devoted our energy to fighting the Insurance Act. Another would not hang them in his kitchen, while yet another described the vogue of French impressionist painting as having gone to such a length among 'log-rolling enthusiasts' that they even admired 'works that were rejected from the Salon forty years ago by the finest critics in the world.'
The first serious opposition began in the Irish Catholic, the chief Dublin clerical paper, and Mr. William Murphy, the organiser of the recent lock-out and Mr. Healy's financial supporter in his attack upon Parnell, a man of great influence, brought to its support a few days later his newspapers The Evening Herald and The Irish Independent, the most popular of Irish daily papers. He replied to my poem 'To a Wealthy Man' (I was thinking of a very different wealthy man) from what he described as 'Paudeen's point of view,' and 'Paudeen's point of view' it was. The enthusiasm for 'Sir Hugh Lane's Corots'—one paper spelled the name repeatedly 'Crot'—being but 'an exotic fashion,' waited 'some satirist like Gilbert' who 'killed the aesthetic craze,' and as for the rest 'there were no greater humbugs in the world than art critics and so-called experts.' As the first avowed reason for opposition, the necessities of the poor got
