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rose on Venice; and that, four hundred years before our Roaring moon

6. But farther. Take a very soft pencil, and touching very lightly, draw lines on the photograph between the ripples of the hair, thus: and you will find that the distances 1-2, 2-3, 3-4, etc., first diminish gradually, and then increase ;-that the lines 1, 2, 3, etc., radiate from the slope of the fillet, gradually, till they become horizontal at the shoulder; and lastly, that the whole group first widens and then diminishes, till the tress farthest back losing itself altogether, and the four nearest us hiding behind the shoulder, the fullest one, set for contrast beside the feeblest, dies away in delicate rippling over the shoulder line.

Now, sketch with a soft pencil such a little diagram of all this, as the figure above; and then, take your pen, and try to draw the lines of the curved tresses within their rectangular limits. And if you don't “see a little more in" Leucothea's hair before you have done,—you shall tell me, and we'll talk more about it.

Supposing, however, that you do begin to see more in it, when you have finished your drawing, look at the plate opposite $ 119 in Aratra, and read with care the six paragraphs 115–120. Which having read, note this farther,the disorder of the composition of the later art in Greece is the sign of the coming moral and physical ruin of Greece; but through and under all her ruin, the art which submitted itself to religious law survived as a remnant ; unthought of, but immortal, and nourished its little flock, day by day, till Byzantium rose out of it, and then Venice. And that flowing hair of the Luna was in truth sculptured

· [Tennyson, “ Prefatory Sonnet” to the Nineteenth Century: see Letter 76, § 3 (p. 84).]

[See Vol. XX., Plate VIII., and pp. 277-281.]

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by the sacred power of the ghosts of the men who carved the Leucothea.

You must be patient enough to receive some further witness of this, before our drawing lesson ends for to-day.

7. You see that drapery at Leucothea's knee. Take a sheet of thin note-paper : fold it (as a fan is folded) into sharp ridges; but straight down the sheet, from end to end. Then cut it across, from corner to corner, fold either half of it up again, and you have the root of all Greek, Byzantine, and Etruscan pendent drapery.

Try, having the root thus given you, first to imitate that simple bit of Leucothea's, and then the complex ones, ending in the tasselled points, of Athena's robe in the woodcut. Then, take a steel pen, and just be good enough to draw the edges of those folds ;—every one, you see, taken up in order duly, and carried through the long sweeping curves up to the edge of the ægis at her breast. Try to do that yourself, with your pen-point, and then, remember that the Greek workman did it with his brush-point, designing as he drew, and that on the convex surface of a vase,—and you will begin to see what Greek vases are worth, and why they are so.

Then lastly, take your photograph No. 10 b," which is the flank of a door of St. Mark’s, with a prophet bearing a scroll, in the midst of vineleaf ornament:—and look at the drapery of the one on the left where it falls in the last folds behind his foot.

Athena's sacred robe, you see, still and here no vague reminiscence, as in the Luna, but absolutely pure Greek tradition, kept for two thousand years,—for this decoration is thirteenth-century work, by Greek, not Venetian, artists.

8. Also I send other photographs, now completing your series to the twelfth, namely

No. 8. Entire west front of St. Mark's, as it stood

· [This was a photograph showing part of the door on the left of the central one, as the spectator faces the front. The detail here described is well shown in the engraving on Plate VI. in Stones of Venice, vol. ii. (Vol. X. p. 115).]

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The Southern Porches of the West Front of St. Mark's


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