One would suppose—that is, one unacquainted with art might be conceived as supposing—that the value of a painting would be appraised without reference to the question: Who made it? It seems (to the unenlightened) as if it would make no difference what name was borne by the person that painted it—just as the _Iliad_ or the _Odyssey_ would be equally pleasing whether written by Homer or by “another man of the same name,” or another name. I have the hardihood to declare that it is—and here I am on my own ground. I affirm—nay, “swear tiptoed with lifted hand”—that the pleasure of any reasonable man in reading “Ossian” is not abated by knowledge that the author was Macpherson; that to a sane judgment the “Rowley” poems are altogether as delightful as if the secret of their composition had been carried into the next world by little Chatterton when “he perished in his pride.” What is it to me, or to you, if the Shakspeare plays were written by Bacon? We have the plays; let us read and be thankful. Shakspeare and Bacon may fight it out in Elysium, with Ignatius Donnelly as umpire; of the decision, “it boots not to inquire.” If that is the mental attitude of the true lover of letters, and it is, why is the true lover of art differently constituted, if he is? Why are “the still vexed Bermoothes” of his soul still vexed? Why can not he make up his mind that a work of art is good, or is bad, and let it go at that, serenely unconcerned about the “irrelevant, incompetent and immaterial” babble of the experts in authenticity? Being ignorant, I thank Heaven for the existence of artists obscure by fortune or by choice, skilful enough to imitate in line or style the work of the great and famous painters. For gratification of my own eye I would as lief see and possess their work as the work that they imitate. So would anybody—for gratification of his own eye. For pigly satisfaction of owning something denied to one’s neighbor; something rare because death has stopped the supply; something to be triumphantly shown to one’s visitors in the hope of exciting some of the baser passions of the human heart, such as covetousness, envy and the like—for such “satisfaction and refined delight” one would of course prefer an original “old master” and be willing to pay a pretty penny for gratification of the preference. Some wicked man has said that an artist has sensibility, but no sense. I fancy that is not so, but finding artists pretty generally concerned with questions of the “genuineness” of “canvases”—that is to say, pretty generally assenting to the proposition that a picture can be better or worse than it looks—I am sometimes tormented by doubt. MODERN WARFARE I