Coming down to the more modern painters we find even less consideration given them by the _Britannica’s_ editors. Delacroix, who ushered in a new age of painting and brought composition back to art after a period of stagnation and quiescence, is nailed to France as follows: “As a colorist and a romantic painter he now ranks among the greatest of French artists.” Certainly not among the greatest English painters, for Constable is given more space than Delacroix; and Turner, the other precursor of the new era, is “like the British fleet among the navies of the world.” Courbet, the father of modern painting and the artist who revolutionized æsthetics, is given half a column, equal space with those contemporaries of his from across the Channel, Francis Grant, Thomas Creswick and George Harvey. Perhaps this neglect of the great Frenchman is explained by the following early-Victorian complaint: “Sometimes, it must be owned, his realism is rather coarse and brutal.” And we learn that “he died of a disease of the liver aggravated by intemperance.” Courbet, unable to benefit by the pious and elegant _esthétique_ of the _Encyclopædia Britannica_, was never deeply impressed by the artistic value of “daintiness and pleasantness of sentiment,” and as a result, perhaps, he is not held in as high esteem as is Birket Foster, who possessed those delicate and pleasing qualities. The palpable, insular injustice dealt Courbet in point of space finds another victim in Daumier whose biography is almost as brief as that of Courbet. Most of it, however, is devoted to Daumier’s caricature. Although this type of work was but a phase of his development, the article says that, despite his caricatures, “he found time for flight in the higher sphere of painting.” Not only does this create a false impression of Daumier’s tremendous importance to modern painting, but it gives the erroneous idea that his principal _métier_ was caricature. The entire criticism of his truly great work is summed up in the sentence: “As a painter, Daumier, one of the pioneers of naturalism, was before his time.” Likewise, the half-page biography of Manet is, from the standpoint of space, inadequate, and from the critical standpoint, incompetent. To say that he is “regarded as the most important master of Impressionism” is a false statement. Manet, strictly speaking, was not an Impressionist at all; and the high place that he holds in modern art is not even touched upon.