Perhapsyoumaybesurprisedatmytalkingoflabourandtheworkman.Youhaveheardofme，Ifear，throughthemediumofyoursomewhatimaginativenewspapersas，ifnota’Japaneseyoungman，’
atleastayoungmantowhomtherushandclamourandrealityofthemodernworldweredistasteful，andwhosegreatestdifficultyinlifewasthedifficultyoflivinguptothelevelofhisbluechina—aparadoxfromwhichEnglandhasnotyetrecovered.
Well，letmetellyouhowitfirstcametomeatalltocreateanartisticmovementinEngland，amovementtoshowtherichwhatbeautifulthingstheymightenjoyandthepoorwhatbeautifulthingstheymightcreate.
OnesummerafternooninOxford—’thatsweetcitywithherdreamingspires，’lovelyasVeniceinitssplendour，nobleinitslearningasRome，downthelongHighStreetthatwindsfromtowertotower，pastsilentcloisterandstatelygateway，tillitreachesthatlong，greyseven—archedbridgewhichSaintMaryusedtoguard（usedto，Isay，becausetheyarenowpullingitdowntobuildatramwayandalightcast—ironbridgeinitsplace，desecratingtheloveliestcityinEngland）—well，wewerecomingdownthestreet—
atroopofyoungmen，someofthemlikemyselfonlynineteen，goingtoriverortennis—courtorcricket—field—whenRuskingoinguptolectureincapandgownmetus.Heseemedtroubledandprayedustogobackwithhimtohislecture，whichafewofusdid，andtherehespoketousnotonartthistimebutonlife，sayingthatitseemedtohimtobewrongthatallthebestphysiqueandstrengthoftheyoungmeninEnglandshouldbespentaimlesslyoncricketgroundorriver，withoutanyresultatallexceptthatifonerowedwellonegotapewter—pot，andifonemadeagoodscore，acane—handledbat.Hethought，hesaid，thatweshouldbeworkingatsomethingthatwoulddogoodtootherpeople，atsomethingbywhichwemightshowthatinalllabourtherewassomethingnoble.
Well，wewereagooddealmoved，andsaidwewoulddoanythinghewished.SohewentoutroundOxfordandfoundtwovillages，UpperandLowerHinksey，andbetweenthemtherelayagreatswamp，sothatthevillagerscouldnotpassfromonetotheotherwithoutmanymilesofaround.Andwhenwecamebackinwinterheaskedustohelphimtomakearoadacrossthismorassforthesevillagepeopletouse.Sooutwewent，dayafterday，andlearnedhowtolaylevelsandtobreakstones，andtowheelbarrowsalongaplank—averydifficultthingtodo.AndRuskinworkedwithusinthemistandrainandmudofanOxfordwinter，andourfriendsandourenemiescameoutandmockedusfromthebank.Wedidnotminditmuchthen，andwedidnotminditafterwardsatall，butworkedawayfortwomonthsatourroad.Andwhatbecameoftheroad？
Well，likeabadlectureitendedabruptly—inthemiddleoftheswamp.RuskingoingawaytoVenice，whenwecamebackforthenexttermtherewasnoleader，andthe’diggers，’astheycalledus，fellasunder.AndIfeltthatiftherewasenoughspiritamongsttheyoungmentogoouttosuchworkasroad—makingforthesakeofanobleidealoflife，Icouldfromthemcreateanartisticmovementthatmightchange，asithaschanged，thefaceofEngland.
SoIsoughtthemout—leadertheywouldcallme—buttherewasnoleader：wewereallsearchersonlyandwewereboundtoeachotherbynoblefriendshipandbynobleart.Therewasnoneofusidle：
poetsmostofus，soambitiouswerewe：painterssomeofus，orworkersinmetalormodellers，determinedthatwewouldtryandcreateforourselvesbeautifulwork：forthehandicraftsmanbeautifulwork，forthosewholoveuspoemsandpictures，forthosewholoveusnotepigramsandparadoxesandscorn.
Well，wehavedonesomethinginEnglandandwewilldosomethingmore.Now，Idonotwantyou，believeme，toaskyourbrilliantyoungmen，yourbeautifulyounggirls，togooutandmakearoadonaswampforanyvillageinAmerica，butIthinkyoumighteachofyouhavesomearttopractise.
Wemusthave，asEmersonsaid，amechanicalcraftforourculture，abasisforourhigheraccomplishmentsintheworkofourhands—
theuselessnessofmostpeople’shandsseemstomeoneofthemostunpracticalthings.’Noseparationfromlabourcanbewithoutsomelossofpowerortruthtotheseer，’saysEmersonagain.TheheroismwhichwouldmakeonustheimpressionofEpaminondasmustbethatofadomesticconqueror.TheheroofthefutureishewhoshallbravelyandgracefullysubduethisGorgonoffashionandofconvention.
Whenyouhavechosenyourownpart，abidebyit，anddonotweaklytryandreconcileyourselfwiththeworld.Theheroiccannotbethecommonnorthecommontheheroic.Congratulateyourselfifyouhavedonesomethingstrangeandextravagantandbrokenthemonotonyofadecorousage.
Andlastly，letusrememberthatartistheonethingwhichDeathcannotharm.ThelittlehouseatConcordmaybedesolate，butthewisdomofNewEngland’sPlatoisnotsilencednorthebrilliancyofthatAtticgeniusdimmed：thelipsofLongfellowarestillmusicalforusthoughhisdustbeturningintotheflowerswhichheloved：
andasitiswiththegreaterartists，poetandphilosopherandsong—bird，soletitbewithyou.
LECTURETOARTSTUDENTS
INthelecturewhichitismyprivilegetodeliverbeforeyouto—
nightIdonotdesiretogiveyouanyabstractdefinitionofbeautyatall.Forwewhoareworkinginartcannotacceptanytheoryofbeautyinexchangeforbeautyitself，and，sofarfromdesiringtoisolateitinaformulaappealingtotheintellect，we，onthecontrary，seektomaterialiseitinaformthatgivesjoytothesoulthroughthesenses.Wewanttocreateit，nottodefineit.
Thedefinitionshouldfollowthework：theworkshouldnotadaptitselftothedefinition.
Nothing，indeed，ismoredangeroustotheyoungartistthananyconceptionofidealbeauty：heisconstantlyledbyiteitherintoweakprettinessorlifelessabstraction：whereastotouchtheidealatallyoumustnotstripitofvitality.Youmustfinditinlifeandre—createitinart.
While，then，ontheonehandIdonotdesiretogiveyouanyphilosophyofbeauty—for，whatIwantto—nightistoinvestigatehowwecancreateart，nothowwecantalkofit—ontheotherhand，IdonotwishtodealwithanythinglikeahistoryofEnglishart.
Tobeginwith，suchanexpressionasEnglishartisameaninglessexpression.OnemightjustaswelltalkofEnglishmathematics.
Artisthescienceofbeauty，andMathematicsthescienceoftruth：
thereisnonationalschoolofeither.Indeed，anationalschoolisaprovincialschool，merely.Noristhereanysuchthingasaschoolofarteven.Therearemerelyartists，thatisall.
Andasregardshistoriesofart，theyarequitevaluelesstoyouunlessyouareseekingtheostentatiousoblivionofanartprofessorship.ItisofnousetoyoutoknowthedateofPeruginoorthebirthplaceofSalvatorRosa：allthatyoushouldlearnaboutartistoknowagoodpicturewhenyouseeit，andabadpicturewhenyouseeit.Asregardsthedateoftheartist，allgoodworklooksperfectlymodern：apieceofGreeksculpture，aportraitofVelasquez—theyarealwaysmodern，alwaysofourtime.Andasregardsthenationalityoftheartist，artisnotnationalbutuniversal.Asregardsarchaeology，then，avoiditaltogether：archaeologyismerelythescienceofmakingexcusesforbadart;itistherockonwhichmanyayoungartistfoundersandshipwrecks;itistheabyssfromwhichnoartist，oldoryoung，everreturns.Or，ifhedoesreturn，heissocoveredwiththedustofagesandthemildewoftime，thatheisquiteunrecognisableasanartist，andhastoconcealhimselffortherestofhisdaysunderthecapofaprofessor，orasamereillustratorofancienthistory.Howworthlessarchaeologyisinartyoucanestimatebythefactofitsbeingsopopular.
