mm

{Ilufi tra tw afiiogr ap b tes

’

of the
G rea t u s.

E a c h volu m with
e, a bou t twen ty illu s tr a tion s : bou nd in c loth .

Pr ic e 38 . 603 .

THE PA I N T E R S O F B A R B I Z O N I M e moirs of JEA N FRA NOOI S .

* .

M I LLE T, T H EODORE ROUS S EAU and NAROI S S E D I A Z By

*
.

J W MO LL ETT, B A
. . .

THE PA I N TER S OF BAR B I Z O N II M e moirs of JEA N B A PTI S T E . .

C ORO T, C H ARLE S FRA NOO I S D AU B I G N Y and J U L E S D UPR E .

B y J O HN W MO LL E TT, B A . . .

WI LLI AM MU LREAD Y M e morials of ,

. C oll e ct e d by FREDE RI C
G S T E PH E N S
. .

D AV I D C OX and PE T ER D E W I N T M e mo irs of th e ir Liv e s .

and Works B y G IL B E RT R RED G RAV E [I n p r ep a r a tion ]

. . .

G EO R G E C RU I KS H A N K His Lif e and Works : includ in g a

,

M e mo ir by FREDER I C G S TE PH E N S and an E ssay on t h e r.

,

Ge n iu s of G EORG E C RU I K S HA N K b y W M THA OKE RAY . . .

[I n p r e a r a tion
p ]
THE LA N D S C A PE PA I N T E R S OF HO LL A N D M e o irs of RU I S . m
DAEL and HO BB E MA , C UYP and PO TT ER , and oth e rs BY .

F RA N K C UN DA LL [I n p r ep a r a tion
] .

”
GAV AR NI , M e moirs of B Y FRA N K MAR Z I A L S With many . .

Illustrations [I n p r ep a r a tion ]
.

VAN EYC K MEM LI NC MA T S YS and oth e r Paint e rs of t h e E arly

, ,

Fl e m ish S chool [ p p
I n r e a r a tion
] .

Th t w v l m i
e o b d i h lf m
o u es gilt t p P i 7 6d
n on e ou n n a or o c c o o s . r c e, s. .

L O ND O N
S A MPS ON L OW, M ARS T ON, S E A RLE RI V I NGT ON,
I ITE D
L M ,

S T D UNS TA N S HO U S E , F ETTE R LANE

’
. .
P O R T RA I T OF M I LL E T . BY HI M S E LF .

B y per mi f
s s io n o [ li d/l . A B ra m
:
‘
ei C ze
'

.
 C ONTENTS .

PA G E

I N TR OD U C TI ON—F on t a in e bl e a u

J E AN F RANCO I S M ILLE T .

I . His You th an dA ppr e n tic e ship

II . His M a nh o o da n dhis W or k

T HEOD O R E R OU S S E A U .

I . Th e S t ru g g le
II . Th e Re w a r d— Hop e D e fe rr e d

NA R C I S SE V I R G IL E D IA Z D E LA PE NA .

Pa r e n t a g e an d E a r l y B iog r a ph y L ife —W ork

Cr it ic is m s

APPEND I X .

I . G e n e r a l B iblio gr a ph y of t h e Pa in te r s Of B a r bizon
II So m e of th e Pr in c ip a l Pr iva t e C olle c t ion s c on t a in in g
mpl
.

ex a e s of t h e Pa in t e r s of B a r biz on

MI LL E T
III B iblio gr a ph y
m
.

IV . So e of h is Pr in c ip a l Pa in tin g s an dt h e ir O w n e r s
V Or igin a l E t c h in g s , W oo dc u t s an dL ith o gr a ph s
by him
.
,

VI . E t c h in g s a ft e r Pic t u r e s an dD r a win gs
VI I . Pic tur e s s ol din Pa r is a fte r h is D e a th
 C O N T E NT S .

PA G E

ROU SS EAU

V III . B ibliog r a ph y
IX . So m e of h is Pr in c ip a l Pa in t in g s an dth eir Own e r s
X O r ig in a l E t c hin g s
by him
.

X I . E t c hi n g s a ft e r Pa in t in g s

D IAZ
X II B ibliog r a ph y
m
.

X III . So e O f hi s Pr in c ip a l Pa in t in g s an dt h e ir Ow n e r s
X IV . L ith og r a ph s
X V . E t c h in g s an dE n g r a vin g s a ft e r Pa in t in gs by h im

I ND EX .

To Mill e t
T o Ro u sse a u
T O D ia z
 LI S T O F I L LUS TRATI ONS .

M I L LE T .

Por t r a it of Mill e t m lf
B y hi se . F r ontisp iec e
PA GE

Ho u s e at Gr u c h y in w hi c h M ille t w a s b or n 3

G oin g t o W or k By Mill e t .

T h e Gl e a n e r s

Th e Sh e ph e r de s s

Th e Mow e r f r om dr a w in g )
( a

Th e S pinn e r

Pe a s a n t Ch o pp in g W oo d (fr oma
.
dr a w in g )

W om r om
\
an Sh e a r in g a Sh e ep f
( a dr a w in g )

Th e An ge lu s
Mill e t S t u dio B a r biz on
’
s at

M on u mtt en o Mill e t an dR o u sse a u

B a sr e lie f of Mill e t an dR o u s s e a u B y C h a pu .

R OU S S E A U .

A Pool in th e F or e s t of F on t a in e bl e a u B y Rou sse a u . 50

X LI S T OF ILL U S TR A TI O NS .

PAG E

Th e Flood B y Rou ss e a u . 58

B a n ks of t h e L oir e

D IA Z .

Por t r a it of D ia z

Th e F air y G od mth
o er

F or e s t S c e n e

Th e B a t h e r s

Chil dr en an dD og

NOTE .
-
D u r in g t h e l a s t t e n ye a r s , m m
S c ie n c e h a s g r e a t l y i pr o ve d a n y
a pplic a tion s of t h e ph ot og r a ph ic a r t , b u t it h a s n ot
y e t b e e n e n a bl e d t o
r e p r od u c e p ic t u r e s o f s u c h in t a n gibl e qu a li t ie s a s t h o se e x e c u t e d by t h e

Pa in t e r s O f B a r biz on w ith a c le a r n e s s s u ffi c ie n t t o e n a bl e t h e c r a ft sm e n of

pr oc e s s bloc ks t o give t h e ir b e s t r e s u l t s T his w ill a c c ou n t for t h e w a n t

-
.

of d e t a il a ppa r e n t in s om e o f t h e ill u st r a t ion s ; w h ic h n e ve r t h e l e ss it is

, ,

h op e dw ill b e fou n dt o g ive c h a r a c t e r is t ic im pr e s sion s of th e w orks Of th e

se ver a l a r t ist s .
I ne o /zo/e
7 w or ld w it/tou t A r t w ou ld b e on e g r ea t w ilde r nes s .

THE P A I N TE R S OF B A RB I Z O N

LLET

S S EA U

IA Z

BY JO HN W M O L LE T T
.
,
B A
. .

AU I HO R OF I HE mus OF R EM B R A ND T A ND W I LK I E I N T HI S S E RI ES .

DKENV XHDIKPE
'

S C R I BN E R A N D WE LF O RD .

1 890
 PREFA CE .

N t h e following pag e s it is propos e d to g iv e hort historie s

I
S

Of t h e car e e r O f a group Of paint e rs to whom is g e n e rally

,

attribut e d t h e d e v e lopm e nt in L andscap e in t h e g re at chang e

that has lat e ly tak e n plac e in t h e canons O fF r e nch Art wh ich ,
I

is d e scrib e d by som e writ e rs on t h e s u bj e ct as t h e Victory O f

‘

t h e Romant ic S c hool ov e r C lass ic ism .

Th e pract ical n in e t e e nth c e ntury standard O f t h e succ e ss O f

-

th is group is t h e e normous mon e y valu e of th e ir work in t h e

int e rnational mark e t and t h e h istory that has to b e told is
m
,

as much a com e rc ial as an aesth e tic d e v e lopm e nt .

W e have pre fac e d our work w ith a short d e scription Of t h e

sc e n e ry of Fontain e bl e au in t h e m idst of wh ich so m
,
e of t h e

paint e rs who a r e r e pre s e ntativ e O f t h e mov e m e nt studie d ,

landscap e and did th e ir most succ e ssf u l work and b e cam e

, ,

known in t h e art istic world as t h e B arb izon S chool Th e ir .

works a r e commonly spok e n O f und e r this ge n e ric nam e irr e ,

s e c t ive O n ter na l as s im
f th ir want o f i il i
a t on
”

e
p l
.

We hav e th e n transl a t e d and r e produc e d in t h e words Of t h e

 P RE F ACE .

gre ate st critics of t h e a ge e x tracts from t h e inte r e stin g volu e m

O f cr itic is m t hat th e ir e xh ib it e d pictu re s provok e d from y e ar to
y e ar l e av ing our r e ad e rs fre e to d e te rmin e for th e ms e lv e s t h e
,

l e ngth to wh ich th e ir sy mpathy w ith t h e sp e c ial th e ory of t h e

Romant ic mov e m e nt will carry th e m b e l ie v in g how e ve r that , ,

t h e acc id e nt Of Am e rican comp e tit ion in t h e auction room is -

not in its e lf a justification for plac ing e ve n M ill e t subl im e as ,

t h e po e try of h is work is on a l e v e l w ith Rapha e l

,
Fin ally .
,

w e hav e narrat e d so much as w e hav e b e e n abl e to coll e ct ,

from c re d ibl e r e cord O f t h e storie s Of th e ir r e sp e ctiv e l iv e s

,
.

J . W MO LLE TT
. .

REGI S ,
Ma y , 1 890.

NOTE — Th e p r e s e nt volum e tre ats Of

Mill e t Rouss e au and ,

D iaz th e co mpan ion volum e of C orot Daubigny and Dupr e

,
.
 I NTROD UC TI ON .

THE FORES T OF FONTA I NEBLEAU .

ARBI Z ON a small v illag e on t h e skirt Of t h e fore st Of

B ,

Fonta in e bl e au is cons e crat e d by t h e long martyrdom of

,

t h e po e t p e asant paint e r J e an Fran c o is M ill e t and t h e su ffe r

- -
, ,

i ngs Of it s agr icultural labour e rs — t h e th e m e O f h is path e tic

paint ings .

A lacon ic gaz e tt e e r de scrib e s t h e plac e — “

B arb izon S e in e ,

e t Marn e a la l is ier e d
-
,
e la for et S it e s p ittor e squ e s
. C olon ie
.

de p e intre s paysag ist e s and a curious work has b e e n com

p il e d by a numb e r Of t h e most popular authors Of our p e rio d
, ,

in honour of t h e chaot ic landscap e b e autie s of t h e for e st and ,

of Mons ie ur D é n e c ou r t it s C olumbus 5 and th e ir ov e r wrough t

,
-

e nthus iasm in th e ir pra is e s of t h e p lac e and t h e volcanic

,

irr e gularity O ft he for e st its e lf a r e quit e in harmony w ith th e ir

,

r e tard e d adulation of t h e paint e rs l iving th e re and t h e c rup

tion brought about by thos e paint e rs in t h e class ical world Of
art that pre c e d e d th e m
m
m
.

Th e book is e ntitl e d a Ho “
a ge to M D en e c ou r t a r e
.
,

tir e d politician Of t h e R e ds who was a sort of Old Mortality

,
”

to t h e fore st and d e vote d all his tim e and r e sourc e s to cl e aring

,

t h e paths and po ints o f vie w and gu id ing v is itors to h is work

, ,

o f wh ich h e publ ish e d a d e scription in a guid e book -

. Our in
t e r e s t in t h e
, colonie de p e intre s p aysagiste s j u stifi e s a fe w
x ii I N T ROD U C TI O N .

quotations d e scriptiv e O f th e ir chos e n r e tr e at wh ich s e e ms in ,

.

a cur iously appos it e mann e r to s e t u p t h e disruptiv e ag e nc ie s

of natur e as a typ e Of th e ms e lv e s
On e da y sa y s o n e O f th e m t h e r e b e ll ious s e as ro ll e d
.

“ ” “
, ,

ove r th is tract Of la nd and t h e s e as mac e rat e d it as t h e r iuiér es

, ,

O f t h e ta n n e rie s mac e rat e t h e e mpty h id e O f a bull carr ing O f f

y ,

a n d d isp e rs ing t h e v e g e tat ion —h is s kin and t h e land — h is les h

f , ,

and l e av ing nothing b e hind but t h e rocks — his bon es wh ich had ,

no long e r any Sin e ws to h old th e m tog e th e r so that th e y b e ,

cam e frightfully d isj oint e d and w e r e pr e c ip itat e d o n e on t h e

oth e r a n d shatt e r e d e ach oth e r into fr a gm e n ts and burie d
, ,

o n e anoth e r It was l ik e t h e crumbl ing away O f t h e Bibl ical

.
‘

imm e ns it ie s that w e s e e in t h e t e rribl e pa in t in gs of Joh n

Martin .

“
Bu t l ittl e by l ittl e Natur e soft e n e d a n d sooth e d had
, , , ,

tak e n p ity on th is formidabl e d e solation ; a n d in t h e d e e p ,

p lac e s s h e chang e d t h e d e pos its O f deb r is into f e rtil e so il and

, ,

c ov e r e d th e m ov e r w ith tr e e s and wh e n th e s e tre e s b e cam e

, ,

e n t e n a r ia n s s h e had b idd e n t h e w inds to carry away th e ir

,

s e e ds and to plant a toqu e and plum e s for t h e h e ights tha t w e re

”
stand ing bar e .

M D en e c ou r t t h e ch ie f proph e t O f t h e for e st d e scr ib e s it as

.
, ,

follows Th is charming trysting plac e O f trav e ll e rs th is vast

-
,

stud io Of our young a n d laborious artists cov e rs a rp e ns ,

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

,

“
f e re nc e Its soil — v e ritabl e chaos — pr e s e nts such a varie ty O f
?

acc id e nts that t h e paint e r struck w ith admiration know s not

, , ,

wh e r e to tak e up h is brush On all s id e s a r e t h e rocks t h e

.
,

mass e s Of which barr e n or wood e d or cov e re d w ith moss e s or

, , ,

l ich e ns s e para t e and com e tog e th e r again abruptly in shap e s

,

t h e most var ie d and t h e most b izarr e or a r e p il e d up in

I t c on t a in s a b ou t E g lish a c e s a c c o d
nin g t o M r a y
r ,
r ur .
 I N T ROD U C TI O N . x iii

pyram ids or round e d dom e s or th e y a r e s catt e r e d abroad a n d

,
’
look to t h e trav e ll e r s e y e l ik e troops O f monst e rs pasturing
m
, ,

at t h e bottom O f a Vall e y 3 or again in oth e r parts th e y for , ,

long and s inuous chains O f mou n tains against which t h e storms ,

O f ag e s hav e sp e nt th e ir forc e s in va in .

“
B y t h e marg in O f a barr e n plain w e d iscov e r an ancie nt
grov e p e opl e d with g igantic t r e e s and amongst th e m a r e bald ,

h e ad e d oaks whos e antiquity is lost in t h e n ight of ag e s

, .

Ne ar a mountain of sand whos e brill iant wh it e n e ss mak e s us ,

dr e am of wh ipp e d cr e am and of Alp in e snows w e s e e a cops e , ,

O f gr e e n p in e s or a va r ie gat e d plantat ion t h e ave nu e s of

, ,

wh ich O ffe r a cho ic e O f d e l ic ious prom e n ad e s .

“
From a sm il ing vall e y r ichly wood e d t h e trav e ll e r pass e s , ,

sudd e nly into a frightful d e s e rt Of mov ing sand or on to t h e ,

summ it O f a h e ath e r grown h ill and stand ing th e r e looks ov e r

-
, ,

boundl ess plains c itie s castl e s haml e ts and gre e n m e ado w s

, , , ,

s e rp e nt in e d by t h e S e in e a n d oth e r r iv e rs th e n sudd e nly ,

p l u n In
g g finds h ims e lf und e r t h e dark vault O f an av e nu e o f
tr e e s or at t h e bo t to mO f a d e e p gorg e bristling wit h rugg e d
,

and ove rhang ing rocks out Of t h e crann ie s Of wh ich tre e s a r e

,

struggling forth half ov e rthrown and w ith worm e at e n trunks

, ,
-
.

At e ve ry st e p gradat ions of p e rsp e ct iv e s and mov e

-

m e nts O f t h e land alwa ys capric ious and e v e rywh e re n e w

rocks st e e p pass e s and p re c ip ic e s and pil e d u p m
, ,
o u n t a l n s Of ,
-

ruins wh ich s e e m to hav e b e e n sup e rimpos e d by a d iluvial

mt
,

bou leve rs e en .

“
W shall w e go to n o w 2 Jul e s Jan in s ings
h e re to t h e
drie d u p lam inat e d rocks t h e moss and t h e l ich e n s wh e r e t h e
-
, , ,

colourl e ss b irch tr e e sh iv e rs re stl e ssly in t h e a ir and t h e ,

gnarl e d willows grow and t h e e arth is burn e d to ash e s and , ,

t h e gr e e nsward parch e d in t h e sun Voila ou n ou s a llons / .

‘

say t h e paint e r s and t h e most skill e d of painte rs too —t h e

,
 x iv I N T RODUC TI O N .

m e lancholy C abat vigorous D eca ps brilliant D iaz e loqu e nt , m , ,

J ul e s Dupre B e rtin t h e th ink e r , , .

“
Who b e s id e s il— Troyon Th eodor e Rouss e au Fran c o is , , ,

Isab e y Giraud On e and all th e y would r e fus e to b e com

, .

fort e d if th e y w e r e drive n to r e n ounc e t h e for e st Of th e ir

”
cho ic e .

F e rd inand D e snoy e rs in h is po e m Of Fontain e bl e au r e cords , ,

t h e l if e and sorrows of a sh e ph e rd landscap e paint e r Of a -

form e r g e n e ration S imon Mathurin Lau tara (1 72 9— 4 778) ,

L a b a s,
- s ou s c e g an
r d a r br e , au pie d du n e ’
c ollin e ,

L a n ta r a g a r de e n c or e s e s t r ou p e a u x e t de s s in e .

L e s pr s e t l e s va ll o n s , l e s b ois , s on t pl e in s d e sp oir
é ’
.

Il p a s se s on e n a n c e f a r e g a r de r ; a voir
m
.

11 sen t le g er e , en lu i , qu i do it de ve nir c h én e
Il h u m e l a fo r et , et b Oit da n s s on h a l e in e
L a p O é S ie ; il c r oit c e p a u vr e L a n t a r a
C e fu t p a r c h a r it é , d
’ ’
it ou , qu on 1 e n t e rr a
-

and Alfr e d de Muss e t contribut e s a long and charm ing s e rie s

Of m e lancholy sw e e t v e rs e s in h is own in im itabl e styl e su gg e s
-
,

t ive ly d e scriptiv e also Of t h e plac e , ,

L e s voil a" C e s pin s a l a

sa so mb re ve r du r e ,
C e t t e g or g e pr ofon de a u x n on c h a l a n t s det ou r s ,
C e s s a u va g e s a m
i d s on t l
’
a n t iqu e mm ur ure

A be r c é me s bea u x j
ou r s 1
“

’
Man y contr ibutors e xpre ss e d th e ir prais e s Of t h e paint e rs
parad is e in r e markably inflat e d v e rs e s M R en e L ou is ,
.

D ow n t h hill L t i till k p i g
d t h tg re a t tr e e , at th e b of a

d k t hi g T h m d w t h v l l y t h w d
ere , u n er a a se , a n a ra s s ee n

hi fl k f ll f h p H e ea o s, e

H f l t h g mwit hi him l f t h t
s oc s, an s e c n . a e s, e oo s , a re u o o e . e

p hi
a s se s h il dh d
s i g ci g — i i g oo n az n n s ee n . e ee s e er n se a
, ,

s h ld g w t
ou ro k; h b th th
o an f t di hi b t h i h le p y— h
oa e r ea es e or e s an n s r ea n a s oe s e
—
,

b li v — p L t l It w by h it y t h y y t h t h w b i d as c ar e sa
”

L k t t h mI Th fi t wit h t h gl m
e e es o or an ar a , , a e as ur e .

“
y v d " Th t d e p vi e d r e es e

i n t mt t e i g h h e d t
e ese r oo er u re e

nd m
oo a a ra n an

it Win din g p t h t h e wil d ol d f i n d wh e

- os

le p m
s ra o a s, r e s os a nc e u r n us o

s y h ppie d y "
e a r a s
 JEAN FRANC O IS MILLET .

EAN FRANCOI S M I LLET was born on t h e 4 t h Of Octo

J b e r 1 8 1 4 — t h e dat e is by many wr it e rs e rron e ously g iv e n
,

1 8 1 5 but t h e abov e is that of t h e O ffic ial r e g ist e r of b irth — a t

,

t h e haml e t O f G ruchy wh ich M Pie da g n e l d e scrib e s “

at t h e
’

.
,

ba se O f t h e cl iffs O f G r ev ill e at t h e s e a l imit O f that p a ys p er du

,
-
,

so p ic t u r e s qe and so w il d wh ich is call e d La Hogue

,
Mr .
”
.

H e nl e y w ith gr e at e r accuracy d e scrib e s G r u chy as n ot at t h e

, , ,

bas e Of but p er c h edupon t h e iron cl iffs Of L a Hogue which

,
“
,
”
ov e rlook t h e troubl e d wat e rs Of C h e rbourg Roads .

He was t h e e ld e st son of Je an L ouis Nicolas Mill e t a p e asant ,

proprie tor who cultivat e d h is own small farm and by t h e

,
\
,

h e lp of t h e Fre nch p e asant s frugal ity and u n fl a gging toil and

’
,
’ ’
t h e C athol ic s d isc ipl in e d p ie ty and t h e farm e r s for e s ight and a
, ,

comb ination Of shre wdn e ss in bus in e ss and d ignity in dom e stic

l if e worthy of a S cottish patriarch succ e e d e d in maintaining ,

in gr e at r e sp e ctab il ity Of adm itt e d p ov e r t y a larg e fam ily Of ,

r elativ e s and ch ildre n on t h e hardly e arn e d p roc e e ds of t h e fe w

-

acr e s Of s e as id e land that h e inh e rit e d from h is anc e stors To

m
.

hi , for e ight e e n y e ars Of h is l ife Fran co is Mill e t was a,

labour e r in r e gular work .

Th e moth e r of M ill e t poor woman " was a lady d e sc en d

, ed

B
 2 THE B AR B I Z O N S CHO O L .

from a fam ily of g e ntl e m e n y e om e n call e d H e n ry du P e rron

d e grad e d by t h e R e volution ; h e r maid e n nam e was Aim
, ,

ee
H e nrie tt e Ad elaid e H e nry h e r pos ition in t h e fam ily by ,

t h e almost inco n c e ivabl e custom O f t h e country was also ,

rath e r that O f a labo u r e r than a moth e r t h e care O f h e r ,

ch ildr e n in th e ir infancy b e ing tak e n a w ay from h e r and

transf e rr e d to t h e moth e r O f h e r husband who l ive d in h e r ,

hous e and rul e d it and h e r ch ildr e n for h e r wh il e t h e -

,

moth e r was occup ie d mor e par ticularly at h e r labour in t h e

fi e lds and in t h e stabl e s Th e path e tic portra it of th is poor
.

’
worn moth e r at h e r labour is g iv e n in h e r son s p ictur e Of
La Cu eilleu se oles Ha r ic ots T h e hous e in th is p ictur e is h e r
h usband s hous e and t h e Wom
.

’
,
a n Ga th er in g B ea ns is h e rs e lf .

” “
S h e l iv e d ,
says S e n s ie r cla ns lo tr a va il and Ob e d ie nc e
, ,

to t h e ord e rs Of h e r husband ; —and v e ry thr ill ing is t h e ”

fid e l ity w ith wh ich M ill e t has r e cord e d h e r w e arin e s s of l ife .

S h e is d e scrib e d as a g e ntl e pious woman t h e moth e r O f , ,

n in e ch ildr e n t O whom in sp it e of all Obstacl e s s h e was

, , ,

d e vot e d .

He r moth e r in law was a typ ical p e asant O f t h e prov inc e

- -

s p e aking in t h e pato is and w e aring t h e d istinctive costum e Of

He r ma id e n nam e had b e e n Ju m
,

t h e local p e asantry . e lin and ,

h e r fam ily Old stock O f t h e country s id e w e r e d ist inguish e d

“ ”

for stron g h e ads and w a I mh e arts On e rul ing pass ion of h e r

, ,

l if e was prid e Of h e r family for t h e r e st s h e is d e scrib e d as

follows “
C onsum e d by r e l ig ious fi r e s e v e re for h e rs e lf , ,

g e ntl e and charitabl e for oth e rs s h e pass e d h e r l if e in good

"
,

works havin g noth ing b e for e h e r e y e s but t h e id e al of a saint

,
.

d
’

( S a int F ran c o is A ss is s i was h e r favourit e sa int and it was in

m
,
’
h onour Of h i that sh e chos e M ill e t s nam e ) S h e push e d to .

such a p o int t h e scrupl e s Of h e r consc ie nc e that if th e r e cam e

to h e r a do u bt on t h e subj e ct Of any action Ofh e r l if e so mo de st ,
 O
H U SE AT GRU CHY I N WHI CH MILLE T WAS B O RN .
4 T HE B AR B I Z O N S CH OO L .

was s h e S h e w e nt imm e d iat e ly to d e ma nd couns e l Of t h e C u r e

,
”
of th e v illag e
’

S uch was t h e intru s iv e and sup e rfluous fost e r moth e r to -

’
w hom t h e un n atur a l p e asant custom confid e d t h e car e O f M ill e t s
infa ncy and youth He r influe n c e ov e r h imapp e ars t O have
.

bee n unlim it e d and to hav e cont inu e d until h is manhood S h e

, .

h a d w ith h e r an a g e d s ist e r w hos e n am e was B onn e but who

, ,

was fam iliarly call e d B e nn e tt e O f whom Mill e t Oft e n spok e ,

a b e lov e d r e coll e ction

:
“ ”
S h e thought O f e v e ry body and
B u t d ist inctly t h e m
.

e v e ry th ing and forgot on ly h e rs e lf

,
ost
.

r e markabl e m e mb e r O f t h e M ill e t fam ily was t h e uncl e C harl e s

M ill e t a prie st O f t h e d ioc e s e O f Avranch e s to whos e t e ach ing
, ,

O f t h e boy S e n s ie r attr ibut e s a g r e at d e al O f importanc e ,

although h e d ie d w h e n t h e l ittl e Fran c ois was on ly s e v e n y e ars

old .

He was o n e Of t h e prie sts unfrock e d by t h e R e volut ion who ,

waite d for t h e r e storation Of l ib e rty at th e ir nativ e hom e s and ,

r e fus e d t h e oath O f fi d e l ity to t h e const itut ion He was p r O .

scrib e d and pursu e d during t h e T e rror and lay in h id ing at ,

t h e M ill e t hous e and t h e story of h is ha irbr e adth e scap e s

,

s e e ms l ik e a plag ia r ism O f that O f C harl e s S tuart On t h e .

r e stora t ion Of l ib e rty o i consc ie nc e h e r e sum e d his prie stly

-

cassock and dut ie s w ithout abandonin g h is l if e of labour in

,

t h e fi e lds He was a man O f gr e at s tature and g igantic stre n gth

He w a s to b e s e e n r e ad ing h is br e viary or transporting im
. .

m
“

me nse blocks Of gran ite to build t h e wall round t h e fa ily

,

l a n d and it was h e who tau ght t h e olde r boys to r e ad

,

W h e n t h e Ab b e had to trac e a furrow,or to dig t h e gard e n you

saw h imcl a p h is b r e vIa r y I nto h is pock e t tuck U p t h e skirts O f
,

h is cassock round h is waist and tak e to h is work on t h e s o il ,

l ik e a man wh o e nj oy e d it He was w e ll aware that h is.

n e p h e w w ant e d all t h e h e lp h e could O bta in for if t h e fa m ily ,

 J EA N F R AN Q O I S M I LL E T . 5

l ife at G ruchy was sw e e t it was so at t h e pric e O fan u n fi a g gin g

,

ef fort. Th e pos ition O f t h e fi e lds on st e e p d e cl ivitie s mad e it a

d ifficul t t a sk to labour in th e m an dt h e stru ggl e for e x ist e nc e
,

by l an d or s e a was rough and O fte n dang e rous work ; Th is is

int e r e stin g b e caus e this rough and dang e rous work w a s also
,

’
Mill e t s work .

Th e r e w e r e no fish e rm e n among t h e p e asants O f Gr u chy but ,

t h e s e a was th e ir v e ry good frie nd for t h e gr e at dr ifts O f s e a

w e e d availabl e for m anure that it w ash e d ashor e and Mill e t3s ,

e arl ie st r e coll e ctions includ e t h e e xc it e m e nt O f th is rath e r

dang e rous work w h e n t h e whol e v ill a g e a rm e d w ith long

“
, ,

wood e n rak e s pr e cipitat e d its e lf down t O t h e s e a t o gath e r in

,

t h e we ed a productiv e harv e st but p e r ilous

,
Bu t mor e,
.
”

tragic is t h e story O f a t e rribl e storm wh e n o n e sh ip af t e r

anoth e r p e r ish e d b e yond r e ach Of succour on t h e rocks a n d
, , ,

mutilat e d and shatt e r e d corps e s w e r e wash e d ashor e and how , ,

“
M ill e t re calls as I was go ing hom e I pass e d a gr e at h e ap
, , ,

also cov e r e d w ith s a ilcloth l ik e t h e m e rchand is e : and I l ift e d

t h e sa il to s e e what was und e r it and s a w a m
,

ou n ta in of d
,
ea d

bodies . I was so fright e n e d I ran s t ra ight hom e and found ,

my moth e r and grandmoth e r o n th e ir kn e e s at pray e r for t h e ,

poor wre ck e d p ep pl e .

S O th e boy pass e d h is l if e in t h e h e art of a country wh ich

de
”
was the sou r c e s es s ensa tions .

S on a p e asant Mill e t has plough e d — h e also — t h e f u rrow

Of ,

from wh ich t h e g e rm must e m e rg e w ith h is firm hand h e has

push e d t h e coulte r of t h e plough and d is e mbow e ll e d t h e e arth , ,

which from it s wound should bring forth l if e S carc e ly was .

h e adol e sc e nt e r e alre a dy h is b o dy was b e nt towards t h e

,

ground alr e ady h is bro w was bath e d in swe at Alr e ady al s o

, .
, ,

h is cont e mplative sp irit could d e v e lop it s asp irat ions a n d so a r

 O
G I NG T O W O RK . By M il le t
mD
.

I n t h e Co l le c t ion f Ja
o es on a l d, E s q .
,
G l a sg ow .

B y p er m
i i
s s o n of A . B rau n C Ie Pa r is ]
 8 T HE BA R B I Z ON S CHOOL .

stud ie d t h e app e aranc e O f an Old man with a round should e re d -

of whom wh e n h e r e ach e d hom e h e m

, ,

s t e e in figur ad e a
p g e, , ,

sk e tch in charcoal w ith wh ich h is par e nts w e re pl e as e d and

, ,

h is fath e r is r e port e d t O hav e sa id “

My poor Fran c o is I s e e
we ll that thou t or m
,

entest th v s e lf w it h th is id e a I would .

gladly hav e s e nt th e e to l e arn th is prof e ss ion O f a pa int e r ,

wh ich th e y say is so fi n e but I could n ot Thou art t h e , .

e ld e st of my boys and I had too much n e e d O f th e e

, but now
t h e oth e rs a r e gro w ing up and I w ill not h in de r th e e from
,

l e arning what thou hast so much d e s ire to know W e w ill .

,

pre s e ntly go t o C h e rbourg and asc e rtain if thou hast in truth

m
, ,
”
t h e tal e nt t O ga in thy l iv ing in th is e tier
’

Fran c o is fin ish e d for t h e C h e rbourg e xcurs ion two drawings

, ,

“
that h e had b e gun O f wh ich o n e r e pr e s e nt e d t wo sh e ph e rds
, , ,

o n e play ing t h e flut e at t h e foot O fa tr e e t h e oth e r l is t e n ing n ,

a hillock (c otea u ) on which sh e e p w e re graz ing T h e sh e ph e rds .

wore jack e ts and sabots of t h e country t h e c otea u was a fi e ld

, ]

with appl e —tr e e s b e longing to h iS fath e r Th e s e cond drawin g

“

.
,

re pre s e nt e d an e ffe ct Of a starry n ight A man was coming out .

Of a hous e carry in g l e a ve s wh ich anoth e r man quit e clos e to

h imwas e ag e r to r e c e iv e ; und e r t h e draw ing w e r e th e s e

, ,

words Of S a int Luk e E t s i n on da bit illi su r y en s eo qu oda ic u s m

p op ter im m m
,

j
e u s s it
,
r
p r obita te ta e n j
o u s s u r y e t e t da bi l illi qu ot ,

“
q u o t h a be t n e c ess a r ies . S e n s i e r says I hav e look,
e d at th i s
draw ing for th irty y e a rs It is t h e work O f a man who alre ady
.

knows t h e gr a nde p or te e Of Art it s e ffe cts and it s r e sourc e s

’

, , .

On e would say it was a sk e tch by an O ld mast e r of t h e s e v e n

”
t e e n t h c e ntury .

It was in t h e y e ar 1 8 32 that t h e fath e r and son w e nt

tog e th e r to C h e rbourg to a paint e r nam e d M ou c h e l— who was a

pup il Of t h e school of David and gav e l e sson s — and showe d h im

,

C h a pt er x i v 8
f
o
. . .
 J EA N F RAN O I s
c M I L LE T .
‘

th e two drawings M B e n D u m
. o u c e l who was call e d Me u e h e l
.
, ,

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

.

only in his thirty n inth y e ar wh e n h e d ie d and had not l ive d

-
,

to s e e M ill e t ass u m e h is plac e in t h e world Of art but it is to ,

’
h is e mphat ic s e nt e nc e Of e ncourag e m e nt that w e o w e M ill e t s
imm e d iat e r e l e as e from t h e farm and e ntranc e on t h e study O f
,

t h e art that h e show e d so O bv ious a tal e nt for that h is sp e c im e n ,

p icture s mad e Mou c h e l cry out that h is fath e r would b e con

de m
,

n e d to all e t e rn ity for obstruct ing it — Eh bie n / Vou s s c r ee

da me pn our l a e oir ga r de s i longte p s

’
m .
”

Although thr e e y e ars e laps e 1 8 32 — 1 835 b e tw e e n t h e

, ,
’
inc id e nt O f t h e charcoal sk e tch and M ill e t s r e turn to G ruchy ,

“ ”
w e a r e told that Mill e t stay e d two months w ith Mon ch e l .

At C h e rbourg h e was s e t to copy from t h e Old Mast e rs in

a c adem
”
t h e Mus e um and from
,
ie s It is ins ist e d upon and .
,

r e p e at e d that h e ow e d noth ing to t e ach ing e ith e r from

, ,

M e u e h e l or L an glo is or D e laroch e — that h e was h is o wn

, ,

t e ach e r ; and it is sugg e st e d that h is g e nius was S O e v id e nt ,

that e ach of his nominal mast e rs shrank from t h e pre sumption

of O ffe ring h imany guidanc e— and that h e took up a pos ition
in t h e provinc ial world at h is e ntra n c e O f it w h ich h e fa il e d
, ,

to maintain in Paris .

His fath e r d ie d rath e r sudde nly in Nov e mb e r 1 8 35 a n d by

, , , ,

h is d e ath w e a r e told t h e fortun e s O f t h e fam ily w e r e thrown

, ,

into confus ion : tou t p ér ic lita s a ys M S e n s ie r

, . .

Mill e t n e w t he h e ad of t h e fam ily and t w e nty on e y e ars O f

, ,
-

a e s e e ms t O hav e mad e a h a lf h e art e d att e mpt to assum e t h e

g
-
,
”
control of t h e farm B u t h e was pr e occ u p ie d with h is art
.
,

and app a r e ntly unsucc e ssfu l and in t h e m e antim e th e , ,

notabl e s Of C h e rbourg gre w conc e rn e d that t h e you ng

“
,

paint e r no long e r occup ie d h ims e lf w ith pa inting and de lib e

rat e d h Ow th e y could h e lp h imforw a rd in h is car e e r
,

”
Th is .
10 T HE B AR BI Z O N S CH OO L .

m
c o ing to t h e knowl e dg e O f t h e r e gnant grandmoth e r s h e ,

app e ars to hav e b e e n w ill ing to d isp e ns e w ith h is h e lp in t h e

manage m e nt Of t h e farm and hous e hold Poss ibly sh e fe l t .
,

”
that h e r own pos ition p er ic lita “
My Fran c o is s h e said ; w e
.
,

must bow to t h e w ill O f G od Your fath e r my J can L ou is -

sa id you should b e a paint e r Ob e y h imand r e turn to C h e r

.
, ,

.
,

bou r g His m oth e r s O p in ion on t h e subj e ct is not r e cord e d

’

Ar e w e to r e gard h is m
.

e mory O f t h e lot O f th is poo r pat ie nt

moth e r as a d iscord in t h e l if e of t h e gre at po e t of patie nt

i h k —
suf e r g or was t e e y not e loudly sound e d in h is in fancy
f n i t ,

O f t h e d irg e that h is pa int in gs S ing C l

On h is r e tu rn to C h e rbourg h e b e cam e again only nom inally , ,

t h e pup il O f L a n gl e is who was an O ffi c ial p a int e r O f r e l ig ious

,

subj e cts and continu e d copy ing Old Mas t e rs and t h e

“
notabl e s continu e d to k e e p an e y e u pon h im His work .
,

and t h e boldn e ss O f it a t t r a c t e dg e n e ral notic e public O p in ion

,
*

His mast e r watc h e d

’
said that h e ought t O b e s e nt to Par is
‘
.

h is progr e ss w ith t h e a ston ishm e nt of a h e n who has hatch e d

‘

a young e agl e and allow e d h imto work upon t h e r e l ig ious

,
’

”
pa intings wh ich w er e h is own sp e c ial ity
,
In t h e Trin ity .

