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-The Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Puvis de Chavannes
-       Masterpieces in Colour Series
-
-Author: Francois Crastre
-
-Editor: Henry Roujon
-
-Release Date: January 13, 2013 [EBook #41835]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK PUVIS DE CHAVANNES ***
-
-
-
-
-Produced by sp1nd, Charlie Howard, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-
+*** START OF THE PROJECT GUTENBERG EBOOK 41835 ***
 
     MASTERPIECES
     IN COLOUR
@@ -63,7 +26,7 @@ _IN THE SAME SERIES_
     FRA ANGELICO        CONSTABLE
     ROSSETTI            MEMLING
     RAPHAEL             FRAGONARD
-    LEIGHTON            DUeRER
+    LEIGHTON            DÃœRER
     HOLMAN HUNT         LAWRENCE
     TITIAN              HOGARTH
     MILLAIS             WATTEAU
@@ -87,7 +50,7 @@ _IN PREPARATION_
 [Illustration: PLATE I.--SAINT GENEVIEVE KEEPING WATCH OVER SLEEPING
 PARIS. Frontispiece
 
-(In the Pantheon, Paris)
+(In the Panthéon, Paris)
 
 This composition, so great in its simplicity and so beautiful in
 execution, is the last work of the great artist. The model who posed for
@@ -116,9 +79,9 @@ he and she died very shortly after its completion.]
 
     [Illustration: April 1912]
 
-    THE.PLIMPTON.PRESS
-    [W.D.O]
-    NORWOOD.MASS.U.S.A
+    THE·PLIMPTON·PRESS
+    [W·D·O]
+    NORWOOD·MASS·U·S·A
 
 
 
@@ -146,14 +109,14 @@ LIST OF ILLUSTRATIONS
     Plate
        I. Saint Genevieve keeping Watch over
             sleeping Paris                        Frontispiece
-              In the Pantheon, Paris
+              In the Panthéon, Paris
 
                                                           Page
       II. The Piety of Saint Genevieve                      14
-              In the Pantheon, Paris
+              In the Panthéon, Paris
 
      III. The Poor Fisherman                                24
-              In the Musee de Luxembourg, Paris
+              In the Musée de Luxembourg, Paris
 
       IV. Ludus pro Patria                                  34
               In the Museum, Amiens
@@ -210,7 +173,7 @@ conspicuous as his most violent detractors.
 
 [Illustration: PLATE II.--THE PIETY OF SAINT GENEVIEVE
 
-(In the Pantheon, Paris)
+(In the Panthéon, Paris)
 
 In this composition, exceptionally fine in feeling, Puvis de Chavannes
 shows how much importance he attached to landscape, which was the
@@ -253,12 +216,12 @@ parents were in affluent circumstances and were connected with one of
 the old Burgundian families. His father pursued the vocation of chief
 engineer of mines, at Lyons. In the registry of births, in which the
 new-born child was entered, the father is designated simply by the name
-of Marie-Julien-Cesar Puvis. The honourable title of "de Chavannes,"
+of Marie-Julien-César Puvis. The honourable title of "de Chavannes,"
 claimed later and with good right by the family, was confirmed to him
 by a decree of the Court of Lyons, bearing date of May 20, 1859.
 
-Young Puvis de Chavannes was sent, first to the Lycee at Lyons, later to
-the Lycee Henri IV, at Paris. But nothing either in the boy's tastes or
+Young Puvis de Chavannes was sent, first to the Lycée at Lyons, later to
+the Lycée Henri IV, at Paris. But nothing either in the boy's tastes or
 in his aptitudes gave any hint of his future vocation; he showed no
 special inclination for drawing, nor even for art in general. Son of a
 mining engineer, he applied himself naturally to the exact sciences; and
@@ -354,8 +317,8 @@ prized above all, thanks to the perfect balance of his physique, was the
 ability to apply his robust health to incessant work, which he pursued
 without intermission up to the day of his death.
 
-In 1850, Puvis de Chavannes made his debut by sending to the Salon a
-_Pieta_, which was accepted. His joy was great, for it was the joy of
+In 1850, Puvis de Chavannes made his début by sending to the Salon a
+_Pietà_, which was accepted. His joy was great, for it was the joy of
 the first step. Later on, his satisfaction in that picture diminished.
 It had certain defects, and gave evidence of inexperience, which the
 young painter was quick to perceive. That same year he painted _Jean
@@ -364,7 +327,7 @@ execution and violent in tone.
 
 [Illustration: PLATE III.--THE POOR FISHERMAN
 
-(In the Musee de Luxembourg, Paris)
+(In the Musée de Luxembourg, Paris)
 
 No one else, excepting Millet, had the skill to render with so much
 truth the physical and moral distress of the unfortunate. This resigned
@@ -377,7 +340,7 @@ epoch when every effort towards artistic independence was officially and
 systematically repressed. The young artist was not alone in
 disfavour; he shared it with a number of his friends, some of whom were
 already famous, or at least well known. Equally with himself, Courbet,
-Dupre, Barye, Rousseau, Millet, Troyon, Corot, Diaz and Delacroix found
+Dupré, Barye, Rousseau, Millet, Troyon, Corot, Diaz and Delacroix found
 themselves ejected from the doors of the temple. In the eyes of the
 Academy, they were all of them madmen or revolutionaries; for his part,
 he was treated with less honour: he was regarded as a maniac of no
@@ -393,11 +356,11 @@ would betray his scorn in a faint crease, which Rodin, another
 misunderstood giant, has admirably caught in his buste of the painter.
 As it happened, however, Puvis de Chavannes was rarely fortunate in
 having the encouragement and support of such an admirable companion as
-the Princess Cantacuzene. That splendid woman, of exceptional
+the Princess Cantacuzène. That splendid woman, of exceptional
 intelligence and distinction, enjoyed art and understood it; she fell in
 love with Puvis de Chavannes and became his wife. "Whatever I am and
 whatever I have done," wrote the painter, "is all due to her."
-Throughout more than forty years, she filled the role of beneficent
+Throughout more than forty years, she filled the rôle of beneficent
 genius to the artist, the Egeria whose voice he never failed to heed.
 Puvis de Chavannes had worshipped faithfully at her shrine; and when she
 died, he felt that the term of his own life had reached its end. He
@@ -641,7 +604,7 @@ comparison for determining the evolution of the artist's talent.]
 
 However, the resources of the municipality did not permit it to incur so
 great an expense. It appealed to the State, which curtly refused its
-cooperation. The city fathers of Amiens were in despair, the painter not
+coöperation. The city fathers of Amiens were in despair, the painter not
 less so. What was to be done? Wait until the municipality, through slow
 economies, was in a position to order the picture? Puvis de Chavannes,
 who had grown enthusiastic over the task, was boiling with impatience
@@ -700,7 +663,7 @@ generation, which before long will be augmented through the robust girls
 grouped on the left, awaiting the advent of husbands. The children,
 grown to manhood, will practise games of strength and skill which will
 render them capable of defending their common patrimony. The old man
-himself has his role assigned in this ideal commonwealth; ripened by
+himself has his rôle assigned in this ideal commonwealth; ripened by
 experience of life, he supplements the feebleness of his arms by the
 wisdom of his lessons; he is the honoured counsellor, the arbiter of
 full justice, who restrains the ardor of youth within the path of
@@ -831,7 +794,7 @@ for twenty years in this abode in which he purposed to spend only a few
 days.
 
 Puvis de Chavannes has magnificently rendered the poetic beauty of this
-historic episode by representing one of the fetes given by Radegonde in
+historic episode by representing one of the fêtes given by Radegonde in
 the Convent of the Holy Cross.
 
 In the second panel, we see Charles Martel returning to Poitiers,
@@ -856,24 +819,24 @@ THE LAST YEARS
 
 
 In the days following the Franco-Prussian War and the Commune, the
-Government conceived the project of decorating the Pantheon, which had
+Government conceived the project of decorating the Panthéon, which had
 just been once more secularized, in order to convert it into a temple
 wherein all the shining lights of the nation could be brought together
 and honoured.
 
-M. de Chennevieres, who at that time was director of the Beaux Arts gave
+M. de Chennevières, who at that time was director of the Beaux Arts gave
 the first place, in that illustrious line, to the noble and serene
 Genevieve, patron saint of Paris, incarnate ideal of patriotism.
 
 Accordingly it was a series of religious paintings that M. de
-Chennevieres required of Puvis de Chavannes, when he entrusted him with
+Chennevières required of Puvis de Chavannes, when he entrusted him with
 a large share of the decoration.
 
 This type of painting, although new to Puvis de Chavannes, failed to
 intimidate him. He had too much patriotic fire, more than enough
 Christian faith, and above all too thorough a mastery of his profession
 not to approach this task with full confidence. It is enough to visit
-the Pantheon just once in order to be convinced of this. A more
+the Panthéon just once in order to be convinced of this. A more
 magnificent realization of Saint Genevieve could not be conceived of,
 even in dreams. But are these paintings to be classed with religious
 art? One would hesitate to assert it, if the pictures habitually
@@ -912,8 +875,8 @@ Paris."
 
 These noble paintings were the last productions of the great artist. A
 sort of premonition told him that the end was near, in spite of his
-robust health. "How I shall devote myself to the Pantheon," he wrote,
-"when I am finished with the Hotel de Ville! I intend it to be a sort of
+robust health. "How I shall devote myself to the Panthéon," he wrote,
+"when I am finished with the Hôtel de Ville! I intend it to be a sort of
 last will and testament."
 
 In these last paintings, Saint Genevieve is no longer a child. Having
@@ -933,14 +896,14 @@ attitude of _Genevieve watching over sleeping Paris_, the poor artist
 never once suspected that he was tracing for the last time the portrait
 of her who had been the consolation and the joy of his whole existence.
 
-The unfortunate woman lacked the strength to play her role to the end;
+The unfortunate woman lacked the strength to play her rôle to the end;
 she was forced to take to her bed. The artist, no less heroic than she,
 feeling that his own life was slipping away with hers, yet wishing to
 complete this last work,--his testament--transported his easel beside
 the dying woman's bed, and there finished the sketches for his picture.
 
 In the intervals of time between the paintings executed for the
-Pantheon, Puvis de Chavannes produced certain other large compositions
+Panthéon, Puvis de Chavannes produced certain other large compositions
 in no wise inferior either in importance or in merit, notably, in 1883,
 a large painting for the Palace of Arts, at Lyons.
 
