Hayls, seems alert, robust, and inquisitive, as we know that he was, and he holds in hand a sheet of music, which suggests more than one passage in his Diary.

Of James II, hapless but unpitied, there are numerous portraits. In earlier days Lely had painted the Duke of York, and made him fine and handsome. As king, Kneller shows him older and with countenance hardened and sour. A mezzotint by James Meheux published at Rome reveals the sensuality which so much tortured his conscience. The painting by Riley shows him splendid in armor, but with countenance the mirror of a narrow and petty mind. Wissing's portrait gives Mary of Modena, his youthful wife and unfortunate queen; in a later portrait by Largillière she is thin and aged, a melancholy exile. Wissing has also painted the lean and plain Catharine Sedley, one of the king's mistresses; and an engraving in the Sutherland Collection shows Arabella Churchill, another. The luckless Monmouth appears weak but resplendent in the magnificent robes which he donned for Sir Peter Lely; while his head enveloped in the mystery and nobility of death has been painted, one believes, by Sir Godfrey Kneller. An unknown artist has portrayed the terrible Jeffreys with an air, I think, of contemplation and refinement; but Kneller gives him that latent fierceness which might burst forth after a night of carousing as when he raged at Richard Baxter or sent Alice Lisle to her doom.

The great figure in Macaulay's epic is William of Orange, and the larger part of the work is devoted to an account of his time. There are many pictures of the great statesman and king. A painting after the manner of Jansen van Ceulen shows him a puny child, but with great eyes and curving nose afterwards renowned in Europe. In the Sutherland Collection he appears as Prince of Orange, delicate of figure and with womanish hands, but with eagle nose and countenance of one fit to change the destiny of nations. A painting attributed to Jan Wyck shows the cautious general and great leader; as in a manner less good does the mezzotint by Schenck. Older, perhaps abler, he appears in Kneller's portrait. Stiff and ugly, Jan Wyck represents him in triumph at the Boyne. A mezzotint by Visscher exhibits him in the robes in which he appeared, perhaps, so cold and reserved

to courtiers; while another by Gole shows how he looked at his best on the day of battle. A painting by van Wyck represents him that day when he received the surrender of Namur. From the Sutherland Collection is taken an Italian portrait published in 1696, when his name was great among distant peoples. Mary, his wife, as much loved by contemporaries as her husband was feared and admired, appears also in several likenesses. About 1677 Lely shows her the sweet and gentle girl, who desired above all to be cherished by her husband. Somewhat older Closterman represents her as the charming Princess of Orange. She is not so attractive in the more conventional engraving of Schenck. Older but very charming she seems as Queen of England in the mezzotint of Visscher. Sir Godfrey Kneller shows her a little stouter. Neither she nor her husband is readily recognized on the William and Mary pottery in Dr. Glaisher's collection. That her charm and loveliness remained in 1691 is evident from the mezzotint of Schenck in that year. Her sister Anne, whom Macaulay thought so much duller and less interesting, but who was destined later to play an important part in the history of England, appears stolid but handsome in a mezzotint by John Smith, while Dahl's painting shows her with her little son, the Duke of Gloucester. There is Vandrebanc's engraving of her husband, Prince George of Denmark. His features seem heavy, but these things are deceptive, and for another man they might signify silence and reserve. She who long controlled Anne so entirely, the beautiful and domineering Sarah, Duchess of Marlborough, appears with exquisite grace in the portrait of Kneller, and more petulant and scheming in the painting by Dahl. There is a miniature of her husband, while he was still handsome young John Churchill, a painting by Kneller when he was Duke of Marlborough, leader of the Whigs, statesman, diplomat, and foremost captain of the age; and a painting by Closterman of the soldier born to command.

Of other personages there are pictures too numerous to mention. There is Greenhill's painting of Shaftesbury, first great party politician in his country. Sir Peter Lely and Sir Godfrey Kneller appear as painted by themselves, while the latter has also furnished the portrait of Sir Christopher Wren. There is

John Milton, old and in retirement, from the engraved portrait by William Faithorne. Other men of letters follow: Jean Racine from an engraving by Vertue; Blaise Pascal, contemplative and serene; Jacques Bossuet, eloquent, narrow, and humane; John Dryden, brilliant of mind and mean of character, in the painting of James Maubert; Lely's portrait of Wycherley, strong and handsome, seeming little apt to write the foulest dramas of the Restoration; Matthew Prior, poet and diplomatist, as Richardson portrayed him in curious headgear, astute plenipotentiary in the engraving after the painting by Belle; John Bunyan from Sadler's painting, homely tinker of highest genius; Jeremy Collier, brave and pugnacious, as when he thundered against the immorality of the stage; Sir William Temple, diplomat and polished writer, from the splendid painting of Lely; the profound and mighty intelligence of John Locke, in the portrait by Brownover; the modest greatness of Sir Isaac Newton, in the painting by Vandrebanc; from the National Portrait Gallery of Scotland Dr. Arbuthnot, satirist, so admired by Macaulay, who gave to posterity 'John Bull'; from Jervas's painting Jonathan Swift, greatest of all, and Esther Johnson, to whom he gave so much attention and some incalculable part of his love. Nor should we omit Jacob Tonson, the publisher, after the painting by Kneller.

