The International Section, in Room 108 and in the Annex, is peculiarly interesting in that it makes easy a comparison of the characteristic fingerprints of each country represented. There is ample opportunity here for a discriminating and profitable study. Unfortunately, because of the war, the gallery contains no special rooms for the art of England and Germany. Both countries are represented only by loan collections. Of German art there are forty well chosen paintings. France, Italy, Holland, Sweden, Portugal, Japan, China and several of the South American countries have installed representative collections in the Palace; while the Annex, made necessary by the unexpected number of pictures from Europe, contains a large exhibit of Hungarian art, a Norwegian display, filling seven rooms, a large British exhibit, and a small group of pictures by Spanish painters, showing that the influence of Velasquez is still powerful in Spanish art. The Norwegian display is one of the largest foreign sections, quite as characteristic as the Swedish, and certain to arouse discussion because of its extreme modernism. The ultra-radical art of Edvard Munch, who is called the greatest of Norwegian painters, and to whom a special room is assigned, is sure to be a bone of contention among the critics. The work of Harald Sohlberg (medal of honor) and Halfdan Strom (gold medal), differing widely from Munch's, though hardly less modern in style, will also attract much attention. The omission of Munch from the honor list is really a tribute to his eminence. An artist who has won the Grand Prix at Rome and awards in every other European capital was deemed outside of competition here. Axel Gallen-Kallela, the celebrated Finnish painter, winner of the Exposition's medal of honor, fills another room in the Annex. This room, covering adequately Gallen's progress through twenty-five years, is the only one in the Exposition to illustrate the development of a great painter from his student days. The collection runs from his earliest academic work, photographic in its care for detail, to his present mastery of Impressionism, wherein by a few strokes he expresses all the essentials. The Italian Futurists are well shown in the Annex, and for the first time in this country. The Futurist pictures hitherto seen in America have been French imitations of the Italian originators of the mode. A sample Futurist title, "Architectural Construction of a Woman on the Beach," may or may not indicate what these pictures reveal. The Annex, too, has a splendid exhibit of the etchings of Frank Brangwyn, the great Englishman, who is no less renowned as an etcher than as a painter, and who has won the Exposition's medal of honor in the International Section.