thousand crowns; the money must be returned--the painting is by my hand.” Le Brun would not believe it. “The proof,” continued Mignard, “is easy; on this canvass, which is a Roman one, was the portrait of a Cardinal; I will show you his cap.” The Chevalier did not know which of the rival artists to believe; the proposition alarmed him. “He who painted the picture shall mend it,” said Mignard; and taking a pencil dipped in spirits, and rubbing the hair of the Magdalen, he soon discovered the cap of the Cardinal. The honor of the ingenious painter could no longer be disputed. SIR JOSHUA REYNOLDS. This eminent painter was born at Plympton, in Devonshire, in 1723. He was the son of the Rev. Samuel Reynolds, who intended him for the medical profession; but his natural taste and genius for painting, induced his father to send him to London to study painting under Hudson, when he was seventeen years of age. In 1749, he accompanied Captain, afterwards Lord Keppel to the Mediterranean, and passed about three years in Italy. On his return to England, he established himself in London, where he soon acquired a distinguished reputation, and rose to be esteemed the head of the English school of painting. At the formation of the Royal Academy in 1768, he was elected president, and received the honor of knighthood. In 1781 he visited Holland and the Netherlands to examine the productions of the Dutch and Flemish masters, by which he is said to have improved his coloring. In 1784, on the death of Ramsay, he was appointed principal painter to the King. He died in 1792, and his remains were deposited in the crypt of St. Paul’s cathedral, near the tomb of Sir Christopher Wren. He formed a splendid collection of works of art, which, after his death, brought at public sale about £17,000; and the whole of his property amounted to about £80,000, the bulk of which he left to his niece, who married Lord Inchiquin, afterwards Marquis of Thomond. He never married, but his sister Frances Reynolds conducted his domestic affairs. He was fond of the society of literary men, kept open house, and seldom dined without his table being graced by the presence of some of the chosen spirits of the land. He was simple and unostentatious in his habits, and affable in his deportment; and while his table was abundantly supplied, there was an absence of all ceremony, and each guest was made to feel himself perfectly at home, which gave a delightful zest to his hospitality. REYNOLDS’ NEW STYLE.