excitement2 and while once it
 was the  highest courage of science to 

question anything1 it is now an agony to
  her to leave anything unquestioned4   
,so that1 unawares1 we come to  measure 
the dignity of a scientific person by   
the newness of his  assertions1 and the 
dexterity of his methods in debate2     
entirely  forgetting that science cannot
 become perfect1 as an occupation of    
intellect1 while anything remains to be 
discovered2 nor wholesome as an         
instrument of education1 while anything 
is permitted to be debated4      #ff4   
,it appears1 doubtless1 a vain idea to  
you that an end should ever be  put to  
discovery2 but remember1 such           
impossibility merely signifies that     
mortal science must remain imperfect4   
,nevertheless1 in many directions1  the 
limit to practically useful discovery is
 rapidly being approached2  and you1 as 
students1 would do well to suppose that 
it has been already  attained4 ,to take 
the science of ornithology1 for         
instance3 ,i suppose  you would have    
very little hope of shooting a bird in  

,england1 which  should be strange to   
any master of the science1 or of        
shooting one  anywhere1 which would not 
fall under some species already         
described4 ,and  although at the risk of
 life1 and by the devotion of many years
 to  observation1 some of you might hope
 to bring home to our museum a  titmouse
 with a spot on its tail which had never
 before been seen1 ,i  strongly advise  
you not to allow your studies to be     
disturbed by so  dazzling a hope1 nor   
your life exclusively devoted even to so
 important  an object4 ,in astronomy1   
the fields of the sky have not yet1     
indeed1  been ransacked by the most     
costly instruments2 and it may be in    
store  for some of you to announce the  
existence1 or even to analyse the       
materials1 of some luminous point which 
may be seen two or three times  in the  
course of a century1 by any one who will
 journey to ,india for the  purpose2    
and1 when there1 is favoured by the     
weather4 ,but1 for all  practical       

purposes1 the stars already named and   
numbered are as many as  we require to  
hear of2 and if you thoroughly know the 
visible motions1  and clearly conceive  
the known relations1 even of those which
 can be  seen by the naked eye1 you will
 have as much astronomy as is necessary1
  either for the occupation of thought  
or the direction of navigation4         
#fg4 ,but1 if you were discontented with
 the limit ,i proposed for your         
sciences1 much more1 ,i imagine1 you    
were doubtful of the ranks ,i  assigned 
to them4 ,it is not1 ,i know1 in your   
modern system1 the general  practice to 
put chemistry1 the science of atoms1    
lowest1 and theology1  the science of   
,deity1 highest3 nay1 many of us have   
ceased to think of  theology as a       
science at all1 but rather as a         
speculative pursuit1 in  subject1       
separate from science2 and in temper1   
opposed to her4    ,yet it can scarcely 
be necessary for me to point out to you1
 in so many  terms1 that what we call   

theology1 if true1 is a science2 and if 
false1  is not theology2 or that the    
distinction even between natural science
  and theology is illogical3 for you    
might distinguish indeed between        
natural and unnatural science1 but not  
between natural and spiritual1  unless  
you had determined first that a spirit  
had no nature4 ,you will  find the facts
 to be1 that entirely true knowledge is 
both possible and  necessary--first of  
facts relating to matter1 and then of   
the forces and  passions that act on or 
in matter2--that1 of all these forces1  
the  noblest we can know is the energy  
which either imagines1 or perceives1    
the existence of a living power greater 
than its own2 and that the study  of the
 relations which exist between this     
energy1 and the resultant  action of    
men1 are as much subjects of pure       
science as the curve of a  projectile4  
,the effect1 for instance1 upon your    
temper1 intellect1 and  conduct during  
the day1 of your going to chapel with or

 without belief  in the efficacy of     
prayer1 is just as much a subject of    
definite  science1 as the effect of your
 breakfast on the coats of your stomach4
  ,which is the higher knowledge1 ,i    
have1 with confidence1 told you2 and am 
not afraid of any test to which you may 
submit my assertion4      #fh4 ,assuming
 such limitation1 then1 and such rank1  
for our knowledge2  assuming1 also1 what
 ,i have now1 perhaps to your weariness1
 told you1  that graphic art is the     
shadow1 or image1 of knowledge1--,i wish
 to point  out to you to-day the        
function1 with respect to both1 of the  
virtue  called by the ,greeks ''        
'safeness of mind1' corresponding to    
the 'salus' or 'sanitas' mentis1 of the 
,latins2 'health of heart' is1  perhaps1
 the best ,english2 if we receive the   
words 'mens1' '1' or  '1' as expressing 
the passionate soul of the human being1 
distinguished from the intellectual2 the
 'mens sana' being possible to  all of  
us1 though the contemplative range of   

height her wisdom may be  above our     
capacities2 so that to each of us       
,heaven only permits the  ambition of   
being 1 but commands the resolution to  
be 4      #fi4 ,and1 without discussing 
the use of the word by different        
writers1 ,i  will tell you that the     
dearest and safest idea of the mental   
state  itself is to be gained from the  
representations of it by the words of   
ancient ,christian religion1 and even   
from what you may think its             
superstitions4 ,without any discussion  
also as to the personal existence  or   
traditional character of evil spirits1  
you will find it a practical  fact1 that
 external temptations and inevitable    
trials of temper1 have  power against   
you which your health and virtue depend 
on your resisting2  that1 if not        
resisted1 the evil energy of them will  
pass into your own  heart1 1 or 2 and   
that the ordinary and vulgarized phrase 
the  ,devil1 or betraying ,spirit1 is in
 him is the most scientifically         

accurate which you can apply to any     
person so influenced4 ,you will find    
also that1 in the compass of literature1
 the casting out of1 or  cleansing from1
 such a state is best symbolized for you
 by the image of  one who had been      
wandering wild and naked among tombs1   
sitting still1  clothed1 and in his     
right mind1 and that in whatever literal
 or  figurative sense you receive the   
,biblical statement of what followed1   
this is absolutely certain1 that the    
herd of swine hastening to their        
destruction1 in perfect sympathy with   
each other's fury1 is the most  accurate
 symbol ever given1 in literature1 of   
consummate human 4           99       99
       99       99       99    7,the    
conditions of insanity1,e delighting in 
scenes of death1 which  affect at the   
present time the arts of revolutionary  
,europe1 were  illustrated in the sequel
 of this lecture3 but ,i neither choose 
to take  any permanent notice of the    
examples ,i referred to1 nor to publish 

any  part of what ,i said1 until ,i can 
enter more perfectly into the analysis  
of the elements of evil passion which   
always distorted and polluted even  the 
highest arts of ,greek and ,christian   
loyal religion2 and now occupy  in      
deadly entireness1 the chambers of      
imagination1 devastated1 and left       
desolate of joy1 by impiety1 and        
disobedience4    ,in relation to the    
gloom of gray colour characteristic     
especially of the  modern ,french       
revolutionary school1 ,i entered into   
some examination of  the conditions of  
real temperance and reserve in colour1  
showing that it  consisted not in       
refusing colour1 but in governing it2   
and that the most  pure and bright      
colours might be thus perfectly         
governed1 while the most  dull were     
probably also the most violent and      
intemperate4 ,but it would  be useless  
to print this part of the lecture       
without the  colour-illustrations used4 
,passing to the consideration of        

intemperance and immodesty in the choice
  even of landscape subjects1 ,i        
referred thus for contrast1 to the      
quietude of ,turner's ,greta and ,tees47
      ,e ,i use this word always meaning
 it to be understood literally1         
and in its full force4      #gj4 ,if you
 wish to feel the reserve of this       
drawing1 look1 first1 into  the shops at
 their display of common                
chromo-lithotints2 see how they are     
made up of ,matterhorns1 ,monte ,rosas1 
blue glaciers1 green lakes1 white       
towers1 magnificent banditti1 romantic  
peasantry1 or always-successful         
sportsmen or fishermen in ,highland     
costume2 and then see what ,turner is   
content with4 ,no ,matterhorns are      
needful1 or even particularly pleasing  
to him4 ,a bank1 some eight or ten feet 
high1 of ,yorkshire shale is  enough4   
,he would not thank you for giving him  
all the giant forests of                
,california3--would not be so much      
interested in them nor half so happy    

among them1 as he is here with a switch 
of oak sapling1 which the ,greta  has   
pulled down among the stones1 and teased
 awhile1 and which1 now that  the water 
is lower1 tries to get up again1 out of 
its way4    ,he does not want any towers
 or towns4 ,here you are to be contented
 with  three square windows of a country
 gentleman's house4 ,he does not want   
resplendent banditti4 ,behold6 here is a
 brown cow and a white one3 what  would 
you have more8 ,and this                
scarcely-falling rapid of the           
,tees--here  pausing to circle round a  
pool1 and there laughing as it trips    
over a  ledge of rock1 six or seven     
inches high1 is more to him--infinitely 
more--than would be the whole colossal  
drainage of ,lake ,erie into ,lake      
,ontario1 which ,carlyle has justly     
taken for a type of the ,niagara of our 
national precipitous 4      #ga4 ,i need
 not point out to you the true          
temperance of colour in this            
drawing--how slightly green the trees   

are1 how softly blue the sky4    ,now ,i
 put a chromo-lithotint beside it4      
,well1 why is that good1 this bad8      
,simply because if you think1 and  work1
 and discipline yourselves nobly1 you   
will come to like the ,greta  and ,tees2
 if not1 you will come to like this4    
,the one is what a strong  man likes2   
the other what a weak one likes3 that is
 modest1 full of true  1 noble          
restraint1 noble reverence2--this has no
 1 no fear1 no  measure2--not even      
purpose1 except1 by accumulation of     
whatever it can  see or snatch1 to move 
the vile apathy of the public  into     
sensation4      #gb4 ,the apathy of     
--note the expression6 ,you might think 
that it  was 1 which was apathetic1 and 
that intemperance was full of  passion4 
,no2 the exact contrary is the fact4 ,it
 is death in ourselves  which seeks the 
exaggerated external stimulus4 ,i must  
return for a  moment to the art of      
modern ,france4    ,the most complete   
rest and refreshment ,i can get1 when ,i

 am overworked1  in ,london 7for if ,i  
try to rest in the fields1 ,i find them 
turned into  villas in the course of the
 week before7 is in seeing a ,french    
play4 ,but  the ,french act so perfectly
 that ,i am obliged to make sure        
beforehand  that all is to end well1 or 
it is as bad as being helplessly present
 at  some real misery4    ,i was        
beguiled the other day1 by seeing it    
announced as a ,comdie1  into going to  
see ,frou-,frou4 ,most of you probably  
know that the three  first of its five  
acts are comedy1 or at least playful    
drama1 and that  it plunges down1 in the
 two last1 to the sorrowfullest         
catastrophe of  all conceivable--though 
too frequent in daily life--in which    
irretrievable grief is brought about by 
the passion of a moment1 and the  ruin  
of all that she loves1 caused by the    
heroic error of an entirely  good and   
unselfish person4 ,the sight of it made 
me thoroughly ill1 and ,i  was not      
myself again for a week4    ,but1 some  

time afterwards1 ,i was speaking of it  
to a lady who knew  ,french character   
well2 and asked her how it was possible 
for a people so  quick in feeling to    
endure the action before them of a      
sorrow so  poignant4 ,she said1 ,it is  
because they have not sympathy enough3  
they  are interested only by the        
external scene1 and are1 in truth1 at   
present1 dull1 not quick in feeling4 ,my
 own ,french maid went the other        
evening to see that very play3 when she 
came home1 and ,i asked her what  she   
thought of it1 she said 'it was         
charming1 and she had amused herself    
immensely4' ',amused6 but is not the    
story very sad8' ',oh1 yes1             
mademoiselle1 it is bien triste1 but it 
is charming2 and then1 how  pretty      
,frou-,frou looks in her silk dress6'   
#gc4 ,gentlemen1 the ,french maid's mode
 of regarding the tragedy is1 if  you   
think of it1 a most true image of the   
way in which fashionable  society       
regards the world-suffering1 in the     

midst of which1 so long as  it can amuse
 itself1 all seems to it well4 ,if the  
ball-room is bright1  and the dresses   
pretty1 what matter how much horror is  
beneath or  around8 ,nay1 this apathy   
checks us in our highest spheres of     
thought1  and chills our most solemn    
purposes4 ,you know that ,i never join  
in the  common outcries against         
,ritualism2 yet it is too painfully     
manifest to  me that the ,english       
,church itself has withdrawn her eyes   
from the  tragedy of all churches1 to   
perk herself up anew with casement and  
vestment1 and say of herself1           
complacently1 in her sacred 1 ,how      
pretty ,frou-,frou is1 in her silk      
dress6      #gd4 ,we recognize1 however1
 without difficulty1 the peril of       
insatiableness and immodesty in the     
pleasures of ,art4 ,less recognized1    
but therefore more perilous1 the        
insatiableness and immodesty of ,science
  tempt us through our very virtues4    
,the fatallest furies of scientific     

are consistent with the most noble      
powers of self-restraint and            
self-sacrifice4 ,it is not the lower    
passions1 but the loftier hopes and     
most honourable desires which become    
deadliest when the charm of them is     
exalted by the vanity of science4 ,the  
patience of the wisest of ,greek  heroes
 never fails1 when the trial is by      
danger or pain2 but do you  recollect   
that1 before his trial by the song of   
the ,sirens1 the sea  becomes calm8 ,and
 in the few words which ,homer has told 
you of their  song1 you have not perhaps
 yet with enough care observed that the 
form  of temptation is precisely that to
 which a man victorious over every      
fleshly trial would be likely to yield4 
,the promise is not that his body  shall
 be gratified1 but that his soul shall  
rise into rapture2 he is not  urged1 as 
by the subtlety of ,comus1 to disdain   
the precepts of wisdom1  but invited1 on
 the contrary1 to learn1--as you are all
 now invited by  the  of your           

age1--better wisdom from the wise4      
,for we know all 7they say7 that was    
done in ,troy according to the  will of 
the gods1 and we know everything that is
 upon the all-nourishing  earth4    ,all
 heavenly and earthly knowledge1 you    
see4 ,i will read you ,pope's  expansion
 of the verses2 for ,pope never alters  
idly1 but always  illustrates when he   
expands4          ,oh stay1 oh pride of 
,greece6        7,you hear1 they begin  
by flattery74                           
,ulysses1 stay1      ,oh cease thy      
course1 and listen to our lay4          
,blest is the man ordained our voice to 
hear1      ,the song instructs the soul1
 and charms the ear4      ,approach6    
,thy soul shall into raptures rise2     
,approach6 and learn new wisdom from the
 wise4      ,we know whate'er the kings 
of mighty name      ,achieved at ,ilion 
in the field of ,fame1      ,whate'er   
beneath the ,sun's bright journey lies4 
,oh1 stay1 and learn new wisdom from the
 wise4    ,is it not singular that so   

long ago the danger of this novelty of  
wisdom  should have been completely     
discerned8 ,is it not stranger still    
that  three thousand years have passed  
by1 and we have not yet been able to    
learn the lesson1 but are still eager to
 add to our knowledge1 rather  than to  
use it2 and every day more passionate in
 discovering1--more  violent in         
competition1--are every day more cold in
 admiration1 and more  dull in          
reverence8      #ge4 ,but1 gentlemen1   
,homer's ,ulysses1 bound to the mast1   
survives4  ,dante's ,ulysses is bound to
 the mast in another fashion4 ,he1      
notwithstanding the protection of       
,athena1 and after all his victories    
over fate1 is still restless under the  
temptation to seek new wisdom4 ,he  goes
 forth past the ,pillars of ,hercules1  
cheers his crew amidst the  uncompassed 
solitudes of the ,atlantic1 and perishes
 in sudden ,charybdis  of the infinite  
sea4 ,in hell1 the restless flame in    
which he is wrapt  continually1 among   

the advisers of evil1 is seen1 from the 
rocks above1  like the firefly's        
flitting to and fro2 and the waving     
garment of  torture1 which quivers as he
 speaks1 and aspires as he moves1       
condemns  him to be led in eternal      
temptation1 and to be delivered from    
evil  nevermore4                        
,,lecture ,v4                  ,,the    
,,power ,,of ,,contentment ,,in         
,,science ,,and ,,art4                  
#bbnd ,february1 #ahgb4      #gf4 ,i    
must ask you1 in order to make these    
lectures of any permanent  use1 to be   
careful in keeping note of the main     
conclusion at which we  arrive in the   
course of each1 and of the sequence of  
such results4 ,in  the first1 ,i tried  
to show you that ,art was only wise when
 unselfish in  her labour2 in the       
second1 that ,science was only wise when
 unselfish in  her statement2 in the    
third1 that wise ,art was the shadow1 or
 visible  reflection1 of wise ,science2 
and in the fourth1 that all these       

conditions of good must be pursued      
temperately and peacefully4 ,i have  now
 farther to tell you that they must be  
pursued independently4      #gg4 ,you   
have not often heard me use that word   
independence4 ,and1 in  the sense in    
which of late it has been accepted1 you 
have never heard  me use it but with    
contempt4 ,for the true strength of     
every human soul  is to be dependent on 
as many nobler as it can discern1 and to
 be  depended upon1 by as many inferior 
as it can reach4    ,but to-day ,i use  
the word in a widely different sense4 ,i
 think you must  have felt1 in what     
amplification ,i was able to give you of
 the idea of  wisdom as an unselfish    
influence in ,art and ,science1 how the 
highest  skill and knowledge were       
founded in human tenderness1 and that   
the  kindly ,art-wisdom which rejoices  
in the habitable parts of the earth1 is 
only another form of the lofty          
,scientific charity1 which rejoices 'in 
the truth4' ,and as the first order of  

,wisdom is to know thyself--though  the 
least creature that can be known--so the
 first order of ,charity is  to be      
sufficient for thyself1 though the least
 creature that can be  sufficed2 and    
thus contented and appeased1 to be      
girded and strong for  the ministry to  
others4 ,if sufficient to thy day is the
 evil thereof1  how much more should be 
the good6      #gh4 ,i have asked you to
 recollect one aphorism respecting      
,science1 one  respecting ,art2 let     
me--and ,i will ask no more at this time
 of  asking--press you to learn1        
farther1 by heart1 those lines of the   
,song  of the ,sirens3 six lines of     
,homer1 ,i trust1 will not be a         
weariness to  you--               1     
'     ' 2      '   1   4         '1 '   
2       '1     4                        
,,hom41 ,od41 xii4 #ahf4    ,no one ever
 rowed past this way in his black ship1 
before he had  listened to the          
honey-sweet singing of our lips4 ,but he
 stays pleased1  though he may know     

much4 ,for we know all things which the 
,greeks and  ,trojans did in the wide   
,trojan plain1 by the will of the gods1 
and we  know what things take place in  
the much nourishing earth4 ,and this1   
remember1 is absolutely true4 ,no man   
ever went past in the black             
ship1--obeying the grave and sad law of 
life by which it is appointed  for      
mortals to be victors on the ocean1--but
 he was tempted1 as he drew  near that  
deadly island1 wise as he might be1 7   
17 by  the voices of those who told him 
that they knew everything which had     
been done by the will of ,god1 and      
everything which took place in earth    
for the service of man4      #gi4 ,now  
observe those two great temptations4    
,you are to know everything  that has   
been done by the will of ,god3 and to   
know everything that is  vital in the   
earth4 ,and try to realize to           
yourselves1 for a little  while1 the way
 in which these two siren promises have 
hitherto troubled  the paths of men4    

,think of the books that have been      
written in false  explanation of ,divine
 ,providence3 think of the efforts that 
have been  made to show that the        
particular conduct which we approve in  
others1 or  wish ourselves to follow1 is
 according to the will of ,god4 ,think  
what  ghastly convulsions in thought1   
and vileness in action1 have been fallen
  into by the sects which thought they  
had adopted1 for their patronage1  the  
perfect purposes of ,heaven4 ,think of  
the vain research1 the wasted  centuries
 of those who have tried to penetrate   
the secrets of life1 or  of its support4
 ,the elixir vit1 the philosopher's     
stone1 the germ-cells  in meteoric iron1
 '  4' ,but at this day1 when we  have  
loosed the last band from the masts of  
the black ship1 and when1  instead of   
plying every oar to escape1 as the crew 
of ,homer's ,ulysses1  we row like the  
crew of ,dante's ,ulysses1 and of our   
oars make wings for  our foolish flight1
        ,e1 volta nostra poppe nel      

mattino      ,de' remi facemmo ale al   
folle volo--    the song of the sirens  
becomes fatal as never yet it has been  
in time4  ,we think ourselves           
privileged1 first among men1 to know the
 secrets of  ,heaven1 and fulfil the    
economy of earth2 and the result is1    
that of all  the races that yet have    
been put to shame by their false wisdom 
or false  art1--which have given their  
labour for that which is not bread1 and 
their strength for that which satisfieth
 not1--we have most madly  abandoned the
 charity which is for itself sufficing1 
and for others  serviceable1 and have   
become of all creatures the most        
insufficient to  ourselves1 and the most
 malignant to our neighbours4 ,granted a
 given  degree of knowledge--granted the
 '  ' in science1 in art1  and in       
literature1--and the present relations  
of feeling between ,france  and         
,germany1 between ,england and ,america1
 are the most horrible at once  in their
 stupidity and malignity1 that have ever

 taken place on the  globe we inhabit1  
even though all its great histories1 are
 of sin1 and  all its great songs1 of   
death4      #hj4 ,gentlemen1 ,i pray you
 very solemnly to put that idea of      
knowing all  things in ,heaven and      
,earth out of your hearts and heads4 ,it
 is very  little that we can ever know1 
either of the ways of ,providence1 or   
the  laws of existence4 ,but that little
 is enough1 and exactly enough3 to      
strive for more than that little is evil
 for us2 and be assured that  beyond the
 need of our narrow being1--beyond the  
range of the kingdom  over which it is  
ordained for each of us to rule in      
serene  and  self-possession1 he that   
increaseth toil1 increaseth folly2 and  
he that  increaseth knowledge1          
increaseth sorrow4      #ha4 ,my        
endeavour1 therefore1 to-day will be to 
point out to you how in  the best       
wisdom1 that there may be happy advance1
 there must first be  happy contentment2
 that1 in one sense1 we must always be  

entering its  kingdom as a little child1
 and pleased yet for a time not to put  
away  childish things4 ,and while ,i    
hitherto have endeavoured only to show  
how  modesty and gentleness of          
disposition purified ,art and ,science1 
by  permitting us to recognize the      
superiority of the work of others to our
  own--to-day1 on the contrary1 ,i wish 
to indicate for you the uses of         
infantine self-satisfaction2 and to show
 you that it is by no error or  excess  
in our nature1 by no corruption or      
distortion of our being1 that  we are   
disposed to take delight in the little  
things that we can do  ourselves1 more  
than in the great things done by other  
people4 ,so only  that we recognize the 
littleness and the greatness1 it is as  
much a part  of true ,temperance to be  
pleased with the little we know1 and the
 little  we can do1 as with the little  
that we have4 ,on the one side          
,indolence1  on the other ,covetousness1
 are as much to be blamed1 with respect 

to our  ,arts1 as our possessions2 and  
every man is intended to find an        
exquisite  personal happiness in his own
 small skill1 just as he is intended to 
find happiness in his own small house or
 garden1 while he respects1  without    
coveting1 the grandeur of larger        
domains4      #hb4 ,nay1 more than this3
 by the wisdom of ,nature1 it has been  
appointed  that more pleasure may be    
taken in small things than in great1 and
 more  in rude ,art than in the finest4 
,were it otherwise1 we might be disposed
  to complain of the narrow limits which
 have been set to the perfection  of    
human skill4    ,i pointed out to you1  
in a former lecture1 that the excellence
 of  sculpture had been confined in past
 time to the ,athenian and ,etrurian    
vales4 ,the absolute excellence of      
painting has been reached only by the   
inhabitants of a single city in the     
whole world2 and the faultless  manner  
of religious architecture holds only for
 a period of fifty years  out of six    

thousand4 ,we are at present tormenting 
ourselves with the  vain effort to teach
 men everywhere to rival ,venice and    
,athens1--with  the practical result of 
having lost the enjoyment of ,art       
altogether2--instead of being content to
 amuse ourselves still with the         
painting and carving which were possible
 once1 and would be pleasant  always1 in
 ,paris1 and ,london1 at ,strasbourg1   
and at ,york4    ,i do not doubt that   
you are greatly startled at my saying   
that greater  pleasure is to be received
 from inferior ,art than from the       
finest4 ,but  what do you suppose makes 
all men look back to the time of        
childhood  with so much regret1 7if     
their childhood has been1 in any        
moderate  degree1 healthy or peaceful78 
,that rich charm1 which the least       
possession had for us1 was in           
consequence of the poorness of our      
treasures4 ,that miraculous aspect of   
the nature around us1 was because  we   
had seen little1 and knew less4 ,every  

increased possession loads us  with a   
new weariness2 every piece of new       
knowledge diminishes the  faculty of    
admiration2 and ,death is at last       
appointed to take us from a  scene in   
which1 if we were to stay longer1 no    
gift could satisfy us1 and  no miracle  
surprise4      #hc4 ,little as ,i myself
 know1 or can do1 as compared with any  
man of  essential power1 my life has    
chanced to be one of gradual progress in
  the things which ,i began in childish 
choice2 so that ,i can measure with     
almost mathematical exactitude the      
degree of feeling with which less and   
greater degrees of wealth or skill      
affect my mind4    ,i well remember the 
delight with which1 when ,i was         
beginning mineralogy1  ,i received from 
a friend1 who had made a voyage to      
,peru1 a little bit of  limestone about 
the size of a hazel nut1 with a small   
film of native  silver adhering to its  
surface4 ,i was never weary of          
contemplating my  treasure1 and could   

not have felt myself richer had ,i been 
master of the  mines of ,copiapo4    ,i 
am now about to use as models for your  
rock drawings stones which my  year's   
income1 when ,i was a boy1 would not    
have bought4 ,but ,i have long  ceased  
to take any pleasure in their           
possession2 and am only thinking1  now1 
to whom else they can be of use1 since  
they can be of no more to  me4      #hd4
 ,but the loss of pleasure to me caused 
by advance in knowledge of  drawings has
 been far greater than that induced by  
my riches in  minerals4    ,i have      
placed1 in your reference series1 one or
 two drawings of  architecture1 made    
when ,i was a youth of twenty1 with     
perfect ease to  myself1 and some       
pleasure to other people4 ,a day spent  
in sketching then  brought with it no   
weariness1 and infinite complacency4 ,i 
know better  now what drawing should be2
 the effort to do my work rightly       
fatigues me  in an hour1 and ,i never   
care to look at it again from that day  

forward4      #he4 ,it is true that men 
of great and real power do the best     
things with  comparative ease2 but you  
will never hear them express the        
complacency  which simple persons feel  
in partial success4 ,there is nothing to
 be  regretted in this2 it is appointed 
for all men to enjoy1 but for few to    
achieve4    ,and do not think that ,i am
 wasting your time in dwelling on these 
simple  moralities4 ,from the facts ,i  
have been stating we must derive this   
great  principle for all effort4 ,that  
we must endeavour to do1 not what is    
absolutely best1 but what is easily     
within our power and adapted to our     
temper and condition4      #hf4 ,in your
 educational series is a lithographic   
drawing1 by ,prout1 of  an old house in 
,strasbourg4 ,the carvings of its       
woodwork are in a style  altogether     
provincial1 yet of which the origin is  
very distant4 ,the  delicate            
,renaissance architecture of ,italy was 
affected1 even in its  finest periods1  

by a tendency to throw out convex masses
 at the bases of  its pillars2 the      
wood-carvers of the #afth century       
adopted this bulged  form as their first
 element of ornamentation1 and these    
windows of  ,strasbourg are only        
imitations by the ,german peasantry of  
what1 in its  finest type1 you must seek
 as far away as the ,duomo of ,bergamo4 
,but the burgher1 or peasant1 of ,alsace
 enjoyed his rude imitation1  adapted1  
as it was1 boldly and frankly to the    
size of his house and the  grain of the 
larch logs of which he built it1        
infinitely more than the  refined       
,italian enjoyed the floral luxuriance  
of his marble2 and all the  treasures of
 a great exhibition could not have given
 him the tenth part  of the exultation  
with which he saw the gable of his roof 
completed over  its jutting fret-work2  
and wrote among the rude intricacies of 
its  sculpture1 in flourished black     
letter1 that ,he and his wife had built 
their house with ,god's help1 and prayed

 ,him to let them live long in          
it1--they1 and their children4      #hg4
 ,but it is not only the rustic method  
of architecture which ,i wish  you to   
note in this plate2 it is the rustic    
method of drawing also4 ,the  manner in 
which these blunt timber carvings are   
drawn by ,prout is just  as provincial  
as the carvings themselves4 ,born in a  
faraway district of  ,england1 and      
learning to draw1 unhelped1 with        
fishing-boats for his  models2 making   
his way instinctively until he had      
command of his pencil  enough to secure 
a small income by lithographic drawing2 
and finding  picturesque character in   
buildings from which all the finest     
lines of  their carving had been effaced
 by time2 possessing also an instinct in
  the expression of such subjects so    
peculiar as to win for him a  satisfying
 popularity1 and1 far better1 to enable 
him to derive  perpetual pleasure in the
 seclusion of country hamlets1 and the  
quiet  streets of deserted              

cities1--,prout had never any motive to 
acquaint  himself with the refinements1 
or contend with the difficulties1 of a  
more accomplished art4 ,so far from     
this1 his manner of work was1 by its    
very imperfection1 in the most perfect  
sympathy with the subjects he  enjoyed4 
,the broad chalk touches in which he has
 represented to us this  house at       
,strasbourg are entirely sufficient to  
give true idea of its  effect4 ,to have 
drawn its ornaments with subtlety of    
,leonardesque  delineation would only   
have exposed their faults1 and mocked   
their  rusticity4 ,the drawing would    
have become painful to you from the     
sense  of the time which it had taken to
 represent what was not worth the       
labour1 and to direct your attention to 
what could only1 if closely  examined1  
be matter of offence4 ,but here you have
 a simple and  provincial draughtsman   
happily and adequately expressing a     
simple and  provincial architecture2 nor
 could either builder or painter have   

become  wiser1 but to their loss4       
#hh4 ,is it then1 you will ask me1      
seriously to be recommended1 and1       
however recommendable1 is it possible1  
that men should remain contented  with  
attainments which they know to be       
imperfect8 and that now1 as in  former  
times1 large districts of country1 and  
generations of men1 should  be enriched 
or amused by the products of a clumsy   
ignorance8 ,i do not  know how far it is
 possible1 but ,i know that wherever you
 desire to have  true art1 it is        
necessary4 ,ignorance1 which is         
contented and clumsy1  will produce what
 is imperfect1 but not offensive4 ,but  
ignorance  discontented and dexterous1  
learning what it cannot understand1 and 
imitating what it cannot enjoy1 produces
 the most loathsome forms of            
manufacture that can disgrace or mislead
 humanity4 ,some years since1 as  ,i was
 looking through the modern gallery at  
the quite provincial ,german  ,school of
 ,dsseldorf1 ,i was fain to leave all   

their epic and religious  designs1 that 
,i might stay long before a little      
painting of a shepherd  boy carving his 
dog out of a bit of deal4 ,the dog was  
sitting by1 with  the satisfied and     
dignified air of a personage about for  
the first time  in his life to be       
worthily represented in sculpture2 and  
his master was  evidently succeeding to 
his mind in expressing the features of  
his  friend4 ,the little scene was one  
which1 as you know1 must take place     
continually among the cottage artists   
who supply the toys of ,nuremberg  and  
,berne4 ,happy1 these6 so long as1      
undisturbed by ambition1 they spend     
their leisure time in work pretending   
only to amuse1 yet capable1 in its  own 
way1 of showing accomplished dexterity1 
and vivid perception of  nature4 ,we1 in
 the hope of doing great things1 have   
surrounded our  workmen with ,italian   
models1 and tempted them with prizes    
into  competitive mimicry of all that is
 best1 or that we imagine to be best1   

in the work of every people under the   
sun4 ,and the result of our  instruction
 is only that we are able to produce--,i
 am now quoting the  statement ,i made  
last ,may1 the most perfectly and       
roundly ill-done  things that ever came 
from human hands4 ,i should thankfully  
put upon my  chimney-piece the wooden   
dog cut by the shepherd boy2 but ,i     
should be  willing to forfeit a large   
sum rather than keep in my room the     
number #a  of the ,kensington           
,museum--thus described in its          
catalogue--,statue in  black and white  
marble1 of a ,newfoundland dog standing 
on a serpent1  which rests on a marble  
cushion2--the pedestal ornamented with  
,pietra  ,dura fruits in relief4        
#hi4 ,you will1 however1 ,i fear1       
imagine me indulging in my usual        
paradox1  when ,i assure you that all   
the efforts we have been making to      
surround  ourselves with heterogeneous  
means of instruction1 will have the     
exactly  reverse effect from that which 

we intend2--and that1 whereas formerly  
we  were able only to do a little well1 
we are qualifying ourselves now to  do  
everything ill4 ,nor is the result      
confined to our workmen only4 ,the      
introduction of ,french dexterity and of
 ,german erudition has been  harmful    
chiefly to our most accomplished        
artists--and in the last  ,exhibition of
 our ,royal ,academy there was1 ,i      
think1 no exception to the  manifest    
fact that every painter of reputation   
painted worse than he did  ten years    
ago4      #ij4 ,admitting1 however1 7not
 that ,i suppose you will at once admit1
 but  for the sake of argument1         
supposing17 that this is true1 what1 we 
have  further to ask1 can be done to    
discourage ourselves from calamitous    
emulation1 and withdraw our workmen from
 the sight of what is too good  to be of
 use to them8    ,but this question is  
not one which can be determined by the  
needs1 or  limited to the circumstances 
of ,art4 ,to live generally more modest 

and  contented lives2 to win the        
greatest possible pleasure from the     
smallest  things2 to do what is likely  
to be serviceable to our immediate      
neighbours1 whether it seem to them     
admirable or not2 to make no  pretence  
of admiring what has really no hold upon
 our hearts2 and to be  resolute in     
refusing all additions to our learning1 
until we have  perfectly arranged and   
secured what learning we have           
got2--these are  conditions1 and laws1  
of unquestionable a and 1 which will    
indeed lead us up to fine art if we are 
resolved to have it fine2 but  will also
 do what is much better1 make rude art  
precious4      #ia4 ,it is not1 however1
 by any means necessary that provincial 
art  should be rude1 though it may be   
singular4 ,often it is no less  delicate
 than quaint1 and no less refined in    
grace than original in  character4 ,this
 is likely always to take place when a  
people of  naturally fine artistic      
temper work with the respect which1 as  

