Modern German painting fares even worse than French painting in the pages of the _Britannica_; and while it does not hold the high place that French painting does, it is certainly deserving of far more liberal treatment than that which is accorded it. The comparatively few biographies of German artists are inadequate; but it is not in them that we find the greatest neglect of German achievements in this branch of æsthetics: it is in the long list of conspicuous painters who are omitted entirely. The _Britannica’s_ meagre information on German art is particularly regrettable from the standpoint of American readers; for the subject is little known in this country, and as a nation we are woefully ignorant of the wealth of nineteenth-century German painting. The causes for this ignorance need not be gone into here. Suffice it to say that the _Encyclopædia Britannica_, far from fulfilling its function as a truly educational work, is calculated to perpetuate and cement our lack of knowledge in this field. It would appear that England also is unacquainted with the merits of German graphic expression; for the lapses in the _Britannica_ would seem even too great to be accounted for on the grounds of British chauvinism. And they are too obvious to have been deliberate. Among the important German painters of modern times who have failed to be given biographies are Wilhelm Leibl, the greatest German painter since Holbein; Charles Schuch, one of Germany’s foremost still-life artists; Trübner, who ranks directly in line with Leibl; Karl Spitzweg, the forerunner and classic exponent of German _genre_ painting as well as the leading artist in that field; Heinrich von Zügel, one of the foremost animal painters of modern times; and Ludwig Knaus who, though inferior, is a painter of world-wide fame. Furthermore, there are no biographies of Franz Krüger, Müller, Von Marées, Habermann, and Louis Corinth. When we recall the extensive list of inferior British painters who are not only given biographies but praised, we wonder on just what grounds the _Britannica_ was advertised and sold as an “_international_ dictionary of biography.” It might be well to note here that Van Gogh, the great Hollander, does not appear once in the entire Encyclopædia: there is not so much as a passing reference to him! Nor has Zorn or Hodler a biography. And Sorolla draws just twenty lines in his biography, and Zuloaga less than half a column.