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Rh President Wilson in April 1913. In 1914 he announced his discovery of the house, 66 Piazza di Spragna, in which Byron had lived at Rome in 1817. In 1915 he induced the Italian Govern- ment to raise the 'ban on the reexportation of cotton goods routed by American shippers via Italy to other countries. He earned the gratitude of the Italians by his relief work during the Avezzano earthquake in 1917. After America entered the World War he defended Italy against the charge of backward- ness in conducting her campaign by pointing out the obstacles confronting her soldiers in the Alps.

He resigned as ambassador in April 1918 and returned to America. His writings after 1910 included Robert E. Lee, Man and Soldier (1912) ; The Land of the Spirit (1913) ; Tommaso Jefferson, Apostolo delta Liberia (1918, prepared for an Italian series); Italy's Rela- tion to the War (1920) and Italy and the World War (1921). PAGE, WALTER MINES (1855-1918), American editor and diplomatist, was born at Gary, N.C., Aug. 15 1855. After graduating from Randolph-Macon College, Va., in 1876, he was appointed one of the first 20 fellows of the newly established Johns Hopkins University. He taught for a time in Louisville, Ky., and then accepted the editorship of the St. Joseph, Mo., Daily Gazette. After two years (1881) he resigned to travel through the South, having arranged to contribute letters on southern sociological conditions to the New York World, the Springfield Republican and the Boston Post. These letters were helpful in educating the North and the South to a fuller understanding of their mutual dependence. In 1882 he joined the editorial staff of the New York World and wrote a series of articles on Mormonism, the result of personal investigation in Utah. Later in the same year he went to Raleigh, N.C., where he founded the Stale Chronicle, but re- turned to New York in 1883 and for four years was on the staff of the Evening Post. From 1887 to 1895 he was, first, manager and, after 1890, editor of The Forum, a monthly magazine; and from 1895 to 1900 was literary adviser to Houghton, Mifflin & Co., and for most of the same period editor of the Atlantic Monthly (1896-99). When the house of Doubleday, Page & Co. was organized in 1899, his duties were divided between editorial and publishing work, for he was not only a partner in the publishing house but also editor of its magazine, the World's Work. In March 1913 President Wilson appointed him to succeed White- law Reid as ambassador to England.

Mr. Page was hardly known in England when he was appointed, but during his tenure of office he gradually established him- self as one of the great line of American ambassadors. None had ever worked more assiduously than he did for Anglo-American solidarity, and his speeches though he was no orator were always marked by absolute sincerity and by well-informed ap- peals to history. His position was a delicate one after the out- break of the World War, when German and Austrian interests in England were placed in his hands. He was thoroughly loyal to his country in his conduct, although sympathetic with the Allies. Among the problems with which he had to deal were the British claim of the right to stop and search American ships, including examination of mail pouches; the commercial blockade (1915) and the " blacklist," containing the names of American firms with whom all financial and commercial dealings on the part of the British were forbidden (1916). He had the satisfaction of seeing the United States through its period of neutrality without friction, and then representing it as a partner in the war. In Aug. 1918, finding his strength exhausted, he resigned as am- bassador and returned to America in September. He was critically ill on arrival, and after a short rally died at Pinehurst, S.C., Dec. 21 1918. No man ever served his country, or the cause of Anglo-American friendship, more strenuously. While in Great Britain he was honoured with degrees by the universi- ties of Aberdeen, Edinburgh, Sheffield, Cambridge, and Oxford. He was the author of The Rebuilding of Old Commonwealths (1902) and The Southerner, a Novel: Being the Autobiography of Nicholas Worth (1909). PAGET, FRANCIS (1851-1911), English divine, was born March 20 1851, the second son of the surgeon Sir James Paget (see 20.451). His brothers, Sir John R. Paget, 2nd Bart., the lawyer (b. 1848), the Rt. Rev. Luke Paget (b. 1853), who was Bishop of Stepney, from 1909 to 1919, and was then translated to the see of Chester; and Stephen Paget, the surgeon and au- thor (b. 1855), all became well-known men. Francis Paget was educated at Shrewsbury and Christ Church, Oxford, where he had a distinguished career, taking first classes in classics, winning the Hertford scholarship (1871) and the chancellor's Latin verse prize (1871); he was elected senior student of Christ Church (1873) and tutor (1876), taking holy orders in 1875. In 1885 he was appointed regius professor of pastoral theology, and in 1892 dean of Christ Church. He contributed the essay on the sacra- ments to Lux Mundi. He became Bishop of Oxford in 1901, and was a member of the Royal Commission on Ecclesiastical Disci- pline 1904-6. He died in London Aug. 2 1911. PAGET, LOUISA MARGARET LEILA WEMYSS, LADY (1881- ), was born in London Oct. 9 1881, the daughter of Sir Arthur Henry Fitzroy Paget (b. 1851), a descendant of the 1st Marquess of Anglesey. She married in 1907 a connexion of her own, Sir Ralph Spencer Paget, who had a distinguished career in the diplomatic service, and was from 1916 to 1918 minister to Denmark and from 1918 to 1920 first ambassador to Brazil. In 1915 Lady Paget organized a Red Cross hospital for service in Serbia, and was stationed at Uskub, having to remain there when the town was occupied by the Bulgarians, Oct. 1915. She was allowed to use her stores for the relief of refugees, and relieved a great deal of suffering. In Feb. 1916 she was transferred to Sofia, and in April returned to England. In 1915 she was invested with the order of St. Sava by the Serbian Government and in 1917 received the GB.E. PAINTING (see 20.459). The end of the igth century saw in painting the triumph of " impressionism " in its widest sense and the reproduction of visual appearance as a whole accepted as the main business of a painter. 1 But with the heterodoxy of the igth century become the orthodoxy of the 2oth, another movement has arisen in revolt against impressionism, giving to painting between 1900 and 1921 its distinctive character: and just as the victory of impressionism was a French victory, so this new movement is mainly French in origin, though its manifestations elsewhere have taken colour from national characteristics. The change in the centre of gravity of art has, however, been greater in appearance than reality. The older academic traditions still survive; and advances by official bodies and the public have been met by concessions to orthodoxy among some followers of igth- century heretics.

Across these main movements has cut the influence of the World War. At first it threatened to limit artistic output severely, but the check was only temporary. A huge demand arose in the belligerent countries from individuals and public bodies for illustrative, propagandist or commemorative work, which bore fruit in posters and cartoons; in the formation of official collections such as the Canadian War Memorials and a section of the Imperial War Museum; and in decorative paintings for memorial purposes, such as have been commissioned in France by the State and municipalities. The chief interest of this work is that of a document, showing what men did, felt and thought during the war, and of giving a summary of the condition of art at the time in various countries. The aim of the British and Canadian official collection was definitely to preserve a pictorial record of the war in all its aspects, and, consequently, much of the work is only the skilful application of a technique to a set task, and not the expression of a new vision. The same applies to most of the memorial decorations produced in France; only some etchings and lithographs produced independently of official action show any really personal emotion. Similarly, though in all countries the posters were the work of prominent artists, little

1 Unfortunately for clarity of exposition, the term " impressionist," originally applied to the group of artists round Claude Monet, painters in a high key using a palette limited to white and the spectral colours, has been given a wider meaning, especially in England. To avoid mistake, the term is here used throughout to describe that group and their followers, and does not cover painters such as Monet in his early period, or Whistler, whom the wider signification might include.