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+*** START OF THE PROJECT GUTENBERG EBOOK 44340 ***
+
+  MASTERPIECES
+  IN COLOUR
+  EDITED BY - -
+  M. HENRY ROUJON
+
+
+  GÉRÔME
+
+  (1824-1904)
+
+
+
+
+  _IN THE SAME SERIES_
+
+  REYNOLDS
+  HOLBEIN
+  VELASQUEZ
+  BURNE-JONES
+  GREUZE
+  LE BRUN
+  TURNER
+  CHARDIN
+  BOTTICELLI
+  MILLET
+  ROMNEY
+  RAEBURN
+  REMBRANDT
+  SARGENT
+  BELLINI
+  CONSTABLE
+  FRA ANGELICO
+  MEMLING
+  ROSSETTI
+  FRAGONARD
+  RAPHAEL
+  DÃœRER
+  LEIGHTON
+  LAWRENCE
+  HOLMAN HUNT
+  HOGARTH
+  TITIAN
+  WATTEAU
+  MILLAIS
+  MURILLO
+  LUINI
+  WATTS
+  FRANZ HALS
+  INGRES
+  CARLO DOLCI
+  COROT
+  GAINSBOROUGH
+  DELACROIX
+  TINTORETTO
+  FRA LIPPO LIPPI
+  VAN DYCK
+  PUVIS DE CHAVANNES
+  DA VINCI
+  MEISSONIER
+  WHISTLER
+  GEROME
+  RUBENS
+  VERONESE
+  BOUCHER
+  VAN EYCK
+  MANTEGNA
+
+
+  _IN PREPARATION_
+
+  FROMENTIN
+  PERUGINO
+
+
+
+
+[Illustration: PLATE I.--YOUNG GREEKS ENGAGED IN COCK FIGHTING
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Luxembourg Museum, Paris)
+
+This was Gérôme's first picture. It was exhibited at the Salon of 1847,
+and achieved a brilliant success. Théophile Gautier, who was a critic
+hard to please, bestowed upon it some enviable praise. In later years
+the artist found much to censure in his early work; but the public,
+less severely critical, admired the graceful nudity of the young forms
+and the combative ardour of the two adversaries.]
+
+
+
+
+  GÉRÔME
+
+  BY ALBERT KEIM
+
+  TRANSLATED FROM THE FRENCH
+  BY FREDERIC TABER COOPER
+
+  ILLUSTRATED WITH EIGHT
+  REPRODUCTIONS IN COLOUR
+
+  [Illustration: IN SEMPITERNUM.]
+
+  FREDERICK A. STOKES COMPANY
+  NEW YORK--PUBLISHERS
+
+
+
+
+  COPYRIGHT, 1912, BY
+  FREDERICK A. STOKES COMPANY
+
+  _Printed in the United States of America_
+
+
+
+
+  CONTENTS
+
+
+                    Page
+  Introduction        11
+
+  Life of Gérôme      17
+
+  The Artist's Work   43
+
+  The Art of Gérôme   72
+
+
+
+
+  LIST OF ILLUSTRATIONS
+
+
+  Plates
+     I. Young Greeks Engaged in Cock Fighting  Frontispiece
+          (In the Luxembourg Museum)
+
+                                                       Page
+    II. Reception of the Siamese Ambassadors             14
+          (In the Versailles Museum)
+
+   III. Anacreon, with Bacchus and Cupid                 24
+          (In the Toulouse Museum)
+
+    IV. Pollice Verso                                    34
+          (In a Private Collection, United States)
+
+     V. The Prisoner                                     40
+          (In the Nantes Museum)
+
+    VI. The Last Prayer                                  50
+          (In a Private Collection, United States)
+
+   VII. The Vendor of Rugs                               60
+          (In a Private Collection, United States)
+
+  VIII. The Two Majesties                                70
+          (In a Private Collection, United States)
+
+
+
+
+I
+
+INTRODUCTION
+
+
+Gérôme has his allotted place among the illustrious French painters
+of the Nineteenth Century. He achieved success, honours, official
+recognition; and he deserved them, if not for the compelling
+personality of his temperament, at least for his assiduous industry,
+his accurate, methodical, and picturesque way of seeing people and
+things, and the amazing and fertile variety both of his choice and his
+interpretation of subjects.
+
+He was a pupil of Paul Delaroche and seems to have inherited the
+latter's adroitness in seizing upon the one salient and emotional
+detail in a composition. Like that historian-painter of the _Death of
+the Duc de Guise_, Gérôme excelled in always giving a dramatic stage
+setting to the persons and the events which he knew how to conjure up
+with such learned and scrupulous care.
+
+In spite of his versatility, and notwithstanding that many a vast
+canvas has demonstrated his ingenious and resourceful talent, he takes
+his place beside Meissonier because of the extreme importance that he
+attached to accuracy and precise effects.
+
+[Illustration: PLATE II.--RECEPTION OF THE SIAMESE AMBASSADORS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Versailles)
+
+This picture possesses a curious interest because it shows in what a
+picturesque manner Gérôme could execute a painting officially ordered.
+He received the commission in 1865, through the Imperial Household. He
+has rendered with much felicity all the pompous and highly coloured
+aspect of the scene, very effective in the sumptuous setting of the
+Salle des Fêtes at Fontainebleau.]
+
+Although it is some years since he passed away, Gérôme has left behind
+him living memories among his friends and pupils, many of whom
+have in their turn become masters. Both as man and as artist he was
+and still continues to be profoundly regretted, independently of all
+divergences of opinion, method, and temperament.
+
+A master of oriental lore, a curious and subtle antiquarian, a
+chronicler of ancient and modern life, rigorous at times, but more
+often distinguished for his charm and delicacy,--such is Gérôme as he
+has revealed himself to us through the medium of his abundant works.
+
+Whether he paints us the men of the Desert and the almas of Egypt,
+or shows us the gladiators of the Circus, the death of Caesar, the
+leisure hours of Frederick II, the dreams of a Bonaparte, or takes us
+to the _Winter Duel in the Bois de Boulogne after the Masked Ball_, a
+picture that achieved much popularity, Gérôme never fails to catch and
+hold attention by startling contrasts of colour combined with a fine
+accuracy of line work.
+
+But what matter the means through which an effect is sought if they
+prove successful both in the general impression produced by the work as
+a whole and in the charm of the separate details,--in other words, if
+the result justifies the effort?
+
+Effort, in Gérôme's case, meant literally a valiant and noble
+persistence. He was ceaselessly in search of something new. In spite
+of assured fame, he never repainted the same subject. During the
+later years of his life, his ambition was to be at the same time an
+illustrious painter and a sculptor of recognized merit; and in this
+he succeeded. His attempt to revive, after a fashion of his own, the
+precious lost art of antique sculpture, although greeted with a wide
+divergence of opinions, remains a noteworthy achievement.
+
+On the eve of his eightieth year and abrupt decease, Gérôme still
+laboured with the ardour and the splendid faith of youth. He sets an
+encouraging example, as fine and as stimulating as the best of his
+splendid pictures.
+
+
+
+
+THE LIFE OF GÉRÔME
+
+
+Jean-Léon Gérôme was born at Vesoul on May 11, 1824. Throughout his
+life he retained a slight trace of the Franche-Compté accent, which
+gave a keener relish to his witty anecdotes and piquant retorts.
+
+He belonged to a family holding an honoured place among the
+bourgeoisie. His excellent biographer, M. Moreau-Vauthier, relates that
+his grandfather was on the point of taking orders when the Revolution
+broke out. His father was a watchmaker and goldsmith at Vesoul. As a
+child, he himself was in delicate health.
+
+Nevertheless, he proved himself a good student at the college in the
+city of his birth. While there he studied both Greek and Latin. His
+instructor in drawing, Cariage, having noticed his early efforts, gave
+him much good advice and encouragement.
+
+At the age of fourteen, he copied a picture by Decamps, which had found
+its way to Vesoul from Paris. The story goes that his father forthwith
+favoured the idea that he should take up the vocation of an artist.
+There is no use in exaggerating. As a matter of fact, his family
+dreaded the hardships of so hazardous a career. But, upon receiving his
+bachelor's degree at the age of sixteen, a degree which at that epoch
+was by no means common, he obtained permission to go to the capital and
+pursue his studies under the auspices of Paul Delaroche, to whom he was
+provided with a letter of introduction.
+
+It is pleasant to picture the young man setting forth alone by
+_diligence_ and applying himself bravely to the task of acquiring
+talent and renown.
+
+He was most faithful in his attendance at the studio of Delaroche, who,
+being the son-in-law of Horace Vernet, possessed at that time not only
+a wide reputation as professor, but also an enormous influence both at
+the École des Beaux-Arts and at the court of Louis-Philippe.
+
+Delaroche, who has aptly been called the Casimir Delavigne of
+painting, a romanticist who stopped short of being a revolutionary,
+parted company with the cold traditionalists of the older school in the
+profound importance that he attached to accuracy and to the truth and
+interest of movement.
+
+Gérôme was destined to draw his inspiration from analogous principles.
+While interesting himself profoundly in costumes, in surroundings, in
+local colour, he always avoided excess and maintained an almost classic
+restraint even in the most modern of his fantasies.
+
+Delaroche's pupils were a lively set. Gérôme found life pleasant in the
+studio where Cham amused himself by passing himself off upon strangers
+as "the patron," and where his comrades were such men as Alfred Arago,
+Hébert, Hamon, Jalabert, Landelle, Picou, and Yvon.
+
+He won their regard by his flow of spirits and his caustic humour.
+At this period he supported himself by copying paintings and making
+drawings for the newspapers; but, although a small monthly income
+of a hundred francs assured him comparative security, he was uneasy.
+Although only eighteen, the young man was impatient to show what he
+could do. He was seeking his path.
+
+He took his first step towards finding it when he accompanied his
+teacher to Italy after the latter had closed his studio. He remained
+there for an entire year.
+
+Upon his return, he studied for a time under Gleyre, after which he
+worked for some months on Delaroche's _Bonaparte Crossing the Alps_.
+
+In 1847, Gérôme made his début at the Salon with a veritable
+master-stroke. At an exposition where Delacroix's _Shipwrecked Bark_
+and Couture's _Roman Orgy_ monopolized the public gaze, the young
+artist attracted keen attention by his _Young Greeks Engaged in Cock
+Fighting_. Théophile Gautier enthusiastically proclaimed the merits of
+this work, which brought Gérôme much valued praise and some influential
+supporters.
+
+We shall revert again to this significant canvas, which since 1874 has
+hung in the Luxembourg Museum, and with which the artist, when he later
+attained full mastery of his art, found all manner of fault.
+
+The first meeting between this painter of twenty-three, upon whom
+renown had just begun to smile, and Gautier, magnanimous prince of
+criticism and poetry, took place under circumstances that deserve to be
+recorded.
+
+Gérôme was betaking himself to the offices of the _Artiste_, at that
+time presided over by Arsène Houssaye; in his hand he held a line
+drawing of his own recent idyll of classic times. On the staircase he
+encountered Gautier who had paused there, and who began to talk to
+him in glowing terms of the Salon and especially of a painting by a
+newcomer, named Gérôme.
+
+"But that is I, myself!" cried the young man with keen emotion, and he
+showed his drawing to the author of _Enamels and Cameos_.
+
+Continuing to draw his inspiration from antiquity, he set to work with
+a stouter heart, in a studio on the Rue de Fleurus, which he shared
+with Hamon and Picou, associating with artists and with musicians such
+as Lalo and Membrée.
+
+His labours were twice interrupted: first, by an attack of typhoid
+fever, through which his mother came to nurse him; and secondly, by the
+Revolution of 1848 when, in compliance with the expressed desire of his
+comrades, he was appointed adjutant major of the National Guards.
+
+It was about this same period that he received a first class medal and
+found himself well advanced upon the road to fame.
+
+"I have always had the nomadic instinct," Gérôme used to declare, and
+complacently questioned whether he did not have a strain of gypsy blood
+among his ancestors. In his notes and souvenirs, which he entrusted to
+his relative and friend, the painter Timbal, he confesses, along with
+his various artistic scruples, his passionate love of travel.
+
+[Illustration: PLATE III.--ANACREON WITH BACCHUS AND CUPID
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Toulouse)
+
+Gérôme had a magic brush that permitted him to undertake all types of
+painting with the same facility. This is how he so often happened to
+treat subjects taken from antiquity and was able to render them in all
+their classic beauty. It is not without interest to compare him, in
+this style of painting, with Nicholas Poussin, whom he admired, and
+with Puvis de Chavannes, whose method he execrated.]
+
+He was haunted by a longing to visit Greece, and more especially the
+Orient, with its marvellous skies, its resplendent colours, its
+barbaric and motley races of men.
+
+In 1853, in the company of a number of friends, he traversed Germany
+and Hungary, planning a lengthy visit to Constantinople. Owing to the
+war, he was forced to cut short his trip at Galatz. But he brought back
+a collection of energetic and striking sketches of Russian soldiers,
+which later served good purpose in his _Recreation in Camp, Souvenir
+of Moldavia_. And in like manner, in all his distant journeyings,
+he invariably showed the same eagerness to seize and transcribe his
+original documents, content to let them speak for themselves, without
+his having to distort them to fit the special purpose that he had in
+view.
+
+This painting found a place in the exposition of 1855, together with
+_The Age of Augustus_, a notable achievement in which Gérôme revealed
+the measure, if not of his true personality, at least of his lofty
+conscience and his integrity as an artist enamoured of accuracy and
+truth, even in the imaginary element inseparable from this type of
+allegorical apotheosis. Notwithstanding a few dissenting opinions,
+these two works were judged at their true value, and Gérôme received
+the cross of the Legion of Honour.
+
+At this time he was scarcely more than thirty years old. A most
+brilliant career henceforth lay open before him.
+
+Gérôme remains, beyond question, the unrivalled painter of Egypt, whose
+aspects, enchanting and sinister alike, he has reproduced in a series
+of pictures of finished workmanship and vibrant colouring.
+
+It was in 1856 that, together with a few friends, among others
+Bartholdi, then twenty-two years old, he undertook his long tour
+through Egypt. To-day, one can go to Cairo or up the Nile as casually
+as to Nice or Italy and with almost as little trouble. In those days
+it was not a question of a simple excursion, of which any and every
+amateur tourist would be capable, but of a veritable expedition.
+
+Unforeseen adventures appealed to Gérôme, for he was brave, energetic,
+and eager for new sensations. M. Frédéric Masson, the eminent
+historian, who was one of his companions through the desert, has since
+shown him to us, in a series of graphic recollections, as perpetually
+on his feet, indefatigable, ready to endure any and every vicissitude
+for the sake of sketching a site or a silhouette.
+
+His stay in Egypt was for Gérôme a period of enchantment. He has
+left, in regard to it, some hasty but expressive notes. He passed
+four months on the Nile, well filled months, consecrated to fishing,
+hunting, and painting, all the way from Diametta to Philae. He remained
+the four succeeding months at Cairo, in an old dwelling that Suliman
+Pasha rented to the young Frenchmen. "Happy epoch!" wrote the painter,
+"Care-free, full of hope, and with the future before us. The sky was
+blue."
+
+He returned to Paris with an ample harvest of sketches, a supply of
+curious, novel, and striking themes to work up. M. Moreau-Vauthier
+shows him to us at that period of his existence, full of unflagging
+energy and pleasant enthusiasm, in the company of Brion, Lambert,
+Schutzenberger, and Toulmouche,--not to forget his monkey Jacques, who
+took his place at the family table arrayed in coat and white cravat,
+but would slink away and hide himself in shame when, as a punishment
+for some misdeed, they decked him out as a ragpicker.
+
+What jolly parties were held in that "Tea Chest," in which Gérôme then
+had his studio, Rue de Notre-Dame-des-Champs! It was the scene of
+many a festival, entertainment, and joyous puppet show, attended by
+spectators such as Rachel (whose portrait Gérôme painted in 1861), her
+sister, George Sand, Baudry, Cabanel, Hébert, and others.
+
+This was, nevertheless, an epoch of prolific work and constant
+research. Gérôme passed ceaselessly from one type of painting to
+another; one might say that he rested from his exotic landscapes by
+evoking, with an ever new lavishness of detail, curious or affecting
+scenes from Greek and Roman antiquity.
+
+Thus rewards and successes multiplied, and he experienced all the joys
+of triumph. Already honorary member of the Academy of Besançon, he was
+appointed professor at the École des Beaux-Arts in 1863, and in 1865,
+member of the Institut, where he succeeded Heim.
+
+Meanwhile he fought a duel with revolvers and was gravely wounded. His
+mother hastened once again to his bedside and saved his life a second
+time. Since the ball had passed through his right arm, complications
+affecting his hand were feared. The artist declared that if necessary
+he would learn to paint with his left. No sooner was he cured than off
+he started again, bound for Egypt, whence he passed to Arabia and, more
+venturesome than ever, continued on his way, as one of his biographers
+phrased it, "making sketches clear to the summit of Mt. Sinai."
+
+He was destined to make still other journeys, notably that of 1868
+in company of Messrs. Bonnet, Frédéric Masson, and Lenoir; and his
+companions paid tribute to his unfailing spirits and his powers of
+endurance. But at the age of forty he married. The bride was Mlle.
+Goupil, daughter of the well-known picture dealer.
+
+He was a thorough man of the world and a favoured guest of the Duc
+d'Aumale, who appreciated his ready wit and bought his _After the
+Masquerade_ for the sum of 20,000 francs. In 1865 he received from the
+Beaux-Arts and the Imperial Household an order for _The Reception of
+the Siamese Ambassadors at Fontainebleau_.
+
+Gérôme was also numbered among Compiègne's habitual visitors, along
+with Berlioz, Gustave Doré, Guillaume, Merimée, Viollet-le-Duc, and
+others. M. Moreau-Vauthier, who with pious zeal has collected the
+more interesting anecdotes of his life, relates that he had a special
+gift for organizing charades: he was scene setter and costumer. At
+Fontainebleau, he took the Empress out alone in a row-boat.
+
+Surrounded by devoted friends, such as Augier, Charles Blanc, Dumas,
+Clery, his brother-in-law, Frémiet, Gérôme continued his laborious and
+tranquil life in his vast atelier on the Boulevard de Clichy.
+
+His days were passed in drawing and painting in his canvases. Towards
+the end of the afternoon he would mount his horse and take a turn
+in the Bois. He exhibited annually up to the year of the war. After
+that, he lived in a sort of retirement until 1874, when, after a trip
+to Algeria with G. Boulanger and Poilpot, he won a medal of honour.
+_A Collaboration_, _Rex Tibicen_ (The King Flutist), and _His Gray
+Eminence_, exhibited simultaneously, revealed him in full possession of
+his ingenious and many-sided art.
+
+New and resounding triumphs awaited him at the Exposition Universelle
+of 1878, where he first revealed himself as a sculptor. As a matter
+of fact, he had for a long time amused himself at modelling in clay.
+He used to go to Frémiet's studio to do his modelling, and Frémiet,
+by way of exchange, would come to paint in his. His two groups,
+_Gladiators_ and _Anacreon, Bacchus and Cupid_, won him a second class
+medal to take its place beside the medal of honour he had previously
+received for his paintings. That same year, at the age of fifty-four,
+he was raised to the rank of Commander. Cham expressed the joy of all
+his friends by writing to him wittily: "I follow the example of your
+ribbon, I fall upon your neck."
+
+He was yet to gain still further honours: a first class medal as
+sculptor, in 1881; to be declared _Hors Concours_ (Not entered for
+Competition) at the Expositions of 1889 and 1900; and to be named Grand
+Officer of the Legion of Honour.
+
+From 1880 onward, excepting for a few flying visits to Spain and
+Italy, Gérôme lived at his hotel in Paris, where he kept up a rather
+lavish establishment, including horses and dogs, up to the time of the
+successive deaths of his father and his son. It was the latter for
+whose tomb he carved a touching figure of _Grief_.
+
+[Illustration: PLATE IV.--POLLICE VERSO
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The scenes from Roman antiquity repeatedly appealed to Gérôme's talent,
+notably in the case of the Games of the Circus, the dramatic value and
+brilliant colour of which he fully appreciated. In _Pollice Verso_, he
+shows us the victorious gladiator, who, in order to know whether or not
+he is to despatch his adversary, turns a questioning glance towards the
+Vestals, who invert their thumbs, decreeing death for the vanquished
+and gasping opponent.]
