The Barbizon School ;

Home , Barbizon school, Millet (manufacturer)

’ {Iluﬁtratw aﬁiograpbtes of the

G reat mums .

E a ch volume with a bou t twent illu str a tions : bound in t , y c lo h.

ic e 38 603. Pr . * i J FRA HE P S OF B . e N OIS T AINTER ARBIZON . I M mo rs of EAN O T E R S S NAROI SSE D B MILLET, H ODORE OU EAU and IAZ . y A J W. B . LL TT . MO E , * E P F i J B P S TH S O B . e AINTER ARBIZON . II M mo rs of EAN A TI TE C C S FRA OIS D Y J S D P E N G . OROT, HARLE O AUBI N and ULE U R

B JOHN B . A y W. MOLLETT, .

WILLIAM AD Y C e e F C e i . MULRE , M mor als of oll ct d by REDERI

G. S P TE HENS .

DAV ID C OX P DE W e i e i Li e and ETER INT . M mo rs of th r v s I n re a r a tion B G R G V . and Works . y ILBERT R . ED RA E [ p p ]

G G C KS K His Li e : i in EOR E RUI HAN , f and Works nclud g a

e i F Gr P S th e C . S M mo r by REDERI TE HEN , and an Essay on Ge iu HA KER Y G T O A . n s of EORGE CRUIKS HANK by W . M . [I n p rep a ra tion ]

THE L S C P P F e mi R S AND A E AINTERS O HOLLAND . M o rs of UI H BY M C YP P e . DAEL and OBBE A, U and OTTER, and oth rs F K C RAN UNDALL . [I n p repa ra tion ] ” GAVARNI i i e BY F S . , M mo rs of . RANK MARZIAL W th many i I n Illustrat ons . [ p r ep a ra tion ]

VAN EYCK M I NC SYS i e th e , ME L , MAT and other Pa nt rs of Early F e i S l m sh chool . [I n p r ep a ra tion ]

Th e t o vol u m . w es in on e u ic e 7s 6d. o n i m o s . r b d n ha l f oroc c o gilt t p P ,

L OND ON SAMPSON LOW M ARS TON SEARLE RIVINGTON , , , L M TE D I I , ’ S T. DUN TAN S H F TT S OUSE E E L E . , R AN

B Y H M E M ILLE I S LF . PO RT RA I T O F T .

‘ ' / m ze B e r mi s o dl A B r a : e i C . y p s i n of [li . TE CON NTS .

PAGE — INTRODUCTI ON Fon t ain eble a u

T JEAN FRANCOIS MILLE .

Hi You th a n dA r n i hi I . s pp e t c e s p

I I Hi M nh o da n dhis ork . s a o W

TH D E EA EO OR ROUSS U . Th l I . e Stru g g e

Th a r — II . e Rew d Hope D eferr e d

NA C SE LE D AZ D E ENA R IS V IRGI I LA P . — Pa r en t a g e a n d E a rly Biog r a ph y Life W ork

Critic isms

APPENDIX .

I Gen er al Bi lio r a h of th e Pa inte r s OfBar izon . b g p y b

I I Some of th e Princ i a l Priva te Colle c tion s c onta inin . p g e x ample s of th e Pa in t er s of B a r bizon

MI LLE T

Bi lio r a h III . b g p y

ome of h is Prin c i al Paintin s a n dth eir Own er s I V . S p g

Or i in al E tc h in s Woodc u ts a n dLith o r a h s V . g g , , g p

E tc h in s a ter Pic tu r e s a n dD r a win s him VI . g f g by

Pic tur e s soldin Pa ris a er h is D ea h VI I . ft t CONTENTS .

PAG E ROUSSEAU

Bi lio r a h V III . b g p y

m f r in i a in in a n h ir r IX . S o e o h is P c pa l P t g s dt e Owne s

Ori in a l E t hin X . g c g s

X I E tchin s a ter Pa in tin s him . g f g by

D IAZ

X I I Bi lio r a h . b g p y

S ome f his Prin i a in n X III . O c p l Pa tin g s a dth e ir Own er s ith h X IV . L og r a p s

E t hin n in X V . c g s a dE ng r avin g s a fter Pa tin gs by h im

I DEX N .

To Mille t

To Rou sse au

T O D ia z LL TI S LIST OF I USTRA ON .

MILLET .

Portr a it of Mill e t Fr ontis iec e By himself . p

PAGE

Hou se a t Gru c hy in whic h Mille t w a s born 3

Goin to Work g By Millet .

Th e Gle a n er s

Th e Sh e ph e r de ss

Th e Mow er (fr oma dr awin g)

Th e Spinn er

Pe a san t Ch oppin g Wood (fr oma dr a win g ) .

\ Woma n Sh e a rin g a Sh e ep (fr oma dr a win g)

Th e An gelu s

’ Mill et s Stu dio a t B a rbizon

Mon u men t to Mill e t a n dRou sse a u

a u Ba sr elief of Mill e t a n dRou ss e By Ch a pu .

ROUSSEAU .

A Pool in th e For e st of Fon ta in e le a u B Rou sseau 50 b y . X S OF S LI T ILLU TRATIONS .

PAGE

58 The Flood By Rou sseau .

B anks of th e Loire

D AZ I .

Portra it of D ia z

Th e Fairy Godmoth e r

For e st Sc en e

Th e B a th er s

Chil dr en a n dD og

NOTE - D u r in th e la st t en e a r s Sc ienc e h a s r ea tl imr o ed ma n . g y , g y p v y

a lic a tion s of th e h ot o r a h ic a rt b u t it h a s n ot e t e en en a ledt o pp p g p , y b b r epr odu c e pic tu r e s of su c h in ta n gible qu a litie s a s th ose e x e c u t e d by th e Pa in t er s Of B ar bizon w ith a c le arn e ss su fﬁc ie n t to e n a ble th e c r a ft smen of

r oc e ss - loc ks t o iv th e ir st r sul ts This w ill a c c ou n t for th e w a n t p b g e be e .

of de ta il a a r en t in s ome of th e ill u stra tion s whic h n e verth ele ss it is pp ; , , h ope dwill b e fou n dt o g ive c h a r a c t eristic impre ssion s of th e w orks Of th e s ver al a rtist e s . it u t A r t w u ld be one r ea t l er I ne 7o /zo/e w or ld w /to o g wi d ness .

THE PAIN TE RS O F BARBI Z O N

LLET

S S EA U

I A Z

B . M L A . Y O HN W O LETT B . J ,

mu s F R EM B RA ND T A ND I LK I E I N T H S E R I E AU I HO R O F I HE O W I S S .

DKENV' XHDIKPE W S C RI BNE R AN D E LFO RD .

1 890

REFA E P C .

I N th e following page s it is propose d to give S hort historie s Of th e e e Of Of i e is e e car r a group pa nt rs, to whom g n rally

attribute d th e d e ve lopme nt in Landscape in th e gre at change

in th e O fF e i that has late ly take n place canons r nch Art, wh ch

I ‘ is d e scrib e d by some write rs on t h e su bj e ct as th e Victory Of i th e Romantic S c hool ove r Classic sm .

Th e practical nine te enth- ce ntury standard Of th e succe ss Of

this group is th e e normous mone y value of their work in th e

i e i e th e i b e is nt rnat onal mark t, and h story that has to told

as much a comme rcial as an aesthe tic de ve lopme nt . We have pre face d our work with a short de scription Of th e

e e F i e e in th e i hi me th e sc n ry of onta n bl au, m dst of w ch so of

i e a re e e e i e Of th e e e ie pa nt rs who r pr s ntat v mov m nt, stud d

e did e i e u e e landscap , and th r most succ ssf l work, and b cam

in th e i i th B i e i known art st c world as e arb zon School . Th r

a re e Of e i e e i e i e works commonly spok n und r th s g n r c nam , rr

s ti O i f in imila t n ” e c ve f e o terna l s s o . p th r want l a i We have the n transla te d and re produce d in th e words Of th e P F RE ACE .

gre ate st critics of th e a ge e x tracts from th e inte re stin g volume Of criticismthat their exhibited picture s provoke d from ye ar to

e e i e e e e e e i e e e e th e y ar, l av ng our r ad rs fr to d t rm n for th ms lv s le ngth to which their sy mpathy with the spe cial the ory of th e

i e e i e e ie in e e Romant c mov m nt w ll carry th m b l v g, how v r, that th e accide nt Of Ame rican compe tition in th e auction-room is

in i e i i i e e i e i e not ts lf a just ﬁcat on for plac ng v n M ll t, subl m as

Fin th e e his is e e i e . po try of work , on a l v l w th Rapha l ally,

w e e w e have narrate d so much as e have be e n abl to coll ct,

c e i e e Of th e ie Of ei e e i e i e . from r d bl r cord, stor s th r r sp ct v l v s

J W . . . MOLLETT

EGIS Ma 1 890. R , y ,

NOTE — Th e e e e e Of i e e pr s nt volum tr ats M ll t, Rouss au and i th m i e e e C i . D az co pan on volum of orot, Daub gny and Dupr INTRODUCTION.

E T F F NT INEBLE THE FOR S O O A AU .

ARBIZON i e th e i Of th e e Of B , a small v llag on sk rt for st F i e e is e e th e onta n bl au, cons crat d by long martyrdom of th e e - e - i e Je F i i e th e ffe po t p asant pa nt r, an ranco s M ll t, and su r — ings Of its agricultural laboure rs th e the me Of his pathe tic i i pa nt ngs . “ i e e e de i e th e e— B i S ei e A lacon c gaz tt r scr b s plac arb zon , n

- i i d e Si i e C ie e t e e e e . e e . Marn , a la l s r la for t t s p ttor squ s olon de pe intre s paysagiste s and a curious work has be e n com

i e e Ofth e Of e i d p l d , by a numb r most popular authors our p r o , in t he i e e ie t he e honour of chaot c landscap b aut s of for st, and

ie Dén ec ou rt it s C e i e - t of Mons ur , olumbus 5 and th r ov r wrough e i in e i i e t h e e th e i nthus asm th r pra s s of plac , and volcan c i e i Oft he e i e ar e i e in i ei rr gular ty for st ts lf, qu t harmony w th th r re tarde d adulation of th e painte rs living the re and th e c rup tion brought about by those painte rs in th e classical world Of e e e art that pr c d d them . “ Th e is e i e Homma e Dene c ou r t re book nt tl d a g to M . , a ” i e i i i Of th e e d i t r d pol t c an R s , who was a sort of Old Mortal ty th e e e e his i e e e e i to for st, and d vot d all t m and r sourc s to cl ar ng th e i of ie i i i i his paths and po nts v w, and gu d ng v s tors to work , of i h e i i i in i - in wh ch publ she d a de scr pt on a gu de book . Our t er e st in th e ie de ei e i e u i e few , colon p ntr s paysag st s j st ﬁ s a x ii N I TRODUCTION .

i e i i Of i e e e e e i e e in . quotat ons d scr pt v th r chos n r tr at, wh ch s ms a curiously appos ite manne r to s e t u p th e disruptive age ncie s

e e Of e of natur as a typ th mse lve s . “ ” “ On e da on e Of e m th e e e i e l e y , says th , r b ll ous s as ro l d

e i Of n t h e e e e it th e r iuiér es ov r th s tract la d , and s as mac rat d , as

Of th e n e ie e e th e e i e Of i Off ta n r s mac rat mpty h d a bull, carry ng a n d i e i th e e e i —his skin th e — his lesh d sp rs ng v g tat on , and land f ,

e i i e i th e — his bones i and l av ng noth ng b h nd but rocks , wh ch had

e Si e h e e e e b e no long r any n ws to old th m tog th r, so that th y cam e frightfully disjointe d and we re pre cipitate d on e on th e

e a n d e e e e i a en ie oth r, shatt r d ach oth r nto fr gm ts , and bur d ‘ on e i e th e i Of t h e Bi i e anoth r . It was l k crumbl ng away bl cal imme nsitie s that w e s e e in th e t e rrible paintin gs of Joh n i Mart n . “ Bu t i e i e N e e e a n d e , l ttl by l ttl , atur , soft n d sooth d , had

e i i i e e i a n d in t h e e e tak n p ty on th s form dabl d solat on ; , d p

l e sh e e th e e i Of deb r is i e i e i p ac s, chang d d pos ts nto f rt l so l , and c e e e e i e e e e e e e e e ov r d th m ov r w th tr s , and , wh n th s tr s b cam

en t e nar ia n s sh e i e th e w i e i , had b dd n nds to carry away th r se eds and to plant a toqu e and plume s for th e h e ights that we re ” i e stand ng bar .

D en e c ou r t th e ie e Of th e e e i e it M . , ch f proph t for st, d scr b s as

i i i - e Of e e i follows Th s charm ng tryst ng plac trav ll rs , th s vast

i Of a nd i i e a e stud o our young labor ous art sts , cov rs rp ns

F e e e is e e e in i ( r nch acr s ) of surfac , and tw nty l agu s c rcum

?“ — fe re nce Its soil— ve ritable chaos pre s e nts such a varie ty Of

i e th e i e i i i s acc d nts , that pa nt r, struck w th adm rat on, know not

his i e a r e th e th e e e . e wh r to tak up brush On all s d s rocks ,

e Of i h e e e e i e mass s wh c , barr n, or wood d , or cov r d w th moss s or

i e e a e e e e i in e l ch ns , s par t and com tog th r aga n abruptly shap s th e most varie d and th e most bizarre or a r e pile d up in

n din Mu r ra n a in E lish a c r e s a c c or to . I t c o t s a bou t g , g y U x iii INTROD CTION .

i e e e a r e e e and pyram ds, or round d dom s or th y scatt r d abroad ’ t h e e e e e l i e Of e i look, to trav ll r s y , k troops monst rs pastur ng

t h e Of a e i in e e m at bottom a V ll y 3 or aga n , oth r parts , th y for

i i Of nt i i i the long and s nuous cha ns mou a ns , aga nst wh ch storms

Of e e e i in i ag s have sp nt th r force s va n . “ By th e margin Of a barre n plain w e discove r an ancie nt

e e e i i i t e e e a r e grov p opl d w th g gant c r s , and amongst th m bald

e e e i i is in th e i e h ad d oaks , whos ant qu ty lost n ght of ag s .

Ne i e i i i e e e ar a mounta n of sand, whos br ll ant wh t n ss mak s us

e w i e e i e w e s e e e dr am of h pp d cr am , and of Alp n snows , a cops

Of e e i e a ie e i th e e e gr n p n s , or a v r gat d plantat on, av nu s of

i O fe i e Of e i i e n e wh ch f r a cho c d l c ous prom ad s . “ F i i e i e t h e e e e rom a sm l ng vall y, r chly wood d , trav ll r pass s

e i i e e Of i th e sudd nly nto a fr ghtful d s rt mov ng sand, or on to

i Of e e r- i i e e l e summ t a h ath grown h ll, and stand ng th r , ooks ov r

e i i ie e e e e e w boundl ss pla ns , c t s, castl s, haml ts , and gr n m ado s

e e i e th e S ei e a nd e i e e e s rp nt n d by n oth r r v rs th n, sudd nly

lu n I n i e e th e Of e e of p g g , ﬁnds h ms lf und r dark vault an av nu

e e th e t mOf e e e i i i h e tr s , or at bo to a d p gorg br stl ng w t rugg d

e i Of th e ie Of i e e a r and ov rhang ng rocks , out crann s wh ch tr s e

i e i - e e struggl ng forth, half ov rthrown , and w th worm at n trunks .

At - e e i e e ti e e ve ry st p gradat ons of p rsp c v s, and mov me nts Of th e land alwa ys capricious and e ve rywhe re n e w

e e e re i i e i e -u mou nt a l ns Of rocks , st p pass s , and p c p c s , and p l d p

i i e e e e e e i e b i i ru ns , wh ch s m to hav b n sup r mpos d y a d luv al

bou leversement. “ Whe re shall w e go to n o w 2 Jule s Janin sings to th e ie -u i e th e t h e i en e e th dr d p, lam nat d rocks , moss and l ch s, wh r e

e i e e i e e e in th e a ir th colourl ss b rch tr sh v rs r stl ssly , and e

e i th e e is e e gnarl d w llows grow, and arth burn d to ash s, and ‘ th e e e e in th e Voila ou nou s gr nsward parch d sun . a llons /

th e i e r th e i e i e — say pa nt s, and most sk ll d of pa nt rs too th e x iv N I TRODUCTION .

e C i e m il i i e m lancholy abat, v gorous D ca ps, br l ant D az, loque nt J e Be i th i e e e . ul s Dupr , rt n, th nk r “ e i e il— e e e F i Who b s d s Troyon , Th odor Rouss au, ranco s , i n e e G . O e Isab y , raud and all th y would refus e to b e com forte d if the y were drive n to re nounc e th e fore st Of their i ” cho ce .

Fe i e e in his e Of F i e e e rd nand D snoy rs , po m onta n bl au, r cords th e life and sorrows of a shepherd landscape - painte r Of a e e e i Si i L u 1 72 9— 4 8 form r g n rat on, mon Mathur n a tara ( 77)

’ L a-b a s sou s c e r a n da r r e a u ie ddu n e c ollin e , g b , p , L a n ta r a a r de e n c or e s e s tr ou e a u x de ssin g p et e . ’ L e s r s e t le s va ll on s le s ois s on t lein s d i e s o r . p é , b , p p I l a s s s n e n a n c e a r e a r der a ir p e o f g ; vo . 1 1 sen t le erme e n lui u i doit devenir c h n g , , q é e I l h u me la or et e t b Oit da n s s on h a le in e f , L a p OéSie ; il c r oit c e pa u vr e L a n ta r a ’ ’ C e fu t a r c h a rit dit -ou u on 1 en t err a p é, , q

and Alfre d de Muss et contribute s a long and charming serie s

Of e - e e e e in his i i i e e su es m lancholy sw t v rs s own n m tabl styl , gg t ivel e i i e Of th e e y d scr pt v , also, plac

L e s voila" Ce s sa in s a la somr e ver dur e p b , C e tte or e r o on de a u x n on c h a la n t s detou r s g g p f , ’ Ce s s a u va g e s a mi s don t l a n tiqu e mur mu r e A ber c é me s bea u x jou r s 1“

’ Man y contributors e xpre ss e d their prais e s Of t h e painte rs

in e i e e e e e L i e . i parad s r markably nﬂat d v rs s, M R n ou s

D own t ere u n er t a t re a t tr e e a t th e a se of a ill L a nta r a is s till kee in h , d h gm , b h , p g ke c in . T h e e a ows th e va lle s th e oo s a r e u ll of H i ﬂ oc ks a n ds t w o e . e h s , h g d , y , d , f h p — c il oo in a zin in s eein . He e els th e e r mwit in ims el t a pa s se s his h dh d g g g f g , h h f, h t t o a n oa k h e r ea t e s th e or es t a n din his r ea t in a les oes —h e s hou ld gr ow ; b h f , b h h p y ” — — c a ri t s a r L an ta r a l I t wa s t e t a t h e wa s u rie . b elieves poo by h y, h y y , h b d “ Look a t t hemI The s e ﬁ r tr e es with th e gloomy ver du r e " Tha t deep ra vine a n d omin in a t s t os e wil old rien s ose a nc ien t mu tt rin u o it s ran d W d g p h , h d f d wh e g h shed t sle ep my ha ppier da ys "

JEAN FRANC O IS MILL T E .

J EAN FRANCOIS MILLET was born on t he 4 th Of Octo b e r 1 81 4 — th e d e is i e e e i e n , at by many wr t rs rron ously g v

1 8 5 th e e is th e Of i e i e of i — a t 1 , but abov that of ﬁc al r g st r b rth ’ “ h i Pie da n l i th t e e Of G . e e e e haml t ruchy, wh ch M g d scr b s at

base Of th e i f Of G e i e th e se a - i i Of a s erdu cl f s r v ll , at l m t that p y p , ” i d h i is La ic tu re s e e e . . so p q and so w l , w ch call d Hogu Mr e e i e e e i e G u not th e H nl y, w th gr at r accuracy, d scr b s r chy as, at “ e Of erc hed th e i iff Of La e i bas , but p upon ron cl s Hogu , wh ch ” e th e e Of C e ov rlook e troubl d wat rs h rbourg Roads .

He th e e e Je L i Ni i e e t was ld st son of an ou s colas M ll t, a p asan

ie i e h is th , , e propr tor who \ own small farm and by cult vat d’ e th e F e e i u nﬂa in i h lp of r nch p asant s frugal ty and gg g to l, and ’ ’ th e C i i i i e ie th e e e i athol c s d sc pl n d p ty, and farm r s for s ght, and a combination Of shre wdne ss in busine ss and dignity in dome stic i e S i i e e e in i i i l f worthy of a cott sh patr arch, succ d d ma nta n ng in e e e i i Of i e e t a e i Of gr at r sp ctab l ty adm tt d pov r y , larg fam ly relative s and childre n on th e hardly-e arne d proce eds of th e few

e Of e i e h e i e i e his e acr s s as d land that nh r t d from anc stors . To him e i ee e Of his i e F i i e , for ght n y ars l f , ranco s M ll t was a e in e labour r r gular work .

Th e e i e " moth r of M ll t, poor woman was a lady de scende d B T HE N 2 BARBIZO S CHOOL .

i e e e e e n e e r du e from a fam ly of g ntl m n y om , call d H n y P rron , de grade d by t h e Re volution ; h e r maid en name was Aimee

e ie e e i e e h e r i i in t h e i H nr tt Ad la d H nry pos t on fam ly, by th e i n e i e Of th e almost nco c vabl custom country, was also

e Of u e n e t h e e Of h e r rath r that a labo r r tha a moth r, car childre n in their infancy b e ing take n away from h e r and

e e th e e Of h e r i e in h er transf rr d to moth r husband, who l v d

e e it -h e r i e h e r i e th e hous and rul d and ch ldr n for , wh l moth e r was occupie d more particularly at h e r labour in th e in Th i i i ﬁ elds and t h e stable s . e path et c portra t of th s poor ’ worn moth e r at h e r labour is give n in h e r son s picture Of

Th e in i i e is h er La Cu eilleu se oles Ha r ic ots . e hous th s p ctur ’ h e t h e Woma n Ga ther in B ea ns is e e . usband s hous , and g h rs lf ” “ Sh e i e S en sie r cla ns lo tr a vail O e ie e l v d , says , , and b d nc ” — to th e orde rs Of h e r husband ; and ve ry thrilling is th e

s i ﬁdelity with which Mille t has re cord e d h e r we arine s of l fe .

Sh e is e i e e e i t h e e Of d scr b d as a g ntl , p ous woman , moth r

i e i e t O in i e O e sh e n n ch ldr n , whom, sp t of all bstacl s , was de vote d .

He r e -in - i e Of th e i e moth r law was a typ cal p asant prov nc ,

e i in th e i e i th e i i i e e Of sp ak ng pato s, and w ar ng d st nct v costum He r i t h e e . e e e e Ju melin local p asantry ma d n nam had b n , and “ ” h e r i Old Of th e i e e e i i i e fam ly, stock country s d , w r d st ngu sh d

n e w a I m e On e i i h e r for stro g h ads and h arts . rul ng pass on of life was pride Of h er family for th e re st sh e is de scribe d as “ w C e e i i ﬁ r e e e e e e follo s onsum d by r l g ous , s v r for h rs lf,

e e i e e sh e e h e r i e in g ntl and char tabl for " oth rs , pass d l f good

vin i e e h r e th i i e e e e . works, ha g noth ng b for y s but d al of a sa nt ’ S i F i dAssis si h er i e i it in (a nt ranco s was favour t sa nt, and was ’ Of him sh e e i e e Sh e honour that chos M ll t s nam . ) pushe d to such a point th e scrupl e s Of h er conscienc e that if the re came h er u th e e Of i Ofh er i e de to a do bt on subj ct any act on l f , so mo st H USE AT GRUCH Y I N WHI CH MILLET WAS B O ORN . 4 T HE Z S BARBI ON CHOOL .

sh e Sh e e i e i e e a e Of t h e C u r e was , w nt mm d at ly to d m nd couns l ” ’ i of the v llage . Such was th e intru sive and sup e rfluous foste r-mothe r to ’ w hom th e unnatura l p e asant custom conﬁde d th e care Of Mille t s

He r i e n e e him t infa ncy and youth . nﬂu c ov r appe ars O have

li i e e i i his Sh e ee e . b n un m t d , and to hav cont nu d unt l manhood

h a d i h h e r a e i e w e n e B e w t an g d s st r, hos am was onn , but who

i i e Be e e O f Mi e O e e was fam l arly call d nn tt , whom ll t ft n spok “ ” : l i h e f e a belove d re co le ct on . S thought O ve rybody and

i n e e B u t i i th m e e . e v ryth ng, and forgot o ly h rs lf d st nctly ost re markable me mb e r Of th e Mille t family was th e uncle Charle s

i e ie Of th e i e e Of e e e i M ll t, a pr st d oc s Avranch s, to whos t ach ng

th e S e n sie r i e re e O f i e Of boy attr but s a g at d al mportanc , although h e die d wh e n th e little Francois was only s eve n ye ars

old .

He on e Of th e ie e th e e i was pr sts unfrock d by R volut on , who

i e t h e e i Of i e e i i e e wa t d for r storat on l b rty at th r nat v hom s , and

h Of ﬁ e i th e i i H r O r e fus e d t e oath d l ty to const tut on . e was p

i e u e i th e e in i i scr b d and purs d dur ng T rror, and lay h d ng at

th e i e e th e his i e e e M ll t hous , and story of ha rbr adth scap s

i i ri Of Of C t h e s e ems l ke a plag a sm that harle s Stuart. On

re storation Of libe rty oi - conscie nce h e re sum e d his prie stly

ie i in his i e in cassock and dut s , w thout abandon g l f of labour

He Of e t i th e e . e i e n ﬁ lds was a man gr at s atur and g gant c str gth . “ e w a s b e e e e i his e i i im H to s n r ad ng br v ary , or transport ng mense blocks Of granite to build th e wall round th e family

lan d it h e u th e olde r e , and was who ta ght boys to r ad

W e th e Ab b e e di th e en h n had to trac a furrow,or to g gard , you

him a his b r e vIa r I his e U th e i Of saw cl p y nto pock t, tuck p sk rts his his i e his th s i cassock round wa st, and tak to work on e o l h o e e it He like a man w njoy d . was well aware that h is

e h e w e th e e h e O i if th e a i n p w ant d all h lp could bta n, for f m ly NQ OI M E 5 JEAN F R A S ILL T .

e e it th e i e Of u n ﬁ a in life at Gruchy was sw t, was so at pr c an gg g

ff Th e i i Ofth e e e e e i i ie e it e ort. pos t on ﬁ lds on st p d cl v t s mad a

i t a in e an dt h e u e e i e e d fﬁcul t sk to labour th m , str ggl for x st nc by lan d or s e a was rough and Ofte n dange rous work; This is i e e in e e i e wa s nt r st g , b caus th s rough and dang rous work also ’ i e M ll t s work .

e e w e e e e th e e Of G u Th r r no ﬁsh rm n among p asants r chy, but t h e se a was the ir ve ry good frie nd for t h e gre at drifts Of s e a

e e i e m e it w e e i e 3 w d ava labl for anur that ash d ashor , and M ll t s e arlie st re colle ctions include th e e xcite me nt Of this rath er “ d e w e th e e i a e a e i ang rous work , h n whol v ll g , rm d w th long

e e e i i e i e t O t h e s e a t o e in wood n rak s , pr c p tat d ts lf down gath r ” t h i Bu t e e e e d i e e e . w d , a pro uct v harv st, but p r lous mor tragic is t h e story Of a te rrible storm wh e n on e ship af t e r

e e i e d e e Of th e a n d anoth r p r sh , b yond r ach succour, on rocks ,

i e e e e e e e e mut lat d and shatt r d corps s w r wash d ashor , and how, “ i e e i e e e e M ll t r calls, as I was go ng hom , I pass d a gr at h ap ,

e e i a i i e th e e i e : i e also cov r d w th s lcloth, l k m rchand s and I l ft d th e i s e e e it sa w mou nta in o dea d sa l to what was und r , and a f b dies i e t i o . e e I was so fr ght n d I ran s ra ght hom , and found e e on e i e e e th e my moth r and grandmoth r th r kn s, at pray r for poor wre cke d p ep pl e .

S O th e boy passe d his life in th e he art of a country which ” t h e sou rc e de ses sensa tions was .

S on Of e i e e — h — h a p asant, M ll t has plough d e also t e f u rrow from which th e ge rm must e me rge with his ﬁrm hand h e has

e th e e th e i e e e th e e push d coult r of plough , and d s mbow ll d arth , i it s i i S wh ch from wound should br ng forth l fe . carce ly was h e e e e r e e d his od e th adol sc nt, alr a y b y was b nt towards e

e his w in e e . e s ground, alr ady bro was bath d sw at Alr ady, al o , h is conte mplative spirit could de ve lop it s aspirations a nd soa r G I NG TO W RK . Mille O O B y t .

d E s . Gla s ow n e e ion o J me s D on a l . I th Coll c t f a , q , g

mi si n A B r a u n Ie Pa r is B y p er s o of . C ]

8 T HE R Z N S BA BI O CHOOL .

ie th e e e Of Old i - e e d stud d app aranc an man, w th a round should r ,

s t e e in e e h e e e e h e m e p g ﬁgur , of whom, wh n r ach d hom , ad a

e in l i i his e e e e e sk tch charcoa , w th wh ch par nts w r pl as d , and “ his e is e e t O e i F i se e fath r r port d hav sa d My poor ranco s , I we t or me n t e s t th vs elf it i i e ll that thou w h th s d a . I would

e e e e e i e i Of i e gladly hav s nt th to l arn th s prof ss on a pa nt r,

hi e is ﬁ n e n ot th e w ch th y say so , but I could . Thou art

e e Of ld st of my boys , and I had too much n ee d the e but now

th e e a r e wi i i de e e oth rs gro ng up , and I w ll not h n r th from

e i e i e We i l arn ng what thou hast so much d s r to know . w ll , e e t o C e e i if in pr s ntly, go h rbourg, and asc rta n thou hast truth

’ ” t he tale nt t O gain thy living in this me tier .

F i i e th e C e e i i ranco s ﬁn sh d, for h rbourg xcurs on , two draw ngs “ h e e Of i on e e e e e t wo e e that had b gun, wh ch , r pr s nt d sh ph rds,

on e i th e e th e Of e e t h e e i te i play ng ﬂut at foot a tr , oth r l s n ng n

i c ote u i e i The e e a h llock ( a ) on wh ch she e p w e r graz ng . sh ph rds

e e t h e th e c otea u e wor jack ts and sabots, of country was a ﬁ ld ]

“ i — i hiS Th in e e e e e . e e w th appl tr s, b long ng to fath r s cond draw g

e e e f f i i r pre s nt d an e f e ct O a starry n ght . A man was com ng out Of e in le ave s i e i e e a hous , carry g , wh ch anoth r man qu t clos to himwas e age r to re ce ive ; und e r t h e drawing we re the s e

Of S i L e E t si non da bit illi su r ens eo u oda mic u s words a nt uk y , q e u s sit r o ter imr obita temta men o u s su r et et da bil illi u ot j , p p p j y , q “ u ot ha b t n a S ensier e e i e ec ess ries . q says , I hav look d at th s d i i a is th e Of e raw ng for th rty ye rs . It work a man who alr ady

’ t he r nde r te e f it s e ffe it s a o O e e . knows g p Art, cts, and r sourc s On e would say it was a ske tch by an Old maste r of th e s even ” tee nth e c ntury . It was in th e ye ar 1 832 that th e fathe r and son went

e e C e i e me Mou c h e l— tog th r to h rbourg, to a pa nt r na d who was a — pupil Of th e school of David and gave le sson s and showe d him

f o Ch a i ter x . 8 . p v. F ‘ 9 JEAN RANcO Is M ILLET . th d i B D u mu c el Me u eh el e . e n o e two raw ngs . M , who was call d ,

n w e -ﬁve e a e He was e a young man about tw nty y ars of g . was

in his i -ni e e h e ie i e only th rty nth y ar wh n d d , and had not l v d

s e e i e u e h is e in th e Of it is to M ll t ass m plac world art, but to ’ h is e mphatic s e nte nce Of e ncourage me nt that w e ow e Mille t s i e i e e e e th e e e th e Of mm d at r l as from farm , and ntranc on study t h e h e e O i e h is e i e art that show d so bv ous a tal nt for, that sp c m n

i re e Mou c h e l his e b e p ctu s mad cry out, that fath r would con — de mne dto all e te rnity for obstructing it Eh bien / Vous sc r ee ’ ” da mne ur l a eoir a r de si lon tems p o g g p . e e e e e 1 832 — 1 835 e e e th e Although thr y ars laps , , b tw n ’ i i e Of th e e i e e G nc d nt charcoal sk tch and M ll t s r turn to ruchy, “ ” w e a r e told that Mille t staye d two months with Mon ch e l . At Che rbourg h e was s e t to copy from th e Old Maste rs in ” th e e a c a d mi s is i i e e . e Mus um, and from It ns st d upon, and

e e e h e e i e i e i e r p at d, that ow d noth ng to t ach ng, th r from

Me u eh el L n i e e— h e his o wn , or a glo s, or D laroch that was

e e it is e e his e i S O e i e t ach r ; and sugg st d that g n us was v d nt, that e ach of his nominal maste rs shrank from th e pre sumption — of Offe ring h imany guidance and that h e took up a position in th e i i h is e n e Of it w i h e i e prov nc al world, at ntra c , h ch fa l d to maintain in Paris .

His e ie e de in N e e 1 835 a nd fath r d d, rath r sud nly, ov mb r, , by his e w e a r e th e e Of th e i e e d ath, told, fortun s fam ly w r thrown i i t t ér i lita a n si r : ou c S e e . nto confus on p , s ys M .

i e n e w the e th e i we - on e e Of M ll t, h ad of fam ly , and t nty y ars a e e e t O e e a - e e e e th e g , s ms hav mad a h lf h art d att mpt to assum ” t h Bu t h e u ie i his e . e control of farm was pr occ p d w th art,

a e e u in th e e i e th e and app r ntly unsucc ssf l and, m ant m , “ e Of C e e w e e d t h e u notabl s h rbourg gr conc rn , that yo ng

i e e ie i e i i i delib e pa nt r no long r occup d h ms lf w th pa nt ng , and ” e h Ow hi n is i rat d the y could help mforwa rd i h care e r . Th s 0 T HE Z 1 BAR BI ON S CHOOL .

omi th e e e Of th e e e she c ng to knowl dg r gnant grandmoth r, app e ars to have b e e n willing to disp e ns e with his help in th e m e e Of th e e i h e t . s e anag m nt farm and hous hold Poss bly, f l “ ” h er i i eri lita F i i c . sh e w e that own pos t on p My ranco s, sa d;

th e i Of G d Y - i o . e J L must bow to w ll our fath r, my can ou s , i i h i b e e . e m e C e sa d you should a pa nt r Ob y , and r turn to h r ’ r His ini th bou g moth e r s Op on on e subj e ct is not re corde d . Ar e w e to re gard his me mory Of t h e lot Of this poo r patie nt mothe r as a discord in th e life of t h e gre at poe t of patient

fe in it th e ke — e e in his in suf r g or was y not loudly sound d fancy, Of th e dirge that his paintings Sing Cl

his e u C e h e e e i i On r t rn to h rbourg b cam , aga n only nom nally,

th e i Of La n le is O ﬁ i a i e O e i i pup l g , who was an f c al p nt r f r l g ous subj e cts and continue d copying Old Mas te rs and th e “ e i e e u Hi e e e h im. s notabl s cont nu d to k p an y pon work,

t h e e Of it * a tt r a c t e d e e i e i O i i and boldn ss , g n ral not c publ c p n on

‘ ’ i h e t O b e e i His h sa d that ought s nt to Par s . maste r watc e d

‘ his progre ss with th e a stonishment of a h e n who has hatche d ’ e e e him th e e i i a young agl , and allow d to work upon r l g ous ” i i i e his e i i t h e i i pa nt ngs, wh ch wer own sp c al ty . In Tr n ty Church at Che rbourg a r e still to b e Se e n two large sub

e c t s e i r in i i e e i La n j of sacr d h sto y, wh ch M ll t work d w th “ e i e e i t e t t OO t h e gl s , on v ry d l ca par s , , such as hands and ” e i drap r e s .

