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 in angry liberty; a man hard by, staff in hand, warns eagerly and vainly with hopeless hand and voice. Near this is a noble figure of Fear; the spirit or god of this passion attired in red, with hair loose under a cap lightly set on; in his hand a bow without a bow-string; the whole form and face violently afraid, terrified even to passion. In the second room are two other remarkable studies assigned to Filippino; one of a woman with low fat eyelids, round bare forehead, and cheeks with the hair drawn well off, and a short strained throat. The other, a composition of three figures; one, with a cap half covering his curls, seems to remonstrate; one, turning away, rests his foot sideways on a stool, showing the sole; a third, with face and left arm raised together, grasps a stool in his right hand. The story or the sense of this design may be conjectured by those who have time or taste for such guesswork.

The studies by Paolo Uccello give proof in the main rather of his laborious care and devout desire to work well than of his rare and vigorous fancy. Separate heads and figures of his drawing recur in more than one division; one at least is worth a second look; an ancient close-capped head, with the ear bent up as by continuous pressure upon it of knight's helmet or citizen's bonnet; the eye bright, and the neck thick; the mouth, with under-lip thrust out, expressive of a sick and scornful fatigue; a portrait seemingly of some one overworked by thoughtful or active life; an old man of great strength now wearing weak. Other figures, less suggestive, are not less vigorous in design: studies of men wrestling and sleeping, and two or three of a boy wrought evidently