to Josephus which are among the most treasured possessions of the Bibliothèque Nationale, Fouquet shows himself to be a really delightful artist who combined in a marvellous way the lessons of the school of Bruges and his own reminiscences of Italy. Such a drawing as that of the Marriage of the Virgin, showing St Joseph in the costume of an elderly Senator, a disappointed suitor breaking his rod, with a portly old gentleman supplying a touch of comedy, is one of the most complete 15th-century miniatures in existence and, like all the companion drawings, is exquisite in both line and colour.

As the Duc d'Aumale cared quite as much for French history as for French art, it was natural that he should eagerly collect the portraits of the Royal and noble personages, from the time when portraiture first took firm root in France. Some had, indeed, been restored to the Condé family after 1815 by Alexandre Lenoir, celebrated in the annals of art for having systematically saved and stored a multitude of treasures that had been threatened with destruction during the Revolution; but the drawings and pictures indirectly due to Lenoir were far more important. He had sold his main collection to the Duke of Sutherland in 1838, and, as we have said, these were bought by the Duc d'Aumale in 1876. They included 69 painted portraits, mostly of the small size that one associates with the generic name of Clouet and with the very speculative name of Corneille de Lyon, and the majority may be accepted as the genuine portraits of the men and women whose names they bear. But another purchase of the same type far exceeded this one in value-it was that of over 300 French 16th-century drawings, from Lord Carlisle at Castle Howard. Thus by one sweep of his net the Royal collector secured a marvellous draught-admirably drawn heads of princes, soldiers, men of letters, and ladies, by the best artists of the period reaching from Francis I to Charles IX. Their historical value is greatly increased by the fact that in many cases the name of the sitter is written above them, in contemporary handwriting, so that from them we know the features of the little Dauphin, of Henry II as a small child, of his sister Renée, after her marriage to the Duke of Ferrara, of Marguerite de France, and of scores of other celebrities.

sure.

As to the identity of the painters, we cannot be quite so The French critics have been busy on this and similar problems for the last fifty years, but till now their researches have not settled beyond all doubt the points by which we are to distinguish the several works of Perréal, of Corneille de Lyon, of Jean Clouet, 'dit Janet,' and of his son François. The reader will have an opportunity of forming his own opinion if he studies the reproductions in Mrs Richter's book.

I must confess that after a study of the Castle Howard drawings and the other French portraits of the 16th century, I turned with a certain relief to a less famous but more friendly part of the collection-the drawings of the 18th-century French artist Louis Carrogis, 'qui prit le nom de Carmontelle pour se pousser dans le monde.' Here they are, nearly 500 of them, bound in ten big folio volumes, carefully classified and for the most part named; small full-length portraits, single or grouped, of the hundreds of great folk, professional folk, and quiet folk whom the artist met during the years which he spent as 'reader' in the house of the Duc de Chartres. Perhaps he ought strictly to be called an amateur, for he drew for his own amusement and did not sell his drawings; but no professional artist has ever surpassed him in facility, in grasp of character, or, according to the evidence of his friends, in fidelity of portraiture. When he died the collection of over 700 drawings in colour passed-it was in 1807-into the possession of his friend Richard de Lédans. He sold some hundreds, and in 1831 the remainder were acquired by the Duff-Gordon family in Scotland, who many years later sold them to the Duc d'Aumale for the considerable price of 4500l. Indeed, as a picture of the last years of the Ancien Régime they are worth any money; nothing so complete exists elsewhere. Carmontelle left no Memoirs, but these drawings, with the comments of his friend Grimm in a passage quoted by M. Macon, tell us all we need to know about the artist. He was witty, good-natured, and popular. He could write Proverbes, stage them, and design the costumes; next morning a couple of hours would suffice for him to sketch a portrait of any of the company, brimming with life. Such, we may be sure, was the Comte de Tavannes, in his beautiful

lavender coat; such was the pretty Madame de Senac, 'femme du Fermier-Général,' who has evidently spent on her wonderful dress no small part of her husband's illgotten gains; and probably among the amateur company we may also reckon the charming Comtesse d'Egmont, who has left another memorial of herself in her correspondence with the King of Sweden. And the vivid presentment of M. de 'M. de la Live, Introducteur des Ambassadeurs,' playing the harp, reminds us that the noble class had many other accomplishments besides that of looking smart and bowing gracefully.

