are others at the Boston Museum of Fine Arts and elsewhere. Samuel F. B. Morse (1791-1872), the inventor of the telegraph, who graduated at Yale in 1810 and was a pupil of Allston, devoted himself to historical painting in the beginning of his career in the first quarter of the present century.

On the 8th of November, 1825, a number of young artists and students in New York established the New York Drawing Association. On the 16th of January, 1826, they chose from their number fifteen artists who were directed to choose fifteen others, and the thirty thus selected constituted a new society which was called the National Academy of Design. Among the first fifteen of these founders of the Academy were Thomas S. Cummings, William Dunlap, Asher B. Durand, John Frazee, and Henry Inman. Among the second fifteen were Thomas Cole, William Jewett, Rembrandt Peale, John Vanderlyn, and Samuel Waldo. Thomas Cole was the first American landscape-painter, and Durand and Thomas Doughty were prominent among those who followed his lead in taking up this branch of painting. Inman was a noted portrait-painter, as were Waldo and Jewett, Vanderlyn (who has already been mentioned), and Rembrandt Peale. In the years following the founding of the Academy G. P. A. Healey (who went to Paris to study under Baron Gros and Couture), Thomas Rossiter and William Hunt of Boston (pupils of Couture), William Page, Daniel Huntington, Charles L. Elliott, and Robert W. Weir among others gained wide reputations as portrait and figure painters, and in landscape John F. Kensett and Sanford R. Gifford became especially famous. Some of the contemporaries and the immediate successors in point of historical sequence of these men, elected to membership in the Academy or chosen as Associates, from about the middle of the forties to the beginning of the seventies, form what is sometimes referred to as the 'Older School' of American painters. The Academy held its sixty-seventh annual exhibition in the spring of 1892, and its eleventh autumn exhibition the same year.

In sculpture the first American artists to be noted are John Frazee, Hiram Powers, and Horatio Greenough, one of whose representative works is the equestrian statue of Washington in the Capitol grounds at Washington (p. 253). Frazee was born in 1790 and Powers and Greenough in 1805. Thomas Crawford, Randolph Rogers, Thomas Ball, W. W. Story, and Henry K. Brown, whose equestrian statues of Washington in Union Square, New York (p. 32), and of General Scott at Washington (p. 262) are especially worthy of mention among the achievements of the earlier American sculptors, should be grouped with Frazee, Powers, and Greenough, though they are chronologically later. This summary brings us to the period uniting the old and new, the time when American art, having made for itself a dignified place in the national civilization, was conservative in its processes and faithful to time-honored traditions and had not yet felt to any appreciable degree the influences of the great revival

that followed the appearance of Delacroix and Géricault, the famous men of 1830, and the Fontainebleau group in France. We find Huntington, Baker, Le Clear, Eastman Johnson, J. B. Flagg, Hicks, and others prominent as portrait-painters; Guy, J. G. Brown, Henry, Loop, Mayer, and Wilmarth, noted painters of figure subjects; F. E. Church, Bierstadt, Cropsey, Bellows, Whittredge, Thos. Moran, De Haas, David Johnson, James M. Hart, Wm. Hart, and McEntee the chief painters of landscapes, marines, and cattle-pieces, and J. Q. A. Ward and Launt Thompson, the sculptors of the day. We find in their work sincerity of purpose, much artistic feeling, and individuality. Except in a few cases, however, there is little to show that their art had developed under other than indigenous influences.

