Room 61 is mainly devoted to the early Impressionists, with seven canvases by their leader, Claude Monet, and other landscapes by Renoir, Pissaro and Sisley, and a brilliant interior (No. 2343) by Gaston La Touche. The pictures by Monet illustrate his progress from the hard conventionalism of his early academic style (seen in 2636) to such delightful embodiments of light and atmosphere as 2633 and 2637. The gallery contains no more triumphant piece of Impressionism than the saucy "Lady in Pink" by the Russian, Nicholas Fechin. The story set afloat that it is the work of an untaught Russian peasant simply testifies to ignorance of this master. Every splotch of color here breathes technique. As if by way of contrast, the opposite wall shows one of Puvis de Chavannes' classical murals, even more anaemic than usual. The large room No. 63 shows a Venetian sunset by Turner, two portraits by Goya, another attributed to Velasquez, a splendid Raffaelesque altar-piece by Tiepolo, the like of which rarely leaves Italy, and canvases by Guido Reni, Ribera, and Van Dyke. Almost all the remaining space is taken up by excellent examples of the British art that influenced the early American painters, with some of prior date. Here are canvases by Lely, Kneller, Hogarth, Reynolds, Gainsborough, Hoppner, Beechey, Allan Ramsay, Lawrence, Raeburn, and Romney. The last four are especially well represented. In this room, too, is the bronze replica of Weinmann's figure, "The Setting Sun," here called "Descending Night." American "Old Masters."--Following logically the English portrait painters, the American historical section begins with Rooms 60 and 59. The former is mainly filled with the work, much of it admirable, of the early American portrait painters. Here are Gilbert Stuart's lovable "President Monroe," Benjamin West's "Magdalen," and portraits by Peale, Copley, West, Sully and others. In Room 59, the antiquarian interest predominates, with a few fine portraits by Inman, Harding, King, and S. F. B. Morse, who, besides inventor, was an artist. But nothing here surpasses No. 1719 by Charles Loring Elliott, a canvas that is irresistible in its vivid setting forth of personality. Room 58 brings the story of American painting well past the middle of the Nineteenth century, with typical examples of Bierstadt, Eastman Johnson and other fading names. Room 57 contains a number of Edwin Abbey's finely illustrative paintings, the most popular of which is his "Penance of Eleanor," and a collection of his splendid drawings; also important canvases by Theodore Robinson and John La Farge. Room 64 covers a wide sweep, from Church's archaic "Niagara Falls" down to Stephen Parrish, Eakins, Martin, the Morans, Hovenden, and Remington. Edward Moran's "Brush Burning" (2649) is capital. Room 54, the last of the American historical rooms, is perhaps the most important, finely showing Inness, Wyant, Winslow Homer, Hunt, and other American masters.