Popularityisthecrownoflaurelwhichtheworldputsonbadart.
Whateverispopulariswrong.
AsIamnotgoingtotalktoyou，then，aboutthephilosophyofthebeautiful，orthehistoryofart，youwillaskmewhatIamgoingtotalkabout.Thesubjectofmylectureto—nightiswhatmakesanartistandwhatdoestheartistmake;whataretherelationsoftheartisttohissurroundings，whatistheeducationtheartistshouldget，andwhatisthequalityofagoodworkofart.
Now，asregardstherelationsoftheartisttohissurroundings，bywhichImeantheageandcountryinwhichheisborn.Allgoodart，asIsaidbefore，hasnothingtodowithanyparticularcentury;butthisuniversalityisthequalityoftheworkofart;
theconditionsthatproducethatqualityaredifferent.Andwhat，Ithink，youshoulddoistorealisecompletelyyourageinordercompletelytoabstractyourselffromit;rememberingthatifyouareanartistatall，youwillbenotthemouthpieceofacentury，butthemasterofeternity，thatallartrestsonaprinciple，andthatmeretemporalconsiderationsarenoprincipleatall;andthatthosewhoadviseyoutomakeyourartrepresentativeofthenineteenthcenturyareadvisingyoutoproduceanartwhichyourchildren，whenyouhavethem，willthinkold—fashioned.Butyouwilltellmethisisaninartisticage，andweareaninartisticpeople，andtheartistsuffersmuchinthisnineteenthcenturyofours.
Ofcoursehedoes.I，ofallmen，amnotgoingtodenythat.Butrememberthatthereneverhasbeenanartisticage，oranartisticpeople，sincethebeginningoftheworld.Theartisthasalwaysbeen，andwillalwaysbe，anexquisiteexception.Thereisnogoldenageofart;onlyartistswhohaveproducedwhatismoregoldenthangold.
WHAT，youwillsaytome，theGreeks？werenottheyanartisticpeople？
Well，theGreekscertainlynot，but，perhaps，youmeantheAthenians，thecitizensofoneoutofathousandcities.
Doyouthinkthattheywereanartisticpeople？Takethemevenatthetimeoftheirhighestartisticdevelopment，thelatterpartofthefifthcenturybeforeChrist，whentheyhadthegreatestpoetsandthegreatestartistsoftheantiqueworld，whentheParthenonroseinlovelinessatthebiddingofaPhidias，andthephilosopherspakeofwisdomintheshadowofthepaintedportico，andtragedysweptintheperfectionofpageantandpathosacrossthemarbleofthestage.Weretheyanartisticpeoplethen？Notabitofit.
Whatisanartisticpeoplebutapeoplewholovetheirartistsandunderstandtheirart？TheAthenianscoulddoneither.
HowdidtheytreatPhidias？ToPhidiasweowethegreatera，notmerelyinGreek，butinallart—Imeanoftheintroductionoftheuseofthelivingmodel.
AndwhatwouldyousayifalltheEnglishbishops，backedbytheEnglishpeople，camedownfromExeterHalltotheRoyalAcademyonedayandtookoffSirFrederickLeightoninaprisonvantoNewgateonthechargeofhavingallowedyoutomakeuseofthelivingmodelinyourdesignsforsacredpictures？
WouldyounotcryoutagainstthebarbarismandthePuritanismofsuchanidea？WouldyounotexplaintothemthattheworstwaytohonourGodistodishonourmanwhoismadeinHisimage，andistheworkofHishands;and，thatifonewantstopaintChristonemusttakethemostChristlikepersononecanfind，andifonewantstopainttheMadonna，thepurestgirloneknows？
WouldyounotrushoffandburndownNewgate，ifnecessary，andsaythatsuchathingwaswithoutparallelinhistory？
Withoutparallel？Well，thatisexactlywhattheAtheniansdid.
IntheroomoftheParthenonmarbles，intheBritishMuseum，youwillseeamarbleshieldonthewall.Onittherearetwofigures;
oneofamanwhosefaceishalfhidden，theotherofamanwiththegodlikelineamentsofPericles.Forhavingdonethis，forhavingintroducedintoabasrelief，takenfromGreeksacredhistory，theimageofthegreatstatesmanwhowasrulingAthensatthetime，Phidiaswasflungintoprisonandthere，inthecommongaolofAthens，died，thesupremeartistoftheoldworld.
Anddoyouthinkthatthiswasanexceptionalcase？ThesignofaPhilistineageisthecryofimmoralityagainstart，andthiscrywasraisedbytheAthenianpeopleagainsteverygreatpoetandthinkeroftheirday—AEschylus，Euripides，Socrates.ItwasthesamewithFlorenceinthethirteenthcentury.Goodhandicraftsareduetoguilds，nottothepeople.Themomenttheguildslosttheirpowerandthepeoplerushedin，beautyandhonestyofworkdied.
Andso，nevertalkofanartisticpeople;thereneverhasbeensuchathing.
But，perhaps，youwilltellmethattheexternalbeautyoftheworldhasalmostentirelypassedawayfromus，thattheartistdwellsnolongerinthemidstofthelovelysurroundingswhich，inagespast，werethenaturalinheritanceofeveryone，andthatartisverydifficultinthisunlovelytownofours，where，asyougotoyourworkinthemorning，orreturnfromitateventide，youhavetopassthroughstreetafterstreetofthemostfoolishandstupidarchitecturethattheworldhaseverseen;architecture，whereeverylovelyGreekformisdesecratedanddefiled，andeverylovelyGothicformdefiledanddesecrated，reducingthree—fourthsoftheLondonhousestobeing，merely，likesquareboxesofthevilestproportions，asgauntastheyaregrimy，andaspoorastheyarepretentious—thehalldooralwaysofthewrongcolour，andthewindowsofthewrongsize，andwhere，evenwhenweariedofthehousesyouturntocontemplatethestreetitself，youhavenothingtolookatbutchimney—pothats，menwithsandwichboards，vermilionletter—boxes，anddothatevenattheriskofbeingrunoverbyanemerald—greenomnibus.
Isnotartdifficult，youwillsaytome，insuchsurroundingsasthese？Ofcourseitisdifficult，butthenartwasnevereasy;youyourselveswouldnotwishittobeeasy;and，besides，nothingisworthdoingexceptwhattheworldsaysisimpossible.
Still，youdonotcaretobeansweredmerelybyaparadox.Whataretherelationsoftheartisttotheexternalworld，andwhatistheresultofthelossofbeautifulsurroundingstoyou，isoneofthemostimportantquestionsofmodernart;andthereisnopointonwhichMr.Ruskinsoinsistsasthatthedecadenceofarthascomefromthedecadenceofbeautifulthings;andthatwhentheartistcannotfeedhiseyeonbeauty，beautygoesfromhiswork.
Irememberinoneofhislectures，afterdescribingthesordidaspectofagreatEnglishcity，hedrawsforusapictureofwhatweretheartisticsurroundingslongago.
