room, relieved by Leroux' calm "Lake" (416), and Maury's delicate young
girls (440).

Room 16 is better balanced. Remembering "The Frog," Domergue's
versatility appears in the portrait of Gina Mabille, the danseuse. A
delicate bit of Impressionism in Le Sidanier's "The Harbor: Landernau"
(418). Two canvases by Menard are hung here. His "Opal Sea" (445) is
charming. Auburtin's decorative panels hang on the north wall. One of
the most notable works of P. Franc Lamy, his golden "Venice: Morning"
(393), will be found on the west wall.

Room 17 shows little of striking interest. Augustin Hanicotte, one of
the few French painters to adopt the strong colors and lights of the
Scandinavian artists, is represented by the gay "Winter in the Low
Country" (381). Andre Dauchez' "Le Pouldu" (304) is a fine brown lowland
landscape. In spirit, though in richer colors, Jean Veber's captivating
"Little Princess" (515) reminds one of John Bauer's Swedish fairy-tale
pictures. Strength and truthfulness characterize Jeanniot's fine group
of Norman fisherfolk (388). (See p. 125.)

Room 18 is better. Note Marie Cazin's "Diana Asleep" (289), done in a
single brown. Here, too, is Flameng's "Portrait of Madame Letellier"
(345). A soft, delicate bit of landscape is Brouillet's "Among the
Dunes" (272), which deserves better than to be hung in a corner. One who
has seen the Futurist pictures in the Annex should not overlook here
Albert Guillaume's "Le Boniment" (370), a rich burlesque on Futurist
art.

Italy.--No other section in the Palace is so finely hung as the
Italian. As no attempt has been made to crowd the rooms, each canvas is