medal), and the two Beals. Gifford Beal's work won a gold medal. Room
72, a gallery in the academic style, contains a variety of portraits,
figure paintings and landscapes, including W. R. Leigh's spirited
"Stampede," and the more conventional work of Walter MacEwen. No. 71 is
another varied room. In addition to some landscapes, the visitor will be
struck by the small but exquisite exhibit in gold, enamel, and precious
stones of Louis C. Tiffany.

The western tier of this section, Rooms 43-51, contains work of all
grades of merit. No. 43 is conglomerate. Perham Nahl's well drawn
"Despair" (2690) is perhaps best worth mention. In No. 44 Putthuff's two
brown western scenes and Clarkson's portrait of E. G. Keith are
interesting. No. 45 is better. Walter Griffin's opulent landscapes
(medal of honor) are well worth studying. Here also are two canvases by
Robert Reid, one almost Japanese in its effect; the restrained
landscapes of William Sartain, and Charles Morris Young's sharply
contrasting "Red Mill' and "Gray Mill," with his characteristic wintry
landscapes. Reid and Young won the gold medal. In No. 46 are a
half-dozen delicately handled landscapes by Frank V. Du Mond, a member
of the jury. In No. 47 E. L. Blumenschein's warm Indian pictures and A.
L. Groll's desert scenes won silver medals. But the best thing here is
Richard E. Miller's "Nude," already mentioned.

On the east wall of Room 48 hangs "Sleep," the best of the eight
canvases shown by Frederic Carl Frieseke, distinguished above all other
American painters in the palace by the Exposition's grand prize. Seven
other pictures by Frieseke, interesting by reason of comparison with
this masterpiece, hang in Room 117. In Gallery 48 are also some good
landscapes,--Robert Vonnoh's "Bridge at Grez" and Cullen Yates'
"November Snow." In No. 49, a better balanced room than most in this