gnette to "Jorasse," in Rogers's Italy; at least it would be so if
it could be seen beside a real group of Swiss girls. The poems of
Rogers, compared with those of Crabbe, are admirable instances of
the healthiest Purism and healthiest Naturalism in poetry. The first
great Naturalists of Christian art were Orcagna and Giotto.

[65] The reader will understand this in a moment by glancing at Plate
XX., the last in this volume, where the series 1 to 12 represents
the change in one kind of leaf, from the Byzantine to the perfect
Gothic.

[66] The best art either represents the facts of its own day, or, if
facts of the past, expresses them with accessories of the time in
which the work was done. All good art, representing past events, is
therefore full of the most frank anachronism, and always _ought_ to
be. No painter has any business to be an antiquarian. We do not want
his impressions or suppositions respecting things that are past. We
want his clear assertions respecting things present.

[67] See the account of the meeting at Talla Linns, in 1682, given
in the fourth chapter of the "Heart of Midlothian." At length they
arrived at the conclusion that "they who owned (or allowed) such
names as Monday, Tuesday, January, February, and so forth, served
themselves heirs to the same if not greater punishment than had been
denounced against the idolaters of old."

[68] See the beautiful description of Florence in Elizabeth Browning's
"Casa Guidi Windows," which is not only a noble poem, but the only
book I have seen which, favoring the Liberal cause in Italy, gives a
just account of the incapacities of the modern Italian.

[69] Salisbury spire is only a tower with a polygonal gabled roof of
stone, and so also the celebrated spires of Caen and Coutances.

[70] Or by the shaded portions of Fig. XXIX. Vol. I.

[71] The reader is not to suppose that Greek architecture had always,
or often, flat ceilings, because I call its lintel the roof proper.
He must remember I always use these terms of the first simple
arrangements of materials that bridge a space; bringing in the real
roof afterwards, if I can. In the case of Greek temples it would be
vain to refer their structure to the real roof, for many were
hypaethral, and without a roof at all. I am unfortunately more
ignorant of Egyptian roofing than ev