France adjoins Japan, filling a block of rooms from 12 to 18, and Italy follows, in Rooms 21 to 25. The intervening rooms, Nos. 19 and 20, are assigned respectively to Uruguay and Cuba. The French and Italian exhibits had to wait for the arrival of the Jason. Now they are installed, and beautifully hung and set. Though France is the home of the Post-Impressionists, and Italy that of the Futurists, the flagrancy of neither of these schools is on view here. Both countries show their best balanced art since 1905. In the French exhibit, the mode of the day prevails, color, luminosity, richness of texture. All that differentiates the art of France to-day from that of other countries is her own inimitable, delicate, inherent taste and touch. The subject matters little; the French perception and execution are there. Where other canvases offer--say a beautiful glow--the French picture "vibrates." If other works are finished, these have finesse. There is similar spirit in the Italian galleries, with a variation due to national characteristics rather than to difference of opinion or method. The Italian pictures fully occupy the mind and eye; the French often fascinate by something more than skill and color. Both countries have placed their older art, and some of its best, in their official pavilions. France.--In the French Section, Room 12 contains a diverse collection of water color, drawing, engraving, and painting, among the latter, Henry Grosjean's "The Bottoms" (365). Room 13, full of strongly contrasting work, is distinguished by Maurice Denis' daring decorative panels. Here also is Claude Monet's "Vetheuil" (452), the same scene, though not the same picture, as his No. 2634 in Room 61. Comparison is interesting for the difference in touch, though both were painted in the same year. Francois Flameng is represented here by "Paris" (346), not so compelling as his "Madame Letellier" (345), and "Fete Venetienne" (344), in Rooms 18 and 14. Room 14, containing a good many decorative canvases, has also, besides Flameng's "Fete," two of the extreme Impressionistic paintings of Henri Martin, "The Lovers" (432), and his own dim "Self Portrait" (433). Two colorful Breton scenes (302) by Darrieux, and (406) by Le Gout-Gerard stand out on the north wall. Room 15 shows some charming pieces,--Lucien Simon's strongly contrasting work in the spiritual "Communicants" (494) and his barbaric "Gondola" (495); Domergue's "The Frog" (324), Besnard's glowing "Gipsy" (255), and Lemordant's "The Wind" (409). These last give a strong color to the room, relieved by Leroux' calm "Lake" (416), and Maury's delicate young girls (440).