writes: “What I was going to say was in substance this—that if the idea of a complete museum of the fine arts involved the illustration of decorative art, and of physical science in its relation to art, to an extent which, though not unlimited, is nevertheless indefinite, if the _vanishing point_” (the italics of Mr Dyce), “so to speak, of such a museum lies somewhere in the region of practical science, one is immediately led to consider whether, as the reverse is true—viz., that practical science finds its vanishing point in the region of fine art—the true idea of a museum of arts would not be that which embraced the whole development of the artistic faculty, and commenced, therefore, on the one hand, with those arts which are solely, or almost solely, dependant on _æsthetical_ science, and terminated on the other with those which are solely or chiefly dependant on _physical_ science. Such an institution would start at the one extreme from physical science, and at the other from fine art; and these two would meet and cross one another, the influence of each vanishing and disappearing towards the opposite extremes.” So that, if there is anything to be understood and unriddled from this confusion of wordy ideas, it is this, that these arts and sciences, æsthetical and physical, do not meet to kiss and be friends, but to cross each other, and, having simply blazed awhile in each other’s faces, to fly off to their own vanishing points, more distant than ever, disappearing beyond the hope of that happy junction which, nevertheless, it had been the whole purpose of Mr Dyce’s pamphlet to bring about, and which, perhaps, he thinks he has brought about, or intends to bring about, unconscious of the impossibility which he has set in their way. Lest the reader think we have needlessly brought in this body of architecture, we must again quote Mr Dyce. He certainly, to do him justice, does admit that specimens of architecture may be too big; but if he enumerates and measures his “fragmentary remains” from the British Museum and elsewhere, “models of whole structures, or models and casts of details,” “adequate to the great purpose of exhibiting the development of architecture, both as it is a science and a fine art, in all the various stages of its history,” and if some genii could bring them all together and throw the brick and plaster down before him, we doubt if his, or any known human agility, would enable him to escape the being buried under the dust that would be made by the deposit.