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p a i n t i n g s . B y c o p y i n g w i t h s c r u p u l o u s fidelity, e v e r y w r i n k l e of t h e s k i n , e v e r y h a i r , a n d e v e n t h e d o w n o n t h e h u m a n face, h e a t t a i n e d a n a c c u r a c y w h i c h is a l m o s t frightful. ^ . 2 1 4 . Interior of an Inn, b y D a v i d T e n i e r s , t h e F l e m i s h g e n r e \ i p a i n t e r — ( s e e N o . 166), A s c e n e t a k e n i n a d u t c h p u b l i c h o u s e i n t h e seventeenth century. 21ft. .Issumolionofthc J"irgin, by P r u d h o n (1758-1823), a p a i n ter of t h e F r e n c h s c h o o l , w h o s t u d i e d t h e w o r k s of d a V i n c i w i t h g r e a t zeal a n d b o r r o w e d from h i s s t y l e graceful e l e g a n c e of a r r a n g e m e n t a n d e x e c u t i o n , T h e V i r g i n , s u p p o r t e d b y five a n g e l s , a n d a d o r e d b y a m u l t i t u d e from below, a s c e n d s t o H e a v e n . A N D R E A D E L S A K T O — (148S-1530). O n e of t h e chief of F l o r e n t i n e p a i n t e r s . H e n e v e r visited e i t h e r R o m e o r V e n i c e , b u t s t u d i e d i n F l o r e n c e t h e frescoes of Masaccio a n d G h i r l a n d a j o . l h e d r a w i n g s of L e o n a r d o d a V i n c i a n d M i c h a e l A n g e l o . H i s c o m p o s i t i o n s a r e n o t e d for t h e i r h a r m o n y , u n i t y a n d p u r i t y , a n d for t h e p o w e r a n d c o r r e c t n e s s of t h e i r coloring. I SL~f 2 1 6 . Holy Family.— F r o m a p a i n t i n g i n t h e L o u v r e b y A n d r e a del V S a r t o . T h i s a r t i s t t r e a t e d sacred subjects w i t h p e c u l i a r t e n d e r n e s s a n d grace. 217. The .lug-el Raphael leaving Tobias, by Rembrandt. T o b i a s is p r o s t r a t e d o n t h e g r o u n d a n d h i s son k n e e l s beside h i m , w h i l e *Y on t h e t h r e s h o l d of t h e h o u s e h i s wife S a r a gazes w i t h a s t o n i s h m e n t a t t h e a s c e n d i n g figure of t h e a n g e l . 2 1 8 . Scene in a Harem, b y D e l a c r o i x . T h i s p i c t u r e ( l i k e N o . 187 on t h e s a m e subject) is in t h e L u x e m b o u r g g a l l e r y a n d r e p r e s e n t s a s c e n e i n a n eastern h a r e m . 2 1 9 . .Harriagc of St. Catherine—Taken from a p i c t u r e i n t h e L o u v r e , b y Correggio, t h e p a i n t e r of P a r m a . I t r e p r e s e n t s t h e m y s t i c m a r r i a g e of St. C a t h e r i n e a n d t h e i n f a n t C h r i s t . T h e c h i l d J e s u s seated o n t h e k n e e s of h i s m o t h e r h a n d s a r i n g t o t h e m a r t y r e d s a i n t . S t . Sebastian stands near by.

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VELASQUEZ—(1509-1600). A Spanish a r t i s t , chiefly n o t e d for h i s s k i l l i n e x e c u t i n g p o r t r a i t s . H e is s o m e t i m e s called t h e first p a i n t e r i n S p a i n . H e enjoyed t h e p a t r o n a g e of P h i l i p I V . a n d s p e n t all t h e l a t t e r p a r t of h i s life a t t h e c o u r t i n M a d r i d . I n both d r a w i n g a n d c o l o r i n g t h e w o r k s of V e l a s q u e z s h o w a t h o r o u g h s t u d y of n a t u r e . 220. I'ortrail of the Infanta JIarguerita, by Velasquez. M a r g u e r i t a was t h e d a u g h t e r of P h i l i p I V . I n 166G s h e m a r r i e d L e o p o l d , E m p e r o r of G e r m a n y . 2 2 1 . .iiloration of the Shepherds.—From a picture in t h e L o u v r e , b y R i b e r a (1588-1656), a S p a n i s h p a i n t e r w h o e x a g g e r a t e d t h e c o n t r a s t s of l i g h t a n d s h a d o w , a n d p u r p o s e l y chose subjects wild, h o r r i b l e a n d r e p u l s i v e . A t t h e left t h e V i r g i n is p r o s t r a t e before t h e c h i l d J e s u s w h o lies i n a c r a d l e of wood filled w i t h s t r a w . T h r e e s h e p h e r d s a n d a w o m a n s u r r o u n d i t i n a t t i t u d e s of a d o r a t i o n . T h i s p i c t u r e is n o t i n t h e u s u a l style of t h e a r t i s t , t h e s h a d o w s b e i n g less p r o n o u n c e d , a n d t h e l i g h t s less i n t e n s e .

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Colbert. Mazariu. RichelieuM a r i e De Medicls. J e a p n e D'Albiet. <L#u. Henri D'Albret. H e n r y 3d. Ltf4G. X> 47. (>'d. De C o l i g n y . ^48. L o u i s De L o r r a i n e . Mel. D e L ' H o p i t a l . Z/V50. A n n e D e M o n t m o r e n c y . CM 51. George D ' A m b o i s e . JD r>2 C h e v a l i e r B a y a r d . x>- .53. M a r t i n D a B a l l a y . Ane. Gve. De B o u r b o n . ^*54. LH 55. F e n e l o u . Bossuet. *^56. LH 67. I >u Que8ne. Vauban. A//60. 61. IH&2. LH 04. LU 68. Ltf 88. LH ll!) i.hth 72. /L//73. IH1\. 70. t-H 77. I."'8F o i l V I . D e L a Rochefoucauld. L e G a l . De R e t z . M: Mole. Sully. Louis des B a l b o a Crillon. P h i l i p p e De M o r n a y . J . L . De La V a l e t t e . A n n e Due De J o v e u s e . L o u i s De B o u r b o n . D u k e of M a y e n n e , H e n r i De L o r r a i n e . Antiie. Duprat. L s . P t t . J h . Due D ' O r i e a n s . P . A . C. B e a u m a r e h <;. I I . M i r a b e a u . Robespierre. Napoleon Bonaparte. Josephine. Marie Louise.

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