,i  endeavoured to show you in a former 
lecture1 ought always to be paid to     
local material and circumstance4    ,i  
have placed in your educational series  
the photograph of the door of a  wooden 
house in ,abbeville1 and of the winding 
stair above2 both so  exquisitely       
sculptured that the real vine-leaves    
which had wreathed  themselves about    
their pillars1 cannot1 in the           
photograph1 be at once  discerned from  
the carved foliage4 ,the latter1 quite  
as graceful1 can  only be known for art 
by its quaint setting4    ,yet this     
school of sculpture is altogether       
provincial4 ,it could only  have risen  
in a richly-wooded chalk country1 where 
the sapling trees  beside the brooks    
gave example to the workman of the most 
intricate  tracery1 and the white cliffs
 above the meadows furnished docile     
material to his hand4      #ib4 ,i have 
now1 to my sorrow1 learned to despise   
the elaborate  intricacy1 and the       
playful realizations1 of the ,norman    

designers2 and  can only be satisfied by
 the reserved and proud imagination of  
the  master schools4 ,but the utmost    
pleasure ,i now take in these is almost 
as  nothing1 compared to the joy ,i used
 to have1 when ,i knew no better1 in    
the fretted pinnacles of ,rouen1 and    
white lace1 rather than stonework1  of  
the chapels of ,reu and ,amboise4       
,yet observe that the first condition of
 this really precious provincial  work  
is its being the best that can be done  
under the given  circumstances2 and the 
second is1 that though provincial1 it is
 not in  the least frivolous or         
ephemeral1 but as definitely civic1 or  
public1 in  design1 and as permanent in 
the manner of it1 as the work of the    
most  learned academies3 while its      
execution brought out the energies of   
each  little state1 not necessarily in  
rivalship1 but severally in the         
perfecting of styles which ,nature had  
rendered it impossible for their        
neighbours to imitate4      #ic4 ,this  

civic unity1 and the feeling of the     
workman that he is  performing his part 
in a great scene which is to endure for 
centuries1  while yet1 within the walls 
of his city1 it is to be a part of his  
own  peculiar life1 and to be separate  
from all the world besides1 developes1  
together1 whatever duty he acknowledges 
as a patriot1 and whatever  complacency 
he feels as an artist4    ,we now build1
 in our villages1 by the rules of the   
,academy of ,london2  and if there be a 
little original vivacity or genius in   
any provincial  workman1 he is almost   
sure to spend it in making a ridiculous 
toy4  ,nothing is to me much more       
pathetic than the way that our neglected
  workmen thus throw their lives away4  
,as ,i was walking the other day        
through the ,crystal ,palace1 ,i came   
upon a toy which had taken the  leisure 
of five years to make2 you dropped a    
penny into the chink of it1  and        
immediately a little brass steam-engine 
in the middle started into  nervously   

hurried action2 some bell-ringers pulled
 strings at the bottom  of a church     
steeple which had no top2 two regiments 
of cavalry marched  out from the sides1 
and manuvred in the middle2 and two     
well-dressed  persons in a kind of      
opera-box expressed their satisfaction  
by approving  gestures4    ,in old      
,ghent1 or ,bruges1 or ,york1 such a man
 as the one who made this  toy1 with    
companions similarly minded1 would have 
been taught how to  employ himself1 not 
to their less amusement1 but to better  
purpose2 and  in their five years of    
leisure hours they would have carved a  
flamboyant  crown for the belfry-tower1 
and would have put chimes into it that  
would  have told the time miles away1   
with a pleasant tune for the hour1 and a
  variation for the quarters1 and cost  
the passers-by in all the city and      
plain not so much as the dropping of a  
penny into a chink4      #id4 ,do not   
doubt that ,i feel1 as strongly as any  
of you can feel1 the  utter             

impossibility at present of restoring   
provincial simplicity to our  country   
towns4    ,my despondency respecting    
this1 and nearly all other matters which
 ,i  know to be necessary1 is at least  
as great1--it is certainly more  painful
 to me1--in the decline of life1--than  
that which any of my  younger hearers   
can feel4 ,but what ,i have to tell you 
of the unchanging  principles of nature1
 and of art1 must not be affected by    
either hope or  fear4 ,and if ,i succeed
 in convincing you what these principles
 are1  there are many practical         
consequences which you may deduce from  
them1 if  ever you find yourselves1 as  
young ,englishmen are often likely to   
find  themselves1 in authority over     
foreign tribes of peculiar or limited   
capacities4    ,be assured that you can 
no more drag or compress men into       
perfection  than you can drag or        
compress plants4 ,if ever you find      
yourselves set in  a position of        
authority1 and are entrusted to         

determine modes of  education1 ascertain
 first what the people you would teach  
have been in  the habit of doing1 and   
encourage them to do that better4 ,set  
no other  excellence before their eyes2 
disturb none of their reverence for the 
past2 do not think yourselves bound to  
dispel their ignorance1 or to           
contradict their superstitions2 teach   
them only gentleness and truth2  redeem 
them by example from habits which you   
know to be unhealthy or  degrading2 but 
cherish1 above all things1 local        
associations1 and  hereditary skill4    
,it is the curse of so-called           
civilization to pretend to originality  
by  the wilful invention of new methods 
of error1 while it quenches wherever  it
 has power1 the noble originality of    
nations1 rising out of the purity  of   
their race1 and the love of their native
 land4      #ie4 ,i could say much more1
 but ,i think ,i have said enough to    
justify for  the present what you might 
otherwise have thought singular in the  

methods ,i shall adopt for your exercise
 in the drawing schools4 ,i shall       
indeed endeavour to write down for you  
the laws of the art which is  centrally 
best2 and to exhibit to you a certain   
number of its  unquestionable standards3
 but your own actual practice shall be  
limited  to objects which will explain  
to you the meaning1 and awaken you to   
the  beauty1 of the art of your own     
country4    ,the first series of my     
lectures on sculpture must have proved  
to you  that ,i do not despise either   
the workmanship or the mythology of     
,greece2  but ,i must assert with more  
distinctness than even in my earliest   
works1  the absolute unfitness of all   
its results to be made the guides of    
,english students or artists4    ,every 
nation can represent1 with prudence1 or 
success1 only the  realities in which it
 delights4 ,what you have with you1 and 
before you1  daily1 dearest to your     
sight and heart1 that1 by the magic of  
your  hand1 or of your lips1 you can    

gloriously express to others2 and what  
you ought to have in your sight and     
heart1--what1 if you have not1  nothing 
else can be truly seen or loved1--is the
 human life of your own  people1        
understood in its history1 and admired  
in its presence4    ,and unless that be 
first made beautiful1 idealism must be  
false and  imagination monstrous4    ,it
 is your influence on the existing world
 which1 in your studies here1  you ought
 finally to consider2 and although it is
 not1 in that  influence1 my function to
 direct you1 ,i hope you will not be    
discontented to know that ,i shall ask  
no effort from your art-genius1  beyond 
the rational suggestion of what we may  
one day hope to see  actually realized  
in ,england1 in the sweetness of her    
landscape1 and the  dignity of her      
people4           99       99       99  
99       99    ,in connection with the  
subject of this lecture1 ,i may mention 
to you  that ,i have received an        
interesting letter1 requesting me to    

assist in  promoting some improvements  
designed in the city of ,oxford4    ,but
 as the entire charm and educational    
power of the city of ,oxford1 so  far as
 that educational power depended on     
reverent associations1 or on  visible   
solemnities and serenities of           
architecture1 have been already         
destroyed2 and1 as far as our own lives 
extend1 destroyed1 ,i may say1  for     
ever1 by the manufacturing suburb which 
heaps its ashes on one side1  and the   
cheap-lodging suburb which heaps its    
brickbats on the other2 ,i  am myself1  
either as antiquary or artist1          
absolutely indifferent to what  happens 
next2 except on grounds respecting the  
possible health1  cleanliness1 and      
decency which may yet be obtained for   
the increasing  population4    ,how far 
cleanliness and decency bear on art and 
science1 or on the  changed functions of
 the university to its crowd of modern  
students1 ,i  have partly to consider in
 connection with the subject of my next 

lecture1 and ,i will reserve therefore  
any definite notice of these  proposed  
improvements in the city1 until the next
 occasion of meeting  you4              
,,lecture ,,vi4                  ,,the  
,,relation ,,to ,,art ,,of ,,the        
,,science ,,of ,,light4                 
#bdth ,february1 #ahgb4      #if4 ,i    
have now1 perhaps to the exhaustion of  
your patience1 but you will  find1 not  
without real necessity1 defined the     
manner in which the mental  tempers1    
ascertained by philosophy to be evil or 
good1 retard and  advance the parallel  
studies of science and art4    ,in this 
and the two next following lectures ,i  
shall endeavour to state  to you the    
literal modes in which the virtues of   
art are connected with  the principles  
of exact science2 but now1 remember1 ,i 
am speaking1 not  of the consummate     
science of which art is the image2 but  
only of what  science we have actually  
attained1 which is often little more    
than  terminology 7and even that        

uncertain71 with only a gleam of true   
science  here and there4    ,i will not 
delay you by any defence of the         
arrangement of sciences ,i  have chosen4
 ,of course we may at once dismiss      
chemistry and pure  mathematics from our
 consideration4 ,chemistry can do       
nothing for art but  mix her colours1   
and tell her what stones will stand     
weather2 7,i wish1  at this day1 she did
 as much27 and with pure mathematics we 
have nothing  whatever to do2 nor can   
that abstract form of high mathesis     
stoop to  comprehend the simplicity of  
art4 ,to a first wrangler at ,cambridge1
  under the present conditions of his   
trial1 statues will necessarily be      
stone dolls1 and imaginative work       
unintelligible4 ,we have1 then1 in true 
fellowship with art1 only the sciences  
of light and form1 7optics and          
geometry74 ,if you will take the first  
syllable of the word 'geometry' to  mean
 earth in the form of flesh1 as well as 
of clay1 the two words sum  every       

science that regards graphic art1 or of 
which graphic art can  represent the    
conclusions4      #ig4 ,to-day we are to
 speak of optics1 the science of        
seeing2--of that  power1 whatever it may
 be1 which 7by ,plato's definition71    
through the  eyes1 manifests colour to  
us4    ,hold that definition always1 and
 remember that 'light' means accurately 
the power that affects the eyes of      
animals with the sensation proper to    
them4 ,the study of the effect of light 
on nitrate of silver is  chemistry1 not 
optics2 and what is light to us may     
indeed shine on a  stone2 but is not    
light to the stone4 ,the fiat lux of    
creation is1  therefore1 in the deep    
sense of it1 fiat anima4    ,we cannot  
say that it is merely fiat oculus1 for  
the effect of light  on living organism1
 even when sightless1 cannot be         
separated from its  influence on sight4 
,a plant consists essentially of two    
parts1 root and  leaf3 the leaf by      
nature seeks light1 the root by nature  

seeks darkness3  it is not warmth or    
cold1 but essentially light and shade1  
which are to  them1 as to us1 the       
appointed conditions of existence4      
#ih4 ,and you are to remember still more
 distinctly that the words fiat  lux    
mean indeed fiat anima1 because even the
 power of the eye itself1  as such1 is  
in its animation4 ,you do not see with  
the lens of the  eye4 ,you see through  
that1 and by means of that1 but you see 
with the  soul of the eye4      #ii4 ,a 
great physiologist said to me the other 
day--it was in the  rashness of         
controversy1 and ought not to be        
remembered1 as a deliberate  assertion1 
therefore ,i do not give his name1 still
 he did say--that  sight was altogether 
mechanical4 ,the words simply meant1 if 
they meant  anything1 that all his      
physiology had never taught him the     
difference  between eyes and telescopes4
 ,sight is an absolutely spiritual      
phenomenon2 accurately1 and only1 to be 
so defined2 and the ,let there  be      

light1 is as much1 when you understand  
it1 the ordering of  intelligence1 as   
the ordering of vision4 ,it is the      
appointment of change  of what had been 
else only a mechanical effluence from   
things unseen to  things unseeing1--from
 stars that did not shine to earth that 
could not  perceive2--the change1 ,i    
say1 of that blind vibration into the   
glory of  the sun and moon for human    
eyes2 so rendering possible also the    
communication out of the unfathomable   
truth1 of that portion of truth  which  
is good for us1 and animating to us1 and
 is set to rule over the  day and night 
of our joy and sorrow4      #ajj4 ,the  
sun was set thus 'to rule the day4' ,and
 of late you have  learned that he was  
set to rule everything that we know of4 
,you have  been taught that1 by the     
,sirens1 as a piece of entirely new     
knowledge1  much to be exulted over4 ,we
 painters1 indeed1 have been for some   
time  acquainted with the general look  
of the sun1 and long before there were  

painters there were wise                
men1--,zoroastrian and other1--who had  
suspected  that there was power in the  
sun2 but the ,sirens of yesterday have  
somewhat new1 it seems1 to tell you of  
his authority1    4 ,i take a passage1  
almost at random1 from a recent         
scientific work4    ,just as the        
phenomena of water-formed rocks all owe 
their existence  directly or indirectly 
chiefly to the sun's energy1 so also do 
the  phenomena interwoven with life4    
,this has long been recognised by       
various  eminent ,british and foreign   
physicists2 and in #ahed ,professor     
----1 in  his memoir on the method of   
palontology1 asserted that organisms    
were  but manifestations of applied     
physics and applied chemistry4          
,professor  ---- puts the               
generalisations of physicists in a few  
words3 ,when  speaking of the sun1 it is
 remarked--',he rears the whole         
vegetable  world1 and through it the    
animal2 the lilies of the field are his 

workmanship1 the verdure of the meadows1
 and the cattle upon a thousand  hills4 
,he forms the muscle1 he urges the      
blood1 he builds the brain4 ,his        
fleetness is in the lion's foot2 he     
springs in the panther1 he soars in  the
 eagle1 he slides in the snake4 ,he     
builds the forest and hews it  down1 the
 power which raised the tree and that   
which wields the axe  being one and the 
same4'    ,all this is exceedingly true2
 and it is new in one respect1 namely1  
in  the ascertainment that the quantity 
of solar force necessary to produce     
motive power is measurable1 and1 in its 
sum1 unalterable4 ,for the rest1  it was
 perfectly well known in ,homer's time1 
as now1 that animals could  not move    
till they were warm2 and the fact that  
the warmth which enables  them to do so 
is finally traceable to the sun1 would  
have appeared to a  ,greek physiologist1
 no more interesting than1 to a ,greek  
poet1 would  have been the no less      
certain fact1 that ,tout ce qui se peut 

dire de  beau est dans les              
dictionnaires2 il n'y a que les mots qui
 sont  transposs--,everything fine1 that
 can be said1 is in the dictionaries2   
it is only that the words are           
transposed4    ,yes1 indeed2 but to the 
the gist of the matter is in the        
transposition4 ,the sun does1 as the    
delighted physicist tells you1          
unquestionably slide in the snake2 but  
how comes he to adopt that  manner1 we  
artists ask1 of 7literally7             
transposition8      #aja4 ,the summer   
before last1 as ,i was walking in the   
woods near the  ,giesbach1 on the ,lake 
of ,brientz1 and moving very quietly1 ,i
 came  suddenly on a small steel-gray   
serpent1 lying in the middle of the     
path2  and it was greatly surprised to  
see me4 ,serpents1 however1 always have 
complete command of their feelings1 and 
it looked at me for a quarter of  a     
minute without the slightest change of  
posture3 then1 with an almost           
imperceptible motion1 it began to       

withdraw itself beneath a cluster of    
leaves4 ,without in the least hastening 
its action1 it gradually  concealed the 
whole of its body4 ,i was about to raise
 one of the leaves1  when ,i saw what ,i
 thought was the glance of another      
serpent1 in the  thicket at the path    
side2 but it was the same one1 which    
having once  withdrawn itself from      
observation beneath the leaves1 used its
 utmost  agility to spring into the     
wood2 and with so instantaneous a flash 
of  motion1 that ,i never saw it leave  
the covert1 and only caught the gleam   
of light as it glided away into the     
copse4      #ajb4 ,now1 it was to me a  
matter of supreme indifference whether  
the  force which the creature used in   
this action was derived from the sun1   
the moon1 or the gas-works at ,berne4   
,what was1 indeed1 a matter of  interest
 to me1 was just that which would have  
struck a peasant1 or a  child2--namely1 
the calculating wisdom of the creature's
 device2 and the  exquisite grace1      

strength1 and precision of the action by
 which it was  accomplished4      #ajc4 
,i was interested then1 ,i say1 more in 
the device of the creature1  than in its
 source of motion4 ,nevertheless1 ,i am 
pleased to hear1 from  men of science1  
how necessarily that motion proceeds    
from the sun4 ,but  where did its device
 come from8 ,there is no wisdom1 no     
device in the  dust1 any more than there
 is warmth in the dust4 ,the springing  
of the  serpent is from the sun3--the   
wisdom of the serpent1--whence that8    
#ajd4 ,from the sun also1 is the only   
answer1 ,i suppose1 possible to         
physical science4 ,it is not a false    
answer3 quite true1 like the other1  up 
to a certain point4 ,to-day1 in the     
strength of your youth1 you may  know   
what it is to have the power of the sun 
taken out of your arms and  legs4 ,but  
when you are old1 you will know what it 
is to have the power  of the sun taken  
out of your minds also4 ,such a thing   
may happen to you1  sometimes1 even now2

 but it will continually happen to you  
when you are  my age4 ,you will no more1
 then1 think over a matter to any good  
purpose  after twelve o'clock in the    
day4 ,it may be possible to think over1 
and1  much more1 to talk over1 matters1 
to little1 or to bad1 purpose after     
twelve o'clock in the day4 ,the members 
of your national legislature do  their  
work1 we know1 by gaslight2 but you     
don't suppose the power of the  sun is  
in any of their devices8 ,quite         
seriously1 all the vital                
functions1--and1 like the rest and with 
the rest1 the pure and wholesome        
faculties of the brain1--rise and set   
with the sun3 your digestion and        
intellect are alike dependent on its    
beams2 your thoughts1 like your  blood1 
flow from the force of it1 in all       
scientific accuracy and  necessity4 ,sol
 illuminatio nostra est2 ,sol salus     
nostra2 ,sol sapientia  nostra4    ,and 
it is the final act and outcome of      
lowest national atheism1 since it       

cannot deny the sun1 at least to strive 
to do without it2 to blast the  day in  
heaven with smoke1 and prolong the      
dance1 and the council1 by  night1 with 
tapers1 until at last1 rejoicing--,dixit
 insipiens in corde  suo1 non est ,sol4 
#aje4 ,well1 the sliding of the serpent1
 and the device of the serpent1 we      
admit1 come from the sun4 ,the flight of
 the dove1 and its  harmlessness1--do   
they also8    ,the flight1--yes1        
assuredly4 ,the ,innocence8--,it is a   
new question4 ,how  of that8 ,between   
movement and non-movement--nay1 between 
sense and  non-sense--the difference    
rests1 we say1 in the power of ,apollo2 
but  between malice and innocence1 where
 shall we find the root of that         
distinction8      #ajf4 ,have you ever  
considered how much literal truth there 
is in the  words--,the light of the body
 is the eye4 ,if1 therefore1 thine eye  
be  evil--and the rest8 ,how can the eye
 be evil8 ,how1 if evil1 can it  fill   
the whole body with darkness8    ,what  

is the meaning of having one's body full
 of darkness8 ,it cannot  mean merely   
being blind4 ,blind1 you may fall in a  
ditch if you move2 but  you may be well1
 if at rest4 ,but to be evil-eyed1 is   
not that worse than  to have no eyes8   
and instead of being only in darkness1  
to have darkness  in us1 portable1      
perfect1 and eternal8      #ajg4 ,well1 
in order to get at the meaning we may1  
indeed1 now appeal to  physical science1
 and ask her to help us4 ,how many      
manner of eyes are  there8 ,you         
physical-science students should be able
 to tell us painters  that4 ,we only    
know1 in a vague way1 the external      
aspect and expression  of eyes4 ,we see1
 as we try to draw the                  
endlessly-grotesque creatures  about us1
 what infinite variety of instruments   
they have2 but you know1  far better    
than we do1 how those instruments are   
constructed and  directed4 ,you know how
 some play in their sockets with        
independent  revolution1--project into  

near-sightedness on pyramids of         
bone1--are  brandished at the points of 
horns1--studded over backs and          
shoulders1--thrust at the ends of antenn
 to pioneer for the head1 or  pinched up
 into tubercles at the corners of the   
lips4 ,but how do the  creatures see out
 of all these eyes8      #ajh4 ,no      
business of ours1 you may think8 ,pardon
 me4 ,this is no ,siren's               
question--this is altogether business of
 ours1 lest1 perchance1 any of  us      
should see partly in the same manner4   
,comparative sight is a far more        
important question than comparative     
anatomy4 ,it is no matter1 though we    
sometimes walk--and it may often be     
desirable to climb--like apes2 but      
suppose we only see like apes1 or like  
lower creatures8 ,i can tell  you1 the  
science of optics is an essential one to
 us2 for exactly  according to these    
infinitely grotesque directions and     
multiplications  of instrument you have 
correspondent1 not only intellectual but

 moral1  faculty in the soul of the     
creatures4 ,literally1 if the eye be    
pure1 the  body is pure2 but1 if the    
light of the body be but darkness1 how  
great  is that darkness6      #aji4     
,have you ever looked attentively at the
 study ,i gave you of the  head of the  
rattle-snake8 ,the serpent will keep its
 eyes fixed on you  for an hour         
together1 a vertical slit in each       
admitting such image of  you as is      
possible to the rattlesnake retina1 and 
to the rattlesnake  mind4 ,how much of  
you do you think it sees8 ,i ask that1  
first1 as a pure  physical question4 ,i 
do not know2 it is not my business to   
know4 ,you1  from your schools of       
physical science1 should bring me       
answer4 ,how much  of a man can a snake 
see8 ,what sort of image of him is      
received through  that deadly vertical  
cleft in the iris2--through the glazed  
blue of the  ghastly lens8 ,make me a   
picture of the appearance of a man1 as  
far as  you can judge it can take place 

on the snake's retina4 ,then ask        
yourselves1 farther1 how much of        
speculation is possible to the snake1   
touching this human aspect8      #aaj4  
,or1 if that seem too far beneath       
possible inquiry1 how say you of  a     
tiger's eye1 or a cat's8 ,a cat may look
 at a king2--yes2 but can it  see a king
 when it looks at him8 ,the beasts of   
prey never seem to me  to look1 in our  
sense1 at all4 ,their eyes are          
fascinated by the motion  of anything1  
as a kitten's by a ball2--they fasten1  
as if drawn by an  inevitable           
attraction1 on their food4 ,but when a  
cat caresses you1 it  never looks at    
you4 ,its heart seems to be in its back 
and paws1 not its  eyes4 ,it will rub   
itself against you1 or pat you with     
velvet tufts1  instead of talons2 but   
you may talk to it an hour together1 yet
 not  rightly catch its eye4 ,ascend    
higher in the races of being--to the    
fawn1  the dog1 the horse2 you will find
 that1 according to the clearness of    

sight1 is indeed the kindness of sight1 
and that at last the noble eyes  of     
humanity look through humanity1 from    
heart into heart1 and with no           
mechanical vision4 ,and the ,light of   
the body is the eye--yes1 and in  happy 
life1 the light of the heart also4      
#aaa4 ,but now note farther3 there is a 
mathematical power in the eye  which may
 far transcend its moral power4 ,when   
the moral power is feeble1  the faculty 
of measurement1 or of distinct          
delineation1 may be supreme2  and of    
comprehension none4 ,but here1 again1 ,i
 want the help of the  physical science 
schools4 ,i believe the eagle has no    
scent1 and hunts by  sight1 yet flies   
higher than any other bird4 ,now1 ,i    
want to know what  the appearance is to 
an eagle1 two thousand feet up1 of a    
sparrow in a  hedge1 or of a partridge  
in a stubble-field4 ,what kind of       
definition on  the retina do these brown
 spots take to manifest themselves as   
signs of  a thing eatable2 and if an    

eagle sees a partridge so1 does it see  
everything else so8 ,and then tell me1  
farther1 does it see only a square  yard
 at a time1 and yet1 as it flies1 take  
summary of the square yards  beneath it8
 ,when next you are travelling by       
express sixty miles an hour1  past a    
grass bank1 try to see a grasshopper1   
and you will get some idea  of an       
eagle's optical business1 if it takes   
only the line of ground  underneath it4 
,does it take more8      #aab4 ,then1   
besides this faculty of clear vision1   
you have to consider  the faculty of    
metric vision4 ,neither an eagle1 nor a 
kingfisher1 nor  any other darting bird1
 can see things with both their eyes at 
the same  time as completely as you and 
,i can2 but think of their faculty of   
measurement as compared with ours6 ,you 
will find that it takes you  months of  
labour before you can acquire accurate  
power1 even of  deliberate estimate of  
distances with the eye2 it is one of the
 points  to which1 most of all1 ,i have 

to direct your work4 ,and the curious   
thing  is that1 given the degree of     
practice1 you will measure ill or well  
with  the eye in proportion to the      
quantity of life in you4 ,no one can    
measure  with a glance1 when they are   
tired4 ,only the other day ,i got half  
an  inch out of a foot1 in drawing      
merely a coat of arms1 because ,i was   
tired4 ,but fancy what would happen to a
 swallow1 if it was half an  inch out in
 a foot1 in flying round a corner6      
#aac4 ,well1 that is the first branch of
 the questions which we want  answered  
by optical science2--the actual         
distortion1 contraction1 and  other     
modification1 of the sight of different 
animals1 as far as it can  be known from
 the forms of their eyes4 ,then1        
secondly1 we ourselves need  to be      
taught the connection of the sense of   
colour with health2 the  difference in  
the physical conditions which lead us to
 seek for gloom1  or brightness of hue2 
and the nature of purity in colour1     

first in the  object seen1 and then in  
the eye which prefers it4           99  
99       99       99       99    7,the  
portion of lecture here omitted referred
 to illustrations of  vulgarity and     
delicacy in colour1 showing that the    
vulgar colours1 even  when they seemed  
most glaring1 were in reality impure and
 dull2 and  destroyed each other by     
contention2 while noble colour1         
intensely bright  and pure1 was         
nevertheless entirely governed and calm1
 so that every  colour bettered and     
aided all the rest47      #aad4 ,you    
recollect how ,i urged you in my opening
 course of lectures  rather to work in  
the school of crystalline colour than in
 that of  shade4    ,since ,i gave that 
first course of lectures1 my sense of   
the necessity of  this study of         
brightness primarily1 and of purity and 
gaiety beyond all  other qualities1 has 
deeply been confirmed by the influence  
which the  unclean horror and impious   
melancholy of the modern ,french        

school--most  literally the school of   
death--has gained over the popular mind4
 ,i will  not dwell upon the evil       
phrenzy to-day4 ,but it is in order1 at 
once to  do the best ,i can1 in         
counteraction of its deadly influence1  
though not  without other and constant  
reasons1 that ,i give you heraldry1 with
 all  its splendour and its pride1 its  
brightness of colour1 and               
honourableness of meaning1 for your main
 elementary practice4      #aae4 ,to-day
 ,i have only time left to press on your
 thoughts the deeper  law of this due   
joy in colour and light4    ,on any     
morning of the year1 how many pious     
supplications1 do you  suppose1 are     
uttered throughout educated ,europe for 
light8 ,how many  lips at least         
pronounce the word1 and1 perhaps1 in the
 plurality of  instances1 with some     
distinct idea attached to it8 ,it is    
true the  speakers employ it only as a  
metaphor4 ,but why is their language    
thus  metaphorical8 ,if they mean merely

 to ask for spiritual knowledge or      
guidance1 why not say so plainly1       
instead of using this jaded figure of   
speech8 ,no boy goes to his father when 
he wants to be taught1 or helped1  and  
asks his father to give him 'light4' ,he
 asks what he wants1 advice  or         
protection4 ,why are not we also content
 to ask our ,father for what we  want1  
in plain ,english8    ,the metaphor1 you
 will answer1 is put into our mouths1   
and felt to be a  beautiful and         
necessary one4    ,i admit it4 ,in your 
educational series1 first of all        
examples of modern  art1 is the best    
engraving ,i could find of the picture  
which1 founded  on that idea of         
,christ's being the ,giver of ,light1   
contains1 ,i believe1  the most true and
 useful piece of religious vision which 
realistic art  has yet embodied4 ,but   
why is the metaphor so necessary1 or1   
rather1 how  far is it a metaphor at    
all8 ,do you think the words ',light of 
the ,world'  mean only ',teacher or     

,guide of the ,world'8 ,when the ,sun of
 ,justice is  said to rise with health  
in its wings1 do you suppose the image  
only  means the correction of error8 ,or
 does it even mean so much8 ,the ,light 
of ,heaven is needed to do that         
perfectly4 ,but what we are to pray for 
is  the ,light of the ,world2 nay1 the  
,light that lighteth every man that     
cometh into the world4      #aaf4 ,you  
will find that it is no metaphor--nor   
has it ever been so4    ,to the         
,persian1 the ,greek1 and the           
,christian1 the sense of the power of   
the ,god of ,light has been one and the 
same4 ,that power is not merely in      
teaching or protecting1 but in the      
enforcement of purity of body1 and of   
equity or justice in the heart2 and     
this1 observe1 not heavenly purity1  nor
 final justice2 but1 now1 and here1     
actual purity in the midst of the       
world's foulness1--practical justice in 
the midst of the world's  iniquity4 ,and
 the physical strength of the organ of  

sight1--the physical  purity of the     
flesh1 the actual love of sweet light   
and stainless  colour1--are the         
necessary signs1 real1 inevitable1 and  
visible1 of the  prevailing presence1   
with any nation1 or in any house1 of the
 ,light  that lighteth every man that   
cometh into the world4      #aag4       
,physical purity2--actual love of sweet 
light1 and of fair colour4  ,this is one
 palpable sign1 and an entirely needful 
one1 that we have got  what we pretend  
to pray for every morning4 ,that1 you   
will find1 is the  meaning of ,apollo's 
war with the ,python--of your own ,st4  
,george's war  with the dragon4 ,you    
have got that battle stamped again on   
every  sovereign in your pockets1 but do
 you think the sovereigns are helping1  
at this instant1 ,st4 ,george in his    
battle8 ,once1 on your gold of the      
,henrys' times1 you had ,st4 ,michael   
and the dragon1 and called your coins   
'angels4' ,how much have they done      
lately1 of angelic work1 think you1 in  

purifying the earth8      #aah4         
,purifying1 literally1 purging and      
cleansing4 ,that is the first  sacred   
art all men have to learn4 ,and the     
words ,i deferred to the  close of this 
lecture1 about the proposed improvements
 in ,oxford1 are  very few4 ,oxford is1 
indeed1 capable of much improvement1 but
 only by  undoing the greater part of   
what has been done to it within the last
  twenty years2 and1 at present1 the one
 thing that ,i would say to             
well-meaning persons is1 ',for ,heaven's
 sake--literally for ,heaven's          
sake--let the place alone1 and clean    
it4' ,i walked last week to             
,iffley--not having been there for      
thirty years4 ,i did not know the       
church inside2 ,i found it pitch-dark   
with painted glass of barbarous         
manufacture1 and the old woman who      
showed it infinitely proud of letting   
me in at the front door instead of the  
side one4 ,but close by it1 not  fifty  
yards down the hill1 there was a little 

well--a holy well it  should have been2 
beautiful in the recess of it1 and the  
lovely ivy and  weeds above it1 had it  
but been cared for in a human way2 but  
so full of  frogs that you could not    
have dipped a cup in it without catching
 one4    ,what is the use of pretty     
painted glass in your churches when you 
have  the plagues of ,egypt outside of  
them8      #aai4 ,i walked back from    
,iffley to ,oxford by what was once the 
most  beautiful approach to an          
academical city of any in ,europe4 ,now 
it is a  wilderness of obscure and base 
buildings4 ,you think it a fine thing to
  go into ,iffley church by the front   
door2--and you build cheap              
lodging-houses over all the approach to 
the chief university of ,english        
literature6 ,that1 forsooth1 is your    
luminous cloister1 and porch of         
,polygnotus to your temple of ,apollo4  
,and in the centre of that temple1  at  
the very foot of the dome of the        
,radclyffe1 between two principal       

colleges1 the lane by which ,i walked   
from my own college half an hour  ago1  
to this place1--,brasen-nose ,lane--is  
left in a state as loathsome  as a      
back-alley in the ,east end of ,london4 
#abj4 ,these1 ,i suppose1 are the signs 
of extending liberality1 and            
disseminated advantages of education4   
,gentlemen1 if1 as was lately said by a 
leading member of your  ,government1 the
 function of a university be only to    
examine1 it may  indeed examine the     
whole mob of ,england in the midst of a 
dunghill2 but  it cannot teach the      
gentlemen of ,england in the midst of a 
dunghill2 no1  nor even the people of   
,england4 ,how many of her people it    
ought to  teach is a question4 ,we      
think1 now-a-days1 our philosophy is to 
light  every man that cometh into the   
world1 and to light every man equally4  
,well1 when indeed you give up all other
 commerce in this island1 and1 as  in   
,bacon's ,new ,atlantis1 only buy and   
sell to get ,god's first  creature1     

which was light1 there may be some      
equality of gain for us in  that        
possession4 ,but until then1--and we are
 very far from such a  time--the light  
cannot be given to all men equally4     
,nay1 it is becoming  questionable      
whether1 instead of being equally       
distributed to all1 it  may not be      
equally withdrawn from us all3 whether  
the ideas of purity  and justice1--of   
loveliness which is to sanctify our     
peace1--and of  justice which is to     
sanctify our battle1 are not vanishing  
from the  purpose of our policy1 and    
even from the conception of our         
education4    ,the uses1 and the desire1
 of seclusion1 of meditation1 of        
restraint1 and  of correction--are they 
not passing from us in the collision of 
worldly  interests1 and restless        
contests of mean hope1 and meaner fear8 
,what  light1 what health1 what peace1  
or what security1--youths of            
,england--do  you come here now to seek8
 ,in what sense do you receive--with    

what  sincerity do you adopt for        
yourselves--the ancient legend of your  
schools1 ,dominus illuminatio mea1 et   
salus mea2 quem timebo8      #aba4      
,remember that the ancient theory on    
which this university was  founded1--not
 the theory of any one founder1 observe1
 nor even the  concluded or expressed   
issue of the wisdom of many2 but the    
tacit  feeling by which the work and    
hope of all were united and             
completed--was1 that ,england should    
gather from among her children a        
certain number of purest and best1 whom 
she might train to become1 each  in     
their day of strength1 her teachers and 
patterns in religion1 her  declarers and
 doers of justice in law and her leaders
 in battle4 ,bred1  it might be1 by     
their parents1 in the fond poverty of   
learning1 or  amidst the traditions and 
discipline of illustrious houses1--in   
either  manner separate1 from their     
youth up1 to their glorious             
offices--they  came here to be kindled  

into the lights that were to be set on  
the hills  of ,england1 brightest of the
 pious1 the loyal1 and the brave4       
,whatever  corruption blighted1 whatever
 worldliness buried1 whatever sin       
polluted  their endeavour1 this         
conception of its meaning remained2 and 
was indeed  so fulfilled in             
faithfulness1 that to the men whose     
passions were  tempered1 and whose      
hearts confirmed1 in the calm of these  
holy places1  you1 now living1 owe all  
that is left to you of hope in heaven1  
and all  of safety or honour that you   
have to trust and defend on earth4      
,their children have forfeited1 some by 
guilt1 and many in folly1 the           
leadership they inherited2 and every man
 in ,england now is to do and to  learn 
what is right in his own eyes4 ,how much
 need1 therefore1 that we  should learn 
first of all what eyes are2 and what    
vision they ought to  possess--science  
of sight granted only to clearness of   
soul2 but granted  in its fulness even  

