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 in sculpture, Shubin and Gordyeyev; in engraving, Chemesov, Kolpakov and Gerasimov; in painting, Losenko, Rokotov, Sablukov, S. Shchedrin, Serebryakov and Golovachevsky.

Falconet, who knew Losenko (1737–1773) well, later on spoke about him in the following terms:

"The poor and honest fellow, degraded, starving, eager to leave Petrograd for some other place, used to come to tell me his troubles. Then despair drove him to dissipation, and he was far from guessing what he would gain by dying. It is written on his tombstone that he was a great man. It is evident, therefore, that in Russia, and in painting, people manage to make a draughtsman, a fairly accurate copyist and a painter of no talent, a great man, after his death. The Empress desired to encourage him, but at any rate, he had a fine epitaph."

These good-humouredly ironical words, very applicable to Russian art in general, are not altogether true of Losenko. Falconet made his acquaintance when the unfortunate artist was already completely worn out by the duties of the purely bureaucratic office he held in the Academy (he was its director). A few works executed by Losenko at the beginning of his activity present him in a different light. Even if it were absolutely necessary to deprive this master of the charming genre