"Playing billiards became 'my custom always of the afternoon.' Those who confess to billiard-playing commonly make some kind of an excuse. . . . It suffices to me that I like billiards, and the attainment of the pleasure given I regard as a sufficient motive. I have for a long time deliberately set my face against that asceticism which makes it an offence to do a thing for the pleasure of doing it; and have habitually contended that, so long as no injury is inflicted on others, nor any ulterior injury on self, and so long as the various duties of life have been discharged, the pursuit of pleasure for its own sake is perfectly legitimate and requires no apology. The opposite view is nothing else than a remote sequence of the old devil worship of the barbarian, who sought to please his god by inflicting pains upon himself, and believed his god would be angry if he made himself happy" (vol. ii, page 263). The tone of pedantic rectitude in these passages is characteristic. Every smallest thing is either right or wrong, and if wrong, can be articulately proved so by reasoning. Life grows too dry and literal, and loses all aerial perspective at such a rate; and the effect is the more displeasing when the matters in dispute have a rich variety of aspects, and when the aspect from which Mr. Spencer deduces his conclusions is manifestly partial. For instance, in his art-criticisms. Spencer in his youth did much drawing, both mechanical and artistic. Volume one contains a photo-print of a very creditable bust which he modelled of his uncle. He had a musical ear, and practiced singing. He paid attention to style, and was not wholly insensible to poetry. Yet in all his dealings with the art-products of mankind he manifests the same curious dryness and mechanical literality of judgment--a dryness increased by pride in his non-conformity. He would, for example, rather give a large sum than read to the end of Homer's Iliad,--the ceaseless repetition of battles, speeches, and epithets like well-greaved Greeks, horse-breaking Trojans; the tedious enumeration of details of dresses, arms, and chariots; such absurdities as giving the genealogy of a horse while in the midst of a battle; and the appeals to savage and brutal passions, having soon made the poem intolerable to him (vol. i, page 300). Turner's paintings he finds untrue, in that the earth-region is habitually as bright in tone as the air-region. Moreover, Turner scatters his detail too evenly. In Greek statues the hair is falsely treated. Renaissance painting, even the best, is spoiled by unreal illumination, and non-rendering of reflected light in the shadows. Venetian gothic sins by meaningless ornamentation. St. Mark's Church may be precious archaeologically, but is not aesthetically precious. Of Wagner's music he admires nothing but the skilful specialization of the instruments in the orchestra.