Discusses William Sharp's attempt as a fin-de-siecle art critic to accommodate local particularism and national identity within his "outsider" cosmopolitanism, through his contributions to The Evergreen and the regular reviews he and his wife Elizabeth A. Sharp wrote of the Paris Salons for the Glasgow Herald, unsigned but identifiable through their correspondence, and argues that these reviews show how "the Sharps resisted the growing tendency to see the particular and the cosmopolitan as irreconcilable opposites."