Chapter II: Part 2

In strong contrast to Greuze's melodramatic, affected, domestic scenes are those by Chardin, another French artist of the eighteenth century. No ethical teaching is obtruded in his pictures; there is no pose, and the spectator can enjoy the real poetry of life, the sweetness and simplicity of well-ordered homes, undisturbed by the poseurs who clamour for our regard in many of the pictures by Greuze.

Another fault of Greuze's _genre_ pictures is their poverty and feebleness of colour. There is a general deadness, and in parts an abuse of purple and violet. Some of the tints have a dirty muddled look, and the shadows are heavy and brown. Still the chief fault is that art in {37} these pictures is relegated to a second place; the pictures are a means, and not an end.

To see many of his _genre_ pictures together is to receive an impression of monotony. It is clear that the range of the artist is narrow, that he is making a few ideas cover a great area of canvas, and that he ceased to grow intellectually at an early stage of his career.

Greuze and Hogarth have often been compared, but there are many essential differences between the two men. There was dissimilarity in their temperaments, and while Greuze has adopted the attitude of a mild-mannered Sabbath-school superintendent, towards those whose immorality he would correct, Hogarth, as Professor Muther has written, has "swung over this human animal the stout cudgel of morality in the manner of a sturdy policeman and Puritan _bourgeois_." Charles Normand explains the difference with some disregard for international amenity. Greuze, he says, "did not paint for the English, at once drunkards and theologians, maundering on through life, with a pot of gin in one hand and a Bible in the other."

And yet Greuze is no Puritan, even when he preaches most. There is often an air of coquetry and voluptuousness in his most serious pictures. Charles Blanc has written that Greuze is a moralist who is passionately fond of beautiful shoulders, a preacher who loves to see and to reveal to us the bosoms of young girls; and Lady Dilke has pointed out that "even in _Un {38} Père de Famille qui lit la Bible à ses Enfants_ ... the instinct which bade him associate with his lessons of grace and morality the stimulus of voluptuous charm has tempted him to give prominence to the girl whose thoughts are far away, and whose kerchief is torn just where it should hide the budding breast."

But when criticism has said all it can say in dispraise of Greuze's pictures, even of his _genre_ pictures, it may be seen that Greuze was by temperament an artist. The melodramatic moralist was only part of the man and not the whole. Even Robert Louis Stevenson had "something of the Shorter-Catechist" in his constitution, and yet remains the most romantic and interesting figure of the latter-day world of letters.

It need not be forgotten that in the most theatrical works of Greuze there are many beauties. There is often a figure in these otherwise imperfect pictures which indicates his love for the beautiful, and in some of his paintings, for instance in _Un Père de Famille qui lit la Bible à ses Enfants_, the melodramatic element, though present, is not obtrusive, and is more than compensated by the other qualities of tenderness and graceful composition.

We may now consider the other class of Greuze's paintings, the heads of children, and it is in these that Greuze is seen at his best; it is in these that he redeems himself, and reveals more of the artist. To-day, though his other works are scarcely ever mentioned, his heads {39} of girls and boys are treasured in the most costly collections, and are known far and wide by means of photographs and other reproductions.

In many an art gallery the beautiful eyes of these pretty, rosy-cheeked children meet our own, and we stay yet again to admire their fresh lips and their brown hair, in which the piece of blue ribbon nestles with such harmony of colouring. Often a light gauze has been thrown round their necks or upon their shoulders, and often, too, a posy of flowers tucked into the tops of their bodices emulates the carnation and white of their complexions. There are few pictures that are more sweet and alluring than these heads of children.

In London it is an easy matter to study Greuze's child portraits, because there are a few examples at the National Gallery, and more at Hertford House. Standing before these canvases the general effect is one of sweetness and delicacy, one colour melting into another in almost imperceptible gradations, and giving an impression very unlike the one we receive from the hard edges of a painting by Maclise for example. The colours are not positive, but have been softened and harmonized. For instance, if a piece of white paper is held against what may seem to be a piece of white drapery, it will be found that the white has been modified into a beautiful delicate pearly gray. The same test may be applied to the other colours. Hold a piece of positive blue {40} near to one of Greuze's seemingly blue ribbons, and it will be noticed that a similar modification has been effected.

