cliff, takes the interest of the observer outside of the center of the composition, and a lack of balance is noticeable in this otherwise well modelled group.

Gallery 91.

In this room one is carried farther back into the earlier phases of painting by a Luini of pronounced decorative quality. The picture is probably a part of a larger scheme, but it is well composed into the frame which holds it. Besides, it is of interest as the only piece of old mural painting included in the exhibition. The ground on which the angel is painted is a piece of the plaster surface of the original wall of which this fragment was a part. The method of producing these fresco paintings (al fresco calco) necessitated the employment of a practical plasterer besides the painter. The painting was first drawn carefully on paper and then transferred in its outlines upon freshly prepared plaster, just put upon the wall. Having no other means of making the paint adhere to the surface, the painter had to rely upon the chemical reaction of the plaster, which would eventually unify the paint with itself. It was a very tedious process, which nowadays has been superseded by the method of painting on canvas, which after completion in the studio is fastened to the wall. Above the Luini hangs a very Byzantine looking Timoteo Viti "Madonna" of interesting colour and good design, but with a Christ child of very doubtful anatomy, and also two old sixteenth century Dutch pictures - a Jan Steen and a Teniers. I have my doubts as to the authenticity of the last two pictures. They are both interesting as disclosing the fondness of the Dutch painters of the sixteenth century for over-naturalistic subjects.

On wall B two pictures, without author or title, appeal to one's imagination. They are both well painted and rich in colour. A certain big decorative quality puts them far above their neighbor - a Dutch canvas of bad composition with no redeeming features other than historical interest. Jacopo da Ponte's big "Lazarus" has a certain noble dignity. Though it is rather black in shadows, it is not devoid of colour feeling. On either side are two old Spanish portraits of children of royalty. They impress by their very fine decorative note, charmingly enhanced by the wonderful frames. Another Ribera, as forceful as the one mentioned before, easily stands out among the many pictures in this gallery, most of which are only of historical interest. The whole aspect of this little gallery is one of extreme remoteness from modern thought and idea, but as an object lesson of certain older periods it is invaluable.

Gallery 92.

Chronologically a typical old Charles Le Brun presides over a very interesting lot of pictures, mostly French. This academic canvas, of Darius' family at the feet of Alexander, has not the simplicity and decorative quality of the Italian pictures of that period, and it is entirely too complex to be enjoyable. The beautiful Courbet on the left, while suggestive of Ribera in its severe disposal of light and shadow, has also a quality of its own, a wonderful mellowness which gives it a unity of expression lacking in its turbulent neighbor on the right.

Among the other bigger pictures in this small gallery, a very poetic Cazin, "The Repentance of Simon Peter," commands attention by a certain outdoor quality which faintly suggests the Barbizon school. One does not know what to admire most in this fine canvas. As a figural picture it is intensely beautiful, and merely as a landscape it is of convincing charm. It is to my mind one of the finest paintings in the exhibition, and a constant source of great pleasure.

The big Tissot offers few excuses for having been painted at all. It is nothing but a big illustration - all it tells could have been said on a very small canvas. There is no real painting in it, nor composition - nothing else, for that matter. The two Monticellis on the same wall make up for the Tissot. Rich in colour and design, the one to the left is particularly fine. The Van Marcke on the same wall is typical of this painter's methods, but does not disclose his talent for very interesting pictorial compositions, for which he was known.

On the opposite wall an older Israels gives lone a good idea of the earlier period of this great Dutch painter, justly counted as one of the great figures of the second half of the last century. While of recent date, his art belongs to the older school - without attaching any odium to that classification. The Barbizon school, the most important of the last century, is very fitly represented by two charming and most delicate Corots on either side of the Israels. The one to the right is particularly tender and poetic. While by no means an attempt at a naturalistic impressionistic interpretation of nature, like a modern Metcalf, for instance, their suggestive power is so great as to overcome a certain lack of colour by the convincingness of the mood represented. Daubigny and Rousseau, of that great company of the school of 1825, are merely suggested in two small and very conscientious studies.

Gallery 62.

This will always be remembered as the gallery of the "Green Madonna". Whatever caused this "Green Madonna" to be honored by a Grand Prix at Paris will always remain one of those mysteries with which the world is laden. Of all disagreeable colour schemes, it is certainly one of the least appealing ever put upon a canvas. It is hardly a scheme at all, since I do not believe the juxtaposition of so many different slimy greens, nowhere properly relieved nor accentuated by a complementary red, can ever be called a scheme. Technically speaking, the canvas is well painted, but it is hardly worthy of the attention its size and subject win. Dagnan-Bouveret has rendered good service as a teacher and also as a painter of animal life, but in this canvas he surely is not up to his best.

The Barbizon men continue to hold one's attention by a splendid Troyon. It is one of the best of his canvases I have ever seen. The little Diaz alongside of it is also typical of this very luminous painter, who often attains a lusciousness of colour in his work not reached by any other of the Barbizon men.

Fortuny, in an Algiers picture, shows the same brilliant technical quality which is so much in evidence in a small watercolor in the preceding gallery. Jules Bastien-LePage's studio nude seems very unhappily placed in a naturalistic background into which it does not fit, and Cazin's big canvas, while very dignified, hardly comes up to the level of his repenting "Simon Peter", in the other gallery. Pelouse's landscape, of singularly beautiful composition and colour, should not be overlooked. It is alongside the Cazin.

While almost all the pictures referred to so far are of the French school, there are three pictures of the older German school - two Lenbachs, one a very accurately drawn portrait of the German philosopher Mommsen, and the other a portrait of himself. They show this powerful artist in two different aspects. While the Mommsen is one of his later, broader pictures, the portrait of himself is of an earlier date, showing the artist as the serious student he has always been. Adolph Schreyer, another German, with his Bedouin pictures, was the pet of the art lovers in his day, and pictures like this can be found in almost every collection in the world.

The miscellaneous sculpture in this gallery is full of interest and gives one a good suggestion of the great mass of small modern sculpture found throughout the galleries. Mora's Indian figures are particularly interesting from their originality of theme. Mora tries hard to be unconventional, without going into the bizarre, and succeeds very well.

Gallery 61.

The difference of appearance in the four older galleries discussed and the one now visited is so marked as to lead one to