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Rh A few words are enough to explain the reasons for this choice. The history of Athens, rightly told, includes all that need be known of Greek religion and arts; that of Rome, the victory of Christianity over Paganism; those of Venice and Florence sum the essential facts 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