A portrait of a friend of the artist, for it is inscribed "Leal Souvenir"--and a true recollection it obviously is, and was the more acceptable, one likes to think, for being so. "It is not the untrue imaginary Picture of a man and his work that I want, ... but the actual natural Likeness, true as the face itself, nay, _truer_ in a sense, Which the Artist, if there is one, might help to give, and the Botcher never can" (Carlyle, _Friedrich_). 291. PORTRAIT OF A GIRL. _Lucas Cranach_ (German: 1472-1553). Lucas Sunder (or possibly Müller), called Cranach from his native place, was one of the chief of the German painters,--after Dürer, the most famous artist of his day. He was the close friend of Martin Luther, whose features he several times represented. He may indeed be called the painter of the German Reformation, and in his later works the reformed doctrines receive symbolical illustration. The influences of the Renaissance were also at work in his art, as may be seen in his classical subjects. He was fond also of drawing birds and animals, and he often depicted hunting scenes. These he rendered with a realism of effect which won the admiration of his princely employers. It was, however, as a portrait-painter that he was chiefly employed. His engravings were also very numerous. In the lower left-hand corner of the picture before us, a crowned serpent will be noticed. This was the arms granted to him in 1508 by the Elector of Saxony, and it superseded his initials on all his pictures after that date. Of Cranach's earlier years, little is known. In 1504 he was established at Wittenburg as court-painter to Frederick the Wise, a post which he occupied under the next two Electors as well. He was a man of importance at Wittenburg, for he was twice mayor of the town, and carried on there, besides large art workshops, a book-printing business and an apothecary's shop. He was also employed in diplomatic missions, and when the Elector Frederick the Magnanimous was in captivity at Augsburg, Cranach was instrumental in procuring his release from the Emperor Charles V., whose portrait had in earlier years been taken by our painter. "His female portraits have a sort of naïve grace that renders them very pleasing. There is one in the National Gallery, of a young girl in elaborate costume, which is entirely characteristic" (Bryan's _Dictionary of Painters_). 292. MARTYRDOM OF ST. SEBASTIAN. _Antonio Pollajuolo_ (Florentine: 1429-1498).