THE FREER GALLERY OF ARE 
paintings by men, inheritors of European traditions, in 
whose work he found qualities and tendencies sympathetic 
with those of earlier painters in China and Japan. Most 
important in the Western field, as represented in these 
collections, is a section devoted to the work of James 
McNeill Whistler, including oil paintings, water colors, 
pastels, etchings, lithographs, engravings, drawings, and 
also the Peacock Room, which has been removed from the 
house in London where it was decorated by Whistler for 
Mr. F. R. Leyland. In the American field there are also 
representative groups of paintings by Thomas W. Dewing, 
Abbott H. Thayer, and Dwight W. Tryon; and examples 
of the work of George de Forest Brush, Childe Hassam, 
Winslow Homer, Gari Melchers, Willard Metcalf, John 
Francis Murphy, Charles A. Platt, Albert P. Ryder, John 
Singer Sargent, and John H. Twachtman. 
“From the East, he gathered paintings, potteries, sculp¬ 
tures in stone, in wood and in lacquer, bronzes, jades, 
and objects of various other materials. The Chinese field 
is represented by the largest number of objects covering 
the longest period of time. Some of these specimens were 
produced as early as the Chou Dynasty (1122-255 b.c.) 
and some of them were made as recently as the Ch’ing 
Dyn asty (a.d. 1644-1912). The Chinese paintings num¬ 
ber over 1,200, including panels, scrolls, and albums; and 
the Japanese paintings, about 800, including also screens. 
The potteries from the Far East,—China, Japan, and 
Korea,—number about 1,500; the stone and wood sculp¬ 
ture, 273; and the bronzes, including several specimens 
from Siam, about 900. 
“From the Nearer East, Mr. Freer purchased miniature 
paintings and illustrated books of Persian origin, Persian 
'and West Asian potteries, many of them of Rakka type, 
and a few specimens of bronze and silver. Muhammadan 
art is further exemplified by a number of East. Indian 
paintings. 
“Dynastic Egypt is more slightly represented by a 
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