His boastful skill in the management of the satins and velvets in the overrated portrait group of _Largillière with his Wife and Daughter in a Garden_ (No. 491), cannot atone for the singularly unfortunate and clumsy composition, and for the self-conscious affectation of each individual pose. More satisfactory, in spite of the superabundance of accessories and outward pomp, which in this case is a fitting attribute to the character of the sitter, is the _Portrait of Charles Le Brun, First Painter to King Louis XIV._ (No. 482), who is depicted in a colossal wig, seated before an easel, and wearing a superbly painted red velvet cloak. LANDSCAPE PAINTERS It almost goes without saying that landscape art, which, even in its most artificial and “classic” phase is inspired by the love and study of nature, was sadly neglected in so artificial an age. Among its leading exponents must be mentioned the two Patels, father and son, of whose life we have but scant knowledge, and whose pictures resemble one another’s so closely that it is often difficult to determine which is by Pierre Patel, the father (1620?-1676), and which by Pierre Antoine Patel, the son (1648-1708), especially as both adopted the signature, “P. PATEL.” In the case of the older artist’s _The Exposure of Moses on the Nile_ (No. 680), and _Moses burying the Egyptian whom he had Slain_ (No. 681), and his son’s four landscapes representing the months, _January_ (No. 684), _April_ (No. 685), _August_ (No. 686), and _September_ (No. 687), all doubts are set aside by the dates which accompany the signature. Both artists were close followers of Claude Lorrain, although their precise technique suggests the influence of Adam Elsheimer. A truer perception of nature came to France from the North, whence, indeed, throughout the history of French painting vitality was infused into an art that was cramped by officially imposed canons of Italian perfection. As far back as the time of Le Brun, Félibien and Roger de Piles had begun in the field of literary polemics the long struggle between the _Poussinistes_ and _Rubenistes_, the adherents of an art dominated by design and perfect drawing, against the partisans of colour as a vital element. During the whole seventeenth century the Poussinistes, who commanded all the official support, held the field, though the Netherlandish strain was represented by some of the finest painters of that period, like the brothers Le Nain, C. Lefebvre, and Philippe de Champaigne. In the eighteenth century the Northern influence became supreme through Watteau and Chardin on the one hand, and on the other through Boucher and Fragonard, both of whom were powerfully influenced by the study of Rubens’s works. DESPORTES