Chinese painters, said the lecturer, had never given prominence to the human figure for the reason that in their psychology man is not important as the great forces and results of nature, They had preferred landscape painting to portraiture o rather had found scope for their peculiar genius in the former, Sculpture had not influenced their ideas on the basis of modelling, but their art wa rather one of line and tone, of contours and space composition.
Chinese art insisted upon sym-merry and harmony, the proper harmony with one part to another, Dr. Ferguson pointed out. The Principle of unity must ran through the design, the drawing and the colouring ' of © painting. These Paintings had been variously class sifed, but the most usual division was into ten sections: subjects, human figures, architect tural views, barbaric lite life, landscapes, animals, flowers, bamboos, fruit and vegetables. "These were formal divi but they indicated the conception of the harmony which controlled any single painting. Every painting must belong to a class.
Text read from the printed page and cleaned; old type leaves the occasional error.