Another portrait takes us into the professional world --it is that of the famous Sophie Arnould, singer and wit, performing the part of Thisbe in the finest of Louis Quinze costumes. And this again leads to a section in which Carmontelle shows himself seriously interestedthat of the musicians. One of the drawings, perhaps his finest portrait, represents the great Rameau, sitting quietly in his chair but writing music; another, widely known through the engraving made by the artist himself, has recorded for all time the features and the doings of the infant prodigy, the young Mozart. He is eight years old (in 1764); he is dressed in a blue laced coat, and sits playing the spinet; behind him his father plays the violin, and the boy's sister, aged ten, stands opposite, singing. Here, as in a multitude of other group-drawings, Carmontelle's power of expressing action is remarkable; you understand not only the characters, but what they are doing, almost what they are saying, as clearly as you do in De Troy's 'Reading from Molière in the National Gallery. For instance, where the young Beccaria (author of the famous book on 'Les Délits et les Peines') is talking to Comte de Véry; or where old Madame d'Esclavelles, mother of Madame d'Épinay, is playing chess with the very secular Abbé de Linant; or, lastly, where Madame Doublet and her brother, the Abbé de Gendre, are talking about the system of 'News Letters' which they had successfully borrowed from England-in all these cases the dramatic element is as strong as the pictorial. Another drawing has a peculiar interest for English people-it is the double portrait of Garrick, taken during or just after the great actor's triumphant visit to France, 1763-4. Garrick and his

charming wife, as we know from all the biographies, went to Paris, not to act, but to see the world, and very kindly did the world welcome them. Baron d'Holbach entertained and introduced them; Garrick was made free of the Comédie Française, became great friends with Mlle Clairon, and enchanted many private parties, in the presence of d'Alembert and other men of letters, by his recitations and dramatic sketches. Grimm, who makes many references to him, is enthusiastic in his praise of Garrick's rendering of the dagger scene in 'Macbeth' 'in a room and in his ordinary dress,' and as Grimm was a friend of Carmontelle perhaps we may trace to his inspiration the remarkable drawing to which we refer. It is a curious variant on Reynolds's famous picture of 'Garrick between Tragedy and Comedy,' which had been exhibited, and much talked about, in 1762. There, as we know, the two Muses are contending for their prize, the actor, and Comedy wins. In Carmontelle's drawing, Garrick is declaiming in tragic guise, while his other self, in deliciously comic attitude and attire, peeps laughing through the door. On this drawing, inscribed 'delineavit ad vivum, 1765,' Richard Le Dédans has written, 'Cette caricature fut faite à Raincy, sous les yeux de M. le Duc d'Orléans, et passe pour une des plus parfaitement resemblants de l'auteur, dont le mérite connu était la minutieuse fidelité dans les phisionomies.' Another portrait of a celebrated Englishman, Laurence Sterne, probably taken during the famous 'Sentimental Journey' (1765), has apparently travelled a good deal; it finally came up for sale in London in 1885, when it realised the then high price of 647.

HUMPHRY WARD.

Art. 10.-THEOLOGY AND HISTORY.

1. Belief in God. By Charles Gore, D.D. Murray, 1921. 2. Belief in Christ. By Charles Gore, D.D. Murray, 1922.

3. The Life and Teaching of Jesus the Christ. By A. C. Headlam, C.H., D.D. Murray. 1922.

THERE are two quite distinct lines of inquiry which the human mind may pursue in trying to discover the truth concerning Jesus Christ. These may roughly be called the theological and the historical method respectively. The theological inquiry begins with our ideas of God and His relation to the world as a whole. It starts, in other words, from metaphysics. Having thus reached some general conceptions concerning the nature of God and of the universe in which all of us have our being, it passes on to consider the special relevance to such general truths of the particular facts which history records concerning the life, death, and resurrection of Jesus Christ. How, it asks, do these facts of history fit in with the general beliefs to which religious philosophy points? A harmony between these facts and these beliefs will confirm the historical reality of the one and the metaphysical truth of the other. A conflict or discord between them will tend to show either that the record of the facts is in large measure false, or else that our metaphysical beliefs are in large measure mistaken. Somehow a harmony must be established before the inquiry is complete; and in the end the theological method must bring us to a belief concerning God with which the events of the life of Jesus appear to be rationally coherent. Thus, starting with metaphysics and proceeding to history, the method ends with a theological doctrine of Christ's Person.

The historical method is different. It starts by considering no general beliefs about God or theories of the universe. It goes straight to the facts recorded concerning Jesus Christ, and studies them by precisely the same principles as it would study any other set of facts recorded of any one else. By these principles alone it seeks to determine what, so far as it can judge, Jesus