SKETCHES OF THE HISTORY OF CHRISTIAN ART. BY LORD LINDSAY. VOLUME I. LONDON: JOHN MURRAY, ALBEMARLE STREET. 1847. ADVERTISEMENT. THE three volumes now published comprise a portion only of my projected work on Christian Art; I publish them separately in consequence of the interest newly awakened in the subject, and in the hope that, however imperfect, they may be found useful both to artists and amateurs at the present moment. I had intended prefixing a General Introduction, but, after much consideration, have postponed it till the work shall be concluded, under the conviction that this will be to the ultimate advantage of all parties. I feel the less scruple in thus postponing it, inasmuch as the reader will find a series of Memoranda respecting the Ideal, the Character and Dignity of Christian Art, and the Symbolism and Mythology of Christianity, preliminary to the work itself, and also a General Classification of Schools and Artists in accordance with the principle on which the work is based, and these may to a cer tain extent supply the place of the Introduction in question. With regard to the principle alluded to, I feel myself in rather an embarrassing position. Even if published complete, as a whole, under existing circumstances, the 'Sketches' would labour under the disadvantage of being the fragment merely of a scheme too extensive for any single hand to execute, and dependent moreover on a Central Principle as yet unrecognised, on the perception and recognition of which by others I rest my sole hope of seeing it accomplished in detail. No portion, it is evident, of such a scheme can be rightly and fully comprehended without due apprehension of that Central Principle; and I take the liberty therefore-in the hope of creating a clearer mutual understanding between the reader and myself, and of anticipating various objections that may collaterally arise-to refer the reader to an Essay lately published by me, entitled 'Progression by Antagonism,'* in which the principle in question is set forth and illustrated. I will only add, that these 'Sketches' are addressed in letters to a young amateur artist, pre * London, John Murray, 1846. sumed to have recently started for Italy,—and that, in spite of an insensible transition into the ideal in my view of the character thus addressed, I cannot forego the pleasure of inscribing them to the friend in whose society I have spent many a happy day in exploring the pictorial treasures of Umbria and the Apennine, and for whose use they were originally designed, SIR COUTTS LINDSAY, BART. Haigh, November 1st, 1846.* * I have been urged to expunge the word 'Sketches' from the title-page of these volumes, and term them at once a History. Two reasons oppose themselves to this: First, that a history of Art, worthy of the name, would require a knowledge of the details of Architecture, Sculpture, and Painting far more intimate and scientific than I possess; Secondly, that the documentary evidence on which alone such a history could be based is as yet very defective, although every day is adding to the store. The reader will therefore receive these volumes as 'Sketches' merely-an attempt to prepare the way for something better. Before concluding, let me acknowledge a debt of warm and affectionate gratitude to Mlle. Félicie de Fauveau, of Florence -the friend of the very dear relatives to whose suggestion and encouragement this work mainly owes its origin—whose society added the charm of enthusiasm and genius to the happy company with which, six years ago, I revisited many of the most interesting cities and districts of Central Italy-whose suggestions, let me add, have since been most useful to me in |