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Rh III

These years away from home were spent largely in the company of artists and were filled with the talk of art; what had been marvels to me in Philadelphia became the commonplaces of every day. But I was all the time in Italy, or France, or England, and could not realize the extent to which, for Philadelphians who had not wandered, artists and art were also becoming more and more a part of everyday life. I did not see Philadelphia in the changing, not until it had changed, and possibly I feel the change more than those who lived through it. It is not so much in the things done, in actual accomplishment, that I am conscious of it, as in the new concern for art, the new attentions heaped upon it, the new deference to it. Art is in the air—"on the town," a subject of polite conversation, a topic for the drawing-room.

When I first came out, art had never supplied small talk in society, never filled up a gap at a dull dinner or reception. We should have been disgracefully behind the times if we could not chatter about Christine Nilsson and Campanini and the last opera, or Irving and Ellen Terry and their interpretation of Shakespeare; if we had not kept up with Trollope and George Eliot, and read the latest Howells and Henry James, and raved over the Rubaiyat. But we might have had the brand-newest biographical dictionary of artists at our fingers' ends—as we had not—and there would have been no occasion to