St。13。Theseus：arecliningstatuefromtheeasternpedimentoftheParthenon，nowintheBritishMuseum。
　　TheSonofPriam：probablytheParisoftheAeginetanSculpturesnowintheGlyptothekatMunich，whichiskneelinganddrawingthebow。
　　Apollo：”AwordonthelineaboutApollothesnake-slayer，whichmyfriendProfessorColvincondemns，believingthattheGodoftheBelvederegraspsnobow，buttheAegis，asdescribedinthe15thIliad。Surelythetextrepresentsthatportentousobjectqou^rin，deinh/n，a’mfida/seian，a’riprepe/’——marmare/hn
　　as`shakenviolently’or`heldimmovably’bybothhands，notasingleone，andthatthelefthand：——
　　a’lla\su/g’e’nxei/ressila/b’ai’gi/daqusano/essanth\nma/l’e’pi/ssei/wnfobe/einh`/rwas’Axaiou/s。
　　andsoon，th\na’/r’o`/g’e’nxei/ressine’/xwn——
　　xersi\ne’/x’a’tre/ma，k。t。l。Moreover，whileheshookithe`shoutedenormously’，sei^s’，e’pi\d’au’to\sau’/sema/lame/ga，whichthestatuedoesnot。PresentlywhenTeukros，ontheotherside，pliesthebow，itisto/j`one’/xwne’nxeiri\pali/ntonon。Besides，bytheactofdischarginganarrow，therightarmandhandarethrownbackaswesee，——aquitegratuitousandtheatricaldisplayinthecasesupposed。TheconjectureofFlaxmanthatthestatuewassuggestedbythebronzeApolloAlexikakosofKalamis，mentionedbyPausanias，remainsprobable；thoughthe`hardness’
　　whichCiceroconsiderstodistinguishtheartist’sworkmanshipfromthatofMuronisnotbyanymeansapparentinourmarblecopy，ifitbeone——Feb。16，1880。”——ThePoet’sNote。
　　Niobe：groupofancientsculpture，inthegalleryoftheUffiziPalace，inFlorence，representingNiobemourningthedeathofherchildren。
　　theRacers’frieze：thefriezeoftheParthenonisperhapsmeant，thereferencebeingtotheFULNESSOFLIFEexhibitedbythemenandhorses。
　　thedyingAlexander：”`TheDyingAlexander’，atFlorence。
　　Thiswell-known，beautiful，anddeeplyaffectinghead，whichbearsastrongresemblancetotheAlexanderHeliosoftheCapitol——especiallyinthetreatmentofthehair——hasbeencalledbyOttfriedMuellerariddleofarchaeology。ItisnodoubtaGreekoriginal，andoneofthemostinterestingremainsofancientart，butwecannottakeitforgrantedthatitisintendedforAlexander，andstilllessthatitistheworkofLysippus。
　　Itisdifficulttoimaginethatthefavoredanddevotedartistofthemightyconquerorwouldchoosetoportrayhisgreatmasterinapainfulandimpotentstrugglewithdiseaseanddeath。
　　ThisconsiderationmakesitextremelyimprobablethatitwasexecutedduringthelifetimeofAlexander，andthewholecharacterofthework，inwhichfreepathosistheprevailingelement，anditscloseresemblanceinstyletotheheadsoncoinsoftheperiodoftheDiadochi，pointtoalateragethanthatofLysippus。”——
　　`GreekandRomanSculpture’byWalterCoplandPerry。London，1882。
　　p。484。
　　14。
　　So，testingyourweaknessbytheirstrength，Yourmeagrecharmsbytheirroundedbeauty，MeasuredbyArtinyourbreadthandlength，Youlearned——tosubmitisamortal’sduty——
　　WhenIsay”you”，’tisthecommonsoul，Thecollective，Imean：theraceofManThatreceiveslifeinpartstoliveinawhole，AndgrowhereaccordingtoGod’sclearplan——
　　St。14。common：general。
　　15。
　　Growthcamewhen，lookingyourlastonthemall，YouturnedyoureyesinwardlyonefinedayAndcriedwithastart——WhatifwesosmallBegreaterandgranderthewhilethanthey?
