They fell in with the old-established Classic school, and were not affected by the rising Romantic and Colouristic school until long after its triumphant establishment. Within the last ten or fifteen years, however, the tendency in this direction has been very marked, and the main points of attraction for the young American artist in Europe have been Paris and Munich. One of the results of this movement, consequent upon the preponderating attention given to colour and technique, has been an almost entire neglect of subject. What the art of America has gained, therefore, in outward attractiveness and in increase of skill, it has had to purchase at the expense of a still greater de-Americanisation than before. The movement is, however, only in its inception, and its final results cannot be predicated. Nor will it be possible to mention here more than a very few of its adherents, as, self-evidently, the greater part of them belong to the living generation. [Illustration: SUNSET ON THE HUDSON. _By_ S. R. GIFFORD. _Copyright_, 1879, _by Harper and Brothers_.] One of the first to preach the new gospel of individualism and colour in America was WILLIAM MORRIS HUNT (1824--1879), who, after his return from Europe, made his home in Boston. In 1846 he went to Duesseldorf, which he soon exchanged for Paris, where he studied with Couture, and later with Millet. Hunt was in a certain sense a martyr to his artistic convictions, and his road was not smoothed by his eccentricities. Had he found a readier response on the part of the public, he might have accomplished great things. As it was, those to whom he was compelled to appeal could not understand the importance of the purely pictorial qualities which he valued above all else, and instead of sympathy he found antagonism. As a fact indicating the difficulties which stood in his way, it is interesting to know that the first idea for the mural paintings, _The Flight of Night_ and _The Discoverer_, which he executed in the new Capitol at Albany, shortly before his death, was conceived over thirty years ago. It is not to be wondered at, therefore, that his mind was embittered, and his work even more unequal than that of so many of his older colleagues. But even so he has left a number of works, as for instance the original sketch for the _Flight of Night_, several portraits, and a _View of Gloucester Harbour_, which will always be counted among the triumphs of American art. Prominent among the American students in the French school was ROBERT WYLIE, a native of the Isle of Man, who was brought to the United States when a child, and died in Brittany at the age of about forty years in 1877. His _Death of a Breton Chieftain_, in the Metropolitan Museum of New York, and _Breton Story-Teller_, in the Pennsylvania Academy, two very fine pictures, although somewhat heavy in colour, show him to have been a careful observer, with a power of characterisation hardly approached by any other American painter.