Think，hesays，inwordsofperfectandpicturesqueimagery，whosebeautyIcanbutfeeblyecho，thinkofwhatwasthescenewhichpresenteditself，inhisafternoonwalk，toadesigneroftheGothicschoolofPisa—NinoPisanooranyofhismen（22）：
Oneachsideofabrightriverhesawrisealineofbrighterpalaces，archedandpillared，andinlaidwithdeepredporphyry，andwithserpentine;alongthequaysbeforetheirgateswereridingtroopsofknights，nobleinfaceandform，dazzlingincrestandshield;horseandmanonelabyrinthofquaintcolourandgleaminglight—thepurple，andsilver，andscarletfringesflowingoverthestronglimbsandclashingmall，likesea—wavesoverrocksatsunset.Openingoneachsidefromtheriverweregardens，courts，andcloisters;longsuccessionsofwhitepillarsamongwreathsofvine;leapingoffountainsthroughbudsofpomegranateandorange：
andstillalongthegarden—paths，andunderandthroughthecrimsonofthepomegranateshadows，movingslowly，groupsofthefairestwomenthatItalyeversaw—fairest，becausepurestandthoughtfullest;trainedinallhighknowledge，asinallcourteousart—indance，insong，insweetwit，inloftylearning，inloftiercourage，inloftiestlove—ablealiketocheer，toenchant，orsave，thesoulsofmen.Aboveallthissceneryofperfecthumanlife，rosedomeandbell—tower，burningwithwhitealabasterandgold：beyonddomeandbell—towertheslopesofmightyhillshoarywitholive;farinthenorth，aboveapurpleseaofpeaksofsolemnApennine，theclear，sharp—clovenCarraramountainssentuptheirsteadfastflamesofmarblesummitintoambersky;thegreatseaitself，scorchingwithexpanseoflight，stretchingfromtheirfeettotheGorgonianisles;andoverallthese，everpresent，nearorfar—seenthroughtheleavesofvine，orimagedwithallitsmarchofcloudsintheArno’sstream，orsetwithitsdepthofbluecloseagainstthegoldenhairandburningcheekofladyandknight，—thatuntroubledandsacredsky，whichwastoallmen，inthosedaysofinnocentfaith，indeedtheunquestionedabodeofspirits，astheearthwasofmen;andwhichopenedstraightthroughitsgatesofcloudandveilsofdewintotheawfulnessoftheeternalworld;—aheaveninwhicheverycloudthatpassedwasliterallythechariotofanangel，andeveryrayofitsEveningandMorningstreamedfromthethroneofGod.
Whatthinkyouofthatforaschoolofdesign？
Andthenlookatthedepressing，monotonousappearanceofanymoderncity，thesombredressofmenandwomen，themeaninglessandbarrenarchitecture，thecolourlessanddreadfulsurroundings.
Withoutabeautifulnationallife，notsculpturemerely，butalltheartswilldie.
Well，asregardsthereligiousfeelingofthecloseofthepassage，IdonotthinkIneedspeakaboutthat.Religionspringsfromreligiousfeeling，artfromartisticfeeling：younevergetonefromtheother;unlessyouhavetherightrootyouwillnotgettherightflower;and，ifamanseesinacloudthechariotofanangel，hewillprobablypaintitveryunlikeacloud.
But，asregardsthegeneralideaoftheearlypartofthatlovelybitofprose，isitreallytruethatbeautifulsurroundingsarenecessaryfortheartist？Ithinknot;Iamsurenot.Indeed，tomethemostinartisticthinginthisageofoursisnottheindifferenceofthepublictobeautifulthings，buttheindifferenceoftheartisttothethingsthatarecalledugly.
For，totherealartist，nothingisbeautifuloruglyinitselfatall.Withthefactsoftheobjecthehasnothingtodo，butwithitsappearanceonly，andappearanceisamatteroflightandshade，ofmasses，ofposition，andofvalue.
Appearanceis，infact，amatterofeffectmerely，anditiswiththeeffectsofnaturethatyouhavetodeal，notwiththerealconditionoftheobject.Whatyou，aspainters，havetopaintisnotthingsastheyarebutthingsastheyseemtobe，notthingsastheyarebutthingsastheyarenot.
Noobjectissouglythat，undercertainconditionsoflightandshade，orproximitytootherthings，itwillnotlookbeautiful;noobjectissobeautifulthat，undercertainconditions，itwillnotlookugly.Ibelievethatineverytwenty—fourhourswhatisbeautifullooksugly，andwhatisuglylooksbeautiful，once.
And，thecommonplacecharacterofsomuchofourEnglishpaintingseemstomeduetothefactthatsomanyofouryoungartistslookmerelyatwhatwemaycall’ready—madebeauty，’whereasyouexistasartistsnottocopybeautybuttocreateitinyourart，towaitandwatchforitinnature.
Whatwouldyousayofadramatistwhowouldtakenobodybutvirtuouspeopleascharactersinhisplay？Wouldyounotsayhewasmissinghalfoflife？Well，oftheyoungartistwhopaintsnothingbutbeautifulthings，Isayhemissesonehalfoftheworld.
Donotwaitforlifetobepicturesque，buttryandseelifeunderpicturesqueconditions.Theseconditionsyoucancreateforyourselfinyourstudio，fortheyaremerelyconditionsoflight.
Innature，youmustwaitforthem，watchforthem，choosethem;
and，ifyouwaitandwatch，cometheywill.
InGowerStreetatnightyoumayseealetter—boxthatispicturesque：ontheThamesEmbankmentyoumayseepicturesquepolicemen.EvenVeniceisnotalwaysbeautiful，norFrance.
Topaintwhatyouseeisagoodruleinart，buttoseewhatisworthpaintingisbetter.Seelifeunderpictorialconditions.Itisbettertoliveinacityofchangeableweatherthaninacityoflovelysurroundings.
Now，havingseenwhatmakestheartist，andwhattheartistmakes，whoistheartist？Thereisamanlivingamongstuswhounitesinhimselfallthequalitiesofthenoblestart，whoseworkisajoyforalltime，whois，himself，amasterofalltime.ThatmanisMr.Whistler.
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But，youwillsay，moderndress，thatisbad.Ifyoucannotpaintblackclothyoucouldnothavepaintedsilkendoublet.Uglydressisbetterforart—factsofvision，notoftheobject.
Whatisapicture？Primarily，apictureisabeautifullycolouredsurface，merely，withnomorespiritualmessageormeaningforyouthananexquisitefragmentofVenetianglassorabluetilefromthewallofDamascus.Itis，primarily，apurelydecorativething，adelighttolookat.
Allarchaeologicalpicturesthatmakeyousay’Howcurious！’allsentimentalpicturesthatmakeyousay，’Howsad！’allhistoricalpicturesthatmakeyousay’Howinteresting！’allpicturesthatdonotimmediatelygiveyousuchartisticjoyastomakeyousay’Howbeautiful！’arebadpictures.
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Weneverknowwhatanartistisgoingtodo.Ofcoursenot.Theartistisnotaspecialist.Allsuchdivisionsasanimalpainters，landscapepainters，paintersofScotchcattleinanEnglishmist，paintersofEnglishcattleinaScotchmist，racehorsepainters，bull—terrierpainters，allareshallow.Ifamanisanartisthecanpainteverything.
Theobjectofartistostirthemostdivineandremoteofthechordswhichmakemusicinoursoul;andcolourisindeed，ofitselfamysticalpresenceonthings，andtoneakindofsentinel.
AmIpleading，then，formeretechnique？No.Aslongasthereareanysignsoftechniqueatall，thepictureisunfinished.Whatisfinish？Apictureisfinishedwhenalltracesofwork，andofthemeansemployedtobringabouttheresult，havedisappeared.
Inthecaseofhandicraftsmen—theweaver，thepotter，thesmith—
ontheirworkarethetracesoftheirhand.Butitisnotsowiththepainter;itisnotsowiththeartist.
Artshouldhavenosentimentaboutitbutitsbeauty，notechniqueexceptwhatyoucannotobserve.Oneshouldbeabletosayofapicturenotthatitis’wellpainted，’butthatitis’notpainted.’
