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572 Painting the good fortune to have it engraved by Edelinck and Audran. The other great paintings of Le Brun are the Day of Pentecost (where he has introduced himself in the figure of the disciple standing on the left); the Christ with Angels* painted to immortalize a dream of the queen mother ; and the Repentant Magdalen, which every one calls Mademois- elle de la Valliere. He is more natural and true in the Stoning of S. Stephen, as well as in the small pictures on profane history, Cato and Mutius Sccevola, works of his youth, which were once attributed to the great Poussin. Bon Boulogne, the elder (1649 — 1717), the son of an historic painter, Louis de Boulogne, was much patronized by Louis XIV., who sent him to Borne to study the old masters. He painted many of the decorations of Versailles. Jean Jouvenet (1644 — 1717), the son of a painter, was born at Rouen. At seventeen years of age he went to Paris, where he quickly rose to fame. He was a pupil and assistant of Le Brun, and followed his style. In old age he lost the use of his right hand by palsy, and, to the astonishment of his brother artists, painted with his left hand the Magnificat, now in Notre Dame. Nearly all his pictures were of sacred subjects. Jouvenet' s art is theatrical, carried almost to the style of scene-painting. By what other name could we call the enormous sheets of canvas on which the Miraculous Draught of Fishes, the Christ driving the Money-Changers out of the Temple, and even the famous Raising of Lazarus, are painted ? His less ambitious compositions, such as the Descent from the Cross, which he painted for the convent of the Capucines, and an Ascension for the church of S. Paul, are calmer in style, besides being better in every other respect. Jean Baptiste Santerre (1650 — 1717), who was born at