The forms, too, have been rounded, and have been freed from all angularities. Indeed, Greuze has carried this process as far as it is possible. Too much of this smoothing and the picture would lose in character, and would become but a vapid piece of work.

In the long series of heads of girls and boys that Greuze painted, some of the pictures are conspicuously better than the rest. Of these may be mentioned the _Head of a Young Girl Veiled in Black_, which belongs to M. Leopold Goldschmidt, and two more which are in the Museum at Besançon, _Paul Strogonoff_, _Infant_, and the _Head of a Young Girl_. Also characteristic of Greuze at his best, and more available to the people of this country, is _A Girl with Doves_. In the year 1800 he exhibited at the Salon _L'Innocence tenant Deux Pigeons_. It has not been definitely ascertained, but it is possible that this is the beautiful picture that hangs now in the Wallace Gallery. Few paintings by Greuze are more pleasing than this one. The picture is well painted, and it is quite free from Greuze's besetting sins. Where in other pictures one finds posturing and affectation, one finds here the simplicity and sweetness of nature. The painting was a commission from a Mr. Wilkinson, and Greuze received 4,500 francs for it. When Mr. Wilkinson's pictures were sold in 1828, Mr. Nieuwenhuys became {41} the purchaser, and he paid 245 guineas for the painting. Later the work became the property of Mr. W. Wells, of Redleaf, and when, in 1848, his pictures were dispersed, the Marquis of Hertford gave £787 10s. for this one, and thus it has become part of the splendid collection at Hertford House, now belonging to the nation. During the Manchester Exhibition of 1857 the public had a chance to see it there, and it was exhibited again at Bethnal Green in 1874. Another picture in which Greuze's style may be studied is _A Girl's Head, draped with a Scarf_. In England this is one of the best-known of the artist's works. Thirty and more years ago it was reproduced in popular publications, and it has been reproduced many times since by various processes. By the bequest of Mr. R. Simmons, the original picture has become the property of the nation, and it is now the most characteristic example of Greuze amongst those that hang in the National Gallery. Upon this canvas one may see many of the qualities to which we have already referred. There is more than a suspicion of mannerism in the way that the hands are held, and one feels, concerning the shoulder, that, beautiful as it is, it has been obtruded upon the notice of the spectator with a somewhat free anatomical license. The half-open mouth also gives an impression of affectation; and yet, when criticism has pronounced its last word, the picture still remains graceful and seductive.

Some of the faults of Greuze's manner which {42} have been noted in his _genre_ pictures appear also in his heads of children. The girls in a number of the pictures are too self-conscious and affected, imperfections that one may see prominently illustrated in _Fidelity_ and in _Ariadne_, in the Wallace Collection.

A few, indeed, of Greuze's heads can scarcely be called paintings of children at all, so many of the elements of womanhood has he mingled with what is otherwise typical of childhood. As representations of the charm and the insouciance of childhood, a painting by Greuze would ill bear comparison, for example, with a work by Chardin amongst his own compatriots, with works by Reynolds and Gainsborough; or, to come to our time, with some of the children of Millais, with Watts' _Agathoniké Hélène Ionides_, Whistler's _Miss Alexander_, Mouat Loudan's _Isa_, John Lavery's _A Girl in White_, or with Edward Arthur Walton's _The Girl in Brown_.

Most of the French critics who have written of Greuze have drawn attention to this imperfection in the artist's paintings of children. De Goncourt in some passages of searching criticism has written regarding a number of these heads that they represent "the innocence of Paris and of the eighteenth century, an easy innocence which is near its fall." And De Goncourt, Diderot, and other writers have pointed out that in many the head is the head of a girl on the body of a woman; that Greuze has, in fact, put "young heads on old shoulders." {43} Charles Blanc has written of _Une Jeune Fille qui pleure la Mort de son Oiseau_, that the head is the head of a child, but the grief is the grief of a woman; and he has added to this criticism that it is rare to find in Greuze's pictures of this class the head in harmony with the body.

