Pietro Chiesa, on an adjoining wall to the right, ought to be
remembered, and also an interior on the opposite wall by Vianello.

Gallery 25.

In the last of the Italian galleries, on the west wall, we observe the
unusual spectacle of a whole family of artists distinguishing itself in
a group of pictures. There is Beppe Ciardi, the father; Guglielmo, the
son; and Emma, the daughter. All of their pictures are conspicuous for
their saneness and big feeling. The father, Beppe, with the center
canvas, has not the breadth and bigness that is so typical of both the
son's pictures of similar subjects. The skies in the younger man's
pictures are particularly fine. The daughter's single canvas, on the
left, to me seems even better than those of both father and brother. A
certain imaginative quality, shown in this big formal garden,
constitutes Emma Ciardi's superiority over the rest of the family. On
the whole the showing of this family is excellent in every way.

The landscapes in this gallery are far above those mentioned in the Tito
gallery. In fact there are so many other good pictures that a mere
mention of names must suffice. From the Ciardi group on toward the
right, Guido Marussig's "Walled City", Italico Brass' "Pontoon Bridge",
and particularly Scattola's "Venice" are all worthy of comment.
Scattola's picture is very sensitively studied, discreetly painted and
full of the poetry of a summer night. Before leaving the Italian
section, Mentessi's big imaginative architectural study should be
appreciated. It will crystallize the visitor's opinion of the general
excellence of Italy's contribution to the exhibition.

As a matter of racial tradition, and not so much because of similarity