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INTRODUCTION It is hardly necessary to apologise for the miscellaneous character of the following collection of essays.  Samuel Butler was a man of such unusual versatility, and his interests were so many and so various that his literary remains were bound to cover a wide field.  Nevertheless it will be found that several of the subjects to which he devoted much time and labour are not represented in these pages.  I have not... more...

INTRODUCTION. The origin of painting is unknown. The first important records of this art are met with in Egypt; but before the Egyptian civilization the men of the early ages probably used color in ornamentation and decoration, and they certainly scratched the outlines of men and animals upon bone and slate. Traces of this rude primitive work still remain to us on the pottery, weapons, and stone implements of the cave-dwellers. But while... more...

INTRODUCTORY So far as it concerns pictures painted upon panel or canvas in tempera or oils, the history of painting begins with Cimabue, who worked in Florence during the latter half of the thirteenth century. That the art was practised in much earlier times may readily be admitted, and the life-like portraits in the vestibule at the National Gallery taken from Greek tombs of the second or third century are sufficient proofs of it; but for the... more...

ABOUT CENSORSHIP Since, time and again, it has been proved, in this country of free institutions, that the great majority of our fellow-countrymen consider the only Censorship that now obtains amongst us, namely the Censorship of Plays, a bulwark for the preservation of their comfort and sensibility against the spiritual researches and speculations of bolder and too active spirits—it has become time to consider whether we should not... more...

THE MIND OF THE ARTIST I An able painter by his power of penetration into the mysteries of his art is usually an able critic. Alfred Stevens. The Belgian painter, not the English sculptor. II Art, like love, excludes all competition, and absorbs the man. Fuseli. III A good painter has two chief objects to paint, namely, man, and the intention of his soul. The first is easy, the second difficult, because he has to represent it... more...


CHAPTER I VENICE AND HER ART Venetian painting in its prime differs altogether in character from that of every other part of Italy. The Venetian is the most marked and recognisable of all the schools; its singularity is such that a novice in art can easily, in a miscellaneous collection, sort out the works belonging to it, and added to this unique character is the position it occupies in the domain of art. Venice alone of Italian States can... more...

PREFACE This volume is complementary to that dealing with the Italian side of the Adriatic, and follows much the same lines. It has not been thought necessary to repeat what appeared there about the sea itself, but some further details on the subject have been added in an introductory chapter. The concluding chapter treats of the influence which the two coasts exerted on each other, and contains some hints as to certain archæological... more...

The Sculpture and Mural Decorations "In this fair world of dreams and vagary,Where all is weak and clothed in failing forms,Where skies and trees and beauties speak of change,And always wear a garb that's like our minds,We hear a cry from those who are aboutAnd from within we hear a quiet voiceThat drives us on to do, and do, and do." The persistent necessity for creation is strikingly proved by the prolific output of the Arts. Year after year,... more...

EARLY ITALIAN ART—GIOTTO, 1276-1337—ANDREA PISANO. 1280-1345—ORCAGNA, 1315-1376 GHIBERTI, 1381-1455—MASACCIO, 1402-1428 OR 1429—FRA ANGELICO, 1387-1455. A pencil and paper, a box of colours, and a scrap-book, form so often a child's favourite toys that one might expect that a very large portion of men and women would prove painters. But, as we grow in years and knowledge, the discrepancy between nature and our... more...

Introduction No more accurate account of the Panama-Pacific International Exposition has been given than one that was forced from the lips of a charming Eastern woman of culture. Walking one evening in the Fine Arts colonnade, while the illumination from distant searchlights accented the glory of Maybeck's masterpiece, and lit up the half-domes and arches across the lagoon, she exclaimed to her companion: "Why, all the beauty of the world has... more...