In this picture there are seven figures with an open landscape forming the background. The baby of the family plays, with uplifted arms, upon grandfather's knee. The mother on the couch, surrounded by her three other children, is kissing one while another clings to her. Before her stands a prim little maid, gowned in the fashion of grown-folks of her day. A little lock of hair falling upon her forehead suggests that when she was good she was very, very good, and when she was bad she was horrid! She wears a little cap. At the back is the artist himself in a wig and other fashions of the time. A great column rises behind him, forming a part of the architecture or the landscape, one hardly knows which in so artificially constructed a picture. Copley painted also John Hancock, Judge Graham, Jeremiah Lee, and General Joseph Warren. X JEAN BAPTISTE CAMILLE COROT (Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh) _Fontainebleau-Barbizon School_ 1796-1875 _Pupil of Michallon_ About three hundred years before Corot's time there was a Fontainebleau school of artists, made up of the pathetic Andrea del Sarto, the wonderful Leonardo da Vinci, and Cellini. These painters had been summoned from their Italian homes by Francis I., to decorate the Palace of Fontainebleau. The second great group of painters who had studios in the forest and beside the stream were Rousseau, Dupré, Diaz, and Daubigny; Troyon, Van Marcke, Jacque; then Millet, the painter of peasants. Corot was born in Paris and received what education the ordinary school at Rouen could give him. He was intended by his parents for something besides art, as it would seem that every artist in the world was intended. Corot was to grow up and become a respectable draper; at any rate a draper. The young chap did as his father wished, until he was twenty-six years old, and dreary years those must have been to him. He did not get on well with his master, nor did the world treat him very well. He found neither riches nor the fame that was his due till he was an old man of seventy. At that age he had become as rich a man as he might have been had he remained a sensible draper. Best of all, Corot loved to paint clouds and dewy nights, pale moons and early day, and of all amusements in the world, he preferred the theatre. There he would sit; gay or sad as the play might make him, weeping or laughing and as interested as a little child.