one, a little Fortune, standing tiptoe on the globe of the Earth, its surface traced with lines in hexagons; not chaotic under Fortune's feet; Greek, this, and by a trained workman;--dug up in the temple of Neptune at Corfu;--and here, a Florentine portrait-marble, found in the recent alterations, face downwards, under the pavement of Sta. Maria Novella; both of them first-rate of their kind; and both of them, while exquisitely finished at the telling points, showing, on all their unregarded surfaces, the rough furrow of the fast-driven chisel, as distinctly as the edge of a common paving-stone. 180. Let me suggest to you, in conclusion, one most interesting point of mental expression in these necessary aspects of finely executed sculpture. I have already again and again pressed on your attention the beginning of the arts of men in the make and use of the plowshare. Read more carefully--you might indeed do well to learn at once by heart,--the twenty-seven lines of the Fourth Pythian, which describe the plowing of Jason. There is nothing grander extant in human fancy, nor set down in human words: but this great mythical expression of the conquest of the earth-clay and brute-force by vital human energy, will become yet more interesting to you when you reflect what enchantment has been cut, on whiter clay, by the tracing of finer furrows;--what the delicate and consummate arts of man have done by the plowing of marble, and granite, and iron. You will learn daily more and more, as you advance in actual practice, how the primary manual art of engraving, in the steadiness, clearness, and irrevocableness of it, is the best art-discipline that can be given either to mind or hand;[36] you will recognize one law of right, pronouncing itself in the well-resolved work of every age; you will see the firmly traced and irrevocable incision determining, not only the forms, but, in great part, the moral temper, of all vitally progressive art; you will trace the same principle and power in the furrows which the oblique sun shows on the granite of his own Egyptian city,--in the white scratch of the stylus through the color on a Greek vase--in the first delineation, on the wet wall, of the groups of an Italian fresco; in the unerring and unalterable touch of the great engraver of Nuremberg,--and in the deep-driven and deep-bitten ravines of metal by which Turner closed, in embossed limits, the shadows of the Liber Studiorum.