highly esteemed of them are: the Julius II. of Raphael, the Mona Lisa of Lionardo, the Man with the Gloves by Titian, the Old Man with a Boy by Ghirlandaio, and Innocent X. by Velasquez.[b] All of these except Mona Lisa are remarkable for the simplicity of the setting, and in the exception the formal landscape is altogether subordinated to the figure. Raphael was the first artist who saw the value of avoiding accessories in portraiture. His half-length portraits painted after his arrival in Florence, are all free from them, and his Julius II. has only the chair on which the Pope is seated. [a] Martin Day and Machteld van Doorn, both in Gustave Rothschild Coll., Paris. [b] The first at the Pitti Palace, the last at the Doria Gallery, and the others at the Louvre. Rembrandt further aided the concentration of attention on the countenance of a sitter by the use of warm inconspicuous tones in the clothing, which harmonize with all kinds of surroundings in which the picture may be seen. The colours never specially attract the eye, and the attire consequently forms so completely a part of the figure, that after an inspection of the work one can rarely describe the costume. This subordination of colour is of the highest importance in portraiture, though it is not sufficiently practised nowadays. Velasquez used quiet tones whenever possible, that is, when he was not painting great personages, and Titian, Rubens, and Van Dyck, followed the same course in half-length portraits. None of these, however, seemed so careful as Rembrandt in adapting the tones to the general character of the figure, so that the impression left on the mind of the observer should relate entirely to the personality. Rembrandt, in fact, aimed at a representation of the man, and the man only; and he gave us a natural human being of a commonly known type, with his virtues somewhat emphasized, and his faults a little veiled. The extraordinary power of Velasquez as a portraitist was due to the same general cause operating in the case of Rembrandt, namely, extreme simplicity in design. Apart from those instances where royal or official personages had to be represented in decorative attire, every portrait of Velasquez is merely the impress of a personality. There are no accessories; the clothing is subordinated to the last degree, and there is nothing for the eye to grasp but a perfectly drawn set of features thrown into strong relief by a method of chiaroscuro unsurpassed in depth and accuracy. Thus, as in the case of Rembrandt, the portrait fulfils the first law of art--the picture is thrown on the brain in the least possible fraction of time.