witness of the way in which Judge Grosscup's order had been violated, that would explain the emphasis with which he has insisted upon the prosecution. He was even reported to have said that he wanted to see the men at the head of the packing-houses in jail if there was any way of putting them there. His personal examination of a witness would explain the indignation which alone could prompt such a remark, either by a President or a private citizen. Indignation at injustice or oppression is one of Mr. Roosevelt's strongest characteristics.

"The case has gone far enough to prove that the packers will not gain anything by their claim of immunity through Commissioner Garfield. The Washington authorities point out that the evidence' given to Mr. Garfield on which that claim is based consisted of typewritten statements prepared in the packers' offices and sent to the commissioner. Those statements were included in the Garfield report and there was certainly nothing in that report, as published, to show that the packers had been guilty of criminal conspiracy. The indications are that the beef trust will be one of the few Government prosecutions of persons of consequence which is not to be allowed to frazzle out."

THE

REBELLION IN THE ISLE OF PINES.

HE press are divided in opinion as to the justice of the act of the two hundred and sixty American residents of the Isle of Pines in raising the standard of rebellion and issuing to the world a declaration of independence from Cuba. The Buffalo News thinks that the seceders should be "shot or hanged," while the Philadelphia Telegraph declares that the United States should proceed at once to rescue from the "erratic control" of Cuba the lives and properties of American citizens who settled in the island in the belief that their homes and business would be protected by this nation."

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The reasons for seceding, as indicated by the defiant little band of revolutionists in their petition to President Roosevelt for a square deal, are that they became residents of the isle upon the understanding that they were to remain citizens of the United States, and that they have never surrendered their status as such. They have acquired in fee simple five-sixths of the real estate of the island, upon which they have made costly improvements that are all in constant danger of destruction on account of the unsettled state of Cuban affairs. Hence they rebelled, thinking that this was the proper step to take to bring their rights to the attention of the American people and to secure "justice and equity" from the United States Senate, which soon must act upon the treaty that has been drawn up vesting the title of the Isle of Pines permanently in Cuba. The facts upon which they base their demands for protection from the American Government, as gathered from the columns of the New York Evening Post, are as follows: By the terms of the protocol which ended hostilities in the Spanish war and the treaty of Paris it was provided that Spain relinquished sovereignty over Cuba and ceded to the United States "Porto Rico and other islands now under Spanish sovereignty in the West Indies," and it is upon this phrase that the claim is made that the Isle of Pines was ceded to the United States. Various interpretations were made of this clause, but Judge Magoon, the law officer of the Insular Division of the War Department, finally wrote a decision in which he declared that the determination of the status of the Isle of Pines did not rest with the War Department, but was a political question to be determined by the President and Congress. Thereafter the law called the "Platt amendment" was passed by Congress and adopted as a part of the Cuban constitution, which provided among other things that the title to the Isle of Pines should be determined by treaty. Negotiations were commenced accordingly. Cuba agreed to turn over to the United States the two naval stations of Guantanamo and Bahia-Honda. The first of these has already been ceded and there is no question about the ceding of the other. In 1903 a treaty was drawn up vesting the title to the island in Cuba. The United States Senate has not ratified the treaty, but the executive branch of the Government is definitely committed on the subject.

Such is the story of the Isle of Pines. The audacious maneuver

of the seceders, says the New York Globe, "is well timed to influ. ence the Senate at its next session, but is not calculated to win popular support in this country." The Buffalo News speaks equally disapprovingly of the revolt, and observes that" the United States is not reduced to the business of stealing pennies or of acting as the accomplice of petty thieves," and the Baltimore American remarks:

"To foment an insurrection in that country, engineered by reckless American citizens, is not the kind of thing to approve itself to wise statesmanship. If a handful of Americans can seize the Isle of Pines and convert it into an independent state a similar thing can be done in the richest province of Cuba or in any other part of America outside of the United States, and the navy and army would soon be very active, indeed.

