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 584 Painting undoubted progress. The proof of this is to be found in some fine works in the Louvre, such as the Jaffa plague stricken, and especially the Battle-field of Eylau, a great work as well as an instructive lesson, a most heart-rending image of the desolation caused by war. Pierre Narcisse Guerin (1774 — 1833), the pupil of Jean Baptiste Regnauld, followed the track thrown open by David. His Marcus Sextus returning from exile, in the Louvre, is his principal work. His later pictures are too theatrical. Many of his works have been engraved. Pierre Prud'hon (1758 — 1823) was the son of a mason of Burgundy. In early life he went to Pome, and formed acquaintance with Canova. In 1799 he returned to France, and he was already forty-nine when the prefect of th Seine ordered a picture of him — his first composition high art — the celebrated allegory of Divine Justice a Vengeance pursuing Crime: this picture attracted great notice. The Louvre has acquired this work, and it has also his Christ on Calvary. In both these paintings there is the same melancholy and solemn majesty. We must seek in private collections for other works — such as Zephyr rocked on the Waters, the Rape of Psyche by the Zephyrs, or the Desolate Family, to show how he treated the antique, and how he could impart as much poetry to cotemporary sufferings as to the fictions of mythology. Francois Marius Granet (1775 — 1849), another mason's son, born at Aix-en-Provence, is celebrated for his Interiors, two of which may be seen in the Louvre, the Cloister of the Church of Assisi, and the Fathers of Mercy redeeming captives. He animated his views of buildings by scenes