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 Andrè Dauchez' "Concarneau," Charles Milcendeau's
"Washerwomen," on the opposite wall, and last but not least, Renè
Mènard's "Opal Sea" - a small picture of great beauty - deserve
recognition. Pierre Roche has a statuette of Loïe 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