ties, there to lead a new movement in American art, has long since passed into history—also the fact that one of the most remarkable outcomes of this new movement was the new school of illustration that quickly made American illustrated books and magazines famous throughout the world. But what concerns me as a Philadelphian is that, once more at this critical moment, Philadelphia took the lead. The publishers of the illustrated books and magazines may have been chiefly in New York, the illustrations were chiefly from Philadelphia, and there is no reason why Philadelphia should not admit it with decent pride. Abbey and Frost were actually, Howard Pyle and Smedley virtually, Philadelphians. Blum and Brennan passed through the Academy Schools. J., when I met him, was at the threshold of his career. And the illustrators were but a younger offshoot of the new Philadelphia group. Miss Mary Cassatt had already started to work in Paris, where Jules Stewart and Ridgway Knight represented the older Philadelphia school; Mrs. Anna Lea Merritt was already in London; J. McLure Hamilton had finished his studies at Antwerp; Alexander and Birge Harrison had been heard of in Paris where Sargent—who belongs to Philadelphia if to any American town—had carried off his first honours. At home Richards was painting his marines; Poore had begun his study of animals; Dana, I think, was beginning his water-colours; William Sartain had long been known as an engraver; Miss Emily Sartain was an art editor and soon to be the head of an art school; the
