Philadelphians who contribute to them, its schools are stifled with scholarships.
The other Art Schools have multiplied, not faster, however, than the students whose legions account for, if they do not warrant, the existence not of the Academy Schools alone, but of the School of Industrial Art, the Drexel Institute, the Woman's School of Design, the Uncle's old little experiment enlarged into a large Public Industrial Art School where, I am told, the Founder is comfortably forgotten—of more institutes, schools, classes than I probably have heard of.
The Art Galleries have muiltiplied: there is some reason for Memorial Hall now that the Wilstach Collection is housed there, and the Yellow Buskin, one of the finest Whistlers, hangs on its walls, now that the collections of decorative art are being added to by Mrs. John Harrison and other Philadelphians who are ambitious for their town and its supremacy in all things. Nor does this Philadelphia ambition soar to loftier heights than in the project for the new Parkway from the City Hall with a new Art Gallery—the centre of a sort of University of Art if I can rely upon the plans—to crown the Park end of this splendid (partially still on paper) avenue, as the Arc de Triomphe crowns the western end of the Avenue of the Champs-Elysées.
The collectors multiply, their aims, purse, field of research, all expanding; their shyness on the subject surmounted; Old Masters for whom Europe now weeps mak-
