up to date is A Manual of American Literature, See also edited by Theodore Stanton (1909). William B. Cairns, A History of American Literature (1912). Some of the numerous text books designed for school use are also worth consulting, e. g. Brander Matthew's Introduction to the Study of American Literature. The chief critic of the period after Lowell was the late Edmund Clarence Stedman, whose Life and Letters is probably the most important source of information that can be named. Mr. Stedman's American Poets and American Anthology should also be used, and volumes IX.-XI. of the Library of American Literature, edited by him and Miss Hutchinson (now Mrs. Cortissoz). For Whitman and Lanier The Chief American Poets, edited by Curtis Hidden Page, is valuable, and there are important biographies of these poets by Perry, Carpenter, and Mims. For the writers of the new South, consult Southern Writers by the late William M. Baskervill, and the final pages of a volume of specimens under the same title by W. P. Trent. There are smaller anthologies devoted to the section, and there is a painstaking and useful Literature of the South by Montrose J. Moses (1910).

For the years after 1901, surveys of the literature of each twelvemonth to be found in literary journals and in year books will prove useful in furnishing the names of books and writers that have attracted attention. For the period 18651900 the following partial list of writers, arranged somewhat in the order in which they became prominent, may be found helpful as a basis for an extended survey founded on selected reading.

Francis Parkman (Pioneers of France in the New World, 1865); Richard Henry Stoddard; Moncure D. Conway; John Esten Cooke; H. H. Brownell; Julia Ward Howe; William Dean Howells (Venetian Life, 1866; Their Wedding Journey, 1871; The Rise of Silas Lapham, 1885); Bayard Taylor (The Story of Kennett, 1866; translation of Faust, the first part, 1870); Samuel L. Clemens- "Mark Twain" (The Celebrated Jumping Frog, 1867; Innocents Abroad, 1869; Tom Sawyer, 1876; Huckleberry Finn, 1884); Henry C. Lea; Bret Harte (Condensed Novels, 1867; The Luck of Roaring Camp, 1870); Charles Eliot Norton; E. R. Sill (The Hermitage and Other Poems, 1867); Louisa M. Alcott; Edward Everett Hale; Thomas Bailey Aldrich (The Story of a Bad Boy, 1869); Elizabeth Stuart Phelps Ward; Helen Hunt Jackson; James Russell Lowell (Among My Books, first series, 1870); Charles Dudley Warner (My Summer in a Garden, 1870); Walt Whitman (Democratic Vistas, 1870); John Burroughs (Wake-Robin, 1871); Edward Eggleston (The Hoosier Schoolmaster, 1871); VOL. X-30

455

George Cary Eggleston; H. H. Furness; John Hay; Thomas Wentworth Higginson; Joaquin Miller (Songs of the Sierras, 1871); E. P. Roe (Barriers Burned Away, 1872); Celia Thaxter; Lew Wallace (The Fair God, 1873; Ben Hur, 1880); John Fiske; Richard Watson Gilder (The New Day, 1875); Henry James (Roderick Hudson, 1875); E. C. Stedman (Victorian Poets, 1875); Sidney Lanier; Mrs. Francis H. Burnett; Sarah Orne Jewett; Moses Coit Tyler; G. W. Cable (Old Creole Days, 1879); F. R. Stockton (Rudder Grange, 1879); Henry George; Robert Grant; Joel Chandler Harris (Uncle Remus, 1880); James Schouler; Dr. S. Weir Mitchell; Constance Fenimore Woolson; Paul H. Hayne (Poems, 1880); Brander Matthews (French Dramatists, 1881); James Parton; William G. Sumner; Francis A. Walker; F. Marion Crawford (Mr. Isaacs, 1882); Thomas R. Lounsbury; Richard Malcolm Johnston (Dukesborough Tales, 1883); J. B. McMaster; Justin Winsor; H. H. Bancroft; J. Whitcomb Riley; Henry Cuyler Bunner; Mary N. Murfree ("Charles Egbert Craddock "); Sarah Barnwell Elliott; Woodrow Wilson; George E. Woodberry; Theodore Roosevelt; Edith M. Thomas; Mrs. Freeman (Mary E. Wilkins); Edward Bellamy (Looking Backward, 1888); Thomas A. Janvier; Lafcadio Hearn; Irwin Russell; Henry Adams; William James; W. C. Brownell; Bronson Howard; Henry Cabot Lodge; Thomas Nelson Page; Henry Van Dyke; Alice French ("Octave Thanet "); Amélie Rives (Princess Emily Dickinson; Eugene Field; Hamilton W. Mabie; A. T. Mahan; F. Hopkinson Smith; Jacob A. Riis; James Lane BarAllen; Margaret Deland; Hamlin Garland; rett Wendell; Richard Hovey and Bliss Carman (Songs from Vagabondia, 1893); James Ford Rhodes; Paul Leicester Ford; John B. Tabb; Stephen Crane; Harold Frederic; Kate Douglas Wiggin (Mrs. Riggs); P. F. Dunne (Mr. Dooley in Peace and War, 1898); Edwin Markham; E. N. Westcott (David Harum, 1898); Ida M. Tarbell; William Vaughn Moody (Poems, 1900); Henry Harland ("Sidney Luska"); Paul Elmer More. To these may be added the names of George Ade; Gellett Burgess; Irving Bacheller; Cyrus T. Brady; John Kendrick Bangs; R. W. Chambers; Winston Churchill; Justus Miles ForJohn Fox, Jr.; Ellen Glasgow; W. N. Harben; O. Henry; Mary Johnston; Jack London; George Barr McCutcheon; Meredith Nicholson; Frank Norris; David Graham Phillips; Upton Sinclair; Booth Tarkington; Mrs. Wharton; William Allen White; Owen Wister-as representatives of latter day humor and fiction, a list which might be easily extended.

