For beauty of form, purity of sentiment and spirituality, untainted by the least spark of sentimentality, which is the bane of most modern religious painting, this work of Flandrin's may be classed as the finest of our time. It is treated in the conventional manner; there is no intense realism such as we find in the work of Laurens, Lhermitte or Hitchcock, but neither is it inane, effeminate, or affected, as are the pictures of Ary Scheffer, Hesse, and a crowd of disciples of Overbeck and Cornelius. The latter called the frieze an example of a true Renaissance, and M. Ingres, who had helped his favourite pupil in analysing the details, looked upon it as a revival of true religious art, a vivification of the Old Masters. "Do you suppose it is to make copyists of you that I send you to copy the great masters? I wish you to get the juice of the plant and to plunder the bee." This Flandrin did. He studied the art of Memlinc and Van Eyck, of Fra Angelico and of Raffaello, but the feeling was his own. He went on his way calmly, thoughtfully working out his ideas in faith and prayer, scorning the world and indifferent to its inhabitants, and thus his painting is as instinct in religious sentiment as that of Angelico, while his mastery of drapery and his management of its folds are not surpassed by the Greeks themselves; indeed, he united Greek beauty of form with Mediæval purity of sentiment. Flandrin's only weak point was his colour, but in the frieze it is sufficiently harmonious, owing to the flat gold backgrounds. In drawing he was perfect, never hesitating, never altering; beginning as he meant to finish, without any experiments, or changes in the designs he had sketched out. Nor must Picot's part in the decoration of S. Vincent de Paul be overlooked. His _Christ sur un trône_, with the patron Saint at His feet adoring, is quite in keeping with the frieze, by the younger painter. The wood-work of the church is finely carved, and, indeed, all the details of the building are magnificent, making it a glorious example of the perfect unity of the allied arts--architecture, painting, and sculpture; an example that is almost unique in modern times. INDEX. A. Academy of Painters, 136. Agnes, S., Legend of, 120. Alleluiatic Victory, 180. Anne d'Autriche, 147, 322, 327. Anselme, 80. Antoine, S., 1. Apollinaris, S., 217. B. Barrère, 53. Benoist, Curé of S. Eustache, 144. Benozzi, F., 300. Biscornette, Legend of, 283. Blanc, J., 175. Blanche of Castille, 2, 79. Blancs-Manteaux, N. D. de, 300. Boïleau, N., 12, 200. Bonnat, 258. Bontems, P., 47. Bouillart, Dom, 197. Bouteiller, J. le, 272, 286. C. Cabanel, A., 171. Cameo, "Apotheosis of Augustus," 19. Carlyle, T., 150, 279, 307. Carmelites, Church of the, 1. Champaigne, P. de, 213, 304, 327. Chapelle, S., 2. " Ceremonies at, 11, 16, 17. " Treasury of, 21. Chapel, Valois, 38. Charles VIII., Tomb of, 58. " le Chauve, 40, 58, 90. Chavannes, P. de, 171.