to receive a wide appreciation, since sociologically any picture of its
type disclosing human life under poverty-stricken conditions is rarely
approved by the public. Nevertheless one of the greatest of all stories
is, with feeling and restraint alike, well rendered on this canvas.

On the opposite wall Arturo Noci has a very striking interior. There is
nothing tricky about this most effective canvas. The result is simply
and directly attained by good, sound painting. The red curtain in the
distant room is a trifle raw and refuses somewhat to take its place in
the picture. Two landscapes on this wall deserve mention for their fine
skies and their decorative note. Giuseppe Carosi's little landscape with
the oxen is so much better than the one below by the same artist that it
is hard to believe both were done by the same man. "La Valle dell'
Aniene," by Dante Ricci, is big in feeling, well painted, and
unquestionably one of the best landscapes in the Italian section.

Gallery 23.

The east gallery is almost entirely given over to sculpture, with one
exception which is notable so far as the dear public is concerned - a
painting, "The Arch of Septimius Severus," by Luigi Bazzani. I cannot
fathom why Luigi Bazzani should go to all this trouble in trying to
imitate a photograph when the result over which he so painfully laboured
could be done by any good photographer for less than five dollars. It
seems to me an absolutely futile thing to try to represent something in
a medium very badly chosen for this particular stunt. A stunt it is, and
always will be, no matter how much we admire the painstaking drawing and
the infinite care involved. Texturally the canvas is all wrong, because
the sky, the stone, everything in the picture, looks like glass and not
like the various things it is intended to represent. However, it is a