GIVEN BEFORE THE UNIVERSITY OF OXFORD
IN MICHAELMAS TERM, 1870.
CONTENTS.
PAGE
Preface [v]
LECTURE I.
Of the Division of Arts [1]
LECTURE II.
Idolatry [20]
LECTURE III.
Imagination [39]
LECTURE IV.
Likeness [67]
LECTURE V.
Structure [90]
LECTURE VI.
The School of Athens [114]
LECTURE VII.
The Relation Between Michael Angelo and Tintoret [132]
LIST OF PLATES
Facing Page
I. Porch of San Zenone, Verona [14]
II. The Arethusa of Syracuse [15]
III. The Warning to the Kings, San Zenone, Verona [15]
IV. The Nativity of Athena [46]
V. Tomb of the Doges Jacopo and Lorenzo Tiepolo [49]
VI. Archaic Athena of Athens and Corinth [50]
VII. Archaic, Central and Declining Art of Greece [72]
VIII. The Apollo of Syracuse, and the Self-made Man [84]
IX. Apollo Chrysocomes of Clazomenæ [85]
X. Marble Masonry in the Duomo of Verona [100]
XI. The First Elements of Sculpture. Incised outline and opened space [101]
XII. Branch of Phillyrea [109]
XIII. Greek Flat relief, and sculpture by edged incision [111]
XIV. Apollo and the Python. Heracles and the Nemean Lion [119]
XV. Hera of Argos. Zeus of Syracuse [120]
XVI. Demeter of Messene. Hera of Cnossus [121]
XVII. Athena of Thurium. Siren Ligeia of Terina [121]
XVIII. Artemis of Syracuse. Hera of Lacinian Cape [122]
XIX. Zeus of Messene. Ajax of Opus [124]
XX. Greek and Barbarian Sculpture [127]
XXI. The Beginnings of Chivalry [129]