Essay liave been thrown together during the preparation of one of the sections of the third volume of Modern Painters. I once thought of giving them a more expanded form; but their utility, such as it may be, would probably be diminished by farther delay in their publication, more than it would be increased by greater care in their arrangement. Obtained in every case by personal observation, there may be among them some details valuable even to the experienced architect; but with respect to the opinions founded upon them I must be prepared to bear the charge of impertinence which can hardly but attach to the writer who assumes a dogmatical tone in speaking of an art he has never practised. There are, however, cases in which men feel too keenly to be silent, and perhaps too strongly to be wrong; I have been forced into this impertinence; and have suffered too much from the destruction or neglect of the architecture I best loved, and from the erection of that which I cannot love, to reason cautiously respecting the modesty of my opposition to the principles which The inordinate delay in the appearance of that supplementary volume has, indeed, been chiefly owing to the necessity under which the writer felt himself, of obtaining as many memoranda as possible of mediaeval buildings in Italy and Normandy, now in process of destruction, before that destruction should be consummated by the Restorer orR evolutionist. His whole time has been lately occupied in taking drawings from one side of buildings, of which masons were knocking down the other; nor can he yet pledge himself to any time for the publication of the conclusion of Modem Painters; he can only promise that its delay shall not be owing to any indolence on his part.
(Typographical errors above are due to OCR software and don’t occur in the book.)

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