Incidentally, I would recommend to those artists who are long since jaded with repetition and success, and there are many of them, to refresh their eyes and their senses with the work of these outwardly unassuming but thoroughly convincing amateurs, like Henri Rousseau, Mrs. Cowdery and the many others whose names do not appear on their handsome works of art. There is such freshness of vision and true art experience contained in them. They rely upon the imagination entirely for their revelations, and there is always present in these unprofessional works of art acute observation of fact and fine gifts for true fancy. These amateurs are never troubled with the "how" of mediocre painting; neither are they troubled with the wiles of the outer world. They remain always charming painters of personal visionary experience, and as such are entitled to praise for their genuine gifts in rendering, as well as for a natural genius for interpretation. HENRI ROUSSEAU Not long since, we heard much of naivete--it was the fashion among the schools and the lesser individuals to use this term in describing the work of anyone who sought to distinguish himself by eccentricity of means. It was often the term applied to bizarrerie--it was fashionable to draw naively, as it was called. We were expected to believe in a highly developed and overstrained simplicity, it was the resort of a certain number who wanted to realize speedy results among the unintelligent. It was a pose which lasted not long because it was obviously a pose, and a pose not well carried, it had not the prescribed ease about it and showed signs of labor. It had, for a time, its effect upon really intelligent artists with often respectable results, as it drew the tendency away from too highly involved sophistication. It added a fresh temper in many ways, and helped men to a franker type of self-expression; and was, as we may expect, something apart from the keen need of obliviousness in the great modern individualists, those who were seeking direct contact with subject.