I am not aware of having mentioned any important building, statue, or picture which I have not had the opportunity of studying.

What I have written in this volume about the monuments of Italian art has always been first noted face to face with the originals, and afterwards corrected, modified, or confirmed in the course of subsequent journeys to Italy.

I know that this method of composition, if it has the merit of freshness, entails some inequality of style and disproportion in the distribution of materials.

In the final preparation of my work for press I have therefore endeavoured, as far as possible, to compensate this disadvantage by adhering to the main motive of my subject--the illustration of the Renaissance spirit as this was manifested in the Arts.
I must add, in conclusion, that Chapters VII.

and IX.