Gallery 91-Early Schools. A gallery of old paintings, chiefly of the Italian, Flemish and Dutch Schools, designed to suggest the earliest roots of American art. Practically all the canvases are mere echoes of the "old masters," and they may well be passed over hastily by all but the most thorough historical student. Gallery 92-French Influence. This gallery and the next two are designed to show works of those schools, chiefly French, that have had direct influence upon American art. On wall A is a painting by Courbet, interesting in the light of that artist's influence on Whistler's early work. But most important here are the examples of the Barbizon School, romantic landscape painters of the mid-Nineteenth Century, who had much to do with the development of the Inness-Wyant group in America. On wall B are two canvases by Corot, both badly placed, one of which (1486) is typically poetic and beautiful. The examples by Daubigny and Rousseau on wall C are not satisfying. On wall D the two Monticellis suggest the source of some of the rich qualities of the work of Keith and similar American painters. Gallery 62, adjoining 92, shows the best example of Barbizon work, in Troyon's beautiful "Landscape and Cattle" on wall C. On wall A is a small painting, interesting but not characteristic, by Millet, who influenced the whole world of art toward sincerity. On wall B is Sir Laurens Alma-Tadema's "Among the Ruins," sole representative here of the English School of "polished" painters that strongly influenced a number of American artists. On wall D are two very interesting portrait studies by Franz von Lenbach, intended to suggest the influence of the Munich School on American art, before Americans began to flock to Paris to study. Gallery 61-Recent French Influence. On wall A is an uneven collection by Monet, the greatest apostle of Impressionism. This group, with the exception perhaps of the sea-shore scene, should be studied thoroughly, in regard to the technique that juxtaposes colors to give the right resultant tone at a distance; in regard to the general tendency to subordinate subject interest to the expression of fleeting aspects; and in regard to the masterly handling of light. No other group will be referred to so often in connection with the American galleries. On wall B is a typically joyous canvas by Gaston La Touche, who carries Impressionism into figure work. On walls C and D are other examples of the Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere. On wall D is a panel by Puvis de Chavannes, who has influenced modern mural painting more than any other artist. This picture has the typical union of the classic feeling with very modern technique, but it is representative of de Chavannes' manner rather than of his whole art at its best.