+
+His studio at Bougival held him for many a long day, while the season
+lasted. While there, he worked with extraordinary assiduity, barely
+giving himself time enough to appear among his guests and hastily
+swallow a few mouthfuls of the mid-day meal. He owned at one time
+another country house at Coulevon, near Vesoul, but this he sold to
+one of his former pupils, Muenier. He remained none the less the chief
+pride of his native town, where, even during the artist's life, there
+was a street bearing the name of Gérôme.
+
+His favourite summering place, however, was in the heart of Normandy
+at Saint-Martin, near to Pont-Lévêque, where he possessed a delightful
+property.
+
+"He is a charming man, of rare integrity and fascination. Very simple,
+too, like all men of real power, who need not exert themselves in
+order to prove their strength." It is after this fashion that M. Jules
+Claretie sums him up in his exquisite study of _Contemporary Painters
+and Sculptors_. M. Frédéric Masson, his faithful friend, has drawn
+the following excellent portrait of Gérôme: "A head firmly set upon a
+long neck, features vigorously modelled in acute angles, sunken cheeks,
+complexion bronzed, eyes brilliant and strangely black, moustache
+obstinate and bristling, hair almost kinky, and sprouting in massive
+clumps, ... a straight nose set in a lean face, ... figure exceedingly
+slender and flexible, waist medium, but well modelled."
+
+Such he appears in his painting of himself as a sculptor in his studio,
+absorbed, in his alert and perennially youthful old age, by his new
+task of making polychrome statues. M. Aimé Morot, his son-in-law, has
+shown him to us in his intimate life, simple, natural, and at one and
+the same time alert and caustic. We find him also thoroughly alive in
+the fine bust by Carpeaux and in the medal by Chaplain, now in the
+Luxembourg.
+
+M. Dagnan-Bouveret saw him under another aspect. In the portrait he
+has given us, we have the master authoritatively proclaiming his
+convictions. This distinguished artist, by the way, was formerly a
+pupil of Gérôme's. One day when he was complimenting the latter upon
+his method of teaching, Gérôme replied, in his loud, assertive voice:
+"When I undertake to do a thing, I do it to the very end. I am a man
+with a sense of duty."
+
+As professor at the École des Beaux-Arts he continued to fulfil his
+duty for a period of forty years. While conducting his classes he
+showed himself grave and stern, even sardonic when so inclined. In
+front of a canvas too thickly coated, he would exclaim: "The paint shop
+man will be pleased"; or perhaps he would move around to get a side
+view and then play upon his words, saying: "How that picture stands
+out!"
+
+He had a good many foreigners in his studio, Spaniards such as La
+Gandara, Americans like Bridgman and Harrison, and Russians such as
+the celebrated and courageous Verestschagen who, according to M. Léon
+Coutil, declared, in speaking of Gérôme, "Next to my dear Skobelof, he
+is the most resolute man that I have ever met."
+
+Gérôme was frank and unreserved in his opinions. Having become, so to
+speak, the official representative of French painting, he was exposed
+to repeated attacks. He did not hesitate to flout unmercifully and to
+pursue with a veritable hatred such artists as had adopted formulas
+opposed to his own,--and among them some of the biggest and the ones
+least open to discussion. M. Besnard, who was not a pupil of his,
+nevertheless owed him his Prix de Rome.
+
+Many were the circumstances under which he showed his energetic
+firmness; for example, when the Prince de la Moskowa wished to fix a
+quarrel on him and prevent him from exhibiting _The Death of Mareschal
+Ney_, he evoked this noble declaration from Gérôme: "The painter has
+his rights as much as the historian."
+
+[Illustration: PLATE V.--THE PRISONER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum of Nantes)
+
+Gérôme had travelled extensively in the East, for he loved its vigorous
+colouring and picturesque customs. Here is a scene glimpsed from the
+banks of the Nile, and he has transcribed it in this superb picture,
+vibrant with colour and harmonious in composition.]
+
+And when a prominent politician criticised the official curriculum
+without proposing anything to take its place, it was, according to
+M. Moreau-Vauthier, again Gérôme who replied: "Gentlemen, it is
+easier to be an incendiary than a fireman!"
+
+This firmness, however, did not prevent him, so this same biographer
+points out, from being sensitive to such a degree that he could
+not bear to watch a cat of Frémiet's preparing to devour a nest of
+sparrows. He used to bring champagne and dainty viands as presents to
+his pupils. His humour, so M. Moreau-Vauthier goes on to say, served
+as a mask to hide his sentiment. Poilpot, to whom Gérôme was destined
+later to give useful counsels for his panorama of Reischoffen, was
+working prior to 1870 in his studio. One day he went to show him some
+drawings. His master, having looked him over, inquired: "So, then, you
+have no shirt?" "No, patron," he replied, "I never wear any." The next
+day, Poilpot received a commission for a copy of an official portrait
+of Napoleon III, together with an advance payment of 600 francs. This
+pretty anecdote does as much honour to the pride of the one as to the
+delicacy of the other.
+
+Gérôme sincerely loved the youth, the fantasy, the gaiety of France,
+and more especially of Paris. One perceives it in reading the sparkling
+preface which he wrote for M. Miguel Zamacoïs' _Articles of Paris_,
+blithely illustrated by M. Guillaume. He was not too proud to appear at
+costume balls, nor to continue to take an interest in them even after
+he had ceased to attend them. He once put his name to a picturesque
+sign for a doll shop in the "Old Paris" exhibit at the Exposition. For
+an advertisement contest he painted a dog wearing a monocle, with this
+amusing inscription and play on words, "_O pti cien_" (_0 petit chien_,
+i.e., O little dog). He amused himself by sending to a toy competition,
+organized by the prefect of police, a little Pompeiian saleswoman
+holding a basket of various toys, and a diminutive police officer
+brandishing a white club.
+
+Gérôme had always wished for a sudden and brusque death, "without
+physic and without night-cap." He was spared both physical and moral
+decline. At the age of seventy-nine he climbed the stairs, four steps
+at a time, and sprang upon moving omnibuses running. He died suddenly
+of a cerebral congestion, on his return from a dinner which he had
+attended together with his colleagues of the Institut, January 10, 1904.
+
+
+
+
+THE ARTIST'S WORK
+
+
+It is difficult to enumerate in detail all the works of Gérôme, whose
+originality and energy were inexhaustible. Only a short time before his
+death he declared that with the help of the sketches contained in his
+cupboards he had material enough to keep him busy for twenty-five years
+longer.
+
+Instead of attempting to draw up a chronological list of his paintings,
+which would be only approximately correct, even if limited to the more
+important, it is more profitable to study this conscientious artist
+under his principal aspects.
+
+Although he made some talented attempts, Gérôme neither was nor wished
+to be a portrait painter, any more than a painter of modern life. He
+had, however, as has been pointed out, all the necessary qualities
+for this type which demands so much precision and assurance. In _The
+Emperor Napoleon III Receiving the Siamese Ambassadors at the Palace
+of Fontainebleau_, now in the museum at Versailles, there are eighty
+portraits. The artist has represented himself, side by side with
+Meissonier, and the story is told that a certain general accorded him a
+sitting of only ten minutes.
+
+Besides the large and somewhat sombre portrait of Rachel, which adorns
+the Stairway of Artists at the Comédie-Française, and which was painted
+from existing likenesses and from memory, there is scarcely anything
+else to cite than the portrait of his brother while a student in
+the Polytechnic School, a _Head of a Woman_ (1853, at the museum of
+Nantes), those of M. Leblond, at Vesoul, mentioned by M. Guillaumin,
+of M. A. T. (1864), of Cléry, the great lawyer, and of Charles
+Garnier, the celebrated architect of the Opéra.
+
+As a sculptor, Gérôme has left some admirable busts, among others those
+of Mme. Sarah Bernhardt, bequeathed to the National Museum, of _General
+Cambriels_, of _Henri Lavoix_, the _Monument of Paul Baudry_ destined
+for La Roche-sur-Yon, and, most important of all, the _Equestrian
+Statue of the Duc d'Aumale_, which is now to be seen at Chantilly, and
+the model for which is at the museum of Besançon.
+
+Gérôme had a sincere and profound love for antiquity; with him it was
+not the enjoyment of a contemplative mind, a tranquil amateur art, but
+that of an historian, an archaeologist coupled with the instinct of a
+dramatist, a psychologue, let us say, who is eager to discover, in any
+scene whatever, in the graceful or violent gestures of such and such
+personages of bygone days, some general application. He was certainly
+most anxious to suggest interesting or amusing parallels to modern
+life, for, in spite of the dissimilarity of the settings, the tinsels,
+the decorations, over which the artist laboured with an almost devout
+care of minute detail, human nature to-day is always more or less close
+to the human nature of Greece or Rome.
+
+"Exhibit that picture, it will bring you honour," said Paul Delaroche
+to his pupil, who had shown him, with much misgiving, the _Young Greeks
+Occupied in Cock Fighting_. "It shows originality and style." And
+that was his first success (1847). The grace of the young figures won
+much admiration. Planche praised the harmony of the composition as a
+whole. As to Théophile Gautier, he showed himself, as we have already
+said, highly enthusiastic; he declared that the features of the boy
+were drawn with extreme subtlety. "As to the cocks," he added, "they
+are true prodigies of drawing, animation, and colour; neither Snyders,
+nor Woenic, nor Oudry, nor Desportes, nor Rousseau, nor any of the
+known animal painters have attained, after twenty years of labour,
+the perfection which M. Gérôme has reached at the first attempt." Let
+us note immediately that Gérôme was, as a matter of fact, a very great
+painter of animals. His dogs, his horses, and his lions are the work of
+a masterly observer.
+
+Closely following upon the _Cock Fight_, we must recall _Anacreon
+with Bacchus and Cupid_ (1848, Toulouse Museum) which Gérôme himself
+characterized as a "lifeless picture," and which nevertheless earned
+him a second class medal. Later on he was destined to treat this same
+subject in marble (Salon of 1881). The polished and somewhat affected
+grace of _Anacreon_ must have especially pleased the painter, because
+in 1889 he produced a whole series of compositions of delicious
+daintiness, entitled _Cupid Tipsy_. On the same order of ideas, mention
+must be made of _Bacchus and Cupid Intoxicated_ (1850, Bordeaux
+Museum), and in addition to these, under the head of what may be
+called his Hellenic canvases,--in which he succeeded in conjuring up
+with magic skill the splendours and graces of that immortal mother of
+letters and arts, Greece beloved by the gods,--the following pictures,
+_The Idyll_ (1853), full of charm and solid erudition; _The Greek
+Interior_ (1856), of sure and penetrating art; _King Candaules_ (1859),
+in which the sumptuous beauty of Nyssia illumines the bed-chamber of a
+Heraclid, 700 years B.C., and in which the interest of the picturesque
+anecdote is enhanced by the artist's marvellous documentary knowledge.
+
+In the same group must be mentioned _Phryne before the Tribunal_ (1861,
+reëxhibited in 1867), of charming subtlety, but with a little too much
+emphasis, perhaps, on the irony of its psychology; and, of course,
+_Socrates Seeking Alcibiades at the House of Aspasia_, analogous in
+inspiration, and, as it happens, belonging to the same year; and lastly
+_Daphnis and Chloe_ (1898).
+
+[Illustration: PLATE VI.--THE LAST PRAYER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The amphitheatre is filled to overflowing with the crowd that has
+gathered to witness the martyrdom of the Christians. Around the vast
+circle, unhappy victims agonize upon the cross. In one corner of the
+arena, a group of men and women, condemned to die, confess their new
+faith in an ardent prayer, while from the opened subterraneous passage
+the ravenous beasts are advancing upon their human prey.]
+
+Italy also, with all her memories, furnished Gérôme with scenes of
+striking contrast, evoked from the vanished past, spectacles at once
+sumptuous and barbaric. He caught this atmosphere with rare
+felicity. _Paestum_ (1851) commands attention because of its group of
+buffaloes, which the Goncourts praised for "their ponderous weight of
+head, the solidity of their huge bulk, the grouping of their attitudes,
+the shagginess of their coats, the prevailing sense of grateful
+coolness."
+
+It is necessary to assign a place apart, in this series, for the
+_Augustan Age, Birth of Christ_ (1855, Amiens Museum). In his own
+private opinion, confided to his cousin Timbal, Gérôme held that
+this enormous composition, measuring ten metres in length by seven
+in height, lacked inventiveness and originality. It is true that the
+artist's personality is not clearly revealed in this picture, which
+is a sort of vast commentary on a phrase by Bossuet, and indisputably
+draws its inspiration from the _Apotheosis of Homer_ by Ingres.
+Nevertheless, no one can dispute its noble qualities, and to borrow a
+phrase from Théophile Gautier, its "high philosophic significance."
+Beside Augustus Caesar deified appears Rome, in the form of a woman,
+helmeted, armed with a buckler, and clad in a red chlamys; then
+Tiberius, standing on the right, then statesmen and poets, Caesar,
+Cleopatra, Anthony, Brutus, and Cassius grouped together; lastly the
+throng of all nations on their knees, admirably rendered. In the
+centre, relatively unimportant in this immense assemblage, are the
+Virgin Mary, the Infant Jesus, and St. Joseph, treated in a curious
+fashion, modelled on the manner of Giotto. "It is the chief ornament of
+the Amiens Museum," Gérôme would say jestingly; for he had largely lost
+respect for this prolonged and important effort which represented two
+years' work of a serious and diligent student of history.
+
+The two flawless masterpieces of Gérôme, the eloquent interpreter of
+ancient Rome, are unquestionably his _Ave Caesar, Morituri te Salutant_
+(1859), purchased by Mathews, in which, in the presence of a bloated,
+overfed Vitellius, sitting pacifically in his imperial box, not far
+from the white Vestals, crowned with verbena, gladiators are fighting
+and dying in the circus, and _Pollice Verso_ (1874) in which these same
+gladiators are represented, no longer as Roman soldiers, but in the
+exact costume that they wear at the moment when the Emperor and the
+crowd, ravenous for carnage, turn down their thumbs as signal for the
+death stroke. This work, published by Goupil, did not appear at the
+Salon. We must cite further _Gaius Maximus_, the _Chariot Race_, which
+aroused legitimate enthusiasm in America; The _Wild Beasts Entering
+the Arena_ (1902) and we must not forget that Gérôme also expended his
+energy as a sculptor upon these same attractive gladiatorial figures.
+
+Striking and pathetic contrast is also earnestly striven for and
+strongly rendered in _The Death of Caesar_ (1859, 1867). One almost
+needs to be an incomparable "stage manager" in order to show the
+body of Caesar after this fashion, in the foreground, in the chamber
+deserted by the Senators; one Conscript Father, as a touch of satire,
+has fallen asleep. The effect is powerful, even though it has been
+sought for with too obvious care. Undoubtedly Nadar had the laugh on
+his side when he compared the body of Caesar to a bundle of linen and
+called the picture "The Day of the Washerwoman." Gérôme appreciated
+the humour of this pleasantry. It is equally true that Baudelaire
+applauded the picture, exclaiming: "Certainly this time M. Gérôme's
+imagination has outdone itself; it passed through a fortunate crisis
+when it conceived of Caesar alone, stretched upon the ground before his
+overturned throne ... this terrible epitome tells everything."
+
+The clever erudition of the painter, who had already revealed himself
+as an adherent of the so-called group of "Pompeiians," in the
+_Gyneceum_ (1850),--in which we perceive a group of nude women in the
+court of a house in Herculaneum,--asserts itself once more, coupled
+with an incisive touch of epigram in _Two Augurs Unable to Look at
+Each Other Without Laughing_, and similarly in the _Cave Canem_, now at
+Vesoul (in front of a Roman house a slave is playing the role of watch
+dog), in the _Sale of Slaves at Rome_ (1884), etc.
+
+A similar ingenuity, with greater amplitude, constitutes the charm
+and the surprise of _Cleopatra and Caesar_ (1886). Cleopatra has had
+herself brought into Caesar's cabinet in the palace at Alexandria,
+concealed in a bundle of clothing. "Her appearance there," said Maxime
+du Camp, who also praised the interest of the accessories, treated with
+exquisite care, "is perfectly chaste, in spite of her nudity." All the
+details are executed with a masterly command of picturesqueness and
+accuracy.
+
+As a religious painter Gérôme has to his credit the _Virgin,
+Infant Jesus, and St. John_ (1848), a youthful work imitated
+from Perugino, a _St. George_, in the church of Saint-Georges at
+Vesoul, a _St. Martin Cutting his Mantle_, in the ancient refectory
+of Saint-Martin-des-Champs, a _Death of St. Jerome_ (1878) at
+Saint-Séverin, a _Moses on Mt. Sinai_, and _The Plague at Marsailles_,
+and, most important of all, _Golgotha Consummatum Est_, intensely
+lugubrious and symbolic in aspect, with Christ and the two thieves
+appearing, through the desolate atmosphere, like writhing shadows on
+the cross. This conception cost the author a violent diatribe from
+Veuillot, while Edmund About, although making certain reservations,
+wrote on the other side: "The entire sum of qualities that are
+distinctive of M. Gérôme will be found in this picture."
+
+As a painter of exotic life Gérôme remains an observer of the highest
+order. If he has not wholly revealed Italy to us in his _Guardians of
+the Herd_ and his _Pifferari_ (1855, 1857), he has at least done so
+in the case of Egypt, still deeply impregnated with an ancient and
+splendid civilization, naïve and at the same time venerable, Egypt
+before the advent of tourists, a luminous land where the Nile and
+the Desert reign supreme, a land of magnificence and of savagery.
+Landscapes of this Egypt of poetic mystery, and of Palestine as
+well, childish or perverse _almas_, rude Albanian Chiefs, Turbaned
+Turks,--one never wearies of these decorative effects, these clear
+visions, these scenes of animation, whether violent or delicate,
+the people, the vegetation, the fabrics, all resplendent under the
+marvellous sky of the Orient.
+
+In the company of this intrepid, venturesome and observant traveller,
+we witness the passage of _Egyptian Recruits Crossing the Desert_, we
+are present at _Prayers in the House of an Albanian Chief_, we pause
+in the _Plain of Thebes_, not far from _Memmon and Sesostris_, and
+we watch the _Camels at the Drinking Trough_, so admirably realized.
+Gérôme, who had a gift for finding the right and pleasing phrase, gave
+this rather neat definition of a camel: "The Ship of the Sea of Sand."
+
+Similarly, the _Egyptian Straw-chopper_ (1861, again exhibited in
+1867, and purchased by M. Werlé) symbolizes, simply yet forcefully,
+agricultural Egypt, and all the varied shadings of her pastoral
+poetry. Then again, there is _The Prisoner_ (1863), in which a boat
+is making its way along the vast and pacific Nile. Two negro oarsmen,
+the master, a bashibazouk, are in the prow; and in the stern, beside a
+buffoon, who apparently derides him, while twanging the strings of a
+guitar, the prisoner lies cross-wise, fast bound, and abandons himself
+to his cruel destiny. There, in a setting of enchanted beauty, we have
+the chief actors in this original drama, in which dream and reality are
+blended.
+
+What a horde of types, some of them bizarre, others simply comic! There
+are, taking them as they come, a _Turkish Butcher in Jerusalem_ (1863),
+_The Alma_ (Professional Singing Girl--1864), _The Slaves in the Market
+Place_, _The Clothing Merchant at Cairo_, _The Albanians Playing Chess_
+(1867), The _Itinerant Merchant at Cairo_ (1869). Then there is the
+_Promenade of the Harem_, and still others, the _Santon_ (Turkish Monk)
+_at the Door of the Mosque_ and _Women at the Bath_ (1876), the
+_Arab and his Courser_ and _The Return from the Hunt_ (1878).
+
+[Illustration: PLATE VII.--THE VENDOR OF RUGS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+From his numerous journeys to the East, Gérôme brought back many
+curious memoranda of picturesque scenes, which he subsequently
+converted into brilliant canvases. He excelled in reproducing the
+caressing beauty of shimmering carpets and the rippling sheen of silken
+textures.]
