ily name we
are ignorant and who is known only under the appellation of Ju-sue,--in
Japanese Josetsu. He left China, where the domination of official art
stood in the way of an independent career, carried the traditions of Sung
and Yuean art to Japan, gathered pupils about him there, and had the glory
of being the founder of that magnificent school of which Sesshiu is the
leading exponent. There is only one small painting which can be attributed
to Ju-sue with certainty. This is preserved in a Japanese temple.
Unfortunately it is a work of small importance which, notwithstanding its
intrinsic value, by no means furnishes sufficient information to enable us
to pronounce on the authenticity of several other works which are said to
be by his hand. We find in the latter an extremely individual art, in
accordance with early traditions, but with the addition of something
fanciful and unexpected which gives this painter marked distinction.
Having worked outside of China, however, his influence was not felt in the
evolution of Chinese painting.

In the seventeenth century Ming art came in contact with the art of the
Europeans. The methods and rules of the Italian ateliers of the end of the
Renaissance were brought to China by missionary painters whose talent was
of a secondary order. The system of monocular perspective and modeling,
strongly accentuated by the opposition of light and shade, made a forcible
impression on the Chinese mind. Indications of this are found in the
Chinese books on art. But the technical methods were too different and the
systems too much at variance to meet on any common ground. Notwithstanding
its effect upon certain painters, the influence of European painting was
on the whole negligible. Father Matteo Ricci worked at the end of the Ming
period under the Chinese name of Li Ma-tu and Father Castiglione, at the
beginning of the Ch'ing dynasty, used the name of Lang Chue-ning, but,
although the former continued to use European methods, while the latter
adopted the Chinese procedure, these were only isolated efforts submerged
in the great wave of Asiatic evolution.

VIII. THE CH'ING PERIOD--SEVENTEENTH TO TWENTIETH CENTURIES

The Ch'ing or Manchu dynasty, whose downfall we have recently witnessed,
brought no new vigor to China. Barbarians once again invaded the aged and
enfeebled empire usurping the methods, history and organization of the
preceding periods. The change in China at the end of th