been very hospitable to the foreign nations at the loss of our own
physical comfort. The growing demand from some of the foreign nations
for more space than originally applied for has crowded the American
section in some instances into rather uncomfortable conditions. On the
other hand we do not seem to have acquired such attractive ways of
hanging our pictures as the Swedes, Hollanders, or Italians practice;
probably for lack of funds. At any rate the American section looks very
businesslike and very democratic, without all the frills and fancies of
other nations, where every psychological advantage has been taken in
order to make things palatable. We have even been criticized for our
lack of spaciousness in hanging, but let us not grieve over this, since
it does at least save steps in walking from one picture to the next.

Gallery 60.

Our historical section is largely a mausoleum of portraits which really
have no other excuse for existence than historical interest, unless one
excepts the always excellent portraits of Gilbert Stuart, who certainly
stands out in all that dull company of his fellow-painters of his own
time. He is about the only one who can claim professional standards of
workmanship as well as lifelike characterization of his sitters. His
group of pictures on wall A does his great talent full justice. The
mellow richness of the portrait of General Dearborn stands out as a fine
painting among the many hard and black historical documents in this
gallery. The Captain Anthony portrait above is not less important. I
think his technical superiority and breadth of manner must be doubly
appreciated when one considers the absence of any artistic inspiration
in this country in Stuart's time, although he had the advantage of
several lengthy visits abroad, where he was received with approval by
profession and public alike. Most other portraits in this gallery are