untrue. Horace Walpole, for instance, speaking of the society in 1743, said that two qualifications were necessary to become a member, the nominal one of having been in Italy, and the real one of being drunk; and adds that the two chiefs are Lord Middlesex and Sir Francis Dashwood, who were seldom sober the whole time they were in Italy.*

But the work accomplished by the Society is a sufficient refutation of this sweeping assertion. The meetings of these gay gentlemen were no doubt "merry," but they were not useless nor fruitless. They led to the production of many valuable and important works, such as Chandler's "Travels in Asia Minor" and Travels in Greece"; also the also the volume of volume of "Greek Inscriptions." Further, this Society was the means of sending several artists abroad for the purpose of making drawings of the ruins of antiquity. The outcome of this movement was the production of two magnificent volumes of "Ionian Antiquities," published at the expense of the Society.

Of this work Walpole wrote the following odd passage, which seems clearly to show that he was unable to appreciate either the remains of Greek Art or the good work of the Society. He says: "They who are indus

* This period was certainly notorious for the frivolity and shameless immorality of the aristocracy, and Sir Francis Dashwood (Lord de Spencer) was a leading spirit in the "Hell-fire" Club, famed for the audacious debauchery of its members. But this only shows that it is possible to support and follow the pursuit of art, and yet in personal character combine qualities directly opposed to its fundamental principles. Pity 'tis, 'tis true! Happily public opinion is in a healthier state now than it was then. Is this change due to the influences of fine art? Let us hope that to some extent it is that in reckoning up the forces which have led us to our present state of boasted civilization and morals, that of art may be found holding a large and honourable position among them.

G

trious and correct, and wish to forget nothing, should go to Greece, where there is nothing left to be seen, but that ugly pigeon house, the Temple of the Winds, that flycage, Demosthenes's Lantern, and one or two fragments of a Portico, or a piece of a column crushed into a mud wall; and with such a morsel, and many quotations, a true classic antiquary can compose a whole folio, and call it "Ionian Antiquities."

The Society possessed large funds, for the members included the wealthiest noblemen and most fashionable men of the day. These funds were largely increased by a strange system of fines which were exacted from any member who received preferment, married, or became the recipient of inheritance, and so forth. One or two samples of these fines will suffice-five guineas were exacted from Lord Grosvenor on his marriage with Miss Leveson Gower, and twenty-one pounds from the Earl of Holderness when he was made Secretary of State. It is not at this distance easy to discover on what principle the amounts exacted were made, for Lord Sandwich was only fined twopence three-farthings on becoming Recorder of Huntingdon.

A list of those who met together at the festive table of the Dilettanti includes the names of many of the best known men of taste and genius. Among them we find Sir Joshua Reynolds, Charles James Fox, Sir William Hamilton, David Garrick, George Colman, Richard Payne Knight, Sir George Beaumont, and a host of others less known to posterity.

Another movement was the founding of the Society of Arts in 1754 already mentioned in connection with the first exhibition of pictures and Barry's paintings in the Large Hall of the Society's Building. It gave great encouragement to Art, Manufactures, and Commerce, and

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took an active part in promoting the early exhibitions of the Society of Artists.

A further notable feature-especially of the second half of the century-was the number of gentlemen who became connoisseurs and collectors of works of Art. Among these were Dr. Burney, who wrote the well-known History of Music," Sir George Beaumont, Mr. Henderson, Drs. John and Thomas Monro, and Alderman Boydell. The name of Dr. Thomas Monro is specially interesting in connection with the rise of water-colour drawing, in which he was no mean adept himself, as he did more than anyone else to encourage, foster, and direct the new art and Alderman Boydell must also be remembered for his activity in obtaining illustrations of Shakespeare, for which he employed the first artists in the kingdom.

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The study of the Art History of the last century, of which the preceding merely touches its salient points without any attempt to fill in the details, brings into prominence several remarkable facts.

We find that generally only two branches of art received any large share of patronage; namely, portrait painting and engravings made from the drawings of the topographical draughtsman. The former satisfied the affections or the vanity of the wealthy classes—the latter supplied chiefly the wants of the antiquary, the nobility and the gentry. For the men of skill engaged in these two branches there was unlimited employment.

The painting of landscape of British scenery, true to its local colour and character, was at a discount; it was not understood or appreciated, and for a long time remained almost entirely neglected. Landscapes by foreign men, however, found a ready sale, though poor and conventional. The trade in foreign works was so notorious and opened the door to so much swindling being prac

tised on the dupes of fashion, that Foote wrote a satire called "Taste," presented at the Haymarket Theatre, in the preface of which he says: "I was determined to brand those Goths in science who had prostituted the useful study of antiquity to trifling superficial purposes, and who had blasted the progress of the elegant Arts among us by unpardonable frauds and absurd prejudices." Gillray also attacked this folly of the time in some of his satirical caricatures.

We find the knowledge of art possessed by the people was at a low ebb, and its influence and value but little understood; and the position of native artists for fully half the century remained unacknowledged and undervalued.

About the middle of the century a great awakening took place. Energy and purpose found a prominent place in the work of the artists, which gradually came to be understood and valued. There was a uniting of forces for a common end, not only among the artists themselves, but also among the comparatively few who were interested in art. This awakening and community of action, led to the founding of academies, societies, and exhibitions, factors in our education and culture which have existed and continued to increase ever since. The fruits of these various efforts and Institutions have given to us that wide and noble inheritance in the world of Art, which we to-day may very justly feel proud of possessing.

Let us look to it, that amid the many theories and conflicting opinions with which we are at present surrounded, we do not lose sight of the great aim and end to be achieved by all true art-not only that it affords delight, but that it refines, ennobles, and inspires human life and character.

LORD DE TABLEY: SOME FURTHER NOTES, WITH A BIBLIOGRAPHY.

ON

BY TINSLEY PRATT.

On November 22nd, 1895, there passed away at Ryde in

the person of Lord de Tabley one of the most versatile men which the present century has produced. Mr. WattsDunton has described him as "the most learned of English poets." The extent and variety of his intellectual pursuits suggest a comparison with those of the first Lord Lytton, while with regard to the ceaseless activity and untiring capacity for labour which governed some portion of his life he perhaps approaches nearest to that nineteenth century Hercules, William Morris, of any man in the modern brotherhood of letters, for, like Morris, his diversions were but other forms of labour. Poet, novelist, dramatist, botanist, and numismatist-he achieved a distinction in all these branches of work such as may well be the envy of later men of letters. Besides all this he was a scholar of rare attainments, possessing, and everywhere throughout his work exhibiting, that higher culture which owes so little to the training of the schools, and before which the dull learning of the weighty professor of knowledge fades into insignificance. Had Lord de Tabley written nothing else but his elaborate botanical treatise entitled "The Flora of Cheshire" (published since his death) he would undoubtedly have secured for himself a distinct and honoured place in our scientific