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CONTENTS PAGE FOREWORD i MONTAIGNE IN FACSIMILE 17 IBSEN 28 MISS COLERIDGE 41 PEACOCK 50 BOSWELL'S LETTERS 74 CARLYLE'S LOVES AND LOVE-LETTERS 82 THE LYSISTRATA 99 TRELAWNY'S LETTERS 115 SOPHOCLES IN LONDON 126 THE FLIGHT OF THE DRAGON 135 WILLIAM MORRIS 146 PERSIAN MINIATURES 156 COUNTERCHECK QUARRELSOME 165 PICTURE SHOWS : I. THE LONDON SALON 174
Page 2: LIBRARY of CALIFORNIA MHDtC0 LMMvct
Page 9: POT-BOILERS BT CLIVE BELL T LONDON
Page 13 and 14: FOREWORD DEAR GEOFFREY WHITWORTH, C
Page 15 and 16: FOREWORD 3 Naturally, by so obligin
Page 17 and 18: FOREWORD 5 I have said that the edi
Page 19 and 20: FOREWORD 7 I write more fluently no
Page 21 and 22: FOREWORD 9 amiss with Mr. Bennett's
Page 23 and 24: FOREWORD ii is bound to turn the be
Page 25 and 26: FOREWORD 13 " La Princesse de Cleve
Page 27 and 28: FOREWORD 15 Mr. Bennett is not so w
Page 29 and 30: MONTAIGNE IN FACSIMILE 1 LET it be
Page 31 and 32: MONTAIGNE 19 Montaigne was thorough
Page 33 and 34: MONTAIGNE 21 by, his subject, but,
Page 35 and 36: MONTAIGNE 23 moral code and the met
Page 37 and 38: MONTAIGNE 25 Indeed, this admiratio
Page 39 and 40: MONTAIGNE 27 not inappropriate, the
Page 41 and 42: IBSEN 29 the romantic, invited to s
Page 43 and 44: IBSEN 31 political thinker or a soc
Page 45 and 46: IBSEN 33 greatness of Ibsen's art t
Page 47 and 48: IBSEN 35 or his life to the ideal,
Page 49 and 50: IBSEN 37 Ibsen's social and politic
Page 51 and 52: IBSEN 39 tolerate. Men long for the
Page 53 and 54: MISS COLERIDGE i THE greatest art i
Page 55 and 56: MISS COLERIDGE 43 without demur tha
Page 57 and 58: MISS COLERIDGE 45 Here is the first
Page 59 and 60: MISS COLERIDGE 47 a shrinking fasti
Page 61 and 62:
MISS COLERIDGE 49 picture. Her life
Page 63 and 64:
PEACOCK 51 are as amateurish as the
Page 65 and 66:
PEACOCK 53 was folly, who judged ev
Page 67 and 68:
PEACOCK 55 century living in the ni
Page 69 and 70:
PEACOCK 57 the Conservative party ;
Page 71 and 72:
PEACOCK 59 Peacock's attitude towar
Page 73 and 74:
PEACOCK 61 curiosity and ; just as
Page 75 and 76:
PEACOCK 63 A letter to Hookham, dat
Page 77 and 78:
PEACOCK 65 who claims attention for
Page 79 and 80:
PEACOCK 67 His epitaph I wrote, as
Page 81 and 82:
PEACOCK 69 his relations with Shell
Page 83 and 84:
PEACOCK 71 most entertaining, and p
Page 85 and 86:
PEACOCK 73 sionately pursued imposs
Page 87 and 88:
BOSWELL'S LETTERS 75 they created a
Page 89 and 90:
BOSWELL'S LETTERS 77 the sheer trut
Page 91 and 92:
BOSWELL'S LETTERS 79 Boswell tells
Page 93 and 94:
BOSWELL'S LETTERS 81 plexities bese
Page 95 and 96:
CARLYLE'S LOVES AND LETTERS 83 ten
Page 97 and 98:
CARLYLE'S LOVES AND LETTERS 85 tere
Page 99 and 100:
CARLYLE'S LOVES AND LETTERS 87 What
Page 101 and 102:
CARLYLE'S LOVES AND LETTERS 89 with
Page 103 and 104:
CARLYLE'S LOVES AND LETTERS 91 gues
Page 105 and 106:
CARLYLE'S LOVES AND LETTERS 93 degr
Page 107 and 108:
CARLYLE'S LOVES AND LETTERS 95 high
Page 109 and 110:
CARLYLE'S LOVES AND LETTERS 97 a gr
Page 111 and 112:
THE LYSISTRATA 1 At XdjOtrey Te/xev
Page 113 and 114:
Rogers to give THE LYSISTRATA 101 u
Page 115 and 116:
THE LYSISTRATA 103 and arguments od
Page 117 and 118:
THE LYSISTRATA 105 war, came forth
Page 119 and 120:
THE LYSISTRATA 107 ludicrous ; but
Page 121 and 122:
THE LYSISTRATA 109 Fiercely they st
Page 123 and 124:
THE LYSISTRATA in artist than party
Page 125 and 126:
THE LYSISTRATA 113 Have inspired th
Page 127 and 128:
TRELAWNY'S LETTERS 1 ANY one who ha
Page 129 and 130:
TRELAWNY'S LETTERS 117 book we find
Page 131 and 132:
TRELAWNY'S LETTERS 119 As Trelawny
Page 133 and 134:
TRELAWNY'S LETTERS 121 though he co
Page 135 and 136:
TRELAWNY'S LETTERS 123 we should ha
Page 137 and 138:
