stand out among the rest.

Gallery 73.

Next door, in 73, Alson Skinner Clark has been given the privilege of
almost an entire Gallery, without any other justification than
historical interest in his shallow Panama scenes, devoid of any quality.
They are illustrations - that is all. Gifford Beal disappoints in some
superficial paintings of commonplace subjects, which a skillful
technique might easily have turned into something worth while. His "Old
Town Terrace" is much the best, but the collection makes one
apprehensive for Beal's future performances. Paul King's canvas over the
door is excellent, well painted, and interesting in subject.

Gallery 72.

There seems no end of productiveness of American painters, and justice
demands more investigation and undeniably more steps. Ladies with
parrots, with and without clothes, are numerous, but the one in here is
more interesting than the others. I hope that not all of these parrot
pictures are meant symbolically. Walter McEwen arouses memories of times
gone by, technically and otherwise, in a huge storytelling Salon
picture. More ladies in conventional sitting posture willingly sat for
more pictures without adding new thrills. Meyer's portraits, Gertrude
Fiske's sketch, Olga Ackerman's group of children, are all deserving of
study. Max Bohm's two big figural pictures are decoratively interesting
enough, but bad in paint. One of the best landscapes can be found here
in Henry Muhrman's work, over the McEwen. There is nothing sensational
about it, but its somber dignity stands out among many modern works. On
the opposite wall Mrs. Sargent's" Mount Tamalpais" is unusual in