of a public that could not be roused to interest in mere painting.
Everywhere, even in this country, where exhibitions are relatively small
and ill-attended, it has caused a certain stridency and blatancy, a
keying up to exhibition pitch, a neglect of finer qualities for the sake
of immediate effectiveness.

Under our modern conditions the exhibition has become a necessity, and
it would be impossible for our artists to live or to attain a reputation
without it. The giving of medals and prizes and the purchase of works
of art by the state may be of more doubtful utility, though such efforts
at the encouragement of art probably do more good than harm. But there
is one form of government patronage that is almost wholly beneficial,
and that the only form of it which we have in this country--the awarding
of commissions for the decoration of public buildings. The painter of
mural decorations is in the old historical position, in sound and
natural relations to the public. He is doing something which is wanted
and, if he continues to receive commissions, he may fairly assume that
he is doing it in a way that is satisfactory. With the decorative or
monumental sculptor he is almost alone among modern artists in being
relieved of the necessity of producing something in the isolation of his
studio and waiting to see if any one will care for it; of trying,
against the grain, to produce something that he thinks may appeal to
the public because it does not appeal to himself; or of attempting to
bamboozle the public into buying what neither he nor the public really
cares for. If he does his best he may feel that he is as fairly earning
his livelihood as his fellow workmen, the blacksmith and the
stonecutter, and is as little dependent as they upon either charity or
humbug. The best that government has done for art in France is the
commissioning of the great decorative paintings of Baudry and Puvis. In
this country, also, governments, national, State, or municipal, are
patronizing art in the best possible way, and in making buildings
splendid for the people are affording opportunity for the creation of a
truly popular art.

Without any artificial aid from the government the illustrator has a
wide popular support and works for the public in a normal way; and,
therefore, illustration has been one of the healthiest and most
vigorous forms of modern art. The portrait-painter, too, is producing
something he knows to be wanted, and, though