Room 16 is better balanced. Remembering "The Frog," Domergue's versatility appears in the portrait of Gina Mabille, the danseuse. A delicate bit of Impressionism in Le Sidanier's "The Harbor: Landernau" (418). Two canvases by Menard are hung here. His "Opal Sea" (445) is charming. Auburtin's decorative panels hang on the north wall. One of the most notable works of P. Franc Lamy, his golden "Venice: Morning" (393), will be found on the west wall. Room 17 shows little of striking interest. Augustin Hanicotte, one of the few French painters to adopt the strong colors and lights of the Scandinavian artists, is represented by the gay "Winter in the Low Country" (381). Andre Dauchez' "Le Pouldu" (304) is a fine brown lowland landscape. In spirit, though in richer colors, Jean Veber's captivating "Little Princess" (515) reminds one of John Bauer's Swedish fairy-tale pictures. Strength and truthfulness characterize Jeanniot's fine group of Norman fisherfolk (388). (See p. 125.) Room 18 is better. Note Marie Cazin's "Diana Asleep" (289), done in a single brown. Here, too, is Flameng's "Portrait of Madame Letellier" (345). A soft, delicate bit of landscape is Brouillet's "Among the Dunes" (272), which deserves better than to be hung in a corner. One who has seen the Futurist pictures in the Annex should not overlook here Albert Guillaume's "Le Boniment" (370), a rich burlesque on Futurist art. Italy.--No other section in the Palace is so finely hung as the Italian. As no attempt has been made to crowd the rooms, each canvas is properly placed. Room 21 holds the most important paintings honored by the jury. On the west wall is the work of Ettore Tito, the winner of the grand prize, five canvases demonstrating both his versatility and his mastery of color. On the north and south walls are the medal-of-honor pictures of Onorato Carlandi and Camillo Innocenti, the latter striking in their golden tone. Coromaldi's rich harvest scenes (26, 27), and a Leonardo Bazzaro (4) (both gold medallists), hang on the east wall. Not to be overlooked, though passed by the jury, are Casciaro's warm landscapes on the north wall and Ricci's "Butterflies" (96), which help to make this collection one of splendid color. Room 22 also glows with color. Ferraguti's "Portrait in Red" (46) (gold medal) holds the place of honor on the west wall. On the north wall is the glowing "Fiametta" (49) by Matilde Festa Piacentini, wife of the architect of the Italian Pavilion, and beside it the equally warm "Golden Rays" (47) by Ferretti. On the east wall burns Traiano Chitarin's "Evening Fires" (31). Among the sculpture is Dazzi's "Portrait of a Lady" (160) (gold medal).