harmonious opposites, is one of the profoundest sources of their power. The Madonna of Perugino in the National Gallery, with the angel Michael on one side and Raphael on the other, is as beautiful an example as you can have" (_Elements of Drawing_, p. 258). The subject of the right-hand compartment is Raphael and Tobias (for which see 781); that of the left-hand one is "the orderer of Christian warfare, Michael the Archangel; not Milton's 'with hostile brow and visage all inflamed'; not even Milton's in kingly treading of the hills of Paradise; not Raphael's with expanded wings and brandished spear; but Perugino's with his triple crest of traceless plume unshaken in heaven, his hand fallen on his crossleted sword, the truth-girdle binding his undinted armour; God has put his power upon him, resistless radiance is on his limbs; no lines are there of earthly strength, no trace on the divine features of earthly anger; trustful and thoughtful, fearless, but full of love, incapable except of the repose of eternal conquest, vessel and instrument of Omnipotence, filled like a cloud with the victor light, the dust of principalities and powers beneath his feet, the murmur of hell against him heard by his spiritual ear like the winding of a shell on the far-off sea-shore." He is thus armed as the orderer of Christian warfare against evil; in his other character, as lord of souls, he has the scales which hang on a tree by his side (_Ariadne Florentina_, pp. 40, 265, 266; _On the Old Road_, i. § 529; _Modern Painters_, vol. ii. pt. iii. sec. i. ch. x. § 4; sec. ii. ch. v. § 20.) 289. "THE NIGHT WATCH." _Gerrit Lundens_ (Dutch: 1622-1677). This is a copy, on a greatly reduced scale, of the famous picture by Rembrandt (painted in 1642), now in the State-Museum at Amsterdam. It is of interest as showing the pristine condition of its great original, which in the earlier part of the eighteenth century was maltreated on all four sides, and thereby shorn of some of its figures in order to suit the dimensions of a room to which it was at that time removed. The picture had so darkened by time or neglect, that it came to be called "The Night Watch." The real subject is the march out of a company of the Amsterdam Musketeers from their Headquarters' Hall, under the command of their captain, Frans Banning Cocq, who is seen advancing in the centre and giving orders to his lieutenant. The principal figures are all portraits, and the names were written on the back of the picture. Our copy was painted for Cocq himself, and after many vicissitudes reached England at the beginning of the nineteenth century. 290. A MAN'S PORTRAIT (dated 1432). _Jan van Eyck_ (Early Flemish: about 1390-1440). _See 186._