d the Capitol.

The works of the younger men are seen in the exhibitions
held from year to year at the Academy of Design, the Society
of American Artists, N. Y., in Philadelphia, Chicago,
Boston, and elsewhere throughout the country. Some of their
works belong to permanent institutions like the Metropolitan
Mus., the Pennsylvania Acad., the Art Institute of Chicago,
but there is no public collection of pictures that
represents American art as a whole. Mr. T. B. Clarke, of New
York, had perhaps as complete a collection of paintings by
contemporary American artists as anyone.

POSTSCRIPT.

SCATTERING SCHOOLS AND INFLUENCES IN ART.

In this brief history of painting it has been necessary to omit some
countries and some painters that have not seemed to be directly
connected with the progress or development of painting in the western
world. The arts of China and Japan, while well worthy of careful
chronicling, are somewhat removed from the arts of the other nations
and from our study. Moreover, they are so positively decorative that
they should be treated under the head of Decoration, though it is not
to be denied that they are also realistically expressive. Portugal has
had some history in the art of painting, but it is slight and so bound
up with Spanish and Flemish influences that its men do not stand out
as a distinct school. This is true in measure of Russian painting. The
early influences with it were Byzantine through the Greek Church. In
late years what has been produced favors the Parisian or German
schools.

In Denmark and Scandinavia there has recently come to the front a
remarkable school of high-light painters, based on Parisian methods,
that threatens to outrival Paris itself. The work of such men as
Kroeyer, Zorn, Petersen, Liljefors, Thaulow, Bjoerck, Thegerstroem, is as
startling in its realism as it is brilliant in its color. The pictures
in the Scandinavian section of the Paris Exposition of 1889 were a
revelation of new strength from the North, and this has been somewhat
increased by the Scandinavian pictures at the World's Fair in 1893. It
is impossible to predict what will be the outcome of this northern
art, nor what will be the result of the recent movement here in
America. All that can be said is that the tide seems to be setting
westward and northward, though Paris has been the centre of art for
many years, and will doubtless continue