C hurch at C h e rbourg a r e st il l to b e S e e n two larg e sub

s of sacr e d h isto r y in wh ich M ill e t work e d w ith L a n
j e c t ,

“
gl e is
,
on v e ry d e lica t e part s t O O such as t h e hands and
, ,

”
drap e rie s .

Finally und e r dat e Of t h e 1 9th of A ugust 1 836 L anglo is

, , ,

wrot e a v e ry e loqu e nt l e tt e r to t h e May or and Mun ic ipal

C ounc il O f C h e rbourg to e n g a g e th e ir count e nanc e and support
O f M ill e t to e nabl e h im
,

,
t O continu e h is stud ie s in Pa r is ; and
v e ntur e d h is p e rsonal prom is e and assuran c e that if th e y ,

s e iz e d this O pportun ity Of promoting t h e d e v e lopm e nt O f nat iv e

“
g e n ius post e rity would do th e m honour for having b e e n t h e
,

first on th is occas io n to ass ist in e ndow ing t h e fath e rlan d w it h

, ,
 J EA N F R AN O I s
c M I LLE T . 11

One gre at m a n mor e Th e C ounc il unan imously vot e d M ill e t

.

an annu ity of four hundre d fr a ncs a n d aft e r som e d e lay t h e , , ,

G e n e ral C ounc il of t h e D e partm e n t O f L a Manch e add e d s ix

“ ”
hundr e d francs ra is ing t h e whol e S c holarsh ip to forty pounds
,

a y e ar to wh ich it is e v id e nt h e add e d from t h e r e sourc e s O f

, , , ,

t h e farm as much as h e r e qu ir e d for among t h e d e ta ils O f h is

l if e at Par is occur fr e q u e nt hol iday v is its to h is hom e .

U p to t h e a g e O f tw e nty two th e n it w ill b e p e rc e iv e d -

,

t h e l if e O f M ill e t was a p e rf e ctly prot e ct e d l if e surround e d by ,

fr ie n ds whos e appr e c iation of h is tal e nts approach e d t h e l e v e l O f

,

flatte ry A ll hardsh ip d isappo intm e nt or occas ion for e n e rgy

.
, ,

a pp e ars up to th is d at e to hav e b e e n want ing Th e h istory of .

h is poor moth e r is absolut e ly t h e only sadd e n ing influ e nc e

h ith e rto r e cord e d in h is l ife No r was h e a m e r e rustic .

de fic ie nt in m e ntal cultur e ; h e was pass ionat e ly fond O f .

r e ad ing and had b e e n gu id e d t O t h e s e l e ction of authors l ik e ly

,

t o fan t h e po e try Of h is natur e and to e nlarg e h is m in d

from t h e A lm
.
,

He r e ad every thing h e t old M S e n s ie r

” “
a na c h
“
.
, ,

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

B erang e r ; h e had a pass ion for S hak e sp e ar e W alt e r S cott , ,

L ord B y ron t h e Faust O f G o e th e and for G e rm a n ballads

V ictor Hu g e and C hat e aubr iand had e sp ec ially m
.
, ,

ad e a
l iv e ly impr e ss ion u pon h im He obta in e d h is books r e ad ily
”
.
,
’
at C h e rbourg from a young l ibrarian s cl e rk O f his acqua int
,

a nc e ,
a M F e u a rde n t whos e son in lat e r y e ars marr ie d
.
, , ,

Mill e t s e ld e st daught e r
’
.

M Pie da g n e l an int imat e frie n d g iv e s also a l ist Of M ill e t s

.
,
’

favourit e books He h e ads it e mphatically w ith t h e B ib l e ;

.
,

which is follo w e d by Th e ocritus whom h e pr e f e rs to Virg il , ,

and h e m e ntions in add ition t O S e n s ie r s l ist B e rnard in de ’

S t P ie rr e and L a m
, ,

. artin e .

M ill e t arriv e d in Paris in J anuary 1 8 37 a prou d h igh , , ,

12 T HE B AR B I Z ON S H C OO L .

principl e d but hyp e r s e n s itiv e shy and awk w ard mann e r e d

,
-
, ,
-

youth prompt to ta k e O ffe nc e a l ittl e S poil e d by flatt e ry a n d

, ,

succ e ss mor e than a l ittl e hom e s ick and faint h e arte d a n d

,
-
, ,

appar e n tly d ispos e d to m e e t t h e gr e at world in a sp irit th a t

,

pr e clud e d t h e poss ibil ity O f succ e ss ; mor e ov e r on e of thos e ,

sons of ge nius t O whom t h e r e al itie s Of l if e a r e l e ss r e al than

t h e dr e ams of th e ir inn e r world
His good frie nds t h e notabl e s had suppl ie d h imw e ll w ith
.

l e tt e rs O f introduction to p e rsons who app e ar t O hav e b e e n

w e ll d ispos e d to ass ist h im Mr D a mak e r O f fans
m und e r con ditions m
. .
, ,

O ff e re d h i e nac ing t o h is
“
a hom e ,
“
lib e rty which h e r e fus e d to acc e pt Mr L a man gr a c e e t
mad e no cond itions and r e c e ive d himk indly In t h e
.
,
.
,

eta bli
’
.
,

m e antim e h e a Mr G e org e E xp e rt of t h e Royal Mu

.
,
”
s c u ms who was e nch an t e d with a gr a nd dia ble de dess in
,
“

aft e r J or da e n s and said “

That is v e ry g O O d you must stay
m
, ,

w ith e 1 w ill show you t h e Mus e ums I w ill introduc e y ou

to famous artists I will e nte r you at t h e S chool Of Fin e Arts ,

w h e r e you shall comp e t e for t h e pr iz e and I am sur e you w il l ,

w in it b e for e long — but Mill e t just ifi e d by S e n s ie r was , ,

re p e ll e d by th is e xc e ss O f kin dn e ss e v e n from a man O f ,

p os ition b e yond susp ic ion of motive and l e av ing h is draw ing

him
,

in Mr G e org e s hands fl e d and

’ “
. ne v
e r wen t to see
, ,
”
a ga in

A d isput e with Madam

.

e L was by h is own account Of .

, ,

t h e most unromantic k in d a qu e st ion Of d e btor and cr e d itor

,

in acco u nt an ov e rcharg e for h is lodg ing ; but h e l e ft t h e

,

“ ”
hous e w ith an h e ro ic outburst poss e ss in g h e says n othing , , ,

“ ”
but thirty s ous and t h e cloth e s I was w e aring Fo r t h r e e .

“ ’
days h e go e s o n to say I found r e fug e in a workman s
lodging wh e r e th e y gav e m
, ,

e cr e d it but I pa id for my foo d

with m
,

y m i e rabl e th irty
s sous and pr e c is e ly in th is cr it ica l
11 TH E B AR B I Z O N S CH OO L .

the slack e n e d muscl e s t h e flat surfac e s t h e l in e s of this figur e

all r e lax e d by phys ical su ffe r ing a ffe ct e d m
, ,

ys e lf I f e lt as if
I w a s torm e nt e d with h im
.
,

Of D e laroch e and oth e rs h e says th e ir th e atrical p os e a n d

m ise en—
-
sc ene I n s p I r e d h imw ith an av e rs ion to t h e th e atr e and

all b e long in g to it .
“
I hav e s e e n som e th ing Of t h e th e atr ical
worl d and I am conv inc e d that by m e ans Of s e e king to p u t
th em
, ,
’
s elves in to a n oth er p er s on s shin th e y lost t h e consc iousn e ss O f
,

th e ir own p e rsonal ity ; th e y could only t alk in t h e s tyl e O f

th e ir parts ; and truth common s e ns e and s impl e f e e l ing for
, ,

t h e plast ic arts abandon e d th e m I think that if you would

.

mak e art tru e and natural you must k e e p aloof from t h e

,

th e atr e .

“
It has b e e n said that I had b e e n much attract e d by t h e
mast e rs Of t h e e ight e e nth c e ntury b e caus e I did som e p a stic h es
in t n e styl e O f B ouch e r and O f Watt e a u That is a m istak e.

my tast e has n e v e r chan g e d and I hav e a v e ry pronounc e d

No r was W att e au my m
,

d isl ik e to B ouch e r . an He was .

not t h e pornograph that B ouch e r w a s but h is was a p e tty

m
,

th e atrical world which pain e d e I cou ld s e e in it v e ry

.

w e ll t h e charm O f t h e pal e tt e and t h e r e fin e m e nt O f e xpr e s

s ion and e v e n t h e pathos Of thos e poor bonsho m es de c ou liss es m
doom e d to b e always laugh ing ; y e t t h e m
,

arion e tte s in c e s
santly r e curr e d t O my m ind and I said to mys e lf that all
,

th is l ittl e troup e would b e pre s e ntly put into a box aft e r t h e

”
e nt e rtainm e nt and th e r e lam e nt th e ir d e st iny Of R e mbrandt
I only cam e t O know h imin lat e r y e ars ; h e did
, .

h e says — “

not r e p e l m e h e blindedm e I thought it would b e re quire d

.

to fa ir e des s ta tions b e fore e nte ring into t h e g e n ius Of this man .

I n e v e r trie d to mak e cop ie s of th e s e mast e rs It s e em e d

m
.

to e that any copy O f th e m was imposs ibl e and could hav e ,

n e ith e r t h e spontan e ity nor t h e c ha leur Of t h e or ig inal I n e ve r .

 J EA N F R AN O I s
c M I LLE T . 15

would make cop ie s not e v e n O f m y own work

,
I am incapabl e
”
O f t hat bes ogn e
'

Aft e r Micha e l An g e lo and Pou s s mI have h e ld to my first

.

“ -
,

l iking for t h e e arly m a st e rs ; for thos e subj e cts s impl e as

in fancy ; for tho s e unconsc ious e x pr e ss ions ; for thos e b e ings
who say noth ing but f e e l th e ms e lv e s over bur dened by life
, ,

who suffe r p at ie ntly w ithout cr ie s w ithout complainings who

b e ar t h e Oppr e ss ion O f hu m
, , ,

an l a w and hav e not e v e n an id e a ,

”
of s e e k ing to b e r ighte d by any man .

He was h e s itating in th e
cho ic e of a stud io to e nt e r for
t e chn ical instructio n Th e princ ipal t e ach e rs O f t h e day w ho m
.

h e m e ntio n s w e r e H e rs e nt D ro ll ing L é on C ogn ie t Ab e l de

, , ,

Pu j Ol and P icot for non e O f whom h e care d and Ingre s

a is p a s ap er u la m
, , , ,

don t je n av
’
c o i ndr e p ein tu r e finally h e chos e ,

D e laroch e On e sp e c im e n O f t h e u n translatabl e humour O f

.

’
t h e stud io w ill s e rv e to e xpla in M ill e t s pos ition th e r e
“
A h ca says on e Of h is comrad e s e s t c c qu e tu vas nous -

fa ire e ncor e de t e s fam e u s e s figure s t oi ? V a s tu e n cor e nous ,

-

b atir de s homm e s e t de s f e mm e s a ta fa c on ? Tu sais b ie n ,

pourtant qu e l e patron n a im e pas c e g e nr e a la mod e de C a e n

,
’
,
”
e t qu il t a d e fe n du d
’ ’ “
e f a ir e a ins i ta cu is in e
~ What is that to
me 2 re plie s Mille t I do not come h e re for anybody s
.

” “ ’
.

p le a sur e ; I com e h e r e b e caus e th e r e a r e antiqu e s and mod e ls

e m
’
h e r e for my instruct ion— c l voila tou t E st c e qu e j oc c u e
p
-

de t e s figur e s de m ie l ou de b e urre m oi 2
”
,

He was working hard not only in t h e stud io but also in a

,

l ittl e attic that h e h a d r e nt e d on t h e Q uai Ma la qu a is in t h e ,

Court Of t h e H ot e l Pe lla p r a t and aft e r w ards in anoth e r garre t

of t h e Ru e dEn fe r wh e re h e mad e portraits O f t h e s e rvan ts
’
,
”
and t h e conci e rg e and it is add e d of t h e daught e r Of t h e
“
'

, , ,

concie rg e O f M L . also Of h is coal m e rchant and o th e rs ” ,

16 TH E B AR B I Z O N S CH OO L .

He cons iste ntly pr e fe rre d t h e fre e dom O f h is ind e p e nd e nt work

to th e acad e m ical task work wh ic h h e d e sc ribe s as gym
-
nas tic s
“

in wh ich m
, ,

e n d isgu is e th e ir natural g ifts to conform to a c a

de m ic a l trad it ion
”
.

M ill et was a s e lf—tau ght man not for want of t e ach e rs , ,

but in stubborn oppos ition to v ic ious t e aching Of wh ich

is h e d for was thr u st upon h im He a n
,

more than
O f com
.

n ou n c e d h is in p e ting for t h e Prix de Rom e ,

but app e ars t O cand idly warn e d by D e laroch e that

h e would not b e allow e d fa ir play in t h e comp e tit ion and ,

r e tr e at e d in d isgust from t h e stud io Mill e t did not for .

“
th is abandon h is study O f t h e ant ique but r e ly ing on hims e lf ,

for all h is instruct ion w e nt c hez S u isse who k e pt an acad e my

-
, ,
”
O f mod e ls

He brought wit h h imfrom t h e stud io a frie ndsh ip wh ich

.

p rov e d p e rman e nt and influ e nc e d h is e arly car e e r in t h e dir e c

,

t ion of a clos e r contact w ith t h e B oh e m ian l ife O f t h e artists

and a loos e ning of O ld pr e j u d ic e and princ ipl e Th e nam e O f .

h is frie nd was L ouis Al e xandr e Maroll e -

He was t h e son of a
manufact u r e r who mad e h iman allowanc e which fac ilitat e d
.

“
,
”
t h e art e x ist e nc e to wh ich h e d e s ir e d to d e vot e h ims e lf
-
but ,
’
did not suffic e w ith t h e add it ion O f M ill e t s r e sourc e s to k e e p
, ,

t h e fr ie nds from want Th e y r e nte d tog e th e r a sma ll stud io

.
,

NO 1 3 Ru e de l Es t and b e ing hardly pr e ss e d for mon e y and

’
.
, , ,

Mill e t unabl e to find a mark e t for any work O f a more r e sp e ct

abl e kind Maroll e p e rsuad e d h is frie nd to prod u c e a numb e r
,

Of past e ls O f what is call e d fa c e tiou s t e nd e ncy in im itation O f ,

Watte au and Of B ouch e r T h e nam e s of th e s e l ittl e frivol itie s

.

w e r e inv e nt e d by Maroll e and a r e humourou s and sugge stiv e

,
” “ ” “ ’
“
Th e An imat e d R e ading D e sk V e rt V e rt Th e Old Man s
,
-
,

“
S old ie r Mak ing Lov e to a Nurs e maid Nov e l
” “
Almanack ,

R e ad ing ,
A Day at Trianon and so forth Bu t som e tim e s , .
 J EA N F R AN O I S
c M I LLE T -J

subj e cts we re s e l e cte d , as J a cob in L aban s Hou se , “ ’

B ibl e
Ruth and B oaz & c T h e dra w m ”
g s sold for t w e nty francs

but at th is tim
.
,

e ach e M ill e t was glad to pa int portraits for

t e n or e v e n fi ve francs apie c e
, ,
B u t wh ilst h e cond e sc e nd ed
.

to e arn n e c e ssary funds by a n y kind Of work that h e coul d s e ll ,

h e didnot for a day los e s ight O f h is gr e at obj e ct O f study Of ,

t h e h igh e st princ ipl e s O f art .

“
He fr e qu e nte d t h e l ibra ry Of S t G e n evI e ve and stud ied
th e r e t h e b e st works on t h e human formsuch as Alb e r t D ure r
.
,

, ,

Le onardo da V inc i J e an C ous in — also Nicolas Po u ss in whom

, ,

h e constantly admir e d ; but a b ov e all oth e rs M ich e lang e lo ,

.

He r e ad b iograph ie s comm e ntar ie s corr e spon de nc e s and docu

, ,

m e nts r e lating to th is gr e at man whom h e n e v e r c e as e d to ,

r e gard as t h e nobl e st e xpon e nt O f art In a ll th e s e inv e stiga

t ions h e took Maroll e with h imou t of shyn ess to sp e ak for h im
.

, , ,

and po int out t h e authors and t h e works that h e r e quir e d;

Maroll e was t h e conn e cting l ink b e twe e n M ill e t and t h e out e r
world wh ich th e n caus e d and has a lw a vs caus e d h ima sor t Of
, , ,
”
f e ar Maroll e acc e pt e d t h e pos ition and w a s most att e nt iv e
.
,
.

Th e above carry on our narrative to t h e y e ar 1 84 0 (t he

’
tw e nty s e v e nth Of Mill e t s l if e ) wh e n h e firs t e xh ib it e d in t h e
-
,

S alon . He s e nt in two portraits o n e O f Maroll e ano t h e r of a, ,

r e lation and t h e latt e r was admitt e d but pass e d unnotic e d by

c r it ic is m At t h e clos e of t h e e xh ib it ion M ill e t r e turn e d hom e
,

to Normandy And h e re M S e n s ie r most un e xp e ct e dly

m
. .
, ,

info r s us that already in t h e pr e v ious y e ars Of h is r e s id e nce

“
at Paris almost e v e ry y e ar h e had r e turn e d to br e ath e h is
,

n at iv e a ir and t O pass som e pl e asant w e e ks at G ruchy w ith h is

moth e r and grandmoth e r who look e d u pon h imas a sort O f

,

prodigy b e caus e h e had b e e n m e ntion e d in t h e pap e rs D u ring

, .
”

th e s e vis its also h e had mad e s e v e ral portraits of h is family

, ,

C
18 THE B AR B I Z O N S CH O OL ;

and frie nds also Of h is moth e r and grandmot h e r wh o

, ,
”
r e main e d in t h e hous e O f on e of h is broth e rs Th e r e I s som e .

confus ion h e r e again b e caus e t h e fam ily hous e was trans

,

f e rr e d to a broth e r and t h e moth e r and grandmoth e r l iv e d

,

th e r e .

In 1 8 4 0 h e mad e a long stay at C h e rbourg work ing again at ,

t h e Mus e um th e r e and pa int in g portra its O f h is frie nds } In

,

1 8 4 1 h e is again th e r e pa in ting for t h e Mun ic ipal C ounc il a

,

portrait O f a d e c e as e d m mb r th r e of appar e ntly from imag i

e e e —

natio n for h e had noth ing re l iabl e to copy — and fa il ing to

,

satisfy t h e C ounc il h e b e cam e press e d for mon e y ; work e d

,

v e ry hard at portraits and wh e n th e s e fail e d trie d som e p ic

m
,

tur e s Of local int e r e st : S a ilor s Pa tc hing a S a il Fisher en Nea r ing

m m
,

a Ba r k, A You ng Ma n S a ving h is Co p a n ion fr o the lVa ter , & c .

And w h e n h e could n o t s e ll th e s e , h e was not t OO proud to

mak e s ignboards : The Little Milk a id for a fan c y ware hous e ;m

a n d a S c en e fr om ou r Afr ic a n Ca m
,

a
p gi n for a t ight rop e danc e r -

who paid h imth irty francs all in copp e r p ie c e s a Hor s e, for

, ,

a v e t e rinary surg e on ; and a S a ilor for a sailmak e r & c He , ,

.

p a int e d at t h e sam e tim e for a frie nd Dr Ass e l in a sacr e d , .

,

s ubj e ct : S a in t B a r be Ca r r ie d Up to Hea v e n and in t h e back ,

ground t h e D ec ap ita tion O f that sa int He was paid 300 francs .

for th is p ictur e by Dr A ss e l in whos e fam ily M S e n s ie r

.
, ,
.

I nforms us st ill poss e ss it

,
.

Amongst h is portra its O f th is y e ar was that Of Mdll e Pau

l in e V irgin ie On e to who mh e was marrie d in Nov e mb e r 1 84 1
.

-
.
, ,

T h e brid e and brid e groom stay e d som e days at h is hom e at

G ruchy and th e r e was a gr e at f e ast at wh ich h is grandmoth e r
ma de t h e followin g spe e ch : R e m e mb e r my Fran c ois that
, ,

“
, ,

thou art a C hristian b e for e thou a rt a pa int e r and p u t n ot so ,

nobl e a prof e ssion to t h e s e rv ic e O f t h e e n e m ie s Of r e ligion do

 J EA N F RAN O IS
c M I LLET .
‘

2 1

of that protracte d appre ntic e ship fro mwhich h e issue s abou t ,

t h e y e ar 1 84 9 in h is r e t ir e m e nt at B arb izon as a fin ish e d

“
, ,

”
and ind ividual ar tist .

Pas s ing o ve r th e n h is class ic but r e markable p ictur e s O f

'

m
, ,

t h e infant Gfdip u s D eta c h edfr o th e Tr ee e xh ib it e d in 1 8 4 5 and

mp
, ,

t h e J e ws at B a bylon, in 1 8 4 8, it is in t h e a n l on 1c tu r e Of
c o p
mom e ntous y e ar that h e mad e h is first e ssay in subj e cts O f
t his
agricultural l if e with t h e Ma n Winnou ing Corn
,
.

“
In 1 8 4 9 h e b e gins t O writ e t h e first page s Of h is work
a vast po e m which m ight b e nam e d La T e rr e — but by t h e
,
‘ ’
,

s id e O f t h e paint e r O f p e asants who puts on h is tru e colours

m
,

is st ill
(q u i se r evete p le in e en t) in 1 84 9 th e r e from 1 8 4 8 to , ,

1 8 5 8 t h e author O f a s e r ie s O f canvas e s of wh ich all look

, ,

a l ik e and all a r e conc e iv

,
e d in t h e sam e sp irit all hav e t h e ,

sam e qual itie s and t h e sam e fau lts t h e sam e c a c het Th e y a r e

, ,
.

num e rous and r e pr e s e nt for t h e most part wom e n bathing

, , , ,

sho w n on backgrounds O f v e rdur e ; amorous groups h idd e n

among t h e fol iag e b ird—n e sting and othe r rustic idylls and
m
,

ep isod e s of t h e vie c h a p etr e ”

~

“
W e may b e d e c e ive d h e wr it e s aft e r Mill e t s d e ath in
”
, ,
’
,
“
anoth e r plac e but can only r e cal not more than eighty can
,

vas e s s ign e d w it h Mille t s nam e and in h is d e fin it iv e mann e r

‘ ’
.
,

He did not produc e more than thr e e works a y e ar but an ,

e normous quant ity O f d r aw in gs a n dp a s tels qu it e as importa nt

as t h e paint ings and m or e a itr e Although h is work n e v e r

,
m ‘

r each e d a h igh pric e h e had a c e rtain (sure ) mark e t and a, ,

publ ic r e strict e d but faithful He had also fi x e d incomings

'

bas e d on t h e r e gular and inc e ssant production Of dra w m

.
,

s and
g

M r H e nl e y di vide s M ill e t l if e in t o t h r e e p e r io ds 1 8 1 4 - 37
if ’
. s , h is
o r ig in an d e du c a t ion : 1 8 37-4 9 h is pp e n t ic e sh ip t o a r t a n d h is s t a y in
a r

P a r is 1 84 9 - 7
5 , h is j
s o ou r n a t F o n t a in e bl e a u a s a fi n is h e d a n din dividu a l
a r t is t .
22 TH E B AR B I Z O N S CH O O L .

m
crayons w h ich for at pre s e nt a c on s id e rabl e coll e ct ion in t h e
,

han ds O f an amat e ur ” “
Th is admirabl e po e t st ill more a po e t
tha n a painte r has l e ft b e h ind h imdr a w ings in crayon which
.
,

a r e mast e rp ie c e s ; h e is t h e mos t s inc e r e of nat u ralists t h e ,

most p enetr a n t t h e most r e ally t e nd e r Se a — (

,
”
Ju les B oiss e ,
’

Mu sec Un iver s el 1 87
’

It is in th e s e draw ings more than in h is canvas e s that t h e

, ,

m
’
story of Mill e t s l if e is to b e sought for for as Yr ia r t e says , ,

fro t h e tim e of h is r e tire m e nt to B arb izon h is work wa s his l ife .

Th e r e w e r e no r e markabl e e pisod e s in his car e e r it was tha t

O f m ill ions O f dom e st ic it ie s e ss e nt ially a hom e l if e and tran ,

quil for w e r e fus e absolut e ly to g ive c re d e nc e to M Alb e rt

, , , .

Wol ff s ghastly pic t ure of t h e starving fam ily going supp e rl e ss

’

to b e d t h e childre n whin ing for food and t h e arrival O f t h e ,

good ang e l D iaz with a pock e tful of Victuals and s ixty francs
from Paris — all by t h e diml ight Of a n e xp iring fi r e
, ,

It is cr e d ibl e looking at t h e re cords of publ ic sal e s at a

, ,

tim e wh e n h e was c e rtainly a poor man that by som e d e al e r , ,

or d e al e rs h e was e gre giously ch e at e d in t h e pric e Of h is

,

drawings probably by t h e sam e who w e re assisting at t h e ruin

O f Rouss e a u ; probably also t h e shy ,
n e r vous man was wax
, ,

in th e ir hands and allow e d th e m to pos e b e for e t h e world as

,

his d e ar e st fr ie nds wh e r e by t h e pursu its O f pro fi t and pra is e

,

w e r e compatibl e w ith k e e p ing t h e poo r pa int e r low ; but th e y

w oul d n e v e r hav e allow e d h imto s ink to t h e da n g e r O f t h e
slack e n ing Of his produc ing e n e rg ie s u nd e r t h e pr e ssure Of tan
ib l e d istr e s s that would not b e th e ir pol icy

m
g .

Fro e x isting re cords O f t h e d e ta ils O f sal e s by auct ion at

t h e Hot e l D rouot a stro n g ind ictm e nt co u ld b e drawn aga inst

,

all and sundry who had d e al ings w ith Mill e t say during t h e las t
t e n y e ars Of h is l if e wh ich l e ft himdom e st icat e d and thrifty
,

, ,

husband that h e was a poor man ,

.
 J EA N F RA N C O I S M I LLE T . 23
’

NO doubt M ill e t Wa s curs e d w ith t h e e xasp e rat ing sl u g

‘

g ish p a tienc e Of t h e p e asa nt a n d t h e virtu e of d iscont en t

was fore ign to h 1 m I n mat e rial life and his e n e r gie s
,

, , ,

in t h e struggl e w ith pov e rty would b e d ir e ct e d mor e to sav ing

,

than to w inning — a slowly d e grad ing hab it wh ich culm inat e s

in t h e sacrific e O f t h e natural affe ctions so that you m a y see

m
,
’ “ ”
at last Mill e t s other sacr ific e d to t h e fi e lds and t h e stabl e s
, ,

l ik e t h e wom e n on e us e d to s e e harn e ss e d to barg e s on t h e

canals about C alais whil e th e ir h u sban ds smok e d and st e e re d
,
.

’
Th e pathos O f t h e p e a sant s l if e is a brutal is ing pathos and ,

M ill e t kn e w that and paint e d it with a brutal fi de lit y —and

, ,

the u n just st e w ards O f t h e Old re volution and t h e prof e ss ional ,

d e magogu e s Of 1 8 4 8 did not l ik e th is Th e y wante d th e ir

m
.

p e asants endi a nc hés in S un day b e st — and it took t im e for t h e

,
’
gr e at h e ar t Of S oc ie ty to r e c e iv e t h e l e sson that Mill e t s s il e nt
witn e ss e s w e r e t e achin g — for Fr e nch r e volution s h ith e rto , ,

hav e tak e n l ittl e account O f t h e patie nt p e asantry unl e ss , ,

n e w and th e n as a stalk in g hors e or as food for powd e r — and

, ,

R e publ icans do n o t lov e to b e r e mind e d that all t h e agrarian

m is e ry that s e nt L ouis X V I to t h e scaffold outlast e d th e ir
.

glorious e p isod e of Lib e rty a n dFrat e rn ity

Th e follo w in g f fr o mt h e p e n O f M E rn e st C h e sn e au is a
.

,
.

’
typ ical critic ism Of M ill e t s p e asant (it is writt e n in 1 8 62 )
5 O n e s e e ms t O r e cogn is e not an ind iv idual but a Typ e — t h e
‘
,

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

.
,

truth e v e n horribl e e x e rts such attraction on t h e human soul

, ,
’
that on e fe l ic itate s on e s s e lf in this m e e t ing B y and b y e as .
- -

t h e p ic t I r e s of M M ill e t pass in succ e ss ion b e for e t h e e y e s O f

.

t h e a mat e ur h e r e cog nis e s pre s e ntly that it is always t h e

sa m who is pr e s e nt e d to h im; a n d
, , ,

e c r etin t h e sam e id iot

, , ,

in t h e e n d th is grows t h e mor e w e arisom e that t h e sp e ctacl e

,

is not r e d e e m e d by any varie ty O f e x e cution If push e d by .

,
2 L T HE B ARB I Z O N S H C OO L .

c u r io s it y , s e ek in t h e
catalog u e what can th e s e monste rs
‘
“
“

y ou

b e W hom t h e paint e r tak e s pl e asur e in r e produc in g w ithout

,

r e st or r e sp it e what is your stup e faction wh e n you l e a rn that

, ,

h e pre t e nds to noth ing l e ss than to r e pr e s e nt t h e labor ious

rac e of our fi e lds ; t h e stron g stock Of t h e p e opl e from wh ich ,

a r e r e cru it e d our arm ie s S O int e ll ig e nt and so brav e

,
Th en t h e
e rror or t h e p a r ti p r is O f t h e art ist a pp e ars in it s e norm ity
,
and
on e turns away for e v e r from p ictur e s wh ich by t h e way do , ,
”
n o t hold you by any p ictur e squ e qual ity e v e r so l ittl e str ik ing .

That this ton e O f critic ism e ndur e d so late as t h e E n gl ish

E xh ib ition O f 1 8 62 that M C h e sn e au O f all e n was not e v e n m
th e n conv e rt e d to sy m pathy w ith h imis a l ight upon t h e
, .
, ,

“ ” ’
uph il l struggl e O f t h e pa int e r s apostol ic l if e .

T e chn ical critic isms Of h is work l ik e O bsol e t e nostrums of ,

t h e doctors hav e lost th e ir valu e by subs e qu e nt contrad ict ion

, ,

b u t it was by no m e a n s adm itt e d by t h e cont e mporar ie s O f

’
Mill e t s e arl ie r B arb izon t im e that h e kn e w h O w to paint ,
‘

Th e almost u n iv e rsal cr it ic ism that h e pr e f e rr e d ugl in e ss to

b e auty is scarc e ly t e c hn ical In h is O il pa intin gs say s a gr e at
,
.
,

G e rman cr itic “
War de r Auftrag an fangs zu schw e r um de n
Fig u re n KOr p e r zu g e b e n d ie s v e rl e r s ich j e doch a llm
, ,
”
ah lic h .

E dmond About w r it I n g I n 1 85 5 (Int e rnational Exh ib ition )

, ,

“
a ttr ibut e s to h is work br e adth O f draw ing auste rity of
, ,

styl e irre proachabl e taste — Do you r e m e mb e r h is S ower 2 — A

, .
"

grand painting l— His Pe a s a nt Gr afting a Tr ee t— painte d in t h e

sam e sty l e Of wisdom and s impl icity Th e country is in k e e p .

i ng rust ic and s impl e — but not to nud ity

-
Th e e xc e ss O f th is .

mann e r would b e t O e mpty p icture s — b y forc e O f discard ing

”
s u p e r fl u it ie s o n e would e xclu d
,
e e v e n t h e n e c e ssary (Th is .

T r a n sl a t ion A l t h o u g h in t h e e a r lie r sta g e s Of his c a r eer , th e

mp md ll i
.

t h ic kn e s s of th e I a st o in t e r fe r e d w it h a de lic a t e o e ng Of th e
fig u r e s ,
h is l a t e r w or ks g r a du a ll y i mp ro ve in t h is p a r t ic ul a r .
”
 T H E S PI N N E R . B Y M I L LE T .

I n t h e p os s e s s io n f M C o g zc e l zn in é, P a
'
'
o .
, a rts .
26 THE B A R RI zON S C H OOL .

m in iste r ing to and from that hour h is canvas e s w e r e pu r e ;

,

a n d l ik e a r e ward for h is good r e solut ion ros e through th e ir

, ,

purity to e arn e stn e ss finally to t h e subl im e

, ,
.

In 1 84 5, h e had contract e d a s e cond marriag e with C ath e rin e

L e maire and on h is way to P a r is in Nov e mb e r O f that y e ar,
, ,

mad e a short stay at Havre wh e r e h e paint e d an imm e ns e ,

numb e r of por traits and nud e p ictur e s to t h e t a st e of t h e ,

’
ships captains and mar in e rs Of t h e port s ink ing v e ry lo w
T h e s e r ie s culm inat e d in a Tem m
, .

a tion o S a in t J er o e wh ich
p t f , ,
’ “
b y S e n s ie r s d e scription O f it was outrag e ous M ill e t brush
,
.
,

in hand som e t im e s w e nt to an e xtr e m e in d e p icting pass ion

,

and fina lly th e r e was a n e xh ib ition Of all h is suj e ts le s plus

,
”
scabr e ux O f t h e rumour O f wh ich h is p e opl e at hom e app e ar
,

to hav e h e ard and h is grandmoth e r writ e s

,

“
My d e ar ch ild you t e ll us that you a r e go ing to work for
,

t h e e xh ib it ion you hav e not told us if you r e ap e d any b e n e fit

fro mt h e s e quantitie s Of p ictur e s th at you e xhib ite d at Havr e .

We cannot und e rstand why y o u r e fus e d t h e appointm e nt at

t h e coll e g e at C h e rbourg (th is allud e s to a Prof e s sorsh ip h e

had r e fus e d to acc e pt ) S e e st thou e ls e wh e r e a gr e at e r

.

advantag e at Paris than among thy r e lation s a n d thy frie nds 2

You t e ll us that you a r e about to mak e t h e portra it Of S aint
J é rom e groan ing ov e r t h e dang e rs to which h e found h ims e lf
,

e xpos e d in h is you th Ah " my d e ar ch il d aft e r h is e xampl e

.
,

mak e t h e sam e r e fl e ctions and d e duc e from th e m a holy profit "

,

F ollow t h e e xampl e of t hat man O f th in e own prof e ss ion who ,

’
us e d to say I pa int for e t e rn ity ‘
Fo r no caus e what e v e r .

p e rm it thys e lf to work e v il nor t O los e s ight O f t h e pr e s e nc e Of

,

God With S aint J erom e th ink inc e ssantly that you h e ar t h e

sound Of t h e tru m
,

p e t that shall summon us all to judgm e nt

& c — Thy G randmoth e r L OU I S E JUMELI N
”
.
,
.

On t h e proc e e ds Of h is e xh ib ition 900 francs h e brou g ht , ,

 J EA N F R A N c OI S M I L LE T .
27

h is wif e on to Paris In D e c e mb e r and th e r e lodge d in gr e at

m
, ,

pove rty in t h e Ru e Roch e chouart NO 4 2 bis Th e S a int J e r o e

’ ’

. .
,

p icture was r e j e cte d for t h e S alon and M ill et p aint e d ove r it ,

h is E dip u s .

E ug en e T ou r n e u x and t h e goo d D iaz b e cam e h is frie nds in

th is y e ar 1 8 4 6 It is mark e d how e v e r by an imm e n s e num
,
.
,

b e r O f stud ie s from t h e nud e for th e s e w e r e unfortu n at e ly

, , ,

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

was r e duc e d w ith his w if e and babie s to t h e v e rg e O f Star

, ,

vation S e n s ie r g iv e s a harrowing d e scription of t h e d istr e ss

that h e suffe re d and Of t h e sh if t s that h e was put t O and
, ,

quot e s among oth e r transactions by sa le or ba r te r t h e following :

, ,

S ix b e autiful drawings for a pair O f sho e s ; four portra its O f

D iaz B ary e V ictor D upr e and V c c h t e l if e s iz e to t h e bust
, , , , ,

for five fr a nc s ap ie c e ; and any numb e r of charming sk e tch e s ,

at pric e s ranging from fi ve francs to on e In t h e m e antim e

M C harl e s J acqu e coll e ct e d in h is stud io all pie c e s of pap e r
.

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

bought th e m that t h e y m ight not b e u s e d to l ight t h e fi r e

,

w ith .

Bu t also in t h e m e antim e h is tal e nt was attracting notic e

m
, , .

J os e ph G uichard a pup il O f Ingr e s a scholastic th e or ist in is s

who was dr e am ing of a fus ion O f C lass ic ism with Romanticis m
, , ,

and Natura l ism sa id that M ill e t was more touching than

” “

m
,

C orot and mor e impuls iv e (

,
i p ré vu
) and mor e t e nd e r than t h e
”
b e st O f t h e n e w school O f painte rs
Finally L e dr u Roll in ord e r e d f r om h ima p ictur e O f t h e
.

pric e Of francs and h e chos e for it s subj e ct Ha ga r a nd

m
,

I sh a el ; but wh e n h e had almost fin ish e d it h e chang e d it to

an agricultural subj e ct Of II a ym a he rs Res ting
-
mak ing at t h e ,

s am e t im e a r e solut ion to pa int no mor e stud ie s from t h e nud e

,

n o r O f O bj e ct ionabl e t e nd e ncy
“
Fo r o n e e v e n ing in front of
.
,
 28
‘

TH E B AR BIZ ON S CH OOL .

the shop windo w Of D e fo r g e h e saw t w o young m e n l ook ing

'

at a p ictur e Of h is B a igneu ses and on e sa id D O you know t h e , ,

‘

author O f th is p ictur e l t h e oth e r answ e r e d Ye s it is by a ‘

ma n name d Mille t who paints n othing but nud e wom e n "

, ,
’
,

And h e w a s so shock e d and hum il iat e d by th is inc id e nt that , ,

aft e r e xplain ing to h is wif e t h e d iffe r e nc e that it would mak e

to th e ir m e ans of l iving h e e n gag e d with h e r approbation
, , ,

to do no mor e such p ictur e s .

