in anything put forward in the shape of costume by the ladies of the
æsthetic movement, but in the unacknowledged genius of ordinary
dressmakers.

It was in his time that Philistinism met its match in Oscar Wilde, and
for the first time in its history felt its self-complacency shaken. Up
to that time it had been very proud of itself. With the loss of that
pride it blundered, and it remained for du Maurier to show that the
height of Philistinism in a Philistine is to pretend not to be a
Philistine.

He had always seen what it would do present-day Londoners a world of
good to see as clearly, that it is just those who affect, and who, by
their lack of artistic constitution, are incapable of doing more than
merely affecting, the understanding of art, who are the worst enemies it
has in the world. He preferred the open Philistine. And so do we. The
affectation described lends to art an artificial support which betrays
those who attempt to rest any scheme for the promotion of art upon it.

But though du Maurier was not a Philistine he had the genius of
respectability. His pencil could get on well with Bishops. It is easy
enough to put a model into a Bishop's apron and gaiters, but that does
not secure the drawing of a Bishop. It is necessary to observe that du
Maurier found definite lines with his pencil for something so abstract
as Broad-Churchmanship. The High-Churchman, with his perilous
inclination to fervour, he was afraid of as a disturbing element, and
kept him out of his drawings.

[Illustration]