Meissonier, Tissot, Monticelli and Rousseau. It has two Corots, one a
delight. Room 62 is even more important. It offers a Millet, far from
typical; a capital Schreyer, two portraits by the German Von Lenbach, a
small but interesting sample of Alma Tadema's finished style, and the
sensational "Consolatrix Afflictorum" by Dagnan-Bouveret. Better still,
in Jules Breton's "The Vintage" and Troyon's "Landscape and Cattle" it
has two of the noblest paintings to be seen in the entire Palace,--
pictures that show these great masters at their best.

Room 61 is mainly devoted to the early Impressionists, with seven
canvases by their leader, Claude Monet, and other landscapes by Renoir,
Pissaro and Sisley, and a brilliant interior (No. 2343) by Gaston La
Touche. The pictures by Monet illustrate his progress from the hard
conventionalism of his early academic style (seen in 2636) to such
delightful embodiments of light and atmosphere as 2633 and 2637. The
gallery contains no more triumphant piece of Impressionism than the
saucy "Lady in Pink" by the Russian, Nicholas Fechin. The story set
afloat that it is the work of an untaught Russian peasant simply
testifies to ignorance of this master. Every splotch of color here
breathes technique. As if by way of contrast, the opposite wall shows
one of Puvis de Chavannes' classical murals, even more anaemic than
usual.

The large room No. 63 shows a Venetian sunset by Turner, two portraits
by Goya, another attributed to Velasquez, a splendid Raffaelesque
altar-piece by Tiepolo, the like of which rarely leaves Italy, and
canvases by Guido Reni, Ribera, and Van Dyke. Almost all the remaining
space is taken up by excellent examples of the British art that
influenced the early American painters, with some of prior date. Here
are canvases by Lely, Kneller, Hogarth, Reynolds, Gainsborough, Hoppner,