ence of History, a science of Grammar, a science
of Music, and a science of Painting; and all these are quite beyond
comparison higher fields for human intellect, and require accuracies of
intenser observation, than either chemistry, electricity, or geology.

[AK] The Cumaean Sibyl, Plate VII., Lecture VI.

[AL] Lecture III., Sec. 101.

[AM] I read somewhere, lately, a new and very ingenious theory about the
attitude of the Apollo Belvedere, proving, to the author's satisfaction,
that the received notion about watching the arrow was all a mistake. The
paper proved, at all events, one thing--namely, the statement in the
text. For an attitude which has been always hitherto taken to mean one
thing, and is plausibly asserted now to mean another, must be in itself
unintelligible.

[AN] It may be asked, why not corn also? Because that belongs to Ceres,
who is equally one of the great gods.

[AO] "Aratra Pentelici," Sec. 181.

[AP] Or inventive! See Woltmann, p. 267. "The shinbone, or the lower
part of the arm, exhibits only one bone, while the upper arm and thigh
are often allowed the luxury of two!"

[AQ] See ante, Sec. 141. The "preface" is that to "The Eagle's Nest."

[AR] The drawings were made by Turner, and are now among the chief
treasures of the Oxford Galleries. I ought to add some notice of Hogarth
to this lecture in the Appendix; but fear I shall have no time: besides,
though I have profound respect for Hogarth, as, in literature, I have
for Fielding, I can't criticise them, because I know nothing of their
subjects.

LECTURE VI.

DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING.

181. In the first of these lectures, I stated to you their subject, as
the investigation of the engraved work of a group of men, to whom
engraving, as a means of popular address, was above all precious,
because their art was distinctively didactic.

Some of my hearers must be aware that, of late years, the assertion that
art should be didactic has been clamorously and violently derided by the
countless crowd of artists who have nothing to represent, and of writers
who have nothing to say; and that the contrary assertion--that art
consists only in pretty colors and fine words,--is accepted, readily
enough, by a public which rarely pauses to look at a picture with
attention, or read a sentence with understanding.

182. Gentlemen, believe me, there never was any great advancing art yet,
nor