Nothing will be more precious to you, I think, in the practical study of art, than the conviction, which will force itself on you more and more every hour, of the way all things are bound together, little and great, in spirit and in matter. So that if you get once the right clue to any group of them, it will grasp the simplest, yet reach to the highest truths. You know I have just been telling you how this school of materialism and clay involved itself at last in cloud and fire. Now, down to the least detail of method and subject, that will hold. 91. Here is a perfect type, though not a complex one, of Gothic landscape; the background gold, the trees drawn leaf by leaf, and full green in color--no effect of light. Here is an equally typical Greek-school landscape, by Wilson--lost wholly in golden mist; the trees so slightly drawn that you don't know if they are trees or towers, and no care for color whatever; perfectly deceptive and marvelous effect of sunshine through the mist--"Apollo and the Python." Now here is Raphael, exactly between the two--trees still drawn leaf by leaf, wholly formal; but beautiful mist coming gradually into the distance. Well, then, last, here is Turner's; Greek-school of the highest class; and you define his art, absolutely, as first the displaying intensely, and with the sternest intellect, of natural form as it is, and then the envelopment of it with cloud and fire. Only, there are two sorts of cloud and fire. He knows them both. There's one, and there's another--the "Dudley" and the "Flint." That's what the cloud and flame of the dragon mean: now, let me show you what the dragon means himself. 92. I go back to another perfect landscape of the living Gothic school. It is only a pencil outline, by Edward Burne-Jones, in illustration of the story of Psyche; it is the introduction of Psyche, after all her troubles, into heaven. Now in this of Burne-Jones, the landscape is clearly full of light everywhere, color or glass light: that is, the outline is prepared for modification of color only. Every plant in the grass is set formally, grows perfectly, and may be realized completely. Exquisite order, and universal, with eternal life and light, this is the faith and effort of the schools of Crystal; and you may describe and complete their work quite literally by taking any verses of Chaucer in his tender mood, and observing how he insists on the clearness and brightness first, and then on the order. Thus, in Chaucer's "Dream":