@@ -981,11 +944,11 @@ retained only such of their attitudes as cannot detract in any way from
 the naturalness of their movements or their lines.
 
 In the same Palace of Arts, Puvis de Chavannes painted two additional
-allegorical panels representing _The Rhone and The Saone_, both of which
+allegorical panels representing _The Rhone and The Saône_, both of which
 are admirably effective.
 
 To about the same period belongs his well known painting, _The Poor
-Fisherman_, at present in the Musee du Luxembourg.
+Fisherman_, at present in the Musée du Luxembourg.
 
 In this work, which he painted as a relaxation from his more extensive
 efforts, Puvis de Chavannes has tried to portray, as Millet so often
@@ -994,7 +957,7 @@ bend their poor aching backs beneath the burden of physical distress and
 mental degradation. This work is a fine and eloquent lesson in
 humanity.
 
-In 1889, the Hotel de Ville, in Paris, proceeding with the still
+In 1889, the Hôtel de Ville, in Paris, proceeding with the still
 unfinished decoration of its numerous halls and chambers, entrusted
 Puvis de Chavannes with the task of decorating the main staircase and
 the first salon in the suite of reception rooms.
@@ -1019,7 +982,7 @@ surpassed himself; the work is a miracle of open air and grateful shade.
 Unfortunately, the room in which these two magnificent pictures are
 placed suffers from a deplorable want of light, and its scanty
 dimensions make it impossible to stand back at a sufficient distance to
-see them to advantage. The Hotel de Ville should for its own credit
+see them to advantage. The Hôtel de Ville should for its own credit
 assign them a place more in keeping with their worth.
 
 For the museum at Rouen, Puvis de Chavannes painted an allegory entitled
@@ -1125,7 +1088,7 @@ painter of figures.
 (In the Museum, Amiens)
 
 This work dates from the same period as _Repose_ and _Peace_. It marks
-the debut of Puvis de Chavannes in his career as an artist. In spite of
+the début of Puvis de Chavannes in his career as an artist. In spite of
 some reminiscences of his training, his individuality already asserts
 itself, and the originality of composition is unmistakable.]
 
@@ -1183,15 +1146,15 @@ immortality.
 CATALOGUE OF THE WORKS OF PUVIS DE CHAVANNES
 
 
-    Musee du Luxembourg; _The Poor Fisherman_.
+    Musée du Luxembourg; _The Poor Fisherman_.
 
-    Pantheon; _Saint Genevieve marked with the divine seal_.--_The
+    Panthéon; _Saint Genevieve marked with the divine seal_.--_The
     Piety of Saint Genevieve._--_Saint Genevieve providing for
     besieged Paris._--_Saint Genevieve watching over sleeping
     Paris._--Two decorative Friezes, including _Faith, Hope, and
     Charity_, and a series of _Saints_.
 
-    Hotel de Ville; _Summer, Winter_.--_Victor Hugo offering his
+    Hôtel de Ville; _Summer, Winter_.--_Victor Hugo offering his
     lyre to the city of Paris._
 
     Amphitheatre of the Sorbonne; _Letters, Sciences and Arts_.
@@ -1208,7 +1171,7 @@ CATALOGUE OF THE WORKS OF PUVIS DE CHAVANNES
 
     Museum at Marseilles: _The Return from the Hunt_.
 
-    Hotel de Ville, Poitiers: _Saint Radegonde gives asylum to the
+    Hôtel de Ville, Poitiers: _Saint Radegonde gives asylum to the
     Poets_.--_Charles Martel re-enters Poitiers after his conquest
     of the Saracens._
 
