acalla_. But for this we might have had more than
these sentimental young ladies from a hand that was undoubtedly worthy
of better things. However, as Lord Hertford admired them sufficiently to
include no less than twenty-one of them in his collection, we ought not
to be severe in criticising them, and we may quote the description of
_The Souvenir_ (No. 398) given by John Smith, in his Catalogue Raisonne
in 1837, as showing the esteem in which it was held.

"_The Souvenir._ An interesting female, about fifteen years of age,
pressing fondly to her bosom a little red and white spaniel dog; the pet
animal appears to remind her of some favourite object, for whose safety
and return she is breathing an earnest wish; her fair oval countenance
and melting eyes are directed upwards, and her ruby lips are slightly
open; her light hair falls negligently on her shoulder, and is
tastefully braided

[Illustration: PLATE XXXV.--JEAN-BAPTISTE GREUZE

THE BROKEN PITCHER

_Louvre, Paris_]

with a crimson riband and pearls. She is attired in a morning dress,
consisting of a loose gown and a brownish scarf, the latter of which
hangs across her arm. Upon a tree behind her is inscribed the name of
the painter. This beautiful production of art abounds in every
attractive charm which gives interest to the master's works."

Very different, and far superior to Greuze, was JEAN HONORE FRAGONARD,
born at Grasse, in the Alpes Maritimes, in 1732. In England his name was
almost unknown until within quite recent years, and the National Gallery
has only one picture by him, which was bequeathed by George Salting in
1910. Fortunately he is well represented in the Wallace Collection,
three at least of the nine examples being in his most brilliant manner.

Fragonard's father was a glover. In 1750 the family moved to Paris, and
the boy was put into a notary's office. The usual signs of
disinclination for office work and a passion for art having duly
appeared, he was sent to Boucher, who advised him to go and study under
Chardin. This he did for a short time, but finding it dull--for Chardin
was not as great a teacher as he was a painter--he went back to Boucher
as an assistant. In 1752 he won the Prix de Rome, although he had never
attended the Academy Schools, and in 1756 started for Italy.

Reynolds had just returned from Rome at the date of Fragonard's capture
of the opportunity of going there, and we know from the _Discourses_ how
he spent his