At present you have no such choice. You certainly have the option of following either Rodin and Renoir, or Whistler and Manet, or Sargent and Boldini, or John and Gauguin, or Herkomer and Lavery; but not one of you can say, "If I follow the first couple I shall be going in such and such a direction," or, "If I follow the second couple I shall be travelling towards this or that goal,"--this you would scarcely be able to say; neither could your leaders help you. [46] For some amusing, and, at the same time, shrewd, remarks concerning the International Society, I would refer the reader to Mr. Wake _Cook's Anarchism in Art_ (Cassell & Co.). I agree on the whole with what Mr. Wake Cook says, but cannot appreciate his remarks on Whistler. [47] _Z._, IV, LXVII. [48] In a _Times_ leader of the 20th December, 1909, the writer puts the case very well. After referring to the heated controversy which was then raging round the Berlin wax bust that Dr. Bode declared to be a Leonardo, the writer goes on to say: "... it is amusing to see how the merit of the work is forgotten in the dispute about its origin. It seems to be assumed that if it is by Leonardo it must be a great work of art, and if by Lucas nothing of the kind.... This fact proves what needs no proving, that there are many wealthy connoisseurs who buy works of art not for their intrinsic merit, but for what is supposed to be their authenticity.... This state of things reveals an extraordinary timidity in buyers of works of art. If they all trusted their own taste" [that is to say, if they had a taste of their own based upon some reliable canon] "names would have no value. The intrinsic merit of a work of art is not affected by the name it bears.... Yet in the market the name of a great painter is worth more than the inspiration of a lesser one.... Hence many people believe that it is far more difficult to understand pictures than literature.... But there is no more mystery about pictures than about literature. It is only the market that makes a mystery of them, and the market does this because it is timid." In other words: because it does not know. [49] On this point see _Questionings on Criticism and Beauty_, by the Rt. Hon. A. J. Balfour. (Oxford University Press.) Mr. Balfour entirely agrees that to-day we are driven to a kind of anarchy of individual preferences, and he acknowledges that he is not satisfied to remain in this position. He does not seem to recognize, however, how curiously and almost perfectly this anarchy in Art coincides with a certain anarchy in other departments of life, and thus, although it displeases him, he sees in it no imminent danger, or no hint that Art and life react in any way upon each other. 3. The Critics.