Fi e e Of th e 1 9 A 1 836 L i nally, und r dat th of ugust, , anglo s wrote a ve ry e loqu e nt le tte r to t h e Mayor and Municipal

C i Of C e e n a e e i e e ounc l h rbourg, to g g th r count nanc and support

Of i e e e himt O i e his ie in r i M ll t, to nabl cont nu stud s Pa s ; and

e e h is e i e n e if e v ntur d p rsonal prom s and assura c that, th y seize d this Opportunity Of promoting th e de ve lopme nt Of native “ e i e i e i e e t h e g n us , post r ty would do th m honour for hav ng b n i i n i in e i th e e n wit ﬁrst, on th s occas o , to ass st ndow ng fath rla d h

N F RAN OI s M 1 1 JEA c ILLET .

ne e ma n Th i O gr at more . e Counc l unanimously vote d Mille t an i e a a n d e e e th e annu ty of four hundr d fr ncs, , aft r som d lay, G e ne ral Council of t h e D e partm en t Of La Manche adde d s ix “ ” e i i th e e S c i hundr d francs , ra s ng whol holarsh p to forty pounds a e i it is e i e h e e th e e e Of y ar, to wh ch, v d nt, add d, from r sourc s t h e farm as much as h e re quire d for among th e de tails Of h is

i e i e u e i i i his l f at Par s occur fr q nt hol day v s ts to home .

th e a e Of e - e it i b e e e i e Up to g tw nty two th n , w ll p rc v d t h e i e Of i e e e e e i e e l f M ll t was a p rf ctly prot ct d l f , surround d by

ie d e e i i h is e e th e e e Of fr n s , whos appr c at on of tal nts approach d l v l All i i e . i e i e e ﬂatt ry hardsh p , d sappo ntm nt, or occas on for n rgy a e i d e i Th e i pp ars up to th s at to have be e n want ng . h story of his poor mothe r is absolute ly th e only sadde ning inﬂu e nce

i e e e in his i Nor h e e e i h th rto r cord d l fe . was a m r rust c de ie in e e h e i e Of ﬁc nt m ntal cultur ; . was pass onat ly fond r e i e e i e t O th e e e i i e ad ng, and had b n gu d d s l ct on of authors l k ly i t o t h e e Of his e e e h is d. fan po try natur , and to nlarg m n “ ” “ ever thin h t S e n sie r th e A lma na c h He e e . r ad y g, old M , from

B oiteu x Of S t O Ke c k e trasburg up Paul dc , from Hom r to

B e e h e i S e e e W e S rang r ; had a pass on for hak sp ar , alt r cott,

L B th e F Of G e e Ge a . ord y ron, aust o th , and for rm n ballads Victor Hu ge and Chate aubriand had e specially made a ” i e i e i u h im He i e his e i l v ly mpr ss on pon . obta n d books r ad ly, ’ C e i i e Of his i at h rbourg, from a young l brar an s cl rk acqua nt

F d n t in ie a e . e u a r e e e e nc , a M , whos son , lat r y ars, marr d ’ i e d M ll e t s e ld st aughte r . ’ Pie da ne l i i i n i i Of i e . e e e M g , an nt mat fr d g v s also a l st M ll t s

i H i i i t h Bib e e . e e t e w e favour t books h ads mphat cally, th l ;

i is w e e i h e e e Vi i wh ch follo d by Th ocr tus , whom pr f rs to rg l, ’ h e e i in i i t O S e n sie r s i Be i de and m nt ons , add t on l st, rnard n t i L m i e e . S . P rr and a art ne

i e i e in i in J 1 837 a d i M ll t arr v d Par s anuary, , prou , h gh 1 2 Z N T HE BARBI O S CHOOL .

i i e e - e n iti e w - e e pr nc pl d , but hyp r s s v , shy, and awk ard mann r d

a e O fe e i e S i e e a n d youth, prompt to t k f nc , a l ttl po l d by ﬂatt ry

e e a i e e i i - e e a n d succ ss, mor than l ttl hom s ck and fa nt h art d, ,

e t i e e e th e e in i i a t appar n ly, d spos d to m t gr at world a sp r t th

e e th e i i i Of e e e on e e pr clud d poss b l ty succ ss ; mor ov r, of thos sons of ge nius t O whom th e re alitie s Of life a re le ss re al than th e e ei i e dr ams of th r nn r world . His good frie nds th e notable s had supplie d h imwell with l e tte rs Of introduction to pe rsons who appe ar t O have be en w e i e i him e Of ll d spos d to ass st . Mr. D , a mak r fans, “ O fe e d him e e di i me i t o h is f r a hom , und r con t ons nac ng “ i L r a c e e t i h . e e e e e . l b rty, wh ch r fus d to acc pt Mr , a man g ’ i th e eta bli e i i e e i e him . , mad no cond t ons and r c v d k ndly In

e i e h e Ge e e th e Mu m ant m a Mr. org , Exp rt of Royal “ ” c u e h n e i ra nd dia ble de dessin s ms , who was nc a t d w th a g “ e Jor da en s i is e OOd aft r , and sa d , That v ry g you must stay with me 1 will show you t h e Mus eums I will introduce y ou

i i e e th e S Of Fi e to famous art sts I w ll nt r you at chool n Arts, w e e e e th e i e e i l h r you shall comp t for pr z , and I am sur you w l win it e e — Mi e i e S ensier b for long but ll t, just ﬁ d by , was

e e e i e e Of i d e e e Of r p ll d by th s xc ss k n n ss, v n from a man

o i i e i i i e e i his i p s t on b yond susp c on of mot v , and l av ng draw ng ’ “ in Ge e ﬂ e d never went to see him Mr. org s hands , , and ” a a in g . i e i me L his Of A d sput w th Mada . was, by own account, th e i i d e i Of e e i most unromant c k n , a qu st on d btor and cr d tor in u e e h is i h e e th e acco nt, an ov rcharg for lodg ng ; but l ft ” “ e i e i e in h e n i hous w th an h ro c outburst, poss ss g, says, oth ng ” “ i o th e e i For h e e but th rty s us and cloth s I was we ar ng . t r “ ’ h e e o n e e in days , go s to say, I found r fug a workman s i e e e e me e i i d lodg ng wh r th y gav cr d t, but I pa d for my foo with my mis e rable thirty sous and pre cise ly in this critical

1 T E 1 H BARBIZON S CHOOL .

th e e e e th e e th e i e i e slack n d muscl s, ﬂat surfac s , l n s of th s ﬁgur m if e e i ffe i ffe e e . e all r lax d by phys cal su r ng, a ct d ys lf I f lt as

w a s i him I torme nte d w th . Of D elaroche and othe rs h e says the ir the atrical p ose a nd — mise- en sc ene I nsp Ir e d himwith an aversion to th e the atre and “ in it e e e e i Of th e e i all be long g to . I hav s n som th ng th atr cal

d i e e Of e e i to u t worl , and I am conv nc d that, by m ans s k ng p ’ themselves into a nother erson s shin e t h e i e Of p , th y lost consc ousn ss the ir own pe rsonality ; th e y could only t alk in th e s tyle Of

e i e e i e e e i th r parts ; and truth , common s ns , and s mpl f l ng for i e i if t h e plast c arts abandon d them . I th nk that you would

e e e e th e mak art tru and natural, you must k p aloof from th eatre . “ It has b e e n said that I had b e e n much attracte d by th e masters Of t h e e ighte e nth c e ntury be cause I did som e p a stic hes

f is in t ne style O Boucher and Of Watte au . That a mistake

e n e e n ed e e e my tast has v r cha g , and I hav a v ry pronounc d

i i B No r W e e e . ma n He d sl k to ouch r was att au my . was

th e B e w a s his e not pornograph that ouch r , but was a p tty

e i i i e me u s e e in th atr cal world wh ch pa n d . I co ld it ve ry we ll t h e charm Of th e pale tte and th e re ﬁne me nt Of e xpre s

i e e th e Of e bonshommes de c u li s s on , and v n pathos thos poor o sse doom e d to b e always laughing ; y e t th e marione tte s in c e s

e e t O i i e santly r curr d my m nd , and I sa d to mys lf that all this little troup e would b e pre se ntly put into a box afte r t h e ” i e e e e e i i e e e . e nt rta nm nt, and th r lam nt th r d st ny Of R mbrandt — “ h e says I only came t O know himin late r ye ars ; h e did m h linddm not re pe l e e b e e . I thought it would b e re quire d

a ir e des sta tions e e e e i i th e e i Of i to f b for nt r ng nto g n us th s man .

e e ie e ie e e e I n v r tr d to mak cop s of th s mast rs . It s e eme d

me Of e i i e to that any copy th m was mposs bl , and could have n e i e th e ei th e c ha leur Of th e i i th r spontan ty nor or g nal . I ne ve r F RA OI s M T 1 5 JEAN Nc ILLE .

ke ie e e Of m i e would ma cop s , not v n y own work I am ncapabl

' ” Of that besogne. “ e Mi e - n e Pou s sm e e Aft r cha l A g lo and , I hav h ld to my ﬁrst liking for t h e e arly ma ste rs ; for those subj e cts simple as infancy ; for those unconscious e x pre ssions ; for those be ings

i e e e e e over burdened b li e who say noth ng, but f l th ms lv s y f ,

fe a ie i ie i i i who suf r p t ntly, w thout cr s , w thout compla n ngs , who

e th e O e i Of m la w e e e i e b ar ppr ss on hu an , and hav not v n an d a i i ” of s e e k ng to b e r ghte d by any man .

He was h e sitating in th e choic e of a studio to ente r for

e i i i n Th e i i e e Of th e w m t chn cal nstruct o . pr nc pal t ach rs day ho

h e e i n e e e e D l i Lé C o n ie t e de m nt o s w r H rs nt, ro l ng, on g , Ab l

Pu Ol i e Of h e e e s j , and P cot, for non whom car d, and Ingr , ’ dont e n a va is a s a er u la moindr e eintu r e h e e j p p c p ﬁnally, chos

ne i Of th n D elaroch e . O sp e c me n e u translatable humour Of ’ th e studio will s e rve to e xplain Mille t s position th e re “ Ah ca says one Of his comrade s e s t - c c qu e tu vas nous i e e e de t e s eu e e t oi ? Va s - e n e fa r ncor fam s s ﬁgur s , tu cor nous

a i de s e e t de s e e a ? i ie b t r homm s f mm s ta facon Tu sa s b n, ’ u e le i e c e e e a e de C e pourtant, q patron n a m pas g nr la mod a n, ’ ’ ” “ ~ i i is e t qu il t a de fen du de faire ainsi ta cu s ne . What that to ” “ ’ me 2 e ies Mi e do e e e r pl ll t . I not com h r for anybody s ple a sure ; I come h e re be caus e the re a r e antique s and mode ls ’ — - h e r e for my instruction cl voila tou t Est c e qu e je moc c u p e ” de t e s e de ie de e e moi 2 ﬁgur s m l ou b urr ,

He i in th e i in was work ng hard, not only stud o but also a

i e i h e h a d e e th e i Mala u a is in th e l ttl att c that r nt d on Q ua q , Court Of th e Hotel Pe lla pr a t and afte rwards in anothe r garre t ’ th e Ru e dEnfe r e e h e e i Of th e e n of , wh r mad portra ts s rva ts ' “ ” th e i e e it is e th e u e Of th e and conc rg , and , add d , of da ght r

ie e Of L f his . O e o e ” conc rg M also coal m rchant, and th rs 1 6 THE S BARBIZON CHOOL .

He consiste ntly pre fe rre d th e fre e dom Of his inde pe nde nt work “ th e e i - i h h e e ri e mnastic s to acad m cal task work, wh c d sc b s as gy , in which men disguis e the ir natural gifts to conform to a c a ” de mic al i i trad t on .

i e e — u e e M ll t was a s lf ta ght man , not for want of t ach rs ,

in i i i i e i Of i but stubborn oppos t on to v c ous t ach ng, wh ch

e ish e d u him He a n mor than for was thr st upon .

n ou nc e d his in Of me i th e i de e co p t ng for Pr x Rom , but appe ars t O candidly warne d by D e laroche that

h e b e e i in th e e i i would not allow d fa r play comp t t on, and in i t h e i i e did re tre ate d d sgust from stud o . M ll t not for “ i his Of th e i e e i i e th s abandon study ant qu , but r ly ng on h ms lf

h is i -ion e c hez Su isse e e for all nstruct , w nt , who k pt an acad my ” Of mode ls . He brought with himfrom t h e studio a friendship which

e e e i e e his e e e in th e dire c prov d p rman nt, and nflu nc d arly car r tion of a close r contact with th e Boh emian life Of th e artists i Old e u i e i i Th e e Of and a loose n ng of pr j d c and pr nc ple . nam

i L i - e H th his fr e nd was ou s Al xandre Marolle . e was e son of a “ u e e him e i i i e d manufact r r, who mad an allowanc wh ch fac l tat ” th e - e i e e i h e e i e e e i e art x st nc to wh ch d s r d to d vot h ms lf, but ’ id e i th e i i Of i e e e e e d not sufﬁc , w th add t on M ll t s r sourc s, to k p l i t h e ie . e e e e e fr nds from want Th y r nt d tog th r a sma l stud o , ’ 1 3 Ru e de l Es t e i e e e NO . , , and b ng hardly pr ss d for mon y, and Mille t unable to ﬁnd a marke t for any work Of a more re spe ct

e i e e e his ie u e e abl k nd, Maroll p rsuad d fr nd to prod c a numb r

Of e Of is e a c etious e e in i i i Of past ls what call d f t nd ncy, m tat on

Th e e e e i Watte au and Of Bouche r. nam s of th s l ttle frivolitie s

e i e e e are s e i e we r nv nt d by Maroll , and humourou and sugg st v “ ” “ ” “ ’ Th e i e e i e Ve -Ve Th e An mat d R ad ng D sk, rt rt, Old Man s “ ” “ S ie i L e N e i N Almanack old r Mak ng ov to a urs ma d, ove l i i B i e . u t R ad ng, A Day at Tr anon, and so forth some t mes

JEAN F RANcOI S M ILLET -J

“ ’ e e e e e e J c in L se Bibl e subj cts w r s l ct d, as a ob aban s Hou , ” Th e dra wms we h B &c . Rut and oaz, g sold for t nty francs e ach but at this time Mille t was glad to paint portraits for

i Bu t i h e e e e t e n e e ﬁ ve e e . , or v n , francs ap c wh lst cond sc nd d to e arn n e ce ssary funds by a ny kind Of work that h e coul d se ll, h e did e i Of his e e Of Of not for a day los s ght gr at obj ct, study i f t h e h gh e st principle s O art . “ Gen evIe ve ie He e e e th e i a Of S t . fr qu nt d l br ry , and stud d

e e th e e th e m e t D e th r b st works on human for , such as Alb r ur r, — Le Vi i Je C i Ni u i onardo da nc , an ous n also colas Po ss n , whom h i i e e b e e e e . constantly adm r d ; but a ov all oth rs , M ch lang lo

He e i ie e ie e de e r ad b ograph s , comm ntar s , corr spon nc s and docu

e e i i e h e e e e e m nts r lat ng to th s gr at man, whom n v r c as d to

e th e e e e Of a ll e e i e i r gard as nobl st xpon nt art . In th s nv st ga

i h e e i himou t o sh ness e him t ons took Maroll w th , f y , to sp ak for , and point out th e authors and th e works that h e re quire d; Marolle was th e conne cting link b e twe e n Mille t and th e oute r

i e e alw a vs e him t Of world , wh ch th n caus d, and has caus d, a sor ” th i i n w i e . e e e e a s e e . f ar Maroll acc pt d pos t o , and most att nt v

Th e above carry on our narrative to th e ye ar 1 84 0 (t he ’ e - e e Of i e i e e h e t e i i e in th e tw nty s v nth M ll t s l f ) , wh n ﬁrs xh b t d

S He e in i on e Of e t e a alon . s nt two portra ts , Maroll , ano h r of

e i th e e i e e i e r lat on and latt r was adm tt d , but pass d unnot c d by

i i i m th e e th e e i i i i e e e c r t c s . At clos of xh b t on M ll t r turn d home

N n i r . e e S e s e . e e e to ormandy And h r M , most un xp ct dly, informs us that already in t h e previous ye ars Of his re side nce “ i e e e h e e e e his at Par s, almost v ry y ar had r turn d to br athe

n ive air t O e e e at , and pass som pl asant we ks at Gruchy with his

e e e u him moth r and grandmoth r, who look d pon as a sort Of ” odi e e h e e e e i e in t h e Du i pr gy, b caus had b n m nt on d pap e rs . r ng

e e vi i h e e e i his th s s ts, also, had mad s ve ral portra ts of family

C 1 8 THE BARBIZON SCHOOL ;

ie l Of his e t e wh o and fr nds, a so moth r and grandmo h r, ” e i e in th e e Of one h is e e e I s e r ma n d hous of broth rs . Th r som

i e e i e e th e i e confus on h r aga n , b caus fam ly hous was trans

e e e th e e e i e f rr d to a broth r, and moth r and grandmoth r l v d

th e re . 1 84 0 h e e C e i in In mad a long stay at h rbourg, work ng aga at

th e e e e i in i Of h is ie } Mus um th r , and pa nt g portra ts fr nds In 1 84 1 h e is i e e in i t h e i i C i aga n th r , pa t ng for Mun c pal ounc l a portrait Of a de ce as e d me mb e r the re of— appare ntly from imagi

n i n h e i e i e — i i at o , for had noth ng r l abl to copy and fa l ng to

i th e C ni h e e e e e e e sat sfy ou c l, b cam pr ss d for mon y ; work d

e i e e e i e ie e ic v ry hard at portra ts , and wh n th s fa l d tr d som p

e Of i e e : S a ilor s Pa tc hin a S a il Fisher men Nea r in tur s local nt r st g , g

a Ba rk A You n Ma n S a vin his Coma nion r omthe lVa ter &c , g g p f , .

h e h e n ot e e e h e tOO And w n could s ll th s , was not proud to

e i : The Little Milkma id c e e mak s gnboards , for a fan y war hous ;

a n d S c ene r omou r A r ic a n Ca ma i n i - e e a f f p g , for a t ght rop danc r,

i him i in e ie e Horse who pa d th rty francs , all copp r p c s a ,for

i e S a ilor i e &c He e e . a v t r nary surg on ; and a , for a sa lmak r,

i t h e i e ie e i e a e e . p nt d at sam t m for a fr nd , Dr Ass l n , a sacr d

s e : S a int B a r be Ca rr ied U to Hea ven in th e ubj ct p , and back

t n f i He id300 ground t h e D ec ap ita io O that sa nt . was pa francs

A i i i r i . ns e i e e e . S e for th s p ctur by Dr ss l n , whos fam ly, M i I i e t . nforms us , st ll poss ss

Amongst h is portraits Of this year was that Of Mdlle . Pau

- i i e Vi i ie On e mh e e in N e e 1 84 1 . l n rg n , to who was marr d ov mb r, Th e bride and brid egroom stay e d some days at his home at

G e e e e i his d e ruchy, and th r was a gr at f ast, at wh ch gran moth r “ ma de th e i e e : e e e F i follow ng sp ch R m mb r, my ranco s, that C i i e e a rt i e u t n ot thou art a hr st an b for thou a pa nt r, and p so noble a profe ssion to t h e s ervice Of th e e ne mie s Of religion do

N FRAN OIS M E ‘ 2 1 JEA c ILL T .

e re i e i m i h e i e t of that protract d app nt c sh p, fro wh ch ssu s abou “ t h e e 1 84 9 in his e i e en B i n i e d y ar , r t r m t at arb zo , as a ﬁn sh ti ” and individual ar st .

' i ve e his i e e i e O f Pass ng o r th n class c, but r markabl , p ctur s

h i Gfdi us D eta c hed romthe Tr ee e i i e in 1 84 5 t e nfant p f , xh b t d , and th e Jews a t B a b lon in 1 84 8 it is in th e c oma n l on 1 c tu r e O f y , , p p t his mome ntous ye ar that h e made his ﬁrst e ssay in subj e cts Of

i i e i th e Ma n Winnou in Corn . agr cultural l f , w th g “ In 1 84 9 h e b egins t O write th e ﬁrst page s Of his work ‘ ’ e i i b e e La e e — th e a vast po m , wh ch m ght nam d T rr but, by s i e Of th e i e Of e his e d pa nt r p asants , who puts on tru colours

ui se revete leinement in 1 84 9 e e is i 1 84 8 (q p ) , th r st ll, from to 1 858 t h e Of e ie Of e i , author a s r s canvas s, of wh ch all look a i e a r e eive in t he e i i e t h e l k , and all conc d sam sp r t, all hav

e i ie th e e u th e e c a c het . e a r e sam qual t s , and sam fa lts , sam Th y

e e e e t h e e i num rous, and r pr s nt, for most part, wom n bath ng, sho wn on backgrounds Of ve rdure ; amorous groups hidde n

th e i e i — e i e i i among fol ag b rd n st ng , and oth r rust c dylls and ~ ” i th e vie ha metre ep sode s of c p . “ ” ’ We b e e e ive h e i e e i e e in may d c d, wr t s , aft r M ll t s d ath, “ e e e e ei ht anoth r plac , but can only r cal not mor than g y can

‘ ’ v s i w ith Mille t s e in his e i i e e e e . as s gn d nam , and d ﬁn t v mann r

He did e e e e e not produc mor than thr works a y ar, but an e normous quantity Of d r awings a ndp a stels quite as importa nt i ‘ hi th e i i o e ma tr e. s e e as pa nt ngs, and m r Although work n v r

e e i i e h e e i e e r ach d a h gh pr c , had a c rta n (sur ) mark t, and a

' i i i He ﬁ x e d i e e . in publ c r str ct d, but fa thful had also ncom gs base d on th e regular and ince ssant production Of dra wmgs and

if ’ M r H nl divide s Mill e t s li e in t o th r e er iods 1 814 - . e e e 3 h is y f p 7, or ig in a n d e du c a tion : 1 837-4 9 h is a ppr e n tic e sh ip t o a r t a n d h is sta y in Pa ris 1 84 9- 5 h is s o ou r n a t Fon t a in e l e a u as a nish e da n dindi i u 7, j b ﬁ vd a l

a r tist . 2 2 HE S T BARBIZON CHOOL .

w i m i i i h e e o e e e n t e crayons , h ch for at pr s nt a c n s d rabl coll ct on f ” “ i i il d O e . e e e a e han s an amat ur Th s adm rabl po t, st l mor po t a n in e e e i h imdr a i in i th a pa t r, has l ft b h nd w ngs crayon wh ch are e ie e h e is th e t i e e u i th e mast rp c s ; mos s nc r of nat ral sts , ” ’ enetra nt th e e e e Sea — Ju les B oisse most p , most r ally t nd r, ( , ’ Mu sec Universel 1 87 ,

is in e e i e in h is e the It th s draw ngs , mor than canvas s , that ’ i e i e is b e Yria rt e story of M ll t s l f to sought for for, as says , mt i hi h e e s e i e e B i his wa s his i fro t m of r t r m nt to arb zon work l fe . The re we re no re markable e pisode s in his care e r it was that

Of i i Of e i i ie e e i e i e m ll ons dom st c t s ss nt ally a hom l f , and tran

i w e e e e i e re e e e qu l , for r fus , absolut ly, to g v c d nc to M . Alb rt ’ Wolff s ghastly pict ure of th e starving family going suppe rle ss

b e d th e i e i i th e i Of th e to ch ldr n wh n ng for food , and arr val

e i i e i i good ang l D az, w th a pock tful of V ctuals, and s xty francs

i — th dimi f a n e i i ﬁ r from Par s all by e l ght O xp r ng e .

is e i e i t h e e i e It cr d bl , look ng at r cords of publ c sal s , at a

i e e h e e i e e e t m wh n was c rta nly a poor man , that by som d al r,

e e h e e e i e e in th e i e Of his or d al rs, was gr g ously ch at d pr c drawings probably by th e same who we re assisting at th e ruin

Of e a th e e v Rouss u ; probably , also, shy , n r ous man was wax in e i e e e e e th e th r hands, and allow d th m to pos b for world as

his e e ie e e th e i Of ﬁ i e dar st fr nds , wh r by pursu ts pro t and pra s we re compatible with ke e ping th e poo r painte r low ; but the y would n ev e r have allowe d himto sink to th e dange r Of th e slackening Of his producing e n e rgie s unde r th e pre ssure Of tan

l i s i i gib e d stre s that would not b e the r pol cy . Frome xisting re cords Of th e de tails Of sale s by auction at t h e e D n i i e u b e i Hot l rouot, a stro g nd ctm nt co ld drawn aga nst

e i i i e i th e t all and sundry who had d al ngs w th M ll t, say dur ng las t en e Of h is i i e him e i e i y ars l fe , wh ch l ft , dom st cat d and thr fty h e . husband that was, a poor man 2 3 JEAN F RANCOIS M ILLET .

’

‘ NO i e a s e i t h e e e i u doubt M ll t W curs d w th xasp rat ng, sl g i a tienc e Of t h e e n a nd th e vi e i en g sh p p asa t, rtu of d scont t

e i h 1 m I n e i i e his e e r ie was for gn to , mat r al l f , and n g s , in th e e i e b e i e e e i struggl w th pov rty, would d r ct d mor to sav ng — than to winning a slowly de grading habit which culminate s in t h e i e Of th e fe i ma y s e e sacr fic natural af ct ons , so that you ’ “ ” i e mother i e th e e th e e at last, M ll t s sacr fic d to fi lds and stabl s , like th e wome n on e us e d to s e e harne sse d to barge s on th e

i i i u d d C e e e e e e . canals about ala s , wh l th r h sban s smok d and st r ’ Th e Of th e e s i e is i i pathos p a ant s l f a brutal s ng pathos , and

i e e i e it i ﬁdelit — M ll t kn w that, and pa nt d , w th a brutal y and t h e u n ew Of th e Oldre i th e e i just st ards volut on, and prof ss onal

e e Of 1 84 8 did i i e e i d magogu s not l ke th s . Th y wante d th r

e endima nc hés in S d e — it i e th e p asants , un ay b st and took t m for ’ gre at he art Of Socie ty to re ce ive t h e le sson that Mille t s sile nt

i e e e e e in — F e e i n i e w tn ss s w r t ach g for r nch r volut o s, h th rto,

e e i e Of th e ie e e hav tak n l ttl account pat nt p asantry , unl ss , ne w e in e e — and th n , as a stalk g hors , or as food for powd r and Re publicans do n ot love to b e re minde d that all th e agrarian

e L i X I t h e f e i mise ry that s nt ou s V . to scaf old outlast d the r

i n i glorious e p sode of Libe rty a dFratern ty .

followin fromth e n Of is Th e e . e C e e gf p M Ern st h sn au , a ’ typical criticism Of Mille t s p e asant (it is writte n in 1 862 ) ‘ 5 On e e e t O e i e i i i l e — th e s ms r cogn s not an nd v dua , but a Typ

h c r etin is t s h e Of t e . e O e e t e typ country It not pl asant , but

e e i e e e i th e truth , v n horr bl , x rts such attract on on human soul ’ on e fe i i e e e in i e e i B - - b e that l c tat s on s s lf th s m t ng . y and y as th e ic t I r s i e in e i e th e e e Of p e of M . M ll t pass succ ss on b fore y s t h e e h e e ni e e e it is th e amat ur, r cog s s, pr s ntly, that always

me c retin t h e e i i is e e e him a n d sa , sam d ot, who pr s nt d to ; , in th e en d i th e e e i e t h e e e , th s grows mor w ar som that sp ctacl i f i e is e e e e e O e e . not r d m d by any var ty x cut on If, push d by L THE S H 2 BARBIZON C OOL .

“ ‘ “ c u riosit ou s e ek in th e u e h e e e y , y catalog what can t s monst rs b e W th e i e e e e in e in i , hom pa nt r tak s pl asur r produc g w thout

e e i e is e i e e a r st or r sp t , what your stup fact on , wh n you l rn that h e pre te nds to nothing le ss than to re pre se nt th e laborious

e e th e n Of th e e e i rac of our ﬁ lds ; stro g stock p opl , from wh ch

a r e e i e ie SO i e i e e Then th e r cru t d our arm s, nt ll g nt and so brav

e th e a r ti ris Of th e i a e in its e i rror, or p p art st pp ars norm ty and

on e e e i e i t h e turns away for v r from p ctur s wh ch, by way, do i i i ” n ot hold you by any picture sque quality e ve r so l ttle str k ng . That this tone Of criticism e ndure d so late as th e English

i i i Of 1 862 C e e u Of me n e e Exh b t on , that M . h sn a , all , was not v n

e e e m i h imis i th e th n conv rt d to sy pathy w th , a l ght upon l f t h i ’ “ i ” i uphil struggle O e pa nte r s apostol c l fe .

e i i i i Of his i e O e e T chn cal cr t c sms work, l k bsol t nostrums of

th e e e i e e e i i doctors , hav lost th r valu by subs qu nt contrad ct on , b u t it was by no me an s admitte d by th e conte mporarie s Of

’ ‘

i e e ie B i i e h e e h Ow i . M ll t s arl r arb zon t m , that kn w to pa nt Th e almost u nive rsal criticism that h e pre fe rre d ugline ss to

i i his il i in e e s e e . O b auty, scarc ly t chn cal In pa nt gs, say s a gr at “ Ge i i de r n zu w e de n rman cr t c, War Auftrag a fangs sch r, um ” i u e KOr e r zu e e i i llmhlic h F g r n p g b n d e s ve rle r s ch j e doch a a .

w rit In I n 1 85 5 e i i i i Edmond About, g (Int rnat onal Exh b t on), “ i e his e Of i e i attr but s to work, br adth draw ng, aust r ty of

e i e e e — e e e his S ower 2 — A styl , rr proachabl tast . Do you r m mb r " — — grand painting l His Pea sa nt Grafting a Tree t painte d in th e

e e Of i i i i Th e is in e e sam styl w sdom and s mpl c ty . country k p

i n - i i e — i Th e e e Of i g rust c and s mpl but not to nud ty . xc ss th s — manne r would b e t O e mpty picture s b y force Of discarding h ” i su erﬂ u itie s on e e de e e t e e e . p , would xclu v n n c ssary (Th s

Tr a n sla tion . Alth o u h in th e e a r lie r sta e s Of his c a r e e r th g g , e th ic kn e ss of th e I mpa st o in t e r fe r e d w ith a de lic a t e modellin g Of th e ” u r s h i la t r or k r du a ll imr i r e s e w s a ove in th s a r tic ul a . ﬁg , g y p p

T HE PIN B Y MILLE T S NE R . .

' ' I n th e os s e M zc s s ion o . o e l n i é p f C g z , a n , Pa r t s .

I z N S 2 6 THE BAR R O CHOOL .

i i e i o his e e e u e m n st r ng to , and fr m that hour canvas s w r p r ; a n d i e e his e i e ei , l k a r ward for good r solut on, ros through th r th i i e e e e e . pur ty, to arn stn ss , ﬁnally to subl m

In 1 84 5, h e had contracte d a se cond marriage with Cathe rin e

Le i e his a i in N e e Of e ma r , and on way to P r s , ov mb r that y ar,

e e e e h e i e i e e mad a short stay at Havr , wh r pa nt d an mm ns

e r i e i e th e a e th e numb r of po tra ts and nud p ctur s , to t st of ’ i i i e Of th e i i e low sh ps capta ns and mar n rs port, s nk ng v ry .

Th e e ie i e in Temta tion o S a int Jerome i s r s culm nat d a p f , wh ch , ’ “ i i Of it i b S e nsie r s e e . e y d scr pt on , was outrag ous M ll t, brush in e i e e e e e in e i i i hand, som t m s w nt to an xtr m d p ct ng pass on

l e e a n e i i i Of his e le s and ﬁna ly, th r was xh b t on all suj ts plus ” e Of th e Of i his e e e e scabr ux, rumour wh ch p opl at hom app ar

e e d h is e i e to hav h ar , and grandmoth r wr t s “ M e i e a re i y d ar ch ld, you t ll us that you go ng to work for th e e xhibition you have not told us if you re ape d any b en e ﬁt

mth e s e i ie Of i e h e i ite fro quant t s p ctur s t at you xh b d at Havre . We cannot unde rstand why y ou re fus e d th e appointme nt at th e colle ge at Che rbourg (this allude s to a Profe ssorship h e S e e had re fus e d to acce pt) . st thou e lse wh e re a gre ate r advantage at Paris than among thy relations an dthy frie nds 2 You te ll us that you a r e about to make th e portrait Of Saint

Jé rome i e th e e i h e i e , groan ng ov r dang rs to wh ch found h ms lf

in his th " e i d h i e e . e s e e xpos d you Ah my d ar ch l , aft r xampl

e th e e e e i e e e " mak sam r ﬂ ct ons, and d duc from th m a holy proﬁt

F th e e e t Of i e e i ollow xampl of hat man th n own prof ss on , who ‘ ’ i e i For e us e d to say I pa nt for e t rn ty . no caus whate ve r

e i e e i t O e i Of th e e e e Of p rm t thys lf to work v l , nor los s ght pr s nc

God i S i Je e i i e e th e W th a nt rom , th nk nc ssantly that you h ar sound Of th e trumpe t that shall summon us all to judgme nt ” — MELI G e L S JU N. &c . Thy randmoth r, OUI E t h e e e Of his e i i i 900 h e On proc ds xh b t on, francs , brought E 7 J EAN FRANc OI S M ILL T . 2

his i e i In e e e e e e in ea w f on to Par s , D c mb r, and th r lodg d gr t

’ ’ 2 is Th a int Jerome NO 4 b . e S ve in th e Ru e e . po rty Roch chouart,

i e e e th e S i e ai e e it p cture was r j ct d for alon , and M ll t p nt d ov r hi i s E dp us . Eugene Tou rne u x and th e goodDiaz b e came his frie nds in

i 1 84 6 is e d e e i e se e . th s y ar, It mark , how v r by an mm n num

b er Of ie th e e e e e e n e stud s from nud , for th s w r , unfortu at ly,

t h e e h e b e , e h e only subj cts that was a l to ﬁnd a mark t for, and

r e e i his i e ie th e e e Of S was duc d , w th w f and bab s , to v rg tar vation S ensie r give s a harrowing d e scription of t h e distre ss

h e fe e Of t h e i t h e t O that suf r d , and sh f s that was put , and

e e i b sa le or ba rter t h e i : quot s, among oth r transact ons y , follow ng Six be autiful drawings for a pair Of shoe s ; four portraits Of

Di B e Vi D e Vc c ht e i e i e th e az , ary , ctor upr , and , l f s z to bust,

ve ra nc s ie e e i e e for ﬁ f ap c ; and any numb r of charm ng sk tch s , at price s ranging from ﬁ ve francs to one In th e me antime

M . Charle s Jacque colle cte d in his studio all pie ce s of pape r

h e i indic a tions ie e that could ﬁnd w th , or stud s from natur , and

e th e i b e se i th e ﬁ re bought th m, that y m ght not u d to l ght i w th .

Bu t in th e e i e his e i i e , also m ant m , tal nt was attract ng not c .

J e G i a i Of e i e i in isms os ph u chard , pup l Ingr s , a scholast c th or st , who was dreaming of a fusion Of Classicism with Romanticism ” “ N a i i i e e i and atur l sm, sa d that M ll t was mor touch ng than C e i i e imré vu e e e th e orot, and mor mpuls v ( p ) and mor t nd r than ” e Of th n e w Of i e b st e school pa nt rs .

Fi Le dru in e e r him i e Of th e nally, Roll ord r d f om a p ctur

i e Of h e e it s e Ha a r a nd pr c francs, and chos for subj ct g I shma el ; but wh e n h e had almost ﬁnishe d it h e change d it to

- i e Of II a ma hers Restin i th e an agr cultural subj ct y g, mak ng at s e i e e i i e ie th e e am t m a r solut on to pa nt no mor stud s from nud , “ n or Of O e i e e F i n e . or one e e i bj ct onabl t nd ncy v n ng, front of ‘ 2 8 TH E B AR Z S BI ON CHOOL .

