Excerpt from Sacred and Legendary Art, Vol. 1 of 2
The revision of "Sacred and Legendary Art" has been conducted with the twofold purpose of preserving the original form of the work and of adding thereto such critical comments as would increase its value as an authoritative reference book. The only change in the form of the text is the occasional insertion of a foot-note in the body of the page. All editorial comment is inclosed in brackets to distinguish it sharply from the original material.
It has been the duty of the editor to ascertain concerning each work of art which Mrs. Jameson mentions, (1) the opinion of recent critics in regard to its authorship, (2) the name of the gallery, church, or private collection in which it is now to be found.
The first of these tasks is one whose importance is apparent to all who have noted the recent history of art criticism. The works of Crowe and Cavalcaselle, the first instalment of which appeared in 1864, four years after Mrs. Jameson's death, completely overturned many of the prevailing ideas in regard to the authorship of famous old paintings. A still greater revolution has been caused by the works of Morelli, which were the starting-point of an entirely new method of criticism. Among the followers of this eminent Italian critic are several who have contributed materially to the literature of art criticism: Dr. Gustavo Frizzoni and Dr. J. P. Richter; Dr. Woermann, who has based his catalogue of the Dresden Gallery on the "Critical Studies," and Sir Henry Layard, who has revised Kugler's "Handbook of the Italian Schools" in accordance with the same work.
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