respecting the Christian arts of Painting, Sculpture, and Music;
and that of London, in her sisterhood with Paris, the development of
Christian Chivalry and Philosophy, with their exponent art of Gothic
architecture.

Without the presumption of forming a distinct design, I yet hoped at
the time when this division of study was suggested, with the help of
my pupils, to give the outlines of their several histories during
my work in Oxford. Variously disappointed and arrested, alike by
difficulties of investigation and failure of strength, I may yet hope
to lay down for you, beginning with your own metropolis, some of the
lines of thought in following out which such a task might be most
effectively accomplished.

You observe that I speak of architecture as the chief exponent of
the feelings both of the French and English races. Together with
it, however, most important evidence of character is given by the
illumination of manuscripts, and by some forms of jewellery and
metallurgy: and my purpose in this course of lectures is to illustrate
by all these arts the phases of national character which it is
impossible that historians should estimate, or even observe, with
accuracy, unless they are cognizant of excellence in the aforesaid
modes of structural and ornamental craftsmanship.

In one respect, as indicated by the title chosen for this course, I
have varied the treatment of their subject from that adopted in all
my former books. Hitherto, I have always endeavoured to illustrate the
personal temper and skill of the artist; holding the wishes or taste
of his spectators at small account, and saying of Turner you ought to
like him, and of Salvator, you ought not, etc., etc., without in the