Believe me, however, the subject of Art--instead of being foreign to these deep questions of social duty and peril,--is so vitally connected with them, that it would be impossible for me now to pursue the line of thought in which I began these lectures, because so ghastly an emphasis would be given to every sentence by the force of passing events. It is well, then, that in the plan I have laid down for your study, we shall now be led into the examination of technical details, or abstract conditions of sentiment; so that the hours you spend with me may be times of repose from heavier thoughts. But it chances strangely that, in this course of minutely detailed study, I have first to set before you the most essential piece of human workmanship, the plow, at the very moment when--(you may see the announcement in the journals either of yesterday or the day before)--the swords of your soldiers have been sent for _to be sharpened_, and not at all to be beaten into plowshares. I permit myself, therefore, to remind you of the watchword of all my earnest writings--"Soldiers of the Plowshare, instead of Soldiers of the Sword,"--and I know it my duty to assert to you that the work we enter upon to-day is no trivial one, but full of solemn hope; the hope, namely, that among you there may be found men wise enough to lead the national passions towards the arts of peace, instead of the arts of war. I say, the work "we enter upon," because the first four lectures I gave in the spring were wholly prefatory; and the following three only defined for you methods of practice. To-day we begin the systematic analysis and progressive study of our subject. 2. In general, the three great, or fine, Arts of Painting, Sculpture, and Architecture, are thought of as distinct from the lower and more mechanical formative arts, such as carpentry or pottery. But we cannot, either verbally, or with any practical advantage, admit such classification. How are we to distinguish painting on canvas from painting on china?--or painting on china from painting on glass?--or painting on glass from infusion of color into any vitreous substance, such as enamel?--or the infusion of color into glass and enamel from the infusion of color into wool or silk, and weaving of pictures in tapestry, or patterns in dress? You will find that although, in ultimately accurate use of the word, painting must be held to mean only the laying of a pigment on a surface with a soft instrument; yet, in broad comparison of the functions of Art, we must conceive of one and the same great artistic faculty, as governing _every mode of disposing colors in a permanent relation on, or in, a solid substance_; whether it be by tinting canvas, or dyeing stuffs; inlaying metals with fused flint, or coating walls with colored stone.