despair in the writhing forms and agonized faces of his “Deluge.” Then we feel the strength in the masterpieces of David, and the exquisite delicacy and suffering and resolve in the “Ecce Homo” of Guido. Here Raphael’s genius shines upon us in the seraphic sweetness of the “Holy Family,” and Veronese’s “Marriage of Cana,” with its beauty of form and richness of color, and marvelous vigor of conception. And here is the mysterious, half-triumphant, half-timid, grace and beauty of “The Conception,” by Murillo. The longer one lingers, the more one dreads to hear the voice of the guard who calls out the time to close, and when the spell is fairly on one who loves art, he will pass from Louvre to Luxembourg, and back again from Luxembourg to Louvre, unheeding the great, gay, bustling world that is surging up and down between. At the smaller gallery, modern art and living artists are better represented than at the Louvre. Look here for De la Roche and Rosa Bonheur, and if the horrors of the French Revolution are not already coming up too often, as you pass about the city, dwell upon the anguished faces of the prisoners in the picture called “The Night Before Execution,” and I can promise you an afternight of troubled sleep. How gladly one turns from its horrors to the calm, sad strength in the face of the Christ in Ary Scheffer’s “Temptation,” rejoicing in the grand expression the artist has given to the power before which ultimately shall shrink back all the pain of the world, all the horrors and shames of sin. Between the thick walls of her silent galleries, and in the hushed air of her churches, one who had time could find a wealth of association, historical and other, that would enrich weeks spent in their examination alone.