[4] This essay is a review of two books by Lord Lindsay, viz., "Progression by Antagonism," published in 1846, and the "Sketches of the History of Christian Art," which appeared in the following year. It is, with the paper on Sir C. Eastlake's "History of Oil Painting," one of the very few anonymous writings of its author. "I never felt at ease" (says Mr. Ruskin, in speaking of anonymous criticism) "in my graduate incognito, and although I consented, some nine years ago, to review Lord Lindsay's 'Christian Art,' and Sir Charles Eastlake's 'Essay on Oil Painting,' in the _Quarterly_, I have ever since steadily refused to write even for that once respectable periodical" ("Academy Notes," No. II., 1856). For Mr. Ruskin's estimate of Lord Lindsay's work, see the "Eagle's Nest," Sec. 46, and "Val d'Arno," Sec. 264, where he speaks of him as his "first master in Italian art."--[ED.] [5] With one exception (see p. 25) the quotations from Lord Lindsay are always from the "Christian Art."--ED. [6] The reader must remember that this arcade was originally quite open, the inner wall having been built after the fire, in 1574. [7] "An Historical Essay on Architecture" by the late Thomas Hope. (Murray, 1835) chap, iv., pp. 23-31. [8] At the feet of his Madonna, in the Gallery of Bologna. [9] In many pictures of Angelico, the Infant Christ appears self-supported--the Virgin not touching the child. [10] The upper inscription Lord Lindsay has misquoted--it runs thus:-- "Salve Mater Pietatis Et Totius Trinitatis Nobile Triclinium." [11] We have been much surprised by the author's frequent reference to Lasinio's engravings of various frescoes, unaccompanied by any warning of their inaccuracy. No work of Lasinio's can be trusted for _anything_ except the number and relative position of the figures. All masters are by him translated into one monotony of commonplace:--he dilutes eloquence, educates naivete, prompts ignorance, stultifies intelligence, and paralyzes power; takes the chill off horror, the edge off wit, and the bloom off beauty. In all artistical points he is utterly valueless, neither drawing nor expression being ever preserved by him. Giotto, Benozzo, or Ghirlandajo are all alike to him; and we hardly know whether he injures most when he robs or when he redresses. [12] We do not perhaps enough estimate the assistance which was once given both to purpose and perception, by the feeling of wonder which with us is destroyed partly by the ceaseless calls upon it, partly by our habit of either discovering or anticipating a reason for everything. Of the simplicity and ready surprise of heart which supported the spirit of the older painters, an interesting example is seen in the diary of Albert Duerer, lately published in a work every way valuable, but especially so in the carefulness and richness of its illustrations, "Divers Works of Early Masters in Christian Decoration," edited by John Weale, London, 2 vols. folio, 1846.