+
+In the company of this experienced and reliable guide, we wander from
+_Jerusalem_ (1868) to the _Great Bath at Broussa_ (1885), from a
+_Corner of Cairo_ to _Medinet_ and _Fayoum_. Here we have the severed
+heads in the _Mosque of El Hecanin_, the nude woman in the _Moorish
+Bath_, all the barbarity and all the grace of the Orient,--and
+invariably the anecdote, whether agreeable or sinister, blends with the
+matchless splendour of the landscape.
+
+To this list must be added _Recreation in Camp, a Souvenir of Moldavia_
+(Salon of 1854), in which a soldier is dancing before his assembled
+comrades, to the sound of drums, fifes, and violins. A sentinel keeps
+watch. It is a picture taken in the act, and intensely real.
+
+It is easy to detect the historian, or, to adopt the expression of
+M. Jules Claretie, the "Memoir Maker," possessed of the true gift,
+agreeable and individual, lurking behind every one of the works of
+this authoritative orientalist. He dedicated himself quite naturally
+and with great success to the interpretation of history and of the
+historic and literary anecdote.
+
+His love of contrasts, his gift for depicting locality and somehow
+conveying the very atmosphere belonging to the varied scenes that
+are to be brought before the spectator's eye, give amplitude to such
+attractive little compositions as _Louis XIV. and Molière_ (1863),
+and _A Collaboration_ (1874); evoke the whole sombre tragedy of the
+death of Maréchal Ney, _December 7, 1815, Nine o'clock in the Morning_
+(1868); and appeal successively to our curiosity, our sympathy, or our
+admiration, with a Frederick II., conqueror of Silesia, playing on
+his flute, the _King Flutist_ (1874, purchased by M. H. Oppenheim),
+_His Gray Eminence_ (1874), in which the austere and dominant Father
+Joseph is making his way alone, down the stairway, in the presence
+of the obsequious courtiers; a Bonaparte day-dreaming before the
+Sphinx, _Oedipus_ (1886), a _Bonaparte at Cairo_ gazing at the town
+from the back of his Arab horse, a _Bonaparte in Egypt_, mounted on a
+white dromedary, dreaming of his omnipotence, of his conquest of the
+universe, and surrounded by his overdriven soldiers.
+
+As a matter of fact, Gérôme made a sort of hero-worship of Napoleon
+and the Napoleonic epic, resembling in this respect his friend, M.
+Frédéric Masson, the celebrated historian of the Emperor, who was
+better qualified than any other writer to pay an eloquent tribute to
+this _Bonaparte in Egypt_.
+
+"Bonaparte is no longer on the road to Syria, he is on the road to
+India; he is hesitating between the two halves of the world that he
+holds in his hands; he is weighing the destiny of Alexander against the
+destiny of Cæsar; he is asking himself whether Asia, to which he holds
+the key, is a fair exchange for Europe which he has just quitted; and
+while his dream embraces the universe, he leaves his human rubbish heap
+to suffer."
+
+Gérôme is wholly himself when he has an anecdote to give us, whether
+it be subtle, humorous, kindly, or dramatic, and even,--why not use the
+word?--melodramatic.
+
+Classified thus, _The Duel after the Masquerade_ fully deserves
+its brilliant reputation. Reproduced, not only in lithographs and
+engravings, but even transferred to the theatre (given at the Gymnase,
+in 1881, by Mme. Fould), its subject has become a matter of general
+knowledge. It is winter in the Bois de Boulogne. A number of people
+in fancy costume are bending over a wounded Pierrot, while one of the
+witnesses of this improvised duel is leading away the murderer, the
+Harlequin.
+
+One can see at once what a tremendous appeal a subject like this would
+have for the general public.
+
+This singular drama, taking place in the snow, all this joyousness
+ending in bloodshed and perhaps death, is so fantastic that it leaves a
+lasting impression. It was, by the way, as M. Guillaumin has explained,
+suggested by an actual duel that took place between Deluns-Montaud,
+the Harlequin, and the Prefect of Police Bortelle, the Pierrot.
+
+Undoubtedly there was, and still is, ground for criticism. Alexandre
+Dumas thought, not unreasonably, that serious-minded men of that
+age would not go out to fight each other in such a costume. Edmond
+About criticized the pose of Crispin supporting on his knee an
+entire group of spectators, along with the body of poor Pierrot. But
+Paul de Saint-Victor praised the "truthfulness of the postures, the
+etching-like precision of the heads, the wise planning of the whole
+composition."
+
+In order to appreciate better the daring fantasy and the wise and
+invariably picturesque inventiveness of Gérôme, we have only to study
+further such works as the Frieze destined to be reproduced upon a vase
+commemorative of the Exposition of London (1853), _Rembrandt Etching_
+(exhibited in 1867, purchased by M. E. Fould), which has been admired
+for its golden half-shadows and freely compared to Gerard Dow, the
+_Reception of the Siamese Ambassadors_ (1865), _The First Kiss of
+the Sun_ (1886), the _Poet_, _Thirst_ (1888), and fantasies, such
+as, _The Amateur of Tulips_, _Whoever you are, here is your Master_;
+anecdotal portraits throwing side lights on history, such as: _They are
+Conspiring_, or _Not Convenient_, _Louis XI. visiting Cardinal Balue_,
+_Promenade of the Court in the Gardens of Versailles_ (1896); animals
+full of life and prowess, such as: _The Lioness meeting a Jaguar_
+and _Ego nominor Leo_, a lion rendered life size; lastly, his studio
+interiors, in which he has chosen to depict himself exactly as he was,
+that is to say, a sincere, clear-sighted, and indefatigable workman.
+
+In the most recent of these studio pictures, he appears, wearing a
+sculptor's blouse and occupied in modelling a statuette of a woman.
+He astonished his friends and admirers, during his last years, by his
+earnest labours in sculpture. His two groups, _The Gladiators_ and
+_Anacreon, Bacchus and Cupid_, claimed the attention of the public at
+the Exposition of 1878; and it was the same with his marble statue of
+_Omphale_ (1887), his _Tanagra_, his _Dancing Girl_, his bronze _Lion_
+(1890, 1891), etc.
+
+His efforts to revive the art of coloured or polychrome sculpture, the
+so-called chryselephantine sculpture, which invokes the aid of various
+precious elements, constitute one of the most curious and important
+artistic experiments of modern times, even though the result did not
+always come up to the expectation.
+
+On February 2, 1892, in an unpublished letter addressed to M. Germain
+Bapst, who desired information concerning the artist's experiment,
+Gérôme wrote: "I have always been struck with a sense of the coldness
+of statues if, when the work is once finished, it is left in its
+natural state. I have already made some experiments and am continuing
+my efforts, for I am anxious to bring before the eyes of the public a
+few demonstrations that I hope will be conclusive. I know that there
+are a great many protests. The world always protests against anything
+which is, I will not merely say new, but even renewed; for it disturbs
+a good many people in their tranquillity and their routine." And after
+having first shown that ancient architecture was adorned with colours
+and that in chryselephantine sculpture the Greeks combined gold, tin,
+and ivory, that they painted the marble and united it with various
+metals, Gérôme added: "Shall I succeed? At least I shall have the
+honour of having made the attempt."
+
+In the interesting study which M. Germain Bapst devoted to this
+question, after having, as we have seen, consulted the artist himself,
+he recalled the fact that both in chateaux and in churches the Mediæval
+statuary was coloured. In Greece, the Minerva Parthenos contained a
+weight of gold equivalent to more than 2,200,000 francs in the French
+currency of to-day. The statue of Jupiter at Olympus was partly of
+ivory and partly of gold.
+
+[Illustration: PLATE VIII.--THE TWO MAJESTIES
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+In the mournful immensity of African solitudes, the king of planets
+mounts towards the zenith, darting his fires upon the arid land that he
+consumes, while the other king of the desert, the lion, contemplates
+the triumphant ascension of his rival in the sky. Gérôme has rendered
+the scene with an eloquence all the greater because he has employed
+such simple means.]
+
+Towards the middle of the nineteenth century, the Duc de Luynes
+undertook, in collaboration with the architect Dubau, to produce an
+example of chryselephantine sculpture, which cost him more than 500,000
+francs and was placed on view at the Exposition Universelle held in the
+Palais de l'Industrie in 1855.
+
+Gérôme in his turn made a like attempt, in his _Bellona_, in which,
+to remedy the cold immobility of the material, he coloured both
+the ivory and the marble and at the same time invoked the aid of
+silver, bronze, gold, and enamel. He had associated with him several
+experienced collaborators, such as M. Siot-Decauville, who was to cast
+the face of Bellona in bronze, Messrs. Moreau-Vauthier and Delacour to
+point the ivory, M. Gautruche to attend to the verde-antique and the
+electroplating. Lastly, Gallé, and M. Lalique as well, made a number of
+trial models for the little head of Medusa.
+
+Among the other examples of Gérôme's sculpture, mention must be made
+of _The Entrance of Bonaparte into Cairo_ (1897), _Bonaparte_, a
+bust (1897), _Timour-Lang, the Lion Tamer_ (1898), _Frederick the
+Great_ (1899), _Washington_ (1901), _The expiring Eagle of Waterloo_,
+_The Bowlers_ (1902), _Cupid the Metallurgist_, a statue in bronze,
+_Corinth_, a statue in polychrome marble and bronze (1904).
+
+
+
+
+THE ART OF GÉRÔME
+
+
+"If you wish to be happy," Gérôme used to say to his pupils, "remain
+students all your lives." For his own part he applied himself
+ceaselessly to his studies, trusting nothing to chance. He had an
+extraordinarily methodical and orderly mind, even in regard to the
+smallest details. It is related that, when he was absent on his
+travels, he would notify his models several months in advance, so that
+they would be on hand to pose for him in his studio, from the very day
+of his arrival.
+
+Being partly a traditionalist and partly an independent, he did not
+always possess the gift of pleasing the critics, and he loved them
+none too well. And when one of them asked him one day for a sketch,
+he replied, "I do not pay to be applauded." But he was exceedingly
+strict in his self-criticism. In one of his notes entrusted to his
+relative Timbal, he wrote: "I am my own severest critic.... I am under
+no delusion regarding my works."
+
+On the other hand, and it is well to dwell upon this in order to grasp
+his personality, Gérôme was far from being an eclectic. Of the work of
+Puvis de Chavannes he said with virulence: "It won't stand analysis,
+it is a series of mannikins set on the ground all out of plumb, and
+nothing seems to fit in." And he made a play upon words by employing,
+in place of Puvis, the Latin word _pulvis_, which signifies dust.
+
+After his appointment as professor at the École des Beaux-Arts, he did
+his best to have Manet banished from it. He couched his protest in the
+following energetic terms: "I am certain that Manet was capable of
+painting good pictures. But he chose to be the apostle of a decadent
+fashion, the scrap-work school of art. I, for my part, have been chosen
+by the State to teach the orthography of art to young students.... I
+do not think it right to offer them as a model the extremely arbitrary
+and sensational work of a man who, although gifted with rare qualities,
+did not develop them." In his opinion, it would have been more suitable
+to exhibit such works in a bar-room than at the Beaux-Arts. M. Coutil
+relates that Gérôme said further on this same subject: "The first merit
+a painting should have is to be luminous and alluring in colour, and
+not dull and obscure."
+
+He had, for that matter, no more tolerance for Millet than for Sisley,
+Monet, and Pissaro. On one occasion, he assured M. Jules Claretie that
+if Millet could return and again send his canvases to the Salon, he
+would refuse them over again! And, when his distinguished interlocutor
+protested, "Oh, come now, Gérôme, you don't mean that!" he declared
+unhesitatingly, "I mean just that, and nothing else."
+
+Messrs. Moreau-Vauthier and Dagnan-Bouveret have given some very
+accurate and useful details regarding his methods of instruction and
+of work. They have shown him to us at his task, both as painter and
+professor.
+
+He emphasized the importance of construction, and of the character
+of the form, rather than the form itself, which is a matter of
+temperament. He insisted that a scene must be visualized in its
+completeness, as a harmonious and fully significant whole. Emile
+Augier, for instance, with whom he felt no annoyance at being compared,
+the excellent comedian, Got, the younger Dumas, Gounod,--all of these
+he loved for their absolute clarity, and he demanded it of them. He
+declared that one has no right to paint off-hand, without a model; and
+he also held that one has no right to make hasty, careless sketches.
+
+His method was distinguished by its scrupulous and admirable precision.
+Impeccable order always reigned in his studio. M. Dagnan-Bouveret
+writes that his palette and brushes were scrupulously cared for.
+He used to overspread his canvases with a uniform foundation of
+half-tones more or less warm or cold, using preparations made by
+Troigras. He roughed in the whole picture very rapidly, and this
+first rough draft, according to connoisseurs, was always extremely
+interesting.
+
+In his paintings, he proved that the strength of colouring is in
+inverse proportion to the intensity of light. He had a marvellous
+faculty for making the delicate shadings of nature correspond with the
+psychological sentiments that their aspects evoke. From this comes his
+amazing variety.
+
+A man of wide reading and deep culture, Gérôme had a profound love for
+the truth, for reality just as it is, holding that it is the artist's
+first duty to know his place, his time, his episode, and the one
+special angle of vision that will give the rarest and most fruitful
+results.
+
+On the eve of his death, he was still lauding the merits of
+photography, which has the advantage of being able to snatch a document
+straight out of life, without falsifying it by giving it a personal
+interpretation that must always be more or less inaccurate.
+
+Whatever allowance must be made for what we may call the personal
+equation of an artist, his own individual temperament, it is not
+unprofitable to recall this opinion of Gérôme's, for it helps us to
+acquire a better conception of his art, based as it was upon accuracy
+and unwavering truth.
+
+Truth, which he once depicted in her well, killed by liars and
+mountebanks (_Mendacibus in histrionibus occisa in puteo jacet alma
+Veritas_, Salon of 1895), always charmed and inspired him. He rendered
+it more attractive by his admirable sincerity, by his chivalrous and
+imaginative spirit, as well as by his archeological and ethnographic
+learning.
+
+Thanks to this lofty conscientiousness in research, his work, erudite
+and entertaining at the same time, making distant and vanished
+civilizations live again, and reproducing atmospheres and local
+settings with a delicacy that at times is a trifle specious, but
+always incomparably picturesque, cannot fail to please and charm to-day
+as it did yesterday, and to-morrow as it does to-day.
+
+Accordingly, it is with good reason that M. Soubies has lauded his fine
+attention to detail, and that M. Thiebaut-Sisson has summed him up in
+the following terms: "The artist created his formula for himself. He
+extracted from it the maximum effect that it contained." And even while
+we glorify and venerate those painters gifted with a graver or more
+lyric vision, a bolder or more laboured craftsmanship, we must freely
+subscribe to the opinion of Edmond About when he said of Gérôme: "He
+is the subtlest, the most ingenious, the most brilliant ... of his
+generation."
+
+
+
+
+Transcriber's note:
+
+The following correction have been made:
+
+p. 17 honoured placed among -> placed changed to place
+
+Illustrations were moved to paragraph breaks and a missing comma
+was added. Everything else has been retained as printed (including
+ambiguous hyphens at the ends of lines). Italics is represented with
+underscore.
+
+
+
+
+
+End of the Project Gutenberg EBook of Gérôme, by Albert Keim
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44340 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 44340 ***</div>
+
+<div class="figcenter" style="width: 578px;">
+<img src="images/cover.jpg" width="578" height="800" alt="Cover" />
+</div>
+
+<hr class="break-before" />
+
+<div class="major">
+<p>
+<span class="inc">MASTERPIECES<br />
+<span class="let-spac">IN COLOUR</span><br />
+EDITED BY - -</span><br />
+M. HENRY ROUJON</p>
+
+
+<p class="center vbig let-spac ma-top4">GÉRÔME</p>
+
+<p class="center">(1824&ndash;1904)</p>
+
+</div>
+
+<hr class="break-before" />
+
+
+<div class="major">
+
+<p class="center"><i>IN THE SAME SERIES</i></p>
+
+<ul>
+<li>REYNOLDS</li>
+<li>HOLBEIN</li>
+<li>VELASQUEZ</li>
+<li>BURNE-JONES</li>
+<li>GREUZE</li>
+<li>LE BRUN</li>
+<li>TURNER</li>
+<li>CHARDIN</li>
+<li>BOTTICELLI</li>
+<li>MILLET</li>
+<li>ROMNEY</li>
+<li>RAEBURN</li>
+<li>REMBRANDT</li>
+<li>SARGENT</li>
+<li>BELLINI</li>
+<li>CONSTABLE</li>
+<li>FRA ANGELICO</li>
+<li>MEMLING</li>
+<li>ROSSETTI</li>
+<li>FRAGONARD</li>
+<li>RAPHAEL</li>
+<li>DÃœRER</li>
+<li>LEIGHTON</li>
+<li>LAWRENCE</li>
+<li>HOLMAN HUNT</li>
+<li>HOGARTH</li>
+<li>TITIAN</li>
+<li>WATTEAU</li>
+<li>MILLAIS</li>
+<li>MURILLO</li>
+<li>LUINI</li>
+<li>WATTS</li>
+<li>FRANZ HALS</li>
+<li>INGRES</li>
+<li>CARLO DOLCI</li>
+<li>COROT</li>
+<li>GAINSBOROUGH</li>
+<li>DELACROIX</li>
+<li>TINTORETTO</li>
+<li>FRA LIPPO LIPPI</li>
+<li>VAN DYCK</li>
+<li>PUVIS DE CHAVANNES</li>
+<li>DA VINCI</li>
+<li>MEISSONIER</li>
+<li>WHISTLER</li>
+<li>GEROME</li>
+<li>RUBENS</li>
+<li>VERONESE</li>
+<li>BOUCHER</li>
+<li>VAN EYCK</li>
+<li>MANTEGNA</li>
+</ul>
+
+<p class="center"><i>IN PREPARATION</i></p>
+
+<ul>
+<li>FROMENTIN</li>
+<li>PERUGINO</li>
+</ul>
+
+</div>
+
+<hr class="break-before" />
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/i_04h.jpg" id="plateI"><img src="images/i_04.jpg" width="400" height="277" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE I.&mdash;YOUNG GREEKS ENGAGED IN COCK FIGHTING</p>
+
+  <p>(In the Luxembourg Museum, Paris)</p>
+
+<p class="block">This was Gérôme's first picture. It was exhibited at the Salon
+of 1847, and achieved a brilliant success. Théophile Gautier, who
+was a critic hard to please, bestowed upon it some enviable praise.
