NOTE
With singular unanimity critics for thirty years have slighted the work of Arthur Machen. A line suffices for him in Holbrook Jackson's "The Eighteen Nineties," and Mr. Blaikie-Murdoch ignores him completely in "The Renaissance of the Nineties"; yet those are the standard works on the period to which, chronologically, at least, Machen belongs. Mr. Turquet-Milnes, with greater appreciation, gives him a half-chapter in his scholarly work, "The Influence of Baudelaire," but even that is made up largely of quotations from "The Hill of Dreams," to prove Machen a descendent of Baudelaire—an error to which I subscribed until Machen himself disillusioned me, although the assertion is still partially true.
Because, in my opinion, Arthur Machen is the outstanding artist of his time, and one of the great masters of all time, I wrote the following paper, which first appeared in Reedy's Mirror for October 5, 1917. That issue is not now obtainable, and, as calls for it continue to come