@@ -1243,361 +1206,4 @@ preference was found in this book; otherwise they were not changed.
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 41835 ***
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-The Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Puvis de Chavannes
-       Masterpieces in Colour Series
-
-Author: Francois Crastre
-
-Editor: Henry Roujon
-
-Release Date: January 13, 2013 [EBook #41835]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK PUVIS DE CHAVANNES ***
-
-
-
-
-Produced by sp1nd, Charlie Howard, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
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-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY
-    M. HENRY ROUJON
-
-    PUVIS DE CHAVANNES
-
-    (1824-1898)
-
-
-
-
-_IN THE SAME SERIES_
-
-
-    REYNOLDS            RUBENS
-    VELASQUEZ           HOLBEIN
-    GREUZE              BURNE-JONES
-    TURNER              LE BRUN
-    BOTTICELLI          CHARDIN
-    ROMNEY              MILLET
-    REMBRANDT           RAEBURN
-    BELLINI             SARGENT
-    FRA ANGELICO        CONSTABLE
-    ROSSETTI            MEMLING
-    RAPHAEL             FRAGONARD
-    LEIGHTON            DÜRER
-    HOLMAN HUNT         LAWRENCE
-    TITIAN              HOGARTH
-    MILLAIS             WATTEAU
-    LUINI               MURILLO
-    FRANZ HALS          WATTS
-    CARLO DOLCI         INGRES
-    GAINSBOROUGH        COROT
-    TINTORETTO          DELACROIX
-    VAN DYCK            FRA LIPPO LIPPI
-    DA VINCI            PUVIS DE CHAVANNES
-    WHISTLER            MEISSONIER
-               MONTAGNA
-
-
-_IN PREPARATION_
-
-    GEROME              BOUCHER
-    VERONESE            PERUGINO
-              VAN EYCK
-
-[Illustration: PLATE I.--SAINT GENEVIEVE KEEPING WATCH OVER SLEEPING
-PARIS. Frontispiece
-
-(In the Panthéon, Paris)
-
-This composition, so great in its simplicity and so beautiful in
-execution, is the last work of the great artist. The model who posed for
-the saint watching over the city was Puvis de Chavannes' own wife. Both
-he and she died very shortly after its completion.]
-
-
-
-
-    Puvis
-    de Chavannes
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-    COPYRIGHT, 1912, BY
-    FREDERICK A. STOKES COMPANY
-
-
-    [Illustration: April 1912]
-
-    THE·PLIMPTON·PRESS
-    [W·D·O]
-    NORWOOD·MASS·U·S·A
-
-
-
-
-CONTENTS
-
-
-                                                          Page
-    Introduction                                            11
-
-    The First Years                                         16
-
-    The Glorious Years                                      31
-
-    The Last Years                                          53
-
-    The Landscape Painter                                   66
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-    Plate
-       I. Saint Genevieve keeping Watch over
-            sleeping Paris                        Frontispiece
-              In the Panthéon, Paris
-
-                                                          Page
-      II. The Piety of Saint Genevieve                      14
-              In the Panthéon, Paris
-
-     III. The Poor Fisherman                                24
-              In the Musée de Luxembourg, Paris
-
-      IV. Ludus pro Patria                                  34
-              In the Museum, Amiens
-
-       V. Repose                                            40
-              In the Museum, Amiens
-
-      VI. The Sacred Wood dear to the Arts and the Muses    50
-              In the Museum, Amiens
-
-     VII. Letters, Sciences, and Arts                       60
-              In the Amphitheatre of the Sorbonne
-
-    VIII. War                                               70
-              In the Museum, Amiens
-
-
-
-
-[Illustration]
-
-
-
-
-INTRODUCTION
-
-
-Glory does not dispense her favours to the deserving with an equal
-bounty. Painters as well as authors often suffer from the caprices of
-the inconstant goddess. While there are some who, guided by her
-benevolent hand, attain the pinnacle of fortune at the first attempt
-and almost without effort, other artists with a genius akin to that of
-Millet live in a state bordering upon penury and die in destitution.
-Renown seeks them out later, much too late, and tardy laurels flower
-only upon their tomb.
-
-Puvis de Chavannes for a long time fared scarcely better than these
-illustrious mendicants of art. He experienced the bitter pangs of
-injustice, the hostility of ignorance, the discouragement of finding
-himself misunderstood. If he was spared the extreme distress of Millet,
-it was solely because he was the more fortunate of the two in possessing
-a small private income. But nothing can crush the spirit of the born
-artist; neither contempt nor ridicule can hold him back. Puvis de
-Chavannes was endowed with a valiant and a tenacious spirit. Entrenched
-within the loftiness of his artistic ideal, as within a tower of bronze,
-he was steadfastly scornful of critics, affecting not to hear them; and
-never would he consent to disarm them by concessions that in his eyes
-would have seemed dishonourable. Yet this rare probity brought its
-own reward. The great painter attained the joy of seeing himself at
-last understood, and not only understood but admired during his
-life-time. He must even have derived an ironic satisfaction from
-counting among his warmest adherents certain ones who had formerly been
-conspicuous as his most violent detractors.
-
-[Illustration: PLATE II.--THE PIETY OF SAINT GENEVIEVE
-
-(In the Panthéon, Paris)
-
-In this composition, exceptionally fine in feeling, Puvis de Chavannes
-shows how much importance he attached to landscape, which was the
-natural setting of his paintings, and which he treated with as much care
-as his personages themselves.]
-
-Today the glory of Puvis de Chavannes shines forth in uncontested
-splendour. No one dreams of comparing him with any of his
-contemporaries, because his art reveals no kinship with that of any one
-of them. He is recognized as the successor and the equal of the great
-fresco painters of the Italian Renaissance. Even to these he owes
-nothing, having borrowed nothing from them. But he shares with them his
-passionate love of truth, his nobility of inspiration and sincerity of
-execution. There are no longer insinuating and derisory shakings of the
-head in the presence of his works. One must be devoid of soul in order
-not to sense their beauty. Even the ignorant, in the presence of this
-form of art which they do not understand, gaze upon it with respectful
-wonder, as upon something very great, the content of which they fail to
-make out, although they realize its power from the inner emotion they
-experience.
-
-"My dear boy," wrote Puvis de Chavannes to one of his pupils, "direct
-your soul compass-like, towards some work of beauty; that is the way to
-achieve it in its entirety."
-
-It is because he directed his own soul, compass-like, only towards works
-of a noble and pure beauty, surrendering himself with all the ardour of
-his impetuous and vibrant nature, that Puvis de Chavannes has taken his
-place as one of the noblest figures, not only in contemporary painting,
-but also in the painting of all times.
-
-
-
-
-THE FIRST YEARS
-
-
-Pierre Puvis de Chavannes was born at Lyons, December 14, 1824. His
-parents were in affluent circumstances and were connected with one of
-the old Burgundian families. His father pursued the vocation of chief
-engineer of mines, at Lyons. In the registry of births, in which the
-new-born child was entered, the father is designated simply by the name
-of Marie-Julien-César Puvis. The honourable title of "de Chavannes,"
-claimed later and with good right by the family, was confirmed to him
-by a decree of the Court of Lyons, bearing date of May 20, 1859.
-
-Young Puvis de Chavannes was sent, first to the Lycée at Lyons, later to
-the Lycée Henri IV, at Paris. But nothing either in the boy's tastes or
-in his aptitudes gave any hint of his future vocation; he showed no
-special inclination for drawing, nor even for art in general. Son of a
-mining engineer, he applied himself naturally to the exact sciences; and
-he would probably have donned the uniform of a polytechnic student, had
-it not been for an illness which the family looked upon as most
-unfortunate, but which posterity regards as providential. The young man
-was forced to interrupt his studies and bid good-bye to mathematics. Two
-years later he took a trip to Italy, in the company of a young married
-couple. In true tourist fashion he made the rounds of museums and
-churches; he conscientiously inspected the great masterpieces in which
-the peninsula abounds; but, by his own admission, he brought back no
-real profit from his travels. They were not, however, entirely futile,
-since they awakened in him the desire to become a painter. Upon
-returning to France he announced his determination to his family, and
-having won their consent, entered the studio of Henri Scheffer, brother
-of Ary Scheffer.
-
-Italy, seen too hastily, had taught Puvis de Chavannes nothing: the
-studio hardly served him to better purpose. But, through contact with
-Henri Scheffer, he acquired a respect not only for art but for the
-conception which each one must form of it for himself. The young
-neophyte, who was destined in later years to be himself a living example
-of fidelity to an ideal, remained forever thankful to the author of
-_Charlotte Corday_ for having imbued him with this noble sentiment. He
-always retained of him, throughout life, an affectionate and grateful
-memory.
-
-Scheffer's paintings, however, were far from satisfying his personal
-conception of art. Before very long he left his studio and betook
-himself to that of Delacroix. The latter admitted him readily; but the
-new pupil was not slow in discovering that here again he was out of his
-element. The great romantic painter, although an admirable artist, was a
-mediocre instructor. He alone, for that matter, could risk the violent
-colour schemes with which he covered his canvases; his pupils succeeded
-only in accentuating a debauch of thick-spread pigments by coupling
-together tones that cried aloud from the walls of the studio. The
-instinct of harmony and of proportion which was already awakening in
-Puvis de Chavannes, revolted against these audacities: he found himself
-ill at ease in the midst of this orgy of colour. It was after no such
-fashion that nature appeared to his eyes. He had about made up his mind
-to leave the studio of Delacroix when the latter, angered by criticisms
-and piqued at seeing the attendance falling off, decided to close his
-doors.
-
-It was at this time that young Puvis entered the studio of Couture.
-There again his stay was brief, and we find in his work few traces of
-the lessons there received. Once again it was only the conventional and
-artificial that were held up as object lessons for that young soul
-enamoured of the truth, for those wide-opened eyes that saw nature
-precisely as she is, and not under the tinsel glitter of fantasy under
-which the studio of the period draped her. It followed that he learned
-nothing from that school; nevertheless, he did not disown it. In the
-annual Salon Catalogue, Puvis de Chavannes continued to proclaim himself
-a pupil of Scheffer and of Couture.
-
-Once again the young painter found himself without a master, yet still
-eager to learn and as yet equipped with only a mediocre and highly
-defective rudimentary training. Convinced that he would never obtain the
-right start in any of the studios of the French capital, he determined,
-in company of one of his friends, Beauderon de Vermeron, to go in search
-of definite guidance, back to that same Italy which he had visited the
-first time with such small profit. This time he studied all the periods,
-all the schools, all the methods of Italian painting; he visited both
-Rome and Florence; and yet all his sympathies, as he himself declared,
-went out instinctively to the Venetian school which had produced Titian,
-Tintoretto, and, greatest of all, Veronese, inimitable prince of fresco
-and of decoration.
-
-Returning to Paris, Puvis de Chavannes no longer dreamed of soliciting
-the guidance of any school; henceforth he was to pursue his own path,
-to give heed only to his own temperament, to draw his inspiration only
-from nature herself. In the Place Pigalle he hired a studio, the same
-which he was destined to occupy for forty-four years, and which he
-quitted only two years before his death. Later on he possessed another,
-at Neuilly, in which to work upon his larger compositions, since there
-would not have been space enough for them in the Montmartre studio.
-Whatever the weather, through cold and through heat, Puvis de Chavannes
-could be seen, for more than thirty years, making his way on foot, with
-long, rapid strides, from the Place Pigalle to Neuilly or in the reverse
-direction. This daily promenade grew to be a necessity; it was the sole
-recreation of this painter so enslaved by his art that in a certain
-sense he might be called a Benedictine of painting.
-
-In 1852, the date when his real career began, Puvis de Chavannes was
-twenty-eight years of age. He was at this time a handsome young fellow,
-tall of stature and large of frame, quick-witted, jovial and
-enthusiastic, and combining the whole-souled simplicity of the artist
-with the polished manners of a man of the world, inherited from his
-father. Many people conceive of Puvis de Chavannes as melancholy and
-sombre. Nothing could be further from the truth. He was fond of all the
-joys of living, friendly gatherings, abundant good cheer. But what he
-prized above all, thanks to the perfect balance of his physique, was the
-ability to apply his robust health to incessant work, which he pursued
-without intermission up to the day of his death.
-
-In 1850, Puvis de Chavannes made his début by sending to the Salon a
-_Pietà_, which was accepted. His joy was great, for it was the joy of
-the first step. Later on, his satisfaction in that picture diminished.
-It had certain defects, and gave evidence of inexperience, which the
-young painter was quick to perceive. That same year he painted _Jean
-Cavalier at the bed-side of his Mother_, and an _Ecce Homo_, bold in
-execution and violent in tone.
-
-[Illustration: PLATE III.--THE POOR FISHERMAN
-
-(In the Musée de Luxembourg, Paris)
-
-No one else, excepting Millet, had the skill to render with so much
-truth the physical and moral distress of the unfortunate. This resigned
-fisherman, bending his back under the inclement sky, is a veritable
-masterpiece, both in execution and in observation.]
-
-In 1852, the pictures which he submitted to the Salon were rejected by
-the jury, and this ostracism continued for several years. It was an
-epoch when every effort towards artistic independence was officially and
-systematically repressed. The young artist was not alone in
-disfavour; he shared it with a number of his friends, some of whom were
-already famous, or at least well known. Equally with himself, Courbet,
-Dupré, Barye, Rousseau, Millet, Troyon, Corot, Diaz and Delacroix found
-themselves ejected from the doors of the temple. In the eyes of the
-Academy, they were all of them madmen or revolutionaries; for his part,
-he was treated with less honour: he was regarded as a maniac of no
-importance. His exclusion lasted for nine years, during which the
-critics and the public united in making him the target for their
-sarcasms.
-
-Puvis de Chavannes was always keenly sensitive to criticism; it cut him
-to the quick, but he prided himself on showing no outward sign. He
-repaid it by affecting the most complete disdain. When anyone in his
-presence bestowed only a qualified praise on one of his works, his lips
-would betray his scorn in a faint crease, which Rodin, another
-misunderstood giant, has admirably caught in his buste of the painter.
-As it happened, however, Puvis de Chavannes was rarely fortunate in
-having the encouragement and support of such an admirable companion as
-the Princess Cantacuzène. That splendid woman, of exceptional
-intelligence and distinction, enjoyed art and understood it; she fell in
-love with Puvis de Chavannes and became his wife. "Whatever I am and
-whatever I have done," wrote the painter, "is all due to her."
-Throughout more than forty years, she filled the rôle of beneficent
-genius to the artist, the Egeria whose voice he never failed to heed.
-Puvis de Chavannes had worshipped faithfully at her shrine; and when she
-died, he felt that the term of his own life had reached its end. He
-survived her scarcely more than a few months.
-
-Under the shelter of her far-sighted affection, the artist closed his
-ears to hostile comments, and followed his bent, without trying to
-modify his manner of seeing and feeling nature. None the less, the
-paintings of this period are far from perfect; a certain constraint is
-apparent in them, due to inexperience and also to some lingering
-influence either of his studio training or of Italy. _The Martyrdom of
-St. Sebastian_, _The Village Firemen_, _Meditation_, _Herodiade_,
-_Julie_, _Saint Camilla at the_ _bedside of a dying man_, while they
-reveal some very genuine personal qualities, are none the less somewhat
-reminiscent of the manner of Couture, by whom he seems to have been most
-directly influenced.
-
-His first real picture, the one which first marked and fixed for all
-time the artist's personality, was _Peace_, now in the Museum at Amiens.
-So much knowledge and so much harmony were displayed in this picture
-that the jury simply did not dare reject it. What is more, it won for
-its author a medal of the second class. He was not slow in giving it a
-companion piece, in the shape of a painting entitled _War_, which is now
-also at Amiens.
-
-In the first of these pictures, the one consecrated to the pleasures of
-_Peace_, everything seems quite academic, the poses, the composition,
-the countenances: and yet, there is no stiffness, everything is vibrant,
-alive, palpitating in a serene and luminous atmosphere. The artist has
-herein magnificently demonstrated the truth of a phrase which he wrote
-to Ary Renan, in the course of a trip which the latter took to Italy:
-"Just as you yourself feel and have very well expressed, no study of
-other artists' work can trammel one's originality." Neither the memory
-of Italy nor the influence of Couture had prevented him from asserting
-himself, and that, too, vigorously.
-
-_War_ is, if anything, superior to _Peace_. The painter is here wholly
-himself. There is no longer in his work any trace of outside influence.
-And what vigour there is, what eloquence, in the simplicity of the
-composition! Is there in existence a more admirable argument against war
-and its horrors? Beside the corpse of a young warrior, a father and
-mother are prostrated, voicing aloud their anguish; and meanwhile the
-conquerors, approaching from the far horizon black with devastation and
-slaughter, blow their victorious trumpets and urge their horses forward
-towards the group of mourners.
-
-From that moment, Puvis de Chavannes began to command attention. He was
-discussed more acrimoniously, more passionately than ever; no one could
-neglect him nor pretend not to have heard of him.
-
-The government bought _Peace_, but refused to purchase _War_, in spite
-of the fact that the two paintings were companion pieces. In order to
-prevent them from being separated, the artist generously donated the
-second picture.
-
-In 1863 came a new series representing _Labour_ and _Rest_. Faithful to
-his principles, the author gathers together on his canvas the entire
-cycle of actions and ideas suggested by his subject.
-
-In _Labour_ he has placed in the foreground a group of blacksmiths,
-representing, in his eyes, the fully developed type of the worker,
-because of the degree of their exertion, the vigour of their action.
-While two of them stir the fire, the others, armed with heavy sledges,
