INTRODUCTION. Xlll and countrywomen visit the Continent each year — the History of Art has a great claim to be studied. It is quite true, as has been pointed out, that a knowledge of the history does not necessarily convey the power to per- ceive the beauty of works of art. It is also true that this knowledge may exist without a keen perception of the theoretical principles of art, or of the critical rules by which the productions of artists should be judged. It however lies at the root of both these acquirements, and the best way of cultivating an appreciation of works of art, and of training the judgment to form sound opinions of their merits and defects, will be to begin by becoming familiar with their history through all time, and then to seek an intimate acquaintance with such of the best examples of each art as may be accessible. For students who desire thus to train their own minds, for those who wish to prepare themselves for Continental travel, and above all, for pupils in schools of a high class, no handbook of Art History could well be more suitable than the little volume now published. Its arrangement adheres pretty closely to that of the well-known German manual on which it is based ; but having had an oppor- tunity of comparing the two closely, I find this work to be so much varied and enlarged as to be virtually a new book. As far as regards architecture, the only art upon which I can venture to speak with the confidence which grows out of some degree of personal experience, I have no hesitation in saying that though the notices of the styles of various countries are necessarily so very brief as to
