Lionne's gorgeous purple figures in the extreme of Impressionism. One of
Nomellini's effects in light and shade appears in No. 86, on the east
wall. Paolo Sala's "Along the Thames" (100) deserves better place and
notice. Irolli, Lionne and Nomellini are gold medallists.

Room 25, without any remarkable canvases, is very pleasing as an example
of harmonious hanging. This is best illustrated by the west wall where
hang four pictures by the three Ciardis, Beppe, Emma, and Guiseppe, and
one, No. 6, by Bartolomeo Bezzi, the group admirably centered by Beppe
Ciardi's large "Venetian Scene" (32). All three of the Ciardis won gold
medals. In the center of the north wall is a fine ruddy sunset (102) by
Francesco Sartorelli. The south wall is dominated by Z. V. Zanetti's
richly decorative "Tree" (116). Beside it, on the cut-off of the wall,
is Guiseppe Mentessi's gripping "Soul of the Stones" (75). Mentessi won
the gold medal with this picture, as Italo Brass did with his "Bridge
Across the Lagoon" (10). Sculpture in this room is represented by small
bronzes and Ernesto Biondi's almost terrible "St. Francis d'Assisi"
(154).

Uruguay.--The Uruguayan exhibit of painting and sculpture is in one
small room, No. 19, against the west wall, next to France. The work has
characteristics in common with that of the south of Europe, and shows
national feeling. Manuel Rose (52-57) was awarded a gold medal.

Cuba.--The Cuban section in Room 20, adjoining Uruguay, though small,
is interesting. The jury thought well enough of Leopoldo Romanach's
canvases (16-29) to give him the medal of honor. M. Rodriguez Morey
(13-15) won the gold medal.

China, occupying four rooms, 94-97, adjoining the northern end of the