"The Cuban Government will probably arrest the ringleaders of this little mutiny and put them in jail. . . . A few months' imprisonment would calm the ardor of these empire-builders and divert their energies into more useful channels. If they don't like Cuba it is easy enough to get away from there without involving the American Government in their prejudices."

Others, however, feel a great deal of sympathy for them. Many papers believe with the Philadelphia Telegraph that this little bit of land, no larger than Rhode Island, off the southern coast of Cuba," belongs to the United States, and for strategical as well as political reasons should never be parted with." Hence they are trying to create a sentiment which will compel the United States Senate to refuse to ratify the pending treaty. Thus the Philadelphia Inquirer remarks:

"It clearly and unavoidably follows, seeing that no treaty for the cession to Cuba of the Isle of Pines has been executed, altho such a treaty has long been pending in the Senate, where it has encountered an apparently insurmountable opposition, that the island is still a possession of the United States, to be governed as other similar possessions are governed, that is, through the instrumentality of the War Department, and why the Cuban authorities should ever have been permitted to assume and exercise an official power within its borders is something which has never been intelligibly explained. The present developments will compel the taking of some kind of decisive action. As the American residents of the island constitute by far the greater part of the population and as nearly all that is of value there has been created and is owned by them, the retention of the island within the jurisdiction of the United States is the only fair, just, and logical solution of the problem which the actual situation exhibits."

So far the Czar has been able to restrain himself from issuing any Thanksgiving proclamations.-The Toledo Blade.

THE Hungarians have announced that they will retain their language. Certainly. Nobody else wants it.-The Atlanta Journal.

Now that Charles Dana Gibson has gone abroad, President Roosevelt will rank as our leading black-and-white artist.-7he Atlanta Journal.

RUSSIA'S violent radicals should remember that anarchistic practises will undermine any constitution, no matter how strong.-The Chicago News. RUSSIAN students are daring, but up to date it does not appear that any of them has faced a ceremony of initiation into a college fraternity.-The Chicago News.

SEVERAL Millionaires are said to be on the Government pension rolls. A lot of them have always been on the good old protective tariff roll.-The Florida Times-Union.

THE price of cranberries has advanced to something like $11 a barrel. Still, economical families can get along with half a barrel and be just as happy, if they try. The Toledo Blade.

TAMMANY will probably reply that had Mr. Hearst spent a little more money before election it would not have been necessary for him to spend so much after it.-The Detroit Free Press.

AFTER recounting the manner in which Thanksgiving was established by the New England forefathers, the President, right in the same paragraph, speaks of the custom as having been hallowed by "immemorial usage."-The Chicago News.

MR. RALPH ADAMS CRAM.

the close of the nineteenth century. Mr. Cram is speaking of "communal art, the art which is the heritage of all the people, and is their highest mode of self-expression." This art, he reminds us, had continued "unmitigated and undefiled" in Japan for almost a century and a half after it had become extinct in Europe and America. His reading of the situation sounds even more pessimistic when he states it in general terms, and exclaims: "The last great racial art has perished from the earth; the chapter is closed." If it is closed inexorably, he adds, the fact is "a catastrophe compared with which the destruction of the Alexandrian libraries, the coming of the Goths and Vandals, the suppression of the English monasteries, were but unimportant episodes." But because the Japanese character, of which Japanese art was "the intimate and exact expression," has suffered no collapse, Mr. Cram permits a hope to remain that the chapter is not closed inexorably. "If art is a result, not a product, then the generative conditions are just as vital as they were under the Ashikaga or Tokugawa Shoguns, and for once art may occur again as the result of conscious volition." Whether conscious volition is so directed or not, says Mr. Cram, rests with the Mikado. These views are gathered from Mr. Cram's new book, "Impressions of Japanese Architecture." To quote the author more adequately:

He asserts that the national art of Japan ceased to exist with the close of the nineteenth century, but that a word from the Mikado would resuscitate it.

...

