Reviews Part 20

There is something a little pathetic in the attempt to civilise the rough street-boy by means of the refining influence of ferns and fossils, and it is difficult to help feeling that Miss Carpenter rather overestimated the value of elementary education. The poor are not to be fed upon facts. Even Shakespeare and the Pyramids are not sufficient; nor is there much use in giving them the results of culture, unless we also give them those conditions under which culture can be realised. In these cold, crowded cities of the North, the proper basis for morals, using the word in its wide h.e.l.lenic signification, is to be found in architecture, not in books.

Still, it would be ungenerous not to recognise that Mary Carpenter gave to the children of the poor not merely her learning, but her love. In early life, her biographer tells us, she had longed for the happiness of being a wife and a mother; but later she became content that her affection could be freely given to all who needed it, and the verse in the prophecies, 'I have given thee children whom thou hast not borne,'

seemed to her to indicate what was to be her true mission. Indeed, she rather inclined to Bacon's opinion, that unmarried people do the best public work. 'It is quite striking,' she says in one of her letters, 'to observe how much the useful power and influence of woman has developed of late years. Unattached ladies, such as widows and unmarried women, have quite ample work to do in the world for the good of others to absorb all their powers. Wives and mothers have a very n.o.ble work given them by G.o.d, and want no more.' The whole pa.s.sage is extremely interesting, and the phrase 'unattached ladies' is quite delightful, and reminds one of Charles Lamb.

Ismay's Children is by the clever auth.o.r.ess of that wonderful little story Flitters, Tatters, and the Counsellor, a story which delighted the realists by its truth, fascinated Mr. Ruskin by its beauty, and remains to the present day the most perfect picture of street-arab life in all English prose fiction. The scene of the novel is laid in the south of Ireland, and the plot is extremely dramatic and ingenious. G.o.dfrey Mauleverer, a reckless young Irishman, runs away with Ismay D'Arcy, a pretty, penniless governess, and is privately married to her in Scotland.

Some time after the birth of her third child, Ismay died, and her husband, who had never made his marriage public, nor taken any pains to establish the legitimacy of his children, is drowned while yachting off the coast of France. The care of Ismay's children then devolves on an old aunt, Miss Juliet D'Arcy, who brings them back to Ireland to claim their inheritance for them. But a sudden stroke of paralysis deprives her of her memory, and she forgets the name of the little Scotch village in which Ismay's informal marriage took place. So Tighe O'Malley holds Barrettstown, and Ismay's children live in an old mill close to the great park of which they are the rightful heirs. The boy, who is called G.o.dfrey after his father, is a fascinating study, with his swarthy foreign beauty, his fierce moods of love and hate, his pa.s.sionate pride, and his pa.s.sionate tenderness. The account of his midnight ride to warn his enemy of an impending attack of Moonlighters is most powerful and spirited; and it is pleasant to meet in modern fiction a character that has all the fine inconsistencies of life, and is neither too fantastic an exception to be true, nor too ordinary a type to be common. Excellent also, in its direct simplicity of rendering, is the picture of Miss Juliet D'Arcy; and the scene in which, at the moment of her death, the old woman's memory returns to her is quite admirable, both in conception and in treatment. To me, however, the chief interest of the book lies in the little lifelike sketches of Irish character with which it abounds.

Modern realistic art has not yet produced a Hamlet, but at least it may claim to have studied Guildenstern and Rosencrantz very closely; and, for pure fidelity and truth to nature, nothing could be better than the minor characters in Ismay's Children. Here we have the kindly old priest who arranges all the marriages in his parish, and has a strong objection to people who insist on making long confessions; the important young curate fresh from Maynooth, who gives himself more airs than a bishop, and has to be kept in order; the professional beggars, with their devout faith, their grotesque humour, and their incorrigible laziness; the shrewd shopkeeper, who imports arms in flour-barrels for the use of the Moonlighters and, as soon as he has got rid of them, gives information of their whereabouts to the police; the young men who go out at night to be drilled by an Irish-American; the farmers with their wild land-hunger, bidding secretly against each other for every vacant field; the dispensary doctor, who is always regretting that he has not got a Trinity College degree; the plain girls, who want to go into convents; the pretty girls, who want to get married; and the shopkeepers' daughters, who want to be thought young ladies. There is a whole pell-mell of men and women, a complete panorama of provincial life, an absolutely faithful picture of the peasant in his own home. This note of realism in dealing with national types of character has always been a distinguis.h.i.+ng characteristic of Irish fiction, from the days of Miss Edgeworth down to our own days, and it is not difficult to see in Ismay's Children some traces of the influence of Castle Rack-rent. I fear, however, that few people read Miss Edgeworth nowadays, though both Scott and Tourgenieff acknowledged their indebtedness to her novels, and her style is always admirable in its clearness and precision.

