It would take volumes to speak in detail of the works of Puvis de Chavannes. A list of them is as follows. Thus far I think it can be said that there are no volumes that deal with him or his works technically. The technique of painting can only be interesting to painters when discussed by the profession; and such books are almost unknown. “The Pietà” (1850); “La Paix et la Guerre” (1861); “Travail et Repos” (1865), in the Musée of Amiens; “Ave Picardia Nutrix” (1865); “Ludus,” “Pro Patria,” “Doux Pays,” all in the gallery of Picardie (1879); “Marseille, Porte d’Orient,” and “Marseille, Colonie Grecque”--Marseilles Museum (1867); “St. Radegonde and Charles Martel”--Hôtel de Ville at Poitiers (1872); “Ste. Geneviève of the Panthéon, Paris” (1877); “Bois Sacré,” “La Rhône et La Saône,” “L’Inspiration Chrétienne,”--Musée at Lyons (1883); “L’Art Céramique,” “Inter Artes et Naturam,” and “Groupe”--Musée at Rouen (1890-92); “L’Hiver,” “L’Eté,” “Victor Hugo offrant son Lyre à la Ville de Paris”--Hôtel de Ville, Paris (1893); “Lettres, Arts et Muses”--Sorbonne Paris (1894). Lastly, another continent called his genius to create something for its generations to hand down to fame, and for the Boston Library Puvis de Chavannes painted “Le Génie Messager de Lumière.” “The Childhood of Ste. Geneviève,” four panels to the glory of the patron saint of Paris, covers a portion of the right wall of the Panthéon. This was the first decoration given at the close of the war of the Commune. The subjects are the pious Childhood, the [Illustration: “LE REPOS” (Amiens)] [Illustration: “LA RIVIÈRE”] Consecration, and the Miracles of the Saint; and there are no more beautiful expressions of religious art in the contemporaneous French school.