Despite all these shortcomings, however, the pictures are charming, but the appeal of Greuze will be specially to the young, who mark the beauty only, and are unconscious of any pose or any incongruity.

In addition to the kinds of paintings we have mentioned, Greuze showed that he was not quite free from the conventions of the period by painting a few mythological, religious, and allegorical works, but these are pictures which are not of any importance.

"Keep yourself free from formulas," he said to Count Henry Costa, but therein he did not follow his own bidding. A writer in the _Nouvelle Biographie Générale_ has recorded that during this era it was accepted and taught that a sphere should be represented as though it had many sides. Greuze at one time accepted this absurd dogma, and in some of his pictures the chubby cheeks of children have been painted as though they had facets. His most finished works, however, are free from this blemish. Greuze's desire to be an historical painter is more evidence that he was not without the conventional ideas which have strangled art with such persistency.

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Although Greuze sometimes sketched rapidly, yet his works are usually the result of slow and laborious effort renewed again and again. His plan was to return to his picture when he was at his best, and to paint and repaint, no matter how often, until he felt that the work was as free from faults as he could make it.

{45}

HIS POSITION IN FRENCH ART

During the seventeenth century France had not an art of her own. The native painters derived their pictures from Roman or Grecian traditions. They shut their eyes upon the beauties of Nature, painted tedious repetitions of other people's notions, and could not so much as paint their own King, Louis XIV., except as Cyrus or as Alexander!

This period of dulness, pomposity, and general boredom was succeeded by one of light and gaiety, when the joy and the colour of life received recognition. To this consummation the supreme genius of Watteau contributed some of the most exquisite and poetical pictures of all time, and delivered France "from the oppressive yoke of the Italian tradition." Watteau had many imitators, and his style dominated art for many years, but eventually freedom degenerated into license, and even into sheer obscenity. Count Henry Costa, visiting Paris during this period, wrote in a letter to his parents in Savoy: "Greuze, I think, is not partial to Boucher; and rightly loathes the filthiness in fashion now, which desecrates art and ruins morality." Boucher he described as {46} "an old worldling, more dissipated and done up than you can imagine."

It is in the writings of Diderot that one can see, as well as in any other place, an indication that towards the end of the eighteenth century influential people in France were growing more and more studious and serious. The ideas of Rousseau were taking possession of the minds of other people. The nation must study Nature, and discover her laws. Prejudices, authority, tradition, must all be examined in the light of this new idea. Vice must be subdued, artificiality, insincerity, luxury, false refinements, must be swept away, and the people must return to a life of greater simplicity. Man, by nature moral, had been corrupted by civilization, and it was therefore the least civilized who were the least corrupt.

Ideas like these, set forth with the power and the burning zeal of Rousseau, and with the deftness of Diderot, had prepared the minds of the Parisians to receive the _genre_ pictures of Greuze, for to some extent he is an advocate of these ideas in his pictures, seeing that virtues are attributed in a generous measure to the poor and downtrodden of the people.

It is thus that, breaking away from the style of the painters who did little more than pander to the French Court, the pictures of Greuze mark with perfect clearness the beginning of a new tendency which was making itself felt in Paris at the end of the eighteenth century. Instead of adding to the great store of _fêtes {47} galantes_, and the triumphs of love of the time, Greuze looked for his subjects upon the quays, and boulevards, and market-places, and in the cottages of humble people.

"Courage, my good Greuze," said Diderot of one of Greuze's pictures of domestic drama; "introduce morality into painting. What! has not the palette been long enough, and too long, consecrated to debauchery and vice? Ought we not to be delighted at seeing it at last, united with dramatic poetry, in instructing, correcting us, and inviting us to virtue?"

Living amidst such ideas as these, Greuze founded in France, in the words of De Goncourt, "the deplorable school of the literary painter, and the moralizing artist," or of "that barbaric, story-telling art," as Muther, writing in a similar strain, has described it.