"For thirteen hundred years it [art in Japan] had been an essential part of a varied but unbroken civilization. The art history was identical, the modes of its manifestation were various: now architecture, now painting, then literature, sculpture, the drama, or, again, the industrial arts. Note, however, that nothing intrinsically bad was ever done; all was good, better, or best."

But within the memory of men still young all this has changed. We read :

"Architecture has fallen into the hands of tenth-rate German bunglers and their native imitators, who copy so cleverly that their productions are almost as bad as those of their teachers. Painting is now running in European lines; students devote themselves to studies from the cast, the nude, and still life, ultimately learning to turn out exceedingly clever imitations in oil and water colors, which would be creditable as exhibits in the Royal Academy and the Salon. Sculpture is now purely imitative and valuable from the standpoint of the forger. The industrial arts are prostituted to the most pitiful ends, and the cloissonné, 'lacquer, porcelain, and embroideries that now flood the auction-rooms of the West are valuable only in their dexterity, and as showing how cleanly and quickly a crafty people can grasp and adapt itself to the demands

of artistic savagery. The loveliest landscape God ever created is made horrible by rank on rank of ghastly and insolent signs that would raise a howl even in the midland counties of England and the bare reaches of Connecticut and New Jersey."

In his efforts to achieve a more optimistic outlook in regard to Japan Mr. Cram seems to demolish, by implication, all hope of artistic salvation for some nations nearer home. He writes:

"If we found the Government of Japan honeycombed with venality and graft; if its industrial system had become an organized oligarchy of intimidation and spoliation; if the trust and corporation were supreme and implacable, yet accepted by the public with a grin half of envious admiration, half of careless indifference; if the sanctity of domestic life had crumbled away in corruption; if unearthly superstitions were doing duty as religious convictions and each was finding hordes of dupes, ready for the bleeding; if war brought protests from high finance and vested interests because their pockets were touched by the blow in self-defense, while the ranks of the armies could only be filled by conscription and refilled on account of desertions-if these were the accompaniments of the death of art, then indeed we might say with truth, the chapter is closed."

But as a matter of fact, he asserts, the noble qualities in the Japanese character are growing even nobler, and there are men in Japan who realize the importance of restoring the national art to its place in the national civilization. We read:

Professor Okakura and men of his great stamp are fighting for the conservation of national ideals in painting. There is a visible revolt against the shocking architecture that in the name of Europeanism has defiled the land: in spite of occasional absurdities of fashion the drama and music are still comparatively sound. A word from the right source, the one supreme source, the Mikado, would send the whole ridiculous card-house of Western art and Western manners crumbling into instantaneous collapse. Will the word be spoken? I believe so, for the Emperor Matsuhito has shown himself always, not only a wise sovereign, but the very incarnation of the spirit of Japan."

THE THEODORE ROOSEVELT PROFESSORSHIP IN BERLIN.

THE

HE happy ultimate effects of the newly established "Theodore Roosevelt professorship" in the University of Berlin, says the New York Times, can hardly be exaggerated. The new chair, which has been endowed by Mr. James Speyer with a gift of $50,000, is said to be the outcome of a suggestion made by the German Emperor for an interchange of professors between German and American universities. The subjects pertaining to the new professorship are American history and American institutions. At Columbia University, it is stated, the German Government will establish MR. JAMES SPEYER. chair of German hisBy a gift of $50,000 he endowed the "Theodore tory and institutions. Roosevelt professorship" of American history The event is the more and institutions in the University of Berlin. significant, as there is a tendency to regard it as the first step toward a general system of cooperative education between the large universities of Europe and America. President Butler, of Columbia, characterizes Mr. Speyer's gift as "both striking in its

a

professorship" have chosen the less expensive, but presumably no less effective plan, of sending the professors to the students, instead of the students to the professors. President Butler is quoted by the press as saying:

"What is really needed is the careful, systematic, and scientific presentation of the culture of one people to the students of the other, in the language that the students most fully understand. This is what Mr. Speyer makes possible.