American art at the present time, broadly speaking, means art in New York, for though there is much that is of value produced in Boston and Philadelphia and something worth noting here and there in some other cities, the best work of the artists in these places is usually seen in New York. In considering the modern 'Movement' in New York it is fair to say that we cover the whole country, and the condition of the fine arts in the United States may be measured by applying the gauge to what is to be seen in New York. If a few individual factors be thus omitted, it does not affect the test as a whole. This is nearly as true of New York in the United States as it is of Paris in France and much more so than of London in Great Britain. It was in 1877 and 1878 that the first of a little band of artists that has now grown into an army almost, and is sometimes styled the 'New School' and sometimes the 'Younger Men', made their appearance in New York and excited public interest by their work at the Academy exhibitions. They came from their studies in Paris and Munich and with characteristic American promptitude founded a society of their own. Some of the home artists who were in sympathy with their aims joined with them, and the new Society called the American Art Association was formed at a meeting held in New York on June 1st, 1877, at which Augustus St. Gaudens, Wyatt Eaton, Walter Shirlaw, and Mrs. R. W. Gilder were present; and before the first exhibition was held in the spring of 1878 the names of the following artists, among others, were placed on the roll of the Society: Olin L. Warner, R. Swain Gifford, Louis C. Tiffany, J. Alden Weir, Homer D. Martin, John La Farge, William Sartain, W. H. Low, A. H. Wyant, R. C. Minor, and George Inness. The name of the organization was changed in February, 1878, to the Society of American Artists, and it was incorporated under that title in 1882. It has held exhibitions in New York every spring since 1878 with the exception of 1885. Its discarded title, the American Art Association, has meanwhile been assumed by a business company, which conducts sales of collections and deals in works of art. The Society of American Artists has now 125 members, about twenty of whom reside in Europe, and is a progressive, vigorous body,

whose yearly exhibition is one of the most important events in the American art world. Whatever feeling of antagonism to the Academy may have existed at the outset of the new movement has now disappeared, and the Academy and the Society are friendly rivals. But young artists have been coming from Europe and establishing themselves in New York for the past fifteen years, and their number increases steadily and rapidly. These younger men are very good painters as a rule; the space at the Academy is too limited to give room for their work and that of the Academicians and associates and other men who, though they do not belong to the Academy, hold a position in American art by reason of long residence and recognized ability; and the Society has been expected to offer the vigorous young school a fitting place to exhibit. It has done this, especially in the past six years, since 1886, most successfully. It has recently, in connection with the Architectural League of New York and the Art Students' League, secured a permanent home and spacious galleries in the new building of the American Fine Arts Society (the executive society of the alliance) in West 57th St.

The highest standard of excellence is maintained at the exhibitions of the Society of American Artists, where the visitor will obtain an impression of what motives and purposes inspire the younger men and will see a collection of works of art that for individuality in conception and cleverness of treatment may justly be ranked with the best displays offered in the European capitals. The exhibitions at the Academy are somewhat larger, but uneven in quality, though the younger men are usually pretty well represented and the best work of the older school is there shown. Comparison between the two exhibitions will be found to be instructive and interesting. The number of American artists who are well trained is now very large. This is due to study abroad, the strong influence of the French school on the younger men, and the methods now followed in the instruction of pupils in the art schools. The number of those who do thoroughly good work and are individual in the presentation of their motives is altogether too great to give more than the names of a few of them. Perhaps it will not be invidious to mention those of Homer, Chase, Dewing, Mowbray, Brush, Weir, Cox, Thayer, Blashfield, Inness, La Farge, Low, Millet, Wyatt Eaton, Tarbell, Vinton, Blum, Maynard, H. O. Walker, H. B. Jones, Tryon, Donoho, Platt, Horatio Walker, and Robinson among the most prominent painters, and St. Gaudens, French, Warner, MacMonnies, Hartley, Adams, and Elwell among the sculptors. The American artists who reside abroad are frequently represented in the New York exhibitions, and Sargent, Abbey, Harrison, Dannat, Gay, Bridgman, Melchers, Pearce, Hitchcock, Vail, McEwen, and others are as well known at home as in Paris. When at the Universal Exhibition at Paris in 1889 the American section in the fine arts department included the works of the artists at home and abroad, it was conceded by many that in

interest, in technical excellence, and in individuality the American exhibition ranked second to none but that of France itself. The intelligent observer who comes to the United States and takes the opportunity to study American art as it is to-day cannot but be impressed with the value of its present achievement. The high place it is destined to occupy in the future is plainly indicated in the startling rapidity of its progress and the earnestness of purpose of the artists who are each day adding to its renown.