　　Aretheyperfectoflineament，perfectofstature?
　　Inboth，ofsuchlowertypesarewePreciselybecauseofourwidernature；
　　Fortime，theirs——ours，foreternity。
　　16。
　　To-day’sbriefpassionlimitstheirrange；
　　Itseetheswiththemorrowforusandmore。
　　Theyareperfect——howelse?theyshallneverchange：
　　Wearefaulty——whynot?wehavetimeinstore。
　　TheArtificer’shandisnotarrestedWithus；wearerough-hewn，nowisepolished。
　　Theystandforourcopy，and，onceinvestedWithalltheycanteach，weshallseethemabolished。
　　17。
　　’Tisalife-longtoiltillourlumpbeleaven——
　　Thebetter！What’scometoperfectionperishes。
　　Thingslearnedonearth，weshallpractiseinheaven：
　　Worksdoneleastrapidly，Artmostcherishes。
　　Thyselfshaltaffordtheexample，Giotto！
　　Thyonework，nottodecreaseordiminish，Doneatastroke，wasjustwasitnot?”O！”
　　ThygreatCampanileisstilltofinish——
　　St。15-17。”GreekarthadITSlessontoteach，andittaughtit。
　　Itreassertedthedignityofthehumanform。Itre-statedTHETRUTH
　　ofthesoulwhichinformsthebody，andthebodywhichexpressesit。
　　Mensawinitscreationstheirownqualitiescarriedtoperfection，andwerecontenttoknowthatsuchperfectionwaspossibleandtorenouncethehopeofattainingit。Inthisexperiencethefirststagewasprogress，thesecondwasstagnation。
　　Progressbeganagainwhenmenlookedontheseimagesofthemselvesandsaid：`wearenotinferiortothese。Wearegreaterthanthey。
　　Forwhathascometoperfectionperishes，andweareimperfectbecauseeternityisbeforeus；becauseweweremadetoGROW。’”——Mrs。Orr’sHandbooktotheWorksofR。B。
　　St。17。”O！”：BonifaceVIII。notBenedictIX。，asVasarihasit，wishingtoemployGiotto，sentacourtiertoobtainsomeproofofhisskill。ThelatterrequestingadrawingtosendtohisHoliness，Giottotookasheetofpaperandapencildippedinredcolor；
　　thenrestinghiselbowonhisside，toformacompass，withoneturnofhishandhedrewacirclesoperfectandexact，thatitwasamarveltobehold。Thisdone，heturnedtothecourtier，saying，”Hereisyourdrawing。”ThecourtierseemstohavethoughtthatGiottowasfoolinghim；butthepopewaseasilyconvinced，bytheroundnessoftheO，ofthegreatnessofGiotto’sskill。
　　Thisincidentgaverisetotheproverb，”Tuseipiutondochel’O
　　diGiotto”，thepointofwhichliesintheword`tondo’，signifyingslownessofintellect，aswellasacircle——
　　AdaptedfromVasariandHeaton。
　　18。
　　Isittruethatwearenow，andshallbehereafter，Butwhatandwheredependonlife’sminute?
　　HailsheavenlycheerorinfernallaughterOurfirststepoutofthegulforinit?
　　ShallMan，suchstepwithinhisendeavor，Man’sface，havenomoreplayandactionThanjoywhichiscrystallizedforever，Orgrief，aneternalpetrifaction?——
　　St。18。life’sminute：life’sshortspan。
　　19。
　　OnwhichIconclude，thattheearlypainters，Tocriesof”GreekArtandwhatmorewishyou?”——
　　Replied，”Tobecomenowself-acquainters，Andpaintman，man，whatevertheissue！
　　Makenewhopesshinethroughthefleshtheyfray，Newfearsaggrandizetheragsandtatters：
　　Tobringtheinvisiblefullintoplay，Letthevisiblegotothedogs——whatmatters?”