to mortal eyes3 for though1 after the   
skin1 worms  may destroy their body1    
happy the pure in heart1 for they1 yet  
in their  flesh1 shall see the ,light of
 ,heaven1 and know the will of ,god4    
,,lecture ,,vii4             ,,the      
,,relation ,,to ,,art ,,of ,,the        
,,sciences ,,of ,,inorganic ,,form4     
,february #ith1 #ahgb4      #abb4 ,i did
 not wish in my last lecture1 after ,i  
had directed your  attention to the     
special bearing of some of the          
principles ,i pleaded  for1 to enforce  
upon you any farther general            
conclusions4 ,but it is  necessary now  
to collect the gist of what ,i          
endeavoured to show you  respecting the 
organs of sight2 namely1 that in        
proportion to the  physical perfectness 
or clearness of them is the degree in   
which they  are raised from the         
perception of prey to the perception of 
beauty and  of affection4 ,the imperfect
 and brutal instrument of the eye may be
  vivid with malignity1 or wild with    

hunger1 or manifoldly detective with    
microscopic exaggeration1 assisting the 
ingenuity of insects with a  multiplied 
and permanent monstrosity of all things 
round them2 but the  noble human sight1 
careless of prey1 disdainful of         
minuteness1 and  reluctant to anger1    
becomes clear in gentleness1 proud in   
reverence1 and  joyful in love4 ,and    
finally1 the physical splendour of light
 and colour1  so far from being the     
perception of a mechanical force by a   
mechanical  instrument1 is an entirely  
spiritual consciousness1 accurately and 
absolutely proportioned to the purity of
 the moral nature1 and to the  force of 
its natural and wise affections4        
#abc4 ,that was the sum of what ,i      
wished to show you in my last lecture2  
and observe1 that what remains to me    
doubtful in these things1--and it  is   
much--,i do not trouble you with4 ,only 
what ,i know that on experiment  you can
 ascertain for yourselves1 ,i tell you1 
and illustrate1 for the  time1 as well  

as ,i can4 ,experiments in art are      
difficult1 and take years  to try2 you  
may at first fail in them1 as you might 
in a chemical  analysis2 but in all the 
matters which in this place ,i shall    
urge on  your attention ,i can assure   
you of the final results4    ,that1     
then1 being the sum of what ,i could    
tell you with certainty  respecting the 
methods of sight1 ,i have next to assure
 you that this  faculty of sight1       
disciplined and pure1 is the only proper
 faculty  which the graphic artist is to
 use in his inquiries into nature4 ,his 
office is to show her appearances2 his  
duty is to know them4 ,it is not  his   
duty1 though it may be sometimes for his
 convenience1 while it is  always at his
 peril1 that he knows more2--knows the  
causes of  appearances1 or the essence  
of the things that produce them4        
#abd4 ,once again1 therefore1 ,i must   
limit my application of the word        
science with respect to art4 ,i told you
 that ,i did not mean by 'science'  such

 knowledge as that triangles on equal   
bases and between parallels  are equal1 
but such knowledge as that the stars in 
,cassiopeia are in the  form of a ,w4   
,but1 farther still1 it is not to be    
considered as  science1 for an artist1  
that they are stars at all4 ,what he has
 to  know is that they are luminous     
points which twinkle in a certain       
manner1  and are pale yellow1 or deep   
yellow1 and may be quite deceptively    
imitated at a certain distance by       
brass-headed nails4 ,this he ought to   
know1 and to remember accurately1 and   
his art knowledge--the science1  that is
 to say--of which his art is to be the  
reflection1 is the sum of  knowledges of
 this sort2 his memory of the look of   
the sun and moon at  such and such      
times1 through such and such clouds2 his
 memory of the  look of the             
mountains1--of the look of sea1--of the 
look of human faces4      #abe4 ,perhaps
 you would not call that 'science' at   
all4 ,it is no matter  what either you  

or ,i call it4 ,it is science of a      
certain order of  facts4 ,two summers   
ago1 looking from ,verona at sunset1 ,i 
saw the  mountains beyond the ,lago di  
,garda of a strange blue1 vivid and rich
  like the bloom of a damson4 ,i never  
saw a mountain-blue of that  particular 
quality before or since4 ,my science as 
an artist consists in  my knowing that  
sort of blue from every other sort1 and 
in my perfect  recollection that this   
particular blue had such and such a     
green  associated with it in the near   
fields4 ,i have nothing whatever to do  
with the atmospheric causes of the      
colour3 that knowledge would merely     
occupy my brains wastefully1 and warp my
 artistic attention and energy  from    
their point4 ,or to take a simpler      
instance yet3 ,turner1 in his  early    
life1 was sometimes good-natured1 and   
would show people what he  was about4   
,he was one day making a drawing of     
,plymouth harbour1 with  some ships at  
the distance of a mile or two1 seen     

against the light4  ,having shown this  
drawing to a naval officer1 the naval   
officer  observed with surprise1 and    
objected with very justifiable          
indignation1  that the ships of the line
 had no port-holes4 ,no1 said ,turner1  
certainly not4 ,if you will walk up to  
,mount ,edgecumbe1 and look at the      
ships against the sunset1 you will find 
you can't see the port-holes4  ,well1   
but1 said the naval officer1 still      
indignant1 you know the  port-holes are 
there4 ,yes1 said ,turner1 ,i know that 
well enough2 but  my business is to draw
 what ,i see1 and not what ,i know is   
there4      #abf4 ,now1 that is the law 
of all fine artistic work whatsoever2   
and1  more than that1 it is1 on the     
whole1 perilous to you1 and undesirable1
  that you should know what is there4   
,if1 indeed1 you have so perfectly      
disciplined your sight that it cannot be
 influenced by prejudice2--if  you are  
sure that none of your knowledge of what
 is there will be  allowed to assert    

itself2 and that you can reflect the    
ship as simply as  the sea beneath it   
does1 though you may know it with the   
intelligence of  a sailor1--then1       
indeed1 you may allow yourself the      
pleasure1 and what  will sometimes be   
the safeguard from error1 of learning   
what ships or  stars1 or mountains1 are 
in reality2 but the ordinary powers of  
human  perception are almost certain to 
be disturbed by the knowledge of the    
real nature of what they draw3 and1     
until you are quite fearless of your    
faithfulness to the appearances of      
things1 the less you know of their      
reality the better4      #abg4 ,and it  
is precisely in this passive and nave   
simplicity that art  becomes1 not only  
greatest in herself1 but most useful to 
science4 ,if  she knew anything of what 
she was representing1 she would exhibit 
that  partial knowledge with            
complacency2 and miss the points beside 
it1 and  beyond it4 ,two painters draw  
the same mountain2 the one has got      

unluckily into his head some curiosity  
about glacier marking2 and the  other   
has a theory of cleavage4 ,the one will 
scratch his mountain all  over2--the    
other split it to pieces2 and both      
drawings will be equally  useless for   
the purposes of honest science4         
#abh4 ,any of you who chance to know my 
books cannot but be surprised at  my    
saying these things2 for1 of all writers
 on art1 ,i suppose there is  no one who
 appeals so often as ,i do to physical  
science4 ,but observe1 ,i  appeal as a  
critic of art1 never as a master of it4 
,turner made drawings  of mountains and 
clouds which the public said were       
absurd4 ,i said1 on  the contrary1 they 
were the only true drawings of mountains
 and clouds  ever made yet3 and ,i      
proved this to be so1 as only it could  
be proved1  by steady test of physical  
science3 but ,turner had drawn his      
mountains  rightly1 long before their   
structure was known to any geologist in 
,europe2 and has painted perfectly      

truths of anatomy in clouds which ,i    
challenge any meteorologist in ,europe  
to explain at this day4      #abi4 ,and 
indeed ,i was obliged to leave ,modern  
,painters incomplete1 or1  rather1 as a 
mere sketch of intention1 in analysis of
 the forms of cloud  and wave1 because  
,i had not scientific data enough to    
appeal to4 ,just  reflect for an instant
 how absolutely whatever has been done  
in art to  represent these most         
familiar1 yet most spectral forms of    
cloud--utterly  inorganic1 yet1 by      
spiritual ordinance1 in their kindness  
fair1 and in  their anger               
frightful1--how all that has yet been   
done to represent  them1 from the       
undulating bands of blue and white which
 give to heraldry  its nebule bearing1  
to the finished and deceptive skies of  
,turner1 has  been done without one     
syllable of help from the lips of       
science4,f      ,f ,rubens' rainbow1 in 
the ,loan ,exhibition this year1 was of 
dull        blue1 darker than the sky1  

in a scene lighted from the side of     
the rainbow4 ,rubens is not to be blamed
 for ignorance of optics1        but for
 never having so much as looked at a    
rainbow carefully3 and        ,i do not 
believe that my friend ,mr4 ,alfred     
,hunt1 whose study of        rainbow1 in
 the rooms of the ,water ,colour        
,society last year1 was                 
unrivalled1 for vividness and truth1 by 
any ,i know1 learned how to        paint
 it by studying optics4      #acj4 ,the 
rain which flooded our fields the       
,sunday before last1 was  followed1 as  
you will remember1 by bright days1 of   
which ,tuesday the  #bjth was1 in       
,london1 notable for the splendour1     
towards the afternoon1  of its white    
cumulus clouds4 ,there has been so much 
black east wind  lately1 and so much fog
 and artificial gloom1 besides1 that ,i 
find it is  actually some two years     
since ,i last saw a noble cumulus cloud 
under  full light4 ,i chanced to be     
standing under the ,victoria ,tower at  

,westminster1 when the largest mass of  
them floated past1 that day1 from  the  
north-west2 and ,i was more impressed   
than ever yet by the awfulness  of the  
cloud-form1 and its unaccountableness1  
in the present state of  our knowledge4 
,the ,victoria ,tower1 seen against it1 
had no magnitude3 it  was like looking  
at ,mont ,blanc over a lamp-post4 ,the  
domes of cloud-snow  were heaped as     
definitely2 their broken flanks were as 
grey and firm as  rocks1 and the whole  
mountain1 of a compass and height in    
heaven which  only became more and more 
inconceivable as the eye strove to      
ascend it1  was passing behind the tower
 with a steady march1 whose swiftness   
must  in reality have been that of a    
tempest3 yet1 along all the ravines of  
vapour1 precipice kept pace with        
precipice1 and not one thrust another4  
#aca4 ,what is it that hews them out8   
,why is the blue sky pure  there1--cloud
 solid here2 and edged like marble3 and 
why does the state  of the blue sky pass

 into the state of cloud1 in that calm  
advance8    ,it is true that you can    
more or less imitate the forms of cloud 
with  explosive vapour or steam2 but the
 steam melts instantly1 and the         
explosive vapour dissipates itself4 ,the
 cloud1 of perfect form1 proceeds       
unchanged4 ,it is not an explosion1 but 
an enduring and advancing  presence4    
,the more you think of it1 the less     
explicable it will become  to you4      
#acb4 ,that this should yet be          
unexplained in the kingdom of the air   
is1  however1 no marvel1 since aspects  
of a similar kind are unexplained in    
the earth1 which we tread1 and in the   
water which we drink and wash  with4    
,you seldom pass a day without receiving
 some pleasure from the  cloudings in   
marble2 can you explain how the stone   
was clouded8 ,you  certainly do not pass
 a day without washing your hands4 ,can 
you explain  the frame of a soap-bubble8
      #acc4 ,i have allowed myself1 by  
way of showing at once what ,i wanted to

  come to1 to overlook the proper       
arrangement of my subject1 and ,i must  
draw back a little4    ,for all his own 
purposes1 merely graphic1 we say1 if an 
artist's eye is  fine and faithful1 the 
fewer points of science he has in his   
head1 the  better4 ,but for purposes    
more than graphic1 in order that he may 
feel  towards things as he should1 and  
choose them as we should1 he ought to   
know something about them2 and if he is 
quite sure that he can receive  the     
science of them without letting himself 
become uncandid and narrow  in          
observation1 it is very desirable that  
he should be acquainted with a  little  
of the alphabet of structure1--just as  
much as may quicken and  certify his    
observation1 without prejudicing it4    
,cautiously1 therefore1  and receiving  
it as a perilous indulgence1 he may     
venture to learn1  perhaps as much      
astronomy as may prevent his carelessly 
putting the new  moon wrong side        
upwards2 and as much botany as will     

prevent him from  confusing1 which ,i am
 sorry to say ,turner did1 too often1   
,scotch firs  with stone pines4 ,he may 
concede so much to geology as to choose1
 of two  equally picturesque views1 one 
that illustrates rather than conceals   
the  structure of a crag3 and perhaps1  
once or twice in his life1 a portrait   
painter might advantageously observe how
 unlike a skull is to a face4  ,and for 
you1 who are to use your drawing as one 
element in general  education1 it is    
desirable that physical science should  
assist in the  attainment of truth which
 a real painter seizes by practice of   
eye4      #acd4 ,for this purpose ,i    
shall appeal to your masters in science 
to  furnish us1 as they have leisure1   
with some simple and readable accounts  
of the structure of things which we have
 to draw continually4 ,such  scientific 
accounts will not usually much help us  
to draw them1 but will  make the        
drawing1 when done1 far more valuable to
 us4    ,i have told you1 for instance1 

that nobody--at least1 no painter--can  
at  present explain the structure of a  
bubble4 ,to know that structure will    
not help you to draw sea-foam1 but it   
will make you look at sea-foam  with    
greater interest4    ,i am not able now 
to watch the course of modern science1  
and may perhaps  be in error in thinking
 that the frame of a bubble is still    
unexplained4  ,but ,i have not yet met1 
by any chance1 with an account of the   
forces  which1 under concussion1 arrange
 the particles of a fluid into a        
globular film2 though1 from what ,i know
 of cohesion1 gravity1 and the  nature  
of the atmosphere1 ,i can make some     
shift to guess at the kind of  action   
that takes place in forming a single    
bubble4 ,but how one bubble  absorbs    
another without breaking it2 or what    
exact methods of tension  prepare for   
the change of form1 and establish it in 
an instant1 ,i am  utterly at a loss to 
conceive4    ,here1 ,i think1 then1 is  
one familiar matter which up to the     

possible  point1 science might          
condescendingly interpret for us4 ,the  
exhaustion of  the film in preparation  
for its change3 the determination of the
 smaller  bubble to yield itself up to  
the larger2 the instantaneous flash into
  the new shape1 and the swift          
adjustment of the rectangular lines of  
intersection in the marvellous          
vaulting--all this ,i want to be        
explained to us1 so that1 if we cannot  
understand it altogether1 we may  at    
least know exactly how far we do1 and   
how far we do not4      #ace4 ,and1 next
 to the laws of the formation of a      
bubble1 ,i want to see1  in simple      
statement1 those of the formation of a  
bottle4 ,namely1 the  laws of its       
resistance to fracture1 from without and
 within1 by  concussion or explosion2   
and the due relations of form to        
thickness of  material2 so that1 putting
 the problem in a constant form1 we may 
know1  out of a given quantity of       
material1 how to make the strongest     

bottle  under given limitations as to   
shape4 ,for instance1--you have so much 
glass given you3 your bottle is to hold 
two pints1 to be flat-bottomed1  and so 
narrow and long in the neck that you can
 grasp it with your hand4  ,what will be
 its best ultimate form8      #acf4     
,probably1 if you thought it courteous1 
you would laugh at me just  now2 and1 at
 any rate1 are thinking to yourselves   
that this art  problem at least needs no
 scientific investigation1 having been  
practically solved1 long ago1 by the    
imperative human instinct for the       
preservation of bottled stout4 ,but you 
are only feeling now1 gentlemen1  and   
recognizing in one instance1 what ,i    
tell you of all4 ,every  scientific     
investigation is1 in the same sense as  
this would be1 useless  to the trained  
master of any art4 ,to the soap-bubble  
blower1 and  glass-blower1--to the      
pot-maker and bottle-maker1--if         
dexterous  craftsmen1 your science is of
 no account2 and the imp of their art   

may  be imagined as always looking      
triumphantly and contemptuously1 out of 
its successfully-produced bottle1 on the
 vain analysis of centrifugal  impulse  
and inflating breath4      #acg4        
,nevertheless1 in the present confusion 
of instinct and opinion as  to beautiful
 form1 it is desirable to have these two
 questions more  accurately dealt with4 
,for observe what they branch into4 ,the
 coloured  segments of globe out of     
which foam is constituted1 are portions 
of  spherical vaults constructed of     
fluent particles4 ,you cannot have the  
principles of spherical vaulting put in 
more abstract terms4    ,then           
considering the arch as the section of a
 vault1 the greater number  of ,gothic  
arches may be regarded as the           
intersections of two spherical  vaults4 
,simple ,gothic foliation is merely the 
triple1 quadruple1 or variously         
multiple repetition of such             
intersection4    ,and the               
beauty--7observe this carefully7--the   

beauty of ,gothic arches1  and of their 
foliation1 always involves reference to 
the strength of  their structure2 but   
only to their structure as              
self-sustaining2 not as  sustaining     
superincumbent weight4 ,in the most     
literal of senses1 the  earth hath      
bubbles as the water hath2 and these are
 of them4      #ach4 ,what do you think 
made ,michael ,angelo look back to the  
dome of  ,santa ,maria del ,fiore1      
saying1 ,like thee ,i will not build    
one1 better  than thee ,i cannot8 ,to   
you or to me there is nothing in that   
dome  different from hundreds of others4
 ,which of you1 who have been at        
,florence1 can tell me honestly he saw  
anything wonderful in it8 ,but  ,michael
 ,angelo knew the exact proportion of   
thickness to weight and  curvature which
 enabled it to stand as securely as a   
mountain of  adamant1 though it was only
 a film of clay1 as frail1 in proportion
 to  its bulk1 as a sea shell4 ,over the
 massy war towers of the city it        

floated2 fragile1 yet without fear4     
,better than thee ,i cannot4      #aci4 
,then think what the investigation of   
the bottle branches into1  joined with  
that of its necessary companion1 the    
cup4 ,there is a sketch  for you of the 
cup of cups1 the pure ,greek 1 which is 
always in  the hand of ,dionusos1 as the
 thunderbolt is in that of ,zeus4 ,learn
 but  to draw that thoroughly1 and you  
won't have much more to learn of        
abstract form2 for the investigation of 
the kinds of line that limit  this will 
lead you into all the practical geometry
 of nature2 the  ellipses of her        
sea-bays in perspective2 the parabolas  
of her waterfalls  and fountains in     
profile2 the catenary curves of their   
falling festoons  in front2 the infinite
 variety of accelerated or retarded     
curvature in  every condition of        
mountain debris4 ,but do you think mere 
science can  measure for you any of     
these things8 ,that book on the table is
 one of  the four volumes of ,sir       

,william ,hamilton's ,greek ,vases4 ,he 
has  measured every important vase      
vertically and horizontally1 with       
precision altogether admirable1 and     
which may1 ,i hope1 induce you to  have 
patience with me in the much less       
complex1 though even more  scrupulous1  
measurements which ,i shall require on  
my own examples4 ,yet  ,english pottery 
remains precisely where it was1 in spite
 of all this  investigation4 ,do you    
fancy a ,greek workman ever made a vase 
by  measurement8 ,he dashed it from his 
hand on the wheel1 and it was           
beautiful3 and a ,venetian glass-blower 
swept you a curve of crystal from  the  
end of his pipe2 and ,reynolds or       
,tintoret swept you a curve of  colour  
from their pencils1 as a musician the   
cadence of a note1  unerring1 and to be 
measured1 if you please1 afterwards1    
with the  exactitude of ,divine law4    
#adj4 ,but1 if the truth and beauty of  
art are thus beyond attainment by  help 
of science1 how much more its invention8

 ,i must defer what ,i have  chiefly to 
say on this head till next lecture2 but 
to-day ,i can  illustrate1 simply1 the  
position of invention with respect to   
science in  one very important group of 
inorganic forms--those of drapery4      
#ada4 ,if you throw at random over a rod
 a piece of drapery of any  material    
which will fall into graceful folds1 you
 will get a series of  sinuous folds in 
catenary curves3 and any given          
disposition of these  will be nearly as 
agreeable as any other2 though1 if you  
throw the stuff  on the rod a thousand  
times1 it will not fall twice alike4    
#adb4 ,but suppose1 instead of a        
straight rod1 you take a beautiful nude 
statue1 and throw the piece of linen    
over that4 ,you may encumber and        
conceal its form altogether2 you may    
entirely conceal portions of the  limbs1
 and show others2 or you may leave      
indications1 under the thin  veil1 of   
the contours which are hidden2 but in   
ninety-nine cases out of  a hundred you 

will wish the drapery taken off again2  
you will feel that  the folds are in    
some sort discrepant and harmful1 and   
eagerly snatch  them away4 ,however     
passive the material1 however softly    
accommodated to  the limbs1 the         
wrinklings will always look foreign to  
the form1 like the  drip of a heavy     
shower of rain falling off it1 and will 
load themselves  in the hollows         
uncomfortably4 ,you will have to pull   
them about2 to  stretch them one way1   
loosen them in another1 and supply the  
quantity of  government which a living  
person would have given to the dress1   
before  it becomes at all pleasing to   
you4      #adc4 ,doing your best1 you   
will still not succeed to your mind1    
provided  you have1 indeed1 a mind worth
 pleasing4 ,no adjustment that you can  
make1 on the quiet figure1 will give any
 approximation to the look of  drapery  
which has previously accommodated itself
 to the action which  brought the figure
 into the position in which it stays4   

,on a really  living person1 gracefully 
dressed1 and who has paused from        
graceful  motion1 you will get1 again   
and again1 arrangements of fold which   
you  can admire3 but they will not      
remain to be copied1 the first following
  movement alters all4 ,if you had your 
photographic plate ready and could      
photograph--,i don't know if it has been
 tried--girls1 like waves1 as  they     
move1 you would get what was indeed     
lovely2 and yet1 when you  compared even
 such results with fine sculpture1 you  
would see that there  was something     
wanting2--that1 in the deepest sense1   
all was yet  wanting4      #add4 ,yet   
this is the most that the plurality of  
artists can do1 or think  of doing4     
,they draw the nude figure with careful 
anatomy2 they put their  model or their 
lay figure into the required position2  
they arrange  draperies on it to their  
mind1 and paint them from the reality4  
,all such  work is absolutely           
valueless1--worse than valueless in the 

end of it1  blinding us to the qualities
 of fine work4    ,in true design it is 
in this matter of drapery as in all     
else4 ,there is  not a fold too much1   
and all that are given aid the          
expression1 whether  of movement or     
character4 ,here is a bit of ,greek     
sculpture1 with many  folds2 here is a  
bit of ,christian sculpture with few4   
,from the many1  not one could be       
removed without harm1 and to the few1   
not one could be  added4 ,this alone is 
art1 and no science will ever enable you
 to do  this1 but the poetic and fabric 
instincts only4      #ade4              
,nevertheless1 however far above        
science1 your work must comply with  all
 the requirements of science4 ,the first
 thing you have to ask is1 ,is  it      
scientifically right8 ,that is still    
nothing1 but it is essential4 ,in       
modern imitations of ,gothic work the   
artists think it religious to be  wrong1
 and that ,heaven will be propitious    
only to saints whose stoles or          

petticoats stand or fall into incredible
 angles4    ,all that nonsense ,i will  
soon get well out of your heads by      
enabling you  to make accurate studies  
from real drapery1 so that you may be   
able to  detect in a moment whether the 
folds in any design are natural and true
  to the form1 or artificial and        
ridiculous4      #adf4 ,but this1 which 
is the science of drapery1 will never do
 more than  guard you in your first     
attempts in the art of it4 ,nay1 when   
once you  have mastered the elements of 
such science1 the most sickening of all 
work to you will be that in which the   
draperies are all right1--and  nothing  
else is4 ,in the present state of our   
schools one of the chief  mean merits   
against which ,i shall have to warn you 
is the imitation of  what milliners     
admire3 nay1 in many a piece of the best
 art ,i shall have  to show you that the
 draperies are1 to some extent1         
intentionally  ill-done1 lest you should
 look at them4 ,yet1 through every      

complexity  of desirableness1 and       
counter-peril1 hold to the constant and 
simple law  ,i have always given        
you--that the best work must be right in
 the  beginning1 and lovely in the end4 
#adg4 ,finally1 observe that what is    
true respecting these simple forms of   
drapery is true of all other inorganic  
form4 ,it must become organic  under the
 artist's hand by his invention4 ,as    
there must not be a fold in  a vestment 
too few or too many1 there must not1 in 
noble landscape1 be a  fold in a        
mountain1 too few or too many4 ,as you  
will never get from real  linen cloth1  
by copying it ever so faithfully1 the   
drapery of a noble  statue1 so you will 
never get from real mountains1 copy them
 never so  faithfully1 the forms of     
noble landscape4 ,anything more         
beautiful than  the photographs of the  
,valley of ,chamouni1 now in your       
print-sellers'  windows1 cannot be      
conceived4 ,for geographical and        
geological purposes  they are worth     

anything2 for art purposes1 worth--a    
good deal less than  zero4 ,you may     
learn much from them1 and will mislearn 
more4 ,but in  ,turner's ,valley of     
,chamouni the mountains have not a fold 
too much1  nor too little4 ,there are no
 such mountains at ,chamouni3 they are  
the  ghosts of eternal mountains1 such  
as have been1 and shall be1 for         
evermore4      #adh4 ,so now in sum1 for
 ,i may have confused you by            
illustration1--    ,i4 ,you are1 in     
drawing1 to try only to represent the   
appearances of  things1 never what you  
know the things to be4    ,,ii4 ,those  
appearances you are to test by the      
appliance of the scientific  laws       
relating to aspect2 and to learn1 by    
accurate measurement1 and the  most     
fixed attention1 to represent with      
absolute fidelity4    ,,iii4 ,having    
learned to represent actual appearances 
faithfully1 if you  have any human      
faculty of your own1 visionary          
appearances will take  place to you     

which will be nobler and more true than 
any actual or  material appearances2 and
 the realization of these is the        
function of  every fine art1 which is   
founded absolutely1 therefore1 in truth1
 and  consists absolutely in            
imagination4 ,and once more we may      
conclude with1  but now using them in a 
deeper sense1 the words of our          
master--,the best  in this kind are but 
shadows4           99       99       99 
99       99    ,it is to be our task1   
gentlemen1 to endeavour that they may be
 at least  so much4                     
,,lecture ,,viii4              ,,the    
,,relation ,,to ,,art ,,of ,,the        
,,sciences ,,of ,,organic ,,form4       
,march #bnd1 #ahgb4      #adi4 ,i have  
next in order to speak of the relation  
of art to science1 in  dealing with its 
own principal subject--organic form1 as 
the expression  of life4 ,and1 as in my 
former lecture1 ,i will tell you at once
 what ,i  wish chiefly to enforce upon  
you4    ,first1--but this ,i shall have 

no time to dwell upon1--,that the true  
power of art must be founded on a       
general knowledge of organic nature1    
not of the human frame only4            
,secondly4--,that in representing this  
organic nature1 quite as much as in     
representing inanimate things1 ,art has 
nothing to do with structures1  causes1 
or absolute facts2 but only with        
appearances4    ,thirdly4--,that in     
representing these appearances1 she is  
more hindered  than helped by the       
knowledge of things which do not        
externally appear2  and therefore1 that 
the study of anatomy generally1 whether 
of plants1  animals1 or man1 is an      
impediment to graphic art4              
,fourthly4--,that especially in the     
treatment and conception of the human   
form1 the habit of contemplating its    
anatomical structure is not only a      
hindrance1 but a degradation2 and       
farther yet1 that even the study of  the
 external form of the human body1 more  
exposed than it may be  healthily and   

decently in daily life1 has been        
essentially destructive  to every school
 of art in which it has been practised4 
#aej4 ,these four statements ,i         
undertake1 in the course of our future  
study1 gradually to confirm to you4 ,in 
a single lecture ,i1 of course1  have   
time to do little more than clearly     
state and explain them4    ,first1 ,i   
tell you that art should take cognizance
 of all living things1  and know them1  
so as to be able to name1 that is to    
say1 in the truest  distinctive way1 to 
describe them4 ,the ,creator daily      
brings1 before the  noblest of ,his     
creatures1 every lower creature1 that   
whatsoever ,man  calls it1 may be the   
name thereof4    ,secondly4--,in        
representing1 nay1 in thinking of1 and  
caring for1 these  beasts1 man has to   
think of them essentially with their    
skins on them1  and with their souls in 
them4 ,he is to know how they are       
spotted1  wrinkled1 furred1 and         
feathered3 and what the look of them is1

 in the  eyes2 and what grasp1 or cling1
 or trot1 or pat1 in their paws and     
claws4 ,he is to take every sort of view
 of them1 in fact1 except  one1--the    
,butcher's view4 ,he is never to think  
of them as bones and  meat4             
,thirdly4--,in the representation of    
their appearance1 the knowledge of      
bones and meat1 of joint and muscle1 is 
more a hindrance than a help4           
,lastly4--,with regard to the human     
form1 such knowledge is a degradation   
as well as a hindrance2 and even the    
study of the nude is injurious1  beyond 
the limits of honour and decency in     
daily life4    ,those are my four       
positions4 ,i will not detain you by    
dwelling on the  first two--that we     
should know every sort of beast1 and    
know it with its  skin on it1 and its   
soul within it4 ,what you feel to be a  
paradox--perhaps you think an incredible
 and insolent paradox--is my  telling   
you that you will be hindered from doing
 this by the study of  anatomy4 ,i      

address myself1 therefore1 only to the  
last two points4      #aea4 ,among your 
standard engravings1 ,i have put that of
 the picture by  ,titian1 in the        
,strozzi ,palace1 of a little ,strozzi  
maiden feeding her  dog4 ,i am going to 
put in the ,rudimentary ,series1 where  
you can always  get at it 7,r4 #abe71   
this much more delightful1 though not in
 all points  standard1 picture by       
,reynolds1 of an infant daughter of     
,george the  ,third's1 with her ,skye   
terrier4    ,i have no doubt these dogs 
are the authentic pets1 given in as true
  portraiture as their mistresses2 and  
that the little ,princess of  ,florence 
and ,princess of ,england were both     
shown in the company which1  at that    
age1 they best liked2--the elder feeding
 her favourite1 and the  baby with her  
arms about the neck of hers4    ,but the
 custom of putting either the dog1 or   
some inferior animal1 to be  either in  
contrast1 or modest companionship1 with 
the nobleness of human  form and        

thought1 is a piece of what may be      
called mental comparative  anatomy1     
which has its beginning very far back in
 art indeed4 ,one of  quite the most    
interesting ,greek vases in the ,british
 ,museum is that of  which the painting 
long went under the title of ,anacreon  
and his ,dog4  ,it is a ,greek lyric    
poet1 singing with lifted head1 in the  
action given  to ,orpheus and ,philammon
 in their moments of highest            
inspiration2 while1  entirely unaffected
 by and superior to the music1 there    
walks beside him  a sharp-nosed and     
curly-tailed dog1 painted in what the   
exclusive  admirers of ,greek art would1
 ,i suppose1 call an ideal manner2 that 
is to  say1 his tail is more like a     
display of fireworks than a tail2 but   
the  ideal evidently founded on the     
material existence of a charming1 though
  supercilious1 animal not unlike the   
one which is at present the chief       
solace of my labours in ,oxford1 ,dr4   
,acland's dog ,bustle4 ,i might go much 

farther back than this2 but at all      
events1 from the time of the golden  dog
 of ,pandareos1 the fawn of ,diana1 and 
the eagle1 owl1 and peacock of  the     
great ,greek gods1 you find a succession
 of animal types--centralized  in the   
,middle ,ages1 of course1 by the hound  
and the falcon--used in art  either to  
symbolize1 or contrast with1 dignity in 
human persons4 ,in  modern portraiture1 
the custom has become vulgarized by the 
anxiety of  everybody who sends their   
picture1 or their children's1 to the    
,royal  ,academy1 to have it            
demonstrated to the public by the       
exhibition of a  pony1 and a dog with a 
whip in its mouth1 that they live1 at   
the proper  season1 in a country house4 
,but by the greater masters the thing is
 done  always with a deep sense of the  
mystery of the comparative existences of
  living creatures1 and of the methods  
of vice and virtue exhibited by  them4  
,albert ,drer scarcely ever draws a     
scene in the life of the  ,virgin1      

without putting into the foreground some
 idle cherubs at play  with rabbits or  
kittens2 and sometimes lets his love of 
the grotesque  get entirely the better  
of him1 as in the engraving of the      
,madonna with  the monkey4 ,veronese    
disturbs the interview of the queen of  
,sheba with  ,solomon1 by the petulance 
of the queen of ,sheba's ,blenheim      
spaniel1 whom  ,solomon had not treated 
with sufficient respect2 and when       
,veronese is  introduced himself1 with  
all his family1 to the ,madonna1 ,i am  
sorry to  say that his own pet dog turns
 its back to the ,madonna1 and walks out
 of  the room4      #aeb4 ,but among all
 these symbolic playfulnesses of the    
higher masters1  there is not one more  
perfect than this study by ,reynolds of 
the infant  ,english ,princess with her 
wire-haired terrier4 ,he has put out his
 whole  strength to show the infinite   
differences1 yet the blessed harmonies1 
between the human and the lower nature4 
,first1 having a blue-eyed1,g  soft baby

 to paint1 he gives its full face1 as   
round as may be1 and  rounds its eyes to
 complete openness1 because somebody is 
coming whom it  does not know4 ,but it  
opens its eyes in quiet wonder1 and is  
not  disturbed1 but behaves as a        
princess should4 ,beside this soft1     
serenely-minded baby1 ,reynolds has put 
the roughest and roughest-minded  dog he
 could think of4 ,instead of the full   
round eyes1 you have only the  dark     
places in the hair where you know the   
terrier's eyes must be--sharp  enough1  
if you could see them--and very         
certainly seeing you1 but not at  all   
wondering at you1 like the baby's4 ,for 
the terrier has instantly  made up his  
mind about you2 and above all1 that you 
have no business  there2 and is growling
 and snarling in his fiercest manner1   
though  without moving from his         
mistress's side1 or from under her arm4 
,you have  thus the full contrast       
between the grace and true charm of the 
child1  who thinketh no evil of you1 and

 the uncharitable narrowness of  nature 
in the grown-up dog of the world1 who   
thinks nothing but evil of  you4 ,but   
the dog's virtue and faithfulness are   
not told less clearly2  the baby        
evidently uses the creature just as much
 for a pillow as a  playmate2--buries   
its arm in the rough hair of it with a  
loving  confidence1 half already        
converting itself to protection3 and    
baby will  take care of dog1 and dog of 
baby1 through all chances of time and   
fortune4      ,g ,i have not seen the   
picture3 in the engraving the tint of   
the        eyes would properly represent
 grey or blue4      #aec4 ,now the      
exquisiteness with which the painter has
 applied all his  skill in composition1 
all his dexterity in touch of pencil1   
and all his  experience of the sources  
of expression1 to complete the rendering
 of  his comparison1 cannot1 in any of  
the finest subtleties of it1 be         
explained2 but the first steps of its   
science may be easily traced2 and  with 

little pains you may see how a simple   
and large mass of white is  opposed to a
 rugged one of grey2 how the child's    
face is put in front  light1 that no    
shadow may detract from the brightness  
which makes her1  as in ,arabian        
legends1 a princess like to the full    
moon--how1 in this  halo1 the lips and  
eyes are brought out in deep and rich   
colour1 while  scarcely a gleam of      
reflection is allowed to disturb the    
quietness of  the eyes2--7the terrier's1
 you feel1 would glitter enough1 if you 
could  see them1 and flash back in      
shallow fire2 but the princess's eyes   
are  thinking1 and do not flash27--how  
the quaint cap surrounds1 with its not  
wholly painless formalism1 the courtly  
and patient face1 opposed to the  rugged
 and undressed wild one2 and how the    
easy grace of soft limb and  rounded    
neck is cast1 in repose1 against the    
uneasily gathered up  crouching of the  
short legs1 and petulant shrug of the   
eager shoulders1  in the ignobler       

creature4      #aed4 ,now1 in his doing 
of all this1 ,sir ,joshua was thinking  
of1 and  seeing1 whatever was best in   
the creatures1 within and without4      
,whatever  was most perfectly           
doggish--perfectly childish--in soul and
 body4 ,the  absolute truth of outer    
aspect1 and of inner mind1 he seizes    
infallibly2  but there is one part of   
the creatures which he never1 for an    
instant1  thinks of1 or cares           
for1--their bones4 ,do you suppose that1
 from first  to last1 in painting such a
 picture1 it would ever enter ,sir      
,joshua's  mind to think what a dog's   
skull would look like1 beside a baby's8 
,the  quite essential facts to him are  
those of which the skull gives no       
information--that the baby has a        
flattish pink nose1 and the dog a bossy 
black one4 ,you might dissect all the   
dead dogs in the water supply of        
,london without finding out1 what1 as a 
painter1 it is here your only  business 
precisely to know1--what sort of        

shininess there is on the end  of a     
terrier's nose2 and for the position and
 action of the creatures1  all the four 
doctors together1 who set ,bustle's leg 
for him the other  day1 when he jumped  
out of a two-pair-of-stairs window to   
bark at the  volunteers1 could not have 
told ,sir ,joshua how to make his       
crouching  terrier look ready to snap1  
nor how to throw the child's arm over   
its  neck in complete1 yet not languid1 
rest4      #aee4 ,sir ,joshua1 then1    
does not think of1 or care for1 anatomy1
 in this  picture2 but if he had1 would 
it have done him harm8 ,you may easily  
see  that the child's limbs are not     
drawn with the precision that ,mantegna1
  ,drer1 or ,michael ,angelo would have 
given them4 ,would some of their        
science not have bettered the picture8  
,i can show you exactly the sort of     
influence their science would have  had4
    ,in your ,rudimentary ,series1 ,i   
have placed in sequence two of ,drer's  
most celebrated plates 7,r4 #fe1 ,r4    