In this y e ar 1 8 4 8 M ill e t l ik e all oth e r Paris ians was call e d

, , , ,

upo n t O should e r a musk e t a n d g u ard t h e s ittings O f t h e Par

lia m
,

e nt He ass ist e d also at t h e storm ing of t h e barri cad e s O f

.

t h e Q uart ie r Roch e chouart and h e w itn e ss e d t h e d e ath O f

t h e comm
,

He r e turn e d
“ ”
and e r Of t h e insurg e nts says .
,

S e n s ie r “
disgust e d and in dignant w ith our Paris ian mas
,
”
s a cre s and w e nt away to t h e country t O t h e Plain of Mont
, ,

martr e or S aint Ou e n a n d on t h e follow ing morn ing h e

, ,

produc e d a numb e r O f sk e tch e s Of impr e ss ions r e c e iv e d in h is

walk B u t h is d isgu s t of bloodsh e d did not e xt e nd to h is
.

th e ory of Lib e rty wh e n comp e ting for a pri ze O ffe r e d for a

,

d e s ign O f this much calumn iate d godd e ss b e d e p ict e d h e r 1 , , ,

“
Running s w ord in hand dra gging aft e r h e r t h e c a r c a sses of
, ,

kings and 2 s e at e d on a thron e sp e ar in han d cont e mplating

”
, , , , ,

h e r e n e m ie s conqu e r e d and h eap edup a t her feet Th e s e d e s igns

,
.
,

how e ve r su it e d to t h e publ ic of t h e day w e r e not appre c iat e d ,

.

In th is y e ar h e was laid up by a gre at illn e ss In Jun e .

,

1 84 9 h e r e c e iv e d from L e dr u Roll in t h e pric e O f his p ictur e

m
,

of t h e II a y a /c er s and it b e ing chol e ra s e ason l e ft Paris w ith

, , ,

h is frie nd Jacqu e for B arb izon wh e r e t h e two fam il ie s lodg e d

, ,

w ith le p er e Ga nne and w h e r e th e y found b e for e th e m

,

Th eodor e Rouss e au Hug u e s Martin B e lly Lou is L e roy and

, , , ,

C le r g e t th e y h a d p ens ion w ith G ann e but h ir e d stud ios of ,

p e asants and Mill e t found t h e r e turn to country l ife S O con

 J EA N F RAN O IS
c M I L LE T . 29

g e n ial to h imthat h e d e c id e d to s t ay a t B arb izon som

,
e ti e ,
m ,

with t h e r e sult that h e did so for t h e r e maind e r of h is l ife

’
Th e re a r e many d e scriptions of M ill e t s hou s e in B a r b izon fi ‘

M Pie da gn e l w ritin g on t h e spot ca lls it a a isonn ette

.
,
“
,
m ,

l ite rally cov e r e d w ith a thick cloak of cl e mat is O f ivy and Of , ,

‘
j asm in e O f Virginia — t h e small paint e d door wh ich was at o n e
’
,

t im e white stand ing hosp itably Op e n t h e larg e front garde n in

,

b e autiful d isord e r flow e rs v e g e tabl e s and fruits in t e rm in gl e d

, , ,

without any r e gard to symm e try A cl imbing ros e t r e e s e e ms .

-

t o b e try ing to e nt e r by t h e upp e r w indows and t h e gard e n is ,

”
h e dg e d w ith S w e e t briar and e ld e rs twin e d w ith convolvulus
-
,
.

On t h e groun d fl o or n e ar t h e e ntranc e is t h e st u d io
-
,
M ,
. .

Yr ia r t e t OOk not e s O f t h e int e rior O f th is stud io : “

A larg e
ro om a n d v e ry e mpty wit h an e normous pre ss in it wh e r e
,

Mill e t us e d t O k e e p h is un fin ish e d past e ls a gre at many casts

from t h e antiqu e and m e top e s O f t h e P a rth e non and a Wed
, ding ,

Fea st Of B r e ugh e l and anoth e r Fl e m ish p ictur e

,
.

“ ’
S e n sie r s a ys that M ill e t s occupat ion s w e re twofold In t h e .

morn ing h e dug his gard e n and aft e r bre akfast h e r e t ire d to a ,

low roofe d cold and dark hall wh ich h e call e d h is stud io

-
, , , .

This shady r e tr e at h e rath e r l ike d and th e r e h e compos e d ,

most Of h is work an d th e nc e e manat e d from h is po e tic bra in

,
’
all h is compos itions sk e tch e s croqu is or d e ss ins
, ,
‘
.

“
His first vis ion (1 84 9) was a Bibl ical s u gg e stion Ru th a nd
” “
,

B oa z w hich h e thr e w on t h e wa ll in charcoa l— a tru e p e asant

,

Ruth a n d B oaz Of t h e I le de Franc e a sc e n e Of harve sting in ,

which as in S criptur e t h e mast e r Of t h e fi e ld surpris e s a

, ,
”
young gl e an e r and l e ads h e r all bashful to t h e rustic f e ast
, , , .

This will hav e b e e n t h e original thought for t h e Moiss onneu rs

Of 1 85 2 .

Bu t ou t In th e for e st e v e ry day p roduc e d its r e cord Of

it
Ne w pu ll e ddow n :
 O
PEASANT C H PPI NG WOOD
m
.

Fro a D r a wing by J . F r a n go is M il le t .
 JE A N F R AN OI S
c M I L LE T . 31

“
s k e tch e s of for e st l if e S awy e rs cutting up g igant ic tr e e s
.
,

woodcutt e rs ch a rcoal burn e rs qu arry m e n e mac iat e d by th e ir

,
-
,

frightful occupation po a ch e rs ston e br e ake rs c a ntonnier s

m
-
, , , ,
”
ploughm e n haymakin g wom e n w o ods p lit t e r s and S O forth
, , ,
.

And fro t h e rough outdoor j ottings h e afte r wa rds compos e d ,

a n d fin ish e d c a r e fully a s e rie s of small draw ings wh ich

,

s e e m e d to formulat e t h e whol e e x ist e nc e O f a p e asant First .

,

t h e man O f t h e so il in blo u s e and sabots t h e h e ro O f t h e work

, , ,

t h e starting po int ; s e condly t h e p e a sant g irl you n g stro n g , , ,

a n d han d som e and finally a s e r ie s O f e p iso de s O f rustic l if e

, , ,

from t h e moth e r amus ing h e r child to t h e poor Old cron e goin g

out to gath e r dry sticks Of wood and carry ing hom e on h e r ,

m is e rabl e should e rs t h e faggot four tim e s a s b ig as h e rs e lf , ,

”
crushing h e r .

It is in th e s e and s im ilar dra wings ra th e r than in h is gr e at ,

’
e xh ib it e d p ictur e s that t h e motiv e O f M ill e t s work is shown
,
.

“ ”
In th e m h e tak e s t h e man and t h e woman Of t h e fi e lds as ,

“
S ilv e stre w r it e s at all t h e stag e s of th e ir l if e from infancy
to youth from youth to maturity from m
, ,

atur ity to de c re p i
tud e with t h e fi r m
, ,

,
e s t log ic t h e most pr e c is e O bs e rvat ion but
, ,

w ithout any p a r ti p r is O f ugl in e ss or Of b e auty ” .

M S ilv e str e s ings t h e whol e drama to t h e drawings that h e

has b e fore h imas h e write s
.

Mill e t s ba by in t h e magnific e nt ’
,

drama La Veillee shin e s in t h e l ight O f t h e lamp l ike a n

’

infant J e sus und e r t h e halo b u t s e e h ima ga in in t h e O p e n

, ,

a ir in t h e a rms O f an e ld e r broth e r not h ims e lf ve ry larg e ,

.

T h e tr e e sh e ds it s fr e s h n e ss ov e r th e m t h e ch ick e ns run a bout , ,

t h e ducks gabbl e and all t h e sc e n e around is a po e m O f

,

infantil e b e atitud e .

“
He grows a l ittl e a n d w ith oth e r boys and girls driv e s
, , ,

t h e g e e s e t O t h e marsh e s a gr e e n tw ig for h is wh ip and t h e

e e s e look so b ig and so so l e mn th at it s e e m
, ,

g s to b e rath e r
 32 TH E B AR E I ZO N S C H OO L .

th e y who a r e tak ing car e of t h e childr e n th e n th e r e a r e l ittl e

g irls sl e e p ing und e r t h e h e dg e s in t h e shad e or rid ing o n ,

a gat e fr e sh pr e tty littl e g irls a l ittl e rough and w ild w ith

, , , ,

ch e e ks t ingl ing from t h e fr e shn e ss of t h e a ir ; th e y a r e n o t

y e t h ard e n e d by work n o r tann e d by t h e s u n .

L ook at thos e two s e arch ing t h e nut bush e s n e gl e ctin g ,

t h e car e O f t h e cattl e ; at that sh e e p bl e at ing aft e r anoth e r

l ittl e girl who carr ie s it s lamb in h e r apron and who turn s
, ,

back w ith an infin it e sw e e tn e ss t O look con sol ingly at t h e

moth e r " L ook at t h e two sh e ph e rd e ss e s on e U pright att e n , ,

tiv e t h e othe r in a sort of e cstasy gaz ing U pwards at a long

,

fl ight O f wild g e e s e far away in t h e sky

“
Th e hab it O f t h e cont e mplativ e l if e O f t h e Infin it e alwa y s ,

visibl e ad ds e v e n t o t h e fac e s O f sh e ph e rd e ss e s an e xpr e ssion

,

wh ich mak e s th e m l ike J e a n s O f Arc or S aint e G e n eviev e s

l ist e ning to vo ic e s or e xp e ct ing apparitions Th e woman O f .

Mill e t is n e v e r
Ne xt in ord e r com e h is r e pr e s e n tations Of t h e marriag e bond
of t h e ch ildre n Of labour r e s e mbl ing that Of two an imal s ,

“
coupl e d in th e ir harn e ss to o n e yok e tog e th e r : On e coupl e ,

n e wly marrie d a r e s e tting out to th e ir work ; t h e w if e is

,

hood e d w ith a gr e at bask e t thrown O v e r h e r h e ad and is ,

c a rry in g t h e jug that holds h e r husband s drink He w ith t h e ’

.
,

if
fr o mth e m
V e r y diffe r e n t a n n e r is t s e n la id s a y s Th eo ph ile G a u tie r

pr e te x t O f r e a li s m s u b s t itu t e t h e h ide ou s for t h e

, ,

wh o u nd er ,
a ,

tru e M ill e t s e e ks a n d a tt a in s s t y l e in h is r e pr e s e n t a t ion s o f t y p e s

,

a n d c ou n t r y ;
sc ene s h e kn o w s h o w t o in t r o du c e a r a r e g r a n de u r, and

no bilit y , w it h o u t dil u t in g in a n y w a y t h e ir r u s t ic it y W h y sh o u l d n o t
.

p ea s a n t s h a ve s ty l e as w e ll as h e r oe s ?
” “
M ill e t , sa y s Pa u l M a n tz ,
“
is t h e fir s t p a in t e r Of r u s t ic l if e w h o br e a ks w it h t h e vu lg a r it ie s of a

mg ea r e r e a lis m ,
d, dig n ify in g a t o n c e t h e se n t i
an m e n t a n dt h e or f mh ,
as

s h o wn th a t th e ru de l a b o u r s O f t h e fie l ds h ave a l s o t h e ir p oe t ry an dt h e ir
h e r ois m .
”
34 THE B AR B I Z O N S CHOO L .

w ith a g e stur e full of b e auty c o n fi din g to t h e womb O f t h e

e arth t h e s e e d that s h e w ill r e stor e a hundr e dfold .

“
And a ga I n — wh e n t h e gra in has g e rminat e d t h e blad e
O f grass b e co m
,

e an ear t h e w ind in t h e fi e lds pass e d u n

,

dUl a t in g through t h e h e avy h e ad e d corn and t h e tim e for -

,

har ve st arriv e d — h e paints t h e Reap er s ; or in anoth e r fi e ld , ,

t h e labour e rs bu ild in g t h e mass iv e stack of hay slop ing it

on on e s id e against t h e imp e nd ing stormwh e r e on t h e skirt
,

, ,

O f t h e for e st a black cloud ch arg e d w ith rain is strugglin g

,

w ith t h e pal e autumn sun ; and t h e artist paints th is broad

landscap e w h e re s t e e p in g to t h e w e ight Of th e ir forks activ e
pant ing for bre ath t h e Ha ym
, , ,

a ker s r e doubl e th e ir e n e rgy to

,

fi n ish th e ir t a sk b e for e t h e rain com e s down .

C hoos e among h is draw ings wh e r e you w ill you w ill find in ,

th e m e v e ry stanza Of t h e po e m of varie d e p isod e s t h e Pea sa n t

Gr afting, Of m
1 85 5 ; t h e Wo a n S h ea r ing a S h eep , O f 1 8 61 ; t h e
Pota to Ha r vest and t h e S hep h er dL ea ding his Floc h Ho e, of 1 86 3 m
th e Men Ca rr ying Ho m e a Ca lf D r opp edin th e Fields, of 1 8 64
m
.

And t h e indoor sc e n e s : t h e Veillée, t h e Wo a n Ca r d ing lVool,

t h e Retu r n fr omWor lc th e lVo m an Chu rning, t h e Lessiveu s e
e rwo m
,

(
wash an ) ,
are e ach an e p i sod e a chapt e r of
,
th e tal e .

c o if
fe db y a s or t O f biza r r e b onn e tbon y h dr e a n dm
h e is e a gr e u n d er

r om
, , ,

n e a t h t h is l ive r y O f p o ve r t a n d e t life s p r e a d s f hi s b r o a db a n d a n d
y y , , ,

w it h a pr ou d g e s t u r e h e w h o h a s n o t h in g is s pr e a d
, ,
in g o ve r t h e e a r t h
,

t h e b r e a d O f t h e fu t u r e A t t h e o t h e r s ide of t h e h ill a l a st r a y O f l ig h t
s h o w s a p a ir O f o x e n c o m
.

in g t o t h e e n d of t h e ir fu r r ow s t r on g a n d g e n t l e
c om p a n io n s o f m
,

a n w h o s e r e w a r dw ill o n e d a y b e t h e bu t c h e r y Th is
mm
.
,

lu e u r ( g l a r e o r g li e r o f li g )
h t is t h e o nl y e la i r O f t h e p ic t u r e b a th e d

in a s orr ow f u l s h a dow a n d p r e se n t in g t o t h e e y e s onl y u n de r a s ky of ,

c l ou d s a bl a c k s o il n e w l t o by t h e p l ou h Of a ll t h e p e a
, ,
y rn g .

s a n t s s e n t in t o t h e S a l o n t his y e a r t h e S ower is fa r a w a y t h e o n e w e
,

p r e fe r Th e r e is g r a n de u r a n ds t y l e in t h is fi g u r e O f t h e viole n t a c tion
i

r a g e d a n dw hic h s e e m
.
,

O f t h e t ou r n u r e p r ou d s a s if it h a d be e n
’
ly de la br e e (
'

g ) ,

p a in t e dw it h t h e e a r t h h e is s c a t t e r in g his se e du p o n — T h .
”
eop h ile Ga u t ie r
’

.
EL M lt
. r

O
W MAN S H E ARI N G A S H E E P
md
.

Fr o a r a w in
g by J . F r a n c ois M ille t .
36 THE BAR B I Z O N SC H OOL .

’
And aft e r t h e p e asant s l if e h e paints t h e po e try of
, ,

t h e fi e lds and t h e hours O f t h e day — Mor nin w ith t e nd er

g ,

t on e d clouds str e ak e d w ith rosy b e ams of t h e advanc ing l ight

t h e hot hour of Noon and t h e r e pos e O f t h e r e ap e rs wh e n

,

M idi r oi de s é t é s , épa n d u su r la pl a in e
mb
, ,

To e , en n a pp e d a r g e n t de s h a u t e u r s du
’
c ie l bl e u .
’

E vening, m e lancholy and s il e nt wh e n it s e e ms as if l ittl e by , ,

l ittl e black v e ils gradually th ick e n ing fall down on e by on e

, , ,

a n d e nv e lop t h e e arth
; and t h e sk irt O f t h e for e st is u n c e r
t a in — (Is tha t a tr e e or t h e ind istinct outl in e Of a haysta ck or
, ,

t h e farm hous e roof stand in g out against t h e sky

-
,

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

And Night cont e mplative

, ,
p e ac e ful full ,
Of vague sounds l ik e
s ighs.L ook "
V oy e z L a lu ne mt on e a t r a ve r s l o fe u ill a g e
Ton re
g a r dt r e mbl e e n c or , b ell e r e in e de s n u it s .
’

Th is glanc e wh ich tr e mbl e s still ; th e s e in de fi n a b le im

‘ ’

pr e ss ions and e sp e cially th is sc intillation of t h e orb Of n igh t

,

M ill e t has r e nd e r e d th e m mor e p e rf e ctly than any b ody e ls e in

t h e Pa r e a u a: M ou ton s
”
And in c onn e ction w ith n ight M
.
, , .

Yr ia r t e dw e lls upon that b e autiful dom e stic inte rior La Veillée

trac in g t h e w e ary labour e r hom
, ,

e to h is a in fir e s id e .

“
B y t h e l ight O f a lamp which S parkl e s t h e w if e is kn itting ; ,

t h e man is w e av ing a bask e t t h e ch ild in t h e cradl e is sl e e p

in g und e r it s m
’
oth e r s e y e Th e fi r e l ie s smould e ring und e r .

hot ash e s t h e sl e e py cat is rubb ing against t h e w a inscot .

Outs id e Of t h e pal e rad ianc e Of t h e lamp all forms a r e stunt e d

es tom ees and ind ist inct Th e whol e p ictur e br e ath e s of p e ac e
’

( p )
Th e m
.
,

s il e nc e and pov e rty

,
a n who pa int e d such sc e n e s on e
.

fe e ls had livedthat l if e .
 J EA N F R A N OI S
c M I LL E T . 37

W
( e may add ,
th e m
who paint e d such sc e n e s could n ot
an ,

find buy e rs for th e m in Paris at fi ve pounds ap ie c e

Anoth e r e loqu e nt write r who finds insp iration in Mill e t is M
Paul Mantz We s e l e ct h is d e scriptio n in t h e Ga ze tte des B ea u ze
.

A s ft h e
r t O pow e rful p ictur e — a ft e r t h e A ngelu s p e rhaps t h e mos t

e l e vat e d in s e nt im e nt th at M ill e t e v e r paint e d y e t r e fus e d by t h e ,

.

Jury O f 1 85 9 O f D ea th a ndthe Woodc u tter

— “
t h e fabl e that e x ,

pos e s t h e e te rn a l coward ic e O fman prostrat e und e r all torm e nts

but pr e f e rr ing to t h e d e ath wh ich would r e l e as e h imt h e m is e ry
, ,

Of l if e .Th e O ld m a n crush e d w ith w e ar in e ss has fall e n down

, ,

panting and e xhaust e d pow e rl e ss to r e n e w h is struggl e Of e ve ry

day He has invok e d D e ath and D e ath has com e to h im
,

.
, ,

drap e d in a wh ite shro u d wh ich g iv e s prom in e nc e to t h e m e agre

sk e l e ton carry ing in on e hand t h e symbol ical sand glass a n d
,
-
,

in t h e oth e r t h e scyth e that is e v e r S harp Th e mora l .

impr e ss ion produc e d by th is p ictur e is a dm irably accurat e — a l l

that t h e brush Of M Mill e t has writt e n or ind icate d t h e int e ll e c t
.
.

can r e ad as in a book O f truth D e ath is w is e ly nobly

.
,

v e il e d to hid e all ugl in e ss ; t h e artist has re fus e d to sho w h is

,

fac e ; t h e whit e sp e ctre th e r e for e pr e s e rv e s it s myst e ry ; h e

, ,

r e ma ins t h e gr eat U nknown As t O t h e woodcutt e r— ve r v

.

tru e is h is attitud e and wond e rfully e xpr e ss iv e t h e fac e t h e

, ,

action t h e m im ic art ; but for such a subj e ct h e might b e

, , ,
”
more sculptural and mor e bea u .

M Mantz shows a h igh e r appr e ciat ion in h is critic ism of t h e

t h e Wom
.

compan ion p ictur e admitt e d in t h e S alon

, an

Tending a Cow “ ’ ”
Th is will n e v e r b e M M ill e t s b e st p ictur e
. .
,
“
h e says and y e t what a fter asp e ct t h e l ittl e canvas h a s "
,

What myst e ry " What a s ile nt calm " What a n adm irabl e
e l im inat ion of all that is m e agr e in t h e r e al ity and O f all tha t

This is t h e m e thod O f t h e gr e at m
,

is vulgar ast e rs of d e s ign ,

s e e king t h e grand in t h e s impl e a n d suppr e ss in g t h e acc id e ntal

,
88 T HE B AR B l Z O N SC H O O L .

to attain t h e un iv e rsal Me n of humour may smil e t h e

Acad e m ie s m
.
,

a
y d e c e iv e t h e ms e lv e s t h e ind iffe r e nt may ,
pass
without looking and w ithout und e rstand ing ; th e ir mock e ry ,

th e ir m isund e rstand ing th e ir scorn w ill chang e nothing of

, ,

t h e final r e sult and in a t im e that w ill soon draw n e ar M

,
.

Mill e t w ill b e salut e d as a mast e r

Ye t anoth e r gre at critic d e s e rv e s quotat ion if only to e m
.

,
’ ’
p h a s is e t h e paradox of M ill e t s fam e and M ill e t s pov e rty M . .

P e tr e z d e scr ib e s t h e Glea ners in t h e S alon of 1 8 5 7: — “

Th e
inj u st ic e of c e rta in soc ial in e qual it ie s t h e bad distr ibut ion of ,

w e alth t h e e xtr e m e abundanc e in which som e l iv e t h e p e nury

, ,

in wh ich th e g re at numb e r ve g e ta t e a r e at l e ast as striking in

*
-
,

t h e fi e lds as in t h e c ity No compos ition has in our tim e

.
, ,

b e tt e r made th is f e lt than t h e Glea ner s Thr e e poor p e asant .

wom e n cov e re d in m is e rabl e ra gs but d e ce nt pass by p icking

up h e r e and th e r e som e m
, , ,

e agr e e ars of corn whilst at t h e ,

e xtr e m ity of that fi e ld in wh ich th e y wand e r b e nt doubl e ov e r

t h e ground a numb e r of r e ap e rs ov e rlook e d by t h e proprie tor

, , ,

or t h e farm e r p il e sh e af on sh e af and h e ap into lofty stacks

, ,

t h e abundant harv e st Noth ing more s impl e — noth ing l e ss

.

r e t e n t iou S — noth ing look ing l e ss d ir e ct e d t o p r ov ing anyth ing

p
of any kind — nothin g l e ss sugge stive of inv e ntion or a r t ifi c e
and y e t " t h e impr e ss ion produc e d is as v iv id as it is profound
t h e id e a of t h e compos ition stands out cl e ar pre c is e str ik ing , , ,

and t h e moral of t h e subj e ct springs naturally from t h e sub

T n er s from e v e ry po int of v ie w is among t h e
j e c t its e lf h
. e Gle a , ,
” ’
most impo r tant and t h e most compl e te of M ill e t s works .

A notic e abl e f e atur e in t h e critic isms of all th e s e prof e ss ional

critics is that in r e sp e ct of M ill e t th e y forg e t to critic is e a r e
, , ,

“ ”
carrie d away l ike t h e first Phil istin e by t h e l ite rary m e rit
“ T h is pic t u e h as l a t e l b e e n p r c h a s e d fo a b o t
a
r
y u b y M ad a me r u

Pom me y of Rh e ims w h o h a s be q e a th e dit t o th e L ou vr e a t h e r de a th

,

r , ,
u .
 J E AN F R AN O I S
Q M I LLE T . 39

th e M P e tre z has anoth e r charming notic e — of

m
of subj e ct . .

t h e Pea sa nt Gr afting — wh ich e x e mpl ifi e s this r e mark — “

Fa ily
l ife t h e r e c iprocal a ffe ction of husband and wif e t h e lov e of ,

t h e fath e r and moth e r for t h e ch ild hav e oft e n in far away , ,

-

country plac e s a tranquillity a grav ity a moral b e auty a

, , , ,

som e thing prim tiv e and pow e rf u l which is rare ly found e ls e

i

wh e re Th e Pea sa nt Gr afting a Tr ee is a fa ithful imag e th e r e of

. .

In t h e middl e of on e of thos e e nclosur e s half courty ard a n d ,

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

, ,

b e e n cuttin g a tre e b e low t h e branch e s hol ds in h is l e ft han d ,

a graft wh ich w ith t h e right h e ins e rts in t h e wood pre pare d

, , ,

to re c e iv e it His w if e carry ing in h e r arms th e ir ch ild still

.
, ,

in s w addl ing cloth e s is watching w ith inte r e st t h e h e ad of t h e

,

family who absorb e d in h is work accompl ish e s o n e of t h e

, ,

important acts of h is e x ist e nc e fol lowing out r e v e r e ntly ,

cons e crat e d custom Round about th e m all bre ath e s of ord e r

.
,

proprie ty and mod e st p rosp e rity ; th e ir cloth e s hav e n e ith e r

,
’
stain n o r r e nt but show t h e e ffe c t of t h e hous e wife s care
This m
, .

a n graft ing a tr e e und e r t h e e y e s of h is w if e at t h e

, ,

t im e w h e n a son had r e c e ntly b e e n born to th e m r e pr e s e nts ,

admirably— on e cannot d e ny it — our Fr e nch p e asants labo ,

r iou s thrifty pl a
,
nt e d so to say in t h e soil l iving and dy ing in
, , , ,

t h e plac e s of th e ir b ir t h wh ich t h e y a r e n e v e r induc e d to,

abandon by t h e lov e of adv e ntur e or t h e induc e m e nt of gain

m
and t h e ens e ble of this sc e n e so full of truth has a charact e r
”
patriarchal symbol ical quas i r e l ig ious
, ,
-
.

C a n an y th ing b e l e ss l ik e an a r t crit ic ism or mor e ind icat iv e -

,
’
of M ill e t s attainm e nt of that po int in art wh e r e thos e who
look e d at h is p icture s w e r e charm e d by t h e truth of th e m into
forg e tf u ln e ss of th e ir m e thod of manufacture 2 The re is how ,

e v e r a l ittl e mor e of t h e t e chn ical in Paul Ma n t z s notic e of

’
,

t h e Glea n er s ; but t h e crit ic ism is from a lofty “

s t andpo int ”
 40 T HE B AR B I Z ON S CH O O L .

still He calls t h e pictur e o n e of t h e Mast e r s aust e r e st

’

m
m
.

works This p ictur e has t h e c olou r of the su

. er in it s gamut
of pal e gre y in t h e harshn e ss Of t h e calm of it s sky is f e lt t h e
, ,

e xhaustion of t h e d ays of August,and that gloom of s il e nc e

’
which th e r e is nothing but t h e grasshopp e r s not e to d isturb .

Harve st is finish e d s t e e p ing ov e r t h e so il n o w stripp e d of it s ,

garm e nts a fe w poor wom e n a r e com e to f e tch t h e wast e d

,

e ars of corn Th e y b e nd down low and t h e id e nt ity of th e ir

.
,

mov e m e nt allows t h e l in e s to b e re p e at e d in a sort Of paral

l e lis m full of charact e r and sol e mn ity In th is e ffe ct purpos e ly .
,

monotonous th e r e is an e ffort of d e s ign a r e s e arch Of rhythm

, , ,
”
wh ich on e do e s not O fte n m e e t in mod e r n work .

“
To an E n gl ishman says Mr H e nry Wall is ,
” “
h is works
.
,

a r e sugg e st iv e of t h e po e try and s e ntim e nt of B urns and t h e ,

s y mpath e tic f e e l in g for natur e of Wordsworth He had t h e .

art Of introducin g into p icture s of mod e rn Fre nch pastoral

l ife wh il e re tain ing t h e truthfuln e ss of nature all t h e e l e vate d
, ,

qual it ie s of t h e b e st artistic cultur e to b e foun d in t h e works

of t h e gr e at maste rs Thos e who r e m e mb e r t h e A ngela s da
.

S oir in t h e E xpos it ion of 1 8 67 w e l l know th is is no e x a gg e r a

tion Th e p ictur e r e pr e s e nts a coupl e of p e asan t s m
,

. a n and ,

woman who w h il e at work in t h e fi e ld h e ar t h e b e ll of t h e

, , ,

d istant church t e llin g t h e A ngeta s Th e y st o p work r e v e re ntly .

,

bowing th e ir h e ads in s il e nt pray e r Fo r e xpr e ss ion of d e vo .

tion e qually g e nuin e w e must go back to t h e works of t h e e arly

Italian
A t t h e S e c et a n S a l e in Pa is in Ju ly 1 889 t h e A ng l
r r w a s a ft e r a e as

s c e n e of u n w o n t e d e x c it e m
, , ,

en t kn o c ke d do wn t o M A n t o in Pr o s t n u

a c t in g o n b e h a lf o f t h o s e w h o de s ir e d t h a t it s h o u l dr e m
, .

a in in Fr a n c e — fo r

f a cs r n w h ic h w it h t h e s al 5 p e ce t h a g ed i u u r n c r n

m m t h w v d id d
.
,

Fr a n c e , a ou n t s to Th e F r e n c h G ove r n en , o e er , ec e

n ot to pu r c h a se th e p a in t in g a t th is h ig h pr ic e a n dM P t di g ly r ou s a c c or n

f Am i m
, .

r e s ig n e dit , at th e a b o ve pr ic e t o a s n d ic a t e o t l w h
er c a n en e o
, y g en
42 T HE B ARBI Z ON S CH O O L .

M ill e t is so gre at a mast e r t h e r e sult that h e achie v e s is so

,

admirabl e th a t t h e car e ful and skill e d valuation of h is e xc e l

,

l e n c ie s in d e ta il by comp e t e nt stud e nts of h is work is most

valuabl e and in e ffe ct th is is h is true b iography for t h e gaining
, , , ,

of anoth e r st e p in art t h e d iscove ry of a n e w l e sson in nature

, ,

would b e valu e d by hims e lf as t h e importan t inc id e nts of h is

l ife .

Th eoph il e S ilv e str e an alys e s h is work in gr e at d e tail

Mill e t paints t h e T REE marv e llously — h e says ”
Young
e lms of t h e w ild st o ck badly plant e d w ith shoots l e ath e ry and
,

hard appl e tr e e s with prun e d branch e s that look l ik e a wound

-

on a m a n ; d e ad b irch e s crown e d by a l iv in g o f fshoot Th e

mm
.

ov e ent O f t h e trunk t h e ins e rt ion of t h e branch e s ind icat e

, ,

t h e br e e d Mill e t not e s th e ir slo w growth and e xpre ss e s it

m
.

by l ign e ous sp irals and th e ir p la nta tion c ir c a sa illa nte that is

, ,

to say t h e sw e ll ing that t h e roots give to t h e land in wh ich

,

m
th e y a r e plant e d B u t adm irably as h e s e e s t h e tre e t h e tr e e
do e s n o t hind e r h imfro
.
, ,

s e e ing t h e fore st in it s unity ,

magnific e nt and r edu nda nt: Ne it h e r t h e tre e nor t h e for e st is

”
in e rt t h e tr e e has br e ath t h e for e st has mot ion ,
.

“
Nobody has don e W AT E R b e tt e r than Mill e t — wh e th e r it
b e t h e s e a d e ns e and sal in e slow in draining in drops from
, ,

t h e blad e s of t h e e a r s or t h e flu id and sw iftly e scap ing wat e r -

of t h e riv e rs or t h e d e ad wat e r of t h e m
,

,
arsh e s wh ich sh in e s ,
”
l ik e a t in plate und e r t h e br e ast of a drinking cow
B u t e sp e c ially nobody has e v e r r e nd e re d l ik e h imt h e
.

“
, ,

h a d be e n th e t h ig h e s t
n ex bidde r s Bu t fr o ma n o te in t h e G u ide de
mt
.

d CE u vr e s dA r t
’
N w e le a r n t h a t t h e vic is s it u de s
’ ’
l A a eu r
( ov ,
mi m
.

of t h e A ng e la s a r e n o t y e t at an end Th e A er c an Cu s t o s au t h or it ie s ,
m
.

w h o c l a i e dn o l e s s t h a n du t y , c on s e n t e d t o w a ive it on c on dit ion

th a t th e p ic t u r e did n o t re mi m
a n or e th an S ix m th
on s in A m e r ic a a n d

was n ot d th e r e
r e s ol I t is n ot u n l ike ly , t h e r e for e , t h a t it
. my a a g a in

r e tu r n to E u r o p e a n dp e r h a p s vis it E n g la n d .
 J E AN F R AN O I S
Q M I LLE T . 43

sp e c ts of t h e sky as d e e p mh is p ictur e s as t h e e arth is sol id

“

a , , ,

a n d firm ; and t h e chang e s of t h e atmosph e r e t h e prom is e o f ,

rain or t h e thre at of drought in th e ir sub tl e st nu a nc es NO

body has r e nd e re d l ik e h imt h e sounds and t h e s il e nc e s of
.
, ,

n atur e — a gloomy sky trav e rs e d by wh it e p ig e ons sudd e n ,

gl e ams Of l ight fl itting ov e r a v illag e dry l e av e s fly ing about , ,

a S h e ph e rd e ss sh e lt e ring from t h e storm — and that is su f fi c ie nt

”
to give you a p enetr a ting sensa tion of w ind and storm Th e n
m
.

“
t h e S NO W cov e rs t h e land — what a or n e tr is tes s e Mak e a
fe w hors e m e n pass und e r th is sky — lose h e r e and th e r e a fe w
corps e s and this corn e r of a fi e ld at B arb izon w ill b e com e mor e
,

t e rribl e than t h e battl e fi e ld of E ylau In anoth e r plac e t h e .

s no w 1 S lum inous and v irg inal It is t h e first snow scarc e ly .

,

hid ing t h e grass You can h e ar t h e p ip ing of t h e b irds — I n

.

a noth e r p ictur e A farm yard is s il e nt und e r t h e moon but

,
‘ -

t h e watch dog is th e r e aw ak e ; touch t h e f e nc e only and h e

-

w ill bark T h e im
,

. min e nc e of sound mak e s t h e s il e nc e f e lt .

E dmond About t e lls us of t h e man h ims e lf M ill e t is as

s il e nt as M C ourb e t is boiste rous No man knows Mill e t but
. .

h is own frie n ds He has n e v e r s e t up a sho p he has n e v e r

.

b e at e n a drum h e has qu ie tly dig e st e d t h e rigour of t h e

jurie s and t h e applaus e of t h e publ ic Fa r away from Paris
, .
,

h e l iv e s as a p e asant a mong p e asants h e labours in t h e m ids t

m
,

of t h e labour of t h e country h e s i p ly lives a ndh e p a ints ,

”
.

And M ill e t t e lls us s om e th ing of h ims e lf Th e r e a r e som e

m “
who t e ll e h e write s in 1 8 63 that I d e ny t h e charms of
, ,

t h e country I find in it som e th ing far h igh e r than charms

in fi n it e glor ie s I c a n s e e in it , as w e ll as th e y t h e l ittl e
.
,

flow e rs of wh ich t h e S aviour said that S olomon in all h is glory

was not array e d l ik e o n e of th e m I s e e v e ry w e ll t h e gold e n .

aure ol e s of t h e dand e lions and t h e sun also wh ich spr e ads

, ,
 44 T HE B AR B I Z ON S C HO O L .

abroad down th e r e far a w ay b e yond t h e fi e lds h is glory in t h e

, ,

clou ds but not t h e l e ss for that in t h e plains I s e e t h e smok e ,

of t h e hors e s at t h e p l o u gh or on a stony h e art e d spot of lan d , ,

-
,
’ ’
a back brok e n man (I hav e b e e n l ist e ning to h is ha n s S inc e
-
‘

t h e morn ing ) pa infully try in g to ra is e h ims e lf upright for a

mom e nt to bre at h e Th e trag e dy is surrou nd e d by glorie s .

that is no inv e ntion of m in e — t h e e xpre ss ion le c r i cle la ter r e

”
was inv e nt e d long ago — J F . . .

And as to t h e inc id e nts of Mill e t s l ife He r e t ir e d to B a r ’

.

b izon in 1 84 9 w ith h is wif e and childre n and l iv e d th e re ,

u ntil h is d e ath in 1 8 7 5 He was plund e re d l ik e Rouss e au

by fals e frie nds who k e pt h imin ind ig e nc e whil e th e y
, ,
.

,
l

acqu ir e d h is invaluabl e drawings on which th e y subs e qu e nt y

b e cam e r ic h q Th e only romanc e of his marrie d l if e is t h e s a d
L
,

patie nt stru ggl e w it h pov e rty which ass im ilat e d h is fortun e

and h is m ind to t h e poor p e asants around h imand out of h is
,

pov e rty t h e world is e nr ic h e d by h is st e rn y e t p itiful re pre s e nta

t ion of that of t h e p e asantry .

C h arl e s T imbal a cons ist e nt disparag e r O f h is work says

, , ,

“ ’
afte r a s e v e re crit ic ism Any w ay if Mill e t s work ra is e s con ,

t r o ve r s y that cannot b e call e d unju s t his l if e S hows noth ing ,

b u t a long and honourabl e e xampl e to wh ich it is e asy to pay

homag e It was all tak e n up in work ; t h e love O f h is own
.

fam ily was it s d e are st j oy ; t h e soun ds of Paris d ie d on t h e

Th e le t t e is e p o d c e db y J u l e s C l a ét ie
r r r u r

1 O n t h e o th e h d W illia mM o is H n t a p p il o f C o tu r e w h o
.

“
r an ,
rr u ,
u u ,

h a d l ive d in P a r is fo s e ve a l y e a s a n d w h o h a d c o c ive d a g r e a t
r r r n e

m ir a t io fo M ill e t s w o k s e s t a blis h e d him

,

ad se l f a t B a b iz on in o r d
’
n r r e to r r

m e a mp a in t e
,

st d
u y q u i e t l y t h e a a dt h p a in t e
n W h il s tnt h e e Me H r r r r,

t o w h om Mill et h a d g ive l e s s on s in 1 84 8) visit e dhim

. .
,

a d Mr B a b o k (
n c c n

a n dt h s w a s fo m e d him
,
.

u e d a c o t e ri e O f a t ist s w h o a id
r b y t h e i fr ie n d
r r

s hip a n d s m
y p a t h y a n dlig h t e n e dh is p ove ty b y p c h a s i g h is pic t e s r ur n ur

Am
.
,

o g s t o th e s
n H n t b o g h t h is S h p S h
r ,
u u a n d Th S h p h r d b o th ee ea r er e e e ,

of 1 85 3 .
 J EAN F RA N
gm s M I LLE T .
45

t hre shold of t h e modest hous e that t h e paint e r h a d chos e n for

h ims e lf on t h e S kirts of t h e for e st of Fontain e bl e au Nothing .

was h e ard th e re but t h e laughte r of a num e rous family of

wh ich t h e fath e r was t h e su pport and t h e frie nd Oth e rs
hav e narrate d e ls e wh e r e this car e e r com m
.