　　20。
　　Givethese，Iexhortyou，theirguerdonandgloryFordaringsomuch，beforetheywelldidit。
　　Thefirstofthenew，inourrace’sstory，Beatsthelastoftheold；’tisnoidlequiddit。
　　Theworthiesbeganarevolution，Whichifonearthyouintendtoacknowledge，Why，honorthemnow！endsmyallocution
　　Norconferyourdegreewhenthefolksleavecollege。
　　21。
　　There’safancysomeleantoandothershate——
　　That，whenthislifeisended，beginsNewworkforthesoulinanotherstate，Whereitstrivesandgetsweary，losesandwins：
　　Wherethestrongandtheweak，thisworld’scongeries，Repeatinlargewhattheypractisedinsmall，Throughlifeafterlifeinunlimitedseries；
　　Onlythescale’stobechanged，that’sall。
　　22。
　　YetIhardlyknow。WhenasoulhasseenBythemeansofEvilthatGoodisbest，And，throughearthanditsnoise，whatisheaven’sserene，——
　　Whenourfaithinthesamehasstoodthetest，——
　　Why，thechildgrownman，youburntherod，Theusesoflaboraresurelydone；
　　ThereremainetharestforthepeopleofGod：
　　AndIhavehadtroublesenough，forone。
　　23。
　　ButatanyrateIhavelovedtheseasonOfArt’sspring-birthsodimanddewy；
　　MysculptorisNicolothePisan，Mypainter——whobutCimabue?
　　Norevenwasmanofthemallindeed，FromthesetoGhibertiandGhirlandajo，Couldsaythathemissedmycritic-meed。
　　So，nowtomyspecialgrievance——heigh-ho！——
　　St。23。NicolothePisan：NicoloPisano，architectandsculptor，b。ab。1207，d。1278；thechurchandmonasteryoftheHolyTrinity，atFlorence，andthechurchofSanAntonio，atPadua，areesteemedhisbestarchitecturalworks，andhisbas-reliefsintheCathedralofSienna，hisbestsculptural。
　　Cimabue：GiovanniCimabue，1240-1302，”endsthelongByzantinesuccessioninItaly……Inhim`thespiritoftheyearstocome’
　　isdecidedlymanifest；butheneverentirelysucceededincastingoffthehereditaryByzantineasceticism。”——Heaton。Giottowashispupil。
　　Ghiberti：LorenzoGhiberti，thegreatFlorentinesculptor，1381-1455；
　　hisfamousmasterpiece，theeasterndoorsoftheFlorentineBaptistery，ofSanGiovanni，ofwhichMichaelAngelosaidthattheywereworthytobethegatesofParadise。
　　Ghirlandajo：DomenicoBigordi，calledGhirlandajo，orthegarland-maker，celebratedpainter，b。inFlorence，1449，d。1494；”intreatment，drawing，andmodelling，G。excelsanyfresco-paintersinceMasaccio；shareswiththetwoLippis，fatherandson，afondnessforintroducingsubordinategroupswhichwasunknowntoMassaccio。”——WoltmannandWoermann’sHistoryofPainting。
　　24。
　　Theirghostsstillstand，asIsaidbefore，Watchingeachfrescoflakedandrasped，Blockedup，knockedout，orwhitewashedo’er：——
　　NogettingagainwhattheChurchhasgrasped！
　　Theworksonthewallmusttaketheirchance；”WorksneverconcededtoEngland’sthickclime！”
　　IhopetheyprefertheirinheritanceOfabucketfulofItalianquicklime。
　　25。
　　Whentheygoatlength，withsuchashakingOfheadso’ertheolddelusion，sadlyEachmasterhiswaythroughtheblackstreetstaking，Wheremanyalostworkbreathesthoughbadly——
　　Whydon’ttheybethinkthemofwhohasmerited?
　　Whynotreveal，whiletheirpicturesdreeSuchdoom，howacaptivemightbeout-ferreted?
　　Whyisittheyneverrememberme?——
　　St。25。dree：endureA。S。”dreo’gan”。
　　26。
　　NotthatIexpectthegreatBigordi，NorSandrotohearme，chivalric，bellicose；
　　NorthewrongedLippino；andnotawordI
　　SayofascrapofFraAngelico’s：
　　Butareyoutoofine，TaddeoGaddi，Tograntmeatasteofyourintonaco，SomeJeromethatseekstheheavenwithasadeye?
　　Notachurlishsaint，LorenzoMonaco?