mounting upwards.

Scheffer also painted a few pictures which can hardly be called his own.
Such are "The Battle of Tolbiac," and "Charlemagne dictating his
Statutes." These were painted by the command of Louis Philippe, who was
his constant friend and patron. The young princes were his pupils; and
Scheffer was careful to form them to better taste than that of the
citizen monarch who has lined Versailles with poor pictures. For the
King he painted "The Battle of Tolbiac," and we can only regret the time
which was thus wasted; _but for his pupils_ he designed "Francesca da
Rimini" and the "Mignons."

A few masterly portraits by Scheffer's hand indicate his power of
reproducing individual character. Among these we may name that of his
mother, which is said to be his finest work,--one of the Queen,--a
picture of Lamennais,--and another of Emilia Manin, to which we shall
again refer. He occasionally modelled a bust, and sometimes engaged in
literary labor, contributing some valuable articles on Art to "La Revue
Française."

It would be impossible for us to analyze or even enumerate all of
Scheffer's works. They are scattered throughout France and Holland, and
a few have found their way to this country. Most of the engravings from
his pictures are too well known to require description; and we feel that
we have said enough to justify our placing Scheffer in the high rank
which we claim for him. Engravings give us a juster idea of the French
than of the Dutch or Italian artists; for their merit is rather in
design and composition than in color. We agree with M. Vitet, that color
need not be a prominent excellence in a work of high spiritual beauty,
and that it should always be toned to a complete harmony with the