Miss Leffler-Arnim's statement, in a lecture delivered recently at St.

Saviour's Hospital, that 'she had heard of instances where ladies were so determined not to exceed the fas.h.i.+onable measurement that they had actually held on to a cross-bar while their maids fastened the fifteen- inch corset,' has excited a good deal of incredulity, but there is nothing really improbable in it. From the sixteenth century to our own day there is hardly any form of torture that has not been inflicted on girls, and endured by women, in obedience to the dictates of an unreasonable and monstrous Fas.h.i.+on. 'In order to obtain a real Spanish figure,' says Montaigne, 'what a Gehenna of suffering will not women endure, drawn in and compressed by great coches entering the flesh; nay, sometimes they even die thereof.' 'A few days after my arrival at school,' Mrs. Somerville tells us in her memoirs, 'although perfectly straight and well made, I was enclosed in stiff stays, with a steel busk in front; while above my frock, bands drew my shoulders back till the shoulder-blades met. Then a steel rod with a semicircle, which went under my chin, was clasped to the steel busk in my stays. In this constrained state I and most of the younger girls had to prepare our lessons'; and in the life of Miss Edgeworth we read that, being sent to a certain fas.h.i.+onable establishment, 'she underwent all the usual tortures of back-boards, iron collars and dumbs, and also (because she was a very tiny person) the unusual one of being hung by the neck to draw out the muscles and increase the growth,' a signal failure in her case. Indeed, instances of absolute mutilation and misery are so common in the past that it is unnecessary to multiply them; but it is really sad to think that in our own day a civilised woman can hang on to a cross-bar while her maid laces her waist into a fifteen-inch circle. To begin with, the waist is not a circle at all, but an oval; nor can there be any greater error than to imagine that an unnaturally small waist gives an air of grace, or even of slightness; to the whole figure. Its effect, as a rule, is simply to exaggerate the width of the shoulders and the hips; and those whose figures possess that stateliness which is called stoutness by the vulgar, convert what is a quality into a defect by yielding to the silly edicts of Fas.h.i.+on on the subject of tight-lacing.

The fas.h.i.+onable English waist, also, is not merely far too small, and consequently quite out of proportion to the rest of the figure, but it is worn far too low down. I use the expression 'worn' advisedly, for a waist nowadays seems to be regarded as an article of apparel to be put on when and where one likes. A long waist always implies shortness of the lower limbs, and, from the artistic point of view, has the effect of diminis.h.i.+ng the height; and I am glad to see that many of the most charming women in Paris are returning to the idea of the Directoire style of dress. This style is not by any means perfect, but at least it has the merit of indicating the proper position of the waist. I feel quite sure that all English women of culture and position will set their faces against such stupid and dangerous practices as are related by Miss Leffler-Arnim. Fas.h.i.+on's motto is: Il faut souffrir pour etre belle; but the motto of art and of common-sense is: Il faut etre bete pour souffrir.

Talking of Fas.h.i.+on, a critic in the Pall Mall Gazette expresses his surprise that I should have allowed an ill.u.s.tration of a hat, covered with 'the bodies of dead birds,' to appear in the first number of the Woman's World; and as I have received many letters on the subject, it is only right that I should state my exact position in the matter. Fas.h.i.+on is such an essential part of the mundus muliebris of our day, that it seems to me absolutely necessary that its growth, development, and phases should be duly chronicled; and the historical and practical value of such a record depends entirely upon its perfect fidelity to fact. Besides, it is quite easy for the children of light to adapt almost any fas.h.i.+onable form of dress to the requirements of utility and the demands of good taste. The Sarah Bernhardt tea-gown, for instance, figured in the present issue, has many good points about it, and the gigantic dress-improver does not appear to me to be really essential to the mode; and though the Postillion costume of the fancy dress ball is absolutely detestable in its silliness and vulgarity, the so-called Late Georgian costume in the same plate is rather pleasing. I must, however, protest against the idea that to chronicle the development of Fas.h.i.+on implies any approval of the particular forms that Fas.h.i.+on may adopt.