It was this manner of painting that brought out what similarity there is between Hogarth and Greuze, who has been called "a sentimental Hogarth." Like the painter of _The Rake's Progress_, Greuze told moral tales in a series of pictures in which virtue is exalted and vice abashed, a kind of painting quite different from the pictures which had hitherto been exhibited in Paris. Truly, as Charles Normand has written, "the hour of the reaction against the pastorals and the mythological insipidities of Boucher had sounded. It was Greuze who was the pioneer in the new departure, and he reaped the reward. His fault is that he replaced one convention by another." Hitherto {48} the Court had been all in all, but now had arrived, in the phrase of Charles Blanc, "l'usurpation bourgeoise."

Yet though Greuze thus parted from his predecessors, and, at his best, went along the line of progress towards a study of Nature at first hand, he brought about no violent change such as was seen in England when Madox Brown and the Pre-Raphaelites broke in upon the complacent mediocrities who represented art in England during early Victorian times.

Though he preached against the ardent sensuality of his era, his own pictures were not wholly free from it, and in the collection at Hertford House his _L'Offrande a l'Amour_, and particularly _La Bacchante_, strike no new note amongst the other paintings of the same period. There is not the great difference that would be noticed if an early Millais were to be hung amidst a collection of the works of Maclise, Landseer, Collins, Newton, Leslie, Mulready, and Webster. Greuze did not free France in the same way that the Pre-Raphaelites loosed the bonds of convention and tradition in our own country.

Greuze founded no school, and indeed outlived his own movement; for he and Fragonard were left in hopeless isolation when the Revolution overwhelmed France. There are few more pathetic passages in the lives of painters than those which relate how, for the sake of their daily bread, these poor old men made {49} ineffectual attempts, Fragonard with his _Le Grand Prêtre Corésus se sacrifie pour sauver Callirrhoé_, and Greuze with his _Ariadne at Naxos_, to adapt themselves to the new situation.

The Revolution, so far from freeing art in France, brought about, under David--excellent as he was as a painter of portraits--a reaction to a "barren, wearisome classicism," represented by pictures which are now absolutely without attraction. Instead of studying Nature, the painters studied the statues and the friezes of the ancients. They became antiquaries and geometricians, and left the open air to weary themselves in musty libraries, in the pursuit of archæological accuracy. Formulas and conventions, traditions and self-constituted authority were once more exalted upon pedestals, and the century which opened with the "pipes and timbrels" of Watteau closed with the prosing of the most tedious bores.

So successfully did David put back the clock, that it was not until the nineteenth century was nearly thirty years of age that the artists of France, inspired, as we love to think, by our own John Constable, issued from the house of bondage to study Nature in the forest of Fontainebleau.

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OUR ILLUSTRATIONS

_The Kiss_ (_Le Baiser Jeté_).--Although this work has not been reproduced so many times as _La Cruche Cassée_, it yet ranks with that painting as one of the most fascinating of the works of Greuze. A young woman looks from the window of her room. She has received a letter from the hands of her lover, to whom she throws a kiss as he departs. In his treatment of this subject Greuze has shown that it was not a lack of capacity that caused him sometimes to lapse into melodrama. His acute feeling for what is beautiful has been expressed on this canvas with remarkable skill. Writing of the painting in 1765, Diderot called it "a charming picture," and Charles Normand, in giving a description of the work, has written: "The eighteenth century, amorous and unrestrained, has been made to live again in that woman, who, her eyes full of longing, her mouth partly opened, her throat scarcely veiled by a light gauze, throws from her window a kiss to her lover. The seductive shapeliness of her neck, the expression of love, the hand carried tenderly to her lips, the whole effect of her beautiful figure, which palpitates at the sight of her lover, justifies the title of _La {51} Voluptueuse_ which the painter has also given to the picture." A copy of this painting, by C. Turner, was sold in London in 1902 for £136.

