house, and that the preface to the foreign edition refers to him in some marked way. We have not seen the book at all. But the first letter in which you mentioned your Oxford student caught us in the midst of his work upon art.[181] Very vivid, very graphic, full of sensibility, but inconsequent in some of the reasoning, it seemed to me, and rather flashy than full in the metaphysics. Robert, who knows a good deal about art, to which knowledge I of course have no pretence, could agree with him only by snatches, and we, both of us, standing before a very expressive picture of Domenichino's (the 'David'--at Fano) wondered how he could blaspheme so against a great artist. Still, he is no ordinary man, and for a critic to be so much a poet is a great thing. Also, we have by no means, I should imagine, seen the utmost of his stature. How kindly you speak to me of my dearest sisters. Yes, go to see them whenever you are in London, they are worthy of the gladness of receiving you. And will you write soon to me, and tell me everything of yourself, how you are, how home agrees with you, and the little details which are such gold dust to absent friends.... May God bless you, my beloved friend. Let me ever be (my husband joining in all warm regards) your most affectionate BA. [Footnote 180:'Guercino drew this angel I saw teach (Alfred, dear friend!) that little child to pray Holding his little hands up, each to each Pressed gently, with his own head turned away, Over the earth where so much lay before him Of work to do, though heaven was opening o'er him, And he was left at Fano by the beach. 'We were at Fano, and three times we went To sit and see him in his chapel there, And drink his beauty to our soul's content My angel with me too.'] [Footnote 181: The first two volumes of _Modern Painters_ bore no author's name, but were described as being 'by a graduate of Oxford.' At a later date Mrs. Browning made Mr. Ruskin's acquaintance, as some subsequent letters testify.] _To Miss Mitford_ Florence: October 10, 1848.