that cannot be put away as idle. One reason why the
scholar does not make the world of the past, the world of books, real to
his fellows and serviceable to them, is that it is not real to himself,
but a mere unsubstantial place of intellectual idleness, where he dallies
some years before he begins his task in life. And another reason is that,
while it may be real to him, while he is actually cultured and trained,
he fails to see or to feel that his culture is not a thing apart, and
that all the world has a right to share its blessed influence. Failing to
see this, he is isolated, and, wanting his sympathy, the untutored world
mocks at his super-fineness and takes its own rough way to rougher ends.
Greek art was for the people, Greek poetry was for the people; Raphael
painted his immortal frescoes where throngs could be lifted in thought
and feeling by them; Michael Angelo hung the dome over St. Peter's so
that the far-off peasant on the Campagna could see it, and the maiden
kneeling by the shrine in the Alban hills. Do we often stop to think what
influence, direct or other, the scholar, the man of high culture, has
today upon the great mass of our people? Why do they ask, what is the use
of your learning and your art?

The artist, in the retirement of his studio, finishes a charming,
suggestive, historical picture. The rich man buys it and hangs it in his
library, where the privileged few can see it. I do not deny that the
average rich man needs all the refining influence the picture can exert
on him, and that the picture is doing missionary work in his house; but
it is nevertheless an example of an educating influence withdrawn and
appropriated to narrow uses. But the engraver comes, and, by his
mediating art, transfers it to a thousand sheets, and scatters its sweet
influence far abroad. All the world, in its toil, its hunger, its
sordidness, pauses a moment to look on it--that gray seacoast, the
receding Mayflower, the two young Pilgrims in the foreground regarding
it, with tender thoughts of the far home--all the world looks on it
perhaps for a moment thoughtfully, perhaps tearfully, and is touched with
the sentiment of it, is kindled into a glow of nobleness by the sight of
that faith and love and resolute devotion which have tinged our early
history with the faint light of romance. So art is no longer the
enjoyment of the few, but the help and solace of the many.

The scholar who is cultured by books, reflection,