' th e i w Of D e for e h e t wo me n l i shop w ndo g , saw young ook ng ‘ i e Of his B a i neu ses on e id D O th e at a p ctur g , and sa , you know

‘ a Of i i e l th e e e e d Ye s it is uthor th s p ctur oth r answ r , , by a ’ ma n e i e i n i e e " nam d M ll t, who pa nts oth ng but nud wom n

h e w a s e i i e i i i e And so shock d and hum l at d by th s nc d nt, that, aft e r e xplaining to his wife th e diffe re nce that it would make

e i e i i h e e n e i h e r i to th r m ans of l v ng, gag d, w th approbat on,

e i e to do no mor such p ctur s . i e 1 84 8 i e i e e i i e In th s y ar, , M ll t, l k all oth r Par s ans, was call d

n t O e e a n d u t h e i i Of t h e upo should r a musk t, g ard s tt ngs Par

lia mnt He i e th i th e i e Of e . ass st d also at e storm ng of barr cad s t h e ie e h e i e e th e e Of Q uart r Roch chouart, and w tn ss d d ath “ ” t h e m e Of th e i e He e e com and r nsurg nts . r turn d , says “ S e ns ie r di e i di i i i , sgust d and n gnant w th our Par s an mas ” a e e t h e t O t h e P i s cr s, and w nt away to country , la n of Mont

e S i e a nd th e i i h e martr , or a nt Ou n , on follow ng morn ng produc e d a numbe r Of ske tche s Of impre ssions re ce ive d in h is

l Bu t hi i his wa k . s d sgust of bloodshe d did not e xtend to

e Li e e e i i ze O fe e th ory of b rty, wh n comp t ng for a pr f r d for a

e i Of i i e e b e e i e h er 1 d s gn th s much calumn at d godd ss, d p ct d , , “ i w in a i e h e r th e c a r c a sses o Runn ng, s ord hand , dr gg ng aft r f ” kin s 2 e e e e in d e i g , and, , s at d on a thron , sp ar han , cont mplat ng

h i u t er t e e e i e r e e e e e hea ed a h ee . n m s conqu r d, and p p f Th s d s gns ,

i th i t h n t e i e e e te e e e e o . how v r su d to publ c of day, w r appr c at d i i J e i h e e e . In th s y ear was la d up by a gr at lln ss In un ,

1 84 9 h e e ei e Le dru i t h e i e Of his i e , r c v d from Roll n pr c p ctur

th e II a ma /c ers it ei e e e i i of y , and b ng chol ra s ason, l ft Par s, w th

his ie J e B i e e th e i ie e fr nd acqu , for arb zon , wh r two fam l s lodg d i le ere Ga nne w e e e e e e w th p , and h r th y found b for th m e e e u e i Be L i Le Th odor Rouss au, Hug s Mart n, lly, ou s roy, and

Cle r e t e h a d ension i G e i e i g th y p w th ann , but h r d stud os of pe asants and Mille t found th e return to country life S O con F RAN O S M 2 9 JEAN c I ILLET .

i him h e e i e t a t B i some time ge n al to , that d c d d to s ay arb zon, , with th e result that h e didso for th e re mainde r of his life ’ ‘ The re a r e many d e scriptions of Mille t s hou s e in Ba r bizon ﬁ “ Pie da ne l w i in th e l it ma isonnette M. g , r t g on spot, ca ls a , i e e e i i e i Ofiv Of l t rally cov r d w th a th ck cloak of cl mat s , y , and

‘ ’ i e OfVi i i — th e i e i on e jasm n rg n a small pa nt d door, wh ch was at

i e i e i i O e th e e de in t m wh t , stand ng hosp tably p n larg front gar n

e i i e e e e e i int e in e b aut ful d sord r, ﬂow rs, v g tabl s , and fru ts rm gl d

i i i e - t e e e e w thout any regard to symmetry . A cl mb ng ros r s ms t o b e i e e th e e i th e e is try ng to nt r by upp r w ndows , and gard n ” - e e i S we e i e e i e i . h dg d w th t br ar and ld rs , tw n d w th convolvulus

h - t h is t h u i t e n ﬂ o or e e e e e . . On grou d , n ar ntranc , st d o M “ Yr ia r t e t OOk note s Of th e inte rior Of this studio : A large

o a n d e e i h e e in it e e ro m v ry mpty, w t an normous pr ss wh r Mille t us e d t O ke e p his unﬁnish e d paste ls a gre at many casts

t h e i e me e Of th e a e Weddin from ant qu , and top s P rth non , and a g F a F i i e st Of B e e e e e . r ugh l , and anoth r l m sh p ctur ’ “ S e nsie r a i e i s e e th s ys that M ll t s occupat on w r twofold . In e

i h e his e e e h e e i e morn ng dug gard n , and aft r br akfast r t r d to a

- e i h e e his i low roof d, cold , and dark hall, wh ch call d stud o . i e e h e e i e e e h e e Th s shady r tr at rath r l k d , and th r compos d

Of his and e e e e his e i i most work, th nc manat d from po t c bra n hi i i i ‘ i ’ s e e e . all compos t ons , sk tch s, croqu s or d ss ns “ ” “ His i i 1 84 9 Bi i u e i Ru th a nd ﬁrst v s on ( ) was a bl cal s gg st on,

B oa z w i h e e th e a in l— a e e , h ch thr w on w ll charcoa tru p asant

and B Of th e Ile de F e e e Of e i in Ruth oaz ranc a sc n harv st ng,

i in S i e th e e Of th e e i e wh ch, as cr ptur , mast r ﬁ ld surpr s s a ” e e e h e r the i e young gl an r, and l ads , all bashful, to rust c f ast. This will have be en th e original thought for th e Moissonneu rs f 1 85 2 O .

Bu t ou t In th e forest every day produce d its record Of

it Ne w pu lle ddown : A A T PPING PE S N CHO WOOD . in b J F r a n ois Mille t F r oma D r a w g y . g . 31 JE AN F R ANcOI S M ILLET .

“ i i i e e e i e . S e s ke tche s of for st l f awy rs cutt ng up g gant c tr s ,

e a - e u e e i e ei woodcutt rs , ch rcoal burn rs , q arrym n mac at d by th r

i i a e e - e e c a ntonniers fr ghtful occupat on , po ch rs , ston br ak rs , , ”

e in e n w oods litt e rs S O . ploughm n , haymak g wom , p , and forth

mth e i h e e wa e d And fro rough outdoor jott ngs aft r rds compos , a nd i e a e e ie i i ﬁn sh d c r fully, a s r s of small draw ngs wh ch Fi e t he e e i e e Of e . s e e me d to formulat whol x st nc a p asant rst, t h e Of th e i in u e th e h e Of th e man so l, blo s and sabots, ro work , th e i i e th e e a i n n start ng po nt ; s condly, p sant g rl , you g, stro g a nd d e e ie Of e i de Of i i e han som and, ﬁnally , a s r s p so s rust c l f , from th e mothe r amusing h er child to th e poor Oldcrone going

e i Of i e h e r out to gath r dry st cks wood , and carry ng hom on

i e e e t h e i e a s b i e e m s rabl should rs faggot, four t m s g as h rs lf, ” i h r crush ng e .

is in e e i i a i a e in h is e It th s and s m lar dr w ngs, r th r than gr at i i h i ’ e ib e e t e e Of i e is . xh t d p ctur s , that mot v M ll t s work shown “ ” e h e e t he th e Of th e e In th m tak s man and woman ﬁ lds , as “ S i e e w i e th e e f e i i e i lv str r t s, at all stag s o th r l f , from nfancy

it m i de c re i to youth , from youth to matur y , from atur ty to p

e i th e ﬁ rme s t i t h e e i e O e i tud , w th log c, most pr c s bs rvat on, but

i a rti r is Of i e e ” w thout any p p ugl n ss or Of b auty .

Si e e in th e e t h e i h e M . lv str s gs whol drama to draw ngs that ’ e e him h e i e Mi e ba b in th e i e has b for as wr t s ll t s y, magn ﬁc nt

’ La Veillee i e in t h e i Of th e i e a n drama, , sh n s l ght lamp l k infant Je sus unde r th e halo b u t s e e hima gain in th e Ope n

a ir in th e a Of e e e i e ve e . rms an ld r broth r, not h ms lf ry larg

Th e e e e it s e h e e e th e i e a tr sh ds fr s n ss ov r th m, ch ck ns run bout,

th e e th e e e is e Of ducks gabbl , and all sc n around a po m

infantile be atitude . “ He i e an d i h e i i e grows a l ttl , , w t oth r boys and g rls , dr v s

t h e e e e t O t h e e e e i his i th e g s marsh s , a gr n tw g for wh p , and g e e se look so b ig and so sole mn that it s e e ms to b e rathe r 32 TH E B ARE IZON S O CH OL . the y who a r e taking care of th e childre n then th e re a r e littl e

i e e i e th e e e in t h e e i i on g rls sl p ng und r h dg s shad , or r d ng e e e i e ir i e i i h a gat , fr sh , pr tty l ttl g ls, a l ttl rough and w ld, w t ch e eks tingling from th e fre shne ss of th e a ir ; they a r e n ot

e t h e e n or e th e su n y ard n d by work tann d by . L e e i th e e n e e i ook at thos two s arch ng nut bush s, gl ct ng th e care Of th e cattle ; at that she e p ble ating afte r anothe r

i e i ie it s in h e r s l ttl g rl, who carr s lamb apron , and who turn back with an inﬁnite sw e e tn e ss t O look con solingly at t h e

e " L th e e e e e on e U i e moth r ook at two sh ph rd ss s, pr ght, att n

i e th e e in e i U t v , oth r a sort of cstasy gaz ng pwards at a long ﬂight Of wild ge e se far away in t h e sky “ Th e i Of t h e e i e i e Of th e i e a s hab t cont mplat v l f , Inﬁn t alw y

i i e d e e t o th e e Of e e e e e e i v s bl , ad s v n fac s sh ph rd ss s an xpr ss on which make s the m like Je a n s Of Arc or Sainte Ge n evieve s

i e i i e e i i i Th e Of l st n ng to vo c s or exp ct ng appar t ons . woman Mille t is ne ve r Ne xt in orde r come his re pre s en tations Of th e marriage bond

th e i e Of e e i Of i s of ch ldr n labour, r s mbl ng that two an mal “ e in e i e on e e e e : On e e coupl d th r harn ss to yok tog th r coupl ,

e ie a r e e i e i th e i e is n wly marr d , s tt ng out to th r work ; w f

e wi e e t O e h e r e is hood d th a gr at bask thrown v r h ad, and ’ i h h r i H i t h a n t e e . e e c rry g jug that holds husband s dr nk , w th

if V er di fe r e n t r omth e ma n n er is ts en la id s a s Th eo h ile G a u tie r y f f , y p , w h o u n de r a r e te t O f r e alis m s u stitu t e th e h ide ou s for t h e , p x , b t r u e Mille t s e e ks a n d a tta in s st le in h is r e r e sen ta tion s of t e s , y p y p n r c n h kn o s h ow t o in tr odu c e a r a r e r a n de r a n d a n d c ou t y s e e s ; e w g u , i i Wh sh ou ld n o t n o ilit w ith ou t dilu tin in a n w a th e ir r u st c t . b y , g y y y y ” “ n h a e st l a s w ell a s h er oe s ? Mille t sa s Pa u l Ma n tz p ea s a t s v y e , y , “ is th e ﬁr s t p a in te r Of r u stic life w h o br e aks w ith th e vu lg a r itie s of a me a r e r e a lisma n d di n i in a t on c e th e sen timen t a n dt h e or mh a s g , , g fy g f , i sh own th a t th e r u de la bou r s Of th e fie lds h a ve a ls o th e ir poetry a n dth e r m” h er ois .

34 T H E BARBIZON SCHOOL .

with a ge sture full of b e auty c onﬁding to th e womb Of th e e th arth e se e d that sh e will re store a hundre dfold . “ a a In— e th e a i e i e th e e And g wh n gr n has g rm nat d, blad Of e me a n e a r th e i in th e e e u n grass b co , w nd ﬁ lds pass d

dUlatin th e e - e e t h e i e g through h avy h ad d corn , and t m for

ve i e — h e i th e Rea ers in e e har st arr v d pa nts p ; or, anoth r ﬁ ld,

th e e i in th e i e i it labour rs bu ld g mass v stack of hay, slop ng

on e i e i th e i e i m e e th e i on s d aga nst mp nd ng stor , wh r , on sk rt

Of t h e e h e i i is in for st, a black cloud c arg d w th ra n struggl g with th e pale autumn sun ; and th e artist paints this broad

e w e e st e e in th e e i Of e i i e landscap h r , p g to w ght th r forks, act v ,

i e t h e Ha ma ker s e e e i e e pant ng for br ath , y r doubl th r n rgy to ni e i a e e th i ﬁ sh th r t sk b for e ra n come s down .

C e his i e e i i in hoos among draw ngs wh r you w ll, you w ll ﬁnd them e ve ry stanza Of th e poe m of varie d e pisode s th e Pea sa nt

Gra tin Of 1 855 th e Woma n Shea rin a Shee Of 1 861 th e f g, ; g p , ;

Pota to Har vest th e She her dLea din his Floc h Home 1 863 and p g , of th e Men Ca rr in Home a Ca l Dro edin the Fields 1 864 y g f pp , of .

th e i e e : t h e Veillée th e Woma n Ca r din lVool And ndoor sc n s , g ,

th e Return r omWorlc th e lVoma n Chu rnin th e Lessiveuse f , g, m th e a r e e e i e e e e . (wash rwo an), ach an p sod , a chapt r of tal

c oiffe db a sor t Of biza r r e onn e t h e is on h dr e a n dme a r e u n de r y b b y , , g , n e a t h th is live r Of ove r t a n d e t li e s r e a ds r omhis r oa db a n d a n d y p y , y f p f b , , with a r ou d e stu r e h e w h o h a s n oth in is s r e a din over th e e a r th p g , , g , p g

h r e a d Of th e u u r A th oth er side of th e h ill a la st r a Of li h t t e b f t e . t e y g

sh ow s a a ir Of ox en c omin to th e e n dof th eir u rr ow str on a n d e n tle p g f , g g

c oma nion s of man wh ose r e w a r dwill on e da b e th e u tc h er . Th is p , y b y lu e ur (glar e or glimmer of ligh t) is th e onl y e la ir Of th e pic tu r e ba th e d in a s orr ow u l sh a do a n d r e se n tin to th e e e s onl u n de r a sk of f w p g y y, y lou ds a la Of a ll th e e a c c k s oil n e wl t or n th e lou h . , b y by p g p , s a n t s se n t in to th e Sa lon this e a r th e S ower is fa r a w a th e on e w e y , y

i r r Th e r i r a n de u r n l in hi ur Of h e viole n t a c tion e e . e s a ds t e t s e t p f g y ﬁg , ’ ' Of th e tou r nu r e r ou dl de la br ee r a e d a n dw hic h se ems a s if it h a d e en p y ( g g ) , b ” — ’ a in t d th th a r h h i u on Th eo hile Ga u tier . p e wi e e t e s sc a tterin g his see d p . p EL M.ltr

W MAN SHEARI NG A SHEEP O . Fr oma dr a win b J F r a n ois i g y . c M lle t . 36 T H E BARBIZON SCHOOL .

’ e th e e i e h e i th e e And , aft r p asant s l f , pa nts po try of t h e e th e Of th e — Mornin i e e ﬁ lds and hours day g, w th t nd r t one d clouds streake d with rosy b e ams of th e advancing light

th e Noon th e e e Of th e e e e hot hour of , and r pos r ap rs wh n

Midi r oi de s t s a n du su r la la in e , é é , ép p , T m ’ ’ o e en n a e da r en t de s h a u t e u r s du c iel leu . b , pp g b

E venin e i e e it e e if i e g, m lancholy and s l nt, wh n s ms as , l ttl by

i e e i i e i on e on e l ttl , black v ls, gradually th ck n ng, fall down by a n d e nvelop th e e arth ; and th e skirt Of th e fore st is u nc er — t i t e e th e i i i i e Of a a n (Is tha a tr , or nd st nct outl n a hayst ck, or

t h e - e in i th e farm hous roof, stand g out aga nst sky

Pr e n ds g a r de de c h oir L a t e r r e le s oir E st br un e

Ni ht e i e e e f Of e i e And g , cont mplat v , p ac ul , full vagu sounds l k

s i L " ghs . ook

V oy e z L a l u n e mon t e a tr a ve r s lo fe u illa g e ’ T n r d r ml n c r ll r in d n i o e a r t e e e o e e e e u ts . g b , b e s

‘ ’ This glance which tre mble s still ; the se inde ﬁna ble im

e i e e i i i i i th e Of i t pr ss ons , and sp c ally th s sc nt llat on of orb n gh Mille t has re nde re d the m more p e rfe ctly than anybody e lse in ” M t n in e i i n i t h e Pa r e a ua: ou o s. . And , conn ct on w th ght, M

Yri rt e e e i e i i e i La Veillée a dw lls upon that b aut ful dom st c nt r or, ,

m his ain e i tracin g th e w e ary laboure r ho e to ﬁr s de . “ B th e i Of i S e th e i e is i i y l ght a lamp wh ch parkl s, w f kn tt ng ; t h e man is weaving a baske t th e child in th e cradle is sle e p ’ Th e ﬁ r e ie i ing unde r it s mothe r s e y e . l s smoulde r ng unde r th e e e is i i th w i hot ashe s sl py cat rubb ng aga nst e a nscot . Outside Of th e pale radiance Of th e lamp all forms a r e stunte d ’ i i The i estomees i . e e e e e e ( p ) and nd st nct whol p ctur br ath s of p ac , Th e ma n i s i e e e . e e e one l nc , and pov rty who pa nt d such sc n s

fe e ls had livedthat l ife . R OI S M 37 JEAN F ANc ILLET .

We th e ma n i e e e n ot , ( may add , who pa nt d such sc n s could find buye rs for the m in Paris at five pounds apie ce Anothe r e loque nt write r who finds inspiration in Mille t is M

We e e his e i i n in th e Ga zette des B ea u ze Paul Mantz . s l ct d scr pt o — A r ts Ofth e powe rful picture a fte r th e A ngelu s pe rhaps t h e most

e e e in e i e th i e e e i e e t e e th e . l vat d s nt m nt at M ll t v r pa nt d , y r fus d by “ J Of 1 85 9— Of D ea th a ndthe Woodc u tter t h e e e x ury , fabl that

e t h e e e a i e Of e e e pos s t rn l coward c man , prostrat und r all torm nts , but prefe rring to t h e death which would re le as e himt h e mis e ry

f i Th Oldman e i e i e e O e . e l f , crush d w th w ar n ss , has fall n down

i e e e e e e his e Of e e pant ng and xhaust d, pow rl ss to r n w struggl v ry

He i e D e D e e him day . has nvok d ath, and ath has com to , drape d in a white shrou d which give s promin ence to th e me agre

e e i in one t h e i - a n d sk l ton , carry ng hand symbol cal sand glass , i l in th e other t h e scythe that s e ve r Sharp . Th e mora impre ssion produced by this picture is admirably accurate — all

th Mi e i e i i th i e t . that e brush Of M . ll t has wr tt n or nd cate d e ntell c f i e in a O . e s i e can r ad as book truth D ath w s ly, nobly

ei e i e i e t h e i e e w his v l d, to h d all ugl n ss ; art st has r fus d to sho

e th e i e e e e e e e e e it s e he fac ; wh t sp ctr , th r for , pr s rv s myst ry ; i t t th — rema ns h e great Unknown . As O e woodcutte r ve r v e is his i e e e e i e t h e e th e tru att tud , and wond rfully xpr ss v fac ,

i t h e i i e h e i b e act on , m m c art ; but, for such a subj ct, m ght ” ea u more sculptural and more b . i e i i M . Mantz shows a h gh r appre c ation n his criticism of th e

i i e i e in th e S th e Woma n compan on p ctur , adm tt d alon “ ’ ” Tendin a w i i e e b Co . e i i . e e e g Th s w ll n v r M M ll t s b st p ctur , “ h e e t a ter e th e i e h a s " says , and y what f asp ct l ttl canvas What myste ry " What a sile nt calm " What an admirable e i i i is e e in th e e i Of t l m nat on of all that m agr r al ty, and all tha is i is th e e Of th e e m e e i vulgar Th s m thod gr at ast rs of d s gn,

e e i th e in th e i e a nd e in th e i e l s k ng grand s mpl , suppr ss g acc d nta 88 T HE B AR B l ZON SCHOO L .

t o i th e i e Men i e th e atta n un v rsal . of humour may sm l ,

e ie ma e e i e t e e e th e i i fe e Acad m s y d c v h ms lv s, nd f r nt may pass

i i i e i ei e w thout look ng and w thout und rstand ng ; th r mock ry,

ei i e i e ir w i e i th r m sund rstand ng, th scorn, ll chang noth ng of t h e e in i e i e . ﬁnal r sult, and a t m that w ll soon draw n ar M

Mi e i b e e ll t w ll salut d as a maste r .

Ye t e e i i e e e i if em anoth r gr at cr t c d s rv s quotat on , only to ’ ’ h a sis e th e . p paradox of Mille t s fame and Mille t s pove rty . M —“ Pe tre z d e scribe s th e Glea ners in t h e Salon of 1 857: Th e

i u i e e i i i e i ie th e di i i nj st c of c rta n soc al n qual t s, bad str but on of

e t he e e e e in i e i e th e e w alth , xtr m abundanc wh ch som l v , p nury in i th e e e ve e t-a te a r e e i i in wh ch gr at numb r g , at l ast as str k ng

t he e in th e i No i i in i e ﬁ lds as c ty . compos t*on has, our t m , e e de i th ner e e e b tt r ma th s felt than e Glea s . Thr poor p asant

e e e in i e e a e e i i wom n, cov r d m s rabl r gs , but d c nt, pass by p ck ng

e e e e e me e e i th e up h r and th r som agr ars of corn , wh lst at e xtre mity of that ﬁ e ld in which the y wande r be nt double ove r

th e e e e e e th e ie ground, a numb r of r ap rs , ov rlook d by propr tor,

th e e i e e e e i or farm r, p l sh af on sh af, and h ap nto lofty stacks h N i e i e— i e t e abundant harve st . oth ng mor s mpl noth ng l ss pr e t e n tiou S— nothing looking le ss dire cte d t o p roving anything of any kind— nothing le ss sugge stive of inve ntion or a rtiﬁ c e and y e t " th e impression produce d is as vivid as it is profound

th e i e th e i i e e i e i i d a of compos t on stands out cl ar, pr c s , str k ng, and th e moral of th e subj e ct springs naturally from th e sub

t i Th e ea ner s i ie is th e e c e . Gl e e j ts lf , from v ry po nt of v w, among i ’ ” most important and th e most comple te of M lle t s works . A notice able fe ature in th e criticisms of all the se profe ssional

i i is in e e i e e e i i i e a r e cr t cs that, r sp ct of M ll t, th y forg t to cr t c s , “ ” carrie d away like th e ﬁrst Philistine by th e lite rary me rit

a“ Th is ic t u r e h as la te l e e n u r c h a s e d for a ou t b Ma da me p y b p , b y omme r of Rh e ims w h o h a s e u e a th e dit t o th e L ou vr e a t h er de a th P y, , b q . J EAN F RAN OI S M I T Q LLE . 39

h — t e e . e e e i i e of of subj ct M. P tr z has anoth r charm ng not c — —“ th e Pea sa nt Grafting which e xempliﬁe s this re mark Family

i e th e e i ffe i i e th e e l f r c procal a ct on of husband and w f , lov of t h e e e t h e i e e in - fath r and moth r for ch ld, hav oft n , far away

e i i i e country plac s, a tranqu ll ty, a grav ty, a moral b auty, a some thing prim i tive and powe rfu l which is rare ly found e ls e

Th a nt a t n a r is i i . P whe re e e sa Gr f i g T ee a fa thful mage the re of .

th e i e one e e e an d In m ddl of of thos nclosur s , half courtyard

e i e u half gard n, wh ch front country hous s , a man who has j st

e e in e e e th e e d in his e d b n cutt g a tr b low branch s , hol s l ft han i i th e i h e i e in th e e e d a graft, wh ch, w th r ght, ns rts wood pr par

i it His i e i in h er e i i i l e e e . to r c v w f , carry ng arms th r ch ld , st l in w i e is i i i e e th e e th e s addl ng cloth s, watch ng w th nt r st h ad of

i e in his i e on e th e fam ly who, absorb d work, accompl sh s of i h is e i e e l i e e e mportant acts of x st nc , fol ow ng out r v r ntly

e e . e e e e cons crat d custom Round about th m all br ath s of ord r,

ie e e i ei e e e i e propr ty, and mod st prosp r ty ; th r cloth s hav n th r ’ i no r e t h e e fe t th e e i e e sta n r nt, but show f c of hous w f s car .

i man i e e e th e e e his i e th e Th s , graft ng a tr und r y s of w f , at

i e w e e e e e e e e e t m h n a son had r c ntly b n born to th m, r pr s nts i — one e it — F e e adm rably cannot d ny our r nch p asants, labo r iou s i a e in th e i i i i in , thr fty, pl nt d, so to say, so l, l v ng and dy ng th e e ei i t i t h e a r e e e i plac s of th r b r h, wh ch y n v r nduce d to abandon by th e love of adve nture or th e induce me nt of gain and th e ensemble of this scen e so full of truth has a characte r ” i i i- e i i patr archal , symbol cal, quas r l g ous .

C an i b e e i e a r t - i i i e i i anyth ng l ss l k an cr t c sm , or mor nd cative ’ of Mille t s attainme nt of that point in art whe re those who looke d at his picture s were charme d by t h e truth of the m into

e u e e i e e 2 e e is forg tf ln ss of th r m thod of manufactur Th r , how ’ e e i e e th e e i in v r, a l ttl mor of t chn cal Paul Mant z s notic e of “ ” th e Glea ners ; but th e criticism is from a lofty standpoint 4 0 THE B ARBI ON SCHO Z OL .

i th i ’ st ll . He calls e p cture one of th e Maste r s auste re st

k i i th l r wor s . Th s p cture has e c o ou of the su mmer in it s gamut

e e in t h e e Of th e it s is e th e of pal gr y, harshn ss calm of sky, f lt e xhaustion of th e days of August,and that gloom of sile nce ’ i e e is i th e e e i wh ch th r noth ng but grasshopp r s not to d sturb .

e is i e st e e in e th e i now i e it s Harv st ﬁn sh d p g ov r so l, str pp d of

e fe w e a r e e e t h garm nts , a poor wom n com to f tch e waste d e e th i i . e e e i ars of corn Th y b nd down low, and d nt ty of the r move me nt allows th e line s to b e re p e ate d in a sort Of paral l lism e i e e . i e fe e full of charact r and sol mn ty In th s f ct, purpos ly

e e is e ff e i e e Of monotonous, th r an ort of d s gn , a r s arch rhythm , ” i on e e O e e e in e r wh ch do s not ft n m t mod n work . “ ” “ En i e W i his To an gl shman , says Mr. H nry all s, works a r e e i e t h e e e i e B t h e sugg st v of po try and s nt m nt of urns, and

e i e e in e He t h sympath t c f l g for natur of Wordsworth . had e art Of introducin g into picture s of mode rn Fre nch pastoral

i e i e e i i th e e e th e e e e l f , wh l r ta n ng truthfuln ss of natur , all l vat d qualitie s of th e b e st artistic culture to b e foun d in th e works

h e e e e b e th e A n ela s da of t e gre at mast rs . Thos who r m m r g

Soir in th e i i 1 867 e l i is e x a er a Expos t on of , w l know th s no gg

Th i e e e e e e t ma n i . e t on p ctur r pr s nts a coupl of p asan s , and w n w i e in th e e e th e e th e oma , who, h l at work ﬁ ld, h ar b ll of

llin th e A n eta s e o i t e . e e e d stant church g g Th y st p work, r v r ntly in i For e e i e bowing their he ads s le nt praye r . xpr ss on of d vo tion e qually ge nuine w e must go back to th e works of th e e arly Italian

At th e S e c r et a n S a le in Pa r is in u l 1 889 th e A n e la s w a s a te r a J y , , g , f i mn t kn k d A n n in Pr u s c e n e of un w onte d e c t e e oc e d own to M . to o st x , — a c tin g on beh a lf of th ose wh o de sir e dth a t it sh ou ldr ema in in Fr a n c e for h i h i h h u l n h r in r a n c s w c w t t e su a 5 er c e t . c a e d f , p g r a n a mou n t s to Th e Fr e n c h G overnmen t h ow ever de c ide d F c e , , , n u r c h a se th a in tin a t th i h i h ri a n M Pr ou t a c or din l ot t o e s c e d . s c p p g g p , g y r e si n e dit a t th e a ove r ic e t o a s n dic a t e of Americ a n n l mn h o g , b p , y g e t e e w

4 2 T HE B ARBI ON SCHOO Z L .

i e is e e t h e e h e ie e is M ll t so gr at a mast r, r sult that ach v s so

i e a t h e e i e i his e e adm rabl , th t car ful and sk ll d valuat on of xc l len c ie s in de tail by compe te nt stud ents of his work is most

e in e fe i is his e i th e i i valuabl , and , f ct, th s tru b ography, for ga n ng

e e in th e i e n e w e in e of anoth r st p art, d scov ry of a l sson natur , would b e value d by himself as t h e importan t incidents of h is i l fe . Theophile Silve stre an alys e s his work in gre at d e tail ”— Mille t paints th e TREE marve llously h e says Young

e th e i o e i e e lms of w ld st ck, badly plant d w th shoots l ath ry and hard apple -tre e s with prune d branche s that look like a wound m Th e on a a n ; de ad birches crowne d by a livin g o ffshoot .

movement Of th e th e i e i th e e i i e trunk, ns rt on of branch s, nd cat

th e e e i e e ei w e e e it br d . M ll t not s th r slo growth and xpr ss s

i e i e i la nta tion c ir c a msa illa nte is by l gn ous sp rals, and th r p , that th e e i th e i e th e in i to say , sw ll ng that roots g v to land wh ch

B u t i h e e t h e th e e a re e . e e e e e th y plant d , adm rably as s s tr , tr n i i m h e ot e h m e ei t e e in its i do s h nd r fro s ng for st un ty, magniﬁce nt and r edu nda nt: Ne ithe r th e tre e nor th e forest is h h th ” i e t e e e e e e i . n rt tr has br at , for st has mot on “ — Nobody has done WATER be tte r than Mille t whe the r it

b e th e se a e e i e in i i in , d ns and sal n , slow dra n ng drops from

th e e th e e a r s th e i i -e i e blad s of , or ﬂu d and sw ftly scap ng wat r

th e i e th e e e th e m e i i e of r v rs , or d ad wat r of arsh s , wh ch sh n s ” i e tin e e th e e i i l k a plat und r br ast of a dr nk ng cow . “ Bu t e e i e e e e e i e himth e , sp c ally, nobody has v r r nd r d l k

h a d e en th e n e x t h i h e st idde r s B u t r om n o in h b g b . f a te t e Guide de ’ ’ ’ l Ama te u r dCEu vr e s dA r t Nov w e le a rn th a t th e vic issitu de s ( . ,

of th e A n e la s a r n ot e t a t a n n d Th mr ic a n r i i e e . e A m u h t e s g y e Cu sto s a t o ,

w h o c la ime dn o le s s th a n du t c on s n e t y , e t d o w a ive it on c on dition th a t th e pic tu r e did n ot r e ma in mor e th a n Six mon th s in Ame r ic a a n d

w a s n ot r e sold th e r e . I t is n ot u nlike l th e r e or e th a t it ma a a in y , f , y g r e tu rn E u r o e a n d e r h a isi E n la n d t o p p ps v t g . AN R I 4 3 J E F ANQOI S M LLET.

“ a e c th e e e mh is i e th e e is i sp ts of sky , as d p, p ctur s, as arth sol d a nd th th e e e th e i e of ﬁrm ; and e change s of atmosph r , prom s s NO i the e in e i b e nu a nc e . ra n , or thr at of drought, th r su tl st body has rende re d like himth e sounds and t h e sile nce s of n e — a e e i e i e e atur gloomy sky trav rs d by wh t p g ons , sudd n

e Of i i i e i e e e i gl ams l ght fl tt ng ov r a v llag , dry l av s fly ng about, — a S he phe rde ss she lte ring from t he storm and that is sufficie nt ” i e to g ve you a p enetra ting sensa tion of wind and storm . Th n “ — th e S NOW covers th e land what a morne tristesse Make a — fe w horse men pass unde r this sky lose he re and there a fe w

e i e e B i i e e e corps s, and th s corn r of a ﬁ ld at arb zon w ll b com mor

e i e th e e t h e t rr bl than e battle ﬁeld of Eylau . In anoth r plac s w 1 S i i i is th e . e no lum nous and v rg nal It ﬁrst snow, scarc ly

i i th Y u th e i i th e i — In h d ng e grass . o can he ar p p ng of b rds ‘ a e i e - is i e e th e noth r p ctur , A farm yard s l nt und r moon but t h e - is e e w e t h e e e h e watch dog th r a ak ; touch f nc only, and

i Th e imi e e e th e i e e e . w ll bark. m n nc of sound mak s s l nc f lt

Edmond About tells us of th e man himself Mill e t is as

i s i e i . i e s le nt as M . Courb t bo ste rous No man knows M ll t but h is ie d He e e s e t he e e own fr n s . has n v r up a shop has n v r be aten a drum h e has quie tly dige ste d the rigour of t h e

ie th e e t he i Fa r i jur s , and applaus of publ c . away from Par s, h e i e e a e h e in th e i t l v s as a p asant mong p asants , labours m ds ” th e t h e h m e si l lives a ndhe a ints . of labour of country, p y p And Mille t te lls us s ome thing of hims elf The re a re some “ e me h e i e in 1 863 e th e who t ll , wr t s , that I d ny charms of th e country I find in it some thing far highe r than charms infi nit e ie c a n i it h i . s e e n e e t e e glor s I , as w ll as th y, l ttl flowe rs of which th e Saviour said that S olomon in all his glory

e i e one s e e e th was not array d l k of them . I v ry we ll e golde n

e e th e e i t h e a i aur ol s of dand l ons, and sun lso , wh ch spre ads 4 4 T HE B ARB I ON S H O Z C O L .

e e w e th e e his in th e abroad, down th r far a ay b yond ﬁ lds, glory

d th e e in th e i s e e th e e clou s but not l ss for that, pla ns I smok

th e e th e lou h - e e d of hors s at p g , or, on a stony h art d spot of lan , ‘ ’ ’ a back-broke n man (I have be en listening to his ha n s Sinc e t h e morning) painfully trying to rais e himse lf upright for a e e h Th e e is n e ie mom nt to br at e . trag dy surrou d d by glor s — that is no inve ntion of mine th e e xpre ssion le c ri cle la ter re ” i e e — J F was nv nt d long ago . . . ’ H i Ba r And as to t h e incide nts of Mille t s life . e re t re d to

i in 1 84 9 i h is i e i e i e e e b zon w th w f and ch ldr n , and l v d th r u i i in 1 8 5 He e e i e e h s e 7 . nt l d ath was plund r d, l k Rouss au,

e ie e himin i i e e i e e by fals fr nds, who k pt nd g nc wh l th y l acquire d his invaluable drawings on which the y subse que nt y

e e r ic h L Th e e his ie i e is t h e s a d b cam q only romanc of marr d l f ,

ie u e it e i i i e his e pat nt str ggl w h pov rty, wh ch ass m lat d fortun

his i th e e h im his and m nd to poor p asants around , and out of pove rty th e world is e nrich e d by his ste rn y e t pitiful re pre senta t i th e e on of that of p asantry .

