Even before I began my Freshman year there came into my life a slight but new and valuable influence. Professor Dodd, when I arrived, had just begun his course of lectures on architecture. To my great astonishment, but not at all to that of George Boker, I was invited to attend the course, Boker remarking dryly that he had no doubt that Dodd thanked God for having at last got an auditor who would appreciate him. Which I certainly did. I in after years listened to the great Thiersch, who trained Heine to art, and of whom I was a special _protege_, and many great teachers, but I never listened to any one like Albert Dodd. It was not with him the mere description of styles and dates; it was a deep and truly aesthetic feeling that every phase of architecture mirrors and reciprocally forms its age, and breathes its life and poetry and religion, which characterised all that he said. It was in nothing like the subjective rhapsodies of Ruskin, which bloomed out eight years later, but rather in the spirit of Vischer and Taine, which J. A. Symonds has so beautifully and clearly set forth in his Essays {98}--that is, the spirit of historical development. Here my German philosophy enabled me to grasp a subtle and delicate spirit of beauty, which passed, I fear, over the heads of the rest of the youthful audience. His ideas of the correspondence of Egyptian architecture to the stupendous massiveness of Pantheism and the appalling grandeur of its ideas, were clear enough to me, who had copied Hermes Trismegistus and read with deepest feeling the Orphic and Chaldean oracles. The ideas had not only been long familiar to me, but formed my very life and the subject of the most passionate study. To hear them clearly expressed with rare beauty, in the deep, strange voice of the professor, was joy beyond belief. And as it would not be in human nature for a lecturer not to note an admiring auditor, it happened often enough that something was often introduced for my special appreciation. For I may here note--and it was a very natural thing--that just as Gypsy musicians always select in the audience some one who seems to be most appreciative, at whom they play (they call it _de o kan_), so Professors Dodd and James Alexander afterwards, in their aesthetic, or more erudite disquisitions, rarely failed to fiddle at me--Dodd looking right in my eyes, and Alexander at the ceiling, ending, however, with a very brief glance, as if for conscience' sake. I feel proud of this, and it affects me more now than it did then, when it produced no effect of vanity, and seemed to me to be perfectly natural.