Despite, however, the curtailed and inferior consideration given Continental art, it does not suffer from prejudicial neglect nearly so much as does American art. This is not wholly surprising in view of the contempt in which England holds the cultural achievements of this country—a contempt which is constantly being encountered in British critical journals. But in the case of an encyclopædia whose stated aim is to review impartially the world’s activities, this contempt should be suppressed temporarily at least, especially as it is from America that the _Encyclopædia Britannica_ is reaping its monetary harvest. There is, though, no indication that England’s contemptuous attitude toward our art has even been diminished. Our artists are either disposed of with cursory mention or ignored completely; and whenever it is possible for England to claim any credit for the accomplishments of our artists, the opportunity is immediately grasped. It is true, of course, that the United States does not rank æsthetically with certain of the older nations of Europe, but, considering America’s youth, she has contributed many important names to the history of painting, and among her artists there are many who greatly surpass the inconsequent English academicians who are accorded generous treatment. The editors of the Encyclopædia may contend that the work was compiled for England and that therefore they were justified in placing emphasis on a horde of obscure English painters and in neglecting significant French and German artists. But they can offer no such excuse in regard to America. The recent Eleventh Edition of the _Encyclopædia Britannica_ was printed with the very definite purpose of selling in the United States; and the fact that they have sold many thousand copies of it here precludes any reason why American artists should be neglected or disposed of in a brief and perfunctory fashion. An American desiring adequate information concerning the painters or sculptors of his own country will seek through the _Encyclopædia Britannica_ in vain. If he is entirely ignorant of æsthetic conditions in America and depends on the Encyclopædia for his knowledge, he will be led to inaccurate conclusions. The ideas of relative values established in his mind will be the reverse of the truth, for he cannot fail but be affected by the meagre and indifferent biographies of his native painters, as compared with the lengthy and meticulous concern with which British painters are regarded.