CORNELIUS VER BRYCK painted Bacchantes and Cavaliers, and a few historic pictures, with a decided feeling for colour, as evidenced by his _Venetian Senator_, owned by the New York Historical Society. He stands upon the borderland between an older and a newer generation, both of which, however, belong to the same period. Thus far the influence of Italy had been paramount; in the years immediately following Duesseldorf claims a share in shaping the historical art of the United States. The only names that can be mentioned here in accordance with the plan of this book, which excludes living artists, are Emmanuel Leutze (1816--1868), Edwin White (1817--1877), Henry Peters Gray (1819--1877), W. H. Powell (died 1879), Thomas Buchanan Read (1822--1872), and J. B. Irving (1826--1877). LEUTZE was a German by birth, and his natural sympathies, although he had been brought to America as an infant, carried him to Duesseldorf. The eminence to which he rose in this school may be inferred from the fact that he was chosen Director of the Academy after he had returned to America, and almost at the moment of his death. Although of foreign parentage, he showed more love for American subjects than most of the native artists, but the trammels of the school in which he was taught made it impossible for him to become a thoroughly national painter. His most important works are _Washington crossing the Delaware_, _Washington at the Battle of Monmouth_, and _Washington at Valley Forge_; the two last named are at present in the possession of Mrs. Mark Hopkins of California. In the Capitol at Washington may be seen his _Westward the Star of Empire takes its Way_; _The Landing of the Norsemen_ is in the Pennsylvania Academy; _The Storming of a Teocalle_, in the Museum of Fine Arts, Boston. EDWIN WHITE, an extraordinarily prolific artist, who studied both at Paris and Duesseldorf, also painted a number of American historic pictures, among them _Washington resigning his Commission_, for the State of Maryland. The bulk of his work, however, weakly sentimental, deals with the past of Europe. H. P. GRAY'S allegiance was given, almost undividedly, to the masters of Italy, and his subjects were mostly taken from antiquity. In his best works, such as _The Wages of War_, he appears in the light of an academic painter of respectable attainments; but there is so little of a national flavour in his productions, that the label "American School" on the frame of the picture just named is apt to provoke a smile. Gray's _Judgment of Paris_ is in the Corcoran Gallery at Washington.