Gallery 77-Melchers. Here are representative works by Gari Melchers, a famous American who has long lived abroad. Unmistakably these canvases are from a masterly brush; but the coloring is not always good, and the room is somewhat disappointing. Gallery 78-Hassam. By common consent Childe Hassam is considered the greatest American follower of Impressionism. He is an innovator who has carved a sure place for himself by adding a new vigor to the methods of the original Impressionists. Such decorative canvases as 2033 on wall B, and such delicate ones as 2029 on wall D, should be compared with the Monets in room 61. Gallery 79-Chase. This room is designed to show the work of an American who was greatly influenced by the Munich School of painters. William M. Chase, both in his portraits and in his remarkable still-life studies, shows the fine German thoroughness rather than French brilliancy. The four canvases that hold the places of honor on all four walls show clearly the influence of Whistler. Gallery 87-Duveneck. Here are works by Frank Duveneck, who like Chase studied at Munich. Sound in draughtsmanship, steady, and well-thought out, they maintain a remarkable standard of excellence. It is instructive to step from here into the adjoining large gallery, where the French influence is predominant. Gallery 88-Redfield. In the winter scenes of E. W. Redfield one finds the sure touch of a master of the new and vigorous school of American landscapists. Redfield has modified Impressionism, clinging to a certain reality, and yet achieving the sparkling atmospheric effects of the luminists. Gallery 89-Tarbell. In contrast to Hassam and Redfield and Twachtman is Edmund C. Tarbell, who has taken but little from the Impressionist group. His most characteristic and most appealing work can be seen in the canvases on wall A, beautifully lighted interiors which show the academic tendency, but in a new and delightful way. Gallery 90-Keith. This collection of canvases, with its sameness of subject and arrangement, is hardly typical of the late William Keith at his best. He was the western representative of the Inness-Wyant school of the late Nineteenth Century, though he leaned more to the romantic than did the others. Gallery 93-Twachtman. Here are the works of a painter who is closer to Monet than to the more vigorous American school of modified Impressionism. It is well to study one wall, A perhaps, and then to go to the Redfield and Hassam rooms, and then to the group of Monets, to see the various ways in which Impressionism has spread.