of which doctrine, remember, it is an immutable historical fact that all the beautiful work, and all the happy existence of mankind, hitherto, has depended on, or consisted in, the hope of it.1

16. The picture of which I came to-day chiefly to speak,2 as a symbol of that doctrine, was incomplete when I saw it, and is so still; but enough was done to constitute it the most important work of Hunt's life, as yet; and if health is granted to him for its completion, it will, both in reality and in esteem, be the greatest religious painting of our time.

You know that in the most beautiful former conceptions of the Flight into Egypt, the Holy Family were always represented as watched over, and ministered to, by attendant angels. But only the safety and peace of the Divine Child and its mother are thought of. No sadness or wonder of meditation returns to the desolate homes of Bethlehem.

But in this English picture all the story of the escape, as of the flight, is told, in fulness of peace, and yet of compassion. The travel is in the dead of the night, the way unseen and unknown;-but, partly stooping from the starlight, and partly floating on the desert mirage, move, with the Holy Family, the glorified souls of the Innocents. Clear in celestial light, and gathered into child-garlands of gladness, they look to the Child in whom they live, and yet for them to die. Waters of the River of Life flow before on the sands: the Christ stretches out His arms to the nearest of them;-leaning from His mother's breast.

1 [Compare, above, p. 101; Lectures on Art, § 151 (Vol. XX. p. 143); and Fiction, Fair and Foul, § 45 (Vol. XXXIV.).]

2 ["The Triumph of the Innocents." What Ruskin saw was the first picture, which the painter afterwards abandoned owing to defects in the canvas. The design was afterwards repeated on a larger canvas, and the completed picture was exhibited at the Fine Art Society's rooms in 1885; it is now in the possession of Mr. J. T. Middlemore, M.P., of Birmingham. The relinquished painting was at a later date finished, and is in the Walker Art Gallery at Liverpool. See Catalogue of an Exhibition of the Collected Works of W. Holman Hunt, with a Prefatory Note by Sir W. B. Richmond, 1906; and the artist's Pre-Raphaelitism and the PreRaphaelite Brotherhood, vol. ii. ch. xii., where (on pp. 341-342) he quotes §§ 16, 17 of Ruskin's lecture. The Plate here given (XXXIII.) is from the picture at Liverpool. The original study of the picture, painted in the East, is in the possession of Mrs. Sydney Morse.]

To how many bereaved households may not this happy vision of conquered death bring, in the future, days of peace!

17. I do not care to speak of other virtues in this design than those of its majestic thought, but you may well imagine for yourselves how the painter's quite separate and, in its skill, better than magical, power of giving effects of intense light, has aided the effort of his imagination, while the passion of his subject has developed in him a swift grace of invention which for my own part I never recognized in his design till now. I can say with deliberation that none even of the most animated groups and processions of children which constitute the loveliest sculpture of the Robbias and Donatello, can more than rival the freedom and felicity of motion, or the subtlety of harmonious line, in the happy wreath of these angelchildren.

18. Of this picture I came to-day chiefly to speak, nor will I disturb the poor impression which my words can give you of it by any immediate reference to other pictures by our leading masters. But it is not, of course, among these men of splendid and isolated imagination that you can learn the modes of regarding common and familiar nature which you must be content to be governed by—in early lessons. I count myself fortunate, in renewing my effort to systematize these, that I can now place in the schools, or at least lend, first one and then another, some exemplary drawings by young people-youths and girls of your own age-clever ones, yes, but not cleverer than a great many of you :-eminent only, among the young people of the present day whom I chance to know, in being extremely old-fashioned ;-and,-don't be spiteful when I say so, but really they all are, all the four of them-two lads and two lassies1-quite provokingly good.

1 [Signor Boni and Signor Alessandri (see below, p. 286 n.); Miss Francesca Alexander and Miss Lilian Trotter. For drawings by G. Boni, see the Index to the Oxford Collection, Vol. XXI. p. 320; for Signor Alessandri, Vol. XXX.]