lives of its noble houses are lost; they might have been
saved if the sacristan had not stumbled as he walked. Othello
mislays his handkerchief, and there remains nothing for him but
death. Hamlet gets hold of the wrong foil, and the rest is silence.
Edmund's runner is a moment too late at the prison, and the feather
will not move at Cordelia's lips. Salisbury a moment too late at the
tower, and Arthur lies on the stones dead. Goneril and Iago have on
the whole, in this world, Shakespere sees, much of their own way,
though they come to a bad end. It is a pin that Death pierces the
king's fortress wall with; and Carelessness and Folly sit sceptred
and dreadful, side by side with the pin-armed skeleton.

[117] Not the old hospitable innkeeper, who honored his guests and
was honored by them, than whom I do not know a more useful or worthy
character; but the modern innkeeper, proprietor of a building in the
shape of a factory, making up three hundred beds; who necessarily
regards his guests in the light of Numbers 1, 2, 3-300, and is too
often felt or apprehended by them only as a presiding influence of
extortion.

[118] Vol III. Chap. XIV. Sec. 10.

[119] Numbers, xi. 12, 15.

APPENDIX.

I. MODERN GROTESQUE.

The reader may perhaps be somewhat confused by the different tone with
which, in various passages of these volumes, I have spoken of the
dignity of Expression. He must remember that there are three distinct
schools of expression, and that it is impossible, on every occasion when
the term is used, to repeat the definition of the three, and distinguish
the school spoken of.

There is, first, the Great Expressional School, consisting of the
sincerely thoughtful and affectionate painters of early times, masters
of their art, as far as it was known in their days. Orcagna, John
Bellini, Perugino, and Angelico, are its leading masters. All the men
who compose it are, without exception, _colorists_. The modern
Pre-Raphaelites belong to it.

Secondly, the Pseudo-Expressional School, wholly of modern development,
consisting of men who have never mastered their art, and are probably
incapable of mastering it, but who hope to substitute sentiment for good
painting. It is eminently characterized by its contempt of color, and
may be most definitely distinguished as the School of Clay.

Thirdly, the Grotesque Expressional School, consisting of m