earth which, like our own bodies, though dust in its degradation, is
full of splendor when God's hand gathers its atoms; and which was for
ever sanctified by Him, as the symbol no less of His love than of His
truth, when He bade the high priest bear the names of the Children of
Israel on the clear stones of the Breastplate of Judgment.

FOOTNOTES:

[1] There is a curious instance of this in the modern imitations of
the Gothic capitals of the Casa d' Oro, employed in its
restorations. The old capitals look like clusters of leaves, the
modern ones like kneaded masses of dough with holes in them.

[2] Not that even these men were able to wear it altogether without
harm, as we shall see in the next chapter.

[3] Appendix 4, "Date of Palaces of Byzantine Renaissance."

[4] In the various works which Mr. Prout has written on light and
shade, no principle will be found insisted on more strongly than
this carrying of the dark into the light, and _vice versa_. It is
curious to find the untaught instinct of a merely picturesque artist
in the nineteenth century, fixing itself so intensely on a principle
which regulated the entire sacred composition of the thirteenth. I
say "untaught" instinct, for Mr. Prout was, throughout his life, the
discoverer of his own principles; fortunately so, considering what
principles were taught in his time, but unfortunately in the
abstract, for there were gifts in him, which, had there been any
wholesome influences to cherish them, might have made him one of the
greatest men of his age. He was great, under all adverse
circumstances, but the mere wreck of what he might have been, if,
after the rough training noticed in my pamphlet on Pre-Raphaelitism,
as having fitted him for his great function in the world, he had met
with a teacher who could have appreciated his powers, and directed
them.

[5] There may, however, be a kind of dishonesty even in the use of
marble, if it is attempted to make the marble look like something
else. See the final or Venetian Index under head "Scalzi."

[6] Appendix 5, "Renaissance Side of Ducal Palace."

[7] We have, as far as I _know_, at present among us, only one
painter, G. F. Watts, who is capable of design in color on a large
scale. He stands alone among our artists of the old school, in his
perception of the value of breadth in distant masses,