1. The reader may perhaps be somewhat confused by the different tone with which, in various passages of these volumes, I have spoken of the dignity of Expression. He must remember that there are three distinct schools of expression, and that it is impossible, on every occasion when the term is used, to repeat the definition of the three, and distinguish the school spoken of.

There is, first, the Great Expressional School, consisting of the sincerely thoughtful and affectionate painters of early times, masters of their art, as far as it was known in their days. Orcagna, John Bellini, Perugino, and Angelico, are its leading masters. All the men who compose it are, without exception, colourists. The modern Pre-Raphaelites belong to it.

Secondly, the Pseudo-Expressional school, wholly of modern development, consisting of men who have never mastered their art, and are probably incapable of mastering it, but who hope to substitute sentiment for good painting. It is eminently characterized by its contempt of colour, and may be most definitely distinguished as the School of Clay.

Thirdly, the Grotesque Expressional School, consisting of men who, having peculiar powers of observation for the stronger signs of character in anything, and sincerely delighting in them, lose sight of the associated refinements or beauties. This school is apt, more or less, to catch at faults or strangenesses; and associating its powers of observation with wit or malice, produces the wild, gay, or satirical grotesque in early sculpture, and in modern times, our rich and various popular caricature.