saddle as court painter, he became one of the slickest makers of fashionable portraits the world has ever known. He let his great technical gift lapse into the sweet facility of a confectioner. But looking back over his youth, he could justly have said: "I also have been in Arcadia." In his youth he was a fairly diabolical virtuoso. It was then that he painted the Mr. and Mrs. Angerstein in the Louvre. It was then that he painted the bewitching Eliza Farren, Countess of Derby, belonging to Mr. J. Pierpont Morgan. It was then that he painted Pinkie, the fulllength of little Miss Sarah Moulton-Barrett, which he sent to the Royal Academy

brittle about his dexterity. His technique is as sound as it is flashing. The conventionally minded will say of Pinkie that it is just another Lawrence. The connoisseur of painting will refer to it with respect.

ANOTHER master of virtuosity made a

deep impression upon me this winter. It was Velasquez, painting The Woman Sewing, which Doctor August L. Mayer takes to be a portrait of the master's daughter Francisca. This portrait, now in Secretary Mellon's collection, is a superb bit of color and brush-work, one of

great occasion, for it brought out the Vaughan portrait of Washington, painted from life by Gilbert Stuart at Philadelphia in 1795, and divers other arresting rarities. One of these that I especially love to recall was a fine portrait of Thomas Johnson, the first governor of Maryland, painted by John Hesselius. He was an eighteenth-century American of Swedish ancestry. From this portrait of Mr. Clarke's finding it was plain that Hesselius was a distinguished craftsman. From him I pass to certain Americans lost within the last year and appropriately commemorated by exhibitions. The late Mary Cassatt

the Metropolitan Museum. I admired anew the skill and the unforced picturesqueness with which he handled subjects all over the world, chiefly architectural, through a long life. But I admired most of all the Italian etchings he made early in his career. He never surpassed them. Another high light in the world of draftsmanship was supplied by the work of the late Ernest Haskell, shown at full length at the Macbeth Gallery. He was one of the finest etchers ever known in America, a craftsman of consummate firmness and delicacy. Landscape principally engaged him, and he delightfully