PREFACE

In presenting the second number of these Notes to the public, distinguished as they are from most of the criticism brought under their notice, by the writer's attaching his name to them, I may perhaps be permitted one or two words respecting the probable difference, in aim, between anonymous and acknowledged criticism; and this the rather, that I found, last year, the offence which the work, in its very nature, could not but give, seemed to be deepened instead of diminished by the fact of its being openly owned to, and I was bitterly accused of malice or unkindness, as if malice were usually the most outspoken passion in the world, and unkindness always the greater when it was ready to answer for itself.

It is evident that there can be but three reasons for a writer's concealment of his personality. Either, firstly, having confidence in what he has written, he must have none in his name (as I wrote the first volume of Modern Painters, sure of the truth of what I wrote, but fearing that I might not obtain fair hearing if the reader knew my youth). Or, secondly, he may know that his name would carry some weight with it, but may be ashamed of what he has written. Or, thirdly, there may be dangers of private loss or inconvenience, which he cannot speak openly without incurring, and which to avoid he must get his opinion uttered as best he may, namelessly.