We have already mentioned the portrait group (No. 1812B), a picture in deplorable condition, to which the name of John Hoppner (1758?-1810) has been attached without sufficient reason. No less doubtful is the authenticity of the _Portrait of the Countess of Oxford_ (No. 1812A), a meretricious picture which serves to show the mannerisms and striving after prettiness of Lawrence’s rival, rather than the more estimable qualities by which his better achievements are distinguished. George Romney (1734-1802), on the other hand, is seen in his most serious mood in the _Portrait of Sir John Stanley_ (No. 1818C)— a thoroughly honest “likeness,” well drawn, and painted straight-forwardly, without tricky accents and mechanical recipes. On a screen in Gallery XV. has been temporarily placed a recently acquired _Portrait of the Artist_, by Romney. He is seated, palette in hand, in a landscape background. The features are well modelled, and the light and shade managed with considerable skill. Strangely enough the most remarkable English picture at the Louvre is by a little known painter, who is not represented in any of the leading British galleries. Charles Howard Hodges (1764-1837), who was born in London, but went at the age of twenty-four to Holland, where he spent the rest of his life, was really a mezzotint engraver, in which craft he had been trained by John Raphael Smith. He produced many plates after pictures by the Dutch masters, and also painted a few portraits, among them the masterly _Portrait of a Woman_ (No. 1812), at the Louvre. At a time which was too much given to conventionality and to the desire to please by concessions to a popular craving for prettiness, this picture strikes a note of almost brutal realism. It is painted with surprising vigour and with an appreciation of correct tone-values, in a low key, which heralds the art of the Glasgow school in the later decades of the nineteenth century. With _The Bathing Woman_ (No. 1810B), by William Etty (1787-1849), and _The Watering Place_ (No. 1815), by William Mulready (1786-1863), we reach the full decadence of the British school in early Victorian days before the great revival initiated by the pre-Raphaelites. INDEXES I. INDEX OF ARTISTS Albani, Francesco, 5, 119. Albertinelli, 11, 43, 46. Altichieri, Altichiero, 79, 85, 105. “Alunno di Domenico,” 34, 42. Amberger, C., 133. Ambrogio da Fossano, 94. Ambrogio da Predis, 35, 97. “Amico di Sandro,” 41. Andrea dal Castagno, 25, 28, 30. Andrea de Milan, 193. Andrea del Sarto, 2, 3, 45-46, 186, 239. Angelico, Fra, 10, 22-24, 26-27, 126. Anguissola, Sofonisba, 103. Anselmi, Michelangelo, 47. Antonello da Messina, 65, 95. _Portrait of a Condottiere_, Plate IX. Antoniazzo Romano, 55-56. Arellano, Juan de, 190. Arentzen, Arent, 216. Artois, Jacob van, 154. Asselyn, Jan, 217.