literature, or politics of Europe. Her letters on art to Eugene Muentz,
preserved in the Manuscript Department of the Bibliotheque Nationale,
commemorate the friendship and assistance given to her by the author of
the _History of the Italian Renaissance_, whose admiration for her work
made him persuade her to undertake her _Claude_. It was Taine who bore
witness to her 'veritable erudition on the fine arts of the
Renaissance,' when in 1871, lecturing in Oxford, he used to visit Mark
Pattison and his young wife at Lincoln College, and described the 'toute
jeune femme, charmante, gracieuse, a visage frais et presque mutin, dans
le plus joli nid de vieille architecture, avec lierre et grands arbres.'
[Footnote: 'The Art Work of Lady Dilke,' _Quarterly Review_, October,
1906.] It was Renan, a friend of later years, whom as yet she did not
know, who 'presented' her _Renaissance_ to the Academie des Inscriptions
et Belles-Lettres.

But there was another side to her activities, as intense. Public service
was to her a duty of citizenship, and her keen sympathy with suffering
had inspired her to such study of economic and industrial questions
that, in her effort for the development of organization among women
workers, she was for years 'the practical director of a considerable
social movement.' Her four volumes on Art in France in the Eighteenth
Century, which occupied her from this time onwards, were not more
absorbing to her than was the growth of the Women's Trade Union League.

She had concentrated her powers on a special period of French art, just
as she concentrated them on a certain phase of industrial development;
but her reverence for and pursuit of all learning persisted, and, in the
words of the Memoir written by Sir Charles, 'she was master enough of
human knowledge in its principal branches to know the relation of almost
every part of it to every other.' [Footnote: _Book of the Spiritual