China, occupying four rooms, 94-97, adjoining the northern end of the United States Section, though desirous of appearing before the world as a modern republic, has wisely brought here the most beautiful examples of her ancient art. Many of the pieces go so far beyond the records of man that their authorship is lost in darkness. The exquisitely beautiful ink paintings on silk, the finest collection of these works in existence, represent the master painters of all the dynasties of China. Their subjects deal with tradition and religious precepts. Precious cloisonne in heroic pieces has been used for the background of paintings. There are picture-screens made of five or six attached panels of fine porcelain inlaid with cloisonne, and many splendid carvings and porcelains. The medal of honor for water color went to Kiang Ying-seng's "Snow Scene" (348) in Room 94. The water colors of Su Chen-lien, Kao Ki-fong, and Miss Shin Ying-chin, and the exquisite carvings in semi-precious stones of Teh Chang, all gold medal winners, are in the same room. The Philippines, Room 98, by the west wall, have an exhibit which shows that their march toward civilization includes well-grounded ambitions of art. Mentality, feeling, spirit, all reveal themselves in the canvases. Crudity is apparent, but it comes more from an untutored hand than from failure to grasp the significance of the subject. Many pictures are flamboyant, some are melodramatic, nearly all are big subjects handled with great boldness; what they lack in finish they make up in sincerity. Felix R. Hidalgo's contributions (10-20) won him a gold medal. Sweden.--The achievements of Sweden, Rooms 99-107, next to China, have surprised everybody. That country has sent the most distinctively national of all the European exhibits. Swedish artists are stay-at-homes, and their pictures are filled with the Scandinavian love of country. The scenes and portraits are all Swedish, from Carl Larsson's intimate pictures of family life and forest picnics (see p. 126), or Bruno Liljefors' great paintings of the misty northern ocean, down to John Bauer's captivating little illustrations of Swedish goblin tales. No one who has viewed the snow scenes of Anshelm Schultzberg can ever forget the impression of cold and impenetrable depth. Swedish painters are heroic in method, very lavish with their pigments, and generous in the size of their canvases. Some of the pictures, in fact, like "The Swans" (202) by Liljefors, are too large to be seen to the best advantage in the small rooms where they hang. Liljefors won the grand prize, and Gustav Fjaestad the medal of honor, for Swedish painting; Larsson, the grand prize for water color. Anna Boberg, Room 106, whose masculine paintings have always won her honor hitherto, is without award. This famous painter is the wife of the architect of the fine Swedish Pavilion. The jury offered her a silver medal, but Commissioner Schultzberg refused to accept it.