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 individuality, a vigorous stroke, and its pleasant greenish-brown hue. All the rest of Matvyeyev's works have perished; some have disappeared—for instance, his portrait sketch, from life, of the Empress Anna, which as late as the middle of the nineteenth century was in the Academic Museum. A number of them have entirely lost their original character, owing to repeated retouching. His apocryphal "Kulikovo Battle," in the Museum of Alexandre III, completely confuses our notion of this master.

Of the works of Ivan Nikitin, who returned to Russia in 1720, there remain to us even fewer examples. Our opinion about him must be formed on the basis of a unique work which is fully authenticated. It is the portrait of Baron S. G. Stroganov, kept in Maryino, the Golytzin estate, near Petrograd. The portrait is, from a contemporary viewpoint, a fair but not an extraordinary piece of work. Although interestingly conceived and not devoid of elegance, it is not distinguished either by bright characterization or by any remarkable skill. Of a greater value for the revealing of Nikitin's character would be the portraits "Peter on his Death-bed" and "The Hetman" in the Academical Museum, painted very skilfully in rich colours in a pleasant and noble colour-scale, if it could be ascertained that these works really belong to the brush of Nikitin, and not to