This little incident led me to take note of French ideas about England with reference to patriotic ignorance; and I discovered that there existed a very general belief that there was no intellectual light of any kind in England. Paris was the light of the world, and only so far as Parisian rays might penetrate the mental fog of the British Islands was there a chance of its becoming even faintly luminous. It was settled that the speciality of England was trade and manufacture, that we were all of us either merchants or cotton-spinners, and I discovered that we had no learned societies, no British Museum, no Royal Academy of Arts. An English painter, who for many years had exhibited on the line of the Royal Academy, happened to be mentioned in my presence and in that of a French artist. I was asked by some French people who knew him personally whether the English painter had a good professional standing. I answered that he had a fair though not a brilliant reputation; meanwhile the French artist showed signs of uneasiness, and at length exploded with a vigorous protest against the inadmissible idea that a painter could be anything whatever who was not known at the French _Salon_. "Il n'est pas connu au Salon de Paris, donc, il n'existe pas--il n'existe pas. Les réputations dans les beaux-arts se font au Salon de Paris et pas ailleurs." This Frenchman had no conception whatever of the simple fact that artistic reputations are made in every capital of the civilized world. That was a truth which his patriotism could not tolerate for a moment. A French gentleman expressed his surprise that I did not have my books translated into French, "because," said he, "no literary reputation can be considered established until it has received the consecration of Parisian approval." To his unfeigned astonishment I answered that London and not Paris was the capital city of English literature, and that English authors had not yet fallen so low as to care for the opinion of critics ignorant of their language. I then asked myself why this intense French patriotic ignorance should continue so persistently; and the answer appeared to be that there was something profoundly agreeable to French patriotic sentiment in the belief that England had no place in the artistic and intellectual world. Until quite recently the very existence of an English school of painting was denied by all patriotic Frenchmen, and English art was rigorously excluded from the Louvre.[21] Even now a French writer upon art can scarcely mention English painting without treating it _de haut en bas_, as if his Gallic nationality gave him a natural right to treat uncivilized islanders with lofty disdain or condescending patronage.