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 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 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 United States Section, though desirous of appearing before the world as a modern republic, has wisely brought here the most beautiful examples of her ancient art. Many of the pieces go so far beyond the records of man that their authorship is lost in darkness. The exquisitely beautiful ink paintings on silk, the finest collection of these works in existence, represent the master painters of all the dynasties of China. Their subjects deal with tradition and religious precepts. Precious cloisonne in heroic pieces has been used for the background of paintings. There are picture-screens made of five or six attached panels of fine porcelain inlaid with cloisonne, and many splendid carvings and porcelains. The medal of honor for water color went to Kiang Ying-seng's "Snow Scene" (348) in Room 94. The water colors of Su Chen-lien, Kao Ki-fong, and Miss Shin Ying-chin, and the exquisite carvings in semi-precious stones of Teh Chang, all gold medal winners, are in the same room.