Whatisthedifferencebetweenabsolutelydecorativeartandapainting？Decorativeartemphasisesitsmaterial：imaginativeartannihilatesit.Tapestryshowsitsthreadsaspartofitsbeauty：
apictureannihilatesitscanvas：itshowsnothingofit.
Porcelainemphasisesitsglaze：water—coloursrejectthepaper.
Apicturehasnomeaningbutitsbeauty，nomessagebutitsjoy.
Thatisthefirsttruthaboutartthatyoumustneverlosesightof.Apictureisapurelydecorativething.
LONDONMODELS
PROFESSIONALmodelsareapurelymoderninvention.TotheGreeks，forinstance，theywerequiteunknown.Mr.Mahaffy，itistrue，tellsusthatPericlesusedtopresentpeacockstothegreatladiesofAtheniansocietyinordertoinducethemtosittohisfriendPhidias，andweknowthatPolygnotusintroducedintohispictureoftheTrojanwomenthefaceofElpinice，thecelebratedsisterofthegreatConservativeleaderoftheday，buttheseGRANDESDAMES
clearlydonotcomeunderourcategory.Asfortheoldmasters，theyundoubtedlymadeconstantstudiesfromtheirpupilsandapprentices，andeventheirreligiouspicturesarefulloftheportraitsoftheirfriendsandrelations，buttheydonotseemtohavehadtheinestimableadvantageoftheexistenceofaclassofpeoplewhosesoleprofessionistopose.Infactthemodel，inoursenseoftheword，isthedirectcreationofAcademicSchools.
Everycountrynowhasitsownmodels，exceptAmerica.InNewYork，andeveninBoston，agoodmodelissogreatararitythatmostoftheartistsarereducedtopaintingNiagaraandmillionaires.InEurope，however，itisdifferent.Herewehaveplentyofmodels，andofeverynationality.TheItalianmodelsarethebest.Thenaturalgraceoftheirattitudes，aswellasthewonderfulpicturesquenessoftheircolouring，makesthemfacile—oftentoofacile—subjectsforthepainter’sbrush.TheFrenchmodels，thoughnotsobeautifulastheItalian，possessaquicknessofintellectualsympathy，acapacity，infact，ofunderstandingtheartist，whichisquiteremarkable.Theyhavealsoagreatcommandoverthevarietiesoffacialexpression，arepeculiarlydramatic，andcanchattertheARGOToftheATELIERascleverlyasthecriticoftheGILBLAS.TheEnglishmodelsformaclassentirelybythemselves.TheyarenotsopicturesqueastheItalian，norsocleverastheFrench，andtheyhaveabsolutelynotradition，sotospeak，oftheirorder.Nowandthensomeoldveteranknocksatthestudiodoor，andproposestositasAjaxdefyingthelightning，orasKingLearupontheblastedheath.Oneofthemsometimeagocalledonapopularpainterwho，happeningatthemomenttorequirehisservices，engagedhim，andtoldhimtobeginbykneelingdownintheattitudeofprayer.’ShallIbeBiblicalorShakespearean，sir？’askedtheveteran.’Well—Shakespearean，’answeredtheartist，wonderingbywhatsubtlenuanceofexpressionthemodelwouldconveythedifference.’Allright，sir，’saidtheprofessorofposing，andhesolemnlykneltdownandbegantowinkwithhislefteye！Thisclass，however，isdyingout.Asarulethemodel，nowadays，isaprettygirl，fromabouttwelvetotwenty—fiveyearsofage，whoknowsnothingaboutart，caresless，andismerelyanxioustoearnsevenoreightshillingsadaywithoutmuchtrouble.Englishmodelsrarelylookatapicture，andneverventureonanyaesthetictheories.Infact，theyrealiseverycompletelyMr.Whistler’sideaofthefunctionofanartcritic，fortheypassnocriticismsatall.Theyacceptallschoolsofartwiththegrandcatholicityoftheauctioneer，andsittoafantasticyoungimpressionistasreadilyastoalearnedandlaboriousacademician.TheyareneitherfortheWhistleritesnoragainstthem;thequarrelbetweentheschooloffactsandtheschoolofeffectstouchesthemnot;idealisticandnaturalisticarewordsthatconveynomeaningtotheirears;theymerelydesirethatthestudioshallbewarm，andthelunchhot，forallcharmingartistsgivetheirmodelslunch.
Astowhattheyareaskedtodotheyareequallyindifferent.OnMondaytheywilldontheragsofabeggar—girlforMr.Pumper，whosepatheticpicturesofmodernlifedrawsuchtearsfromthepublic，andonTuesdaytheywillposeinapeplumforMr.Phoebus，whothinksthatallreallyartisticsubjectsarenecessarilyB.C.
Theycareergailythroughallcenturiesandthroughallcostumes，and，likeactors，areinterestingonlywhentheyarenotthemselves.Theyareextremelygood—natured，andveryaccommodating.’Whatdoyousitfor？’saidayoungartisttoamodelwhohadsenthiminhercard（allmodels，bytheway，havecardsandasmallblackbag）.’Oh，foranythingyoulike，sir，’
saidthegirl，’landscapeifnecessary！’
Intellectually，itmustbeacknowledged，theyarePhilistines，butphysicallytheyareperfect—atleastsomeare.ThoughnoneofthemcantalkGreek，manycanlookGreek，whichtoanineteenth—
centurypainterisnaturallyofgreatimportance.Iftheyareallowed，theychatteragreatdeal，buttheyneversayanything.
TheirobservationsaretheonlyBANALITESheardinBohemia.
However，thoughtheycannotappreciatetheartistasartist，theyarequitereadytoappreciatetheartistasaman.Theyareverysensitivetokindness，respectandgenerosity.AbeautifulmodelwhohadsatfortwoyearstooneofourmostdistinguishedEnglishpainters，gotengagedtoastreetvendorofpennyices.
Onhermarriagethepaintersentheraprettyweddingpresent，andreceivedinreturnaniceletterofthankswiththefollowingremarkablepostscript：’Nevereatthegreenices！’
Whentheyaretiredawiseartistgivesthemarest.Thentheysitinachairandreadpennydreadfuls，tilltheyarerousedfromthetragedyofliteraturetotaketheirplaceagaininthetragedyofart.Afewofthemsmokecigarettes.This，however，isregardedbytheothermodelsasshowingawantofseriousness，andisnotgenerallyapprovedof.Theyareengagedbythedayandbythehalf—day.Thetariffisashillinganhour，towhichgreatartistsusuallyaddanomnibusfare.Thetwobestthingsaboutthemaretheirextraordinaryprettiness，andtheirextremerespectability.
Asaclasstheyareverywellbehaved，particularlythosewhositforthefigure，afactwhichiscuriousornaturalaccordingtotheviewonetakesofhumannature.Theyusuallymarrywell，andsometimestheymarrytheartist.ForanartisttomarryhismodelisasfatalasforaGOURMETtomarryhiscook：theonegetsnosittings，andtheothergetsnodinners.
OnthewholetheEnglishfemalemodelsareverynaive，verynatural，andverygood—humoured.Thevirtueswhichtheartistvaluesmostinthemareprettinessandpunctuality.Everysensiblemodelconsequentlykeepsadiaryofherengagements，anddressesneatly.Thebadseasonis，ofcourse，thesummer，whentheartistsareoutoftown.However，oflateyearssomeartistshaveengagedtheirmodelstofollowthem，andthewifeofoneofourmostcharmingpaintershasoftenhadthreeorfourmodelsunderherchargeinthecountry，sothattheworkofherhusbandandhisfriendsshouldnotbeinterrupted.InFrancethemodelsmigrateEN
MASSEtothelittleseaportvillagesorforesthamletswherethepainterscongregate.TheEnglishmodels，however，waitpatientlyinLondon，asarule，tilltheartistscomeback.Nearlyallofthemlivewiththeirparents，andhelptosupportthehouse.Theyhaveeveryqualificationforbeingimmortalisedinartexceptthatofbeautifulhands.ThehandsoftheEnglishmodelarenearlyalwayscoarseandred.
