as
well as for Europe, is bright.

AUTHORITIES.

The books, pamphlets, and newspaper articles on Wagner would fill a
library. He has been more written about than any writers except
Shakspere, Goethe, and Dante. He was also fond of writing about himself.
His autobiography (extending only to 1865) has not yet been given to the
public; but there are many autobiographic pages in the ten volumes of
his literary works, which have been Englished by Ellis. Of great value
are Wagner's letters to Liszt and to other friends. These were utilized
for the first time in "Wagner and His Works," the most elaborate
biography in the English language, by the author of the foregoing
article. Shorter American and English books on Wagner have been written
by Kobbe, Krehbiel, Henderson, Hueffer, Newman, &c. Of French writers
Lavignac, Jullien, Mendes, Servieres, Schure, may be mentioned. Of great
value are Kufferath's monographs on the Wagner operas and Liszt's
analyses. In Germany the standard work of reference is the third edition
of Glasenopp, in six volumes, four of which are now (1902) in print.
Other German writers are Porges, Wolzogen, Pohl, Nohl, Tappert,
Chamberlain, &c. The best histories of Modern Music in general are
Langhaus's larger work and Riemann's "Geschichte der Musik seit
Beethoven." The best general work for reference is "Great Composers and
Their Works," edited by Professor Paine of Harvard. References to about
10,000 articles on Wagner may be found in Oesterlein's "Katalog Einer
Richard Wagner Bibliothek," 3 vols.

JOHN RUSKIN.

1819-1900.

MODERN ART.

BY G. MERCER ADAM.

What John Ruskin has done in a prosaic, commercial, and Philistine age,
in teaching the world to love and study the Beautiful, in opening to it
the hidden mysteries and delights of art, and in inciting the passion
for taking pleasure in and even possessing embodiments of it, that age
owes to the great prose-poet and enthusiastic author of "Modern
Painters." Neither before nor since his day has literature known such a
passionate and luminous exponent of Nature's beauties, such an
inculcator in men's minds of the art of observing her ways and methods,
or one who has given the world such deep insight into what constitutes
the true and the beautiful in art. For these things, and for opening new
worlds of instruction and delight to his age in the realm of art,
heightened by the charm of his marvellous prose, we can readily pardon
Ruskin