another figure representing Truth--a most subtle and agreeable image. The cupola of the Petit Palais is divided into four panels, and Besnard’s intention is to represent in his paintings the city of Paris in four different conceptions--“Paris Hospitalière,” “Paris dans son Art,” “Paris dans le Commerce,” and “Paris dans les Industries.” For the St. Louis Exposition in the United States Besnard has sent a frieze covering 760 metres, entirely surrounding the walls of the Exposition Française. In this building will also be seen by the tourists there “l’Ile heureuse.” For the more minute consideration of Besnard’s works it is well to begin with the decorations in the Ecole de Pharmacie where the walls of the corridor entrance to this School are entirely covered with his decorations. The order was given in 1883 and fulfilled in 1888. Here Besnard has given a series of fresh and delicate _plein air_ frescoes done upon the walls themselves. As they are without protection--regrettably--they are being marked by the vandal pencils of the sightseer and the students. To the right, the first panel represents the open fields where peasants and women gather the medical herbs. In another panel follows the sorting of the herbs in the laboratory; the third is the laboratory itself with the distillation of the medicines. Then comes a line of landscapes just above over the woodwork of the wall like a dado. The first is the serious, meditative scientist in the balcony of his house, overlooking the river and the city. Alongside this are several landscapes of a peculiarly gentle and attractive charm. At the end of the hall are again four large frescoes, the forest where the chemists and the botanists are engaged in their researches--the lecture room and the geologist amongst the rocks. On the opposite wall is the companion series of oblong panels whose subjects have become so well known to the connoisseur: Dawn on a primæval sea where up from the waves prehistoric creatures rise weird and appalling; a group of sea-horses emerging from the waters; a troop of mastodons, and lastly primitive man and woman disporting on the shores of an ancient sea whose waves to-day are confined in some strata of rock to be found by the geologist’s tool. On the left, at the entrance door, are the most beautiful of the series of decorations. These are life size. One is “La Malade,” a sick girl in her bed, surrounded by the mother, the nurse and the physician. [Illustration: A PORTRAIT IN YELLOW AND BLUE]