171. If you will look to the thirtieth chapter of vol. i. in the new (1873) edition of the "Stones of Venice," which, by the gift of its publishers, I am enabled to lay on your table to be placed in your library, you will find one of my first and most eager statements of the necessity of inequality or change in form, made against the common misunderstanding of Greek symmetry, and illustrated by a woodcut of the spiral ornament on the treasury of Atreus at Mycenae. All that is said in that chapter respecting nature and the ideal, I now beg most earnestly to recommend and ratify to you; but although, even at that time, I knew more of Greek art than my antagonists, my broken reading has given me no conception of the range of its symbolic power, nor of the function of that more or less formal spiral line, as expressive, not only of the waves of the sea, but of the zones of the whirlpool, the return of the tempest, and the involution of the labyrinth. And although my readers say that I wrote then better than I write now, I cannot refer you to the passage without asking you to pardon in it what I now hold to be the petulance and vulgarity of expression, disgracing the importance of the truth it
