This picture, now in the Louvre, is the only example of this artist's work shown there, and is particularly interesting as showing the Paris of 1803, when the streets had no sidewalks. The scene is laid at the place of arrival and departure of the coaches which from Paris penetrated into all parts of France, and were the only means of transport or communication.] Meanwhile Lethière had travelled much in England and Spain, and had been for ten years director of the French School of Fine Arts in Rome. His life was adventurous, and it is told of him that he was often involved in quarrels, and fought a number of duels with military officers because, humble civilian that he was, he yet dared to wear the mustache! In 1822 he returned definitely to Paris, where he was made a member of the Institute and professor in the School of Fine Arts, and where he died April 21, 1832. The quality of his work is well characterized by Charles Blanc, who writes of it "as producing the effect of a tragedy sombre and pathetic." The picture of the Burial of Atala, from Châteaubriand's well-known story, is interesting as showing the methods of the David school applied to subjects of less heroic mould than the master and his disciples were wont to treat. Anne-Louis Girodet de Roucy Trioson, born at Montargis January 3, 1767, was one of the most convinced adherents of his master David; and while competing for the Prize of Rome, which he won in 1789, was accustomed each morning before beginning his work to station himself in front of David's picture of the Horatii as before a shrine, invoking its happy influence. Such devotion received its official reward, and after five years spent in Rome his great (and tiresome) picture of the Deluge met with the greatest favor, and in 1810 was awarded the medal for the best historical picture produced in the preceding decade. The Burial of Atala, painted in 1808, is, however, a work of charm in composition and sentiment; and though in color it is dry and uninteresting, is not unworthy of the popularity which it has enjoyed from the vantage ground of the Louvre for more than four-score years. Girodet died in Paris, December 9, 1824, after having received all the official honors which France can award to a painter. The charming face of Marie-Anne-Elizabeth Vigée-Lebrun, who, with the arms of her daughter encircling her, smiles on us here, was undoubtedly not painted in this century, as the painter was born in Paris April 16, 1755, and it is as a young mother that she has represented herself. But as its author lived until March 30, 1842, she should undoubtedly figure among the painters of this century. From early girlhood until old age, "_Lebrun, de la beauté le peintre et le modèle._"