Asforthemalemodels，thereistheveteranwhomwehavementionedabove.Hehasallthetraditionsofthegrandstyle，andisrapidlydisappearingwiththeschoolherepresents.AnoldmanwhotalksaboutFuseliis，ofcourse，unendurable，and，besides，patriarchshaveceasedtobefashionablesubjects.ThenthereisthetrueAcademymodel.Heisusuallyamanofthirty，rarelygood—looking，butaperfectmiracleofmuscles.Infactheistheapotheosisofanatomy，andissoconsciousofhisownsplendourthathetellsyouofhistibiaandhisthorax，asifnooneelsehadanythingofthekind.ThencometheOrientalmodels.Thesupplyoftheseislimited，buttherearealwaysaboutadozeninLondon.Theyareverymuchsoughtafterastheycanremainimmobileforhours，andgenerallypossesslovelycostumes.
However，theyhaveaverypooropinionofEnglishart，whichtheyregardassomethingbetweenavulgarpersonalityandacommonplacephotograph.NextwehavetheItalianyouthwhohascomeoverspeciallytobeamodel，ortakestoitwhenhisorganisoutofrepair.Heisoftenquitecharmingwithhislargemelancholyeyes，hiscrisphair，andhisslimbrownfigure.Itistrueheeatsgarlic，butthenhecanstandlikeafaunandcouchlikealeopard，soheisforgiven.Heisalwaysfullofprettycompliments，andhasbeenknowntohavekindwordsofencouragementforevenourgreatestartists.AsfortheEnglishladofthesameage，heneversitsatall.Apparentlyhedoesnotregardthecareerofamodelasaseriousprofession.Inanycaseheisrarely，ifever，tobegotholdof.Englishboys，too，aredifficulttofind.Sometimesanex—modelwhohasasonwillcurlhishair，andwashhisface，andbringhimtheroundofthestudios，allsoapandshininess.
Theyoungschooldon’tlikehim，buttheolderschooldo，andwhenheappearsonthewallsoftheRoyalAcademyheiscalledTHE
INFANTSAMUEL.OccasionallyalsoanartistcatchesacoupleofGAMINSinthegutterandasksthemtocometohisstudio.Thefirsttimetheyalwaysappear，butafterthattheydon’tkeeptheirappointments.Theydislikesittingstill，andhaveastrongandperhapsnaturalobjectiontolookingpathetic.Besides，theyarealwaysundertheimpressionthattheartistislaughingatthem.
Itisasadfact，butthereisnodoubtthatthepoorarecompletelyunconsciousoftheirownpicturesqueness.Thoseofthemwhocanbeinducedtositdosowiththeideathattheartistismerelyabenevolentphilanthropistwhohaschosenaneccentricmethodofdistributingalmstotheundeserving.PerhapstheSchoolBoardwillteachtheLondonGAMINhisownartisticvalue，andthentheywillbebettermodelsthantheyarenow.OneremarkableprivilegebelongstotheAcademymodel，thatofextortingasovereignfromanynewlyelectedAssociateorR.A.TheywaitatBurlingtonHousetilltheannouncementismade，andthenracetothehaplessartist’shouse.Theonewhoarrivesfirstreceivesthemoney.Theyhaveoflatebeenmuchtroubledatthelongdistancestheyhavehadtorun，andtheylookwithdisfavourontheelectionofartistswholiveatHampsteadoratBedfordPark，foritisconsideredapointofhonournottoemploytheundergroundrailway，omnibuses，oranyartificialmeansoflocomotion.Theraceistotheswift.
BesidestheprofessionalposersofthestudiothereareposersoftheRow，theposersatafternoonteas，theposersinpoliticsandthecircusposers.Allfourclassesaredelightful，butonlythelastclassiseverreallydecorative.Acrobatsandgymnastscangivetheyoungpainterinfinitesuggestions，fortheybringintotheirartanelementofswiftnessofmotionandofconstantchangethatthestudiomodelnecessarilylacks.Whatisinterestinginthese’slavesofthering’isthatwiththemBeautyisanunconsciousresultnotaconsciousaim，theresultinfactofthemathematicalcalculationofcurvesanddistances，ofabsoluteprecisionofeye，ofthescientificknowledgeoftheequilibriumofforces，andofperfectphysicaltraining.Agoodacrobatisalwaysgraceful，thoughgraceisneverhisobject;heisgracefulbecausehedoeswhathehastodointhebestwayinwhichitcanbedone—
gracefulbecauseheisnatural.IfanancientGreekweretocometolifenow，whichconsideringtheprobableseverityofhiscriticismswouldberathertryingtoourconceit，hewouldbefoundfarofteneratthecircusthanatthetheatre.AgoodcircusisanoasisofHellenisminaworldthatreadstoomuchtobewise，andthinkstoomuchtobebeautiful.Ifitwerenotfortherunning—
groundatEton，thetowing—pathatOxford，theThamesswimming—
baths，andtheyearlycircuses，humanitywouldforgettheplasticperfectionofitsownform，anddegenerateintoaraceofshort—
sightedprofessorsandspectacledPRECIEUSES.Notthatthecircusproprietorsare，asarule，consciousoftheirhighmission.DotheynotboreuswiththeHAUTEECOLE，andwearyuswithShakespeareanclowns？Still，atleast，theygiveusacrobats，andtheacrobatisanartist.Themerefactthatheneverspeakstotheaudienceshowshowwellheappreciatesthegreattruththattheaimofartisnottorevealpersonalitybuttoplease.Theclownmaybeblatant，buttheacrobatisalwaysbeautiful.HeisaninterestingcombinationofthespiritofGreeksculpturewiththespanglesofthemoderncostumier.Hehasevenhadhisnicheinthenovelsofourage，andifMANETTESALOMONbetheunmaskingofthemodel，LESFRERESZEMGANNOistheapotheosisoftheacrobat.
AsregardstheinfluenceoftheordinarymodelonourEnglishschoolofpainting，itcannotbesaidthatitisaltogethergood.
Itis，ofcourse，anadvantagefortheyoungartistsittinginhisstudiotobeabletoisolate’alittlecorneroflife，’astheFrenchsay，fromdisturbingsurroundings，andtostudyitundercertaineffectsoflightandshade.Butthisveryisolationleadsoftentomeremannerisminthepainter，androbshimofthatbroadacceptanceofthegeneralfactsoflifewhichistheveryessenceofart.Model—painting，inaword，whileitmaybetheconditionofart，isnotbyanymeansitsaim.
Itissimplypractice，notperfection.Itsusetrainstheeyeandthehandofthepainter，itsabuseproducesinhisworkaneffectofmereposingandprettiness.Itisthesecretofmuchoftheartificialityofmodernart，thisconstantposingofprettypeople，andwhenartbecomesartificialitbecomesmonotonous.Outsidethelittleworldofthestudio，withitsdraperiesanditsBRIC—E—BRAC，liestheworldoflifewithitsinfinite，itsShakespeareanvariety.Wemust，however，distinguishbetweenthetwokindsofmodels，thosewhositforthefigureandthosewhositforthecostume.Thestudyofthefirstisalwaysexcellent，butthecostume—modelisbecomingratherwearisomeinmodernpictures.ItisreallyofverylittleusetodressupaLondongirlinGreekdraperiesandtopaintherasagoddess.TherobemaybetherobeofAthens，butthefaceisusuallythefaceofBrompton.Nowandthen，itistrue，onecomesacrossamodelwhosefaceisanexquisiteanachronism，andwholookslovelyandnaturalinthedressofanycenturybutherown.This，however，isratherrare.
