J. M. Stone, who is one of the professors at the Museum of Fine Arts, and a graduate of the Munich schools, indicates considerable force in rendering the figure, both in color and drawing, and a touch of genius in the painting of dogs and horses. His service in the army during the war intensified his interest in equine art, and will probably result in important compositions suggested by that conflict. C. R. Grant has a delicate poetic feeling for color and form, and a pleasant fancy tinged with quaintness; and in his choice of treatment and subject suggests the works of G. H. Boughton. In T. W. Dewing, a pupil of Lefévre, who has recently settled in Boston, we find much promise in figure-painting, but altogether after the clear-cut, well-drawn, but somewhat dry method of Gérôme. J. Foxcroft Cole, who has been a careful student of the best phases of French landscape art, but has formed, at the same time, a sufficiently individual style of his own, is an artist whose works command a growing esteem. Although adding groups of cattle to his compositions, he is essentially a landscape-painter. We receive from a study of his works an impression of sameness, like that conveyed by the landscapes of Corot, chiefly because they are generally on one key, and refer to a class of subjects so quiet and undemonstrative that only he who observes them repeatedly and reflectively discovers that each work is the result of a distinct inspiration, and possesses suggestions and qualities of its own. Exquisite feeling for space and atmosphere, for the peaceful effects of pastoral life, and the more subtle aspects of nature, especially in color, are the characteristics of the style of Mr. Cole. In reviewing the Boston school, we note in its development much activity and earnestness, too often combined, however, with crudeness; while the foreign influence that is, on the whole, most evident in it is that of the contemporary French school. As Boston is intense rather than broad in its intellectual traits, and is inclined to follow the lead of its own first thinkers and artists, it is the more unfortunate that one influence should predominate, because in such a case the errors as well as the good qualities of a style are liable to receive too much attention; while free growth depends on the catholic eclecticism which supplements the study of nature by culling the good from different schools, and correcting one by comparison with another, thus enabling the artist to arrive at a more just and profound view of a question that proceeds upon irreversible laws. The mind thus educated learns by balancing the merits of different schools, and the results are not so much imitation as assimilation, yielding healthy growth and development. [Illustration: "BURIAL OF THE DEAD BIRD."--[J. ALDEN WIER.]]