ago, when Apollo, and Artemis, and
Athena, still sometimes were seen, and felt, even near Leeds. The
original drawing is one of the great Farnley series, and entirely
beautiful. I have shown, in the last volume of "Modern Painters," how
well Turner knew the meaning of Greek legends:--he was not thinking of
them, however, when he made this design; but, unintentionally, has given
us the very effect of morning light we want: the glittering of the
sunshine on dewy grass, half dark; and the narrow gleam of it on the
sides and head of the stag and hind.

158. These few instances will be enough to show you how we may read in
the early art of the Greeks their strong impressions of the power of
light. You will find the subject entered into at somewhat greater length
in my "Queen of the Air;" and if you will look at the beginning of the
7th book of Plato's "Polity," and read carefully the passages in the
context respecting the sun and intellectual sight, you will see how
intimately this physical love of light was connected with their
philosophy, in its search, as blind and captive, for better knowledge. I
shall not attempt to define for you to-day the more complex but much
shallower forms which this love of light, and the philosophy that
accompanies it, take in the mediaeval mind; only remember that in future,
when I briefly speak of the Greek school of art with reference to
questions of delineation, I mean the entire range of the schools, from
Homer's days to our own, which concern themselves with the
representation of light, and the effects it produces on material
form--beginning practically for us with these Greek vase paintings, and
closing practically for us with Turner's sunset on the Temeraire; being
throughout a school of captivity and sadness, but of intense power; and
which in its technical method of shadow on material form, as well as in
its essential temper, is centrally represented to you by Duerer's two
great engravings of the "Melencolia" and the "Knight and Death." On the
other hand, when I briefly speak to you of the Gothic school, with
reference to delineation, I mean the entire and much more extensive
range of schools extending from the earliest art in Central Asia and
Egypt down to our own day in India and China:--schools which have been
content to obtain beautiful harmonies of colour without any
representation of light; and which have, many of them, rested in such
imperfect expressions of form as could be s