"American constitutional history will be the first subject treated. It is hoped that in succeeding years the economic development and problems of the United States, the educational system, and the industrial and commercial expansion will be treated by competent professors. The Theodore Roosevelt professor will not only give a regular course of university lectures but he will also hold a seminar for the benefit of those students who desire to go more fully into the details of his subject. On the other hand, American students will be able to hear the most accomplished scholars of Germany present in scientific fashion an exposition and criticism of the history and culture of the German people.

"Mr. Speyer's gift seems to us both striking in its originality and splendid in its possibilities. We are not without hope that before long Columbia University will be put in position to make similar arrangements with the University of Paris and with an English university, possibly the University of London. A formal agreement, covering the establishment of the new chair and the corresponding professorship in Columbia University to be filled annually by the Prussian Government, was drawn up at Wilhelmshohe in August last, under the personal supervision and direction of the German Emperor, by Dr. Althoff. Dr. Althoff entered most generously and enthusiastically into the development of the plan, and it owes much to his advice and cooperation."

The New York Times remarks editorially:

professor and his pupils. must have an efficacy to produce good feeling which no amount of mere study of books could insure.. The knowledge thus attained is intimate and enduring; it is engraved on the hearts of teachers and of taught, and it remains a corrective influence with them and with those whom they in their turn influence of no mean value.. The sweeping judgments it is so easy to form as to an alien people must encounter in the minds of the men who have had this intercourse a body of exceptions that make the judgments seem absurd and unjust. It is not only light that will be exchanged, but light with the warmth

of human intercourse, and the prejudice, the conceit, the envy, and the uncharitableness to which we are all only too prone will be diminished."

The Evening Post remarks that "writers and lecturers have an obvious advantage over politicians and journalists in this work of interpreting one country to another." As a matter of fact the tendency of the press, it adds, is too often to foster international misunderstanding. We read further:

7.03

A Theodore Roosevelt Professorship of American History and Institutions' in the University of Berlin, would have seemed a marvel to Bancroft or Motley. Its founding by Mr. James Speyer, at a time when the tide of American students flowing to Germany is somewhat slackening, with the reciprocal appointment of Ger man professors to lecture at Columbia and Harvard, witnesses towo.l a great change of conditions and a still greater wor change of sentiments. The step itself is notqoob so important as what it signifies. In this matter the universities, and even the Kaiser and the President, speak less for themselves than for their nations. Unless there were already a good understanding and a fruitful' intercourse between the United States and Germany, this interchange of professors would be an empty and slightly comic formality. As it is, we may well regard it as an outward sign of a quiet but steady raprochement of two peoples."

AMATEURISHNESS OF LOWELL.

WHIL

HILE the latest biographer of James Russell Lowell, Mr. Ferris Greenslet, associate editor of The Atlantic Monthly, generously assigns to Lowell the position of the "first true American Man of Letters," and mentions the national pride that is taken in "his mellow nature, his richly stored mind, his fertile, many-sided intellect, his righteous soul," he finds it "more than likely that his work as a critic of literature will last in greater. bulk than anything else of his." The poet and the satirist in Lowell thus gives way to the critic; but even here Mr. Greenslet finds his author falling short of real greatness through a certain method as of the amateur. Lowell's method, he declares, "was never that of insidious urbane circumvallation, which since Sainte-Beuve has

"There will follow as day follows dawn a like system first in other German and American universities, and then in those of France, of England, andwho knows?-of Russia. . .

been increasingly the ideal of critical procedure; " but rather a matter of adventurous sallies and spectacular sword-play." This method, when not carried out at its best, led its user into "perversity and paradox," and also into such critical indiscretion as "the literary analogy, the parallel passage," and when we come to regard, in addition to such faults of method, Lowell's "blind spots and prejudices," which the present writer admits "were less rather than more numerous than those of most men," there is to be detected in Lowell's criticism "sometimes a little of the note of the amateur." Greenslet continues:

Mr.