-strike alternate blows upon the anvil. At no great distance, some
-carpenters are squaring the trunks of trees; beyond, on the plain, a
-peasant can be seen, guiding his ploughshare through its furrow. In the
-foreground there is also a woman, nursing a young child. The entire
-cycle of human toil is glorified in this single painting.
-
-_Repose_ shows us an old man seated, giving to the young folk grouped
-around him wise counsel, drawn from his long experience. Nothing could
-be more graceful than the relaxed postures of the different figures,
-who, we feel, are listening with real attention.
-
-Since these four pictures, _Peace_, _War_, _Labour_, _Repose_, were the
-interpretation of general ideas, the artist could not give them any
-precise setting, any local colour. The nude, which is employed for all
-the figures, was his sole means of obtaining absolute truth.
-
-Already at this period one perceives in Puvis an anxious endeavour to
-sacrifice all the little easy methods of winning acclaim, in order to be
-free to concern himself solely with the harmony of his subject as a
-whole. Throughout his entire life, he was destined to have no greater
-preoccupation than that of effacing himself completely, and forcing the
-public, when in the presence of his work, to see nothing but the work
-itself and to give not a thought to the painter.
-
-During the year 1864, the results of Puvis de Chavannes' industry were
-fairly abundant. At the Salon, he exhibited two very beautiful canvases,
-_Autumn_ and _Sleep_.
-
-The first of these two pictures is symbolic and represents the different
-ages of life in the form of women of unequal years. One of them, her
-pensive face already marked with lines, watches her companions gathering
-flowers and fruit, symbols of youth.
-
-This work, charming in composition, is now in the collection of the
-Museum at Lyons.
-
-_Sleep_, a large decorative composition, after the manner of _Peace_ and
-_War_, is in the Museum at Lille.
-
-
-
-
-THE GLORIOUS YEARS
-
-
-All these works, acrimoniously discussed and unjustly attacked by the
-critics, made the name of Puvis de Chavannes widely known without
-augmenting his reputation. The general public, habituated to the
-stereotyped, elaborate, ornate school, understood nothing of such
-deceptive simplicity. His canvases would not sell. Even the government
-had made no more purchases since its acquisition of _Peace_. It had even
-refused to acquire _War_, when the artist offered it. As we have already
-said, sooner than have the two pictures separated, Puvis made up his
-mind to donate it.
-
-Commissions failed to come in, and nothing afforded hope that this
-condition of affairs was likely to change, when chance threw in the path
-of Puvis de Chavannes a man whose providential intervention completely
-transformed his destiny.
-
-At about this epoch the city of Amiens had started to build a museum.
-The architect of this enterprise, M. Diot, came to see Puvis de
-Chavannes and said to him:
-
-"I saw your paintings in the Salon of 1861, and was greatly pleased with
-them. In the edifice which I am at present constructing, there are some
-vast surfaces to be covered. Are your two pictures, _Peace_ and _War_,
-still in your possession? I could find immediate use for them."
-
-Puvis de Chavannes replied that the two paintings in question belonged
-to the State. The city of Amiens immediately solicited the concession of
-them, which was courteously granted.
-
-[Illustration: PLATE IV.--LUDUS PRO PATRIA
-
-(In the Museum, Amiens)
-
-This great composition, of which the present plate gives only a
-fragment, is numbered among the most beautiful productions of Puvis de
-Chavannes, because of the harmony of its parts, the nobility of the
-postures and the charm of its detail.]
-
-The paintings were placed in the grand gallery on the first floor, where
-they produced a most beautiful decorative effect. Puvis de Chavannes,
-delighted at this unhoped-for good fortune, offered to complete the
-decoration of the gallery, by painting the panels occupying the
-spaces between the windows. The illumination is exceedingly bad, but
-with infinite art the painter succeeded in harmonizing his compositions
-with the atmosphere and light of the room. It should be noted further
-that the subjects treated in the panels on the right gallery relate to
-the picture of _War_, which faces them; they are a _Standard-Bearer_ and
-a _Woman weeping over the ruins of her home_. The same holds true of the
-painting consecrated to _Peace_, the corresponding panels being a
-_Harvester_ and a _Woman spinning_.
-
-Puvis de Chavannes considered himself fortunate in having two of his
-works which he so greatly loved find a place in a museum. The
-municipality of Amiens was none the less delighted in possessing them;
-it gave proof of this by once more sending its municipal architect to
-him on a special embassy:
-
-"I need two more mural paintings to decorate the main staircase of the
-museum. Do you happen to have what I need ready made, as you did the
-other time?"
-
-The architect was jesting. Puvis de Chavannes betook himself to a
-corner of his studio, and unrolling two canvases, presented them to M.
-Diot:
-
-"Here are what you want. These two pictures are of the same dimensions
-as _Peace_ and _War_; they represent _Repose_ and _Labour_ and form part
-of the same series. Will they serve your purpose?"
-
-They served the architect's purpose to perfection. Unfortunately the
-city of Amiens did not have the money to pay for them. The difficulty
-was explained to the artist who, with his customary disinterestedness,
-made a present of both the paintings. They were soon stretched in the
-places for which they were intended, in a framework of fruits and
-flowers, and produced an admirable effect. The municipality of Amiens
-was so well satisfied with these paintings that it decided at the cost
-of great sacrifices to commission Puvis de Chavannes to prepare a large
-composition destined to occupy the entire upper panel of the staircase
-on the side of the grand gallery. This panel was intersected by two
-doorways.
-
-Puvis de Chavannes set to work immediately. In the Salon of 1865 he
-exhibited his _Ave Picardia Nutrix_, destined for the Museum of Amiens.
-
-The painting produced a veritable sensation. Even the unskilled in art
-experienced an instinctive emotion in the presence of this important
-canvas which they did not fully understand, but which they felt to be
-sincere; as to the artists, they were obliged to acknowledge that the
-painter whom they had scoffed and derided, and who had now produced the
-_Picardia Nutrix_, was unquestionably a master.
-
-The _Ave Picardia Nutrix_ is a glorification of the fertility and
-richness of the land of Picardy. The artist has wished to represent in a
-succession of episodes, harmoniously related one to another, all the
-products of the soil and all the local industries from which Picardy
-draws its prosperity.
-
-To this end he has grouped his figures in the setting of a Picardian
-landscape, quite faithful in colour and in line. M. Marius Vachon
-analyzes the painting as follows:
-
-"Beneath the orchard of a vast estate some peasants are turning a flour
-mill; women are bringing apples for a keg of cider; masons are building
-the walls of a house, and an old woman is spinning on her distaff the
-native hemp. Along the banks of a stream, women are weaving fish nets;
-carpenters are constructing a bridge; boatmen are steering heavy-laden
-barges. Add to these professional labours the incidents of work-a-day
-life, which are taking place on every side, charming incidents,
-picturesque and touching; a little lad, carrying a heavy basket of fruit
-on his head, eager to show his strength before his elders; a mother,
-nursing her youngest born; some women bathing under the shadow of the
-willows. The composition is abundantly suggestive of delicate
-impressions; and it forms a magnificent decoration for the edifice in
-which it has been placed."
-
-When the painting had been installed in its position in the vestibule of
-honour on the main floor, the municipality of Amiens perceived that the
-fourth side of the staircase, the only one not decorated, was precisely
-the one that best lent itself to the development of a painting, because
-of its considerable surface. The ceiling, it is true, darkened this
-vestibule, owing to its insufficient window space. It was, furthermore,
-adorned by a painting by Barrias. Nevertheless the city determined
-to replace the ceiling by a skylight, on condition that Puvis de
-Chavannes would paint the vacant panel thus made available.
-
-[Illustration: PLATE V.--REPOSE
-
-(In the Museum, Amiens)
-
-This work is one of the earliest by this great artist. It is very
-interesting, because it still shows the influence of Couture's studio,
-where Puvis de Chavannes had been a pupil. It serves as a point of
-comparison for determining the evolution of the artist's talent.]
-
-However, the resources of the municipality did not permit it to incur so
-great an expense. It appealed to the State, which curtly refused its
-coöperation. The city fathers of Amiens were in despair, the painter not
-less so. What was to be done? Wait until the municipality, through slow
-economies, was in a position to order the picture? Puvis de Chavannes,
-who had grown enthusiastic over the task, was boiling with impatience
-and listened day by day, as he expressed it, to hear if no breeze was
-blowing his way from Amiens.
-
-But when the breeze remained persistently unfavourable, Puvis de
-Chavannes, growing tired of waiting, decided to execute the panel in any
-case, come what might. And he composed the admirable fresco which bears
-the name of _Ludus pro Patria_.
-
-Everyone knows the subject of this painting, which has passed into a
-legend. In a plain traversed by a running stream, some young men are
-engaged in a game of rivalry with spears. On a knoll, an old man,
-surrounded by women, serves as umpire. He follows, with attentive eye,
-the fluctuations of the game, while a young lad, in a pose charming for
-its relaxation, rests one arm around his neck. Behind him a young woman
-holds out her baby for its father to kiss. On the left of the picture,
-seated at the foot of a tree, or grouped around a fountain, young girls
-await the end of the game in which their brothers or their betrothed
-take part. One of them leans towards an aged minstrel and begs him to
-play some dance music after the game is over.
-
-All these groups are harmoniously disposed in an open-air setting,
-dotted over with cottages and stately trees, enveloped in a soft and
-mellow light.
-
-This picture reveals the artist's predilection for children, a very
-curious and touching predilection to discover in a painter whose own
-fireside was never gladdened by childish laughter. Let us examine the
-_Ludus pro Patria_; in this picture Puvis de Chavannes has been lavish
-of childhood games and pastimes. Notwithstanding that his art was before
-all else synthetic, and gained its effects from harmony of attitude
-rather than from finish of figures, he plainly expended loving care in
-modelling those delicate and charming little bodies, which he has
-endowed with infinite grace. Is there anything more adorably exquisite
-than the gesture of the infant stretching out its plump arms towards its
-father? And does not the child standing before the group by the fountain
-reveal the master's tender solicitude for these little beings whose
-absence from his domestic life he probably regretted?
-
-The distinguished custodian of the Museum at Amiens showed me the corner
-of the balustrade on which the painter rested his elbows, in front of
-the group of which that child forms part. After some moments of
-contemplation, he might be seen to mount his scaffolding, brush in hand,
-to add a few strokes, some new tint to that delightfully modelled little
-form.
-
-The _Ludus pro Patria_ is something more and something better than a
-beautiful picture; it is a symbolic work in which the noblest
-conceptions of patriotism are exalted. With his incomparable synthetic
-art, Puvis de Chavannes has endeavoured to show all the diverse manners
-of serving usefully one's native land. Young women, bearing the tender
-burden of nursing children, are rearing for their country a valiant
-generation, which before long will be augmented through the robust girls
-grouped on the left, awaiting the advent of husbands. The children,
-grown to manhood, will practise games of strength and skill which will
-render them capable of defending their common patrimony. The old man
-himself has his rôle assigned in this ideal commonwealth; ripened by
-experience of life, he supplements the feebleness of his arms by the
-wisdom of his lessons; he is the honoured counsellor, the arbiter of
-full justice, who restrains the ardor of youth within the path of
-reason.
-
-The cartoon for this magnificent panel was exhibited in the Salon of
-1881; it achieved a unanimous success. The State acquired it, and at the
-same time commissioned Puvis to paint the picture itself for the Museum
-of Picardy. The finished work, in its proper dimensions, found a place
-in the Salon the following year, and gained its author the medal of
-honour from the Society of French Artists.
-
-We have followed Puvis de Chavannes in his decoration of the Museum of
-Amiens, from the beginning to the end of his artistic career, without
-regard to chronological order, because of the interest which he himself
-took in this extensive work, which was, one might say, his constant
-preoccupation. Accordingly we must go back in point of time and follow
-step by step this astonishing and genial worker whose accomplishment is
-disconcerting in its power and its fecundity.
-
-The first works executed for the Museum of Amiens had attracted public
-attention to him. The municipality of Marseilles had just crowned the
-important enterprise of bringing the waters of the Durance into the
-city, by erecting a sumptuous Public Waterworks, bearing the name of the
-Palace of Longchamps.
-
-Two great mural surfaces enclose the principal staircase. It was decided
-to decorate them with paintings. And when the time came to choose the
-artist, a unanimous agreement was reached on the name of Puvis de
-Chavannes.
-
-The latter, being notified, accepted joyfully, as he accepted all
-occasions of converting a noble vision of art into a reality. And what
-finer fortune could come to an artist that to celebrate Marseilles, the
-sun-bathed city, vibrant with light, crouching royally on the azure
-mantle of the Mediterranean?
-
-Puvis de Chavannes hastened to the ancient Ligurian city. He calculated
-the difficulties of composing a great decorative composition, free from
-banality, out of the habitual elements of a seaport,--a subject a
-thousand times treated and perilous of execution. He sought, he studied,
-he promenaded the quays, he strode the length and breadth of the city.
-At last the enlightening flash he awaited came in the course of a trip
-to the Chateau d'If. In the presence of that noble panorama of the city
-seen from the sea, he remained as if dazed, realizing that he had found
-what he was in search of. He would not paint Marseilles with the sea as
-a decorative background; it was the city herself that should form the
-background, and not the sea. He had his two pictures in his grasp.
-
-And without stirring from the spot, while his friends took luncheon, he
-remained seated on the rocks, making notes and sketches, in order to
-fix fully in his mind "the line and colour of that marvellous maritime
-landscape."
-
-The first of these pictures, _Marseilles the Greek Colony_, stands for
-the entire history of the Phocian city from its foundation to the
-present time. But, following his essentially synthetic method, he
-painted, not the successive transformations of Marseilles, but symbolic
-figures of the sources to which she owes her grandeur and her
-prosperity.
-
-In the background is the strand, which as yet is only a natural harbour.
-Along the shore, vessels are seen building; these are the symbol of
-activity. Further off, horses are bringing merchandise towards the boats
-about to sail, symbol of the commercial instinct; masons, carpenters,
-stonecutters, are zealously plying their craft; and palaces,
-storehouses, and churches arise, symbols of wealth and of taste in art.
-
-Among the accessory features are a woman vendor spreading before other
-women rich fabrics and pearls, and some slaves conveying towards the
-city jars of oil and skins filled with wine.
-
-In _Marseilles, Gateway of the East_, a ship is seen, laden with
-travellers, making its way into port. All these passengers are
-Orientals, recognizable by the gaudiness of their garments: they admire
-the panorama of the rich city whose fortifications, churches, and
-palaces stand out in bold relief against the ruddy light of evening.
-
-An atmosphere of warmth and brilliance emanates from these two
-paintings, of which the city of Marseilles has shown herself justly
-proud.
-
-When Puvis de Chavannes received a commission for a mural painting he
-gave himself ardently to his task, but at the same time intermittently.
-Contrary to a generally accepted belief, his genius was not the result
-of "long patience," but rather the realization of a vision. He never
-applied himself to a painting if some external cause, no matter what,
-had deadened in him the essential inspiration. In such a case, he would
-revert to some other work which his mind could "see better" on that
-particular day. In this way we can understand how he could carry forward
-simultaneously several works of equal importance, and at the same time
-paint in addition occasional easel pictures.
-
-[Illustration: PLATE VI.--THE SACRED WOOD, DEAR TO THE ARTS AND THE
-MUSES
-
-(In the Museum, Amiens)
-
-This painting, admirable in execution, is quite interesting to study,
-because it serves to show in what a purely personal manner, wholly
-detached from mythological traditions, Puvis de Chavannes interpreted
-Antiquity.]
-
-Following the example of Marseilles and Amiens, the city of Poitiers,
-which in 1872 had just completed the building of a City Hall,
-commissioned Puvis de Chavannes to decorate the main staircase.
-
-The two subjects chosen by the artist, with the approbation of the
-municipality, were as follows:
-
-First panel:--"Radegonde, having retired to the Convent of the Holy
-Cross, offers an asylum to the poets and protects Literature against the
-barbarism of those days."
-
-Second panel:--"The year 732: Charles Martel saves Christendom by his
-victory over the Saracens near Poitiers."
-
-The legend of Radegonde is well known: "The virtuous spouse of Clotaire,
-fleeing from the brutality of that crowned free-booter and hiding in a
-convent in order to escape his pursuit." But this convent is by no means
-a cloister; the practice of arts and letters is pursued alternately with
-the singing of psalms.
-
-The door stands open to poets. One of them, Fortunatus, passing through
-Poitiers, stops there and is received with cordial hospitality, and
-conceiving for the saintly queen a delicate and chaste love, he remains
-for twenty years in this abode in which he purposed to spend only a few
-days.
-
-Puvis de Chavannes has magnificently rendered the poetic beauty of this
-historic episode by representing one of the fêtes given by Radegonde in
-the Convent of the Holy Cross.
-
-In the second panel, we see Charles Martel returning to Poitiers,
-victorious over the Saracens and receiving the benediction of the
-bishops. Here the artist's brush attains a vigour of expression such as
-in all his life he found but few occasions to employ. The countenances
-of the bishops, notably, stand out with a relief and an energy that are
-remarkable.
-
-M. Marius Vachon relates that he once asked the artist, who was a
-personal friend, to what documents he had recourse in order to give such
-forbidding features to the prelates in his painting:
-
-"I got the suggestion for them," he replied, laughing, "from an old set