+In later years the artist found much to censure in his early work;
+but the public, less severely critical, admired the graceful nudity of
+the young forms and the combative ardour of the two adversaries.</p>
+  </div>
+</div>
+
+
+
+<hr />
+
+<div class="titlepage">
+
+<h1>GÉRÔME</h1>
+
+<p class="inc">BY ALBERT KEIM</p>
+
+<p>TRANSLATED FROM THE FRENCH<br />
+BY FREDERIC TABER COOPER</p>
+
+<p class="inc let-spac">ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR</p>
+
+<div class="figcenter" style="width: 270px;">
+<img src="images/titlepage.png" width="270" height="254" alt="In Sempiternum." />
+</div>
+
+<p class="inc">FREDERICK A. STOKES COMPANY<br />
+NEW YORK&mdash;PUBLISHERS
+</p>
+
+</div>
+
+
+<hr />
+
+<div class="major">
+
+<p class="center">
+COPYRIGHT, 1912, BY<br />
+FREDERICK A. STOKES COMPANY
+</p>
+
+<p class="center ma-top4"><i>Printed in the United States of America</i></p>
+
+</div>
+
+
+<hr />
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS">CONTENTS</a><span class="pageno"><a name="Page_vii" id="Page_vii">vii</a></span></h2>
+
+
+<table summary="Table of contents">
+<tr>
+  <td colspan="2" class="r small">Page</td>
+</tr>
+<tr>
+  <td>Introduction</td>
+  <td class="r"><a href="#Page_11">11</a></td>
+</tr>
+<tr>
+  <td>Life of Gérôme</td>
+  <td class="r"><a href="#Page_17">17</a></td>
+</tr>
+<tr>
+  <td>The Artist's Work</td>
+  <td class="r"><a href="#Page_43">43</a></td>
+</tr>
+<tr>
+  <td>The Art of Gérôme</td>
+  <td class="r"><a href="#Page_72">72</a></td>
+</tr>
+</table>
+
+
+<hr />
+
+
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a><span class="pageno"><a name="Page_ix" id="Page_ix">ix</a></span></h2>
+
+
+<table id="loi" summary="List of illustrations">
+<tr>
+  <td class="small r">Plates</td>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">I.</td>
+  <td colspan="2"><a href="#plateI">Young Greeks Engaged in Cock Fighting</a></td>
+  <td class="smaller r">Frontispiece</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Luxembourg Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td colspan="4" class="small r">Page</td>
+</tr>
+<tr>
+  <td class="r">II.</td>
+  <td colspan="2"><a href="#plateII">Reception of the Siamese Ambassadors</a></td>
+  <td class="r">14</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Versailles Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">III.</td>
+  <td colspan="2"><a href="#plateIII">Anacreon, with Bacchus and Cupid</a></td>
+  <td class="r">24</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Toulouse Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">IV.</td>
+  <td colspan="2"><a href="#plateIV">Pollice Verso</a></td>
+  <td class="r">34</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">V.</td>
+  <td colspan="2"><a href="#plateV">The Prisoner</a></td>
+  <td class="r">40</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Nantes Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VI.</td>
+  <td colspan="2"><a href="#plateVI">The Last Prayer</a></td>
+  <td class="r">50</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VII.</td>
+  <td colspan="2"><a href="#plateVII">The Vendor of Rugs</a></td>
+  <td class="r">60</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VIII.</td>
+  <td colspan="2"><a href="#plateVIII">The Two Majesties</a></td>
+  <td class="r">70</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+</table>
+
+
+<hr />
+
+
+<div class="chap-begin">
+<span class="pageno"><a name="Page_11" id="Page_11">11</a></span>
+  <div class="figcenter" style="width: 209px;">
+  <img src="images/i_12.png" width="209" height="299" alt="Portrait drawing of Gérôme" />
+  </div>
+</div>
+
+<h2 class="no-break"><a name="I" id="I">I</a><br />
+INTRODUCTION</h2>
+
+
+<p class="cap"><span class="upper">Gérôme</span> has his allotted place among the
+illustrious French painters of the Nineteenth
+Century. He achieved success, honours,
+official recognition; and he deserved them, if not
+for the compelling personality of his temperament,
+at least for his assiduous industry, his<span class="page"><a name="Page_12" id="Page_12">12</a></span>
+accurate, methodical, and picturesque way of
+seeing people and things, and the amazing and
+fertile variety both of his choice and his interpretation
+of subjects.</p>
+
+<p>He was a pupil of Paul Delaroche and seems
+to have inherited the latter's adroitness in seizing
+upon the one salient and emotional detail
+in a composition. Like that historian-painter
+of the <cite>Death of the Duc de Guise</cite>, Gérôme excelled
+in always giving a dramatic stage setting to
+the persons and the events which he knew how
+to conjure up with such learned and scrupulous
+care.</p>
+
+<p>In spite of his versatility, and notwithstanding
+that many a vast canvas has demonstrated
+his ingenious and resourceful talent, he takes
+his place beside Meissonier because of the extreme
+importance that he attached to accuracy
+and precise effects.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_15h.jpg" id="plateII"><img src="images/i_15.jpg" width="400" height="195" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE II.&mdash;RECEPTION OF THE SIAMESE AMBASSADORS</p>
+
+  <p>(In the Museum at Versailles)</p>
+
+<p class="block">This picture possesses a curious interest because it shows
+in what a picturesque manner Gérôme could execute a painting
+officially ordered. He received the commission in 1865, through
+the Imperial Household. He has rendered with much felicity all
+the pompous and highly coloured aspect of the scene, very effective
+in the sumptuous setting of the Salle des Fêtes at Fontainebleau.</p></div>
+</div>
+
+<p>Although it is some years since he passed
+away, Gérôme has left behind him living memories
+among his friends and pupils, many of<span class="pagenum"><a name="Page_15" id="Page_15">15</a></span>
+whom have in their turn become masters. Both
+as man and as artist he was and still continues
+to be profoundly regretted, independently of all
+divergences of opinion, method, and temperament.</p>
+
+<p>A master of oriental lore, a curious and subtle
+antiquarian, a chronicler of ancient and modern
+life, rigorous at times, but more often distinguished
+for his charm and delicacy,&mdash;such is
+Gérôme as he has revealed himself to us through
+the medium of his abundant works.</p>
+
+<p>Whether he paints us the men of the Desert
+and the almas of Egypt, or shows us the gladiators
+of the Circus, the death of Caesar, the leisure
+hours of Frederick II, the dreams of a Bonaparte,
+or takes us to the <cite>Winter Duel in the
+Bois de Boulogne after the Masked Ball</cite>, a
+picture that achieved much popularity, Gérôme
+never fails to catch and hold attention by startling
+contrasts of colour combined with a fine
+accuracy of line work.</p>
+
+<p>But what matter the means through which<span class="pagenum"><a name="Page_16" id="Page_16">16</a></span>
+an effect is sought if they prove successful
+both in the general impression produced by the
+work as a whole and in the charm of the separate
+details,&mdash;in other words, if the result justifies
+the effort?</p>
+
+<p>Effort, in Gérôme's case, meant literally a
+valiant and noble persistence. He was ceaselessly
+in search of something new. In spite of
+assured fame, he never repainted the same subject.
+During the later years of his life, his ambition
+was to be at the same time an illustrious
+painter and a sculptor of recognized merit; and
+in this he succeeded. His attempt to revive,
+after a fashion of his own, the precious lost art
+of antique sculpture, although greeted with a
+wide divergence of opinions, remains a noteworthy
+achievement.</p>
+
+<p>On the eve of his eightieth year and abrupt
+decease, Gérôme still laboured with the ardour
+and the splendid faith of youth. He sets an
+encouraging example, as fine and as stimulating
+as the best of his splendid pictures.</p>
+
+<hr />
+
+
+
+<h2 class="no-break"><a name="THE_LIFE_OF_GEROME" id="THE_LIFE_OF_GEROME">THE LIFE OF GÉRÔME</a><span class="pageno"><a name="Page_17" id="Page_17">17</a></span></h2>
+
+
+<p>Jean-Léon Gérôme was born at Vesoul on
+May 11, 1824. Throughout his life he retained a
+slight trace of the Franche-Compté accent, which
+gave a keener relish to his witty anecdotes and
+piquant retorts.</p>
+
+<p>He belonged to a family holding an honoured
+place among the bourgeoisie. His excellent
+biographer, M. Moreau-Vauthier, relates that his
+grandfather was on the point of taking orders
+when the Revolution broke out. His father was
+a watchmaker and goldsmith at Vesoul. As a
+child, he himself was in delicate health.</p>
+
+<p>Nevertheless, he proved himself a good student
+at the college in the city of his birth. While
+there he studied both Greek and Latin. His
+instructor in drawing, Cariage, having noticed
+his early efforts, gave him much good advice
+and encouragement.</p>
+
+<p>At the age of fourteen, he copied a picture
+by Decamps, which had found its way to Vesoul<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span>
+from Paris. The story goes that his father forthwith
+favoured the idea that he should take up
+the vocation of an artist. There is no use in
+exaggerating. As a matter of fact, his family
+dreaded the hardships of so hazardous a career.
+But, upon receiving his bachelor's degree at the
+age of sixteen, a degree which at that epoch
+was by no means common, he obtained permission
+to go to the capital and pursue his studies
+under the auspices of Paul Delaroche, to whom
+he was provided with a letter of introduction.</p>
+
+<p>It is pleasant to picture the young man setting
+forth alone by <em>diligence</em> and applying himself
+bravely to the task of acquiring talent and
+renown.</p>
+
+<p>He was most faithful in his attendance at
+the studio of Delaroche, who, being the son-in-law
+of Horace Vernet, possessed at that time
+not only a wide reputation as professor, but also
+an enormous influence both at the École des
+Beaux-Arts and at the court of Louis-Philippe.</p>
+
+<p>Delaroche, who has aptly been called the<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span>
+Casimir Delavigne of painting, a romanticist who
+stopped short of being a revolutionary, parted
+company with the cold traditionalists of the older
+school in the profound importance that he attached
+to accuracy and to the truth and interest
+of movement.</p>
+
+<p>Gérôme was destined to draw his inspiration
+from analogous principles. While interesting
+himself profoundly in costumes, in surroundings,
+in local colour, he always avoided excess and
+maintained an almost classic restraint even in
+the most modern of his fantasies.</p>
+
+<p>Delaroche's pupils were a lively set. Gérôme
+found life pleasant in the studio where Cham
+amused himself by passing himself off upon
+strangers as "the patron," and where his comrades
+were such men as Alfred Arago, Hébert,
+Hamon, Jalabert, Landelle, Picou, and Yvon.</p>
+
+<p>He won their regard by his flow of spirits
+and his caustic humour. At this period he supported
+himself by copying paintings and making
+drawings for the newspapers; but, although a<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span>
+small monthly income of a hundred francs assured
+him comparative security, he was uneasy.
+Although only eighteen, the young man was
+impatient to show what he could do. He was
+seeking his path.</p>
+
+<p>He took his first step towards finding it when
+he accompanied his teacher to Italy after the
+latter had closed his studio. He remained there
+for an entire year.</p>
+
+<p>Upon his return, he studied for a time under
+Gleyre, after which he worked for some months
+on Delaroche's <cite>Bonaparte Crossing the Alps</cite>.</p>
+
+<p>In 1847, Gérôme made his début at the Salon
+with a veritable master-stroke. At an exposition
+where Delacroix's <cite>Shipwrecked Bark</cite> and Couture's
+<cite>Roman Orgy</cite> monopolized the public gaze,
+the young artist attracted keen attention by his
+<cite>Young Greeks Engaged in Cock Fighting</cite>. Théophile
+Gautier enthusiastically proclaimed the
+merits of this work, which brought Gérôme much
+valued praise and some influential supporters.</p>
+
+<p>We shall revert again to this significant canvas,<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span>
+which since 1874 has hung in the Luxembourg
+Museum, and with which the artist, when
+he later attained full mastery of his art, found all
+manner of fault.</p>
+
+<p>The first meeting between this painter of
+twenty-three, upon whom renown had just begun
+to smile, and Gautier, magnanimous prince of
+criticism and poetry, took place under circumstances
+that deserve to be recorded.</p>
+
+<p>Gérôme was betaking himself to the offices of
+the <cite>Artiste</cite>, at that time presided over by Arsène
+Houssaye; in his hand he held a line drawing
+of his own recent idyll of classic times. On the
+staircase he encountered Gautier who had paused
+there, and who began to talk to him in glowing
+terms of the Salon and especially of a painting
+by a newcomer, named Gérôme.</p>
+
+<p>"But that is I, myself!" cried the young man
+with keen emotion, and he showed his drawing
+to the author of <cite>Enamels and Cameos</cite>.</p>
+
+<p>Continuing to draw his inspiration from antiquity,
+he set to work with a stouter heart, in<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span>
+a studio on the Rue de Fleurus, which he shared
+with Hamon and Picou, associating with artists
+and with musicians such as Lalo and Membrée.</p>
+
+<p>His labours were twice interrupted: first, by
+an attack of typhoid fever, through which his
+mother came to nurse him; and secondly, by the
+Revolution of 1848 when, in compliance with
+the expressed desire of his comrades, he was
+appointed adjutant major of the National Guards.</p>
+
+<p>It was about this same period that he received a
+first class medal and found himself well advanced
+upon the road to fame.</p>
+
+<p>"I have always had the nomadic instinct,"
+Gérôme used to declare, and complacently questioned
+whether he did not have a strain of gypsy
+blood among his ancestors. In his notes and
+souvenirs, which he entrusted to his relative and
+friend, the painter Timbal, he confesses, along
+with his various artistic scruples, his passionate
+love of travel.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_26h.jpg" id="plateIII"><img src="images/i_26.jpg" width="400" height="272" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE III.&mdash;ANACREON WITH BACCHUS AND CUPID</p>
+
+  <p>(In the Museum at Toulouse)</p>
+
+<p class="block">Gérôme had a magic brush that permitted him to undertake all
+types of painting with the same facility. This is how he so often
+happened to treat subjects taken from antiquity and was able to
+render them in all their classic beauty. It is not without interest
+to compare him, in this style of painting, with Nicholas Poussin,
+whom he admired, and with Puvis de Chavannes, whose method
+he execrated.</p>
+  </div>
+</div>
+
+
+<p>He was haunted by a longing to visit Greece,
+and more especially the Orient, with its marvellous<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span>
+skies, its resplendent colours, its barbaric
+and motley races of men.</p>
+
+<p>In 1853, in the company of a number of friends,
+he traversed Germany and Hungary, planning a
+lengthy visit to Constantinople. Owing to the
+war, he was forced to cut short his trip at
+Galatz. But he brought back a collection of
+energetic and striking sketches of Russian soldiers,
+which later served good purpose in his
+<cite>Recreation in Camp, Souvenir of Moldavia</cite>. And
+in like manner, in all his distant journeyings,
+he invariably showed the same eagerness to seize
+and transcribe his original documents, content
+to let them speak for themselves, without his
+having to distort them to fit the special purpose
+that he had in view.</p>
+
+<p>This painting found a place in the exposition
+of 1855, together with <cite>The Age of Augustus</cite>, a notable
+achievement in which Gérôme revealed the
+measure, if not of his true personality, at least
+of his lofty conscience and his integrity as an
+artist enamoured of accuracy and truth, even in<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span>
+the imaginary element inseparable from this type
+of allegorical apotheosis. Notwithstanding a few
+dissenting opinions, these two works were judged
+at their true value, and Gérôme received the cross
+of the Legion of Honour.</p>
+
+<p>At this time he was scarcely more than thirty
+years old. A most brilliant career henceforth lay
+open before him.</p>
+
+<p>Gérôme remains, beyond question, the unrivalled
+painter of Egypt, whose aspects, enchanting
+and sinister alike, he has reproduced in a
+series of pictures of finished workmanship and
+vibrant colouring.</p>
+
+<p>It was in 1856 that, together with a few
+friends, among others Bartholdi, then twenty-two
+years old, he undertook his long tour through
+Egypt. To-day, one can go to Cairo or up the
+Nile as casually as to Nice or Italy and with
+almost as little trouble. In those days it was
+not a question of a simple excursion, of which
+any and every amateur tourist would be capable,
+but of a veritable expedition.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">27</a></span>Unforeseen adventures appealed to Gérôme,
+for he was brave, energetic, and eager for
+new sensations. M. Frédéric Masson, the eminent
+historian, who was one of his companions
+through the desert, has since shown him to
+us, in a series of graphic recollections, as perpetually
+on his feet, indefatigable, ready to
+endure any and every vicissitude for the sake
+of sketching a site or a silhouette.</p>
+
+<p>His stay in Egypt was for Gérôme a
+period of enchantment. He has left, in regard
+to it, some hasty but expressive notes. He
+passed four months on the Nile, well filled
+months, consecrated to fishing, hunting, and
+painting, all the way from Diametta to Philae.
+He remained the four succeeding months at Cairo,
+in an old dwelling that Suliman Pasha rented
+to the young Frenchmen. "Happy epoch!" wrote
+the painter, "Care-free, full of hope, and with
+the future before us. The sky was blue."</p>
+
+<p>He returned to Paris with an ample harvest
+of sketches, a supply of curious, novel, and striking<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span>
+themes to work up. M. Moreau-Vauthier
+shows him to us at that period of his existence,
+full of unflagging energy and pleasant enthusiasm,
+in the company of Brion, Lambert, Schutzenberger,
+and Toulmouche,&mdash;not to forget his
+monkey Jacques, who took his place at the family
+table arrayed in coat and white cravat, but would
+slink away and hide himself in shame when,
+as a punishment for some misdeed, they decked
+him out as a ragpicker.</p>
+
+<p>What jolly parties were held in that "Tea
+Chest," in which Gérôme then had his studio,
+Rue de Notre-Dame-des-Champs! It was the
+scene of many a festival, entertainment, and joyous
+puppet show, attended by spectators such
+as Rachel (whose portrait Gérôme painted in
+1861), her sister, George Sand, Baudry, Cabanel,
+Hébert, and others.</p>
+
+<p>This was, nevertheless, an epoch of prolific
+work and constant research. Gérôme passed
+ceaselessly from one type of painting to another;
+one might say that he rested from his exotic<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span>
+landscapes by evoking, with an ever new lavishness
+of detail, curious or affecting scenes from
+Greek and Roman antiquity.</p>
+
+<p>Thus rewards and successes multiplied, and
+he experienced all the joys of triumph. Already
+honorary member of the Academy of Besançon,
+he was appointed professor at the École des
+Beaux-Arts in 1863, and in 1865, member of the
+Institut, where he succeeded Heim.</p>
+
+<p>Meanwhile he fought a duel with revolvers
+and was gravely wounded. His mother hastened
+once again to his bedside and saved his life a
+second time. Since the ball had passed through
+his right arm, complications affecting his hand
+were feared. The artist declared that if necessary
+he would learn to paint with his left. No
+sooner was he cured than off he started again,
+bound for Egypt, whence he passed to Arabia
+and, more venturesome than ever, continued on
+his way, as one of his biographers phrased it,
+"making sketches clear to the summit of Mt. Sinai."</p>
+
+<p>He was destined to make still other journeys,<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span>
+notably that of 1868 in company of Messrs.
+Bonnet, Frédéric Masson, and Lenoir; and his
+companions paid tribute to his unfailing spirits
+and his powers of endurance. But at the age of
+forty he married. The bride was Mlle. Goupil,
+daughter of the well-known picture dealer.</p>
+
+<p>He was a thorough man of the world and a
+favoured guest of the Duc d'Aumale, who appreciated
+his ready wit and bought his <cite>After
+the Masquerade</cite> for the sum of 20,000 francs. In
+1865 he received from the Beaux-Arts and the
+Imperial Household an order for <cite>The Reception
+of the Siamese Ambassadors at Fontainebleau</cite>.</p>
+
+<p>Gérôme was also numbered among Compiègne's
+habitual visitors, along with Berlioz,
+Gustave Doré, Guillaume, Merimée, Viollet-le-Duc,
+and others. M. Moreau-Vauthier, who
+with pious zeal has collected the more interesting
+anecdotes of his life, relates that he had a
+special gift for organizing charades: he was
+scene setter and costumer. At Fontainebleau,
+he took the Empress out alone in a row-boat.</p>
+
+<p><span class="pagenum"><a name="Page_31" id="Page_31">31</a></span>Surrounded by devoted friends, such as Augier,
+Charles Blanc, Dumas, Clery, his brother-in-law,
+Frémiet, Gérôme continued his laborious
+and tranquil life in his vast atelier on the Boulevard
+de Clichy.</p>
+
+<p>His days were passed in drawing and painting
+in his canvases. Towards the end of the
+afternoon he would mount his horse and take a
+turn in the Bois. He exhibited annually up to
+the year of the war. After that, he lived in a
+sort of retirement until 1874, when, after a trip
+to Algeria with G. Boulanger and Poilpot, he
+won a medal of honour. <cite>A Collaboration</cite>, <cite>Rex
+Tibicen</cite> (The King Flutist), and <cite>His Gray Eminence</cite>,
+exhibited simultaneously, revealed him in
+full possession of his ingenious and many-sided
+art.</p>
+
+<p>New and resounding triumphs awaited him
+at the Exposition Universelle of 1878, where he
+first revealed himself as a sculptor. As a matter
+of fact, he had for a long time amused himself
+at modelling in clay. He used to go to Frémiet's<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span>
+studio to do his modelling, and Frémiet, by way
+of exchange, would come to paint in his. His
+two groups, <cite>Gladiators</cite> and <cite>Anacreon, Bacchus
+and Cupid</cite>, won him a second class medal to take
+its place beside the medal of honour he had previously
+received for his paintings. That same
+year, at the age of fifty-four, he was raised to the
+rank of Commander. Cham expressed the joy of
+all his friends by writing to him wittily: "I follow
+the example of your ribbon, I fall upon your neck."</p>
+
+<p>He was yet to gain still further honours: a
+first class medal as sculptor, in 1881; to be declared
+<i lang="fr" xml:lang="fr">Hors Concours</i> (Not entered for Competition)
+at the Expositions of 1889 and 1900; and to
+be named Grand Officer of the Legion of Honour.</p>
+
+<p>From 1880 onward, excepting for a few flying
+visits to Spain and Italy, Gérôme lived at his
+hotel in Paris, where he kept up a rather lavish
+establishment, including horses and dogs, up to
+the time of the successive deaths of his father
+and his son. It was the latter for whose tomb
+he carved a touching figure of <cite>Grief</cite>.</p>
+
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_37h.jpg" id="plateIV"><img src="images/i_37.jpg" width="400" height="269" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE IV.&mdash;POLLICE VERSO</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">The scenes from Roman antiquity repeatedly appealed to
+Gérôme's talent, notably in the case of the Games of the Circus,
+the dramatic value and brilliant colour of which he fully appreciated.
