2
NGRAVING IN ENGLAND 143
II. DETACHED NOTES 157
LIST OF PLATES
Facing Page Diagram 27
The Last Furrow (Fig. 2). Facsimile from Holbein's woodcut 47
The Two Preachers (Fig. 3). Facsimile from Holbein's woodcut 48
I. Things Celestial and Terrestrial, as apparent to the English mind 56
II. Star of Florence 62
III. "At evening from the top of Fésole" 72
IV. "By the Springs of Parnassus" 77
V. "Heat considered as a Mode of Motion." Florentine Natural Philosophy 92
VI. Fairness of the Sea and Air. In Venice and Athens 95
The Child's Bedtime (Fig. 5). Facsimile from Holbein's woodcut 103
"He that hath ears to hear let him hear" (Fig. 6). Facsimile from Holbein's woodcut 105
VII. For a time, and times 130
VIII. The Nymph beloved of Apollo (Michael Angelo) 131
IX. In the Woods of Ida 132
X. Grass of the Desert 135
XI. "Obediente Domino voci hominis" 145
XII. The Coronation in the Garden 158
ARIADNE FLORENTINA.
LECTURE I.
DEFINITION OF THE ART OF ENGRAVING.
1. The entrance on my duty for to-day begins the fourth year of my official work in Oxford; and I doubt not that some of my audience are asking themselves, very doubtfully--at all events, I ask myself, very anxiously--what has been done.
For practical result, I have not much to show. I announced, a fortnight since, that I would meet, the day before yesterday, any gentleman who wished to attend this course for purposes of study. My class, so minded, numbers four, of whom three wish to be artists, and ought not therefore, by rights, to be at Oxford at all; and the fourth is the last remaining unit of the class I had last year.
2. Yet I neither in this reproach myself, nor, if I could, would I reproach the students who are not here. I do not reproach myself; for it was impossible for me to attend properly to the schools and to write the grammar for them at the same time; and I do