in tapestry, and the charming _Portrait of a Young Woman_ (No. 50), deserve special attention. It is unfortunate that they are not hung in the rooms that contain the magnificent furniture of the period, instead of being piled sky-high among pictures that seem to be primarily regarded by the officials as mere museum specimens of the art of painting. Boucher is better hung, and so may be much more effectively studied in the Wallace collection in London. [Illustration: PLATE XL.—FRANÇOIS BOUCHER (1703-1770) FRENCH SCHOOL No. 36.—VULCAN PRESENTING ARMS TO VENUS (Vulcain présentant à Vénus des Armes pour Énée) On the right, Vulcan, seated on a tiger-skin with his left elbow resting on an anvil, presents a sword to Venus, who, supported by a nymph, is resting on a cloud in the centre of the composition. In the background, over the head of Vulcan, are two cupids carrying a helmet with a blue plume; between them and Venus, two nymphs on clouds under a rock. Cupids and doves are fluttering around the central group. In the foreground, on the left, are the chariot of Venus, doves, and cupids, one of whom, immediately below the goddess, is holding a garland of white roses. Painted in oil on canvas. Signed:—“F. BOUCHER.” 10 ft. 6 in. × 10 ft. 6 in. (3·20 × 3·20.)] A little drier in touch than Boucher’s nudes, and considerably less coherent in design, but still painted with remarkable ability, are the figures of the goddess and her attendants in _The Triumphs of Amphitrite_ (No. 863), by Boucher’s contemporary, Hugues Taraval (1728-1785). SIMÉON CHARDIN