+In <cite>Pollice Verso</cite>, he shows us the victorious gladiator, who, in order
+to know whether or not he is to despatch his adversary, turns a
+questioning glance towards the Vestals, who invert their thumbs,
+decreeing death for the vanquished and gasping opponent.</p>
+  </div>
+</div>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">35</a></span>His studio at Bougival held him for many a
+long day, while the season lasted. While there,
+he worked with extraordinary assiduity, barely
+giving himself time enough to appear among his
+guests and hastily swallow a few mouthfuls of
+the mid-day meal. He owned at one time another
+country house at Coulevon, near Vesoul, but this
+he sold to one of his former pupils, Muenier. He
+remained none the less the chief pride of his
+native town, where, even during the artist's life,
+there was a street bearing the name of Gérôme.</p>
+
+<p>His favourite summering place, however, was
+in the heart of Normandy at Saint-Martin, near
+to Pont-Lévêque, where he possessed a delightful
+property.</p>
+
+<p>"He is a charming man, of rare integrity and
+fascination. Very simple, too, like all men of
+real power, who need not exert themselves in
+order to prove their strength." It is after this
+fashion that M. Jules Claretie sums him up in
+his exquisite study of <cite>Contemporary Painters and
+Sculptors</cite>. M. Frédéric Masson, his faithful<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span>
+friend, has drawn the following excellent portrait
+of Gérôme: "A head firmly set upon a long neck,
+features vigorously modelled in acute angles,
+sunken cheeks, complexion bronzed, eyes brilliant
+and strangely black, moustache obstinate
+and bristling, hair almost kinky, and sprouting
+in massive clumps, &hellip; a straight nose set
+in a lean face, &hellip; figure exceedingly slender
+and flexible, waist medium, but well modelled."</p>
+
+<p>Such he appears in his painting of himself as
+a sculptor in his studio, absorbed, in his alert
+and perennially youthful old age, by his new
+task of making polychrome statues. M. Aimé
+Morot, his son-in-law, has shown him to us in
+his intimate life, simple, natural, and at one and
+the same time alert and caustic. We find him
+also thoroughly alive in the fine bust by Carpeaux
+and in the medal by Chaplain, now in
+the Luxembourg.</p>
+
+<p>M. Dagnan-Bouveret saw him under another
+aspect. In the portrait he has given us, we
+have the master authoritatively proclaiming his<span class="pagenum"><a name="Page_37" id="Page_37">37</a></span>
+convictions. This distinguished artist, by the
+way, was formerly a pupil of Gérôme's. One
+day when he was complimenting the latter upon
+his method of teaching, Gérôme replied, in his
+loud, assertive voice: "When I undertake to do
+a thing, I do it to the very end. I am a man
+with a sense of duty."</p>
+
+<p>As professor at the École des Beaux-Arts he
+continued to fulfil his duty for a period of forty
+years. While conducting his classes he showed
+himself grave and stern, even sardonic when so
+inclined. In front of a canvas too thickly coated,
+he would exclaim: "The paint shop man will
+be pleased"; or perhaps he would move around
+to get a side view and then play upon his words,
+saying: "How that picture stands out!"</p>
+
+<p>He had a good many foreigners in his studio,
+Spaniards such as La Gandara, Americans like
+Bridgman and Harrison, and Russians such as
+the celebrated and courageous Verestschagen
+who, according to M. Léon Coutil, declared, in
+speaking of Gérôme, "Next to my dear Skobelof,<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span>
+he is the most resolute man that I have ever
+met."</p>
+
+<p>Gérôme was frank and unreserved in his
+opinions. Having become, so to speak, the official
+representative of French painting, he was
+exposed to repeated attacks. He did not hesitate
+to flout unmercifully and to pursue with a veritable
+hatred such artists as had adopted formulas
+opposed to his own,&mdash;and among them some of
+the biggest and the ones least open to discussion.
+M. Besnard, who was not a pupil of his, nevertheless
+owed him his Prix de Rome.</p>
+
+<p>Many were the circumstances under which
+he showed his energetic firmness; for example,
+when the Prince de la Moskowa wished to fix a
+quarrel on him and prevent him from exhibiting
+<cite>The Death of Mareschal Ney</cite>, he evoked this noble
+declaration from Gérôme: "The painter has his
+rights as much as the historian."</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_44h.jpg" id="plateV"><img src="images/i_44.jpg" width="400" height="231" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE V.&mdash;THE PRISONER</p>
+
+  <p>(In the Museum of Nantes)</p>
+
+<p class="block">Gérôme had travelled extensively in the East, for he loved its
+vigorous colouring and picturesque customs. Here is a scene
+glimpsed from the banks of the Nile, and he has transcribed it in this
+superb picture, vibrant with colour and harmonious in composition.</p>
+  </div>
+</div>
+
+
+<p>And when a prominent politician criticised
+the official curriculum without proposing anything
+to take its place, it was, according to M.<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span>
+Moreau-Vauthier, again Gérôme who replied:
+"Gentlemen, it is easier to be an incendiary than
+a fireman!"</p>
+
+<p>This firmness, however, did not prevent him,
+so this same biographer points out, from being
+sensitive to such a degree that he could not
+bear to watch a cat of Frémiet's preparing to
+devour a nest of sparrows. He used to bring
+champagne and dainty viands as presents to his
+pupils. His humour, so M. Moreau-Vauthier goes
+on to say, served as a mask to hide his sentiment.
+Poilpot, to whom Gérôme was destined
+later to give useful counsels for his panorama
+of Reischoffen, was working prior to 1870 in his
+studio. One day he went to show him some
+drawings. His master, having looked him over,
+inquired: "So, then, you have no shirt?" "No,
+patron," he replied, "I never wear any." The
+next day, Poilpot received a commission for a
+copy of an official portrait of Napoleon III,
+together with an advance payment of 600 francs.
+This pretty anecdote does as much honour to<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span>
+the pride of the one as to the delicacy of the
+other.</p>
+
+<p>Gérôme sincerely loved the youth, the fantasy,
+the gaiety of France, and more especially
+of Paris. One perceives it in reading the sparkling
+preface which he wrote for M. Miguel
+Zamacoïs' <cite>Articles of Paris</cite>, blithely illustrated by
+M. Guillaume. He was not too proud to appear
+at costume balls, nor to continue to take an interest
+in them even after he had ceased to attend
+them. He once put his name to a picturesque
+sign for a doll shop in the "Old Paris" exhibit at
+the Exposition. For an advertisement contest he
+painted a dog wearing a monocle, with this amusing
+inscription and play on words, "<i>O pti cien</i>"
+(<i lang="fr" xml:lang="fr">0 petit chien</i>, i.e., O little dog). He amused
+himself by sending to a toy competition, organized
+by the prefect of police, a little Pompeiian saleswoman
+holding a basket of various toys, and a
+diminutive police officer brandishing a white club.</p>
+
+<p>Gérôme had always wished for a sudden and
+brusque death, "without physic and without<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span>
+night-cap." He was spared both physical and
+moral decline. At the age of seventy-nine
+he climbed the stairs, four steps at a time, and
+sprang upon moving omnibuses running. He
+died suddenly of a cerebral congestion, on his
+return from a dinner which he had attended
+together with his colleagues of the Institut,
+January 10, 1904.</p>
+
+
+
+<hr />
+
+
+<h2 class="no-break"><a name="THE_ARTISTS_WORK" id="THE_ARTISTS_WORK">THE ARTIST'S WORK</a></h2>
+
+
+<p>It is difficult to enumerate in detail all the
+works of Gérôme, whose originality and energy
+were inexhaustible. Only a short time before his
+death he declared that with the help of the
+sketches contained in his cupboards he had
+material enough to keep him busy for twenty-five
+years longer.</p>
+
+<p>Instead of attempting to draw up a chronological
+list of his paintings, which would be only
+approximately correct, even if limited to the more
+important, it is more profitable to study this conscientious
+artist under his principal aspects.</p>
+
+<p><span class="pagenum"><a name="Page_44" id="Page_44">44</a></span>Although he made some talented attempts,
+Gérôme neither was nor wished to be a portrait
+painter, any more than a painter of modern life.
+He had, however, as has been pointed out, all the
+necessary qualities for this type which demands
+so much precision and assurance. In <cite>The Emperor
+Napoleon III Receiving the Siamese Ambassadors
+at the Palace of Fontainebleau</cite>, now in the
+museum at Versailles, there are eighty portraits.
+The artist has represented himself, side by side
+with Meissonier, and the story is told that a certain
+general accorded him a sitting of only ten
+minutes.</p>
+
+<p>Besides the large and somewhat sombre portrait
+of Rachel, which adorns the Stairway of
+Artists at the Comédie-Française, and which was
+painted from existing likenesses and from memory,
+there is scarcely anything else to cite than
+the portrait of his brother while a student in the
+Polytechnic School, a <cite>Head of a Woman</cite> (1853,
+at the museum of Nantes), those of M. Leblond,
+at Vesoul, mentioned by M. Guillaumin, of<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span>
+M. A. T. (1864), of Cléry, the great lawyer, and of
+Charles Garnier, the celebrated architect of the
+Opéra.</p>
+
+<p>As a sculptor, Gérôme has left some admirable
+busts, among others those of Mme. Sarah Bernhardt,
+bequeathed to the National Museum, of
+<cite>General Cambriels</cite>, of <cite>Henri Lavoix</cite>, the <cite>Monument
+of Paul Baudry</cite> destined for La Roche-sur-Yon,
+and, most important of all, the <cite>Equestrian
+Statue of the Duc d'Aumale</cite>, which is now to be
+seen at Chantilly, and the model for which is
+at the museum of Besançon.</p>
+
+<p>Gérôme had a sincere and profound love for
+antiquity; with him it was not the enjoyment
+of a contemplative mind, a tranquil amateur art,
+but that of an historian, an archaeologist coupled
+with the instinct of a dramatist, a psychologue,
+let us say, who is eager to discover, in any scene
+whatever, in the graceful or violent gestures of
+such and such personages of bygone days,
+some general application. He was certainly
+most anxious to suggest interesting or amusing<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span>
+parallels to modern life, for, in spite of the dissimilarity
+of the settings, the tinsels, the decorations,
+over which the artist laboured with an
+almost devout care of minute detail, human
+nature to-day is always more or less close to
+the human nature of Greece or Rome.</p>
+
+<p>"Exhibit that picture, it will bring you honour,"
+said Paul Delaroche to his pupil, who had shown
+him, with much misgiving, the <cite>Young Greeks
+Occupied in Cock Fighting</cite>. "It shows originality
+and style." And that was his first success (1847).
+The grace of the young figures won much admiration.
+Planche praised the harmony of the composition
+as a whole. As to Théophile Gautier,
+he showed himself, as we have already said,
+highly enthusiastic; he declared that the features
+of the boy were drawn with extreme subtlety.
+"As to the cocks," he added, "they are true
+prodigies of drawing, animation, and colour;
+neither Snyders, nor Woenic, nor Oudry, nor
+Desportes, nor Rousseau, nor any of the known
+animal painters have attained, after twenty years<span class="pagenum"><a name="Page_47" id="Page_47">47</a></span>
+of labour, the perfection which M. Gérôme has
+reached at the first attempt." Let us note immediately
+that Gérôme was, as a matter of fact,
+a very great painter of animals. His dogs, his
+horses, and his lions are the work of a masterly
+observer.</p>
+
+<p>Closely following upon the <cite>Cock Fight</cite>, we
+must recall <cite>Anacreon with Bacchus and Cupid</cite>
+(1848, Toulouse Museum) which Gérôme himself
+characterized as a "lifeless picture," and which
+nevertheless earned him a second class medal.
+Later on he was destined to treat this same subject
+in marble (Salon of 1881). The polished and
+somewhat affected grace of <cite>Anacreon</cite> must have
+especially pleased the painter, because in 1889 he
+produced a whole series of compositions of delicious
+daintiness, entitled <cite>Cupid Tipsy</cite>. On the
+same order of ideas, mention must be made of
+<cite>Bacchus and Cupid Intoxicated</cite> (1850, Bordeaux
+Museum), and in addition to these, under the
+head of what may be called his Hellenic canvases,&mdash;in
+which he succeeded in conjuring<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span>
+up with magic skill the splendours and graces
+of that immortal mother of letters and arts,
+Greece beloved by the gods,&mdash;the following
+pictures, <cite>The Idyll</cite> (1853), full of charm and
+solid erudition; <cite>The Greek Interior</cite> (1856), of sure
+and penetrating art; <cite>King Candaules</cite> (1859), in
+which the sumptuous beauty of Nyssia illumines
+the bed-chamber of a Heraclid, 700 years B.C.,
+and in which the interest of the picturesque
+anecdote is enhanced by the artist's marvellous
+documentary knowledge.</p>
+
+<p>In the same group must be mentioned <cite>Phryne
+before the Tribunal</cite> (1861, reëxhibited in 1867),
+of charming subtlety, but with a little too much
+emphasis, perhaps, on the irony of its psychology;
+and, of course, <cite>Socrates Seeking Alcibiades
+at the House of Aspasia</cite>, analogous in inspiration,
+and, as it happens, belonging to the same year;
+and lastly <cite>Daphnis and Chloe</cite> (1898).</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_55h.jpg" id="plateVI"><img src="images/i_55.jpg" width="400" height="239" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VI.&mdash;THE LAST PRAYER</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">The amphitheatre is filled to overflowing with the crowd that has
+gathered to witness the martyrdom of the Christians. Around the
+vast circle, unhappy victims agonize upon the cross. In one
+corner of the arena, a group of men and women, condemned to die,
+confess their new faith in an ardent prayer, while from the opened
+subterraneous passage the ravenous beasts are advancing upon
+their human prey.</p>
+  </div>
+</div>
+
+
+<p>Italy also, with all her memories, furnished
+Gérôme with scenes of striking contrast, evoked
+from the vanished past, spectacles at once sumptuous<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span>
+and barbaric. He caught this atmosphere
+with rare felicity. <cite>Paestum</cite> (1851) commands attention
+because of its group of buffaloes, which
+the Goncourts praised for "their ponderous
+weight of head, the solidity of their huge bulk,
+the grouping of their attitudes, the shagginess
+of their coats, the prevailing sense of grateful
+coolness."</p>
+
+<p>It is necessary to assign a place apart, in this
+series, for the <cite>Augustan Age, Birth of Christ</cite>
+(1855, Amiens Museum). In his own private
+opinion, confided to his cousin Timbal, Gérôme
+held that this enormous composition, measuring
+ten metres in length by seven in height,
+lacked inventiveness and originality. It is true
+that the artist's personality is not clearly revealed
+in this picture, which is a sort of vast commentary
+on a phrase by Bossuet, and indisputably
+draws its inspiration from the <cite>Apotheosis of
+Homer</cite> by Ingres. Nevertheless, no one can dispute
+its noble qualities, and to borrow a phrase
+from Théophile Gautier, its "high philosophic<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span>
+significance." Beside Augustus Caesar deified
+appears Rome, in the form of a woman, helmeted,
+armed with a buckler, and clad in a red
+chlamys; then Tiberius, standing on the right,
+then statesmen and poets, Caesar, Cleopatra,
+Anthony, Brutus, and Cassius grouped together;
+lastly the throng of all nations on their knees,
+admirably rendered. In the centre, relatively
+unimportant in this immense assemblage, are the
+Virgin Mary, the Infant Jesus, and St. Joseph,
+treated in a curious fashion, modelled on the
+manner of Giotto. "It is the chief ornament of
+the Amiens Museum," Gérôme would say jestingly;
+for he had largely lost respect for this
+prolonged and important effort which represented
+two years' work of a serious and diligent
+student of history.</p>
+
+<p>The two flawless masterpieces of Gérôme, the
+eloquent interpreter of ancient Rome, are unquestionably
+his <cite lang="la" xml:lang="la">Ave Caesar, Morituri te Salutant</cite>
+(1859), purchased by Mathews, in which, in the
+presence of a bloated, overfed Vitellius, sitting<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span>
+pacifically in his imperial box, not far from the
+white Vestals, crowned with verbena, gladiators
+are fighting and dying in the circus, and <cite lang="la" xml:lang="la">Pollice
+Verso</cite> (1874) in which these same gladiators are
+represented, no longer as Roman soldiers, but
+in the exact costume that they wear at the
+moment when the Emperor and the crowd,
+ravenous for carnage, turn down their thumbs
+as signal for the death stroke. This work, published
+by Goupil, did not appear at the Salon.
+We must cite further <cite>Gaius Maximus</cite>, the <cite>Chariot
+Race</cite>, which aroused legitimate enthusiasm in
+America; The <cite>Wild Beasts Entering the Arena</cite>
+(1902) and we must not forget that Gérôme also
+expended his energy as a sculptor upon these
+same attractive gladiatorial figures.</p>
+
+<p>Striking and pathetic contrast is also earnestly
+striven for and strongly rendered in <cite>The Death
+of Caesar</cite> (1859, 1867). One almost needs to be an
+incomparable "stage manager" in order to show
+the body of Caesar after this fashion, in the
+foreground, in the chamber deserted by the<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span>
+Senators; one Conscript Father, as a touch of
+satire, has fallen asleep. The effect is powerful,
+even though it has been sought for with too
+obvious care. Undoubtedly Nadar had the laugh
+on his side when he compared the body of
+Caesar to a bundle of linen and called the picture
+"The Day of the Washerwoman." Gérôme
+appreciated the humour of this pleasantry. It
+is equally true that Baudelaire applauded the
+picture, exclaiming: "Certainly this time M.
+Gérôme's imagination has outdone itself; it
+passed through a fortunate crisis when it conceived
+of Caesar alone, stretched upon the
+ground before his overturned throne &hellip; this
+terrible epitome tells everything."</p>
+
+<p>The clever erudition of the painter, who had
+already revealed himself as an adherent of the
+so-called group of "Pompeiians," in the <cite>Gyneceum</cite>
+(1850),&mdash;in which we perceive a group of
+nude women in the court of a house in Herculaneum,&mdash;asserts
+itself once more, coupled with
+an incisive touch of epigram in <cite>Two Augurs Unable<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span>
+to Look at Each Other Without Laughing</cite>,
+and similarly in the <cite>Cave Canem</cite>, now at Vesoul
+(in front of a Roman house a slave is playing
+the role of watch dog), in the <cite>Sale of Slaves at
+Rome</cite> (1884), etc.</p>
+
+<p>A similar ingenuity, with greater amplitude,
+constitutes the charm and the surprise of <cite>Cleopatra
+and Caesar</cite> (1886). Cleopatra has had herself
+brought into Caesar's cabinet in the palace
+at Alexandria, concealed in a bundle of clothing.
+"Her appearance there," said Maxime du Camp,
+who also praised the interest of the accessories,
+treated with exquisite care, "is perfectly chaste, in
+spite of her nudity." All the details are executed
+with a masterly command of picturesqueness
+and accuracy.</p>
+
+<p>As a religious painter Gérôme has to his
+credit the <cite>Virgin, Infant Jesus, and St. John</cite> (1848),
+a youthful work imitated from Perugino, a <cite>St.
