latter's adroitness in seizing upon the one salient and emotional detail in a composition. Like that historian-painter of the Death of the Duc de Guise, Gérôme excelled in always giving a dramatic stage setting to the persons and the events which he knew how to conjure up with such learned and scrupulous care.

In spite of his versatility, and notwithstanding that many a vast canvas has demonstrated his ingenious and resourceful talent, he takes his place beside Meissonier because of the extreme importance that he attached to accuracy and precise effects.

PIERRE LAFITTE & CIE, PARIS

PLATE II.—RECEPTION OF THE SIAMESE AMBASSADORS

(In the Museum at Versailles)

This picture possesses a curious interest because it shows in what a picturesque manner Gérôme could execute a painting officially ordered. He received the commission in 1865, through the Imperial Household. He has rendered with much felicity all the pompous and highly coloured aspect of the scene, very effective in the sumptuous setting of the Salle des Fêtes at Fontainebleau.

Although it is some years since he passed away, Gérôme has left behind him living memories among his friends and pupils, many of whom have in their turn become masters. Both as man and as artist he was and still continues to be profoundly regretted, independently of all divergences of opinion, method, and temperament.

A master of oriental lore, a curious and subtle antiquarian, a chronicler of ancient and modern life, rigorous at times, but more often distinguished for his charm and delicacy,—such is Gérôme as he has revealed himself to us through the medium of his abundant works.

Whether he paints us the men of the Desert and the almas of Egypt, or shows us the gladiators of the Circus, the death of Caesar, the leisure hours of Frederick II, the dreams of a Bonaparte, or takes us to the Winter Duel in the Bois de Boulogne after the Masked Ball, a picture that achieved much popularity, Gérôme never fails to catch and hold attention by startling contrasts of colour combined with a fine accuracy of line work.

But what matter the means through which an effect is sought if they prove successful both in the general impression produced by the work as a whole and in the charm of the separate details,—in other words, if the result justifies the effort?

Effort, in Gérôme's case, meant literally a valiant and noble persistence. He was ceaselessly in search of something new. In spite of assured fame, he never repainted the same subject. During the later years of his life, his ambition was to be at the same time an illustrious painter and a sculptor of recognized merit; and in this he succeeded. His attempt to revive, after a fashion of his own, the precious lost art of antique sculpture, although greeted with a wide divergence of opinions, remains a noteworthy achievement.

On the eve of his eightieth year and abrupt decease, Gérôme still laboured with the ardour and the splendid faith of youth. He sets an encouraging example, as fine and as stimulating as the best of his splendid pictures.

THE LIFE OF GÉRÔME

Jean-Léon Gérôme was born at Vesoul on May 11, 1824. Throughout his life he retained a slight trace of the Franche-Compté accent, which gave a keener relish to his witty anecdotes and piquant retorts.

He belonged to a family holding an honoured place among the bourgeoisie. His excellent biographer, M. Moreau-Vauthier, relates that his grandfather was on the point of taking orders when the Revolution broke out. His father was a watchmaker and goldsmith at Vesoul. As a child, he himself was in delicate health.

Nevertheless, he proved himself a good student at the college in the city of his birth. While there he studied both Greek and Latin. His instructor in drawing, Cariage, having noticed his early efforts, gave him much good advice and encouragement.

At the age of fourteen, he copied a picture by Decamps, which had found its way to Vesoul from Paris. The story goes that his father forthwith favoured the idea that he should take up the vocation of an artist. There is no use in exaggerating. As a matter of fact, his family dreaded the hardships of so hazardous a career. But, upon receiving his bachelor's degree at the age of sixteen, a degree which at that epoch was by no means common, he obtained permission to go to the capital and pursue his studies under the auspices of Paul Delaroche, to whom he was provided with a letter of introduction.

It is pleasant to picture the young man setting forth alone by diligence and applying himself bravely to the task of acquiring talent and renown.

He was most faithful in his attendance at the studio of Delaroche, who, being the son-in-law of Horace Vernet, possessed at that time not only a wide reputation as professor, but also an enormous influence both at the École des Beaux-Arts and at the court of Louis-Philippe.

Delaroche, who has aptly been called the Casimir Delavigne of painting, a romanticist who stopped short of being a revolutionary, parted company with the cold traditionalists of the older school in the profound importance that he attached to accuracy and to the truth and interest of movement.

Gérôme was destined to draw his inspiration from analogous principles. While interesting himself profoundly in costumes, in surroundings, in local colour, he always avoided excess and maintained an almost classic restraint even in the most modern of his fantasies.

Delaroche's pupils were a lively set. Gérôme found life pleasant in the studio where Cham amused himself by passing himself off upon strangers as "the patron," and where his comrades were such men as Alfred Arago, Hébert, Hamon, Jalabert, Landelle, Picou, and Yvon.

He won their regard by his flow of spirits and his caustic humour. At this period he supported himself by copying paintings and making drawings for the newspapers; but, although a small monthly income of a hundred francs assured him comparative security, he was uneasy. Although only eighteen, the young man was impatient to show what he could do. He was seeking his path.

He took his first step towards finding it when he accompanied his teacher to Italy after the latter had closed his studio. He remained there for an entire year.

Upon his return, he studied for a time under Gleyre, after which he worked for some months on Delaroche's Bonaparte Crossing the Alps.

In 1847, Gérôme made his début at the Salon with a veritable master-stroke. At an exposition where Delacroix's Shipwrecked Bark and Couture's Roman Orgy monopolized the public gaze, the young artist attracted keen attention by his Young Greeks Engaged in Cock Fighting. Théophile Gautier enthusiastically proclaimed the merits of this work, which brought Gérôme much valued praise and some influential supporters.

We shall revert again to this significant canvas, which since 1874 has hung in the Luxembourg Museum, and with which the artist, when he later attained full mastery of his art, found all manner of fault.

The first meeting between this painter of twenty-three, upon whom renown had just begun to smile, and Gautier, magnanimous prince of criticism