than national. To an impartial critic this statement will show in an even more curious light the excommunication jealously issued by the academic painters against French artists, who, far from revolting in an absurd spirit of parti-pris against the genius of their race, are perhaps more sincerely attached to it than their persecutors. Why should a group of men deliberately choose to paint mad, illogical, bad pictures, and reap a harvest of public derision, poverty and sterility? It would be uncritical to believe merely in a general mystification which makes its authors the worst sufferers. Simple common sense will find in these men a conviction, a sincerity, a sustained effort, and this alone should, in the name of the sacred solidarity of those who by various means try to express their love of the beautiful, suppress the annoying accusations hurled too light-heartedly against Manet and his friends.

I shall define later on the ideas of the Impressionists on technique, composition and style in painting. Meanwhile it will be necessary to indicate their principal precursors.

Their movement may be styled thus: a reaction against the Greco-Latin spirit and the scholastic organisation of painting after the second Renaissance and the Italo-French school of Fontainebleau, by the century of Louis XIV., the school of Rome, and the consular and imperial taste. In this sense Impressionism is a protest analogous to that of Romanticism, exclaiming, to quote the old verse: "Qui nous délivrera des Grecs et des Romains?"1 From this point of view Impressionism has also great affinities with the ideas of the English Pre-Raphaelites, who stepped across the second and even the first Renaissance back to the Primitives.

This reaction is superimposed by another: the reaction of Impressionism, not only against classic subjects, but against the black painting of the degenerate Romanticists. And these two reactions are counterbalanced by a return to the French ideal, to the realistic and characteristic tradition which commences with Jean Foucquet and Clouet, and is continued by Chardin, Claude Lorrain, Poussin, Watteau, La Tour, Fragonard, and the admirable engravers of the eighteenth century down to the final triumph of the allegorical taste of the Roman revolution. Here can be found a whole chain of truly national artists who have either been misjudged, like Chardin, or considered as "small masters" and excluded from the first rank for the benefit of the pompous Allegorists descended from the Italian school.

Impressionism being beyond all a technical reaction, its predecessors should first be looked for from this material point of view. Watteau is the most striking of all. L'Embarquement pour Cythère is, in its technique, an Impressionist canvas. It embodies the most significant of all the principles exposed by Claude Monet: the division of tones by juxtaposed touches of colour which, at a certain distance, produce upon the eye of the beholder the effect of the actual colouring of the things painted, with a variety, a freshness and a delicacy of analysis unobtainable by a single tone prepared and mixed upon the palette.

Claude Lorrain, and after him Carle Vernet, are claimed by the Impressionists as precursors from the point of view of decorative landscape arrangement, and particularly of the predominance of light in which all objects are bathed. Ruysdael and Poussin are, in their eyes, for the same reasons precursors, especially Ruysdael, who observed so frankly the blue colouring of the horizon and the influence of blue upon the landscape. It is known that Turner worshipped Claude for the very same reasons. The Impressionists in their turn, consider Turner as one of their masters; they have the greatest admiration for this mighty genius, this sumptuous visionary. They have it equally for Bonington, whose technique is inspired by the same observations as their own. They find, finally, in Delacroix the frequent and very apparent application of their ideas. Notably in the famous Entry of the Crusaders into Constantinople, the fair woman kneeling in the foreground is painted in accordance with the principles of the division of tones: the nude back is furrowed with blue, green and yellow touches, the juxtaposition of which produces, at a certain distance, an admirable flesh-tone.

And now I must speak at some length of a painter who, together with the luminous and sparkling landscapist Félix Ziem, was the most direct initiator of Impressionist technique. Monticelli is one of those singular men of genius who are not connected with any school, and whose work is an inexhaustible source of applications. He lived at Marseilles, where he was born, made a short appearance at the Salons, and then returned to his native town, where he died poor, ignored, paralysed and mad. In order to live he sold his small pictures at the cafés, where they fetched ten or twenty francs at the most. To-day they sell for considerable prices, although the government has not yet acquired any work by Monticelli for the public galleries. The mysterious power alone of these paintings secures him a fame which is, alas! posthumous. Many Monticellis have been sold by dealers as Diaz's; now they are more eagerly looked for than Diaz, and collectors have made fortunes with these small canvases bought formerly, to use a colloquial expression which is here only too literally true, "for a piece of bread."

Monticelli painted landscapes, romantic scenes, "fêtes galantes" in the spirit of Watteau, and still-life pictures: one could not imagine a more inspired sense of colour than shown by these works which seem to be painted with crushed jewels, with powerful harmony, and beyond all with an unheard-of delicacy in the perception of fine shades. There are tones which nobody had ever invented yet, a richness, a profusion, a subtlety which almost vie with the resources of music. The fairyland atmosphere of these works surrounds a very firm design of charming style, but, to use the words of the artist himself, "in these canvases the objects are the decoration, the touches are the scales, and the light is the tenor." Monticelli has created for himself an entirely personal technique which can only be compared with that of Turner; he painted with a brush so full, fat and rich, that some of the details are often truly modelled in relief, in a substance as precious as enamels, jewels, ceramics—a substance which is a delight in itself. Every picture by Monticelli provokes astonishment; constructed upon one colour as upon a musical theme, it rises to intensities which one would have thought impossible. His pictures are magnificent bouquets, bursts of joy and colour, where nothing is ever crude, and where everything is ruled by a supreme sense of harmony.

Claude Lorrain, Watteau, Turner and Monticelli constitute really the descent of a landscapist like Claude Monet. In all matters concerning technique, they form the direct chain of Impressionism. As regards design, subject, realism, the study of modern life, the conception of beauty and the