THE MSS. OF “THE SEVEN LAMPS” 279

Lamp of History. Veneration for past works as well as record in new ones. Class under this, Ambition?

Under this certainly place Age, Picturesqueness, etc. (The picturesque not in decay; head of donkey and horse, decayed apple and sound one.)

” ” Life. Various character of buildings. Vitality in ornament.

Some additional passages from the MS. have already been given (e.g. pp. 38, 45, 125, 192), and examples of interesting variations have been supplied, in notes under the text. It remains in this Appendix to give such longer passages as seem to be of interest.

PREFACE

The following are the preliminary drafts of the Preface (to edition 1) referred to on p. 3 n.

The MS. (it should be explained) contains three drafts of the opening portion of this preface. The longest (a) is the original of the preface to the first edition, but after the 4th paragraph, ending “at the correspondent extremities,” (above, p. 5) the following passage is added:-

“I have to thank M. de Marvy,¹ a young French artist, whose works will probably be soon known and highly esteemed among us, for much valuable information on the subject of engraving, of which I wish that I had made better use.”

The MS. does not contain the final paragraph beginning “I could have wished,” but concludes with adding (after the word “Flamboyant”) “and Salisbury, as a fair type of the early English, and early English decorated.”

In the second MS. (b) the first two sentences are almost identical with (a); but in the next sentence the words “obtained in every case” down to “the opinions founded upon them” (above, p. 3) are left out, and the MS. proceeds as follows:-

“I am prepared to bear the charge of impertinence, which can hardly but attach to the writer who assumes an attitude of authority in his remarks upon the practice even of a single art-much more of several. But there are some things respecting which men feel too strongly to be silent; and, I think, some also on which they feel too strongly to be wrong; I have been grieved into this impertinence, and have suffered too much from the destruction of the Buildings that I loved, and the despite done to the Painters that I reverenced, to reason cautiously respecting either the modesty or the probable advantage of my appearance in their Defence.

¹ [Louis Marvy, born 1815, a pupil of Jules Dupré, engraved several pictures after Rembrandt, Corot, etc. He died in 1850.]

[Version 0.04: March 2008]