ARTIST AND PUBLIC In the history of art, as in the history of politics and in the history of economics, our modern epoch is marked off from all preceding epochs by one great event, the French Revolution. Fragonard, who survived that Revolution to lose himself in a new and strange world, is the last at the old masters; David, some sixteen years his junior, is the first of the moderns. Now if we look for... more...

I The human race was born in slavery, totally subservient to nature. The earliest primitive beings feasted or starved according to nature's bounty and sweltered or shivered according to the weather. When night fell they sought shelter with animal instinct, for not only were activities almost completely curtailed by darkness but beyond its screen lurked many dangers. It is interesting to... more...

I.—WACE In the long line of Arthurian chroniclers Geoffrey of Monmouth deservedly occupies the first place. The most gifted and the most original of their number, by his skilful treatment of the Arthurian story in his Historia Regum Britanniae, he succeeded in uniting scattered legends attached to Arthur's name, and in definitely establishing their place in chronicle history in a form... more...

When some years ago we took the liberty, in a volume of our so-called "Confessions," to introduce to our reader's acquaintance the gentleman whose name figures in the title page, we subjoined a brief notice, by himself, intimating the intention he entertained of one day giving to the world a farther insight into his life and opinions, under the title of "Loiterings of Arthur... more...

CHAPTER I. I was resident in this city during the year 1793. Many motives contributed to detain me, though departure was easy and commodious, and my friends were generally solicitous for me to go. It is not my purpose to enumerate these motives, or to dwell on my present concerns and transactions, but merely to compose a narrative of some incidents with which my situation made me acquainted. Returning... more...

CHAPTER I. One pleasant October evening, Arthur Hamilton was at play in front of the small, brown cottage in which he lived. He and his brother James, were having a great frolic with a large spotted dog, who was performing a great variety of antics, such as only well-educated dogs understand. But Rover had been carefully initiated into the mysteries of making a bow while standing on his hind legs,... more...

ARTEMIS TO ACTAEON   THOU couldst not look on me and live: so runs  The mortal legend—thou that couldst not live  Nor look on me (so the divine decree)!  That saw'st me in the cloud, the wave, the bough,  The clod commoved with April, and the shapes  Lurking 'twixt lid and eye-ball in the dark.  Mocked I thee not in every guise of life,  Hid in girls' eyes, a naiad in... more...

Embroidery may be looked at from more points of view than it would be possible in a book like this to take up seriously. Merely to hover round the subject and glance casually at it would serve no useful purpose. It may be as well, therefore, to define our standpoint: we look at the art from its practical side, not, of course, neglecting the artistic, for the practical use of embroidery is to be... more...

EARLY ART SCHOOLS IN ENGLAND. harles the First appears to have been the first English Sovereign who regarded art, not merely as an aid to the splendour of the throne, but for its own sake. As Walpole says, 'Queen Elizabeth was avaricious with pomp, James the First lavish with meanness.' To neither had the position of the painter been a matter of the slightest concern. But from Charles the... more...

I THE AESTHETIC HYPOTHESIS It is improbable that more nonsense has been written about aesthetics than about anything else: the literature of the subject is not large enough for that. It is certain, however, that about no subject with which I am acquainted has so little been said that is at all to the purpose. The explanation is discoverable. He who would elaborate a plausible theory of aesthetics must... more...