versal flowering and leaves a lingering fragrance for the duller months.
A permanent collection of noteworthy paintings may be seen in the galleries on the second floor. No attempt has been made to secure examples of old masters, which would necessarily be second-rate; the collection is frankly modern, representative of the best effort of our own time. Where all are good it would seem invidious to discriminate, but a few of the better-known works may be indicated, such as Dagnan-Bouveret's much-discussed "Disciples at Emmaus," the gift of Mr. H. C. Frick; Winslow Homer’s vigorous and dramatic "The Wreck;" that subtle study of a temperament, Whistler’s portrait of Sarasate; and Lucien Simon’s "Evening in a Studio," a vivid group, astonishingly brilliant in execution. Puvis de Chavannes and Raffaelli are represented by characteristic canvases; there is a poetic picture by Aman-Jean, quiet and discreet in tone, with dreaming, almost morbid, figures; and the Glasgow School is seen at its best in work by E. A. Walton, John Lavery, and Alexander Roche. But the strength of the collection is in American art, as such names as Inness, Tryon, Gari Melchers, Twachtman, Schofield, Redfield, Benson, and Alexander abundantly prove.
Photographs of all these paintings are circulated in the public schools, and serve to direct the attention of the children and their parents to the Institute and its exhibitions.
There is a Hall of Bronzes, containing reproductions of those in the Museum at Naples, also an interesting collection of original drawings by American artists, but the Halls of Sculpture and Architecture are the distinguishing feature of this department. In these sections it has been Mr. Beatty’s purpose to produce an impression of beauty which shall make an instant appeal to the imagination, and in this he has certainly succeeded. The Hall of Sculpture,
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