_The Village Bride_ (_L'Accordée de Village_).--This is the short title of the work "Un Mariage à l'instant où le père de l'accordée délivre la dot à son gendre." The first title was _Un Père qui vient de payer la dot de sa Fille_. The scene is a great country kitchen, which has a freedom from furniture that is refreshing in these days of senseless overcrowding. Stone steps lead from the kitchen to an upper chamber. A shelf, a gun, a lantern, a great cupboard, and a few chairs and a table, would almost complete an inventory of the movables. Twelve people, arranged as though they were on the stage of a theatre, or for a _tableau vivant_, take part in the scene. The parish official, sitting at a small table, has registered the marriage, and one of the children toys with the document. The father of the bride, a venerable old man with white hair, has just handed to his son-in-law a small leather bag, containing his daughter's marriage portion, and he is now holding forth in true melodramatic style, his face to the gallery, and, as one may fancy, the limelight streaming on his head. The bridegroom, a tall, handsome fellow, listens in a respectful attitude; and the pretty bride, whose eyes are downcast, has her arm linked in his, and the fingers of one hand are laid lovingly upon one of his hands. Her other arm is held by her mother, {52} a comely matron, dressed in simple and picturesque attire. The bride's sisters and brother watch with intense interest, except one little girl of five or six years, who feeds a hen and chickens on the kitchen floor. Another sister has her head upon the bride's shoulder, and a third is weeping. In the incident of one of the chickens, balanced on the edge of the dish of water, trying its wings, some writers have seen an allegorical reference to the marriage. It is said that the head of the bride is a portrait of Mademoiselle Ducreux when she was fifteen years of age. In this painting Greuze's tendency to cause his figures to assume self-conscious poses is apparent; but there is not so much of theatricality here as to spoil the picture, and thus one may still derive some pleasure from a contemplation of the scene. It is interesting to remember that this is the picture which caused such a sensation during the last few days of the Salon of 1761. It was bought by Monsieur de Marigny for 3,000 livres, and at the sale of his pictures, twenty years later, the price paid for it was 16,650 livres. The picture is now in the Louvre in Paris. It has often been reproduced. During the life of the artist it was engraved by Flipart, and then was reproduced in colours by Alix. Greuze also painted a replica of the picture.

_Portrait of Maximilien Marie Isidore Robespierre_.--In John Morley's "Critical Miscellanies" {53} we are told that "In the Salon of 1791 an artist exhibited Robespierre's portrait, simply inscribing it _The Incorruptible_. Throngs passed before it every day, and ratified the honourable designation by eager murmurs of approval. The democratic journals were loud in panegyric on the unsleeping sentinel of liberty. They loved to speak of him as the modern Fabricius, and delighted to recall the words of Pyrrhus, that it is easier to turn the sun from its course than to turn Fabricius from the path of honour." Mr. A. G. Temple, F.S.A., has written recently that efforts have been made to identify the Salon portrait with this one, but unsuccessfully. Robespierre's ancestors were Irish people, but he was born at Arras. After a successful career as a lawyer he became a member of the States-General, and Mirabeau prophesied, "That young man believes what he says; he will go far." Carlyle has described him as "That anxious, slight, ineffectual-looking man, under thirty, in spectacles; his eyes (were the glasses off) troubled, careful; with upturned face, snuffing dimly the uncertain future times; complexion of a multiplex, atrabiliar colour, the final shade of which may be pale sea-green." He was small and weakly, fond of solitude, and sober in most things except in speech. Fluent and rhetorical, he soon won fame with the populace; but an analysis of his speeches reveals them "full of sound and fury, signifying nothing." The latest criticism has dubbed him "a phrase-making {54} charlatan." On July 28, 1794, still clad in the inevitable blue coat, white waistcoat, short yellow breeches, white stockings, and shoes with silver buckles, he himself perished on the guillotine that had removed so many of his enemies.

_The Listening Girl_.--Another of Greuze's exceedingly pretty heads. This picture, like the _Girl's Head draped with a Scarf_ in the National Gallery, is an excellent representative of that numerous class of the artist's work that consists of the heads of girls. The face is exceedingly dainty, and the workmanship excellent. The picture forms one of the Wallace Collection, and is, therefore, easily accessible to the public. Although it is now called _The Listening Girl_, it is not certain that this title expresses the intention of the artist.

