r
practised, that of Vermeer of Delft.

Others of our artists are going still further back in the history of art
for a part of their inspiration. Mr. Brush has always been a linealist
and a student of form, but his earlier canvases, admirable as they were,
were those of a docile pupil of Gerome applying the thoroughness of
Gerome's method to a new range of subjects and painting the American
Indian as Gerome had painted the modern Egyptian. In recent years each
new picture of his has shown more clearly the influence of the early
Italians--each has been more nearly a symphony of pure line.

Even in purely technical matters our painters have been experimenting
backward, trying to recover lost technical beauties. The last pictures
of Louis Loeb were underpainted throughout in monochrome, the final
colors being applied in glazes and rubbings, and to-day a number of
others, landscape and figure painters, are attempting to restore and
master this, the pure Venetian method, while still others, among them
Emil Carlsen, are reviving the use of tempera.

But it is in our mural painting even more than elsewhere that the
conservative or reactionary tendency of American painting is most
clearly marked. John La Farge was always himself, but when the general
movement in mural painting began in this country with the Chicago
World's Fair and the subsequent decoration of the Library of Congress,
the rest of us were much under the influence of Puvis de Chavannes. Even
then the design was not his, but was founded on earlier examples of
decorative composition, but his pale tones were everywhere. Little by
little the study of the past has taught us better. American mural
painting has grown steadily more monumental in design, and at the same
time it has grown richer and fuller in color. To-day, while it is not
less but more personal and original than it was, it has more kinship
with the noble achievements of Raphael and Veronese than has any other
modern work extant.

And this brings us to the second characteristic of the American school
of painting: it is rapidly becoming a school of color. We have still
plenty of painters who work in the blackish or chalky or muddy and
opaque tones of modern art, but I think we have more men who produce
rich and powerful color and more men who produce subtle and delicate
color than any other modern school. The experiments in reviving old
technical methods have been undertaken for the sake of purity and