Athens," _The Vatican_ 118
15. "Parnassus," _The Vatican_ 120
16. "Jurisprudence," _The Vatican_ 122
17. "The Mass of Bolsena," _The Vatican_ 124
18. "The Deliverance of Peter," _The Vatican_ 126
19. "The Sibyls," _Santa Maria della Pace, Rome_ 128
20. "Portrait of Tommaso Inghirami," _Gardner Collection_ 130

JOHN S. SARGENT:
21. "The Hermit," _Metropolitan Museum, New York_ 136

TITIAN:
22. "Saint Jerome in the Desert," _Brera Gallery, Milan_ 142

SAINT-GAUDENS:
23. "Plaquette Commemorating Cornish Masque" 182
24. "Amor Caritas" 196
25. "The Butler Children" 206
26. "Sarah Redwood Lee" 208
27. "Farragut," _Madison Square, New York_ 212
28. "Lincoln," _Chicago, Ill._ 214
29. "Deacon Chapin," _Springfield, Mass._ 216
30. "Adams Memorial," _Washington, D.C._ 218
31. "Shaw Memorial," _Boston, Mass._ 220
32. "Sherman," _The Plaza, Central Park, New York_ 224

ARTIST AND PUBLIC

I

ARTIST AND PUBLIC

In the history of art, as in the history of politics and in the history
of economics, our modern epoch is marked off from all preceding epochs
by one great event, the French Revolution. Fragonard, who survived that
Revolution to lose himself in a new and strange world, is the last at
the old masters; David, some sixteen years his junior, is the first of
the moderns. Now if we look for the most fundamental distinction between
our modern art and the art of past times, I believe we shall find it to
be this: the art of the past was produced for a public that wanted it
and understood it, by artists who understood and sympathized with their
public; the art of our time has been, for the most part, produced for a
public that did not want it and misunderstood it, by artists who
disliked and despised the public for which they worked. When artist and
public were united, art was homogeneous and continuous. Since the
divorce of artist and public art has been chaotic and convulsive.