fted eyes (1574-1642).

HOLBEIN: characterized by bold relief, exquisite finish, force of
conception, delicacy of tone, and dark background (1498-1554).

LORRAINE (_Claude_): a Greek temple on a hill, with sunny and highly
finished classic scenery. Aerial perspective (1600-1682).

MURILLO: a brown-faced Madonna (1618-1682).

OMMEGANCK: sheep (1775-1826).

PERUGINO (_Pietro_): known by his narrow, contracted figures and scrimpy
drapery (1446-1524).

POUSSIN: famous for his classic style. Reynolds says: "No works of any
modern have so much the air of antique painting as those of Poussin"
(1593-1665).

POUSSIN (_Gaspar_): a landscape painter, the very opposite of Claude
Lorraine. He seems to have drawn his inspiration from Hervey's
_Meditations Among the Tombs_, Blair's _Grave_, Young's _Night
Thoughts_, and Burton's _Anatomy of Melancholy_ (1613-1675).

RAPHAEL: the Sophocl[^e]s of painters. Angelo's figures are all
gigantesque and ideal, like those of AEschylos. Raphael's are perfect
human beings (1483-1520).

REYNOLDS: a portrait-painter. He presents his portraits in _bal
masqu['e]_, not always suggestive either of the rank or character of the
person represented. There is about the same analogy between Watteau and
Reynolds as between Claude Lorraine and Gaspar Poussin (1723-1792).

ROSA (_Salvator_): dark, inscrutable pictures, relieved by dabs of
palette-knife. He is fond of savage scenery, broken rocks, wild caverns,
blasted heaths, and so on (1615-1673).

RUBENS: patches of vermillion dabbed about the human figure, wholly out
of harmony with the rest of the coloring (1577-1640).

STEEN (_Jan_): an old woman peeling vegetables, with another old woman
looking at her (1636-1679).

TINTORETTI: full of wild fantastical inventions. He is called "The
Lightning of the Pencil" (1512-1594).

TITIAN: noted for his broad shades of divers gradations (1477-1576).

VERONESE (_Paul_): noted for his great want of historical correctness
and elegance of design; but he abounds in spirited banquets, sumptuous
edifices, brilliant aerial spectres, magnificent robes, gaud, and
jewelry (1530-1588).

WATTEAU: noted for his _f[^e]tes galantes_, fancy-ball costumes, and
generally gala-day figures (1684-1721).

=Paix des Dames= (_La_), the treaty of peace concluded at Cambray in
1529, between Fran[c,]ois I. of France and Karl V., emperor of Germany.
So called because it was mainly negotiated by Louise of Savoy (mother of