This, the Tailor portrait, looks at you to-day as quietly and modestly as if still waiting for your instructions, with his shears in his hand, as the original must have done more than three hundred years ago; it is so highly finished in all its details, so perfect in its expression and pose, and, as I have said, so undemonstrative on the part of the master, that one is apt not to wonder he had no honour in his own country. It takes a painter of some experience to appreciate Moroni properly, as Titian did, although ordinary spectators will hardly pass it over without saying 'How natural!' The other pictures of this rarely gifted master all bear the same stamp-mark of matchless workmanship and power of depicting character: No. 1023, 'Portrait of an Italian Lady,' in red satin dress; 742, 'Portrait of a Lawyer,' in black velvet; 1024, 'Portrait of an Italian Ecclesiastic;' and 1022, 'Portrait of an Italian Nobleman.' While the student may satisfy his cravings with that likeness of 'Pope Julius II.,' No. 27, and perhaps one of Raphael's infants, he cannot do better for himself than take the whole of the Moroni works, and follow up with what he can get of Velasquez. While giving these hints to students about single subjects, I will run over those heads or portraits which have mostly impressed me as being more or less useful to take in this course of study for their special qualities, after which I shall take up some of the larger compositions, and finish up with the old landscape and seascape painters. No. 852, the 'Chapeau de Poil,' by Rubens. For ease and strong colouring, as well as expression, this is one of the best for a young artist who _has experience enough_ with his brush to paint it quickly. You may labour with improvement upon the portraits of Moroni, but you must work quickly and decidedly when you attempt to reproduce Velasquez or Rubens. There are two portraits which I have always been fascinated with for their delicacy of execution. One is 585, 'Portrait of Isotta da Rimini,' by Piero della Francisca, and the other 'The Doge Leonardo Loredano,' No. 189, by Giovanni Bellini. Both have been painted about the same period, at least within the same century, the fifteenth, and are distinguished by their high and minute finish and tenderness of outline; they are both well worth copying.