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