man;

Troubetzkoy);

Art.

The decade following the Civil War and closing with the Centennial Exposition of 1876 showed a marked growth in art, to which the Centennial itself gave great impetus. Many who were full of promise in the earlier period were now to attain their development. There was gratifying advance in landscape painting. J. F. Cropsey, A. F. Bellows, R. W. Hubbard, Kensett, James Hart, W. T. Richards, all treated varied aspects of American scenery, while George Innes, S. P. Gifford - and especially F. E. Church, whose " Niagara " is a work of rare grandeur - had a strength and individuality that placed them in the first rank. There are many conspicuous examples in marine and animal painting. In historical painting Leutze, who studied at Düsseldorf and painted "Washington Crossing the Delaware," is among the leaders.

In portrait-painting William Page easily ranks among the best. Elihu

Vedder is subtle and imaginative, and Albert Bierstadt's "Rocky Mountains," which won immediate fame, is a work of genuine merit. Thomas Hill is identified with Californian scenes; for sentiment Homer Martin and A. H. Wyant are noteworthy; and M. F. H. De Haas was famous for his marines, as was also W. E. Norton, who died in 1876. The first annual exhibition of water-colors in 1867 showed ability, which has grown with time. No less marked has been the development of our genre artists. S. J. Guy, T. W. Wood, J. G. Brown and M. A. Woolf are examples of portrayers of child-life. Eastman Johnson and Winslow Winslow Homer are distinctively American in their themes, while William M. Chase has a genius for single figures.

It is difficult within present limits to mention later names in all varieties of painting, as well as our masters of engraving and etching, our caricaturists, illustrators, and decorators. Nor is it possible to allude at any length

to the forces so powerfully promoting American art- the rapid spread of art museums, with their students' classes, and the increased attention paid to the arts and handicrafts in our public schools. Art associations are common in cities large and small, and foreign scholarships awarded by some museums give good post-graduate training to worthy students. Recently the generosity of private citizens has brought to our shores famous works by the old masters, while municipal art associations throughout the country tend toward improvement in many

ways.

Perhaps the happiest sign is the growing educational character of our art museums, which are becoming less and less storage warehouses. The Boston Museum was the first to undertake the work of art extension, coördinating its work with that of the public schools. Toledo, Detroit, New York, Indianapolis, St. Louis and others carry on similar work. Geography, history, biography, as well as art, are thus taught in the halls of the museum by means of lectures to the groups of classes wno attend at stated hours. Elementary instruction in the public schools aims not only to teach drawing for use in various trades, but also to train the pupils' taste in line, mass and color.

Sculpture was more backward than its sister arts in attaining maturity. It was not until the decades preceding and following the Civil War that America could point to sculptors of

457

fame, such as Powers and Crawford. Horatio Greenough is among American pioneers in the art in which J. Q. A. Ward, W. W. Story, Harriet Hosmer, Launt Thompson, Randolph Rogers, J. S. Hartley, D. C. French, and Augustus St. Gaudens were to attain eminence. The recent exhibitions of our National Sculpture Society in New York indicate the varied quality of its work, which is both plastic and pictorial. Wood and stone carving and monumental work, the decoration of church and civic buildings, have entered sculpture's broadening sphere.

