In the article on _Pictorial Photography_ in this aggressibly British reference work we find the following: “It is interesting to note that as a distinct movement pictorial photography is essentially of British origin, and this is shown by the manner in which organized photographic bodies in Vienna, Brussels, Paris, St. Petersburg, Florence, and other European cities, as well as in Philadelphia, Chicago, etc., following the example of London, held exhibitions on exactly similar lines to those of the London Photographic Salon, and invited known British exhibitors to contribute.” Then it is noted that the interchange of works between British and foreign exhibitors led, in the year 1900, “to a very remarkable cult calling itself ‘The New American School,’ which had a powerful influence on contemporaries in Great Britain.” The foregoing brief and inadequate statements contain all the credit that is given America in this field. New York, where much of the foremost and important work was done, is not mentioned; and the name of Alfred Stieglitz, who is undeniably the towering figure in American photography as well as one of the foremost figures in the world’s photography, is omitted entirely. Furthermore, slight indication is given of the “powerful influence” which America has had; and the significant part she has played in photography, together with the names of the American leaders, is completely ignored, although there is quite a lengthy discussion concerning English photographic history, including credit to those who participated in it. For instance, the American, Steichen, a world figure in photography and, of a type, perhaps the greatest who ever lived, is not mentioned. Nor are Gertrude Käsebier and Frank Eugene, both of whom especially the former, has had an enormous international influence in pictorial photography. And although there is a history of the formation of the “Linked Ring” in London, no credit is given to Stieglitz whose work, during twenty-five years in Germany and Vienna, was one of the prime influences in the crystallization of this brotherhood. Nor is there so much as a passing reference to _Camera Work_ (published in New York) which stands at the head of photographic publications.