This limitation of the Fine Arts exhibit has made room for a great representation of the men of today. The Palace contains a multitude of splendid pictures. While of course, as in all such collections, there is some inferior work, the most pertinent criticism is that there are too many really notable things, and the scope of the collection is too broad, to be seen with due appreciation in a limited time. There is so liberal a showing of different schools, styles and lands, that one is liable at first to be bewildered. But the exhibit is most popular. The great number of visitors constantly thronging the galleries is significant of the value the people put upon art. Excellent as the collection is as a school for artists, it was made for popular enjoyment and education. The best result to be looked for is its stimulation and culture of the public taste. The people are already in love with it, and what they love they make their own. The exhibits are arranged in fifteen sections, consisting of national, sectional, or personal, collections of paintings, besides many important displays of miniatures, etchings, prints, drawings, and tapestries. The art of the sculptor is abundantly illustrated in grouped statuary, single pieces, panels in low or high relief, and wood carvings. Passing the heroic emblems of history or allegory in marble, bronze or plaster, nothing is more beautiful or appealing than the hundreds of small bronzes shown. In brief, the Fine Arts exhibit embraces all the classifications of modern art, save the "arts and crafts" exhibits, which are scattered among the several exhibit palaces. First in importance to a citizen of this country is the art of the United States. Possibly it may also be of first importance to foreign visitors. For the phrase "American art" no longer raises a doubt. It is at last recognized that America has something of its own to offer the world,--a style developed within the last, two decades. The prime movement of the times presenting boldness, brilliance and a laxity of detail in portrayal, the art of America, as shown in this exhibition, embodies these characteristics without emphasizing them. Keeping in mind the fact that the Palace contains little American art earlier than 1905, American artists are showing marked individualities, even in their acceptance of popular precepts. The virile men of the day love luminosity; it dominates all else, and marks their canvases with light; they restrain the too bold stroke of the radical Impressionist, but outline with firmness, so that details are more easily imagined by the observer, even when an expected delineation is absent. Even the older men, though still under the influence of earlier tradition, show a distinctiveness of style that sets them well apart from their English, French or German contemporaries.