there may be great technical skill; I take it for granted there is; but in the subject surely there is a void, an appearance of painful seeking for something to paint, and finding very little. When you come to a great picture of an Egyptian banquet in the days of the Pharaohs, you feel that the painter must have had a long way to go for something to paint. Certainly this age is not indifferent to beauty. The art movement is in every house; everywhere you see some proof of a desire to possess not mere ornament but something really rare and beautiful. The influence transmutes children's picture books and toys. I turned up the other day a child's picture book of the days of my childhood; probably it had been thought wonderfully good in its time; and what a thing it was. Some day our doubts may be cleared up; our beliefs may be settled; faith may come again; life may recover its singleness and certainty of aim; poetry may gush forth once more as fresh as Homer, and the art of the future may appear. What is most difficult to conceive, perhaps, is the sculpture of the future; because it is hardly possible that the moderns should ever have such facilities as the ancients had for studying the human form. In presence of the overwhelming magnificence of the sculpture in the museums of Rome and Naples, one wonders how Canova and Co. can have looked with any complacency on their own productions. There seems reason by the way to think that these artists worked not each by himself, but in schools and brotherhoods with mutual aid and sympathy; and this is an advantage equally within the reach of modern art. Meantime, though the Art of the future delays to come, modern life is not all hideous. There are many things, no doubt, such as the Black Country and the suburbs of our cities, on which the eye cannot rest with pleasure. But Paris is not hideous. There may be in the long lines of buildings too much of the autocratic monotony of the Empire, but the city, as a whole, is the perfect image of a brilliant civilization. From London beauty is almost banished by smoke and fog, which deny to the poor architect ornament, colour, light and shadow, leaving him nothing but outline. No doubt besides the smoke and fog there is a fatality. There is a fatality which darkly impels us to place on our finest site, and one of the finest in Europe, the niggard facade and inverted teacup dome of the National Gallery; to temper the grandeurs of Westminster by the introduction of the Aquarium, with Mr. Hankey's Tower of Babel in the near distance; to guard against any too-imposing effect which the outline of the Houses of Parliament might have by covering them with minute ornament, sure to be blackened and corroded into one vast blotch by smoke; to collect the art wonders of Pigtail Place; to make the lions in Trafalgar Square lie like cats on a hearth-rug, instead of supporting themselves on a slope by muscular action, like the lions at Genoa; to perch a colossal equestrian