For the Far East as for Europe, the problem now presented is that of a revival. Bent beneath the weight of the prestige of the past, too learned in the last word of culture, modern art is seeking to find itself, groping blindly, full of promising but unfinished works. The time has come when there are signs throughout the world of a desire for a universal civilization, by the reconciling of ancient divergencies. Europe and the Far East bring into contrast the most vigorous traditions in history. Henceforward there is interest for both civilizations in studying and in coming to understand a foreign ideal. Though incomplete, these pages will perhaps help to show that such a mutual comprehension is not impossible and that, if egotistic prejudices are overcome, apparent dissimilarities will be resolved into a profound identity. Thus will arise the elements of a new culture. In coming to understand a mood which so fully reflects an unknown world, the European mind will discover principles which will make it rise superior to itself. May this broad comprehension of human thought lead Europe to estimate with greater justice a civilization numbering its years by thousands, and to refrain from thwarting the fulfillment of its destiny. * * * * * BIBLIOGRAPHY An Introduction to the Study of Chinese Pictorial Art. Herbert A. Giles, M.A., LL.D., Professor of Chinese in the University of Cambridge. Second Edition, revised and enlarged. London, Bernard Quaritch. 1918. Painting in the Far East. Laurence Binyon. Second Edition, revised. London, Edward Arnold. 1913. The Flight of the Dragon. Laurence Binyon. Wisdom of the East Series. London, John Murray. 1911. Epochs of Chinese and Japanese Art. Ernest F. Fenollosa. 2 volumes. F. A. Stokes and Co., New York. 1912. Scraps from a Collector's Note Book. F. Hirth. Leiden, New York. 1905. Chinese Art. Stephen W. Bushell, C.M.G., B.Sc., M.D. Victoria and Albert Museum Handbook. 2 volumes. London. 1910. Chinese Painting. Mrs. Francis Ayscough. The _Mentor_ of Dec. 2, 1918, Serial No. 168. New York. * * * * * INDEX OF PAINTERS AND PERIODS The following summary furnishes additional information regarding the painters to whom reference has been made. Those to whom the subject is not familiar will find this of assistance in placing in their proper historical order the different trends which have been indicated elsewhere. They will also find dates useful in comparing, if so desired, the artistic evolution of China with that of Europe. This, however, is only an outline. The names of some great masters are omitted, for I have no wish to overload the margin of a statement which should be kept clear and convenient of access. I trust nevertheless that these few notes in concise form will be of use in connection with the preceding text. I. BEFORE THE INTERVENTION OF BUDDHISM