may find parallels in most of the collections of Philistia.
"The value of a picture is what some one will pay for it" is a maxim of
the creators of picture values and upon it the "picture business" has its
working basis. And so together with the good of foreign art have the
Meyer Von Bremens and the Verbeckhovens, the creations of the school of
smiles and millinery, and the failures and half successes of
impressionism, together with its good, been cornered, and unloaded upon
the ingenuous collector.

The most insidious bias of judgment is that developed by the art
historian, the man who really knows.

Serene and above the petty matters which concern the buyer of art and
perplex the producer, he pours forth his jeremiads upon the age and its
art, subjecting them to indefensible comparisons with the fifteenth
century and deploring the materialism of modern times.

The argument is that out of the heart the mouth must speak; can men gather
figs from thistles: is it reasonable to expect great art when men and
messages are transported by steam and electricity, in the face of
Emerson's contention that art is antagonistic to hurry? The argument
neglects the fact that this present complex life is such because it has
added one by one these separate interests to those which it has received
as an inheritance, each of which in its own narrowing niche having been
preserved under the guardianship of the specialist.

The art instinct has never died out; but art, which aforetime was the only
thought of the humanists, has been obliged to move up and become
condensed. But mark, the priests who keep alive her fires can still show
their ordination from the hands of the divine Raphael. The age may be
unsympathetic, but for those who will worship, the fire burns. Whereas
art was once uplifted by the joyous acclaim of the whole people, she must
now fight for space in a jostling competition. But is it not more
reasonable that the prophet lay aside his sackcloth and accept the
conditions of the new era, acknowledging that art has had its day in the
sanctuary and has now come to adorn the home and that of necessity
therefore the conditions of subject and of size must be altered? The
impulse which aforetime expressed itself in ideals is now satisfied to
become reflective of the emotions. The change which has restricted the
range in the grander reaches of the ideal has resulted in the closer and
more intimate friendship with nature. Th