wears on her head a sort of bonnet, enriched with pearls, and shaded with white plumes, tied under her chin with a string. About her neck is a little collar, and lower down upon her bosom a necklace composed of small links; her dress, which is that of a woman, I find it difficult exactly to describe. It sits close to the body, and is cut or slashed at the arms and elbows. Round her waist is an embroidered girdle, and in her right hand she holds the sword with which she expelled the enemies of her sovereign and her country. I am not surprised at the animated and enthusiastic attachment which the French still cherish for her memory. The critical and desperate emergency in which she appeared; her sex, youth, and even the obscurity of her birth; the unparalleled success which crowned her enterprises, the cruel and detestable sentence by which she was put to death, the air of the marvellous spread over the whole narration, increased and strengthened by that veneration which time affixes to every great event; all these united causes conspired to place her above mortality. Rome and Athens would undoubtedly have ranked her among their tutelar deities and have erected temples to her honour; nor can I help being amazed, that amidst an almost infinite number of modern saints who crowd and disgrace their churches, no altar has yet been dedicated to the Maid of Orleans."

There exists a very scarce and beautifully finished engraving from this picture, executed by the burin of Mieris, from which several copies have been engraved.

In the collection of Dulys, is a portrait of Jeanne d'Arc

represented in armour and on horseback, which possesses no claim whatever to authenticity.

We shall now proceed to describe another portrait of Jeanne d'Arc, by no means commonly known, but which appears in every respect worthy to figure among the catalogue of those mentioned under the present head.

The portrait in question was originally in the possession of the family of Les Picard Dulys and is now the property of Jean Baptiste Alexandre de Haldat-Dulys, younger brother of Mr. C. N. Alde Haldat, doctor of medicine, and member of several learned institutions, who has furnished the present account. To the beforementioned gentlemen it was bequeathed by the ladies D'Arbamont, last descendants of Jean Dulys, second brother of Jeanne, whose family became extinct at Vaucouleurs in 1812. The features of our heroine would be so curious to preserve, and ancient and authentic monuments are so rarely to be met with, that under the existing state of uncertainty as to any true resemblance, none of those effigies ought to be neglected which present a prospect of handing down the undoubted lineaments of La Pucelle. The costume of Jeanne d'Arc, as represented in the portrait now under review, which is a half-length, is analogous but not similar to that commonly attributed to her, and which is found in the likeness of La Pucelle accompanying the work of Professor Hordal, and that preserved at the town-house at Orleans, a copy from which embellishes our present work. The features, as portrayed in this picture, are those of a female of the age of twenty, very

agreeable, though not altogether regular; and evidently preserve the characteristic traits which distinguish the physiognomies of the ancient population of Lorraine, in the neighbourhood of the birth-place of Jeanne d'Arc. Her complexion is a very clear brown, without much colour; her eyes are brownish, and resemble those attributed to the females of Persia; her eyebrows, of the chesnut hue, are delicately pencilled; her forehead elevated; the nose well proportioned, but rather thin; the mouth small, and the chin pointed; the oval of her physiognomy is lengthened and agreeable; and the tout ensemble conveys the stamp of tender melancholy. Her head is covered with a plaited velvet cap or bonnet, ornamented with a plume of white feathers; and is upon the whole very dissimilar to that in the picture at Orleans. Her hair, of a clear chesnut hue, flows over her bosom, which is covered by a breastplate bearing gilt bronze ornaments. Her robe is amaranth, and either shoulder is ornamented with the head of a lion; while in her left hand, which is the only one seen, she bears a sword, on the blade of which the painter has inscribed his name in very large characters.

The name of the artist, whose reputation is perfectly well known in the annals of Lorraine, dispels all idea of doubt as to the origin of the picture; for as Deruet, the painter in question, lived between the years 1600 and 1680, we may form a pretty accurate conjecture of the period when it was painted; and although the time is somewhat remote from that wherein Jeanne d'Arc flourished, the reflections which it awakens render it, nevertheless, worthy of the attention of the public. The striking

variations in the costume, in the first instance, prove that it is not a copy of any one of those so frequently reproduced by the burin: and as it cannot be an original, there is reason to conjecture that it is a copy from some more ancient portrait which has thus handed down the features of Jeanne d'Arc. Were it merely the result of the artist's imagination, one might reasonably conceive that, when resigning himself to the momentary inspiration, he would have given our heroine, as other painters have done, an ideal character that might particularly stamp her features: whereas the traits in question display nothing to distinguish them from those of an ordinary countenance; unless we refer to the costume, the ornaments of which are touched with the peculiar spirit that characterises the pencil of a pupil of Tempester and Josepin. The agreement that exists between the portrait in question, and the descriptions that historians have transmitted to us respecting the countenance of La Pucelle,* if not its origin, ought to render it worthy of attention.

She had, says Mr. Lebrun Descharmettes, the forehead moderately high; large eyes; the lids severed like an almond shell; the point of sight of no decided hue, being between brown and green, a colour peculiar to persons of a very clear brown complexion; the expression of her features was melancholy, and of an inexpressible softness; the eye-brows finely pencilled; the nose straight, well formed, and rather thin; the mouth particularly small, and the lips vermilion; the dimple formed between the under lip and the chin was conspicuous, and the chin itself small. The general outline of the countenance was handsome, the complexion beautifully fair; her hair, of a fine clear chesnut, was long behind and cropped at the sides, after the fashion of warriors, falling gracefully over her shoulders.

It was presented to the family of Le Picard Dulys, as a particular favour, by the good duke Henry II., and has been carefully preserved to the present period: there is consequently every reason to conclude that, in case it had been considered only a fanciful representation, it would not have appeared worthy to remain in the hands of the descendants of that celebrated woman, especially considering that the persons who received it might have been cotemporaries of the illustrious daughter of Jacques d'Arc.

The researches made among the papers of the family of Le Picard Dulys, and the historical documents extracted from the monuments that existed at Gibaumé, a village two leagues distant from Vaucouleurs, give us to understand that this picture was presented by Henry II., duke of Lorraine, to Jacques Dulys, exempt of the guards of that prince.

On the painted windows of the monastery of the Minimes at Chaillot, otherwise Les bons hommes de Passy, was depicted a portrait of La Pucelle, which could not rank of the time; for the religious house in question was not built until the reign of Charles VIII. It is now altogether destroyed, and a manufactory occupies the site.

The destruction of the monument erected to her memory at Orleans, by order of Charles VII., and of which we shall shortly have occasion to speak, is much to be regretted, as there is every reason to suppose that the statue in question was the only one that conveyed a just idea of the person of Jeanne d'Arc.

Portraits from fancy have been incessantly multiplied; of such we find specimens in the collection of Thevet; in the gallery of the Palais Cardinal; and Gauthier, in 1613, executed three different engravings of La Pucelle. Mon