[Footnote 11: It will be found instructive to study cases 10-14 of enamels and metal-work at South Kensington. The tyro will have no difficulty in "spotting" the German and Rheinish productions. Alas! the only possible mistake would be a confusion between German and English. Certainly the famous Gloucester candlestick (1100) is as common as anything in the place, unless it be the even more famous Cologne Reliquary (1170).] [Footnote 12: Patriots can take pleasure in the study of Saxon sculpture.] [Footnote 13: Several schools of painting and drawing flourished during these centuries in Italy and north of the Alps. In S. Clemente alone it is easy to discover the work of two distinct periods between 600 and 900. The extant examples of both are superb.] [Footnote 14: _The Making of Western Europe_: C.L.R. Fletcher.] [Footnote 15: Throughout the whole primitive and middle period, however, two tendencies are distinguishable--one vital, derived from Constantinople, the other, dead and swollen, from imperial Rome. Up to the thirteenth century the Byzantine influence is easily predominant. I have often thought that an amusing book might be compiled in which the two tendencies would be well distinguished and illustrated. In Pisa and its neighbourhood the author will find a surfeit of Romanised primitives.] [Footnote 16: Pietro is, of course, nearer to Giotto.] [Footnote 17: Owing to the English invention of "Perpendicular," the least unsatisfactory style of Gothic architecture, the English find it hard to realise the full horrors of late Gothic.] [Footnote 18: In speaking of officialdom it is not the directors of galleries and departments whom I have in mind. Many of them are on the right side; we should all be delighted to see Sir Charles Holroyd or Mr. Maclagan, for instances, let loose amongst the primitives with forty thousand pounds in pocket. I am thinking of those larger luminaries who set their important faces against the acquisition of works of art, the men who have been put in authority over directors and the rest of us.] [Footnote 19: The Mabuse, however, was a bargain that the merchants and money-lenders who settle these things could hardly be expected to resist. The ticket price is said to have been L120,000.] [Footnote 20: It was Mr. Roger Fry who made this illuminating discovery.] [Footnote 21: It is pleasant to remember that by the painters, critics, and rich amateurs of "the old gang" the pictures of Ingres were treated as bad jokes. Ingres was accused of distortion, ugliness, and even of incompetence! His work was called "mad" and "puerile." He was derided as a pseudo-primitive, and hated as one who would subvert the great tradition by trying to put back the clock four hundred years. The same authorities discovered in 1824 that Constable's _Hay Wain_ was the outcome of a sponge full of colour having been thrown at a canvas. _Nous avons change tout ca._] [Footnote 22: As Mr. Walter Sickert reminds me, there was Sickert.]