"He writes habitually more as a reader, a bookman, than as a professional critic. This is one reason why the best of his essays are so freshly delightful. Yet it is also the reason why the body of his criticism is stimulating and suggestive rather than convincing, and why some few of his strides do not so much edify as irritate. Only a critic with something of the temper of the amateur could have spoiled what might have been an excellent study of Carlyle by passages of personal ridicule, or in the excursus against classicism which forms two-thirds of the paper on 'Swinburne's Tragedies,' have left in his armor so large a chink for the entrance of a classic lance as the heavy and cryptic witticism in which ἄριστον μὲν ὕδωρ is ' cited as conclusive by a gentleman for whom the bottle before him reversed the wonder of the stereoscope, and substituted the Gascon v for b in binocular.' Even in so good an essay as his Rousseau a suspicion of the amateur temper can be discerned. That is a very subtle study of the sentimentalist temperament, yet it would have been better criticism if, in place of some of the expatiation of the sentimentality of the sentimentalists, we had been given a little more dry light on some of the actual ideas that issued from it, a little of the treatment that Leslie Stephen, for example, would have given such a subject. As it is, one is not made, perfectly sure that Lowell had read all of Rousseau, as in reality he had."

Or take him on Wordsworth, whose exaltations and tediousnesses stimulated both Lowell's deep imaginative sympathy and his quizzicalness to coordinate activity, and we find an essay that is in the way to become classic."

The place, then, which the prophetic vision of the present writer sees for Lowell is quite consistently one which fits into the category which he has established. Thus:

"There is not a college in America in whose literary courses Lowell's is not a name to conjure with. It is

"

In this half-hearted admiration, Mr. Greenslet, pursuing his somewhat fearsome method of "reflector," thrusts in a self-justifying reference to the "hesitancy which a good many. writers about Lowell have shown in uttering their own minds." He proceeds, however, to give utterance, in a somewhat regretful tone, to "a deep-rooted conviction that nowhere in American literature is there so remarkable an instance of how the very greatest gifts of talent, nay, genius itself, may fail of their full fruition through the slightest inattention to the hard counsels of perfection." Even in Mr. Greenslet's account of Lowell's positive virtues we arrive at the conviction that they are viewed by him as partaking of the nature of the superior amateur.

He says:

In his Thoreau,' Lowell says that he will try to give the impression of Thoreau's works upon him' both as a critic and as a mere reader.' It is precisely as a mere reader that he is at his very best. His criticism is always most convincing when most genial. No man was ever more successful in the resurrection of personality, in getting at the active principle of his author's mind, in unearthing the seeds of his thought. He penetrated to these things not with the disciplined acumen of the talented critic, but with the sympathetic insight of genius, and it was with the kindred endowment of genius that he could express these discoveries, not in paragraphs but in epigrams. It may well be that no critical organon could be deduced from his work, that few authors are permanently placed' by it, but no good criticism in English is richer in good things,' or more lively with the voice-quality of dead writers. Take his Walton,' his' Dryden,' his' Dante'-the two former are unsurpassed, perhaps unsurpassable, and the last, the most direct and solid of his essays, without a joke until the one hundred and tenth page, is still unapproached for the felicity of its dealings with Dante as the poet of the magical word too few.'

in his freshness, his vigor, his unconventionality, that he is of most service to the academic person who can very well cultivate the more formal virtues by himself. Perhaps in the long run the chief effect of his criticism will be not so much to edify and entertain the lay reader as to vivify the academic reader, and to establish a rapport between these two. Who knows, indeed, but that in the wise economy of nature the establishing of rapports is the eternal business of men of Lowell's stamp, seemingly so wasteful of their powers? We have seen how he was praised in England for bringing the literary set into touch with the official, and it was precisely in this making of the lion to lie down with the reluctant lamb that Lowell unconsciously was always busy. Who else has performed so many and such happy marriages of wit and wisdom, of culture and conscience, of politics and poetry, of literature and life?"

SINGERS AND THEIR BRAINS.