Ch e i i e di e Of his arl s T mbal, a cons st nt sparag r work, says , “ ’ e e e e i i i w if i e i e aft r a s v r cr t c sm Any ay, M ll t s work ra s s con t r overs b e e s his i e S i y that cannot call d unju t, l f hows noth ng b u t a long and honourable e xample to which it is e asy to pay e in th e e Of his homage . It was all tak n up work ; lov own family was its de are st joy ; t h e sounds of Paris die d on th e

i r r u b u l r i Th e le tte r s e p od c e d y J e s Cla ét e . “ On th e oth e r h a n d Willia mMorr is Hu n t a u il of Cou tu r e wh o 1 , , p p , h li d in Pa ris for s e ver a l e a r s a n d w h o h a d c on c e ive d a r e a t a d ve y , g ’ a dmir a i n for Mille t s w or ks e sta lish e d himse l a t B a r izon in or der t o t o , b f b

ma n a n dth e a in t r h il t h r e Mr He am a in e r stu d u ietl th e e . W s t e . t y q y p , p , n a c c k t w h omMill h a d i n l on in 1 4 8 i i d m a dMr . B o o et ve e ss s 8 v s te hi b ( g ) , a n dth u s w a s for me d a c ote ri e Of a r tist s w h o a ide d himb y th e ir frien d

shi a n ds ma th a n dli h te n e dh is ove r t b u r c h a sin h is ic tur e s . p y p y , g p y y p g p Amon st oth e r s Hu n t ou h t h is Sh ee Sh ea rer a n d Th e Sh e h erd oth g , b g p p , b

of 1 853. J AN F RAN ms MI 4 5 E g LLET . t hre shold of th e modest house that th e painte r h a dchos en for h i th F i N i himse lf on t e S k rts of e fore st of onta neble au . oth ng was he ard the re but th e laughte r of a nume rous family of

i th e e th e u th e i e wh ch fath r was s pport and fr end . Oth rs ’ e e e e e e i e e me e in the e hav narrat d ls wh r th s car r, com nc d p asant s

e in t h e e e e blous and almost all passe d ﬁ lds and woods . T nd r

d e e e h i e e e han s hav sown po sy ov r t s hon st tomb , and conn ct d ,

’ I E U I O AT BARBI Z M LL T S ST D ON . s o e e ac h th e i e i e th e h e to sp ak, of v rtu s of M ll t to works that ” “ i im Bu t h i his th e e h . e e e e e e l ft b h nd , go s on to r m nd r ad rs ,

e e e Of e e u i it is a n t nd rn ss m mory, r ally to ch ng as , c nnot lo g ’ suspe nd th e critic s rights and it is no de fault of th e re spe ct du e to pious t e ars to discuss th e claims and th e tale nts of him

e an d e th e i e eu i we for whom th y ﬂow ; , aft r all, h gh st log um that

en e is it w i i e e ne can grav on a tomb , not that h ch M ll t has ar d

t u m d b n I l fu n ho me e ie . 4 6 T HE BARB I ON S HO Z C OL .

Ne th e e e t he e F i e ea th ar ntranc of for st of onta n bl u, e frie nds u e i e — of Ro ss au and M ll t have place d high on a r oc k whe re it i b — e i e a e e e cannot fa l to not c d larg bronz plaqu , containing e i e e i e e i spl nd dly mod ll d portra ts of th s art sts, who live d so long i i it s e i e its i w th n shad s and pa nt d so many of beaut e s . The se t i a re th e e e e C por ra ts by c l brat d sculptor, hapu, who worke d e m for th as a labour of love .

4 8 TH E B AR Bi zox S HOO C L .

i t h i n in S ie e e . e i e s tt ng of old rout n s , Art as w ll as oc ty Romanticism was for himon e prote st more against th e ancie nt “ i ” h i “ G e . e e e e e e ord r H th rto, sa d, Art has b n d vot d to ods ” i th i i and Pr nce s e t me s now come to de vote it to Man .

e n e rt n h 1 4 soc iet ouvell A ou vea u T e re e . e , wrot Rouss au ’ w a s to Thoré an d his associate s of La Liber té the cat s - paw to e th th ﬁ r e i himin tak e che stnuts out of e e . Th y la d hold of

1 830 e i e e e himin i e e i th e , a boy of ght n, and k pt d sr put w th

ie e e i i th e i ie th e i e qu t world, and sp c ally w th author t s of Inst tut , until th e long struggle e nde d in t h e Re volution in 1 84 8 but ’ many of th e be st ye ars of th e young painte r s life had be e n

i e it th e i i e i i in e spo l d by , and pr nc pl s of Romant c sm landscap e e i e e e th e th e i sp c ally, cam b for world as a part of un form of th e e e ie n ot th e n e th e C i i n m s , of mo archy alon , but of hr st an i i th i i i th F i i re l g on and e nst tut on of e am ly ts e lf . Th e biography of Rouss e au is inte re sting from it s comme nce

His i it s i i n i i ment . fam ly had own trad t onary co ne ct on w th Art ; — ’ h is gre at grandfathe r had be e n a Gilde r of th e King s Equi ” ’ a e i i t e i i e th e i e p g s , and nt ma w th pa nt rs of K ng s hous hold ; his uncle Colomb e t was a portrait painte r of such re ﬁn eme nt Of s e nsibility that h e ﬂ e dfrom his na tive country and die d in e i e in C in i e e h e e Si x l handarnagar, Ind a, b caus onc saw a gn

Sh e i e d e - e r e board on a p , pa nt by a f llow stud nt, and nobly fuse d to inhabit a country whe re an artist could st e e p to such ” ’ His e e i n e i e a task . moth r s s cond cous n was a la dscap pa nt r, “ i nk n Th e famous for introduc ng do eys into all his la dscape s .

e S i - i e e i i i h e donk ys of a nt Mart n had b com a fam l ar th ng, and ” e i e i redilec tion na tu ra list was r cogn s d by th s p e. It was to himthat th e future painte r use d to go on his holi

his e i i th e in his days from school at Aut u l , and w th scrap gs of

e e e i in th e i e n in th e pal tt b gan to pa nt, copy g p ctur s that hu g

it ’ ’ ’ S ee Th e r e s Nou velles Tenda nc s l A t e a e r . 9 ROUSSE AU . 4

i i - e i e wi pa nt ng room, and syst matically surround ng th m th a pie ce Of th e wall they hung against and with othe r Obj e cts n ear e e th e ensemble e e e ve r vthin s e eking e verywh r , and to r produc g i i t i e e . in its habitual atmosph r It was an nst nc nnate .

His a r t ie e e i e e th e e a e e e stud s w r nt rrupt d , at arly g of tw lv ,

his e e i t h e i e ie i e h e e e by ntranc nto act v dut s of l f , and b cam private s e cretary to th e proprie tor of a saw- mill e stablishe d

th i i th e e th e F e - C é is for e e xplo tat on of for sts of ranch omt . Th i i e th e i n i e e n . e e S e s er e s g ntl ma , a M Ma r , a r lat v of fam ly, allud ” i himth e i e e e e hi to as a statuary , and w th l ttl Th odor b gan “ e th e i th e e th e e e e trav ls to mounta n land , lak s, and for sts , wh r

th e i e h e in ei i i e th e e e e for ﬁrst t m saw th r w ld l b rty oaks, b ch s ,

i Th e e e t h e i e . e e in ﬁrs , and holly and jun p r tr s tha l k d b st

e e i e in i i e i e int ox i aft r y ars, all m ngl d an nﬁn t prom scuousn ss ,

c at e dh is i e his e e e e h e e i d m nd and charm d y s, and th r r ma ne “ e e in th e th e e e th e i r for a whol y ar company of for st rs , t mbe

e th e e e e e th e - e th e - m rchants, gam k p rs , wood ward ns, wood cut

e t h e e th e e th e - a e t rs, charcoal burn rs, sawy rs, sabot m k rs, and all ” t h e e i e th e e e i e gr at tr b s of for st rod nts , work ng as a cl rk .

i e i i e in h is b ine his i - M . Ma r hav ng fa l d us ss, ch ld s ecre tary e t e e i we e e him r urn d hom , and to school aga n and n xt h ar of , one day buying colours and brush e s for hims elf and going ou t

th e B e e th e th e to utt s Montmartr , at foot of old church, unde r ” t h e e th e e e e e th e e i i tow r of s maphor t l graph of p r od , to pa nt

e e b e e e th e en t t h e e e e th what was th r to s n monum , c m t ry, e

h S nsi e h t e . e er e t e . th e tr s, walls , and land, says M Of above “ e e h e i e e e sc n ﬁn sh d an xact study, ﬁrm, and of v ry natural

i i e e th e i h is e i tonal ty, wh ch was r gard d as s gn of tru vocat on i e him his e e e . t for art, and par nts h nd r d no mor On h e

e e i i de S i - i contrary, th y took couns l w th cous n Pau a nt Mart n, th e e i e th e wit himt landscap pa nt r, who took boy away h o

C ie e set him e i m e omp gn and to mak draw ngs fro natur , and,

E 50 T HE B AR BI ON SCHOO Z L .

i e his e de i e his i him s sat sﬁ d of tal nts , c d d fam ly to put to tudy u e e e e i t e w S ensie r e nd r R m nd , a landscap pa n r of hom sp aks “ i e a n d e i el i e e e w th cont mpt, of whom Rouss au h ms f wr t s, Th r is nothing so pe rnicious as a bad be ginning to a campaign it took me a numbe r of ye ars to ge t rid Of th e spe ctre s of

Reme nd .

' Re e e e in i e 1 82 6 e e i e m nd had r turn d th s y ar, , from xt ns v

e in F e Si i e r ie i i trav ls ranc , Italy, and c ly, and mor f ndly cr t cs “ say that re al Nature broke through th e crust of tradition in

‘ is ie e in i e e e C i an d Si i v ws tak n Dauph n , Auv rgn , alabr a, c ly

e i i i th h i al though h e relaps d from t m e to t me nto e ero c style . Bu t th e skill of his te acher was of le ss cons e quence to

e n ow r e e e o f a e e e h e e e e Rouss au, fou t n y ars g , b caus pr f rr d to ’ e ducate his own genius in l ec ole bu issonnier e playing S i -C d Se e S e h e truant) at a nt lou or vr s on undays , or, wh n could e t e e e h e ﬂ e d C ie n e Ve e ie Ba ti nie s g long r l av , to omp g , to rb r , to g ,

nd S i - Je - -B i e i e e di e a to a nt an aux o s, all v ry cons d rabl stanc s for t h e time be fore th e introduction of railways ; h e e ve n pushe d

e i th e e F i e e as far as Mor t, pass ng through for st of onta n bl au, whe re h e stopp e d to make a study of th e gra nde r ou te r oga le th é le C i e e a e e c . th r , c ll d pav ha lly

i i th e ea - 1 82 9 th e e e e e his Th s br ngs us on to y r , s v nt nth of a e e e th e e h e th e i g , wh n alr ady th ory that was champ on of a “ ” i i e n e e i n it is e ne w grand, nd g ous , sudd n xplos o , as call d , of a

i n e a e i e i e e h e natural st la dscap , ssum s that, l k an nfant H rcul s , “ i e e in his His i was strangl ng s rp nts cradle . stud e s at C om piegne and at More t give th e ﬁrst note of his timid in su rre c

i his e is i e his e e e t t on h art st rr d, but pal tt do s not y e re spond to his impulse ; h e is still unde r th e dominion of th e ancient ” pe dantry . In this y e ar Reme nd was urging his pupil to compe te for

the i de e i th e ea Mic h alon Pr x Rom , st ll vacant by d th of ,

R 5 OUS SEAU . 1

’ C or ot s ie d e th e L e S i fr n , who ﬁrst h ld andscap cholarsh p

e e b u t e e r i it in i th e th r Rouss au, aft tak ng hand to pa nt

i t e e e in e th e a ie class c r , and to add , to ﬁgur a landscap of nc nt

Z enobia ic ked u b Fishermen on the B a nks o the world , p p y f i h i th i i A rades e e . , was struck w t d sgust at r d culous programm What was th e good of digging up Ze nobia to animate a land

e 2 h e e e i it e i t he scap and r fus d to go on w th , but w nt out nto

i e ie e th e V de Ce e e h e woods nst ad , at Damp rr , at aux rnay , wh r painte d cascade s of a wonde rful transpare ncy ; and spe nt his “ time in bad w e athe r in copying in th e Louvre animals of ’ e du J i - lit i e C e in e Kar l ard n and sun p ctur s of laud , or att nd ing th e a telier of Guillon Le thier e to study th e ﬁgure .

is th e e e 1 830 w i is th e e e his It n xt y ar, , h ch most v ntful of e i e e i e him e arly art l f , and produc d work wh ch plac d at onc ” in t h e va n th e i e e h i in of romant c mov m nt ; and, un app ly,

i i wi th e i ie e i e e t th e host l ty th author t s who h ld, for a long t m y , t h powe r of e ke ys to th e Salon .

He is in th e e i e e t e his a e e now only ght n h y ar of g , but alr ady in th e i e e e his e i ar t — i in if i e e s xth or s v nth y ar of s r ous tra n g, nd d h e could e ve r look back u pon any p e riod of his life when h e

i i i e e in his i we a r e h e was not acqu r ng sk ll , for v n nfancy, told, made p en -and-ink facsimile s (care fu lly pre se rve d by his friends) e n i i i i e i i i e e from grav ngs w th aston sh ng pr c s on, and ﬁn sh d th m with that impe rturbable tenacity of purpos e which characte rise d

his i e i we e h e e all l f , and as a ch ld of t lv had brought hom an ’ artist s appre ciation Of t h e woods and mountain s a mongst which h e was s ent to live for a ye ar ; and now that h e was

e i e i de i e e i th e s tt ng out alon , w th a ﬁn t purpos of pursu t of i e e h e e w h e e e e e e it p ctur squ , kn what want d and wh r to s k ,

h ow i it e n h e e and to pa nt wh n found , you g as was and alon , an dat issue in h is mind with all th e school te aching that h e “ e ei e i no i e his e e t had r c v d , w th gu d but courag to r ad he 52 T HE B ARBI ZON S CHOOL .

i e e w in i e r ddl of an une xplor d world . It was al ays sol tud that e did th e e his his e i e Rouss au b st of work, and lov of sol tud

i e i i i him h n is i cont nu d a rul ng pass on w th to t e e dof h l fe . He made h is way straight to th e mountain districts of th e

e th e C i e i i e e Auv rgnat, to antal mounta ns, a w rdly p ctur squ

i r e i n e e th e i - e in - e volcan c g o , wh r h ll tops spr ad star shap d e e e an d e e e e i e i e rang s from a c ntral dom , b tw n th m nacc s bl s ravines and noisy torre nts rushing through with fre que nt

e e e th e i e tr m ndous cascad s , and on h lls black for sts of ﬁrs i i i f alte rnat ng w th w ld scen e ry of barre n upheavals o rock . We hav e not space to me ntion all th e studie s h e brought

i him th e e ie e e th e i e away w th from vall ys of Th zac, wh r r v r

i ' Ce re rush e s down be twe e n straight walls of basalt 1 4 0 mét res f

e i Fa l ou th e i its e i n h ght ; and from g on Mars , w th spl nd d

e a nd i e e in ie i e th e for sts of ﬁrs lofty mounta ns, wh r anc nt t m s

R d rik s J i F i e ie e e e r of P cardy and land ers held the r ass mbl s .

His Villa e o Fa l ou is e i e e i i i g f g d scr b d as a sup rb pa nt ng, wh ch

ie th e i th e i e th e n ie Ce in ei carr s m nd back to l f of a c nt lts , th r

- e i e i e e e th e e low roof d cab ns thatch d w th rush s , p rch d on slop s i e e i e th e i a nd of a mounta n sh lt r ng th m from north w nd, “ n He e e i affording gre en pasture lands i front . s l cts w th

t h e i i e - i i th e e e age rne ss most s n st r look ng mounta ns, broad st

i r e i e e e e th e i i e hor zons , t r d corn rs uph av d by capr c ous thro s of ’ e e i He ie i e w i i i e t h e world s g n s s appl s h ms lf, th nsat abl

e th e e e i e e th e e ple asur , to r nd r ng of a d nud d rock, of rugg d

i e mth e i e of th e uncult vat d land , or to fatho g ddy d pths black

i e th e e W i e e in mounta n torr nts, and of accurs d h rlpools r s mbl g ” cave s of horror . In the se studie s h e achie ve s liberty ; h e hesitate s no longe r h e has strippe d away th e p réc iosité of his Paris training ; h e e e i e the has rej e cte d a whol syst m of d as on Art, although

at “ r An c ient aul s . A metr e is a little mor e th a n a ya d. t G

T H E B ARB I ON SCHOO 54 Z L .

i 9 e th e e e e i e Ru e Ta tb ou t No . t l s , , ; clos to larg room wh r “ ” th e Saint -Simonians we re making a gre at nois e under th e

i i i e u n e th e i pre s de ncy Of Ol nde Rodr gu s . To d rstand pe r lous

e th e i i i e i e e in his i e natur of pos t on of th s boy of ght n, l b rty

a i i e in h is e i wi th e en a nts of rt st l f , and conn ct on th club of f

erdus on e e th e e e La Liber té i e p , should r ad n wspap r wh ch th y e i e e i i i e th i d e e e . No stabl sh d, and oth r s m lar l t ratur of p r o e vide nce appe ars t o conn e ct th e boy with th e insanity of the

S i -Si i e is f e his i i i a nt mon ans , b yond what af ord d by nt macy w th

Th or é e e e i e i i , who was undoubt dly conn ct d w th th m , and s m lar

i e e e e i i i th i S e n s i r i nt ll ctual cc ntr c t e s of e p e r od . e h ms elf attribute s to th e e stablishme nt of th e Liber te th e grudge that th e authoritie s of th e Institute so pe rtinaciously main t ain e d i a aga nst Rouss e u .

i 1 831 w e in h e h e e Pass ng on to , ﬁnd that t at y ar w nt to

e e w e e h e e i th e i i Rou n, to And lys, h r mad draw ngs of w nd ngs

t h e S e i e th e i e N e e th e of n , of fol ag of ormandy tr s, and rocky

th e i e th e e i i i banks of r v r, and old castl s dom nat ng th s country, i i th e C e G i i Coe de Li nclud ng hat au a llard of R chard ur on,

e e B e th e e e Of e t o th nc to ay ux, to dun s and cav s Arromanch s,

C e - e n -Be i G a i e n th e a n , Port ss n , r nv ll , Pontorso , and along

e La e C His ie a t whol coast of Manch and alvados . stud s “ e a r e e i e m i i i i ﬁ n e And lys d scr b d as ost br ll ant, l mp d and as ‘ ” i r a c e Th e i B i e e e . on ngton, w th mor of and fr shn ss follow ng

e 1 832 is e n e e i N — y ar, , mark d by a oth r xcurs on to ormandy and

3 his i in th e S a i his ie th e Coa st 1 83 by tr umph lon, w th v w of “ nvill i i e e him e i i e in th e of Gra e. Th s p ctur plac d d fin t v ly first rank of landscape painte rs at a time wh e n t h e fi e ld

ie C F e J e Andre J i Ro u e lan was occup d by abat, l rs , ul s , ad n, q p , ” i Ma rilh at L n mn e t . e or a t Paul Hu , and ﬁnally D az and calls “ ne th e e i th e e e it o of tru st th ngs , and of warm st ton s that th e French school h a s e ver y e t produce d He is SS A 55 ROU E U .

i fa r e e i e e his e st ll from p rf ct on, but I would not xchang futur for i e th e whole care e r of our most c ele brate d landscape pa nt rs . Th e i e i e in 1 833 e i S e ffe in p ctur was acqu r d , , by H nr ch r, e e i th e e e e xchang for portra ts of fath r and moth r of Rouss au,

i h e did e e i e e wh ch for Th odor . It has s nc gon to ’ e w e s e e i e th e J in 1 833 Rouss au s work, , was adm tt d by ury ,

i e i e his i i i h e i e e but from th s p r od dat s nt macy w th T oph l Thor , and it was a long time be fore a painting by himwas admitte d i aga n .

N it Th or é s e t u e e i i ow was who p, mor than any oth r cr t c,

b e th e e e e w in th e to trump t r of Rouss au , and al ays most i i i i i e e i i t h e rr tat ng and nsult ng d pr c at on of old school . Though S e n sie r attribute s th e gru dge of t h e Acad e my to ’ Rousse au s conne ction with th e youths who starte d t h e n ews ’ e La Liber te his e i i e e th e e pap r , conn ct on w th Th r and mount

" ann a e W e th i G e u e . e e ve bank was qually unfortunat hat v r mot , poor Rousse au had ne ithe r me rcy nor justice from th e Institute

i th e i 1 84 8 unt l re volut on of .

i i i i e i th e S 1 833 w i Impart al cr t c sms x st of alon of , h ch indicate th e growth of a pu b lic Opinion favourable to Rouss e au hi i th e Tribun e e e th e i i s e . and fr nds In , for xampl , cr t c says “ e . C e u a venir M ssrs abat and Rouss au, both young and f ll of ( ) ” i e e e e n ew e r a e prom s , app ar to us to comm nc a for landscap ,

le G in i i a i i h e . o e e e t e R vu e de and M a p r od cal dm rably d t d , Pa ris W w ‘ i e o e e . e e , says a m nt on to M Rouss au, a v ry

it is i w e n e w e mi e i e young man, sa d, hos tal nt pro s s a pa nt r true and powe rful in t h e conce ption of ve ge tation and land ” e e e th e a e i e e i scap sc n ry, and s m wr t r ncha ns our sympathy by “ th e que stion What wors e thing is the re in th e world than ’ fashion in art it Ou y a -t -il de pire a u mond e qu e la mod e ’ clans le s ar ts l ) He warns a s e ction of th e n e w school

it I t w a s e h i ite da t th e Un ive r sa l E x h ibition of 1 855 x b . 5 6 TH E BAR B I ON S H O Z C O L . a gainst th e e xagge ration of mate rialising Nature a little too ’ ’ u i i i i i i n e i m ch, and m tat on for m tat o s and not for cr at on s ” s e th e n e w e is i h im h e ak , but landscap charm ng to , and “ a e i e it it s i i i i e ppr c at s as authors would w sh , surpr s ng h ms lf in d e t h e i e t h e e th e e e a r am of happ n ss of ﬁ lds, and pl asur s of a i e e r i i th e e 1 th e i a n d p ctur squ tou , nhal ng pur a r of mounta ns,

th t h e e i i i r i n e e e e . e a e fr shn ss of vall y s Th s cr t c sms mporta t, a s showing that t h e ground was pre pare d for Rouss e au and

his ie u a nd i i i e in fr nds to labo r, a body of publ c op n on alr ady

e i w i in t h e e e e ae e i th r favour, h ch, abs nc of oth r than sth t c m i e th e e i i e it wi ot v s, Acad m c ans would hav found hard to th

‘ s e e i e Lisiere de bois c ou e Foret de tand . Mor ov r, a p ctur , p , Comie ne h e e i th e S th e p g , that was pr par ng for alon of follow in e u th e D u e e e g y ar, was bo ght by k of Orl ans . Rouss au t it i him his e e e F i e e ook w th to alr ady b lov d onta n bl au, i e i it his i e e e touch ng and r touch ng , as pract c was, to xc ss and a f w d C i th i e e . e e e e e i i i e months lat r M a ll ux, d r ctor, r qu s t on d

t h e e i e e th e L e G e h i sam p ctur too lat for ux mbourg all ry, and t s — — incide nt this c ompetition de s grands s en t Rousse au Off o n his i e i in 1 834 in i i i e Alp n tr p, , h gh sp r ts, and full of hop a ndenergy .

We e e th e i e i in i S en sie r cannot mulat romant c d ta l wh ch M . make s a charming nove le tte of this happie st episod e of ’ — Rousse au s life this last gle am of th e sunshine of youth

rn r t ms AS his ie L e his son de ie bea u e . p fr nd, or ntz, e i e an d e i e i e i e v rsat l v ry volat l , compan on , proph t cally wrot —“ to him Ne ve r again in you r life will opportunity come

t o i a r e i — e th e i you to th nk you a b rd to soar abov mounta ns, — a ndke e p company with th e clouds and you he sitate Th e cause of his he sitation was his n e w acquaintance with J e e i e i i in ie d i i ul s Dupr , r p n ng rap dly to that fr n sh p, wh ch was

a e i in th e i e in ~ ft rwards so mportant l v s of both, but the end RO SS A 57 U E U .

e e i i e i i i S O che que r d by alt rnat ons of d strust and r conc l at on , ’ and i i e f e e Of e wh ch, by ts l , would mak a romanc Rouss au s

i e e i i if one e othe rw se extr m ly romant c b ography, had spac for e e e i e him th e whole story . Dupr had b n ntroduc d to by

i h a d e in his R court, and found full sympathy from Rouss au mi e e own sylvan and pastoral tast s, and had won a half pro s “ from himto throw ove r Lore ntz and th e Alps for th e bank

th e Be n e th e Vie e in th e e of san or nn , land of grass m adows ” i e ve e e . e . e and for sts Rouss au m ght ha don wors Dupr ,

e ma n a ndL e e e - e e e p rsonally, was a or ntz a f ath r h ad d mount “ th e i th e F - e th e S ié é du bank, Amph tryon of rancs jug s of oc t

B e i i i e th e i e th e i e. e G e . r lot, , a oh m an nn r c rcl of w ld st of

t r u s th i th e i Th e enfa n s p e d of e young pa nters of e p r od .

i i e L e e e e i e g ddy mounta n p aks and or ntz w r as w ll pa r d , as h i e e e t e e . qu t sylvan r tr at, and Dupr

e e e e th e e a n d e l e i e La Rouss au l ct d form r, trav l d d r ct to

F i e on e th e i th e J i auc ll , of mounta ns of ura cha n , to a pass i th e G in ie e i through wh ch auls, anc nt days , cam down nto

e e i e e e i e e e i ni e h e H lv t a, wh r b h nd a gr at block of sh lt r ng gra t

i e inn i th e ﬁ r - e e e e found a roads d , bu lt of trunks of tr s , wh r “ h e studie d the gre at chain Of Alps dominate d by Mont B e i i e e e lanc, und r all cond t ons of atmosph r , cl ar and calm e th e e Sk e e th e i e und r blu y , or ov rcast und r vapours that r s

‘ L e Le e u e in th e i e e from ak man , or fr sh and fa ltl ss morn ng, b for t h e i i e e i e in th e i of th e r s ng sun, ﬁnally, t rnally mpassabl m dst

r th e e sto ms and thund r .

e e e e i e n i his i e ie H r Rouss au r ma n d four mo ths , w th l v ly fr nd,

L r en and i o th e e ime C me de o tz, an ar st crat of old r g , a o t la

F e e w e e eden e a r e in ort ll , hos ant c ts and charact r e xtre me ly ‘ t er es tin diﬂic u lt e Th e e - - g, but to cond nse . sort of fath r and son affe ction that appe ar s to have arise n b e twee n th e proud and extre mely poor Old gentle man a n d young Rousse au is a ’ 58 TH E B AR BI ON S OO Z CH L . ple asant light u pon h is characte r as it might have b e e n in th e abse nce of h is frie nds of t h e enfa nts p erdu s ; w e S hall s e e th e

e i i in h is i u e th e e D e sam l ght aga n att t d towards moth r of upr ,

w i e in th e e e i his i e andin and to ards M ll t, and v n ng of own l f , th e ﬁne st of t h e inte rpre tations of th e voice of nature that h e

e e e th e has b qu ath d to world . “ S e nsie r ﬁnds a portrait of h is te mpe rament and of his “ i e in e e his e La F i e — a love r mpuls s a l tt r to moth r from auc ll ,

e e i e e th e ie w th e to xc ss, of w ld natur astound d by v of grand spe ctacle s Of t h e Inﬁnite ; always in a fe ve rish haste for his proj e cts in art ; se duc e d and subdue d by th e attractions of a man whomh e studie d and love d as a being rare and pre cious e i i e i i i e i e th e i t h e njoy ng, l k a pr m t v Ep cur an , fru ts of n i mou ta n . He painte d he re a View of the Cha in of Mont B la nc in a Stormpowe rfully de scribe d by his biographe r Th e Alp s had ve ile d th e ir he ads unde r an immens e black cloud ; th e e e th e i i ﬁ tfu ll e e e e th e thund r roar d l ghtn ng y r v al d, b yond

S i B e e gloomy hroud of m st, Mont lanc, august and calm b n ath t h e i t h e e e e Wi e nsults of l m nts . th a f arful clap of

n e e e th e e i i e th e A e e thu d r, pr s ntly , v l was ra s d , and lps app ar d ‘ ’ i i o f i i e e Sk e e v rg ns l ght, rad ant und r a blu y , blu as a dr am of 7) paradis e 1 He painte d also a study of th e inn of La Faucille as it

e e e i t Of and w e a r e h e app ar d aft r a n gh snow and frost, , told , thought S O much of this study that h e always afterwards hung it e th e e his b e d i h is e on e ov r h ad of unt l d ath ; and, ﬁnally,

i h e i e i th e inn The Dili enc e ra ny day pa nt d a s gnboard for , g “ S e nsie r a A sc endin the Mounta in Roa d . g and, as M says , Wh t would Un cle C olomb e t have said to that Among t h e lighte r incide nts Of th e holiday w e have th e

‘4‘ S e e pa g e 4 8 .

E B ARBI ON SCHOO 60 TH Z L .

F i e i e e e i e ri i rom th s xcurs on th y mak th r r turn to Pa s , halt ng

S i e e e i i his e i at al ns, wh r Rouss au v s ts grandmoth r, and pa nts “ ’ h e r i in e e e i e portra t a round p asant s hat, cov r d w th fad d

e i e i h e r ie i e e th e i t e h e r mbro d ry, ﬁx ng p rc ng black y s on pa n r ” de scendant and from S alins the y re turn to Paris in th e gre at 4 snows of th e winte r of 1 83 . ’ e nsier i h C e st son de rnie r be au t mps says S e . At Par s e

s e t e t h e D esc ente des Va c hes his to work at onc on , and own

i ei i e ie his i ie stud o b ng too small and nconv n nt, fa thful fr nd,

S e fe e e him on e in his e e e Ary ch f r, transf rr d to own hous , wh r

in f w h i e t h e e e e i a e months e ﬁn sh d c l brat d p cture . In th e Salon of 1 835 (th e Salons we re he ld in January) h e found admission for two ske tche s which h e had s e nt home

omS i e th e i e de J i i e e e fr w tz rland , and sold to Pr nc o nv ll . Th s ’ e e e i e e e ei sk tch s gav but a poor d a of Rouss au s tal nt, and th r imperfe ction ma y have dam age d his re putation with th e

re sponsible authoritie s . Th e e nmitie s and th e intrigue s that corrupte d th e jurie s of

e i e th e e Of e th e e that p r od, and dogg d footst ps Rouss au to v ry

i r i e d F i nd his e a e e e e . e 1 835 e of l f , n v r fully xpla n rom th s y ar ’ i th e e i e i e e e unt l R volut on , all of Rouss au s p ctur s w r , as a

e e e e e in th e e th e e i i matt r of cours , r j ct d, fac of prot sts of cr t cs and me n of gre at inﬂue nce nor was th e pe rse cution abandone d

i in 1 867 w e s e e it e th e ner unt l as shall , had slowly tortur d i i e S v e e . e e ous , xc tabl man to paralys s and d ath ubs qu ntly to 1 84 8 th e prejudice had no re fe rence to th e school in art that

h e e e en e his ie e e e e r pr s t d fr nds and coll agu s, aft r that dat , had little to complain of only Rousse au was again and again bafﬂe d

i e e e e e i e a s it e e e Of e u nf r w th hop d f rr d, and r m nd d, s m d , som o gotte n stigma which s e t hima part from othe rs whene ve r th e e ti e e Th i qu s on of honours and r wards cam forward . e true h s th e e is i u e e e d tory of matt r st ll nr v al . RO SS A 61 U E U .

Th e re fusal of th e Desc ente des Va c hes in 1 836 irritate d e sp e c ia ll th e S c h effe r s Wh o e i i e th e i e a in e i y , xh b t d p ctur part th r

i in th ta l M G é i e We stud o e Ru e Ch a p . . ustav Planch wr t s

Bi S th e th e L e must regre t that M . dault has hut door of ouvr

i i e in th e i . e e to a canvas of M Rouss au, xh b t d now stud o of

S fe i b e e e th e . e M Ary ch f r, for th s work would r ckon d among h Th e is i be st and most important of t e Salon . canvas h gh a troup e of heife rs is de scending along a rugge d mountain gorge t h e time chos e n is e vening ; th e vege tation is titanic and pro

e th e t th e e e i e fus , and grow h of plants ntangl d l k that of a ” “ i i He e i e S e i . e v rg n for st of outh Am r ca had s z d, says M .

S e n sie r th e e e i th e e th e , across scr n of mounta n ﬁrs asp ct of i e i e i th e ie it s e its e gl tt r ng r g on of glac r, pow r and myst ry, and t h e white and solitary p e aks illuminate d by th e last rays of th e

i da th e e e l ght of y . Out of calm atmosph r of autumn h e e e th e in th e i e i e vok d warn g of approach ng rag of w nt r, and a

e e ie e e e in i dr am of all that thos glac rs, so r spl nd nt lum nous i th i i ” e e e . p ac , conta n for gloomy months of m sts and w nds A se rious de fe ct in t h e picture was that it was painte d with a

ehi i e it v cle wh ch has almost de stroy d .

i e is i i B i i e his i Pass ng ov r h v s t to arb zon of th s y ar, acqua nt

e i Di his i en e th e i anc w th az, and nﬂu c on work of th s gre at i a nd e i th e e his e th colour st, only r cord ng d ath of moth r, on e ’ 1 5th i 1 837 th e e i o i i e Apr l, , n xt mp rtant nc d nt of Rouss e au s

i is his i i N e t e th e ie b ography v s t to ant s of tha y ar, and stud s h e e in La Ve ee— of that mad nd a marshy country, and e spe c iall th e i i Le Ma ra is en Vendee h e y pa nt ng, , that made ne ar

Tiffa u e e e - i —a g , of a marsh n ar a pap r m ll laboure d work and

e i i e i e i e i i e e e i r al st c, v d nc ng clos study of aquat c l f and v g tat on .

He e i in i C e L . e th was trav ll ng company w th M harl s roux, e ie th e i e i son of a propr tor of prov nc , who, w th a small socie ty B e i e i e N of r ton art sts and amat urs, had organ s d, at antes, an T H E BARB I ON ' SCHOO 62 Z L .

e i i i th e i e e e th e S l 1 836 xh b t on of famous p ctur s r fus d at a on of ,

f mTiffa u e h i L u th a d e e . e e C e u and ro g , w nt on w th M ro x to h t au ’ S i e Ce ris a e his e e e e e e e e oul s , n ar y , fath r s hous , wh r th r w r two

e e e e e on e elmt e e th e e e v n rabl av nu s , of r s, oth r of ch stnuts , and

e i e e e i e e e i i th e S his r ma n d th r unt l D c mb r, pa nt ng for alon

e t h e Avenu e o Chestnu ts i i h e e e gr at work, f , w th wh ch r turn d h n d th t o Paris about t e e of e y e ar .

Th e Avenu e e e th e S e th e , although r fus d by alon, advanc d re putation of Rousse au among artists and critics still more

th e D esc ente des Va c hes i in its in than , wh ch hung company ’ e i e i e h is ie Thor é i Rouss au s stud o , and , b s d s fr nds , , D az, and

e h e e e e th e e i Dupr , had ncourag m nt from sympathy of D lacro x,

e and of Madame Ge orge s Sand . Mor ove r De lacroix induce d

th e e e Fi e C é th e i e . e D r ctor of D partm nt of n Arts, M av , to mak

a n fe th e i e w i e e of r of francs for p ctur ; h ch, how v r, was , i i . e e in th e e e . m ant m , sold to M P r r

e e e 1 837—1 84 0 e e e e e e e In th s y ars, , Rouss au, r duc d to d p nd nc

his e e e e e e i e e on fath r , whos m ans w r v ry stra t n d , had no

e i e his i e e i more xcurs ons or voyag s , but all l f c ntre d n his

i th e fe w i ie e ie e in him stud o , among fa thful fr nds who b l v d .

