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Therefore it seems to me that, desirable for all reasons as may be the study of art, the knowledge of filiations and influences, it is still more desirable that each of us should find out some painter whom he can care for individually; and that all of us should find out certain painters who can, almost infallibly, give immense pleasure to all of us; painters who, had they been produced out of nothingness and been followed by nobody, would yet stand in the most important relation in which an artist can be: the relation of being beloved by the whole world, or even by a few solitary individuals.

The bunglers who have used this species of criticism to brand as spurious perfectly genuine documents, such as the writings of Hroswitha, the Ligurinus, and the bull Unam Sanctam, or to establish imaginary filiations between certain annals, on the strength of superficial indications, would have discredited criticism before now if that had been possible.

They are taking up too much of our attention; and one might sometimes be tempted to think that the only use of great artists, like the only functions of those patriarchs who kept begetting one another, was to produce other great artists: Giotto to produce eventually Masaccio, Masaccio through various generations Michelangelo and Raphael, and Michelangelo and Raphael, through even more, Manet and Degas, who in their turn doubtless dutifully.... Meanwhile why should art have gone on evolving, artists gone on making filiations of schools, if art, if artists, if schools of artists had not answered an imperious, undying wish for the special pleasures which painting can give?

Congregations of Ursulines were established at Bordeaux and Lyons, under the respective dates 1605 and 1611, and, within a few years after their foundation, were erected into Monastic Orders by Pope Paul V.; from these, numerous filiations have also sprung. There are other Congregations of Ursulines, but the three named are the most numerous.