r until they can be examined in
fuller sequence. The present volume, therefore, closes with the Sixth
Lecture, and that on Christian art will be given as the first of the
published course on Florentine Sculpture.

[38] These plates of coins are given for future reference and
examination, not merely for the use made of them in this place. The
Lacinian Hera, if a coin could be found unworn in surface, would be very
noble; her hair is thrown free because she is the goddess of the cape of
storms, though in her temple, there, the wind never moved the ashes on
its altar. (Livy, xxiv. 3.)

[39] 'Ancient Cities and Kings,' Plate IV., No. 20.

[40] The siege of Paris, at the time of the delivery of this Lecture,
was in one of its most destructive phases.

LECTURE VII.

THE RELATION BETWEEN MICHAEL ANGELO AND TINTORET.[41]

209. In preceding lectures on sculpture I have included references to
the art of painting, so far as it proposes to itself the same object as
sculpture, (idealization of form); and I have chosen for the subject of
our closing inquiry, the works of the two masters who accomplished or
implied the unity of these arts. Tintoret entirely conceives his figures
as solid statues: sees them in his mind on every side; detaches each
from the other by imagined air and light; and foreshortens, interposes,
or involves them as if they were pieces of clay in his hand. On the
contrary, Michael Angelo conceives his sculpture partly as if it were
painted; and using (as I told you formerly) his pen like a chisel, uses
also his chisel like a pencil; is sometimes as picturesque as Rembrandt,
and sometimes as soft as Correggio.

It is of him chiefly that I shall speak to-day; both because it is part
of my duty to the strangers here present to indicate for them some of
the points of interest in the drawings forming part of the University
collections; but still more, because I must not allow the second year of
my professorship to close, without some statement of the mode in which
those collections may be useful or dangerous to my pupils. They seem at
present little likely to be either; for since I entered on my duties, no
student has ever asked me a single question respecting these drawings,
or, so far as I could see, taken the slightest interest in them.

210. There are several causes for this which might be obviated--there is
one which cannot be. The collection, as exhibited at present, includes a
number of copies w