+George</cite>, in the church of Saint-Georges at Vesoul,
+a <cite>St. Martin Cutting his Mantle</cite>, in the ancient
+refectory of Saint-Martin-des-Champs, a <cite>Death<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span>
+of St. Jerome</cite> (1878) at Saint-Séverin, a <cite>Moses on
+Mt. Sinai</cite>, and <cite>The Plague at Marsailles</cite>, and, most
+important of all, <cite lang="la" xml:lang="la">Golgotha Consummatum Est</cite>, intensely
+lugubrious and symbolic in aspect, with
+Christ and the two thieves appearing, through the
+desolate atmosphere, like writhing shadows on
+the cross. This conception cost the author a violent
+diatribe from Veuillot, while Edmund About,
+although making certain reservations, wrote on
+the other side: "The entire sum of qualities that
+are distinctive of M. Gérôme will be found in
+this picture."</p>
+
+<p>As a painter of exotic life Gérôme remains an
+observer of the highest order. If he has not
+wholly revealed Italy to us in his <cite>Guardians of
+the Herd</cite> and his <cite lang="it" xml:lang="it">Pifferari</cite> (1855, 1857), he has at
+least done so in the case of Egypt, still deeply
+impregnated with an ancient and splendid civilization,
+naïve and at the same time venerable,
+Egypt before the advent of tourists, a luminous
+land where the Nile and the Desert reign supreme,
+a land of magnificence and of savagery. Landscapes<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span>
+of this Egypt of poetic mystery, and of
+Palestine as well, childish or perverse <i>almas</i>,
+rude Albanian Chiefs, Turbaned Turks,&mdash;one
+never wearies of these decorative effects, these
+clear visions, these scenes of animation, whether
+violent or delicate, the people, the vegetation, the
+fabrics, all resplendent under the marvellous sky
+of the Orient.</p>
+
+<p>In the company of this intrepid, venturesome
+and observant traveller, we witness the passage
+of <cite>Egyptian Recruits Crossing the Desert</cite>, we are
+present at <cite>Prayers in the House of an Albanian
+Chief</cite>, we pause in the <cite>Plain of Thebes</cite>, not far
+from <cite>Memmon and Sesostris</cite>, and we watch the
+<cite>Camels at the Drinking Trough</cite>, so admirably
+realized. Gérôme, who had a gift for finding
+the right and pleasing phrase, gave this rather
+neat definition of a camel: "The Ship of the Sea
+of Sand."</p>
+
+<p>Similarly, the <cite>Egyptian Straw-chopper</cite> (1861,
+again exhibited in 1867, and purchased by M.
+Werlé) symbolizes, simply yet forcefully, agricultural<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span>
+Egypt, and all the varied shadings of
+her pastoral poetry. Then again, there is <cite>The
+Prisoner</cite> (1863), in which a boat is making its
+way along the vast and pacific Nile. Two negro
+oarsmen, the master, a bashibazouk, are in the
+prow; and in the stern, beside a buffoon, who
+apparently derides him, while twanging the
+strings of a guitar, the prisoner lies cross-wise,
+fast bound, and abandons himself to his cruel
+destiny. There, in a setting of enchanted beauty,
+we have the chief actors in this original drama,
+in which dream and reality are blended.</p>
+
+<p>What a horde of types, some of them bizarre,
+others simply comic! There are, taking them as
+they come, a <cite>Turkish Butcher in Jerusalem</cite> (1863),
+<cite>The Alma</cite> (Professional Singing Girl&mdash;1864), <cite>The
+Slaves in the Market Place</cite>, <cite>The Clothing Merchant
+at Cairo</cite>, <cite>The Albanians Playing Chess</cite>
+(1867), The <cite>Itinerant Merchant at Cairo</cite> (1869).
+Then there is the <cite>Promenade of the Harem</cite>, and
+still others, the <cite>Santon</cite> (Turkish Monk) <cite>at the
+Door of the Mosque</cite> and <cite>Women at the Bath</cite><span class="pagenum"><a name="Page_61" id="Page_61">61</a></span>
+(1876), the <cite>Arab and his Courser</cite> and <cite>The Return
+from the Hunt</cite> (1878).</p>
+
+<div class="figcenter break-before" style="width: 313px;">
+<a href="images/i_66h.jpg" id="plateVII"><img src="images/i_66.jpg" width="313" height="400" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VII.&mdash;THE VENDOR OF RUGS</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">From his numerous journeys to the East, Gérôme brought back
+many curious memoranda of picturesque scenes, which he subsequently
+converted into brilliant canvases. He excelled in reproducing
+the caressing beauty of shimmering carpets and the rippling
+sheen of silken textures.</p>
+  </div>
+</div>
+
+
+<p>In the company of this experienced and reliable
+guide, we wander from <cite>Jerusalem</cite> (1868)
+to the <cite>Great Bath at Broussa</cite> (1885), from a <cite>Corner
+of Cairo</cite> to <cite>Medinet</cite> and <cite>Fayoum</cite>. Here we
+have the severed heads in the <cite>Mosque of El Hecanin</cite>,
+the nude woman in the <cite>Moorish Bath</cite>, all the
+barbarity and all the grace of the Orient,&mdash;and
+invariably the anecdote, whether agreeable or
+sinister, blends with the matchless splendour of
+the landscape.</p>
+
+<p>To this list must be added <cite>Recreation in Camp,
+a Souvenir of Moldavia</cite> (Salon of 1854), in which
+a soldier is dancing before his assembled comrades,
+to the sound of drums, fifes, and violins.
+A sentinel keeps watch. It is a picture taken in
+the act, and intensely real.</p>
+
+<p>It is easy to detect the historian, or, to adopt
+the expression of M. Jules Claretie, the "Memoir
+Maker," possessed of the true gift, agreeable and
+individual, lurking behind every one of the works<span class="pagenum"><a name="Page_62" id="Page_62">62</a></span>
+of this authoritative orientalist. He dedicated
+himself quite naturally and with great success to
+the interpretation of history and of the historic
+and literary anecdote.</p>
+
+<p>His love of contrasts, his gift for depicting
+locality and somehow conveying the very atmosphere
+belonging to the varied scenes that are to
+be brought before the spectator's eye, give amplitude
+to such attractive little compositions as <cite>Louis
+XIV. and Molière</cite> (1863), and <cite>A Collaboration</cite> (1874);
+evoke the whole sombre tragedy of the death of
+Maréchal Ney, <cite>December 7, 1815, Nine o'clock in
+the Morning</cite> (1868); and appeal successively to
+our curiosity, our sympathy, or our admiration,
+with a Frederick II., conqueror of Silesia, playing
+on his flute, the <cite>King Flutist</cite> (1874, purchased by
+M. H. Oppenheim), <cite>His Gray Eminence</cite> (1874), in
+which the austere and dominant Father Joseph is
+making his way alone, down the stairway, in the
+presence of the obsequious courtiers; a Bonaparte
+day-dreaming before the Sphinx, <cite>Oedipus</cite> (1886), a
+<cite>Bonaparte at Cairo</cite> gazing at the town from the<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span>
+back of his Arab horse, a <cite>Bonaparte in Egypt</cite>,
+mounted on a white dromedary, dreaming of his
+omnipotence, of his conquest of the universe, and
+surrounded by his overdriven soldiers.</p>
+
+<p>As a matter of fact, Gérôme made a sort of
+hero-worship of Napoleon and the Napoleonic
+epic, resembling in this respect his friend, M.
+Frédéric Masson, the celebrated historian of the
+Emperor, who was better qualified than any other
+writer to pay an eloquent tribute to this <cite>Bonaparte
+in Egypt</cite>.</p>
+
+<p>"Bonaparte is no longer on the road to Syria,
+he is on the road to India; he is hesitating between
+the two halves of the world that he holds
+in his hands; he is weighing the destiny of Alexander
+against the destiny of Cæsar; he is asking
+himself whether Asia, to which he holds the
+key, is a fair exchange for Europe which he has
+just quitted; and while his dream embraces the
+universe, he leaves his human rubbish heap to
+suffer."</p>
+
+<p>Gérôme is wholly himself when he has an<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span>
+anecdote to give us, whether it be subtle, humorous,
+kindly, or dramatic, and even,&mdash;why not use
+the word?&mdash;melodramatic.</p>
+
+<p>Classified thus, <cite>The Duel after the Masquerade</cite>
+fully deserves its brilliant reputation. Reproduced,
+not only in lithographs and engravings,
+but even transferred to the theatre (given at the
+Gymnase, in 1881, by Mme. Fould), its subject
+has become a matter of general knowledge. It is
+winter in the Bois de Boulogne. A number of
+people in fancy costume are bending over a
+wounded Pierrot, while one of the witnesses of
+this improvised duel is leading away the murderer,
+the Harlequin.</p>
+
+<p>One can see at once what a tremendous appeal
+a subject like this would have for the general
+public.</p>
+
+<p>This singular drama, taking place in the snow,
+all this joyousness ending in bloodshed and perhaps
+death, is so fantastic that it leaves a lasting
+impression. It was, by the way, as M. Guillaumin
+has explained, suggested by an actual duel<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span>
+that took place between Deluns-Montaud, the
+Harlequin, and the Prefect of Police Bortelle,
+the Pierrot.</p>
+
+<p>Undoubtedly there was, and still is, ground
+for criticism. Alexandre Dumas thought, not unreasonably,
+that serious-minded men of that age
+would not go out to fight each other in such a
+costume. Edmond About criticized the pose of
+Crispin supporting on his knee an entire group of
+spectators, along with the body of poor Pierrot.
+But Paul de Saint-Victor praised the "truthfulness
+of the postures, the etching-like precision
+of the heads, the wise planning of the whole
+composition."</p>
+
+<p>In order to appreciate better the daring fantasy
+and the wise and invariably picturesque inventiveness
+of Gérôme, we have only to study further
+such works as the Frieze destined to be
+reproduced upon a vase commemorative of the
+Exposition of London (1853), <cite>Rembrandt Etching</cite>
+(exhibited in 1867, purchased by M. E. Fould),
+which has been admired for its golden half-shadows<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span>
+and freely compared to Gerard Dow, the
+<cite>Reception of the Siamese Ambassadors</cite> (1865), <cite>The
+First Kiss of the Sun</cite> (1886), the <cite>Poet</cite>, <cite>Thirst</cite> (1888),
+and fantasies, such as, <cite>The Amateur of Tulips</cite>,
+<cite>Whoever you are, here is your Master</cite>; anecdotal
+portraits throwing side lights on history, such as:
+<cite>They are Conspiring</cite>, or <cite>Not Convenient</cite>, <cite>Louis XI.
+visiting Cardinal Balue</cite>, <cite>Promenade of the Court
+in the Gardens of Versailles</cite> (1896); animals full of
+life and prowess, such as: <cite>The Lioness meeting a
+Jaguar</cite> and <cite lang="la" xml:lang="la">Ego nominor Leo</cite>, a lion rendered life
+size; lastly, his studio interiors, in which he has
+chosen to depict himself exactly as he was, that is
+to say, a sincere, clear-sighted, and indefatigable
+workman.</p>
+
+<p>In the most recent of these studio pictures, he
+appears, wearing a sculptor's blouse and occupied
+in modelling a statuette of a woman. He astonished
+his friends and admirers, during his last
+years, by his earnest labours in sculpture. His
+two groups, <cite>The Gladiators</cite> and <cite>Anacreon, Bacchus
+and Cupid</cite>, claimed the attention of the public<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span>
+at the Exposition of 1878; and it was the same
+with his marble statue of <cite>Omphale</cite> (1887), his
+<cite>Tanagra</cite>, his <cite>Dancing Girl</cite>, his bronze <cite>Lion</cite> (1890,
+1891), etc.</p>
+
+<p>His efforts to revive the art of coloured or
+polychrome sculpture, the so-called chryselephantine
+sculpture, which invokes the aid of various
+precious elements, constitute one of the most
+curious and important artistic experiments of
+modern times, even though the result did not
+always come up to the expectation.</p>
+
+<p>On February 2, 1892, in an unpublished letter
+addressed to M. Germain Bapst, who desired
+information concerning the artist's experiment,
+Gérôme wrote: "I have always been struck
+with a sense of the coldness of statues if, when
+the work is once finished, it is left in its natural
+state. I have already made some experiments
+and am continuing my efforts, for I am
+anxious to bring before the eyes of the public
+a few demonstrations that I hope will be conclusive.
+I know that there are a great many<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span>
+protests. The world always protests against anything
+which is, I will not merely say new, but
+even renewed; for it disturbs a good many people
+in their tranquillity and their routine." And after
+having first shown that ancient architecture was
+adorned with colours and that in chryselephantine
+sculpture the Greeks combined gold, tin, and
+ivory, that they painted the marble and united it
+with various metals, Gérôme added: "Shall I
+succeed? At least I shall have the honour of
+having made the attempt."</p>
+
+<p>In the interesting study which M. Germain
+Bapst devoted to this question, after having, as
+we have seen, consulted the artist himself, he
+recalled the fact that both in chateaux and in
+churches the Mediæval statuary was coloured.
+In Greece, the Minerva Parthenos contained a
+weight of gold equivalent to more than 2,200,000
+francs in the French currency of to-day. The
+statue of Jupiter at Olympus was partly of ivory
+and partly of gold.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_77h.jpg" id="plateVIII"><img src="images/i_77.jpg" width="400" height="220" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VIII.&mdash;THE TWO MAJESTIES</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">In the mournful immensity of African solitudes, the king of
+planets mounts towards the zenith, darting his fires upon the arid
+land that he consumes, while the other king of the desert, the lion,
+contemplates the triumphant ascension of his rival in the sky.
+Gérôme has rendered the scene with an eloquence all the greater
+because he has employed such simple means.</p></div>
+</div>
+
+
+<p>Towards the middle of the nineteenth century,<span class="pagenum"><a name="Page_71" id="Page_71">71</a></span>
+the Duc de Luynes undertook, in collaboration
+with the architect Dubau, to produce an example of
+chryselephantine sculpture, which cost him more
+than 500,000 francs and was placed on view at
+the Exposition Universelle held in the Palais de
+l'Industrie in 1855.</p>
+
+<p>Gérôme in his turn made a like attempt, in
+his <cite>Bellona</cite>, in which, to remedy the cold immobility
+of the material, he coloured both the
+ivory and the marble and at the same time invoked
+the aid of silver, bronze, gold, and enamel.
+He had associated with him several experienced
+collaborators, such as M. Siot-Decauville, who
+was to cast the face of Bellona in bronze, Messrs.
+Moreau-Vauthier and Delacour to point the ivory,
+M. Gautruche to attend to the verde-antique and
+the electroplating. Lastly, Gallé, and M. Lalique
+as well, made a number of trial models for the
+little head of Medusa.</p>
+
+<p>Among the other examples of Gérôme's sculpture,
+mention must be made of <cite>The Entrance of
+Bonaparte into Cairo</cite> (1897), <cite>Bonaparte</cite>, a bust<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span>
+(1897), <cite>Timour-Lang, the Lion Tamer</cite> (1898), <cite>Frederick
+the Great</cite> (1899), <cite>Washington</cite> (1901), <cite>The expiring
+Eagle of Waterloo</cite>, <cite>The Bowlers</cite> (1902),
+<cite>Cupid the Metallurgist</cite>, a statue in bronze, <cite>Corinth</cite>,
+a statue in polychrome marble and bronze
+(1904).</p>
+
+
+
+<hr />
+
+
+<h2 class="no-break"><a name="THE_ART_OF_GEROME" id="THE_ART_OF_GEROME">THE ART OF GÉRÔME</a></h2>
+
+
+<p>"If you wish to be happy," Gérôme used to
+say to his pupils, "remain students all your lives."
+For his own part he applied himself ceaselessly to
+his studies, trusting nothing to chance. He had
+an extraordinarily methodical and orderly mind,
+even in regard to the smallest details. It is related
+that, when he was absent on his travels, he
+would notify his models several months in advance,
+so that they would be on hand to pose for
+him in his studio, from the very day of his arrival.</p>
+
+<p>Being partly a traditionalist and partly an independent,
+he did not always possess the gift of
+pleasing the critics, and he loved them none too
+well. And when one of them asked him one day
+for a sketch, he replied, "I do not pay to be applauded."<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span>
+But he was exceedingly strict in his
+self-criticism. In one of his notes entrusted to his
+relative Timbal, he wrote: "I am my own severest
+critic&hellip;. I am under no delusion regarding
+my works."</p>
+
+<p>On the other hand, and it is well to dwell upon
+this in order to grasp his personality, Gérôme was
+far from being an eclectic. Of the work of Puvis
+de Chavannes he said with virulence: "It won't
+stand analysis, it is a series of mannikins set on
+the ground all out of plumb, and nothing seems
+to fit in." And he made a play upon words by
+employing, in place of Puvis, the Latin word
+<i lang="la" xml:lang="la">pulvis</i>, which signifies dust.</p>
+
+<p>After his appointment as professor at the École
+des Beaux-Arts, he did his best to have Manet
+banished from it. He couched his protest in the
+following energetic terms: "I am certain that
+Manet was capable of painting good pictures.
+But he chose to be the apostle of a decadent
+fashion, the scrap-work school of art. I, for my
+part, have been chosen by the State to teach the<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span>
+orthography of art to young students&hellip;. I do
+not think it right to offer them as a model the
+extremely arbitrary and sensational work of a
+man who, although gifted with rare qualities, did
+not develop them." In his opinion, it would have
+been more suitable to exhibit such works in a
+bar-room than at the Beaux-Arts. M. Coutil relates
+that Gérôme said further on this same subject:
+"The first merit a painting should have is to
+be luminous and alluring in colour, and not dull
+and obscure."</p>
+
+<p>He had, for that matter, no more tolerance for
+Millet than for Sisley, Monet, and Pissaro. On
+one occasion, he assured M. Jules Claretie that if
+Millet could return and again send his canvases
+to the Salon, he would refuse them over again!
+And, when his distinguished interlocutor protested,
+"Oh, come now, Gérôme, you don't mean
+that!" he declared unhesitatingly, "I mean just
+that, and nothing else."</p>
+
+<p>Messrs. Moreau-Vauthier and Dagnan-Bouveret
+have given some very accurate and useful<span class="pagenum"><a name="Page_75" id="Page_75">75</a></span>
+details regarding his methods of instruction and
+of work. They have shown him to us at his task,
+both as painter and professor.</p>
+
+<p>He emphasized the importance of construction,
+and of the character of the form, rather than
+the form itself, which is a matter of temperament.
+He insisted that a scene must be visualized in its
+completeness, as a harmonious and fully significant
+whole. Emile Augier, for instance, with
+whom he felt no annoyance at being compared,
+the excellent comedian, Got, the younger Dumas,
+Gounod,&mdash;all of these he loved for their absolute
+clarity, and he demanded it of them. He declared
+that one has no right to paint off-hand,
+without a model; and he also held that one has
+no right to make hasty, careless sketches.</p>
+
+<p>His method was distinguished by its scrupulous
+and admirable precision. Impeccable order
+always reigned in his studio. M. Dagnan-Bouveret
+writes that his palette and brushes were
+scrupulously cared for. He used to overspread
+his canvases with a uniform foundation of half-tones<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span>
+more or less warm or cold, using preparations
+made by Troigras. He roughed in the
+whole picture very rapidly, and this first rough
+draft, according to connoisseurs, was always
+extremely interesting.</p>
+
+<p>In his paintings, he proved that the strength
+of colouring is in inverse proportion to the intensity
+of light. He had a marvellous faculty for
+making the delicate shadings of nature correspond
+with the psychological sentiments that their
+aspects evoke. From this comes his amazing
+variety.</p>
+
+<p>A man of wide reading and deep culture,
+Gérôme had a profound love for the truth, for
+reality just as it is, holding that it is the artist's
+first duty to know his place, his time, his episode,
+and the one special angle of vision that will give
+the rarest and most fruitful results.</p>
+
+<p>On the eve of his death, he was still lauding
+the merits of photography, which has the advantage
+of being able to snatch a document straight
+out of life, without falsifying it by giving it a<span class="pagenum"><a name="Page_77" id="Page_77">77</a></span>
+personal interpretation that must always be more
+or less inaccurate.</p>
+
+<p>Whatever allowance must be made for what
+we may call the personal equation of an artist,
+his own individual temperament, it is not unprofitable
+to recall this opinion of Gérôme's, for
+it helps us to acquire a better conception of his
+art, based as it was upon accuracy and unwavering
+truth.</p>
+
+<p>Truth, which he once depicted in her well,
+killed by liars and mountebanks (<i lang="la" xml:lang="la">Mendacibus in
+histrionibus occisa in puteo jacet alma Veritas</i>,
+Salon of 1895), always charmed and inspired
+him. He rendered it more attractive by his admirable
+sincerity, by his chivalrous and imaginative
+spirit, as well as by his archeological and
+ethnographic learning.</p>
+
+<p>Thanks to this lofty conscientiousness in research,
+his work, erudite and entertaining at the
+same time, making distant and vanished civilizations
+live again, and reproducing atmospheres
+and local settings with a delicacy that at times<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span>
+is a trifle specious, but always incomparably picturesque,
+cannot fail to please and charm to-day
+as it did yesterday, and to-morrow as it does
+to-day.</p>
+
+<p>Accordingly, it is with good reason that M.
