which the texture is wonderfully rendered, lie the raw
vegetables she is preparing for domestic consumption.
Beside the barrel is a large caldron lined with copper,
with a rim of brass. The way these things are painted
brings tears to the eyes; but they give the measure of
the Musee Fabre, where two specimens of Teniers and
a Gerard Dow are the jewels. The Italian pictures are
of small value; but there is a work by Sir Joshua Rey-
nolds, said to be the only one in France, - an infant
Samuel in prayer, apparently a repetition of the pic-
ture in England which inspired the little plaster im-
age, disseminated in Protestant lands, that we used to
admire in our childhood. Sir Joshua, somehow, was
an eminently Protestant painter; no one can forget
that, who in the National Gallery in London has looked
at the picture in which he represents several young
ladies as nymphs, voluminously draped, hanging gar-
lands over a statue, - a picture suffused indefinably
with the Anglican spirit, and exasperating to a mem-
ber of one of the Latin races. It is an odd chance,
therefore, that has led him into that part of France
where Protestants have been least _bien vus_. This is the
country of the dragonnades of Louis XIV. and of the
pastors of the desert. From the garden of the Peyrou,
at Montpellier, you may see the hills of the Cevennes,
to which they of the religion fled for safety, and out
of which they were hunted and harried.

I have only to add, in regard to the Musee Fabre,
that it contains the portrait of its founder, - a little,