REPORT OF MR. MILLETT.
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as Dutch art, because the arbitrary political division of these two countries has existed only for twenty-one years, and in art, least of all, are the}^ two countries. I will not attempt to account for the richness of color that is certainly found, to an exceptional degree, in the Netherlands, or to analyze the causes that have developed a peculiar love for color, and fatness of tones and contours in the native artists and the people at large. Overflowing with natural spirits, and physically robust and hearty, the people—and above all, the Flemings— have all the impulsiveness of children, and a horror of everything that is meagre, indecisive and tame. In the warm countries, where the greater part of life is passed out of doors, and where family ties are "weak, and comparatively of little importance, the artist naturally seeks his subjects in the creations of his imagination ; but in the low countries, where a somew T hat rigorous climate forbids an extended out- door life, motives are found in the scenes of family life, the interiors, and kindred subjects. The birth-place and home °f the genre, and the nursery of a high realism, the Netherlands develops a class of artists who incline more naturally to the representation of positive fact and simple expression, than to the illustration of the deeper and more delicate sentiments. In point of execution, they are in advance of any school; and in keen perception of the beauties of color, and in innate ability to represent fine distinctions of tone, they also take the lead. Delight in the charms of color is, it seems to me, one of the highest enjoyments of our nature, and the gratification of this sense is one of the noblest aims °f art. The Netherlander often impress by their harmonious and sympathetic coloring, when, in other respects, the picture *nay be comparatively expressionless. This element of judicious composition of color, which should always march a jpas e 9al with other, and, in general, more popular conditions of superior work, is a salutary one in the influence of the art of the Netherlands, and to the high standard adopted by this school in the direction of color and tone as important qualifications of artistic execution, all artists do homage.
That sentiment is by no means lacking in even the average Productions of the Belgian and Dutch artists, and is occasionally found in its most exalted expression, while, as a rule,