About artists and their work Mr. Quilter has, of course, a great deal to say. Sculpture he regards as 'Painting's poor relation'; so, with the exception of a jaunty allusion to the 'rough modelling' of Tanagra figurines he hardly refers at all to the plastic arts; but on painters he writes with much vigour and joviality. Holbein's wonderful Court portraits naturally do not give him much pleasure; in fact, he compares them as works of art to the sham series of Scottish kings at Holyrood; but Dore, he tells us, had a wider imaginative range in all subjects where the gloomy and the terrible played leading parts than probably any artist who ever lived, and may be called 'the Carlyle of artists.' In Gainsborough he sees 'a plainness almost amounting to brutality,' while 'vulgarity and snobbishness' are the chief qualities he finds in Sir Joshua Reynolds. He has grave doubts whether Sir Frederick Leighton's work is really 'Greek, after all,' and can discover in it but little of 'rocky Ithaca.' Mr. Poynter, however, is a cart-horse compared to the President, and Frederick Walker was 'a dull Greek' because he had no 'sympathy with poetry.' Linnell's pictures, are 'a sort of "Up, Guards, and at 'em" paintings,' and Mason's exquisite idylls are 'as national as a Jingo poem'! Mr. Birket Foster's landscapes 'smile at one much in the same way that Mr. Carker used to "flash his teeth,"' and Mr. John Collier gives his sitter 'a cheerful slap on the back, before he says, like a shampooer in a Turkish bath, "Next man!" Mr. Herkomer's art is, 'if not a catch-penny art, at all events a catch-many-pounds art,' and Mr. W. B. Richmond is a 'clever trifler,' who 'might do really good work' 'if he would employ his time in learning to paint.' It is obviously unnecessary for us to point out how luminous these criticisms are, how delicate in expression. The remarks on Sir Joshua Reynolds alone exemplify the truth of Sententia No. 19, 'From a picture we gain but little more than we bring.' On the general principles of art Mr. Quilter writes with equal lucidity. That there is a difference between colour and colours, that an artist, be he portrait-painter or dramatist, always reveals himself in his manner, are ideas that can hardly be said to occur to him; but Mr. Quilter really does his best and bravely faces every difficulty in modern art, with the exception of Mr. Whistler. Painting, he tells us, is 'of a different quality to mathematics,' and finish in art is 'adding more fact'! Portrait painting is a bad pursuit for an emotional artist as it destroys his personality and his sympathy; however, even for the emotional artist there is hope, as a portrait can be converted into a picture 'by adding to the likeness of the sitter some dramatic interest or some picturesque adjunct'! As for etchings, they are of two kinds--British and foreign. The latter fail in 'propriety.' Yet, 'really fine etching is as free and easy as is the chat between old chums