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 deserve real attention. As to Makhayev, it is hard to pass judgment upon him, for it is uncertain what really belongs to him in the precious series of engraved views of Petrograd, which were published during the last years of Elizabeth's reign. The originals painted in oil are kept in the Hermitage: some of them,—for instance, the Summer Palace, are painted vividly and skilfully; others, like the great view of Neva, with dull timidity and in a mechanical manner. The first ones seem to be the work of Valeriani, the second, of Makhayev himself.

I. Argunov (1727–1797), despite the researches of S. Dyagilev, is a somewhat obscure figure. Like many other masters of his time he did not hesitate to sign portraits copied from other people's originals, and this mixing of copies with original works makes the estimation of his talent a difficult task. Thus, it is to be regretted that we cannot be certain of Argunov's authorship in regard to one of the best productions of eighteenth century Russian painting: the portrait of Countess Barbara Alexeyevna Sheremetyev, which can bear comparison with the portraits of Tocqué, Rotari and Van-Loo. Of course, all the interest of this characteristic and soundly realistic portrait would be lost if the work proved to be Argunov's copy from the forgotten original by one of these masters. Equally meritorious are the portraits of Count S. B. Sheremetyev,