vertising Victor Hugo's "Homme
qui rit," pasted on the wall of the palace.

The great tower is of the Gothic time. Note its noble sweep of
delicately ascending curves sloped inwards.

(44.) _Gate of Ruined School of St. John, Venice._ (Photograph.)

Exquisite in floral sculpture, and finish of style.

(45.) _Hawthorn Leaves, from the base of Pilaster, in the Church of St.
Maria de Miracoli, Venice._ (R.)

In the finest style of floral sculpture. It cannot be surpassed for
perfectness of treatment; especially for the obtaining of life and
softness, by broad surfaces and fine grouping.

(46.) _Basrelief from one of the Inner Doors of the Ducal Palace._

Very noble, and typical of the pure style.

(47.) _St. John Baptist and other Saints._ (Cima da Conegliano.)

Consummate work; but the photograph, though well taken, darkens it
terribly.

(48.) _Meeting of Joachim and Anna._ (Vettor Carpaccio.) (Photograph.)

(49.) _Madonna and Saints._ (John Bellini.) Portrait. (Mantegna.)
(Photographs.)

(50.) _Madonna._ (John Bellini.)

With Raphael's "Della Seggiola." Showing the first transition from
the style of the "Masters" to that of modern times.

_The Photographs in the above series are all from the Pictures
themselves._

CHRISTIAN ART AND SYMBOLISM.[15]

A PREFACE.

254. The writer of this book has long been my friend, and in the early
days of friendship was my disciple.

But, of late, I have been his; for he has devoted himself earnestly to
the study of forms of Christian Art which I had little opportunity of
examining, and has been animated in that study by a brightness of
enthusiasm which has been long impossible to me. Knowing this, and that
he was able perfectly to fill what must otherwise have been a rudely
bridged chasm in my teaching at Oxford, I begged him to give these
lectures, and to arrange them for press. And this he has done to please
me; and now that he has done it, I am, in one sense, anything but
pleased: for I like his writing better than my own, and am more jealous
of it than I thought it was in me to be of any good work--how much less
of my friend's! I console myself by reflecting, or at least repeating to
myself and endeavoring to think, that he could not have found out all
this if I had not shown him the way. But most deeply and seriously I am
thankful for such help, in a work far too great for m