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WONDER why some things are? For instance. Art is allowed as much indecent license to-day as in earlier times—but the privileges of Literature in this respect have been sharply curtailed within the past eighty or ninety years. Fielding and Smollet could portray the beastliness of their day in the beastliest language; we have plenty of foul subjects to deal with in our day, but we are not allowed to approach them very near, even with nice and guarded forms of speech. But not so with Art. The brush may still deal freely with any subject, however revolting or indelicate. It makes a body ooze sarcasm at every pore, to go about Rome and Florence and see what this last generation has been doing with the statues. These works, which had stood in innocent nakedness for ages, are all fig-leaved now. Yes, every one of them. Nobody noticed their nakedness before, perhaps; nobody can help noticing it now, the fig-leaf makes it so conspicuous. But the comical thing about it all, is, that the fig-leaf is confined to cold and pallid marble, which would be still cold and unsuggestive without this sham and ostentatious symbol of modesty, whereas warm-blooded paintings which do really need it have in no case been furnished with it.

At the door of the Ufizzi, in Florence, one is confronted by statues of a man and a woman, noseless, battered, black with accumulated grime,—they hardly suggest human beings