Hubert Robert (1733-1808), of whose classic landscapes the collection contains nineteen examples (Nos. 797-815), was not, as might be imagined from the general character of his paintings, influenced by the art of Claude Lorrain, but derived his love of antique buildings and landscapes peopled with classic figures from the general atmosphere of archæological enthusiasm engendered by the excavations on the site of Herculaneum, which prevailed in Rome when the young artist arrived at that Mecca of his profession in 1754. Robert lived and worked in Italy for twelve years, and became thoroughly imbued with this antiquarian spirit. Unlike Claude, he rarely, if ever, drew upon his imagination for the details of his classic landscapes, which are faithful transcripts of existing ruined or half-ruined buildings, though not infrequently they are arranged for greater pictorial effect. Of this half-realistic, half-classic nature—the introduction of people in classic garb among the ruins of buildings, which in classic times wore a very different aspect, is a pardonable anachronism—are the _Interior of the Temple of Diana at Nimes_ (No. 799), and several similar pieces at the Louvre. In his smaller pictures, of which the best are the _Fountain under a Portico_ (No. 812) and the _Winding Staircase, with three Figures_ (No. 813), in the La Caze Room, he rivals the rich quality of pigment and mellow tone of Guardi at his best. Robert was Fragonard’s constant companion in Rome, and exercised considerable influence upon his friend, as may be seen from Fragonard’s landscape drawings. There is scarcely a trace of Italian classicism in the superb _View in the Neighbourhood of Paris_ (No. 650), by Louis Gabriel Moreau (1740-1806), which in its silvery-grey tonality, in its sense of atmosphere, and in the treatment of the receding distances, rather recalls the manner of the Dutchman Philips de Koninck. That Moreau, who also worked in England, was not always free from conventionality, is proved by the rather formal composition of the _View of the Hills of Meudon from Saint-Cloud_ (No. 651). [Illustration: PLATE XLIV.—ELISABETH LOUISE VIGÉE LE BRUN (1755-1842) No. 522.—PORTRAIT OF THE ARTIST AND HER DAUGHTER (Portrait de Mme. Le Brun et de sa Fille) The artist, in a white bodice with purple sleeves and a yellow satin skirt, is seated on a green sofa. Her head is inclined towards her right shoulder. She presses towards her, with both arms, her little girl, who is resting on her lap, with her head turned towards the spectator. Painted in oil on canvas. 3 ft. 5½ in. × 2 ft. 9½ in. (1·05 x 0·85.)] LOUIS DAVID