INTRODUCTORY¹

§ 1. SOME years ago, in conversation with an artist* whose works, perhaps, alone, in the present day, unite perfection of drawing with resplendence of colour,² the writer made some inquiry respecting the general means by which this latter quality was most easily to be attained. The reply was as concise as it was comprehensive-“Know what you have to do, and do it”-comprehensive, not only as regarded the branch of art to which it temporarily applied, but as expressing the great principle of success in every direction of human effort; for I believe that failure is less frequently attributable to either insufficiency of means or impatience of labour, than to a confused understanding of the thing actually to be done; and therefore, while it is properly a subject of ridicule, and sometimes of blame, that men propose to themselves a perfection of any kind, which reason, temperately consulted, might have shown to be impossible with the means at their command, it is a more dangerous error to permit the consideration of means to interfere with our conception, or, as is not impossible, even hinder our acknowledgment of goodness and perfection in themselves. And this is the more cautiously to be remembered; because, while a man’s sense and conscience, aided by Revelation, are always enough, if earnestly directed, to enable him to discover what is right, neither his sense, nor conscience, nor feeling, is ever enough, because they are

* Mulready [1880].

¹ [There are two drafts of this introduction in the MS. Of these one is the MS. of the whole of the text, while the other, headed “Preface,” appears to be a preliminary sketch of the earlier part only. This, which differs largely from the published Introduction, is given below, in Appendix ii., p. 281.]

² [For other references to Mulready, see Vol. IV. p. 336.]

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