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 Brownell presents it, is only one of the languages or modes of expression at the disposal of the cultivated spirit which animates the various epochs of history. One who has penetrated to this general spirit through one language readily learns to "translate."

In a sense French Art reaffirms the thesis of French Traits—systematically elaborating the earlier chapter on "The Art Instinct." "More than that of any other modern people," begins the argument, "French art is a national expression"; and the rest of the book is the demonstration of that initial propositonproposition [sic]. Incidentally or concurrently it is one of the most illuminating discussions ever written of the powers and virtues of a great tradition. Finally, it is a beautiful illustration throughout of intelligence energetically and scrupulously, and I think successfully, applied to understanding and judging a great variety of works to which frequently the critic feels but slight emotional response.

Of French art in general Mr. Brownell is very far from being an unqualified admirer. In the æsthetic field, the French appear to him to be characterized by disciplined taste and high technical competence, rather than by high imaginative inspiration. "We may say, from Poussin to Puvis de Chavannes, from Clouet to Meissonier, taste—a refined and cultivated sense of what is sound, estimable, competent, reserved, satisfactory, up to the mark, and above all, elegant and distinguished—has