-of chess men, consisting of the coarse and grouchy faces of knights and
-jesters."
-
-
-
-
-THE LAST YEARS
-
-
-In the days following the Franco-Prussian War and the Commune, the
-Government conceived the project of decorating the Panthéon, which had
-just been once more secularized, in order to convert it into a temple
-wherein all the shining lights of the nation could be brought together
-and honoured.
-
-M. de Chennevières, who at that time was director of the Beaux Arts gave
-the first place, in that illustrious line, to the noble and serene
-Genevieve, patron saint of Paris, incarnate ideal of patriotism.
-
-Accordingly it was a series of religious paintings that M. de
-Chennevières required of Puvis de Chavannes, when he entrusted him with
-a large share of the decoration.
-
-This type of painting, although new to Puvis de Chavannes, failed to
-intimidate him. He had too much patriotic fire, more than enough
-Christian faith, and above all too thorough a mastery of his profession
-not to approach this task with full confidence. It is enough to visit
-the Panthéon just once in order to be convinced of this. A more
-magnificent realization of Saint Genevieve could not be conceived of,
-even in dreams. But are these paintings to be classed with religious
-art? One would hesitate to assert it, if the pictures habitually
-consecrated to religious themes are to be taken as a standard. But they
-are something better than that, because the virgin protectress of Paris
-is in these pictures profoundly human; she is brought very close to us,
-and we see her despoiled of the aureole that would have removed her too
-far from our vision and our hearts.
-
-The whole world knows, at least through reproductions, the series of
-paintings consecrated to the life of this saint. First of all, we have
-Saint Genevieve as a child, singled out from a crowd by Saint Germain,
-because she is marked with the divine seal. "I chose the hour," wrote
-Puvis de Chavannes, "at which history claimed possession of this heroic
-woman. These two are not an old man and a child, they are two great
-souls face to face. The glance which they ardently exchange is, in its
-moral significance, the culminating point of the composition."
-
-Next in order comes the _Piety of Saint Genevieve_. The pious child is
-at her prayers before a cross formed by two interlacing branches. This
-is the prologue of a life filled with miracles, divine recompense
-accorded only to supernatural virtue. The artist has admirably
-reproduced the mystic fervour of that child whose future was
-foreordained to be so beautiful.
-
-Subsequently, in 1896, the Government entrusted Puvis de Chavannes with
-the execution of two new panels, likewise dedicated to the life of Saint
-Genevieve. The two themes chosen were the following:
-
-"Ardent in her faith and in her charity, Genevieve, whom the greatest
-perils could not swerve from her duty, brings sustenance to Paris,
-besieged and threatened with famine."
-
-"Genevieve, sustained by her pious solicitude, keeps watch over sleeping
-Paris."
-
-These noble paintings were the last productions of the great artist. A
-sort of premonition told him that the end was near, in spite of his
-robust health. "How I shall devote myself to the Panthéon," he wrote,
-"when I am finished with the Hôtel de Ville! I intend it to be a sort of
-last will and testament."
-
-In these last paintings, Saint Genevieve is no longer a child. Having
-attained womanhood, her saintliness is such that, from all sides, people
-come to take shelter behind her veil, like children around their mother,
-as soon as danger is announced.
-
-For the purpose of portraying this hieratic and inspired figure, Puvis
-de Chavannes found the ideal model close at hand, in the noble woman who
-had associated her entire life with his. _Genevieve bringing sustenance
-to Paris_ is the artist's wife who, already mortally ill, inflicted upon
-herself the most cruel suffering, in order to pose in her husband's
-studio. The disease which was killing her was known only to herself, and
-she had the heroism to conceal it up to the supreme hour when, conquered
-at last, she was stricken down. In painting the pensive and dolorous
-attitude of _Genevieve watching over sleeping Paris_, the poor artist
-never once suspected that he was tracing for the last time the portrait
-of her who had been the consolation and the joy of his whole existence.
-
-The unfortunate woman lacked the strength to play her rôle to the end;
-she was forced to take to her bed. The artist, no less heroic than she,
-feeling that his own life was slipping away with hers, yet wishing to
-complete this last work,--his testament--transported his easel beside
-the dying woman's bed, and there finished the sketches for his picture.
-
-In the intervals of time between the paintings executed for the
-Panthéon, Puvis de Chavannes produced certain other large compositions
-in no wise inferior either in importance or in merit, notably, in 1883,
-a large painting for the Palace of Arts, at Lyons.
-
-The municipal government of that city, wishing to have the main
-staircase of the palace decorated, entrusted the execution to the great
-artist who was at the same time a compatriot. He felt a very special joy
-in accepting this commission, for he had always retained a vivid memory
-of the city of his birth.
-
-He endowed it with three pictures of a very high order, one of which,
-_The Sacred Wood, dear to the Arts and the Muses_, is considered by many
-to be the artist's masterpiece.
-
-Puvis de Chavannes breaks away from the mythological theme so often
-treated that it has become hackneyed. It is not on Helicon that he
-groups his Muses, but on the shore of a lake, in a setting of verdure
-softly illuminated by the rays of the moon. At the foot of a portico,
-Calliope is seen declaiming verses before her sisters. Some of the Muses
-appear attentive; others converse together; one of them is reclining
-lazily upon the grass. Euterpe and Thalia, heralded from the sky by song
-and the accompanying lyre, approach to join the group.
-
-[Illustration: PLATE VII.--LETTERS, SCIENCES AND ARTS (detail)
-
-(In the Amphitheatre of the Sorbonne)
-
-In this immense composition, in which the groups are balanced with
-admirable harmony, there is an exalted and pervading beauty. It makes
-itself felt in the prevailing mood of the subject as a whole, in the
-expressions of the several characters, in the naturalness of their
-attitudes and in the luminous clarity of the landscape.]
-
-Antiquity, as treated by Puvis de Chavannes, loses nothing of its
-nobility, but quite the contrary. It even gains in real beauty, because
-his Muses profit by being despoiled of those conventional attitudes, in
-which an immutable tradition has trammelled them. The artist has
-retained only such of their attitudes as cannot detract in any way from
-the naturalness of their movements or their lines.
-
-In the same Palace of Arts, Puvis de Chavannes painted two additional
-allegorical panels representing _The Rhone and The Saône_, both of which
-are admirably effective.
-
-To about the same period belongs his well known painting, _The Poor
-Fisherman_, at present in the Musée du Luxembourg.
-
-In this work, which he painted as a relaxation from his more extensive
-efforts, Puvis de Chavannes has tried to portray, as Millet so often
-did, all the sordid and lamentable misery of the slaves of toil, who
-bend their poor aching backs beneath the burden of physical distress and
-mental degradation. This work is a fine and eloquent lesson in
-humanity.
-
-In 1889, the Hôtel de Ville, in Paris, proceeding with the still
-unfinished decoration of its numerous halls and chambers, entrusted
-Puvis de Chavannes with the task of decorating the main staircase and
-the first salon in the suite of reception rooms.
-
-On one wall of this salon, he painted _Winter_, on the other _Summer_.
-These two compositions are of imposing dimensions and admirable in
-execution.
-
-_Winter_ shows us a snow-clad stretch of forest landscape. Woodsmen are
-hauling the trunks of trees which others of their number have just
-felled. Nothing could be more impressive than his rendering of the
-desolation of winter; and the truth, the exactitude of the physical
-effort these men are putting forth, with every muscle straining tensely
-on the rope.
-
-_Summer_ shows us a delightful and smiling landscape flooded with light;
-bathing women plunge their nude forms beneath the water, while a mother,
-seated on the grass, nurses her new born child. In this picture Puvis de
-Chavannes, who was a landscape painter of the first order, has
-surpassed himself; the work is a miracle of open air and grateful shade.
-
-Unfortunately, the room in which these two magnificent pictures are
-placed suffers from a deplorable want of light, and its scanty
-dimensions make it impossible to stand back at a sufficient distance to
-see them to advantage. The Hôtel de Ville should for its own credit
-assign them a place more in keeping with their worth.
-
-For the museum at Rouen, Puvis de Chavannes painted an allegory entitled
-_Inter Artes et Naturam_, charming in fantasy and poetic feeling.
-According to his habit, he has grouped together in synthetic form the
-various things which constitute the wealth or serve to mark the
-characteristics of the province of Normandy.
-
-Labourers heaping up architectural fragments preserved from all the
-various epochs proclaim the variety and antiquity of its monuments; its
-special art is represented by a young girl painting a tulip on a
-porcelain plate and by a lad carrying a tray of pottery; its principal
-agricultural richness is revealed by the action of a woman, bending down
-a branch of an apple-tree, in order that her child may reach the fruit.
-And at the bottom of the picture flows the Seine, rolling its flood past
-a long sequence of manufactories, and bearing in its course heavily
-laden boats.
-
-This picture is one of Puvis de Chavannes' most ingenious conceptions;
-furthermore, it possesses great charm of detail.
-
-In 1891, the trustees of the Boston Museum approached Puvis de Chavannes
-with a request to decorate the main staircase of that edifice.
-
-The negotiations were troublesome. In spite of his delight at having a
-new work to produce, in spite of the legitimate pride he felt in this
-homage paid to French art, Puvis de Chavannes hesitated to accept the
-commission. For the first time he faced the necessity of painting a
-canvas without having studied beforehand the physiognomy, the
-environment, the illumination of the space he was to decorate, and his
-artist's conscience suffered. Besides, certain misunderstandings had
-arisen between American trustees and the painter; several times
-relations were on the point of being broken off; and no definite
-agreement was reached until after the lapse of four years.
-
-Puvis de Chavannes began this work in 1895; he did not finish it until
-1898. The surface to be covered was to be divided into nine large
-panels, three facing the entrance, three to the right, three to the
-left. The choice of subjects was left to him.
-
-For the central panel Puvis de Chavannes chose a theme already treated
-twice by him: _The inspiring Muses acclaim Genius, Messenger of Light_.
-
-Against a background of sea and of blue sky, a Genius with the radiant
-features of a child advances, holding a torch in each hand. At sight of
-the Genius the muses run forward and range themselves on each side.
-
-The ninth muse, still floating through the air, hastens to rejoin her
-companions.
-
-This whole charming group of women is deliciously painted and one is at
-a loss which to admire the more; the originality of the artistic
-conception, or the peculiarly rare delicacy of the painter's skill.
-
-The eight subordinate panels represent _Bucolic Poetry_, _Dramatic
-Poetry_, _Epic Poetry_, _History_, _Astronomy_, _Physics_, _Chemistry_
-and _Philosophy_. All these paintings produce a decorative effect of the
-highest order, and many critics consider, not without reason, that this
-group of frescoes in the Boston Library constitutes the masterpiece of
-Puvis de Chavannes.
-
-However that may be, the authorities of the great American city are very
-proud of this absolutely unique decorative ensemble, and whenever any
-distinguished stranger passes through Boston he is conducted to admire
-it. Is not this a beautiful homage to French art, of which Puvis de
-Chavannes was one of the most glorious exponents?
-
-
-
-
-THE LANDSCAPE PAINTER
-
-
-There is, in the work of Puvis de Chavannes, so much harmony and
-balance; the place occupied by each figure is so perfectly planned to
-accord the unity of the whole, that one does not perceive at first,
-because of the wise ordering of the assembled parts, how many-sided the
-artist's genius was. And so it happens that the landscape painter in him
-does not appear excepting under analysis. Yet few artists have advanced
-the science of landscape so far; indeed, in all his compositions it
-holds a position, if not of first importance, at least one equal to that
-of his figures. In his eyes it was not a matter of convention, a
-decoration, an accessory, but an indispensable part of the picture, so
-indispensable indeed that, without the landscape the picture would not
-exist. In short, it is in his landscape that Puvis de Chavannes has
-always placed the local colour of his compositions, and not in his
-figures. The latter are generally clad in antique fashion, in order to
-remain representative of humanity in general, but the setting is local:
-his _Ave, Picardia Nutrix_, for instance, shows us the land of Picardy
-with its level plains and its melancholy horizons: similarly, the two
-frescoes in the Palace of Longchamps reproduce faithfully the
-sun-flooded coast of Marseilles and the animation of its quays;--and yet
-the hurrying crowds upon them belong to no definite race nor to any
-determinable epoch.
-
-It is always so in the paintings of Puvis de Chavannes: the landscape
-and the living figures harmonize, fit in, complete each other, and the
-consummate art of the landscape painter yields in no way to that of the
-painter of figures.
-
-[Illustration: PLATE VIII.--WAR
-
-(In the Museum, Amiens)
-
-This work dates from the same period as _Repose_ and _Peace_. It marks
-the début of Puvis de Chavannes in his career as an artist. In spite of
-some reminiscences of his training, his individuality already asserts
-itself, and the originality of composition is unmistakable.]
-
-Puvis de Chavannes has been criticized on the ground that in such of his
-pictures as evoke antiquity, he sacrificed accepted tradition and
-acquired knowledge. From this to a direct charge of ignorance was an
-easy step; and it was quickly taken. That the artist attached a mediocre
-importance to accuracy in decoration or antique costume, there can be no
-question. Truth, in his eyes, consisted less in the detailed
-reconstruction of garments than in the faithful representation of that
-eternally living model, the human soul, over which whole centuries have
-passed, without availing to modify it. All else is merely accessory
-and secondary, if not actually negligible. At the same time, no one was
-ever more truly impregnated with the spirit of antiquity, as he had
-imbibed it from his readings, from his travels and from his own
-meditations. Contrary to what has been thought, he was not proud; nor
-held himself aloof from all other schools of painting except his own.
-Nothing could be further from the truth. Puvis was acquainted with all
-the schools; and no one admired more sincerely than he the great masters
-of each and every country. He had traversed Italy, Germany, and the
-Netherlands, examining, studying, admiring. And here is precisely
-wherein his great glory consists; that having studied all methods,
-analyzed all processes, he still remained true to himself,--in other
-words, that he was a painter of inimitable originality.
-
-Puvis de Chavannes kept abreast of all the ideas that stand for
-personality and progress. Far from being a recluse, solely concerned
-with his own painting, he followed the contemporary literary movement,
-and none of the happenings that took place around him escaped his
-knowledge.
-
-Nevertheless, his chief preoccupation was his art and his desire to
-express, with his brush, the greatest possible degree of human nature.
-This he achieved in his magnificent series of immortal works; but it was
-only at the cost of a vast amount of conscientious labour. Few masters
-have had so keen an intuition of beauty, or a higher and more
-spontaneous inspiration; and no one, perhaps, has been so distrustful of
-himself, of his inspiration, of his intuition. He did not surrender
-himself to them until he had submitted them to the test of searching
-argument and uncompromising common sense. It is due to this careful
-weighing in the balance, to this wise mingling of youthful enthusiasm
-and mature severity that the work of Puvis de Chavannes owes that
-harmonious beauty that insures it an eternal glory.
-
-And so, when in 1898 he passed away, not a dissenting voice was raised
-amid the concert of eulogies and of regrets which marked his end. For a
-long time previous, Puvis de Chavannes had ceased to have detractors;
-admiration had stifled envy. And, from the moment that he crossed beyond
-the threshold of life, Puvis de Chavannes entered fully into
-immortality.
-
-
-
-
-CATALOGUE OF THE WORKS OF PUVIS DE CHAVANNES
-
-
-    Musée du Luxembourg; _The Poor Fisherman_.
-
-    Panthéon; _Saint Genevieve marked with the divine seal_.--_The
-    Piety of Saint Genevieve._--_Saint Genevieve providing for
-    besieged Paris._--_Saint Genevieve watching over sleeping
-    Paris._--Two decorative Friezes, including _Faith, Hope, and
-    Charity_, and a series of _Saints_.
-
-    Hôtel de Ville; _Summer, Winter_.--_Victor Hugo offering his
-    lyre to the city of Paris._
-
-    Amphitheatre of the Sorbonne; _Letters, Sciences and Arts_.
-
-    Museum at Amiens; _Peace_.--_War._--_Labour._--_Repose._--_A
-    Standard-Bearer._--_A Harvester._--_A Woman weeping over the
-    ruins of her house._--_A Woman Spinning._--_Ave, Picardia
-    Nutrix._--_Ludus pro Patria._
-
-    Church at Campagnat; _Ecce Homo_.
-
-    Palace of Longchamps (Marseilles): _Marseilles, a Greek
-    Colony_.--_Marseilles, Gateway of the Orient._
-
-    Museum at Marseilles: _The Return from the Hunt_.
-
-    Hôtel de Ville, Poitiers: _Saint Radegonde gives asylum to the
-    Poets_.--_Charles Martel re-enters Poitiers after his conquest
-    of the Saracens._
-
-    Palace of Fine Arts, Lyons: _The Sacred Wood dear to the Arts
-    and the Muses_.
-
-    Museum at Rouen: _Inter Artes et Naturam_.
-
-    Public Library, Boston: _The inspiring Muses acclaim Genius,
-    Messenger of Light_.
-
-    Museum at Chartres: _Summer_.
-
-    Private Collections: _Herodiade_.--_Autumn._--_Sleep._
-
-
-       *       *       *       *       *
-
-
-Transcriber's Notes:
-
-Simple typographical errors were corrected.
-
-Punctuation and spelling were made consistent when a predominant
-preference was found in this book; otherwise they were not changed.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre
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-
-The Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre
-
-This eBook is for the use of anyone anywhere at no cost and with
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-
-Title: Puvis de Chavannes
-       Masterpieces in Colour Series
-
-Author: Francois Crastre
-
-Editor: Henry Roujon
-
-Release Date: January 13, 2013 [EBook #41835]
-
-Language: English
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-*** START OF THIS PROJECT GUTENBERG EBOOK PUVIS DE CHAVANNES ***
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-
-
-Produced by sp1nd, Charlie Howard, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
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-
-
-
-</pre>
-
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 41835 ***</div>
 
