Frederick Walker and his works . heelements of style—might be revealed where they lay half hidden in theeveryday subjects of to-day, and that without undue falsification in dis-tortion ; that the inherent pathos of lite and of nature is not bestexpressed by pictorial anecdote or by a cheap sentimentality. Whence each derived impulse and vivifying power must remain a pointfor inference rather than assertion. An effort has here been made to showwhat fired the train in Walkers case. The genesis of Masons art isclearer, since we must take into accomit his long residence abroad, andthe influence wh
Frederick Walker and his works . heelements of style—might be revealed where they lay half hidden in theeveryday subjects of to-day, and that without undue falsification in dis-tortion ; that the inherent pathos of lite and of nature is not bestexpressed by pictorial anecdote or by a cheap sentimentality. Whence each derived impulse and vivifying power must remain a pointfor inference rather than assertion. An effort has here been made to showwhat fired the train in Walkers case. The genesis of Masons art isclearer, since we must take into accomit his long residence abroad, andthe influence which Sigr. Costa cast over him on the one hand, and—aswe do not know for a fact, yet must necessarily inter—M. Jules Bretonon the other. It may be that the artistic passion glowed with lessintensity in Mason than in Walker, that his genius was of a less original. FREDERICK WALKER 12 a less national, type ; but he was certainly the more complete, the moreperfectly balanced artist of the two. His aim was—like that of Millet. Bof Looking at a Dead Bird. himself, with whom he had otherwise little or nothing in common—tosee men and things in a large synthetic way, to express the beauty andharmony of the type, not the individual ; to marry the human element 74 FREDERICK JVJLKER to the environing landscape so that the one cannot be conceived of with-out the other. Making the necessary sacrifices, and going perhaps tootar—seeing what were his subjects—in the direction of elegiac grace andthe sugrgfestion of linked and balanced movement, he expressed his ideato the utmost, as Walker, torn by the two conflicting currents of hisnature and his will, was never able to do. We may find passages in ThePlough, The Old Gate, The Harbour of Refuge, that move us more deeply,that have a more penetrating, a more intimate charm than anything inThe Eveiiiiig Hymn, The Harves Moo>i, or An English Pastoral. Wemay note in Walkers work wonders of delicate execution such as Masondid not att
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