t tests merit according to the standard of the nature on which it is
founded, not overlooking excellence in whatever respect or degree. A
truly catholic view of art is the result only of its universal study.
The critic may be just to all inspirations, and yet enjoy his own
preferences. But, as Blackwood observes, too many "are self-endowed with
the capacity to judge all matters relating to the fine arts just in
proportion to the extent of their ignorance, because it is not difficult
to condemn in general terms and to attain notoriety by shallow
pretence." Neither "the narrowness of sect nor the noise of party"
should be heard in this matter. As a great gallery should represent
all phases of art through their several stages of progress and decay,
meeting all wants and tastes, so criticism should be based upon a
foundation equally broad,--not proud of its erudition nor dictatorial,
but with due humility uttering its opinions, prompt to sustain them, and
yet ever ready to listen and learn.

"Old masters" are almost a by-word of doubt or contempt in America,
owing to the influx of cheap copies and pseudo-originals of no artistic
value whatever. It is the more important, therefore, that they should be
represented among us by such characteristic specimens as are still to
be procured. Some modern artists are jealous of or indifferent to past
genius, and sedulously disparage it in view of their own immediate
interests. Bayle St. John, in his "Louvre," relates that he heard an
associate of the Royal Academy deliberately and energetically declare,
that, if it were in his power, he would slash with his knife all the
works of the old masters, and thus compel people to buy modern. This
spirit is both ungenerous and impolitic. If neither respect nor care for
the works of departed talent be bestowed, what future has the living
talent itself to look forward to? Art is best nourished by a general
diffusion of aesthetic taste and feeling. There can be no invidious
rivalry between the dead and the living. Alfred Tennyson looks not with
evil eye upon John Milton. Why should a modern be jealous of a mediaeval
artist? The public can love and appreciate both. Nor should it be
forgotten that it is precisely in those countries where old art is most
appreciated that the modern is most liberally sustained.

'TENTY SCRAN'.

"Patience hath borne the bruise, and I the stroke."

"I think she's a-sinkin', Doctor," sobbed old Aunt Rhody, t