#ff71 the coat of arms with the skull1  
and the ,madonna crowned by angels2 and 
that you may see precisely what         
qualities are1 and are not1 in this     
last1 ,i have enlarged the head by      
photography1 and placed it in your      
,reference ,series 7#aag74 ,you will    
find  the skull is perfectly understood1
 and exquisitely engraved1 but the      
face1 imperfectly understood and        
coarsely engraved4 ,no man who has      
studied the skull as carefully as ,drer 
did1 ever could engrave a face          
beautifully1 for the perception of the  
bones continually thrusts itself  upon  
him in wrong places1 and in trying to   
conquer or modify it1 he  distorts the  
flesh4 ,where the features are marked1  
and full of  character1 he can quit     
himself of the impression2 but in the   
rounded  contour of women's faces he is 
always forced to think of the skull2 and
  even in his ordinary work often draws 
more of bones and hair1 than face4      
#aef4 ,i could easily give you more     

definite1 but very disagreeable1  proofs
 of the evil of knowing the anatomy of  
the human face too  intimately3 but will
 rather give you further evidence by    
examining the  skull and face of the    
creature who has taught us so much      
already1--the  eagle4    ,here is a     
slight sketch of the skull of the golden
 eagle4 ,it may be  interesting to you  
sometimes to make such drawings roughly 
for the sake  of the points of          
mechanical arrangement--as here in the  
circular bones  of the eye-socket2 but  
don't suppose that drawing these a      
million of  times over will ever help   
you in the least to draw an eagle       
itself4 ,on  the contrary1 it would     
almost to a certainty hinder you from   
noticing  the essential point in an     
eagle's head--the projection of the     
brow4 ,all  the main work of the eagle's
 eye is1 as we saw1 in looking down4 ,to
 keep  the sunshine above from teasing  
it1 the eye is put under a triangular   
penthouse1 which is precisely the most  

characteristic thing in the  bird's     
whole aspect4 ,its hooked beak does not 
materially distinguish it  from a       
cockatoo1 but its hooded eye does4 ,but 
that projection is not  accounted for in
 the skull2 and so little does the      
anatomist care about  it1 that you may  
hunt through the best modern works on   
ornithology1 and  you will find eagles  
drawn with all manner of dissections of 
skulls1  claws1 clavicles1 sternums1 and
 gizzards2 but you won't find so much as
  one poor falcon drawn with a falcon's 
eye4      #aeg4 ,but there is another   
quite essential point in an eagle's     
head1 in  comprehending which1 again1   
the skull will not help us4 ,the skull  
in the  human creature fails in three   
essential points4 ,it is eyeless1       
noseless1  and lipless4 ,it fails only  
in an eagle in the two points of eye and
 lip2  for an eagle has no nose worth   
mentioning2 his beak is only a          
prolongation of his jaws4 ,but he has   
lips very much worth mentioning1  and of

 which his skull gives no account4 ,one 
misses them much from a  human          
skull3--,here hung those lips that ,i   
have kissed1 ,i know not how  oft1--but 
from an eagle's you miss them more1 for 
he is distinct from  other birds in     
having with his own eagle's eye1 a dog's
 lips1 or very  nearly such2 an entirely
 fleshy and ringent mouth1 bluish pink1 
with a  perpetual grin upon it4    ,so  
that if you look1 not at his skull1 but 
at him1 attentively enough1  you will   
precisely get schylus's notion of him1  
essential in the ,greek  mind--   --and 
then1 if you want to see the use  of his
 beak or bill1 as distinguished from a  
dog's teeth1 take a drawing  from the   
falconry of the ,middle ,ages1 and you  
will see how a piece of  flesh becomes a
 rag to him1 a thing to tear up1--    4 
,there you have it precisely1 in a      
falcon ,i got out of ,mr4  ,coxe's      
favourite fourteenth century missal4    
,now look through your natural history  
books from end to end2 see if you  can  

find one drawing1 with all their        
anatomy1 which shows you either the     
eagle's eye1 his lips1 or this essential
 use of his beak1 so as to  enable you  
thoroughly to understand those two lines
 of schylus3 then1  look at this ,greek 
eagle on a coin of ,elis1 ,r4 #ej1 and  
this ,pisan one1  in marble1 ,edu4 #aca1
 and you will not doubt any more that it
 is better  to look at the living birds1
 than to cut them to pieces4      #aeh4 
,anatomy1 then1--,i will assume that you
 grant1 for the moment1 as ,i  will     
assuredly prove to you eventually1--will
 not help us to draw the  true          
appearances of things4 ,but may it not  
add to our intelligent  conception of   
their nature8    ,so far from doing     
this1 the anatomical study which has1 to
 our much  degradation and misfortune1  
usurped the place1 and taken the name1  
at  once of art and of natural history1 
has produced the most singularly        
mischievous effect on the faculty of    
delineation with respect to  different  

races of animals4 ,in all recent books  
on natural history1 you  will find the  
ridiculous and ugly creatures clone     
well1 the noble and  beautiful creatures
 done1 ,i do not say merely ill1 but in 
no wise4 ,you  will find the law hold   
universally that apes1 pigs1 rats1      
weasels1  foxes1 and the like1--but     
especially apes1--are drawn admirably2  
but not  a stag1 not a lamb1 not a      
horse1 not a lion2--the nobler the      
creature1  the more stupidly it is      
always drawn1 not from feebleness of art
 power1  but a far deadlier fault than  
that--a total want of sympathy with the 
noble qualities of any creature1 and a  
loathsome delight in their  disgusting  
qualities4 ,and this law is so          
thoroughly carried out that the  great  
,french historian of the mammalia1 ,st4 
,hilaire1 chooses1 as his  single       
example of the highest of the race1 the 
most nearly bestial type  he can find1  
human1 in the world4 ,let no girl ever  
look at the book1 nor  any youth who is 

willing to take my word2 let those who  
doubt me1 look  at the example he has   
given of womankind4      #aei4 ,but     
admit that this is only ,french anatomy1
 or ill-studied anatomy1  and that1     
rightly studied1 as ,dr4 ,acland1 for   
instance1 would teach it  us1 it might  
do us some kind of good4    ,i must     
reserve for my lectures on the school of
 ,florence any analysis of  the effect  
of anatomical study on ,european art and
 character2 you will  find some notice  
of it in my lecture on ,michael ,angelo2
 and in the  course of that analysis1 it
 will be necessary for me to withdraw   
the  statement made in the ,stones of   
,venice1 that anatomical science was    
helpful to great men1 though harmful to 
mean ones4 ,i am now certain that  the  
greater the intellect1 the more fatal   
are the forms of degradation  to which  
it becomes liable in the course of      
anatomical studies2 and that  to        
,michael ,angelo1 of all men1 the       
mischief was greatest1 in destroying    

his religious passion and imagination1  
and leading him to make every  spiritual
 conception subordinate to the display  
of his knowledge of the  body4 ,to-day1 
however1 ,i only wish to give you my    
reasons for  withdrawing anatomy from   
your course of study in these schools4  
#afj4 ,i do so1 first1 simply with      
reference to our time1 convenience1 and 
systematic method4 ,it has become a     
habit with drawing-masters to confuse   
this particular science of anatomy with 
their own art of drawing1 though  they  
confuse no other science with that art4 
,admit that1 in order to  draw a tree1  
you should have a knowledge of botany3  
,do you expect me to  teach you botany  
here8 ,whatever ,i want you to know of  
it ,i shall send  you to your ,professor
 of ,botany and to the ,botanic         
,gardens1 to learn4 ,i  may1 perhaps1   
give you a rough sketch of the lines of 
timber in a bough1  but nothing more4   
,so again1 admit that1 to draw a stone1 
you need a knowledge of geology4  ,i    

have told you that you do not1 but admit
 it4 ,do you expect me to teach  you1   
here1 the relations between quartz and  
oxide of iron2 or between  the ,silurian
 and ,permian systems8 ,if you care     
about them1 go to  ,professor ,phillips1
 and come back to me when you know them4
    ,and1 in like manner1 admit that1 to
 draw a man1 you want the knowledge  of 
his bones3--you do not2 but admit that  
you do4 ,why should you expect  me1     
here1 to teach you the most difficult of
 all the sciences8 ,if you  want to know
 it1 go to an hospital1 and cut dead    
bodies to pieces till  you are          
satisfied2 then come to me1 and ,i'll   
make a shift to teach you  to draw1 even
 then--though your eyes and memory will 
be full of horrible  things which       
,heaven never meant you so much as a    
glance at4 ,but don't  expect me to help
 you in that ghastly work3 any more than
 among the  furnaces and retorts in     
,professor ,maskelyne's laboratory4     
#afa4 ,let us take one more step in the 

logical sequence4 ,you do not1 ,i  have 
told you1 need either chemistry1 botany1
 geology1 or anatomy1 to  enable you to 
understand art1 or produce it4 ,but     
there is one science  which you must be 
acquainted with4 ,you must very         
intensely and  thoroughly know--how to  
behave4 ,you cannot so much as feel the 
difference between two casts of drapery1
 between two tendencies of  line1--how  
much less between dignity and baseness  
of gesture1--but by  your own dignity of
 character4 ,but1 though this is an     
essential science1  and although ,i     
cannot teach you to lay one line beside 
another rightly1  unless you have this  
science1 you don't expect me in these   
schools to  teach you how to behave1 if 
you happen not to know it before6       
#afb4 ,well1 here is one reason1 and a  
sufficiently logical one1 as you  will  
find it on consideration1 for the       
exclusion of anatomical study  from all 
drawing schools4 ,but there is a more   
cogent reason than this  for its        

exclusion1 especially from elementary   
drawing-schools4 ,it may be  sometimes  
desirable that a student should see1 as 
,i said1 how very  unlike a face a skull
 is2 and at a leisure moment he may1    
without much  harm1 observe the         
equivocation between knees and ankles by
 which it is  contrived that his legs1  
if properly made at the joints1 will    
only bend  backwards1 but a crane's     
forwards4 ,but that a young boy1 or     
girl1  brought up fresh to the schools  
of art from the country1 should be set  
to stare1 against every particle of     
wholesome grain in their natures1 at    
the ,elgin marbles1 and to draw them    
with dismal application1 until they     
imagine they like them1 makes the whole 
youthful temper rotten with             
affectation1 and sickly with strained   
and ambitious fancy4 ,it is still  worse
 for young persons to be compelled to   
endure the horror of the                
dissecting-room1 or to be made familiar 
with the conditions of actual  bodily   

form1 in a climate where the restraints 
of dress must for ever  prevent the body
 from being perfect in contour1 or      
regarded with  entirely simple feeling4 
#afc4 ,i have now1 perhaps too often for
 your patience1 told you that you  must 
always draw for the sake of your        
subject--never for the sake of  your    
picture4 ,what you wish to see in       
reality1 that you should make an  effort
 to show1 in pictures and statues2 what 
you do not wish to see in  reality1 you 
should not try to draw4    ,but there   
is1 ,i suppose1 a very general          
impression on the mind of  persons      
interested in the arts1 that because    
nations living in cold  climates are    
necessarily unfamiliar with the sight of
 the naked body1  therefore1 art should 
take it upon herself to show it them2   
and that  they will be elevated in      
thought1 and made more simple and grave 
in  temper1 by seeing1 at least in      
colour and marble1 what the people of   
the  south saw in its verity4      #afd4

 ,i have neither time nor inclination to
 enter at present into  discussion of   
the various effects1 on the morality of 
nations1 of more  or less frank showing 
of the nude form4 ,there is no question 
that if  shown at all1 it should be     
shown fearlessly1 and seen constantly2  
but ,i  do not care at present to debate
 the question3 neither will ,i delay you
  by any expression of my reasons for   
the rule ,i am about to give4 ,trust    
me1 ,i have many2 and ,i can assert to  
you as a positive and perpetual  law1   
that so much of the nude body as in the 
daily life of the nation  may be shown  
with modesty1 and seen with reverence   
and delight1--so  much1 and no more1    
ought to be shown by the national arts1 
either of  painting or sculpture4 ,what1
 more than this1 either art exhibits1   
will1  assuredly1 pervert taste1 and1 in
 all probability1 morals4      #afe4 ,it
 will1 assuredly1 pervert taste in this 
essential point1 that the  polite ranks 
of the nation will come to think the    

living creature and  its dress exempt   
from the highest laws of taste2 and that
 while a man or  woman must1 indeed1 be 
seen dressed or undressed with dignity1 
in  marble1 they may be dressed or      
undressed1 if not with indignity1 at    
least1 with less than dignity1 in the   
ball-room1 and the street4 ,now the  law
 of all living art is that the man and  
woman must be more beautiful  than their
 pictures1 and their pictures as        
decorous as the living man or  woman2   
and that real dress1 and gesture1 and   
behaviour1 should be more  graceful than
 any marble or colour can effect        
similitude of4      #aff4 ,thus the idea
 of a different dress in art and        
reality1 of which  that of art is to be 
the ideal one1 perverts taste in dress2 
and the  study of the nude which is     
rarely seen1 as much perverts taste in  
art4    ,of all pieces of art that ,i   
know1 skilful in execution1 and not     
criminal  in intention2--without any    
exception1 quite the most vulgar1 and in

 the  solemn sense of the word1 most    
abominable1 are the life studies which  
are said to be the best made in modern  
times1--those of ,mulready1  exhibited  
as models in the ,kensington ,museum4   
#afg4 ,how far the study of the         
seldom-seen nude leads to perversion of 
morals1 ,i will not1 to-day1 inquire2   
but ,i beg you to observe that even     
among the people where it was most frank
 and pure1 it unquestionably led  to    
evil far greater than any good which    
demonstrably can be traced to  it4      
,scarcely any of the moral power of     
,greece depended on her admiration  of  
beauty1 or strength in the body4 ,the   
power of ,greece depended on  practice  
in military exercise1 involving severe  
and continual ascetic  discipline of the
 senses2 on a perfect code of military  
heroism and  patriotic honour2 on the   
desire to live by the laws of an        
admittedly  divine justice2 and on the  
vivid conception of the presence of     
spiritual  beings4 ,the mere admiration 

of physical beauty in the body1 and the 
arts  which sought its expression1 not  
only conduced greatly to the fall of    
,greece1 but were the cause of errors   
and crimes in her greatest time1  which 
must for ever sadden our happiest       
thoughts of her1 and have  rendered her 
example almost useless to the future4   
#afh4 ,i have named four causes of her  
power2 discipline of senses2  romantic  
ideal of heroic honour2 respect for     
justice2 and belief in ,god4  ,there was
 a fifth--the most precious of all--the 
belief in the purity  and force of life 
in man2 and that true reverence for     
domestic  affection1 which1 in the      
strangest way1 being the essential      
strength of  every nation under the sun1
 had yet been lost sight of as the chief
  element of ,greek virtue1 though the  
,iliad itself is nothing but the  story 
of the punishment of the rape of ,helen2
 and though every ,greek  hero called   
himself chiefly by his paternal         
name1--,tydides1 rather than            

,diomed2--,pelides1 rather than         
,achilles4    ,among the new knowledges 
which the modern sirens tempt you to    
pursue1  the basest and darkest is the  
endeavour to trace the origin of life1  
otherwise than in ,love4 ,pardon me1    
therefore1 if ,i give you a piece of    
theology to-day3 it is a science much   
closer to your art than anatomy4        
#afi4 ,all of you who have ever read    
your ,gospels carefully must have       
wondered1 sometimes1 what could be the  
meaning of those words1--,if any  speak 
against the ,son of ,man it shall be    
forgiven2 but if against the  ,holy     
,spirit1 it shall not be forgiven1      
neither in this world nor in the  next4 
,the passage may have many meanings     
which ,i do not know2 but one meaning   
,i know positively1 and ,i tell you so  
just as frankly as ,i would that ,i     
knew the meaning of a verse in ,homer4  
,those of you who still go to chapel say
 every day your creed2 and1 ,i  suppose1
 too often1 less and less every day     

believing it4 ,now1 you may  cease to   
believe two articles of it1             
and1--admitting ,christianity to be     
true1--still be forgiven4 ,but ,i can   
tell you--you must not cease to  believe
 the third6    ,you begin by saying that
 you believe in an ,almighty ,father4   
,well1 you  may entirely lose the sense 
of that ,fatherhood1 and yet be         
forgiven4    ,you go on to say that you 
believe in a ,saviour ,son4 ,you may    
entirely  lose the sense of that        
,sonship1 and yet be forgiven4    ,but  
the third article--disbelieve if you    
dare6    ,i believe in the ,holy ,ghost1
 the ,lord and ,giver of life4          
,disbelieve that2 and your own being is 
degraded into the state of dust  driven 
by the wind2 and the elements of        
dissolution have entered your  very     
heart and soul4    ,all ,nature1 with   
one voice--with one glory1--is set to   
teach you  reverence for the life       
communicated to you from the ,father of 
,spirits4  ,the song of birds1 and their

 plumage2 the scent of flowers1 their   
colour1 their very existence1 are in    
direct connection with the mystery  of  
that communicated life3 and all the     
strength1 and all the arts of  men1 are 
measured by1 and founded upon1 their    
reverence for the passion1  and their   
guardianship of the purity1 of ,love4   
#agj4 ,gentlemen1--the word by which ,i 
at this moment address you--by  which it
 is the first of all your duties through
 life1 to permit all men  to address you
 with truth--that epithet of 'gentle1'  
as you well know1  indicates the intense
 respect for race and fatherhood--for   
family  dignity and chastity1--which was
 visibly the strength of ,rome1 as it   
had  been1 more disguisedly1 the        
strength of ,greece4 ,but have you      
enough  noticed that your ,saxon word   
'kindness' has exactly the same relation
 to  'kin1' and to the ,chaucerian      
'kind1' that 'gentle' has to 'gentilis'8
    ,think out that matter a little1 and
 you will find that--much as it  looks  

like it--neither chemistry1 nor anatomy1
 nor republicanism1 are  going to have  
it all their own way--in the making of  
either beasts1 or  gentlemen4 ,they look
 sometimes1 indeed1 as if they had got  
as far as two  of the ,mosaic plagues1  
and manufactured frogs in the ditches1  
and lice  on the land2 but their highest
 boasters will not claim1 yet1 so much  
even as that poor victory4      #aga4   
,my friends1 let me very strongly       
recommend you to give up that hope  of  
finding the principle of life in dead   
bodies2 but to take all pains  to keep  
the life pure and holy in the living    
bodies you have got2 and1  farther1 not 
to seek your national amusement in the  
destruction of  animals1 nor your       
national safety in the destruction of   
men2 but to look  for all your joy to   
kindness1 and for all your strength to  
domestic  faith1 and law of ancestral   
honour4 ,perhaps you will not now any   
more  think it strange that in beginning
 your natural history studies in this   

place1 ,i mean to teach you heraldry1   
but not anatomy4 ,for1 as you learn  to 
read the shields1 and remember the      
stories1 of the great houses of         
,england1 and find how all the arts that
 glorified them were founded on  the    
passions that inspired1 you will learn  
assuredly1 that the utmost  secret of   
national power is in living with honour1
 and the utmost  secrets of human art   
are in gentleness and truth4            
,,lecture ,,ix4                         
,,the ,,story ,,of ,,the ,,halcyon4     
,march #ajth1 #ahgb4      #agb4 ,i must 
to-day briefly recapitulate the purport 
of the preceding  lectures1 as we are   
about now to enter on a new branch of   
our subject4    ,i stated1 in the first 
two1 that the wisdom of art and the     
wisdom of  science consisted in their   
being each devoted unselfishly to the   
service  of men2 in the third1 that art 
was only the shadow of our knowledge of 
facts2 and that the reality was always  
to be acknowledged as more  beautiful   

than the shadow4 ,in the fourth lecture 
,i endeavoured to show  that the wise   
modesty of art and science lay in       
attaching due value to  the power and   
knowledge of other people1 when greater 
than our own2 and  in the fifth1 that   
the wise self-sufficiency of art and    
science lay in a  proper enjoyment of   
our own knowledge and power1 after it   
was thus  modestly esteemed4 ,the sixth 
lecture stated that sight was a         
distinctly  spiritual power1 and that   
its kindness or tenderness was          
proportioned to  its clearness4 ,lastly1
 in the seventh and eighth lectures1 ,i 
asserted  that this spiritual sight1    
concerned with external aspects of      
things1  was the source of all necessary
 knowledge in art2 and that the artist  
has no concern with invisible           
structures1 organic or inorganic4       
#agc4 ,no concern with invisible        
structures4 ,but much with invisible    
things2 with passion1 and with          
historical association4 ,and in these   

two  closing lectures1 ,i hope partly to
 justify myself for pressing on your    
attention some matters as little        
hitherto thought of in drawing-schools1 
as the exact sciences have been highly1 
and1 ,i believe1 unjustly1              
esteemed2--mythology1 namely1 and       
heraldry4    ,i can but in part justify 
myself now4 ,your experience of the     
interest  which may be found in these   
two despised sciences will be my best   
justification4 ,but to-day 7as we are   
about to begin our exercises in         
bird-drawing7 ,i think it may interest  
you to review some of the fables        
connected with the natural history of a 
single bird1 and to consider  what      
effect the knowledge of such tradition  
is likely to have on our  mode of       
regarding the animated creation in      
general4      #agd4 ,let us take an     
instance of the feeling towards birds   
which is  especially characteristic of  
the ,english temper at this day1 in its 
entire freedom from superstition4       

,you will find in your ,rudimentary     
,series 7#bbe71 ,mr4 ,gould's plate of  
the  lesser ,egret1--the most beautiful1
 ,i suppose1 of all birds that visit1   
or1 at least1 once visited1 our ,english
 shores4 ,perfectly delicate in  form1  
snow-white in plumage1 the feathers like
 frost-work of dead  silver1 exquisitely
 slender1 separating in the wind like   
the streams of  a fountain1 the creature
 looks a living cloud rather than a     
bird4    ,it may be seen often enough in
 ,south ,france and ,italy4 ,the last   
7or last  but one87 known of in ,england
 came thirty years ago1 and this was its
  reception1 as related by the present  
happy possessor of its feathers and     
bones3--    ,the little ,egret in my    
possession is a most beautiful specimen3
 it was  killed by a labourer with a    
stick1 in ,ake ,carr1 near ,beverley1   
about  #ahdj1 and was brought to me1    
tied up in a pocket-handkerchief1       
covered  with black wet mud and blood1  
in which state it was sent to ,mr4      

,reed1  of ,doncaster1 and restored by  
him in a most marvellous manner4        
#age4 ,now1 you will feel at once that1 
while the peasant was beating this  bird
 into a piece of bloody flesh with his  
stick1 he could not1 in any  true sense1
 see the bird2 that he had no pleasure  
either in the sight of  that1 or of     
anything near it4    ,you feel that he  
would become capable of seeing it in    
exact proportion  to his desire not to  
kill it2 but to watch it in its life4   
,well1 that is a quite general law3 in  
the degree in which you delight in  the 
life of any creature1 you can see it2 no
 otherwise4    ,and you would feel1     
would you not1 that if you could enable 
the peasant  rightly to see the bird1   
you had in great part educated him8     
#agf4 ,you would certainly have gone1 at
 least1 the third of the way  towards   
educating him4 ,then the next thing to  
be contrived would be that  he should be
 able to see a man rightly1 as well as a
 bird2 to understand  and love what was 

good in a man1 so that supposing his    
master was a good  man1 the sight of his
 master should be a joy to him4 ,you    
would say that  he was therein better   
educated than if he wanted to put a gun 
through a  hedge and shoot his master4  
,then the last part of education will   
be--whatever is meant by that  beatitude
 of the pure in heart--seeing ,god      
rightly1 of which ,i shall not  speak   
to-day4      #agg4 ,and in all these    
phases of education1 the main point1 you
 observe1  is that it should be a       
beatitude3 and that a man should learn  
3 and this rejoicing is above all things
 to be in actual sight2  you have the   
truth exactly in the saying of ,dante   
when he is brought  before ,beatrice1 in
 heaven1 that his eyes satisfied        
themselves for  their ten years' thirst4
    ,this1 then1 ,i repeat1 is the sum  
of education4 ,all literature1 art1 and 
science are vain1 and worse1 if they do 
not enable you to be glad2 and  glad    
justly4    ,and ,i feel it distinctly my

 duty1 though with solemn and true      
deference  to the masters of education  
in this university1 to say that ,i      
believe  our modern methods of teaching1
 and especially the institution of      
severe  and frequent examination1 to be 
absolutely opposed to this great end2   
and that the result of competitive      
labour in youth is infallibly to  make  
men know all they learn wrongly1 and    
hate the habit of learning2 so  that    
instead of coming to ,oxford to rejoice 
in their work1 men look  forward to the 
years they are to pass under her        
teaching as a deadly  agony1 from which 
they are fain to escape1 and sometimes  
for their life1  must escape1 into any  
method of sanitary frivolity4      #agh4
 ,i go back to my peasant and his egret4
 ,you all think with some  horror of    
this man1 beating the bird to death1 as 
a brutal person4 ,he is  so2 but how far
 are we ,english gentlemen1 as a body1  
raised above him8  ,we are more         
delicately nurtured1 and shrink from the

 notion of bruising  the creature and   
spoiling its feathers4 ,that is so far  
right1 and well4  ,but in all           
probability this countryman1 rude and   
cruel though he might  be1 had some     
other object in the rest of his day than
 the killing of  birds4 ,and very       
earnestly ,i ask you1 have ,english     
gentlemen1 as a class1  any other real  
object in their whole existence than    
killing birds8 ,if  they discern a duty1
 they will indeed do it to the death2   
but have the  ,english aristocracy at   
this moment any clear notion of their   
duty8 ,i  believe solemnly1 and without 
jest1 their idea of their caste is that 
its life should be1 distinctively from  
inferior human lives1 spent in          
shooting4    ,and that is not an idea of
 caste with which ,england1 at this     
epoch1 can  any longer be governed4     
#agi4 ,i have no time to-day to push my 
argument farther2 but ,i have said      
enough1 ,i think1 to induce you to bear 
with me in the statement of my  main    

theorem--that reading and writing are in
 no sense education1 unless  they       
contribute to this end of making us feel
 kindly towards all  creatures2 but that
 drawing1 and especially physiologic    
drawing1 is  vital education of a most  
precious kind4 ,farther1 that more good 
would  be done by any ,english nobleman 
who would keep his estate lovely in its 
native wildness2 and let every animal   
live upon it in peace that chose  to    
come there1 than will be done1 as       
matters are going now1 by the talk  of  
all the ,lords in ,parliament as long as
 we live to listen to them2 and  ,i will
 even venture to tell you my hope1      
though ,i shall be dead long  before its
 possible fulfilment1 that one day the  
,english people will1  indeed1 so far   
recognize what education means as to    
surround this  university with the      
loveliest park in ,england1 twenty miles
 square2 that  they will forbid1 in that
 environment1 every unclean1 mechanical1
 and  vulgar trade and manufacture1 as  

any man would forbid them in his own    
garden2--that they will abolish every   
base and ugly building1 and nest  of    
vice and misery1 as they would cast out 
a devil2--that the streams of  the ,isis
 and ,cherwell will be kept pure and    
quiet among their fields and  trees2 and
 that1 within this park1 every ,english 
wild flower that can  bloom in lowland  
will be suffered to grow in luxuriance1 
and every  living creature that haunts  
wood and stream know that it has happy  
refuge4    ,and now to our immediate    
work4      #ahj4 ,the natural history of
 anything1 or of any creature1 divides  
itself  properly into three branches4   
,we have first to collect and examine   
the traditions respecting the  thing1 so
 that we may know what the effect of its
 existence has hitherto  been on the    
minds of men1 and may have at our       
command what data exist to  help us in  
our inquiries about it1 or to guide us  
in our own thoughts of  it4    ,we have 
secondly to examine and describe the    

thing1 or creature1 in its  actual      
state1 with utmost attainable veracity  
of observation4    ,lastly1 we have to  
examine under what laws of chemistry and
 physics the  matter of which the thing 
is made has been collected and          
constructed4    ,thus we have first to  
know the poetry of it--i4e41 what it has
 been to  man1 or what man has made of  
it4    ,secondly1 the actual facts of   
its existence4    ,thirdly1 the physical
 causes of these facts1 if we can       
discover them4      #aha4 ,now1 it is   
customary1 and may be generally         
advisable1 to confine  the term 'natural
 history' to the last two branches of   
knowledge only4 ,i  do not care what we 
call the first branch2 but1 in the      
accounts of  animals that ,i prepare for
 my schools at ,oxford1 the main point  
with me  will be the mythology of them2 
the second1 their actual state and      
aspect1 7second1 this1 because almost   
always hitherto only half known72  and  
the anatomy and chemistry of their      

bodies1 ,i shall very rarely1 and       
partially1 as ,i told you1 examine at   
all3 but ,i shall take the greatest     
pains to get at the creature's habits of
 life2 and know all its  ingenuities1   
humours1 delights1 and intellectual     
powers4 ,that is to say1  what art it   
has1 and what affection2 and how these  
are prepared for in  its external form4 
#ahb4 ,i say1 deliberately and          
energetically1 'prepared for1' in       
opposition to the idea1 too prevalent in
 modern philosophy1 of the  form's being
 fortuitously developed by repetition of
 impulse4 ,it is of  course true that   
the aspects and characters of stones1   
flowers1 birds1  beasts1 and men1 are   
inseparably connected with the          
conditions under  which they are        
appointed to have existence2 but the    
method of this  connection is infinitely
 varied2 so far from fortuitous1 it     
appears  grotesquely1 often terrifically
 arbitrary2 and neither stone1 flower1  
beast1 nor man can understand any single

 reason of the arbitrament1 or          
comprehend why its ,creator made it     
thus4      #ahc4 ,to take the simplest  
of instances1--which happens also to be 
one of  the most important to you as    
artists1--it is appointed that          
vertebrated  animals shall have no more 
than four legs1 and that1 if they       
require to  fly1 the two legs in front  
must become wings1 it being against law 
that  they should have more than these  
four members in ramification from the   
spine4    ,can any law be conceived more
 arbitrary1 or more apparently          
causeless8  ,what strongly planted      
three-legged animals there might have   
been6 what  symmetrically radiant       
five-legged ones6 what volatile         
six-winged ones6  what circumspect      
seven-headed ones6 ,had ,darwinism been 
true1 we should  long ago have split our
 heads in two with foolish thinking1 or 
thrust  out1 from above our covetous    
hearts1 a hundred desirous arms and     
clutching hands2 and changed ourselves  

into ,briarean ,cephalopoda4 ,but  the  
law is around us1 and within2           
unconquerable2 granting1 up to a        
certain limit1 power over our bodies to 
circumstance and will2 beyond  that     
limit1 inviolable1 inscrutable1 and1 so 
far as we know1 eternal4      #ahd4 ,for
 every lower animal1 similar laws are   
established2 under the  grasp of these  
it is capable of change1 in visibly     
permitted oscillation  between certain  
points2 beyond which1 according to      
present experience1  it cannot pass4    
,the adaptation of the instruments it   
possesses in its  members to the        
conditions of its life is always direct1
 and occasionally  beautiful2 but in the
 plurality of instances1 partial1 and   
involving  painful supplementary effort4
 ,some animals have to dig with their   
noses1  some to build with their tails1 
some to spin with their stomachs3 their 
dexterities are usually few--their      
awkwardnesses numberless2--a lion is    
continually puzzled how to hold a bone2 

and an eagle can scarcely pull  the meat
 off one1 without upsetting himself4    
#ahe4 ,respecting the origin of these   
variously awkward1 imperfectly1 or      
grotesquely developed phases of form and
 power1 you need not at present         
inquire3 in all probability the race of 
man is appointed to live in  wonder1 and
 in acknowledgment of ignorance2 but if 
ever he is to know  any of the secrets  
of his own or of brutal existence1 it   
will assuredly  be through discipline of
 virtue1 not through inquisitiveness of 
science4  ,i have just used the         
expression1 had ,darwinism been true1   
implying its  fallacy more positively   
than is justifiable in the present state
 of our  knowledge2 but very positively 
,i can say to you that ,i have never    
heard  yet one logical argument in its  
favour1 and ,i have heard1 and read1    
many  that were beneath contempt4 ,for  
instance1 by the time you have copied   
one or two of your exercises on the     
feather of the halcyon1 you will be     

