sting in the
world; and it is, I believe, on the eve of final destruction; for it is
said that the angle of the great council-chamber is soon to be rebuilt;
and that process will involve the destruction of the picture by removal,
and, far more, by repainting. I had thought of making some effort to
save it by an appeal in London to persons generally interested in the
arts; but the recent desolation of Paris has familiarized us with
destruction, and I have no doubt the answer to me would be, that Venice
must take care of her own. But remember, at least, that I have borne
witness to you to-day of the treasures that we forget, while we amuse
ourselves with the poor toys, and the petty or vile arts, of our own
time.

The years of that time have perhaps come, when we are to be taught to
look no more to the dreams of painters, either for knowledge of
Judgment, or of Paradise. The anger of Heaven will not longer, I think,
be mocked for our amusement; and perhaps its love may not always be
despised by our pride. Believe me, all the arts, and all the treasures
of men, are fulfilled and preserved to them only, so far as they have
chosen first, with their hearts, not the curse of God, but His blessing.
Our Earth is now incumbered with ruin, our Heaven is clouded by Death.
May we not wisely judge ourselves in some things now, instead of amusing
ourselves with the painting of judgments to come?

FOOTNOTES:

[41] NOTE.--The separate edition of this lecture was prefaced by the
following note:--

"I have printed this Lecture separately, that strangers visiting the
Galleries may be able to use it for reference to the drawings. But they
must observe that its business is only to point out what is to be blamed
in Michael Angelo, and that it assumes the facts of his power to be
generally known. Mr. Tyrwhitt's statement of these, in his 'Lectures on
Christian Art,' will put the reader into possession of all that may
justly be alleged in honor of him.

"_Corpus Christi College, 1st May, 1872._"

[42] If you like to have it with perfect exactitude, recollect that
Bellini died at true ninety,--Tintoret at eighty-two; that Bellini's
death was four years before Raphael's, and that Tintoret was born four
years before Bellini's death.

[43] Julian, rather. _See_ Mr. Tyrwhitt's notice of the lately
discovered error, in his _Lectures on Christian Art_.

[44] From the invaluable series of documents relating to Titian and his
times, extricate