TRELAWNY'S LETTERS 125 are his lite
Page 139 and 140:
SOPHOCLES IN LONDON 127 realism and
Page 141 and 142:
SOPHOCLES IN LONDON 129 And what is
Page 143 and 144:
SOPHOCLES IN LONDON 131 our eccentr
Page 145 and 146:
SOPHOCLES IN LONDON 133 the latest
Page 147 and 148:
THE FLIGHT OF THE DRAGON * No one w
Page 149 and 150:
THE FLIGHT OF THE DRAGON 137 nings
Page 151 and 152:
THE FLIGHT OF THE DRAGON 139 ripe a
Page 153 and 154:
Greek or Christian in the primitive
Page 155 and 156:
THE FLIGHT OF THE DRAGON 143 the sp
Page 157 and 158:
THE FLIGHT OF THE DRAGON 145 jobber
Page 159 and 160:
WILLIAM MORRIS 147 " William Morris
Page 161 and 162:
WILLIAM MORRIS 149 that much of the
Page 163 and 164:
WILLIAM MORRIS 151 in the Floods "
Page 165 and 166:
WILLIAM MORRIS 153 next morning for
Page 167 and 168:
WILLIAM MORRIS 155 affairs and priv
Page 169 and 170:
PERSIAN MINIATURES 157 1258 (the ye
Page 171 and 172:
PERSIAN MINIATURES 159 thirteenth c
Page 173 and 174:
PERSIAN MINIATURES 161 It is, in fa
Page 175 and 176:
PERSIAN MINIATURES 163 I will sugge
Page 177 and 178:
COUNTERCHECK QUARREL- SOME I HASTEN
Page 179 and 180:
COUNTERCHECK QUARRELSOME 167 does n
Page 181 and 182:
169 the beauty of gems or of a butt
Page 183 and 184:
COUNTERCHECK QUARRELSOME 171 The po
Page 185 and 186:
COUNTERCHECK QUARRELSOME 173 they h
Page 187 and 188:
THE LONDON SALON 175 But there is m
Page 189 and 190:
THE LONDON SALON 177 how admirable
Page 191 and 192:
II ENGLISH POST-IMPRESSIONISTS IT i
Page 193 and 194:
ENGLISH POST-IMPRESSIONISTS 181 for
Page 195 and 196:
ENGLISH POST-IMPRESSIONISTS 183 int
Page 197 and 198:
ENGLISH POST-IMPRESSIONISTS 185 I c
Page 199 and 200:
ENGLISH POST-IMPRESSIONISTS 187 the
Page 201 and 202:
AN EXPENSIVE " MASTERPIECE " 189 I
Page 203 and 204:
AN EXPENSIVE " MASTERPIECE " 191 ow
Page 205 and 206:
AN EXPENSIVE " MASTERPIECE " 193 ar
Page 207 and 208:
MARCHAND 195 5) would have been jus
Page 209 and 210:
MARCHAND 197 shall be glad to hear
Page 211 and 212:
V THE MANSARD GALLERY 1 THE collect
Page 213 and 214:
THE MANSARD GALLERY 201 appreciate
Page 215 and 216:
THE MANSARD GALLERY 203 ever, more
Page 217 and 218:
THE MANSARD GALLERY 205 lacks sensi
Page 219 and 220:
THE MANSARD GALLERY 207 saying so.
Page 221 and 222:
CONTEMPORARY ART IN ENGLAND ONLY la
Page 223 and 224:
CONTEMPORARY ART 211 and independen
Page 225 and 226:
CONTEMPORARY ART 213 is tolerated b
Page 227 and 228:
CONTEMPORARY ART 215 far more intel
Page 229 and 230:
CONTEMPORARY ART 217 to visit the L
Page 231 and 232:
CONTEMPORARY ART 219 before a great
Page 233 and 234:
CONTEMPORARY ART 221 tending ever t
Page 235 and 236:
CONTEMPORARY ART 223 burgher who ma
Page 237 and 238:
CONTEMPORARY ART 225 its too willin
Page 239 and 240:
CONTEMPORARY ART 227 Our critics an
Page 241 and 242:
CONTEMPORARY ART 229 of the Royal A
Page 243 and 244:
ART AND WAR* AN acquaintance of min
Page 245 and 246:
ART AND WAR 233 between ends and me
Page 247 and 248:
ART AND WAR 235 them there are bett
Page 249 and 250:
ART AND WAR 237 had escaped restora
Page 251 and 252:
ART AND WAR 239 emotion or the pass
Page 253 and 254:
ART AND WAR 241 continued existence
Page 255 and 256:
ART AND WAR 243 is my mission. They
Page 257 and 258:
ART AND WAR 245 Kublai Khan, that c
Page 259 and 260:
BEFORE THE WAR IT is to me a strang
Page 261 and 262:
BEFORE THE WAR 249 and some of the
Page 263 and 264:
BEFORE THE WAR 251 essence of socie
Page 265 and 266:
BEFORE THE WAR 253 with Beardsleyes
Page 267 and 268:
BEFORE THE WAR 255 beneath the scan
Page 269 and 270:
ABBAS, Shah, 163 Abbassi, Riza, 162
Page 271 and 272:
Marinetti, 88 Marivaux, 9, 10 Marqu
Page 273 and 274:
BY THE SAME AUTHOR ART Fourth Impre
Page 275:
PRESS OPINIONS ON "ART" " Mr. Bell
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