her few or many of our students learn to draw; but it matters much
that all who learn should be taught with accuracy. And the number who
may be justifiably advised to give any part of the time they spend at
college to the study of painting or sculpture ought to depend, and
finally _must_ depend, on their being certified that painting and
sculpture, no less than language or than reasoning, have grammar and
method,--that they permit a recognizable distinction between scholarship
and ignorance, and enforce a constant distinction between Right and
Wrong.

This opening course of Lectures on Sculpture is therefore restricted to
the statement, not only of first principles, but of those which were
illustrated by the practice of one school, and by that practice in its
simplest branch, the analysis of which could be certified by easily
accessible examples, and aided by the indisputable evidence of
photography.[105]

The exclusion of the terminal Lecture of the course from the series now
published, is in order to mark more definitely this limitation of my
subject; but in other respects the Lectures have been amplified in
arranging them for the press, and the portions of them trusted at the
time to extempore delivery, (not through indolence, but because
explanations of detail are always most intelligible when most familiar,)
have been in substance to the best of my power set down, and in what I
said too imperfectly, completed.

In one essential particular I have felt it necessary to write what I
would not have spoken. I had intended to make no reference, in my
University Lectures, to existing schools of Art, except in cases where
it might be necessary to point out some undervalued excellence. The
objects specified in the eleventh paragraph of my inaugural Lecture,
might, I hoped, have been accomplished without reference to any works
deserving of blame; but the Exhibition of the Royal Academy in the
present year showed me a necessity of departing from my original
intention. The task of impartial criticism[106] is now, unhappily, no
longer to rescue modest skill from neglect; but to withstand the errors
of insolent genius, and abate the influence of plausible mediocrity.

The Exhibition of 1871 was very notable in this important particular,
that it embraced some representation of the modern schools of nearly
every country in Europe; and I am well assured that looking back upon it
after the excitement of that singular interest has