CE TO NEW EDITION (1873).

I have been lately so often asked by friends on whose judgment I can
rely, to permit the publication of another edition of "Modern Painters"
in its original form, that I have at last yielded, though with some
violence to my own feelings; for many parts of the first and second
volumes are written in a narrow enthusiasm, and the substance of their
metaphysical and religious speculation is only justifiable on the ground
of its absolute honesty. Of the third, fourth, and fifth volumes I
indeed mean eventually to rearrange what I think of permanent interest,
for the complete edition of my works, but with fewer and less elaborate
illustrations: nor have I any serious grounds for refusing to allow the
book once more to appear in the irregular form which it took as it was
written, since of the art-teaching and landscape description it contains
I have little to retrench, and nothing to retract.

This final edition must, however, be limited to a thousand copies, for
some of the more delicate plates are already worn, that of the Mill
Stream in the fifth volume, and of the Loire Side very injuriously;
while that of the Shores of Wharfe had to be retouched by an engraver
after the removal of the mezzotint for reprinting. But Mr. Armytage's,
Mr. Cousen's, and Mr. Cuff's magnificent plates are still in good state,
and my own etchings, though injured, are still good enough to answer
their purpose.

SYNOPSIS OF CONTENTS.

PART I.

OF GENERAL PRINCIPLES.

SECTION I.

OF THE NATURE OF THE IDEAS CONVEYABLE BY ART.

CHAPTER I.--Introductory.
PAGE
Sec. 1. Public opinion no criterion of excellence, except after long
periods of time. 1
Sec. 2. And therefore obstinate when once formed. 4
Sec. 3. The author's reasons for opposing it in particular instances. 5
Sec. 4. But only on points capable of demonstration. 5
Sec. 5. The author's partiality to modern works excusable. 6

CHAPTER II.--Definition of Greatness in Art.

Sec. 1. Distinction between the painter's intellectual power and
technical knowledge. 8
Sec. 2. Painting, as such, is no