small scale, it is even more refined. Mrs. Saint Gaudens' charming
family group, in burnt clay, is not so well in harmony with this gallery
of older work, but infinitely more appealing than J. Q. A. Ward's
"Hunter" or Cyrus Dallin's "Indian". Both of these groups lack
suggestive quality. They are carried too far. Edward Kemeys' "Buffaloes"
lacks a sense of balance. The defeated buffalo, pushed over the 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superseded by the method of painting on canvas, which after completion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