 <div class="transnote">
 <p class="in0 center">Transcriber's Note:</p>
@@ -336,7 +295,7 @@ higher-quality format.</p>
 <tr><td class="tdl">FRA ANGELICO</td><td class="tdl nopadright">CONSTABLE</td></tr>
 <tr><td class="tdl">ROSSETTI</td><td class="tdl nopadright">MEMLING</td></tr>
 <tr><td class="tdl">RAPHAEL</td><td class="tdl nopadright">FRAGONARD</td></tr>
-<tr><td class="tdl">LEIGHTON</td><td class="tdl nopadright">DÜRER</td></tr>
+<tr><td class="tdl">LEIGHTON</td><td class="tdl nopadright">DÃœRER</td></tr>
 <tr><td class="tdl">HOLMAN HUNT</td><td class="tdl nopadright">LAWRENCE</td></tr>
 <tr><td class="tdl">TITIAN</td><td class="tdl nopadright">HOGARTH</td></tr>
 <tr><td class="tdl">MILLAIS</td><td class="tdl nopadright">WATTEAU</td></tr>
@@ -365,7 +324,7 @@ higher-quality format.</p>
 <div class="caption p4" id="PLATE_I">PLATE I.&mdash;SAINT GENEVIEVE KEEPING WATCH
 OVER SLEEPING PARIS. Frontispiece<br />
 