’
e nc e d in t h e p e asant s
,

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

hands hav e sown po e sy ov e r th is hon e st tomb and conn e ct e d , ,

MI LL T S STUD
E
’
IO A T B AR B I Z O N .

so to sp e ak e a c h of t h e v irtu e s of M ill e t to t h e works that h e

l e ft b e hind h im B u t h e go e s on to r e mind his r e ad e rs t h e
,
” “
.
, ,

t e nd e rn e ss Of m e mory r e ally tou ch ing as it is c a nnot lo n g

, ,
’
susp e nd t h e critic s rights and it is no d e fault of t h e r e sp e ct
du e to p ious t e ars to discuss t h e cla ims and t h e tal e nts of h i m
for whom th e y flow ; a n d aft e r all t h e high e st e u log ium that w e
, ,

can e n grav e on a tomb is it not that w h ich Mill e t has e arn e d

m
md bi
,

I l fu t nu ho e e en .
46 T HE BA R B I Z ON S C HO O L .

Ne ar t h e e ntranc e of t h e for e st of Fontain e bl e a u frie nd s the

,

of Ro ss e au and M ill e t hav e plac e d— high on a r o c k wh e r e it

u

cannot fa il to b e notic e d — a larg e bronz e plaqu e conta ining ,

i
spl nd dly mod e ll e d portra its of th e s e artists who l ive d so long
e
,

i i
w th n it s shad e s and paint e d so many of it s b e autie s Th e s e .

por traits a r e by t h e c e l e brate d sculptor C hapu who work e d

for th e mas a labour of lov e
, ,

.
48 TH E B A R Bi zo x C
S H OO L .

s e tting of t h e old routin e s in Art as w e ll as in S ocie ty

Romantic ism was for h imon e prot e st mor e against t h e ancie nt
,
.

”
ord e r “
. H ithe rto h e said Art has b e e n d e vot e d to G ods
“
, ,
”
and Pr inc e s t h e tim e is now com e to d e vot e it to Man .

1 4 soc iete n ou velle A r t n ou vea u T h e r e wrot e

,
Rouss e au .

’
w a s to T h o r é a n d h is assoc iat e s of La L iber té t h e cat s p a w to -

tak e t h e ch e stnuts out of t h e fi r e Th e y laid hold of h imin

1 8 30 a boy of e ight e e n and k e pt h imin d isr e pute w ith t h e
.

, ,

quie t world and e sp e cially w ith t h e authoritie s of t h e Institut e

, ,

until t h e lon g struggl e e nd e d in t h e Re volution in 1 84 8 but

’
many of t h e b e st y e ars of t h e young pa int e r s l if e had b e e n
spo ile d by it and t h e princ ipl e s of Romanticism in landscap e
,

e sp e c ially cam e b e for e t h e world as a part of t h e un iform of

,

t h e e n e m ie s n o t of t h e mo n archy alon e but of t h e C hristian

, ,

r e l igion and t h e institution of t h e Family its e lf .

T h e b iography of Rouss e au is int e r e st ing from it s comm e nc e

m e nt His fam ily had it s own trad itionary con n e ction w ith Art ;
.

h is gr e at—
’
grandfath e r had b e e n a G ild e r of t h e King s E qui
” ’
p a g e s and intima t e with pa int e rs of t h e King s hous e hold ;
h is uncl e C o lo m
,

b e t was a portra it paint e r of such r e fin e m e nt

O f s e ns ib il ity that h e fl e d from h is n a t iv e country and d ie d in

e x il e in C handarnagar in Ind ia b e caus e h e onc e saw a S ign

, ,

board on a S h e p pa int e d by a f e llow stud e nt and nobly r e

,
-
,

fus e d to inhab it a country wh e r e an artist could s t e e p to such

a task ”
His moth e r s s e cond cous in was a lan dscap e paint e r
.
’
,

famous for introduc ing donkeys into all h is la n dscap e s “

Th e .

donke ys of S aint Martin had b e com e a fam il iar thing and h e

-
,

was r e cognis e d by th is pr edilec tion n a tu r a lis te ”

It was to h imthat t h e future paint e r us e d to go on h is hol i

.

days from h is school at Aut e uil and with t h e scrapin gs of h is ,

p al e tt e b e gan to paint copyin g t h e p icture s that hun g in t h e

,

’
it
S ee T h e r e s Nou ve lles Tenda n c es ’
ae
’
l Art .
 R OU SS E AU . 49

painting room and syst e matically surround ing th e m w ith a

-
,

p ie c e O f t h e wall th e y hung against and w ith oth e r Obj e cts n e ar

s e e king e v e rywh e re t h e ens em ble and to r e produc e e ve r vt h in g ,

in it s hab itual atmosph e re It was an instinc t innat e . .

His a r t stud ie s w e r e int e rrupt e d at t h e e arly a g e of tw e lv e , ,

by h is e ntranc e into t h e act iv e dutie s of l if e and h e b e cam e ,

privat e s e cr e tary to t h e proprie tor of a saw mill e stablish e d -

for t h e e xploitat ion of t h e for e sts of t h e Franch e C omt é This -

.

g e ntl e man a M Maire a r e lativ e of t h e fam ily S e n s ie r allud e s

to as a statuary and w ith h imt h e l ittl e Th eodor e b e gan h i
, .
, ,
”
,

“
trav e ls to t h e mountain land t h e lak e s and t h e fore sts wh e r e , , ,

for t h e first t im e h e saw in th e ir w ild l ib e rty t h e oaks b e e ch e s , ,

firs and holly and j unip e r Th e tr e e s tha t h e l ik e d b e st in

,
.

aft e r y e ars all m ingl e d in an infin it e promiscuousn e ss in t ox i

, ,

c a t e dh is m ind and charm e d h is e y e s and th e re h e r e main e d ,

“
for a whol e y e ar in t h e company of t h e fore st e rs t h e timb e r ,

m e rchants t h e gam e k e e p e rs t h e wood ward e ns t h e wood cut

, ,
-
,
-

t e rs t h e charcoal burn e rs t h e sawy e rs t h e sabot m a k e rs and all

, , ,
-

,
”
t h e gre at trib e s of t h e for e st rod e nts working as a cl e rk , .

M Mair e having fa il e d in h is b us ine ss h is child s e cre tary -

m
.
,

r e turn e d hom e and to school again and w e n e xt h e ar of h i

, ,

o n e day buy ing colours and brush e s for h ims e lf and go ing o u t

to t h e Butt e s Montmartr e at t h e foot of t h e old church und e r , ,

”
t h e tow e r of t h e s e maphor e t e l e graph of t h e p e riod to pain t ,

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

tr e e s t h e walls and t h e land says M S en s ie r Of t h e abov e

, , ,
. .

“
sc e n e h e finish e d an e xact study firm and of v e ry natural , ,

tonal ity which was r e gard e d as t h e s ign of h is tru e vocatio n

for art and h is pare nts hind e re d h imno more
,

,
On t h e .

contrary th e y took couns e l with cous in Pau de S a int Martin -

m
, ,

t h e landscap e pa int e r who took t h e boy away w it h h i to

C ompiegn e and s e t h imto mak e draw ings fro m
,

natur e and , ,

E
50 T HE B AR BI Z ON S CH OO L .

satisfi e d of h is tal e nts de c id e d h is fam ily to put himto s tudy

,

u nd e r R em e nd a landscap e pa in t e r of w hom S e n s ie r sp e aks

,

w ith conte mpt a n dof whom Rouss e au h ims e lf wr it e s Th e re

,
“
,

is no t h ing so p e rn ic ious as a bad b e g inn ing to a campa ign it

took m e a numb e r of y e ars to g e t r id O f t h e sp e ctre s of
R em e nd .

'

Rem e nd had r e turn e d in th is y e ar 1 8 2 6 from e xt e ns iv e , ,

trav e ls in Franc e Italy and S ic ily and mor e f r ie ndly critics

, , ,

say that r e al Nature brok e through t h e crust of trad ition in

“

is v ie ws tak e n in Dauph in e Auve rgn e C alabria a n d S ic ily

‘

, , ,

al though h e r e laps e d from t im e to tim e into t h e h er oic styl e .

B u t t h e sk ill of h is t e ach e r was of l e ss cons e qu e nc e to

Rouss e au n o w four t e e n y e ars o f a g e b e caus e h e pre f e rr e d to
, ,
’
e ducat e h is own g e n ius in l ec ole bu issonnier e play ing
truant ) at S aint C lou dor S evr e s on S undays or wh e n h e could
-
, ,

e t long e r l e av e h e fl e dto C omp ieg n e to V e rb e r ie to B a t ig n ie s

g , , , ,

a n d to S aint Je an aux B o is all v e ry cons id e rabl e d

- - -
istanc e s for
,

t h e tim e b e for e t h e introduction of railways ; h e e v e n push e d

as far as Mor e t pass ing through t h e for e st of Fontain e bl e au
, ,

wh e r e h e stopp e d to mak e a study of t h e gr a nde r ou te r oga le

th e re c a lle d t h e pav é cl e C hailly
,
.

This brings us on to t h e y e a r 1 8 2 9 t h e s e v e nt e e nth of h is -

a g e wh e n alr e ady t h e th e ory that h e was t h e champ ion of a

,
“ ”
grand ind ig e n ous sudd e n e xplos ion as it is call e d of a n e w
, , , ,

naturalist lan dscap e assum e s that l ik e an infant H e rcul e s h e

His stud ie s at C om
, , ,

was strangling s e rp e nts in h is cradle “

.

i e n e and at Mor e t g iv e t h e first not e of h is t im id in su r r e c

p g
t ion h is h e art is stirr e d but h is pal e tt e do e s not y e t re spond
,

to h is impuls e ; h e is still und e r t h e dom in ion of t h e anc ie nt

”
p e dantry .

In th is y e ar R em e nd was urging h is pup il to comp e t e for

t h e Pr ix de Rom e still vacant by t h e d e a th of Mic h a lon
, ,
 RO U S S E AU . 51

C or o t
’
frie n d who first h e ld t h e Landscap e S cholarship
s ,

th e re b u t Rouss e au aft e r tak ing it in hand to pa int t h e

,

class ic t r e e and to add to figur e in a landscap e of t h e a nc ie nt

m
, ,

world Z e nobia p ic ked up by Fisher en on the B a nks of the

,

A r ades was struck w it h d isgust at t h e rid iculous programm e

,
.

What was t h e good of d igg ing up Z e nob ia to an imate a land

scap e 2 and h e r e fus e d to go on with it but w e nt out into t h e ,

woods inst e ad at Damp ie rr e at t h e Vaux de C e rnay wh e r e h e

, , ,

paint e d casca de s of a wond e rful transpare ncy ; and sp e nt h is

tim e in bad w e ath e r in copy in g in t h e L ouvre an im “
als of
’
Kar e l du Jard in and sun lit p ictur e s of C laud e or in att e nd -
,

ing t h e a te lier of G u illon L e t h ier e to study t h e figur e .

It is t h e n e xt y e ar 1 830 w hich is t h e most e v e ntful of h is

e arly art l if e and produc e d work wh ich plac e d h im
, ,

,
at onc e
”
in t h e va n of t h e romantic mov e m e nt ; and un h app ily in , ,

hostil ity w ith t h e authoritie s who h e ld for a long tim e y e t t h e , ,

pow e r of t h e k e ys to t h e S alon .

He is now only in t h e e ight e e n t h y e ar of his a ge but alr e ady ,

in t h e s ixth or s e v e nth y e ar of h is s e r ious a r t —train in g if ind e e d ,

h e could e v e r look back u pon any p e riod of h is l if e wh e n h e

was not acquiring skill for e v e n in h is infancy we a r e told h e
m
, , ,

ad e p e n and in k facs im il e s (car e fu lly pre s e rve d by h is frie nds )

- -

from e n grav ings w ith astonish ing pr e c is ion and fin ish e d th e m ,

w ith that imp e rturbabl e t e nac ity of purpos e wh ich characte ris e d
all h is l ife and as a ch ild of t w e lv e h e had brought hom e an
,
’
artist s appre c iat ion Of t h e woods and mountain s a mongst
wh ich h e was s e nt to l iv e for a y e ar ; and now that h e was
s e tt ing out alon e with a de finite purpos e of pursuit of t h e
,

p ictur e squ e h e kn e w what h e want e d and wh e re to s e e k it

, ,

and h o w to paint it wh e n found youn g as h e was and alon e , ,

a n dat issu e in h is m ind w ith a ll t h e school t e ach ing that h e

had r e c e iv e d “
with n o guid e but h is courag e to r e ad t he
,
52 T HE B AR B I Z ON S C HOO L .

riddl e of an un e xplore d world It was al w ays in sol itud e that

.

Rouss e au did t h e b e st of h is work and h is lov e of sol itud e

continu e d a rul ing p ass ion with h imto t h e e n dof h is l ife
,

He mad e h is way stra ight to t h e mountain d istricts of t h e

Auv e rgnat to t h e C antal mountains a w e irdly p ictur e squ e
, ,

volcan ic r e gion wh e re t h e hill tops spr e ad in star shap e d

,
- -

rang e s from a c e ntral dom e a n d b e tw e e n th e m inacc e s ibl e s

,

ravin e s and no isy torr e nts rus h ing through w ith fre qu e nt
tre m e ndous cascad e s and on t h e h ills black fore sts of firs
,

alte rnating w ith w ild sc e n e ry of barre n uph e avals o f rock .

W e hav e not spac e to m e ntion all t h e stud ie s h e brought

away w ith h im from t h e vall e ys of Thiezac wh e re t h e rive r
C e r e rush e s down b e t w e e n straight walls of basalt 1 4 0 m
,

if
ét re s
'

n h e ight ; and from Fa lg ou on t h e Mars with it s spl e ndid ,

for e sts of firs a n d lofty mountains wh e r e in anc ie nt tim e s t h e

,

Re de r ike s r of Picardy and Fland e rs h e ld th e ir ass e mbl ie s

J
.

His Villa ge of Fa lgou is d e scrib e d as a sup e rb painting wh ich ,

carrie s t h e m ind back to t h e l if e of t h e an c ie nt C e lts in th e ir ,

low roof e d cabins thatch e d w ith rush e s p e rch e d on t h e slop e s

-
,

of a mountain sh e lt e ring th e m from t h e north wind a n d ,

a fford ing gre e n pastur e lands in front “

He s e l e cts with.

e ag e rn e ss t h e most s in ist e r look ing mounta ins

-
t h e broad e st ,

horizons r e tir e d corn e rs uph e av e d by t h e capric ious thro e s of

,
’
t h e world s g e n e s is He a p pl ie s h ims e lf w ith insatiabl e ,

pl e asure to t h e r e nd e ring of a d e nud e d rock of t h e rugg e d

uncultivat e d land or to fatho mt h e giddy d e pths of t h e black
, ,

mountain torr e nts and of t h e accurs e d W hirlpools r e s e mbl in g

,
”
cav e s of horror .

In th e s e studie s h e ach ie v e s l ib e rty ; h e h e s itat e s no long e r

h e has stripp e d away t h e p r éc iosité of h is Par is train ing ; h e
has r e j e ct e d a whol e syst e m of id e as on Art although t h e ,

at
A m etr e is a lit tle mor e t h a n a ya r d t A n c ien t Ga u l s
“
. .
 54 THE B AR B I Z ON S CH O O L .

til e s ,
Ru e Ta it b ou t , Noclos e to t h e larg e room wh e r e
. 9;
“ ”
t h e S a int S imon ians w e r e mak ing a gr e at no is e und e r t h e
-

pre s id e ncy Of Olind e Rodrigu e s To u n d e rstand t h e p e rilous .

natur e of t h e pos ition of this boy of e ight e e n in h is l ib e rty ,

of a rtist l ife and in h is conn e ction w ith t h e club of enfa nts

,

p er d u s o n e should r e ad t h e n e wspap e r La Liber té wh ich th e y

,

e stabl ish e d and oth e r s im ilar l it e rature of t h e p e rio d No

, .

e vid e nc e app e ars t o conn e ct t h e boy with t h e insan ity of t h e

S aint S imonians b e yond what is afford e d by h is intimacy w ith

-
,

Th or é who was undoubt e dly conn e ct e d with th e m and s im ilar

, ,

int e ll e ctual e cc e ntric it ie s of t h e p e riod S e n s ie r h ims e lf .

attribut e s to t h e e stabl ishm e nt of t h e Liber te t h e grudg e

that t h e authoritie s of t h e Institut e so p e rtinac iously main
t a in e dagainst Rouss e a u .

Pass ing on to 1 8 31 w e find that in th at y e ar h e w e nt to ,

Rou e n to And e lys w h e r e h e mad e draw ings of t h e w ind ings

, ,

of t h e S e in e of t h e fol iag e of Normandy tre e s and t h e rocky

, ,

banks of t h e riv e r and t h e old castl e s dominating th is country

, ,

includ ing t h e C hat e au Ga illard of Richard C oe ur de Lion ,

th e nc e to B ay e ux to t h e dun e s and cav e s O f Arromanch e s t o

, ,

C a e n Port e n B e ssin G ra nvill e Pontorso n and along t h e

,
- -
, , ,

whol e coast of L a Manch e and C alvados His stud ie s a t

And e lys a r e d e scrib e d as m
.

“
ost brill iant l impid and fi n e as ,
”
B onington w ith mor e of r a c e and fr e shn e ss
,
Th e following ‘
.

y e ar 1 832 is mark e d by an oth e r e xcurs ion to Normandy— and

, ,

1 833 by h is triumph in t h e S a lon w ith h is v ie w of t h e Coa s t

This pictur e plac e d h imd e finitiv e ly in t h e
,

“
of Gr a nv ille .

first rank of landscap e painte rs at a t im e wh e n t h e fi e ld

was occup ie d by C abat Fl e rs J ul e s An dr e Jad in Roqu e p la n
Le n or m
, , , , ,

Paul Hu e t and finally D iaz and Ma r ilh a t

”
,
a n t calls .

on e of t h e tru e st th ings and of t h e warm e st ton e s that

“
it ,

t h e Fr e nch sch o ol h a s e v e r y e t pr o duc e d He is

 RO US S E A U . 55

still fa r from p e rf e ction but I would not e xchang e h is futur e for

,

t h e whol e car e e r of our most c e l e brat e d landscap e paint e rs .

T h e p icture was acqu ire d in 1 833 by H e nr i S ch e ffe r in , , ,

e xchang e for portra its of t h e fath e r and moth e r of Rouss e au ,

which h e didfor Th eodore It has s inc e gon e to .

’
Rouss e au s work w e s e e was admitte d by t h e Jury in 1 833
, , ,

but from th is p e r iod date s h is intimacy w ith Th eophil e Thore

and it was a long t im e b e for e a pa inting by h im
,

was admitt e d
again .

Now it was Th or é who s e t u p more than any oth e r cr itic , ,

to b e t h e trump e t e r of Rouss e au and al w ays in t h e most ,

irritat ing and insulting d e pr e c iat ion of t h e old school .

Though S e n s ie r attribut e s t h e gru dg e of t h e Acad e my to

’
Rouss e au s conn e ction w ith t h e you t hs who starte d t h e n e ws
pap e r L a Liber te h is conn e ction w ith Th e r e and t h e mount e
’

bank Ga n n e a u was e qually unfortunat e What e v e r t h e motive

"

.
,

poor Rouss e au had n e ith e r m e rcy nor justic e from t h e Institut e

until t h e r e volution of 1 8 4 8 .

Impartial critic isms e xist of t h e S alon of 1 833 w h ich ,

ind icat e t h e growth of a p u b lic O p in ion favourabl e to Rouss e au

and h is frie nds In t h e Tr ibun e for e xampl e t h e critic says
.
, ,

“
M e ssrs C abat and Rouss e au both young and f u ll of (a ven ir )
.
,

”
promis e app e ar to us to comm e nc e a n e w e r a for landscap e
, ,

and M l e G o in a p e r iod ical a dmirably e d it e d t h e Revu e de

.
,

Pa r is says We o w e a m e ntion to M Rouss e au a v e ry ‘

young man it is said w hos e n e w tal e nt pro m

, .
,

, ,
is e s a pa int e r
tru e and pow e rful in t h e conc e pt ion of ve g e t ation and land
”
scap e sc e n e ry and t h e s a m e writ e r e nchains our sympathy by
,

“
t h e qu e stion What wors e thin g is th e re in t h e world tha n
Ou y a t il de p ir e a u mond e qu e la mod e
’
fashion in art it - -

clans l e s a r t s l
) H e warns a ’
s e ct ion of t h e n e w school
I t w a s e xh ibit e da t th e U n ive sa l E x h ib it io n of 1 855
it r .
56 TH E B A R B I ON Z S C HO O L .

a gainst t h e e xagge rat ion of mat e rialis ing Natur e a l ittl e too
’ ’
much and im itation for im itation s and not for cr e at ion s
but t h e n e w landscap e is charming to h im and h e
,
”
s ak e, ,

“
a ppre c iat e s it as it s authors would w ish surpris ing h ims e lf ,

in a dre am of t h e happ in e ss of t h e fi e lds and t h e pl e asur e s of ,

a p ictur e squ e tou r inhal ing t h e pur e a 1 r of t h e mounta ins a n d

, ,

t h e fr e shn e ss of t h e vall e y s Th e s e critic isms a r e importan t

.
,

a s show ing that t h e ground was pr e par e d for Rouss e au and

h is frie nds to labo u r a n d a body of publ ic op i n i on alr e ady in

,

th e ir favour w hich in t h e abs e nc e of oth e r than ae sth e tic

motive s t h e Acad e micians would hav e found it hard to w ith
, ,

s tand More ove r a p ictur e Lisier e de bois c oup e For et de

‘

Com
.
, , ,

p ieg n e that
, h e was pr e par ing for t h e S alon of t h e follow
in g y e ar was bo u ght by t h e D u k e of Orl e ans Rouss e au
t ook it w ith h imto h is alr e ady b e lov e d F onta in e bl e au
, .

touching and r e touch ing it as h is p ractic e was to e xc e ss and

, ,

a fe w months lat e r M d e C a ill e ux t h e d ir e ctor r e qu is it ion e d

.
, ,

t h e sam e p ictur e too lat e for t h e Lux e mbourg Gall e ry and th is

c om
,

inc id e nt — th is p et it io n d e s grands — s e n t Rouss e au O ff

o n h is Alp in e trip in 1 8 34 in h igh sp irits and full of hop e
, , ,

a n d e n e rgy .

We cannot e mulat e t h e romantic d e tail in wh ich M S e n s ie r .

mak e s a charming nov e l e tte of th is happ ie st e pisod e of

Rouss e au s l if e — th is last gl e am of t h e sunshin e of youth
’

s on d er nier bea u tem p s A S h is . fr ie nd L or e ntz h is , ,

v e rsatil e a n d v e ry volatil e compan ion proph e tically wrot e

to h im
, ,

— “
Ne v e r again in you r l if e w ill opportun ity com e
t o you to th ink you a r e a b ird — to soar abov e t h e mounta ins ,

a n d k e e p company w ith t h e clouds — and you h e s itat e

Th e caus e of h is h e s itation was h is n e w acquaintanc e w ith

J ul e s Dupre rip e n ing rapidly in to that frie n dsh ip wh ich was
, ,

a ft e rwards so important in t h e l iv e s of both but in th e e nd ,

~
 RO US S E A U . 57

SO ch e qu e re d by alte rnations of d istrust and re conc iliation ,

’
an d which by its e l f would mak e a romanc e O f Rouss e au s
, ,

oth e rwis e e xtre m e ly romantic b iography if on e had spac e for

m
,

t h e whol e story Dupr e had b e e n introduc e d to h i by

.

m
Ricourt and h a d found full sympathy from Rouss e au in h is
,

own s y lvan and pastoral tast e s and had won a half pro is e
from h imto thro w o ve r L ore ntz and t h e Alps for t h e bank
,

of t h e B e n san e or t h e Vie nn e in t h e land of grass m e adows ,

”
and for e sts Rouss e au m ight ha ve don e wors e Dupr e
m
.
.
,

p e rsonally was a a n a n d L or e ntz a f e ath e r h e ad e d mounte

,
-

bank t h e Amphitryon of t h e Francs jug e s of t h e S oc ié té du

,
“ -

Gre lot ,
i e a B oh e m ian inn e r c ircl e of t h e w ild e st of t h e
. .
,

enfa n ts p er d u s of t h e young paint e rs of t h e p e riod Th e .

giddy mountain p e aks and L ore ntz w e re as w e ll pair e d as ,

t h e qu ie t sylvan r e tr e at and Dupr e ,

.

Rouss e au e l e ct e d t h e form e r a n d trave ll e d d ir e ct to L a ,

F auc ill e on e of t h e mountains of t h e J ura cha in to a pass

, ,

through which t h e G auls in anc ie nt days cam e down into , ,

H e lv e tia wh e r e b e h ind a gr e at block of sh e lte ring gra n it e h e

,

found a roads id e inn bu ilt of t h e trunks of fi r tre e s wh e re

,
-
,

“
h e stud ie d t h e gre at chain Of Alps dom inat e d by Mont
B lanc und e r all cond itions of atmosph e re cl e ar and calm
, ,

und e r t h e blu e S ky or ov e rcast und e r t h e vapours that ris e

,

from L ak e Le man or fre sh and fau ltl e ss in t h e morn ing b e for e

,
‘

t h e r is ing sun finally e t e rnally impassabl e in t h e m idst of t h e

, ,

stor ms and t h e thund e r .

H e r e Rouss e au r e ma in e d four mon ths w ith h is l iv e ly fr ie nd

L o r e n tz a n d an arist o crat of t h e old r egi m a C om
, ,

, e t e de la ,

Fort e ll e w hos e ant e c e de n ts and charact e r a r e e xtr e m e ly in

,

t e r e s t in g but diflic u lt to cond e ns e

‘
, Th e sort of fath e r and son .
- -

affe ction that app e ar s to hav e aris e n b e t w e e n t h e proud and

e xtr e m e ly poor Old g e ntl e man a n d young Rouss e au is a
 58
’

TH E B AR B I Z ON S C H OO L .

pl e asant l ight u pon h is charact e r as it m ight hav e b e e n in t h e

abs e nc e of h is frie nds of t h e e nfa nts p er du s ; w e S hall s e e t h e
sam e l ight again in h is attit u d e towards t h e moth e r of D upre ,

and to w ards M ill e t and in t h e e v e n ing of h is own l if e an din

, ,

t h e fin e st of t h e int e rpr e tations of t h e vo ic e of natur e that h e

has b e qu e ath e d to t h e world

a portrait of h is t e m
.

“
S e n s ie r finds p e ram e nt and of h is
impuls e s in a l e tt e r to h is moth e r from La F auc ill e — “
a l o ve r ,

to e xc e ss of wild natur e astound e d by t h e v ie w of t h e grand

,

sp e ctacl e s Of t h e Infin it e ; always in a f e v e rish hast e for h is

proj e cts in art ; s e duc e d and subdue d by t h e attractions of a
man who mh e stud ie d and lov e d as a b e ing rar e and pre c ious
e nj oy ing ,
l ik e a primitiv e E p icur e an t h e fruits of t h e ,

mounta in .

He painte d h e re a Vie w of the Cha in of Mont B la n c in a

S tormpow e rfully d e scrib e d by h is biograph e r Th e Alp s
had v e il e d th e ir h e ads und e r an imm e ns e black cloud ; t h e
thund e r roar e d t h e l ightning fi t fu lly r e v e al e d b e yond t h e ,

gloomy S hroud of m ist Mont B lanc august and calm b e n e ath

, ,

t h e insults of t h e e l e m e nts With a f e arful clap of

.

thu n d e r pr e s e ntly t h e v e il was rais e d and t h e A lps app e ar e d

, , ,
’
‘
virg ins o f l ight rad iant und e r a blu e Sky blue as a dr e am of
, ,
7 )
parad is e 1
He painte d also a study of t h e in n of L a Fauc ill e as it
app e ar e d aft e r a n igh t Of snow and frost a n d w e a r e told h e , , ,

thought S O much of th is study that h e always aft e rwards hung

it ov e r t h e h e ad of h is b e d unt il h is d e ath ; and finally on e , ,

ra iny day h e paint e d a s ignboard for t h e inn Th e D ilige nc e ,

A sc ending th e Mou n ta in Roa d and as M S e n s ie r says “

Wh a t
would Un cl e C o lom
.
, ,

b e t hav e said to that

Among t h e l ighte r inc id e nts Of t h e hol iday w e hav e t h e
S e e pa g e 4 8
4‘
‘

.
60 THE B A RBI ZON S C H OO L .

From th is e xcurs ion th e y mak e th e ir r e turn to Pa ris halting ,

at S al ins wh e r e Rouss e au v is its h is grandmoth e r and paints

, ,
’
h e r portra it “
in a round p e asant s hat cov e r e d w ith fad e d ,

e mbro id e ry fix ing h e r p ie rc ing black e y e s on t h e pa in t e r h e r

,
”
d e sc e ndant and from S al ins th e y r e turn to Paris in t h e gre at
snows of t h e w int e r of 1 8 34 .

’
C e st son d e rn ie r b e au t e mps says S e n sie r At Paris h e .

s e t to work at onc e on t h e D esc en te d es Va c h es and h is own ,

stud io b e ing too small and inconv e n ie nt h is faithful frie nd

Ary S ch e ffe r transf e rr e d h imto on e in h is own hous e wh e re
, ,

, ,

in a fe w months h e fin ish e d t h e c e l e brat e d p ictur e .

In t h e S alon of 1 8 35 (t h e S alons w e r e h e ld in J anuary) h e

found ad m iss ion for two sk e tch e s wh ich h e had s e nt hom e
fr omS w itz e rland and sold to t h e Pr inc e de Jo invill e The s e
, .

’
sk e tch e s gav e but a poor id e a of Rouss e au s tal e nt and th e ir
imp e rf e ction m
,

ay hav e dam a g e d h is re putation with t h e

re spons ibl e authoritie s .

Th e e nm it ie s and t h e intrigu e s that corrupt e d t h e jurie s of

that p e riod and dogg e d t h e footst e ps O f Rouss e au to t h e ve ry
,

e n d of h is l if e a r e n e v e r fully e xpla in e d
,
From this y e ar 1 835
.

’
until t h e R e volution all of Rouss e au s p ictur e s w e r e as a
, ,

matt e r of cours e r e j e cte d in t h e fac e of t h e prot e sts of critics

m
, ,

and e n of gre at influ e nc e nor was t h e p e rs e cution abandon e d

until in 1 8 67 as w e shall s e e it had slowly tortur e d t h e n e r
,

vous e xcitabl e man to paralys is and d e ath

,
S ubs e qu e ntly to .

1 84 8 t h e pr e jud ic e had no r e f e r e nc e to t h e school in art that

h e r e pr e s e n t e d h is fr ie nds and coll e agu e s aft e r that dat e had , ,

l ittl e to complain of only Rouss e au was aga in and again ba ffl e d

with hop e d e fe rr e d and r e mind e d a s it s e e m e d Of som e u n for
gotte n stigma which s e t h ima part from oth e rs wh e n e v e r t h e
, , ,

q u e s t ion of honours and r e wards cam e forward Th e tru e h is .

tory of t h e matt e r is still u nr e ve al e d .

 RO US S E AU . 61

Th e r e fusal of t h e D es c ente des Va c hes in 1 836 irritat e d e sp e

c ia lly t h e S c h e ffe r s , Wh o
xhibit e d t h e p ictur e a part in th e ir
e

studio in t h e Ru e C h a p t a l M Gustav Planch é write s . .We

must r e gre t that M B idault has S hut t h e door of t h e L ouvr e
.

to a canvas of M Rouss e au e xhib it e d now in t h e stud io of

.
,

M Ary S ch e ffe r for th is work would b e r e ckon e d among t h e

.
,

b e st and most important of t h e S alon Th e canvas is h igh a .

troup e of h e ife rs is d e sc e nd ing along a rugg e d mountain gorg e

t h e t im e chos e n is e v e n in g ; t h e v e g e tat ion is titan ic and pro
fus e and t h e grow th of t h e plants e ntangl e d l ike that of a
,

v irgin fore st of S outh Am e rica “

He had s e iz e d says M .
”
, .

S e n s ie r across t h e scr e e n of mountain firs t h e asp e ct of t h e

,

gl itt e ring r e g ion of t h e glac ie r it s pow e r and it s myst e ry and

, ,

t h e whit e and sol itary p e aks illum inat e d by t h e last rays of t h e

l ight of da y Out of t h e calm atmosph e re of autumn h e
.

e vok e d t h e warn in g of t h e approach ing rag e of w int e r and a ,

dr e am of all that thos e glac ie rs so r e spl e nd e nt in luminous ,

”
p e ac e contain for t h e gloomy months of m ists and w inds
,
A .

s e rious d e fe ct in t h e p ictur e was that it was paint e d w ith a

v e hicl e which has almost d e stroy e d it .

Pass ing ov e r his vis it to B arb izon of th is y e ar h is acquaint ,

anc e w ith D iaz and h is influ e n c e on t h e work of this gre at

,

colourist a n d only r e cording t h e d e ath of his moth e r on t h e

, ,

1 5 t h April 1 837 t h e n e xt imp ortant incid e nt of Rouss e au s

’
, ,

b iography is h is vis it to Nant e s of that y e ar and t h e stud ie s ,

that h e mad e in L a V e nd ee — of a marshy country and e sp e ,

c ia lly t h e pa int ing L e Ma r a is en Vend , ee that h e mad e n e ar ,

Tiffa u ge of a marsh n e ar a p ap e r m ill —a labour e d work and

,
-

r e alistic e vid e nc ing clos e study of aquatic lif e and v e g e tation

, .

He was trav e ll ing in company w ith M C harl e s L e roux t h e .

,

son of a proprie tor of t h e prov inc e who w ith a small soc ie ty , ,

of B r e ton artists and amat e urs had organ is e d at Nant e s an , , ,

62 T HE B A R B I ON Z SC H O O L
'

e xh ib ition of t h e famous p icture s r e fus e d at t h e S al on of 1 8 36

and fro m
,

Tiffa u g e h e w e nt on w ith M L e ro u x to t h e C h ate au du

, .

’
S oul is n e ar C e r is a y e h is fath e r s hous e wh e r e th e re w e re two
v e n e rabl e av e nu e s on e of e lmt r e e s t h e oth e r of ch e stnuts and
, , ,

, , ,

r e main e d th e re until D e c e mb e r pa inting for t h e S alon h is ,

gre at work t h e A venu e of Ches tnu ts w ith which h e r e turn e d

, ,

t o Par is about t h e e n dof t h e y e ar .

Th e A ve nu e although r e fus e d by t h e S alon advanc e d t h e

, ,

r e putat ion of Rouss e au amo n g artis t s and critics still more

than t h e D es c en te des Va c hes wh ich hung in it s company in
,
’
Rouss e au s stud io and b e s id e s h is frie nds Th or é D iaz and
, , , , ,

Dupre h e had e ncourag e m e nt from t h e sympathy of D e lacroix

, ,

and of Madam e Ge org e s S and Mor e ove r D e lacro ix induc e d .

t h e D ir e ctor of t h e D e partm e nt of Fin e Arts M C av é to mak e ,

.
,

a n offe r of francs for t h e p ictur e ; w h ich how e v e r was , , ,

in t h e m e antim e sold to M P er ie r
,
. .

In th e s e y e ars 1 8
,
3 7 1 84 0 Rouss e au r e duc e d to d e p e nd e nc e
—
, ,

on h is fath e r whos e m e ans w e re v e ry strait e n e d had no

, ,

mor e e xcurs ions or voyag e s but all h is l if e c e ntr e d in h is

studio among t h e fe w faithful fr ie nds who b e l ie ve d in h im
,

, .

He pass e d as much t im e as h e could at B arb izo n wh e r e h e ,

e xp e nd e d much unn e c e ssary labour in t h e p e rp e tual r e touch ing

of fin ish e d work S e n s ie r sp e aks of h imbringing h is sk e tch e s

hom e of an e v e n ing and arranging th e m b e fore himin t h e
.

am
,

l in on a m e al tub wh e n h e wo u ld l ight h is p ip e and

g e g , , ,

S itt ing O ppos it e th e m amus e h ims e lf in t h e dusk w ith imag i

nat ions of fantastic variations ; and th e n h e would tak e to

painting th e s e imaginations ov e r h is stud ie s so that t h e j ok e rs ,

would say th e r e was n e ith e r top nor bottom nor sky nor land ,

to b e d istinguish e d .

Among t h e most faithful of h is frie nds at this p e riod was

Dupr e w h o h e ld tog e th e r t h e all ianc e form e d among t h e artists
,
 RO U S S E AU . 63

e xcommun icate d by t h e corrupt j u ry by a fortnightly d inn e r ,

wh ich h e gav e at h is lo dg in gs in t h e Av e nu e Fr o c h ot ; at
wh ic h w e a r e told Ary S ch e ffe r D e camps D e lacro ix B ary e
, , , , , ,

C h e n a va r t and Rouss e au w e r e always punctual

,
.

In July 1 8 4 1 w e find t h e frie nds Rouss e au a n d D upr e

, , ,

quie tly dom icil e d tog e th e r at t h e l ittl e v illag e of Monsoult

n e ar Ma fl ie r s on t h e bord e rs of t h e for e s t of t h e Isl e Adam
,

, ,

“
a charming vall e y dott e d w ith orchards and with rustic
, ,
‘

’
plantations wh e r e th e y had b efor e th e ir e y e s t h e b e autiful
,

v e rdure of thos e woods a n dfi e lds in wh ich t h e Princ e s of C ont i

”
and of B ou rbon us e d to hunt .