more interested in the construction and 
disposition of plume-filaments  than    
heretofore2 and you may1 perhaps1 refer1
 in hope of help1 to ,mr4  ,darwin's    
account of the peacock's feather4 ,i    
went to it myself1 hoping  to learn some
 of the existing laws of life which     
regulate the local  disposition of the  
colour4 ,but none of these appear to be 
known2 and ,i  am informed only that    
peacocks have grown to be peacocks out  
of brown  pheasants1 because the young  
feminine brown pheasants like fine      
feathers4 ,whereupon ,i say to myself1  
,then either there was a distinct       
species of brown pheasants originally   
born with a taste for fine  feathers2   
and therefore with remarkable eyes in   
their heads1--which  would be a much    
more wonderful distinction of species   
than being born  with remarkable eyes in
 their tails1--or else all pheasants    
would have  been peacocks by this time6 
,and ,i trouble myself no more about the
  ,darwinian theory4    ,when you have  

drawn some of the actual patterns of    
plume and scale with  attention1 ,i     
believe you will see reason to think    
that spectra of  organic species may be 
at least as distinct as those of metals 
or gases2  but learn at all events what 
they are now1 and never mind what they  
have  been4      #ahf4 ,nor need you    
care for methods of classification any  
more than for  the origin of classes4   
,leave the physiologists to invent      
names1 and  dispute over them2 your     
business is to know the creature1 not   
the name  of it momentarily fashionable 
in scientific circles4 ,what practical  
service you can get from the order at   
present adopted1 take1 without          
contention2 and as far as possible1 use 
,english words1 or be sure you          
understand the ,latin ones4      #ahg4  
,for instance1 the order at present     
adopted in arranging the species  of    
birds1 is1 as you know1 founded only on 
their ways of using their  feet4        
,some catch or snatch their prey1 and   

are called ,snatchers--,,raptores4      
,some perch on branches1 and are called 
,in-sitters1 or                         
,upon-sitters--,,insessores4    ,some   
climb and cling on branches1 and are    
called ,climbers--,,scansores4    ,some 
scratch the ground1 and are called      
,scratchers--,,rasores4    ,some stand  
or wade in shallow water1 and1 having   
long legs1 are called                   
,stilt-walkers--,,grallatores4    ,some 
float1 and make oars of their feet1 and 
are called  ,swimmers--,,natatores4     
#ahh4 ,this classification is           
unscholarly1 because there are many     
snatchers and scratchers who perch as   
well as the sitters2 and many of  the   
swimmers sit1 when ashore1 more neatly  
than the sitters themselves2  and are   
most grave insessors1 in long rows1 on  
rock or sand3 also1  'insessor' does not
 mean properly a sitter1 but a besieger2
 and it is  awkward to call a bird a    
',rasor4' ,still1 the use of the feet is
 7on the  whole7 characteristic1 and    

convenient for first rough arrangement2 
only1  in general reference1 it will be 
better to use plain ,english words than 
those stiff ,latin ones1 or their ugly  
translations4 ,linnus1 for all his      
classes except the stilt-walkers1 used  
the name of the particular birds  which 
were the best types of their class2 he  
called the snatchers  hawks             
7,accipitres71 the swimmers1 geese1     
7,anseres71 the scratchers1  fowls1     
7,gallinae71 and the perchers1 sparrows1
 7,passeres74 ,he has no  class of      
climbers2 but he has one since omitted  
by ,cuvier1 pies1  which1 for certain   
mythological reasons presently to be    
noted1 ,i will  ask you to keep4 ,this  
will give you seven orders1 altogether1 
to be  remembered2 and for each of these
 we will take the name of its most      
representative bird4 ,the hawk has best 
right undoubtedly to stand for  the     
snatchers2 we will have his adversary1  
the heron1 for the  stilt-walkers2 you  
will find this very advisable1 no less  

than  convenient2 because some of the   
beaks of the stilt-walkers turn down1   
and some turn up2 but the heron's is    
straight1 and so he stands well as  a   
pure middle type4 ,then1 certainly1     
gulls will better represent the         
swimmers than geese2 and pheasants are a
 prettier kind of scratchers  than      
fowls4 ,we will take parrots for the    
climbers1 magpies for the pies1  and    
sparrows for the perchers4 ,then take   
them in this order3 ,hawks1  parrots1   
pies1 sparrows1 pheasants1 gulls1       
herons2 and you can then  easily        
remember them4 ,for you have hawks at   
one end1 the herons at the  other1 and  
sparrows in the middle1 with pies on one
 side and pheasants  opposite1 for which
 arrangement you will find there is good
 reason2 then  the parrots necessarily  
go beside the hawks1 and the gulls      
beside the  herons4      #ahi4 ,the bird
 whose mythic history ,i am about to    
read to you belongs  essentially and    
characteristically to that order of     

pies1 pic1 or  painted birds1 which the 
,greeks continually opposed in their    
thoughts  and traditions to the singing 
birds1 representing the one by the      
magpie1 and the other by the            
nightingale4 ,the myth of ,autolycus and
  ,philammon1 and ,pindar's exquisite   
story of the infidelity of ,coronis1    
are the centres of almost countless     
traditions1 all full of meaning1        
dependent on the various 1 to eye and   
ear1 of these opposed  races of birds4  
,the ,greek idea of the ,halcyon united 
both these sources  of delight4 ,i will 
read you what notices of it ,i find most
 interesting1  not in order of date1 but
 of brevity2 the simplest first4        
#aij4 ,and the ,king of ,trachis1 the   
child of the ,morning ,star1 married    
,alcyone4 ,and they perished1 both of   
them1 through their pride2 for the  king
 called his wife1 ,hera2 and she her    
husband1 ,zeus3 but ,zeus made  birds of
 them 7 71 and he made the one a        
,halcyon1 and the  other a              

,sea-mew4--,appollodorus1 i4 #g1 #d4    
,when the ,king of ,trachis1 the son of 
,hesperus1 or of ,lucifer1 and          
,philonis1 perished in shipwreck1 his   
wife ,alcyone1 the daughter of olus  and
 giale1 for love of him1 threw herself  
into the sea2--who both1 by  the mercy  
of the gods1 were turned into the birds 
called ,halcyons4 ,these  birds1 in the 
winter-time1 build their nests1 and lay 
their eggs1 and  hatch their young on   
the sea2 and the sea is quiet in those  
days1 which  the sailors call the       
,halcyonia4--,hyginus1 ,fab4 ,,lxv4     
#aia4 ,now the ,king of ,trachis1 the   
son of ,lucifer1 had to wife ,halcyone4 
,and he1 wishing to consult the oracle  
of ,apollo concerning the state of  his 
kingdom1 was forbidden to go1 by        
,halcyone1 nevertheless he went2 and    
perished by shipwreck4 ,and when his    
body was brought to his wife  ,halcyone1
 she threw herself into the sea4        
,afterwards1 by the mercy of  ,thetis   
and ,lucifer1 they were both turned into

 the sea-birds called  ,halcyons4 ,and  
you ought to know that ,halcyone is the 
woman's name1 and  is always a feminine 
noun2 but the bird's name is ,halcyon1  
masculine and  feminine1 and so also its
 plural1 ,halcyones4 ,also those birds  
make  their nests in the sea1 in the    
middle of winter2 in which days the calm
  is so deep that hardly anything in the
 sea can be moved4 ,thence1 also1  the  
days themselves are called              
,halcyonia4--,servius1 in ,virg4 ,georg4
  i4 #cii4      #aib4 ,and the pairing  
of birds1 as ,i said1 is for the most   
part in  spring time1 and early summer2 
except the halcyon's4 ,for the halcyon  
has  its young about the turn of days in
 winter1 wherefore1 when those days  are
 fine1 they are called ',halcyonine' 772
 seven1 indeed1  before the turn1 and   
seven after it1 as ,simonides poetized1 
774        ',as1 when in the wintry     
month      ,zeus gives the wisdom of    
calm to fourteen days1      ,then the   
people of the land call it      ,the    

hour of wind-hiding1 the sacred         
,nurse of the spotted ,halcyon4'    ,and
 in the first seven days the halcyon is 
said to lay her eggs1 and in  the latter
 seven to bring forth and nourish her   
young4 ,here1 indeed1 in  the seas of   
,greece1 it does not always chance that 
the ,halcyonid days  are at the         
solstice2 but in the ,sicilian sea1     
almost always4 ,but the  thuia and the  
laros bring forth their young1 7two1 or 
three7 among the  rocks by the          
sea-shore2 but the laros in summer1 the 
thuia in first  spring1 just after the  
turn of days2 and they sit on them as   
other birds  do4 ,and none of these     
birds lie torpid in holes during the    
winter2 but  the halcyon is1 of all1    
seen the seldomest1 for it is seen      
scarcely at  all1 except just at the    
setting and turn of ,pleias1 and then it
 will but  show itself once1 and away2  
flying1 perhaps1 once round a ship at   
anchor1 and then it is gone             
instantly4--,aristotle1 ,hist4 ,av41 v4 

#h1  #i4      #aic4 ,now we are ready   
enough to extol the bee for a wise      
creature1 and  to consent to the laws by
 which it cares for the yellow honey1   
because  we adore the pleasantness and  
tickling to our palates that is in the  
sweetness of that2 but we take no notice
 of the wisdom and art of other         
creatures in bringing up their young1 as
 for instance1 the halcyon1 who  as soon
 as she has conceived1 makes her nest by
 gathering the thorns of  the           
sea-needle-fish2 and1 weaving these in  
and out1 and joining them  together at  
the ends1 she finishes her nest2 round  
in the plan of it1  and long1 in the    
proportion of a fisherman's net2 and    
then she puts it  where it will be      
beaten by the waves1 until the rough    
surface is all  fastened together and   
made close4 ,and it becomes so hard that
 a blow  with iron or stone will not    
easily divide it2 but1 what is more     
wonderful still1 is that the opening of 
the nest is made so exactly to  the size

 and measure of the halcyon that nothing
 larger can get into it1  and nothing   
smaller6--so they say2--no1 not even the
 sea itself1 even  the least drop of    
it4--,plutarch3 ,de ,amore ,prolis4     
,i have kept to the last ,lucian's      
dialogue1 the ,halcyon1 to show you  how
 the tone of ,christian thought1 and    
tradition of ,christ's walking on  the  
sea1 began to steal into heathen        
literature4                             
,,socrates--,,chaerephon4      #aid4    
,chaerephon4 ,what cry is that1         
,socrates1 which came to us from  the   
beach8 how sweet it was2 what can it be8
 the things that live in the  sea are   
all mute4    ,socrates4 ,yet it is a    
sea-creature1 ,chaerephon2 the bird     
called  ,halcyon1 concerning which the  
old fable runs that she was the daughter
  of olus1 and1 mourning in her youth   
for her lost husband1 was winged by     
divine power1 and now flies over the    
sea1 seeking him whom she could not     
find1 sought throughout the earth4      

,chaerephon4 ,and is that indeed the    
,halcyon's cry8 ,i never heard it  yet2 
and in truth it is very pitiful4 ,how   
large is the bird1 ,socrates8           
,socrates4 ,not great2 but it has       
received great honour from the ,gods1   
because of its lovingness2 for while it 
is making its nest1 all the  world has  
the happy days which it calls halcyonid1
 excelling all others  in their         
calmness1 though in the midst of storm2 
of which you see this  very day is one1 
if ever there was4 ,look1 how clear the 
sky is1 and the  sea waveless and calm1 
like a mirror6    ,chaerephon4 ,you say 
truly1 and yesterday was just such      
another4 ,but  in the name of the ,gods1
 ,socrates1 how is one to believe those 
old  sayings1 that birds were ever      
changed into women1 or women into birds1
  for nothing could seem more           
impossible8      #aie4 ,socrates4 ,ah1  
dear ,chaerephon1 it is likely that we  
are poor and  blunt judges of what is   
possible and not3 for we judge by       

comparing to  human power a power       
unknown to us1 unimaginable1 and unseen4
 ,many  things1 therefore1 that are     
easy1 seem to us difficult2 and many    
things  unattainable that may be        
attained2 being thus thought of1 some   
through  the inexperience1 and some     
through the infantine folly1 of our     
minds4  ,for in very deed every man may 
be thought of as a child--even the      
oldest  of us1--since the full time of  
life is little1 and as a baby's compared
  to universal time4 ,and what should we
 have to say1 my good friend1 who  know 
nothing of the power of gods or of the  
spirits of ,nature1 whether  any of such
 things are possible or not8 ,you saw1  
,chaerephon1 what a  storm there was1   
the day before yesterday2 it makes one  
tremble even to  think of it            
again2--that lightning1 and thunder1 and
 sudden tempest1 so  great that one     
would have thought all the earth falling
 to ruin2 and  yet1 in a little while1  
came the wonderful establishing of calm1

 which  has remained even till now4     
,whether1 then1 do you think it the     
greater  work1 to bring such a calm out 
of that tormenting whirlwind1 and reduce
  the universe to peace1 or to change   
the form of a woman into that of a      
bird8 ,for indeed we see how very little
 children1 who know how to knead  clay1 
do something like this also2 often out  
of one lump they will make  form after  
form1 of different natures3 and surely  
to the spirit-powers  of ,nature1 being 
in vast and inconjecturable excess      
beyond ours1 all  such things must be in
 their hands easy4 ,or how much do you  
think heaven  greater than thyself--can 
you say1 perchance8    ,chaerephon4 ,who
 of men1 ,o ,socrates1 could imagine or 
name any of  these things8      #aif4   
,socrates4 ,nay2 do we not see also1 in 
comparing man with man1  strange        
differences in their powers and         
imbecilities8 for complete  manhood1    
compared with utter infancy1 as of a    
child five or ten days  old1 has        

difference in power1 which we may well  
call miraculous3 and  when we see man   
excel man so far1 what shall we say that
 the strength of  the whole heaven must 
appear1 against ours1 to those who can  
see them  together1 so as to compare    
them8 ,also1 to you and me1 and to many 
like  us1 sundry things are impossible  
that are easy to other people2 as       
singing to those ignorant of music1 and 
reading or writing to those  ignorant of
 letters2--more impossible than to make 
women birds1 or birds  of women4 ,for   
,nature1 as with chance throw1 and rough
 parable1 making  the form of a footless
 and wingless beast in changeable       
matter2 then  putting on feet and wings1
 and making it glitter all over with    
fair  variegation and manifold colour1  
at last brings out1 for instance1 the   
wise bee1 maker of the divine honey2 and
 out of the voiceless and  spiritless   
egg she brings many kinds of flying and 
foot-going and  swimming creatures1     
using besides 7as runs the old ,logos7  

the sacred art  of the great ,aether4,h 
,we then1 being altogether mortal and   
mean1 and  neither able to see clearly  
great things nor small1 and1 for the    
most  part being unable to help         
ourselves even in our own               
calamities1--what  can we have to say   
about the powers of the immortals1      
either over  halcyons or nightingales8  
,but the fame of fable such as our      
fathers gave  it to us1 this1 to my     
children1 ,o thou bird singing of       
sorrow1 ,i will  deliver concerning thy 
hymns3 and ,i myself will sing often of 
this  religious and human love of thine1
 and of the honour thou hast for it     
from the ,gods4 ,wilt not thou do       
likewise1 ,o ,chaerephon8               
,chaerephon4 ,it is rightly due indeed1 
,o ,socrates1 for there is  two-fold    
comfort in this1 both for men and women1
 in their relations  with each other4   
,socrates4 ,shall we not then salute the
 halcyon1 and so go back to the  city by
 the sands1 for it is time8             

,chaerephon4 ,indeed let us do so4      
,h ,note this sentence respecting the   
power of the creative ,athena4          
#aig4 ,the note of the scholiast on this
 dialogue is the only passage in  which 
,i can find any approximately clear     
description of the ,greek  halcyon4 ,it 
is about as large1 he says1 as a small  
sparrow2 7the  question how large a     
,greek sparrow was we must for the      
present allow to  remain open27 and it  
is mixed of green and blue1 with        
gleaming of purple  above1 and it has a 
slender and long beak3 the beak is said 
to be  chloros1 which ,i venture to     
translate green1 when it is used of the 
feathers1 but it may mean anything1 used
 of the beak4 ,then follows the  same   
account as other people's1 of the       
nest-building1 except that the  nest is 
compared in shape to a medicinal gourd4 
,and then the writer goes  on to say    
that there are two species of           
halcyons--one larger than the  other1   
and silent1 but the smaller1 fond of    

singing 772 and that  the females of    
these are so true to their mates that1  
when the latter  grow old1 the female   
bird flies underneath them1 and carries 
them  wherever they would like to go2   
and after they die will not eat nor     
drink anything1 and so dies too4 ,and   
there is a certain kind of them1  of    
which1 if any one hear the voice1 it is 
an altogether true sign to  him that he 
will die in a short time4      #aih4    
,you will1 ,i think1 forgive me1 if     
after reading to you these lovely       
fables1 ,i do not distract you1 or      
detain1 with the difficult              
investigation of the degree in which    
they are founded on the not yet         
sufficiently known facts of the         
,kingfisher's life4    ,i would much    
rather that you should remain impressed 
with the effect  which the lovely colour
 and fitful appearance of the bird have 
had on  the imagination of men4 ,i may  
satisfy you by the assurance that the   
halcyon of ,england is also the         

commonest halcyon of ,greece and of     
,palestine2 and ,i may at once prove to 
you the real gain of being  acquainted  
with the traditions of it1 by reading to
 you two stanzas1  certainly among the  
most familiar to your ears in the whole 
range of  ,english poetry2 yet which1 ,i
 am well assured1 will sound1 after what
 we  have been reflecting upon to-day1  
almost as if they were new to you4      
,note especially how ,milton's knowledge
 that ,halcyone was the daughter of  the
 ,winds1 and ,ceyx the son of the       
,morning ,star1 affects the course of   
his thought in the successive stanzas-- 
,but peaceful was the night1            
,wherein the ,prince of light      ,his 
reign of peace upon earth began3        
,the winds with wonder whist1           
,smoothly the waters kist1              
,whispering new joys to the mild ocean1 
,who now hath quite forgot to rave1     
,while birds of calm sit brooding on the
 charmd wave4        ,the stars1 with   
deep amaze1      ,stand fix'd in        

steadfast gaze1      ,bending one way   
their precious influence2      ,and will
 not take their flight1      ,for all   
the morning light      ,of ,lucifer1    
that often warn'd them thence2      ,but
 in their glimmering orbs did glow1     
,until their ,lord ,himself bespake1 and
 bid them go4      #aii4 ,i should also 
only weary you if ,i attempted to give  
you any  interpretation of the          
much-entangled web of ,greek fables     
connected with  the story of ,halcyone4 
,you observe that in all these passages 
,i have  said ,king of ,trachis instead 
of ,ceyx4 ,that is partly because ,i    
don't  know how to pronounce ,ceyx      
either in ,greek or ,english2 but it is 
chiefly  to make you observe that this  
story of the sea-mew and ,halcyon1 now  
known through all the world1 like the   
sea-mew's cry1 has its origin in  the   
,rough country1 or crag-country1 under  
,mount ta1 made sacred to  the ,greek   
mind by the death of ,heracles2 and     
observe what strange  connection that   

death has with the ,halcyon's story4    
,heracles goes to  this ,rough country  
to seek for rest2 all the waves and     
billows of his  life having--as he      
thinks now--gone over him4 ,but he finds
 death4    ,as far as ,i can form any   
idea of this rough1 or torn1 country    
from the  descriptions of ,colonel      
,leake or any other traveller1 it must  
resemble  closely the limestone cliffs  
just above ,altorf1 which break down to 
the  valley from the ridge of the       
,windgelle1 and give source1 at their   
foot1  to faultlessly clear             
streams1--green-blue among the grass4   
,you will find ,pausanias noting the    
springs of ,thermopyl as of the  bluest 
water he ever saw2 and if you fancy the 
,lake ,lucerne to be the  sea bay       
running inland from ,artemisium1 you    
will have a clear and  useful1 nor in   
any serious way1 inaccurate1 image of   
the scene where the  ,greeks thought    
their best hero should die4 ,you may    
remember also1 with  advantage1 that    

,morgarten--the ,thermopyl of           
,switzerland--lies by the  little lake  
of ,egeri1 not ten miles from this bay  
of ,altorf2 and that  the ,heracles of  
,switzerland is born under those        
,trachinian crags4    ,if1 farther1 you 
remember that the ,halcyon would        
actually be seen  flitting above the    
blue water of the springs1 like one of  
their waves  caught up and lighted by   
the sun2 and the sea-mews haunting the  
cliffs1  you will see how physical      
circumstances modify the under-tone of  
the  words of every mythic tradition4   
,i cannot express to you how            
strange--how more and more strange every
  day--it seems to me1 that ,i cannot   
find a single drawing1 nor definite     
account1 of scenes so memorable as this1
 to point you to2 but must guess  and   
piece their image together for you as   
best ,i can from their ,swiss           
similitudes4 ,no ,english gentleman can 
pass through public school-life  without
 knowing his ,trachini2 yet ,i believe1 

literally1 we could give  better account
 of the forms of the mountains in the   
moon1 than we could  of ta4 ,and what   
has art done to help us8 ,how many      
,skiddaws or  ,benvenues1 for one       
ta1--if one6 ,and when the ,english     
gentleman  becomes an art-patron1 he    
employs his painter-servant only to     
paint  himself and his house2 and when  
,turner was striving1 in his youth1 to  
enforce the mythology1 and picture these
 very scenes in ,greece1 and  putting   
his whole strength into the endeavour to
 conceive them1 the  noble pictures     
remained in his gallery2 and for bread1 
he had to  paint ---- ,hall1 the seat of
 ----1 ,esquire1 with the carriage      
drive1 the  summer-house1 and the squire
 going out hunting4    ,if1 indeed1 the 
squire would make his seat worth        
painting1 and would  stay there1 and    
would make the seats1 or1 shall we call 
them1 forms1 of  his peasantry1 worth   
painting too1 he would be interpreting  
the fable of  the ,halcyon to purpose4  

,but you must1 at once1 and without any 
interpreter1 feel for yourselves  how   
much is implied in those wonderful words
 of ,simonides--written six  hundred    
years before ,christ2--when in the wild 
winter months1 ,zeus  gives the wisdom  
of calm2 and how much teaching there is 
for us in  the imagination of past      
days1--this dream-picture of what is    
true in  days that are1 and are to      
come1--that perfect domestic love not   
only  makes its nest upon the waves1 but
 that the waves will be calm that it    
may4      #bjj4 ,true1 ,i repeat1 for   
all ages1 and all people1 that1 indeed1 
are  desirous of peace1 and loving in   
trouble6 ,but what fable shall we       
invent1 what creature on earth or sea   
shall we find1 to symbolize this  state 
of ours in modern ,england8 ,to what    
sorrowful birds shall we be  likened1   
who make the principal object of our    
lives dispeace1 and  unrest2 and turn   
our wives and daughters out of their    
nests1 to work for  themselves8    ,nay1

 strictly speaking1 we have not even got
 so much as nests to turn  them out of4 
,i was infinitely struck1 only the other
 day1 by the saying  of a large landed  
proprietor 7a good man1 who was doing   
all he could for  his tenantry1 and     
building new cottages for them71 that   
the best he  could do for them1 under   
present conditions of wages1 and the    
like1  was1 to give them good drainage  
and bare walls4    ,i am obliged1 he    
said to me1 to give up all thought of   
anything  artistic1 and even then1 ,i   
must lose a considerable sum on every   
cottage  ,i build4      #bja4 ,now1     
there is no end to the confused states  
of wrong and misery  which that         
landlord's experience signifies4 ,in the
 first place1 no  landlord has any      
business with building cottages for his 
people4 ,every  peasant should be able  
to build his own cottage1--to build it  
to his  mind2 and to have a mind to     
build it too4 ,in the second place1 note
 the  unhappy notion which has grown up 

in the modern ,english mind1 that       
wholesome and necessary delight in what 
is pleasant to the eye1 is  artistic    
affectation4 ,you have the exponent of  
it all in the central and  mighty       
affectation of the ,houses of           
,parliament4 ,a number of ,english      
gentlemen get together to talk2 they    
have no delight whatever in any  kind of
 beauty2 but they have a vague notion   
that the appointed place  for their     
conversation should be dignified and    
ornamental2 and they  build over their  
combined heads the absurdest and        
emptiest piece of  filigree1--and1 as it
 were1 eternal foolscap in              
freestone1--which ever  human beings    
disgraced their posterity by4 ,well1 all
 that is done1  partly1 and greatly1 in 
mere jobbery2 but essentially also in a 
servile  imitation of the               
,htel-de-,ville builders of old time2   
but the ,english  gentleman has not the 
remotest idea that when ,htels-de-,ville
 were  built1 the ville enjoyed its     

hotel2--the town had a real pride in its
  town hall1 and place of council1 and  
the sculptures of it had precious       
meaning for all the populace4      #bjb4
 ,and in like manner1 if cottages are   
ever to be wisely built again1  the     
peasant must enjoy his cottage1 and be  
himself its artist1 as a bird  is4      
,shall cock-robins and yellow-hammers   
have wit enough to make  themselves     
comfortable1 and bullfinches peck a     
,gothic tracery out of  dead            
clematis1--and your ,english yeoman be  
fitted by his landlord with  four dead  
walls and a drain-pipe8 ,that is the    
result of your spending  #cjj1jjjl4 a   
year at ,kensington in science and art1 
then8 ,you have made  beautiful         
machines1 too1 wherewith you save the   
peasant the trouble of  ploughing and   
reaping1 and threshing2 and after being 
saved all that  time and toil1 and      
getting1 one would think1 leisure enough
 for his  education1 you have to lodge  
him also1 as you drop a puppet into a   

deal  box1 and you lose money in doing  
it6 and two hundred years ago1 without  
steam1 without electricity1 almost      
without books1 and altogether without   
help from ,cassell's ,educator or the   
morning newspapers1 the ,swiss  shepherd
 could build himself a chlet1 daintily  
carved1 and with  flourished            
inscriptions1 and with red and blue and 
white 2 and  the burgess of ,strasburg  
could build himself a house like this ,i
 showed  you1 and a spire such as all   
men know2 and keep a precious book or   
two  in his public library1 and praise  
,god for all3 while we1--what are we    
good for1 but to damage the spire1 knock
 down half the houses1 and burn  the    
library1--and declare there is no ,god  
but ,chemistry8      #bjc4 ,what are we 
good for8 ,are even our machines of     
destruction useful  to us8 ,do they give
 us real power8 ,once1 indeed1 not like 
halcyons1 but  like sea-eagles1 we had  
our homes upon the sea2 fearless alike  
of storm  or enemy1 winged like the wave

 petrel2 and as ,arabs of an indeed     
pathless desert1 we dwelt in the        
presence of all our brethren4 ,our      
pride is fallen2 no reed shaken with the
 wind1 near the little singing          
halcyon's nest1 is more tremulous than  
we are now2 though we have built  iron  
nests on the sea1 with walls            
impregnable4 ,we have lost our          
pride--but have we gained peace8 ,do we 
even care to seek it1 how much  less    
strive to make it8      #bjd4 ,have you 
ever thought seriously of the meaning of
 that blessing  given to the            
peace-makers8 ,people are always        
expecting to get peace in  heaven2 but  
you know whatever peace they get there  
will be ready made4  ,whatever making of
 peace they can be blest for1 must be on
 the earth  here3 not the taking of arms
 against1 but the building of nests     
amidst1  its sea of troubles4 ,difficult
 enough1 you think8 ,perhaps so1 but ,i 
do  not see that any of us try4 ,we     
complain of the want of many things--we 

want votes1 we want liberty1 we want    
amusement1 we want money4 ,which of  us 
feels1 or knows1 that he wants peace8   
#bje4 ,there are two ways of getting it1
 if you do want it4 ,the first is       
wholly in your own power2 to make       
yourselves nests of pleasant thoughts4  
,those are nests on the sea indeed1 but 
safe beyond all others2 only  they need 
much art in the building4 ,none of us   
yet know1 for none of us  have yet been 
taught in early youth1 what fairy       
palaces we may build of  beautiful      
thought--proof against all adversity4   
,bright fancies1  satisfied memories1   
noble histories1 faithful sayings1      
treasure-houses  of precious and restful
 thoughts1 which care cannot disturb1   
nor pain  make gloomy1 nor poverty take 
away from us--houses built without      
hands1  for our souls to live in4       
#bjf4 ,and in actual life1 let me assure
 you1 in conclusion1 the first  'wisdom 
of calm1' is to plan1 and resolve to    
labour for1 the comfort and  beauty of a

 home such as1 if we could obtain it1 we
 would quit no more4  ,not a compartment
 of a model lodging-house1 not the      
number so-and-so of  ,paradise ,row2 but
 a cottage all of our own1 with its     
little garden1 its  pleasant view1 its  
surrounding fields1 its neighbouring    
stream1 its  healthy air1 and clean     
kitchen1 parlours1 and bedrooms4 ,less  
than this1  no man should be content    
with for his nest2 more than this few   
should  seek3 but if it seem to you     
impossible1 or wildly imaginary1 that   
such  houses should ever be obtained for
 the greater part of the ,english       
people1 again believe me1 the obstacles 
which are in the way of our  obtaining  
them are the things which it must be the
 main object now of  all true science1  
true art1 and true literature to        
overcome4 ,science  does its duty1 not  
in telling us the causes of spots in the
 sun2 but in  explaining to us the laws 
of our own life1 and the consequences of
 their  violation4 ,art does its duty1  

not in filling monster galleries with   
frivolous1 or dreadful1 or indecent     
pictures2 but in completing the         
comforts and refining the pleasures of  
daily occurrence1 and familiar  service3
 and literature does its duty1 not in   
wasting our hours in  political         
discussion1 or in idle fiction2 but in  
raising our fancy to  the height of what
 may be noble1 honest1 and felicitous in
 actual  life2--in giving us1 though we 
may ourselves be poor and unknown1 the  
companionship of the wisest             
fellow-spirits of every age and         
country1--and in aiding the             
communication of clear thoughts and     
faithful  purposes1 among distant       
nations1 which will at last breathe calm
 upon  the sea of lawless passion1 and  
change into such halcyon days the winter
  of the world1 that the birds of the   
air may have their nests in peace1  and 
the ,son of ,man1 where to lay ,his     
head4                                   
,,lecture ,x4                           

