very chic and, as a colour arrangement of blue-blacks and flesh colour,
most decorative. The canvas in the center, evidently belonging to an
older period of the artist, has nothing of the direct method of the
accomplished master, although in composition it has a certain bigness.
Tito's art has the full and rich expression of an original personality.

The landscapes in this gallery, of which there are a goodly number, are
all typically Italian in their artificiality of colour and in a certain
sweetness which makes them lose in one's estimation the longer one
studies them. Clever as they are technically, they do not convince and
they do not reflect a thorough knowledge of the spirit of outdoors. All
one admires in the Barbizon men - the lyric feeling of a Corot or the
more dramatic note of a Rousseau - is missing in the modern Italian
landscape as seen in these pictures. They are flippant in their catchy
technique and in the absence of any thought.

Gallery 22.

This room is dominated by three portraits by Antonio Mancini, of unusual
cleverness and very fine psychological characterization. Mancini's work
grows on one. While seeming at first rather loose and superficial, these
portraits disclose on more intimate study a fine constructive quality.
They are not particularly interesting in colour; as a matter of fact
they are very monochromatic. Their appeal is based on an intensely
serious quality of studious experimentation, which a very sketchy
technique cannot hide. To the left of the three Mancinis hangs a simple
picture of large proportions called "Maternity," by Pietro Gaudenzi.
This is one of those modern interpretations of the birth of Jesus which
appeals by the individualistic note. The picture is sympathetic by
reason of its restriction to a few simple facts. No doubt it will fail