I was lately walking home after lecturing, when a number of my audience (you are now my friends, gentlemen, and there can be no objection to my telling you this)— these persons, then, came to me and introduced themselves, with the air of admiring hearers. They accompanied me a considerable way, with such laudatory exclamations that I was reduced to blushing at the discrepancy between praise and thing praised. Their chief point, which they were absolutely unanimous in emphasizing, was that the substance of my work was so fresh, so crammed with novelty. I had better give you their actual phrases: ‘How new! What paradoxes, to be sure! What invention the man has! His ideas are quite unequalled for originality.’ They said a great deal of this sort about my fascinating lecture, as they called it; they could have had no motive for pretending, or addressing such flatteries to a stranger who had no independent claims on their attention.

These commendations, to be quite frank, were very far from gratifying to me; when at length they left me to myself, my reflections took this course:— So the only attraction in my work is that it is unusual, and does not follow the beaten track; good vocabulary, orthodox composition, insight, subtlety, Attic grace, general constructive skill — these may for aught I know be completely wanting; else indeed they would hardly have left them unnoticed, and approved my method only as new and startling. Fool that I was, I did indeed guess, when they jumped up to applaud, that novelty was part of the attraction; I knew that Homer spoke truly when he said there is favour for the new song; but I did not see that novelty was to have so vast a share — the whole, indeed — of the credit; I thought it gave a sort of adventitious charm, and contributed, its part to the success, but that the real object of commendation — what extracted the cheers — was those other qualities. Why, I have been absurdly self-satisfied, and come very near believing them when they called me the one and only real Greek, and such nonsense. But behold, my gold is turned to ashes; my fame, after all, is little different from that enjoyed by a conjuror.

Now I should like to give you an illustration from painting. The great Zeuxis, after he had established his artistic supremacy, seldom or never painted such common popular subjects as Heroes, Gods, and battle-pieces; he was always intent on novelty; he would hit upon some extravagant and strange design, and then use it to show his mastery of the art. One of these daring pieces of his represented a female Centaur, nursing a pair of infant Centaur twins. There is a copy of the picture now at Athens, taken exactly from the original. The latter is said to have been put on ship — board for Italy with the rest of Sulla’s art treasures, and to have been lost with them by the sinking of the ship, off Malea, I think it was. The picture of the picture I have seen, and the best word-picture I can manage of that I am now to give you; I am no connoisseur, you must understand, but I have a vivid recollection of it as I saw it in an Athenian studio not long ago; and my warm admiration of it as a work of art may perhaps inspire me with a clear description.

On fresh green-sward appears the mother Centaur, the whole equine part of her stretched on the ground, her hoofs extended backwards; the human part is slightly raised on the elbows; the fore feet are not extended like the others, for she is only partially on her side; one of them is bent as in the act of kneeling, with the hoof tucked in, while the other is beginning to straighten and take a hold on the ground — the action of a horse rising. Of the cubs she is holding one in her arms suckling it in the human fashion, while the other is drawing at the mare’s dug like a foal. In the upper part of the picture, as on higher ground, is a Centaur who is clearly the husband of the nursing mother; he leans over laughing, visible only down to the middle of his horse body; he holds a lion whelp aloft in his right hand, terrifying the youngsters with it in sport.

There are no doubt qualities in the painting which evade analysis by a mere amateur, and yet involve supreme craftsmanship — such things as precision of line, perfect mastery of the palette, clever brush-work, management of shadow, perspective, proportion, and relation of the parts to the whole; but I leave all that to the professionals whose business it is to appreciate it; what strikes me especially about Zeuxis is the manifold scope which he has found for his extraordinary skill, in a single subject. You have in the husband a truly terrible savage creature; his locks toss about, he is almost covered with hair, human part as well as equine; the shoulders high to monstrosity; the look, even in his merry mood, brutal, uncivilized, wild.

In contrast with him, the animal half of the female is lovely; a Thessalian filly, yet unbroken and unbacked, might come nearest; and the human upper half is also most beautiful, with the one exception of the ears, which are pointed as in a satyr. At the point of junction which blends the two natures, there is no sharp line of division, bu............