AsarulemodelsareabsolutelyDENOTRESIECLE，andshouldbepaintedassuch.Unfortunatelytheyarenot，and，asaconsequence，weareshowneveryyearaseriesofscenesfromfancydressballswhicharecalledhistoricalpictures，butarelittlemorethanmediocrerepresentationsofmodernpeoplemasquerading.
InFrancetheyarewiser.TheFrenchpainterusesthemodelsimplyforstudy;forthefinishedpicturehegoesdirecttolife.
However，wemustnotblamethesittersfortheshortcomingsoftheartists.TheEnglishmodelsareawell—behavedandhard—workingclass，andiftheyaremoreinterestedinartiststhaninart，alargesectionofthepublicisinthesamecondition，andmostofourmodernexhibitionsseemtojustifyitschoice.
POEMSINPROSE
THEARTIST
ONEeveningtherecameintohissoulthedesiretofashionanimageofTHEPLEASURETHATABIDETHFORAMOMENT.Andhewentforthintotheworldtolookforbronze.Forhecouldthinkonlyinbronze.
Butallthebronzeofthewholeworldhaddisappeared，noranywhereinthewholeworldwasthereanybronzetobefound，saveonlythebronzeoftheimageofTHESORROWTHATENDURETHFOREVER.
Nowthisimagehehadhimself，andwithhisownhands，fashioned，andhadsetitonthetomboftheonethinghehadlovedinlife.
Onthetombofthedeadthinghehadmostlovedhadhesetthisimageofhisownfashioning，thatitmightserveasasignoftheloveofmanthatdiethnot，andasymbolofthesorrowofmanthatendurethforever.Andinthewholeworldtherewasnootherbronzesavethebronzeofthisimage.
Andhetooktheimagehehadfashioned，andsetitinagreatfurnace，andgaveittothefire.
AndoutofthebronzeoftheimageofTHESORROWTHATENDURETHFOR
EVERhefashionedanimageofTHEPLEASURETHATABIDETHFORA
MOMENT.
THEDOEROFGOOD
Itwasnight—timeandHewasalone.
AndHesawafar—offthewallsofaroundcityandwenttowardsthecity.
AndwhenHecamenearHeheardwithinthecitythetreadofthefeetofjoy，andthelaughterofthemouthofgladnessandtheloudnoiseofmanylutes.AndHeknockedatthegateandcertainofthegate—keepersopenedtoHim.
AndHebeheldahousethatwasofmarbleandhadfairpillarsofmarblebeforeit.Thepillarswerehungwithgarlands，andwithinandwithoutthereweretorchesofcedar.AndHeenteredthehouse.
AndwhenHehadpassedthroughthehallofchalcedonyandthehallofjasper，andreachedthelonghalloffeasting，Hesawlyingonacouchofsea—purpleonewhosehairwascrownedwithredrosesandwhoselipswereredwithwine.
AndHewentbehindhimandtouchedhimontheshoulderandsaidtohim，’Whydoyoulivelikethis？’
AndtheyoungmanturnedroundandrecognisedHim，andmadeanswerandsaid，’ButIwasaleperonce，andyouhealedme.HowelseshouldIlive？’
AndHepassedoutofthehouseandwentagainintothestreet.
AndafteralittlewhileHesawonewhosefaceandraimentwerepaintedandwhosefeetwereshodwithpearls.Andbehindhercame，slowlyasahunter，ayoungmanwhoworeacloakoftwocolours.
Nowthefaceofthewomanwasasthefairfaceofanidol，andtheeyesoftheyoungmanwerebrightwithlust.
AndHefollowedswiftlyandtouchedthehandoftheyoungmanandsaidtohim，’Whydoyoulookatthiswomanandinsuchwise？’
AndtheyoungmanturnedroundandrecognisedHimandsaid，’ButI
wasblindonce，andyougavemesight.AtwhatelseshouldI
look？’
AndHeranforwardandtouchedthepaintedraimentofthewomanandsaidtoher，’Istherenootherwayinwhichtowalksavethewayofsin？’
AndthewomanturnedroundandrecognisedHim，andlaughedandsaid，’Butyouforgavememysins，andthewayisapleasantway.’
AndHepassedoutofthecity.
AndwhenHehadpassedoutofthecityHesawseatedbytheroadsideayoungmanwhowasweeping.
AndHewenttowardshimandtouchedthelonglocksofhishairandsaidtohim，’Whyareyouweeping？’
AndtheyoungmanlookedupandrecognisedHimandmadeanswer，’ButIwasdeadonce，andyouraisedmefromthedead.WhatelseshouldIdobutweep？’
THEDISCIPLE
WhenNarcissusdiedthepoolofhispleasurechangedfromacupofsweetwatersintoacupofsalttears，andtheOreadscameweepingthroughthewoodlandthattheymightsingtothepoolandgiveitcomfort.
Andwhentheysawthatthepoolhadchangedfromacupofsweetwatersintoacupofsalttears，theyloosenedthegreentressesoftheirhairandcriedtothepoolandsaid，’WedonotwonderthatyoushouldmourninthismannerforNarcissus，sobeautifulwashe.’
’ButwasNarcissusbeautiful？’saidthepool.
’Whoshouldknowthatbetterthanyou？’answeredtheOreads.’Usdidheeverpassby，butyouhesoughtfor，andwouldlieonyourbanksandlookdownatyou，andinthemirrorofyourwatershewouldmirrorhisownbeauty.’
Andthepoolanswered，’ButIlovedNarcissusbecause，ashelayonmybanksandlookeddownatme，inthemirrorofhiseyesIsawevermyownbeautymirrored.’
THEMASTER
NowwhenthedarknesscameovertheearthJosephofArimathea，havinglightedatorchofpinewood，passeddownfromthehillintothevalley.Forhehadbusinessinhisownhome.
AndkneelingontheflintstonesoftheValleyofDesolationhesawayoungmanwhowasnakedandweeping.Hishairwasthecolourofhoney，andhisbodywasasawhiteflower，buthehadwoundedhisbodywiththornsandonhishairhadhesetashesasacrown.
Andhewhohadgreatpossessionssaidtotheyoungmanwhowasnakedandweeping，’Idonotwonderthatyoursorrowissogreat，forsurelyHewasajustman.’
Andtheyoungmananswered，’ItisnotforHimthatIamweeping，butformyself.Itoohavechangedwaterintowine，andIhavehealedtheleperandgivensighttotheblind.Ihavewalkeduponthewaters，andfromthedwellersinthetombsIhavecastoutdevils.Ihavefedthehungryinthedesertwheretherewasnofood，andIhaveraisedthedeadfromtheirnarrowhouses，andatmybidding，andbeforeagreatmultitude，ofpeople，abarrenfig—
treewitheredaway.AllthingsthatthismanhasdoneIhavedonealso.Andyettheyhavenotcrucifiedme.’
THEHOUSEOFJUDGMENT
AndtherewassilenceintheHouseofJudgment，andtheMancamenakedbeforeGod.
AndGodopenedtheBookoftheLifeoftheMan.
AndGodsaidtotheMan，’Thylifehathbeenevil，andthouhastshowncrueltytothosewhowereinneedofsuccour，andtothosewholackedhelpthouhastbeenbitterandhardofheart.Thepoorcalledtotheeandthoudidstnothearken，andthineearswereclosedtothecryofMyafflicted.Theinheritanceofthefatherlessthoudidsttakeuntothyself，andthoudidstsendthefoxesintothevineyardofthyneighbour’sfield.Thoudidsttakethebreadofthechildrenandgiveittothedogstoeat，andMyleperswholivedinthemarshes，andwereatpeaceandpraisedMe，thoudidstdriveforthontothehighways，andonMineearthoutofwhichImadetheethoudidstspillinnocentblood.’
AndtheManmadeanswerandsaid，’EvensodidI.’
AndagainGodopenedtheBookoftheLifeoftheMan.