-<p class="in0 center padhalf">(In the Panthéon, Paris)</p>
+<p class="in0 center padhalf">(In the Panthéon, Paris)</p>
 
 <p>This composition, so great in its simplicity and so beautiful in
 execution, is the last work of the great artist. The model who
@@ -400,9 +359,9 @@ FREDERICK A. STOKES COMPANY</div>
 <img src="images/i_007.jpg" width="200" height="55" alt="publisher's logo April 1912" />
 </div></div>
 
-<div class="p4 center small clear">THE·PLIMPTON·PRESS<br />
-[W·D·O]<br />
-NORWOOD·MASS·U·S·A
+<div class="p4 center small clear">THE·PLIMPTON·PRESS<br />
+[W·D·O]<br />
+NORWOOD·MASS·U·S·A
 </div>
 
 <hr />
@@ -433,14 +392,14 @@ NORWOOD·MASS·U·S·A
 <table summary="List of Illustrations">
 <tr class="smaller"><td class="tdc">Plate</td></tr>
 <tr><td class="tdn">I.</td><td class="tdl"><a href="#PLATE_I">Saint Genevieve keeping Watch over sleeping Paris</a></td><td class="tdr">Frontispiece</td></tr>
-<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Panthéon, Paris</td></tr>
+<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Panthéon, Paris</td></tr>
 <tr class="smaller"><td class="tdn">&nbsp;</td><td class="tdl in smaller">&nbsp;</td><td class="tdr">Page</td></tr>
 <tr class="taller"><td>&nbsp;</td></tr>
 <tr><td class="tdn">II.</td><td class="tdl"><a href="#PLATE_II">The Piety of Saint Genevieve</a></td><td class="tdr">14</td></tr>
-<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Panthéon, Paris</td></tr>
+<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Panthéon, Paris</td></tr>
 <tr class="taller"><td>&nbsp;</td></tr>
 <tr><td class="tdn">III.</td><td class="tdl"><a href="#PLATE_III">The Poor Fisherman</a></td><td class="tdr">24</td></tr>
-<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Musée de Luxembourg, Paris</td></tr>
+<tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Musée de Luxembourg, Paris</td></tr>
 <tr class="taller"><td>&nbsp;</td></tr>
 <tr><td class="tdn">IV.</td><td class="tdl"><a href="#PLATE_IV">Ludus pro Patria</a></td><td class="tdr">34</td></tr>
 <tr><td class="tdn">&nbsp;</td><td class="tdl in smaller">In the Museum, Amiens</td></tr>
@@ -510,7 +469,7 @@ most violent detractors.</p>
 <div class="figcenter">
 <div class="caption p4" id="PLATE_II">PLATE II.&mdash;THE PIETY OF SAINT GENEVIEVE<br />
 
-<p class="in0 center padhalf">(In the Panthéon, Paris)</p>
+<p class="in0 center padhalf">(In the Panthéon, Paris)</p>
 
 <p>In this composition, exceptionally fine in feeling, Puvis de Chavannes
 shows how much importance he attached to landscape,
@@ -563,14 +522,14 @@ old Burgundian families. His father pursued the
 vocation of chief engineer of mines, at Lyons. In
 the registry of births, in which the new-born child
 was entered, the father is designated simply by the
-name of Marie-Julien-César Puvis. The honourable
+name of Marie-Julien-César Puvis. The honourable
 title of "de Chavannes," claimed later and with<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
 good right by the family, was confirmed to him by
 a decree of the Court of Lyons, bearing date of
 May 20, 1859.</p>
 
 <p>Young Puvis de Chavannes was sent, first to
-the Lycée at Lyons, later to the Lycée Henri IV,
+the Lycée at Lyons, later to the Lycée Henri IV,
 at Paris. But nothing either in the boy's tastes or
 in his aptitudes gave any hint of his future vocation;
 he showed no special inclination for drawing, nor
@@ -702,8 +661,8 @@ to apply his robust health to incessant work, which
 he pursued without intermission up to the day of
 his death.</p>
 