Mrs. Craik's article on the condition of the English stage will, I feel sure, be read with great interest by all who are watching the development of dramatic art in this country. It was the last thing written by the author of John Halifax, Gentleman, and reached me only a few days before her lamented death. That the state of things is such as Mrs. Craik describes, few will be inclined to deny; though, for my own part, I must acknowledge that I see more vulgarity than vice in the tendencies of the modern stage; nor do I think it possible to elevate dramatic art by limiting its subject-matter. On tue une litterature quand on lui interdit la verite humaine. As far as the serious presentation of life is concerned, what we require is more imaginative treatment, greater freedom from theatric language and theatric convention. It may be questioned, also, whether the consistent reward of virtue and punishment of wickedness be really the healthiest ideal for an art that claims to mirror nature. However, it is impossible not to recognise the fine feeling that actuates every line of Mrs. Craik's article; and though one may venture to disagree with the proposed method, one cannot but sympathise with the purity and delicacy of the thought, and the high n.o.bility of the aim.

The French Minister of Education, M. Spuller, has paid Racine a very graceful and appropriate compliment, in naming after him the second college that has been opened in Paris for the higher education of girls.

Racine was one of the privileged few who was allowed to read the celebrated Traite de l'Education des Filles before it appeared in print; he was charged, along with Boileau, with the task of revising the text of the const.i.tution and rules of Madame de Maintenon's great college; it was for the Demoiselles de St. Cyr that he composed Athalie; and he devoted a great deal of his time to the education of his own children. The Lycee Racine will, no doubt, become as important an inst.i.tution as the Lycee Fenelon, and the speech delivered by M. Spuller on the occasion of its opening was full of the happiest augury for the future. M. Spuller dwelt at great length on the value of Goethe's aphorism, that the test of a good wife is her capacity to take her husband's place and to become a father to his children, and mentioned that the thing that struck him most in America was the wonderful Brooklyn Bridge, a superb t.i.tanic structure, which was completed under the direction of the engineer's wife, the engineer himself having died while the building of the bridge was in progress. 'Il me semble,' said M. Spuller, 'que la femme de l'ingenieur du pont de Brooklyn a realise la pensee de Goethe, et que non seulement elle est devenue un pere pour ses enfants, mais un autre pere pour l'oeuvre admirable, vraiment unique, qui a immortalise le nom qu'elle portait avec son mari.' M. Spuller also laid great stress on the necessity of a thoroughly practical education, and was extremely severe on the 'Blue-stockings' of literature. 'Il ne s'agit pas de former ici des "femmes savantes." Les "femmes savantes" ont ete marquees pour jamais par un des plus grands genies de notre race d'une legere teinte de ridicule. Non, ce n'est pas des femmes savantes que nous voulons: ce sont tout simplement des femmes: des femmes dignes de ce pays de France, qui est la patrie du bons sens, de la mesure, et de la grace; des femmes ayant la notion juste et le sens exquis du role qui doit leur appartenir dans la societe moderne.' There is, no doubt, a great deal of truth in M. Spuller's observations, but we must not mistake a caricature for the reality. After all, Les Precieuses Ridicules contrasted very favourably with the ordinary type of womanhood of their day, not merely in France, but also in England; and an uncritical love of sonnets is preferable, on the whole, to coa.r.s.eness, vulgarity and ignorance.

I am glad to see that Miss Ramsay's brilliant success at Cambridge is not destined to remain an isolated instance of what women can do in intellectual compet.i.tions with men. At the Royal University in Ireland, the Literature Scholars.h.i.+p of 100 pounds a year for five years has been won by Miss Story, the daughter of a North of Ireland clergyman. It is pleasant to be able to chronicle an item of Irish news that has nothing to do with the violence of party politics or party feeling, and that shows how worthy women are of that higher culture and education which has been so tardily and, in some instances, so grudgingly granted to them.

The Empress of j.a.pan has been ordering a whole wardrobe of fas.h.i.+onable dresses in Paris for her own use and the use of her ladies-in-waiting.

The chrysanthemum (the imperial flower of j.a.pan) has suggested the tints of most of the Empress's own gowns, and in accordance with the colour- schemes of other flowers the rest of the costumes have been designed. The same steamer, however, that carries out the masterpieces of M. Worth and M. Felix to the Land of the Rising Sun, also brings to the Empress a letter of formal and respectful remonstrance from the English Rational Dress Society. I trust that, even if the Empress rejects the sensible arguments of this important Society, her own artistic feeling may induce her to reconsider her resolution to abandon Eastern for Western costume.