,,the ,,heraldic ,,ordinaries4          
,march #ith1 #ahgb4      #bjg4 ,in my   
last lecture1 ,i endeavoured to         
illustrate to you the use of  art to the
 science of physiology4 ,i am to-day to 
introduce to you its  elementary forms  
as an exponent of the science of        
history4 ,which1  speaking with perfect 
accuracy1 we ought to call1 also1       
physiology1 or  natural history of man2 
for it ought to be in truth the history 
of his  ,nature2 and not merely of the  
accidents which have befallen him4 ,do  
we  not too much confuse the important  
part of the science with the            
unimportant8    ,in giving the natural  
history of the lion1 you do not care    
materially  where such and such a lion  
was trapped1 or how many sheep it had   
eaten4  ,you want to know what sort of a
 minded and shaped creature it is1 or   
ought to be4 ,but in all our books of   
human history we only care to tell  what
 has happened to men1 and how many of   
each other they have1 in a  manner1     

eaten1 when they are1 what ,homer calls 
1 people-eaters2  and we scarcely       
understand1 even to this day1 how they  
are truly minded4  ,nay1 ,i am not sure 
that even this art of heraldry1 which   
has for its  main object the telling and
 proclamation of our chief minds and    
characters to each other1 and keeping   
record of descent by race1 as far  as it
 is possible1 7or1 under the present    
aspect of ,darwinism1  pleasant17 to    
trace it2--,i am not sure that even     
heraldry has always  understood clearly 
what it had to tell4 ,but ,i am very    
sure it has not  been understood in the 
telling4      #bjh4 ,some of you have1  
,i hope1 looked at this book,i of       
,arthur ,helps1  on ',war and ,culture1'
 about which ,i cannot now say what ,i  
would1 because  he has done me the grace
 of dedicating it to me2 but you will   
find in  it1 directly bearing on our    
present subject1 this story about       
heraldry3      ,i ,conversations on ,war
 and ,general ,culture4    ,a friend of 

mine1 a physician1 became entangled in  
the crowd at  ,kennington on that       
memorable evening when a great ,chartist
 row was  expected1 and when ,louis     
,napoleon armed himself with a          
constable's  staff to support the cause 
of order4 ,my friend observed a young   
man of  pleasant appearance1 who was    
very busy in the crowd1 and appeared to 
be  a leader amongst them4 ,gradually1  
by the pressure of the crowd1 the two   
were brought near together1 and the good
 doctor had some talk with this  fiery  
partisan4 ,they exchanged confidences2  
and to his astonishment1 the  doctor    
found that this furious young ,chartist 
gained his livelihood1 and  a very good 
livelihood too1 by heraldic painting--by
 painting the  coats-of-arms upon       
carriages4 ,now1 if you can imagine this
 young man's  darling enterprise to have
 been successful1 if ,chartism had      
prevailed1  what would have become of   
the painting of arms upon               
carriage-panels8 ,i  believe that my    

good doctor insinuated this suggestion  
to the young man1  and that it was      
received with disdain4 ,i must own1     
therefore1 that the  utile1 even when   
brought home to a man's self1 has much  
less to do  with people's political     
opinions and desires1 than might at     
first be  supposed4 ,indeed1 ,i would   
venture to maintain1 that no great      
change has  ever been produced in the   
world by motives of self-interest4      
,sentiment1  that thing which many wise 
people affect to despise1 is the        
commanding  thing as regards popular    
impulses and popular action4      #bji4 
,this last sentence would have been     
wholly true1 had ,mr4 ,helps  written   
'no great living change4' ,the changes  
of ,dissolution are  continually        
produced by self-interest1--for         
instance1 a great number of  the changes
 in your methods of life in ,england    
just now1 and many of  those in your    
moral temper1 are produced by the       
percentage on the sale  of iron4 ,and ,i

 should have otherwise interpreted the  
heroism of the  young ,chartist1 and    
said that he was moved on the #ajth of  
,april1 by a  deep under-current of     
self-interest2 that by overthrowing     
,lordship1 he  expected to get much more
 for himself than his salary as an      
heraldic  painter2 and that he had not1 
in painting his carriage-panels1        
sentiment  enough1 or even sentiment at 
all4    ,paint me my arms1-- said       
,giotto1 as the youth threw him his     
white  shield with that order--he speaks
 as if he were one of the ,bardi6 ,our  
,english panel-painter had lost the     
consciousness that there yet remained   
above him1 so much as one1 of the       
,bardi4    ,may not that be somewhat the
 ,bardi's fault8 in that they have not  
taught  their ,giottos1 lately1 the     
function of heraldry1 or of any other   
higher  historical painting4    ,we     
have1 especially1 to-day1 to consider   
what that function is4      #baj4 ,i    
said that the function of historical    

painting1 in representing  animals1 is  
to discern and record what is best and  
most beautiful in  their ways of life1  
and their forms2 so also1 in            
representing man1 it is  to record of   
man what has been best in his acts and  
way of life1 and  fairest in his form4  
,but this way of the life of man has    
been a long one4 ,it is difficult to    
know it--more difficult to judge2 to do 
either with complete equity is          
impossible2 but it is always possible to
 do it with the charity which  does not 
rejoice in iniquity4      #baa4 ,among  
the many mistakes we have lately fallen 
into1 touching that  same charity1 one  
of the worst is our careless habit of   
always thinking  of her as pitiful1 and 
to be concerned only with miserable and 
wretched  persons2 whereas her chief joy
 is in being reverent1 and concerned    
mainly with noble and venerable persons4
 ,her poorest function is the  giving of
 pity2 her highest is the giving of     
praise4 ,for there are  many men1 who1  

however fallen1 do not like to be       
pitied2 but all men1  however far risen1
 like to be praised4      #bab4 ,i had  
occasion in my last lecture to express  
my regret that the  method of education 
in this country has become so distinctly
  competitive4 ,it is necessary1        
however1 to distinguish carefully       
between  the competition which is for   
the means of existence1 and that which  
is  for the praise of learning4 ,for my 
own part1 so far as they affect our     
studies here1 ,i equally regret both3   
but competition for money ,i regret     
absolutely2 competition for praise1 only
 when it sets the reward for too  short 
and narrow a race4 ,i want you to       
compete1 not for the praise of  what you
 know1 but for the praise of what you   
become2 and to compete  only in that    
great school1 where death is the        
examiner1 and ,god the  judge4 ,for you 
will find1 if you look into your own    
hearts1 that the two  great delights1 in
 loving and praising1 and the two great 

thirsts1 to be  loved and praised1 are  
the roots of all that is strong in the  
deeds of  men1 and happy in their       
repose4 ,we yet1 thank ,heaven1 are not 
ashamed to  acknowledge the power of    
love2 but we confusedly and doubtfully  
allege  that of honour2 and though we   
cannot but instinctively triumph still1 
over a won boat-race1 ,i suppose the    
best of us would shrink somewhat  from  
declaring that the love of praise was to
 be one of the chief  motives of their  
future lives4      #bac4 ,but ,i believe
 you will find it1 if you think1 not    
only one of the  chief1 but absolutely  
the chief1 motive of human action2 nay1 
that love  itself is1 in its highest    
state1 the rendering of an exquisite    
praise to  body and soul2 and our       
,english tongue is very sacred in this2 
for its  ,saxon word1 love1 is          
connected1 through the old ,french verb1
 loer1  7whence louange71 with the      
,latin1 'laus1' not 'amor4'    ,and you 
may sum the duty of your life in the    

giving of praise worthily1  and being   
yourselves worthy of it4      #bad4     
,therefore in the reading of all        
history1 your first purpose must be  to 
seek what is to be praised2 and disdain 
the rest3 and in doing so1  remember    
always that the most important part of  
the history of man is  that of his      
imagination4 ,what he actually does1 is 
always in great part  accidental2 it is 
at best a partial fulfilment of his     
purpose2 and what  we call history is   
often1 as ,i said1 merely a record of   
the external  accidents which befall men
 getting together in large crowds4 ,the 
real  history of mankind is that of the 
slow advance of resolved deed  following
 laboriously just thought3 and all the  
greatest men live in  their purpose and 
effort more than it is possible for them
 to live in  reality4 ,if you would     
praise them more worthily1 it is for    
what they  conceived and felt2 not      
merely for what they have done4         
#bae4 ,it is therefore a true           

historian's work diligently to separate 
the  deed from the imagination2 and when
 these become inconsistent1 to  remember
 that the imagination1 if precious at   
all1 is indeed the most  precious4 ,it  
is no matter how much1 or how little of 
the two first books  of ,livy may be    
literally true4 ,the history of the     
,romans is the history  of the nation   
which could conceive the battle of the  
,lake ,regillus4 ,i  have rowed in rough
 weather on the ,lake of the four       
cantons often enough  to know that the  
legend of ,tell is1 in literal detail1  
absurd3 but the  history of ,switzerland
 is that of the people who expressed    
their  imagination of resistance to     
injustice by that legend1 so as to      
animate  their character vitally to this
 day4      #baf4 ,but in no part of     
history does the ideal separate itself  
so far  from the reality2 and in no part
 of it is the ideal so necessary and    
noble1 as in your own inherited         
history--that of ,christian ,chivalry4  

,for all ,english gentlemen this is the 
part of the tale of the race of  man    
which it is most essential for them to  
know4 ,they may be proud that  it is    
also the greatest part4 ,all that       
hitherto has been achieved of           
best1--all that has been in noble       
preparation instituted1--is begun in    
the period1 and rooted in the           
conception1 of ,chivalry4    ,you must  
always carefully distinguish that       
conception from the base  strength of   
the resultless passions which distort   
and confuse it4  ,infinitely weaker1 the
 ideal is eternal and creative2 the     
clamorous  rages pass away1--ruinous it 
may be1 prosperous it may be1 for their 
time2--but insignificant for ever4 ,you 
find kings and priests alike1  always   
inventing expedients to get money2 you  
find kings and priests  alike1 always   
inventing pretexts to gain power4 ,if   
you want to write a  practical history  
of the ,middle ,ages1 and to trace the  
real reasons of  the things that        

actually happened1 investigate first the
 history of the  money2 and then of the 
quarrels for office and territory4 ,but 
the  things that actually happened were 
of small consequence--the thoughts  that
 were developed are of infinite         
consequence4      #bag4 ,as ,i was      
walking back from ,hincksey last        
evening1 somewhat  discomfited by the   
look of bad weather1 and more in myself1
 as ,i thought  over this closing       
lecture1 wondering how far you thought  
,i had been  talking idly to you1       
instead of teaching you to draw1 through
 this term1  ,i stopped before ,messrs4 
,wyatt's window2 caught--as it was      
intended  every one should be--by this  
display of wonderful things4 ,and ,i was
 very  unhappy as ,i looked1 for it     
seemed to me you could not but think the
  little ,i could show you how to do    
quite valueless2 while here were        
produced1 by mysteries of craft which   
you might expect me at once to  explain1
 brilliant water-colours in purple and  

gold1 and photographs of  sea-waves1 and
 chromolithotints of beautiful young    
ladies1 and  exquisitely finished       
engravings of all sorts of interesting  
scenes1 and  sublime personages3        
patriots1 saints1 martyrs1 penitents1   
and who not6  and what not6 all depicted
 with a dexterity which it has cost the 
workmen their life's best energy to     
learn1 and requires great cleverness    
thus to apply4 ,while1 in your room for 
study1 there are only ugly  photographs 
of ,drers and ,holbeins1 and my rude    
outlines from leaves1  and you scarcely 
ever hear me say anything in praise of  
that delightful  and elaborate modern   
art at all4      #bah4 ,so ,i bought    
this ,madonna1,j which was the prettiest
 thing ,i saw3  and it will enable me to
 tell you why this modern art is1       
indeed1 so  little to be studied1 even  
at its best4 ,i think you will all like 
the  plate1 and you ought to like it2   
but observe in what its beauty          
consists4 ,first1 in very exquisite line

 engraving3 against that ,i have        
nothing to say1 feeling the greatest    
respect for the industry and skill  it  
requires4 ,next1 in a grace and severity
 of action which we all are  ready to   
praise2 but this is not the painter's   
own bestowing2 the trick  of it is      
learned from ,memling and ,van ,eyck1   
and other men of the  northern religious
 school4 ,the covering of the robe with 
jewels is  pleasing to you2 but that is 
learned from ,angelico and ,john        
,bellini2 and  if you will compare the  
jewel-painting in the ,john ,bellini    
7,standard ,no4  #e71 you will find this
 false and formal in comparison4 ,then  
the face is  much dignified by having a 
crown set on it--which is copied from   
the  ordinary thirteenth century form1  
and ill done4 ,the face itself is       
studied from a young ,german mother's1  
and is only by the painter's want  of   
skill made conventional in expression1  
and formal in feature4 ,it  would have  
been wiser and more difficult to have   

painted her as ,raphael  or ,reynolds   
would1 with true personal resemblance1  
perfected in  expression4      ,j ,now1 
,ref4 #ajd4      #bai4 ,nevertheless1 in
 its derivative way1 this is very       
lovely4 ,but ,i  wish you to observe    
that it is derivative in all things4    
,the dress is  derivative2 the action1  
derivative3 above all1 the conception is
  derivative altogether1 from that great
 age of ,christian chivalry1 which1  in 
art and thought alike1 surpassed the    
,greek chivalry1 because it added  to   
their enthusiasm of patriotism the      
enthusiasm of imaginative love1         
sanctified by this ruling vision of the 
,madonna1 as at once perfect maid  and  
perfect mother4    ,and your study of   
the art of the middle ages must begin in
 your  understanding how the men of them
 looked on ,love as the source of all   
honour1 as of life2 and how1 from the   
least thing to the greatest1 the        
honouring of father and mother1 the     
noble esteem of children1 and the       

sincere respect for race1 and for the   
courtesies and prides that graced  and  
crowned its purity1 were the sources of 
all their virtue1 and all  their joy4   
#bbj4 ,from the least things1 ,i say1 to
 the greatest4 ,i am to speak to-day  of
 one of1 apparently1 the least things2  
which is1 indeed1 one of the  greatest4 
,how much of the dignity of this        
,madonna1 do you suppose1  depends on   
the manner she bears her dress1 her     
crown1 her jewels1 and  her sceptre8    
,in peasant and prince alike1 you will  
find that1 ultimately1 character  is    
truly heralded in dress2 and that       
splendour in dress is as necessary  to  
man as colour to birds and flowers1 but 
splendour with more meaning4  ,splendour
 observe1 however1 in the true ,latin   
sense of the word2  brightness of       
colour2 not gaudiness3 what ,i have been
 telling you of  colour in pictures will
 apply equally to colour in dress3      
vulgarity  consists in the insolence and
 discord of it1 not in brightness4      

#bba4 ,for peasant and prince alike1 in 
healthy national order1 brightness  of  
dress and beautiful arrangement of it   
are needful4 ,no indication of  moral   
decline is more sure than the squalor of
 dress among the lower  orders1 and the 
fear or shame of the higher classes to  
bear their proper  insignia4    ,such   
fear and shame are singularly expressed1
 here in ,oxford1 at this  hour4 ,the   
nobleman ceases to wear the golden      
tassel in his cap1 so  accepting1 and   
publicly heralding his acceptance of1   
the popular opinion  of him that he has 
ceased to be a nobleman1 or noteworthy  
person4,k  ,and the members of the      
,university1 generally1 shrink from     
wearing their  academical dress1 so     
accepting1 and publicly heralding their 
acceptance  of1 the popular opinion that
 everybody else may be as good scholars 
as  they4 ,on the other hand1 ,i see    
continually in the streets young men in 
bright costumes of blue and white2 in   
such evidently proud heraldry           

proclaiming their conviction that the   
chief object of residence in  ,oxford is
 learning to row2 the rowing itself     
being1 ,i imagine1 not for  real boat   
service1 but for purposes of display4   
,k ,another stride that has been taken  
appears in the perishing of             
heraldry4 ,whilst the privileges of     
nobility are passing to the             
middle class1 the badge is discredited1 
and the titles of        lordship are   
getting musty and cumbersome4 ,i wonder 
that sensible        men have not been  
already impatient of them4 ,they belong1
 with        wigs1 powder1 and scarlet  
coats1 to an earlier age1 and may be    
advantageously consigned1 with paint and
 tattoo1 to the        dignitaries of   
,australia and ,polynesia4--,r4,w4      
,,emerson 7,english        ,traits74    
#bbb4 ,all dress is thus heraldic2 a    
soldier's dress only more definitely    
so1 in proclaiming the thing he means to
 die as well as to live for2 but  all is
 heraldic1 from the beggar's rag to the 

king's diadem2 it may be  involuntarily1
 it may be1 insolently2 but when the    
characters of men are  determined1 and  
wise1 their dress becomes heraldic      
reverently1 and in  order4 ,togam e     
tugurio proferre uxorem ,raciliam jubet2
 and ,edie  ,ochiltree's blue gown is as
 honourably heraldic as a knight's      
ermine4      #bbc4 ,the beginning of    
heraldry1 and of all beautiful dress1   
is1 however1  simply in the wearing of  
the skins of slain animals4 ,you may    
discredit1  as much as you choose1 the  
literal meaning of that earliest        
statement1  ,unto ,adam also1 and to his
 wife1 did the ,lord ,god make coats of 
skin1  and clothed them3 but the        
figurative meaning of it only becomes   
the  stronger4 ,for if you think of the 
skins of animals as giving the four     
great materials of dress--leather1 fur1 
wool1 and down1 you will see in  this   
verse the summary of what has ever since
 taken place in the method  of the      
providence of the ,maker of ,man and    

beast1 for the clothing of  the naked   
creature who was to rule over the rest4 
#bbd4 ,the first practical and savage   
use of such dress was that the skin  of 
the head of the beast became a covering 
for the head of its slayer2  the skin of
 its body his coat2 the skin of the fore
 legs was knotted in  front1 and the    
skin of the hind legs and tail became   
tassels1 the jags  of the cut edges     
forming a kind of fringe here and there4
    ,you have thus the first conception 
of a helmet with the mane of the  animal
 for its crest or plume1 and the first  
conception of a cuirass  variously      
fringed1 striped1 or spotted2 in        
complete accoutrement for  war1 you have
 to add spear1 7or arrow71 and shield4  
,the spear is  properly a beam of wood1 
iron pointed2 the shield a disk of      
leather1  iron fronted4    ,and armed   
strength for conflict is symbolized for 
all future time by the  ,greeks1 under  
the two types of ,heracles and ,athena2 
the one with the low  lion's crest and  

the arrow1 the other with the high      
horse's crest1 and  the spear2 one with 
the lion-skin1 the other with the       
goat-skin2--both  with the round shield4
      #bbe4 ,the nebris of ,dionusos and
 leopard-skin of the priests of ,egypt  
relate to astronomy1 not war2 and the   
interest in their spots and bars1  as   
variously symbolic1 together with real  
pleasure in their  grotesqueness1       
greatly modified the entire system of   
,egyptian  colour-decoration4 ,on the   
earliest ,greek vases1 also1 the spots  
and bars  of the animals are carried out
 in spots or chequers upon the ground1  
7sometimes representing flowers71 and   
the delight in divers colours of        
needlework1 and in fantasy of           
embroidery1 gradually refine and        
illumine  the design of ,eastern dress4 
,but only the patterns derived from the 
colours of animals become classical in  
heraldry under the general name  of     
furres1 one of them vaire or verrey 7the
 variegated fur17  rudely figuring the  

material composed of the skins of small 
animals sewn  together1 alternately head
 to tail2 the other1 ermine1 peculiarly 
honourable1 from the costliness1 to     
southern nations1 of the fur it         
represents4      #bbf4 ,the name of the 
principal heraldic colour has a similar 
origin3 the  rams' skins dyed red which 
were used for the curtains of the       
,jewish  tabernacle1 were always one of 
the principal articles of commerce      
between the east and west3 in medival   
,latin they were called gulae1  and in  
the ,french plural gules1 so that to be 
dressed in gules came  gradually to mean
 being dressed in the particular red of 
those skins1  which was a full soft     
scarlet1 not dazzling1 but warm and     
glowing4 ,it is  used1 in opposition to 
darker purple1 in large masses in the   
fresco  painting of later ,rome2--is the
 dominant colour of ornamental writing  
in  the middle ages 7giving us the      
ecclesiastical term rubric71 and        
asserts itself finally1 and most nobly1 

in the fresco paintings of  ,ghirlandajo
 and ,luini4 ,i have tried to represent 
very closely the tint  of it ,luini has 
given to ,st4 ,catherine's mantle1 in my
 study in your  schools4 ,titian keeps  
it also as the keynote of his frescoes2 
so also  ,tintoret2 but ,raphael1       
,correggio1 and ,michael ,angelo1 all   
substituted  orange for it in opposition
 to purple2 and the entire scheme of    
colour  in the ,vatican frescoes is of  
orange and purple1 broken by green and  
white1 on a ground of grey4 ,this orange
 and purple opposition in meaner  hands 
became gaudy and feeble1 and the system 
of medival colour was at  last totally  
destroyed by it2 the orange remaining to
 this day the  favourite1 and most      
distinctive1 hue in bad glass painting4 
#bbg4 ,the forms of dress1 however1     
derived from the skins of animals are   
of much more importance than the        
colours4 ,of these the principal is the 
crest1 which is properly the mane of    
lion or horse4 ,the skin of the  horse  

was neither tough1 nor of convenient    
size for wearing2 but the  classical    
,greek helmet is only an adaptation of  
the outline of its head1  with the mane 
floating behind3 many ,etruscan helmets 
have ears also1  while in medival       
armour1 light plates1 cut into the shape
 of wings of  birds1 are often placed on
 each side of the crest1 which then     
becomes  not the mane of the animal     
merely1 but the image of the entire     
creature  which the warrior desires to  
be renowned for having slain4      #bbh4
 ,the ,heraldic meaning of the crest is 
accordingly1 first1 that the  ,knight   
asserts himself to have prevailed over  
the animal it represents2  and to be    
stronger than such a creature would be1 
therefore1 against his  human enemies4  
,hence1 gradually1 he considers himself 
invested with the  power and character  
of the slain creature itself2 and1 as it
 were1 to  have taken from it1 for his  
spoil1 not its skin only but its        
strength4  ,the crest1 therefore1 is the

 heraldic indication of personality1 and
 is  properly to be distinguished from  
the bearing on the shield1 because  that
 indicated race2 but the crest1 personal
 character and valour4      #bbi4 ,i    
have traced the practical truth which is
 the foundation of this  idea of the    
transmitted strength of the slain       
creature becoming the  inheritance of   
its victor1 in the account given of the 
coins of  ,camarina1 in ,the ,queen of  
the ,air4 ,but it is strange and sad to 
reflect how much misery has resulted1 in
 the history of man1 from the           
imaginative excuse for cruelty afforded 
by the adopted character of  savage     
animals2 and how many wolves1 bears1    
lions1 and eagles1 have been  national  
symbols1 instead of gentler creatures4  
,even the heraldic symbol  of ,christ is
 in ,italy oftener the lion than the    
lamb3 and among the  innumerable        
painters of his ,desert ,prophet1 only  
,filippo ,lippi  understood the full    
meaning of the raiment of camel's hair1 

and made him  wear the camel's skin1 as 
,heracles the ,lion's4      #bcj4       
,although the crest is thus essentially 
an expression of personal  character1 it
 practically becomes hereditary2 and the
 sign on shield and  helmet is commonly 
the same4 ,but the shield has a system  
of bearings  peculiar to itself1 to     
which ,i wish especially to direct your 
attention  to-day4    ,our word 'shield'
 and the ,german 'schild' mean 'the     
covering thing1'  that behind which you 
are sheltered1 but you must be careful  
to  distinguish it from the word shell1 
which means properly a scale or  plate1 
developed like a fish's scale1 for the  
protection of the body4    ,there are   
properly only two kinds of shields1 one 
round and the other  square1 passing    
into oval and oblong2 the round one     
being for use in  free action1 the      
square one for adjustment to ground or  
walls2 but1 on  horseback1 the lower    
part of the shield must be tapered off1 
in order to  fall conveniently on the   

left side of the horse4    ,and1        
therefore1 practically you have two     
great forms of shield2 the  ,greek round
 one1 for fighting on foot1 or in the   
chariot1 and the ,gothic  pointed one1  
for fighting on horseback4 ,the oblong  
one for motionless  defence is1 however1
 almost always given to the mythic      
figure of  ,fortitude1 and the bearings 
of the ,greek and ,gothic shields are   
always  designed with reference to the  
supposed figures of the circle and      
square4    ,the ,greek word for the     
round shield is aspis4' ,i have no      
doubt1 merely  a modification1 of       
'apsis1' the potter's wheel2 the proper 
word for the  ,gothic shield is 'ecu1'  
from the ,latin 'scutum1' meaning a     
shield  covered with leather4 ,from     
'ecu' you have 'ecuyer2'--from scutum   
'scutiger1' both passing into our       
,english 'squire4'      #bca4 ,the aspis
 of the ,greeks might be much heavier   
than the ,gothic  shield1 because a     
,greek never rode fully armed2 his      

object was to allow  both to his horse  
and to himself the most perfect command 
of limb  compatible with protection2 if1
 therefore1 he was in full armour1 and  
wanted his horse to carry him1 he put a 
board upon wheels1 and stood on  that1  
harnessing sometimes to it four horses  
of the highest breed  abreast4 ,of all  
hitherto practised exertions of manual  
dexterity1 the  driving thus at full    
speed over rough ground1 standing in the
 chariot1  is1 as far as ,i know1 the   
greatest ever attained by general       
military  discipline4    ,it is true    
that to do anything perfectly well is   
about equally  difficult2 and ,i suppose
 that in a chariot race1 a tournament1  
or a  modern game at cricket1 the manual
 art of the most highly-trained men     
would be almost equally fine2 still1    
practically1 in ,gothic chivalry1  the  
knight trusted more to his weight and   
less to his skill than a  ,greek did2   
nor could a horse's pace under armour   
ever render precision  of aim so        

difficult as at unarmed speed4          
#bcb4 ,another great difference of a    
parallel kind exists in the knight's    
body armour4 ,a ,greek never hopes to   
turn a lance by his cuirass1 nor to  be 
invulnerable except by enchantment1 in  
his body-armour1 because he  will not   
have it cumbrous enough to impede his   
movements2 but he makes  his shield1 if 
possible1 strong enough to stop a lance1
 and carries it  as he would a piece of 
wall3 a ,gothic knight1 on the contrary1
  endeavoured to make his coat armour   
invulnerable1 and carried the shield    
merely to ward thrusts on the left side1
 never large enough to encumber  the arm
 that held the reins4 ,all fine design  
in ,gothic heraldry is  founded1        
therefore1 on the form of a short1 but  
pointed shield1 convex  enough to throw 
the point of a spear aside easily2 a    
form roughly  extending from the        
beginning of the twelfth to the middle  
of the  fifteenth century1 but of which 
the most beautiful types are towards the

  end of the thirteenth4      #bcc4 ,the
 difference in method of device between 
the ,gothic and classic  shields        
resulted partly from this essential     
difference in form4 ,the  pointed       
shield1 having definitely two sides1    
like a pointed arch1 and a  determined  
position1 naturally suggested an        
arrangement of bearings  definitely on  
one side or the other1 or above1 or     
below the centre1  while the ,greek     
shield had its boss1 or its main        
bearing1 in the centre  always1 with    
subordinate decoration round4 ,farther1 
the ,gothic fineness  of colour-instinct
 seized at once on this division of     
parts as an  opportunity for inlaying or
 counterchanging colours2 and finally1  
the  respect for race1 carried out by   
registry of the remotest branches of    
noble families1 compelled the ,gothic   
heralds of later times to use these     
methods of dividing or quartering in    
continually redoubled complexity4       
#bcd4 ,essentially1 therefore1 as       

distinguished from the classic shield1  
the ,gothic one is particoloured beneath
 its definite bearings1 or  rather1     
bi-coloured2 for the tinctures are never
 more than two in the  main design of   
them2 and the specific methods of       
arrangement of these  two masses of     
colour have deeper and more ancient     
heraldic significance  than1 with few   
exceptions1 their superimposed bearings4
 ,i have arranged  the twelve principal 
ones,l in the #gth of your rudimentary  
exercises1  and they will be entirely   
fixed in your minds by once drawing it4 
,l ,charges which doe peculiarly belong 
to this art1 and are of        ordinary 
use therein1 in regard whereof they are 
called        'ordinaries4'--,see       
,,guillim1 sect4 ii4 chap4 iii4 7,ed4   
#afch47          ,they have also the    
title of honourable ordinaries in that  
the        court armour is much honoured
 thereby4 ,the ,french call them        
pices honorables4      #bce4 ,observe   
respecting them4    #a4 ,the ,chiefe2 a 

bar of colour across the upper part of  
the shield1  signifies authority or     
chief-dom1 as the source of all order1  
power1 and  peace4    #b4 ,the cross1 as
 an ordinary1 distinguished from the    
cross as a bearing1  consists simply of 
two bars dividing the shield into four  
quarters2 and1  ,i believe1 that it does
 not in this form stand properly as a   
symbol of  ,christian faith1 but only as
 one of ,christian patience and         
fortitude4  ,the cross as a symbol of   
faith is terminated within the field4   
#c4 ,the ,fesse1 a horizontal bar across
 the middle of the shield1  represents  
the knight's girdle1 or anything that   
binds and secures1 or  continues4 ,the  
word is a corruption of fascia4 ,sir    
,francis ,drake  received for arms from 
,queen ,elizabeth a ,fesse waved between
 two  pole-stars1 where it stands for   
the waved surface of the sea1 and       
partly1 also1 to signify that ,sir      
,francis put a girdle round the earth2  
and the family of ,drummond carries     

three diminutive ,fesses1 or bars1      
waved1 because their ancestor brought   
,queen ,margaret safe through many      
storms4    #d4 ,the ,bend1 an oblique   
bar descending from right to left of the
 holder  of the shield1 represents the  
sword belt4 ,the ,latin balteus and     
balteum  are1 ,i believe1 the origin of 
the word4 ,they become bendellus and    
bendellum2 then bandeau and bande4      
,benda is the word used for the riband  
round the neck of ,st4 ,etheldreda1 in  
the account of her death quoted by  ,du 
,cange4 ,i believe1 also1 the fesse     
stands often for the cross-bar of  the  
castle gate1 and the bend for its very  
useful diagonal bar3 this is  only a    
conjecture1 but ,i believe as likely to 
be true as the idea1  certainly admitted
 in heraldry1 that the bend sometimes   
stands for a  scaling ladder3 so also   
the next four most important ordinaries 
have all  an architectural significance4
    #e4 ,the ,pale1 an upright bar      
dividing the shield in half1 is simply  

an  upright piece of timber in a        
palisade4 ,it signifies either defence  
or  enclosure4    #f4 ,the ,pile1 a     
wedge-shaped space of colour with the   
point downwards1  represents what we    
still call a pile2 a piece of timber    
driven into  moist ground to secure the 
foundation of any building4    #g4 ,the 
,canton1 a square space of colour in    
either of the upper corners  of the     
shield1 signifies the corner-stone of a 
building4 ,the origin and  various use  
of this word are very interesting4 ,the 
,greek s1 used  by ,aristotle for the   
corner of the eyes1 becomes canto1  and 
then cantonus4 ,the ,french coin        
7corner71 is usually derived from the   
,latin cuneus2 but ,i have no doubt it  
is one corruption of canton3 the        
medival-,latin cantonus is either an    
angle or recess1 or a four-square       
corner-stone4 ,the heraldic canton is   
the corner-stone of a building1 and  the
 ,french cantonnier is a road-mender1   
because the essential thing in          

repairing a road is to get its corner or
 edge firm4    #h4 ,the ,chevron1 a band
 bent at an angle 7properly a right     
angle71 with  its point upwards1        
represents the gable or roof of a house4
 ,thus the  four last-named ordinaries  
represent the four essentials of a fixed
  habitation3 the pale1 its enclosure   
within a given space of ground2 the     
pile1 its foundation2 the canton1 its   
wall1 and the chevron its roof4    #i4  
,the ,orle1 a narrow band following the 
outline of the shield midway  between   
its edge and centre1 is a more definite 
expression of enclosure  or             
fortification by moat or rampart4 ,the  
relations of this word1 no less  than   
that of the canton1 are singular1 and   
worth remembering4 ,du ,cange  quotes   
under it an order of the municipality of
 ,piacenza1 that always1  in the        
custom-house where the salt-tax was     
taken1 a great orled disk  should be    
kept2 dischus magnus orlatus1 i4e41 a   
large plate1 with a  rim1 in which every

 day fresh salt should be placed4 ,then 
note that the  word disk is used in the 
,middle ,ages1 either for a plate1 or a 
table1  7the holy disk is the patina of 
the sacrament71 but most generally for  
a table1 whence you get the old ,german 
disch2 our dish1 the ,french  disner1   
diner2 and our dinner4 ,the disk cut out
 into a ring becomes a  quoit1 which is 
the simplest form of orle4 ,the word    
'orle' itself comes1  ,i believe1 from  
ora1 in old ,latin1 which took a        
diminutive1 orula2 or  perhaps the 'l'  
was put in merely to distinguish1 to the
 ear1 a  margined thing1 'orlatus1' from
 a gilded thing1 'auratus4' ,it stands  
for  the hem of a robe1 or the fillet of
 a crown1 as well as for any margin2    
and it is given as an ordinary to such  
as have afforded protection and         
defence1 because it defends what is     
within it4 ,reduced to a narrow band1   
it becomes a ',tressure4' ,if you have a
 sovereign of #ahfj to #ahgj in your    
pocket1 and look at the right hand upper

 corner of the ,queen's arms1 you  will 
see the ,scottish ,lion within the      
tressure decorated with  fleur-de-lys1  
which ,scotland bears in memory of her  
treaty with  ,charlemagne4    #aj4 ,the 
,gyron1 a triangular space of colour    
with its point in the centre  of the    
shield1 derives its name from the old   
,latin gyro1 a fold1 pars  vestis qu    
laxior fit1 et in superiori parte       
contracta1 in largiorem  formam in imo  
se explicat4 ,the heraldic 'gyron1'     
however1 also has a  collateral         
reference to1 and root in1 the word     
'gremium1' bosom or lap2  and it        
signifies properly the chief fold or    
fall of the dress either  over the      
bosom1 or between the knees2 and has    
whatever symbolic  expression may be    
attributed to that fold1 as a sign of   
kindness or  protection4 ,the influence 
of the lines taken by softly falling    
drapery  in giving gentleness to the    
action of figures was always felt by the
  ,gothic artists as one of the chief   

elements of design2 and the two         
constantly repeated figures of ,christ  
holding souls in the 'gremium' of  ,his 
robe1 and of the ,madonna casting hers  
over suppliants1 gave an  inevitably    
recognised association to them4    #aa4 
,the ,flasque1 a space of colour        
terminated by a curved line on each     
flank of the shield1 derives its name   
from the ,latin flecto1 and is the      
bearing of honour given for successful  
embassy4 ,it must be counted among  the 
ordinaries1 but is of rare occurrence in
 what groups of authentic  bearings ,i  
have examined4    #ab4 ,the ,saltire1   
from salir1 represents the securest form
 of machine for  mounting walls2 it has 
partly the same significance as the     
ladder of the  ,scaligers1 but1 being   
properly an ordinary1 and not a bearing1
 has the  wider general meaning of      
successful ascent1 not that of mere     
local  attack4 ,as a bearing1 it is the 
,st4 ,andrew's ,cross4      #bcf4 ,these
 twelve forms of ordinary then1 or first

 colour divisions of  the shield1       
represent symbolically the              
establishment1 defence1 and  exaltation 
of the ,knight's house by his ,christian
 courage2 and are in  this symbolism1   
different from all other military       
bearings4 ,they are  throughout         
essentially founded on the quartering or
 division of the  field into four spaces
 by the sign of the ,cross3 and the     
history of the  chivalry of ,europe is  
absolutely that of the connection of    
domestic  honour with ,christian faith1 
and of the exaltation of these two      
sentiments into the highest enthusiasm  
by cultivated imagination4    ,the means
 of this culture by the finer arts2 the 
errors1 or falls1 of  the enthusiasm so 
excited2 its extinction by avarice1     
pride1 and lust1  in the period of the  
7so called7 ,renaissance1 and the       
possibility of a  true ,renaissance1 or 
,restoration1 of courage and pure hope  
to ,christian  men in their homes and   
industries1 must form the general       

subject of the  study into which ,i have
 henceforth to lead you4 ,in a future   
course of  lectures it will be my       
endeavour to show you1 in the elementary
 forms of  ,christian architecture1 the 
evidence of such mental development and 
decline in ,europe from the tenth to the
 seventeenth century2 but  remember that
 my power or any one else's1 to show you
 truths of this  kind1 must depend      
entirely on the degree of sympathy you  
have in  yourselves with what is        
decorous and generous4 ,i use both these
 words  advisedly1 and distinctively1   
for every high quality of art consists  
either in some expression of what is    
decent1--becoming1--or disciplined  in  
character1 or of what is bright and     
generous in the forces of human  life4  
,i need not say that ,i fear no want of 
such sympathy in you2 yet the           
circumstances in which you are placed   
are in many respects adverse to  it4    
#bcg4 ,i find1 on returning to the      
,university after a period of thirty    

years1 the scope of its teaching greatly
 extended1 the zeal of its  masters     
certainly undiminished2 and1 as far as  
,i can judge1 the feeling  of the       
younger members of the ,university      
better1 and their readiness to  comply  
with all sound advice1 greater1 than in 
my time4 ,what scandals  there have been
 among us1 ,i think have been in great  
part accidental1  and consequent chiefly
 on the intense need for excitement of  
some  trivial kind1 which is provoked by
 our restless and competitive work4 ,in 
temper1 in general amenability to right 
guidance1 and in their sense of  the    
advantages open to them1 more may now be
 hoped than ever yet from  the students 
of ,oxford--one thing only ,i find      
wanting to them                         
altogether--distinctness of aim4        
#bch4 ,in their new schools of science  
they learn the power of machinery  and  
of physical elements1 but not that of   
the soul2 ,i am afraid1 in our  new     
schools of liberal religion they learn  

rather to doubt their own  faiths than  
to look with patience or respect on     
those of others2 and in  our new schools
 of policy1 to efface the canons of the 
past1 without  having formed any        
distinct conception of those which must 
regulate the  institutions of the       
future4      #bci4 ,it is therefore a   
matter of very deep rejoicing to me     
that1 in  bringing before your          
examination the best forms of ,english  
art1 ,i am  necessarily leading you to  
take interest in the history of your    
country  at the time when1 so to speak1 
it became ,england4 ,you see how1 in    
every  college which is now extending or
 renewing its buildings1 the adopted    
style is approximately that of the      
thirteenth century2--it being felt1  and
 rightly felt1 by a                     
continually-extending instinct1 that    
only then  the national mind had        
unimpaired power of ideal conception4   
,whatever  else we may have advanced in1
 there is no dispute that1 in the great 

arts1 we have steadily1 since that      
thirteenth century1 declined3 and ,i    
have1 therefore1 since accepting this   
professorship1 partly again taken  up my
 abandoned idea of writing the story of 
that century1 at least in  ,england2 of 
writing it1 or1 at all events1          
collecting it1 with the help  of my     
pupils1 if they care to help me4 ,by    
myself1 ,i can do nothing2 yet  ,i      
should not ask them to help me if ,i    
were not certain that at this  crisis of
 our national existence the fixing the  
minds of young and old  upon the customs
 and conception of chivalry is the best 
of all moral  education4 ,one thing ,i  
solemnly desire to see all children     
taught--obedience2 and one to all       
persons entering into life--the power   
of unselfish admiration4      #bdj4 ,the
 incident which ,i have related in my   
fourth lecture on  sculpture1 seen by me
 last year on the bridge of             
,wallingford1 is a  sufficient example  
of the courtesies in which we are now   

bringing up our  peasant children4 ,do  
you think that any science or art we can
 teach them  will make them happy under 
such conditions8 ,nay1 in what courtesy 
or in  what affection are we even now   
carefully training ourselves2--above    
all1  in what form of duty or reverence 
to those to whom we owe all our power   
of understanding even what duty or      
reverence means8 ,i warned you in my    
former lecture against the base         
curiosity of seeking for the origin of  
life in the dust2 in earth instead of   
heaven3 how much more must ,i warn  you 
against forgetting the true origin of   
the life that is in your own  souls1 of 
that good which you have heard with your
 ears1 and your  fathers have told you4 
,you buy the picture of the ,virgin as  
furniture  for your rooms2 but you      
despise the religion1 and you reject the
 memory1  of those who have taught you  
to love the aspect of whatsoever things 
and  creatures are good and pure3 and   
too many of you1 entering into life1    

are ready to think1 to feel1 to act1 as 
the men bid you who are  incapable of   
worship1 as they are of creation2--whose
 power is only in  destruction3 whose   
gladness only in disdain2 whose glorying
 is in their  shame4 ,you know well1 ,i 
should think1 by this time1 that ,i am  
not one to  seek to conceal from you any
 truth of nature1 or superstitiously    
decorate for you any form of faith2 but 
,i trust deeply--7and ,i will  strive1  
for my poor part1 wholly1 so to help you
 in steadfastness of  heart7--that you1 
the children of the ,christian chivalry 
which was led  in ,england by the       
,lion-,heart1 and in ,france by ,roland1
 and in ,spain by  the ,cid1 may not    
stoop to become as these1 whose thoughts
 are but to  invent new foulness with   
which to blaspheme the story of ,christ1
 and to  destroy the noble works and    
laws that have been founded in ,his     
name4    ,will you not rather go round  
about this ,england and tell the towers 
thereof1 and mark well her bulwarks1 and

 consider her palaces1 that you  may    
tell it to the generation following8    
,will you not rather honour with  all   
your strength1 with all your obedience1 
with all your holy love and             
never-ending worship1 the princely      
sires1 and pure maids1 and nursing      
mothers1 who have bequeathed and blest  
your life8--that so1 for you  also1 and 
for your children1 the days of strength1
 and the light of  memory1 may be long  
in this lovely land which the ,lord your
 ,god has  given you4          ,,index4 
,,index4    ,the references are not to  
the page1 but to the numbered           
paragraphs1  common to all the editions 
of this work4      ,abbeville1 house at1
 #ia4      ,academy1 ,london1 and       
village architecture1 #ic4              
,royal1 #f4      ,achilles1 #afh4       
,acland1 ,dr41 #aei4                his 
dog ,bustle1 #aea4      ,actions and    
aims1 #bad4      ,advance and           
contentment in knowledge1 #ha4          
schylus1 ,prom4 ,vinct41 #ajbb1 quoted1 

