Italian Art Has Spent Its Force

in tüe nature ot tmngs ït was not to be snpposed that niuch excellence of painting could come out of Italy, says Mr. John C. Van Dyke, in writing of the display of painting at the World'6 fair in The Century. As well expect fine marbles from modern Greece or reliëfs from Mesopotamia. The flower is blown, and even the stalk is in a dry rot. The art genius of Italy typified itself in countless forms during the renaissance. It spent its force, culminating with Titian and dying with Tiepolo in an art peculiar to its age and people. The present race cannot repeat the triumphs of the past, nor have they the versatility or strength to produce a new art in keeping with new tastes. The attempts of most of the modems i are pitiful in their weakness. Pictures of the Roman Campagna, with ruined aqueducts, pictures of the pyramids, St. Peter's, the Forum, Pompeiian flower girls at fouutains, monks, fruit sellers, beggars - how much better are they than the tourist pictures of castled Chillón or the Juugfrau, with an Alpine glow collar arouDd its top! Penelope's suitors with the bow of Ulysses and the modern Italians with the palette of Titian ! What could they do that would not seem petty by comparison? That which is Italian is mediocre in quality, and that which is very good is not Italian.