The great ecclesiastics, the eminent statesmen, the politicians, are not omitted. The Seven Bishops are by an unknown artist. Loggan's engraving shows William Sancroft, Archbishop of Canterbury, who opposed James's attempt upon Protestantism, but could never bring himself to acknowledge William, deliverer of the faith. There are several likenesses of Burnet, 'at once a historian, an antiquary, a theologian, a preacher, a pamphleteer, a debater, and an active political leader; and in every one of these characters . . . . conspicuous among able competitors.' Macrell's mezzotint shows him in 1688, when he was friend and adviser of the Princess of Orange, and honored and respected by William. The portrait by John Riley displays the man well, bluff, forward, outspoken, but withal courageous and honest. Henry Compton, Bishop of London, persecuted by James and disappointed by William, is represented in the mezzotint of Simon. John Tillotson, successor to Sancroft deposed, appears in a

painting attributed to Kneller, which may be by Mary Beale nevertheless. Other churchmen who throng this time, priests and bishops and popes- many are found here - Pope Innocent XI from Clonnet's engraving, Alexander VIII from one by Visscher, Innocent XII from a mezzotint by Gole.

Of politicians and men of affairs there is a host of names, some still renowned, some faintly remembered by the general reader, some long since forgotten entirely. Not many recall John Wildman, exile and agitator, nor William Chiffinch, who kept the backstairs for Charles II; but the one is represented in an engraving by Hollar, and the other in the painting of Riley. There is Alderman Cornish, a Whig martyr, and Father Huddleston, who received Charles II dying into the bosom of Rome. Sidney Godolphin, cautious politician and preeminent financier, is represented after a portrait by Kneller, who has also painted a splendid picture of Shrewsbury. George Savile, Marquis of Halifax, 'trimmer,' more philosopher than politician, more observer than man of action, but one of the finest characters of the age, seems a gentleman of the best type in Lely's painting. After the school of Rigaud is the picture of Richard Talbot, Duke of Tyrconnell, who strove to raise Ireland for James and the Catholic faith. There is Lely's portrait of Dundee, who led the Highlanders irresistibly to victory, and died in his hour of triumph, just before the hour of inevitable failure. One of the Sutherland engravings represents Sir Josiah Child, Governor of the East India Company, and wealthiest merchant of his age. Sir John Somers, Lord Keeper, appears in an engraving after Kneller's portrait, which shows the wide forehead and thoughtful eyes of the acutest lawyer of that time. In the manner of this artist also is the portrait of Robert Harley, without striking abilities indeed, but at a later time greatest man in the kingdom and arbiter of the destinies of Europe. Together in White's engraving appear the seven Lords Justices, whom William appointed in his first regency after the death of the queen. An artist of Lely's school exhibits in rigid magnificence Sir Joseph Williamson, whose diplomatic correspondence and journals throw light on the beginning of the cabinet. There is Arnold van Citters, ambassador from the United Provinces, whose dispatches

are so valuable for this period; and there is the French emissary, d'Avaux, whose communications illuminate the times and also reveal doctrines of cruelty and state necessity not unlike those advanced when the world went to war.

The captains and the admirals of the age illustrate a period of conflict. Louis XIV, who so much filled the mind of Europe in his day, appears several times. A mezzotint by Gole presents him in lace and wig, first gentleman of Europe; Habert's engraving is of the same king in the magnificent good taste of his palace; as general in armor he is given from the painting of de la Haye. The Sutherland Collection affords representations of Kara Mustapha and of John Sobieski, king of Poland. Kneller's painting shows the great and knightly Duke of Schomberg mounted on a generous charger; but his fine features are better seen in the painting by Dahl. There is an engraving of Menard's painting of Tourville who threw England into terror by his victory at Beachy Head; and one of Wissing's portrait of Edward Russell who took vengeance for England in the great triumph at La Hogue. The picture of Admiral Evertsen, who gallantly led his countrymen at Beachy Head, is from the painting of Maes in the Rijks Museum at Amsterdam. Of Ginkel, who fought with William in the Irish wars, there is a mezzotint after the painting by Hill. The large features and intelligent countenance of Vauban, master of the art of fortification, are after the painting of de Troy. Luxembourg, the 'hunchbacked dwarf,' who defeated William at Steenkerke, appears in an engraving after Rigaud's painting. Jean Bart, famous corsair of Dunkirk and terror of the English seas, from a rude engraving in the Cabinet des Estampes. The various marshals of France are depicted. There is Charles XII of Sweden, who blazed like a meteor across astonished Europe; Peter the Great of Russia before whom he went down; the sad and monstrous face of Charles of Spain, degenerate ruler of a dying empire; and there are the pictures of those who plotted to acquire his dominions.

Not less interesting, and more difficult to obtain, are contemporary representations of passing events, or old pictures of places, cities, and buildings. The picture of London monument is taken. from a caricature made about the time of the Popish Plot. From