These rooms complete the south half of the American section, with the exception of the very interesting, though not fully adequate, Whistler Room, 28; the Print Rooms, 29 to 34, in the tier along the west wall, and five more one-man rooms along the east wall. These five, in their order from the main entrance are: No. 87, devoted to the old-masterlike works of Frank Duveneck, who, more perhaps than any other American, shows the great manner of Velasquez, Rembrandt and Franz Hals, and to whom the jury has recommended that a special medal be given for his influence on American art; No. 88 filled with the admirable Impressionist landscapes of E. W. Redfield; 89 and 93, given up to the widely contrasted work of Edmund C. Tarbell and John H. Twachtman, each in his own fashion a master and enjoying a well-earned popularity, Twachtman's pictures in particular commanding almost as high prices as those of the men in Room 54; and No. 90, just off the Tarbell room, containing a small loan collection which very incompletely represents William Keith. Five other individual rooms are north of the main entrance: No. 79, portraits and still life by William M. Chase; 78, Childe Hassam's radically Impressionist work; 77, Gari Melchers' pictures of Dutch types and scenes; 76, the charming western pictures of Arthur F. Mathews and Francis McComas, both Californians; and 75, the John S. Sargent room, containing among other works his famous early portrait of Mme. Gautrin, his "John Hay," and the sympathetic portrait of Henry James which was mutilated by the British suffragettes. All these one-man rooms exhibit characteristic work of the men thus distinguished, though the younger men are the more completely represented. The Whistler, Keith, Chase and Sargent rooms, which may be classed with the historical block, show few of the best-known masterpieces of these artists. Room 80, cut out of the northeast corner of the central hall, a gallery of well restrained pictures, contains the interesting work in light and color of William McG. Paxton, member of the jury; portraits and figures by Leslie P. Thompson (silver medal), Philip L. Hale's warm-toned portraits, the delicate but brilliant landscapes of Willard L. Metcalf (medal of honor), and those by Philip Little (silver medal). The portraits are in the older academic style; the landscapes, modern. Rooms 67 and 68 are distinguished by some notable landscapes and marines. No. 67 shows Emil Carlsen's fresh "Open Sea," his single picture here, but the winner of a medal of honor, and Albert Laessle's small animal sculptures (gold medal), and capital examples of Paul Dougherty, J. F. Carlson, Leonard Ochtman and Ben Foster. No. 68 holds two fine snowy landscapes by W. Elmer Schofield (medal of honor), two engaging studies in brown by Daniel Garber, brilliant figures by J. C. Johansen, and California coast views by William Ritschel. The last three artists are gold medallists.