THE

HE opinion of the average critic, says
Ffrangcon-Davies, the Welsh singer, in

a book called "The Singing of the Future," is that singers as a class are not overburdened with brains. The writer, in reply to this, gives it as his own opinion that singers have as much brains as other people, only they do not use them. His book contains an insistence on the paramount need of intelligence in the singer and a will to rise above the limitations and the vanities that an indulgent and uncritical public have fostered. The ambition of every singer ought to be, he thinks, a full-rounded development, mentally as well as vocally, so as to enable him to run the whole gamut of emotional expression and not be content with a limited mètier; and he should not content himself with the beguilement of an audience with lovely and sensuous tone when that power happens to be within his natural gifts; nor overawe with physical prowess to the detriment of linguistic purity. Such faults, observable in many modern singers, would not exist if singers, emulative of such men as Sims Reeves and Jean de Reszke, to name two notable exceptions, used their brains to effect a wellrounded and cultured development. Upon the first point of his reprobation he says:

Singers classify themselves according to supposed limitations; each finds his mètier and lives up to, and on it. Any singer of ordinary physique and mind should be able to delineate clearly any character. Such and such a rôle does not suit me,' is a statement which one often hears; it is marked by indolence and apathy, for any rôle within a singer's vocal range should suit' an artist. To some of us, at all events, it is clear that varied and even universal expression is the only kind of work to which any person of common sense would care to devote his life. 'Belcanto' (of which we read so much) meant, and means, versatility of tone; if a man wished to be called an artist, his voice must become the instrument of intelligent imagination."

To those who say that the three requisites of the singer are: 1--Voice; 2-Voice; 3-Voice, he retorts: As well tell a painter that his chief matters are: 1-Paint; 2-Paint; 3-Paint." He says:

6

to artificial and sensuous enjoyment ('artistic'). They who enjoy the possession of charm' and of an engaging personality' seldom fail to abandon the higher self to these dangerous possessions. By the higher self' of an operatic artist is meant the mind as a whole, which is capable of dealing characteristically (in an objective sense) with varied subjects. 'Charm' and' personality' are really reacting forces, and they avenge themselves on art, artists, and the public."

While on the subject of operatic singing, he has a word to say upon that species of vanity which makes appeal to the ignorant side of humanity. Thus:

'A great singer should not depend for effect upon awaking that barbaric sense of amazement which belongs to primeval man. Formful words and characteristic atmosphere are the essentials of drama. Even gods, in human guise, when condescending to walk the stage, should give us human language and not inhuman jargon. Brawny muscular development, and opulence of stentorian tone, appeal not to anyone who has listened to the large tones of nature, in which largeness are depth, truth, reasonableness, justness. No one need be hostile to large tones per se; a man may sing with a noble, godlike voice, and be an artist. But there must be no sensationalism. The very moment vocal quality is vitiated, and linguistic purity, musical meaning, and poetic interpretation are marred, that moment the raison d'etre of the human voice is ignored. If any man wants a standard whereby he may judge how large a tone may be, let him take the words of the text as his guide. If he can not pronounce the words as he would pronounce them were he a cultivated actor, his tone is too big."

The two chief recommendations which Mr. Davies makes as the ideal of the singer is to strive for mastery over all types of human expression, with verisimilitude as the guiding principle. This implies that voice culture can not be regarded as something apart from general culture; and the singer who would satisfy the highest demands of his profession should not confine his study within the bounds of the art to which he is primarily devoted. "Before a man can acquire style-which is the man and not the brute-he must read great books, and move among men and women who are accustomed to think."

THE HYPNOTISM OF ART.

