AUTHOR'S EPILOGUE TO THE RE-ARRANGED EDITION (1883)

Summary

§ 1. The above short pieces of criticism on contemporary art, first given, I believe, only in the second edition of Modern Painters, have become now extremely curious to myself, in connection with points of my personal history, of which some account may perhaps lead to a more indulgent retrospect of this book; and further illustrate others written at or near this time, as well as some of my drawings and manuscripts which may be thought worth preservation here after.

1841. I must set down a few fastening dates. In the winter of 1840, and spring of 1841, I was at Rome, Naples, and Venice, making a series of pencil sketches, partly in imitation of Prout, partly of David Roberts. I had not the smallest notion of writing about art at that time (many people, myself included, thought I was dying, and should never write about anything). These sketches, though full of weaknesses and vulgarities, have also much good in them; two are placed at Oxford as records of Venice, of which one was used to paint from by Prout himself; and all of them are of historical interest in their accuracy of representation. Sketching only in this way from nature, I was trying to make water-colour drawings and vignettes in imitation of Turner; which were extremely absurd and weak.