He e i e h e B i n e e h e pass d as much t m as could at arb zo , wh r e xpe nde d much unne ce ssary labour in th e pe rpe tual re touching

S e n sie r e him i i his of ﬁnishe d work . sp aks of br ng ng ske tche s

e e i i e e e himin th e home of an v n ng, and arrang ng th m b for

le a min e e h e u i his i e g g , on a m al tub , wh n wo ld l ght p p , and S itting Opposite the m amuse himself in th e dusk with imagi nations of fantastic variations ; and the n h e would take to

e e i i i e his ie t h e e painting th s mag nat ons ov r stud s, so that jok rs e e e i e would say th r was n th r top nor bottom , nor sky nor land

to b e distinguishe d . Among th e most faithful of his frie nds at this period was

e wh o e e e th e i e e th e i Dupr , h ld tog th r all anc form d among art sts S 63 ROU SEAU .

e i e th e u i i e xcommun cat d by corrupt j ry, by a fortn ghtly d nn r which h e gave at h is lodgings in t he Ave nue Fr oc h ot ; at

ic w e a re S e fe D e e ix B e wh h, told, Ary ch f r, camps , D lacro , ary ,

Ch e na va rt e e e . , and Rouss au w r always punctual

J 1 84 1 w e t h e ie e a n d D e In uly, , ﬁnd fr nds Rouss au upr ,

ie i i e e e th e i e i e qu tly dom c l d tog th r at l ttl v llag of Monsoult,

e Ma ﬂie r s th e e th e e t th e e - m n ar , on bord rs of for s of Isl Ada , “ ‘ i e e i i i a charm ng vall y, dott d w th orchards, and w th rust c ’ i e e e e e e i e e t h e e i plantat ons , wh r th y had b for th r y s b aut ful v e rdure of those woods a n dﬁ e lds in which th e Prince s of Conti ” and of Bourbon us e d to hunt .

e e th e ie i e in i e e i e e H r two fr nds l v d a l ttl hous , wh ch b long d

th t h e Ve n deme C n e his to e constructor of olum , and ach had

i e e th e e J e stud o, door to door, and Madam Dupr , moth r of ul s , “ e i e e e e ie i e a trois i th e was th r hous k p r. It was a qu t l f , , w th ’ h i de a mille Th e e e i e swe e ts of t e ve f . phas s of Rouss au s l f ; it s e i n e i ie i i alt rnat o s of dom st c qu t, and Par s turmo l, and Manfre d-like communion with t h e wilde st solitude s of th e

i b e i e th e i mounta ns and woods, should all apport on d to pa nt i e i e e th e i i e e ngs that th y nﬂu nc d , and work of do ng th s, how v r — b e - i e e i his e i n e e i long, would most nt r st ng mot o al appr h ns on

e e e e i i e e it th e of landscap and atmosph r b ng nﬂu nc d, as was , by i i i moods w th n h mself . A striking e xample of this would b e a comparison of his

1 84 1 e e in th e vie de a mille i work of , at p ac f at Monsoult, w th

th e i e th e e e i h e e that of follow ng y ar, gr at r part of wh ch sp nt

e n e i in the i e e e ie s e e th e alon , wa d r ng w ld st of r c n ry along “ e i win i th e Bou sa n e th e ra c as myst r ous d ngs of , and among f dr a ma ti ues th e C e e —a th e i e e q of r us country of w ld st b auty, of primitive pasture - lands inte rs e cte d by wate rcourse s a nd ” e i i e i e grov s of g gant c oaks and lms of unusual s z , a country of

e i i th e C e i i e gloom, and old sup rst t ons of lt c t m s, a country that 64 T HE B ARBI O H Z N SC OOL . was calle d Gargile sse b e caus e pilgrims of old us e d to shud ‘ ’ de r it e e a ie n to approach , and us d to say, Mon b u mons ur, y alle z mie " Tout u n c h a sc u n qu i y pass e gorge y la isse

ei - e i i had th r throats cut) ; ﬁnally, a country of all p rvad ng m sts

i h e i La Ma r a etée . e e e e e L J and fogs P ctur s that pa nt d h r , , ’ du n E ta n a re e i e i i &c . e e e e g, , charact r s d of x cut on und c d d, of

e ie e i ive e i t h e harmony doubtful, but mast rp c s of pla nt mot on cry of distre ss of th e man of th e citie s e xile d to th e unwhole ” “ t h i e . e e e e a r e e e som country A marsh, wh r rush s b nd ng und r

m e its i e an autu n gal , and on bank a woman wash ng cloth s ;

e i th e a i e e e e e b h nd wom n a l ttl cops of oak tr s, and a y llow and

in e e i e dy g ray from a pow rl ss sun , pass ng through among th m , ” th e d th lic ks with its parting gle am e e longat ﬁgure s of e tre e s .

Th e i i i e is e i e l i i e e d scr pt on , gloom ly word d, v d nt y nsp r d by a i e w m gloomy repre sentat on of a most m lancholy s a p .

in th e e e 1 84 3 ni w e e t o th e Pass g v nts of as u mportant, com e i e in 1 84 4 e e in grand xcurs on mad by Rouss au and Dupr ,

th e e G th e e th e company, to sandy dun s of ascony and slop s of

e e e B e de e Pyr n s, through ord aux and Mont Marsan to thos strange re gions of sand whe re th e native s stalk ove r th e tre e

i i w e e e e e r e e e le ss pla n on st lts, h r l agu aft l agu and hour aft r hou r th e tourist has nothing to look a t but dunes and plain s of i eri in th e i i e e e e sand, gl tt ng trop cal sunsh n und r a faultl ss blu k Th e e i i a r e i th e e e e e S y . d scr pt ons charm ng of plac s wh r th y e ei — at th e i e i i e mak th r halts l ttl c ty, cur ously nam d, of “ ” “ e e e i e e one e i P yr horad , or roll ng P t r, of thos nooks of happ ne ss whe re pe ople subsist on the blue ne ss of th e sky and th e ” “ i th e e —a t Be i i i e murmur ng of wat r, gars, a pr m t v , but

e i i e e e i e e favour d country, of trop cal cl mat and v g tat on, wh r

e e e e e a r e e e i a s m lons, l mons , and orang tr s as fr sh and pl nt ful

e a re e e e e i th e Si e me i appl s ls wh r , grow ng by d of oaks as aj st c e of F i e e th e e e of th e as thos onta n bl au, among wood n hous s RO SS A 65 U E U .

e e e e i i e - e i — and p asants, ov rshadow d by th r w d spr ad ng boughs,

e e e e e e i in th e e wh r Rouss au mad a r markabl draw ng, ﬁ ld “ u e i e th e e i i e ro nd th r hous , of all dom st c an mals , hors s, fowls,

i in i i i it i i i e e e e &c . h e g s , p gs, , black and w t , fin sh ng w th nfin t ” Bu t e e e e i e i labour and scrupulous care . v rywh r on th s xcurs on h e is struggling with t h e impossibility of th e infinite blue sky it s e i e five e i i and faultl ss l ght, and aft r months of wr stl ng w th i e t h e i e i e it in e i th s probl m two pa nt rs g v up d spa r, and e i e i e e i e i l av ng th r luggag b h nd th m, tour w th knapsacks to

B e i i th e e e e th e B e ayonn , v s t a spur of Pyr n s , and asqu country, and the n haste n home to Pa ris- having achie ve d nothing

e a r e de e e e th e th e r m kabl , f at d, appar ntly, by monotony of fa ultle ss blue sky Bu t th e grand mountain a ir of th e Pyre ne e s has spoile d

e i i e — e e e i e e e e th m both for Par s l f th y r fus d to l v th r , and w nt

e e in e 1 84 5 e - e e e tog th r, Octob r, , back to Isl Adam, wh r th y

s e ttle d down in a v e ry small studio made for the m by M .

e e th e e -in - D u ré in his e e e M ll t ( broth r law of p ) own hous , wh r e e e th e vie de a mille D e i th y r turn d to f , and Madam upr aga n

e i e e e i u e pr s d d ov r th r ho s hold .

B e i ei e e e th e y a strok of pol cy worthy of th r ant c d nts, jury

in 1 84 4 in e e e ei e th e , hav g b n so much abus d for th r r fusals of

i u e t h e i i i e in e e p ct r s of r s ng school, adm tt d that y ar a larg

e e e i u e th e ie numb r of x crably bad p ct r s, so that all world cr d “ ” out : Th e Jury is far too indulge nt afte r all " but their

i en e e ndulg c was not xtende d to Rouss e au . S en sier th e e 1 84 6 it er th e says, of y ar , that was p haps ’ — gloomie st pe riod of Rouss e au s life th e iniquitie s of th e Jury ; t h e burde n of his business affairs ; anxie ty for th e future ; e e h im i i i all tog th r, had naturally made d strustful and ncl ne d to i e . i i h e in i O 1 e e e N . 1 sol tud At th s t m cam to lodg , Par s, at ,

e i e e e J e e h e e s Plac P gall , wh r ul s Dupr and had ach a mall F 66 THE B ARB I ON S HOO Z C L .

t e th e e e i apar m nt, on ﬁrst ﬂoor, of thr rooms and a spac ous i i i e e i is e his in i i stud o . About th s t m m nt on mad of pay g a v s t e Ge e S i i e h e e to Madam org s and , and about th s t m , also, mad t h i i e e acqua ntance of M ll t . Th e ye ar 1 84 7is distinguish e d by an unfortunate love

ff i i w e h e e e e e b e a a r, of wh ch know only, that b cam ngag d to ie th e e e e e off h e marr d , and that ngag m nt was brok n , and that e e e e B i e e Th or é his i i r tr at d alon to arb zon , wh r was only v s tor e i e — Th or é e — for a spac of t m , but has put upon r cord probably

e e i e — e i i e e e has also mb ll sh d som str k ng utt ranc s of Rouss au, e i in i mad dur ng a ramble t h e fore st . Of two th ngs Rouss eau

th e u i his i e e had a horror, c tt ng down of favour t s among for st

e e th e i th e e - i ni tr s, and plant ng of monotonous and arth po so ng “ ﬁ r i in th h th e . e e e e e A cl ar ng wood call d , gloomy battl

e e e th e i e e th e e fi ld, wh r tr umphant woodm n plund r corps s of t h e slain and th e sound of th e hatche t is th e toll of a funeral ” e th e e e i i e e e i i i i b ll, and, of n rvat ng nflu nc of mod rn c v l sat on, “ Rousse au said : Th e soul of man is like th e fore st w e a re ‘ i in e i e male fi c ent S lvic u ltivat or s walk ng , ruthl ssly spo l d by y the y che ck th e growth of th e plants that would blossom in flowe rs the y fell th e lofty tre e s of our highe r thoughts the y root up th e native shoots and sucklings which grow towards t h e sun and shatte r into splinte rs th e proud rock of our will

e e th e i e e e and l v l all h lls that soar towards h av n ; and th n ,

n th e i e e is e u i e e whe nat v charact r turn d ps d down, th y sow ove r th e ruins a cre e ping kind of ivy d estitute of form and colour. Th 1 84 8 e th e e i i i e year cam , and R volut on, so long ant c

e e e i w a s i e th e e i pat d, at last ; and b for Par s pac ﬁ d , or R publ c

i e i e d Le dru - i settled i th e ie fa rly stabl sh , Roll n had w th fr nds of “ ” ’ Th or é th e en a nts erdus th e i . n , f p of art sts clubs Ma y acts

i - - e e e e e on tha t of l fe and death urg ncy must ihav b n postpon d,

68 T HE B ARB I O SCHOO Z N L . in i i e La ndsc a e b an a r tist still in the scr pt on announc d, a p , y ’ ‘ ’” bla de e n e e e Fru it b a n u nri e a r tist ( h rb ) ; furth r on, , y p o n and so .

e did e i i h e e e e th e Rouss au not xh b t, but and Dupr w r on

i C i t e e i e e e Hang ng omm t , wh ch was v ry num rous ; and ach re ceive d an orde r from th e Ministe r for a landscape of th e

i e i i e i e e pr c of francs, wh ch was at that t m cons d r d a mu niﬁc nt i e e i e i ie e pr c e . Rouss au ﬁll d th s ord r w th a V w of

For est La nd a t S u nset i w a s n in th e L e , wh ch hu g ux mbourg

galle ry .

Th e i e e e i a t i ti e th e art sts h ld a m t ng th s m , to consult on e le ction of a re pre s entative in th e Ass embly ; but wh e n the y mt e i i i i e th y spl t up nto se ct ons wh ch would not amalgamate .

Th e i e e i e i th e i i pa nt rs would not frat rn s w th dramat c art sts,

th e S i th e e e th e i e h is nor culptors w th ngrav rs, nor pa nt rs of

r i e e th e i wi th e to y w th thos of landscap , nor Romant cs th ” Se nsie r Th e i i i e i i ie . i . Class cs d st nct on of sp c al t s, says M , “ wa s ie th e i i e i e e i i e carr d to nﬁn t s mal, ach body b ng conv nc d

i it s i i i u ot c a ita only of th e ne ce ss ty of own nd v dual group . Q p ” i e it nsu N . tot se s . oth ng cam of e e e t h e e e i i e e e Rouss au w nt hom from m t ng sad and d sh art n d , a n d S i e in his i i e h e hut h ms lf up stud o, only com ng forth wh n and D upre we re summone d in their turn t o shoulde r the ir

a b ivou a e th e e wi th e guns and m rch , to on boul vards th con ” s t ingent of de partme nts . About this pe riod a n e w dome stic intere st appears in th e life

e in h is i i u n of Rouss au, un on w th a yo g woman of humbl e i th F e e e C é . W a r xtract on, from ranch omt e e told only that

sh e a nd e i i is was poor, a confirm d nval d, and always allude d to n si r a s a a by S e e L M la de. Rouss e au app e ars to have she lte re d h e r in th e e i e i first plac from mot v s of compass on , and finally

' to have conceive d a strong patern al affe ction for his poor bird

T HE B RB I O HOO 70 A Z N SC L . s i e fe w e e e e e b e old, wh ch so v ry y ars lat r on w r ach to worth a small fortune Th e Salon of th e winte r of 1 850-5 1 brou ght new ve xation a ndi i e e ei e e e njust c , Rouss au b ng not only l ft out altog th r from th e honours and prize s awarded ; but h is picture s having inad ve rt entl ee in i i e e e e e y b n hung a good pos t on, w r transf rr d , aft r i i e h e e e n e e e e . had s th m th r , to a wors On th s occas on a gr at i i h th Le i o ise . e e e t e C e utcry was ra d D az, who r c v d ross of g on of e e i e th e e th e e th e nouvea u a: Honour, l ctr ﬁ d gu sts at banqu t of “ déc orés i th e e e e e , by propos ng at tabl a toast to Th odor Rouss au, ” ou r Maste r forgotten " which mad e th e scandal that may b e i imag ned . ’ e e e i e i i th e i At Rouss au s d mand , a sol mn nv st gat on of c rcum

e e th e e x - i i e Le dru - i C e stanc s was mad by m n st r , Roll n, and harl s B Jé anr on i e e e S th e i i lanc, and , and th s s m d to how that om ss on of Rouss e au in 1 84 9 had be e n du e to th e hostility of a ce rtain Lu me i in hi de e s . e . e e M yn s, who saw no r t work It was a f bl

s i i e i i i th e i i i e e i e h ft ng of r spons b l ty, but fra l and t m d x cut v

e e i e in the i e w e hast n d to stop th s l ak follow ng y ar, h n at last ” h ei t h e C i e e e e e e i . r c v d ross, a m s rabl comp nsat on, as M “ S o ie e th e e i i e ns r r marks , for annoyanc s w th wh ch th y had

s e him Bu t if we e e th e e his aturat d , xclud th ory that work e i i e w e i e i e was hon stly d sl k d, , obv ously, hav st ll to l arn why

e men b e e e i Rouss au, of all , should annoy d by a R publ can Gove rnme nt so ze alous to do honour to all othe r re pre sentative s

of th e Romantic School .

His i e i th e e 1 850 e e th e p ctur s hav ng now, by sal of , b com

e men i e e i i e e in e prop rty of of bus n ss, b gan rap dly to ncr as valu ,

a nd e e e e i e i e e e i e as a cons qu nc , Rouss au h ms lf obta n d b tt r pr c s S e nsie r i i e e e e for his work . M . h nts that th s b n ﬁt had b n i imin e discounte d by contracts Obta ne d from h advanc . At

a n e his e e e e th e e e y rat worst troubl s w r ov r, and y ars pass d on p R l 1 OUSSEAU . in e e e e is i e i e i i gr at r comfort, but th r st ll a som th ng v ry p t ful ’ mth e lux uries that this gre at maker of other men s fortune s is

congratulate d upon . “ . His thatche d roof h e transfe rre d into a studio of timbe r i e h e e e i e Ost a de and t l s bought som tch ngs of R mbrandt, , and

C e h e e e his e i th e se i e i laud , and d corat d hous w th s mpl b ts of e now i h e one th e crock ry, so popular, wh ch was of ﬁrst to go ” a - i th e e a nd hunt ng for among p asants at country marke ts .

h e e e i i i e th e i h e In short, had b n d sc pl n d to po nt that was

e i How i i in its iff e . e e e e thankful for small m rc s nt r st ng, d r nt b e th e i his i i th e b io way, would compar son of b ography w th gr aphic s of thos e to whom th e fortune went that h e and Mille t e arne d " How use ful to th e struggling artist of th e future a publication of th e trade manoeuvre s which transfe rre d th e golde n harve st to th e Middle Man " So promptly too " For th e i th e i e in th e e e e e ﬁnanc al turn of t d , cas of Rouss au, s ms almost to date from his surre nde r of t h e ﬁfty -thre e picture s h i w th e e e . e e e e e that had k pt for h ms lf And, must r m mb r, “ ” motto Die Ku nst soll nic ht na c h Geldstr eben has by no me ans be en that of th e de migods in Art. The y manage d the se things e e in th i e e e e e i e e b tt r e s xt enth century . Th r w r no M ll ts th n Li e e e e his e i ie b rat d, how v r, at last from most pr ss ng anx ty,

e dide e e B i in th e e 1 850- 53 Rouss au xc ll nt work at arb zon , y ars , “ i e e e e - e i e i e e i e w th mor fr dom, s lf r l anc , and ndulg nc of mpuls , “ He e his i e e . e e than b for f lt str ngth to spr ad w ngs, says

S ensie r e i i i i i e e i i , who m nt ons w th that mag nat v appr c at on of ’ his w i e e e th e i e a im e e i e , h ch s ms to go b yond pa nt r s , thr p ctur s e e i — A Gr ou o Oa ks in the Gor es o A r emont The sp c ally p f g f p , For est Skir t o the Monts Gira rd th e Ma ra is da ns les f , and Lands e . “ Th e e fe i i sola r c om ﬁrst, an f ct dazzl ng from myr ads of ba stions e e e i e th , r pr s nts cows graz ng und r e thre e gre at oaks THE B ARBI ON O 72 Z SCHO L .

’ Of th e Dormoir th e G e e i of org s d Apr mont, at h gh noon, “ ’ e th e in a ck- o -la nthorn s a n les li e wh n sun j p g , pours down , k a ” i -S e i e e Th ra n how r of l ght, ov r a whol tract of country . e “ e La Lisier e e th e i e it s cond , , shows a for st road, and by s d of ,

- e e i e i s e e in an old oak tr , qu t w ld, who looks angry to front of hima young copse daring to grow gre en again afte r th e

e h is ie e o ie Th e a massacr of fr nds and cont mp rar s . oak gr sps in his i i e e e strong roots a ﬂat rock, wh ch looks l k a tabl t ston h i h Th ei e t e t e e . e e Sk e e s z d by k ng of for sts blu , calm y , trav rs d i i a r e i e e ti t h e by l ght clouds, wh ch runn ng towards a m ng of e th e i e n e th e i e th e i e sylphs, sugg sts s l c of sol tud s, and vo c s that ” a re e e b e e th r to h ard .

Th e Mar a is da ns les La ndes Le Fou r Commu na l La Ferme , , and we re thre e picture s s ele cted by Rouss e au to b e worke d up to “ S en sier e e e Li in t e e what M . calls an Eclogu d vot d to ght, hr

e i r e - i th e i e e th e od s w thout any p occupat on for p ctur squ , for

e e th e i i e e e th e i i an cdot , or for art ﬁc al ; to c l brat dom n on and

e n th e e C e i in pow r, always you g, of Moth r r atr x of all th gs . ” “ i h e e e e th e e Th s, adds was a task that Rouss au d vot d r st of his i e e e ie e h e e e l f to, and n v r ach v d, though sp nt whol days it ” B t h i i . u e e e ar e t e e and n ghts upon ( , sur ly, th s rhapsod s i rathe r of a lite rary man than of a pa nter . ) Passing on n ow to th e gre a t Inte rnational Exhibition of 1 855 w e i e i e e i i i i , not c ﬁrst an nt r st ng cr t c sm by Edmond About,

i b e e e i e e i wh ch should r ad , as a corr ct v , by thos who, w th

en sier e s et th e e e th e e u n S and oth rs , sam valu s on crud , H i e th e e e e . e a e tra n d, and on b tt r work of Rouss au comp r s th e Cotes de Gra nville of 1 833 with th e Mara is des La ndes of twe nty ye ars later . Th e e h e th e i e th e i i e ie i form r calls p ctur of ns d of a p , w th

e e e e e e i e e e i a m dl y of tr s, hous s, ﬁgur s a l ttl of v ryth ng

in it We e e th e e e e h e ap e d together . d t ct ag rn ss of a young

74 THE B ARB I ON SCHOO Z L .

it i i iffe i e e . e e i e e look at w th nd r nc All b ng of qual nt r st, i is i e i i i e . e e b e Y noth ng of any nt r st Th r w ll no l m ts . our

i e i b e i i i You i p ctur w ll able to prolong tself nde fin te ly . w ll th nd i ni h dit e e e Y u i e e e s e . n v r com to e e of t . o w ll n v r hav fi is th e ensemble i e i e Th e i e i It that fin sh s a p ctur . magn fic nt l on B e th e i e ie his e himin of ary , at Tu l r s, has all man upon a e e h e e e if t h e mass, and looks much b tt r than would hav don ” th i n n sculptor had mode lle d e ha rs o e by o e . Th e i i i 1 85 5 w e a r e th e i i e Exh b t on of , told, was po nt of t m whe n Rousse au fe lt himse lf truly appre ciated; whe n th e struggle s of his life had the ir reward at last ; but a curious i e is h e e his e i i ei e th ng to not that ow d appr c at on to for gn rs, F e Th e e i e i e and not to r nchmen . Am r cans appr c at d at first “ ” e i e i retentissant th e glanc th s styl of art, s ngularly and ” na ture ec la ta nte e rie e e — th e , that Rouss au t d to xpr ss and “ English adjudge d himto b e th e gre ate st landscape painte r of th i e e t i i e day . The r journals have v ry nobly avow d h s super ” rit i n - i o y of Rousseau over the r A glo Saxon pa nte rs . i i Th e e i Th s last state me nt take s us by surpr se . att nt on of English criticism was at th e moment absorbe d in Pr o-Raphae l itism e e i i — w e i it O e th e e , as h ad d by M lla s th nk p n to r proach

e i i ﬂi an c in e i th e of a want of appr c at on , and pp y , sp ak ng of i F e it s i grand colle ct on of works of re nch Art und r not ce . This is th e style of it It must have be e n e vide nt at a glance that France has th e be st chance of issuing triumphant from h e th e nu mber this comp e tition . S crushe s all oth e r schools by i i th e i e i and size of h e r contr but ons . In all Engl sh coll ct on ’ — — the re is not a canvas like Gerome s for size it b eing some i ” e e th e e C . We e fe t larg r than Marr ag of ana, and so on hav i i i i i not space for quotat on of more se r ous cr t c sms . S A 75 ROUS E U.

’ — Reve rting to Rouss e au s life th e dry de tail of th e ﬁna nc ia l

men b e i e e i biography of most would un nt r st ng, but that of ‘ i i Rousse au and of Mille t is worth inve st gat on . We have s e e n that Rousse au was struggling with pove rty

th th e e his i e in 1 850 h e up to e date of sal of p ctur s , and that w i 1 85 5 . e e e njoye d comparat ve comfort up to In that y ar, ’ a r e h e e i e i e th e S told, purchas d M ll t s p ctur from alon, for i i h e did e i ie francs, g v ng out that so for an Am r can fr nd,

i t h e e 1 85 7w e a re but in re ality for h mse lf . Of y ar told a most e xtraordinary tale h ow h e gave some offence to a great Be i e th e e i e e lg an manufactur r, who was , at sam t m , a Duk ’ dAr enb e r e e e in i e i g, and an amat ur d al r p ctur s and that th s

i e D u e e i e - e e host l k , or manufactur r, or p ctur d al r, sought ’ re ve nge by ke e ping down th e price of Rouss e au s picture s in th e m e i i e i i i e ark t, by subornat on of host l cr t c sm, and furth r,

e i e i e i e i one th e by an xtraord nary d v c , wh ch r m nds of mob ’ e th e e e b e his S ensie r who burn d bank r s not s efor face . M . “ says He bought up th e canvas e s of Rousseau at a high “ price (Rousse au had no obj e ction to that) in order to sell e i i i d i e h e e th m aga n at publ c auct on, adju g ng th m ( app ars to e e e his i e e ei e i e e hav b n own auct on r) th r to h ms lf, or to som e e e t th e i e Of 800 ie e O e conf d rat s , a low pr c francs ap c , and ft n ” i e e i e e allow ng amat urs to buy th m at th s humbl ﬁgur .

e h is e e s et i Rouss au, on part, app ars to hav h mse lf indus — t riou sly to work to ke e p this curious marke t supplie d in vulgar ” e e e e e - i e languag , to hav cond sc nd d to pot bo l rs . “ In this pe riod h e e xe cute d a se rie s of picture s of me dium

i e i th e iti sa es i e e s z , of wh ch compos ons , g , p ctur squ and easy to ’ ” e e remier u dec H und rstand, had a succ ss of p c o p il. e was aske d 76 THE B ARBI ON SCHOO Z L .

“ for more and more of the m ; his wife urge d himon to pro

e i e i - e e w i sh e e e e t o duc th s r ad ly mark tabl work, h ch also s m d ‘ ’ i s nt e e i e e o a neou s o s . appr h nd, l k ch ldr n, by p jy “ Li e i e h e e i e i in i ttl by l ttl gav h ms lf up to th s work, wh ch

e i e e e e e e e e i th e e i i all was d l b rat , for s n, x cut d w th pr c s on of a F e i His e e ie in i i a l m ng . touch gr w h av r th s n early mathe mat c l

e i i i e e e th e e e i e or pr c s on, wh ch pr s nt d app aranc of po nt lac i e mbro de ry .

is i i e th e e i i th e It not surpr s ng, und r abov cond t ons, that picture s that h e se nt to th e Salon of 1 85 7we re unfavourably “ Th i n re ceive d . e l e ad ng te ors of criticism lifte d up S houts of i i i i h is i i e e dis nd gnat on aga nst pa nt ngs . Th y had doubtl ss

e e n ew oe i it i e a t cov r d a Ph n x, and found adv sabl to cast Rousse au th e malicious sp ells that Fourrie r launche d at th e ” e e i in — i moon . Rouss au was d ter orat g h s spontane ous and — poe tical genius was asle e p his substitution of conscientious i i i e e . in 1 859 h e ndustry was not appr c at d Aga n, , was badly i i i e e e his e ie cr t c s d, v n by v ry good fr nds . M . Paul Mantz, i i in th e Gazette des B ea ua A rts th e e i wr t ng of p r od, says A

e w e e e h é dor e e i . o mast r whom hav much lov d , and lov st ll, M T

f i He e i e off e . e e e e Rouss au, alls a l ttl s ms to hav tak n too s r ously th i i e hi i He e obj e ct ons wh ch we r mad e to min othe r t me s .

ie i th e i his e his has tr d to mod fy hab t of brush , to soft n down r u ose e in th e e e i i e i e g mann r, and r nd r ng of fol ag to pa nt mor ’ is i e e e w e e . ﬁn ly It a good th ng to corr ct on s s lf, but ﬁnd that

His e e i e h a s e te i e . M . Rouss au corr c d h ms lf too much x cut on His e i e e b e come s almost monotonous . touch mak s ts lf too qual

i i a r e e tr o a reille . e e e e ( p p ) How v r lum nous th y st ll , and how v r i e e in e i e a i his i e lum nous th y app ar th r soft, pl sant un ty, p ctur s ” want a little a c c ent in the m . “ nsi r : He i e e e t o i e M. S e e says saw h ms lf d vot d str f and i i h C i i i ee e e e e humil at on to t e d eath . r t c sm s m d to hav b com

78 THE B ARB I ON S HOO . . Z C L

ie it was e f t o fr nds, found that Rouss au had only rancs ” re ceive . Th e i i i i i i i ﬁnanc al h story has many m ss ng l nks , for th s sol d sum of £ 600 app ears to have brought no pe rc e ptible improve i i Di i i e his . m nt to pos t on scounts, b lls of accommodat on, and

e i e e i e him e e h avy nt r st accumulat ng, h ld down, and w r no “ i ” S ensie r e e . e e e doubt, as says, nc ssant tortur Mor ov r, th y

e e him i his e i e e i i e e e comp ll d to go to Par s, to r g st r d dom c l th r ,

e e e e e e e i e t onc v ry month, aft rwards onc v ry fortn ght, to tr a

h At th e i with h is cre ditors on t e spot . same t me h e fe lt acutely th e loss of popularity that his work at this p eriod

fe e i i e h e e e e suf r d, and, as a cl max of m s ry , was d vot dly attach d

his i e e i el e e i h er " His ic to poor w f , whos nt l ct was l av ng p e in th e S i e e The Oa k o the Roc ks tur alon of th s troubl d y ar, f , may well have be en th e expre ssion of a re solute deﬁance of “ e i i i e i i d st ny . It was a canvas of mportant d m ns ons, wh ch

e e e wi e e e e e th e r pr s nts a ld for st glad , wh r an oak, plant d by

e th e i e it s u i e chanc of w nds, had forc d growth thro gh mass v e vi e th e e th e blocks of ston , a gorous savag In cl fts of moss

e e e n i e r ed grown ston app ar brambl s , thor s, l ch ns, holly and

e i i e i e u e i e th e e b rr e s ; dwarf b rch s had l ft d p ﬂat ston s, l k d ad

i e i e in ei e i e com ng forth from th r grav s, th r struggl for l f , and

e e e i S e Of i e e e th e i e - br ath d th r har l ght b tw n t m worn blocks . h i e u e t h e T e i i e in th e e . sky was just v s bl , d stanc , nd r branch s “ e i e th e e D e i i It was a v st bul for gloomy for st of ant , a h d ng

e e t e i e e e th e se e e S plac , a n s of r pt l s, wh r all cr atur s who hun ’ ’ mankind and light pass their live s in an anarchical Witche s S e i e i on e e it is in th e abbath, d vour ng and d stroy ng anoth r, as

i i th e e Th e e e e e e v s on of proph t . g n ral ton was gr n, and har monized th e ver dures the e th e e to all of for st, from grass s and e n th e e th e th e verda turre th e f r s to branch s of oaks, to of

i i m- i real t es as to the de i t nts and shadows . RO S AU 79 U SE .

Th e Gazette des B eaua A r ts w i h a s ﬁ n e e i i , h ch a tch ng of th s

i e “ it Wa s e ve e i i i e its e p ctur , says that s r ly cr t c s d for pow rful “ i h th i ’ ” e e e e e C e . gr ns, wh ch had procur d at h m st s

i e e 1 861 e e i e th e In th s sam y ar, , Rouss au s nt two p ctur s to

A e e i i i it is e e h e ntw rp xh b t on, and r mark d that was always i b e tte r appre ciate d in fore gn countrie s than at home .

’ “ — Rousse au s Dre am it is ridiculous to call it his life hi S en sie r e e now wafts msuddenly to what M . v ry accurat ly “ e i e e i i i a a rden o d scr b s as a land of p rn c ous w tchcraft , g f ” “ A rmida an dto th e e nchantre ss of th e garde n h e paid a ” H f r e t his it s heavy tribute . e o g own old country and ” e e J e i e him He in p ac ful suns, and apan b w tch d . found “ J e e th e i i th e e i apan s art, log cal and frank product on of r g ons ” “ ” i th e i e his i e s e t i e i of l ght, d al of l f , and to work mm d ately

th e e h e e e e The to transform landscap was th n ngag d upon,

Villa e i e i e g , nto a monst r w th a south rn sky, and a northe rn “ blu e i th e . e e e i landscap A sky, l k colou r d sapph re s of th e

ie i e th e i ﬂ e th e B e i -H Or nt, l k glow ng am s of Aurora or al s . e r e - e his h e r e - i e his e e i his i mad sky, pa nt d r ﬂ ct ons, l ghts h e le ft nothing of h is forme r village b eyond th e outline s h e coloure d ” e e i e Ja a n h " e ese. T e blu e i v ryth ng ls p brushful of , that pa nte d

th e e e e e e out gr y north rn sky, s ms to us to hav painte d th e i we e e e i e i i h out art st hav b n h th rto wr t ng about . T e e volution of skie s from inne r consciousne ss was ce rtainly

th e i e th e i is no part of doctr n of Romant c school . It M .

S ensier e th e i e i le w e e who r cords almost ncr d b fact, hav but e e e it in h is We . e i e e i e e r p at d words r turn, w th l ss b w ld rm nt, e th e i i rath r to ﬁnanc al H story .

e in his new e i e i th e e h Absorb d dr am, l k Pal ssy Pott r, e e a e i i his f i th b c m obl v ous of worldly af a rs, and, promptly, e “ ” “ his . F i e his ie wolf was at door am n , says fr nd, " and T H B I N OO 80 E ARB ZO SCH L .

” worse th e i i f e e th e 1 Li e i h e ba l f s w r at door k Pal ssy,

“ i e his e h e his e i t e h is c u rios str pp d hous , sold coll ct on of po t ry, , Th e r e e i h is travelling trunks . p oc ds must have be e n ins gni

ﬁ c ant th e i e w e a r e i — it sacr ﬁc , told , was most pa nful but was

e — then a fterwa rds— h e d ti n e e consummat d and , sol , by auc o , s v n

e e e his i e i e e e t n mor of own p ctur s, wh ch produc d, mor or l ss, ﬁfte e n thousand francs No e xplanation is acce ssible to

e e — th e i e i i six e r s arch ant th s s , of starvat on and hundr d pounds,

in th e i it is e e e e e bluntly shows h story as r p at d abov . Mor

e h is e i did e t th e e e i e i i ov r, cr d tors not g b n ﬁt of th s r al sat on of “ ” “ th i e e h is i h e . e e e ass ts All clouds d sp rs d , says b ograph r, i i e ie e e e . e e e e e h m b l v d h ms lf sav d P ac r turn d to sooth , for s e e h e e i i e his e in i e his v ral months ; r v s t d for st, and sp t of

J e e in fi delitie s e i e th e i e Of C e i apan s , gav h ms lf up to d al r at on , that h e love d still to find in th e he art of our old bosque ts t th i e s e e . and th n out for Alps, to pa nt for Mr Hartmann , a i o Mont B la n Th Genera l View o the Cha n c . e e e f f s ason was lat , “ ” e e i th e i cl u xposur to ra n and mounta n amps, bro ght on inflammation of th e lungs ; and h e re turn e d to Barbizon in

his i His i e e . e e e e e his dang r of l f lln ss last d ov r thr months ,

e e S w h e i e e r cov ry was lo , and was for a long t m unabl to work . Th e ﬁrst canvas that h e took up was h is Village which h e “ ie t e i e i in ie th e i e pat n ly r pa nt d, hav ng always v w mplacabl

J e e i its e e i i e i ie its e its apan s l ght, c l st al nt ns t s, profound blu s, ” iv u bli t a u rora s r osea te a s a c orr os e s ma e.

