ccredited to that
State. Of the remainder, 18 are from Boston, 13 from Philadelphia, 6
from New Orleans, 3 from Chicago, 2 from Toledo, 2 from San Francisco,
etc. etc.

I think it will be generally admitted that the only really strong
pictures exhibited by the American artists are John S. Sargent's
portrait of Madame Pailleron (wife of the author of _L'Etincelle_) and
his _Fumee d'Ambre Gris_; Henry Mosler's _Toilette de Noce_; D.R.
Knight's _Une Halte_; Miss Gardner's _Priscilla the Puritan_; F.A.
Bridgman's _Habitation Arabe a Biskra_; Charles E. DuBois's _Autumn
Evening on Lake Neuchatel_; and Edwin L. Weeks's _Embarkment of the
Camels_ and _Gateway of an Old Fondak in the Holy City of Sallee_
(Morocco)--both of which were sold immediately after the opening. Of
course there are several other good pictures by our compatriots, and
some that possess great merit. But the ones indicated above are the
only ones which (excepting Picknell's two landscapes, _Sur le Bord du
Marais_ and _La Route de Concarneau_) have called forth any special
notice from French critics or in any way attracted much of the public
attention thus far. Mr. Sargent is a surprise and a wonder to even his
master, Carolus Duran, whose portrait, painted by Sargent, attracted
great attention in the Salon of last year and received an "honorable
mention." He has painted this year a full-length in the open air,
producing a very sunny, strong out-door effect. The hands attract much
praise, but opinions vary as to the face. His _Fumee d'Ambre Gris_
represents a woman of Tangiers engaged in perfuming her clothing with
the fumes from a lamp in which ambergris is burning. The white robes of
the woman set off against a pearly-gray background, the rising smoke,
the curiously-tinted finger-nails of the woman, and the rich rug on
which the lamp stands, combine to make a very notable and curious
picture.

Miss Elizabeth J. Gardner of New Hampshire has two excellent pictures
in the Salon--_Priscilla the Puritan_ and _The Water's Edge_. They are
both well hung, as indeed are most of our American artists'
contributions to this exhibition. Out of the 111 pictures in oils sent
in by the Americans, I can recall 46 which are hung "on the line," and
there may be even more. This is certainly treating our countrymen very
fairly. Miss Gardner's _Au Bord de l'Eau_ represents two young girls
standing at the edge of a pond, the one reaching down to pluck a
water-lily, and the oth