H e r e t h e two frie nds l iv e d in a l ittl e hous e wh ich b e long e d

to t h e constructor of t h e V e n dem
,

e C olum n and e ach had h is ,

stud io door to door and Madam e Dupr e t h e moth e r of Jul e s

, , , ,

was th e ir hous e k e e p e r “
It was a quie t lif e a tr ois w ith t h e
sw e e ts of t h e vie de fa m
.
, ,
’
ille Th e phas e s of Rouss e au s l ife ; .

it s alt e rnat io n s of dom e stic qu ie t and Par is turmo il and , ,

Manfr e d l ik e communion w ith t h e w ild e st sol itud e s of t h e

-

mountains and woods should all b e apport ion e d to t h e pa int,

ings that th e y influ e nc e d and t h e work of do ing th is how e v e r, ,

long would b e most int e r e st ing — h is e mot io nal a ppr e h e ns ion

,
-

of landscap e and atmosph e re b e ing influ e nc e d as it was by t h e , ,

moods within h ims e lf .

A strik ing e xampl e of th is would b e a comparison of h is

work of 1 84 1 at p e ac e in t h e vie de fa ille at Monsoult w ith
,
m ,

that of t h e follow ing y e ar t h e gre at e r part of which h e sp e nt ,

alon e wan d e ring in t h e w ild e st of e e rie s c e n e ry along t h e

,

“
myst e rious w in d ings of t h e B ou s a n e and among t h e fra c a s
m
,

dr a a tiqu es of t h e C re us e —a country of t h e w ild e st b e auty ,

of primit iv e pasture lands int e rs e cte d by wat e rcours e s a n d

-

”
grov e s of g igantic oaks and e lms of unusual s iz e a country of ,

gloom and old sup e rst itions of t h e C e ltic t im e s a country that

, ,
64 T HE B AR B I Z ON S CH O O L .

was call e d Garg il e ss e b e caus e pilgrims of old us e d to shud

de r to approach it and us e d to say Mon b e a u mons ie ur n y ‘ ’

m
, , ,

all e z ie " Tout u n c h a s c u n qu i y pass e gorge y la isse

had th e ir throats cut) ; finally a country of all p e rvading m ists,
-

and fogs P icture s that h e pa int e d h e r e La Ma re La J etée

.
, ,

du n E ta ng &c a re charact e ris e d

’
,
.
,
of e x e cution und e cid e d of ,

harmony doubtful but mast e rp ie c e s of plaintive e motion t h e

,

cry of d istre ss of t h e man of t h e c itie s e xil e d to t h e unwhol e

“ ”
som e country A marsh wh e r e t h e rush e s a r e b e nding und e r
m
,
.

an autu n gal e and on it s bank a woman washing cloth e s ;

,

b e hind t h e wom a n a l ittl e cops e of oak tr e e s and a y e llow and ,

dyin g ray from a pow e rl e ss sun pass ing through among th e m , ,

lic ks w ith it s parting gl e am t h e e longat e d figure s of t h e tre e s

”
.

Th e d e scription gloomily word e d is e v id e ntly insp ir e d by a

gloomy r e pr e s e ntation of a most m e lancholy s wam
, ,

p .

Pass in g t h e e v e nts of 1 84 3 as u nimportant w e com e t o t h e ,

grand e xcurs ion mad e in 1 84 4 by Rouss e au and Dupr e in ,

company to t h e sandy dun e s of G ascony and t h e slo p e s of t h e

,

Pyr e n e e s through B ord e aux and Mont de Marsan to thos e

,

strang e r e g ions of sand wh e r e t h e native s stalk ov e r t h e tr e e

l e ss plain on stilts w h e re l e agu e afte r l e agu e and hour afte r
,

hou r t h e tourist has noth ing to look a t but dun e s and plain s of
sand glitt e ring in t h e trop ical sunshin e und e r a faultl e ss blu e
,

S ky . Th e d e scriptions a r e charm ing of t h e plac e s wh e r e th e y

mak e th e ir halts— a t t h e l ittl e c ity curiously nam e d of , ,

“ ” “
P e yr e horad e or rolling P e te r
,
o n e of thos e nooks of happ i
,

n e ss wh e re p e opl e subs ist on t he blu e n e ss of t h e sky and t h e

murmuring of t h e wat e r ”
—at B e gars “
a primitiv e but
, , ,

favoure d country of tropical climat e and v e g e tation wh e re

, ,

m e lons l e mons and orang e tr e e s a r e as fr e sh and pl e ntiful a s

m
, ,

appl e s a r e e ls e wh e re growing by t h e S id e of oaks as aj e stic

,

as thos e of Fontain e bl e au among t h e wood e n hous e s of t h e

,
 RO US S E A U . 65

p e asants ov e rshadow e d by the ir wid e spr e ading boughs — a nd

,
-
,

wh e r e Rouss e au mad e a r e markabl e draw ing in t h e fi e ld ,

“
ro u nd th e ir hous e of all t h e dom e stic an imals hors e s fowls
, , , ,

g e e s e p i gs &c in black and wh it e fin ish ing it with infin it e

, ,
.
, ,
”
labour and scrupulous care B u t e v e rywh e r e on this e xcurs ion
.

h e is struggl ing with t h e imposs ib il ity of t h e infin it e blu e s ky

and it s faultl e ss light and afte r fi ve months of wr e stl ing w ith
,

this probl e m t h e two pa int e rs g iv e it up in d e spair and ,

l e aving th e ir luggag e b e h ind th e m tour with knapsacks to ,

B ayonn e v is it a spur of t h e Pyr e n e e s and t h e Basqu e country

, , ,

and th e n hast e n hom e to Pa ris having ach ie v e d nothing -

r e m a kabl e de f e at e d appar e ntly by t h e monotony of t h e

r
, , ,

f a ultle ss blu e sky

B u t t h e grand mountain a ir of t h e Pyr e n e e s has spo il e d
e —
th m both for Paris l if e the y r e fus e d to l iv e th e re and w e nt ,

tog e th e r in Octob e r 1 84 5 back to Isl e Adam wh e re th e y

, , ,
-
,

s e ttl e d down in a v e ry small stud io mad e for th e m by M .

M e ll e t (t h e broth e r in law of D u p r é ) in h is own hous e wh e r e

- -

m
,

th e y r e turn e d to t h e vie de fa ille and Madam D upre again ,

pr e s id e d ov e r th e ir ho u s e hold .

B y a strok e of p ol icy worthy of th e ir ant e c e d e nts t h e jury ,

in 1 8 4 4 hav in g b e e n so much abus e d for th e ir r e fusals of t h e

,

p ict u r e s of t h e ris ing school adm itt e d in that y e ar a larg e ,

numb e r of e x e crably bad p ictu re s so that all t h e world crie d ,

“ ”
out : Th e Jury is far too indulg e nt aft e r all " but th e ir
indulg e n c e was not e xt e nd e d to Rouss e au .

S e n s ie r says of t h e y e ar 1 8 4 6 that it was

,
p e rhaps t h e ,

gloomie st p e riod of Rouss e au s life — t h e in iquitie s of t h e Jury ; ’

t h e burd e n of h is bus in e ss affairs ; anx ie ty for t h e futur e ;

all toge th e r had naturally mad e h imd istrustful and incl in e d to

,

solitud e . At this tim e h e cam e to lodg e in Paris at NO 1 1 , , .

,

Plac e Pigall e wh e r e J ul e s Dupr e and h e had e ach a small

,

F
66 T HE B ARB I Z ON S C H OO L .

apart m e nt on t h e first floor of thre e rooms and a spac ious

, ,

studio About this tim e m e ntion is mad e of h is pay in g a vis it

.

to Madam e G e org e s S and and about this tim e also h e mad e , , ,

t h e acquaintanc e of M ill e t .

Th e y e ar 1 8 4 7is d istingu ish e d by an unfortunat e lov e

a ffair of wh ich w e know only that h e b e cam e e ngag e d to b e
, ,

marrie d and that t h e e ngag e m e nt was brok e n o ff and that h e

, ,

r e tr e at e d alon e to B arb izon wh e r e Th or é was h is only v is itor

,

for a spac e of t im e — but Th or é has put upon re cord — probably

,

has also e mb e ll ish e d— som e strik ing utt e ranc e s of Rouss e au ,

mad e during a rambl e in t h e for e st Of two th ings Rouss e au .

had a horror t h e c u tting down of h is favourite s among for e st

,

tr e e s and t h e plant ing of t h e monotonous and e arth poisoning

,
-

“
fir. A cl e aring in t h e wood h e call e d t h e gloomy battl e ,

field wh e r e t h e triumphant woodm e n plund e r t h e corps e s of

,

t h e sla in and t h e sound of t h e hatch e t is t h e toll of a fun e ral

”
b e ll and of t h e e n e rvating influ e nc e of mod e rn c ivilisation
, , ,
“
Rouss e au said : Th e soul of man is l ik e t h e fore st w e a r e
walk ing in ruthl e ssly spoil e d by a le fi c e n t S y lvic u lt iva t or s
,
m ‘

th e y ch e ck t h e growth of t h e plants that would blossom in

flow e rs th e y f e ll t h e lofty tr e e s of our high e r thoughts th e y
root up t h e nat iv e shoots and suckl ings which grow towards
t h e sun and shatt e r into spl inte rs t h e proud rock of our will
and l e v e l all t h e hills that soar towards h e av e n ; and th e n ,

wh e n t h e nativ e charact e r is turn e d u ps id e down th e y sow ,

ov e r t h e ruins a cre e p ing k ind of ivy d e stitut e of form and

colour .

Th e y e ar 1 84 8 cam e and t h e R e volut ion so long antic i

, ,

pat e d at last ; and b e fore Paris w a s pac ifi e d or t h e R e publ ic

, ,

fairly e stablish e d Le dru Rollin had s ettledw ith t h e frie nds of

,
-

enfa nts p er d
” ’
T h or é t h e “
,
us of t h e artists clubs Man y acts .

of l if e and d e ath urg e ncy must ihav e b e e n postpon e d on tha t

- -
,
 68 T HE B AR B I O N Z S C HO O L .

inscript ion announc e d a La nds c ap e

, ,
by a n a r tis t still in th e
’ ’”
bla de ( en h e rb e ) ; furth e r on Fru it ,
‘
,
by a n u nr ip e a r tist

and so o n .

Rouss e au did not e xh ib it but h e and Dupr e w e r e on t h e ,

Hanging C omm itt e e wh ich was v e ry num e rous ; and e ach

,

r e c e iv e d an ord e r from t h e Ministe r for a landscap e of t h e

pr ic e of francs wh ich was at that tim e cons id e re d a
m
,

u n ifi c e n t pr ic e Rouss e au fille d this ord e r w ith a View of

.

F or es t La nd a t S u nset which w a s hu n g in t h e L ux e mbourg

,

gall e ry .

Th e art ists h e ld a m e e ting a t th is t im e to consult on t h e ,

e l e ct ion of a r e pr e s e ntativ e in t h e Ass e mbly ; but wh e n th e y

me t the y spl it up into s e ctions which would not amalgamate .

Th e pa int e rs would not frat e rn is e w ith t h e dramatic art ists ,

nor t h e Sculptors with t h e e n grav e rs nor t h e paint e rs of h is ,

tor y w ith thos e of landscap e nor t h e Romantics w ith t h e ,

”
C lass ics . Th e d istinction of sp e c ial it ie s says M S e n s ie r ,
.
,

“
wa s carrie d to t h e infin it e s imal e ach body b e ing conv inc e d ,

only of t h e n e c e ss ity of it s own ind iv idual group Q u ot c ap ita .

Nothing cam e of it
”
tot s ensu s . .

Rouss e au w e nt hom e from t h e m e e ting sad and d ish e art e n e d ,

a n d S hut h ims e lf up in h is stud io only com ing forth wh e n h e ,

and D u pr e w e r e summon e d in th e ir turn t o should e r th e ir

guns and ma rch to b ivou a e on t h e boul e vards w ith t h e con
,
”
t ing e n t s of d e partm e nts .

About this p e riod a n e w dom e stic int e r e st app e ars in th e l if e

of Rouss e au in h is union with a you n g woman of humbl e
,

e xtraction from t h e Franch e C omt é

, We a r e told only that .

s h e was poor a n d a confirm e d inval id and is always allud e d to

, ,

by S e n s ie r a s La Ma la de Rouss e au app e ars to hav e sh e lt e re d

.

h e r in t h e first plac e from motiv e s of compass ion and finally ,

to hav e conc e ive d a strong pat e rn al a ffe ction for h is poor b ird
'
70 T HE B AR B I ZO N S CHOO L .

s old which so v e ry fe w y e ars lat e r on w e re e ach to b e worth

,

a small fortun e

Th e S alon of t h e w int e r of 1 85 0 5 1 bro u ght n e w v e xat ion -

a n d injustic e Rouss e au b e ing not only l e ft out altog e th e r from

,

t h e honours and priz e s award e d ; but h is p ictur e s hav ing inad

ve r t e n t ly b e e n hung in a good pos it ion w e re transf e rr e d aft e r , ,

h e had s e e n th e m th e r e to a wors e On this occas ion a gre at

,
.

o utcry was rais e d D iaz who r e c e iv e d t h e C ross of t h e L e gion

.
,

o f Honour e l e ctrifi e d t h e gu e sts at t h e banqu e t of t h e n ou v

,
ea u a:

déc or és by propos ing at t h e tabl e a toast to Th eodor e Rouss e au

,
“
,
”
ou r Mast e r forgott e n " wh ich mad e t h e scandal that may b e
imag in e d .

’
At Rouss e au s d e mand a sol e mn inv e stigation of t h e circum ,

stanc e s was mad e by t h e e x minist e r Le dru Rollin and C harl e s -

,
-
,

B lanc and Jé a n r on and th is s e e m e d to S how that t h e om iss ion

, ,

of Rouss e au in 1 84 9 had b e e n du e to t h e hostility of a c e rtain

M de L u yn e s who saw no m
.
,
e rit in h is work It was a f e e bl e .

s h ifting of r e spons ib il ity but t h e fra il and timid e x e cutiv e,

hast e n e d to stop th is l e ak in t h e following y e ar w h e n at last ,

”
h e r e c e iv e d t h e C ross a mis e rabl e comp e nsat ion as M
, ,
.

“
S ons ie r r e marks for t h e annoyanc e s with wh ich the y had
s aturat e d h im
,

B u t if w e e xclud e t h e th e ory that h is work

,

was hon e stly d islik e d w e obviously hav e still to l e arn why

Rouss e au of all m
, , ,

,
en should b e annoy e d by a R e publican
,

G ov e rnm e nt so z e alous to do honour to all oth e r r e pr e s e ntativ e s

o f t h e Romant ic S chool .

His pictur e s hav ing now by t h e sal e of 1 850 b e com e t h e

pro p e rty of m
, ,

e n of bus in e ss b e gan rap idly to incr e as e in valu e , ,

a n das a cons e qu e nc e Rouss e au h ims e lf obtain e d b e tt e r p r ic e s

,

for his work M S e n s ie r h ints that this b e n e fit had b e e n

d iscount e d by contracts Obtaine d from h imin advanc e At
. .

an rat e h is worst troubl e s w e r e ov e r and t h e y e ars pass e d on

y ,
 p
R O U SS E AU . l 1

in gre at e r comfort but th er e is still a som e thing v e ry p itiful

mt h e lu x u r ies that this gre at make r of oth e r m e n s fortune s is
,
’

congratulate d upon .

.
“
His thatch e d roof h e transfe rre d into a studio of timb e r
and til e s h e bought som e e tchings of R e mbrandt Os t a de and , ,

C laud e and h e d e corat e d h is hous e w ith t h e s e s impl e b its of

,

crock e ry n ow so popular wh ich h e was on e of t h e first to go

, ,

a hunt ing for among t h e p e asants a n d at country mark e ts

”
-
.

In short h e had b e e n d isciplin e d to t h e point that h e was

,

thankful for small m e rcie s How int e r e sting in it s d iffe re nt

.
,

way would b e t h e comparison of h is b iography with t h e b io

,

r a h ic s of thos e to whom th e fo r tun e w e nt that h e and M ill e t

g p
e arn e d " How us e ful to t h e struggling artist of t h e future a
publicatio n of t h e trad e man oe uvre s wh ich transf e rre d t h e
gold e n harv e st to t h e Middl e Man " S o promptly too " For
t h e financ ial turn of t h e tid e in t h e cas e of Rouss e au s e e ms
, ,

almost to date from h is surre n d e r of t h e fi ft y thre e p icture s -

that h e had k e pt for hims e lf And w e must r e m e mb e r t h e.

, ,

D ie Ku ns t s oll nic h t n a c h Gelds tr eben has by no m e ans

“ ”
motto
b e e n that of t h e d e m igods in Art Th e y manag e d th e s e things .

b e tte r in t h e s ixt e enth c e ntury Th e re w e r e n o Mill e ts th e n

.

Lib e rat e d how e ve r at last from h is most pr e ss ing anx ie ty

, , ,

Rouss e au did e xc e ll e nt work at B arb izon in t h e y e ars 1 85 0 5 3 ,

-
,

with more fre e dom s e lf r e l ianc e and indulg e nc e of impuls e

“
,
-
, ,

than b e for e “
He f e lt stre ngth to spr e ad his w ings
. says ,

S e n sie r who m e ntions w ith that imaginativ e appr e c iation of

h is w h ich s e e ms to go b e yond t h e pa int e r s a imthr e e p ictur e s
,
’

m
, ,

e sp e c ially— A Gr ou O G
p fo a k s i n th e or g es f p
o A r e on t The ,

F or es t S kir t of the Monts Gir a r d and t h e Ma r a is da ns les ,

La n des
m
.

“
Th e first an e ffe ct dazzl ing from myriads of s ola r c o
,

ba s tions re pr e s e nts cows graz ing und e r t h e thre e gre at oak s

,
72 T HE B AR B I Z ON C
S H OO L .

Of t h e D or mi o r of t h e G org e s
d Apre mont at high noon
’
’
, ,

“
wh e n t h e sun in ja c k o la nthor n sp a ngles pours down lik e a - -
, ,
”
rain S how e r of l ight ov e r a whol e tract of country
-
, Th e .

“
s e cond La Lisier e shows a for e st road and by t h e s id e of it
, , , ,

an old oak tre e quit e w ild who looks angry to s e e in front

-

of h ima youn g cops e daring to gro w gr e e n again afte r t h e

, ,

massacr e of h is frie nds and cont e mp orarie s Th e oak gra sps .

in h is strong roots a flat rock wh ich looks l ik e a tabl e t ston e ,

s e iz e d by t h e king of t h e for e sts Th e blu e calm S ky trav e rs e d .

, ,

by l ight clouds which a r e running towards a m e e ting of t h e

,

sylphs sugg e sts t h e s il e n c e of t h e sol itud e s and t h e voic e s that

, ,
”
a r e th e r e to b e h e ard

m
m m
.

T h e Ma r a is da ns les La ndes L e Fou r Co u na l and L a Fer e , ,

we re thre e p ictur e s s e l e ct e d by Rouss e au to b e work e d up to

“
what M S e n s ie r calls an E clogu e d e vot e d to Light in t hr e e
.
,

od e s w ithout any p r e occupation for t h e picture squ e for t h e -

an e cdot e or for t h e artific ial ; to c e l e brate t h e dom inion and

,

pow e r always youn g of t h e Moth e r C re atrix of all thin gs

, , .

” “
This h e adds was a task that Rouss e au d e vot e d t h e r e st of
,

h is l if e to and n e v e r ach ie v e d though h e sp e nt whol e days

, ,
”
and nights upon it (B u t sur e ly th e s e a r e t h e rhapsod ie s
.
, ,

rathe r of a l it e rary man than of a paint e r ) .

Pass in g on n ow to t h e gr e a t Int e rnational E xh ibition of

1 85 5 w e notic e first an int e r e sting critic ism by E dmond About
, ,

wh ich should b e r e ad as a corre ctive by thos e who with , , ,

S e n s ie r and oth e rs s e t t h e sam e valu e s on t h e crud e u n

, ,

train e d and on t h e b e tte r work of Rouss e au He comp a r e s

,
.

t h e Cotes de Gr a nv ille of 1 8 33 w ith t h e M a r a is des La nd es of

twe nty y e ars lat e r .

T h e form e r h e calls t h e p ictur e of t h e ins id e of a p ie with ,

a m e dl e y of tr e e s hous e s figur e s a l ittl e of e ve ryth ing

, ,

h e ap e d tog e th e r in it We d e t e ct t h e e ag e rn e ss of a young
.
74 THE B AR B I Z ON S C HOO L .

look at it w ith ind iffe re nc e All b e ing of e qual inte r e st

.
,

nothing is of any inte re st Th e re will b e no limits Your

. .

p ictur e w ill b e abl e to prolong its e lf ind e finit e ly You w ill .

n e v e r com e to t h e e n d of it You w ill n e v e r hav e fi nish edit

m
. .

It is t h e ense ble that fin ish e s a picture Th e magn ific e nt l ion

m
.

of B ary e at t h e Tuil e rie s has all h is man e upon h i in a

, ,

mass and looks much b e tte r than h e would have don e if t h e

,
”
sculptor had mod e ll e d t h e hairs on e by o n e .

Th e E xhib ition of 1 85 5 w e a r e told was t h e point of tim e

, ,

wh e n Rouss e a u f e lt h ims e lf tr u ly appr e ciate d; wh e n t h e

struggl e s of h is l ife had th e ir r e ward at last ; but a curious
thing to note is that h e ow e d h is appre c iation to for e ign e rs ,

and not to F re nchm e n Th e Am e ricans appre ciat e d at first

.

“ ”
glanc e this styl e of art s ingularly reten tissa n t and t h e
,

n a tu r e ec la ta nte
”
that Rouss e au t rie d to e xpr e ss — and t h e
E ngl ish adjudge d h imto b e t h e gre at e st landscap e paint e r of
,

t h e day . Th e ir j ournals hav e v e ry nobly avow e d t his sup e ri

”
or it y of Rouss e au ov e r th e ir An glo S axon paint e rs -
.

Th is last stat e m e nt tak e s us by surpr is e Th e att e ntion of .

E ngl ish critic ism was at t h e mom e nt absorb e d in Pr o Raphae l -

it ism,
as h e ad e d by Millais — w e think it O p e n to t h e r e proach
of a want of appr e ciation and fl ip p a n c y in sp e ak ing of t h e
, ,

grand coll e ction of works of Fre nch Art und e r it s notic e .

This is t h e styl e of it It must hav e b e e n e vid e nt at a glanc e

that Franc e has t h e b e st chanc e of issuing triumphant from
th is comp e tition S h e crush e s all oth e r sch ools by t h e nu m
. ber
and s ize of h e r contributions In all t h e E ngl ish coll e ction
.

th e re is not a canvas l ik e G erom e s — for s iz e — it b e ing som e

’

f e e t larg e r than t h e Marriage of C ana and so on We have

”
,
.

not spac e for quotation of more s e rious critic isms .

 RO USS E AU . 75

R e ve rting to Rouss e au s life — t h e dry d e tail of t h e fina nc ia l

’

b iography of most m e n would b e un inte r e st ing but that of ,

‘

Rouss e au and of M ill e t is worth inv e stigation .

We hav e s e e n that Rouss e au was struggl ing w ith pov e rty

up to t h e dat e of t h e sal e of h is p ictur e s in 1 85 0 and that h e ,

e njoy e d comparat iv e comfort up to 1 85 5 In that y e ar w e

.
,
’
are told h e purchas e d Mill e t s p ictur e from t h e S alon for
, ,

francs giving out that h e didso for an Am e rican frie nd

, ,

but in r e al ity for h ims e lf Of t h e y e ar 1 85 7 w e a r e told a

.

most e xtraord inary tal e h ow h e gav e som e o ffe nc e to a gre at

B e lg ian manufactur e r who was at t h e sam e t im e a Duk e
, , ,
’
dA r e n b e r g and an amat e ur d e al e r in p ictur e s and that th is
,

hostil e D u k e or manufactur e r or p ictur e de al e r sought

, ,
-
,
’
r e ve ng e by k e e p ing down t h e pric e of Rouss e au s p icture s in
the m ark e t by subornation of hostil e criticism and furth e r
, , ,

by an e xtraord inary d e vic e which r e minds on e of t h e mob

,

who burn e d t h e bank e r s note s b e fore h is fac e M S e n s ie r

’
. .

says “
He boug ht up t h e canvas e s of Rouss eau at a h igh
“
pric e (Rouss e au had no obj e ction to that) in ord e r to s e ll
th e m again at publ ic auction adj u dg ing th e m (h e app e ars to
,

hav e b e e n his own auction e e r) e ith e r to hims e lf or to som e ,

confe d e rat e s a t t h e low pric e O f 800 francs ap ie c e and Oft e n

, ,
”
allowing amat e urs to buy th e m at this humbl e figur e .

Rouss e au on h is part app e ars to hav e s e t hims e lf indus

, ,

t r iou sl y to work to k e e p th is cur ious mark e t suppl ie d— in vulgar

”
languag e to hav e cond e sc e nd e d to pot boil e rs
,
-
.

“
In th is p e riod h e e x e cut e d a s e rie s of p ictur e s of m e d ium
s iz e of which t h e compos it ions sa ges p icture squ e and e asy to
m
, , ,

und e rstand had a succ e ss of p r e ier c oup dec il He was ask e d

,
” ’
.
76 TH E B A RB I Z ON S CH OO L .

for mor e and mor e of th e m ; h is w ife urg e d h imon to pro “

duc e th is r e ad ily mark e tabl e work w hich s h e also s e e m e d t o

-
,
’
appr e h e nd l ik e ch ildre n by sp on ta neou s joys
, ,
‘
.

“
Littl e by l ittl e h e gav e h ims e lf up to th is work in wh ich ,

all was d e l ib e rat e for e s e e n e x e cut e d w ith t h e pr e c is ion of a

, ,

Fl e m ing His touch gr e w h e av ie r in th is n e arly math e matic a l

.

pr e c is ion which pr e s e nt e d t h e app e aranc e of point lac e or

,

e mbro id e ry .

It is not surpris ing und e r t h e abov e cond itions that t h e

, ,

p ictur e s that h e s e nt to t h e S alon of 1 8 5 7we re unfavourably

“
r e c e iv e d . Th e l e ad ing t e n ors of critic ism l ift e d up S houts of
ind ignation aga inst h is pa intings Th e y had doubtl e ss dis .

cov e r e d a n e w Ph oen ix and found it advisabl e to cast a t

,

Rouss e au t h e mal ic ious sp e lls that Fourrie r launch e d at t h e

”
moon . Rouss e au was d e t e rioratin g— h is spontan e ous a n d
po e tical g e n ius was asl e e p — h is substitution of consc ie ntiou s
industry was not appr e c iat e d Again in 1 85 9 h e was badl y .
, ,

critic is e d e v e n by h is v e ry good frie nds M Paul Mantz

, . .
,

writing in t h e Ga zette des B ea u a A r ts of t h e p e r iod says A ,

mast e r whom w e hav e much lov e d and lov e st ill M T h é odor e , ,

.

Rouss e au falls o ff a l ittl e He s e e ms to hav e tak e n too s e riously

t h e obj e ct ions wh ich w e r e mad e to himin oth e r tim e s
.
,

He .

has trie d to mod ify th e hab it of h is brush to soft e n down h is ,

r u gose mann e r and in t h e r e nd e r ing of fol iag e to pa int mor e

,
’
fin e ly It is a good thing to corr e ct on e s s e lf but w e find that
.
,

M Rouss e au h a s corr e c te d h ims e lf too much His e x e cut ion

b e com e s al m
. .

ost monotonous His touch mak e s its e lf too e qual .

( tr op p a r eille
) How e v e r lum inous th e y still a r e and how e v e r
.
,

luminous th e y app e ar in th e ir soft pl e a sant un ity h is p icture s , ,

”
want a l ittl e a c c en t in th e m .

M S e n s ie r says : He saw h ims e lf d e vot e d t o strif e and

.
“

hum il iation to t h e d e ath C riticism s e e m e d to hav e b e com e

.
 . 78 T HE B AR B I Z ON S CH O O L .

frie nds ,
it wa s found that Rouss e au had only francs t o
”
re c e ive .

Th e financial h istory has many miss ing l inks for this solid ,

sum of £ 600 app e ars to have brought no p e rc e ptibl e improv e

m e nt to h is pos ition D iscounts bills of accommodation and
h e avy int e re st accumulating h e ld h imdown and w e re no
.
, ,

, ,

“ ”
doubt as S e n s ie r says inc e ssant tortur e Mor e ov e r th e y
comp e ll e d h imto go to Paris to h is r e gist e r e d domic il e th e r e
.
, , ,

, ,

onc e e v e ry month aft e rwards onc e e v e ry fortn ight to tr e a t

, ,

with h is cre d itors on t h e spot At t h e sam e tim e h e fe lt .

acut e ly t h e loss of popularity that h is work at this p e riod

suffe r e d and as a cl imax of m is e ry h e was d e vote dly attach e d
, , ,

to h is poor w if e whos e int e ll e ct was l e aving h e r " His p ic

,

ture in t h e S alon of th is troubl e d y e ar The Oa k of the Roc ks , ,

may w e ll hav e b e e n t h e e xpr e ss ion of a r e solut e d e fianc e of

“
d e stiny It was a canvas of important d im e ns ions wh ich
.
,

re pre s e nts a w ild for e st glad e wh e r e an oak plant e d by t h e, ,

chanc e of t h e winds had forc e d it s growth thro u gh mass iv e

,

blocks of ston e a vigorous savag e,

In t h e cl e fts of t h e moss
grown ston e app e ar brambl e s thorn s l ich e ns holly and r e d , , ,

b e rrie s ; dwarf birch e s had l ift e d u p flat ston e s l ik e t h e d e ad ,

com ing forth from th e ir grav e s in th e ir struggl e for l if e and , ,

bre ath e d th e ir S har e Of l ight b e tw e e n t h e tim e worn blocks -

.

Th e sky was j ust v is ibl e in t h e d istanc e u nd e r t h e branch e s

, , .

“
It was a v e stibul e for t h e gloomy for e st of D ant e a hid ing ,

plac e a n e st of r e ptil e s wh e r e all t h e s e cr e ature s who S hun

, ,

mankind and light pass th e ir liv e s in an anarch ical Witch e s ’

’

S abbath d e vouring and d e stroy ing o n e anoth e r as it is in t h e

, ,

vis ion of t h e proph e t Th e g e n e ral ton e was gr e e n and har

m
,
.

on iz e dto all t h e v er d u r es of t he for e st from t h e grass e s and ,

f e rn s to t h e branch e s of t h e oaks to t h e ver da tu rr e of t h e

re alitie s as to t h e d e m
,

i tints and shadows -

.
 RO US S E AU . 79

Th e Ga zette des B ea u a A r ts, w h ich h a s

a fi n e e tching of this
picture says that it Wa s s e ve r e ly critic is e d for it s pow e rful
,
“

“ ’ ”
gre e ns which h e had procur e d at t h e C h e mist s
,
.

In th is sam e y e ar 1 8 6 1 Rouss e au s e nt two p ictur e s to t h e

, ,

A ntw e rp e xh ib ition and it is r e mark e d that h e was always

,

b e tt e r appre ciat e d in for e ign countrie s than at hom e .

Rouss e au s Dre am — it is rid iculous to call it h is l ife

’ “

now wafts h imsudd e nly to what M S e n s ie r v e ry accurat e ly .

d e scrib e s as a land of p e rnic ious witchcraft “

a g a r de n of
A rm
,

ida a n d to t h e e nchantr e ss of t h e gard e n

” “
h e pa id a
h e avy tribut e ”
He for g e t his own old country and it s
p e ac e ful suns and J apan b e witch e d h im He found in
.

”
, .

“
Japan e s e art ,
t h e log ical and frank production of t h e r e gions
” “ ”
of light t h e id e al of h is l ife and s e t to work imm e d iat e ly
, ,

to transform t h e landscap e h e was th e n e ngag e d upon The ,

Villa ge into a monst e r w ith a south e rn sky and a north e rn

, ,
“
landscap e . A blu e sky l ik e t h e colou re d sapphire s of t h e
,

Orie nt l ik e t h e glowing fl am e s of t h e Aurora B ore al is He

, .
-

r e mad e h is sky h e r e pa int e d h is r e fl e ctions h is l ights

-
,
-
h e l e ft ,

noth ing of h is form e r villag e b e yond t h e outl in e s h e coloure d

p
”
e v e ryth ing e ls e J a a n es e T h e brushful
. of blu e that pa int e d "
,

out t h e gr e y north e rn sky s e e ms to us to hav e paint e d

,

out t h e artist w e hav e b e e n hith e rto writing about Th e .

e volut ion of sk ie s from inn e r consciousn e ss was c e rtainly

no part of t h e doctrin e of t h e Romantic school It is M . .

S e n s ie r who r e cords t h e almost incre d ib le fact w e hav e but ,

r e p e at e d it in h is words We r e turn w ith l e ss b e wild e rm e nt

.
, ,

rath e r to t h e financial History .

Absorb e d in his n e w dr e am l ik e Pal issy t h e Pott e r h e , ,

b e c am e obl ivious of h is worldly affairs and promptly t h e , , ,

“ ”
wolf was at h is door Famin e
. says h is frie nd “
,
and , "
80 T HE B AR B I ZON S HOOC L .

”
wor se bailiffs w e r e at t h e door 1
th e Lik e Pal issy h e ,

stripp e d h is hous e h e sold h is coll e ction of po t t e ry h is c u r ios

,
“

, ,

h is trav e ll ing trunks Th e p r oc e e ds must have b e e n ins ign i

.

fi c a n t t h e sacrific e w e a r e told was most pa inful — but it was

, ,

consummate d — and then a fter wa r ds— h e sol d by auc tio n s e v e n

, , ,

t e e n mor e of h is own p ictur e s which produc e d more or l e ss

, , ,

fift e e n thousand francs No e xplanation is acc e ss ibl e to

r e s e arch— t h e antith e s is of starvat ion and s ix hundre d pounds
, ,

bluntly shows in t h e h istory as it is r e p e at e d abov e Mor e .

ov e r h is cr e d itors did not g e t t h e b e n e fit of this r e al isation of

,

“ “ ”
ass e ts All t h e clouds d isp e rs e d says h is biograph e r h e
b e l ie v e d hims e lf sav e d P e ac e re turn e d to sooth e h im for
.
, ,

.
,

s e v e ral months ; h e r e v is it e d h is for e st and in sp it e of h is ,

J apan e s e in fi de lit ie s gav e h ims e lf up to t h e id e al O f C re at ion

, ,

that h e lov e d still to find in t h e h e art of our old bosqu e ts

and th e n s e t out for t h e Alps to paint for Mr Hartmann a , .
,

Gener a l Vie w of th e Ch a in of M on t B la nc Th e s e ason was lat e .

,

“ ”
e xposur e to rain and t h e mounta in cl amps bro u ght on ,

inflammation of t h e lungs ; and h e r e turn e d to B arb izon in

dang e r of h is l if e His illn e ss laste d ov e r thre e months h is
.
,

r e cov e ry was S lo w and h e was for a long t im e unabl e to work

, .

Th e first canvas that h e took up was h is Villa ge which h e

“
pat ie n tly r e painte d hav ing always in vie w t h e implacabl e
,

J apan e s e l ight its c e l e st ial int e ns itie s it s profound blu e s it s

mt
, , ,
”
a u r ora s r os ea te a s a c or r os ive su bli a e .

With thre e patie nt p ictur e s h e shut h ims e lf up in h is ,

stud io and th e r e work e d inc e ssantly e xp e r im e ntally tor

me n t in g th e m from one style to anoth e r as t h e wind bl e w
, ,

, ,

from Fonta in e bl e au or J apan Th e v ictims of this sort of

v ivis e ction w e r e La Fer me L e Fou r Com
m
.

u n a l and L e Villa ge
, ,
.

'

“
Th e y pass e d through phas e s that w e re som e tim e s mar
ve llons som e t im e s lam e nt abl e
, Only Mill e t and I w e r e e v e r
.
 m
82 TH E B A R BI Z ON SC H OO L .

w ish t h e wish would b e to b e a illionna ir e for noth ing but for

, ,

t h e bringing forth of on e sol e and un iqu e p ictur e ; to d e vote

mys e lf to it to tak e all my d e light in it to suffe r for it to
, , ,

e nj oy it until cont e nt w ith my work

, ,
afte r y e ars of trial I , ,

s hould b e abl e to S ign it and say Th e re my pow e rs e n d and

, , ,

th e r e my h e art stops b e ating Th e r e st of my l if e should b e

ass e d in mak ing draw ings in pa int ing for amus e m e nt stud ie s
p ,

which I would throw lik e flow e rs at t h e f e e t of t h e work with

w h ich I should b e s a tisfi ed .

Th e Villa ge w e nt in for e xh ib ition in 1 8 64 On t h e v e ry .

da y b e fore s e nding it in h e tre bl e lock e d t h e door of h is

,
-

s tud io and r e paint e d all t h e S ky in p lein a r t J ap ona is and

,
-
,

“
dom inat e d by thos e b e autiful auroras of t h e e ast which com ,

b in e in a p e rf e ct e qu il ibrium t h e softn e ss of t h e dawn and t h e

a rdour of t h e trop ics h e had mad e for th is poor haml e t in
P icardy a fi r m ,
am e n t in wh ich B uddha would hav e chos e n his
”
t hron e of l ight .

O n e c ircumstanc e in Rouss e au s l if e is impre ss e d upon us in

t h e e v e nts o f th is y e ar
-
He had mad e b itt e r e n e mie s in t h e party
.

w arfar e that h e was conc e r n e d in but h e w a s n e v e r w ithout ,

t h e sympathy p ractically e xpr e ss e d of a c ircl e of good frie n ds

, , .

In th is y e ar (1 8 64 ) on e of th e s e fr ie nds und e rtook to buy

u p all h is cr e d itors and
“
r e store h imto l ib e rty and p e ac e
, .

