Let us inquire a little into the nature of each of the elements. The first element, we say, is the love of Nature, leading to the effort to observe and report her truly. And this is the first and leading element. Review for yourselves the history of art, and you will find this to be a manifest certainty, that _no great school ever yet existed which had not for primal aim the representation of some natural fact as truly as possible_. There have only yet appeared in the world three schools of perfect art--schools, that is to say, that did their work as well as it seems possible to do it. These are the Athenian, [Footnote: See below, the farther notice of the real spirit of Greek work, in the address at Bradford.] Florentine, and Venetian. The Athenian proposed to itself the perfect representation of the form of the human body. It strove to do that as well as it could; it did that as well as it can be done; and all its greatness was founded upon and involved in that single and honest effort. The Florentine school proposed to itself the perfect expression of human emotion--the showing of the effects of passion in the human face and gesture. I call this the Florentine school, because, whether you take Raphael for the culminating master of expressional art in Italy, or Leonardo, or Michael Angelo, you will find that the whole energy of the national effort which produced those masters had its root in Florence; not at Urbino or Milan. I say, then, this Florentine or leading Italian school proposed to itself human expression for its aim in natural truth; it strove to do that as well as it could--did it as well as it can be done--and all its greatness is rooted in that single and honest effort. Thirdly, the Venetian school propose the representation of the effect of colour and shade on all things; chiefly on the human form. It tried to do that as well as it could--did it as well as it can be done--and all its greatness is founded on that single and honest effort.