ainting of a bird of prey, even
when there is evidence that it was painted two or three centuries later
than his time. Perhaps before long we shall find authentic paintings by
Hui Tsung. A painting belonging to the Musee Guimet, which comes from the
collection of Tuan Fang, is the one which by its annotations bears the
greatest guaranty of authenticity, but it is a representation of a figure
painting of the T'ang dynasty and gives us no information as to the manner
in which Hui Tsung painted eagles. However, certain paintings from his
collections have come down to us. Whether or not by the imperial hand they
proclaim a virile art, an instinct for the grandiose and a majestic
character which are the qualities of which the eagle is a symbol.

The foundation of the Academy of Calligraphy and Painting had results
quite other than those hoped for by its founder. It became imbued with the
evils of formalism. It was established in the imperial capital in court
surroundings, in other words, in an atmosphere from which true artists
depart with all possible speed. It suffered inevitably through the
influences of a taste, refined it is true, but which already inclined
toward mannerisms and preciosity. Conventions were established, subjects
became stereotyped, the taste for brilliant colors developed and, even
before the end of the Sung period, there was a marked division between
academic and national art. Pedantry and affectation began to take the
place of boldness and strength.

Doubtless this tendency would have developed still further but for a
series of disasters and the menace of a new dynasty looming on the horizon
of Central Asia, which was already resounding with the clash of Mongol
arms.

VI. THE YUeAN PERIOD--THIRTEENTH AND FOURTEENTH CENTURIES

From the standpoint of civilization the Mongolian dynasty of Yuean brought
nothing to China. On the contrary, the foreign elements were absorbed by
the ancient culture for, in the final summing-up, the mind will always be
stronger than weapons. From the standpoint of painting, however, this
period has marked individuality.

The Sung period had been distinctly dominated by the ideals of Southern
China. Philosophical inspiration had proven too strong to permit the style
of the Northern School to assert absolute sway. In this we must make an
exception of Buddhist painting, which,--save in the work of a few chance
painters of religious subjects--continues the traditions o