B u t it was only a brie f hol iday that Rouss e au ga in e d

“
He .

”
h e sitate d to d isclos e t h e e xt e nt of h is wounds and t h e r e sult ,

is d e scr ib e d :
“
He had o n e cre d itor more and on e frie n d ,
’
l e s sf
Anoth e r circumstanc e is more d ifficult to allud e to from t h e ,

doubt that hangs about it t h e appar e nt int e rnal contrad ictions

in t h e ex p a r te stat e m e nts of S e n sie r on t h e subj e ct He te lls .

u s that e v e rybody but Rouss e au h ims e lf thought that h is w if e

w as m It is imposs ibl e to b e lie v e h imafte r only r e ad ing

, ,

ad .
,
 RO U SS E AU . 83

’
t h e fe w xtracts t hat h e give s of Rouss e au s l e tte rs to h e r t h e
e ,

frie ndly gree tings and m e ssag e s always s e nt to h e r by h is

fath e r and h is frie nds and t h e l ittl e inc id e nts of h e r activity
,

in t h e hosp ital itie s of h is hous e hold W h e re v e r h e is h is .

,
”
bonne p etite c hér ie is upp e rmost in h is thoughts h e r l e tt e rs ,

a r e anx iously e xp e ct e d t h e n e ws of h e r h e alth must b e m inut e

,

and pre c is e e v e n t h e r e cord of h e r app e tit e and h e r food (for

,

“ ”
s h e was alwa s an inval id
y ) Manag e th e n h e says to
m
.
, , ,

hav e no anxie tie s at all even a bou t e " D o cr e d it to t h e good

,

soup an d t h e good a ir of Fontain e E cu It is n e c e ssary for

,
-
.

th e e to g e t th e r e good strong ch e e ks and chubby for I s ha ll

m
,
”
wea r th e ou t a t onc e wh e n I r e turn to th e e That l e tt e r was .

not writt e n to a mad woman Th e y had now l iv e d down

troubl e tog e th e r for m
.

or e than t w e lv e y e ars and h is frie nd ,

says Rouss e au h a d com e to that a ndr ogynou s condition in

,
”
which two b e ings m e lt tog e th e r to mak e an ind issolubl e one
W e had found h iman e xc e ll e nt Asyl u mfor h e r n e ar
.

“
,

Paris in a h e althy s it u ation Th e day was appointe d for

,
.

tak ing h e r th e r e but wh e n t h e mom e nt for parting cam e h e

, ,

sa id w ith that r ega r d a ttendr i wh ich b e tray e d supr e m e a gi

tatie n Ah : m
,

,
‘
y d e ar
- fr ie nd wh e n I th ink what
,
sto r e s of
t e nd e rn e ss I am do ing outrag e to in s e parating m y s e lf from
h e r — sh e is but a S po il e d ch ild aft e r all — I find I am v e ry
,

unjust to s e e k thus my own r e pos e at t h e e xp e ns e of h e r ,

’ ”
h e art " I saw th e n that t h e fatal ity must tak e it s cours e .

Financ ial prosp e rity s e e m e d to b e surrounding h imw ith a

Pactolus in 1 8 65 First t h e C ount Paul D e midoff build ing a
.
, ,

hous e in t h e r u e Je an G ouj on ord e re d for pan e lling e ight larg e

,

e —
landscap s oi C orot J ul e s Dupre From e ntin and Rouss e au .
, , ,

E ach artist was to d e liv e r two p icture s by t h e 1 s t of S e pt e mb e r ,

for t h e pric e of francs It was how e v e r not until 1 867

.
, ,
84 T HE B AR B I Z O N S C H OO L .

that Rouss e au wo ul d part with h is : to finish a pictur e was “

”
t h e m is e ry of his l if e .

S e condly two e nt e rpris ing young p ictur e d e al e rs ( MM -

Durand Ru e ] and B ram e ) gav e hima hu ndr edthou sa ndfr a nc s

, .

for all t h e Old studie s that h e had mad e in h is

“

yout
Rouss e au w e a re told with on e hand s e t asid e a larg e por
, ,

tion for h is cre d itors with t h e oth e r a fe w bank not e s to buy

,

e tch ings w ith (It would

. r e ally b e e xtr e m e ly int e r e st ing to
’
l e arn what aft e r all was t h e gross amount of Rouss e au s d e bts
, ,

and how they or igina ted")

Th e y e ar 1 866 was mark e d in t h e autumn by a v is it of a
, ,
’
w ee k to t h e E mp e ror s C ourt at C ompiegn e and t h e op p or
t u n it y th e re afford e d himappar e ntly w ith t h e gr e at e st in du l
,

g e nc e of l ib e rating h is m ind of all his th e orie s a n d proj e cts

,

on t h e subj e ct of t h e e ncourag e m e nt of art in t h e country .

A S o n e of t h e j u rors of t h e E xh ib ition of 1 8 67 — t h e pre s i

—
d e nt of t h e jury h e r e al is e d for t h e first tim e t h e full e njoy
m e nt of t h e pop ul arity that had ste adily spre ad still mor e in ,

fore ign nations than in Franc e in favou r of h is own work ,

-
.

He saw now t h e fortun e h e had b e e n waiting for w ith in h is

grasp ; h e r e c e iv e d t h e grand m e dal ; h e bought th irty thou
’
sand francs worth of e tch ings at on e sal e h e sold at t h e sam e
tim e two hundre d thousand francs worth of p icture s No
’
.

“
doubt h e said lik e Faust to t h e passing hour V e rwe il e doch
, , ,

Du b ist so s c h On and as h e said it h e was struck down in , ,

that sam e day by t h e blow that brought paralysis and S p e e dy

,

d e ath It i s a t e rribl e h istory

.

W h e n h e l e arn e d on t h e fe stival Of t h e announc e m e nt of

,

r e wa rds that h e a lon e of t h e jurors was e xclud e d from t h e

,

complim e nt of promotion in t h e L e gion of Honour

“
He r e turn e d w ith a purpl e fac e and w ith bloo dshot e y e s
 T
P OR R AI T OF D I AZ . B Y PROF I T .
 NA RC I S S E VIRG ILE D IAZ .

A RC I S S O V IRGI LIO DI AZ D E LA P E NA was t h e s on

of a c it iz e n of S alamanca Thomas D iaz de la P e na a n d
,

h is wif e Maria Manu e la B e lasco who fl e d ( ,

pre sumably ov e r ‘

t h e Pyr e n e e s ) from t h e troubl e s of th e ir nat iv e country in t h e ,

y e ar 1 809 (not 1 807 as som e b iograph e rs hav e it ) — a tim e of

,

tumult and natio nal e nthus iasm whe n t h e whol e country w a s

,

in arms against t h e cuckoo King J os e ph and t h e de solat in g ,

G u e rilla war had b e gun wh e n e v e ry S pan iard of h e art said

La mu e rt e e s para m
, ,

i u n plac e r s i cons igo matar a lgu n

,

franc e s — and ev e n t h e wom e n drill e d and Carrie d arms fo r

“
t h e fath e rland H e rmosas Ama zonas y mas fi er a s qu e ‘

h e rmosas — and of t h e poor pupp e t k ing e ve n h is ow n ,

countrym e n said — “
L e r o i dE s p a gn e n é t a it gu er e qu e r oi de
’ ’

”
Madrid . Th e fl ight of Thomas D iaz from S alamanca in to
“

Fr a nc e to B ord e aux at this mom e nt ind icat e s e ith e r that h e

, , ,

was e scort e d thith e r as a prison e r or that h is sympathie s w e r e

,

not patriotic but Fr e nch We a r e told that h e was p r e s c r ib e d

,
.
“

by King J os e ph B uonaparte afte r b e ing involve d in a political

,
”
consp iracy but c e rtainly King Jos e ph at that tim e had oth e r
, , ,

matt e rs to think about than t h e p r e s c r ip t ion of O bscure

ind iv iduals War to t h e knife had b e gun and t h e days of
.
,
88 T HE B A R BI O N Z S H OO LC .

quarte r or mild d e aling w e r e past On t h e oth e r han d no .

,

S pan ish patriot would voluntarily hav e sough t re fug e in t h e

h e art of Franc e T h e frie n ds of D iaz Cannot but b e int e re st e d
in this j ourn e y e ndure d by h is young moth e r almost im
.

m e d iat e ly b e for e h is birth t h e hardship a n d t h e m is e ry of it

,

t h e bro il ing m idsumm e r glo w of t h e days and t h e alte rnating ,

chills of t h e n ights among t h e p e aks and pass e s so soon to ,

b e com e famil iar to E ngl ishm e n ; t h e occas ional skirm ish e s of

t h e e scor t ( if e scort th e r e w e r e ) w ith Gu e r illa bands or t h e ,

u n e xp e ct e d wh istl ing of bull e ts from t h e surround ing crags

;
t h e t e rribl e fatigu e o f t h e young w if e j olte d pa infully in t h e ,

saddl e from morning to n ight day af te r da y ; finally t h e , ,

a rrival at B ord e aux and th e r e upon t h e b ir t h of h e r firstborn

, , , ,

whos e nam e so sl ightly a lte re d — Dia s de la Pena days of

suffe ring — is so curiously d e scrip tive of t h e t im e of h is e ntry
into t h e world .

’
Th e young moth e r s troubl e s w e r e by no m e ans ov e r wh e n , ,

a ft e r all S h e had e ndur e d s h e had h e r ch ild saf e in h e r arms

, ,

for h e r husband w e a r e told f e e l ing ins e cur e as w e ll h e m ight

, , ,

if h e w e r e in truth a S pan ish patriot with in t h e r e ach of t h e ,

l ong arm of t h e e v e r m indful Napol e on fled( from B ord e aux to ,

E ngland ) " How h e manag e d it what r e sourc e s surpass ing

thos e of ord inary c it iz e ns h e command e d to e nabl e h imto
,

p e rform such a f e at at this p e riod of history w e a r e not told , .

E ngl ish and Fr e nch g e n e rals or admirals would hav e b e e n

int e re st e d in t h e part iculars of h is voyag e Our int e re st stays .

b e hind at B ord e aux w ith t h e w if e and child n ow d e stitute

,
.

th e re We dw e ll l ing e ringly on t h e charact e r of this young

.

h e roin e b e aring h e r par t in t h e all p e rvad ing warfare of thos e

,
-

dark tim e s n ot uns e x e d l ik e h e r country w om e n with a gun on

,

h e r S hould e r slaught e ring but s imply in a world turn e d u p

, ,

s id e down by war e arn ing an hon e st l iving for h e r ch ild and

,
90 T HE B AR B I Z ON S C HO O L .

r e s ult of e ducation e sp e cially of class ical r e ad ing wh ich h e

, ,

hardly could hav e acqu ire d afte r b e ginn ing to work for h is
l iving He was more ov e r n e ve r in h is l if e a patie nt stud e nt
.
, ,

of h is art or of anyth ing e ls e Hi s knowl e dg e of t h e Class ic a l .

mythology must hav e b e e n gath e r e d from l e ssons w ith M .

“
Pa ira in t h e int e rvals of wh ich w e a r e told
,
h e pass e d , ,

h is t im e rambl ing about t h e woods and ro a ds of Fl e ury

of M e udo n of S evr e s of S aint C loud : a im a bles c a m
,

, , p a gnes
“
says M S ilv e stre wh e re a natur e d e vo id o f viol e nc e r e calls
.
,

t h e mag ic of t h e fetes ga la n te s of W att e a u t h e trunk of t h e

tr e e that grows th e re com e s of a w e althy and grac ious stock ,

in t h e lowlan ds full of sl e e p ing springs and on t h e h illocks ,

always wrapp e d in floating m ists wh ich r e fr e sh t h e v e g e tation

and s e e mto prolong t h e autumn
,
”
.

F rom t h e top of t h e l ittl e h ill wh e r e t h e chap e l of Net re ,

Dam e de s Flamm e s r is e s in t h e m idst of t h e cypr e ss e s t h e e y e ,

wand e rs with d e l ight along t h e banks of t h e S e in e e xcoriat e d

by t h e n avigation ove r wh it e v illas of Aut e uil and B oulogn e
, ,

and t h e s il h ou e tt e s Of Paris m isty in t h e d istanc e and th e re , ,

on e fi n e day young D iaz aft e r h is gam e s w e nt to sl e e p on t h e

,

grass and wh e n h e wok e up h e f e lt a sharp pain in h is right

fe e t wh ich was rap idly sw e ll ing A good woman took charg e
of h im blund e ring stup idly and gangr e n e sup e rv e n e d He
, .

.
, ,

was th e n carrie d to t h e Hosp ic e of t h e C hild J e sus wh e r e h e ,

support e d c oup s u r c oup two amputat ions for t h e first was not
, , ,

e ffe ctiv e and n o w h e w e ars a wood e n le g and ga ily calls it

m
, ,
’ ”
on p ilon my p e stl e
,
.

H e rmann Billiin g g iv e s a d iffe re nt account of t h e acc id e nt

i ‘

Whil e D iaz was sl e e ping on c e in t h e op e n a1 r as h e oft e n did

m
, ,

a v ip er bit h i in th e foot and long months of su ffe r ing in t h e

,

Hosp ic e de l En fa n t J e sus follow e d t h e y e ars of unbridl e d

’

Z e it sc hr ift fu r bilde n de Ku n s t 1 87 6 , .
32 T HE B AR B I ZON C
S H OO L .

c are e r b e fore h imif h e will only work He is a fi er tem p er a

’

m
, .

e n t of a colouris t and what fac ility "

, He mak e s his p icture s
a s an appl e tr e e mak e s appl e s
-
.

W e e xtract t h e following from t h e work of H e rr Billu n g

“
Th e e ntry into t h e stud io of S ou e h on t h e e xc e ll e nt ,

Lill e mast e r whos e plast e r casts h e cop ie d was anoth e r st e p

, ,

o n h is upward way Th e re h e struck a firm frie ndsh ip w ith

.

S ig a l on who subs e qu e ntly paint e d t h e O ft e n s p oke n o i Loc u sta

,
~ -
,

a n d S ig a l o n n e g o c ia t e d t h e sal e of D iaz s first O il paint ings

’
-
,

wh ich h e didin h is hours of l e is u re On unusually l u cky days .

t h e s e att e mpts of t h e youthf u l mast e r f e tch e d from s ixt e e n to

tw e nty—fi ve fran cs .

“
At that t im e D iaz struck t h e first chords of h is subs e qu e nt
c olour harmon ie s ; som e tim e s it was landscap e s br ight in t h e ,

moonl ight with m e rry groups of danc ing nymphs ; som e time s h e
p roduc e d hare m v ie ws with languish ing Odal isks whos e whit e ,

limbs and full voluptuous forms fold e d in long flow ing hair and ,

g auzy v e ils stood boldly out on t h e glow ing colours of t h e

background V ic t or Hugo s Or ienta les s e duc e d h imofte n to

,
’
.

t h e strang e st p ictur e s of Turk ish l if e and mann e rs court lad ie s ,

and th e ir pag e s w e r e m ix e d up in b e tw e e n but D iaz ow e d t h e ,

tru e d e v e lopm e nt of his tal e nt in t h e first plac e to t h e most

e arn e st
,
pass ionat e study h e mad e of t h e maste rpie c e s of
C orre gg io in t h e L ouvr e
Th e A ntiop e r e v e al e d to h imt h e s e cre t of t h e gold e n
.

blond e ton e s t h e fl e xibl e suppl e mov e m e nts t h e rays of light

, , ,

and the ir r e fl e ction in t h e S hado w .

F or a S pac e of tim e also h e had l e an e d on D e lacro ix but

n ow h e was sail in g in t o t h e only str e am that was fitte d for h im
, , ,

T h e warm south e rn Colouring t h e boldn e ss of t h e sk e tch and

S ic h er heit) of t h e l in e w e r e e asy to h imas th e y
, , ,

t h e pre c is ion ( ,

w e r e to fe w oth e rs .
 DIA Z . 93

His O p e n f e e ling for b e autie s of landscap e plac e s h i mon a

l e v e l with Th eodore Rouss e au w h o surpass e s h imas a painte r , ,

and with J F Mill e t t h e compan ion of h is youth and h is

. .
, ,
’ ”
long y e ars frie nd .

Furth e r d e tails r e cord e d by M Jul e s C la r e t ie a r e tha t

, .
,

Madam e D iaz at t h e tim e of h e r d e ath was e stabl ish e d a t

, ,

S evr e s as gov e rn e ss to an E ngl ish fam ily and that Thoma s

*
,

D iaz e scaping from B or de aux w e nt in t h e first plac e t o

, ,

Norway and th e nc e to E ngland

,
.

M C la r e t ie also informs us that at t h e tim e wh e n t h e

.
,

young D iaz b e cam e a paint e r on porc e lain h e was fift e e n y e ars ,

of a g e (that would b e in 1 8 2 4 ) and go e s on to say that J ul e s

D upr e C abat and Ra ffe t w e r e at that t im e also paint e rs on
, , , ,

porc e lain Ch ez t h e uncl e of J ul e s D upr e who was my

, , ,
”
He
’
(M C la r e t ie s ) mat e rnal grandfath e r Ars en e G ill e t
.
, .

confirms all that w e l e arn from S ilv e stre of t h e tast e s and

“
Wh ilst h e was makin g t h e
'

mod e of life of t h e youth .

round of all t h e e xh ibitions and t h e th e atr e s an e n t h u s i ,

a s t ic obs e rv e r of t h e —i e e —
two s d d mov m e nt in Art and in
Lite ratu r e — that was to culm inat e in our e poch making -

y e ar of D iaz was l e arning drawing of S ou eh on + and

at this tim
, ,

e h e b e gan to paint fever is hly throw ing on t o

, ,

canvas a profusion of sc e n e s E gyptian or romantic insp ire d

by t h e s e nsational dram
, ,

a of t h e p e riod A h e ro of Fre nch .

b iography has t h e privil e g e of a h e ro of roman c e or w e ,

at
We be for e u s a S pa n ish t r a n sl a t ion of Ma da m
h a ve e C ot t in s E x il es
’

o f S ib e r ia pu blish e d y G d d
”
,
b a l e a n C h il o f P a t e r n o t
s e r Ro w “
by D , ,

T D ia z de l a Pe iia Pr o fe s sor de l a l e n g u a c a s t e ll a n a H u s ba n d a n d ”
.
, .

fe t h e r e for e w e r e b ot h t e a c h e r s of S p a ni s h
, ,
.

TF RAN COI S S OU CHON b 1 7 8 6 d 1 85 7 w a s a pu pil of D a vid a n dh a da

rem a r k a bl e t a l e n t fo r m a kin g c o p ie s of o l dm Th e L ill e m u se u m
.
, .
, , ,

a st e r s

c o n t a in s a l so s om m
.

e w e ll p a in t e d h is t or ic a l l a n d
- s c a pe s b
y hi H e w as
D ir e c t or o f t h e A c a de m y of L ill e fr om1 836 t o 1 85 7
.

.
94 THE B A R B I ON Z C
S H OO L .

should b e gin to calculat e t h e pric e s of ad m

.
iss ion to e x h ib i
t ions and th e atre s and t h e numb e r of hours in t h e you n g
man s day and t h e amount of h is r e sourc e s d e riv e d fro m
,
’
,

h is pa inting or porc e lain pa inting or t h e s a l e of h is draw

, ,

ings of wh ich at th is e a rly stag e of h is car e e r so much is

,

said Th e y produc e d M C la r e t ie says fi ve francs apie c e

C astil Blo ze pa id h im2 0 francs o n e day for gu a ir e toiles de
.
.
, ,

hu it —but accord ing to S ilv e str e his frie nd S ig a lo n introduc e d

h imto a still b e tt e r mark e t w ith som e p e opl e of Nim e s who
,

bought drawings of h imat t e n or fift e e n francs ap ie c e — th e y

,

w e re re coll e ctions of th e atrical pag e ants sumptuous v e st

m
,

m e nts gl itte ring armour and so forth— and afte r t h e Ni ois

,
”
, , ,

h is n e xt custom e r was a lady Dam e G u erin who k e pt a , ,

cur ios it y shop in t h e Ru e du Faubourg Po issonniere — who

gav e h imold paintings s e als armour costum e s c hin ois er ies or
furnitur e in e xchange ; and imbu e d h imwith t h e coll e ctor s
, , , , ,
’
,

pass ion to wh ich h e d e vot e d t h e w e alth that h e acquire d by

h is a r t — for h e b e gan to mak e mon e y v e ry soon .

Th e e arly mann e r of D iaz is qual ifi e d by M C la r e t ie du n e

’

m
.

tona lite s o br e wanting brill ianc e dull in colour h e avy of

’

m
, , ,

touch and d e vo id of transpar e ncy in t h e de i—

,
tein ts — but
”

D iaz had hims e lf no illus ion on t h e subj e ct He was t h e first

, ,
.

to cond e mn h is own e arly landscap e s but M C la r e t ie says , , .

It w a s with a l e gitimate pr id e that h e would s e t up by t h e ,

S id e of t h e p ictur e s of M ill e t and C orot a l if e s iz e study of a ,

-

blond e young woman or a back Vie w of anoth e r wande ring

,

about in a dre am a n d viva nte t h e fl e sh of h e r b e ing as

, ,

su v ou r eus e as t h e most s e ductiv e r e al ity ; one of those h a

pp y
insp ir a tions kn oc ked of in two hou r s inc om p a r a bly sup er ior to th e
m
,

os t fi nish edp ic tu r e " Th e ital ics a r e o u rs t h e wor ds and t h e ,

whol e s e ntim e nt M C la r e t ie is r e spons ibl e for

. .

His first e xh ib it e d p ictur e in t h e S alon of 1 835 was calle d

, ,
96 THE B AR B I ZON S C H OO L .

And so you s e e h imturn out by doz e ns w ith t h e rap id ,

r e gularity of a machin e th e s e wom e n and childr e n w ith t h e

,

gold e n ha ir w ith t h e p i nk and whit e fl e s h —

,
and all of th e m
a r e figu re s r e susc itat e d from v ign e tt e s or conc e iv e d and e x e cut e d ,
” “ “ ”
at a gallop " B u t in sp it e of all h e adds
,
D iaz is a , ,

painte r a true paint e r — He has s e t a dang e rous e xampl e a n d

'

h is e xtr e m e l ic e ns e has found only too many im

.
, ,

itators In .

throwing hims e lf into all t h e vagarie s of a brilliant and fac il e

improv isation h e do e s not work to ov e rthro w t h e p e dantry of
,

the Acad e m ic ians — h e justifi e s it

'

B arb izo n in 1 8 36 was a n o b s c u r e haml e t lost in t h e m iddl e

, , ,

of t h e land e s and woo ds and haunt e d only by som e artists th e n

,

unkno w n to fam e e nthus iastic worshipp e rs of it s wild b e auty

, .

Its inhab itants w e re poor woodcutte rs and till e rs of t h e m e agr e

soil— rich e r in it s rocks of sandston e than in agricultural pro
duc e .
“
Alig n y was th e r e a nd D ia z says M S e n s ie r and , , .
,
’
Rouss e au and Rouss e au s instructions on t h e pal e tt e w e r e t h e
,

p oin t de d e
p a r t O f t h e r e al tal e nt of D iaz for colour At th is , .

p e riod t h e fi ne studie s of t h e Gr a ndB y u s e (Rouss e au ) we re a

’
‘

r e v e lation to t h e quondam paint e r of porc el ain w h o had b e e n ,

struggl ing all alon e to purg e hims e lf of t h e trad itions

, ,
’
of t h e p eintu r e of t h e apoth e carie s gallipot and t h e ,

“
chocolat e cup Diaz M S e n s ie r adds was conqu e r e d
m
.
,
.
,

imm e d iat e ly by Rouss e au a n dh is adm iration for h i r e main e d

,

for e v e r t h e conviction and t h e r e l igion of all his l if e S p e ak

, ,
.

” “
of it to D iaz now " h e says ,
n o w that h is b e ard is wh it e , ,

w ith toil and troubl e and you will s e e h is C astil ian look
l ighte n up at t h e m e mory of t h e gr e at chie f who l e dh imon to
,

victory a n d his h e art d ilat e at t h e m e mory of Rouss e au

,
”
.

m
D iaz l iv e d I n a dou ble w orld and was on e of thos e born po e ts , ,

t h e S lav e of i ag inat ion whos e g ift or d is e as e of fantasy was

,

h e althily ton e d by a faculty of cl e ar obj e ctiv e appre h e ns ion of ,

98 T HE B A RB I Z ON S C HO O L .

of colourists who also fro mtim e to tim e shows us t h e V e nus

, , ,
’
of Prud hon walking about in t h e moonlight ; and it must b e ,

fur th e r obs e rve d t h e p ic t ur e s of Ars en e Houssay e a r e n e at e r

,

and cl e ar e r than thos e of D iaz de la P e h a ’

.

’
Thor e Rouss e au s gr e at f rie nd and partisan obj e ct e d t o
, ,

t h e m inutiae of class ification Of D iaz and othe rs suc h as .

,

“
D ecamps Ary S ch e ffe r and D e lacro ix h e says Th e y giv e t h e
, , , ,
’ ’
li e to t h e prov e rb of B rid O ison th e y a r e nobody s sons but ,

th e y all hav e on e or igin that is th e y proc e e d from th e ir own , ,

is t h e most difficult of th e m all

“ “ ”
innéité . D iaz h e adds , ,

t o class ify He r e calls t h e fou gu e and t h e r ich abundanc e of

.

T ie polo t h e fin e ss e of C har din b u t abov e all Watte au and

, , ,

V e lazqu e z ; h e has t h e s ilv e ry and h a rmon ious colouring of

V e lazqu e z and t h e l ightn e ss and phantasy of Watt e au : He
,

s e t s y ou d re am ing also of t h e school of Parma in t h e qual ity

, , ,

of h is fl e sh ton e s t h e transpar e nc e of h is shadows and t h e

, ,

s o ftn e ss of h is touch Th e re is not a mor e charm ing colourist

a n wh e r e ; h e comb in e s in h im
.

s e lf all t h e g ifts of colour

y
v igour brill ianc e r e fin e m e nt varie ty l ight h e d ispos e s of t h e
, , , ,

sun l ik e C laud e L orrain ; h is art is not n a ture nor e v e n a ,

conv e nt ional r e pr e s e ntation of natur e : it is t h e po e m of a

day dr e am ; it is t h e e vocation of a sup e rnatural world a
-
,

dre am in a land of e nchantm e nt Th e s e fore sts of h is and .

,

t h e ir voluptuous d e n iz e ns e xist only in v is ions — charm ing ,

v is ions such as op ium and hasch ich produc e wh e n on e is in

,

good h e alth and p e rfe ctly happy alr e ady Most pa int e rs who
,
.
,

hav e run afte r t h e fantast ic hav e found it in t e rror and n ight ,

mar e D iaz has had t h e w it to dr e am upstand ing t h e most

.

”
b e aut iful magic of t h e ch im e rical world As to th is t h e .
,

dr e am of D iaz was not always rosy Th eoph il e S ilv e stre t e lls .

“
us that at o n e p e riod som e t e rribl e and fanta stic subj e cts,

a r e s a id to b e stirr in g in h is m ind ; h e is pr e pos in g to pa int ,

 D IA Z . 99

afte r long and s e rious stud ie s a Resu rr ec tion a t the Ce eter y by

,
m ,

Moonligh t and e ach fig u re is to b e t h e p e rso nification s a is issa nte

,

of som e o n e cap ital v ic e of human ity .

Th e adm ir e rs of D iaz must turn to Th or é for t h e sympa

th e tic note of tru e adm iration ; but it is t h e old orig inal
D iaz whom Thore writ e s of in 1 8 4 6 wh e n alre ady h is
, ,

popularity was gr e at and th e r e is a gr e at d e mand for h is

“

work and it brings h ime xtr e m e ly h igh pric e s

,
”
,
On e p ic .

tur e from t h e S alon of 1 84 6 was bought by Me isson ie r

, ,

“
Th e int e rior of a for e st ; t h e tr e e s : blond e r e dh e ad e d ,
-

y e llow gre e n — all g ild e d by a l ight which br e aks out gl itt e rin g
,

e v e rywh e r e ; and brambl e s and plants i nt e rm ingl e d j oyously ,

and clamb e ring up t h e trunks of t h e oaks in s e arch of th e ir

s har e of t h e sunsh in e ; and in t h e m iddl e of t h e p ictur e a
, ,

l ittl e figur e dr e ss e d in harmon ious r ed attracting t h e e y e to a ,

po int It is imposs ibl e not to worship Natur e e xpr e ss e d w ith

.

so much po e try In e ffe ct M e is sonie r has s e t out at onc e

.
,

for som e fore st aft e r th e purchas e of h is D iaz It is v e ry

, .

”
l ik e ly that h e w ill com e ba c k to us a landscap e paint e r .

Of The Ga r dens of Love The L eda L Or ienta le L A ba ndon

,
’ ’
, , ,

and S im ilar p icture s e xhibit e d that y e ar Thor e says “

Th e re ,

is r e ally n e v e r any occas ion for w e aring cloth e s in t h e country

’
that D iaz paints Th e tailor s art is unknown in thos e burn ing
.

”
cl imat e s And r e vie wing t wo oth e r p icture s of t h e sam e
.
,

y e ar La S a gesse and La Ma gic ienne h e says : D iaz is not a

,
“
,

S pan iard for nothing On e has always t h e colouring of on e s

’

country T e ll m
.

. e your colou r a n dI w ill t e ll you wh e r e you

,

com e from for e v e ryth ing in nature is r e duc e d to harmony :

,

t h e B e lgians a r e t h e colour of b e e r t h e S paniards a r e t h e ,

colour of t h e sun and so forth Th e n e xt y e ar s sho w 1 8 4 7

, .
’
, ,

e xc it e s Th or é st ill mor e : Vive le S oleil h e crie s Vinc u t

la c ou leu r et les nym p h es a b r e es ; m
and t h
’
e fl e sh of o p al and the ,
1 00 THE B AR BI ZON SC HO O L .

ha ir that falls in wav e s , and t h e b e a u t iful raim e nt of a thou

sand r e fl e c tions and t h e j e w e ll e ry that blaz e s so bright and
, ,

t h e sof t volup t uous l ight and t h e infin ite sky " Viv e la vie
m
mt l m
,

D éeide
’ ”
en a p ein tu r e ennu yeu se n es t p a s a u s a n te .

B u t it is of this S alon of 1 84 7that Planch é writ e s D iaz “

mak e s no progre ss In figur e painting or landscap e it is

.

always t h e sam e story ; h e finds on h is pal e tt e charming ton e s ,

of which h e mak e s ing e nious sk e tch e s but h e g e ts no furth e r ,

.

Th e tr e e s want l e av e s t h e av e nu e s want a ir and spac e

,
He .

dazzl e s w ith a brill iant varie ty of haphazard ton e s and is ,

cont e nt All his tr e e s a r e on t h e sam e plan t h e terr a ins want

.
,

sol id ity .

S o lon g as t h e e y e is dazzl e d if e m e ralds and rub ie s rival in

,

attract in g t h e e y e h e asks noth ing mor e This will not do

All th e s e f or e sts in t h e a ir all th e s e figure s w ith no fr a m
.
, .

e wor k

cannot hold t h e fi e ld Th e y a r e p r om
, ,

is es w h ich h e must fulfil

or th e publ ic w ill w e ar y of himand h is sk e tch e s
.

E dmond About re v ie w ing t h e p ictur e s in t h e Gr e at E x hib i

,

tion of 1 8 5 5 has a fanc iful ar ticl e on D iaz whom h e calls A

,
“
,

c e l e brat e d conjur e r w h o has stol e n a l ittl e ray of sunsh in e and

car rie s it about w ith h ime v e rywh e r e and spr e ads it on h is
,

p ictur e s It is qu it e a l ittl e ray but it is lik e t h e fortun e of

.
,

t h e w and e ring Je w what e v e r it e xp e nds is r e stor e d at onc e

,
.

If you look at t h e fi ve small canvas e s e xhibite d by M D iaz .

,

ou w ill s e e grac e ful nymphs l iv e ly coqu e tt ish C up ids e x qu i

y , ,

s it e sc e n e ry and e v e rywh e re that littl e ray of sunshin e which

w ill n e ve r b e us e d up It is by th is bl e ss e d l ittl e ray that
.

M D iaz has mad e a gre at succ e ss and acq uir e d t h e r e putation

.
,

of a gr e at painte r
“
C h ar l e s Blan c says : Th e colour of D iaz in h is sk e tch e s
'

I n tr odu c t ion t o t h e His toire des Pe int r es F r a n ga is au X IX m

e s zec le .
 D I AZ . 1 01

is t h e c hef doeu vr e -
of brill ianc e mharmony In t h e B ohe iens
’
. m
O f M D iaz th e r e a r e pl a ys of l ight and colour unknown b e for e
.

to t h e Fre nch school and of wh ich no e xampl e s e x ist unl e ss

, ,

it b e in c e rtain fantas ie s of Watt e au

'
”
.

M Th eodore Pe lloqu e t fi comparing h is e arl ie r e fforts to

.
t

follow t h e l e ad of Rouss e au with h is own form e r styl e and ,

writing in 1 85 8 says ,

“
He is doing all h e can to bury h ims e lf al iv e Th e D iaz of .

form e r tim e s — t h e only g e nuin e and tru e D iaz — in fact e x ists

no mor e He is r e plac e d by anoth e r who b e ars t h e sam e
.

nam e who is p erh ap s t h e sam e p e rson but who n e v e rth e l e ss

, , , ,

h a s w ith t h e form e r only a vagu e a ndfa r away r e s e mblanc e -

.

“
Th e firs t D iaz m ight hav e b e e n had h e w ish e d p e rhaps , ,

t h e gre at e st landscap e paint e r of h is tim e Nobody kn e w .

b e tt e r than h e how to s e t gush ing t h e stre aml e ts of gold that

t h e l ight w e av e s in t h e shado w of t h e w e t roof of t h e und e r
wood on t h e gre e n moss e s of a grassplot on t h e carp e ts of
, ,

v iol e t hu e d h e ath e r Nobody a ga in had dr e ss e d mor e spl e n

-
.
, ,

didly thos e l ittl e Turks awkwardly shap e d mor e awk w ardly

, ,

d isj ointe d but still charm ing in th e ir audac ious and imp e r
,

t in e n t d e formity o f dr a w in g
l

T h e s e cond D iaz has forsak e n

h is orig inal path in wh ich no o n e had gon e b e fore h imto
.

m
, ,
’
a r c h in t h e wh e e l r u t of C orr e gg io and of Prud hon but to
-
,

march bl indfold e d and know ing noth ing of t h e route trac e d

by th e s e two illustrious mast e rs He w ill n e v e r know it and .
,

that w ill b e h is pun ishm e nt It is not p e rm itte d to a man to

.

b e ungrate ful — e v e n to hims e lf

An d as to Prud hon t h e G e rman critic H e rr Billu n g t e lls
’
, , ,
’
us For a spac e of t im e Prud ho n was mast e r of h is whol e
h e art tha t is to sa y of his whole pa lette and Ve n e tian suns e ts or
, , , ,

D ie tionna ir e de p oc h e de s a r t is tes eon te m

p or a ins , 1 85 8 .
1 02 TH E B AR B I Z ON S C HO OL .

for a chan g e pal e ro m antic moonl ights w e r e t h e acc e ssorie s to

,

h is Ma gic ienn es h is D ela iss ees and h is sol itary d e spa irin g
’
-

m
, ,

G re tch e n figur e s t h e F olles A oureu s es p i n ing I n t h e r e c e ss e s of

,
”
t h e for e st so litud e s .

Anothe r and a gre at e r Ge rman critic D r Jul ius M e y e r

, ,
.
,

in h is philosoph ical and car e fully r e ason e d h istory trac e s back ,

all t h e p e cul iarities of D iaz to our E n gl ish B on ington It is .

d ifficult to do justic e to h is argum e nt in a short e xtract but ,

“
t h e l ink is importan t A gr e at e r influ e nc e than D ecamps
.
,

h e w rit e s “
was activ e on t h e colourist t e nd e ncy of t h e p e rio d
, ,

in R I C HA RD P A RK E S B O NI N G T O N (1 801 an E n gl ish
man but in h is care e r as an artis t and in h is influ e nc e b e long
, , ,

in g almost of e qu al right to t h e h istory of Fr e nch as of E ngl ish

art Train e d in t h e school of Gros and intimat e ly conn e ct e d
.
,

by frie ndship w ith D e lacro ix h e had b e e n o n e of t h e e arlie st of

,

t h e stud e nts O f t h e D utch and V e n e t ian mast e rs in t h e L ou vr e .

To a fi n e s e ns e of colour and a r e markabl e g ift of facility , ,

h e un it e d a thorough appr e c iation of t h e p ictur e squ e and a

s inc e r e fe e l ing for Natur e as w e ll in h e r man ife station by,

inc id e nts of human l if e as in t h e m e e dful l if e of L andscap e

,
.

Th e dazzl ing fac il ity of e x e cut ion t h e flash ing and ,

shimm e ring of costly t e xtil e s t h e gl e am ing and sparkl ing of ,

all sorts of Obj e cts th at catch and r e fl e ct t h e l ight unt il in t h e ,

rich colour—conc e rt of t h e costum e and acc e ssorie s t h e figur e s

are los t and forgott e n — w e r e p e rp e tuat e d aft e r h im by ,

— a n d EU GEN E
CA M I LLE R O Q U E PL A N (1 8 02 1 8 5 5 ) I S AB EY
(b . and t h e m e thod was pronounc e d c hic D r Me y e r . .

calls it ta sc hensp ieler is c h e B lendwerk (a conjuring trick) that

“
robs things of th e ir soul (da s den D ingen ihr e S eele a u s weidet)
”

* D ir e c t or of t h e B e r lin A c a de
17
my G e s c h ic h t e der
m
md o e rn e n

mp
Fr a n
z o s is c h e n Ma l e r e i se it Eu g l e ic h in ih r e
8 9, V e r h al t n is s zu o l it i

sc h e n L e b en , zu r G e s itt u n g u n d L it e r a t u r , L e ip zig , 1 8 6 7 .
 1 04 THE B AR B I ZO N S C HO O L .