-<p>In 1850, Puvis de Chavannes made his début
-by sending to the Salon a <i class="oeuvre">Pietà</i>, which was
+<p>In 1850, Puvis de Chavannes made his début
+by sending to the Salon a <i class="oeuvre">Pietà</i>, which was
 accepted. His joy was great, for it was the joy of
 the first step. Later on, his satisfaction in that
 picture diminished. It had certain defects, and
@@ -716,7 +675,7 @@ violent in tone.</p>
 <div class="figcenter">
 <div class="caption p4" id="PLATE_III">PLATE III.&mdash;THE POOR FISHERMAN<br />
 
-<p class="in0 center padhalf">(In the Musée de Luxembourg, Paris)</p>
+<p class="in0 center padhalf">(In the Musée de Luxembourg, Paris)</p>
 
 <p>No one else, excepting Millet, had the skill to render with so
 much truth the physical and moral distress of the unfortunate.
@@ -734,7 +693,7 @@ was officially and systematically repressed. The<span class="pagenum"><a name="P
 young artist was not alone in disfavour; he shared
 it with a number of his friends, some of whom
 were already famous, or at least well known.
-Equally with himself, Courbet, Dupré, Barye,
+Equally with himself, Courbet, Dupré, Barye,
 Rousseau, Millet, Troyon, Corot, Diaz and Delacroix
 found themselves ejected from the doors of
 the temple. In the eyes of the Academy, they
@@ -757,13 +716,13 @@ admirably caught in his buste of the painter. As
 it happened, however, Puvis de Chavannes was
 rarely fortunate in having the encouragement and<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
 support of such an admirable companion as the
-Princess Cantacuzène. That splendid woman, of
+Princess Cantacuzène. That splendid woman, of
 exceptional intelligence and distinction, enjoyed
 art and understood it; she fell in love with Puvis
 de Chavannes and became his wife. "Whatever
 I am and whatever I have done," wrote the painter,
 "is all due to her." Throughout more than forty
-years, she filled the rôle of beneficent genius to
+years, she filled the rôle of beneficent genius to
 the artist, the Egeria whose voice he never failed
 to heed. Puvis de Chavannes had worshipped
 faithfully at her shrine; and when she died, he
@@ -1091,7 +1050,7 @@ of comparison for determining the evolution of the artist's talent.</p></div>
 <p>However, the resources of the municipality
 did not permit it to incur so great an expense. It
 appealed to the State, which curtly refused its
-coöperation. The city fathers of Amiens were
+coöperation. The city fathers of Amiens were
 in despair, the painter not less so. What was to
 be done? Wait until the municipality, through
 slow economies, was in a position to order the
@@ -1171,7 +1130,7 @@ girls grouped on the left, awaiting the advent of
 husbands. The children, grown to manhood, will
 practise games of strength and skill which will
 render them capable of defending their common
-patrimony. The old man himself has his rôle
+patrimony. The old man himself has his rôle
 assigned in this ideal commonwealth; ripened
 by experience of life, he supplements the feebleness
 of his arms by the wisdom of his lessons;
@@ -1353,7 +1312,7 @@ days.</p>
 
 <p>Puvis de Chavannes has magnificently rendered
 the poetic beauty of this historic episode by
-representing one of the fêtes given by Radegonde
+representing one of the fêtes given by Radegonde
 in the Convent of the Holy Cross.</p>
 
 <p>In the second panel, we see Charles Martel
@@ -1383,20 +1342,20 @@ jesters."</p>
 
 <p>In the days following the Franco-Prussian
 War and the Commune, the Government conceived
-the project of decorating the Panthéon,
+the project of decorating the Panthéon,
 which had just been once more secularized, in
 order to convert it into a temple wherein all the
 shining lights of the nation could be brought
 together and honoured.</p>
 
-<p>M. de Chennevières, who at that time was
+<p>M. de Chennevières, who at that time was
 director of the Beaux Arts gave the first place,
 in that illustrious line, to the noble and serene
 Genevieve, patron saint of Paris, incarnate ideal
 of patriotism.</p>
 
 <p>Accordingly it was a series of religious paintings
-that M. de Chennevières required of Puvis
+that M. de Chennevières required of Puvis
 de Chavannes, when he entrusted him with a
 large share of the decoration.</p>
 
@@ -1406,7 +1365,7 @@ had too much patriotic fire, more than enough
 Christian faith, and above all too thorough a
 mastery of his profession not to approach this
 task with full confidence. It is enough to visit
-the Panthéon just once in order to be convinced
+the Panthéon just once in order to be convinced
 of this. A more magnificent realization
 of Saint Genevieve could not be conceived of,
 even in dreams. But are these paintings to
@@ -1463,8 +1422,8 @@ keeps watch over sleeping Paris."</p>
 of the great artist. A sort of premonition
 told him that the end was near, in spite of his
 robust health. "How I shall devote myself
-to the Panthéon," he wrote, "when I am finished
-with the Hôtel de Ville! I intend it to be
+to the Panthéon," he wrote, "when I am finished
+with the Hôtel de Ville! I intend it to be
 a sort of last will and testament."</p>
 
 <p>In these last paintings, Saint Genevieve is
@@ -1493,7 +1452,7 @@ portrait of her who had been the consolation
 and the joy of his whole existence.</p>
 
 <p>The unfortunate woman lacked the strength to
-play her rôle to the end; she was forced to take to
+play her rôle to the end; she was forced to take to
 her bed. The artist, no less heroic than she, feeling
 that his own life was slipping away with
 hers, yet wishing to complete this last work,&mdash;his
@@ -1502,7 +1461,7 @@ woman's bed, and there finished the sketches for
 his picture.</p>
 
 <p>In the intervals of time between the paintings
-executed for the Panthéon, Puvis de Chavannes
+executed for the Panthéon, Puvis de Chavannes
 produced certain other large compositions in no
 wise inferior either in importance or in merit,
 notably, in 1883, a large painting for the Palace of
@@ -1565,12 +1524,12 @@ lines.</p>
 
 <p>In the same Palace of Arts, Puvis de Chavannes
 painted two additional allegorical panels
-representing <i class="oeuvre">The Rhone and The Saône</i>, both of
+representing <i class="oeuvre">The Rhone and The Saône</i>, both of
 which are admirably effective.</p>
 
 <p>To about the same period belongs his well
 known painting, <i class="oeuvre">The Poor Fisherman</i>, at present
-in the Musée du Luxembourg.</p>
+in the Musée du Luxembourg.</p>
 
 <p>In this work, which he painted as a relaxation
 from his more extensive efforts, Puvis de Chavannes
@@ -1582,7 +1541,7 @@ This work is a fine and eloquent lesson in
 humanity.</p>
 
 <p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
-In 1889, the Hôtel de Ville, in Paris, proceeding
+In 1889, the Hôtel de Ville, in Paris, proceeding
 with the still unfinished decoration of its
 numerous halls and chambers, entrusted Puvis
 de Chavannes with the task of decorating the
@@ -1618,7 +1577,7 @@ two magnificent pictures are placed suffers
 from a deplorable want of light, and its scanty
 dimensions make it impossible to stand back
 at a sufficient distance to see them to advantage.
-The Hôtel de Ville should for its
+The Hôtel de Ville should for its
 own credit assign them a place more in keeping
 with their worth.</p>
 
@@ -1763,7 +1722,7 @@ figures.</p>
 <p class="in0 center padhalf">(In the Museum, Amiens)</p>
 
 <p>This work dates from the same period as <i class="oeuvre">Repose</i> and <i class="oeuvre">Peace</i>. It marks
-the début of Puvis de Chavannes in his career as an artist. In
+the début of Puvis de Chavannes in his career as an artist. In
 spite of some reminiscences of his training, his individuality
 already asserts itself, and the originality of composition is unmistakable.</p></div>
 <a href="images/i_077l.jpg">
@@ -1846,14 +1805,14 @@ PUVIS DE CHAVANNES</a></h2>
 
 <blockquote>
 
-<p class="hang">Musée du Luxembourg; <i class="oeuvre">The Poor Fisherman</i>.</p>
+<p class="hang">Musée du Luxembourg; <i class="oeuvre">The Poor Fisherman</i>.</p>
 
-<p class="hang">Panthéon; <i class="oeuvre">Saint Genevieve marked with the divine seal</i>.&mdash;<i class="oeuvre">The Piety of Saint Genevieve.</i>&mdash;<i class="oeuvre">Saint
+<p class="hang">Panthéon; <i class="oeuvre">Saint Genevieve marked with the divine seal</i>.&mdash;<i class="oeuvre">The Piety of Saint Genevieve.</i>&mdash;<i class="oeuvre">Saint
 Genevieve providing for besieged Paris.</i>&mdash;<i class="oeuvre">Saint Genevieve watching over sleeping
 Paris.</i>&mdash;Two decorative Friezes, including <i class="oeuvre">Faith, Hope, and Charity</i>, and a
 series of <i class="oeuvre">Saints</i>.</p>
 
-<p class="hang">Hôtel de Ville; <i class="oeuvre">Summer, Winter</i>.&mdash;<i class="oeuvre">Victor Hugo offering his lyre to the city of Paris.</i></p>
+<p class="hang">Hôtel de Ville; <i class="oeuvre">Summer, Winter</i>.&mdash;<i class="oeuvre">Victor Hugo offering his lyre to the city of Paris.</i></p>
 
 <p class="hang">Amphitheatre of the Sorbonne; <i class="oeuvre">Letters, Sciences and Arts</i>.</p>
 
@@ -1868,7 +1827,7 @@ of the Orient.</i></p>
 
 <p class="hang">Museum at Marseilles: <i class="oeuvre">The Return from the Hunt</i>.</p>
 
-<p class="hang">Hôtel de Ville, Poitiers: <i class="oeuvre">Saint Radegonde gives asylum to the Poets</i>.&mdash;<i class="oeuvre">Charles Martel
+<p class="hang">Hôtel de Ville, Poitiers: <i class="oeuvre">Saint Radegonde gives asylum to the Poets</i>.&mdash;<i class="oeuvre">Charles Martel
 re-enters Poitiers after his conquest of the Saracens.</i></p>
 
 <p class="hang">Palace of Fine Arts, Lyons: <i class="oeuvre">The Sacred Wood dear to the Arts and the Muses</i>.</p>
@@ -1893,382 +1852,6 @@ re-enters Poitiers after his conquest of the Saracens.</i></p>
 preference was found in this book; otherwise they were not changed.</p>
 </div>
 
-
-
-
-
-
-
-
-<pre>
-
-
-
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