3. “The Cottage Gardens”—No. 71, “The Spring of Life.” Water-color. Lady in a garden with two children and a lamb; a cherry-tree in blossom. Exhibited at the Water-Color Society, Winter 1866-7. See also Nos. 14 and 21.
4. “Ladies and Lilies”—No. 37, “A Lady in a Garden, Perthshire.” Water-color. A lady seated on a knoll on which is a sun-dial; greyhound on left; background, old manor-house. No. 67, “Lilies.” Water-color. Lady in a garden watering flowers, chiefly lilies. Exhibited at the Water-Color Society, Winter 1869-70 and 1868-9 respectively.
5. “The Chaplain’s Daughter”—No. 20, subject from Miss Thackeray’s “Jack the Giant-killer.” Exhibited at the Water-Color Society, Summer 1868.
6. “Daughter of Heth,” by W. Black. No. 87. “Do ye no ken this is the Sabbath?” Young lady at piano; servant enters hurriedly. (Study in black and white, executed in 1872.)—[See vol. i. p. 41. “ ‘Preserve us a’, lassie, do ye ken what ye’re doing? Do ye no ken that this is the Sabbath, and that you’re in a respectable house?’ The girl turned round with more wonder than alarm in her face: ‘Is it not right to play music on Sunday?’ ”—(No. 131. Three more studies for the same novel.)
7. “The Old Farm Garden”—No. 33—Water-color. A girl, with cat on lawn, knitting: garden path bordered by tulips; farm buildings in background. Painted in 1871.
8. “Salmon-fishers”—No. 47—“Fisherman and Boy”—Water-color. Keeper and boy on bank of river. Glen Spean. Salmon in foreground. Exhibited at the Water-Color Society, Summer 1867.
9. Mushrooms and Fungi—No. 41—Water-color. Painted in 1873.
10. “Fishmonger’s Stalls”—Nos. 9 and 62 (not 952)—viz., No. 9, “A Fishmonger’s Shop.” Water-color. Painted in 1873; and No. 62, also “A Fishmonger’s Shop.” Water-color. Fishmongers selling fish; lady and boy in costumes of about 1800. Exhibited at Water-Color Society, Winter 1872-3. (The “Tobias” of Perugino has been already alluded to, p. 44, note.)
11. No. 68. “The Ferry.” Water-color. Sight size, 11 ¾ X 18 in. A ferry boat, in which are two figures, a boatman and a lady, approaching a landing-place; on the bank figures of villagers, and children feeding swans. Exhibited at Water-Color Society, Winter 1870-71.]
[122] In 1858 the Oxford Museum was in course of building, its architects being Sir Thomas Deane and Mr. Woodward, and its style modern Gothic, whilst amongst those chiefly interested in it were Dr. Acland (the Regius Professor of Medicine) and Mr. Ruskin. The present letter, written in June, 1858, was read by Dr. Acland at a lecture given by him in that summer “to the members of the Architectural Societies that met in Oxford” at that time. I am permitted to reprint the following passage from Dr. Acland’s preface to the printed lecture, as well as one or two passages from the lecture itself (see below, pp. 130 and 132): “Many have yet to learn the apparently simple truth, that to an Artist his Art is his means of probation in this life; and that, whatever it may have of frivolity to us, to him it is as the two or the five talents, to be accounted for hereafter. I might say much on this point, for the full scope of the word Art seems by some to be even now unrecognized. Before the period of printing, Art was the largest mode of permanently recording human thought; it was spoken in every epoch, in all countries, and delivered in almost every material. In buildings, on medals and coins, in porcelain and earthenware, on wood, ivory, parchment, paper and canvas, the graver or the pencil has recorded the ideas of every form of society, of every variety of race and of every character. What wonder that the Artist is jealous of his craft, and proud of his brotherhood?”—See “The Oxford Museum,” p. 4. The reader is also referred to “Sesame and Lilies,” 1871 ed. §§ 103-4.