I hope that some of my readers will interest themselves in the Ministering Children's League for which Mr. Walter Crane has done the beautiful and suggestive design of The Young Knight. The best way to make children good is to make them happy, and happiness seems to me an essential part of Lady Meath's admirable scheme.

(1) Gossips with Girls and Maidens Betrothed and Free. By Lady Bellairs.

(Blackwood and Sons.)

(2) A Modern Apostle and Other Poems. By Constance Naden. (Kegan Paul.)

(3) Mrs. Somerville and Mary Carpenter. By Phyllis Browne, Author of What Girls Can Do, etc. (Ca.s.sell and Co.)

(4) Ismay's Children. By the Author of Hogan, M.P.; Flitters, Tatters, and the Counsellor, etc. (Macmillan and Co.)

ARISTOTLE AT AFTERNOON TEA

(Pall Mall Gazette, December 16, 1887.)

In society, says Mr. Mahaffy, every civilised man and woman ought to feel it their duty to say something, even when there is hardly anything to be said, and, in order to encourage this delightful art of brilliant chatter, he has published a social guide without which no debutante or dandy should ever dream of going out to dine. Not that Mr. Mahaffy's book can be said to be, in any sense of the word, popular. In discussing this important subject of conversation, he has not merely followed the scientific method of Aristotle which is, perhaps, excusable, but he has adopted the literary style of Aristotle for which no excuse is possible.

There is, also, hardly a single anecdote, hardly a single ill.u.s.tration, and the reader is left to put the Professor's abstract rules into practice, without either the examples or the warnings of history to encourage or to dissuade him in his reckless career. Still, the book can be warmly recommended to all who propose to subst.i.tute the vice of verbosity for the stupidity of silence. It fascinates in spite of its form and pleases in spite of its pedantry, and is the nearest approach, that we know of, in modern literature to meeting Aristotle at an afternoon tea.

As regards physical conditions, the only one that is considered by Mr.

Mahaffy as being absolutely essential to a good conversationalist, is the possession of a musical voice. Some learned writers have been of opinion that a slight stammer often gives peculiar zest to conversation, but Mr.

Mahaffy rejects this view and is extremely severe on every eccentricity from a native brogue to an artificial catchword. With his remarks on the latter point, the meaningless repet.i.tion of phrases, we entirely agree.

Nothing can be more irritating than the scientific person who is always saying '_Exactly_ so,' or the commonplace person who ends every sentence with '_Don't you know_?' or the pseudo-artistic person who murmurs '_Charming, charming_,' on the smallest provocation. It is, however, with the mental and moral qualifications for conversation that Mr.

Mahaffy specially deals. Knowledge he, naturally, regards as an absolute essential, for, as he most justly observes, 'an ignorant man is seldom agreeable, except as a b.u.t.t.' Upon the other hand, strict accuracy should be avoided. 'Even a consummate liar,' says Mr. Mahaffy, is a better ingredient in a company than 'the scrupulously truthful man, who weighs every statement, questions every fact, and corrects every inaccuracy.' The liar at any rate recognises that recreation, not instruction, is the aim of conversation, and is a far more civilised being than the blockhead who loudly expresses his disbelief in a story which is told simply for the amus.e.m.e.nt of the company. Mr. Mahaffy, however, makes an exception in favour of the eminent specialist and tells us that intelligent questions addressed to an astronomer, or a pure mathematician, will elicit many curious facts which will pleasantly beguile the time. Here, in the interest of Society, we feel bound to enter a formal protest. n.o.body, even in the provinces, should ever be allowed to ask an intelligent question about pure mathematics across a dinner-table. A question of this kind is quite as bad as inquiring suddenly about the state of a man's soul, a sort of coup which, as Mr.

Mahaffy remarks elsewhere, 'many pious people have actually thought a decent introduction to a conversation.'

