seen 'Dante's Dream' in the gallery there--a picture painted when
Rossetti had lost his dramatic power, and to-day not very pleasing
to me--and its colour, its people, its romantic architecture had
blotted all other pictures away." It was a perpetual bewilderment
that my father, who had begun life as a Pre-Raphaelite painter,
now painted portraits of the first comer, children selling
newspapers, or a consumptive girl with a basket offish upon her
head, and that when, moved perhaps by memory of his youth, he
chose some theme from poetic tradition, he would soon weary and
leave it unfinished. I had seen the change coming bit by bit and
its defence elaborated by young men fresh from the Paris art-
schools. 'We must paint what is in front of us,' or 'A man must be
of his own time,' they would say, and if I spoke of Blake or
Rossetti they would point out his bad drawing and tell me to
admire Carolus Duran and Bastien-Lepage. Then, too, they were very
ignorant men; they read nothing, for nothing mattered but 'Knowing
how to paint,' being in reaction against a generation that seemed
to have wasted its time upon so many things. I thought myself
alone in hating these young men, now indeed getting towards middle
life, their contempt for the past, their monopoly of the future,
but in a few months I was to discover others of my own age, who
thought as I did, for it is not true that youth looks before it
with the mechanical gaze of a well-drilled soldier. Its quarrel is
not with the past, but with the present, where its elders are so
obviously powerful, and no cause seems lost if it seem to threaten
that power. Does cultivated youth ever really love the future,
where the eye can discover no persecuted Royalty hidden among oak
leaves, though from it certainly does come so much proletarian
rhetoric? I was unlike others of my generation in one thing only.
I am very religious, and deprived by Huxley and Tyndall, whom I