+Soubies has lauded his fine attention to detail,
+and that M. Thiebaut-Sisson has summed him
+up in the following terms: "The artist created
+his formula for himself. He extracted from it
+the maximum effect that it contained." And
+even while we glorify and venerate those painters
+gifted with a graver or more lyric vision, a
+bolder or more laboured craftsmanship, we must
+freely subscribe to the opinion of Edmond About
+when he said of Gérôme: "He is the subtlest, the
+most ingenious, the most brilliant &hellip; of his
+generation."</p>
+
+<hr />
+
+<div class="transnote">
+<p><b>Transcriber's note:</b></p>
+
+<p>The following correction have been made:<br />
+
+<a href="#Page_17">p. 17</a> honoured placed among -> placed changed to place</p>
+
+<p>Illustrations were moved to paragraph breaks and a missing comma
+was added. Everything else has been retained as printed (including
+ambiguous hyphens at the ends of lines). Click on the plates to see larger images.</p>
+
+</div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 44340 ***</div>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #44340 (https://www.gutenberg.org/ebooks/44340)
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+The Project Gutenberg EBook of Gérôme, by Albert Keim
+
+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: Gérôme
+
+Author: Albert Keim
+
+Editor: M. Henry Roujon
+
+Translator: Frederic Taber Cooper
+
+Release Date: December 3, 2013 [EBook #44340]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GÉRÔME ***
+
+
+
+
+Produced by Sandra Eder, Sharon Joiner, sp1nd and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  MASTERPIECES
+  IN COLOUR
+  EDITED BY - -
+  M. HENRY ROUJON
+
+
+  GÉRÔME
+
+  (1824-1904)
+
+
+
+
+  _IN THE SAME SERIES_
+
+  REYNOLDS
+  HOLBEIN
+  VELASQUEZ
+  BURNE-JONES
+  GREUZE
+  LE BRUN
+  TURNER
+  CHARDIN
+  BOTTICELLI
+  MILLET
+  ROMNEY
+  RAEBURN
+  REMBRANDT
+  SARGENT
+  BELLINI
+  CONSTABLE
+  FRA ANGELICO
+  MEMLING
+  ROSSETTI
+  FRAGONARD
+  RAPHAEL
+  DÜRER
+  LEIGHTON
+  LAWRENCE
+  HOLMAN HUNT
+  HOGARTH
+  TITIAN
+  WATTEAU
+  MILLAIS
+  MURILLO
+  LUINI
+  WATTS
+  FRANZ HALS
+  INGRES
+  CARLO DOLCI
+  COROT
+  GAINSBOROUGH
+  DELACROIX
+  TINTORETTO
+  FRA LIPPO LIPPI
+  VAN DYCK
+  PUVIS DE CHAVANNES
+  DA VINCI
+  MEISSONIER
+  WHISTLER
+  GEROME
+  RUBENS
+  VERONESE
+  BOUCHER
+  VAN EYCK
+  MANTEGNA
+
+
+  _IN PREPARATION_
+
+  FROMENTIN
+  PERUGINO
+
+
+
+
+[Illustration: PLATE I.--YOUNG GREEKS ENGAGED IN COCK FIGHTING
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Luxembourg Museum, Paris)
+
+This was Gérôme's first picture. It was exhibited at the Salon of 1847,
+and achieved a brilliant success. Théophile Gautier, who was a critic
+hard to please, bestowed upon it some enviable praise. In later years
+the artist found much to censure in his early work; but the public,
+less severely critical, admired the graceful nudity of the young forms
+and the combative ardour of the two adversaries.]
+
+
+
+
+  GÉRÔME
+
+  BY ALBERT KEIM
+
+  TRANSLATED FROM THE FRENCH
+  BY FREDERIC TABER COOPER
+
+  ILLUSTRATED WITH EIGHT
+  REPRODUCTIONS IN COLOUR
+
+  [Illustration: IN SEMPITERNUM.]
+
+  FREDERICK A. STOKES COMPANY
+  NEW YORK--PUBLISHERS
+
+
+
+
+  COPYRIGHT, 1912, BY
+  FREDERICK A. STOKES COMPANY
+
+  _Printed in the United States of America_
+
+
+
+
+  CONTENTS
+
+
+                    Page
+  Introduction        11
+
+  Life of Gérôme      17
+
+  The Artist's Work   43
+
+  The Art of Gérôme   72
+
+
+
+
+  LIST OF ILLUSTRATIONS
+
+
+  Plates
+     I. Young Greeks Engaged in Cock Fighting  Frontispiece
+          (In the Luxembourg Museum)
+
+                                                       Page
+    II. Reception of the Siamese Ambassadors             14
+          (In the Versailles Museum)
+
+   III. Anacreon, with Bacchus and Cupid                 24
+          (In the Toulouse Museum)
+
+    IV. Pollice Verso                                    34
+          (In a Private Collection, United States)
+
+     V. The Prisoner                                     40
+          (In the Nantes Museum)
+
+    VI. The Last Prayer                                  50
+          (In a Private Collection, United States)
+
+   VII. The Vendor of Rugs                               60
+          (In a Private Collection, United States)
+
+  VIII. The Two Majesties                                70
+          (In a Private Collection, United States)
+
+
+
+
+I
+
+INTRODUCTION
+
+
+Gérôme has his allotted place among the illustrious French painters
+of the Nineteenth Century. He achieved success, honours, official
+recognition; and he deserved them, if not for the compelling
+personality of his temperament, at least for his assiduous industry,
+his accurate, methodical, and picturesque way of seeing people and
+things, and the amazing and fertile variety both of his choice and his
+interpretation of subjects.
+
+He was a pupil of Paul Delaroche and seems to have inherited the
+latter's adroitness in seizing upon the one salient and emotional
+detail in a composition. Like that historian-painter of the _Death of
+the Duc de Guise_, Gérôme excelled in always giving a dramatic stage
+setting to the persons and the events which he knew how to conjure up
+with such learned and scrupulous care.
+
+In spite of his versatility, and notwithstanding that many a vast
+canvas has demonstrated his ingenious and resourceful talent, he takes
+his place beside Meissonier because of the extreme importance that he
+attached to accuracy and precise effects.
+
+[Illustration: PLATE II.--RECEPTION OF THE SIAMESE AMBASSADORS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Versailles)
+
+This picture possesses a curious interest because it shows in what a
+picturesque manner Gérôme could execute a painting officially ordered.
+He received the commission in 1865, through the Imperial Household. He
+has rendered with much felicity all the pompous and highly coloured
+aspect of the scene, very effective in the sumptuous setting of the
+Salle des Fêtes at Fontainebleau.]
+
+Although it is some years since he passed away, Gérôme has left behind
+him living memories among his friends and pupils, many of whom
+have in their turn become masters. Both as man and as artist he was
+and still continues to be profoundly regretted, independently of all
+divergences of opinion, method, and temperament.
+
+A master of oriental lore, a curious and subtle antiquarian, a
+chronicler of ancient and modern life, rigorous at times, but more
+often distinguished for his charm and delicacy,--such is Gérôme as he
+has revealed himself to us through the medium of his abundant works.
+
+Whether he paints us the men of the Desert and the almas of Egypt,
+or shows us the gladiators of the Circus, the death of Caesar, the
+leisure hours of Frederick II, the dreams of a Bonaparte, or takes us
+to the _Winter Duel in the Bois de Boulogne after the Masked Ball_, a
+picture that achieved much popularity, Gérôme never fails to catch and
+hold attention by startling contrasts of colour combined with a fine
+accuracy of line work.
+
+But what matter the means through which an effect is sought if they
+prove successful both in the general impression produced by the work as
+a whole and in the charm of the separate details,--in other words, if
+the result justifies the effort?
+
+Effort, in Gérôme's case, meant literally a valiant and noble
+persistence. He was ceaselessly in search of something new. In spite
+of assured fame, he never repainted the same subject. During the
+later years of his life, his ambition was to be at the same time an
+illustrious painter and a sculptor of recognized merit; and in this
+he succeeded. His attempt to revive, after a fashion of his own, the
+precious lost art of antique sculpture, although greeted with a wide
+divergence of opinions, remains a noteworthy achievement.
+
+On the eve of his eightieth year and abrupt decease, Gérôme still
+laboured with the ardour and the splendid faith of youth. He sets an
+encouraging example, as fine and as stimulating as the best of his
+splendid pictures.
+
+
+
+
+THE LIFE OF GÉRÔME
+
+
+Jean-Léon Gérôme was born at Vesoul on May 11, 1824. Throughout his
+life he retained a slight trace of the Franche-Compté accent, which
+gave a keener relish to his witty anecdotes and piquant retorts.
+
+He belonged to a family holding an honoured place among the
+bourgeoisie. His excellent biographer, M. Moreau-Vauthier, relates that
+his grandfather was on the point of taking orders when the Revolution
+broke out. His father was a watchmaker and goldsmith at Vesoul. As a
+child, he himself was in delicate health.
+
+Nevertheless, he proved himself a good student at the college in the
+city of his birth. While there he studied both Greek and Latin. His
+instructor in drawing, Cariage, having noticed his early efforts, gave
+him much good advice and encouragement.
+
+At the age of fourteen, he copied a picture by Decamps, which had found
+its way to Vesoul from Paris. The story goes that his father forthwith
+favoured the idea that he should take up the vocation of an artist.
+There is no use in exaggerating. As a matter of fact, his family
+dreaded the hardships of so hazardous a career. But, upon receiving his
+bachelor's degree at the age of sixteen, a degree which at that epoch
+was by no means common, he obtained permission to go to the capital and
+pursue his studies under the auspices of Paul Delaroche, to whom he was
+provided with a letter of introduction.
+
+It is pleasant to picture the young man setting forth alone by
+_diligence_ and applying himself bravely to the task of acquiring
+talent and renown.
+
+He was most faithful in his attendance at the studio of Delaroche, who,
+being the son-in-law of Horace Vernet, possessed at that time not only
+a wide reputation as professor, but also an enormous influence both at
+the École des Beaux-Arts and at the court of Louis-Philippe.
+
+Delaroche, who has aptly been called the Casimir Delavigne of
+painting, a romanticist who stopped short of being a revolutionary,
+parted company with the cold traditionalists of the older school in the
+profound importance that he attached to accuracy and to the truth and
+interest of movement.
+
+Gérôme was destined to draw his inspiration from analogous principles.
+While interesting himself profoundly in costumes, in surroundings, in
+local colour, he always avoided excess and maintained an almost classic
+restraint even in the most modern of his fantasies.
+
+Delaroche's pupils were a lively set. Gérôme found life pleasant in the
+studio where Cham amused himself by passing himself off upon strangers
+as "the patron," and where his comrades were such men as Alfred Arago,
+Hébert, Hamon, Jalabert, Landelle, Picou, and Yvon.
+
+He won their regard by his flow of spirits and his caustic humour.
+At this period he supported himself by copying paintings and making
+drawings for the newspapers; but, although a small monthly income
+of a hundred francs assured him comparative security, he was uneasy.
+Although only eighteen, the young man was impatient to show what he
+could do. He was seeking his path.
+
+He took his first step towards finding it when he accompanied his
+teacher to Italy after the latter had closed his studio. He remained
+there for an entire year.
+
+Upon his return, he studied for a time under Gleyre, after which he
+worked for some months on Delaroche's _Bonaparte Crossing the Alps_.
+
+In 1847, Gérôme made his début at the Salon with a veritable
+master-stroke. At an exposition where Delacroix's _Shipwrecked Bark_
+and Couture's _Roman Orgy_ monopolized the public gaze, the young
+artist attracted keen attention by his _Young Greeks Engaged in Cock
+Fighting_. Théophile Gautier enthusiastically proclaimed the merits of
+this work, which brought Gérôme much valued praise and some influential
+supporters.
+
+We shall revert again to this significant canvas, which since 1874 has
+hung in the Luxembourg Museum, and with which the artist, when he later
+attained full mastery of his art, found all manner of fault.
+
+The first meeting between this painter of twenty-three, upon whom
+renown had just begun to smile, and Gautier, magnanimous prince of
+criticism and poetry, took place under circumstances that deserve to be
+recorded.
+
+Gérôme was betaking himself to the offices of the _Artiste_, at that
+time presided over by Arsène Houssaye; in his hand he held a line
+drawing of his own recent idyll of classic times. On the staircase he
+encountered Gautier who had paused there, and who began to talk to
+him in glowing terms of the Salon and especially of a painting by a
+newcomer, named Gérôme.
+
+"But that is I, myself!" cried the young man with keen emotion, and he
+showed his drawing to the author of _Enamels and Cameos_.
+
+Continuing to draw his inspiration from antiquity, he set to work with
+a stouter heart, in a studio on the Rue de Fleurus, which he shared
+with Hamon and Picou, associating with artists and with musicians such
+as Lalo and Membrée.
+
+His labours were twice interrupted: first, by an attack of typhoid
+fever, through which his mother came to nurse him; and secondly, by the
+Revolution of 1848 when, in compliance with the expressed desire of his
+comrades, he was appointed adjutant major of the National Guards.
+
+It was about this same period that he received a first class medal and
+found himself well advanced upon the road to fame.
+
+"I have always had the nomadic instinct," Gérôme used to declare, and
+complacently questioned whether he did not have a strain of gypsy blood
+among his ancestors. In his notes and souvenirs, which he entrusted to
+his relative and friend, the painter Timbal, he confesses, along with
+his various artistic scruples, his passionate love of travel.
+
+[Illustration: PLATE III.--ANACREON WITH BACCHUS AND CUPID
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Toulouse)
+
+Gérôme had a magic brush that permitted him to undertake all types of
+painting with the same facility. This is how he so often happened to
+treat subjects taken from antiquity and was able to render them in all
+their classic beauty. It is not without interest to compare him, in
+this style of painting, with Nicholas Poussin, whom he admired, and
+with Puvis de Chavannes, whose method he execrated.]
+
+He was haunted by a longing to visit Greece, and more especially the
+Orient, with its marvellous skies, its resplendent colours, its
+barbaric and motley races of men.
+
+In 1853, in the company of a number of friends, he traversed Germany
+and Hungary, planning a lengthy visit to Constantinople. Owing to the
+war, he was forced to cut short his trip at Galatz. But he brought back
+a collection of energetic and striking sketches of Russian soldiers,
+which later served good purpose in his _Recreation in Camp, Souvenir
+of Moldavia_. And in like manner, in all his distant journeyings,
+he invariably showed the same eagerness to seize and transcribe his
+original documents, content to let them speak for themselves, without
+his having to distort them to fit the special purpose that he had in
+view.
+
+This painting found a place in the exposition of 1855, together with
+_The Age of Augustus_, a notable achievement in which Gérôme revealed
+the measure, if not of his true personality, at least of his lofty
+conscience and his integrity as an artist enamoured of accuracy and
+truth, even in the imaginary element inseparable from this type of
+allegorical apotheosis. Notwithstanding a few dissenting opinions,
+these two works were judged at their true value, and Gérôme received
+the cross of the Legion of Honour.
+
+At this time he was scarcely more than thirty years old. A most
+brilliant career henceforth lay open before him.
+
+Gérôme remains, beyond question, the unrivalled painter of Egypt, whose
+aspects, enchanting and sinister alike, he has reproduced in a series
+of pictures of finished workmanship and vibrant colouring.
+
+It was in 1856 that, together with a few friends, among others
+Bartholdi, then twenty-two years old, he undertook his long tour
+through Egypt. To-day, one can go to Cairo or up the Nile as casually
+as to Nice or Italy and with almost as little trouble. In those days
+it was not a question of a simple excursion, of which any and every
+amateur tourist would be capable, but of a veritable expedition.
+
+Unforeseen adventures appealed to Gérôme, for he was brave, energetic,
+and eager for new sensations. M. Frédéric Masson, the eminent
+historian, who was one of his companions through the desert, has since
+shown him to us, in a series of graphic recollections, as perpetually
+on his feet, indefatigable, ready to endure any and every vicissitude
+for the sake of sketching a site or a silhouette.
+
+His stay in Egypt was for Gérôme a period of enchantment. He has
+left, in regard to it, some hasty but expressive notes. He passed
+four months on the Nile, well filled months, consecrated to fishing,
+hunting, and painting, all the way from Diametta to Philae. He remained
+the four succeeding months at Cairo, in an old dwelling that Suliman
+Pasha rented to the young Frenchmen. "Happy epoch!" wrote the painter,
+"Care-free, full of hope, and with the future before us. The sky was
+blue."
+
+He returned to Paris with an ample harvest of sketches, a supply of
+curious, novel, and striking themes to work up. M. Moreau-Vauthier
+shows him to us at that period of his existence, full of unflagging
+energy and pleasant enthusiasm, in the company of Brion, Lambert,
+Schutzenberger, and Toulmouche,--not to forget his monkey Jacques, who
+took his place at the family table arrayed in coat and white cravat,
+but would slink away and hide himself in shame when, as a punishment
+for some misdeed, they decked him out as a ragpicker.
+
+What jolly parties were held in that "Tea Chest," in which Gérôme then
+had his studio, Rue de Notre-Dame-des-Champs! It was the scene of
+many a festival, entertainment, and joyous puppet show, attended by
+spectators such as Rachel (whose portrait Gérôme painted in 1861), her
+sister, George Sand, Baudry, Cabanel, Hébert, and others.
+
+This was, nevertheless, an epoch of prolific work and constant
+research. Gérôme passed ceaselessly from one type of painting to
+another; one might say that he rested from his exotic landscapes by
+evoking, with an ever new lavishness of detail, curious or affecting
+scenes from Greek and Roman antiquity.
+
+Thus rewards and successes multiplied, and he experienced all the joys
+of triumph. Already honorary member of the Academy of Besançon, he was
+appointed professor at the École des Beaux-Arts in 1863, and in 1865,
+member of the Institut, where he succeeded Heim.
+
+Meanwhile he fought a duel with revolvers and was gravely wounded. His
+mother hastened once again to his bedside and saved his life a second
+time. Since the ball had passed through his right arm, complications
+affecting his hand were feared. The artist declared that if necessary
+he would learn to paint with his left. No sooner was he cured than off
+he started again, bound for Egypt, whence he passed to Arabia and, more
+venturesome than ever, continued on his way, as one of his biographers
+phrased it, "making sketches clear to the summit of Mt. Sinai."
+
+He was destined to make still other journeys, notably that of 1868
+in company of Messrs. Bonnet, Frédéric Masson, and Lenoir; and his
+companions paid tribute to his unfailing spirits and his powers of
+endurance. But at the age of forty he married. The bride was Mlle.
+Goupil, daughter of the well-known picture dealer.
+
+He was a thorough man of the world and a favoured guest of the Duc
+d'Aumale, who appreciated his ready wit and bought his _After the
+Masquerade_ for the sum of 20,000 francs. In 1865 he received from the
+Beaux-Arts and the Imperial Household an order for _The Reception of
+the Siamese Ambassadors at Fontainebleau_.
+
+Gérôme was also numbered among Compiègne's habitual visitors, along
+with Berlioz, Gustave Doré, Guillaume, Merimée, Viollet-le-Duc, and
+others. M. Moreau-Vauthier, who with pious zeal has collected the
+more interesting anecdotes of his life, relates that he had a special
+gift for organizing charades: he was scene setter and costumer. At
+Fontainebleau, he took the Empress out alone in a row-boat.
