Now, to explain this, we should remember that Stuart only returned to America in 1793, and the pictures are both dated September 8, 1794. Whatever that date may mean, both pictures were presumably finished before then and were thus among the first, perhaps the very first, important works that Stuart did in New York. He would consequently have every motive, both from the desire to establish his reputation and from the position and charm of his sitters, to do his very best. The workmanship should be compared, not with what he did afterwards in America but rather with what he had done before in England and Ireland, when he was compelled by the exigencies of his sitters and the rivalry of his fellow artists to give some importance to costume and composition. Unfortunately, Stuart's foreign work is practically unknown to Americans (and to foreigners also, for that matter). There is little of it in the public galleries, and a large proportion of it has probably been rechristened with other and more attractive names. As far as we may judge from a few examples and from the many engravings after it (some of them large enough and good enough to give an idea of the handling), the costumes were done much in the style of those we are considering. After all, the strongest argument for the authenticity of the portraits is the portraits themselves. They are beautiful, they are skilful, done in Stuart's style and entirely worthy of him. To suppose them done by any one else involves the doubter at once in a maze of improbabilities and impossibilities. The present writer is willing to put himself on record as quite convinced that they were painted by Stuart and are wholly by his own hand and are unusually important specimens of his work. MARY BAKER G. EDDY THE STORY OF HER LIFE AND THE HISTORY OF CHRISTIAN SCIENCE BY GEORGINE MILMINE XIV MRS. EDDY'S BOOK AND DOCTRINE "_No human tongue or pen taught me the Science contained in this book, 'Science and Health'; and neither tongue nor pen can overthrow it._"--MARY BAKER G. EDDY.