is essentially
Athletic. I received a letter from Birmingham, some little time since,
inviting me to see how much, in glass manufacture, "machinery excelled
rude hand-work." The writer had not the remotest conception that he
might as well have asked me to come and see a mechanical boat-race rowed
by automata, and "how much machinery excelled rude arm-work."

[30] Such as the Sculptureless arch of Waterloo Bridge, for instance,
referred to in the Third Lecture, Sec. 84.

[31] It is strange, at this day, to think of the relation of the
Athenian Ceramicus to the French Tile-fields, Tileries, or Tuileries:
and how these last may yet become--have already partly become--"the
Potter's field," blood-bought. (_December, 1870._)

[32] This relief is now among the other casts which I have placed in the
lower school in the University galleries.

[33] The reference is to a cast from a small and low relief of
Florentine work in the Kensington Museum.

[34] The actual bas-relief is on a coin, and the projection not above
the twentieth of an inch, but I magnified it in photograph, for this
Lecture, so as to represent a relief with about the third of an inch for
maximum projection.

[35] This plate has been executed from a drawing by Mr. Burgess, in
which he has followed the curves of incision with exquisite care, and
preserved the effect of the surface of the stone, where a photograph
would have lost it by exaggerating accidental stains.

[36] That it was also, in some cases, the earliest that the Greeks gave,
is proved by Lucian's account of his first lesson at his uncle's; the
[Greek: enkopeus], literally 'in cutter'--being the first tool put into
his hand, and an earthenware tablet to cut upon, which the boy, pressing
too hard, presently breaks;--gets beaten--goes home crying, and becomes,
after his dream above quoted, (Sec.Sec. 35, 36,) a philosopher instead of a
sculptor.

LECTURE VI.

THE SCHOOL OF ATHENS.

_December, 1870._

181. It can scarcely be needful for me to tell even the younger members
of my present audience, that the conditions necessary for the production
of a perfect school of sculpture have only twice been met in the history
of the world, and then for a short time; nor for short time only, but
also in narrow districts,--namely, in the valleys and islands of Ionian
Greece, and in the strip of land deposited by the Arno, between the
Apennine crests and the sea.

All other schools, except these