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 of the art of the eighteenth century, which, like all intellectual movements in that century, was negative and destructive; and this all the more as the above-mentioned school is connected with science rather than art. But on looking closer into the matter it will be seen that this school cannot claim any special interest on the score of tradition. For the eighteenth century art was quite unconscious of its tendency towards ugliness and nullity, whereas the modern "Impressionists" loudly proclaim their enmity to beauty, and are no more unconscious of their aim than the artists of the revival are of their longing to link themselves to the traditional art of the past.

Here we have then, on the one hand, a school which is pushing rather than drifting into the domain of the empirical science of to-day, and another which can ix