"Old masters" are almost a by-word of doubt or contempt in America,
owing to the influx of cheap copies and pseudo-originals of no artistic
value whatever. It is the more important, therefore, that they should be
represented among us by such characteristic specimens as are still to
be procured. Some modern artists are jealous of or indifferent to past
genius, and sedulously disparage it in view of their own immediate
interests. Bayle St. John, in his "Louvre," relates that he heard an
associate of the Royal Academy deliberately and energetically declare,
that, if it were in his power, he would slash with his knife all the
works of the old masters, and thus compel people to buy modern. This
spirit is both ungenerous and impolitic. If neither respect nor care for
the works of departed talent be bestowed, what future has the living
talent itself to look forward to? Art is best nourished by a general
diffusion of aesthetic taste and feeling. There can be no invidious
rivalry between the dead and the living. Alfred Tennyson looks not with
evil eye upon John Milton. Why should a modern be jealous of a mediaeval
artist? The public can love and appreciate both. Nor should it be
forgotten that it is precisely in those countries where old art is most
appreciated that the modern is most liberally sustained.
'TENTY SCRAN'.
"Patience hath borne the bruise, and I the stroke.
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