In "The Classic Point of View," published three years ago, I endeavoredto give a clear and definitive statement of the principles on which allmy criticism of art is based. The papers here gathered together, whetherearlier or later than that volume, may be considered as the moredetailed application of those principles to particular artists, to wholeschools and epochs, even, in one case, to the entire history of thearts. The essay on Raphael, for instance, is little else than anillustration of the chapter on "Design"; that on Millet illustrates thethree chapters on "The Subject in Art," on "Design," and on "Drawing";while "Two Ways of Painting" contrasts, in specific instances, theclassic with the modern point of view.

But there is another thread connecting these essays, for all of themwill be found to have some bearing, more or less direct, upon thesubject of the title essay. "The Illusion of Progress" elaborates apoint more slightly touched upon in "Artist and Public"; the careers ofRaphael and Millet are capital instances of the happy productiveness ofan artist in sympathy with his public or of the difficulties, noblyconquered in this case, of an artist without public appreciation; thegreatest merit attributed to "The American School" is an abstentionfrom the extravagances of those who would make incomprehensibility atest of greatness. Finally, the work of Saint-Gaudens is a noble exampleof art fulfilling its social function in expressing and in elevating theideals of its time and country.

This last essay stands, in some respects, upon a different footing fromthe others. It deals with the work and the character of a man I knew andloved, it was originally written almost immediately after his death, andit is therefore colored, to some extent, by personal emotion. I haverevised it, rearranged it, and added to it, and I trust that thiscoloring may be found to warm, without falsifying, the picture.

The essay on "The Illusion of Progress" was first printed in "TheCentury," that on Saint-Gaudens in "The Atlantic Monthly." The othersoriginally appeared in "Scribner's Magazine."

KENYON COX.

Calder House,
Croton-on-Hudson,
June 6, 1914.