lways, and
secondly, that, if worth doing, it will be something altogether
different from what has ever been done before. The visions of the
cloister must depart with its superstitious peace--the quick,
apprehensive symbolism of early Faith must yield to the abstract
teaching of disciplined Reason. Whatever else we may deem of the
Progress of Nations, one character of that progress is determined and
discernible. As in the encroaching of the land upon the sea, the
strength of the sandy bastions is raised out of the sifted ruin of
ancient inland hills--for every tongue of level land that stretches into
the deep, the fall of Alps has been heard among the clouds, and as the
fields of industry enlarge, the intercourse with Heaven is shortened.
Let it not be doubted that as this change is inevitable, so it is
expedient, though the form of teaching adopted and of duty prescribed be
less mythic and contemplative, more active and unassisted: for the light
of Transfiguration on the Mountain is substituted the Fire of Coals upon
the Shore, and on the charge to hear the Shepherd, follows that to feed
the Sheep. Doubtful we may be for a time, and apparently deserted; but
if, as we wait, we still look forward with steadfast will and humble
heart, so that our Hope for the Future may be fed, not dulled or
diverted by our Love for the Past, we shall not long be left without a
Guide:--the way will be opened, the Precursor appointed--the Hour will
come, and the Man.

FOOTNOTES:

[4] This essay is a review of two books by Lord Lindsay, viz.,
"Progression by Antagonism," published in 1846, and the "Sketches of the
History of Christian Art," which appeared in the following year. It is,
with the paper on Sir C. Eastlake's "History of Oil Painting," one of
the very few anonymous writings of its author. "I never felt at ease"
(says Mr. Ruskin, in speaking of anonymous criticism) "in my graduate
incognito, and although I consented, some nine years ago, to review Lord
Lindsay's 'Christian Art,' and Sir Charles Eastlake's 'Essay on Oil
Painting,' in the _Quarterly_, I have ever since steadily refused to
write even for that once respectable periodical" ("Academy Notes," No.
II., 1856). For Mr. Ruskin's estimate of Lord Lindsay's work, see the
"Eagle's Nest," Sec. 46, and "Val d'Arno," Sec. 264, where he speaks of him as
his "first master in Italian art."--[ED.]

[5] With one exception (see p. 25) the quotations from Lord Lindsay
are always from