wonderful piece of patience - so much should be said for it.

Millet's man with the hoe sitting down is the strongest piece of
sculpture in this gallery. The figure doubtless belongs to an older
school, as its discolorations as well as its technical treatment
indicate. Alongside the rest of the things in this small room it is, in
spite of being carried somewhat too far, very forceful and convincing.
No matter whether the man succumbed to the dreariness of work or to the
malarial fever of the Pontine swamps, all that has ever been said about
Millet's man and the terrible fatalism of his facial expression is found
in this piece of sculpture.

Rodin's influence is making itself felt in most of the other pieces in
this room, as in the Vedani kissing pair. The beautiful colour in the
marble in this group puts much life into it. Nicolini's work shows much
breadth and a fine mastery of form. A frame of animal plaques by Brozzi
adds considerably to the artistic merit of the sculpture. A certain
muscular mannerism is evident in all of them, though not in the least
disturbing.

Gallery 24.

Two portraits by Enrico Lionne of very repulsive colour are prominently
hung in the east gallery, without convincing one in the least of this
artist's high standing at home. Cold and artificial, they are not
deserving of the prominent place they occupy. Near the door on the
opposite wall Vincenzo Yrolli presents a street musician and his
audience in a canvas riotous with good colour. The composition and the
literal technical treatment of this work commend themselves highly by
good judgment and spontaneous handling. The two figure pictures by