The visitor to New York will find in the autumn an exhibition of current American art a the Academy in November and December; an exhibition of the New York Water Color Club, a young society organized in 1890, whose purpose it is to hold annual exhibitions in the art season before the holidays and which has had three very interesting ones at that time; in February and March the regular annual exhibition of the American Water Color Society, with the New York Etching Club, at the Academy (one of the best and most interesting of all the exhibitions); and in April and May the regular annual exhibitions of the Academy and the Society of American Artists. In addition to these there are usually, throughout the season, numerous special exhibitions in the galleries of the dealers of the works of individual artists, and at the American Art Association and the Fifth Avenue Art Galleries there is a constant succession of exhibitions - some of them often of great importance, as when notable private collections are shown before being sold at auction. The Metropolitan Museum (p. 42), with the valuable additions made recently, compares very favourably with the great galleries of Europe. The exhibitions of the Architectural League, held annually in Dec., are interesting to the non-professional visitor, as the scope of the exhibition includes decorative art, and the architectural portion of the display has many popular as well as technical features. For those who wish to be informed as to the facilities for instruction in the fine arts in New York it may be mentioned that the schools of the Art Students' League, where there are over a thousand pupils on the rolls, rank with the schools of Paris in the quality of the work produced by the students, and that excellent schools are maintained also by the National Academy of Design, the Metropolitan Museum, and the Cooper Union. Through the provisions of a fund raised by Mr. J. A. Chanler, an art student is chosen in a general competition to be sent abroad to study for five years, and one of these prizemen was sent from New York and one from Boston for the first time in 1891.

In Philadelphia annual exhibitions of American art are held at the Pennsylvania Academy of the Fine Arts (founded in 1805), and the permanent collections are valuable and interesting. Exhibitions are also held by the Art Club of Philadelphia and by the Philadelphia Society of Artists. In Boston the collections of the Museum of Fine Arts are of great value both from the artistic and the historical standpoint, and exhibitions of the work of American artists are given each season by the Boston Art Club and other societies. In most of the larger cities, such as Chicago, St. Louis, and Cincinnati, and in many towns in the East and West there are art institutions and schools, and exhibitions to which New York artists are among the contributors are held with considerable regularity.

b. ARCHITECTURE
by

Montgomery Schuyler.

The sources of the settlement of the United States were so many and so various that we should expect to find a corresponding variety in the building of the colonies. As a matter of fact, however, by the time the settlements upon the Atlantic seaboard had become suf

ficiently established to project durable or pretentious buildings, the English influence had become predominant, and the colonists took their fashions from England in architecture as in other things. The Spanish settlements within the present limits of the United States were unimportant compared with those farther to the South. The trifling remains of Spanish building in Florida and Louisiana are not to be compared with the monuments erected by the Spaniards in Mexico, where some of the churches in size and costliness and elaboration of detail are by no means unworthy examples of the Spanish Renaissance of the 17th century. The only considerable town on the Atlantic coast that is not of English origin is New York, which was already a place of some importance when the New Netherlands were ceded to Great Britain by the treaty of Breda in 1667. It was built in the then prevailing fashion of Holland. The 'Flemish Renaissance', which has lately appealed to English architects as containing valuable suggestions for modern building, did not impress the new masters of New Amsterdam. The crow-stepped gables and steep tiled roofs of the Dutch settlers were displaced by dwellings and warehouses of English architecture executed by English mechanics. It is unlikely that any specimen of Dutch architecture was erected, either in New York or in Albany (which retained its Dutch characteristics longer), after the beginning of the 18th century. There are now no Dutch buildings left in New York, and it is believed that there is but one in Albany. There are, however, here and there Dutch farmhouses left on Long Island and in New Jersey; a manor-house of the Van Rensselaers, patroons of Rensselaerswyck, is still standing near Albany (p. 157); there is an occasional Dutch church in the oldest parts of New York State and New Jersey; and part of the Philipse manor house, now the City Hall of Yonkers (p. 150), is of Dutch architecture. These relics are all of the 17th century and are interesting rather historically than architecturally. They do not invalidate the rule that by the time the colonists were able and disposed to erect buildings of any architectural pretensions, their models were the contemporary buildings of England.

The public buildings of the colonial period were mainly churches, and these, where they were more than mere 'meeting-houses', were imitated from the churches of Sir Christopher Wren and his successors. Of these St. Michael's (p. 348), built in 1752 in Charleston, is the most conspicuous and perhaps the most successful. Burke, in his 'Account of the European Settlements in America' (1757), says of it: 'the church is spacious and executed in very handsome taste, exceeding everything of that kind which we have in America'. The design is attributed, on the strength of a contemporaneous newspaper paragraph, to 'Mr. Gibson', but this is probably a mistake for Mr. Gibbs, the architect of St. Martin's-in-the-Fields in London and the Radcliffe Library at Oxford, being at the time one of the most successful of English architects and perhaps the most distinguished