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?