Wi e e ie i e h e i e in his th thr pat nt p ctur s, shut h ms lf up i e e e i e e e i e stud o , and th r work d nc ssantly, xp r m ntally tor

me ntin e one e e th e i e g th m, from styl to anoth r, as w nd bl w J Th e i i i from Fontaineble au or apan . v ct ms of th s sort of

Ferme Le Fou r Communa l L a i i e i e e La e Vill e. v v s ct on w r , , and g

' “ They passe d through phase s that we re some time s mar i ve e i e e e . O e e e e e llons , som t m s lam ntabl nly M ll t and I w r v r

82 THE BAR BI ON SCHOO Z L .

i t e i b e b e milli n h on a ire i w sh, w sh would to a , for noth ng but for t h e bringing forth of one sole and unique picture ; to de vote e it e e i in it fe it mys lf to , to tak all my d l ght , to suf r for , to e it i e i e e i njoy , unt l, cont nt w th my work, aft r y ars of tr al, I s b e e Si it e e e end hould abl to gn , and say, Th r my pow rs , and the re my he art stops b eating Th e re st of my life should b e

e in i i in i i e e ie pass d mak ng draw ngs, pa nt ng for amus m nt stud s which I would throw like flowe rs at th e fe e t of th e work with t w hich I should b e sa isfied. i i i 4 the e Th e Villa ge went in for e xh b t on in 1 86 . On v ry da e e e i it in h e e e - e th e his y b for s nd ng , tr bl lock d door of s i r e - i e th e Sk in lein a r t Ja ona is tud o, and pa nt d all y p p , and “ i e e e i th e e i dom nat d by thos b aut ful auroras of ast, wh ch com b ine in a pe rfe ct e quilibrium th e softne ss of th e dawn and th e a rdour of t h e tropics h e had mad e for this poor hamle t in Pi fi rmament in i B e e his cardy, a wh ch uddha would hav chos n i ” t hrone of l ght . One circumstance in Rousse au s life is impre ss e d upon us in - H i e i in th t h e e ve nts ofthis ye ar . e had made b tt r e ne m e s e party

w e h e e r e in h e w a s e e i arfar that was conc n d , but n v r w thout t h e r i e e e i e i d sympathy, p act cally xpr ss d , of a c rcl of good fr e n s . In this ye ar (1 864 ) on e of the se frie nds unde rtook to buy “ his e i e e him i e e e u . p all cr d tors , and r stor to l b rty and p ac “ ie i e i H B u t it was only a br f hol day that Rouss au ga ne d . e ” e i e th e e e his th e e h e sitat d to d sclos xt nt of wounds, and r sult “ i e : He one e i e one i n is de scr b d had cr d tor mor , and fr e d ’ l e ssf

e i e is e iffi e th e Anoth r c rcumstanc mor d cult to allud to, from doubt that hangs about it th e apparent inte rnal contradictions

n th e ex a rte e e S en sie r th i p stat m nts of on e subj e ct . He tells

u s e e e i e that v rybody, but Rouss au h ms lf, thought that his wife d is i i e e ie e him w a s ma . e i It mposs bl to b l v , aft r only read ng RO SS AU 83 U E .

’ th fe w e t h e i e e e e h e r th e e xtracts hat g v s of Rouss au s l tt rs to , friendly gree tings and m e ssage s always sent to h e r by h is

e his ie th e i e i i e h e r i i fath r and fr nds , and l ttl nc d nts of act v ty in th i i i his W e e e h e is his e e e . hosp tal t s of hous hold h r v r , ” bonne etite c hérie is e in his h e r e e p upp rmost thoughts , l tt rs a r e i e e e th e e h e r e b e i e anx ously xp ct d, n ws of h alth must m nut

e i e e e th e e h e r e i e h e r and pr c s , v n r cord of app t t and food (for ” “ sh e i i h . e e e was always an nval d) Manag , th n , says , to e ie ie even a bou t me " D o e i th e hav no anx t s at all, cr d t to good

an d th a ir F i - i e e . s e e soup, good of onta n Ecu It n c ssary for

e e et e e e e I sha ll th to g th r good strong ch ks and chubby , for ” wea r themou t a t nc e e e e e o wh n I re turn to th e . That l tt r was i e i e not wr tten to a mad woman . Th y had now l v d down e e e m e we e e his ie troubl tog th r for or than t lv y ars , and fr nd

e h a d e a ndro nous i i in says, Rouss au com to that gy cond t on ” which two be ings me lt toge the r to make an indissoluble one . “ We him e e e u m h er e had found an xc ll nt Asyl for , n ar

i in i u i Th i e . e e Par s, a h althy s t at on day was appo nt d for

i h e r e e e th e e i e h e tak ng th r , but wh n mom nt for part ng cam ,

i i r e a rd a ttendri i e e e e a i sa d, w th that g wh ch b tray d supr m g i ‘ m d i e : - e e e i re tat n, Ah y ar fr nd , wh n I th nk what sto s of tende rne ss I am doing outrage to in se parating my self from h er— sh e is S i e i e — I e but a po l d ch ld , aft r all ﬁnd I am v ry e e e e th e e e e h e r unjust to s k thus my own r pos , at xp ns of ’ ” e th i i he art " I saw th n that e fatal ty must take ts course .

Financial prospe rity se eme d to b e surrounding himwith a

in 1 86 Fi th e 5 . C e i f i i Pactolus rst, ount Paul D m dof , bu ld ng a e in th e ru e Je G e e e i ei e hous an oujon, ord r d for pan ll ng ght larg — i e o C J e e F e i e . landscap s orot, ul s Dupr , rom nt n, and Rouss au

i e i e i e th e 1 st S e e e Each art st was to d l v r two p ctur s by of pt mb r, th e i e i 1 86 . e e 7 for pr c of francs It was, how v r, not unt l 84 THE BARBI ZON SCHO OL .

“ that Rousseau woul d part with his : to ﬁnish a picture was th i ” e m se ry of his life .

S i i - e e e i e e . condly, two nt rpr s ng young p ctur d ale rs (MM Durand-Ru e] and Brame) gave hima hu ndredthou sa ndfr a nc s “ for all th e Old studies that h e had made in his yout

e we a re i on e s et i Rouss au, told, w th hand as de a large por

i his e i i th e e few t on for cr d tors, w th oth r a bank notes to buy e tchings with . (It would re ally b e extreme ly intere sting to ’ e e th e l arn what, aft r all, was gross amount of Rousseau s debts and how they origina ted") Th e e 1866 e in th e i i y ar was mark d, autumn, by a v s t of a ’ week to th e Empe ror s Court at Compiegne and th e oppor t u nit e e f e him e i th e e e in du l y th r af ord d , appar ntly w th gr at st

e e i e i his i his e ie a n d g nc , of l b rat ng m nd of all th or s proj ects

th e e th e e e e in th e on subj ct of ncourag m nt of art country . — AS one of th e j u rors of th e Exhibition of 1 867 th e pre si — dent of th e jury h e re alise d for th e ﬁrst time th e full e njoy

th e ul i e i e i e in ment of pop ar ty that had st ad ly spr ad, st ll mor

in F e in u - of his i i . fore gn nat ons than ranc , favo r own work He saw now th e fortune h e had b e e n waiting for within his grasp ; h e re ceive d th e grand medal ; h e bought thirty thou ’ sand francs worth of e tchings at on e sale h e sold at th e same d ’ i time two hun re d thousand francs worth of p cture s . No “ h e i i e F th e i Ve ei e doubt sa d, l k aust, to pass ng hour, rw l doch i s c h On h e i it h e in Du b st so and as sa d , was struck down,

e th e i S ee that sam day, by blow that brought paralys s and p dy

is e i e i de ath . It a t rr bl h story W e h e e e th e e i Of th e e e h n l arn d , on f st val announc m nt of e a h e a lone th e e e th e r w rds, that of jurors was xclud d from complime nt of promotion in th e Le gion of Honour “ He re turne d with a purple face and with bloodshot e ye s

POR RAI OF D I AZ . B Y PROFI T T T . ARC ISSE I G ILE DIAZ N V R .

ARCISSO VIRGILIO DIAZ DE LA PENA was th e s on

i i e S Di de e a n d of a c t z n of alamanca, Thomas az la P na

his i e i e Be ﬂ ed e e ‘ w f Mar a Manu la lasco, who (pr sumably ov r th e e e e th e e ei i e in th e Pyr n s) from troubl s of th r nat v country, e 1 809 not 1 807 e i e e it — a i e of y ar ( , as som b ograph rs hav ) t m i n e i e th e e wa s tumult and nat o al nthus asm , wh n whol country in i th e i J e th e de i arms aga nst cuckoo K ng os ph, and solat ng G e i e e e e S i e i u r lla war had b gun, wh n v ry pan ard of h art sa d,

La e e e s mi u n e s i i a l u n mu rt para plac r, cons go matar g — france s and eve n t h e wome n drille d and Carrie d arms for

“ ‘ th e fathe rland He rmosas Ama zonas y mas ﬁ era s qu e

e — t h e e i e e his own h rmosas and of poor pupp t k ng, v n — “ ’ ’ countrymen said Le r oi dEsp a gne n était guere qu e r oi de ” Th e i i S a Madrid . ﬂ ght of Thomas D az from alam nca into “ Fra nc e B e i e i i e e i e h e , to ord aux , at th s mom nt, nd cat s th r that e e i e i e his ie s e e was scort d th th r as a pr son r, or that sympath w r F h “ i i e . We a r e e re s c rib ed not patr ot c, but r nch told that was p i J e B e e e i i e in i i by K ng os ph uonapart , aft r b ng nvolv d a pol t cal ” i e i i J e t i e er consp racy , but c rta nly K ng os ph , at tha t m , had oth matters to think about than th e pr e s c ription of Obscure i i i h . t e i e e th e of nd v duals War to kn f had b gun , and days 88 E O H L T H BARBI Z N S C OO .

i i th n e e e e . e e quart r or m ld d al ng w r past On oth r ha d, no Spanish patriot would voluntarily have sough t re fuge in th e h e F Th ien i C b e i e e e art of rance . e fr ds of D az annot but nt r st d in i e e e his e im th s journ y ndur d by young moth r, almost

e i e e e his i th e i a n d th e i e it m d at ly b for b rth, hardsh p m s ry of th e i i i e w th e th e e i bro l ng m dsumm r glo of days, and alt rnat ng i th e i th e e e ch lls of n ghts among p aks and pass s , so soon to be come familiar to Englishme n ; th e occasional skirmish e s of th e e t if e e e e e i G e i th e scor ( scort th r w r ) w th u r lla bands, or u nexpe cte d whistling of bulle ts from the surrounding crags ;

th e e i e i e o f th e i e e i in th e t rr bl fat gu young w f , jolt d pa nfully

e i i te da th e saddl from morn ng to n ght, day af r y ; ﬁnally, a i B e e e th e i t h er rr val at ord aux, and, th r upon, b r h of ﬁrstborn , — whose name so slightly a lte re d Dia s de la Pena days of — suffe ring is so curiously de scriptive of t h e time of his e ntry t into h e world . ’ Th e e e e e e e e n young moth r s troubl s w r by no m ans ov r, wh ,

a e Sh e e e sh e h e r i e in h e r ft r all had ndur d , had ch ld saf arms, h er w e a r e e e i i e e e h e i for husband, told , f l ng ns cur , as w ll m ght

if h e e e in S i i i i th e e th e w r truth a pan sh patr ot, w th n r ach of l t h e e e i N e led B e ong arm of v r m ndful apol on, f (from ord aux to " h e e it e e i England) How manag d , what r sourc s surpass ng thos e of ordinary citize ns h e commande d to enable himto e i e i i we a re p e rform such a f at at th s p r od of h story, not told . English and French gene rals or admirals would have b e e n his i e e inte re ste d in th e particulars of voyage . Our nt r st stays i n e i B e i th e i e ow. e be hind at ord aux, w th w f and ch ld d st tut We e i e i t h e e i the re . dw ll l ng r ngly on charact r of th s young

e i e e i h e r t in the - e i e e h ro n , b ar ng par all p rvad ng warfar of thos

i e not e e i e h e r w e i dark t m s, uns x d l k country om n w th a gun on

h r S e e i i in e u e hould r slaught r ng , but s mply, a world turn d p

s i e i e i i h e r i de down by war, arn ng an hon st l v ng for ch ld and

90 THE B AR BI ON SCHOO Z L .

es e i e e i i e i i h e r ult of ducat on , sp c ally of class cal r ad ng , wh ch hardly could have acquire d after beginning to work for his i i He e e e e in his i e ie e l v ng . was, mor ov r, n v r l f a pat nt stud nt

h is i e His e e t h e C i a of art or of anyth ng e ls . knowl dg of lass c l i mythology must have be e n gathe re d from le ssons w th M . “ i in th e i e i w e a r e h e e Pa ra, nt rvals of wh ch, told, pass d his i e i th e a F e t m rambl ng about woods and ro ds of l ury,

e n Se e S i C : a ima bles c a ma nes of M udo , of vr s, of a nt loud p g “ Si e e e i o i e e e . e e e f says M lv str , wh r a natur d vo d v ol nc r calls t h e magic of th e fetes ga la ntes of Watte au th e trunk of th e e e e e e e i tr that grows th r com s of a w althy and grac ous stock, in th e d l e e i i th e i lowlan s fu l of sl p ng spr ngs, and on h llocks

e in i i i e e th e e e i always wrapp d ﬂoat ng m sts wh ch r fr sh v g tat on, ” e e m th and s to prolong e autumn .

F th e th e i e i e e th e e Net re rom top of l ttl h ll, wh r chap l of

e de s F e i e in t h e i th e e e th e e e Dam lamm s r s s m dst of cypr ss s , y wande rs with delight along th e banks of t h e S e ine e xcoriate d

th e n i i e i e i e i B e by av gat on , ov r wh t v llas of Aut u l and oulogn ,

th e i h e e Of i i in th e i e e e and s l ou tt s Par s , m sty d stanc and th r , on e ﬁ n e i e his e e e e t he day, young D az aft r gam s w nt to sl p on grass and whe n h e woke up h e fe lt a sharp pain in h is right fe e t i i i e . e , wh ch was rap dly sw ll ng A good woman took charg h im e i i e e e e e . He of , blund r ng stup dly , and gangr n sup rv n d

e ie th e i e th e C i Je e e h e was th n carr d to Hosp c of h ld sus , wh r

e c ou sur c ou i th e support d, p p , two amputat ons, for ﬁrst was not e fe i e n ow h e e e le i it f ct v , and w ars a wood n g, and ga ly calls ’ ”

mon ilon e e . p , my p stl i‘ He rmann Billiing give s a diffe rent account of th e accide nt W i e i e e i n e in th e e 1 h e e did h l D az was sl p ng o c op n a r, as oft n , a vi er bit himin the oot ffe i in th e p f , and long months of su r ng ’ Hospice de l Enfa nt Je sus followe d th e ye ars of unbridle d

d n u n t 1 8 Z e it sc hr i t fu r il e de s 6 . f b K , 7

32 THE B ARBI ON S H Z C OOL .

’ c e e e e himif h e i H is r . e t mera ar r b for , w ll only work a ﬁe e p ment i t i i " H of a colour s , and what fac l ty e make s his picture s a s e - ee e e an appl tr mak s appl s . We e xtract th e following from th e work of He rr Billu ng “ Th e e i th e i S ou eh on th e e e e ntry nto stud o of , xc ll nt

Li e e e e h e ie e e ll mast r, whos plast r casts cop d, was anoth r st p on his e e h e i i i upward way . Th r struck a ﬁrm fr e ndsh p w th

Si a lon e e i e th e Oft en ~s oken -oi Loc u sta g , who subs qu ntly pa nt d p , ’ a nd Si alon n e oc ia t e d t h e e Di Oil- i i g g sal of az s ﬁrst pa nt ngs ,

i h e didin his i u u wh ch hours of l e s re . On unusually l cky days the se atte mpts of th e youthfu l maste r fe tche d from sixte en to e —ﬁve n tw nty fra cs . “ At that time Diaz struck th e ﬁrst chords of his subse que nt c ie e i e it e i in th e olour harmon s ; som t m s was landscap s, br ght moonlight with me rry groups of dancing nymphs ; some time s h e

e e ie i i i i e i e produc d har m v ws w th langu sh ng Odal sks , whos wh t

i e in i i l mbs and full voluptuous forms , fold d long ﬂow ng ha r and

e i t h e i th e gauzy v ls, stood boldly out on glow ng colours of ’ Vi t Or ienta les e e him e background . c or Hugo s s duc d oft n to

t h e e i e i i e e ie strang st p ctur s of Turk sh l f and mann rs, court lad s

e i e e e i e in e e e Di e th e and th r pag s w r m x d up b tw n , but az ow d true de ve lopme nt of his tale nt in th e ﬁrst plac e to th e most

e e i e h e e th e e ie e arn st, pass onat study mad of mast rp c s of

C e i in th e L orr gg o ouvre . “ Th e A ntiop e re ve ale d to himth e se cre t of th e golde n

e e t h e e i e e e e th e i blond ton s , ﬂ x bl , suppl mov m nts, rays of l ght

e i e e i in th S w and th r r ﬂ ct on e hado .

For S e i e h e e e D e i a pac of t m , also, had l an d on lacro x, bmut n ow h e was sailing into th e only stre am that was ﬁtte d for hi .

Th e e C i th e e t h e e warm, south rn olour ng, boldn ss of sk tch , and

th e e i i Sic herheit th e i e e e e him e pr c s on ( ) of l n w r asy to , as th y w f w e re to e othe rs . D I AZ . 93

His Ope n fe eling for beautie s of landscape place s himon a

e e i e e e wh o e him i e l v l w th Th odor Rouss au, surpass s as a pa nt r, i J F i h i his . . e t e his and w th M ll t, compan on of youth , and ’ ” e ie d long y ars fr n .

F e e i e e J e Cla retie a re . t urth r d ta ls, r cord d by M ul s , tha

e i th e i e h er e e i e a t Madam D az, at t m of d ath, was stabl sh d

Se e e n e i i s vr s as gov r ss to an Engl sh fam ly, and that Thoma

i e i B de e in th e e to D az, scap ng from or aux,*w nt ﬁrst plac N e e . orway, and th nc to England Claretie i th e i e e th M . also nforms us that, at t m wh n e

i e e i e e i h e e e e s young D az b cam a pa nt r on porc la n , was ﬁft n y ar of a ge (that would b e in 1 82 4 ) and goe s on to say that Jule s D e C ffe e e i e i e on upr , abat, and Ra t w r , at that t m , also pa nt rs

e i Chez th e e J e D e porc la n, , uncl of ul s upr , who was my ’ ” Cla r e tie s e e e e Gi e H . . e (M ) mat rnal grandfath r, Ars n ll t conﬁrms all that w e le arn from Silve stre of th e taste s and “ ' h i h e in t mode of life of t e youth . Wh lst was mak g he th e e i i i th e e e e nth u si round of all xh b t ons and th atr s , an — — a stic obse rve r of th e two side d move ment in Art and in

— - Lite ratu re that was to culminate in our e poch making i e ni i S ou eh on ye ar of D az was l ar ng draw ng of , + and,

i ime h e e i everishl i t o at th s t , b gan to pa nt f y, throw ng on i e e i i i i canvas a profus on of sc n s , Egypt an or romant c, nsp re d m th e e i by t h e s ensational dra a of p r od . A he ro of Fre nch i th e i i e e e n e b ography has pr v l g of a h ro of roma c , or we

at ’ W e h a ve be for e us a Spa n ish tr a n sla tion of Ma dame C ottin s Ex iles ” “ f Si er ia u lish edb Ga le a n dChil d of Pa te rn ost er Row b D o b , p b y , , y ” ii P o e s sor de la len u a a s ll a n Hu ia z de la Pe a r c te a . s a n d a n T . D , f g b d

f th er e or e w er e oth te a c h er s of S a nish . e , f , b p d 1 85 a RA OI S S OUCHON . 1 786 . 7w s a u il of D a vid a n dh a TF NC , b , , p p , da a l n f r makin c o ie s of oldma st r Th Lill e m r e ma rka ble t e t o g p e s . e u se u m a l some e ll - a in t e d hist or ic a l la n dsc a e s b him H c ont a in s so w p p y . e w as a m f ill e rom1 836 D ir e c t or of th e A c de y o L f t o 1 85 7. S H OO 94 TH E B AR B I ZON C L .

should be gin . to calculate th e price s of admission to e x hibi

i e e th e e in th e n t ons and th atr s , and numb r of hours you g ’ th e his e e e i e m man s day, and amount of r sourc s d r v d fro h is i i e i i i t h e a e h is pa nt ng, or porc la n pa nt ng, or s l of draw i i i e a e h is e e is ngs , of wh ch at th s rly stag of car r so much i Cla r e tie ﬁ ve i . e e . e e sa d Th y produc d , M says , francs ap c Castil-Bloze paid him2 0 francs on e day for gua ir e toiles de hu it — i Si e e his ie Si a lon i but accord ng to lv str , fr nd g ntroduce d him i e e e wi e e e Ni e to a st ll b tt r mark t th som p opl of m s, who — bought drawings of himat t e n or ﬁfte e n francs apie ce they e e e e i e i e w r r coll ct ons of th atr cal pag ants, sumptuous ve st ” — e i e i e th e Nimois m nts , gl tt r ng armour, and so forth and , aft r , h is e e e G e i e n xt custom r was a lady, Dam u r n , who k pt a — curiosity shop in th e Ru e du Faubourg Poissonniere who

e him i i e e c hinoiseries gav old pa nt ngs, s als , armour, costum s, , or ’ i e in e e i e him i th e e furn tur , xchang ; and mbu d w th coll ctor s passion to which h e devote d th e we alth that h e acquire d by hi r t— h e e e e e s a for b gan to mak mon y v ry soon . ’ h e i is i e Cla r i T e e arly mann r of D az qual ﬁ d by M . e t e du ne ’ tona lite sombre i i i e in e , want ng br ll anc , dull colour, h avy of ” e i e in th e demi—teints — touch, and d vo d of transpar ncy but i i i th e i e e . He th D az had, h ms lf, no llus on on subj ct was e ﬁrst i e e e h s . Cla r i to cond mn own arly landscap s , but, M e t e says w a s i e i i e i e h e s e t th It w th a l g t mat pr d that would up, by e

S i e th e i e i e C i e - i e d of p ctur s of M ll t and orot, a l f s z study of a e ie blond young woman, or a back V w of anothe r wande ring

in e and viva nte th e e h e about a dr am, , fl sh of r being as su vou r euse as th e most s e ductive re ality ; one of those happ y ins ira tions knoc ked o in two hours inc oma ra bl su er ior t t p f , p y p o he most nished ic ture " Th e i i a r e u t h e d fi p tal cs o rs, wor s and th e i Cla r e tie is i e e e . e e whol s nt m nt M r spons bl for . His e i i e i e in th e S 1 835 first xh b t d p ctur , alon of , was calle d

E B RB I 9 6 T H A ZON SCHOOL .

s e e him e wi th e i And so you turn out by doz ns, th rap d

e i i e e e e i e i th e r gular ty of a mach n , th s wom n and ch ldr n w th

e i i th e i i e ﬂ e sh — e gold n ha r, w th p nk and wh t and all of th m a re re e i e i e e ei e e e e ﬁgu s r susc tat d from v gn tt s, or conc v d and x cut d ” “ ” “ " Bu t in i e h e Di is a at a gallop , sp t of all, adds , az

' i i e — H s t a n d e e . e e e e e pa nt r, a tru pa nt r has a dang rous xampl , is i e imi In h e xtre me l cens has found only too many tators . throwing hims elf into all th e vagarie s of a brilliant and facile i i i h e e e w t h e e mprov sat on, do s not work to ov rthro p dantry of — t h e Acade micians h e justiﬁe s it

' B i n in 1 836 an ob sc u r e e in t h e i e arb zo , , was haml t, lost m ddl

th e e d e e i e of land s and woo s, and haunt d only by som art sts th n

w e e i i i e it s wi e . unkno n to fam , nthus ast c worsh pp rs of ld b auty Its inhabitants we re poor woodcutte rs and tille rs of th e me agre — soil riche r in it s rocks of sandstone than in agricultural pro “ li n e e a nd Dia z i r e A . S e ns e duc . g y was th r , , says M , and ’ e e i i th e e e e e th e Rouss au, and Rouss au s nstruct ons on pal tt w r

int de de a r t Of th e e e i is o . p p r al tal nt of D az, for colour At th ‘ ’ period th e ﬁ ne studie s of th e Gra ndBy u se (Rousseau) we re a e e i t h e i e el i w h o e e r v lat on to quondam pa nt r of porc a n, had b n i e e i e th e i i struggl ng, all alon , to purg h ms lf of trad t ons ’ h e eintur e th e e ie i th e of t p of apoth car s gall pot, and “ Di S nsi r e e e . e e chocolat cup . az, M adds , was conqu r d i e i e e a n dhis i i hime i e mm d at ly by Rouss au, adm rat on for r ma n d th e i i th e e i i hi i e e s e . S e for v r, conv ct on and r l g on of all l f p ak , ” “ it i " h e n ow his e is i e of to D az, now says , , that b ard wh t i i e wi s e e his C i i w th to l and troubl , and you ll ast l an look lighte n up at th e me mory of th e gre at chief who le dhimon to ” i nd his i th e e e e e . v ctory, a h art d lat at m mory of Rouss au i i e In dou ble o one e e D az l v d a w rld, and was of thos born po ts , t h imi i e S e e i di e e fn lav of ag nat on, whos g ft or s as of a tasy was e i e e e i e e e i h alth ly ton d by a faculty of cl ar, obj ct v appr h ns on of

98 T HE B A RB I ON S HOO Z C L .

i mi e i e th e V e of colour sts , who also , fro t m to t m , shows us nus ’ i in th e i it b e of Prud hon walk ng about moonl ght ; and , must

t e e e th e i t e e e e a r e e fur h r obs rv d, p c ur s of Ars n Houssay n ate r ’ e e e i de e h and cl ar r than thos of D az la P a. ’ e e e rie i e e t o Thor , Rouss au s gr at f nd and part san , obj ct d t h i i i i Di e ae . e h m nut of class ﬁcat on Of az and oth rs , suc as “ e S e fe e i h e e i e th e D camps , Ary ch f r, and D lacro x, says, Th y g v ’ ’ lie th e e B i i e a r e to prov rb of r d O son th y nobody s sons , but

e e on e i i is e e e e i th y all hav or g n, that , th y proc d from th r own “ ” “ innéité Di h e is th e di fi e . az, adds, most f cult of th m all

i He e th e ou u e th e i e t o class fy . r calls f g and r ch abundanc of

ie th e e e C di bu t e e T polo, ﬁn ss of har n, abov all , Watt au and V e lazque z ; h e has th e silve ry and ha rmonious colouring of

V e e t h e i e e : He lazqu z, and l ghtn ss and phantasy of Watt au s e ts ou d e i th e in th e i y r am ng, also, of school of Parma, qual ty

his e e t h e e e h is th e of ﬂ sh ton s , transpar nc of shadows, and

e his e e is e i i softn ss of touch . Th r not a mor charm ng colour st a nywh e re ; h e combine s in hims elf all th e gifts of colour i i i e e e e ie i h e i e th e v gour, br ll anc , r ﬁn m nt, var ty, l ght d spos s of

i e C e L i his is a e e e sun l k laud orra n ; art not n tur , nor v n a conve ntional re pre se ntation of nature : it is th e poe m of a

- e it is th e e i e day dr am ; vocat on of a sup rnatural world , a

is e in e e . e e e h dr am a land of nchantm nt Th s for sts of , and e i e i e e i in i i — i th r voluptuous d n z ns, x st only v s ons charm ng i i i i e e one is in v s ons , such as op um and hasch ch produc wh n i e e e e . e good h alth, and p rf ctly happy alr ady Most pa nt rs, who

e th e i e it in e ni have run aft r fantast c, hav found t rror and ght

i th e wit e i th e mare . D az has had to dr am upstand ng most ” h i i th e i e i . i t e b e aut ful mag c of ch m r cal world As to th s , e i e Si e e e dre am of Diaz was not always rosy . Th oph l lv str t lls “ one e i e e i e a i e us that at p r od , som t rr bl and fant st c subj cts

a r s i i in in h is i h e is e in i e a d to b e st rr g m nd ; pr pos g to pa nt, I 99 D AZ .

e e i ie Resurr ec tion a t the Cemeter b aft r long and s r ous stud s, a y, y Moonli ht e u e is b e th e e i i s a isissa nte g , and ach ﬁg r to p rson ﬁcat on

n i i i of some o e cap tal v ce of human ty . Th e admire rs of Diaz must turn to Th or é for th e sympa the tic note of true admiration ; but it is th e old original

i e i e in 1 84 6 e e d his D az, whom Thor wr t s of , wh n alr a y “ i e e e is e e h is popular ty was gr at, and th r a gr at d mand for ” i i On e ic it i hime e e e . work, and br ngs xtr m ly h gh pr c s p

e th e S 1 84 6 ei ie tur , from alon of , was bought by M sson r “ Th e i e i e th e e e : e r ed- e e nt r or of a for st ; tr s blond , h ad d e e e — i e i i e i e in y llow, gr n all g ld d by a l ght wh ch br aks out gl tt r g e e e e e i e i e v rywh r ; and brambl s and plants nt rm ngl d joyously, and clambe ring up th e trunks of th e oaks in s earch of their s e t h e i e in th e i e th e i e har of sunsh n ; and, m ddl of p ctur , a

i e e e e in i r ed i th e e e l ttl ﬁgur dr ss d harmon ous , attract ng y to a i is i i e i N i po nt . It mposs bl not to worsh p ature express e d w th

ff i i s t e e . e e e e e so much po try In ct, M sson r has out at onc

h his i is e e e t e e . e for som for st, aft r purchas of D az It v ry ” i el h e i c i l k y that w ll come ba k to us a landscap e pa nte r . ’ ’ The Ga rdens o Love The Leda L Or ienta le L Aba ndon Of f , , , , “ Si i i e e i i e e e e e and m lar p ctur s xh b t d that y ar, Thor says Th r is re ally neve r any occasion for we aring clothe s in th e country i i Th i ’ that D az pa nts . e ta lor s art is unknown in thos e burning ” i e i i t w i . e e o e e th e e cl mat s And , r v w ng oth r p ctur s of sam “ e La S a esse La Ma ic ienne h e : i is y ar, g and g , says D az not a ’ S i i On e th e i e pan ard for noth ng . has always colour ng of on s

. e me r a nd i e e e country T ll your colou , I w ll t ll you wh r you e e e i in e is e e com from, for v ryth ng natur r duc d to harmony : th e Be i a re th e e e th e S i a r e th e lg ans colour of b r, pan ards ’ t h e Th . e e e w 1 84 7 colour of sun, and so forth n xt y ar s sho , , e xcite s Th or é still more : Vive le S oleil h e crie s Vinc u t ’ la c ou leu r et les n mhes a mbrees th e e th y p ; and fl sh of opal, and e 0 B R O 1 0 THE A BI Z N SCHOOL . hair that falls in wave s,and th e be au tiful raim ent of a thou e e ti th e e e e e i sand r fl c ons , and j w ll ry that blaz s so br ght, and th e t t i th e i i e " Vive la vie sof volup uous l ght, and nfin t sky ’ ” D éeidemment la intu r nnu u se n est a s a u s nt p e e e ye p ma e. “ Bu t it is of this Salon of 1 84 7that Planché write s Diaz

e s e i i e it is mak no progress . In ﬁgur pa nt ng or landscap th e e h e ds his e e i e always sam story ; ﬁn on pal tt charm ng ton s, i h i i h e e e s e e e e e . of wh ch mak s ng n ous k tch s , but g ts no furth r

h air He Th e e e e e t e e e e . tr s want l av s, av nu s want and spac e i i i ie e is dazzl s w th a br ll ant var ty of haphazard ton s, and

his a r th e th e t a ins e . e e e e err cont nt All tr s on sam plan, want i i sol d ty . S o n th e e e is e if e e ie i in lo g as y dazzl d, m ralds and rub s r val

in h h i i i t e e e e e . do attract g y , asks noth ng mor Th s w ll not . e e o e in th e a ir e e e i ra mewor k All th s f r sts , all th s ﬁgur s w th no f ,

th e e e a re romises w i h e cannot hold ﬁ ld . Th y p h ch must fulﬁl

‘ i wi r him his e or the publ c ll we a y of and sk tch es .

e iewi t h e i e in th e G e Ex hi i Edmond About, r v ng p ctur s r at b “ i 1 855 i r i e i h e t on of , has a fanc ful a t cl on D az, whom calls A

e e e e wh o e i e i e c l brat d conjur r has stol n a l ttl ray of sunsh n , and

r i it i h ime e e e e it his ca r e s about w th v rywh r , and spr ads on

i i i e it is i e th i e . s e e e p ctur s It qu t a l ttl ray, but l k fortun of

i J w e e it e e is e e a e e e . t h e w nd r ng , what v r xp nds r stor d at onc i i i th e ﬁve e e e . If you look at small canvas s xh b t d by M D az ,

ou i s e e e i e e i C i e x u i y w ll grac ful nymphs , l v ly coqu tt sh up ds, q site sce ne ry and e ve rywhe re that little ray of sunshine which

is i e e i e will n e ver b e use d up . It by th s bl ss d l ttl ray that i e e e ui e th e e i M . D az has mad a gr at succ ss, and acq r d r putat on of a gre at painte r ' “ arle s Blanc : Th e of i in his e e Ch says colour D az, sk tch s

I ms zec le I n tr odu c tion to th e His toire des Peintres Fr a nga is a u X X e .

IAZ 1 0 D . 1

’ - th e B ohemiens is th e c hef doeu vre of brilliance mharmony . In

i e e a r e a i e e OfM . D az th r pl ys of l ght and colour unknown b for th e F e i e e e i e to r nch school, and of wh ch no xampl s x st, unl ss

' ” it be in ce rtain fantasie s of Watte au .

e e Pe llo u e t t i his e ie e ff M. Th odor q ﬁ compar ng arl r orts to

l t he e e u i h his e e fo low l ad of Rouss a w t own form r styl , and

i i in 1 858 wr t ng , says “ i i Th e i He is doing all h e can to bury h mse lf al ve . D az of — — forme r time s th e only ge nuine and true Diaz in fact e xists

He is e e e e th e e no more . r plac d by anoth r who b ars sam

e is erha s th e e e n e e e e nam , who p p sam p rso , but who, n v rth l ss ,

h e a dfa r - e h a s with t e forme r only a vagu n away re se mblanc . “ Th e t Di i e e e h e i e e ﬁrs az m ght hav b n, had w sh d, p rhaps th e e i e his i e N e w e gr ate st landscap pa nt r of t m . obody kn b ette r than h e how to se t gushing th e stre amle ts of gold that th e light we ave s in th e shadow of th e w e t roof of th e under

th e e e e th e e wood, on gr n moss s of a grassplot, on carp ts of

- i e e e e . N a i e e e e v ol t hu d h ath r obody, ga n, had dr ss d mor spl n didl e i e e e w y thos l ttl Turks , awkwardly shap d , mor awk ardly

i i e i i in e i i s i e d sjo nt d , but st ll charm ng th r audac ou and mp r l h tinent de formity of dra wing . T e s e cond Diaz has forsaken his i i in i one e e e him or g nal path , wh ch no had gon b for , to ’ marc h in th e e e -r u t C e i wh l of orr gg o and of Prud hon, but to march blindfolde d and knowing nothing of th e route trace d

i i He i i e e e . e e t by th s two llustr ous mast rs w ll n v r know , and i b his i e is i that w ll e pun shm nt . It not p e rm tte d to a man to — b e ungrate ful e ve n to hims elf ’ And th e Ge i i e Billu n e , as to Prud hon , rman cr t c, H rr g t lls ’ us For a space of time Prud hon was maste r of his whole

e tha t is to sa o his whole a lette Ve e i e h art, y, f p , and n t an suns ts, or

D ietion a ire de oc he des a r tis tes eontemora ins 1 n p p , 858 . 1 02 T H E B ARB I ON S HOO Z C L .

n e e m i i e e th e e ie for a cha g pal , ro ant c moonl ghts w r acc ssor s to ’ his Ma ic iennes his Dela i-ssees his i e i in g , , and sol tary d spa r g

G e e e th e Folles Amoureu ses i i In th r tch n ﬁgur s, p n ng e re ce sse s of ” th e e li for st so tude s . e e e Ge i i D J i r . e e Anoth r, and a gr at r rman cr t c, ul us M y r, in his i i e e e i e ph losoph cal and car fully r ason d h story, trac s back

t he e i i ie Di n i B i is all p cul ar t s of az to our E gl sh on ngton . It

i fi i e his e in e d f cult to do just c to argum nt a short xtract, but “ th e i is i i D . e e e e e l nk mportant A gr at r nﬂu nc than camps , “ h e w i e i e th e i e e th e e i d r t s, was act v on colour st t nd ncy of p r o , in RI CHARD PARKES BONI NGTON (1 801 an English in his e e i t in his i e e e man, but car r as an art s , and nﬂu nc , b long ing almost of e qu al right to th e history of Fre nch as of English

i in th G i i e e . e e e art Tra n d school of ros , and nt mat ly conn ct d

ie i i e i h e e e one th e e ie by fr ndsh p w th D lacro x, had b n of arl st of th e e Ofth e D Ve e i e in th e L v stud nts utch and n t an mast rs ou re .