_The Broken Pitcher_ (_La Cruche Cassée_).--No picture by Greuze is more widely known than this one. In one of Madame Roland's letters we are able to gain an idea of what was thought of the work at the time that it was painted. She has written: "It is a girl, naïve, rosy, charming, who has broken her pitcher. She holds it on her arm, near to the fountain where the accident has happened. Her eyes are not too wide open; her mouth is still partly open. She wonders what account to give of the misfortune, and does not know whether she is to blame or not. It would {55} not be possible to find anything more piquant or more pretty, and the only matter upon which one would be right to reproach Monsieur Greuze is that he has not made the little girl so sorry but what she would be ready to go to the fountain again." The derangement of the draperies, the incongruity of the lapful of flowers, the impossible way in which the pitcher is being carried, are not less characteristic of Greuze than the sweet face and the general charm and beauty of the painting. It is, indeed, one of Greuze's most winsome works, and its fascination will continue to captivate all but the most hypercritical. The original is in the Louvre, but Greuze painted the subject again with modifications, and there are a number of sketches and studies in existence. For instance, in the National Gallery of Scotland there is the preliminary sketch in oils for this work, and many prefer this sketch to some of Greuze's more finished pictures.

_The Milkmaid_ (_La Laitière_).--Pretty as is this picture, it embodies a city man's sentimentality concerning the work of a farm. The hard labour of an actual milkmaid, and the peculiar conditions of her employment, are especially fatal to dainty hands, for instance. Thus, as the presentment of a milkmaid, the picture is far from any truth to Nature; but as an engaging girl-picture it is one of Greuze's most graceful and successful works. In 1821 it was sold for 7,210 francs, but in 1899, when {56} it was bequeathed to the Louvre by Baroness de Rothschild, its value was estimated at 600,000 francs.

_Innocence_.--Many of the excellent qualities of Greuze's work appear in this attractive picture. It is true that the lamb is unfortunate, and, as Greuze's lambs usually are, is more reminiscent of the Lowther Arcade than of the meadow. Here also we see the head of a girl on the body of a woman; but the general effect of the picture is one of sweetness and tenderness, and the girl's expression is free from the affectations which have marred so many of the artist's paintings. This picture is one of the Wallace Collection.

_The Pretty Laundress_ (_La Belle Blanchisseuse_).--De Goncourt, in a criticism of Greuze's pictures, has written that the work that goes on in his paintings is but a simulation of work--that his washerwomen do not wash. It may be that this is the picture which inspired the criticism. A charming girl, elegantly dressed, sits in an impossible position, as far as any effective washing is concerned, before a ridiculously little bowl. The whole picture is most attractive, but it is not washing day; and, perhaps, after all, washing day is not precisely the best subject that an artist could have selected for sublimation. The picture is now in the collection of Count Axel Wachtmeister, at Wanas, in Germany.

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THE CHIEF WORKS OF GREUZE

The largest collection of Greuze's pictures is not in his own country, but is here in England, at Hertford House. The paintings forming that collection were included in the Wallace bequest, and thus they have become the property of the nation. Most other European countries have secured examples of Greuze's work, and several of his paintings may also be seen in America.

GREAT BRITAIN.

_WALLACE COLLECTION,_

In this collection alone there are twenty-one examples of the work of Greuze. Some of these are of the best, and a few illustrate the artist's imperfections. For instance, before _Fidelity_ and _Ariadne_ one has the same unpleasant sensation as when a girl spoils the effect of her beauty by stagey poses and by sentimental attitudinizing. _A Bacchante_ is gross and voluptuous. The most important pictures in the collection are:

A Girl with Doves. (See p. 40.)
The Listening Girl. (See p. 54.)
Portrait of Mdlle. Sophie Arnould.
The Votive Offering To Cupid.
The Broken Mirror.
Innocence. (See p. 56.)
Espièglerie,
Girl With A Gauze Scarf.

