But, upon the whole, Newman was as inferior to Kingsley as a novelist as he was superior to him in the dialectics of controversy.

[4] See the entire section "Selections from Newman," by Lewis G. Gates, New York, 1895. Introduction, pp. xlvi-lix.

[5] "Essays Critical and Historical" (1846).

[6] "Reminiscences," Thomas Mozley, Boston, 1882.

[7] "Life and Letters of Dean Church," London, 1894.

[8] "Recollections of Aubrey de Vere," London, 1897.

[9] "Idea of a University" (1853). See also in "Parochial and Plain Sermons" the discourse on "The Danger of Accomplishments," and that on "The Gospel Palaces." In the latter he writes, speaking of the cathedrals: "Unhappy they who, while they have eyes to admire, admire them only for their beauty's sake; . . . who regard them as works of art, not fruits of grace."

[10] Cardinal Wiseman had a decided preference for Renaissance over Gothic, and the churches built under his authority were mostly in Italian styles.

[11] "William George Ward and the Oxford Movement," London, 1889, pp.

153-55.

[12] "Recollections," p. 309.

[13] Frederick William Faber, one of the Oxford men who went over with Newman in 1845, and became Superior of the Oratory of St. Philip Neri, was a religious poet of some distinction. A collection of his hymns was published in 1862.

[14] "Ritterzeit und Ritterwesen."

[15] See vol. i., pp. 221-26.

[16] Vol. i., p. 44 (ed. 1846).

[17] _Ibid._, pp. 315-16.

[18] _Ibid._, p. 350.

[19] See vol. i., chap. vii., "The Gothic Revival."

[20] A view of Fonthill Abbey, as it appeared in 1822, is given in Fergusson's "History of Modern Architecture," vol. ii., p. 98 (third ed.).

[21] For Scott's influence on Gothic see Eastlake's "Gothic Revival," pp.

112-16. A typical instance of this castellated style in America was the old New York University in Washington Square, built in the thirties.

This is the "Chrysalis College" which Theodore Winthrop ridicules in "Cecil Dreeme" for its "mock-Gothic" pepper-box turrets, and "deciduous plaster." Fan traceries in plaster and window traceries in cast iron were abominations of this period.

[22] _Vide supra_, p. 153.

[23] "A blast from the icy jaws of Reason, the wolf Fenris of the Teutonic mind, swept one and all into the Limbo of oblivion--that sole ante-chamber spared by Protestantism in spoiling Purgatory. Perhaps this was necessary and inevitable. If we would repair the column, we must cut away the ivy that clings around the shaft, the flowers and brushwood that conceal the base; but it does not follow that, when the repairs are completed, we should isolate it in a desert,--that the flowers and brushwood should not be allowed to grow up and caress it as before" (vol.

ii., p. 380, second ed.).

[24] Vol. ii., p. 364, _note_; and _vide supra_, p. 152.

[25] _Ibid._, p. 289.

[26] _Vide supra_, p. 34.

[27] _Ibid._, p. 286, _note_.

[28] "Stones of Venice," vol. ii., p. 295 (American ed. 1860).

[29] _Ibid._, vol. iii., p. 213.

[30] _Ibid._, vol. ii., pp. 109-14.

[31] See the final instalment of "Praeterita" for an extended eulogy of Scott's verse and prose.

[32] "I know what white, what purple fritillaries The gra.s.sy harvest of the river-fields Above by Ensham, down by Sandford, yields."

--Matthew Arnold, "Thyrsis."

[33] "Stones of Venice," vol. iii., p. 211.

[34] _Ibid._, vol. ii., p. 4.

[35] _Vide supra_, p. 35.

[36] "I reckon him the remarkablest Pontiff that has darkened G.o.d's daylight. . . . Here is a Supreme Priest who believes G.o.d to be--what, in the name of G.o.d, _does_ he believe G.o.d to be?--and discerns that all worship of G.o.d is a scenic phantasmagory of wax-candles, organ-blasts, Gregorian chants, ma.s.s-brayings, purple monsignori, etc." ("Past and Present," Book iii., chap. i.).

[37] Ibid., Book iv., chap. i.

[38] With Morris, too, when an Oxford undergraduate, "Carlyle's 'Past and Present,'" says his biographer, "stood alongside of 'Modern Painters' as inspired and absolute truth."

[39] For a systematic exposition of Ruskin's social and political philosophy, the reader should consult "John Ruskin, Social Reformer," by J. A. Hobson, London, 1898.

[40] _Vide supra_, pp. 279, 280.

[41] For a number of years, beginning with 1854, Ruskin taught drawing cla.s.ses in Maurice's Working Man's College.

[42] See "Characteristics" and "Signs of the Times."

[43] _Vide supra_, p. 321.

[44] Vol. ii., chap. vi., section xv., xvi. Morris reprinted the whole chapter on the Kelmscott Press.

[45] "Victorian Poets," chap. vii., section vi.

[46] "An Epic of Women" (1870); "Lays of France" (1872); "Music and Moonlight" (1874); "Songs of a Worker" (1881).

[47] "A Masque of Shadows" (1870): "Intaglios" (1871); "Songs of Life and Death" (1872); "Lautrec" (1878); "New Poems" (1880).

[48] "A Gallery of Pigeons" (1873).

[49] "Arthur O'Shaughnessy." By Louise Chandler-Moulton, Cambridge and Chicago, 1894.

[50] Swinburne, as a living author, is not represented in the "Treasury."