#aeg4      stheticism1 modern1 and      
sombre colours1 #aad4      thuia1 the   
bird1 #aib4      ,affectation1 artistic1
 #bja4      ,age1 feeling of increasing1
 #ajd4        the present1 its dulness  
and excitement1 #fe4                    
its vanity in art and science1 #cc4     
1 #h4       in art1 #ga4      ,aims and 
actions1 #bad4      ,alabama1 the1 #bd4 
,alcyone1 #aij4      ,alsace1           
inscription on peasant's house in1 #hf4 
peasants of1 their delight and art1 ib4 
,altorf1 #aii4      ,amboise1 chapel of1
 #ib4      ,america and ,england1       
relations of1 #gi4      ,amusement1     
modern forms of1 #ga1 #gb4              
,anacreon and his dog1 7,greek vase71   
#aea4      ,anatomy1 a degradation in   
painting man1 #aej4            a        
hindrance      animals1 ib4             
comparative mental1 #aea4               
destroys art1 pref4 vii4            its 
effect on the artist's mind and power1  
#aeh4            its place in relation  
to art1 #adi1 seq4            most fatal

 to the greatest minds1 #aei4           
,sir ,j4 ,reynolds1 and1 #aed4          
statement as to1 in ,stones of ,venice1 
withdrawn1 #aei4      ,anaxagoras1 #bc4 
,angelico's jewel painting1 #bah4       
,angels1 modern feeling about1 #fb4     
their interest in human work1 #ec4      
----   7the coins71 #aag4               
,ancestral honour1 power of1 #aga4      
,animalism1 humanity1 divinity1 #cj4    
,animal history1 modern books of1 fail  
and why1 #aeh4 ,see s4 ,nat4            
,hist4      ,animals1 artist's right    
view of their nature1 #aej4             
each knows its own good1 #bc4           
desire to kill1 in inverse ratio to     
power to see and love1                  
#age4            man's relation to1 #cj4
            use of1 as types in art1    
#aea4            wearing of their skins1
 begins heraldry1 #bbc4      1 #h4      
,apathy1 modern1 #gb1 #gc4      1 in    
men1 nations1 and art1 #fi-ga1 #gd4     
,apollo1 #aje4           temple of1     
#aai4           the ,python and1 #aag4  

,apollodorus1 quoted on the ,halcyon1   
#aij4      ,apsis and ,aspis1 #bcj4     
,arabs1 #bjc4      ,architects1         
,institute of ,british1 #f1 #ic4        
,architecture1 decline of ,english1     
#bci4                 evidence of mental
 development in1 #bcf4                  
short reign of perfect1 #hb4            
woodcarving and1 #hf4          ,see s4  
,abbeville1 ,academy1 ,alsace1 ,amboise1
 ,apsis1          ,bergamo1 ,chlet1     
,cottages1 ,hotels1 ,rouen1 ,york4      
,aristotle1 common sense in1 #be4       
division of faculties1 #h4              
a and prudence in1 #bf4                 
,quoted3--               ,ethics vi4 #g4
 #ab4 on wisdom and prudence1 #ai1 #bc4 
,hist4 ,av4 i4 #i4 #b4 on s #bce4       
v4 #h4 #i4 on the ,halcyon1 #aib4       
,armorial bearings1 meaning of1 #bbh4   
,art--      aim of what it should be1   
#c1 #gf4      anatomy1 fatal to1 pref4  
vii4      characteristics of3--         
eagle eyes1 #cf4         love of nature1
 #da4         modesty1 ,lect4 iv41 #gd4 

of wise appreciation1 #agb4             
originality1 to what extent1 #cb1 #cc4  
refinement and rudeness1 #ij-ia4        
sight before knowledge1 #abe-bf4        
simplicity before skill1 #dj4           
temperance1 #ij4                        
unconsciousness1 #ec-ed4         unity  
of feeling1 #ic4         unselfishness  
as essential to wisdom1 #gf1 #agb4      
wisdom and folly in ,lect4 i4           
definition of great3--         it begins
 rightly1 ends beautifully1 #adf4       
it needs no addition1 bears no taking   
away1 #adg4                             
,see below s4 ,meaning4      difference 
between good and bad1 #ga4              
education in3--         generally1 #id4 
the teacher need not talk much1 #b4     
ethics and1 #ah4         the science of 
right conduct essential to it1 #afa4    
imitative1 ,shakespeare quoted on1 #ci4 
influenced by3--         local          
surroundings1 #ia4         love of      
death1 esp41 modern1 #fi4      meaning  
of1 #ch4      national art1 proper      

subjects of1 #ie4         ignorance of  
art1 #af4      nature and3--            
art less beautiful than reality1 #agb4  
general knowledge of organic nature     
essential to art1 #adi4      science    
and3--            art above science1 but
 must comply with it1 #ade4             
does not teach science1 #afj4           
the handmaid and shadow of science1 #dg1
 #fh1 #gf1 #agb4            highest     
sciences need art most1 #de1 #if4       
simplest art the most useful to1 #abg4  
subjects of art and1 the same1 #dc4     
the masters of art1 beyond all science1 
#acf4            wise art and wise1     
,lect4 iii4 ,see s4 ,nature1 ,use1      
,science4      self-sufficiency of4 ,see
 above s4 ,characteristics4      subject
 of1 appearances rather than facts1     
#adi4      theology of1 only recently   
recognised1 #df4      truth complete    
given by art and science1 #eh4 ,see s4  
,artist4      use and value of1         
as a means of record1 #ch-i1            
as expressing nature1 #da4              

practical1 #bjf4            to history  
and physiology1 #ch-ci1 #dg1 #bjg seq4  
to religion1 #df4 ,see above s4         
,science4      ,see s4 stheticism1      
,affectation1 ,anatomy1 ,animals1       
,architecture1 ,author1 ,beauty1        
,chromo-lithotint1         ,cleanliness1
 ,colour1 ,competition1 ,death1         
,decency1         ,drawing1 ,dress1     
,folly1 ,french1 ,gothic1 ,history1     
,indolence1 ,invention1 1 ,knowledge1   
,lindsay1         ,madonna1 ,nature1    
,nude1 ,photography1 ,royal ,academy1   
,science4      ,artemisium1 #aii4       
,artist--        modesty of1 #ca4       
modesty about1 enjoyment in1 and feeling
 as to their own work1 #eb4             
science needed by an1 #abd-be1 #acc4    
he must know as well as see1 #abc4      
subjects of1 not invisible structures1  
though often invisible                  
things1 #agb-c4        ,see s4          
,angelico1 ,barry1 ,bellini1            
,botticelli1 ,copley                    
,fielding1 ,correggio1 ,drer1           

,ghirlandajo1 ,giotto1                  
,holbein1 ,hunt 7,a471 ,hunt 7,holman71 
,leonardo1 ,lippi1            ,luini1   
,mantegna1 ,m4 ,angelo1 ,mulready1      
,raphael1            ,reynolds1 ,robson1
 ,titian1 ,tintoret1 ,turner1           
,van ,eyck4      ,artistic affectation  
in ,england1 #bja4      ,aspis and      
apsis1 #bcj4      ,associations1 local1 
to be cherished1 #id4      ,astronomy-- 
how far valuable discovery yet possible 
in1 #ff4      two young ladies studying1
 #bf4 ,see s4 ,stars4      1 #h4        
,atheism1 modern1 #bjb4                 
tries to dispense with the sun1 #ajd4   
,athena1 power of1 #aif1 and n4         
protects ,ulysses1 #ge4                 
typical of what1 #bbd4      ,atlantic1  
,ulysses in the1 #ge4      1 #hj4       
,author3 7#a7 ,generally1 7#b7          
,teaching1 7#c7 ,books1 c4        #a4   
,generally3--        drawings by1 his   
own pleasure in them1 #hd4              
leaf-outlines1 #bag4        early       
boyhood1 its tendencies1 #da4           

feeling of increasing age1 #ajd4        
life of1 progressive from his childish  
pleasures1 #hc4        love of art1 its 
foundation and growth1 #da4             
and of nature combined1 #db4            
story of a serpent and1 #aja4           
study of ,tuscan art begun 7#ahdf71 #df4
        success and failure1 effect on1 
#ca4        various movements of3--     
at ,crystal ,palace1 #ic4               
,dsseldorf1 #hh4              ,hincksey1
 ,oxford1 #bag4              ,iffley    
,church1 #aah4              ,london1    
watching traffic1 #ei4                  
,lucerne1 rowing4 #bae4                 
,verona 7#ahgj71 #abe4                  
,wallingford1 #bdj4                     
,westminster 7watching clouds71 #acj4   
,see s4 ,acland1 ,frou-frou1 ,helps1    
,mineralogy1                    ,sight1 
,water-,colour ,exhibition4      #b4    
,teaching of3--        cannot follow    
modern science1 #acd4        despairs of
 return to simplicity1 #id4             
feeling for ,norman art1 #ib4        his

 abuse of modernism1 #cd4               
reverence for mythology1 #ie4        on 
,luini1 his position shown 7#ahfj71 #df4
                 study of the ,s4       
,catherine1 #bbf4        on ,turner1 his
 defence of him1 #abh4        result of 
his teaching on his early disciples1    
#db4        ,ritualism1 not deceived by1
 #gc4        teaches only what he knows1
 #abc4        work at ,oxford1          
thought spent in preparing his lectures1
 pref41 #b1 #bag4          assistants1  
#ca4          audiences1 #a4            
plan for lectures1 #bcf4        #c4     
,books1 ,lectures1 c43--        constant
 appeals to physical science in1 #abh4  
fine writing in1 #c        paradoxes in1
 #hi4          ,quoted or referred to3--
              ,aratra ,pantalici1 7#ab71
 #fb4                                   
7#hh-i71 #bdj4                          
7#adb71 #ci4              ,ariadne      
,florentina1 7#ada7 pref4 viii4         
,arrows of the ,chace 7ii4 #agh71 #bab4 
,eagle's ,nest--pains of writing1 pref4 

vii4                         teaching   
of1 needed1 #agb4            ,fors      
,clavigera 7,letter v41 p4 #d71 #hh4    
,giotto and his ,works in ,padua 7p4    
#be71 #bjd4            ,lecturer on ,art
 7#fj71 #ah4                            
7#ff71 #ah4                             
,landscape 7#ahga71 #fb4                
,munera ,pulveris 7#ajf71 #bab4         
,modern painters1 incomplete1 #abi4     
tone of ,vol4 ,i41 #db4                 
,queen of the ,air 7#ace71 #eb4         
7#afb seq471 #bbi4                      
,sesame and ,lilies 7#ig71 #c4          
,stones of ,venice 7iii4 #b1 #bc seq471 
#aei4      ,authority1 heraldic sign of1
 #bce1 #a4      ,autolycus and          
,philammon1 myths of1 #ahi4      ,bacon1
 quoted on venomous knowledge1 #bj4     
,new ,atlantis1 ref4 to1 #abj4          
,bardi1 the1 #bji4      ,barry1         
classical paintings of1 #fc4            
,beauty1 ,greek love of1 #afg4          
,bee1 wisdom of the1 #aic-aif4          
,behaviour1 knowledge of right1         

essential to art1 #afa4      ,belfry1   
#ic4      ,bellini1 jewel painting of1  
#bah4      ,bend1 the heraldic1 #bce4   
,benvenue1 #aii4      ,bergamo1 ,duomo  
of1 #hf4      ,berne1 gas works at1     
#ajb4          carving at1 #hh4         
,beverley1 lesser egret last seen in    
,england at1 #agd4      ,bible1         
statements of mental condition in the1  
#fi4       ,quoted or referred to3--    
,gen4 i4 #c4        ,let there be light1
 #ii4            ii4 #ai4       ,brought
 to ,adam to see what he would call     
them1 #aej4           iii4 #ba4         
,unto ,adam also and his wife 444 coats 
of                                skin1 
#bbc4         ,exod4 xx4 #ab4     ,long 
in the land the ,lord 444 giveth thee1  
#bdj4            xxv4 #e4       ,rams'  
skins dyed red1 #bbf4         ,deut4    
xxxii4 #aa4  ,an eagle 444 fluttereth   
over her young1 #fc4         ,judges v4 
#cj4     ,divers colours of needlework1 
#bbe4         ,job xix4 #bf4      ,after
 my flesh shall ,i see ,god1 #aba4      

,ps4 xiv4 #a4       ,the fool hath said 
in his heart1 #ajd4          xxvii4 #a4 
,the ,lord is my light 444 whom shall ,i
 fear1                                  
#ajd-abj4         ,ps4 xlviii4 #ac4     
,mark well her bulwarks1 consider her   
palaces1 #bdj4           xcvii4 #b4     
,clouds and darkness are round about    
him1 #g4           ciii4 #a-e4          
,bless the ,lord 444 youth renewed like 
the                                     
eagle's1 #fc-d4           cxxxvi4 #h4   
,the sun to rule the day1 #ajj4         
,prov4 iii4 #ae4    ,she is more        
precious than rubies1 #ai4              
iv4  #ac4    ,take fast hold on         
instruction1 #ai4              viii4    
#cj-ca4  ,i was daily ,his delight 444  
rejoicing 444                           
with the sons of men1 #ai1 #fd4         
,eccl4 i4 #ah4      ,he that increaseth 
knowledge increaseth                    
sorrow1 #hj4         ,malachi iv4 #b4   
,sun of justice 444 with healing in his 
wings1 #aae4         ,matt4 v4 #h4      

,blessed the pure in heart 444 shall see
 ,god1                                  
#aba1 #agf4              vi4 #bb-bc4    
,the light of the body is the eye1 #ajf1
 #ajh1 #aaj4            viii4 #bj4      
,son of ,man hath not where to lay his  
head1 #bje4            x4 #af4          
,wise as serpents1 #ajc-aje4            
xi4 #g4       ,a reed shaken with the   
wind1 #bjc4            xii4 #ca-cb4     
,blasphemy against the ,holy ,ghost1    
#afi4            xv4 #ad4      ,blind   
444 fall into the ditch1 #ajf4          
xxiv4 #bh4    ,where the carcase is1    
etc41 #cf4         ,mark v4 #c4         
,dwelling among the tombs1 #fi4         
v4 #ae4       ,clothed and in his right 
mind1 #fi4            x4 #ae4           
,receive the ,kingdom as a little child1
 #ha4         ,john i4 #i4       ,light 
that lighteth every man1 #aae1 #aaf1    
#abj4         #a ,cor4 viii4 #a4        
,knowledge puffeth up1 #bi4             
xiii4 #e4  ,charity 444 thinketh no     
evil1 #aeb4                    #f4      

,rejoiceth not in iniquity1 #baj4       
#aa4  ,put away childish things1 #ha4   
#b ,cor4 iii4  #f4  ,the letter         
,killeth1 #d4               v4    #a4   
,houses not built by hands1 #bje4       
#a ,peter i4  #ab4  ,things the angels  
desire to look into1 #ed4      ,birds1  
builders and singers1 #dh4              
classifications of 7raptores1 rasores1  
c471 #ahg-i4          ,english temper   
towards1 illustrated #agd-e4            
praising ,god1 #fa4          rare1      
becoming extinct1 #cd4          shooting
 them1 the first idea of ,english       
gentlemen1 #agh4      ,see s4 thuia1    
,bullfinch1 ,clematis1 ,cuvier1 ,egret1 
,gould1 ,gull1 ,halcyon1 ,hawk1 ,heron1 
,kingfisher1      ,laros1 ,nest1        
,nightingale1 ,ornithology1 ,peacock1   
,pheasant1 ,skylark4      ,blake1 ,wm41 
as painter and as poet1 #ba4            
quoted1 ,the ,book of ,thel1 ,doth the  
eagle know1 c41 #ba1                #bb1
 #fc4      ,blindness of mind and body1 
#ajf4      ,boat race1 #bab4            

,boats1 loved by all boys1 #da4         
,books1 children's1 #fa4      ,botanic  
gardens at ,oxford1 #afj4               
,botticelli1 as an engraver1 pref4 vii4 
his study of face and limb1 pref4 viii4 
,bottle1 science of the formation of a1 
#ace4      ,brutes1 man's relation to   
the1 #cj4 ,see s4 ,animals4             
,briareus1 #ahc4      ,british ,museum1 
,greek ,vase1 ,anacreon and his dog at1 
#aea4      ,bruges1 #ic4      ,bubble1  
soap1 unexplained1 #acb1 #acd4          
,bullfinch's nest1 #dh4      ,bustle1   
,dr4 ,acland's dog1 author's delight in1
 #aea1 #aed4        ,california1 #gj4   
,camarina1 #bbi4      ,cambridge        
wranglers1 value of art to1 #if4        
,canton1 the heraldic1 #bce4            
,carlyle1 ,t41 ,shooting ,niagara1 #gj4 
,carrion and game1 choice of1 #aa1 #cf4 
,cassell's ,educator1 #bjb4             
,cassiopeia1 #abd4      ,cat1 its power 
and use of sight1 #aaj4        may look 
at a king1 ib4      ,ceyx1 son of the   
,morning ,star1 #aih4      ,chrephon1 in

 ,lucian's dialogue on the ,halcyon1    
#aid4      ,chlet1 education needed to  
build a ,swiss1 #bjb4      ,chamouni1   
,turner's drawing of1 #adg4             
,chance1 and design in nature1 #ahb1    
seq4      ,change1 and living change1   
how wrought1 #bjh-i4      ,chapel1      
attendance at1 in ,oxford1 #afi4        
,character1 evidenced by dress1 #bbj4   
,chariot1 use of ,greek1 #bca4          
,charity1 true1 more reverent than      
pitiful1 #baa4      ,charlemagne's      
treaty with ,scotland1 #bce4            
,chartism1 story of a ,chartist herald  
7,sir ,a4 ,helps1 quoted71 #bjh4        
,charybdis1 #ge4      ,chaucer1 quoted1 
,cuckoo and ,nightingale1 #cg 7motto71  
#ef4      ,chemistry1 a modern ,god1    
#bjb4              modern progress in1  
#cc4              of little use to art1 
#if4      ,cherwell1 the1 #agi4         
,chevron1 the heraldic1 #bce4           
,chiefe1 the heraldic1 #bce4      ,child
 and dog1 pictures by ,titian and       
,reynolds1 #aea4      ,childhood1       

pleasures and retrospect of1 #hb4       
,children's books1 #fa4      ,chivalry1 
,christian and ,greek1 #bai4            
history of1 to be learnt by gentlemen1  
#baf4           conception of1 as an    
influence in education1 #bci4           
,european1 its basis1 #bcf4             
leaders of1 #bdj4      ,christ1 heraldic
 symbol of1 in ,italy1 #bbi4            
,christian chivalry4 ,see s4 ,chivalry4 
,christianity1 early traces of in       
heathen literature 7,lucian71 #aid4     
idea of ,god as ,light1 #aaf4           
its statements of mental health1 #fi4   
,chromo-lithotints1 style of1 #fi-ga4   
,church of ,england1 #gc4      ,cid1    
,the1 #bdj4      ,civilization1 false1  
#id4      ,civil ,service1 the1 and     
,orissa1 #ce4      ,classification1     
scientific1 #ahf-g4      ,cleanliness   
and art1 #ie4      ,clematis1 a bird's  
nest of1 #dh4      ,clouds1 #abi-cj4    
effect of storm-clouds on scientist1    
artist1 and scholar1 #g4          forms 
of1 unexplained by science1 #aca4       

,coins1 ,english angels1 #aag4          
engravings of1 #aeg4 ,see s4 ,angels1   
,sovereign4      ,colonization1         
,englishmen likely to be colonists1 #id4
      ,colour1 connection of with       
health1 #aac4           design in1 on   
,gothic shields1 #bcc4           gloomy1
 in art1 #fi4           in dress1       
originates in the skins of animals1     
#bbf-g4           love of light1 #aac1  
#aaf1 #aag4           perception of1 a  
spiritual and moral power1 #abb4        
pure1 delight in1 #aac1 #aae4           
school of shade and of crystalline      
colour1 #aad4           temperance of1  
#ga4      ,common-sense in the ,english1
 #bd1 #be4 ,see s4 ,aristotle4          
,competition in art1 #hh4               
in education1 #agg1 #bab4      ,conceit 
of science1 #bb4      ,conceptions1     
range of dignity of1 and literature1    
#g-h4                reason and1 #aa4   
,consideration for others demands       
imagination1 #bg4      ,contentment and 
advance in knowledge1 #ha4              

,copiapo1 #hc4      ,copley ,fielding1  
#da4      ,coronis1 ,pindar's1 #ahi4    
,correggio1 use of orange for red by1   
#bbf4      ,corruptibility of art1 #aa1 
#ac4      ,cottages1 who should build   
peasants'1 and how1 #bja4               
,courtesy1 instance of modern1 #bdj4    
,covetousness in art1 #ha4      ,coxe1  
,mr4 7,bodleian ,library1 ,oxford71     
#aeg4      ,crane1 legs of a1 #afb4     
,creation1 man's relation to the brute1 
#cj4      ,creatures1 different         
knowledge fit for different1 #ba4       
,creed1 ,apostles'1 its first three     
clauses1 #afi4      ,crest1 heraldic    
meaning of the1 #bbh4          personal1
 but becomes hereditary1 #bcj4          
,cross1 heraldic1 #bce4                 
heraldic quartering and the1 #bcf4      
,crystal ,palace1 toy at the1 #ic4      
,cuirass1 earliest form of1 #bbd4       
,cup1 forms of1 #aci4      ,cuvier1     
classification of birds1 #ahh4          
,daisy1 ,wordsworth on a1 #ea4          
,dancing1 fair and foul1 #ac1 #ad4      

,dante1 quoted or referred to--         
,de remi1 facemmo ale al folle volo1    
#gi4               on ,pisa's cruelty1  
#ce4               on the sight of      
,beatrice1 #agg4               on       
,ulysses1 #ge4      ,darwin1 account of 
peacock's feather1 #ahe4                
,darwinism1 #aec-aee1 #bjg4      ,death1
 connection with the myth of the        
,halcyon1 #aii4          love of1 by    
modern art1 #fi4      ,decency and art1 
#ie4      ,deeds1 taught by art1 #h4    
,defence1 heraldic sign of1 #bce4 7s474 
,delights1 man's best1 #bab4            
,dependence1 #gg4      ,derivative      
beauty in modern art1 #bai4      ,design
 in nature1 #aeb1 seq4      ,desires1   
man's best1 #bab4      ,devices on      
,greek and ,gothic shields1 #bcc4       
,devil1 personality of the1 #fi4        
truth of the expression1 the ,devil in  
him1 ib4      ,dictionaries1 contain    
,tout ce qu'il y a de plus beau1 #ajj4  
,dinner1 derivation of word1 #bce4      
,diomed1 #afh4      ,dionysus' cup1     

#aci4             nebris1 #bbe4         
,disc or disk1 #bce4      ,discovery of 
one age1 the common knowledge of the    
next1 #cd4             science and1 #fe1
 #ff4             vain passion for1 #gd4
             value of1 in itself1 #cc4  
,divinity1 ,humanity1 ,animalism1 #cj4  
,doctor1 ,helps' story of a1 in         
,chartist riots1 #bjh4      ,dog1       
,anacreon and his 7,greek vase71 #aea4  
carved by boy1 #hh4        ,dr4         
,acland's dog ,bustle1 #aea4            
meaning of its introduction in          
portraits1 #aea4        by ,titian and  
,reynolds1 their pictures of children   
and1 ib4      ,doing1 knowing1 and      
talking1 #b1 #c1 #d4      ,domestic     
love1 in peace1 #afh4                   
its place and influence1 #aii4          
,doncaster1 ,mr4 ,reed1 bird-stuffer of1
 #agd4      ,drake1 ,sir ,francis1 arms 
of1 #bce4      ,drapery1 effect of      
gentleness gained by1 #bce4             
its laws1 #ada1 seq4            on      
persons and statues1 #adc4              

,drawing1 a vital part of education1 and
 why1 #agi4            rules of1 use of 
sight and science in1 #adh4             
draw for your subject1 not your picture1
 #afc4      ,dress1 a sign of character1
 #bbj4          earliest forms of1      
#bbc-d4          ,eastern1 #bbe4        
form and colour of1 originates in skins 
of animals1 #bbf-g4          heraldic1  
#bbb1 #bbe4          national1 should be
 the same in life and art1 #aff4        
squalor of1 a sign of national decay1   
#bba4      ,drummond armorial bearings1 
#bce4      ,du ,cange1 on ,st4          
,etheldreda1 #bce4            on the    
orle quoted1 #bce4      ,drer1 #bag4    
anatomy in pictures of1 #aee2 influence 
of anatomy on1             pref4 viii4  
animals introduced by1 #aea4            
beautiful faces rare in1 pref4 viii4    
engraving of1 pref4 vii4          his   
,sir1 it cannot be better done1 #eb4    
love of grotesque in1 #aea4             
works of3--            ,knight and      
,death1 pref4 viii4                     

,melancholia1                      ,st4 
,hubert1                       ,st4     
,jerome1                 ,dsseldorf1 art
 at1 #hh4        ,eagle1 the1 #ahd4     
characteristics of1 #aef-g4             
sight and scent of1 #aaa4      ,eagles  
,nest1 ,the4 ,see s4 ,author4 7#c7      
,books4      ,ease of great work1 #he4  
,eastern dress1 #bbe4      ,eccelin of  
,padua1 #ce4      ,ecu1 derivation of1  
#bcj4      ,edify1 meaning of word in   
,charity edifieth1 #cj4      ,education1
 aim of1 morality not knowledge1 #bab4  
a matter of feeling1 not of knowledge1  
#agi4         competition in1 #bab4     
conception of chivalry as an influence  
in1 #bci4         means power of true   
sight1 animals1 man1 ,god1 #age-f4      
modern architecture and1 #bjb4          
modern1 #abj4            its error and  
toilsomeness1 ib4         national1 #id4
         science as an instrument of1   
#fe4         sympathy essential to      
learning1 #bcf4         true1 brings    
delight in seeing things1 #agg4         

summed in enjoyment1 ib4      ,effort in
 study1 how far necessary1 #b4          
,egeri1 lakes of1 #aii4      ,egret1 the
 leper1 #agd4      ,egyptian leopard1 of
 what typical1 #abe4        plagues1    
#aah4      ,elgin marbles1 as models for
 students1 #afb4      ,elis1 coins of1  
#aeg4      ,elizabeth1 ,queen1 arms     
given to ,sir ,f4 ,drake by1 #bce4      
,embassy1 heraldic sign of1 #bce1 #b4   
,emerson1 on distinctive class dress1   
#bba1 n4      ,emulation in art1 #ij4   
,england1 and ,america1 relations of1   
#gi4            chivalry of1 led by     
,richard ,cur de ,lion1 #bdj4           
,church of1 #gc4            colonisation
 by1 #id4            glory and power of 
old1 #bjc4            misery of modern1 
its fallen temper1 #bjc4                
power of help in1 #cf4                  
prudence of the ,english as a nation1   
#bd4            schools of1 the1 #f4    
,engraving1 lines in1 representative of 
colour1 #aeb4      ,enjoyment and       
,achievement1 #he4      1 #h4           

,erie1 ,lake1 #gj4      ,ermine1 the1   
#bbe4      ,etheldreda's1 ,st41 bend    
7heraldic71 #bce4      ,ethics and art1 
#ah4      ,see s4 ,actions1 ,aims1      
,amusement1 ,behaviour1 ,character1     
,chivalry1 ,dancing1 ,education1 ,evil1 
,imagination1      ,intemperance1       
,passions4      ,etruscan helmet derived
 from horse's head1 #bbg4      ,euclid  
quoted1 #abd4      ,evil correlative    
with good1 #ag4      ,examinations1     
frequent1 an error of modern education1 
#agg4      ,experiments in art1 #abc4   
,eye1 if thine eye be evil1 #ajf4       
,eyes1 different kinds of1 #ajg4        
noble and ignoble1 #abb4         not    
telescopes1 #ii4        ,faculties of   
art1 science and literature1 in extreme1
 #aj4      ,failure1 effect of1 on      
author1 #ca4      ,faith1 heraldic sign 
of1 #bce1 #b4      ,famine1 in ,persia1 
#cf4      ,fascia1 origin of fesse1     
#bce4      ,fesse1 the heraldic1 #bce4  
,fiat lux1 fiat anima1 #ig-h4           
,fields1 in ,london1 #gb4      ,film1   

nature of1 a difficult study1 #acd4     
,flasque1 the heraldic1 #bce4           
,fleet ,street1 #fa4      ,florence1 the
 ,duomo of1 #ach4             schools   
of1 #aei4      ,flowers1 loss of rare1  
nowadays1 #cd4      ,fog1 in ,england1  
#acj4      ,folly1 in art1 ,lect4 i41   
and ii4          in science1 #bj1 seq4  
vanity of1 #dj4      ,forgiveness1 the  
sin for which there is no1 #afi4        
,fortification1 heraldic sign of1 #bce1 
#i4      ,fortitude1 her shield1 #bcj4  
,france1 chivalry of1 led by ,roland1   
#bdj4           ,germany and1 their     
relations1 #gi4      ,french art1       
dexterity in1 effect of1 #hi4        use
 of colour1 in art schools1 deadly1 #if1
 #aad4      ,french plays4 ,see s4      
,frou-frou4      ,fresco-painting1 #bbf4
      ,frogs at ,iffley1 #aah4          
,frou-frou1 play of1 its effect on      
author1 #gb4       statement as to1 by a
 ,french lady1 #gb4      ,furres1       
heraldic meaning of1 #bbe4              
,gaiety ,theatre1 dancing at1 #ad4      

,game and carrion1 choice of1 #aa1 #cf4 
,gaslight1 work done by1 #ajd4          
,gentiles1 meaning of the word1 #agj4   
,gentleness and kindness1 alike in      
derivation1 #agj4      ,geology1        
,silurian and ,permian systems of1 #afj4
      ,geometry and art1 #if4           
meaning of the word1 ibid4      ,george 
,,iii41 portrait of daughter of1 by     
,reynolds1 #aea4      ,german erudition1
 effect on art of1 #hi4      ,germany   
and ,france1 relations of1 #gi4         
,ghent1 workmen at1 #ic4                
,ghirlandajo1 read in his frescoes1     
#bbf4      ,giesbach1 author at the1    
7#ahgj71 #aja4      ,giotto1 paint me my
 arms anecdote1 #bji4        simplicity 
of1 pref4 vii4      ,gladstone 7,w4     
,e471 at ,nat4 ,assoc4 for ,soc4        
,science1 #fc4      ,glass1 painting on1
 a lost art1 #cc4             orange v4 
purple in1 #bbf4             at ,iffley1
 #aah4      ,god1 birds' praise of1 #fa4
        man's honouring of1 #ee4        
relation to1 #cj4        universal idea 

of1 as ,light1 #aaf4      ,goethe1      
,faust quoted1 #fb4      ,good and evil1
 in art1 #ag4      ,gothic art1 modern  
imitations of1 purposely wrong to       
nature1 #ade4              its          
scientific side and basis1 #acg4        
its sense of strength1 #acg4            
shield1 #bcj4      ,gould1 ,mr41 the    
ornithologist1 #dh4              his    
account of the lesser egret1 #agd4      
,grallatores1 birds called1 #ahg4       
,great men1 their greatness in their    
aim1 not their actions1 #bad4           
,greece1 sources and nature of her      
power1 #afg-h4         ,switzerland and1
 a district of each compared1 #aji4     
,greek armour1 #bca4                    
helmet  horse's head1 #bbg4             
shield1 #bcj4        classification of  
birds1 #ahi4        idea of ,god as     
,light1 #aaf4        mythology1 #ie4    
patronymics1 meaning of1 #afh4          
vase1 dog painting on a1 #aea4          
vases1 ,sir ,wm4 ,hamilton on1 #aci4    
,gremium1 the1 of ,christ and the       