On t h e whol e t h e Art work of D iaz S ho w s that in t h e

, ,

g lamour of h is mos t gorg e ous dr e am h e n e v e r lost h is grasp of

t h e truth in landscap e What e v e r h e pa int e d e ith e r wa s or
m
.
,

ight hav e b e e n He n e v e r ov e rst e p p e d that plain frontie r

.

t hat s e parat e s t h e po e t from t h e lunat ic a n d jus t in t h e sam e ,

way in t h e conduct of h is life h e was a po e t at large but

, , , ,

w h e n occas ion ros e a shr e wd man of t h e world and n e v e r in

h is l if e do w e h e ar of h imas
, ,
”
slothf u l in busin e ss or fa int ,

h e art e d or w e ak of w ill
,
He was h is moth e r s son
.
’
.

In t h e g e n e ral story of t h e B arb izon cong re ss h e figure s ,

t hroughout as a strong staff for h is w e ak e r bre thr e n M ill e t ,

a n d Rouss e a u to l e a n u on H
'

, p e was act .iv e as th e ir brok e r

in t h e co rr upt p icture mark e t of t h e p e riod and no doubt , , ,

c am e in l ik e a sunb e am on th e ir d ays of d e spond e nc e w ith h is

p e cul iar h,
e ar t y and g e n ial and (l ik e Daub
,
igny ) bois ter ou s

w ords and mann e rs .

His portrait is of o n e of thos e symm e trical h e ads wh ich t e ll

o f pow e r without strongly marke d f e at u re s or lin es of in
,

s is ta nee ; and of s e ns itiv e a n d e v e n pass ionat e p os s ib ilit ie s in f

r e s e rv e for t h e d e e p d
,
ark e y e s to e xpr e ss and above all t h e ,

fi rst ini p r e S S I O n I S that it is a kin d fac e It is e asy to b e l ie v e

.

h is frie nds that h e was a favourit e wh e r e v e r h e w e nt Th e .

M Wol ff in h is Cap ita le de l A r t a r e rath e r

’
a n e cdot e s of .
,

b e n tr ova ti than ver i but among th e m is o n e that t e lls us of h is

,

fi rst m e e ting w ith D iaz and how D iaz found in h is rooms a

,

l ittl e pan e l p icture r e pre s e nt ing a ch ild in it s cra dl e and a

m
, ,

oth e r s itting ov e r it and w e pt ov e r th is p icture and e n

, ,

t re at e d to hav e it back at any pric e e xplain in g that h e had ,

s old it und e r st r e ss of pov e rty a n d that it was a portra it of h is

o w n w if e and ch ild and t h e child w a s d e ad

,
.

Th e impuls ive frankn e ss of t h e d ispos ition of D iaz could not

h av e a b e tt e r illustration .
1 06 T HE B AR B I O N Z S CH OO L .

Th e Inte rn a tional E xhib ition of 1 8 5 5 was t h e culmination

’ “ ”
of D iaz s fam e wh e n (as M C la r e tie calls it ) h e e xplod e d
with half a doz e n p ictur e s of Ny m
, .

p h s st ill e st e e m e d to b e

m
,

among t h e b e st of h is works th e y w e re t h e D er nier es La r es

h colours of wh ich ho w v r w r e dull and pal e for D iaz ) L es
(t e e e e

m m m
, , , ,

Ny p hes La B iva le La Fin du n bea u J ou r , Ny p h e tou r en tée

’

m m m m
, ,

u r Ny nd d
’ ’
p a r l A o p h e,e or ie,
P r es en ts A ou r ,
all of th e m ,

it w ill b e obs e rve d variations of t h e o n e th e m e that haunte d

h imand having s e nt in h is p ictur e s h e s e t out t h e n e xt day
,

, , , ,

N O T for t h e E ast as som e b iograph e rs s a y b u t for Fontain e bl e au

, ,
.

“
H e rr Billiin g has gon e wrong at th is po int In he .

says D iaz r e solve d upon a voyag e to t h e E ast wh ich h e had

, ,

ofte n pa int e d but only kn e w from t h e p icture s of D ecamp s

,

and Ma r ilh a t Th e fa ilu r e of h is car e l e ssly paint e d S alon

pictur e of that y e ar m
.

a
y hav e contr ibut e d to th is sudd e n
d e c is ion He stay e d away n e arly two y e ars a n d p a int e d
.
, ,

soon aft e r his r e turn La Ma r e a u x Vip er es on e of h is fin e s t

, ,

a n d most fin ish e d works

”
.

This is all wrong He n e ve r w e nt to t h e E ast ; but in

.

1 8 5 6 bu ilt h ims e lf a stud io on t h e t Op of t h e Mont S t G e org e s

, .
,

at B arb izon and afte r tha t dat e as h e d iffe re d from h is

, ,

coll e agu e s in h is m a nag e m e nt of t h e sal e of h is p ictur e s t h e ,

r e maind e r of his b iography is comparativ e ly prosa ic He .

r e tire d to B russ e ls (as a man of s ixty who had lost a le g may , ,

b e p a r don e d for do ing ) du r ing t h e national d isast e rs of 1 8 7

.
0 .

Aft e r t h e war h e r e turn e d and gr e w rich and mad e a gr e at col ,

l e ction of curios itie s bought h ims e lf a hous e n e ar t h e s e a at

Etre tat and took up for a t im e t h e study of m
, ,

,
arin e subj e cts .

To t h e last y e a r of h is l if e h e is d e scrib e d as t h e ever you ng -

doyen of t h e paint e rs In 1 8 76 h e w e nt to M e nton e wh e re

.
,

h e d ie d on t h e 1 8t h of Nov e mb e r n ot of t h e b it e of a v ip e r , ,

but of a d is e as e of t h e lungs His w ife who had b e e n h is .

,
 mm . 1 07

d e vot e d nurs e through his last illn e ss brought t h e r e mains to

,

Paris wh e r e th e y w e r e int e rre d in t h e c e m e t e ry of Montmartr e

, ,

with much pomp and t e stimony of popular e st e e m M e isson ie r

.

and Jul e s Dupr e w e re among t h e pall b e ar e rs Many fun e ral

-
.

orations we re mad e aft e r t h e Fre nch custom at t h e grav e but

, , ,

Jul e s Dupre w e a r e tol d was s il e nt It was subs e qu e ntly

m
.
, , ,

and in a l e tte r that h e utt e re d h is c e l e brat e d ot that in t h e

, ,

d e ath of this gr e at paint e r ,

t h e sun lost on e of it s most
b e autiful rays
“ ” ’
D iaz says a writ e r in L A r tiste is t h e son of Giorgion e
, , ,

t h e cous in of C orr e ggio and t h e gra n dson of B occacc io

”
, .
1 10 A PP E ND I X .

D u Ca mp (M im) ax e , Le s B eau x -
’
Ar t s a l E x p o s it ion U niver s elle et a u x

S a lon s 1 8 63 6 7
”
-
( s,
Pa r i
L e s B e a u x Ar t s a l E x p os it ion U n ive r se ll e de 1 85 5
‘

S a l on s de 1 85 7 1 85 9, e t 1 8 61 (Pa r is
)
m
.
,

Du e s nil H
( e nr i
)
“
L e S a l on de 1 85 9 P
( a r is

fr a n ca is c on t e m
, ,

F ou r n e l “
L e s A r tiste s por a in s (T ou r s 1 883) ,

o ph il e ) , A b éc éda ir e du S a l on de 1 861
’
a in é , P
G a u t ie r (
T h e ( a r is ,

1 86 1 }
L e s B e a u x Ar t s en E u r o pe , 2 vol s .
(
P a r is ,
“
S a l on de 1 84 7 (
P a r is ,
’
L Ar t md o e rn e
(
Pa r is ,

L e s Pe in t r e s viva n t s ( Pa r is

mt mp
,

Ha e r on P G
( ) C on t e or a r y Fr e n c h Pa in t e r s L on don )
(
mg i
. . .

I a n a t ion in L a n dsc a p e Pa in t in g L
( o ndo n,

“
L a n dsc a p e (L on don
m
,

Pa in t in g in Fr a n c e a ft e r t h e de c lin e of C la ssic is
L nd
( o o n,

He n rie t ( F ) Pa y s a g is t e s a u x Ch a p s
,
m P
( a r is ,

H ou s s a ye (
A r s en e ) “
R e vu e du S a lo n de 1 84 4 (
P a r is ,

mth
,

erd n and d
”
L a s t e y r ie (
F i e) , C a u se r ie s A r t is t iqu e s . Rep r in tedfr o e

Pa ris
(
'

S iee le ,

L a Pe in t ur e a 1 E xp o s ition U nive r s e lle

’
(
P a r is ,

L e c le r c q, C a r a c t er e s de l E c ol e
’
fr a n c a is e md o e rn e de Pe in t u r e (
P a r is ,

l e s A r t is t e s
’
L Ar t et (
B ru x e ll e s ,

L e n or mt
an (Ch a r l e s ) ,
“
L e s Ar t is t e s c on t e mp o r a in s —S a lon s de 1 831 et

P a r is )
1 8 33 (
mt d S
.

Me en o u a l on de Pe in tu r e en 1 87
5 (
P a r is ,

Me mi l C t
or a a a l o g u e of t h e Fr e n c h dD u t c h L o a n C oll e c tion , E din
an

b ur g h I n t e r n a t ion a l E x h ibit ion , 1 886 Ed

. it e d b y W E He nl e y . .

d n bu r g h
(E i ,

M en a r d (
R én é ) E n t r e tie n s su r l a Pe in t u r e P
( a r is ,

Fr e n c h A r t is t s of th e pr e s e n t da y (L on don
m
,

Me y e r ( Ju liu s ) G e sc hi c h t e de r
, od ern en F r a nz o s isc h en M a l e r e i s e it

17 L e ip zig
”
89 (
m
,

M on t ifa u d (L de )
’
L Ar t odern e V ol 1 ( Pa r is
m
.
, , .
,

M on tr osier ( E u g en e ) “
L e s A r t is t e s od e rn e s
,
”
4 vol s , . P
( ar is , 1 881 ,
1 884 )
M iin t z (
E n g én e ) ,
“
L e s A r t is te s c él ebr e s Pa ris ,
( 1 885 ,
 AP P E ND I X . 111

M u s é e U n ive r s e l (
Le) par E L i e vr e , P B u r t y , R M en a r d &c &c
mp
. .
,
. . .
, ,

P e ll o qu e t , D ic t ion n a ir e de po c h e de s A r t is t e s c on t e o r a in s

la C r it iqu e F r a n c e de pu is 1 8 2 2 Pa r is
(
’
Pe t r o z (
P ierr e), L Art et en ,

Pl a n c h e G
( )
u s t a ve , E t u de s su r l
’
Ec ol e fr a n c a is e (1 831 vol . i .

P e in t u r e (
P a r is ,

Por t r a it s dA r tis t e s
’
P
( a r is ,

L A r t F r a n c a is 7 n U ni ve r
’

( ) a l E i i
’
r ou s t A
( n t on in ) , 1 89 - 1 889 x
p o s t o
”
s e ll e , 1 889 P
( a r is ,

Ro s en b e r g (
A dolf) , G e s c h ic h t e der md o e rn en Ku n s t L
( e ip z ig,
on d
“
R o s se t t i, on )
Fr e n c h A r t is t s (
L .

S ilve s t r e (
Th eo p h il e ) , H is t o ir e de s A r t is t e s viva n t s fr a n ca is et

ét r a n g er s P
( a r is , 1 85 6
)
L e s A r t is t e s fr a n c a is ,
” “
E t u de s da pr es N a
’

ture P
( a r is ,

A lfr e d) ,
S t e ve n s ( I mp r e s sion s s ur l a Pe in t u r e P
( a r is ,

S tr a h a n E )
( .
“
A r t T r e a s u r e s in A mi er c a (Phil a de lphi a ,

M o de r n F r e n c h A r t (N e w Yor k ,

S tr a n a h a n (C
“
A His t or y o f F r e n c h Pa in t in g L on don
(
m
.
,

Th o s on
“
Th e B a r b izon S c h ool of Pa in t in g (
L o n do n ,

Th eoph il e )
T h or e ( His t oir e de s Pe in tr e s P
( a r is ,

S a lon s de 1 84 4 —1 84 8, a ve c p é fa c e
r
p a r W . B u r g er
P
( a r is ,

S a l on s de W B u r g e r , 1 861 — 1 868, . a ve c u n e p r é fa c e
p a r T T h or e, 2 vol s ( Pa r is ,
mb l (Ch
. .

N “ ’
o t e s e t C a u s e r ie s s ur l A r t
Ti a a r le s ) ,

W olff C e n t C h e f s d CE u vr e S
’

(Pa r is ,
L e C a pit a le de l Ar t
’
P a r t ly . r ep r in t e d fr o mh t e a bove

(
P a r is ,

Th gh D i ti i
ou d C y l p di
c t i l d d i t h l i t whi h
on a r e s an t d c o ae as are n o nc u e n e s

m t h p i t t t h hi f f i f mt i
, c c a nn o o

an o n ou w it h p t t th P i t f B
e c e sou r c e s o n or a on res ec e

bi y t th f ll wi g p bl i t i m t b m t i d T h Cy l p di f P i t
or e o a n er s o ar

z on e e o o n u ca on s us e en on e e c o

dit d by J D C h m
, ae a o a n er s

an d P i ti g a n n pl i dC C P ki 4 v l (N w Y k
”
e e d a n an er n s, o s. e or

Cl m t d H t t
, . . . .
, an

th C t y
’ “
e en anA ti t f t h Ni t
u on s 22 vl (B t
r s s o e n e een en u r
”
o s o s on ,

m
, .

1 879) givi g p i ll y f l l li t f pi t
as n s( diec a th w u ) d th s o c u res an n so e c a se s e o n er s un er e

na m f th diff t ti t A ti l l
es o e er enth gh t th l di g F h
ar s s . r c es a so oc c u r r ou ou e ea n r en c

p i di l
er o h t h B ll ti d l A ll i
c a s , su c as d A t e (1 84 2 G u tt d e n e
’
an c e es r s a ze e es

B ea u xA t L A ti tr s,
”
L A t d m g t E gl i h p i di l t h
’
r s e,
”
P t f li ’
r ,
”
an a on s n s er o c a s, e
“
or o o,
”

th e M g i fA t
a dth
az ne o A t J l r
”
an e r ou r n a
”

imp ibl i t hi v l m t gi v mpl t li t ; f

, .

It i f t th
m imp t t f th i divid l bi g phi d ti i how v md i t h
s, o c ou r s e , os s e n s o u e o e a co e e s r e er en c e o e

or e or a n o e n ua o ra es an no c es s, e er , a e n e
Sp ec ia l B ib l iog r ap h ie s of th e va r iou s I a in t e r s .
1 12 A PP E N D I X .

II .
—S OME
P RI NC I PAL P RI V A T E C OLLE C T I ONS (PA S T
O F T HE

A ND P R E S E NT ) C O NT AI NI NG S P E C I ALLY FI N E E X AMP LE S ,

O F THE PAI NT E RS OF B ARB IZ O N .

F RA N C E
Mm M Th om
.

e A c c l o q e Pa is y Th i y Pa is
u r er r

ml
. .
, . .
,

D u c dAu
’
a e, Pa r is . M . T a ve r n ie r , Pa r is .

M B e llin o , Pa r is M V e ve r , Pa r is
mP mt D
. . . .

M B is c h o ffs h e i a r is M le C o e o r ia , O r r ou y
md mV
.
.
, . .

M C a s s in , Pa r is M ve R o e de r e r , H a vr e
‘

e e e eu

mV
. . . .

M C h a u c h a r d, Pa r is M e eu ve L e fevr e , R o u b a ix
m
. . .
.

M . Ch er a y , Pa r is . M . l e B a r on de B e u r n on vill e d
( is

M p e r s e d)
’

C oqu e lin a in e , Pa r is
mC
. . .

M e . o tt ie r , Pa r is . M D e fo e r
. d
(i s p e r se dI n

M V D e s f o s s es , Pa r is M A D r e y fu s
midt
. . . .
.

D r D ie u l a fo y , Pa r is M S G ol ds c h
m
. . . .

M J D oll f u s , Pa r is
. . . M . H a rt a nn

M D on a t is , Pa r is M L a u r e n t -R ic h a r d
'

m
. . .

M . F a u r e , Pa r is . M . O pp e nh e i
M . G e n t ie n , Pa r is . M . S a u ln ie r
M . H e c h t , Pa r is . M . S e c r et a n
M G L u t z , Pa r is M A S e n s ie r 7
1 87
m
. . .
. .

M e l a B a r on n e N d
. e R o th s c h il d, . M . J Wil s on
.

Pa r is .

BE LG U M
I .

M C r a bb e B r u s se l s
.
,
. M O tl e t B r u s s e l s
.
, .

T h e l a t e M va n Pr a e t s C oll e c t ion ,
’
M V a n de n E y n de B r u ss e l s
.
,
. .

B ru ssels .

G R EA T B RI T N AI

mil t
.

H on Mr Ju s tic e D a y
. .
,
L on don . Ha B r u c e , E s q E din bu r g h
on . .

J S t a a t s F or b e s E s q
.
,
. L on don . A . S a n de r s on , E s q , E din bu r g h . .

G e n e r a l H H o pkin s on .
,
L on don . J A n de r s on , E s q , j
. u n , Gl a s ow
g . . .

C I onide s , E s q L on don T Gl e n Ar t h u r , E s q , G l a s g o w
mCw
. . .
. .
.

S ir F L e ig h t on , B a r t , Ja es o an , E sq Gl a s g o w
mD
.
,
.
.
.

L on don .
Ja es G l a s g ow on a l d, E s q .
, .

A M u ir , E s q L on don A J Kir kp a t r ic k, E s q , Gl a s g o w
m
. . . . .
.

E J Po ol e , E s q , L o n don
. . . . T Gl a s S a n de a n , E s q , Gl a s g ow
. . .

A Yo u n g , E s q , B l a c kh e a t h D r J F or b e s Wh it e D u n de e
m mD m
.
. . . . .
,

A B ow a n , E s q , E din bu r g h
.
. . Ja es u n c an , E sq .
,
B en or e d
(is

p e r s e d)
1 14 A P P E N DI X .

Ma n t z (
Pa u l ) , J . F . Mill e t (
in
“
C a t a l og u e de s c r ip t ive de l E x p o sit ion ’

de s (E u vr e s de Mill e t ,
S ou ve n ir s de B a r biz on
”
Pi e da g n e l , “
(P a r is ,

S e n sie r , “
V ie e t (E u vr e de J F M ill e t ( Pa r is , . .

Je a n Fr a n c ois M ill e t , Pa in t e r a n d Pe a sa n t , t r a n sl a t e d by
He l e n a de K a y ( L on don ,
Yr ia r t e , J F M ille t Bibliot h equ e d Ar t M o de r n e
“ ’
. .
(
Pa r is ,
A r t a n dL e tt e r s , I , p t I ( O c t ob e r ,
”
. . .

A r t J ou r n a l , 1 88 1 , p 2 99 ( L on don )
”
. .

’
L Ar t ”
I 1 4 9 , p a r C Yr ia r t e ; I I , 69, 9 5 , 1 4 4 , 332 (
. Pa r is ) . . .

p 2 87 “
Mill e t
’ ”
L Ar t is t e n . s .
, V . Pt . I .
,
.
, c h ez lu i, p ar
Piéda g n e l (
Pa r is )
m
.

Ja n u a r y 30, 1 8 7
”
A t h e n ae u L on don )
5 (
mb
.
,

A t l a n t ic M on thl y 1 87
6 Se pt e ,
”
, er , W Wh e e lwrig h t
by E . . .

C e n t ur y
”
M a g a zin e , M a y , 1 889 ,
“
R e c oll e c t ion s of J F Mill e t . .
,
”
by
Wy a t t E a t on .

C or n hill ”
M a g a zin e , 1 882 ,
“
Th e E a r ly L ife of J F . . Mill e t ,
”
by W . E .

H(
e nl e y ) (
L o n do n
) , .

Ga z e tt e de s B e a u x Ar ts (
Pa r is ) , 1 86 1 , X I 2 62 , L e s E a u X F or t e s de .

Mill e t , p a r P B u r ty ; 1 8 7
”
3, n .s , V I I , 32 2 ,
.
“
C oll e c tion L a ur e n t . .

Ric h a r d, p a r R M en a r d; 1 8 7 5 , n s , X I 4 2 8, p a r E C h e s n e a u ;
m
. . . . .

1 88 1 , n s , XX I I I , 4 5 7
.
,
“
Ha r t a n n C oll , p a r A de L os t a l ot
. . .
'

1 88 7, n . s .
, XXXV I 5 , p a r An d
.
,
r e M ic h e l , &c , 85 0 . .

M a g a zin e of A r t ”
(
V o l s V I a n dV I I
.
) M ill e t s C ou n t r y
’
.
”
. L on don )
( .

V ol
( VI M ill e t as an Ar t C r itic ”

7 b y D C Th om
. . .

1 889 , pp 37
5 a n d 39 s on

mill
. .
, .

Mu s ée de s Fa es
”
A ou t (Pa r is) Mull e r ( E u g en e ) , ,
“
Au
Pa ys de M ill e t
”

m
.

Nin e t e en t h C e n t u r y , S e p t e b e r , 1 8 88 , by Mr s H A dy ( ”
L on don ) . . .

Z e it s c h r ift fiir bil de n de Ku n s t II , p 12 1 ( L e ip zig )

”
. . . .

IV —S OME
. OF T HE P RI NC I PAL PAI NT I NGS BY

A n g e lu s [ W il dS e c r eta n C oll s ] (
s on ane tc h e d) . .

r G oo s e - g ir l ) , M no r e J S a u ln ier , B or d
B a th e r (
'

o ea u x . . . .

B a th e r s , L ou vr e, Pa r is .

—
B ir d Kill e r s n ig h t sc e n e , M F Ge r a r a , P a r is
’ ’

m mEq
m
. . .

B u c kw h e a t Ha r ve s t [Ha r t a n n M a r t in B r i e r, s .
,
B os ton UZS .

C h ur c h a t Gr evil l e [ M ill e t S a l e ] , L ou vr e , Pa r is .

Ch u rn e r [ M or g a n C oll . Ne w Yor k] .

Th e mb e twe e n s qu a r e b r a c ke t s d
in ic a t e th e c oll e c t ion s t hr o gh whic h th e
mi
na es u

p ic tur e s h a ve p a sse d . Th e na es n it a lic are th e pr ese n t o wn e r s .

 A P P E ND I X . 1 15

C h u rn e r , M mA e ng e lo, Pa r is
mT
. .

C liff s of G r u c h y [L a u r e n t -Ric h a r d C OIL] , M A lfr e dM a r . e, ou r s .

W d
’

D e a th a n d th e o o d -c u t t e r
[ L a u r e n t -R i h a r
c Glyp toteque ,
Cop e n h ag e n
m
.

E dg e of H a l e t o f Gr u c h y , A Q u inc y S h a w , E s q ,
th e . . B os ton .

Th e M a n with t h e J a c k e t ) , M R ou a r t
E n d Of t h e D a y ( Pa r is
m
. .
,

E ve nin g —W o a n w a t e r in g a c ow [L a u r e n t -R ic h a r d
Ex p e c t a t ion ( L “ ’
A t ten te
in g Pou l t r y
Fe e d M r s J G Fe ll, Ph ila de lp h ia
m mil y m
. . .
,
.

’
F is h e r an s Fa Co t D e or ia , Pa r is
m
.
,

F ish e r an s
’
Wife Heer H W M es dag Th e H ag u e
m mth
. . .
, ,

G a t h e r in g B e a n s ( Mill e t ) [ M r g a n C oll
] J East
'

th e w o an is s o er o

m
.
,

an Ch a s e , E s q , Ne w Yor k . .

G e e s e , W A s tor , E s q , Ne w Yor k
m
. . .

G ir l w it h a n e w -b or n l a b , A Q u inc y S h a w, E s q , B os ton , U S A
m m m
. . . . .

G le a n e r s [ S a l on , M e Po ni ery , R h e i s E ve n t u a ll y t o b e g ive n
'

. .

t o t h e L ou vr e .

G oo s e - g ir l , Co ll o f t h e la te 7
11 Va n P r a e t, B r u s se ls
) [Ha r t m
. 1 .

Gr a ft e r etc h ed a n n C oll W R oc kefe ller , E s q Ne w Yor k

’

(1 85 5 ) (
m
. . . .

H a le t of C ou s in M Ta ver n ie r Pa r is , .
, .

Ha r ve s t [M Pe r r e a u Pa r is ]
m
m
. .
,

H a r ve s t e r s [ S a l on M a r t in B r i er Esq B os ton
m m
.
, .
, ,

H a y s t a c ks T h e M e H a r t a nn Pa r is
m
. .
, , ,

Ha y -t r u ss e r s T h e (1 85 0) ( etc h e d) M Th o y Th i er y , Pa r is
m
. .
, ,

I n t e r ior (u n fin is h e d , M u s e u f F ine A r ts B os ton , U S

) o ,
.

L o ve t h e C o n qu e r or , J S F or bes , E s q , L on don . . . .

L ove t h e C on qu e r or , IV 0 Q u ilte r , E s q , M P , L ondon . . . .

M an w ith t h e Ho e (
et c h e d a s L a b ou r
”
) [ S a l on , M Va n den .

E y n de , B r u s s e ls .

Ma t e rn a l Pr e c a u tion P r inc e D u tz , .

M a t e r n it y M ess r s Oba c h cf L on don

m
. .
,

Milk -c a r r ie r M A lp h on s e D u a s Pa r is
, .
,
.

M ilk - Ja r J 0 R u nkle E s q , Ne w Yor k

m
, . .
,
. .

M o s e s , Ch e r bou rg M u s e u
m
.

M o t h e r A , M a r s e illes M u se u
m C ll R t m
, .

M o th e r w it h Ch ildin Cr a dl e F op - S it o o te r da
m
.
, ,
.
,

Mou th fu l Th e (, e t c h e d M u se u
) a t L il le ,
.

Na ia d, M r s B i Ph il d lp h i
or e, a e a

m
. .

O ffe r in g t o P M p lli M
an, on t e er u s eu

t h df m
.

(E dip u s D e ac th T [
e S l 1 8 4 7 F ro e ree a on , ,
au re C oll . M F Ot le t,
. .

B r u s s e ls .
I 16 A PP E ND I X .

P e a s a n t s g oin g t o W or k ( M an
a an da W oman
) ,
1 8 5 0, J a mD es ona l d, E s q , .

G la sg ow .

Ph oe b u s an dB or e a s , M Henr i Rou a r t, Pa r is. .

Pig Kill e r s (1 86769) [Pa r is E x hibition -

,
M H ec h t , Pa r is
. .

Po t a t o p l a n t e r s (
- E t c h e d) A Q u inc y
1 860) ( S h a w, Es q B os ton , U S A
m
. . .
,
. .
,

H a r ve s t W Wa lter s E s q , B a l ti or e
'

P ot a t o T .
,
. .

P u blic O ve n , I n Ne w Yor k .

R e t ur n of th e L a b ou r e r M rs B or ie , Ph ila de lp h ia
m
. .
,

R e t u r n t o t h e F a r , M J D ollfu s , Pa r is . . .

R e ve r ie ( ir l s e a t e d a t f o o t O f a r o c k w it h s u n lig h t pl a y in g u p on h er
g
t h r ou g h t h e br a n c h e s o ve r h e a d) . A . You ng , E s q .
,
B la c kh ea t h .

S e a , T h e , M L eg r a nd, Pa r is
. .

S e w in g L e s s on , L e itn e r , E s q Wa s h ing ton

mW
.
,
.

S h e e pf ol d a t Nig h t , M e . . H oop e r , Pa r is .

S h e e pfol d b y M oon lig h t a r is E x hi b it ion s , 1 86 7a n d M

[ P . B e llin a ,
P a r is
m
.

S h e e p fol d, T . W Wa lte r s
.
,
Esq .
,
B a lt i or e .

S h e e p - s h e a r in g
S h e ph e r d (
Re t u r n of t h e Fl o c k) , H C Gibs on, E s q
. . .
, Ph ila de lp h ia .

S h e ph e r de s s , Con s ta n tin e I on ides , E s q , L on don . .

S h e ph e r de s s ( etc h e d) , C oll of th e la te M V a n P r a e t, B r u s se ls
. . .

S h e ph e r de s s (st a n d in g a g a in s t a t r e e kn it t in g , fl o c k in th e dis t a n c e ) ,
A You ng , E s q , B la c kh ea th
m
. . .

S h e ph e r de ss (se a t e d) , M u s e u of F ine A r ts , B os ton , (L S .

S h e ph e r de s s , W
Roc kefe lle r , E s q , Ne w Yor k
. . .

S ow e r e t c h e d by M M a r is ) , M r s
( W H Va nde r bilt, Ne w Yor k
(l st pic tu r e s m
. . . . .

S ow e r ( )
1 85 0 a ll e r
) A Q u in c y S h a w E s q , .
, .
, B os ton, U S A . . .

S p in n e r [M or g a n C OIL ] J F S u tt on E s q N ew Yor k , . .
, , .

S pin n e r [Pa r is E x h ibit ion Coq u e lin a in e Pa r is

’

S pr in g [ Ha r t m
, ,
.

a n n C OIL
] L ou vr e Pa r is , , .

M D esfos s es Pa r is
’

S u n r is e o ve r th e S e a ,
m th
.
, .

u pr ig h t pic t u r e , M B lu
T h r e e G le a n e r s ( ) I . en al .

T o bia s , G J S en ey , Ne w Yor k
. . .

T u r ke y s , C A . . D a n a , E s q , N ew Yor k .
.

T wil ig h t ( p a Sh e h e r de ss kn itt in g ) , M da Toie t, B r u s s e l s

'

t w o w om
. .

V ig il , Th e ( s e w in g a t n ig h t u r e n t -R ic h a r d C OIL
en
) [ L a
]
W a sh e r w om
.

an J C R u n kle E s q Ne w Yor k
W a sh e r w o m m
. .
,
.
, , .

an
[L a u r e n t R ic h a r d a n d D e fo er -
M Th o y Th iery ,
.

Pa r is
mid
.

W a ter C a r r ie r e tc h e d
( as Th e Mil k a
”
by L . L ec ou t e u x ) ,
M .

Gu g ot in, Pa r is .
 118 A P P E ND I X .

E T C HI N Gs— c on t in u ed .

16 . L a C a r de u s e . 19 . L a G r a n de B e r g er e .

17 L a G a r de u s e d O ie s
’
2 0 Le D ép a r t p o ur l e T r a va il
m
mf mg
. . .
.

18 . L a Fe e a is a n t an e r s on 2 1 . L a Fil e u s e .

E n fa n t
—L T H O G
.

11 . I RA P HS .

22 O D don c e s t -il ? Por t r a it de Ch a t e a u br ia n d

m m
. .

23 . Le Se e ur .
( t i en on e d by Pié da g n e l )
2 4 . O livie r de S e rr e s .

iii —H E L I O GR AP HS
mmvid
. .

L a Pr é c a u t ion M a t e r n e ll e . 26 . Fe e an t u n Seau .

iv
mtt
.

Pa y s a n a s sis a u pie dd u n ’
A r br e Ma r oL e Pa y s a n a s
e,

fe mme
.

T et e de c o ifi
’
ée du n e
’
s is , and va r iou s o t h e r
Ma r mt t o e s ke t c h es
mmvid
. .

Pe t ite B e r g er e a s s is e . 32 . Fe e ant u n Se a u .

B éc h e u r au T r a va il . 33 . L a B e r g er e .

C r oqu is ( on th e r e ve r se s i e d Of 34 B éc h e u r au R e p os (
engr a ve dby
mmvi d t S )
.

L a Fe e an un ea u Pie r r e M ill e t )
d f m
m iffé d
.

’
T et e e e e c o e une

VI .
-
E T C HI NGS AF T E R P I C T URE S A ND D RAWI NGS
B Y M I LLE T .

Th e E ng lis h t it les , by w h ic h th ey a r e os t g ener a lly known in t h is m

c ou n t r y , a r e g iven

Th e A n g e lu s C W a l tn e r
sm
. .

( a ll pl a t e )

(
s iz e o f o r i in a l
g 2 1 b y 2 5)
m
,

a ll p l a t e
(
s )
a sm
( a ll p l a t e )

fi
( r s t ide a for t h e pic t u r e — a
mll s a u p r ig h t pl a t e ) A P M a r t ia l
mb md
. . .

N e w -b orn L a F B r a c qu e
. on .

Of t h e se W o odc u t s th e fi t f w by Mil l t dt h t h
rs e are e an e ree l a stby h i b t h I s ro er s . n

1 852 M ill e t d e s ig n e d ten t yp f p t wh i h w

es o g ea sa n s, c er e e n ra vd e w d by A d i
on oo r en

L a vie ill e in 1 85 5 L es Q .
“
u a t re He u r e s da Jou r w er e als o en g v d wo d by
ra e on o

d
A rien L a vie il l e I n 1 860 .
 AP P E ND I X . 1 19

Yo u n g S h e ph e r de s s E t c h e db y F B r a c qu e
. md on .

S p r in g t M e

L a b ou r L
’
Ho mm a l e a H ou e
Th e Kni t tin g L e s s on
F e t c h in g W a t er
m
m
3,

At th e W e ll B Da. an .

S pin nin g .

T h e S h e ph e r de s s
T h e Gl e a n e r s
Th e M o u t h fu l (
Le B e c qu ée ) G R odr ig u e z
. .

T h e S pinn e r L L e c ou t e ux
m dy Mil kmid
. .

A N or an a

H a y -T r u s se r s
T h e G oa t h e r de s s C L Kr a tke
r om mb
. . .

C h ur n in g f
( p a s t e l in L ux e ou r g Ga l
ler y )
Th e S p in n e r
Th e G l e a n e r s (smll pl
a a te )
C h u r n in g F or n e t .

G e e se
Th e S ow e r p r ig h t fr o m e p ic t
(
u t h ur e
)
fr oma p a st e l)
,

O bl o n g
( ,

Th e S pin n e r
Th e S h e ph e r d
Ok
a,

Th e R e t ur n Of t h e Fl
s
c

Th e S h e ph e r de s s
F ir s t S t e p s (
L e s Pr e mi er s Pa s )
S pr in g
T h e Ch u r c h at Gr evill e F Ga u le t
. .

G oin g t o W or k G B e l in -D ol e t
. .

Th e G r a f t e r V . F o c ill on .

Th e S t e w -p o t (
Po t -a u -fe u ) L L e sig n e
. .

T h e S p inn e r
W oma n fe e din g Chi c ke n

Th e Po t a t o -Pl a n t e r s
T u r ke y s
Wood S aw y er s
-

G e e se r e pr o d
( u c tion in c ol ou r by t h e ph ot og r a vu r e pr oc e s s ) .
 12 0 A P P E ND I X .

B e s ide s t h e s e , va r iou s s mlla e r e tc hin g s , lit h o g r a ph s , an dph ot og r a vu r e s

h a ve a pp e a r e d in va r io u s p e r io dic a l s , s a l e c a t a l og u e s , a n d o t h e r p u blic a
” ’
L e G a z e t t e de s B
’ ”
t ion s , in c lu din g “
eau x - Ar t s , L Ar t L Ar t is te ,
C e n t Ch e f s d (E u vr e ,
-
’ ”
L e G a l e r ie D u r a n d-Ru e l , Le Mu s ée Uni
ve r s e l , ” “
L es A r t is t e s M o de r n e s ”
an d th e Ha r t m ann, L a u r en t
m
,

Ric h a r d, S a u ln ie r , D e fo e r , S e c r et a n , D r e y fu s , F a u r e , O ppe nh e i , a n d
o th e r s a l e c a t a l o g u e s Me s sr s B r a u n . C O , O f D or n a c h a n d Pa r is ,
. .

p u blish a ve r y fin e c oll e c t ion O f a bou t 1 80 ph o to g r a ph s , a ft e r pic tu r e s ,

pa s t e l s , an ddr a w in g s b y M ill e t , an d M G e or g e s Pe t it
. pu bli sh e s a se r ie s

of 50 .

V IL— P I C T U RE S BY M I LLE T S O LD I N PARI S IN MAY ,

1 875,
AF T E R HI S DE AT H .

P r ic e s

Lit t l e S h e ph e r de s s se a t e d

Mo th e r w it h h e r C h ildr e n
Hou s e in t h e Ha l e t Of G r u c h y m
midl i g g i
D a ir y a ean n a a n st a Tr e e
Wo m y i g P il
a n c a rr n

mm
a s

Wo ilki g
an C w n a o

S h e e p -sh e a r e r s
W o od c u t t e r s
-

Th e E n d O f t h e D a y
Th e Pig -kill e r s
You n g S h e ph e r de s s s it t in g on a Ro c k
F ishin g B oa t
Pe a sa n t F a mily
Gu s t Of Win d
You n g M o t h e r n ur s in
g h e r C h il d
Th e E ve n in g
Ch u r c h at G r evill e
D on ke y in a M a r sh .

Hu n t by T or c hlig h t
Sh e ph e r dr e t u r n in g w it h hi s F oc k l .

T h e S e a —V ie w of t h e Pa s t u r a g e of Gr evill e
N or m dy Mil kmid
an a at Gr evill e

The a bov li t giv

e s es th e p r ic d b y t h p i ip
es r e a l is e a l of M il l e t ’
pic t
t im f hi d t h
e r nc s u r es
h
w ic h we r e in his p oss e s sion a t th e e o s ea .
12 2 A P P E ND I X .

Fa r mi n th eW o o d (1 864 ) [ S a u l nie r an d S e c r et a n
Far mi n B err y [D a g n a n C oll .
,
M Vite r bo
.

F or e s t S c e n e , C P H u n ting don , E s q
. . .
, Ne w Yor k .

F or e s t S kir t s of t h e M on t s Gir a r d
md
.

G l a de , T h e , III H en r i L a lle an

m V v Ki
. .

G l a de , Th e , M e eu e ne n , Pa r is
m t [S l
. .

G or g e s Of A pr e on a on , 1 8 5 9 ; Pa r is E x hi it ion , b Mrs W H . .

Va nder bilt , Ne w Yor k .

