Classical Theology, Lxviii.

although comprised of many letters , went to point out that he was the god of four letters , as the ancients called him , namely , Tetragrammaton , because in the Hebrew his name consists of only four letters . So , likewise , Jbvis was both the nominative and genitive of Jehovah , as , ( ver . Ileb . Jebav ) , Jbvis Arbor , the Jovis-treethe Royal Oakor of Jove & cthe Tree

, , , , of Jove ; Jbvis JBarba , the Jove-beard , tlie houseleek , ( major , ) or of JoA * e , & c , Jove ' s beard ; as also , for instance , ales Jovis ; sermtoris Jovis ,- and Jovis Arbellus , the surname of Jupiter , which may , or may not , perhaps , be derived from Arbela , on the east of the ancient Ninus the Nineveh of tlie Scriptures ; or

from Arbella , the eastern bounds of Judea ; hut there was another A'ery ancient city in Sicily , called Arbela , and altogether more probably its etymon is of Delos , the compass of the firmament , or rather from Belus , the father of Ninus , or , the first King of Assyria , Nimrod , who some call incorrectly Saturn , so , in the like manner , Juno had the surname of Argiva .

On The Art Collections At South Kensington, Considered In Reference To Architecture.*

ON THE ART COLLECTIONS AT SOUTH KENSINGTON , CONSIDERED IN REFERENCE TO ARCHITECTURE . *

It is easy to dilate m a merely general manner on the educational influence of museums and galleries of art . Everybody agrees that such collections are important objects of national concern , as civilising and refining agencies ; and there is an implicit belief in the minds of ¦ most people , that somebody else , entire classes in fact

, are-making a profound and earnest use of them in directly practical ways . Few care to think of museums as mere shows or places of pleasant recreation ; though in truth , ninety-nine out of a hundred use thorn as such . I wish I could show that our national art collections Avere as

extensively frequented and as intimately studied by artists as the non-professional world imagines to be the case ; bufc unfortunately , alike amongst architects , painters , and sculptors , the systematic students of our museums and galleries are but feAv in number ; they are , I fear , but rare exceptions to the general rule of almost contemptuous indifference .

To point out in detail the positive educational value and relation of a collection to any given arc or subject of inquiry , on the other hand , is not an easy matter ; to begin with , it pre-supposes in the illustrator an adequate knowledge of the particular speciality , and a perfect acquaintance Avith the collection in question . In

reference to the former qualification , it would be the height of presumption iu me to omit to bespeak the kind indulgence of such an audience as the present ; in the latter I have more confidence , inasmuch as this collection has grown up , in great measure under my hands . I am , I trust , sufficiently impressed with a sense of my

own inability to deal adequately with this subject , and particularly with a feeling of the vasfciiess , complexity , and inherent difficulty of the subject of architecture in

general ; far as I estimate the province of architecture , as a fine art , I am obliged to confess to myself that it includes , in a greater or less degree , nearly all the other arts ; and that , to grasp and fully master all its branches , would seem almost a superhuman work , scarcely possible

within the limits of a life . As we all knoAV , this was the vieAV of the father of architectural literature , Vitruvius ; but , if the ideal architect of Vitruvius seems to us a being of impossible perfections , what must be our estimate of that great master who shall grasp the enormous mass of knowledge and

precedent Avhich has accumulated since Vitruvius ' s day ? Doubtless there is danger of confusing ourselves with visionary and impractical ideas ; in other words , of forming an overstrained estimate of the extent and limits of architecture . I am convinced , however , that there is no evil in rating any art or concern at its highest value ; and I shallthereforeadhere to the highest view of the status

, , of the modern architect . But there have been men who have mastered the sum of all arts and practical knowledge of their epoch , —I allude to those true whVersalists the great artists of the period of the revival in Italy ; to Brunelleschi , Bramante , Leonardo da Vinci , Michael Angelo , Raffaelle , —all architects in the fullest sense of the term .

Under our modern system of subdivision of arts and labour , the versatility of these great men seems to us inexplicable ; and we are apt to look back to them in despair as to a superior race of beings . Rather let us ask on what system were their vast poAvers acquired . By whatprevious training , for instance , ivas Raffaelle enabled to ive to the world the beautiful Pandolfini Palace ; his

g Madonnas , and life-like portraits ; the great philosophical and religious fresco pictures of the Vatican : the arabesques of the Loggie , and the marble Jonah of the Chigi Chapel ? The answer I would give is , —Less by any methodic or strictly academic system of training than by a tacit belief in the inherent unity of art , which induced a habit

of studying and taking daily—nay , even hourly— -note of its monuments of every kind . It is well known that the vast and varied ajsthetic knowledge displayed in the works of Raffaelle , setting aside his wonderful natural aptitude , resulted from the enthusiastic zeal Avith which he studied the monuments of precedent art around him . But , it may be said , what has this to do Avith the

question of modern museums ? The Vatican in Raffaelle ' s day Avas not the A * ast art gallerj * it has since become . True , but to Raffaelle Rome itself was one vast museum . It Avas Avell-known that Raffaelle was one of the most enthusiastic connoisseurs of the ago—an eager collector , giving up much of his precious time to the acquisition of antique remains , either for himself or the

enlightened princes and prelates , whoAvero only too happy to avail themselves of his knoAvledge and taste ; and we have evidence enough , in his drawings and sketches , that every ancient relic he acquired Avas a lesson to him , its particular facts of design or teclmique being assimilated in his mind , transmuted by the subtle alchemy of genius , and reproduced in UOAV and noble guise . Nowif we are

, to have Raffaelles and Michelangelos in our own day , I convinced they must be formed in the same way . A principal object of my lecture to-night , then , is to show that this metropolis contains in its A'arious collections a A * ast , perhaps an unequalled treasure of Avorks of art , far beyond anything Rall ' aelle or Michelangelo can have had access to ; and to impress on young students

and art-workmen in particular , the fact that , with such sources of instruction , the attainment of excellence in arfc is freely in their power—that there is now , indeed , no excuse for ignorance—that , in future , there need be no more , so called , self-taught architects—no blundering half artists—no incompetent art-workmen , unable to get