characterization of the sleek dealer and the stupid helplessness of the bloated customer and his wife, who seem hypnotized by the wicked eye in the picture. As a piece of modern genre in a much neglected field, it is one of the finest things of recent years. On the extreme left of this wall a very fine bit of painting of an Arabian fairy tale by E. Dinet deserves to be mentioned.

Almost opposite this small canvas Lucien Simon has a large picture painted with the bravura for which he is famous. The atmosphere of this fine interior is simply and spontaneously achieved, and the three figures of mother, nurse and balky baby are excellently drawn. The still-life by Moride, to the left of this picture, shows all the earmarks of the modern school without sacrificing a certain delicacy of handling which is often considered by many modern painters a confession of weakness. A fine Dutch canvas on the extreme left of this wall, by Guillaume-Roger, attracts by a fine decorative note seldom found in pictures of French easel painters.

The east wall of this gallery is distinguished by a number of fine landscapes by different men. Beginning on the left side of the door Jules-Emile Zingg presents two tonally skillful winter landscapes of great fidelity, while on the right is Henry Grosjean's delicate atmospheric study of a broad valley floor. A decorative watercolour of the Versailles Gardens, by Mlle. Carpentier, commands admiration by reason of its fine composition as well as by the economical but effective technique of putting transparent paint over a charcoal drawing. The sculpture in this gallery is of no great moment. Like much of the modern French sculpture it is very well done in a technical sense without disclosing great concentration of mind.

Gallery 17.

A variety of subjects continues to impress one in this gallery. Portraits, landscapes, and historical subjects, with here and there a genre note, make the general character of the French exhibit, showing at every turn the great technical dexterity for which French art has long been celebrated. There is no picture of outstanding merit in this gallery, unless one would single out a very sympathetic, simple landscape by Paul Buffet and the Lucien Griveau landscape called "The Silver Thread," diagonally opposite, a canvas of rich tonality and distinctive composition.

Gallery 16.

An adjoining gallery toward the east has a great number of excellent pictures to hold the attention of the visitor. To begin with the figure painters, the Desch portrait of a little girl in empire costume appeals by its genuinely original design. The carefully considered pattern effect of this canvas is most agreeable and well assisted by a very refined colour scheme. Although a trifle dry, the quality of painting in this canvas is the same as that which makes Whistler's work so interesting. This painting is one of the great assets of the French section, and to my mind one of the great pictures of the entire exhibition. Balancing the Desch canvas, one finds another figural canvas of great beauty of design, by Georges Devoux. "Farewell," while of a sentimental character, is strong in drawing and composition. It is very consistent throughout. Everything in the picture has been carefully considered to support the poetic, sentimental character of the painting, which is admirably delicate and convincing without being disagreeably weak.

Jacques-Emile Blanche is represented in this gallery by his well-known portrait of the dancer Nijinski. A certain Oriental splendor of colour is the keynote of this canvas, which is much more carelessly painted than most of Blanche's very clever older portraits. On the opposite wall Caro-Delvaille shows his dexterity in the portrait of a lady. The lady is a rather unimportant adjunct to the painting and seems merely to have been used to support a magnificently painted gown. There is a peculiar contrast in the very naturalistically painted gown and the severe interpretation of the face of the sitter. Ernest Laurent's portrait of Mlle. X is typically French in its loose and suggestive style of painting, and easily one of the many good portraits in the gallery.

Among the landscapes Andrč Dauchez' "Concarneau," Charles Milcendeau's "Washerwomen," on the opposite wall, and last but not least, Renč Mčnard's "Opal Sea" - a small picture of great beauty - deserve recognition. Pierre Roche has a statuette of Loďe Fuller in this gallery which is conspicuous by its daring composition and simple treatment.

Gallery 15.

Entering this gallery, the first canvas to attract one's attention, by reason of its boldness of composition and colour, is a large Lucien Simon called "The Gondola." The versatility of this artist is well brought out by another picture of a baby, about to be bathed, previously referred to, and by a third canvas, of "The Communicants," near "The Gondola." Simon seems to have no difficulty in using several mediums and styles of expression equally well, as a comparison between "The Gondola" and "The Communicants" will easily prove. This former picture is the more original of the two technically, in colour as well as in composition. It is in danger of losing one's sympathy by a badly selected frame. Near it hangs a trifolium of virgins, of very anaemic colour. The drawing, however, is so very sensitive in this canvas that it makes good for the unconvincing anaemic colour scheme.

The gem of this gallery is a small landscape of Amédée-Julien Marcel-Clément, of extraordinarily fine composition. A fine decorative quality is its chief asset, and its sympathetic technical handling adds much to the enjoyment of this picture. Bartholemé's kneeling figure in the center of the room is of wonderful nobility of expression and entirely free from a certain extreme physical naturalism so often found in modern French sculpture.

Gallery 14.

Passing into the next gallery, where figural pictures predominate, a very swingy composition of a Brittany festival, by Charles-René Darrieux, is most conspicuous, for the forceful handling and the fine quality of movement which characterize the procession of figures rhythmically moving through the picture. Of the two large nudes on the same wall, one, a Besnard, is vulgarly physical, although well painted, and the other too insipid to make one feel that the French penchant for nudes is sufficiently justified. Le Sidaner's poetic evening recommends itself for the quiet intimacy with which it is handled. Herrmann Vogel's portrait of a gentleman in a chair, also on the east wall, while not very spontaneous in handling, is interesting nevertheless in its composition and the psychological characterization of the sitter. Most of the other pictures in this gallery have really not enough individual character to single them out, no matter how high their general standard may be.

Gallery 13.

The last and smallest of the French galleries is given over to some recent phases of French art. After looking at the serious work of the French in the other galleries, a first-hand acquaintance with this medley of newest pictures is hardly satisfactory. There is a feeling of affected primitiveness about most of them, particularly in a small canvas of a bouquet of flowers in a green vase, which is the acme of absurdity. If Odilon Redon wanted to be trivial, he has achieved something quite wonderful. Certain ultra-modern manifestations of art are never more intolerable than when seen together in large numbers, as in this gallery. Still, the French section can well afford some of these experimenting talents, since the general character of their other work is so high. Maurice Denis' canvas of a spring procession, in just a few silvery tones, is really lovely; the large number of decorations by him, all around on the second line, scarcely comes up to the beauty of this small canvas.