Other lectures and _brochures_ of or about this period are "Hortus Inclusus" (The Enclosed Garden), being "Messages from the Wood to the Garden sent in happy days to two sister ladies," residing at Coniston, and collected in 1887; "Arrows of the Chace," letters on various subjects to newspapers, gathered and edited in 1880; "The Two Paths," lectures on art and its application to Decoration and Manufacture (1859); "Ariadne Florentina" (1873), a monograph on Italian wood and metal engraving; "Aratra Pentelici" (1872), on the elements and principles of sculpture; and "The Eagle's Nest" (1872), on the relation of natural science to art. Still pursuing his delightful methods of interpreting nature and teaching the world instructive lessons, even from the common things of mother earth, we have a series of three eloquent discourses, entitled (1) "Proserpina," studies of Alpine and other wayside flowers, dwelling on the mystery of growth in plants and the tender beauty of their form; (2) "Deucalion," a sort of glorified geological text-book, treating of stones and their life-history, and showing the wearing effect upon them of waves and the action of water; and (3) "Love's Meinie" (1873), a rapture about birds and their feathered plumage, delivered at Eton and at Oxford. This trilogy, dealing with botany, geology, and ornithology, was presented to his audiences with illustrative drawings, representing the flora met with in his travels or found in the neighborhood of his new home in the Lancashire lakes, with sketches of regions, including the characteristics of the soil, in which he had been reared, and talks of the note and habit of all birds that were wont to warble over him their morning song. "The Pleasures of England," the "Harbours of England," and the "Art of England" further treat of his loved native land, the first of these being talks on the pleasures of learning, of faith, and of deed, illustrated by examples drawn from early English history, and the last treating of representative modern English artists, chiefly of the Pre-Raphaelite school. "The Laws of Fésole" (1878) deals with the principles of Florentine draughtsmanship; "St. Mark's Rest," with the art and architecture of Venice; and "Val d'Arno," with early Tuscan art, interspersed with the author's accustomed ethical reflections. "Mornings in Florence," intended for the use of visitors to the art galleries of the beautiful city on the Arno, deals in the true artist-spirit with its famous examples of Christian art, giving prominence here also to the ethical side of the city's history. "In Montibus Sanctis," and "Coeli Enarrant," the one comprising studies of mountain form, and the other of cloud form and their visible causes, though separately published, are only reprints of the author's larger and nobler embodiment of his views on art, in "Modern Painters." "The King of the Golden River," of which we have previously spoken, is a fairy tale of much beauty, which he wrote for the "Fair Maid of Perth" whom he married, and who separated herself from him on the plea of "incompatibility." Playful as is the style of the story, it is not without a moral, on what constitutes true wealth and happiness. "The Crown of Wild Olive" (1866) consists of lectures on work, traffic, and war; the latter lecture, delivered at the Royal Artillery Institution at Woolwich, was also separately published under the title of "The Future of England." The two former, being addressed to working-men, laborers, and traders, discuss economic problems, and set forth tentatively their author's antagonized political ethics, with which, in drawing this essay to a close, we now venture to deal.