texture. All that differentiates the art of France to-day from that of
other countries is her own inimitable, delicate, inherent taste and
touch. The subject matters little; the French perception and execution
are there. Where other canvases offer--say a beautiful glow--the
French picture "vibrates." If other works are finished, these have
finesse. There is similar spirit in the Italian galleries, with a
variation due to national characteristics rather than to difference of
opinion or method. The Italian pictures fully occupy the mind and eye;
the French often fascinate by something more than skill and color. Both
countries have placed their older art, and some of its best, in their
official pavilions.

France.--In the French Section, Room 12 contains a diverse collection
of water color, drawing, engraving, and painting, among the latter,
Henry Grosjean's "The Bottoms" (365). Room 13, full of strongly
contrasting work, is distinguished by Maurice Denis' daring decorative
panels. Here also is Claude Monet's "Vetheuil" (452), the same scene,
though not the same picture, as his No. 2634 in Room 61. Comparison is
interesting for the difference in touch, though both were painted in the
same year. Francois Flameng is represented here by "Paris" (346), not so
compelling as his "Madame Letellier" (345), and "Fete Venetienne" (344),
in Rooms 18 and 14. Room 14, containing a good many decorative canvases,
has also, besides Flameng's "Fete," two of the extreme Impressionistic
paintings of Henri Martin, "The Lovers" (432), and his own dim "Self
Portrait" (433). Two colorful Breton scenes (302) by Darrieux, and (406)
by Le Gout-Gerard stand out on the north wall. Room 15 shows some
charming pieces,--Lucien Simon's strongly contrasting work in the
spiritual "Communicants" (494) and his barbaric "Gondola" (495);
Domergue's "The Frog" (324), Besnard's glowing "Gipsy" (255), and
Lemordant's "The Wind" (409). These last give a strong color to the