AndGodsaidtotheMan，’Thylifehathbeenevil，andtheBeautyI
haveshownthouhastsoughtfor，andtheGoodIhavehiddenthoudidstpassby.Thewallsofthychamberwerepaintedwithimages，andfromthebedofthineabominationsthoudidstriseuptothesoundofflutes.ThoudidstbuildsevenaltarstothesinsIhavesuffered，anddidsteatofthethingthatmaynotbeeaten，andthepurpleofthyraimentwasbroideredwiththethreesignsofshame.
Thineidolswereneitherofgoldnorofsilverthatendure，butoffleshthatdieth.Thoudidststaintheirhairwithperfumesandputpomegranatesintheirhands.Thoudidststaintheirfeetwithsaffronandspreadcarpetsbeforethem.Withantimonythoudidststaintheireyelidsandtheirbodiesthoudidstsmearwithmyrrh.
Thoudidstbowthyselftothegroundbeforethem，andthethronesofthineidolsweresetinthesun.Thoudidstshowtothesunthyshameandtothemoonthymadness.’
AndtheManmadeanswerandsaid，’EvensodidI.’
AndathirdtimeGodopenedtheBookoftheLifeoftheMan.
AndGodsaidtotheMan，’Evilhathbeenthylife，andwithevildidstthourequitegood，andwithwrongdoingkindness.Thehandsthatfedtheethoudidstwound，andthebreaststhatgavetheesuckthoudidstdespise.Hewhocametotheewithwaterwentawaythirsting，andtheoutlawedmenwhohidtheeintheirtentsatnightthoudidstbetraybeforedawn.Thineenemywhosparedtheethoudidstsnareinanambush，andthefriendwhowalkedwiththeethoudidstsellforaprice，andtothosewhobroughttheeLovethoudidstevergiveLustinthyturn.’
AndtheManmadeanswerandsaid，’EvensodidI.’
AndGodclosedtheBookoftheLifeoftheMan，andsaid，’SurelyI
willsendtheeintoHell.EvenintoHellwillIsendthee.’
AndtheMancriedout，’Thoucanstnot.’
AndGodsaidtotheMan，’WhereforecanInotsendtheetoHell，andforwhatreason？’
’BecauseinHellhaveIalwayslived，’answeredtheMan.
AndtherewassilenceintheHouseofJudgment.
AndafteraspaceGodspake，andsaidtotheMan，’SeeingthatI
maynotsendtheeintoHell，surelyIwillsendtheeuntoHeaven.
EvenuntoHeavenwillIsendthee.’
AndtheMancriedout，’Thoucanstnot.’
AndGodsaidtotheMan，’WhereforecanInotsendtheeuntoHeaven，andforwhatreason？’
’Becausenever，andinnoplace，haveIbeenabletoimagineit，’
answeredtheMan.
AndtherewassilenceintheHouseofJudgment.
THETEACHEROFWISDOM
FromhischildhoodhehadbeenasonefilledwiththeperfectknowledgeofGod，andevenwhilehewasyetbutaladmanyofthesaints，aswellascertainholywomenwhodweltinthefreecityofhisbirth，hadbeenstirredtomuchwonderbythegravewisdomofhisanswers.
Andwhenhisparentshadgivenhimtherobeandtheringofmanhoodhekissedthem，andleftthemandwentoutintotheworld，thathemightspeaktotheworldaboutGod.FortherewereatthattimemanyintheworldwhoeitherknewnotGodatall，orhadbutanincompleteknowledgeofHim，orworshippedthefalsegodswhodwellingrovesandhavenocareoftheirworshippers.
Andhesethisfacetothesunandjourneyed，walkingwithoutsandals，ashehadseenthesaintswalk，andcarryingathisgirdlealeathernwalletandalittlewater—bottleofburntclay.
AndashewalkedalongthehighwayhewasfullofthejoythatcomesfromtheperfectknowledgeofGod，andhesangpraisesuntoGodwithoutceasing;andafteratimehereachedastrangelandinwhichthereweremanycities.
Andhepassedthroughelevencities.Andsomeofthesecitieswereinvalleys，andotherswerebythebanksofgreatrivers，andothersweresetonhills.Andineachcityhefoundadisciplewholovedhimandfollowedhim，andagreatmultitudealsoofpeoplefollowedhimfromeachcity，andtheknowledgeofGodspreadinthewholeland，andmanyoftherulerswereconverted，andthepriestsofthetemplesinwhichtherewereidolsfoundthathalfoftheirgainwasgone，andwhentheybeatupontheirdrumsatnoonnone，orbutafew，camewithpeacocksandwithofferingsoffleshashadbeenthecustomofthelandbeforehiscoming.
Yetthemorethepeoplefollowedhim，andthegreaterthenumberofhisdisciples，thegreaterbecamehissorrow.Andheknewnotwhyhissorrowwassogreat.ForhespakeeveraboutGod，andoutofthefulnessofthatperfectknowledgeofGodwhichGodhadHimselfgiventohim.
Andoneeveninghepassedoutoftheeleventhcity，whichwasacityofArmenia，andhisdisciplesandagreatcrowdofpeoplefollowedafterhim;andhewentupontoamountainandsatdownonarockthatwasonthemountain，andhisdisciplesstoodroundhim，andthemultitudekneltinthevalley.
Andhebowedhisheadonhishandsandwept，andsaidtohisSoul，’WhyisitthatIamfullofsorrowandfear，andthateachofmydisciplesisanenemythatwalksinthenoonday？’AndhisSoulansweredhimandsaid，’GodfilledtheewiththeperfectknowledgeofHimself，andthouhastgiventhisknowledgeawaytoothers.Thepearlofgreatpricethouhastdivided，andthevesturewithoutseamthouhastpartedasunder.Hewhogivethawaywisdomrobbethhimself.Heisasonewhogivethhistreasuretoarobber.IsnotGodwiserthanthouart？WhoartthoutogiveawaythesecretthatGodhathtoldthee？Iwasrichonce，andthouhastmademepoor.
OnceIsawGod，andnowthouhasthiddenHimfromme.’
Andheweptagain，forheknewthathisSoulspaketruthtohim，andthathehadgiventootherstheperfectknowledgeofGod，andthathewasasoneclingingtotheskirtsofGod，andthathisfaithwasleavinghimbyreasonofthenumberofthosewhobelievedinhim.
Andhesaidtohimself，’IwilltalknomoreaboutGod.Hewhogivethawaywisdomrobbethhimself.’
Andafterthespaceofsomehourshisdisciplescamenearhimandbowedthemselvestothegroundandsaid，’Master，talktousaboutGod，forthouhasttheperfectknowledgeofGod，andnomansavetheehaththisknowledge.’
Andheansweredthemandsaid，’Iwilltalktoyouaboutallotherthingsthatareinheavenandonearth，butaboutGodIwillnottalktoyou.Neithernow，noratanytime，willItalktoyouaboutGod.’
Andtheywerewrothwithhimandsaidtohim，’Thouhastledusintothedesertthatwemighthearkentothee.Wiltthousendusawayhungry，andthegreatmultitudethatthouhastmadetofollowthee？’
Andheansweredthemandsaid，’IwillnottalktoyouaboutGod.’
Andthemultitudemurmuredagainsthimandsaidtohim，’Thouhastledusintothedesert，andhastgivenusnofoodtoeat.TalktousaboutGodanditwillsufficeus.’
Butheansweredthemnotaword.ForheknewthatifhespaketothemaboutGodhewouldgiveawayhistreasure.
Andhisdiscipleswentawaysadly，andthemultitudeofpeoplereturnedtotheirownhomes.Andmanydiedontheway.
