has doubts with regard to how many of those names will be called by the critics of the next generation. One speaks of the verse, scarcely of the specific volumes, of a few poets, none of more than minor excellence; one names a few novels rather as representative of their writers or their class of fiction than as masterpieces in their own right; one mentions a few critics, not one of whom, is greatly gifted in that chief essential, a large, inspiring interpretation of the supreme writers; one cites with respect certain historical investigators and a few good historians on an extended scale; one recalls the names of some interesting essayists; one speaks with respect of two or three really erudite scholars and of one or two distinguished philosophers and preachers - but before one has finished the roll, one recalls that one is dealing with a country the population of which has passed 90,000,000 and with a period extraordinarily well satisfied with itself, and one wonders whether it is not the part of discretion to lay one's emphasis rather upon the amount and the effects of the country's and the period's literature than upon the genius or the talents of particular writers or upon the unique power and charm of special books. This means that it probably makes little difference whether the vain and irritable race of authors likes or dislikes the democratic conditions under which it is doomed to work. You cannot expel nature with a fork; you cannot prevent the man or woman born to

write from expressing thoughts and feelings which it would be torture to conceal. And, as in all human things, there are compensations to be discovered even in the lot of the author doomed to write in a democratic age and land. Notoriety is cheap in a democracy and yet, paradoxically enough, it produces financial returns that secure most of those solid comforts of life for which many a now famous poet of the past sighed vainly in his garret. Better still, the spread of education and the refining processes in general that accompany the advance of civilization have vastly increased the number of truly cultivated readers sensitive to all that is worthy in literature and art. The writer still finds among these readers, provided he have something worth saying, his audience fit though few. If he is so sensitive and self-conscious that the mere sight of charlatans and philistines makes his heart sink or his wrath fly out, his plight is wretched. But, if he loves his work in and for itself, and if he believes that in answering the needs of a people literature fills a truly noble and beneficent function, he need not repine that his lot is cast in the day of the Carnegie public library instead of in that of the Globe Theatre.*

* Full treatment of the period 1865-1912 is not, of course, to be found in the histories of American literature, but the student may consult with profit the concluding chapters of Barrett Wendell's Literary History of America, George E. Woodberry's America in Literature, and J. L. Onderdonk's History of American Verse. A useful handbook for reading and reference brought nearly

1. S. WEIR MITCHELL.

3. JOEL CHANDLER HARRIS ("Uncle Remus").

5. EDMUND CLARENCE STEDMAN.

2. F. MARION CRAWFORD.

4. WINSTON CHURCHILL.

6. WILLIAM DEAN HOWELLS.

up to date is A Manual of American Literature, edited by Theodore Stanton (1909). See also 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 Clar ence 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

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 Hårris (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 Troubetzkoy); Emily Dickinson; Eugene Field; Hamilton W. Mabie; A. T. Mahan; F. Hopkinson Smith; Jacob A. Riis; James Lane Allen; Margaret Deland; Hamlin Garland; Barrett 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 Forman; John 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.

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 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