In galleries 8 and 10 are collections of Japanese sculpture and painting, done in the Western manner. It is interesting to see what the Oriental artist can accomplish in an alien medium; but neither for the Japanese nor for the American can these works have the same genuine appeal as those in galleries 1 to 3. The other rooms contain a varied collection of porcelain, embroidery, wood and ivory carving, and prints. The French Section is one of the most interesting, but is hardly representative of the best that country has achieved in art. The general average is such that it upholds France's traditional standing as the home of "good painting," but this is by no means a collection of masterpieces. The most noticeable tendency is that toward the decorative. The galleries of the French section have been re-numbered, beginning with 1. Gallery 1 is a rather poor room on the whole, though it, contains two canvases on the north wall by Lucien Simon, typical of that artist's masterly breadth of treatment. On the west wall, beside the doorway, are two of Aman-Jean's portraits. The little landscape (429) under one of these, by Marcel-Clement, is notable, as are also Jean Domerque's decorative canvas on the south wall and Maury's three nude girls on the north. Gallery 2 is most interesting for the group on the north wall, where the place of honor is given to Henri Martin's work. Here is an artist who has carried Impressionism to its limit of vibrating light and color. The large central canvas should be seen from the Japanese room. The self-portrait (433) is even more interesting. On this wall are pictures that offer a striking comparison of methods of painting. Gallery 3 is made especially interesting by the domination of one man, Maurice Denis, who is the leader among the "advanced" decorators of France. There is much that is worthy of study in the simplicity and in the color of his panels here. The room contains also a number of examples of the new and ultra-new schools, from Monet and Degas to Redon and Puy. Gallery 4 contains few outstanding features, the more conservative element predominating. There is charming color in Caro-Delvaille's canvas on the East wall (279), and there is a Lucien Simon on the south wall. Gallery 5 likewise is not very important. Gallery 6 especially illustrates the decorative tendency. On the north wall are panels by Auburtin, a follower of de Chavannes, and by Devoux, which are pure decorations. On the south wall is a large canvas by the celebrated Menard; but his little seascape on the west wall (445) is more appealing, being one of the most attractive things in the section. Note how the decorative tendency characterizes not only these outdoor pictures, but the neighboring portraits as well. On the east wall is a canvas by le Sidaner, a leader of the plein-air school, which reminds one that good French landscapes are few in this exhibit.