tors prize his plates very much.

There were other French painters who studied in Italy, but those that I
have mentioned are the important ones. Of those who studied in their own
country only, EUSTACHE LE SUEUR (1617-1655) was the first of any
importance; but his life was short and uneventful, and he was not
appreciated. His most important works are in the Louvre.

CHARLES LE BRUN (1619-1690) was very prominent in his day. His father was
a sculptor, and was employed by the Chancellor Segnier. This nobleman's
attention was attracted to the son, and he at length sent the young Le
Brun to Italy to study. He remained there six years, and after his return
to Paris he was made painter to the king, and became the favorite of the
court. He used his opportunities to persuade Louis XIV. to found the Royal
Academy at Paris, which was done in 1648. All his principal pictures are
in the Louvre.

PIERRE MIGNARD (1612-1695) has been called "the Roman," because he lived
in Rome twenty-two years, and while there was patronized by three
successive popes. In 1664 he was made President of the Academy of St. Luke
in Rome. At length Louis XIV. invited him to return to France. In 1690 he
succeeded Le Brun as court painter, and was made Chancellor of the
Academy. His portraits are his best works, and these are seen in the
galleries of various European countries.

HYACINTHE RIGAUD (1659-1743) became the most distinguished French portrait
painter of his time; but his pictures are not very attractive or
interesting in our day. He finished them too much, and so gave them an
artificial appearance. Then, too, the costume of his day was such that his
portraits seem to be the portraits of wigs and not of people. They are
very numerous. He often painted the portrait of Louis XIV., and had
illustrious people from all parts of Europe among his sitters.

ANTOINE WATTEAU (1684-1721) was the first to practise a new style of
painting. The habit of the French court was to pass much time in elegant
out-door amusements. Watteau represented the scenes of the _fetes
galantes_ and reunions then so much in fashion. His pictures are crowded
with figures in beautiful costumes. There are groups of ladies and
gentlemen promenading, dancing, love-making, and lounging in pleasant
grounds with temples and fountains and everything beautiful about them.
The pictures of Watteau are fine, and are seen in many galleries. His
color is brilliant, and to their worth as pictur