John Norton might be called the born monk. He is, however, but the male embodiment of that cultured selfishness of which Mildred Lawson is the female expression. He is not a flirt. He takes life too seriously to be that; but he takes it so seriously that there is only room in the world for himself alone. He comes of a fine old English stock, is rich, and is his own master. He treats his mother as a cold- blooded English gentleman, with Norton's peculiar nature, would treat a mother--with polite but firm disregard of her claims. He has enough and to spare of will-power, but it is become degenerated into obstinacy. He fails because he wants too much, because he is unsocial at heart, and does not understand that life means giving as well as taking. His sexual passion finds expression in a religious fanaticism which is but the expression of utter selfishness, as all sexual passion is. In the company of Kitty he has moments of exaltation, when his degenerate passion scents the pure air of love; but he can never let himself go. When, on one occasion, he so far forgets himself as to allow his heart to be responsive to Kitty's natural purity and he kisses her, he is so shocked at what he has done that he runs away and leaves the girl to a terrible fate. We leave him also a prey to thoughts of what he might have prevented. He, too, like Mildred Lawson, must henceforth face a life of his own unconscious making. Agnes Lahens is the victim of a heartless, selfish society in which the abuse of love has made its world a desert and its products Dead Sea fruit. Out of a sheer impulse for self-protection she flies to the nunnery, which is ready to give her life at the price of her womanhood and her self-sacrifice. As portraits, these of Mildred Lawson and John Norton are exquisitely finished. They are half-lengths, with a quality of coloring fascinating in its repelling truth. Every tint and shade have been cunningly and caressingly laid in, so that the features, living and animated, are yet filled with suggestions of the spiritual barrenness in the originals. Very human they are, and yet they are without those gracious qualities which link humanity with what we feel to be divine. There is the touch of nature here, but it is not the touch which makes the whole world kin. That touch we ourselves supply; and it speaks eloquently for Moore's art that in picturing these unlovely beings he throws us back on our better selves. Beyond the vision of these celibates here revealed we see a passionate humanity, working, hating, sorrowing, and dying, yet always loving, and in loving finding its fullest life in an earthly salvation. True love is a mighty democrat. Knowing these "Celibates," we welcome the more gladly those who, even if less gifted, are ready to walk with us, hand in hand, along the common human highway of the "pilgrim's progress." TEMPLE SCOTT. CONTENTS. MILDRED LAWSON JOHN NORTON AGNES LAHENS MILDRED LAWSON. I.