The Italian Section is the best arranged in the galleries. There is a general feeling of orderliness and rest that is quite welcome as one comes from the overcrowded American rooms. The Italian paintings do not give the impression of an exhibition of masterpieces-indeed there are very few canvases that demand special notice-but they are well up to the average set in the other sections. Gallery 21 is the most interesting. On the wall facing the main doorway are five pictures by Ettore Tito, perhaps the greatest and certainly the most popular, of Italian painters. All are strong, and they are painted with a bigness and a sureness of touch that are compelling. Very interesting too are the canvases on the adjoining wall by Camillo Innocenti, who has achieved the vibrating light and fresh coloring of the Impressionist School in an individual way. Gallery 22 contains a varied collection, ranging from the academic to the radical. Here are two canvases by Arturo Noci, one of the leaders of the Italian Secession. Gallery 23 is given up mainly to sculpture. The most compelling thing is d'Orsi's realistic "Tired Peasant." With the exception of some of the small bronzes, the rest of the sculpture of the section is hardly notable. Gallery 24 contains a very interesting canvas in Plinio Nomellini's picture of a woman and child in a boat drawn up under a tree. The thing is full of sunlight and sparkling color; and it strikes a good medium between the old tight painting and that which carries Impressionism too far-both of which extremes can be seen in plenty in this room. Gallery 25 is an average room, without special features. The Cuban Section occupies gallery 20, next to the Italian section. There is hardly a picture here that does not seem labored in comparison with the freedom elsewhere. The Uruguay Section, in the adjoining gallery 19, is just the opposite full of freshness and vigor, and brilliant in color. But the gift of brilliancy is rather undisciplined, and while there is unmistakable promise, one feels that the art of Uruguay has not yet found itself. The Chinese Section occupies galleries 94 to 97, and is notable for the paintings on silk and paper, the cloisonne, and the lacquer. There is a wealth of interesting material in the display, but it really requires a great amount of study for full appreciation. The Chinese Commission has prepared a special catalogue, which can be had in the rooms if one is specially interested. The Philippine Section, in the adjoining gallery 98, is almost negligible in a building where there is so much really worth seeing though some of the paintings by Felix Hidalgo have a dramatic interest.