And unless that be first made beautiful, idealism must be false and imagination monstrous. It is your influence on the existing world which, in your studies here, you ought finally to consider; and although it is not, in that influence, my function to direct you, I hope you will not be discontented to know that I shall ask no effort from your art-genius, beyond the rational suggestion of what we may one day hope to see actually realized in England, in the sweetness of her landscape, and the dignity of her people. * * * * * In connection with the subject of this lecture, I may mention to you that I have received an interesting letter, requesting me to assist in promoting some improvements designed in the city of Oxford. But as the entire charm and educational power of the city of Oxford, so far as that educational power depended on reverent associations, or on visible solemnities and serenities of architecture, have been already destroyed; and, as far as our own lives extend, destroyed, I may say, for ever, by the manufacturing suburb which heaps its ashes on one side, and the cheap-lodging suburb which heaps its brickbats on the other; I am myself, either as antiquary or artist, absolutely indifferent to what happens next; except on grounds respecting the possible health, cleanliness, and decency which may yet be obtained for the increasing population. How far cleanliness and decency bear on art and science, or on the changed functions of the university to its crowd of modern students, I have partly to consider in connection with the subject of my next lecture, and I will reserve therefore any definite notice of these proposed improvements in the city, until the next occasion of meeting you. LECTURE VI. THE RELATION TO ART OF THE SCIENCE OF LIGHT. _24th February, 1872._ 96. I have now, perhaps to the exhaustion of your patience, but you will find, not without real necessity, defined the manner in which the mental tempers, ascertained by philosophy to be evil or good, retard and advance the parallel studies of science and art. In this and the two next following lectures I shall endeavour to state to you the literal modes in which the virtues of art are connected with the principles of exact science; but now, remember, I am speaking, not of the consummate science of which art is the image; but only of what science we have actually attained, which is often little more than terminology (and even that uncertain), with only a gleam of true science here and there.