kneeling by the shrine in the Alban hills. Do we often stop to think what
influence, direct or other, the scholar, the man of high culture, has
today upon the great mass of our people? Why do they ask, what is the use
of your learning and your art?

The artist, in the retirement of his studio, finishes a charming,
suggestive, historical picture. The rich man buys it and hangs it in his
library, where the privileged few can see it. I do not deny that the
average rich man needs all the refining influence the picture can exert
on him, and that the picture is doing missionary work in his house; but
it is nevertheless an example of an educating influence withdrawn and
appropriated to narrow uses. But the engraver comes, and, by his
mediating art, transfers it to a thousand sheets, and scatters its sweet
influence far abroad. All the world, in its toil, its hunger, its
sordidness, pauses a moment to look on it--that gray seacoast, the
receding Mayflower, the two young Pilgrims in the foreground regarding
it, with tender thoughts of the far home--all the world looks on it
perhaps for a moment thoughtfully, perhaps tearfully, and is touched with
the sentiment of it, is kindled into a glow of nobleness by the sight of
that faith and love and resolute devotion which have tinged our early
history with the faint light of romance. So art is no longer the
enjoyment of the few, but the help and solace of the many.

The scholar who is cultured by books, reflection, travel, by a refined
society, consorts with his kind, and more and more removes himself from
the sympathies of common life. I know how almost inevitable this is, how
almost impossible it is to resist the segregation of classes according to
the affinities of taste. But by what mediation shall the culture that is
now the possession of the few be made to leaven the world and to elevate
and sweeten ordinary life? By books? Yes. By the newspaper? Yes. By the