As for the moral qualifications of a good talker, Mr. Mahaffy, following the example of his great master, warns us against any disproportionate excess of virtue. Modesty, for instance, may easily become a social vice, and to be continually apologising for one's ignorance or stupidity is a grave injury to conversation, for, 'what we want to learn from each member is his free opinion on the subject in hand, not his own estimate of the value of that opinion.' Simplicity, too, is not without its dangers. The enfant terrible, with his shameless love of truth, the raw country-bred girl who always says what she means, and the plain, blunt man who makes a point of speaking his mind on every possible occasion, without ever considering whether he has a mind at all, are the fatal examples of what simplicity leads to. Shyness may be a form of vanity, and reserve a development of pride, and as for sympathy, what can be more detestable than the man, or woman, who insists on agreeing with everybody, and so makes 'a discussion, which implies differences in opinion,' absolutely impossible? Even the unselfish listener is apt to become a bore. 'These silent people,' says Mr. Mahaffy, 'not only take all they can get in Society for nothing, but they take it without the smallest grat.i.tude, and have the audacity afterwards to censure those who have laboured for their amus.e.m.e.nt.' Tact, which is an exquisite sense of the symmetry of things, is, according to Mr. Mahaffy, the highest and best of all the moral conditions for conversation. The man of tact, he most wisely remarks, 'will instinctively avoid jokes about Blue Beard' in the company of a woman who is a man's third wife; he will never be guilty of talking like a book, but will rather avoid too careful an attention to grammar and the rounding of periods; he will cultivate the art of graceful interruption, so as to prevent a subject being worn threadbare by the aged or the inexperienced; and should he be desirous of telling a story, he will look round and consider each member of the party, and if there be a single stranger present will forgo the pleasure of anecdotage rather than make the social mistake of hurting even one of the guests. As for prepared or premeditated art, Mr. Mahaffy has a great contempt for it and tells us of a certain college don (let us hope not at Oxford or Cambridge) who always carried a jest-book in his pocket and had to refer to it when he wished to make a repartee. Great wits, too, are often very cruel, and great humourists often very vulgar, so it will be better to try and 'make good conversation without any large help from these brilliant but dangerous gifts.'

In a tete-a-tete one should talk about persons, and in general Society about things. The state of the weather is always an excusable exordium, but it is convenient to have a paradox or heresy on the subject always ready so as to direct the conversation into other channels. Really domestic people are almost invariably bad talkers as their very virtues in home life have dulled their interest in outer things. The very best mothers will insist on chattering of their babies and prattling about infant education. In fact, most women do not take sufficient interest in politics, just as most men are deficient in general reading. Still, anybody can be made to talk, except the very obstinate, and even a commercial traveller may be drawn out and become quite interesting. As for Society small talk, it is impossible, Mr. Mahaffy tells us, for any sound theory of conversation to depreciate gossip, 'which is perhaps the main factor in agreeable talk throughout Society.' The retailing of small personal points about great people always gives pleasure, and if one is not fortunate enough to be an Arctic traveller or an escaped Nihilist, the best thing one can do is to relate some anecdote of 'Prince Bismarck, or King Victor Emmanuel, or Mr. Gladstone.' In the case of meeting a genius and a Duke at dinner, the good talker will try to raise himself to the level of the former and to bring the latter down to his own level. To succeed among one's social superiors one must have no hesitation in contradicting them. Indeed, one should make bold criticisms and introduce a bright and free tone into a Society whose grandeur and extreme respectability make it, Mr. Mahaffy remarks, as pathetically as inaccurately, 'perhaps somewhat dull.' The best conversationalists are those whose ancestors have been bilingual, like the French and Irish, but the art of conversation is really within the reach of almost every one, except those who are morbidly truthful, or whose high moral worth requires to be sustained by a permanent gravity of demeanour and a general dulness of mind.

These are the broad principles contained in Mr. Mahaffy's clever little book, and many of them will, no doubt, commend themselves to our readers.

The maxim, 'If you find the company dull, blame yourself,' seems to us somewhat optimistic, and we have no sympathy at all with the professional story-teller who is really a great bore at a dinner-table; but Mr.

Mahaffy is quite right in insisting that no bright social intercourse is possible without equality, and it is no objection to his book to say that it will not teach people how to talk cleverly. It is not logic that makes men reasonable, nor the science of ethics that makes men good, but it is always useful to a.n.a.lyse, to formularise and to investigate. The only thing to be regretted in the volume is the arid and jejune character of the style. If Mr. Mahaffy would only write as he talks, his book would be much pleasanter reading.

The Principles of the Art of Conversation: A Social Essay. By J. P.

Mahaffy. (Macmillan and Co.)

EARLY CHRISTIAN ART IN IRELAND

(Pall Mall Gazette, December 17, 1887.)

The want of a good series of popular handbooks on Irish art has long been felt, the works of Sir William Wilde, Petrie and others being somewhat too elaborate for the ordinary student; so we are glad to notice the appearance, under the auspices of the Committee of Council on Education, of Miss Margaret Stokes's useful little volume on the early Christian art of her country. There is, of course, nothing particularly original in Miss Stokes's book, nor can she be said to be a very attractive or pleasing writer, but it is unfair to look for originality in primers, and the charm of the ill.u.s.trations fully atones for the somewhat heavy and pedantic character of the style.

