At this point this article might well end, but there may be some who recall that last summer for a week or so there appeared in the papers articles headed "Fakes at the Museum" or "The Metropolitan Gets Lemons," which assailed the genuineness of these portraits. The discussion did not get far beyond the daily press, which, after its habit, registered the charges as picturesquely and vehemently as it could, but attempted no serious investigation of them. They were brought by a critic whose position as a special student of Stuart entitled them to respectful consideration, but after giving them that they do not seem conclusive or even important. They were based on the fact that the pictures were signed G. Stuart, R. A., and bore coats of arms and long Spanish inscriptions. It was claimed that this made the genuineness of the canvases doubtful, for Stuart signed few of his paintings--possibly none except the standing Washington in the Philadelphia Academy; he was not an R. A. (Royal Academician); nor was he a heraldic illuminator. Furthermore, the painting of the male portrait and the dress and accessories in the companion piece did not seem to the critic to agree with Stuart's handling. To make his impressions fit with the pictures, the critic supposed that Stuart painted a smaller portrait of Jaudenes and started one of his wife, which through some freak of temper he left (as he frequently did) with only the head and part of the background finished. These being brought to Spain, some artist there finished the lady's portrait, painted from Stuart's original a companion piece of her husband, and added to both the coats of arms, the inscriptions, and Stuart's name. Now, frankly, this is not possible. As for the portrait of Dona Matilde being left unfinished, there exists in Stuart's handwriting a list of gentlemen who are to have copies of his portrait of Washington, consisting of thirty-two names. A few take two copies, no one takes more save Jaudenes, who subscribes for five. The list is dated April 20th, 1795, which is seven months after the date on the pictures, and is the strongest possible evidence that Jaudenes was greatly pleased with Stuart--presumably on account of these portraits--and is entirely irreconcilable with the idea that the painter had quarreled with the diplomat's wife or left her portrait unfinished.