duce chromophotographs? Hundreds perhaps. For all that,
Cezanne marks a change--the birth of a movement if not of a slope.]

[Footnote 11: It will be found instructive to study cases 10-14 of
enamels and metal-work at South Kensington. The tyro will have no
difficulty in "spotting" the German and Rheinish productions. Alas! the
only possible mistake would be a confusion between German and English.
Certainly the famous Gloucester candlestick (1100) is as common as
anything in the place, unless it be the even more famous Cologne
Reliquary (1170).]

[Footnote 12: Patriots can take pleasure in the study of Saxon
sculpture.]

[Footnote 13: Several schools of painting and drawing flourished during
these centuries in Italy and north of the Alps. In S. Clemente alone it
is easy to discover the work of two distinct periods between 600 and
900. The extant examples of both are superb.]

[Footnote 14: _The Making of Western Europe_: C.L.R. Fletcher.]

[Footnote 15: Throughout the whole primitive and middle period, however,
two tendencies are distinguishable--one vital, derived from
Constantinople, the other, dead and swollen, from imperial Rome. Up to
the thirteenth century the Byzantine influence is easily predominant. I
have often thought that an amusing book might be compiled in which the
two tendencies would be well distinguished and illustrated. In Pisa and
its neighbourhood the author will find a surfeit of Romanised
primitives.]

[Footnote 16: Pietro is, of course, nearer to Giotto.]

[Footnote 17: Owing to the English invention of "Perpendicular," the
least unsatisfactory style of Gothic architecture, the English find it
hard to realise the full horrors of late Gothic.]

[Footnote 18: In speaking of officialdom it is not the directors of
galleries and departments whom I have in mind. Many of them are on the
right side; we should all be delighted to see Sir Charles Holroyd or Mr.
Maclagan, for instances, let loose amongst the primitives with forty
thousand pounds in pocket. I am thinking of those larger luminaries who
set their important faces against the acquisition of works of art, the
men who have been put in authority over directors and the rest of us.]

[Footnote 19: The Mabuse, however, was a bargain that the merchants and
money-lenders who settle these things could hardly be expected to
resist. The ticket price is said to have been L120,000.]

[Footnote 20: It was Mr. Roger Fry who made this illuminating
d