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 first place is held by the poetical portraits of the beautiful princess Suvorov in the Tretyakov Gallery; to these there belong also the portrait of Countess Bezborodko with her daughters, that of the charming Mme. Lopukhin, and others. In former times, when historical and religious pictures were considered necessary for the title of a great artist, Borovikovsky was highly praised for his icons. We do not share this admiration. Borovikovsky's talent was not deep. All his portraits are superficial and have a hackneyed "family resemblance" about them. It is natural that in the field which requires the most concentrated feeling and the deepest penetration, in religious painting, he could produce nothing remarkable.

Around Levitzky, Rokotov, and Borovikovsky, there were grouped several other remarkable portraitists, who received their education partly at the Academy, but to a great extent developed independently. Unfortunately, we have to confine ourselves to the study of their works, as we have no knowledge of their artistic personalities. One of these portraits, that of Count Dmitriyev-Mamonov, by Shebanov (Museum of Alexander III), is worthy of European fame. This small, pictorially modest picture bears comparison with the most celebrated productions of the exquisite eighteenth century art, for its finesse of design as well as for its sure