,madonna in art1 #bce4      ,greta and  
,tees1 ,turner's1 #fi1 #gj4             
,guillim's ,heraldry quoted1 #bcd1 n4   
,guillotine and mitrailleuse1 #cd4      
,gules1 #bbf4      ,gull1 the swimmer of
 birds1 #ahh4      ,gun-cotton1 #cc4    
,gyron1 the heraldic1 #bce4             
,halcyon days1 meaning of1 #aib4        
---- the1 its feathers1 #ahe4           
,greek notices of1 #aij seq4            
myth of1 and death1 #aii4               
,scholiasts' description of1 #aig4      
story of1 #agb seq4      ,hamilton1 ,sir
 ,w41 on ,greek verses1 #aci4           
,happiness1 in ,aristotle1 #ai4         
,hawk1 the snatcher of birds1 #ahh4     
,health1 mens sana1 c41 #fh4            
of heart1 ibid4      ,heat1 a mode of   
motion1 #ajj4      ,helen1 in the       
,iliad1 #afh4      ,helmet1 earliest    
idea of the1 #bbd4           ,greek and 
,etruscan1 derived from horse's head1   
#bbg4      ,helps1 ,sir ,a41 his ,war   
and ,culture quoted1 #bjh4      ,helps1 
,sir ,a41 his ,war and ,culture1        

dedicated to author1 ib4      ,hera1    
#aij4      ,heraldry1 a despised        
science1 #agc4             aim of1 #bjg4
             author's drawings of1 #aab4
             distinct meaning of crest  
and arms1 #bbh4             dress and1  
#bbe4             function of1 #baj4    
,greek and ,gothic1 #bcj seq4           
importance to art of1 #agc4             
natural types in1 #bbi4                 
power of1 #dg4             teaching of1 
#aga4             the heraldic          
ordinaries1 ,lect4 x41 #bce4            
their symbolism1 #bcf4             use  
in teaching colour1 #aad4      ,see s4  
,armorial bearings1 ,bend1 ,chevron1    
,chief1 ,crest1        ,cross1          
,drummond1 ,embassy1 ,fesse1 ,furres1   
,guillim1        ,gules1 ,gyron1        
,helmet1 ,ordinaries1 ,orle1            
,quartering1        ,red1 ,varie1       
,verrey4      ,hercules1 #ge4           
his death1 #aii4             lion's     
skin1 and1 #bbi4             the1 of    
,switzerland1 #aii4             type of 

what1 #bbd4      ,hereditary skill to be
 cherished1 #id4      ,heron1 the       
stilt-walker of birds1 #ahh4            
,hincksey1 author walking back from1    
#bag4      ,history1 art as an end to1  
#dg4            art and1 #bjg seq4      
how to read1 #bad4            probable  
view of the ,nineteenth ,century in1    
#ce4            should separate the     
ideal and the real1 #bae1 #baf4         
true1 defined1 #bad4            what it 
has been and should be1 #bjg4           
,historical painting1 its function1     
#baj4      ,holbein1 #bag4            as
 an engraver1 pref4 vii4                
study of face and limb by1 pref4 viii4  
,holy ,ghost1 the sin against the1 #afi4
      ,home1 the true1 for which to     
seek1 #bjf4      ,homer1 ,odyssey vi41  
quoted1 #gd1 #ge1 #gh4          passage 
on the ,sirens1 quoted1 #ajj4  ,see s4  
,iliad1             ,odyssey4           
,honour1 power of1 #bab4      ,horse's  
head1 gives rise to helmet-form1 #bbg4  
,htel de ,ville1 architecture of an1    

#bja4      ,hubert1 ,drer's ,st41 pref4 
viii4      ,hughes1 ,tom1 #fc4          
,human form and art4 ,see s4 ,anatomy1  
,nude4      ,humanity1 ,animalism1      
,divinity1 #cj4      ,hunt1 ,alfred1 his
 rainbow1 #abi n4      ,hunt1 ,holman1  
his ,light of the ,world1 #aae4         
,hyginus1 quoted on the ,halcyon1 #aij4 
,idealism1 #ie4      ,ideal1 the1 and   
real in history to be distinguished1    
#bae-baf4      ,iffley church1 author   
at1 #aah4      ,ignorance1 how far      
essential to art1 #hh4      ,iliad1     
moral of the1 #afh4      ,imagination1  
#ie4                condition of modern1
 #fi4                history of the1    
best part of man's history1 #bad4       
implied in consideration for others1    
#bg4                its precious value1 
#bae4                self-command and1  
#bf4      ,independence1 in pursuit of  
art and science1 #gf1 #gg4              
,indolence in art1 #ha4      ,insanity1 
author's use of the word1 #fi n4        
,inscription on house in ,alsace1 #hf4  

,insessores1 birds1 #ahg4               
,intemperance1 distinct from passion1   
#gb4      ,invention1 artistic1 excels  
science1 #adj4      ,inventions of the  
age1 #cc4              vanity of pride  
in1 #cd4      ,isis1 the1 #agi4         
,isle of ,dogs1 starvation at1 #fc4     
,jerome1 ,drer's ,st41 pref4 viii4      
,judgment1 a ,latin word1 #g4       in  
art1 how evidenced1 #dj4      1 ,greek1 
#aci4      s1 use of1 by ,aristotle1    
#bce4      ,kennington1 #bjh4           
,kensington1 art schools of1 #f4        
education at1 #bjb4                     
museum1 statue of dog in1 #hh4          
studies of the nude in1 #aff4           
,kindness1 derivation of the word1 #agj4
      ,king-fisher1 power of sight of1  
#aab4                ,see s4 ,halcyon4  
,knight1 armour of1 #bca-b4             
and ,death1 ,drer's1 pref4 viii4        
,knowing1 doing1 talking1 #b-d4         
,knowledge1 art the shadow of1 #fh4     
charity and1 #bi4              limits of
 human1 #hj4              perception1   

and their places in art1 #abf4          
,pope on1 quoted1 #bj4                  
science and1 #cg4              taught by
 science1 #h4              tenderness   
the basis of high1 #gg4                 
various kinds for various creatures1    
#ba-b4              venomous1 quoted by 
,bacon1 #bi4              what1 good for
 an artist1 #abc-d4      ,know thyself1 
a law to man1 #bb-c4        ,lago di    
,garda1 sunset at1 #abe4      ,lake     
,erie1 #gj4        ,ontario1 #gj4       
,landlord1 duty of a1 not to build      
cottages1 #bja4             speech of an
 ,english1 to author1 #bjj4             
the good they can do1 in keeping the    
land lovely1 #agi4      ,landscape1     
author's lectures on1 ,oxford1 #ahga1   
#fb4        choice of subject in1 #fi4  
,laros1 the bird1 #aib4      ,law1      
evidence of1 in nature1 #ahc4        the
 laws of life1 the true object of       
science1 #bjf4      ,leake's travels1   
#aii4      ,lectures4 ,see s4           
,landscape4      ,leonardo1 ,luini's    

master1 #df4             subtle         
delineation of1 #hg4      ,liberty1     
modern desire for1 #bjd4      ,life1    
duty of1 to give praise and deserve it1 
#bac4         its laws1 the true object 
of science1 #bjf4         its source is 
love1 #afh4         temperance of the   
artistic1 #ij4      ,light1 definition  
of1 #ig4        universal prayer for1   
#aae4           ideas of ,god as1 #aaf4 
,lindsay1 ,lord1 his ,christian         
,mythology1 author's early guide1 #df4  
the first to see the theology of art1   
ib4      ,linnus1 his classification of 
birds1 #ahh4      ,lion1 ,charlemagne's 
treaty and the ,scottish1 #bce4         
the1 #ahd4      ,lippi1 ,filippo1 his   
,st4 ,john ,baptist1 #bbi4              
,literature1 eagle-eyed1 #cf4           
expresses theology less perfectly than  
does art1 #df4               right aim  
of1 to exalt the fancy1 #c1 #bjf4       
sphere and meaning of1 #c1 #d4          
,livy1 ,book iii4 #bf1 quoted1 #bae1    
#bbb4      ,local associations1 to be   

cherished1 #id4      ,logic1 a method1  
not a power1 #e4      ,london1 ,academy 
of1 #ic4           art in1 #hb4         
as a man's nest1 #fa4           building
 over1 #gb4           traffic1 its      
aspect and meaning1 #ei-fj4             
water-supply1 #aed4      ,see s4        
,academy1 ,author1 ,british ,museum1    
,fields1 ,fog1 ,isle      of ,dogs1     
,ludgate ,hill1 ,noise1 ,paradise ,row1 
,parliament4      ,lord's ,prayer1 the1 
quoted1 #ge4      ,love1 all things     
founded on1 #afi4        derived from   
laus1 its meaning1 #bac4                
domestic1 its place and influence1 #aii4
        power of1 #bab4        the      
source of honour1 #bai4           life1 
#afh4      ,lucerne1 ,lake of1 #aii4    
,lucian1 on the ,halcyon1 #aid4         
,ludgate ,hill1 scene of traffic at1    
#ei4      ,luini1 his position          
vindicated by author1 #ahfa1 #df4       
use of red in his frescoes1 #bbf4       
,madonna1 ,the1 her power in ,christian 
chivalry1 #bai4                picture  

of1 bought by author1 its derivative    
beauty1                      #bah4      
,magpie1 the1 #ahh4      ,man1 his      
honour of ,god1 #ee4        his relation
 to things above and below him1 #cj4    
not a beast of prey1 #fc4         know  
thyself1 a law to1 #bb-c4       strength
 of mutual dependence amongst men1 #gg4 
what kind of1 occupied by art1 science1 
and literature1 #c4      ,mantegna1     
#aee4             as an engraver1 pref4 
vii4             evil influences of     
anatomy on1 pref4 viii4             his 
,angels1 #fb4             his ,vices1   
pref4 viii4      ,marble1 veins in1     
unexplained1 #acb4      ,margaret1      
,queen1 and the ,drummond arms1 #bce4   
,maskelyne1 ,prof41 of ,oxford1 #afj4   
,mathematics1 of little use to art1 #if4
      ,matterhorn1 #gj4      ,max       
,mller1 ,professor1 #c4      ,mechanism1
 modern1 #cd4      ,melancholia1        
,drer's1 pref4 viii4      ,memling's    
grace and severity1 #bah4               
,mephistopheles1 #fb4      ,michael     

,angelo1 #aee4                  dome of 
,florence1 and1 #ach4                   
effect of anatomy on1 #aei4             
puts orange for red1 #bbf4      ,middle 
,ages1 history of the1 real and ideal   
in1 #baf4      ,milton1 ,comus1 l4 #gjf1
 referred to1 #ge4           ,ode to the
 ,nativity1 quoted1 #aih4      ,mind1   
effect of various tempers of1 on art1   
#if4         its choice of subject more 
important than its methods1 #aa4        
safe conditions of1 #fh-i4              
various states of the1 described in the 
,bible1 #fi4      ,mineralogy1 author's 
early1 #c4      ,mitrailleuse1 the age  
of the1 #cd4      ,models1 may be too   
good1 #ij4      ,modern advance1        
probable view of1 by future generations1
 #cd-e4          greed for money1 #bjd4 
knowledge1 its pride and folly1 #gi4    
life1 what ideas obsolete in1 #abj4     
,see s4 ,age1 ,atheism1 ,education1     
,liberty4      ,modesty purifies art1   
#ha4           true1 in man1 #cj4       
,molire quoted1 #ajj4      ,money1      

modern greed for1 #bjd4      ,monte     
,rosa1 #gj4      ,moral temper1         
essential to appreciate art1 #afa4      
,morgarten1 the ,thermopyl of           
,switzerland1 #aii4       in art1 how   
evidenced1 #dj4                  of the 
faculties1 #i seq4      ,motives1 human1
 #bab4      ,mountains1 blueness of1 at 
,verona1 #abe4      ,mulready's studies 
of the nude1 #aff4      ,myths of       
,apollo and ,st4 ,george1 #aag4         
of ,autolycus and ,philammon1 #ahi4     
physical causes as affecting1 #aii4     
,mythology1 #ie4              of        
importance to art1 #agb4                
why a despised science1 #agc4           
,see s4 ,autolycus1 ,briareus1 ,ceyx1   
,hercules1 ,orpheus1        ,pelides1   
,philammon1 ,pleiades1 ,polygnotus1     
,poseidon1        ,tydides4             
,napoleon1 ,louis1 #bjh4                
,natatores1 7,birds71 #ahg4             
,national ,history1 scientific view of1 
#di1 #eg4            ,life1 sources of  
its power1 #aga4            symbols1    

more cruel than gentle types chosen for1
 #bbi4      ,nativity1 ,raphael's1      
offered to the ,english1 #bd4           
,nature1 art less beautiful than1 #agb4 
chance and design in1 #aeb seq4         
effect of1 on local art1 #ia4           
love of art involves greater love of1   
#da4           teaching of the power of 
the ,holy ,spirit in1 #afi4             
,natural ,history1 its true scope and   
triple division1 #ahj-a4                
what it should amount to1 #bjg4         
,philosophy1 modern study of1 #b4       
,nest1 bullfinch's1 #dh4                
halcyon's1 #aic4         true man's     
true1 #bjf4      ,niagara1 ,carlyle's   
,shooting1 #gj4      ,nightingale1 the  
,greek singing-bird1 #ahi4              
,nineteenth century1 history's probable 
view of the1 #ce4      ,nitro-glycerine1
 #cc4      ,noble and notable1 #ci4     
,noise of ,london traffic1 #fj-fa4      
,nomenclature1 scientific1 #ahf4        
,norman design1 #ib4      ,northern     
minds and ,southern art1 #afc4          

,notable and noble1 #ci4      1 #h seq41
 #be4      ,novelty of wisdom1 its      
danger1 #gd4      ,nude1 the1 degrades  
art1 #adi4             its limit1 ib4   
its study3--                  places    
where ,impracticable1 #afd4             
how far desirable in ,england1 #afd4    
result of1 in ,greece1 #afg4            
,nuremberg carving1 #hh4                
,oarsmanship1 art of1 #ab4              
,ochiltree1 ,edie4 ,see ,scott4      ta1
 ,mt41 the country round1 #aii4         
,ontario1 ,lake1 #gj4      ,optics and  
art1 #if4      ,orange and purple1 use  
of in art1 #bbf4      ,ordinaries1 the  
heraldic1 ,lect4 x42 #bcd n41 #bce4     
,organic form and art1 #adi seq4        
,orion1 #bh4      ,orissa1 #ce-f4       
,orle1 the heraldic1 #bce4              
,originality in art1 its value1 #cb4    
how estimated in the great and base     
schools1 ib4               modern demand
 for it in art and science1 #cc4        
,ornithology1 #dg1 #dh4                 
further discoveries impossible in1 #ff4 

modern work in1 #aef-g4                 
modern classification criticised1       
#ahg-h4      ,orpheus1 #aea4            
,oxford1 approach to1 #aai4             
,brasenose ,lane1 filth of1 #aai4       
charm and power of its buildings1 ,lect4
 v41 end4           colleges1 style of  
their buildings1 #bci4           disuse 
of academicals at1 its meaning1 #bba4   
education1 #agg1 #bcg4           idea of
 its possible beauty1 #agi4             
improvements at1 #aah4 ,lect4 v41 end4  
new church at1 #fc4           motto of1 
#abj4           printsellers' windows   
at1 art in the1 #bag4           object  
of study at1 #ie4           its         
teaching1 ancient idea of1 #aba4        
undergraduates and author's lectures1   
#a4        ,padua1 ,eccelin of1 #ce4    
,painting on glass1 a lost art1 #cc4    
perfection of1 reached only in ,venice1 
#hb4 ,see s4 ,art1                      
,drawing4      ,pale1 the heraldic1     
#bce4      ,pall ,mall ,gazette1 7,jan4 
#bi1 #ahfi71 quoted1 #fc4      ,paradise

 ,row1 #bjf4      ,paris1 art in1 #hb4  
,parliament1 its work done by night1    
#ajd4               the little good done
 by1 #agi4      ---- ,houses of1 their  
affected architecture1 #bja4            
,parrot1 the climber1 #ahh4             
,passion1 not full of intemperance1 #gb4
      ,passions1 the1 controlled in     
dancing1 #ac4                 ruled by  
,sophia 7a71 #ai4      ,patronymics1    
meaning of ,greek1 #afh4      ,pausanias
 quoted1 #aii4      ,peace1 man's search
 for1 #bjd4          how to be found1   
#bje4      ,peacocks and pheasants1     
,darwinian connection of1 #ahe4         
,pelides1 #afh4      ,perception1       
knowledge interferes with artistic1     
#abf4      ,permian system of geology1  
#afj4      ,persia1 famine in1 #cf4     
,persian idea of ,god as ,light1 #aaf4  
,peru1 #hc4      ,pheasant1 the         
scratcher of birds1 #ahh4            and
 peacock1 ,darwinian connection of1     
#ahe4      ,phidias' ,theseus1 #ci4     
,philammon1 #aea4              myth of  

,philammon and ,autolycus1 #ahi4        
,phillips1 ,prof41 of ,oxford1 #afj4    
,philophronesia1 #h4      ,philosophia1 
#h4      ,photography1 value of1 #adg4  
1 #h1 #be4             different kinds  
of1 #bc4      ,physical circumstances1  
effect of1 on myths1 #aii4              
,physiology and art1 #bjg4              
its true meaning1 #bjg4                 
,physiologist1 on sight1 #ii4           
,plagues of ,egypt1 #aah1 #agj4         
,plants1 instinct of1 #ig4      ,plato1 
his definition of sight1 quoted1 #ig4   
,pleasure1 in great and small1 rude and 
fine art1 #hb4             the greatest1
 given by inferior art1 #hb4            
decrease of1 with increase of years1    
#hb4      ,pleiades1 #bh4               
,plutarch1 on the ,halcyon1 quoted1     
#aic4      ,plymouth1 ,turner's drawing 
of1 #abe4      ,piacenza1 the orle of1  
#bce4      ,pictures1 the reality must  
be better than the semblance1 #afe4     
,pietra dura ornament1 #hh4      ,pile1 
the heraldic1 #bce4      ,pindar's      

,coronis 7,pyth4 iii4 #ad1 #dh71 #ahi4  
,pines1 ,scotch and stone1 confused by  
,turner1 #acc4      ,pisa1 coin of1     
#aeg4         cruelty of1 and ,dante1   
#ce4      ,pstum1 plain of1 #g1 #be4    
,poetry1 its essence1 #ajj4      1 #gc4 
,polygnotus1 porch of1 #aai4      ,pool 
of water at ,iffley1 #aah4      ,pope1  
quoted3--      ,essay on ,criticism1 ,a 
little knowledge1 c41 #bj4      ,homer1 
,oh stay1 oh pride of ,greece1 ,ulysses1
 stay1 #gd4      ,poseidon1 #be4        
,possibility1 ancient recognition of    
human and divine1 #aie4      ,pottery1  
not made by rule1 #aci4      ,power1    
constructive and negative1 #bj4         
,praise1 life's duty is to give and     
deserve it1 #bac4           love of1 in 
man1 #bab4           what kind of1 to   
compete for1 #bab4      ,prayer1        
efficacy of1 #fg4      ,prey1 use of    
sight to beasts of1 #aaj4      ,prodicus
 7of ,xenophon71 #dj4      ,proprietor1 
speech of ,english landed1 to author1   
#bjj4      ,protection1 heraldic sign   

of1 #bce 7#aj74      ,prout1 growth of  
his power1 #hf1 #hg4      ,provincial   
art1 #ia1 #ib4      ,prudence1 a lower  
virtue1 #bc4             contrasted with
 a1 #bf4      ,purification1 the most   
sacred art1 #aah4      ,purity1         
physical1 #aag4      ,purple v4 orange1 
use of1 in art1 #bbf4                   
,quartering1 heraldic1 #bcf4            
,quoits1 disk and orle1 #bce4           
,radclyffe1 the1 at ,oxford1 #aai4      
,railway1 power of sight on the1 #aaa4  
,rainbows1 drawings of1 #abi n4         
,raphael1 #bah4            substitutes  
orange for red1 #bbf4            works  
of3--               ,nativity of1       
offered to the ,english1 #bd4           
,theologia1 or ,dispute of the          
,sacrament1 #df4      ,raptores1 ,birds1
 #ahg4      ,rasores1 ,birds1 #ahg4     
,rattlesnake1 eyes of the1 #aji4        
,real and ideal in history to be        
distinguished1 #bae-baf4      ,reason   
and conceptions1 #aa4      ,red1 or     
gules1 its history and universal use1   

#bbf4      ,reed1 ,mr41 of ,doncaster1  
bird-stuffer1 #agd4      ,refinement1   
loss of pleasure with increase of1 #hb  
seq4      ,regillus1 battle of ,lake1   
#bae4      ,religionists1 errors of1    
#gi4      ,renaissance1 ,italian1 #hf4  
the so-called1 #bcf4      ,reu1 chapel  
of1 #ib4      ,reynolds 7,sir ,j471     
#bah4            anatomy and1 #aed4     
child and dog1 by1 #aea-d4              
speed of1 #aci4      ,richard ,cur de   
,lion1 #bdj4      ,ridiculous1 the1 #af4
      ,ritualism1 #gc4      ,rivalry1   
modern1 and ,venetian art1 #hb4         
,robson1 #da4      ,roland1 #bdj4       
,roman history1 its lessons1 #bae4      
,rome1 fresco painting of1 #bbf4        
power of domestic life in1 #agj4        
,rouen ,cathedral1 #ib4      ,rowing1   
art of1 #ab4      ,royal ,academy1      
failure of power at exhibition #ahga1   
#hi4                 vulgar sending of  
portraits to the1 #aea4      ,royal     
,society1 #f4      ,rubens' ,rainbow1   
#abi n4      ,rubric1 #bbf4             

,sacrament1 dispute of the1 by ,raphael1
 #df4      ,saint ,andrew's ,cross1     
#bce4         ,george and the ,dragon1  
#aag4         ,hilaire and natural      
history1 #aeh4         ,mark's1 ,venice1
 doves at1 #fb4         ,michael 7coin  
stamped with71 #aag4         ,paul's    
,cathedral1 worship in1 #fa4            
,saltire1 the heraldic1 #bce4           
,sanitas1 #fh4      ,scaligers1 arms of 
the1 #bce4      ,scansores 7,birds71    
#ahg4      ,scholarship1 the aim of     
true1 #g4      ,schools of art1 should  
encourage constructive power1 #bj4      
,science      aim of right1 #c4         
ancient and modern men of1 #ajj4        
aspects of modern1 #fe4      art and3-- 
artistic invention unaided by1 #adj4    
together give complete truth1 #eh4 ,see 
s4 ,art1 ,artist4      conduct1 the     
science of1 the one s4 essential to art1
 #afa4      defined1 #cg1 #ch1 #fe4     
discovery and1 their relations1 #ff4    
eagle-eyed1 #cf4      function of1 to   
explain the laws of life1 #bjf4      man

 in relation to1 #bb4      modesty of1  
in wise appreciation1 ,lect4 ,,iv41 #gb1
 #agb4      nomenclature and1 #if1 #ahf4
      originality in1 demanded1 #cc4    
power of1 deadly1 #bj4      progress in1
 its vanity1 #cc4 ,see below s4 ,vanity4
      pursuit of3--        selfish and  
unselfish1 #cc4        tone of right1   
#gf4      rank and classification of    
different1 #fg1 #ahf-hg4      theology  
and1 #fg4      vanity in1 its effect1   
#cc1 #gd4      wisdom and folly in1 #bj 
seq4            in unselfishness1 #gf1  
#agb4        ,see s4 ,anatomy1          
,astronomy1 ,chemistry1 ,clouds1        
,cuvier1 ,discovery1 ,folly1 ,heat1     
,invention1        ,natural ,history4   
,scotland1 the ,scottish ,lion1 #bce4   
treaty with ,charlemagne1 ib4           
,scott1 ,sir ,w41 ,antiquary 7,edie     
,ochiltree71 referred to1 #bbb4         
,sculpture at ,abbeville1 #ia4          
perfection in1 reached only in ,athens  
and ,etruria1 #hb4      ,scutum1        
derivatives of1 #bcj4      ,sea-mew1    

the1 ,greek myth of1 #aij4              
,self-command and imagination1 #bf4     
,self-interest1 as a motive-power in    
revolution1 #bjh-i4      ,selfishness1  
how far unconquerable1 #ca-b4           
,self-satisfaction in one's own work1   
right and wrong1 #ha4      ,semmes1     
,captain1 and the ,alabama1 #bd4        
,sense1 faculty of1 #h4      ,serpent1  
characteristics of a1 #ajb2 its wisdom1 
ib4            anecdote of1 and author1 
#aja4      ,servius1 quoted on the      
,halcyon1 #aia4      ,shadow1 folly     
looks at her own1 #dj4                  
,shakespeare1 on mimetic art1 #ci4      
his chemical1 anatomical1 substantial1  
and ideal                    aspects1   
#dd4                as a subject of     
science and art1 ib4      ,quoted3--    
,hamlet iii4 #a4 ,arms against a sea of 
troubles1 #bjd4              v4 #a4     
,here hung those lips that ,i have      
kissed1 c41 #aeg4        ,macbeth i4 #c4
 ,the earth hath bubbles1 c41 #acg4     
,mids4 ,night's ,dream v4 i4  ,the best 

in this kind are but          shadows1  
#ci1 #adh4      ,shell1 meaning of the  
word1 #bcj4      ,shepherd boy1 carving 
dog1 #hh4      ,shield1 forms and use of
 a1 #bbd4           ,greek and ,gothic1 
#bcj4           meaning of1 in heraldry 
and etymology1 #bcj4      ,sight1       
accurate1 to be acquired1 #aab4         
author's controversy with physiologist  
on1 #ii4          author's sight tired1 
#aab4          clear1 so far as kind1   
ib4          growth of educated1 #agf4  
index to nobility of nature1 #aaj4      
kinds of1 physical and moral1 #ajh4     
mathematical power of1 #aaa4            
not mechanical1 but spiritual1 #ii4     
noble and ignoble1 #abb4                
,plato's definition of1 #ig4            
power of metric1 #aab4          source  
of all knowledge in art1 #agb4          
spiritual1 #aaa4          weariness1    
effect of1 on metric power of1 #aab4    
,silurian system of geology1 #afj4      
,simonides quoted on the ,halcyon1 #aib4
                 the wisdom of calm1    

#aii4      ,simplicity in estimate of   
one's own work1 #ec4              quoted
 also1 #aii4      ,sin1 the             
unforgiveable1 #afi4      ,sirens1      
knowledge of the1 #ajj1 #ajh1 #afh4     
song of1 #gd1 #ge1 #gh4      ,skiddaw1  
#aii4      ,skill1 tenderness1 the basis
 of high1 #gg4      ,skull1 man's1 and  
an eagle's1 #aee seq4      ,skye-terrier
 painted by ,reynolds1 #aea4            
,sky-lark1 the1 #ef4      ,social       
,science meeting 7#ahfi-gj71 #fc4       
,socrates in ,lucian's dialogue on the  
,halcyon1 #aid4      ,solar force1 #ajj4
      ,sophia1 or a1 ,lect4 ,i4         
,aristotle's definition of1 #i seq41    
#ij4          eternal and universal1    
#bc4          faculty of recognition and
 choice1 #cj4          higher forms of1 
#bg-bh4          modesty of true1       
#cj-ca4          prudence1 and          
contrasted1 #bf4          ruling spirit1
 #bj4          sway over wise art and   
science1 #cg4          unselfishness of 
true1 #bi1 #ca4      ,sophocles'        

,trachini1 #aii4      1 #fh1 #ij4       
,sovereign1 ,english 7coin7 and ,st4    
,george1 #aag4            heraldry of   
art 7#ahgj-ahhj71 #bce4      ,spain1    
chivalry of1 led by the ,cid1 #bdj4     
,sparrow1 the percher of birds1 #ahh4   
,spear1 proper form of a1 #bbd4         
,species1 modern theories on1 #cd4      
,sport1 ,english ideas of1 #agh4        
,sport1 continued3--          love of   
killing birds1 its meaning1 #age4       
,squire1 derivation of word1 #bcj4      
,stars1 their value to artist and       
scientist1 #abd4      ,star-gazing1     
probable conditions of1 by two girls1   
#bf4      ,stones of ,venice1 statement 
as to anatomy in1 withdrawn1 #aei4      
,strasburg1 architecture of1 #bjb4      
art in1 #hb4              drawing of    
house in1 by ,prout1 #hf4      ,street1 
,e41 #ej4      ,strozzi1 child and dog1 
,titian's1 #aea4      ,subjects in art1 
natural subjects of national art1 #ie4  
,success1 one's own1 and others'1 #ca4  
effect of1 on author1 #ca4      ,sun1   

power of the1 #ajj4        modern       
efforts to dispense with1 #ajd4         
should rule the day1 #ajd4      ,swine1 
symbol of the herd of1 #fi4      ,swiss 
chlet1 education needed to build1 #bjb4 
,switzerland and ,greece1 two districts 
of1 compared1 #aii4               the   
,heracles of1 #aii4               the   
history of1 its lessons1 #ba4           
,sympathy1 essential to learning1 #bcf4 
,tabernacle1 ,jewish1 #bbf4             
,talking1 doing1 and knowing1 #b1 #c1   
#d4      1 #h4      ,tees1 ,turner's    
,greta and1 #gj4      ,telescopes and   
eyes1 #ii4      ,tell1 ,william1        
legendary1 #bae4      ,temper1 trials   
of1 #fi4           success1 influence   
on1 #ca4      ,temperance1 true1 in     
recognition of work1 #ha4               
,temptations of knowledge1 #gi4         
,ulysses1 their meanings1 #gd-e4        
,tenderness the basis of skill and      
knowledge1 #gg4      ,thales1 #bc4      
,theologia1 ,raphael's1 #df4            
,theology1 more perfectly expressed by  

art than by literature1 #df4            
,theology1 of art1 only recently        
recognised1 #df4            of more     
value than anatomy to art1 #afh4        
science and1 #fg4      ,thermopyl1 blue 
waters of1 #aii4      ,theseus1         
,phidias'1 #ci4      ,thirst1 man's     
best1 for what1 #bab4      ,thought1 the
 peace of beautiful1 #bje4              
right1 the end of literature1 #c1 #bjf4 
,throne1 a ,greek word1 #g4             
,titian1 use of red by1 #bbf4           
,titian's ,strozzi ,princess and dog1   
#aea4      ,titmouse1 a new specimen of 
the1 #ff4      ,tintoret1 use of red by1
 #bbf4             speed of1 #aci4      
,toy1 useless1 at ,crystal ,palace1 #ic4
      ,trachini1 ,sophocles'1 #aij4     
,trachis1 king of1 #aij4      ,tressure1
 the heraldic1 #bce4      ,truth1       
completely given by science and art     
together1 #eh4      ,turner1 ,j4 ,w4    
,m41 drawing of seen and known facts by1
 #abe4                     early        
patronage of1 #aii4                     

pines1 drawing of ,scotch and stone1    
confused1 #acc4                         
truth of1 proved by author1 #abh4       
works of--                              
engraving of a cloud 7,educ4 ,series1 #h
 ,e471 #g4                       ,greta 
and ,tees1 its quietude1 #fi-gj4        
,val4 ,plymouth1 drawing of 7anecdote71 
#abe4                       ,valley of  
,chamouni1 #adg4      ,tydides1 #afh4   
,tyndall1 ,prof41 ,palontology1 quoted1 
#ajj4        ,ulysses of ,dante and of  
,homer1 #gd-e4      ,unity of feeling in
 great art1 #ic4      ,university1 aim  
of its teaching1 #d1 #e1 #f1 #ah4       
definition of a1 #e4               its  
function only to examine6 #abj4         
,see s4 ,cambridge1 ,oxford4            
,unselfishness in art1 #ca4             
of high forms of faculties1 #bi4        
,unwise1 man meant to be1 #ca4          
,van ,eyck's grace and severity1 #bah4  
,vases1 ,greek1 #aci4      ,vatican1    
frescoes1 #bbf4      ,varie1 meaning of 
7heraldic71 #bbe4      ,venetian glass1 

#aci4      ,venice1 ,londoners' regret  
at its quietude1 #fj4           perfect 
art in1 #hb4           sunset at1 #abe4 
,veronese1 ,p41 animals introduced by1  
#aea4             his ,solomon and the  
,queen of ,sheba1 #aea4      ,verrey1   
meaning of1 #bbe4      ,villas1 ,london1
 #gb4      ,virgil1 ,servius quoted on1 
#aia4           ,georgics1 i4 #cii4     
,virgin1 pictures of the1 bought as     
furniture by ,oxford undergraduates1    
#bdj4      ,votes1 modern desire for1   
#bjd4        ,wallingford1 incident at1 
seen by author1 #bdj4      ,water-colour
 exhibition1 author at1 #da4            
,wealth1 results of modern1 #fc4        
,westminster1 ,victoria ,tower at1 #acj4
      ,windgelle1 #aii4      ,winds1    
,halcyone1 daughter of the1 #aih4       
,wisdom1 #h4           art and1 ,lect4  
,i4           folly and1 in science1 #bj
 seq4           its view of modern life1
 #fd4           novelty of1 its danger1 
#gd4      ,wit1 #h4      ,wood-carving  
and architecture1 #hf4                of

 dog1 by shepherd boy1 #hh4             
,wordsworth1 7,poems of sentiment and   
reflection1 ,daisy1 #dj72      quoted1  
#ea4      ,work1 the morning1 the best  
time for1 #ajd4      ,workmen1 feeling  
of1 in great art1 #ic4      ,wrangler1  
value of art to a senior1 #if4          
,wyatt1 printseller at ,oxford1 #bag4   
,xenophon's ,memorabilia1 ,,ii4 i4 #bb1 
quoted1 #dj4        ,york1 #ic4         
,minster1 #hb4      ,zeus1 #be1 #aij4   
,zoroaster1 #aej4                       
,printed by ,,ballantyne1 ,,hanson      
,,co4                    ,edinburgh     
,london                 99       99     
99       99       99                    
,transcriber's note3         ,the       
punctuation in the index was            
inconsistent4 ,usage of '1' and '4' has 
been regularized1 with final stops after
 each entry supplied where     missing4 
,the index also has several errors of   
alphabetizing1 with pi entries     and  
,pstum following pl entries4  ,the      
printed order has     been retained4    

,as noted by ,ruskin in the text1 the   
references in the index refer to the    
numbered paragraphs1 not page numbers4  
,obvious printer's errors and omissions 
have been silently corrected4       ,any
 variants of spelling and use of        
hyphenation are preserved except     as 
noted below4       ,corrections3        
p4 #gh   hie_/eight                     
,corrected4        p4 #bfi ,bee1 wisdom 
of #aic-aif4    ,added1 as the ,bee is  
the                                     
subject across those                    
paragraphs4        p4 #bhg ,oxford 444  
its teaching1       ,added1 based on the
 text4        ,in the ,index1 any       
references to the ,preface are          
incorrect1 being      misnumbered1      
generally1 by two pages 7e4g4 p4 viii   
p4 vi74 ,the      index is retained as  
printed4