Mazarin does not seem to have been discouraged by this unexpected _contretemps_. Learning that Jabach was going to London to be present at the sale of the collection of Charles I, he asked him to buy paintings for him, and through this friend was able to secure for a new gallery the Venus by Titian, the Antiope and the Marsyas by Correggio, the Deluge by Carracci, as well as tapestries of inestimable value. Two years later Mazarin triumphantly entered Paris again, was reinstated in his former power, and started a new library, while reconstituting his dispersed gallery; and when he died his collection contained, according to an inventory of the year 1661, 546 pictures, of which 283 were of the Italian school, 77 German or Dutch, 77 French and 109 of various schools. The Italian school included names such as Raphael, Titian, Correggio, Tintoretto, Solario, Guido Reni, the Carracci, Domenichino, Bassano, Albani, etc. Many of these works are now in the Louvre Museum and nearly all his statues, 350 in number, have also passed to the Louvre and are now kept in the _Galérie des Antiques_. The inventory also informs us that the Cardinal left twenty-one cabinets, some in ebony, others veneered with tortoise-shell and ivory, and a large quantity of marble tables and Venetian glass, chandeliers in rock crystal, and irons in silver or gilded. The precious stones were valued at 387,014 francs, the silver of the chapel at 25,995, the plates in silver, gold or gilded (761 pieces) at 347,972, etc. The same inventory also notes 411 fine pieces of tapestry estimated at 632,000, perhaps what a single piece of the best would cost nowadays, but an enormous sum considering the time. There were also 46 Persian rugs of unusual length, 21 complete “ameublements” in velvet, satin, gold embroidered silk, etc. The library included 50,000 volumes and 400 manuscripts. [Illustration: _Photo]_ _[Alinari_ THE SPINARIO. A cherished Roman subject of the imitators of the XVth and XVIth Centuries. Several museums have similar imitations. There is a fine original in Naples Museum.] Brienne, who was a collector himself on a smaller scale, and who filled at the time the position of secretary to the Cardinal, relates with a certain pathos the last moments of this frantic art collector, and how during his last illness he grieved to leave his cherished masterpieces.