Lievins’ “Soliman” in the Royal Palace of Berlin, a few faces drawn by Rembrandt, his famous portrait known as “The Turk with the Stick” in MacK. Tomby’s collection, which is more likely to be the portrait of an aristocratic Slav, the carpet in “Bethsabe’s Toilet after a Bath,” bear witness to the Eastern influence. So do the Turkish buildings of Peter Koeck d’Aelst, who was the director of a Flemish manufactory of tapestry at Constantinople during Soliman’s reign; the scenes of Turkish life and paintings of Melchior Lorch, who also lived at Constantinople about the same time and drew the Sultan’s and the Sultana’s portraits; and the pictures of J.-B. van Mour, born at Valenciennes, who died in Constantinople, where he had been induced to come by M. de Ferriol, the French King’s Ambassador; of A. de Favray; and of Melling, the Sultana Hadidge’s architect, who was called the painter of the Bosphorus.[9] There may also be mentioned Charles Amédée van Loo’s pictures: “A Sultana’s Toilet,” “The Sultana ordering the Odalisks some Fancy Work,” “The Favourite Sultana with her Women attended by White and Black Eunuchs,” “Odalisks dancing before the Sultan and Sultana,” most of which were drawn for the king from 1775 to 1777, and were intended as models for tapestries; and also the portrait of Madame de Pompadour as an odalisk, “The Odalisk before her Embroidery Frame,” and “A Negress bringing the Sultana’s Coffee,” by the same painter. To these may be added Lancret’s Turkish sketches, the drawings and pastels of Liotard, who left Geneva for Paris about 1762, then lived in the ports of the Levant and Constantinople, and came back to Vienna, London, and Holland, and whose chief pictures are: “A Frankish Lady of Pera receiving a Visit,” “A Frankish Lady of Galata attended by her Slave”; and also Fragonard’s “New Odalisks introduced to the Pasha,” his sepia drawings, Marie Antoinette’s so-called Turkish furniture, etc. In music any sharp, brisk rhythm was styled _alla turca_—that is, in the Turkish style. We also know a Turkish roundelay by Mozart, and a Turkish march in Beethoven’s “Ruins of Athens.” At the end of the eighteenth century, not only did people imitate the gorgeousness and vivid colours of Turkish costumes, but every Turkish whim was the fashion of the day. Ingres, too, took from Turkey the subjects of some of his best and most famous paintings: “The Odalisk lying on her Bed,” “The Turkish Bath,” etc. * * * * *