er in the model-room, or the Parc aux
Cerfs.

Therefore, I will republish (D.V.) the analytic parts of the second
volume of 'Modern Painters' as they were written, but with perhaps an
additional note or two, and the omission of the passages concerning
Evangelical or other religious matters, in which I have found out my
mistakes.

131. To be able to hunt for these mistakes, and crow over them, in the
original volume, will always give that volume its orthodox value in
sale catalogues, so that I shall swindle nobody who has already bought
the book by bringing down its price upon them. Nor will the new edition
be a cheap one--even if I ever get it out, which is by no means
certain. Here, however, at once, is the paragraph above referred to,
quite one of the most important in the book. The reader should know,
preparatorily, that for what is now called 'aesthesis,' _I_ always used,
and still use, the English word 'sensation'--as, for instance, the
sensation of cold or heat, and of their differences;--of the flavor of
mutton and beef, and their differences;--of a peacock's and a lark's
cry, and their differences;--of the redness in a blush, and in rouge,
and their differences;--of the whiteness in snow, and in almond-paste,
and their differences;--of the blackness and brightness of night and
day, or of smoke and gaslight, and their differences, etc., etc. But
for the Perception of Beauty, I always used Plato's word, which is the
proper word in Greek, and the only possible _single_ word that can be
used in any other language by any man who understands the
subject,--'Theoria,'--the Germans only having a term parallel to it,
'Anschauung,' assumed to be its equivalent in p. 22 of the old edition
of 'Modern Painters,' but which is not its real equivalent, for
Anschauung does not (I believe) _include_ bodily sensation, whereas
Plato's Theoria does, so far as is necessary; and mine, somewhat more
than Plato's. "The first perfection," (then I say, in this so long in
coming paragraph) of the theoretic faculty, "is the kindness and
unselfish fullness of heart, which receives the utmost amount of
pleasure from the happiness of all things. Of which in high degree the
heart of man is incapable; neither what intense enjoyment the angels
may have in all that they see of things that move and live, and in the
part they take in the shedding of God's kindness upon them, can we know
or conceive: only in proportion as we draw near to God, and ar