V. The dialogue with Lucilla, beginning at p. 96, is, to my own fancy, the best bit of conversation in the book; and the issue of it, at p. 103, the most practically and immediately useful. For on the idea of the inevitable weakness and corruption of human nature, has logically followed, in our daily life, the horrible creed of modern "Social science," that all social action must be scientifically founded on vicious impulses. But on the habit of measuring and reverencing our powers and talents that we may kindly use them, will be founded a true Social science, developing, by the employment of them, all the real powers and honorable feelings of the race. VI. Finally, the account given in the second and third lectures, of the real nature and marvelousness of the laws of crystallization, is necessary to the understanding of what farther teaching of the beauty of inorganic form I may be able to give, either in "Deucalion," or in my "Elements of Drawing." I wish however that the second lecture had been made the beginning of the book; and would fain now cancel the first altogether, which I perceive to be both obscure and dull. It was meant for a metaphorical description of the pleasures and dangers in the kingdom of Mammon, or of worldly wealth; its waters mixed with blood, its fruits entangled in thickets of trouble, and poisonous when gathered; and the final captivity of its inhabitants within frozen walls of cruelty and disdain. But the imagery is stupid and ineffective throughout; and I retain this chapter only because I am resolved to leave no room for any one to say that I have withdrawn, as erroneous in principle, so much as a single sentence of any of my books written since 1860. One license taken in this book, however, though often permitted to essay-writers for the relief of their dullness, I never mean to take more,--the relation of composed metaphor as of actual dream, pp. 27 and 171. I assumed, it is true, that in these places the supposed dream would be easily seen to be an invention; but must not any more, even under so transparent disguise, pretend to any share in the real powers of Vision possessed by great poets and true painters. BRANTWOOD: 10th October, 1877. PREFACE.