The International Room, No. 108, on the east wall between Sweden, Holland and Portugal, contains but a small portion of the foreign pictures. Its chief feature is the exhibit of German art. Franz Stuck's "Summer Night" (459), Heinrich von Zugel's "In the Rhine Meadows" (549), both winners of the medal of honor; Curt Agthe's "At the Spring" (3), and Leo Putz' "The Shore" (387), gold-medal pictures, are worthily characteristic of Germany's best art. "El Cristo de los Andes," by E. W. Christmas (bronze medal) is interesting. The bulk of the pictures under "International Section" are in the Annex. Holland, in Rooms 113-116, shows an art so different in its characteristics from that of Sweden that she might be at the other end of the earth. Where the Swedish artists show boldness, sometimes almost to the point of crudeness, the Dutch are intent on some degree of finish. Modernity of color is apparent, and while there are few strokes that indicate timidity, there are fine touches of the poetic in which the Hollander's heart shows its love of home and gardens. Those great tulip beds are real and luscious. Family life in the Netherlands is shown in several fine interiors, and the portraits by Dutch artists are more graceful than those of the average modernist. The grand prize in the Netherlands section went to Breitner's snowy "Amsterdam Timber Port" (17). Bauer's "Oriental Equestrian" (7) won the medal of honor. Gold medals were given to seven artists, named in the list following this chapter. A thoroughly delightful portion of the art exhibit is the sculpture shown in the colonnades and on the grounds of the Palace. This is the first time a great exhibit has been displayed in such a manner. It adds everything to the effectiveness of the sculpture, wherever the pieces have been designed to be erected out of doors. It has been possible to show much of the fountain sculpture in its actual relation to real fountains, and to give the hunters and Indians, the nymphs and the satyrs, the advantage of natural backgrounds. In addition to the contemporaneous sculpture there are some famous pieces here, such as Saint-Gaudens' Lincoln, brought from Chicago, and the copy of Bartlett's equestrian Lafayette. Among recent sculpture, one of the most interesting works shown is a group by C. L. Pietro, of New York, "The Mother of the Dead,"--a powerful story in bronze of the burden which the war has brought to woman. (See p. 120.) Pietro's modeling is worthy of an older artist. Another human tragedy is well told in "The Outcast," a graphic figure by Attilio Piccirilli. (p. 136.) Charming bits of comedy are the whimsical little fountain pieces by Janet Scudder and Anna Coleman Ladd. The honor-winners in sculpture are named in the following list. Awards