XII
CONCLUSION
IT may be held that some of the Illustrators whose work we have been considering are but slightly connected with Montmartre, and that there is no such thing as a Montmartre school, Such contentions are both right and wrong, according to the manner in which one cares to approach them.
It is incontestable that in the very informality and independence of their various styles these artists are echoing the spirit of that Montmartre in which they all have spent so many joyous hours. With the "Butte," one associates breeziness, irresponsibility, and a youthful impatience of restraint. From her lofty perch Montmartre can survey at leisure, and if it needs be point the pencil of derision at the world of Paris surging at her feet; but it must not be forgotten that if she be light-hearted she is also ever warm-hearted. Her interest in the follies of-life is even surpassed by her deep sympathy with those who are struggling against its miseries, It is possible that, as time goes on, some other quarter of Paris will take the place of Montmartre, as the nursery of young free-lances, and will inspire future Bohemians to other great deeds in the world of art. Mayhap the honoured quarter wlll be "Montparnasse," or the vicinity of the "Luxembourg;" or perhaps it will be the "Butte de Chaumont," — the other great cliff of Paris, surrounded in this instance with a romantic park, and peopled with a toiling, excitable, working population, — that will attract the next group of illustrators of modern city life. However that may be, Paris supplies a never-failing succession of highly talented artists who, as they leave the schools, different as their methods may be, group themselves around some chosen neighbourhood, some cabaret, some master of the art, or some illustrated periodical, Already there is a brilliant group of yet younger illustrators risen in Paris, since the advent of these with whom this volume deals.
The fact that most of the papers in which these illustrations appear are unknown to, or unpalatable to, the British public, renders it certain that, with but few exceptions, the accomplished work of these modern masters of black and white art will never be as widely appreciated in England as it deserves to be,
And this is one more justification of the writer's longe-urged plea that in London we are sadly in need of a National Water Colour and Black and White Gallery, for which the best obtainable examples of such work could be procured by gift or purchase, and thereafter exhibited. Stowed away in drawers and cupboards at the British Museum, at the National Gallery, and probably at South Kensington Museum and elsewhere—visible only in driblets, after regulated application, is untold wealth of beautiful drawings which should rightly be displayed on the walls of such a gallery as is suggested. Beautiful examples of work by living illustrators, both British and foreign, could be obtained for a comparatively nominal sum, and would exemplify a powerful and fascinating development of modern art; which meets the requirements of the day, in its own line, as fully as did the work of those early Italian masters in their time, which the nation’s art buyers collect so assiduously and at so much cost.
But such a gallery would be incomplete were it to pass by without example the strength of Steinlen, the dainty elegance of Wély or Morin, Huard’s types of provincialism, Forain’s delicacy of design, or the humorous observation of Caran d’Ache. To be complete and cosmopolitan it must chronicle within its walls something of that defiance of convention, that exuberance of youthful audacity, seeking ever fresh paths within the unexplored—above all, that single-minded devotion to art for its own sake which belongs to these Illustrators of Montmartre. 
London & Edinburgh
SOME PRESS OPINIONS
The Times. — "Another series of little art monographs which is as attractive in format as any."
The Standard. — "This nicely printed little volume contains reproductions of some of the more famous Bartolozzi prints, together with a list of most of the important ones."
Morning Post. — "The Langham Series: The first volume, 'Bartolozzi and his Pupils in England,' by Mr. Selwyn Brinton, is an excellent summary of a subject most popular at the present time. It should prove a great boon to the collector."
Pall Mall Gazette. — "Mr. Brinton is himself a collector and knows his subject thoroughly, The volume is illustrated, and should make an appeal to all interested tn the art of engraving."
Westminster Gazette. — "Bartolozzi, by Selwyn Brinton (A, Siegle), is the first of what promises to prove a series of very dainty tittle monographs on artistic subjects. .... Mr. Selwyn Brinton, whose excellent volumes on the Italian Renaissance and Correggio will be known to many readers, writes of his subject with admirable knowledge and discrimination; and to all who would learn more of Bartolozzi and his work, his brightly written pages, which are embellished by many dainty illustrations, may be cordially commended."
Academy and Literature. — "Bartolozzi and his Pupils in England." "In this delightful little book we have a most excellent collection of prints from the master ... We have in complete, cheap, convenient form, well indexed and nicely printed what may prove a guide."
Scotsman. — "There ts undoubtedly a considerable body of collectors of Bartolozzi's works in this country, and this little book should serve as a handbook for such persons."
Birmingham Daily Post. — "The first volume of the series, 'Bartolozzi and his Pupils in England,' is full of information to the lovers af specimens of the engravers' art."
The Observer.—"Well produced and written by acknowledged authorities, these new little books will probably find a ready welcome."
The Sheffield Independent. — "Mr. Brinton presents us with a wholly sympathetic and adequate study of Bartolozzi's work."
Irish Times (Dublin). — "'Bartolozzi and his Pupils in England' is a charming little book dealing with the life of the famous engraver. Mr. Brinton writes with a thorough knowledge of his subject."