I cannot give you any better example, than this modern Academy-work, of the total ignorance of the very first meaning of the word 'Sculpture' into which the popular schools of existing art are plunged. I will not insist, now, on the uselessness, or worse, of their endeavours to represent the older art, and of the necessary futility of their judgment of it. The conclusions to which I wish to lead you on these points will be the subject of future lectures, being of too great importance for examination here. But you cannot spend your time in more profitable study than by examining and comparing, touch for touch, the treatment of light and shadow in the figures of the Christ and sequent angels, in Plates VIII. and IX., as we have partly examined those of the subject before us; and in thus assuring yourself of the uselessness of trusting to any ordinary modern copyists, for anything more than the rudest chart or map--and even that inaccurately surveyed--of ancient design. The last plate given in this volume contains the two lovely subjects of the Annunciation and Visitation, which, being higher from the ground, are better preserved than the groups represented in the other plates. They will be found to justify, in subtlety of chiselling, the title I gave to Giovanni, of the Canova of the thirteenth century. I am obliged to leave without notice, at present, the branch of ivy, given in illustration of the term 'marble rampant,' at the base of Plate VIII. The foliage of Orvieto can only be rightly described in connection with the great scheme of leaf-ornamentation which ascended from the ivy of the Homeric period in the sculptures of Cyprus, to the roses of Botticelli, and laurels of Bellini and Titian.