scape, the whole being pervaded by an atmosphere of delightful nature appreciation.

Mr. Thomas Eakins took the Thomas R. Proctor prize for the best specimen of portraiture. His portrait of Prof. Leslie W. Miller is chiefly notable for its characteristics of robustness and unconventionality. The pose, presumably meant to immortalize one of Prof. Miller's favorite attitudes while addressing a class, is in no way artistic; the background is meagre and unsympathetic, arranged in a way to produce emphatically the impression that the figure is capable of being lifted bodily from the canvas; and the coloring is flat. Yet it is a worthy specimen of its kind

and has a certain character which sets it apart from the inert figure commonly pictured in an attitude of repose.

A portrait of Miss Florence Nesbit, by Carroll Beckwith, is possessed of a pleasing individuality; a piquancy and pretty grace seems to endow it with a singularly life-like air. "Merely Mary Anne," by Mr. Louis Loeb, showing Miss Robson in her popular role, drew much attention, chiefly of course because of the subject

Painted by Henry Mosler

and its extensive power of appeal. "The Sisters," a large canvas by Mr. William Paxton was among the much commentedupon. The similarity in atmosphere and pose which causes it to remind one instantly of "The Misses Hunter" by Mr. Sargent, is unmistakable. The figures are but two in number and the workmanship is excellent. One of Mr. William M. Chase's contributions to the collection was a piece of still-life called by one critic "a feast of luscious painting for epicures."

Among the figure compositions Mr. John W. Alexander's work was notable. "A Study," here reproduced, is all long, lines, and a study in sweet expression. graceful curves, a veritable harmony in

"Still Courting" is Mr. J. G. Brown in a most appealing vein. Mr. Brown is called old-fashioned by the critics, but it is the very sweetness of old-fashionedness that appears in a picture like this. The sentiment makes the canvas; the workmanship is, as usual, careful and exquisitely detailed.

Another member of the older school who again exhibited was Mr. Thomas Moran.

WHA

THAT with all the discussion of over-productiveness as a drawback to the progress of literature, one would naturally infer that the number of new writers appearing in the field, year by year, was especially large. Looking on the surface merely, it would seem as if the literary losses for a twelve months would, in large degree at least, be compensated for by the entrance upon a literary career of the scions of a newer generation. The theory that for each who goes another comes might, on casual observation, hold, save where, for instance, men like Sir Leslie Stephen, Mr. Swinburne or Mr. Meredith, men of a past, significant era, are to be considered.

But with all the new writers that attain to the dignity of print within the course of a year, it is surprising to discover how few of them are really to be termed literary accessions and still more surprising is it to learn in how small a degree they take the places of those who, within a like space of time, have been cut off from the pursuit of their work by death.

In 1904 there died at least a score of really significant American and English authors, besides six or more foreign writers of greater than passing importance. Yet when we attempt to sum up the new writers who have accomplished anything worth even a second glance, we have difficulty in equalling the number and can do so only by establishing an entirely different standard by which to judge not only of achievement but of promise.

It would, however, be unfair to enter into any comparison of older, dead and newer, living authors, in-so-much as the latter have but made a beginning, while the former have, for the most part, rounded out a career. But even so, it were impossible, with the material at hand, to present anything like a brilliant outlook for a literary future to result from the accessions of the year just passed.

To begin with, 1904 saw all the older writers actively engaged on new books. Mr. Howells, Mr. James, Mrs. Wharton,

Elizabeth Phelps Ward, even Mrs. Whitney; Anthony Hope, H. Rider Haggard, Winston Churchill and Henry Harland; in fact, nearly all the better American and English authors and all the most popular writers had at least one new book issued, and in this way the room for first novels was decidedly curtailed.

The two names which can, with most pride, be added to the forces of contemporary letters, belong to authors who owe their establishment to books, not strictly speaking, first books. Mr. Norman Duncan, whose "Dr. Luke of the Labrador" has gained for him recognition both here and abroad as a work of more than ordinary literary merit, had earlier published a collection of short stories. "Dr. Luke" was truthfully a first novel, and if it be followed by more work equally good, Mr. Duncan will indeed be a literary accession worth having.

Miss Edith Rickert stands side by side. with Mr. Duncan in originality of theme, faithful character delineation, descriptive ability and purity of literary style. Mr. Duncan is by birth a Canadian; Miss Rickert is an American woman now living and writing in London, where she has had one other book, "Out of the Cypress Swamp" published.

Six authors of first novels issued during 1904, from whom we may hope for something in the future, are Miss Elizabeth Miller, whose book, "The Yoke," came as near equalling the works of George Ebers as anything we have had; Ezra Brudno, author of "The Fugitive," a realistic depictment of Jewish life in Russia and America; Miss Margery Williams, author of "The Price of Youth," of which one critic says, "it is an honest and true transcript from life;" Mr. Ridgwell Cullum, whose "Hound from the North" is a strong and fascinating picture; Miss Evelyn Underhill, author of "The Gray World," an interesting study of the reincarnation of a soul, and Miss May Sinclair, an English woman, author of "The Divine Fire," a novel which, though not her

first, is of a quality to make its author eligible of mention among literary accessions.

Other and in some cases more doubtful additions to literature during 1904 include Miss Miriam Michelson, whose "In the Bishop's Carriage" was a best seller and whose "Madigans" is a delightfully genuine bit of humor; Mrs. Helen Martin, the author of the popular "Tillie, a Mennonite Maid;" Anne Warner, the creator of the amusing "Susan Clegg;" Rose Cecil O'Neill, whose "Loves of Edwy" was the most brilliant bit of new 1904 fiction, and Thompson Buchanan, author of the clever "Castle Comedy."

James Branch Cabell, with "The Eagle's Shadow;" Katherine Holland Brown, with "Diane," and Edward Peple, with "A Broken Rosary" and "The Prince Chap," each give evidence of possessing some particular phase of talent.

Still, we use the term “doubtful" because mere popularity cannot be made to measure worth, and most of the novels spoken of owe whatever standing they have to ephemeral rather than to lasting, fundamental characteristics.

Among new writers of general works whose books promise to take permanent place in our literature are Dr. Herbert L. Osgood, with his excellent study of "The American Colonies in the Seventeenth Century," and Admiral Schley, whose "Forty-five Years Under the Flag" is a work of more than momentary interest.

Senator Albert J. Beveridge and Mr. George B. McClelland may also be regarded as literary accessions. Senator Beveridge's "Russian Advance" is of real value, though it owes the chief part of its vast success to its timeliness, while Mr. McClelland's "Oligarchy of Venice" bears the marks of scholarly research and a certain gift for felicitous expression.

-"Harper's Magazine."