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viii CONTENTS PICTURE SHOWS : PAGE II. ENGLISH POST-IMPRESSIONISTS 179 III. AN EXPENSIVE " MASTERPIECE " 188 IV. MARCHAND 194 V. THE MANSARD GALLERY 199 CONTEMPORARY ART IN ENGLAND 209 ART AND WAR 231 BEFORE THE WAR 247
FOREWORD DEAR GEOFFREY WHITWORTH, Considering for how many ages how many clever people have been complaining of their publishers, you might have supposed that no device for getting one of them into a scrape could have been left untried. Yet, so far as I can remember, no author has had the bright idea of denouncing his publisher, particularly, and by name, as accessory before the fact. I am willing to suspect my memory rather than my profession of being at fault in this matter but that the ; practice is uncommon is most certain and that, surely, is very strange. No author thinks twice of saddling his friend, his wife, his mother, or even his mistress with the responsibility of having been the onlie begetter of some feckless cub or monstrous abortion ; but on his publisher, the very man he should wish to injure, who ever thought of fastening the offence ? Yet you cannot deny, my dear Whitworth, that this book is your fault. I was all for abandoning the project after I had read Mr. Arnold Bennett's volume and recognized A
Page 2: LIBRARY of CALIFORNIA MHDtC0 LMMvct
Page 9 and 10: POT-BOILERS BT CLIVE BELL T LONDON
Page 11: CONTENTS PAGE FOREWORD i MONTAIGNE
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
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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
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CARLYLE'S LOVES AND LETTERS 97 a gr
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THE LYSISTRATA 1 At XdjOtrey Te/xev
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Rogers to give THE LYSISTRATA 101 u
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THE LYSISTRATA 103 and arguments od
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THE LYSISTRATA 105 war, came forth
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THE LYSISTRATA 107 ludicrous ; but
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THE LYSISTRATA 109 Fiercely they st
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THE LYSISTRATA in artist than party
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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
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TRELAWNY'S LETTERS 119 As Trelawny
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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
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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
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THE FLIGHT OF THE DRAGON * No one w
Page 149 and 150:
THE FLIGHT OF THE DRAGON 137 nings
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THE FLIGHT OF THE DRAGON 139 ripe a
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Greek or Christian in the primitive
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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
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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
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COUNTERCHECK QUARREL- SOME I HASTEN
Page 179 and 180:
COUNTERCHECK QUARRELSOME 167 does n
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169 the beauty of gems or of a butt
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COUNTERCHECK QUARRELSOME 171 The po
Page 185 and 186:
COUNTERCHECK QUARRELSOME 173 they h
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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
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ENGLISH POST-IMPRESSIONISTS 183 int
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ENGLISH POST-IMPRESSIONISTS 185 I c
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ENGLISH POST-IMPRESSIONISTS 187 the
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AN EXPENSIVE " MASTERPIECE " 189 I
Page 203 and 204:
AN EXPENSIVE " MASTERPIECE " 191 ow
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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
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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
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THE MANSARD GALLERY 205 lacks sensi
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THE MANSARD GALLERY 207 saying so.
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CONTEMPORARY ART IN ENGLAND ONLY la
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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
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CONTEMPORARY ART 225 its too willin
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CONTEMPORARY ART 227 Our critics an
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CONTEMPORARY ART 229 of the Royal A
Page 243 and 244:
ART AND WAR* AN acquaintance of min
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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
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BEFORE THE WAR 255 beneath the scan
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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
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PRESS OPINIONS ON "ART" " Mr. Bell
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