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.

The French representation deserves much credit for a great number of
reasons, not least for an astounding versatility, always accompanied by
technical excellence.



Italy