G r ou p F on t a in e bl e a u , M E
’
Of O a k s in t h e F or e s t of A n dr e, Pa r is
m m
. . .

H a l e t in Nor a n dy A [ Wil s on a n d S e c r ét a n ,

H e r d O f C a tt l e in t h e J u r a
H ill o c k, J e a n de Pa r is (1 84 8 ; c on t a in s a p o r t r a it of th e a r tis t s
’
w if e )

[ L a u r e n t - Ric h a r d f r
, D e oe
d S e c r et a n an

H o a r -F r os t , Th e [L a u r e n t -R ic h a r d C OIL] , T lV Wa lter s , E s q , B a lti ore . . . m .

Hu n t , Th e , A r th u r S a n der s on , E s q , E din bu rg h . .

I n t h e W o ods ( u pr ig h t ) , Co ll of t h e la te M Va n P r a et , B r u ss e ls
m
. . .

I n t h e F or e s t O f C l a ir b ois , F on t a in e bl e a u , J a es D on a ld, E s q , G la sg ow
m
. .

I n t e r ior o f a Kit c h e n , L il le M u s e u .

I n t e r ior O f t h e F o r e s t [ E r w in -D a vis C oll , N e w Yor k] . .

L a n ds c a p e a n d F or e s t , W R oc kefe lle r , E s q , Ne w Yor k

. . .

L a n ds c a p e in B e r r y [ D r e y f u s C O IL ]
mm
.

L a n ds c a p e in S u e r [ H Pr ob a s c o C oll , C in c in n a t i]

m
. . .

L it tl e F is h e r an [ D e f o e r C OIL
]
m
.

M a r sh n e a r a Pa p e r - ill n e a r Tiffa u g e , in L a V e n dee

M or a s s in t h e L a n de s (1 84 9) [H a r t a n n C O IL] L ou vr e m , .

M o r a s s in t h e L a n de s [ L a u r e n t - R ic h a r d C oll , M Ur ba , Pa r is . . .

M or n in g [L a u r e n t R ic h a r d C OIL ] M r s W H Va nde r b ilt, Ne w Yor k

-
,
. . . .

M or n in g B a r on dc Roth s c h ild, Pa r is
m
.
,

Old R e s tin g pl a c e for C a tt l e a t B a s -B r ea u [Ha r t a nn C OIL ] L ou v

-
re , .

Pla in , T h e ( effe c t O f e ve n in g ) Coll of th e la te M Va n P r a et, B ru sse ls

, . . .

Pl a in O f B a r biz on , Mr s J C Fe ll , Ph ila de lp h ia
m
. . . . .

Pl a in in t h e Py r e n e e s [ H a r t a n n C O IL] .

Po n d, A [ N a r isc h k in e C O IL
] .

P ool in t h e L a n de s , A ( 1 866) [Pa r is E x hibit ion , M Veve r , Pa r is

. .

Po ol , T h e
Po ol in t h e F or e s t Of F on t a in e bl e a u , rlI ontp e ll ier M u s e u m
m
.

Pu blic O ve n in t h e L a n de s [ H art ann C OIL ] .

R e s t in g -pl a c e for C a t t le , F or e s t o f F o n t a in e bl e a u [L a ur e n t Ric h a r dC OIL]

-

S pr in g -t i m [S e a u l n ie r a n d S e c r et a n
S pri n g at B a r biz on (1 85 1 ) [ L a u r e n t -Ric h a r d C OIL
] .

S pr in g on t h e L oir e
 A PP E ND I X . 12 3

S to n e O a k , T h e
S tormL d p L v an sc a e, ou re

S t mA C
.

or i I id on s ta n t n e on es , E sq L on don
m h y pl i w ith
. .
, , ,

S t (
u n se ars a n, c a ttl e an d p ool s Of w a ter) , A . You ng , E s q .
,

B l kh h ac ea t

St m
.

S t ft
u n se [L a t er or a u r en - R ic h a r d C OIL ] .

S u n se t [ Al b e r t S p e n c e r C oll Ne w Yo r k]
md
.
.
,

H
'

u pr i h t pic tu r e “
Su n set ( g ; e t c h e db y B r a c qu e on as E ve n in g [ art

m
a nn C OIL]

m
.

T wilig h t , M e Ve u ve K ine n . .

T w ili g h t [ Mor g a n C OIL] , M r s H . Og de n

. .

Va ll e y of t h e Tiffa u g e [ S e c r et a n C OIL] , in New Yor k

m
.

V ie w Of t h e C h a in of M on t B l a n c in a S t or .

Vie w o f F o r e st l a n da t S u n se t L ou vr e .

V ie w M e u don (
at Bas 1 833) [ S a u l ni e r C OIL]
m
.

V illa g e u n de r t h e Tr e e s , M F B is c h ofi s h e i , Pa r is
m
. . .

1 864 ) [ H a r t a n n C oll ]
V ill a g e , T h e ( .

W a sh in g Pl a c e a t t h e E dg e o f a Pon d
W a t e r c ou r se a t S ol og n e [ L a u r e n t Ric h a r d C OIL] -

W a t e r M e a dow s Na n tes Zlfu seu m

.

.
,

W o o de dL a n ds c a pe [E r w in D a vis C oll N e w Yo r k] -

W o ods in W in t e r [H a r t m
,
. .

a n n C OIL] .

X — . O RI G I NA L E TC HI NGS BY R O U S S EA U .

U n e V u e da B e r ry
U n e V u e du Pl a t e a u de B e ll e - Cr o ix
L a C h én e de Ro c h e
Ce r is ie r de pl a n t e F Or e t de F o n t a in e bl e a u ) H e liog r ap h ie
'

La la a B r ia n ( .

sur ve r r e .

L a Pl a in e de l a pl a n t e re t de F on t a in e bl e a u H e liog r ap h ie
'

a B r ia n (
F G ) .

*
s ur ve r r e .

X L— E T C HI NGS AF T E R P A I NT I N G S RO US S A
BY E U .

E ve n in g E t c h e d by F B r a c q ue md on

m
. .

T h e F ish e r a n C . Kr a t ke .

T h e Pon d— E a r ly M or n in g
it
B es i es t d h es e m ti d
en on e a nu mb er O f s mll a ppe e d in
er e tc hi g
n s, &c .
, h a ve a ar

va r iou s p e r io dic als , g

s al e c ata lo u e s, a n d t h e p bl i ti o (f l i t f w hi h
r u ee ca on s or a s o c s

n ot e u n der th e Li t s O f E t hi g
c n s a ft p i t e by
er c A b o t 1 30 p h t g p h
ur s u o o ra s

a ft er p g k
a in tin s, s e tc h es , dd
an ra wi g h ve b ee
n p b li he d by M M B
s a C ie n u s . ra u n

M . G e or g Pe tit h
es a s a so l i d
s su e a s e ie
r f p h t g p h s f p i t i g s by Rou s s e
s o o o ra O a n n au .
 12 4 A P P E ND I X .

Th e S w a mp E t c h e db y C Kr a tké . .

Th e E a g le s Ne s t’
T Ch a u ve l
. .

S u n se t , F or e s t of F on t a in e bl e a u (
Th e
L ou vr e ) G M Gr e u x
. . .

DIA Z .

X I I — B IB L I O GRAP HY
. .

C la r é t ie(J D ia z ( Pe i “
n tr e s et S c u l p t e u r s C on te mp o r a in e s ,
”
I . P t 1 0)
.

Pa r is )
(
mp
.

M on tr o sie r (
E u g en e ) D ia z ( Ga l e r ie C on te ,
“
o r a in e ,
”
Pt s 1 2 6 t o 1 2 8)
.

(Pa r is ) .

G a z e t t e de s B e a u x - Ar t s X V .
,
2 9 0, p a r R . B a ll u (Pa r is ) .

’ ”
L Ar t III .
, 2 04 , p a r J u l e s C l a r é t ie ; VI II .
,
4 9, p a r
J e a n R ou sse a u ( s)
Pa r i
m
.

M a g a z in e Of A rt ”
pp 1 8 1 , 2 31 , b y D C Th o s on (
. L o n don ) . . .

Z e it s c hr if t fiir bil de n de K X I V , 97 H
”
u n st , ,
D ia z , von B ill
. un g .

L
( e ip zi
g) .

X III —S OM E
. O F THE P RI NC I P AL PAI NT I NGS BY D I AZ .

A fte r t h e R a in [ L a ur e n t -Ric h a r d C O IL
] .

a u r e n t -R ic h a r d C OIL
B a t h e r s , Th e [ L ] .

B a th e r s , T h e , M r s . W H . . Va n de r b il t N e w Yo r k , .

B a t h e r , Th e , C A I on ides , E s q L ondon
m m
. .
,
. .

B a t h e r t or e n t e db y C u pids G r e nob le M u seu .

B lin d M a n
’
s B u ff, 1 85 2 [ Al b e rt S p en c e r C OIL] M r s , . W H . . Va nde r b il t ,
Ne w Yor k
m
.

B oh e i an G ir l s , W A s tor , E s q , N e w Yor k
. . .

B or de r s Of th e F or e s t , M H A Ch a u c h a r d, Pa r is
. . . .

B r a c e l e t , Th e , M A lbe r t P i c a r d, Pa r is
. .

C a t tl e Pa ddoc k (
L e Pa r c au x b oe u f s) M B ou c h er on, Pa r is
. .

Ch a se , Th e , D a n ie l Cot t ie r , E s q
m
.

C h il dr e n w a n de r in g in a W o o d, L a Roc h e lle M u s e u .

C l o se of a H a pp y D a y [Pa r is E x h ibit ion

md T m
,

C u pidD is a r e , . lV . Wa lter s ,
E sq . B a lt i or e .

C u pids
'

W h is p e r 1 86 2 M r s lV H Va nde r b ilt , Ne w Yor k

m
, , . . . .

D e s c e n t of t h e B oh e la r g e p ic t u r e ) [ S a l o n ,
ia n s ( M rs S . . D . Wa r ren ,

B os ton , U S . .

i“
S ee a l so th e g e n er a l l is t B i lio b g a phy r o f th e P a in t e r s O f B a r bi zon .
12 6 A P P END I X .

Riva l , Th e
R o a dt h r ou g h t h e W oods M Ge n tien Pa r is
my it m
. .
, ,

S rn o e s, Th e 1 8 7
( ) [1 J W il s on C OIL
] M S tu p h
S t mTh l im
, . .

or e T W Wa lte r s E sq Ba t or e

S t mTh
. .
,
. .
,

or , e [ L a u r e n t -R ic h a r d C oll . Pa r is E xh ibit ion , M D on a t is ,

.

Pa r is
mHm
.

S u n s e t— Au t u n il B E q E di b g h
a ton ruc e, s n ur

M F B i h fi h im
,
. .
,

S u n s e t [Pa ris E h ibit i

x on , sc o e

Fi h m ( t m
. . .

S u n se t — Th e s y ky g i t w h i h
er an a s or s , a a ns c a tr e e r ise s ) ,

AYou ng , E s q , B la c kh ea th
. . .

Th r e e L itt l e G ir l s [D r e yf u s C OIL] .

T oil e t of V e n u s [ M o r g a n C OIL] H C G ibs on, E s q Ph ila de lp h ia ,

. . . .

U n de r t h e F olia g e [J Wil s on C OIL ] M Hen ry B a r bey , . .

V e n u s a n dA doni s ( 1 84 5 ) [ S e c r et a n C OIL] .

V ie w in t h e Py r e n e e s , L ou vr e .

V en u s d C u pid ( 1 85 7
an
) [ S e c r et a n C OIL ] M H A Ch a u c h a r d, Pa r is . . . . .

V e n u s a n d C u p id, M Gen t ien , Pa r is . .

W o o ds Of F on t a in e bl e a u , M Gen t ien, Pa r is . .

W o o de d He a th n e a r F on t a in e bl e a u [F a u r e a n dL a u r e n t -Ric h a r d

X I V — LI T HOG RA P HS B Y D I Az . .

La Mo r t de Pe u r — L a V e u ve — B e a u t é— I p os tu r e — L e s F o u s a m m ou r e u x

L e s F olle s a m ou r e u se s .

A lso a s e t Of fo u r S h e e t s w ith s e ve r a l su bje c t s on eac h .

XV .
—E T C HI NG S A ND E NGRAV I NG S AF T E R PAI NT I NGS
BY

T h e S t or m E t c h e db y T . C h a u ve l .

G a la t e a E n g r a ve d b y J J a c qu e t
ft er D ia z w e r e m
mll E t h i e by a n a r t is t n a m
. .

A s e r ie s O f s a ad c ngs a e dCh a r l e s .

t
i
A um b of e tc hi g l it h g p h s & c h ve ppe d i diffe e t p blic tio
n n s, a ar e

m
er o ra , .
, a n r n u a ns.

M e ti n f on
e f t h e e will b e f
O so d t t h e f t f t h e Li t f E t h i g fte
O s ou n a oo o s O c n s a r

Pic t e s by Mille t
ur M Ge o ge s P e tit h p bl i h e d e ie s of p h t og a p h s of
.
”
. r
'
as u s a s r o r

p i ti gs by D iaz
a n n .

C o pie s O f mt os of th e e tc h in g s in t h e for e g oin g lis t s my ba e s ee n a t

Me ssr s C h a c h . CO .
,
2 0, C oc ks pu r S tr e e t , L on don , S W .
 I ND E X .

TO MILLET .

PA G
m
E

A b ou t , E d on d 24 L a n g l ois
A ng e lus du S oir 37
, 4 0
L e r oy , L ou is
L es s ive us e
B a ig neu s es 2 8 L on don E x h ibit io n ,
B e ll y 2 8

Jlf a n w in n owing Cor n

Cle r g e t
C ou r b e t , M M a r oll e , L o ui s A l e x a n dr e
M a r t in , Hu g u e s
.

Cu e illeu s e des Ha r ic ots ,

M e n Ca r r y ing H o e a Ca lf m
D ea th a nd th e Woodc u t te r dr op p e din th e F ie lds
D e la r oc h e Mill e t , Ch a r l e s
D ia z M ill e t , J e a n F r a n o is
c
m
D u ou c h e l , B on hy
1 8 1 B o r n a t Gr u c
g
4 h
b , Oc t o e r

Ch b g
1 832 , W e n t t o e r ou r
E ven ing h f h
1 835 , D e a t o f h is a t e r
1 837 , Se

m
n t t o P ai is

F e u a r de n t , M .
1 840 Exh b d i it efi fo r r s t t i e
i n t h e S a l on
y Ch b g
S ta a t e r ou r
G e or g e , Mr . d P
1 84 1 , M a r r ie a u lin e V ir
G lea n e r s g in ie O n o

m
G r a n d ot h e r , M ill e t s
’

h
d P
1 84 2 , R e t u r n e t o a r is
f
1 84 4 , D e a t of h is wi e
Gr e a t A u n t , M ill e t s
’
-
d C h
1 84 5 , Ma r r ie
m
a t e r in e L e
Gu ic h a r d, J o s e ph a ir e
dP
R e vis it e a r is

H a g a r a ndI s h a e l m V d is it e H a vr e
d
m
H a y a ker s
1 84 8, A S o l ie r
1 11
. o

m
H a y a ke r s Re s t ing dP
1 84 9, R e vis it e a r is

He n r y , Ai mé e He nri e t t e 1 87 d h
5 , His e a t

A del a ide Mill e t Je a n L ou is Nic ol a s

m
,

M ilk a id, Th e
Ja c qu e M, Ch a r l e s
. M ois s onne u r s
J e ws a t B a by lon M or n ing
12 8 I ND EX .

P AGE

N ig h t 36 Rollin , L e dr u
Noon 36 Ro u s se a u , Th eodor e
Ru th a ndB oa z
(E dip u s
G dip u s de ta c h ed mh
fr o t e
S h ep h er d lea ding h is F loc k
Ho m e

S owe r , Th e
Pa r e a u x M ou tons
P ea s a n t Gr afting
P ea s a n t G r aft ing a Tr ee
m
Te p ta t ion f S t J er o
o . m e

Pe rr on , He n r y du
T ou r n e u x ,
M E u gen e
.

Pie da g n e l , M .

Pl a qu e c on t a in in g p or tr a it s 7
70l lle e
, L“
o f M ill e t a n dRou s se a u 46
P ota to Ha r ves t 34 W olff M A lbe rt
Wom
, .

c a rding Wool
Wom
an

Reap e rs 34 a n c h u r n ing

R e tu r n fr o m
Wor k 34 Woma n s h e a r in
g a S h eep
R iding L ess on, Th e 19 m
Wo a n tending a Cow

T O RO USSEAU .

A venu e of Ch es tnu ts 62 D ilig e nc e a s c ending th e M ou n

t a in Roa d 58
B a r on 67 D u pr e, J ul e s 5 6, 62 , 69, 83
.

B a ry e 63
B l a n c , Ch a r l e s 70 m
Fe r e , L a 7
2
, 8 0, 8 1
B on h e u r , Ros a 67 Fl e r s 67
F or es t S kir t of t h e M on ts
C a ba t 67 G u a r d Th e 71
C a ill e u x , M de 67 Cm
F or é t de o p ieg n e 56
mm m m
.

Ch a p a r t 67 F o r t e ll e , C o t e de l a 57
C h e n a va r t 63 F ou r Co m
m u n a l, L e 72 80
m
,

Coa s t of Gr a nville 54 Fr o e n t in 83
C or ot 83
Co te s de Gr a niille 72 Ge ne r a l View of th e Ch a in o f
C ou de r 67 lll on t B la n e 80
G e or g e s S a n d, M a da e m 62 66
m
.
,

D e c a ps 63 Gr oup of Oa ks in th e Gorg es f
m
o

D e dr e u x 67 A p r e on t, A
D e l a c r oix 62 , 6 3 Gu din
m
D e i do ff , C ou n t Pa u l 83
D es c e n te des Vac h es 60, 6 1 Ja di n
D e ve r ia , E u g en e 67 J e a n r on , M
D ia z 67 , 70
’

Je tee du n E ta ng ,
’
La
1 30 I ND EX .

PA GE PA G E
T h or e 47 Vie w o f th e Ch a in f M on t
m
o
T r oy o n 67 B la n e in a S tor
Villa g e, Th e
V e r n e t , H or a c e
View of F or e s t L a nd a t Su n e t
s 68

T O D IAZ .

99 1 84 8, Cm pp t d f p i f
o e e or r ze or
fig f R p bli
Cm
1 00 ure o e u c 1 05
o p d w it h M ill t
are e 1 05
B ou ght b k l y k t h ac ear s e c es 1 05
B a t t le of M edin a E xh bit i i f 1 85 5 on o 1 06
m Ap y ph l j
.

’
B oh e ien s , L e s
oc r y t th
a ou r n e o e
E t as 1 06
B on in g t on Vi it t F t inbl
s o on a e eau 1 06
B la n c , C 1 85 6 B il t t d
, u t B bi n s u io a ar zo 1 06
ti d t B
.

187 0 , re lre o ru s se s . 1 06
R t
e u rn e dt F o ra nc e 1 06
C a ba t S t t l d t Et t t
e e a re a 1 06
C or r e g g i o , ffe c t of
1 876 Vi it t M t s o e n on e 1 06
e ,
Di d t M t
e 1 8t h
a e n on e ,

mt
1 06
M on t
Cm y
D e la c r oix F u n era l at ar re
e t er 1 07
D ia z de l a Pe tia , Na r c is so e

0 D ia z de l a Pe fi a , Th o m as 87
, 88
h
B ir t 87 D u pr e
by m h
T a ke n y h is ot e r t o P a r is
91
mh
89
h
D e a t o f h is ot er 89
dp
A o t ion by P M a ir a . 89
’
F in d u n B e a u J ou r , L a
L os s o f a l e g 90
A pp d
r e n t ic e pt o a r in t e r 91
A p p r e n t ic e da t p or c e l a in w or ks 91 G a r den o f Love
d h
F o n n e s s fo r t h e t e a t r e 91
P p
hp h
h
u il o f S o n c o n
F r ie n ds i w it S ig l on 92 ,
91
93
H ou s s a y e , D ia z co mp are d
y
S a l e o f e a r l w or k s 92 wit h
m , 94
B e c o e s a c o l o u r is t 92 Hu g o ’
s O r ie n t a l e s
g h
G r o win w e a l t 94
1 835 , His fi xh b d
rst e i it e p ic
t i u e 94 I s a b e y , E u g en e
f th nd
.

S t di u es o e u e 95
W k a h ff
or s f c au e r s on ou r
”
95
bi L e da
t dm
1 836 A t B , ar z on 96
G i ti f R e on or o u ss au 96
B h m
rea a ra
97
C it i i mb y Th e
’

L es i o e en s
r c s or . 98
M a g ic ienn e L a ,

Pi t c p h d by M
u re urc a se eI S M a r e a u x Vip er es , L a
s on ie r 99
S a l on
Exhib it i f 1 855
of 1 84 7 99
m
Ny p h e en dor ee m '

1 06
m
on o 1 00
d by P d h ’
N y p h es , L es
Cm
I fl 1 01 1 06
m m
on

m
n u en c e ru
op d t B i gt are o on n on 1 02 Ny p h e tou r en teep a r L A
’
ou r 1 06
P i t d wit h l ft h d
t bl pigm t
a n e e an 1 03
U dse u ns a e en s 1 03 ’
P t it f Wif d hil d
or r a o e an c 1 04 Or ien ta le , L
 I ND EX . 1 31

Pa ir a , M R ou s s e a u
m
.

Pe llo qu e t , c r it ic is s o f
m
Pl a n c h é , c r it ic is s b y S a g es se , L a
’
P r esen ts d A - ou rm S ig a l o n .

S o u c h on
R a ffe t
R es u r r ec tion a t th e Ce m e te r y , by
Th or é , fa vou r a ble c r it ic is m
s
by 97- 1 00
M oon lig h t T h or e s O pin i on of D ia z 98
R iva le , L a ,
R oqu e p l a n W olff 1 04

P R I NT E D B Y J . S . V I RT UE A N D C O L I M I T E D O C I TY R O A D , L O ND O N .
 ii I LLUS TRAT ED B I OGRA P HI E S OF T HE GR A E T AR I S T TS .

W il l ia mM u l r e a dy Me mi or a ls of C oll e c t e d b y F G S T H N
EP E S

mt h Lif
, . . . .

I llu s t r a t e wit Re d h p odu c t ion

r s of d
S t u ie s fro e e, and h
S ke tc e s in t h e S ou t h
K e n s in t on M u se u g m—T h e Mu lr e a dy E nvelo p e —C u ts in t h e V ic a r o f W a ke fi e l d T h e —
S onn e t —C h oos in g th e We ddin g Gown , &c .
[ I n p r ep a r a tio n .

G eor g e C r u ik s h an k, H is L ife a nd W or ks . I n c l u din g a Me mi o r by

P
F G S T E HE NS , a d n an E y s sa on t h e Ge n iu s o f Ge or e r u ik s a n k g C h by W M T R A C KE R AY
of E t c in s in D ib din s S o n s — i
. . . .

Il l t t e d wit h Re p ro d h g g Lf hn F f
’
u c t ion s e of S ir J o a lsta f

mv
u s ra
—Olive Twi t &c r s , . an dt we n t y W oo dE g n ra vin g f s ro a r iou s w o r ks .
[ I n p r ep a r a tio n .

T L PA I NTERS A ND SCU LPT OR SI A I AN .

G io t t o B y HAR R Y Q U I LT E R M A Fr om Re c e n t I n ve s tig a t ion s a t Pa du a

i th T m
. .
, .
,

Fl dA i i I ll t t d wit h E gr vi g f t h P t ti pl e
b m t fC h i t—Ob di
or e n e , a n
c

Th E t m
ss s u s ra e a s o r esen a

li f n t h C m
n n e on n e e
—B
.

e n o nd th F en o r s p il e en c e , a o er r e s c oe s a s -r e e s o e a an e,

Fl e— n d C l
or e n c d Pl t f t h M d
a t A i i
a o ou r e a e o e a on n a a ss s .

Fra An g e l ic o a n d th e E a r l y P a in t e r s of F l or e n c e . By C . M PH I L L I
.

MORE I ll u s t r a t e d wit h E n gr a vin g s o ft h e Re s u s c it a t ion of th e K in g ’

sS on , by M a s a c c io
—T h A d t i f t h g — C
.

e or a on o e K in g bys, Fra A n e l ic o T h e or o n a tion of t h e Vi gi by r n,

F il ipp L ippi—Th C o e or on a t ion of th e Vi gin by B t t i

r , o c e lli- a n d t hi t th
r e en o er

P i ti g
a n n s .

Fra B a r t ol o mm eo, Alb e rt in e l l i, a nd A n dr e a de l S a r t o B y L E AD E R

d wit h t h E t h m t f t h Vi gi —S t M k—S l v t M di
. .

S C OT T I llu s tr a t e e r on e e r ar a or

by F B t l m m —T h V i gi dS i t by Alb ti lli—Th M d d l S c
. n en o n . a un ,

ra ar o o eo e r n an a n s, er ne e a onn a e a co

by D l S t — dt e t h P in tin g
e ar o an n o er a s .

G h ib e r t i a n d D o n a t e l l o By LE AD E R S C O TT I llu s t r a t e d w it h E n g r a v . .

i g f th M b l P l p it f Pi —T h B G t f th B p t i t y t Fl by
f p g ) —T h S t G g f D t ll — dt t h x m
n s o e ar e u o sano e ron ze a e o e a s er a or e n c e ,

Ghibe ti ( r ou r a es pl f S l pt e
e . e or eo on a e o an en o er e a es o cu ur .

P i 2 6d
r ce 3. .

D ella R o b b ia , C e l l in i , an d oth er c eleb r a ted S c u lp t or s of th e

f
Fi t ee n t h an d S ixt e e n t h C e n t u r ie s By L E AD E R S C OT T W it h I l lu s t r a t io n s of th e
bbi —P
. .

g
S in e r s a n do t e r B a s -B e l ie h f by L d e ll a Ro e r s eu s , by C e l lin i — M er c u r y by
m y th
s, uca a ,

Giova n n i da B ol og n a — a n d an o er S ta t u es . P r ic e 2 3 . 6d .

Mantegna a nd
By J IA C A R W RI G H
Fran I l l u s tr a t e d w it h
c ia UL T T
m
.

in gs o f o d o vic o Gon z a g o a n d h is S on —P a r t of t h e Tr iu p h s o f ae s a r —T h e
.

En gr a v L C
M a d on n a d e l l a it t o ria by M a n t e g n V
a —T h e ir g in a n d S a in t s — T h e D e p o s it ion V
A Pie t a by F r a n c ia —a n de igh t o t h e r Pa in t in g s
,

.
,

L e o n a r do da V in c i . B y D R J PA I ll u s tr a t e d w ith E n g r a v
. . UL RI C H T E R.

in s g of the L a s t S u pp e r —T h e ir gin a n d S t A n n e —M on a is a — T h e
V ie r ge a u x L V
B a t tl e o f A n ghia r i— He a d o f hr is t—a n d n in e o t h e r Pa in tin gs a n d
.

R oc h e r s —Th e C
D r a win g s .

M ic h e l a n g e l o Bu on a r r ot i By C H AR L ES C L EME NT I ll u s t r a t e d w ith
E g vin g f mt h F dgm
. .

n ra f th L s ro e r e s c oe s o e a stJu ent — The ro et I s a ia — Th e P ph h

C ti f M —Pi S l di b t h i g i an n t h e A r n o —a n d o f t h e S t a t u e s o f M os e s

f B g —Th T m
rea on o s an o ers a n

Th M d e ab fL on n a o ru es e o s o r
o e n zo a n d Gi u lia n o de M e ic i- a
n dt e n o t e r d h
W k P i t in g dS l pt
or s In a n an cu ur e .
 I LLU S TRA T ED B I O GRA P HI ES O F T HE GR A E T AR I S T TS . iii

Rap h a el B y N D AN V E R S
’
I ll u s t ra ted w ith E n g ra vin gs of L O S p o s a liz io
— g —S t C
. . .

—L a B e l le J a r din ier e T h e S c h o ol o f Ath —M d ens a on n a di F ol i no . ec ilia

Ma d on n a e ll ad e n a —M a on n a T d d d el l a S di B t tl
e fC a -
a e o on s t a n tin e —T h e Tr a n s fi g u r a
tio n — a n df ou r t e e n o t h P er a in t in g s .

T i t ia n By R F HE AT H M A I ll u s tr a te d w ith E n g r a vin g s of L a B e lla

—Th e Tr ib u t e M on e y —T h e A s s u m
. . . .
, .

di Ti i z ano p t ion Of t h e Vir gin —T h e P e s a r o

- A l ta r
p ie c e —S t P e te r M a r tyr —Titia n s D a u ght e r —a n de ight o t h er Pa in tin g s
.
’
.

T in t o r e t t o By W R OS TL ER Fr o mI n ve s t ig a t io n s a t V e n ic e I ll u s t r a t e d
—T h e E n t o m
b me n t
. . . . .

withE g n ra vin g s o f t h e M ir a c l e S l a ve —T h e M a r r ia
Of t h e g e at C a na
—Th C e r u c ifi x io n —T h e B e tr o t a l o f S t h a t e r in e , & c . C h .

C o r r e g g io B y M C O MP O T N HE AT O N I l lu s tr a t e d w ith E n g r a vin g s of L a
va n g el is t —
. . .

Not t e —I l Gior n o —M a r r ia e o f S t g . C a t h e r in e —S t J o hn t h e T h e M a d on n a
. E
a t D r e s e n a n dfi v d
e ot e r a in t in h P g s. P r ic e 2 3. 6d .

S PA NI S H PA I NT E RS .

V ela s qu e z . By E S . T OWE, MA . . I l l u s t r a t e d w ith E n g r a vin g s of I s a be l of

S p a in —Th e D u ke o f Olivarez —T h e W a t e r - C a r r ie r —T h e Tope r s —Th e S u r r e n de r o f B r e d a

—T h e M a ids ofHon ou r —Vie w of th e Vill a Me dic i—a n de igh t o t h e r P a in tin g s

M u r il l o . By E LL N E E . M I NO R A M e oir de r ive d f r o
. m
r e c e n t W o r ks m .

I llu s t r a t e d wit h igh t E g vi g a ft e r t h e M a s te r s c e l e b r a te d Pa in t in g s in c l u d in g t h e

’

mm
e n ra n s

L ou vr e —T h e Pr o diga l S on , a t S t a ffo r d Hou s e —Th e

,

I ac u a e l t C p ti i t h onc e on , n e

H ol y F a mily (wit h th d ll ) t M d id —A P e sco e a , a a r or t ra it o f t h e Ar t is t — an d ot h er wor k s .

P r ic e 2 3. 6d .

G E RM AN P AI NT E RS .

A lb rec ht D u rer . I ll u s tr a te d w ith E n g r a vin g s o f

‘

By R F . . H EA T H M A ,
. .

t h e C o n ve r s ion o f S t Eu s ta c e —T h e Tr in it y —T h e Gr e a t W h it e Ho r s e —Th e K n ight

.

D e a t h a n dt h e D e vil —S S J o h n a n d P e t e r — S S P a u l a n dM a r k— C h r is t t a kin g le a ve o f
,

, . .

His M ot h e r —a n dt we l ve ot h e r P a in t in gs , E n gr a vin gs a n dW o od c u t s ,
.

L it t l e M a sters of Ger m an y By W B S CO TT A l t dor fe r , Ha n s S e b a l d

h mB mA ld g m
. . . .

Be a a r te l Be h a e re ve r Pe n c z , P in k , an d B r o sa er Il l u s t r a t e d w it h
Em h m
,

—T h
, , .

E g vi g
n ra n of th e p Ch a rle s V by B a rtel Be M a do n n a of t h e

m
s e r or .
, a e

C t M
r e s c en oo n , by Ald g ve r —S op h onis b a , by P e n ez —a n d s e ve r a l x pl e s of D e c or a
mt
e re e a

tive Or n a en , &c .

H a n s H olb U N D ALL I ll s tr a t e d w ith E n g a vin g s o f

e in B y J O SEP H C u r
—A hbi h p W h m — Th F mil y f S i Th m M —H b t
. .

th e M y M d
e er a on n a rc s o ar a e a o r o as or e

y VI I I — d Ex m
1 u er

M or e tt —H pl
e nr f t h W d t i th P i f F lly—Th an a es o e oo cu s n e r a se o o e
f D t h —T h B bl C t &
.

D an c e o ea e i e u s, c .

O ve r b ec k By J B E AV I N G T N O A TK N N I SO Co mp i i g
r s n h is E a r l y Ye a r s
mt m
. . .

in L iib e c k, S t u ie s a t ie n n a d V d S e t tle at Ro I ll u s tr a t e d wit h E n g r a vin gs

bm t —Th
m
an en e.
—T h E
.

ofCh r is t Bl e s s in gL
it t l e il Ch d —C hr is t B e arin g th e C nt o

m
ily wit h t h L m
re n r os s e en e
H ly F o a b & e a ,
c .
 iv I LLU S T RAT E D B I O GR A P HI E S O F T HE GR A E T A R IS T TS .

F LEMI S H A ND D U T C H PAI NTERS .

Re mb r a n dt J W M O LL E TT B A I llu st ra t e d w ith E n g r a vin g s o f

By
t m t f m
.
. .
, . .

th e L A y Th D th C —S ki —T h Night W t h
-

T —Eph imB
e ss on on na o e esc en ro e r os s as a e a c

Bur g mt o a s er S i —T h Th
x — d th
e l b t d P i t in g
ree re e s ra on u s an o er c e e ra e a n s

an d E t hi g c n s .

Ru b ens By C W K E TT M A I ll u s tr a t e dw it h E n g r a vin g s fr omRu b e n s

m C
. . .
. .
,

b
a n dI sa e l l a B r a n d t —T h e D e s c e n t fr o t h e r o s s R u e n s T w o S o n s —He n r i I V a n d
— b
’

M a r ie de M é dic is — T h e h at e a u de S t e e n — T h e ha p e a u de P oil —a n d t e n o t he r
.

C C
P a in tin g s.

V a n Dy c k a nd Hals By P R HE AD B A I ll u s t r a t e dw it h E n g r a vin g s
mo —C ha r l e s I m
.
.
,
. . .

oft h e S y n ic d M e e r s t r a t e n — c c e Ho E a n d t h e M a r qu is o f H a il t on
m
.

He n r ie t t a M a r ia , wit h P r in c e s Ch a rle s an d Ja es , &c b y V a n D y c k ; a n d H a ls a n d

.
,

Li b t h R
s e e yn e rS — T h e B a n qu e t of A r qu e b u s ie r s —A C av a l ie r & c , y Hal s , . b .

F ig u re P a in t e r s of H ol l a n d . B y L O RD R O N A L D G O W E R F S A I llu s , . . .

t ra t e dw it hE g n ravin g s of P a tern a l A dvic e , by T b h —Th H hb k F iddl b y

er or c e u nc ac

m —D i g D g by S t —V g t bl
er,

Ad r ia n va n O s t a de —I n n S ta l e , b y b W ou w e r anc n een
—D u t c h F a m
an o , e e a e

M a r ke t ,
by M e t zu il y , by V er M e e r &c , .

FR ENC H PAI NT E RS .

W a tteau By J W M O LL E TT B A I llu s t r a t e d w ith E n g r a vin g s of F é t e s

f mt h L
. . .
.
, .

Ga l a n t e s , P or t r a it s , S t u ie s d ro e ife , P a s t or a l S u bje c t s , a n d D e s ig n s for Or n a

mt P i
en . r ce 2 3. 6d .

C l a u de le L o r r a in By 0 J D EA U LL
I llu s t r a t e dw it h E n g ra vin g s o f
I t a l ia n Ha r b ou r a t S u n s e t — mV
. . . .

d—A
C r o s s in t h e F o r g n A S e a p o r t —Th e C a p o a c c in o
and an m y h f mh i
ot e r s ro s c el e b rat e d Lib er V e r it a t is .

V ernet a n d D e la roc h e B y J RH U T Z RE E S I llu s t r a t e d w ith E n g r a vin g s

m
p e t e r s Hor s e —T h e D e a t h o f Pon ia t ows ki— T h e B a t t le of Fon t e n oy, a n d
. . .

o f t h e Tr u
’

fi ve ot h e r s by Ve r n e t ; a n d Ric h e l ie u w it h C in qu e M a r s a n d D e Th o u —D e a t h o f t h e
Gu is e —C ha r l e s C m —
,

D u e de I an d w llroS l di e
’
s o ers a nd a lar g E g
e n ra vin g of th e
m
.

He ic yc l e of th e P a l a is de s B e a u x A t by D l h
- r s, e a roc e .

M e is s o n ie r By J W M O L L E TT , B A I llu s tr a t e dw ith E n g r a vin g s fr o m

mi h S mk
. . . . .

the Ch ess Pl y a ers L a Ri x e The Ha l t — T h e R e a de r —T h e F l e s o er —a n d

e xmpla es of M M e is s on ie r
.
’
s B o ok I l l u s t ra tion s . P r ic e 2 3 . 6d .

P a in t e r s of B a r b iz o n , I M il l e t , R ou sseau a nd D ia z By J
h E g vi g f mT h Gl
.
, . .

W M OL LE T T
.
, B A . . I llu s t r a t e w it d n ra n s ro e e a n e rs , Th e S inn e r , Th e p
An g e lu s , &c by M il l e t — Th e F l oo d Th P l i t h F t e oo n e or e s o f F on t a in e l e a u , b by
—F
,

b y D i — dby P t
. ,

R ou ss e a u or e s t S c e ne a n dt h e Ba th ers, az an or r a it s of t h e A r t is t s .

P a in t e r s of B a r b iz o n , II C o r o t , D a u b ig ny a nd D u pre By J
m m
.
, . .

W M O LLE TT B A I ll u s t ra t e wit d h E g r a vin g f S t or dhill Th t he S a n

m
n s ro a on

f t h Nym
.
, . . s, e
Po d t V f th S t ille dA vr a y , T h e B a n ks
’
and th e D ph by
C t — S p i g Tim L d p T h Flo k
n a o e re a a nc e o e s,

big y— d Th e S t tin g
,

or o r n e, a an sc a e, e c of Ge e s e , by D au n an e

S Th e P l
u n, dT h P t by D p e oo ,
an e un ,
u r .