THE

HE reason why an artist produces his special work, urges Mr. Sydney Olivier in The Contemporary Review, is "just that special exaltation and ecstasy which come to him in excess of the normal, under the stimulus of his special subject-matter." It is just that excess by which "his perception and power of coordination are forced below the level of normal consciousness," we are told, that causes him to go outside the normal habit of self-expression." In other words, "his formulating and generalizing faculty is naked to new reality, just as the faculties of a hypnotized medium are naked to the influence of records inaccessible to them in normal conditions." Assuming a certain average of esthetic sensibility, the artist, according to Mr. Olivier, is one who is tyrannously convinced that there is more to be seen and felt in sensible things than this average allowance." Thus the artist "puts into form what gives him feeling, not in order to reproduce or record the form, but in order to reproduce or record the feeling." In so far as the artist is successful, therefore, the work of art carries with it a power to extend and intensify our conscious perceptions. In this result Mr. Olivier sees a kinship to the results of hypnotism and allied psychic phenomena. He observes:

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attuned to receive it, resembles nothing so much as the impression of failing in love at first sight. . . . The impression is not detailed, nor the result of analytical observation; it is massive, and seems to arise quite irrationally out of subconscious perturbations. This experience is perhaps even more familiar in music. I used to be disposed to attribute it to deficiency of trained observation and connoisseurship; to seeing and hearing details and being emotionally affected by them without consciously identifying and apprehending them. But I do not now think that is the full explanation. William Morris, at any rate, was not a man to whom any such deficiency could be imputed. Morris would say, I remember, when discussing old manuscripts at Kelmscott House, 'I always know when a thing is really good, by its making me feel warm across here,' and would rub with both hands that part of his waistcoat that covered the seat of his diaphragm. In such a case, clearly, we recognize a condition of feeling in the artist, that particular exaltation or ecstasy that impels him to art-production, reproduced in another person (no doubt in different intensity) without conscious, rational, analytical identification of the details that reproduce it. .

"One is apt to think familiar things very simple: I may consequently appear to be importing gratuitous mystifications into a matter straightforward enough; but the fact is that the influence of externals upon deep-seated consciousness and emotion is altogether a mystery, and that all art is an attempt to imitate and practise that mystery and to reproduce its effects. The effect of masterly portraiture, whether of human or other nature, is to set up a sense of direct understanding or rapport between the spectator and the subject, a stimulating and illuminating and creative frame of consciousness, sometimes bringing a warm feeling of affection and reverence. The manner in which some works of art bring liberation from the complexities of the normal working consciousness, and with that liberation extension and intensification of perception and intelligent understanding, almost seems at times a direct affection of personality by personality. The primitive fetishistic fancy of the savage suggests itself, that all works of art are talismans, and especially portraits. If a piece of paper with handwriting, or an old glove, will enable, or at any rate assist, a clair

voyant medium to visualize a person or scene it has belonged to; if a posted letter can, as does certainly occur to some subjects, announce itself, in advance of its receipt, by impressions on the consciousness of its addressee; if certain places produce persistently (as they do) particular hallucinations on casual visitors; why should not a canvas or other material object on which its producer has expended intent creative effort be capable of producing in those who approach it subconscious perturbations disposing them to appropriate hallucinal visualizations of its subject? There is a mystery anyhow; it is not got over by talking about' association'; some people do see and feel the picture and some do not: some more of it and some less. And unquestionably it is the feeling in the artist that determines what we call generally the style 'of the work, which is not the portrayal of things visible, but the symbol of the mood in which they are seen.. We must class the characteristic action of a successful work of art as hypnotic its sensory effect being to inhibit by concentration the vagrant working consciousIn so far as a work of art is imperfect it fails of this effect; its unbalanced color, the assertiveness of its details, to say nothing, of incapable execution, distract and worry the sense and keep the rational consciousness awake, so that there is no escape into the domain of hallucination. This is true of every branch of art in the widest sense of the term. If the hypnotization

"Speaking. . . of the artist in the particular case of the painter, I suggest that the impression of a really masterly picture, if one is

ness.

is effected, it is as easy to produce conviction of beauty as it is. to save a sinner by beating a drum."

To music in particular Mr. Olivier attributes the faculty of establishing sympathetic relations between human minds. Music," he writes, "has preeminently the reputation of being the food o I love and the handmaid, or, I might say, the nurse, of religion, just because of the exceptional efficiency of its direct induction in hypnotizing the every-day consciousness."