inent.
We cross to the L. wall, where the rich collection of works by
Watteau and his followers is placed: 983, Gilles, a scene from a
Comedy, is one of Watteau's most precious pictures. Near it are: 984,
The Disdainful; 986, Gathering in a Park. 985, Sly-Puss, a charming
little picture, is followed by 988, 989, 990 and 992, four other
studies. 991 is a carefully finished classical subject, Jupiter and
Antiope. Near these are grouped: 470-473, four small works by Lancret,
and 690-693, a like number of typical variations of the _scene
galante_ by Pater. We next note 659, a fine portrait group by Nattier:
Mlle. de Lambec as Minerva, arming her brother the young Count of
Brienne. To the same skilful portraitist are due: 660, a Knight of
Malta; and 661, A Daughter of Louis XV. as a Vestal Virgin. By Boucher
are: 48, R. of entrance, The Painter in his Studio, and R. wall, 47,
The Three Graces; 46 and 49, L. wall, Venus and Vulcan, and Vulcan's
Forge. Fragonnard is represented by some of his characteristic works
executed with wonderful sleight of hand, 292-301. The prevailing taste
of his patrons may be judged by 295, L. wall, a sketch of one of his
most successful and oftenest repeated subjects. On this same wall are
a varied series of Chardin's studies of still life; a poor replica,
93, of his Grace before Meat; 104, The Ape as Painter, and other
similar homely subjects.

Here also are two historical revolutionary portraits by Greuze: 378,
The Girondin, Gensonne, and 379, the Poet-Deputy, Fabre d'Eglantine.
Among the later Venetians are some Tintorets, R. wall: 1468, Susannah;
1469, Virgin and Child, Saints and Donor; 1470, Portrait of Pietro
Mocenigo. Spanish art is represented by a fine but unpleasing Ribera,
1725, Boy with a Club-foot, and to Velasquez are ascribed: 1735, The
Infanta Maria Teresa, Queen of Louis XIV.; 1736, Unknown Portrait;
1733, L. of entrance, Philip IV. 1945 and 1946, R. wall, the Provost
and Sheriffs, and Jean de Mesme, President of the Parlement of Paris,
are excellent examples of Philippe de Champaigne's austere and honest
art.

From the studios of Boucher and of Comte Joseph Marie Vien (1716-1809)
there came towards the end of the eighteenth century the virile,
revolutionary figure of Jacques Louis David (1748-1825), who burst
like a thunderstorm on the corrupt artistic atmosphere of the age,
sweetening and bracing French art for half a century. Shocked by the
slovenly drawing and vulgarity of