Spain is to have an excellent exhibit in the Annex building behind the Palace. Thus far Portugal alone represents the Iberian painters. The collection fills three rooms, 109-111, between Sweden and Holland. The Portuguese artists infuse the spirit of revelry into much of their work. Indeed, it sometimes approaches the bacchanalian. The work is of the extreme modern school as to color, although, technically, there is much drawing in and respect for definite form. Most striking, perhaps, is the splendid representation in many of the pictures of the intense sunlight that beats upon that Southern country. No more vivid examples of this can be found in the collection than Malhoa's "Returning from the Festival" (54) and his "Catholic Procession in the Country" (56). Malhoa, deservedly, captured the grand prize for Portuguese art. The single medal of honor went to Jose Veloso Salgado for his scenes of Minho. The portraits, too, have much of the intensity of the South. The most noteworthy are those by Columbano, Room 110, winner of the grand prize at St. Louis. The four rooms show Portugal prolific of artists who seek beauty in scenes of domesticity and the qrandeur of landscapes. Argentina.--It is interesting to note that the painters of Portugal show more characteristics in common with those of South America and the Philippines than with their European neighbors. Their execution is more tamed than that of the Filipino painters, their style more settled than that of the Argentine. That is not to the discredit of the Argentinos, who, though a new people, have accomplished much that deserves praise. Their exhibit, in Room 112, is important in its showing of the progress of art in so new a country, and it is said to be representative. The artists whose works are shown are almost all young men, a fact which, in connection with their performance, proclaims that Argentina will do something free and original in the future. Three pictures by Antonio Alice, Nos. 1, 2, and 3, have been awarded the medal of honor. They bear witness to Alice's great versatility. Jorge Bermudez' three figure studies (gold medal) are striking. No. 5, "The Daughter of the Hacienda," is wrongly entitled in the official catalog "The Young Landlady." Others in the collection suffer in the same way, as Coppini's "The Old Station" (20), which is catalogued as "The Old Stall." Some of the Argentino landscapes are striking expositions of the spirit of the pampas, particularly Lavecchia's "Near Twilight" (35). As a whole, the paintings are significant of the country of their painters, a truly worthy quality. The sculpture in this room, particularly "Increase and Multiply" (75), by Pedro Zonza Briano (medal of honor), and a splendid Indian portrait (32), by Alberto Lagos (gold medal), is admirable.