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 geographic rather than an historical extension, Mr. Massingham's opinions will of course appear to be hopelessly prejudiced by his Oxford breeding, his acquaintance with the classics, his saturation in Elizabethan literature, and his avowed passion for old books in early editions, drilled by the bibliomaniac worm, "prehistoric" things, like Nares' Glossary and Camden's Remains. But it is not merely the opinion of our critic that is formidable: "The restoration of the traditional link with the art of the past is a conservative and revolutionary necessity." It is not the supporting opinion of Sir Joshua Reynolds: "The only food and nourishment of the mind of an artist is the great works of his predecessors." Sir Joshua, too, was prejudiced by his position as a pillar of the robust English classicism of George III's time. It is not even the opinion of Henry James, whom Mr. Massingham proclaims the profoundest critic since Coleridge, and who even our own irreverent youth seem to suspect should be mentioned respectfully: "It takes an endless amount of history to make even a little tradition and an endless amount of tradition to make even a little taste and an endless amount of taste, by the same token, to make even a little tranquillity."

The formidable arguments against the radical engineers of renascence are just the notorious facts of literary history. The fact that a bit of the "fossil literature taught in colleges," the story of Arthur, written in Latin by a Welsh monk in the twelfth