Andwhenhewasaloneheroseupandsethisfacetothemoon，andjourneyedforsevenmoons，speakingtonomannormakinganyanswer.AndwhentheseventhmoonhadwanedhereachedthatdesertwhichisthedesertoftheGreatRiver.AndhavingfoundacaverninwhichaCentaurhadoncedwelt，hetookitforhisplaceofdwelling，andmadehimselfamatofreedsonwhichtolie，andbecameahermit.AndeveryhourtheHermitpraisedGodthatHehadsufferedhimtokeepsomeknowledgeofHimandofHiswonderfulgreatness.
Now，oneevening，astheHermitwasseatedbeforethecaverninwhichhehadmadehisplaceofdwelling，hebeheldayoungmanofevilandbeautifulfacewhopassedbyinmeanapparelandwithemptyhands.Everyeveningwithemptyhandstheyoungmanpassedby，andeverymorninghereturnedwithhishandsfullofpurpleandpearls.ForhewasaRobberandrobbedthecaravansofthemerchants.
AndtheHermitlookedathimandpitiedhim.Buthespakenotaword.Forheknewthathewhospeaksawordloseshisfaith.
Andonemorning，astheyoungmanreturnedwithhishandsfullofpurpleandpearls，hestoppedandfrownedandstampedhisfootuponthesand，andsaidtotheHermit：’WhydoyoulookatmeeverinthismannerasIpassby？WhatisitthatIseeinyoureyes？Fornomanhaslookedatmebeforeinthismanner.Andthethingisathornandatroubletome.’
AndtheHermitansweredhimandsaid，’Whatyouseeinmyeyesispity.Pityiswhatlooksoutatyoufrommyeyes.’
Andtheyoungmanlaughedwithscorn，andcriedtotheHermitinabittervoice，andsaidtohim，’Ihavepurpleandpearlsinmyhands，andyouhavebutamatofreedsonwhichtolie.Whatpityshouldyouhaveforme？Andforwhatreasonhaveyouthispity？’
’Ihavepityforyou，’saidtheHermit，’becauseyouhavenoknowledgeofGod.’
’IsthisknowledgeofGodapreciousthing？’askedtheyoungman，andhecameclosetothemouthofthecavern.
’Itismorepreciousthanallthepurpleandthepearlsoftheworld，’answeredtheHermit.
’Andhaveyougotit？’saidtheyoungRobber，andhecamecloserstill.
’Once，indeed，’answeredtheHermit，’IpossessedtheperfectknowledgeofGod.ButinmyfoolishnessIpartedwithit，anddivideditamongstothers.Yetevennowissuchknowledgeasremainstomemorepreciousthanpurpleorpearls.’
AndwhentheyoungRobberheardthishethrewawaythepurpleandthepearlsthathewasbearinginhishands，anddrawingasharpswordofcurvedsteelhesaidtotheHermit，’Giveme，forthwiththisknowledgeofGodthatyoupossess，orIwillsurelyslayyou.
WhereforeshouldInotslayhimwhohasatreasuregreaterthanmytreasure？’
AndtheHermitspreadouthisarmsandsaid，’WereitnotbetterformetogountotheuttermostcourtsofGodandpraiseHim，thantoliveintheworldandhavenoknowledgeofHim？Slaymeifthatbeyourdesire.ButIwillnotgiveawaymyknowledgeofGod.’
AndtheyoungRobberkneltdownandbesoughthim，buttheHermitwouldnottalktohimaboutGod，norgivehimhisTreasure，andtheyoungRobberroseupandsaidtotheHermit，’Beitasyouwill.
Asformyself，IwillgototheCityoftheSevenSins，thatisbutthreedays’journeyfromthisplace，andformypurpletheywillgivemepleasure，andformypearlstheywillsellmejoy.’Andhetookupthepurpleandthepearlsandwentswiftlyaway.
AndtheHermitcriedoutandfollowedhimandbesoughthim.ForthespaceofthreedayshefollowedtheyoungRobberontheroadandentreatedhimtoreturn，nortoenterintotheCityoftheSevenSins.
AndeverandanontheyoungRobberlookedbackattheHermitandcalledtohim，andsaid，’WillyougivemethisknowledgeofGodwhichismorepreciousthanpurpleandpearls？Ifyouwillgivemethat，Iwillnotenterthecity.’
AndeverdidtheHermitanswer，’AllthingsthatIhaveIwillgivethee，savethatonethingonly.Forthatthingitisnotlawfulformetogiveaway.’
AndinthetwilightofthethirddaytheycamenightothegreatscarletgatesoftheCityoftheSevenSins.Andfromthecitytherecamethesoundofmuchlaughter.
AndtheyoungRobberlaughedinanswer，andsoughttoknockatthegate.AndashedidsotheHermitranforwardandcaughthimbytheskirtsofhisraiment，andsaidtohim：’Stretchforthyourhands，andsetyourarmsaroundmyneck，andputyourearclosetomylips，andIwillgiveyouwhatremainstomeoftheknowledgeofGod.’AndtheyoungRobberstopped.
AndwhentheHermithadgivenawayhisknowledgeofGod，hefelluponthegroundandwept，andagreatdarknesshidfromhimthecityandtheyoungRobber，sothathesawthemnomore.
AndashelaythereweepinghewaswareofOnewhowasstandingbesidehim;andHewhowasstandingbesidehimhadfeetofbrassandhairlikefinewool.AndHeraisedtheHermitup，andsaidtohim：’BeforethistimethouhadsttheperfectknowledgeofGod.
NowthoushalthavetheperfectloveofGod.Whereforeartthouweeping？’Andhekissedhim.
Footnotes：
（1）Plato’sLAWS;AEschylus’PROMETHEUSBOUND.
（2）SomewhatinthesamespiritPlato，inhisLAWS，appealstothelocalpositionofIlionamongtheriversoftheplain，asaproofthatitwasnotbuilttilllongaftertheDeluge.
（3）PlutarchremarksthattheONLYevidenceGreecepossessesofthetruththatthelegendarypowerofAthensisno’romanceoridlestory，’isthepublicandsacredbuildings.ThisisaninstanceoftheexaggeratedimportancegiventoruinsagainstwhichThucydidesiswarningus.
（4）ThefictitioussaleintheRomanmarriagePERCOEMPTIONEMwasoriginally，ofcourse，arealsale.
（5）Notably，ofcourse，inthecaseofheatanditslaws.
（6）Cousinerrsagooddealinthisrespect.Tosay，ashedid，’Givemethelatitudeandthelongitudeofacountry，itsriversanditsmountains，andIwilldeducetherace，’issurelyaglaringexaggeration.
（7）Themonarchical，aristocratical，anddemocraticelementsoftheRomanconstitutionarereferredto.
（8）Polybius，vi.9.[Greektextwhichcannotbereproduced]
（9）[Greektextwhichcannotbereproduced]
（10）Thevariousstagesare[Greektextwhichcannotbereproduced]，[Greektextwhichcannotbereproduced].
（11）Polybius，xii.24.
（12）Polybius，i.4，viii.4，specially;andreallyPASSIM.
（13）Hemakesoneexception.
（14）Polybius，viii.4.
（15）Polybius，xvi.12.
（16）Polybius，viii.4：[Greektextwhichcannotbereproduced]
（17）PolybiusresembledGibboninmanyrespects.Likehimheheldthatallreligionsweretothephilosopherequallyfalse，tothevulgarequallytrue，tothestatesmanequallyuseful.
（18）Cf.Polybius，xii.25，[Greektextwhichcannotbereproduced]
（19）Polybius，xxii.8.
（20）ImeanparticularlyasregardshissweepingdenunciationofthecompletemoraldecadenceofGreeksocietyduringthePeloponnesainWar，which，fromwhatremainstousofAthenianliterature，weknowmusthavebeencompletelyexaggerated.Or，rather，heislookingatmenmerelyintheirpoliticaldealings：
andinpoliticsthemanwhoispersonallyhonourableandrefinedwillnotscrupletodoanythingforhisparty.
（21）Polybius，xii.25.
（22）THETWOPATHS，Lect.iii.p.123（1859ed.）.