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_NATIONAL GALLERY._

Girl's Head Draped with a Scarf (See p. 41.)
The Head of a Girl.
Girl with an Apple.
Girl with a Lamb.

_BUCKINGHAM PALACE._

A Mother and Three Children.

The mother indicates, by a look, that she does not wish the oldest boy to disturb the youngest by playing his flute.

Girl in Cap seated on a Chair.
A Girl's Head.

There are also pictures by Greuze in many of the galleries of private collectors. For instance, examples may be seen in the collections of the Duke of Wellington, the Earl of Rosebery, the Earl of Dudley, the Earl of Northbrook, Lord Yarborough, the Marquis of Lansdowne, Sir Frederic Cook, Bart., Mr. Alfred de Rothschild, Mr. Reginald Vaile, Mr. H. L. Bischoffsheim, Mr. Pierpont Morgan, Mr. Lesser Lesser, Mr. George Donaldson, Mr. Martin Colnaghi, Mr. Charles Morrison, Mr. Beit, and others.

_NATIONAL GALLERY OF SCOTLAND._

Girl with Dead Canary.
Girl with Broken Jar.

This is a sketch in oils of the idea which Greuze afterwards painted as _The Broken Pitcher_, the famous picture that now hangs in the Louvre.

Boy with Lesson-Book.
Interior of a Cottage.
Girl with Folded Hands.

Other examples of the works of Greuze in Scotland are those in the collection of Lord Murray.

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FRANCE.

_PARIS, LOUVRE._

During the period of unrest that accompanied and followed the Revolution, many notable pictures were sold from France, and thus the largest collection of pictures by Greuze is not to be found in Greuze's own country. In the Louvre, however, all Greuze's characteristics may be studied in one or other of the works that hang there.

L'accordée de Village. (See p. 51.)
La Laitière. (See p. 55.)
La Cruche Cassée. (See p. 54.)
La Malédiction Paternelle.
Le Fils Puni.
Le Portrait de l'Artiste.
Le Portrait du Peintre Jeaurat.
Several Heads Of Girls.

_MUSEÉ FABRE À MONTPELLIER._

La Prière du Matin.
Le Gâteau des Rois.
Le Petit Mathématicien.
Jeune Fille, les Mains Jointes.
La Jeune Fille au Panier.
Tête de Jeune Fille.
Etude d'un Enfant de Quatre à Cinque Ans.

BESANÇON.

Here are two particularly good examples of Greuze at his best:

Paul Strogonoff, Enfant.
Tête De Jeune Fille.

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MUSÉE CONDÉ.

Tendre Désir.

Versailles has examples, and the traveller to any of the following, and to a few other towns, will find works by Greuze: Aix, Angers, Cherbourg, Dijon, Compiègne, Douai, Lille, Lyons, Marseille, Nantes, Nîmes, Rouen, Tournus, Troyes; and the members of the Rothschild family have many examples at their various places of residence.

GERMANY.

In Germany Greuze is represented by _La Belle Blanchisseuse_, in the collection of Count Axel Wachtmeister, at Wanas, and by pictures in the Art Galleries of Berlin, Leipzig, Karlsruhe, Munich, and Metz.

RUSSIA.

_ST. PETERSBURG, L'HERMITAGE._

La Paralytique Servi par ses Enfants

UNITED STATES.

Pictures by Greuze may be seen at Boston and at Philadelphia.

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RECENT CHIEF BOOKS ON GREUZE

L'Art du XVIIIme. Siècle. Edmond and Jules de Goncourt, Paris. 1854.

Histoire De l'Art Pendant la Revolution. Jules Renouvier, Paris. 1863.

Les Artistes Célèbres: Greuze. Charles Normand, Paris. 1885.

Histoire des Peintres de toutes les Écoles. Charles Blanc, Paris. 1862.

French Painters of the Eighteenth Century. Lady Dilke, London. 1899.

The History of Modern Painting, Vol. I. Richard Muther, London. 1895.

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