From the original portrait painted by Mather Brown; now owned by Mr. Henry Adams, Washington, D. C. Canvas, 28 by 36 inches. Mather Brown died in London, May 25, 1831, at an advanced age and very poor. He was a native of Boston and a grandson of the famous Tory clergyman Mather Byles. He went to London and had some instruction from West, and at one time held a prominent position there, as a portrait painter. The portrait of Jefferson here reproduced was painted, in London, for John Adams, and the artist's receipt for the price of the picture is attached to the back of the canvas: "London May 12, 1786, Rec'd of his Excellency John Adams Esq Six Guinneas for a kit-kat portrait of Mr. Jefferson." A replica was painted for Jefferson, and Brown also painted a portrait of John Adams for his famous colleague, which picture, with the Jefferson replica and one of Thomas Paine, which Brown also painted for Jefferson, has disappeared. Trumbull wrote from London to Jefferson at Paris, "Brown is busy about the pictures. Mr. Adams is like-yours I do not think so well of." The portrait has, however, considerable historical importance as being the earliest delineation of Jefferson that has come down to us.

THOMAS JEFFERSON IN 1789. AGE 46. MODELED BY HOUDON.

From a plaster cast of the bust modeled by Houdon, now owned by the New York Historical Society. Jefferson's relations with the great French sculptor, Houdon, were of the closest personal
and official character, Jefferson having been charged with the commission to engage the sculptor to execute the statue of Washington for the State of Virginia. It can readily be understood, there-
fore, that Houdon's bust of the author of the Declaration of Independence was no perfunctory piece of modeling. Houdon took a mask of Jefferson's face; and for the bust in marble, Jefferson paid
Houdon, July 3, 1789, one thousand francs. This same year it was exhibited in the Salon, where it masqueraded, according to the catalogue, as "M. Sesserson, envoyé des Etats de la Virginie.'
Unfortunately, the original marble was destroyed, by the carelessness of workmen, at Monticello, during Jefferson's lifetime. But there are two signed plaster casts of it; the one in the rooms
of the New York Historical Society, New York City, and the other in the hall of the American Philosophical Society, Philadelphia. The latter was given by Jefferson to David Rittenhouse, and was
engraved by Longacre, for Tucker's "Life of Jefferson."
." Its characterization is very fine, and although decidedly French in its contour, it gives an aspect of Jefferson's face which is perfectly natural.

From the original portrait painted by Rembrandt Peale, now owned by the New York Historical Society. Canvas, 24 by 30 inches. Rembrandt Peale, the second son of Charles Willson Peale, was born February 22, 1778, and died October 3, 1860. There are at least two portraits of Jefferson painted at the beginning of the century by "R." Peale which are known at the present day only through contemporary copper-plate engravings by David Edwin and Cornelius Tiebout. It is true that both Rembrandt and his elder brother, Raffaelle, were painting at this time, but as Raffaelle is known only as a painter of still-life and a few miniatures, the initial "R" on these engraved portraits of Jefferson must stand for Rembrandt. The earliest print, by Edwin, was published by J. Savage in 1800; and Tiebout's plate bears the imprint of Matthew Carey, Feb. 20, 1801. Early in this year Peale went abroad, and doubtless took with him impressions of Tiebout's plate; for in August there was published, in Paris, an engraving by Desnoyers from a drawing of the Tiebout print by Bouch, which has been repeatedly engraved on the other side, and is the Frenchman's portrait of Jefferson. These "R." Peale portraits of Jefferson have a special interest from the frequency with which they were engraved during Jefferson's lifetime. One of them," Engraved by Harrison Junr.," was used in the Philadelphia edition (1801) of "Notes on Virginia," thus giving it the mark of Jefferson's approval. This, however, may not be of much value, in view of what Jefferson wrote to Joseph Delaplaine,-"There is nothing to which a man is so incompetent, as to judge of his own likeness." Peale returned home in 1803, and almost his first work after his return seems to have been to paint the portrait of Jefferson here reproduced. This picture shows plainly the benefit he derived from his experience abroad, for it is a beautifully painted portrait, being indeed the best example of Rembrandt Peale's work that I know. It was painted for the Peale Museum, and there it remained until the public sale of the collection in 1854, when it was bought by Mr. Thomas Jefferson Bryan, of Philadelphia, for $135. Later Mr. Bryan presented it, with his important collection of pictures, to the New York Historical Society.

From the original portrait painted by Gilbert Stuart, now owned by Bowdoin College, Brunswick, Maine. Canvas, 41 by 49 inches. The history of Stuart's portraits of Jefferson cannot be written in a brief note. There has been endless controversy as to how many times and when Jefferson sat to Stuart, and which pictures are the original portraits painted from life. The entire story is an interesting one, throwing strong side lights upon the characters of painter and subject. Suffice it to say that Stuart painted Jefferson's portrait from life three times. The first was painted in May, 1800, at Philadelphia, and the second and third in 1805, at Washington. The result of the first sitting is the elaborate and superb picture here reproduced. The second sitting gave the portrait that Jefferson finally obtained from the painter after much difficulty, in the summer of 1821; and the third sitting produced the profile à la antique spoken of in the introduction. Jefferson preferred the first picture, and for it he paid the painter $100. But it was no uncommon thing with Stuart to get pay for a picture that he never delivered, or did not deliver until he was paid for it a second time. Thus Stuart parted with the first portrait to the Hon. James Bowdoin, who subsequently bequeathed it to the college that bears his name. He then put Jefferson off with trifling excuses and prevarications until it is extremely doubtful if the portrait finally sent to Jefferson was even the original of the second sitting; it is more probably a late replica. It is now at Edgehill, near Charlottesville, Virginia, the home of the Randolphs, where the writer saw it in September, 1897.

THOMAS JEFFERSON IN 1821. AGE 78. PAINTED BY THOMAS SULLY. THE LAST LIFE PORTRAIT OF JEFFERSON. From the original portrait painted by Thomas Sully, now owned by the American Philosophical Society, at Philadelphia. Canvas, 25 by 30 inches. Thomas Sully was born in Horncastle, Lincolnshire, England, June 8, 1783, and died in Philadelphia November 5, 1872. He was brought to this country when a child, and having adopted art as his profession, settled in Philadelphia, where for many years he was a much respected citizen and the leading portrait painter in the community. Persons who are not familiar with Sully's early work, and know him only by his artificial, romantic portraits of women, have no idea how masterful a painter he was. A scrutiny of his portraits of George Frederic Cooke, as Richard III., painted in 1811, and of Senator James Ross, painted in 1814, both in the Academy of Fine Arts, Philadelphia, will well repay any one interested in the history and traditions of our home art. At the request of the professors of the United States Military Academy at West Point, Jefferson consented to sit to Sully for a portrait for that institution, and in March, 1821, the artist visited Monticello and painted the portrait here reproduced. From it he painted the whole-length picture now at West Point, for which he was paid $500. It is the last portrait of Jefferson painted from life, and is a good example of Sully's higher qualities as a painter. The canvas is endorsed by Sully, From Jefferson 1821, completed 1830."