The only surely authentic portrait of Madame Roland is that facing this page. The original is in red crayon and much faded, but a faithful copy in black, well preserved, bearing the date of 1822, is in the possession of the great-granddaughter of Madame Roland, Madame Marillier of Paris. If one compares this portrait with that of Heinsius at Versailles, he will see that they have nothing in common. Heinsius’ portrait was bought in Louis Philippe’s time, and bore the name of Madame Roland up to 1865, when the placard was taken off because nothing proved that it was she. However, it still figures in the catalogue as Madame Roland, and photographs made after it are sold in all Paris shops. The director of the Versailles Gallery was preparing in 1893 to revise the catalogue, and purposed then to take the necessary steps to establish the authenticity of the painting, but as late as May, 1894, it still was marked Madame Roland. The family do not regard the picture as authentic; one point they make against it is that it is a full-face view, while, according to their traditions, Madame Roland never allowed anything but a profile to be made. It bears no resemblance to other authentic portraits, and is especially displeasing because of the full eyes, and the bold expression. These characteristics, however, Heinsius gave to all his portraits of French women; thus, the portraits of Mesdames Victoire and Adelaide at Versailles are almost coarse in expression, and in striking contrast to the other pictures of them which hang in the same gallery. The best reason for supposing Heinsius’ portrait to be Madame Roland is a sketch owned by the Carnavalet bearing the inscription M. J. PHLIPON, GRAVÉ PAR SON PÈRE À 19 ANS, which strikingly resembles it. The reproduction of the painting at the Musée Carnavalet, as well as that of the cameo head, is due to the kindness of the director, M. Cousins. The painting is a new acquisition of the museum, exhibited for the first time in April, 1892. It is more apocryphal even than the picture of Heinsius. It is a picture of the time—that of a very charming woman, but it has almost nothing in common with Madame Roland. The eyes are blue and hers were brown, the hair is lighter, the chin is not so round and firm, the neck is longer. Besides it is a full-face view, thus contradicting the family tradition. As for the cameo head, it is evidently made after the family picture or the engraving of Gaucher, which latter possesses all the characteristics of the former. One other portrait should not be forgotten; it is that traced in June, 1793, on the records of the prison of Sainte Pélagie by her jailer. Marie-Jeanne Phlipon, wife of Roland, ex-minister, aged thirty-nine years, native of Paris, living Rue de la Harpe, No. 5. Height, five feet; hair and eyebrows dark chestnut; brown eyes; medium nose; ordinary mouth; oval face; round chin; high forehead.