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154 WILLIAM MORRIS can help liking him. He had that magnanimity which makes people take instinctively the right side. His reasons might be wrong, but he was in the right. There are people in history, and Morris is one of them, about whom we feel that if they were alive they would sympathize with whatever were the best and most pressing aspirations of the age. Morris would, of course, be as firm to-day as ever against plutocracy, but one feels sure that he would take his stand with those who are trying to win for themselves some kind of moral and intellectual as well as economic freedom. One feels sure he would be of that forlorn hope of civilization that carries on a sporadic and ineffective war against officialism and militarism on the one hand, and puritanism and superstition on the other. One feels sure that, however little he might like new developments in art or thought, he would be against the people who tried to suppress them. One feels quite sure that he would never cease to believe that so long as society is imperfect it is the right and duty of individuals to experiment. The fact is, Morris was at once a practical craftsman and an idealist. In practical affairs and private prejudices he could be as truculent and wrong-headed as the rest of us ; but he was always conscious of something much more important than practical
WILLIAM MORRIS 155 affairs and private prejudices. He cared nothing for his own reputation and little for immediate success because he cared for something greater. For that he cared so much that he was able to forgive the quarrels and absurdities of the Hammersmith Socialists and to laugh even at his own vehemence.
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LIBRARY of CALIFORNIA MHDtC0 LMMvct
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POT-BOILERS BT CLIVE BELL T LONDON
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CONTENTS PAGE FOREWORD i MONTAIGNE
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FOREWORD DEAR GEOFFREY WHITWORTH, C
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FOREWORD 3 Naturally, by so obligin
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FOREWORD 5 I have said that the edi
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FOREWORD 7 I write more fluently no
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FOREWORD 9 amiss with Mr. Bennett's
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FOREWORD ii is bound to turn the be
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FOREWORD 13 " La Princesse de Cleve
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FOREWORD 15 Mr. Bennett is not so w
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MONTAIGNE IN FACSIMILE 1 LET it be
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MONTAIGNE 19 Montaigne was thorough
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MONTAIGNE 21 by, his subject, but,
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MONTAIGNE 23 moral code and the met
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MONTAIGNE 25 Indeed, this admiratio
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MONTAIGNE 27 not inappropriate, the
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IBSEN 29 the romantic, invited to s
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IBSEN 31 political thinker or a soc
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IBSEN 33 greatness of Ibsen's art t
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IBSEN 35 or his life to the ideal,
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IBSEN 37 Ibsen's social and politic
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IBSEN 39 tolerate. Men long for the
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MISS COLERIDGE i THE greatest art i
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MISS COLERIDGE 43 without demur tha
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MISS COLERIDGE 45 Here is the first
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MISS COLERIDGE 47 a shrinking fasti
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MISS COLERIDGE 49 picture. Her life
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PEACOCK 51 are as amateurish as the
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PEACOCK 53 was folly, who judged ev
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PEACOCK 55 century living in the ni
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PEACOCK 57 the Conservative party ;
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PEACOCK 59 Peacock's attitude towar
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PEACOCK 61 curiosity and ; just as
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PEACOCK 63 A letter to Hookham, dat
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PEACOCK 65 who claims attention for
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PEACOCK 67 His epitaph I wrote, as
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PEACOCK 69 his relations with Shell
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PEACOCK 71 most entertaining, and p
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PEACOCK 73 sionately pursued imposs
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BOSWELL'S LETTERS 75 they created a
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BOSWELL'S LETTERS 77 the sheer trut
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BOSWELL'S LETTERS 79 Boswell tells
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BOSWELL'S LETTERS 81 plexities bese
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CARLYLE'S LOVES AND LETTERS 83 ten
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CARLYLE'S LOVES AND LETTERS 85 tere
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CARLYLE'S LOVES AND LETTERS 87 What
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CARLYLE'S LOVES AND LETTERS 89 with
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CARLYLE'S LOVES AND LETTERS 91 gues
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CARLYLE'S LOVES AND LETTERS 93 degr
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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
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: WILLIAM MORRIS 153 next morning for
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
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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
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CONTEMPORARY ART 213 is tolerated b
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CONTEMPORARY ART 215 far more intel
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CONTEMPORARY ART 217 to visit the L
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CONTEMPORARY ART 219 before a great
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CONTEMPORARY ART 221 tending ever t
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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
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ART AND WAR* AN acquaintance of min
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ART AND WAR 233 between ends and me
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ART AND WAR 235 them there are bett
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ART AND WAR 237 had escaped restora
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ART AND WAR 239 emotion or the pass
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ART AND WAR 241 continued existence
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ART AND WAR 243 is my mission. They
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ART AND WAR 245 Kublai Khan, that c
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BEFORE THE WAR IT is to me a strang
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BEFORE THE WAR 249 and some of the
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BEFORE THE WAR 251 essence of socie
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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
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Marinetti, 88 Marivaux, 9, 10 Marqu
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BY THE SAME AUTHOR ART Fourth Impre
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PRESS OPINIONS ON "ART" " Mr. Bell
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