sometimes to his modelling almost the quality of Wei sculpture, he
learnt from no one--such things not being taught. Gaudier Brzcska, a
young French sculptor of considerable promise, was killed in the early
months of the war. He had been living in England, where his work,
probably on account of its manifest superiority to most of what was seen
near it, gained an exaggerated reputation. The promise was indisputable;
but, after seeing the Leicester Gallery exhibition, I came to the
conclusion that there was not much else. Indeed, his drawings often
betrayed so superficial a facility, such a turn for calligraphic
dexterities, that one began to wonder whether even in expecting much
one had not been over sanguine. The extravagant reputation enjoyed
by Gaudier in this country will perhaps cross the mind of anyone who
happens to read my essay on Wilcoxism: native, or even resident, geese
look uncommonly like swans on home waters: to see them as they are you
should see them abroad.

Bonnard and Vuillard, unlike Aristide Maillol, though being sensitive
and intelligent artists who make the most of whatever serves their turn
they have taken what they wanted from the atmosphere in which they work,
are hardly to be counted of Cézanne's descendants. Rather are they
children of the great impressionists who, unlike the majority of their
surviving brothers and sisters, instead of swallowing the impressionist
doctrine whole, just as official painters do the academic, have modified
it charmingly to suit their peculiar temperaments. Not having swallowed
the poker, they have none of those stiff and static habits which
characterize the later generations of their family. They are free and
various; and Bonnard is one of the greatest painters alive. Mistakenly,
he is supposed to have influenced Duncan Grant; but Duncan Grant, at
the time when he was painting pictures which appear to have certain
affinities with those of Bonnard, was wholly unacquainted with the work