ﬁ n e e e e e i i i To a s ns of colour, and a r markabl g ft of fac l ty, h e unite d a thorough appre ciation of th e picture sque and a

i e e e e i N e e in h e r i e i s nc r f l ng for atur , as w ll man f stat on by

i i L e i i e e in th e e e e . nc d nts of human l f , as m dful l f of andscap Th e i i i e e i t h e i dazzl ng fac l ty of x cut on, ﬂash ng and

i e i e i e th e e i i sh mm r ng of costly t xt l s , gl am ng and sparkl ng of O e h e e th e i i in th e all sorts of bj cts t at catch and r ﬂ ct l ght, unt l — rich colour concert of t h e costume and acce ssorie s t h e ﬁgure s

t e — e e e e e e him a r e los and forgott n w r p rp tuat d aft r , by — CA MILLE ROQ UEPLAN (1 802 1 85 5) a n d EUGENE ISABEY hi D th e c c . r e e e e . (b . and m thod was pronounc d M y r calls it ta sc hensp ielerisc he B lendwerk (a conjuring trick) that “ ” i e i da s den Din en ihr e S eele a usweidet r*obs th ngs of th r soul ( g ) D ir e c tor of th e B er lin A c a demy Ge sc h ic h te der mode rn e n Fr a n

i h n Male r e i seit 1 89 Eu leic h in ih r e mV e r h altn is s zu m oliti z os s c e 7 , g p

L en zu r Ge sittu n u n dLit er a tu r L e i zi 1 867. sc h en eb , g , p g ,

1 0 4 T HE B ARBI ZON SCHOO L .

th e e th e i S w in th e On whol , Art work of D az ho s that, glamour of h is most gorge ous dre am h e ne ver lost h is grasp of

h in h i i wa t e e . e e e e e e s truth landscap What v r pa nt d th r , or mi e ee He e e p i i ght hav b n . n ve r ov rste pe d that pla n front e r t e e th e e th e i a nd t in th e e hat s parat s po t from lunat c , jus sam in th e his li e h e e e way , conduct of f , was a po t at larg , but, w e n i e e th e e e in h occas on ros , a shr wd man of world, and n v r ” h is i e we e him u in i e i l f do h ar of as slothf l bus n ss, or fa nt ’ h i H his e e e e e . art d, or w ak of w ll . was moth r s son

th e e e t h e B i re h e e In g n ral story of arb zon cong ss, ﬁgur s t f his e e e e i e hroughout as a strong staf for w ak r br thr n, M ll t ' a nd l a n u n H i i e u e o . e e e e Rouss a , to p was act v as th r brok r in the rr i e e th e e i co upt p ctur mark t of p r od , and, no doubt, c ame in like a sunbe am on the ir days of de spondence with his

e i e t e i i e i boisterou s p cul ar, h ar y and g n al, and (l k Daub gny) w ords and manne rs . His portrait is of one of thos e symme trical h e ads which tell o f e i e e u e lines o in pow r, w thout strongly mark d f at r s or f s ista nee ; and of s ensitive a n d e ven passionate p ossibilitie s f in r e e e th e e e d e e e e e th e s rv , for d p ark y s to xpr ss and abov all,

ﬁ ini I i is kind e is e e ie e rst pre SS On IS that t a fac . It asy to b l v is i i e e e h e e The h fr ends that h e was a favour t wh r ve r w nt . ’ a M ff in his Ca ita le de l A rt a re e e . e n cdot s of Wol , p rath r ben trova ti veri e is one e his than , but among th m that t lls us of

ﬁ e e i i i i in h is rst m t ng w th D az, and how D az found rooms a li e e i e e e e i i in it s a de ttl pan l p ctur , r pr s nt ng a ch ld cr l , and a m e i i e it e e i i e e n oth r s tt ng ov r , and w pt ov r th s p ctur , and t e e e it i e e i in h e r at d to hav back at any pr c , xpla n g that had s old it unde r stre ss of pove rty a ndthat it was a portrait of his wn i i th i w a s e o e e . w f and ch ld, and ch ld d ad Th e impulsive frankne ss of th e disposition of Diaz could not i i have a be tte r llustrat on .

1 06 THE B AR B I ON SCHOO Z L .

Th e Inte rn ational Exhibition of 1 855 was th e culmination ’ “ ” i e e Clar e tie it h e e e of D az s fam , wh n (as M . calls ) xplod d i l e i e N mhs i e e e e b e w th ha f a doz n p ctur s of y p , st ll st m d to among th e be st of his works the y we re t h e D ernier es La rmes

th e i we e e e e Di Les ( colours of wh ch, ho v r, w r dull and pal , for az), ’ N mhes La Biva le La Fin du n bea u Jou r N mhe tou rmentée y p , , , y p ’ ’ a r l Amour N mhe endormie Presents dA mou r e p , y p , , all of th m , it wi b e e e i i th e one e e e ll obs rv d, var at ons of th m that haunt d h im i e in his i e h e s e t th e e , and , hav ng s nt p ctur s, out n xt day, i NOT th e e i e s a b u t F e e . for East, as som b ograph rs y , for onta n bl au “ i i h e He rr Billiing has gone wrong at th s po nt. In i e e a e th e i h e says, D az r solv d upon voyag to East, wh ch had

e i e e w th e i e e s oft n pa nt d, but only kn from p ctur s of D camp

ilh a t Th e a ilu r e his e e i e S and Mar . f of car l ssly pa nt d alon picture of that y e ar ma y have contribute d to this sudde n

i i He e e e an d ai e e . d c s on stay d away n arly two y ars, p nt d ,

e his e La Ma r e a u x Vi eres on e his e t soon aft r r turn , p , of ﬁn s i ” a ndmost ﬁn she d works .

i is He e e e th e in Th s all wrong . n v r w nt to East ; but

1 856 i i e i th t O th e t G e e S . e bu lt h ms lf a stud o, on p of Mont org s ,

B i e t e h e i fe e his at arb zon, and aft r tha dat , as d f r d from

e e in his a e e th e e his i e th e coll agu s m nag m nt of sal of p ctur s, e i e his i is i e i H r ma nd r of b ography comparat v ly prosa c . e

e i e B e i le r t r d to russ ls (as a man of s xty, who had lost a g, may

b e . a r don e d i r i th e i i e 1 8 p for do ng) du ng nat onal d sast rs of 70. e th e h e e e e i e e Aft r war r turn d and gr w r ch, and mad a gr at col

e i i i ie i e e e th e s e a l ct on of cur os t s, bought h ms lf a hous n ar , at E i t h m i e e e e e . tr tat, and took up for a t m study of ar n subj cts To th e last ye a r of his life h e is de scrib e d as th e ever -young

do en th i e 1 8 6 h e e e e . 7 e e e y of pa nt rs In w nt to M nton , wh r

h e ie th e 1 8th N e e not t h e b i e i e d d on of ov mb r, of t of a v p r,

His i his i e e t h e . e e e but of a d s as of lungs w f , who had b n 1 07 mm.

e e e his i e th e e i d vot d nurs through last lln ss , brought r ma ns to

i e e e e e i e e in th e e e e e Par s, wh r th y w r nt rr d c m t ry of Montmartr ,

i i e e i ie w th much pomp and te st mony of popular ste em . M sson r

- and Jule s Dupre we re among th e pall beare rs . Many fune ral

i e e e e th e F e th e e orat ons w r mad , aft r r nch custom, at grav , but J i e e we a r e d e . e e ul s Dupr , tol , was s l nt It was subs qu ntly, in e e h e e e his e e e mot in th e and a l tt r, that utt r d c l brat d , that

e i e i e th e on e it s d ath of th s gr at pa nt r, sun lost of most beautiful rays “ ” ’ i i e in L Ar tiste is th e Gi i e D az, says a wr t r , son of org on , ” th e i C e i th e n B i cous n of orr gg o, and gra dson of occacc o .

A NDI 1 10 PPE X .

’ a m Ma x ime Le s Be a u x -Art s a l E x osition Univer selle et a u x D u C p ( ) , p ” n 1 863-6 Pa ris S a lo s 7 ( ,

‘ L e s B e au x Ar ts a l E x p osition Unive r selle de 1 855

Sa lon s de 1 85 1 859 e t 1 861 Pa ris . 7, , ( ) “ u msnil Henr i L e Sa lon de 1 859 Pa ris D e ( ) , ( , “ u r n l Le s Ar tiste s r a n a is c on temor a in s Tou r s 1 883 F o e f c p ( , ) ’ Ga u tier Th eo hile a in é A c da ir e du S a lon de 1 861 Paris ( p ) , , bé é ( , 1 861 }

L e s B e a u x Ar t s e n E u r o e 2 vols . Pa ris p , ( , “ Sa lon de 1 84 Pa ris 7 ( , ’ Ar t mode rn e Pa ris L ( , L e s Pe in tr e s viva n ts Pa r is ( , Con temor a r Fr en c h Pa in r . L n d n n G te s o o . Ha mert o (P. ) p y ( ) Ima in a tion in La n dsc a e Pa in tin Lon don g p g ( ,

“ L a n dsc a e Lon don p ( , Pa in tin g in Fr a n c e a ft er th e de c lin e of Cla ssic ism L on don ( ,

n ri t F Pa sa iste s a ux Ch ams Pa ris He e ( ) , y g p ( , “ a e Ar sen e Re vu e du S a lon de 1 84 4 Pa r is Hou ss y ( ) , ( , ” n e a u ri r mth e ri Fe r din a d d C se e s A tisti u e s . Re r in ted r o L a stey e ( ) , q p f ' iee le Pa ris S ( , ’ L a Pein tur e a 1 E osition Unive r s e lle Pa ris xp ( , ’ r c C a r a c t er e s de l E c ole r a n a ise modern e de Pe in tur e Pa ris L e c le q, f c ( ,

’ Ar t e t le s A rtiste s Bru x elle s L ( , “ ma n t Ch a rle s L e s Ar tiste s c on temora in s—Sa lon s de 1 831 e t L e n or ( ) , p i 1 833 (Pa r s) . mn to du Sa lon de Peintu r e en 1 875 Pa ris Me e ( , moria l Ca ta lo u e of th e Fr e n c h a n dD u tc h L oa n Colle c tion Edin Me g , rn i n E x hi i i n 1 dite d b h I n te a t o a l t o 886 . E E H nl e bur g b , y W . . e y E din ur h ( b g , n a r d Rén é E n tr e tie n s su r la Pe in tu r e Pa ris Me ( ) ( , Fr e n c h Ar tist s of th e r e se n t da L on don p y ( , e r Ju liu s Ge sc hic h te der modern en Fr anz osisc h en Maler i it Me y ( ) , e se ” L ei zi 1 789 ( p g , ’ L de L Ar md rn l i t o e e o . 1 Pa r s M n tifa u d . V o ( ) , , ( , “ ” Mon tr osier E u en e L e s Ar tiste s modern e s 4 l vo s . Paris 1 881 ( g ) , , ( , , 1 884 ) “ Miin tz E n én e L e s Ar tiste s c le r e s Pa ris 1 885 ( g ) , é b ( , , A P ND I 1 1 1 PE X .

P B R Men ar d &c . &c . n iver sel L e a r E . L i e vr e . u rt . Mu sée U ( ) , p , y , , , llo u e t D ic tionn a ir e de oc h e de s Artiste s c on te mor a in s Pe q , p p ’ Pe troz Pie rr e L Art e t la Cr iti u e e n Fr a n c e de u is 1 82 2 Pa r is ( ) , q p ( ,

’ la n h e u sta ve E t u de s su r l Ec ole r a n a ise 1 831 vol . i. P c (G ) , f c ( Pe in tu r e Pa r is ( , ’ r tr a it s dA r tiste s Pa ris Po ( , ’ ’ r ou st An t on in L Ar t Fr a n a is 1 789- 1 889 a l E x osition Univer ( ) , c ( ) p ” sell e 1 889 Pa ris , ( ,

Rosen er Adol G e sc h ic h t e der modern en u n st L ei zi b g ( f) , K ( p g , “ Rosse tti Fr e n c h A r tist s L on don . , ( ) Silve str e Th eo h il e Hist oir e de s A rtist e s viva n ts r a n a is e t ( p ) , f c tr a n er s Pa r is 1 856 é g ( , ) ” “ ’ L e s Artiste s r a n a is Etu de s da r es Na f c , p t u r e Pa r is ( , S teven s Al r e d Imr e ssion s sur la Pe in tur e Pa ris ( f ) , p ( , “ Str ah an E A r t Tr e a su r e s in Americ a Phil a de l hia ( . ) ( p , Mode rn Fr e n c h Ar t Ne w Yor k ( , “ A Hist r of Fr e n c h Pa in tin L on n tr a n ah an C . o do S ( y g ( , “ Th omson Th e B a r izon S c h ool of Pa in tin L on don b g ( , Th r e Th eo h ile Histoir e de s Pe in tr e s Pa r is o ( p ) ( , Sa lon s de 1 84 4 —1 84 8 a ve c r a c e a r u r . B er , p éf p W g Pa ris ( , — Sa lon s de W . B u r e r 1 861 1 868 a ve c u n e r a c e g , , p éf T T r 2 ls Pa ri a r . h o e vo . s p , ( , ’ Tima l Ch a rle s “ Not e s e t Ca u ser ie s sur l Ar t b ( ) , ’ l C en t Ch e s dCE u vr e S Pa ris Wo ff f ( , ’ a i a l l Pa r tl r e r in te L e C p t e de Ar t . y p d fr omthe a bove Pa r is ( ,

ou D ic tion a r ie s a n d c lo ae ia s a r e n ot in c lu de in th e list w ic nn Th gh Cy p d d , h h c a ot do mor e t ha n poin t ou t th e c hie f sou r c e s of in forma tion with r e spe c t t o th e Pa in ter s of B a r izon e t th e ollowin u lic a tion s mu st b e men tion e Th e c l o ae ia of a in e b , y f g p b d Cy p d P t r s ” ite J D a mlin a n d er kin s 4 ls N a n d a in tin e . . . . vo . ew Y or k a n d P g, d dby Ch p C C P , ( , ’ “ ” lemen t a n d Hu tt on s A r tists of th e Nin eteen th en tu r 2 2 vols . B oston C C y, ( , 1 879) a s givin g spe c ia lly fu ll list of pic tu r e s (an din s ome c a se s th e own er s ) u n der th e n a me s of th e iffer e n t a r tists A r tic le s a l so oc c u r t r ou ou t th e le a in Fr n c d . h gh d g e h ’ erio ic a ls su c a s t h e B u lle tin de l Allia n c e de s Ar t s 1 84 2 Ga ze p d , h ( tte de s ” ’ ” ’ ” “ ” B ea u Ar ts L Ar tist e L Art a n d a mon s t E n lis eri odic a ls th e or t olio x , , , g g h p , P f , ” ” th e M a a zin e of A r t a n A r t n a l dth e Jou r . g , I t is of c ou r se imos si le in t is volu me t o ive a c omle te list r e er en c t o h e , , p b h g p ; f e t mor e imor ta n t of th e in ivi u a l io r a ie s a n d n otic e s is owever ma e in th e p d d b g ph , h , d S ec ia l B iblio r a h i in r s p g p es of th e va riou s I a te . A ND I 1 12 PPE X .

—S OME OF THE RI NCI A RIVA C O IONS AS II . P P L P TE LLECT (P T AND R S N CON AI NI NG S CIA FIN AM S P E E T), T PE LLY E EX PLE F THE I OF BARB IZ O PA NTERS ON.

RA F NCE .

A c l u e Pa r is M Th m Mme . c o . o Th ie r Pa r i s . q , . y y, ’ l Pa r i M T dAu ma e s . . a e rn i r i D u c , v e , Pa r s . i llin o Pa r s . M . r r i B e V e ve Pa s . M . , ,

mPa r i i c h o fsh e i s . le m r ia B s M . D M . Co te o Orr u o . f , , y ‘ i d Ca ssin Pa r s . M m. e m. e u v Roe d r r Ha . M e , e V e e e , vr e i d Pa r s . r Mme . u L e a ix M Ch a u c h a V e ve evr e Rou . . , f , b

M . l B a r n d B u r n i Ch er a m Pa ris . e o e e onville ds M . y , ( ’

C o u elin a ine Pa r is . e r se d . M . q , p ) i r Pa r is r dis r I n e M . D e oe d me . C ott . e se M , f ( p i Pa r s . A . D r e u D s osses M . s M . e . V f , yf i M . ld h mi Pa r s . dt r D ieu l a o . S Go sc D . f y ,

is . Ha ma nn D oll u s Pa r M . rt J . M . f ,

' - r M . L a u r e n t Ri h r i Pa is . c a d M . D on a t s , M nh im F a u r e Pa r is . . O e e M . , pp M a u ln i r i n Pa ris . S e M . G en t e , . e a n M . S e c r t H h t Pa r is . M . e c ,

i M . A . S en sier 1 8 7 u tz Pa r s . 7 M . G . L ,

de Roth s c h ild M . . Wilson la B a r onn e N . m. M e , J

Pa r is . M B E LGI U .

l r l M . Ot e t B u ssels . r a e B r u s se s . M . C bb , , ’ M a n r a n de n E n de B r u ssels . Th e la te . v P a e t s C oll e c tion , M . V y ,

B ru ssels .

GREAT B RI TAI N .

Ha milt n Br u E . E din r tic e D a L on don . o c e s u h . Mr . u s Hon . J y , , q b g

n der son E s . E dn u r h A S a i . n don . . ta a t s For e s E s . L o J . S b , q , q , b g

E . u n l n de r son s . a s o H kin son L on don . J . A G w . H . o Gen e r al p , , q , j , g

T l n Ar th u r E s . la . G e G s ow . nide s E s . L on don . C . I o , q , q , g

J a me s C ow a n E s . Gla s ow . L ei h ton B ar t . Sir F . g , , , q , g m D n a ld E s la s J a e s o . G ow . L on don . , q , g

A J . ir k a tric k E s . Gla s ow . Mu ir E s L on don . . , , A . , q K p q g

n d ma n E . la s o T Gla s S a e s G w . n don . . Poole E s . L o , , E . J . , q , q g

r F r e s h it D u n d e . J . o e e D . W You n E s . Bla c kh e a th . A . g , q , b ,

J a me s D u n c an E s . B enmor e dis B owman E s . E din u r h . A . , q , b g , q , ( p er se d)

1 1 4 A NDI PPE X .

“ ’ F Mill in al u de s c r i ti Man tz Pa ul . . et Ca t o e ve de l E x ositi n ( ) , J ( g p p o

de s (Eu vr e s de Mill et , “ ” Pi e da n el Sou ven ir s de B ar izon Pa ris g , b ( , “ ill F . M e t Pa r i n sier ie e t (E u vr e de J . s Se , V ( , e an Fr a n ois Mill et Pa in t er a n d Pe a san t tr an sla te d J c , , by He len a de Ka L on d n y ( o , “ ’ Mille Bi lioth e u e d Mod rn Yria rte . F . t Ar t e e Pa ris , J b q ( , ” L r n t . I . Oc t o Ar t a d etter s I . e , , p ( b , ” Ar t ou r n al 1 881 . 2 99 L on don . J , , p ( ) ’ ” i I r r I . 69 9 I 1 4 9 ar . Y a e L Ar . C t 5 1 4 4 i t 332 Pa r s . , p ; , , , , ( ) ’ “ ” I . . 2 8 i . . . Mill L Art ste n s V . Pt 7 et c h e z lu i ar , , p , , p i a n Pa r i P éd g el ( s) . ” A h n m a n a 3 1 8 5 L on d n t e aeu u r 0 o . , J y , 7 ( ) ” l n n hl 1 8 m r . At a tic Mo t 76 Se te e b E . h e l h W e t . y , , p b , y W wrig ” “ ” C en tur Ma a zin e Ma 1 889 Re c oll e c ti n s Mill o of . F . e t y g , y , , J , by a t E a n Wy t to . ” “ ” Cornhill Ma a zin e 1 882 Th e E a r l L i f F . Millet e o . E . g , , y f J , by W .

H enl e L on don . ( y) , ( ) z d B a u x Ar t Pa ris 1 1 Ga ette e s e s 86 X I . 2 62 L e s E au X ( ) , , , Fort e s de ” “ u r 1 n . Mill ar P . B t 8 3 I I 2 2 et s . V . 3 ll i n , p y ; 7, , , , C o e c t o L a ur ent

M a r . r d a r R en d 1 8 5 n . Ric h a . s X I 4 2 8 r E a . h n a u , p ; 7, . , , p C e s e ;

“ ' n II I 4 5 Ha r mnn Coll . a r A 1 8 1 . . t a de L st al t 8 s 7 . o o , , XX , , , p

I . a r dr e Mi 1 887n . s . V 5 An c h el &c . 85 0 . , , XXX , , p , , ” ’ ” l I a n d II Mill f Ar t o s . V . V . e r L n n Ma g a zin e o (V ) t s C ou n t y ( o do ) . ” Mill n . I t a a Ar t r i l . e C i (Vo V s t c .

n d39 . 1 889 3 5 a b D C . Th oms n , pp 7 7, y o . ” “ Mu s e de s Fa mill e s A ou t Pa ris Mulle r E u en e Au é ( ) , ( g ) , ill ” Pa ys de M e t . ” h C n tu r te mer 1 888 r H A n . n t M . d L on d Nin e te e e S e s . o y , p b , , by y ( ) ” il n n i zi de d u . I I . . 1 2 1 L Z e itsc hr ift fiir e st e . b K , p ( p g )

—S OM OF THE RINCI A AI N I NGS BY IV . E P P L P T

An g elu s [Wil son a n dSe c r eta n Coll s . ] (e tc h e d) .

' - ier Goose ir l M no. r e . J . S a u ln B ordea ux B a th er or . ( g ) , , Pa s r r i . B a th er s , L ouve, ’ ’ r — i h n F . e a r a P s Bir d ill e s n t sc e e M . G r a r i K g , , . Ha Ha ma nn s s ton B u c kw h ea t rve st rt Ma r tin B rimmer E . B o UZS . [ , q , l Mill t al o P is Ch ur c h a t Gr evil e e S e L u vr e a r . [ ] , ,

M r a n ll . N rk Ch u rn er [ o g Co e w Yo ] .

Th e n a mes be tween s qu a re bra c ket s indic a t e th e c olle c tion s throu gh whic h th e T n m l r i a s e . h a i p c tur es ha ve p s d e es in ita c ar e th e present owne s . A PPEND I X . 1 1 5

h rn r me A n elo Pa r is . C u e , M . g , - A l r e M a r e ou r r I M . m s Cli s f r u c h L a u r e nt Ric h a dC O L d T . ff o G y [ ] , f , ’ od-c u tt er L au r e nt -Ric h a r d Gl tote ue D e a th a n d th e Wo [ yp q ,

Cop enh ag en .

E d f h Ha mle t of Gr u c h A . u inc S h a w E s . B os ton . g e o t e y , Q y , q ,

E n dOf th e D a Th e Ma n with th e Ja c ke t M . Rou a r t Pa r is . y ( ) , , — - E venin g Woma n w a t erin g a c ow [L a u r en t Ric h a r d “ ’ E x pec ta tion ( L Atten te Fe ll Phila de l hia F din r s . G . . e e Pou ltr M . g y, J , p ’ Fish e r ma n s Fa mil Comte D or ia Pa r is . y, , ’ Fi Mesda Th e Ha u e . sh e rma n s i e Heer H . W. W f , g , g ' a man is Millet s moth e r Mor a n Coll a s t G th erin B ea n s th e w o J . E g ( ) [ g ] ,

. k ma n Ch a se Es Ne w Yor . , q ,

Ne w o k . G e e se W A s tor E s . Y r , . , q ,

i - m s B os ton . A G r l r n la A . u in h a w E . ith a n o c S U. S w e w b b , Q y , q , , .

' E n ll mni er h e ims . e tu a Gle a n e r s Sa lon Mme . Po R v t o b e iven [ , y , y g

h L u t o t e o vr e .

- e 7 P r a e t B r sse ls G os ir l oll o th e la t 1 11 . a n u o e C . g , f V , ’

ke e ller E s . r a H r ma n n ll . o k d a t Co . R c e or G ter 1 855 e t c h e W N w Y . f ( ) ( ) [ f , q H a er nie P r is a ml f u sin T v r a . e t o C o , M . , i Pa r . Ha r ve st M . Pe rr e a u s [ , ]

Ha r ve st er s S alon M a r tin B r imme r E s . B os ton . [ , , q , Ha t k h me a t n a r is . s a c s T e M . H r ma n P y , , ,

- Ha m Th ier Pa r is . tr u ss er s Th e 1 850 e t c h e d M . Th o y , ( ) ( ) , y y ,

I nterior u n n ish e d Museu mo Fine A r ts B os ton U. S ( ﬁ ) , f , , L ov n u r r s on on . S . For bes E . L d e th e Co e o J . q , , q ,

L h n L ondon . ve t e u r r i te E s . M P o Co e o V. 0. u l r q , I Q , q , , ” M an with th e Hoe et c h e d a s L a ou r S a lon M . Va n den ( b ) [ , E n e d B s e . y , ru s ls

Ma t ern a l Pr e c a u tion Pr inc e D u tz , . M i a ter n t M ess rs ba h c L ondon . y , . O c f

Milk- i r c a rr A l h e s Pa r is . e M . n ma , p o s D u ,

Milk-Ja r York. J . 0. Runkle E s . Ne w , , q ,

Mose s Ch er bou r Mu s e u m. , g

Moth e r A M a rs eilles M eu m , , us .

- Moth er i h ll otterda m. w t Childin Cr a dl Fo S mit Co . R , e , p ,

Mou th ul Th i e e et c h e d M u se uma t L ll . f , ( ) , Na ia d M rs B . orie h P ila del h ia . , , p Offe rin t o P M t a n o ellie s m. g , n p r M u eu

(E di u s D e ta c h e d r omth e Tr e e S a lon 1 84 7 Fa u r e C oll . M . F . Otle t p f [ , , , B r ussels . A I I 1 6 PPEND X .

in t o ork a Ma n a n da Woma n 1 850 Ja mes D ona ld E s . Pe a san t s g o g W ( ) , , , q ,

Gla sg ow . r i Rou a r t Pa r is h oe u s a n dB or e a s M . Hen . P b , , - Hec h t Pa r is . Pi ill er s 186 69 Pa ris E x hi ition M . g K ( 7 ) [ b , , - s . S . A . d u inc S h a w Es . B o ton U P a t la n te r s 1 860 E tc h e A . ot o p ( ) ( ) , Q y , q , ,

' B a ltimore a lters s . . Pot a to Ha rve st T. W W , E q ,

Pu lic Ove n I n New Yor k. b ,

de l h ia . R tur n of th e L a ou r er M r s . B or ie Ph ila e b , , p

m . D ol a r i R u r n th e Fa r M . u s P s . et to , J lf , R eve r ie (g ir l s e a te d a t foot Of a r oc k with su n ligh t pla ying u pon h er

E s . B la c kh a th . h r u h th e r a n c h e s ove rh e a d. A . Youn e t o g b ) g , q , d Pa r is a Th e M . L e ra n . S e , , g ,

S e n L e s son L eitner E s . Wa shin ton . wi g , , q , g

i me o i W. H o er Pa r s . Sh e olda t N h t M . e pf g , p , M nli h t Pa r is E x hi i i n s 1 86 a n B el ina h e e oldb oo t o d M . l S pf y g [ b , 7 ,

Pa r is .

l s . B ti e ld T . a ters E a l mor W . S h e e o W. pf , , q , S h e e p -sh e a r in g

Sh e h er d Re tu rn of th e Floc k H . C. Gibs on E s . Ph ila del hia . p ( ) , , q , p ns ta n tine I onides E s ondon r ss o L . S h e h e de C . p , , q , h ll o th e la te M a n Pr a e t B r s S h e h e r de ss e t c e d Co . . V u sels . p ( ) , f , h e h er de s s st a n din a a in st a t r e e knittin ﬂ oc k in th e distan c e S p ( g g g , ) ,

E s . B l c kh ea th You n a . A . g , q , a d M u seu mo F ine S h e h e r de ss se t e A r ts B os ton (L S . p ( ), f , ,

k ller s Roc e E . e k S h e h e r de ss W. N w Yor p , ef , q , . h M Ma ri r M s . r e tc e d . s k e W H . nde b lt e S ow . a r i w Yor . ( by ) , V , N 1 50 l st ic tu r ma lle r S ow er 8 e s A . u inc ha w s n S E . B os to U. S . A . ( ) ( p ) , Q y , q , , M r a n IL t C O . F . S u ton S inn er o J E s New Yor k. p [ g ] , , q, ’ S in n er Pa r is E x h i ition Co u elin a ine Pa r is . p [ b , q , S rin Ha rtma nn C OIL L ou vre Pa r is p g [ ] , , . ’ h a s S u n r ise ove r t e S e M . D e osses Pa r is , f , .

T h r le a n e r s u ri h t i ur M e e G c t e I B lu mnth a (p g p ) , . e l .

S ene e w Yor k T ia . N o s G J . . b , y ,

T r k n . u e s C . A . D a a E s New York y , , q , .

' T wili h t a Sh e h e r de ss knittin M d . a Toiet B r u ssels g ( p g ) , , . V i il Th e t ome n s i a i - w o w e w n t n h t L a u r en t Ri h r IL . g , ( g g ) [ c a d CO ]

mn . n W a sh e r o a J C . Ru kle E s . e w , , q , N w Yor k.

W a sh er w oma n L a u r en t -Ric h a r d a n d D e oer M homThier [ f . T y y ,

Pa r is . ” W a ter Ca rr ie r e tc h e d a s Th Milkmai e d L L ec ou teu x M . ( by . ) , Gu otin Pa r is g , .

A ND I 1 1 8 PPE X .

— E TCHI NGs c on tinu ed.

1 9 L a Gr a n de B er er e . 16 . L a C a r de u se . . g ’ L D a rt ou r le Tr a a il 2 v . 1 7 L a Ga r de u se dOie s . 0. e . ép p

1 a Fe mm a i n man er s on 2 1 . L a Fil eu se . 8. L e f sa t g n a n E f t . — 1 1 L I OGRAP S . . TH H -il Portr a it de Ch a te a u r ia n d OD. don c e ? 2 2 . st b mn i n d Pié a el 2 3 L e S eme u r . e t o e d n . ( by g ) 2 4 Olivie r d rr . e Se e s .

iii —HE I GRAP S . L O H . r mm n L a Pr c a u tion Ma te n ell e . 2 6. Fe e da t u n é vi S e a u . i v. ’ P n i a i ddun Ar r Ma rmtt L Pa a sa a ss s u e e . o e e sa n a s y p b , y ’ ’ Tete de emme c oiﬁ ée du n e sis a n d va riou s oth r f , e Ma rmtte k h o . s e tc e s . i Pe t e B r er i . 32 t e e a ss se . Femme da n n a g vi t u Se u . B é h a T c eur u r a a il . 33 L a B e r er e . v . g

r u i n r B é h u r a u C oq s (o th e r e ve se side Of 34 . c e Re pos (en gr avedby L a F emme vida n t u n Se a u Pier r e Mille t ) ) . ’ Tete de femme c oiffée du n e

VI - CHINGS AF R I C R S AND RAWIN . ET TE P TU E D GS Y I B M LLET .

The E n lis h t itles b wh ic h the a r e mos t ener a ll known i t s g , y y g y n h i c u n r a re iven o t y , g

Th e An elu s C . Waltn r g e . (small pla te ) siz e of or i in al 2 1 b 2 5 ( g , y ) (sma ll pla t e ) (a sma ll pla te)

— (ﬁr st ide a for th e pic tu r e a ma ll u r i ht la te A s P. Ma i p g p ) . rt a l . - F B r a mn rn L a m . c u e o d New bo b q .

oo c u ts th e r s t few a r e Millet a n dth e t r e e l a st his r ot er s n Ofthese W d ﬁ by h by b h . I 1 52 Mille t esi n e ten t e s of ea s a nt s w ic wer e e n r a ve on woo A rien 8 d g d yp p , h h g d d by d “ ll n 1 55 L es u atre Heu r e s da Jou r w er e also en r a e on woo L a viei e i 8 . Q g vd d by

Adrien L avieille I n 1 860. I 1 9 A PPEND X . 1

E c h db F Br a c u mn d. You n g Sh eph er de ss t e y . q e o Sp r in g tM e

’ L a bou r L Homme a la Hou e Th e Knittin g L e sson Fe tc h in a ter g W 3 , At h D n mma . t e W ell B . a

S innin p g . Th e Sh e ph er de s s Th e Gle a n er s

Th h l L B c u Rodri u z . e Mou t fu ( e e q ée ) G . g e

Th e S inn er L . L e c ou teux p . A Norma n dy Milkma id Ha y -Tr u s se r s Th e h r d s L r a k Goat e e s C . t e . K . Ch ur n in g (fr ompa stel in Luxe mbou r g Ga l ler y ) Th e Spin n er Th e Gle a n er s (small pla t e ) Ch u rn in g For n et .

Ge e se

Th e S ow er u r i h t r omth e ic tu r e (p g , f p ) O lon r oma a st e l (b g , f p ) Th e Spin n e r Th e Sh e h er d p a ,

Th e Re t ur n Of th e s FlOc k Th e Sh e ph e r de s s Fir st Steps (L e s Pr emier s Pa s) Sprin g Th e Ch u r c h a t Gr eville F . a u l G et .

G oin t o W or k B lin - l g G . e D o e t .

Th e Gr a te r ill n V . Foc o f .

Th e Ste w - ot Pot -a u -f u L i n e L . p ( ) . e s g e Th e Spinn er Woma n fe e din g Chic ken

Th e Pota to -Pla n ter s Tu r ke y s Wood-S aw y e r s

Ge e se r e r odu c tion in c olou r th e h oto r a vu r e r o s ( p by p g p c e s ) . A ND I 1 2 0 PPE X .

B e side s th e se va riou s small e r e tc hin s lith o r a h s a n d h oto r a vu r e , g , g p , p g s h a ve a e a r e d in va riou s er iodic a ls sale c a ta lo u e s a n doth e r u lic a pp p , g , p b “ ” ’ ’ ” tion s in c lu din L e Ga ze tte de s B e a u x -Ar ts L Ar t L Ar tiste , g , , ’ ” Cen t -Ch e s d(E u vr e L e Ga le rie D u r a n d-Ru el L e Mu s e Uni f , , é ” “ ” ver s l L s A ist e s Mode rn e s a n d th e Ha rtma n n L au r n t e , e rt , , e

Ric h a r d Sa u lnie r D e oer Se c r eta n D r e u s Fa u r e O enh eim a n d , , f , , y f , , pp , B r a u n n r i th er l l Me ssr s . CO . Of D rn a c h a d Pa s o s a e c a t a o u e s . o g , , u lish a ver ﬁn e c olle c tion Of a ou t 1 80 h oto r a h s a t er ic tu r e s p b y b p g p , f p , Mill a n M r a stels a n ddr a win s b e t d . Ge o es Pe tit u lish e s a serie s p , g y , g p b

of 5 0.

VIL— IC UR S BY I S O D I N PARIS IN MAY 1 875 P T E M LLET L , , AF R HIS A H TE DE T . Pric es

Little Sh eph er de ss sea te d Moth er with h e r Childr e n

Hou s e in th e Ha mle t Of Gru c h y D a ir yma idle a nin g a g a in st a Tr e e Woma n c a rryin g Pa il s Woma n milkin g a C ow Sh e e p -sh ea r e r s W ood-c u tter s Th e E n dOf th e D a y Th e Pig -kill e r s You n g Sh eph er de ss sittin g on a Roc k Fishin g B oa t Pe a sa n t Fa mily Gu st Of Win d You n g Moth er n ur sin g h e r Ch ild Th e Even in g Ch u r c h a t Gr eville

D onke in a Ma r sh y . Hun t by T or c hligh t Sh e h e r dr e tu rnin with his Fl k p g oc . — Th e S e a Vie w of th e Pa stu r a g e of Gr evill e Norman dy Milkma ida t Gr evill e

T h e a ove list ives th ri ’ b g e p c es r e a lised by th e pr in c ipa l of Millet s pic tu r es w ic h were in his osses sion a t th e time of his e a t h p d h .

