[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 grassy 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 God’s daylight. . . .  Here is a Supreme Priest who believes God to be—­what, in the name of God, does he believe God to be?—­and discerns that all worship of God is a scenic phantasmagory of wax-candles, organ-blasts, Gregorian chants, mass-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 classes 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).