322 ARIADNE FLORENTINA. 



graver that he will see the minute dark spots which indicate 

 the sprinkled shower falling from the vase into the pool. 



138. This habit of strict and calm attention, constant in the 

 artist, and expected in the observer, makes all the difference 

 between the art of Intellect, and of mere sensation. For 

 every detail of this plate has a meaning, if you care to under- 

 stand it. This is Poetry, sitting by the fountain of Castalia, 

 which flows first out of a formal urn, to show that it is not 

 artless ; but the rocks of Parnassus are behind, and on the 

 top of them only one tree, like a mushroom with a thick 

 stalk. You at first are inclined to say, How very absurd, to 

 put only one tree on Parnassus ! but this one tree is the Im- 

 mortal Plane Tree, planted by Agamemnon, and at once con- 

 nects our Poesia with the Iliad. Then, this is the hem of the 

 robe of Poetry, this is the divine vegetation which springs 

 up under her feet, this is the heaven and earth united by her 

 power, this is the fountain of Castalia flowing out afresh 

 among the grass, and these are the drops with which, out of 

 a pitcher, Poetry is nourishing the fountain of Castalia. 



All which you may find out if you happen to know anything 

 about Castalia, or about poetry ; and pleasantly think more 

 upon, for yourself. But the poor dunces, Sandro and Baccio, 

 feeling themselves but ' goffi nell' arte,' have no hope of telling 

 you all this, except suggestively. They can't engrave grass of 

 Parnassus, nor sweet springs so as to look like water ; but 

 they can make a pretty damasked surface with ornamental 

 leaves, and flowing lines, and so leave you something to think 

 of if you will. 



139. ' But a great many people won't, and a great many 

 more can't ; and surely the finished engravings are much more 

 delightful, and the only means we have of giving any idea of 

 finished pictures, out of our reach.' 



Yes, all that is true ; and when we examine the effects of 

 line engraving upon taste in recent art, we will discuss these 

 matters ; for the present, let us be content with knowing what 

 the best work is, and why it is so. Although, however, I do 

 not now press further my cavils at the triumph of modern 

 line engraving, I must assign to you, in few words, the 



