Now, when I come to Messrs. Griffith and Irvine, I find their anaemic work quite good in comparison to the work I have seen until now. Of course, I did not expect paintings with as wide a scope as the work of the Zubiaure Brothers, Zuologa, Edward Munch, Hodler, Welti, Malchevski, Franz, Stuck, Fritz Erler, Putz, Elie Reppin, etc., to say nothing of the latest developments of modern art and ideals—I mean the disciples of Cezane, Matisse, Van Gogh, Gauguin, etc.—because Chicago is still a frontier town. All the latest improvements plus the Art Institute cannot change its real character: a frontier town with frontier town ideals. In this case, all criticism being comparative, I did not look for the highest standard. Had I done so, three words might have been my comprehensive criticism. As it is, all I expected was clear feeling, clean color, good design, and a certain amount of delicacy in handling. This has been fulfilled only in a measure by Mr. Bartlett, whose strength and individuality places him at the head of the landscape painters exhibiting. He reminds me very much of Trubner, especially his _Autumn Afternoon_. I also like his daring composition in _Under Chinese Tower, Munich_. Pauline Palmer’s work is full of broadly-painted sunshine, though the foliage in some of her trees seems too heavy and shapeless. Next in merit I think comes Marie Lokke, whose yellow sail in _The Old Pier_ takes the wind out of many a neighbor. Hermann More’s _A Summer Afternoon_, is a good example of clear feeling and clean color. I also like Mr. Kraft’s delicate _Silver Mist_ and _An Autumn Afternoon_, and Mr. Ingerles’s, _The Fascinating Ozarks_. There is also a class of painters who can best be described as able and honest. At the head of these artists stands Mr. Peyraud and Edward B. Butler. There are also Frank V. Dudley, H. Leon Roecker, Edgar S. Cameron, J. H. Carlsen, Lawton Parker, Charles Francis Brown, A. H. Schmidt, William Wendt, Alfred Jansson, Alson Clark, Karl A. Buehr, Grace Ravlin, Edgar Payne and the following portrait painters: our own Franz Hals, Mr. Christian Abrahamsen, Oscar Gross, Gordon Stevensen, Cecil Clark Davis and Arvid Nieholm. Mr. Werner’s mannerism is too monotonous. Mr. Ufers and Mr. Higgins have taken yellow ochre into the open and made good use of it. I have taken these two men separately because both have done good work and I expect much improvement in the near future. Their work at present looks too much like illustrations. Miss Dorothy Loeb is the only one who has a real sense of rhythm in line.