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 the Christian teaching, and permitted the child's faith to depend upon an ideal happiness. So it was, only to deceive. But from the grown-up man she could not keep away her miserable reality nor hide from him her mercenary identity." Holarek unmasked the pseudo-Christianity of our intellectual society. He mercilessly contrasts the facts of reality with that "Brotherhood," that "Equality," that "Love of your neighbour," of which we all so volubly speak.

We cannot omit even from this brief note on Czech art the names of J. Marak, the poetic landscape painter; Hynais, Jansa, Setelik, Kupka, Kalvoda, Klusacek, Svabinsky; Brozik, Marold, and Cermak, the last three painters of wider European reputation, and K. Myslbek and Sucharda, the Czech sculptors.

F. X. Salda and Dr. Harlas have produced much valuable art criticism in the Czech language; their works form the beginning of a Slavonic philosophy of art — a serious inquiry into Slavonic artistic genius and its meaning to European civilisation. .

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