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 forcible, as compared with most religious writing; especially in its frankness and fearlessness: but it was wholly mistaken: for I had been educated in the doctrines of a narrow sect, and had read history as obliquely as sectarians necessarily must.

Mingled among these either unnecessary or erroneous statements, I find, indeed, some that might be still of value; but these, in my earlier books, disfigured by affected language, partly through the desire to be thought a fine writer, and partly, as in the second volume of 'Modern Painters,' in the notion of returning as far as I could to what I thought the better style of old English literature, especially to that of my then favourite, in prose, Richard Hooker.

For these reasons,—though, as respects either art, policy, or morality, as distinct from religion, I not only still hold, but would even wish strongly to re-affirm the substance of what I said in my earliest books,—I shall reprint scarcely anything in this series out of the first and second volumes of 'Modern Painters'; and shall omit much of the 'Seven Lamps' and 'Stones of Venice'; but all my books written within the last fifteen years will be republished without change, as new editions of them are called for, with here and