1 2 2 A ND I PPE X .

Fa rmin th e W ood(1 864 ) [Sa u lnier a n dS ec r et an ll M te F r mi B D a n a n C o . i r bo a n err . y [ g , V e k don s . w or r c n e C P . Hu ntin E N Y . Fo e st S e , . g , q , M n ir a r For e st Skir t s of th e o t s G d.

Hen r i L a llema nd. la de Th e III . G , ,

Kinen Pa r is Gla d Th Mme . eu ve . e , e , V ,

n n 1 59 Pa r i E i i n M s H . G or e s Of A r emo t S a lo 8 s x hi t o r . W g p [ , ; b ,

a nder bilt ew or k . V , N Y ’

r h n a in l a A ndr e Pa r s . G u f Oa ks in F r st of Fo t e e u M E . i o O t e o e . p b , , Ha mle t in Nor ma n d A Wils on a n dS e c r éta n y , [ He r dOf Ca ttle in th e Ju r a ’ Hilloc k J e a n de Pa r is 1 84 8 c on t a in s a or tr a it of th e a r tist s wi e , ( ; p f ) L a u r e n t -Ric h a r d D e oe r a n dS e c r et a n [ , f - -Ri h a r I H a r Fr Th L a u r n t c dC O L T . . a lt o more . ost e e lV W ers E s . B a lti , [ ] , , q ,

Hu n nders n s E dinbu r h . t Th e A r th u r S a o E . , , , q , g th t M . a I n h ds u r i h t Coll . o e la e n t B ss s t e W o o V Pr a e ru el . (p g ) , f , i n a in l u mes s . s o I n th e F or e st Of Cla r b ois Fo t e e a Ja D ona ld E Gla w. , b , , q , g

I n t er ior of a itc h en Lille M u s eu m. K , i r E r in -D a vis C oll N r I n te r r f h F o . e Y k o O t e e st w w o . [ , ]

L n r oc ke eller E s rk. R . ew Yo a n ds c a e a dF o e st W. N p , f , q , IL L a n dsc a pe in B er r y [D r e y fu s C O ] .

L a n dsc a in u mmr H Pr o a c C oll . Cin c in n a i t . e S e . s o p [ b , ] Li l i h r mn D r I tt e F s e a [ efoe C O L] . M a r sh n e a r a Pa er -mill n e a r Tiffa u e in L a V e n dee p g , Mor a s s in h L a n 1 84 9 Har ma nn I ou r t e de s t CO L L v e . ( ) [ ] , - M r a in h L a n Ric h a r d ll . M Ur ba P r is o ss t e L an de s u r e t Co . a [ , , . rn in L a r - i r M r H . n e Mo u en t R c h a d C OIL s . W. a drbilt e w York g [ ] , V , N . M r n in B h o a r on dc Rot s c h ild Pa r is . g , , OldR e stin - la c e for Ca ttle a t B a s -B r ea u Ha r tma nn C OIL L ou vre g p [ ] , . P in la Th ff f n in Coll o th e la te M . t O e ve . a n P t B e e e c r a e ru sse ls . , ( g ) , f V ,

P a i i F l Ph i el h i l n f B a r z n s . . e l la d a . O o .Mr . C b , J , p

Pla in in h r n H n I t e Py e e e s [ a r tma n C O L] . P n d A N r i h kin I o a sc e C O L . , [ ] Pool in h L a n d A 1 866 Pa r i E hi i i n r t e e s s t o M . eve Pa ris , ( ) [ x b , V , . P l o o , Th e

Pool in th e F or e s t Of F on t a in e le a u rlI ont e llier M u seum b , p . Pu lic b Ove n in th e L a n de s [Ha r tma n n C OIL] . Re s tin - la c e for C a ttle F or e st of Fon t a in e le a u L a ur ent -Ric ar dC OIL g p , b [ h ] Spr in g -time [S a u ln ier a n dS e c r eta n S ri n a t B a r iz n 1 85 1 L a u r e n t -Ri h a r d IL p g b o ( ) [ c CO ] . Spr in g on th e L oir e I 1 2 3 A PPEND X .

k h S ton e Oa , T e

S tormL a n dsc a e L ou vre . p ,

rmA Cons ta ntine I on ides E s . L ondon . Sto , , , q ,

n s . ma r sh la in w ith c attle a n d ools Of w a ter ) A . You E , S u n se t ( y p , p , g , q

B la c kh ea th .

- IL S u n se t a fte r Storm[L a u r en t Ric h a r dC O ] . k ll Ne Yor . S u n se t Al ert S en c er C o . w [ b p , ] ' “ Ha r t S u n s e t (u pr igh t pic tu r e ; e t c h e db y B r a c qu emon da s Even in g [ mann C OIL ] .

T ili h t Mme e u ve Kinen . w g , . V den . O H . T wili h t Mor a n COIL M rs . g [ g ] , g

Va ll e of th e Tiffa u e S ec r eta n C OIL in New York . y g [ ] , m V ie w Of th e Ch a in of Mon t Blan c in a St or .

Vie w of For e st la n da t Su n se t L ou vre .

Vie w a t B a s Meu don (1 833) [Sau l nier COIL] . c h o i a r s s mP i . Villa u n d r h Tr e s M F. B is he e e t e e . g , m ﬁ , Vill a e Th e 1 864 Har t ann C oll . g , ( ) [ ] W a shin g Pla c e a t th e E dg e of a Pon d

- W a ter c ou r se a t S ologn e [L a u r en t Ric h a r dC OIL] .

a r a nt s l u seu m. W t e Me a dow s , N e Zf - k i D . N r ode dL a n dsc a e E rw n a vis C oll ew Yo . W o p [ , ]

Woods in Win t e r [Ha rtman n COIL] .

— I NA HI N S O S S A X R GI C G BY . . O L ET R U E U U n e V u e da B er ry U n e Vu e du Pla t e a u de B elle - Cr oix

L a Ch én e de Roc h e

' l n a Helio ra hie L a Cerisier de la p a t e B r ia n (FOr e t de Fon ta in eble au ) . g p

s u r ve r r e .

' i el o ra h e L a Pla in e de la pla n te a B r ia n (FGr e t de Fon t a n e ble a u ) . H i g p i s u r er r e v . * X L— CHINGS AF R AI N I NGS BY O S A ET TE P T R US E U .

E ve nin mn Br a c u e o d. g E tc h e dby F . q Th e Fish er man r a tke C . K . — Th e Pon d E ar ly Mor n in g

it B es i s mn ti n mll t n a r in e t es e e o e a n u mer O f s a e r e c i s &c . a ve a e e d h d b h g , , h pp d va riou s erio ic a ls s al e c a t a l o u e s a n d ot er u lic a tion s for a lis t of w ic s ee p d , g , h p b ( h h n ote u nder th e List Of Etc hings a ft e r p ic tu res by Abou t 130 phot ogr a ph s a te r a intin k s n d v s s e tc e a r a win s a e een u lis e MM . B ra u n Cie f p g , h , d g h b p b h d by

M . Ge or es e tit h a s a lso is su e a s ri s of to r a f a int n R u a u g P d e e pho g phs O p i gs by o ss e . 1 2 4 A ND I X PPE .

Th e S wa m E tc h e db Kr a k C . t é p y . ’ Th e E a l s N T h l e e s . g t C au ve .

Su n set For e s t of n in e l a Th e , Fo t a b e u (

L ou vr e . M Gr eu . ) G . x

Z DIA .

X II — B IB I OGRA H . L P Y. “ ” Cla r étie D ia z n u l r n m r a in P 1 0 Pei tr e s e t S c te u s C o te o es I . t. (J ( p p , ) P r i ( a s) . “ ” M n tr i m r a in e P s 1 2 6 t o 1 2 8 o os er E u en e D ia z Ga le rie Con te o t . ( g ) , ( p , ) Pa ( ris) . G a z t - i t de s B au x Ar t 2 9 a r R B a llu Pa r s . e e e s X V . 0 . , , p ( ) ’ ” L a r Ar t I . 4 r 4 9 I I 2 0 ar Ju le s Cla étie VI II . , , p ; , , p Je a n Rou a u Pa r i sse ( s ) . ” d n Ma z C Th omson L on o . a in e Of A rt 1 81 2 31 b D . g pp . , , y . ( ) ” H Bill un Z eitsc hr i t fiir ilden de u n st X IV . 9 D ia z von . f b K , , 7, , g L ei zi ( p g ) .

— HE I A AI N I NGS BY IAZ X S OME OF T RINC . III . P P L P T D

ur - i h a r d IL Afte r th e Rain [L a e n t R c CO ] . B a th r s Th a u r n -Ric h a r dC OIL e e L e t . , [ ]

B a h r a n r ilt k . t e s Th M rs . H de b e w Y r , e , . W . V , N o

I o B a th er Th C . A . nides s . L ondon e E . , , , q ,

B a th r n i r e u seu m e t orme te db y Cu p ds G enobl M . ’ Blin B f 1 r s H a nde r bilt d Ma n u 852 Al r S n c r C IL M . W . s e t e e O . V f , [ b p ] , ,

New York.

B oh emia n ir l t r e r k Yo . G s . A s o E s N w W . , , q ,

B or d r f h F h a u c h a r is . e s O t e or e st M . H . . C d Pa r , A ,

r a d Pa r is . B c ele t Th . l t P ic a r , e , M A ber , t l h C a t e Pa dd k L Pa r a oeu s M B ouc er on Pa r is . oc e c u x . ( b f ) ,

Ch a Th a ni ttie s se e D el Co r E . , , , q

h ildr a n d rin in a o e lle M u seu m C en e a ood L R c h . w g W , Close of a Ha D a Pa r is E h i ition ppy y [ x b ,

. B a ltimor e Cu i D i a rmd T lV a lter s E s . d s e . W p , , q . ' 2 rs n e k Cu ids h is er 1 86 M . H a d r bilt e w or Y . lV . . N p W p , , V , n f h B h mia n la r ur n D e sc e t o t e o e s e ic t e Salo M rs . S . D . a r ren ( g p ) [ , W , B os ton . S , U .

i“ S ee a l so th e enera l l ist B i lio ra ofth int f B g b g phy e Pa ers O a rbizon .

1 2 6 A NDI PPE X .

Ri a l Th v , e

R oa dth r ou h th e W oods M . Gentien Pa r is . g , ,

i h 1 8 1 il s n OI M . t Smr n o t e s T e W o C L S u mh . y , ( 7) [J ] , p B lti e lt rs . E s a mor . mTh e T. W. Wa e Stor , , q

Th L aur e n t -Ric h a r dC oll Pa r is E h i iti n M . D on t Storm e . o a is , [ x b , ,

Pa r is . — i b h n Ha milt n B r u c e E s . Edn u r un e t Au tu m o . S s , , q , g i B M . F . is h o h im Su n se t Pa ris E x h i it on c e . [ b , ﬁ Su n set—Th e Fish erma n a st orm sk a a in st w h ic h a tr e e rises ( y y , g ) ,

A You n E s . B la c kh ea th . . g , q ,

l irl D r IL Th r e e Litt e G s [ e yfu s CO ] .

M r a n . E nu bso s . Ph ila l T il e t ofV e s o C OIL H C . Gi n de hia o . [ g ] , , q p lia e ils I r n d r th e Fo J on C O L M . Henr B a be U e W . g [ ] , y y n n dAdonis 1 84 5 c r et a n IL V e u s a ( ) [Se C O ] .

View in th e P r e n e es L ou vr e . y , n a n dCu id 1 85 S c r eta n u s M . H . A h V e 7 e C OIL . . C a u c ha rd Pa r is p ( ) [ ] , . nu s a n d u id e t n a V e C M . G n ie P r is . p , ,

f F n a in l a u M en tien Pa oods O o t e e . G r is . W b , , Woo de d He a th n e a r Fon ta in eble a u [Fa u r e a n dL a u r en t -Ric h ar d

X — LI HOGRA H Y z IV . B T P S D IA . — — — — L a Mort de Peu r L a Ve u ve B e au té Impostu r e L e s Fou s a mou r eu x L e s F ll m o e s a ou r eu se s .

Also a se t Of our Sh e e ts with s r a l n h f eve su bje c ts o e a c .

X V — CHI NGS AND RA I . ET ENG VI NGS AFTER PAI NT NGS BY

Th e Storm E tc h d T e b . Ch a u e l y v . Ga la te a E n r a ve d b J . Ja c u t g y q e .

A ser ie s Of small Etc h in s a t er D ia z w er e ma de a n a r tist n a m g f by e dCh a rle s .

it A n u me r of e tc in s lit o r a s & c . a ve a ear e in iffere n t u lic a tion s b h g , h g ph , , h pp d d p b . Men tion Of s ome Of the se will b e fou n d a t th e foot of th e Lis t Of Etc hin gs a fter ” ' ill . t h a s u lis e a s o Pic tu re s by M et . M Ge orges Pe it p b h d eries of ph togra phs of

pa in tings by Diaz .

Copie s Of most of th e e tc h in g s in th e for e g oin g list s may b e seen a t ks u r r n . L do r C h a c h CO 2 0 C oc St e et on S . Me ss s . , , p , , W X IND E .

TO MILLET .

PAG E A ou t Edmon d 2 4 L a n lois b , g A n e lus du S oir 3 4 L e r o L ou is g 7, 0 y , L es s ive use

a i L n d n E x hi ition B g neuses 2 8 o o b , B elly 2 8

Jlfa n w innowin Corn Cler g e t g Ma r ll L ui Al x a n dr o e , o s e e C ou r e t M . b , Ma r tin Hu u e s Cu eilleuse des Ha r ic ots , g , Men Ca r ry ing Home a Ca lf dr o edin th e F ields D ea th a ndthe Woodc u tter pp Mille t Ch a r le s D ela r oc h e , Mille t J e a n Fr a n ois D ia z , c 1 81 B or n a t Gr u c Oc t o er D umou c h el B on hy, b , 4 gh 1 832 W e n t t o er ou r , Ch b g E venin 1 835 D ea t of h is a t e r g , h f h n i 1 837, S e t t o Pai s 1 8 0 i ite for r st time u r n 4 Exh b d ﬁ Fe a de t , M . in th e S a l on S ta y a t Che rbou r g r r M r Ge o e M . 184 1 a rie a u lin e Vir g , , d P i i Glea ners g n e On o ’ 1 84 2 Re tu rn e to a ris Gr an dmoth er Mill e t s , d P , 1 84 4 D e a t of his wi e ’ , h f r e a -Au n M G t t , ill et s 1 84 5 Ma r rie a t erine Le , d C h Guic h ar d Jose h ma ir e , p Revis ite d Paris Vis it e d Ha vr e Ha a r a ndI shma e l g ie 1 84 8 A. Sol r o , d Ha y ma ker s 1 11 1 84 9 Re visite Pa ris H a yma kers Res ting , d 1 875 His ea t Hen r Aime Henri , d h y , é ette Adela ide Mill e t e a n L ou is Nic ola s , J ilkma id Th e M , a c u e M Ch arle s J q , . M oiss onneu rs Je ws a t B a bylon M or ning I N 1 2 8 D EX .

PAGE i t 36 Rollin L e dr u N gh , 36 u u Th od r e Noon Ro sse a , e o Ru th a ndB oa z (E dipu s G dip u s de ta c hed fr om the Sh ep h er d lea ding h is F loc k Home

o er Th e S w , Pa r e a ux Mou tons Pea sa nt Grafting Temta tion o t erome p f S . J Pea sa nt Gr afting a Tree Tou rn eu x M . E u en e Pe rr on He n r du , g , y

Pie da n e l M . g , 7 70l llee L “ Pla qu e c onta inin g por tr a its , of Mill et a n dRou ssea u 4 6 ota t 34 ol f A P o Ha r es t W M . l ert v f , b Woma n c a rding Wool Reap ers 34 Woma n c h u r ning Re tu rn fr omWor k 34 Woma n s hea r ing a Sh eep idin ess on Th e 1 9 Woma n tendin a R g L , g Cow

TO RO SSEA U U.

A venu e of Ch es tnu ts 62 D ilig enc e a sc ending th e Moun ta in Roa d 5 8

6 D u r B a r on 7 e Jul e s . 56 62 69 83 p , , , , B a ry e 63 la n c Ch a rle s 0 Ferme 1 B , 7 , L a 72 , 80, 8 h Rosa 6 Fl r B on eur , 7 e s 67 F or es t Skir t of the M onts C a ba t 67 Gu a r d The 71 M de 6 For ét e omie ne 5 a ill e u x 7 d C . 6 C , p g Ch a mma r tm 67 Fort ell e C omt e de la 5 p , 7 n a va r t 63 F ou r ommu na l e 2 80 Ch e C , L 7, Coa s t of Gra nville 5 4 Fr omen tin 83 C or ot 83 Cotes de Gra niille 72 Gener a l View of th e Ch a in of C ou der 67 lll on t B la ne 80

Ge or e s S a n d Ma da me . 62 66 g , , D e c amps 63 Group of Oa ks in th e Gorges of u x 6 A r emon t D e dr e 7 p , A i 62 63 D e la c r o x , Gu din D emido C ou n t Pa u l 83 ff , D esc en te des ac h es 60 61 a di n V , J D e veria E u en e 67 J e a nr on M , g , ’ ’ D ia z 67 0 Je tee du n E ta n La , 7 g ,

1 30 I ND EX .

A GE P PAGE Th or e 4 7 View of th e Ch a in of M ont Tr oyon 67 B la ne in a S tor m Villa e g , Th e V rn e e t , Hor a c e View of F ores t L a nda t Sunse t 68

TO D IAZ .

99 1 84 8 ome te for rize f r , C p d p o 1 00 figu re of Re pu blic 1 05 Co mpa r e d wit h Mille t 1 05 B ou ght ba c k e a r ly s ke t c hes 1 05 E i ition o f 1 85 5 B a ttle of M edina xh b . 1 06 ’ A oc r a l ou r n e t o th e B oh emiens L es p yph j y , E a st 1 06 B on in t on g Vis it t o F on ta ineble a u 1 06 B a n 1 856 B u ilt st u i o a t B a r izon 1 06 l c , C . , d b 1 8 70 r e tire t o B ru ssel s 1 , d . 06 Re t u rn e d t o Fr a n c e 1 06 C a ba t S e t tled a t Etr e ta t 1 06 1 876 isit t o Me nt on e C or r e i o e fe c t of , V 106 g g , f Die a t M e n t on e 1 8th d , 1 06 D e la c r oix F u n era l a t Mon tma r tr e e me t er 1 07 D ia z tia Na r c isso C y de la Pe , 0 D ia z de la Pefi a Th oma s 8 , 7, 88 7 B ir th 8 D u pr e 91 Ta ke n by h is mother to Par is 89 D e a t of h is mot er 89 h h ’ A o tion M . a ira 89 Fin d u n B ea u Jou r L a d p by P , Los s of a le g 90 A ppr en tic e d t o a prin ter 9 1 Ga rden ve Ap p r en t ic e da t p or c el a in works 91 of Lo Fon dn e s s for t h e thea tre 91 Pu pil of S on c hon 91 Hou ssa e D ia z c oma r e d Fr ie n ds i wit S i lon 92 93 y , p h p h g , S ale of e a rl w or ks 92 94 with y , ’ me a c olou ris t 9 B e c o s 2 Hu g o s Or ien t a le s Gr owin g we a lth 94 1 835 His r st e i ited ic , fi xh b p I a E en t uie . 9 s e u e 4 b y , g S tu die s of th e nu de 95 ” W or ks a c ha u ffe r s on fou r 95 1 836 A t B a r izon 96 L eda , b Gr e a t a dmira tion for Rou ss ea u 96 ’ L es B oh emiens 97 M a ic ienne L a or e g , Cr itic is mb y Th . 98 i tu r e u r c a se b MeI S M a r e a ux Vi er es L a P c p h d y p , s onier 99

S a lon o f 1 84 7 99 ' N mh e endor mee 1 06 Exhib ition o f 1 855 1 00 y p ’ I n ﬂ u en c e ru on 1 01 N mh es L es d by P d h y p , 1 06 oma r e t o B on in t on 1 02 ’ C p d g Nymp h e tou r menteep a r L A mou r 1 06 Pa in te d with le ft ha n d 1 03 U se u n st a le i men t s 1 03 d b p g ’ i an d il Or ienta le L Port r a t of Wife c h d 1 04 , I ND 1 31 EX .

ir a Rou ss a u Pa , M . e Pe llo u e t c ritic isms of q , S a esse La Pla n c h c r itic isms b g , é , y ’ i l n Pr esen ts dA -mou r S g a o . S ou c h on

Ra ffe t Th or é a vou r a le c ritic isms , f b n t th e Ceme ter b Res u r r ec tio a y , y - b y 971 00 M oonli h t g Th or e s Opin ion of D ia z 98 Riva le L a , , Roqu epla n Wolff 1 04

R INT E D B Y J S V I RTUE AND C O LI MI T E D O C ITY R O AD L O ND O N . P . . ,

ii I S RA D BI OGRA HI S OF THE GR R LLU T TE P E EAT A TI STS .

il l i mM u l r e a d M mr i l f ll e F E W a e o a s o . Co e t d b . G S P E S c . . y , y T H N I llu s tr a t e wit Re r o u c tions of St u ie s r omth e i e a n d S ke tc e s in th e S ou t d h p d d f L f , h h — — — Ke n s in gton Mu se u m Th e Mu lre a dy n velope u t s in t h e ic a r of W a ke ﬁ eld Th e — E C V S onnet C oosin th e We din Gown &c . I n re a r a tio h g d g , [ p p n .

G o r e C r u ik s h a n k i L ife a n d W o r k I n lu din M m e g , H s s . c g a e oir by

F G. ST E HENS a n da n s sa on th e Ge niu s of Ge or e ru iks a nk W M T R AC KERAY . P , E y g C h by . . ’ — Illu stra ted with Re produ c tion s of Etc hin gs in Dib din s S on gs Life of Sir John Fa lsta ff — i d en Woo n ra vin s romvariou s orks r a a Olive r w st &c . a n t t w I n e r i w . t on. T , y d E g g f [ p p

A I AI RS AND SC ORS IT L AN P NTE ULPT .

i A . t G o t E . mRe n t I nv i t o . B HARRY I R M Fr o c e e s i a t on s a t Pa du a y Q U LT , g ,

Floren c e a n dAs sisi. I llu stra t e wit n ra vin s of t h e r es en ta tion in th e e mle , d h E g g P T p Th e n tommen t ofCh r ist—Ob e dien c e an dot er Fr e s c oe s —B a s -re lie s on t h e a ma nile E b , h f C p , Fl orenc e—an da ol u re a te of th e Ma on n a a t s s is i C o d Pl d A .

F A l c a n d h e E r l P a in f F n B M r a n e i o t a t e r s o l o r e c e . C . PHI LLI g y y . ’ MORE . I llu s tr a te wit n r a vin s ofth e Resu s c ita tion of th e Kin s S on M a s a c c io d h E g g g , by —Th e A or a tion of t h e Kin s Fra An e lic o—Th e or on a tion of th e ir in d g , by g C V g , by Fil i o i i—Th e oron a tion of th e ir in B ottic elli- a n d t ir te en ot pp L pp C V g , by h her

Pa intin gs .

l mme i e l l n d A n dr de l S a r o B F r a. B a r t o o o A l b e r t n i a e a t . L E A E R , , y D r — Ma rk—Sa l v to u s t i n n men t of th e i in S t . a r u n i S COTT . I ll tr a e w t th e t ro e M d h E h V g d , — Fr a B ar tolommeo—Th e V ir in an dS a in ts Alb er tin e lli Th e Ma onn a del S a c c o by — g , by d by D el S a r to a n dte n ot her Pain tings .

O I llu r d w i h En h ib r n D n a l l B LEA E R S . st a te t r G e t i a d o t e o . y D C TT g a v in s of th e M a r le u l it of is a n o—Th e B ron ze Ga te of th e B a tist er a t Fl or en c e g b P p P p y , by — — dt en o t e r e a mle s ofS u i r ti ou r a s Th e t . Ge or of D on a t llo a n c l r Gh be (f p ge ) S ge e h x p ptu e .

6d. Pric e 2 3 .

l R b i C e ll in i a n d o t h e r c e l e b r a t e d S c u l t o r s of th D e l a o b a , , p e

Wit I llu st ra tion i n t n tu r ie s B E AD E R S COT T . s of th e Fift ee n th a nd S xte e h Ce . y L h — — S in e r s a n dot er B a s -B elie s u c a ella Ro ia e r s eu s e llini M er c u r g h f , by L d bb P , by C y, by — d. n t r ic e 2 3 . 6 Giova n ni da B ologn a an d ma y other S a t u e s . P

e n a n d F r a n c ia B J I A CAR W RI G . I ll u s tr a te d w i h M a n t g a . y UL T HT t — — n r a vin s of o ovic o Gonza g o a n d h is S on a r t of th e r iu mp s of ae s a r Th e E g g L d P T —h C M a on n a de lla ittoria M a n t e na —Th e ir in a n d S a in ts Th e D e osition d V , by g V g p — A ie ta Franc ia a n dei t ot e r a in tin s . P , by gh h P g

RI C E R . I llu str a te dwi h E in c i B D R J . PA t n L e o n a r do da V . y . UL HT gr a v — n n —M on a s —T in gs o f t h e La s t S u pper Th e Vir gin a n d St . A e Li a h e Vie r ge a u x — — — Roc her s Th e B a ttle of An ghia ri He a d of Chris t an d n in e ot he r Pa intings a nd

D r a win gs .

n l B u n a r r i B C AR E S C E ME . I ll u str a te d w i M ic h e l a g e o o o t . y H L L NT th mn —T h e r o e — En gr a vings fromth e Fres c oe s of th e La st Ju dg e t P ph t I s a ia h Th e — — d of th e S ta t u Cr e a tion of M a n Pis a n S oldie r s ba thin g in th e Arno a n e s of Mos es — de M i - Th e Madonn a ofBru ge s Th e Tombs of Lor enzo a ndGiulia n o e d c i a ndte n other n l W orks In Pa in ting a dSc u ptur e . I U S RA D BI O G A HI F THE GR A AR I S S iii LL T TE R P ES O E T T T .

’ h A ERS I l osa liz io R a a l B N. D V . l u s r wi n r in f L O S p e . y N t a ted th E g a v gs o p — d — — — lia L a B elle Ja r iniere Th e S c hool of A the n s Ma don n a di Foligno S t . Ce c i — — Ma donn a de lla Te n da M a don n a della S e dia -B a ttle of Con s t a n tine Th e Tr an sﬁ g u ra tion—a n d ou r te n in f e othe r Pa int gs .

ll B . A in o f L B a R F . HE i h E n ra v s a e a T it i n . A . I llu tr a d w T H M . s te y , t g g — - — — di Tizia n o Th e Tr ibu t e M one y T h e A s su mption Of th e Vir gin T h e Pe s a ro Alta r — — ’ — P in tin s ie c . r a r t i o er a p e S t Pete M yr Titia n s D a u ghter a nde ght th g .

I l r T in i i n s a V e n ic e . lu st a te d B W R E R . Fr omI n ve st a t o t t o r e t t o . . OS y . TL g — — with En gra vin gs o f th e M ir a c le Ofth e Sla ve T h e M a rria ge a t Ca na Th e Ent ombment — — Th e Cr u c iﬁ x ion Th e B e trot a l ofS t . a t e rine &c . h C h ,

M l e w i h En a vin f L r r B . O MP O HE T O I lu s r a t d t r s o a o e io . t C g g y C T N A N . g g N — — — i — rin t . o n h a n el s t Th e M a n na otte I l Gior n o M a rr ia ge of St . Ca the e S J h t e Ev g do

dﬁ n in s . a t Dre s en a n ot e r a i t ric e 2 3 . 6d d ve h P g . P

NI I RS S PA S H PA NTE .

l u tr a d with En r a vin s ofI s a l o f e l a u z E E M . A . I l s te e V s e . B . S O W q y T , g g b — — — — Spa in Th e D u ke of Oliva r e z Th e W a te r - Ca r rier Th e Toper s Th e S u r ren der of B re da — — — Th e Ma ids ofHonou r View ofth e Vill a Me dic i a ndeigh t o ther Pa in tin gs

i r iv r omr n W k M I R . M mo r de e d e c e or s . u r l l . A e M i o By E LLE N E . NO f t ’ I llu stra te wit e i t n ra vin s a te r th e M a s ter s c ele r a te a intin s in c l u in th e d h gh E g g f b d P g , d g — I mma c u la t e o n c e tion in t h e ou vr e Th e r o i a l S on a t S t a ffo r Hou se —Th e C p , L P d g , d — — Hol Fa mil it th e s c odella a t M a ri A ortra it of th e Ar tis t a n d ot er works. y y (w h ) , d d P h

ric e 2 3 . 6d P .

RMAN AI RS GE P NTE .

‘ A l b r e h D r r H EA M . A . I ll u str a te d with En r a n s o f c t u e . B R F . vi y . TH , g g th e on r i n s a —Th e r in it —Th e Gr e a t W ite Hor s e—Th e Kn i t ve s o of St . u t c e C E T y h gh , — — — e a n dth e D a n d e te r S . ul a n dM a r ri k n D a t e vil S S . Jo n S a k st t a i le a ve of h , h P P Ch g — His Mot er a n dtwelve ot e r a in tin s n r a vin s a n dW oo c u ts . h h P g , E g g , d

L t l M a r s B B . i t e s mn W . O . l t e o f G e r a . S C A tdor e r Ha ns S e a l y y TT f , b d B e a mB a r te l B m ld r e er Pe n c z Pin k a n d B rosa mer r e a A e v . Illu s t a te i h , h , g , , , d w th n ra v m m— in s o f th e e r or a rle s V . B a r tel B e a Th e M a o nn a of th e E g g E p Ch , by h d — — re s c en t Moon Alde r ever S o h onis b a en ez an ds e ver a l e a mle s of D ec or a C , by g p , by P x p r m tive O n a ent , &c . H a n s H o lb e in . B O E A I llu s tr a t e d w i h E n r n y J S P H CUND LL . t g a vi gs of — — — 1 th e Meyer M a don n a Ar c hbishop Wa r ha mTh e Fa mily of S ir Thoma s M ore Hu be r t M or e tt—H nr — n m u t — e y VI I I . a d Ex a ple s of t h e W oodc s in th e Pr a ise of Folly Th e D an c e of D a t — B i l t e Th e e u s &c . h b C ,

O ve r b e k B B I S mr in c J . E A I O A K O . C o i hi E a r l . y V N G T N T N N p s g s y Ye a r s in Liib k n me n a t Rom llu s r a te n ec St u ie s a t ie n a . a n d S e ttle t e . I t wit ra vin s , d V d h E g g — — — of Chris t Bles s in g Little Childre n Christ B earin g th e Cr oss Th e Ent ombme nt Th e H ol Fa mil wit th e a m &c . y y h L b, R E R A R IS iv I LLU S T ATED B I OGRAPHIES OF T H G EAT T TS .

I H ND D R FLEM S A UTCH PAI NTE S . B I M O E . A. llu d w i h i B W . r vn mb r a n dt . . st a te t E n ra R e y J LL TT, g gs o f — — th e Le ss on on An a t omy - Th e D e s c e n t fromth e Cros s S a s kia Th e Night Wa tc h — — — B u r gomas ter S ix Th e Thr e e Tre es Ephra imB onu s a n d other c e lebra te d Pa in tings t in a n dE c h gs .

M . A ll u tr dw ith E n a vin r om n B E . I s a te r s Ru R u b e n s . C . W . e s y K TT , g g f b ’ — e D n t r m h e r s — s — a ndI sa bella B r a ndt T h esc e f o t C o s Ru b e n Two S o n s He nri IV . an d — — — M a rie de Médic is Th e Chat e a u de Ste en Th e Cha pe a u de Poil a n d t en ot her s Pa in ting .

HEA . A ll P R . I u tr d i n r n c k a d H l s B . B . t e w h E a vi a n D n a . s a t V y y D , g g s — o — r l a n d th e M a r ml o f th e S y n dic M e er st ra te n Ec c e H mo Cha e s I . qu is of Ha i ton i le n m a Hen r ie tt a M a r ia wit r nc e s a r s a d J a e s & c . b V n D c k a n d Ha ls a n d , h P Ch , , y y ; — — t f A r u e u s ier s A a va li r &c . is e t Re n e r S Th e B a n u e o e Hal s . L b h y q q b C , , by

H l l a n d B L O RO A W R G O E F . A P s f o . R S . I ll i u r e a in t e r o . u s F g y D N LD , — t ra t e dwit n r a vin s of a te r n a l A dvic e e r or c Th e Hu n c a c k Fi le r b h E g g P , by T b h hb dd , y — — — A r ia n va n O s t a de I nn S ta le b W ou we r ma n D a n c in D o St een e e ta le d b , y g g , by V g b — M a rke t Me tzu D u t c Fa mil V e r M e e r &c . , by h y, by ,

FR N H AI N RS E C P TE . A ll M O E . . I u r w i E n W . B st a t e d th n r vi of Fé a t e a u . B J . a s tes W t y LL TT , g g Ga l a n te s or tr a it s S tu ie s r omt h e ife a s tor a l S u ec ts a nd D e si n s for Orn a , P , d f L , P bj , g

r i e 2 3 . 6d. men t . P c

D EA . l r B . J . I l u a w i C l a u de l e L o r r a in . y 0 ULL st t e d th E ng ra ving s o f — — — Cr os sin g t h e F ord An I t a lia n Ha rbou r a t S u n se t A S ea por t Th e Ca mp o Va c c ino r ri i a n dma n y othe r s fromh is c eleb at e d Liber V e ta t s .

n D e l a r c h e . B J RHUT Z RE E S I llu str a e d i E V e r n e t a d o y . . t w th n gra ving s ’ — — o f th e r u mete r s Hor s e T h e D e a t of onia towski Th e B a ttle of Fon ten o a n d T p h P y, ﬁ ve ot e r s e rne t a n d Ric elie u wit in u e Ma rs a n d D e ou —D e a t of t h e h , by V ; h h C q Th h ’ — a n d r om ll l r — D u e de Gu is e Cha rles I . C we s So die s a n d a l a rge Engra vin g of th e - He mic c le of th e a la is de s B ea u A r ts D el a roc e . y P x , by h

M E W . O L L TT B . i r B . A d i n M e is s o n e . . I llu s tr a te w th E r a vin s fr m y J , g g o — — — t h e Che s s Pla ye r s L a Rixe T h e Ha lt T he Re a der Th e Fle mis h Smoker a nd ’ is n i r s l s 2 l s f M . M s o e B ook I l u tra tion s . ri 3 m e o e c e . d e xa p P 6 .

M il l f B a r b iz o n I . e t R o u s s e a u a n d D i z a in t e r s o a . B P , , , y J . Illu str a te wit n ra n romTh e le a n r i M OLLE TT B . A . vi s G e s Th e S nn W . e r Th e , d h E g g f , p , c Mille t—Th e Floo Th e o ol in t h e Fore s t f n n l An e lu s & . o Fo ta i e e a u g , , by d , P b , by — dth B a t e r b i — n Rou ss e a u Fore st S c ene a n e s D az a d or tr a its ofth e Artists . h , y by P

in t e r s o f B a r b iz o n I I . C o r ot D a u b i n a n d D u r B P a e. J , , g y , p y . A I l u stra te it n ra vin s r oma S t r m n h MOLLE TT B . . l w o o t e S a n il W . ls Th e , d h E g g f dh , ’ on a t ille dAvra Th e B a n ks of th e S tre a ma n d th e Da n c e o f th e N m s P d V y , , y ph , by r ot—S r in ime a a n sc a e Th e Floc k of Gee se D a u i n —a ndTh et in Co p g T , L d p , , by b g y e S t g

S u n Th e ool a n dTh e u n t Du r e. , P , P , by p