Still more hopeful is the outlook for architecture. Here, too, the close of the Civil War marked an epoch in its growth, as our cities expanded and the need of greater beauty in civic and domestic building was more generally felt. It is a far cry from the simple Colonial or Queen Anne and the severer Gothic to the Romanesque of Richardson and the word of his contemporaries, R. M. Hunt, McKim, and Stanford White. The Institute of Architects (1857), the Commission of Fine Arts recently established by Congress, New York's Architectural League, and similar clubs in other cities which organized the Architectural League of America, with its circuit of exhibitions, its forming of new schools and traveling scholarship at Harvard, are promising signs. Whether a more original and creative period is to dawn, cannot be stated. Landscape architecture, too, has reached a more ambitious stage with

our era of civic planning and rural improvement and the growth of what may be termed National aesthetics. Under this new impetus the group system of public buildings is beautifying our cities, and model industrial villages and recreation centres are widening the scope of architects and designers. Here, too, every effort is made to combine the practical and the artistic.

Music.

The years of civil strife were not propitious to musical development, yet there were intermittent operatic performances under Ullman, Maretzek, Strakosch, Grau, and Carl Anschutz. After the war Offenbach became the favorite, a powerful rival to Italian opera. Then Gilbert and Sullivan's melodious operettas held the boards for some years, to be followed by a mixed multitude of comic operas. New York's musical centre then was Steinway Hall, opened in 1866 with Bateman's concert troupe, which included Parepa, Brignoli, Ferranti, Fortuna, S. B. Mills, Carl Rosa, J. L. Hatton, with Theodore Thomas leading the orchestra. A few years later came Christine Nilsson, first in concerts and then in operatic rôles.

band comparable with the best European organization and began a series of symphony soirées. In 1873 Leopold Damrosch founded the Oratorio Society and in 1878 the Symphony Society, conducting both until his death in 1885, when his son Walter succeeded him. In 1881 and 1882 New York had musical festivals of a high order, under Damrosch and Thomas respectively, the latter on a remarkable scale, with Materna and Gerster, Anna Louise Cary and Emily Winant, Campanini and Candidus, Galassi, Remnertz, and Myron W. Whitney among the solo singers. Mr. Thomas conducted the Wagner festival concerts in New York in 1885 and the American Opera from 1885 to 1887. After a brief sojourn in Cincinnati, he returned as leader of the Philharmonic. In 1891 he organized the Chicago Symphony Orchestra and maintained the high standard of his New York concerts.

The Metropolitan Opera House (opened in 1882) gave a new impetus to Italian and German opera, the latter (under Damrosch and Seidel) supplanting the former, where Wagner's music-dramas were given on a scale of magnificence unsurpassed even in Germany, while production of more recent composers like Strauss, Humperdinck and Franchetti have also been heard. The most eminent vocalists and musicians of the world have been welcomed. Dvorák (1892) for some years was head of New York's Conservatory of Music. The

opening in 1893 of the Manhattan Opera House, the abode for a time of French opera, and of Carnegie Hall (1891), for the symphony and oratorio societies, were further steps in musical progress. No less significant for the West was the Chicago Opera House. Through all the musical gamut - from opera bouffe, vaudeville, and comic operat to the majestic oratorio and solemn music-dramathe taste of the people has been met and developed.

New York is but an illustration in this regard of similar growth throughout the country, with music-festivals, seasons of opera (permanent or temporary), classical concerts, musical clubs and societies in large number. Music is now part of the regular schedule in our public schools, and elementary vocal music instruction is of profound value to the health and culture of millions of pupils. Chairs for music have been founded in some of our universities. Church music has attained a better style; more appropriate compositions are introduced, while public taste is being improved by organ and other free recitals. Of marked influence for good can be mentioned municipal lectures, recitals, orchestral park concerts, and similar agencies for our general musical growth.

After English, Italian and German influences, is there opportunity for native musical art? And what new fundamental art-elements will America produce? There is a long list of

459

American composers, many of whose works are of merit and promise. In the field of serious composition (excluding the popular ballad and the light opera) there are some eminent names, but none surpasses that of Edward A. MacDowell. His years of activity as teacher and composer were limited, but his worth is recognized. The music festivals at Peterboro, New Hampshire, in his memory, invest American life with a certain ideality which will spread with the years. His "Indian Symphony "is a meritorious American addition to the world's music. No less significant of progress was Horatio Parker's tragic opera" Mona," which won the Metropolitan prize of 1911. Of worth, though lacking in evenness, was Victor Herbert's "Natoma " (1911). Mr. Pulitzer's bequest of $500,000 to the Philharmonic (1910) means much for musical culture. The formation of a permanent symphony orchestra in San Francisco (1911), with Henry K. Hadley as conductor, was a noteworthy event for Western musical growth. The Boston symphony concerts, held in the chief cities of the country, add appreciably to popular interest in music. In 1911 Liszt's centenary was fitly celebrated by special programs devoted to that master. The enthusiasm aroused indicated the steady musical progress.

The Drama.

With the increased prosperity that dawned after 1865, the rapid growth of our cities, the frequent visits by