This early Christian art of Ireland is full of interest to the artist, the archaeologist and the historian. In its rudest forms, such as the little iron hand-bell, the plain stone chalice and the rough wooden staff, it brings us back to the simplicity of the primitive Christian Church, while to the period of its highest development we owe the great masterpieces of Celtic metal-work. The stone chalice is now replaced by the chalice of silver and gold; the iron bell has its jewel-studded shrine, and the rough staff its gorgeous casing; rich caskets and splendid bindings preserve the holy books of the Saints and, instead of the rudely carved symbol of the early missionaries, we have such beautiful works of art as the processional cross of Cong Abbey. Beautiful this cross certainly is with its delicate intricacy of ornamentation, its grace of proportion and its marvel of mere workmans.h.i.+p, nor is there any doubt about its history. From the inscriptions on it, which are corroborated by the annals of Innisfallen and the book of Clonmacnoise, we learn that it was made for King Turlough O'Connor by a native artist under the superintendence of Bishop O'Duffy, its primary object being to enshrine a portion of the true cross that was sent to the king in 1123.

Brought to Cong some years afterwards, probably by the archbishop, who died there in 1150, it was concealed at the time of the Reformation, but at the beginning of the present century was still in the possession of the last abbot, and at his death it was purchased by professor MacCullagh and presented by him to the museum of the Royal Irish Academy. This wonderful work is alone well worth a visit to Dublin, but not less lovely is the chalice of Ardagh, a two-handled silver cup, absolutely cla.s.sical in its perfect purity of form, and decorated with gold and amber and crystal and with varieties of cloisonne and champleve enamel. There is no mention of this cup, or of the so-called Tara brooch, in ancient Irish history. All that we know of them is that they were found accidentally, the former by a boy who was digging potatoes near the old Rath of Ardagh, the latter by a poor child who picked it up near the seash.o.r.e. They both, however, belong probably to the tenth century.

Of all these works, as well as of the bell shrines, book-covers, sculptured crosses and illuminated designs in ma.n.u.scripts, excellent pictures are given in Miss Stokes's handbook. The extremely interesting Fiachal Phadrig, or shrine of St. Patrick's tooth, might have been figured and noted as an interesting example of the survival of ornament, and one of the old miniatures of the scribe or Evangelist writing would have given an additional interest to the chapter on Irish MSS. On the whole, however, the book is wonderfully well ill.u.s.trated, and the ordinary art student will be able to get some useful suggestions from it.

Indeed, Miss Stokes, echoing the aspirations of many of the great Irish archaeologists, looks forward to the revival of a native Irish school in architecture, sculpture, metal-work and painting. Such an aspiration is, of course, very laudable, but there is always a danger of these revivals being merely artificial reproductions, and it may be questioned whether the peculiar forms of Irish ornamentation could be made at all expressive of the modern spirit. A recent writer on house decoration has gravely suggested that the British householder should take his meals in a Celtic dining-room adorned with a dado of Ogham inscriptions, and such wicked proposals may serve as a warning to all who fancy that the reproduction of a form necessarily implies a revival of the spirit that gave the form life and meaning, and who fail to recognise the difference between art and anachronisms. Miss Stokes's proposal for an ark-shaped church in which the mural painter is to repeat the arcades and 'follow the architectural compositions of the grand pages of the Eusebian canons in the Book of Kells,' has, of course, nothing grotesque about it, but it is not probable that the artistic genius of the Irish people will, even when 'the land has rest,' find in such interesting imitations its healthiest or best expression. Still, there are certain elements of beauty in ancient Irish art that the modern artist would do well to study. The value of the intricate illuminations in the Book of Kells, as far as their adaptability to modern designs and modern material goes, has been very much overrated, but in the ancient Irish torques, brooches, pins, clasps and the like, the modern goldsmith will find a rich and, comparatively speaking, an untouched field; and now that the Celtic spirit has become the leaven of our politics, there is no reason why it should not contribute something to our decorative art. This result, however, will not be obtained by a patriotic misuse of old designs, and even the most enthusiastic Home Ruler must not be allowed to decorate his dining-room with a dado of Oghams.

Early Christian Art in Ireland. By Margaret Stokes. (Published for the Committee of Council on Education by Chapman and Hall.)