my friend's criticism. And it is not only of general ideas and
fundamental things that we have talked; Mr. Fry and I have wrangled for
hours about particular works of art. In such cases the extent to which
one may have affected the judgment of the other cannot possibly be
appraised, nor need it be: neither of us, I think, covets the doubtful
honours of proselytism. Surely whoever appreciates a fine work of art
may be allowed the exquisite pleasure of supposing that he has made a
discovery? Nevertheless, since all artistic theories are based on
aesthetic judgments, it is clear that should one affect the judgments of
another, he may affect, indirectly, some of his theories; and it is
certain that some of my historical generalisations have been modified,
and even demolished, by Mr. Fry. His task was not arduous: he had merely
to confront me with some work over which he was sure that I should go
into ecstasies, and then to prove by the most odious and irrefragable
evidence that it belonged to a period which I had concluded, on the
highest _a priori_ grounds, to be utterly barren. I can only hope that
Mr. Fry's scholarship has been as profitable to me as it has been
painful: I have travelled with him through France, Italy, and the near
East, suffering acutely, not always, I am glad to remember, in silence;
for the man who stabs a generalisation with a fact forfeits all claim on
good-fellowship and the usages of polite society.

I have to thank my friend Mr. Vernon Rendall for permission to make what
use I chose of the articles I have contributed from time to time to
_The Athenaeum_: if I have made any use of what belongs by law to the
proprietors of other papers I herewith offer the customary dues. My
readers will be as grateful as I to M. Vignier, M. Druet, and Mr.
Kevorkian, of the Persian Art Gallery, since it is they who have made it
certain that the purchaser will get something he likes for his money. To
Mr. Eric Maclagan of South Kensington, and Mr. Joyce of the British