ents are alike in this: that
they both sought inspiration in mediaevalism, in feudalism, in the
symbols of a Christianity that ran to mysticism, in the quaint, strictly
pre-Raphael art which was supposed to be the result of a simple faith. In
the one case, the artless and childlike remains of old German pictures
and statuary were exhumed and set up as worthy of imitation; in the
other, we have carried out in art, in costume, and in domestic life, so
far as possible, what has been wittily and accurately described as
"stained-glass attitudes." With all its peculiar vagaries, the English
school is essentially a copy of the German, in its return to
mediaevalism. The two movements have a further likeness, in that they are
found accompanied by a highly symbolized religious revival. English
aestheticism would probably disown any religious intention, although it
has been accused of a refined interest in Pan and Venus; but in all its
feudal sympathies it goes along with the religious art and vestment
revival, the return to symbolic ceremonies, monastic vigils, and
sisterhoods. Years ago, an acute writer in the Catholic World claimed
Dante Gabriel Rossetti as a Catholic writer, from the internal evidence
of his poems. The German Romanticism, which was fostered by the Romish
priesthood, ended, or its disciples ended, in the bosom of the Roman
Catholic Church. It will be interesting to note in what ritualistic
harbor the aestheticism of our day will finally moor. That two similar
revivals should come so near together in time makes us feel that the
world moves onward--if it does move onward--in circular figures of very
short radii. There seems to be only one thing certain in our Christian
era, and that is a periodic return to classic models; the only stable
standards of resort seem to be Greek art and literature.

The characteristics which are prominent, when we think of our recent
fiction, are a wholly unidealized view of human society, which has got
the name of realism; a delight in representing the worst phases of social
life; an extreme analysis of persons and motives; the sacrifice of action
to psychological study; the substitution of studies of character for
anything like a story; a notion that it is not artistic, and that it is
untrue to nature, to bring any novel to a definite consummation, and
especially to end it happily; and a despondent tone about society,
politics, and the whole drift of modern life. Judged by our fictio