Then, the first, the Leucothea, is entirely noble religious art, of the fifth or sixth century B.C., full of various meaning and mystery, of knowledges that are lost, feelings that have ceased, myths and symbols of the laws of life, only to be traced by those who know much both of life and death. Technically, it is still in Egyptian bondage, but in course of swiftly progressive redemption. The second is nobly religious work of the fifteenth century of Christ,—an example of the most perfect unison of religious myth with faithful realism of human nature yet produced in this world. The Etruscan traditions are preserved in it even to the tassels of the throne cushion: the pattern of these, and of the folds at the edge of the angel’s drapery, may be seen in the Etruscan tomb now central in the first compartment of the Egyptian gallery of the British Museum and the double cushion of that tomb is used, with absolute obedience to his tradition, by Jacopo della Quercia, in the tomb of Ilaria di Caretto. The third represents the last phase of the noble religious art of the world, in which realization has become consummate; but all supernatural aspect is refused, and mythic teaching is given only in obedience to former tradition, but with no anxiety for its acceptance. Here is, for certain, a sweet Venetian peasant, with her child, and fruit from the market-boats of Mestre. The Ecce Agnus, topsy-turvy on the finely perspectived scroll, may be deciphered by whoso list. But the work itself is still sternly conscientious, severe, reverent, and faultless. The fourth is an example of the highest reach of technical perfection yet reached in art; all effort and labour seeming to cease in the radiant peace and simplicity of consummated human power. But all belief in supernatural things, all hope of a future state, all effort to teach, and all desire to be taught have passed away from the artist’s mind. The Child and her Dog are to him equally real, equally royal, equally mortal. And the History of Art since it reached this phase—cannot be given in the present number of ‘Fors Clavigera.’ NOTES AND CORRESPONDENCE. I. Affairs of the Company. No. 50. G. £10 10s. This is a subscription of five guineas for each year: this amount completes that sum (with the £15 15s. which appeared at p. 65, February Fors) for each of the five years.