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,