100. We ourselves, fretted here in our narrow days, know less, perhaps, in very deed, than they, what manner of spirit we are of, or what manner of spirit we ignorantly worship. Have we, indeed, desired the Desire of all nations? and will the Master whom we meant to seem, and the Messenger in whom we thought we delighted, confirm, when He comes to His temple,-- or not find in its midst,--the tables heavy with gold for bread, and the seats that are bought with the price of the dove? Or is our own land also to be left by its angered Spirit,--left among those, where sunshine vainly sweet, and passionate folly of storm, waste themselves in the silent places of knowledge that has passed away, and of tongues that have ceased? This only we may discern assuredly; this, every true light of science, every mercifully-granted power, every wisely-restricted thought, teach us more clearly day by day, that in the heavens above, and the earth beneath, there is one continual and omnipotent presence of help, and of peace, for all men who know that they live, and remember that they die. III. ATHENA ERGANE.* (Athena in the Heart.) * "Athena the worker, or having rule over work." The name was first give to her by the Athenians. VARIOUS NOTES RELATING TO THE CONCEPTION OF ATHENA AS THE DIRECTRESS OF THE IMAGINATION AND WILL. 101. I have now only a few words to say, bearing on what seems to me present need, respecting the third function of Athena, conceived as the directress of human passion, resolution, and labor. Few words, for I am not yet prepared to give accurate distinction between the intellectual rule of Athena and that of the Muses; but, broadly, the Muses, with their king, preside over meditative, historical, and poetic arts, whose end is the discovery of light or truth, and the creation of beauty; but Athena rules over moral passion, and practically useful art. She does not make men learned, but prudent and subtle; she does not teach them to make their work beautiful, but to make it right. In different places of my writings, and though many years of endeavor to define the laws of art, I have insisted on this rightness in work, and on its connection with virtue of character, in so many partial ways, that the impression left on the reader's mind--if, indeed, it was ever impressed at all--has been confused and uncertain. In beginning the series of my corrected works, I wish this principle (in my own mind the foundation of every other) to be made plain, if nothing else is; and will try, therefore, to make it so, as far as, by any effort, I can put it into unmistakable words. And, at first, here is a very simple statement of it, given lately in a lecture on the Architecture of the Valley of the Somme, which will be better read in this place than in its incidental connection with my account of the porches of Abbeville.