difficult to place chronologically any given subject, for while we may arbitrarily classify a picture as belonging to one period or another, his Italian Comedy scenes, belonging to the first period, persisted to the end.

With the exception of his boyish endeavours, inspired by Teniers before he visited Paris, his first manner was almost entirely decorative, and included paintings on screens, coach panels, and furniture. The military pictures belong to a short period dating from his success in selling them to Sirois and their approval by the Academy. They are few in number—thirteen only were engraved.

The year 1712 was the beginning of his recognition and the end of poverty. Between this date and 1716 he produced his marvellous nudes. Of all Watteau's pictures the nudes seem undoubtedly to have been painted from Nature and not from drawings. They are too true to life, too well observed. All his other pictures, even the greatest of his Pastorals, have the air of being imagined. His drawings were his documents, and these, like the nudes, were of course made direct from Nature. The fantasy of his pictures is founded on fact, but it is fantasy which sees only what it wishes to see—the rhythmic line, the rainbow colour, the happy melancholy.

The year 1716 was big with significance to Watteau; he awoke in his own land—dream-land of his Pastorals. Then he began to live, and there were before him but five short years of life. He never again left this land of fantasy—except when, on his return from London, he painted "Gersaint's Sign," that model of modishness and grace, painted in eight mornings, representing Gersaint's shop where élégantes buy masterpieces from shop-keepers as elegant as themselves. This picture, which is now in the possession of the German Emperor, has for some mysterious reason been divided into two portions.

In 1717, as I have related, he finished after a long delay his pièce de reception for the Academy, the famous first study for the "Embarkment for Cythera." What can be said of this picture, or of the more finished replica at Potsdam, that has not already been said a score of times? It is referred to and described in the Prologue to this book as one of his significant pictures. It moves in a rhythm of life, of love, of colour; rose reds, golden yellows, faint purples, greys of every gamut, meeting and melting—one perfect whole, and over all is a lingering regret of "I know not what." This picture was painted in seven days, and elaborated, but hardly improved, in the Potsdam version.

Turn from this consummate work to his early "La Vraie Gaieté," inspired by Teniers, which in essence is the same picture as "The Ball under a Colonnade" at Dulwich, and even the "Amusements Champêtres" and the "Champs Elysées" at Hertford House. The clothes are changed, the handling has become lighter and more accomplished—that is all. The observer, that saturnine, detached, cynical figure, who appears in so many of Watteau's pictures, is already present in "La Vraie Gaieté." 'This solitary figure is, as I have already said, the symbol of Watteau himself, ever aloof, ever contemptuous, even when sharing in the scenic world of Watteau, where life, if not really true, is certainly not false. His people are lotus-eaters, who are come to a land where it is always afternoon, where "the charmed sunset lingered low adown in the red west ... and many a winding vale and meadow, set with slender galingale." A mild melancholy possesses the inhabitants of this dream-world, for they are happy and yet a little sad, musing on what can never be. Through this dream-world "L'Indifférent" trips lightly, typical of Watteau, rainbow-hued, mercurial, his indifference assumed, not troubling to conceal the sad thoughtfulness that lurks in his expression. We do not believe in his snapping fingers and his jaunty air. What colour are his beautiful garments? Rosy white, greeny white, lavendar white with rose red knots, and rose red mantle lined with bluebell blue, white frills falling over the sensitive hands, his butterfly decorations rustling as he passes—"L'Indifférent." The technique of the picture, in its modern chromatic use of colour, is marvellous. The hues of the rainbow meander through it all. Who can describe Watteau's colour or his fashion of trickling on the paint, as fascinating in its way as the method of Frans Hals, whose seduction is "the way he paints," not what he paints? Hals, the great master of character, frank, open, plebeian, is akin in technique to Watteau. What æsthetic joy these masters of technique give us as we study the manipulation of their paint. Hals flicks on his ruffles frankly, joyously—brutally. Watteau, seemingly just for joy in the colour, trickles—there is no other word for it—one luscious colour over another, like liquid jewels embedded in gold. One may stand for hours at Hertford House in front of any of his pictures and quite forget the subject in delight of the workmanship.

Consider "The Music Lesson." In colour it is rose and white. The man's garments are neither rose, nor white, nor yellow, and yet they are all three. The rose of the woman's rosette repeats the carmines of her complexion. The composition is charming. The movement, pose, and costume of the players is the same as the musicians in the "Musical Party," also at Hertford House. Delightful too in "Gilles and His Family." Gilles is dressed in thin, white, supple satin, lined with rose and striped with faint blue, and his white mantle is lined with blue. The dark bias of the guitar binds the group of people together, all of whom it touches or crosses. A seated woman nurses a little black and white dog, while a child nestles up to her, peeping beneath the guitar; the faces are more alert and smiling than usual, and the picture, although less pearly than "The Music Lesson," is not less beautiful in colour.

"Jupiter and Antiope" at the Louvre suggests Titian and Rubens filtered through Watteau. This nude studied from life, not painted from his drawings, is more laboured than his other pictures, but the loss of spontaneity in the colour is compensated by the truth and beauty of the abandon of the beautiful limbs in repose. Brown Jupiter, blonde Venus—no attenuation of the truth here—lights loaded, browns rich, with pearly reflections on the fair skin.

The attribution of the delightful "Pastoral" at the Louvre, although generally accepted, has been questioned. The elegant little lady shepherdess is in rose red, a red that seems to belong only to Velazquez and to Watteau; she sits watching, not the flock of one sheep and one wondering dog, no! she is listening to the Arcadian shepherd playing his flute. Very Watteau-like is the landscape.

Turn from these little works to the larger pictures, such as "The Return from the Chase," painted for his patron M. de Julienne towards the end of his life—a marvel of rhythmic line and tone; and to "Les Amusements Champêtres"—a bouquet of colour like no other colour, old rose, old blue, silvery yellow, prune purple, all partaking one of the other. In the distance people are sitting and standing and dancing in colours unrivalled.

So we may pass through the whole range of his production finding constantly some new surprise of colour, some new mastery in the weaving of his webs. Call Watteau, if you like, a painter of the frivolous side of life, but you must also call him one of the few originals whose pictures vivify because they stimulate, and because they excite interest in his method which marked a new epoch in art. "We consider Watteau," says his countryman, M. Camille Mauclair, "the most original