properly placed. Room 21 holds the most important paintings honored by
the jury. On the west wall is the work of Ettore Tito, the winner of the
grand prize, five canvases demonstrating both his versatility and his
mastery of color. On the north and south walls are the medal-of-honor
pictures of Onorato Carlandi and Camillo Innocenti, the latter striking
in their golden tone. Coromaldi's rich harvest scenes (26, 27), and a
Leonardo Bazzaro (4) (both gold medallists), hang on the east wall. Not
to be overlooked, though passed by the jury, are Casciaro's warm
landscapes on the north wall and Ricci's "Butterflies" (96), which help
to make this collection one of splendid color.

Room 22 also glows with color. Ferraguti's "Portrait in Red" (46) (gold
medal) holds the place of honor on the west wall. On the north wall is
the glowing "Fiametta" (49) by Matilde Festa Piacentini, wife of the
architect of the Italian Pavilion, and beside it the equally warm
"Golden Rays" (47) by Ferretti. On the east wall burns Traiano
Chitarin's "Evening Fires" (31). Among the sculpture is Dazzi's
"Portrait of a Lady" (160) (gold medal).

Room 23 holds the greater portion of the sculpture, including Amigoni's
simple "Adolescence" (151), Brozzi's spirited "Animals" (155), in
relievo on bronze, Graziosi's "Susanna" (165), and Pagliani's "On the
Beach" (180). All of these won gold medals, but the really striking
piece in the room is "Proximus Tuus" (162), the weary peasant, by
Achille D'Orsi. Of the few paintings nothing is very remarkable, though
Bazzani's "Arch of Septimus Severus" (3) is interesting for its
workmanship.

Room 24 presents extremely varied styles from Morani's No. 80 to
Domenico Irolli's heavily painted "Violin Player" (64), and Enrico