Messrs. Dew - dee - well send us a Chart of the Flemish, French,
German, Dutch, Spanish, and British Schools of Painting (.21 net). The period of time covered by it is 1350-1800. "Its object is to show, in the term of a diagram, the connection between all the more important painters of these schools." This, indeed, is a specially useful part of the scheme. We may take as an example Rembrandt. Lines are drawn from his name to those of Jacob A. Backer, W. de Poorter, and S. Keninck. These three were nearly contemporary. Lower down we find, similarly connected, the names of B. Plink and G. Don. These were a few years later. From G. Don we have a connecting line with the tames of H. Swanewelt and others. When we say that there are more than nine hundred names in the whole chart-these are separately arranged in alphabetical order-and some thirty or forty in the Rembrandt group alone, it will be seen that it is a very elaborate affair,-a most convenient part of the Apparatus Lf study to any one interested in the subject. Chart II., dealing with the Italian schools, is to follow. Observe that Italy is to have a &art to herself.
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