FOOTNOTES:
[126] Nothing is more wonderful, or more disgraceful among the forms of ignorance engendered by modern vulgar occupations in pursuit of gain, than the unconsciousness, now total, that fine art is essentially Athletic. I received a letter from Birmingham, some little time since, inviting me to see how much, in glass manufacture, "machinery excelled rude hand work." The writer had not the remotest conception that he might as well have asked me to come and see a mechanical boat-race rowed by automata, and "how much machinery excelled rude arm-work."
[127] Such as the sculptureless arch of Waterloo Bridge, for instance, referred to in the Third Lecture, § 84.
[128] It is strange, at this day, to think of the relation of the Athenian Ceramicus to the French Tile-fields, Tileries, or Tuileries; and how these last may yet become—have already partly become—"the Potter's field," blood-bought (December, 1870.)
[129] This relief is now among the other casts which I have placed in the lower school in the University galleries.
[130] The reference is to a cast from a small and low relief of Florentine work in the Kensington Museum.
[131] The actual bas-relief is on a coin, and the projection not above the twentieth of an inch, but I magnified it in photograph, for this Lecture, so as to represent a relief with about the third of an inch for maximum projection.
[132] This plate has been executed from a drawing by Mr. Burgess, in which he has followed the curves of incision with exquisite care, and preserved the effect of the surface of the stone, where a photograph would have lost it by exaggerating accidental stains.
[133] These two marbles will always, henceforward, be sufficiently accessible for reference in my room at Corpus Christi College.
[134] That it was also, in, some cases, the earliest that the Greeks gave, is proved by Lucian's account of his first lesson at his uncle's; the ενκοπευς, literally "in-cutter"—being the first tool put into his hand, and an earthenware tablet to cut upon, which the boy pressing too hard, presently breaks;—gets beaten—goes home crying, and becomes, after his dream above quoted, a philosopher instead of a sculptor.