they are gathered together in vain counsel and effort. This was originally a satirical sketch of "amateurs and connoisseurs," emblematic merely of their way of studying art, analyzing all great things done with ready rule and line, and scaling with ladders of logic the heaven of invention; here it reappears enlarged and exalted into a general type of blind belief and presumptuous reason, indicative also of the helpless hunger after spiritual things ingrained in those made subject to things material; the effusion and eluctation of spirits sitting in prison towards the truth which should make them free. In the tenth plate, the half-submerged face and out-stretched arm of a man drowning in a trough of tumbling sea show just above the foam, against the glaring and windy clouds whose blown drift excludes the sky. Perhaps the noble study of sea registered in the Catalogue as No. 128 of the second list was a sketch for this design of man sinking under the waves of time. Of the two this sketch is the finer; a greater effect of tempest was never given by the work of any hand than in this weltering and savage space of sea, with the aimless clash of its breakers and blind turbulence of water veined and wrinkled with storm, enridged and cloven into drifting array of battle, with no lesser life visible upon it of man or vessel, fish or gull: no land beyond it conceivable, no heaven above it credible. This drawing, which has been reproduced by photography, might have found a place here or later in the book. In the eleventh plate, emblematic of religious restraint and the severities of artificial holiness, an old man, spectacled and strait-mouthed, clips with his shears the plumes of a winged boy, who writhes
