Turn to the article on _Painting_ and look at the sub-title, “Recent Schools.” Under “British” you will find twelve columns, with inset headings. Under “French” you will find only seven columns, without insets. Practically all the advances made in modern art have come out of France; and practically all important modern painters have been Frenchmen. England has contributed little or nothing to modern painting. And yet, recent British schools are given nearly twice the space that is devoted to recent French schools! Again regard the article, _Sculpture_. Even a greater and more astonishing disproportionment exists here. Modern British sculpture is given no less than thirteen and a half columns, while modern French sculpture, of vastly greater æsthetic importance, is given only seven and a half columns! VI NON-BRITISH PAINTING If the same kind of panegyrics which characterize the biographies of the British painters in the _Encyclopædia Britannica_ were used in dealing with the painters of all nationalities, there could be made no charge of either unconscious or deliberate injustice. But once we leave Great Britain’s shores, prodigal laudation ceases. As if worn out by the effort of proving that Englishmen are pre-eminent among the world’s painters, the editors devote comparatively little space to those non-British artists who, we have always believed and been taught, were the truly significant men in painting. Therefore, if the _Britannica’s_ implications are to be believed, England alone, among all modern countries, is the home of genius. And it would be difficult for one not well informed to escape the impression that not only Turner, but English painting in general, is “like the British fleet among the navies of the world.” A comparison, for instance, between English and French painters, as they are presented in this encyclopædia, would leave the neophyte with the conviction that France was considerably inferior in regard to graphic ability, as inferior, in fact—if we may read the minds of the _Britannica’s_ editors—as the French fleet is to the British fleet. In its ignorant and un-English way the world for years has been laboring under the superstition that the glories of modern painting had been largely the property of France. But such a notion is now corrected.