+
+Surrounded by devoted friends, such as Augier, Charles Blanc, Dumas,
+Clery, his brother-in-law, Frémiet, Gérôme continued his laborious and
+tranquil life in his vast atelier on the Boulevard de Clichy.
+
+His days were passed in drawing and painting in his canvases. Towards
+the end of the afternoon he would mount his horse and take a turn
+in the Bois. He exhibited annually up to the year of the war. After
+that, he lived in a sort of retirement until 1874, when, after a trip
+to Algeria with G. Boulanger and Poilpot, he won a medal of honour.
+_A Collaboration_, _Rex Tibicen_ (The King Flutist), and _His Gray
+Eminence_, exhibited simultaneously, revealed him in full possession of
+his ingenious and many-sided art.
+
+New and resounding triumphs awaited him at the Exposition Universelle
+of 1878, where he first revealed himself as a sculptor. As a matter
+of fact, he had for a long time amused himself at modelling in clay.
+He used to go to Frémiet's studio to do his modelling, and Frémiet,
+by way of exchange, would come to paint in his. His two groups,
+_Gladiators_ and _Anacreon, Bacchus and Cupid_, won him a second class
+medal to take its place beside the medal of honour he had previously
+received for his paintings. That same year, at the age of fifty-four,
+he was raised to the rank of Commander. Cham expressed the joy of all
+his friends by writing to him wittily: "I follow the example of your
+ribbon, I fall upon your neck."
+
+He was yet to gain still further honours: a first class medal as
+sculptor, in 1881; to be declared _Hors Concours_ (Not entered for
+Competition) at the Expositions of 1889 and 1900; and to be named Grand
+Officer of the Legion of Honour.
+
+From 1880 onward, excepting for a few flying visits to Spain and
+Italy, Gérôme lived at his hotel in Paris, where he kept up a rather
+lavish establishment, including horses and dogs, up to the time of the
+successive deaths of his father and his son. It was the latter for
+whose tomb he carved a touching figure of _Grief_.
+
+[Illustration: PLATE IV.--POLLICE VERSO
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The scenes from Roman antiquity repeatedly appealed to Gérôme's talent,
+notably in the case of the Games of the Circus, the dramatic value and
+brilliant colour of which he fully appreciated. In _Pollice Verso_, he
+shows us the victorious gladiator, who, in order to know whether or not
+he is to despatch his adversary, turns a questioning glance towards the
+Vestals, who invert their thumbs, decreeing death for the vanquished
+and gasping opponent.]
+
+His studio at Bougival held him for many a long day, while the season
+lasted. While there, he worked with extraordinary assiduity, barely
+giving himself time enough to appear among his guests and hastily
+swallow a few mouthfuls of the mid-day meal. He owned at one time
+another country house at Coulevon, near Vesoul, but this he sold to
+one of his former pupils, Muenier. He remained none the less the chief
+pride of his native town, where, even during the artist's life, there
+was a street bearing the name of Gérôme.
+
+His favourite summering place, however, was in the heart of Normandy
+at Saint-Martin, near to Pont-Lévêque, where he possessed a delightful
+property.
+
+"He is a charming man, of rare integrity and fascination. Very simple,
+too, like all men of real power, who need not exert themselves in
+order to prove their strength." It is after this fashion that M. Jules
+Claretie sums him up in his exquisite study of _Contemporary Painters
+and Sculptors_. M. Frédéric Masson, his faithful friend, has drawn
+the following excellent portrait of Gérôme: "A head firmly set upon a
+long neck, features vigorously modelled in acute angles, sunken cheeks,
+complexion bronzed, eyes brilliant and strangely black, moustache
+obstinate and bristling, hair almost kinky, and sprouting in massive
+clumps, ... a straight nose set in a lean face, ... figure exceedingly
+slender and flexible, waist medium, but well modelled."
+
+Such he appears in his painting of himself as a sculptor in his studio,
+absorbed, in his alert and perennially youthful old age, by his new
+task of making polychrome statues. M. Aimé Morot, his son-in-law, has
+shown him to us in his intimate life, simple, natural, and at one and
+the same time alert and caustic. We find him also thoroughly alive in
+the fine bust by Carpeaux and in the medal by Chaplain, now in the
+Luxembourg.
+
+M. Dagnan-Bouveret saw him under another aspect. In the portrait he
+has given us, we have the master authoritatively proclaiming his
+convictions. This distinguished artist, by the way, was formerly a
+pupil of Gérôme's. One day when he was complimenting the latter upon
+his method of teaching, Gérôme replied, in his loud, assertive voice:
+"When I undertake to do a thing, I do it to the very end. I am a man
+with a sense of duty."
+
+As professor at the École des Beaux-Arts he continued to fulfil his
+duty for a period of forty years. While conducting his classes he
+showed himself grave and stern, even sardonic when so inclined. In
+front of a canvas too thickly coated, he would exclaim: "The paint shop
+man will be pleased"; or perhaps he would move around to get a side
+view and then play upon his words, saying: "How that picture stands
+out!"
+
+He had a good many foreigners in his studio, Spaniards such as La
+Gandara, Americans like Bridgman and Harrison, and Russians such as
+the celebrated and courageous Verestschagen who, according to M. Léon
+Coutil, declared, in speaking of Gérôme, "Next to my dear Skobelof, he
+is the most resolute man that I have ever met."
+
+Gérôme was frank and unreserved in his opinions. Having become, so to
+speak, the official representative of French painting, he was exposed
+to repeated attacks. He did not hesitate to flout unmercifully and to
+pursue with a veritable hatred such artists as had adopted formulas
+opposed to his own,--and among them some of the biggest and the ones
+least open to discussion. M. Besnard, who was not a pupil of his,
+nevertheless owed him his Prix de Rome.
+
+Many were the circumstances under which he showed his energetic
+firmness; for example, when the Prince de la Moskowa wished to fix a
+quarrel on him and prevent him from exhibiting _The Death of Mareschal
+Ney_, he evoked this noble declaration from Gérôme: "The painter has
+his rights as much as the historian."
+
+[Illustration: PLATE V.--THE PRISONER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum of Nantes)
+
+Gérôme had travelled extensively in the East, for he loved its vigorous
+colouring and picturesque customs. Here is a scene glimpsed from the
+banks of the Nile, and he has transcribed it in this superb picture,
+vibrant with colour and harmonious in composition.]
+
+And when a prominent politician criticised the official curriculum
+without proposing anything to take its place, it was, according to
+M. Moreau-Vauthier, again Gérôme who replied: "Gentlemen, it is
+easier to be an incendiary than a fireman!"
+
+This firmness, however, did not prevent him, so this same biographer
+points out, from being sensitive to such a degree that he could
+not bear to watch a cat of Frémiet's preparing to devour a nest of
+sparrows. He used to bring champagne and dainty viands as presents to
+his pupils. His humour, so M. Moreau-Vauthier goes on to say, served
+as a mask to hide his sentiment. Poilpot, to whom Gérôme was destined
+later to give useful counsels for his panorama of Reischoffen, was
+working prior to 1870 in his studio. One day he went to show him some
+drawings. His master, having looked him over, inquired: "So, then, you
+have no shirt?" "No, patron," he replied, "I never wear any." The next
+day, Poilpot received a commission for a copy of an official portrait
+of Napoleon III, together with an advance payment of 600 francs. This
+pretty anecdote does as much honour to the pride of the one as to the
+delicacy of the other.
+
+Gérôme sincerely loved the youth, the fantasy, the gaiety of France,
+and more especially of Paris. One perceives it in reading the sparkling
+preface which he wrote for M. Miguel Zamacoïs' _Articles of Paris_,
+blithely illustrated by M. Guillaume. He was not too proud to appear at
+costume balls, nor to continue to take an interest in them even after
+he had ceased to attend them. He once put his name to a picturesque
+sign for a doll shop in the "Old Paris" exhibit at the Exposition. For
+an advertisement contest he painted a dog wearing a monocle, with this
+amusing inscription and play on words, "_O pti cien_" (_0 petit chien_,
+i.e., O little dog). He amused himself by sending to a toy competition,
+organized by the prefect of police, a little Pompeiian saleswoman
+holding a basket of various toys, and a diminutive police officer
+brandishing a white club.
+
+Gérôme had always wished for a sudden and brusque death, "without
+physic and without night-cap." He was spared both physical and moral
+decline. At the age of seventy-nine he climbed the stairs, four steps
+at a time, and sprang upon moving omnibuses running. He died suddenly
+of a cerebral congestion, on his return from a dinner which he had
+attended together with his colleagues of the Institut, January 10, 1904.
+
+
+
+
+THE ARTIST'S WORK
+
+
+It is difficult to enumerate in detail all the works of Gérôme, whose
+originality and energy were inexhaustible. Only a short time before his
+death he declared that with the help of the sketches contained in his
+cupboards he had material enough to keep him busy for twenty-five years
+longer.
+
+Instead of attempting to draw up a chronological list of his paintings,
+which would be only approximately correct, even if limited to the more
+important, it is more profitable to study this conscientious artist
+under his principal aspects.
+
+Although he made some talented attempts, Gérôme neither was nor wished
+to be a portrait painter, any more than a painter of modern life. He
+had, however, as has been pointed out, all the necessary qualities
+for this type which demands so much precision and assurance. In _The
+Emperor Napoleon III Receiving the Siamese Ambassadors at the Palace
+of Fontainebleau_, now in the museum at Versailles, there are eighty
+portraits. The artist has represented himself, side by side with
+Meissonier, and the story is told that a certain general accorded him a
+sitting of only ten minutes.
+
+Besides the large and somewhat sombre portrait of Rachel, which adorns
+the Stairway of Artists at the Comédie-Française, and which was painted
+from existing likenesses and from memory, there is scarcely anything
+else to cite than the portrait of his brother while a student in
+the Polytechnic School, a _Head of a Woman_ (1853, at the museum of
+Nantes), those of M. Leblond, at Vesoul, mentioned by M. Guillaumin,
+of M. A. T. (1864), of Cléry, the great lawyer, and of Charles
+Garnier, the celebrated architect of the Opéra.
+
+As a sculptor, Gérôme has left some admirable busts, among others those
+of Mme. Sarah Bernhardt, bequeathed to the National Museum, of _General
+Cambriels_, of _Henri Lavoix_, the _Monument of Paul Baudry_ destined
+for La Roche-sur-Yon, and, most important of all, the _Equestrian
+Statue of the Duc d'Aumale_, which is now to be seen at Chantilly, and
+the model for which is at the museum of Besançon.
+
+Gérôme had a sincere and profound love for antiquity; with him it was
+not the enjoyment of a contemplative mind, a tranquil amateur art, but
+that of an historian, an archaeologist coupled with the instinct of a
+dramatist, a psychologue, let us say, who is eager to discover, in any
+scene whatever, in the graceful or violent gestures of such and such
+personages of bygone days, some general application. He was certainly
+most anxious to suggest interesting or amusing parallels to modern
+life, for, in spite of the dissimilarity of the settings, the tinsels,
+the decorations, over which the artist laboured with an almost devout
+care of minute detail, human nature to-day is always more or less close
+to the human nature of Greece or Rome.
+
+"Exhibit that picture, it will bring you honour," said Paul Delaroche
+to his pupil, who had shown him, with much misgiving, the _Young Greeks
+Occupied in Cock Fighting_. "It shows originality and style." And
+that was his first success (1847). The grace of the young figures won
+much admiration. Planche praised the harmony of the composition as a
+whole. As to Théophile Gautier, he showed himself, as we have already
+said, highly enthusiastic; he declared that the features of the boy
+were drawn with extreme subtlety. "As to the cocks," he added, "they
+are true prodigies of drawing, animation, and colour; neither Snyders,
+nor Woenic, nor Oudry, nor Desportes, nor Rousseau, nor any of the
+known animal painters have attained, after twenty years of labour,
+the perfection which M. Gérôme has reached at the first attempt." Let
+us note immediately that Gérôme was, as a matter of fact, a very great
+painter of animals. His dogs, his horses, and his lions are the work of
+a masterly observer.
+
+Closely following upon the _Cock Fight_, we must recall _Anacreon
+with Bacchus and Cupid_ (1848, Toulouse Museum) which Gérôme himself
+characterized as a "lifeless picture," and which nevertheless earned
+him a second class medal. Later on he was destined to treat this same
+subject in marble (Salon of 1881). The polished and somewhat affected
+grace of _Anacreon_ must have especially pleased the painter, because
+in 1889 he produced a whole series of compositions of delicious
+daintiness, entitled _Cupid Tipsy_. On the same order of ideas, mention
+must be made of _Bacchus and Cupid Intoxicated_ (1850, Bordeaux
+Museum), and in addition to these, under the head of what may be
+called his Hellenic canvases,--in which he succeeded in conjuring up
+with magic skill the splendours and graces of that immortal mother of
+letters and arts, Greece beloved by the gods,--the following pictures,
+_The Idyll_ (1853), full of charm and solid erudition; _The Greek
+Interior_ (1856), of sure and penetrating art; _King Candaules_ (1859),
+in which the sumptuous beauty of Nyssia illumines the bed-chamber of a
+Heraclid, 700 years B.C., and in which the interest of the picturesque
+anecdote is enhanced by the artist's marvellous documentary knowledge.
+
+In the same group must be mentioned _Phryne before the Tribunal_ (1861,
+reëxhibited in 1867), of charming subtlety, but with a little too much
+emphasis, perhaps, on the irony of its psychology; and, of course,
+_Socrates Seeking Alcibiades at the House of Aspasia_, analogous in
+inspiration, and, as it happens, belonging to the same year; and lastly
+_Daphnis and Chloe_ (1898).
+
+[Illustration: PLATE VI.--THE LAST PRAYER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The amphitheatre is filled to overflowing with the crowd that has
+gathered to witness the martyrdom of the Christians. Around the vast
+circle, unhappy victims agonize upon the cross. In one corner of the
+arena, a group of men and women, condemned to die, confess their new
+faith in an ardent prayer, while from the opened subterraneous passage
+the ravenous beasts are advancing upon their human prey.]
+
+Italy also, with all her memories, furnished Gérôme with scenes of
+striking contrast, evoked from the vanished past, spectacles at once
+sumptuous and barbaric. He caught this atmosphere with rare
+felicity. _Paestum_ (1851) commands attention because of its group of
+buffaloes, which the Goncourts praised for "their ponderous weight of
+head, the solidity of their huge bulk, the grouping of their attitudes,
+the shagginess of their coats, the prevailing sense of grateful
+coolness."
+
+It is necessary to assign a place apart, in this series, for the
+_Augustan Age, Birth of Christ_ (1855, Amiens Museum). In his own
+private opinion, confided to his cousin Timbal, Gérôme held that
+this enormous composition, measuring ten metres in length by seven
+in height, lacked inventiveness and originality. It is true that the
+artist's personality is not clearly revealed in this picture, which
+is a sort of vast commentary on a phrase by Bossuet, and indisputably
+draws its inspiration from the _Apotheosis of Homer_ by Ingres.
+Nevertheless, no one can dispute its noble qualities, and to borrow a
+phrase from Théophile Gautier, its "high philosophic significance."
+Beside Augustus Caesar deified appears Rome, in the form of a woman,
+helmeted, armed with a buckler, and clad in a red chlamys; then
+Tiberius, standing on the right, then statesmen and poets, Caesar,
+Cleopatra, Anthony, Brutus, and Cassius grouped together; lastly the
+throng of all nations on their knees, admirably rendered. In the
+centre, relatively unimportant in this immense assemblage, are the
+Virgin Mary, the Infant Jesus, and St. Joseph, treated in a curious
+fashion, modelled on the manner of Giotto. "It is the chief ornament of
+the Amiens Museum," Gérôme would say jestingly; for he had largely lost
+respect for this prolonged and important effort which represented two
+years' work of a serious and diligent student of history.
+
+The two flawless masterpieces of Gérôme, the eloquent interpreter of
+ancient Rome, are unquestionably his _Ave Caesar, Morituri te Salutant_
+(1859), purchased by Mathews, in which, in the presence of a bloated,
+overfed Vitellius, sitting pacifically in his imperial box, not far
+from the white Vestals, crowned with verbena, gladiators are fighting
+and dying in the circus, and _Pollice Verso_ (1874) in which these same
+gladiators are represented, no longer as Roman soldiers, but in the
+exact costume that they wear at the moment when the Emperor and the
+crowd, ravenous for carnage, turn down their thumbs as signal for the
+death stroke. This work, published by Goupil, did not appear at the
+Salon. We must cite further _Gaius Maximus_, the _Chariot Race_, which
+aroused legitimate enthusiasm in America; The _Wild Beasts Entering
+the Arena_ (1902) and we must not forget that Gérôme also expended his
+energy as a sculptor upon these same attractive gladiatorial figures.
+
+Striking and pathetic contrast is also earnestly striven for and
+strongly rendered in _The Death of Caesar_ (1859, 1867). One almost
+needs to be an incomparable "stage manager" in order to show the
+body of Caesar after this fashion, in the foreground, in the chamber
+deserted by the Senators; one Conscript Father, as a touch of satire,
+has fallen asleep. The effect is powerful, even though it has been
+sought for with too obvious care. Undoubtedly Nadar had the laugh on
+his side when he compared the body of Caesar to a bundle of linen and
+called the picture "The Day of the Washerwoman." Gérôme appreciated
+the humour of this pleasantry. It is equally true that Baudelaire
+applauded the picture, exclaiming: "Certainly this time M. Gérôme's
+imagination has outdone itself; it passed through a fortunate crisis
+when it conceived of Caesar alone, stretched upon the ground before his
+overturned throne ... this terrible epitome tells everything."
+
+The clever erudition of the painter, who had already revealed himself
+as an adherent of the so-called group of "Pompeiians," in the
+_Gyneceum_ (1850),--in which we perceive a group of nude women in the
+court of a house in Herculaneum,--asserts itself once more, coupled
+with an incisive touch of epigram in _Two Augurs Unable to Look at
+Each Other Without Laughing_, and similarly in the _Cave Canem_, now at
+Vesoul (in front of a Roman house a slave is playing the role of watch
+dog), in the _Sale of Slaves at Rome_ (1884), etc.
+
+A similar ingenuity, with greater amplitude, constitutes the charm
+and the surprise of _Cleopatra and Caesar_ (1886). Cleopatra has had
+herself brought into Caesar's cabinet in the palace at Alexandria,
+concealed in a bundle of clothing. "Her appearance there," said Maxime
+du Camp, who also praised the interest of the accessories, treated with
+exquisite care, "is perfectly chaste, in spite of her nudity." All the
+details are executed with a masterly command of picturesqueness and
+accuracy.
+
+As a religious painter Gérôme has to his credit the _Virgin,
+Infant Jesus, and St. John_ (1848), a youthful work imitated
+from Perugino, a _St. George_, in the church of Saint-Georges at
+Vesoul, a _St. Martin Cutting his Mantle_, in the ancient refectory
+of Saint-Martin-des-Champs, a _Death of St. Jerome_ (1878) at
+Saint-Séverin, a _Moses on Mt. Sinai_, and _The Plague at Marsailles_,
+and, most important of all, _Golgotha Consummatum Est_, intensely
+lugubrious and symbolic in aspect, with Christ and the two thieves
+appearing, through the desolate atmosphere, like writhing shadows on
+the cross. This conception cost the author a violent diatribe from
+Veuillot, while Edmund About, although making certain reservations,
+wrote on the other side: "The entire sum of qualities that are
+distinctive of M. Gérôme will be found in this picture."
+
+As a painter of exotic life Gérôme remains an observer of the highest
+order. If he has not wholly revealed Italy to us in his _Guardians of
+the Herd_ and his _Pifferari_ (1855, 1857), he has at least done so
+in the case of Egypt, still deeply impregnated with an ancient and
+splendid civilization, naïve and at the same time venerable, Egypt
+before the advent of tourists, a luminous land where the Nile and
+the Desert reign supreme, a land of magnificence and of savagery.
+Landscapes of this Egypt of poetic mystery, and of Palestine as
+well, childish or perverse _almas_, rude Albanian Chiefs, Turbaned
+Turks,--one never wearies of these decorative effects, these clear
+visions, these scenes of animation, whether violent or delicate,
+the people, the vegetation, the fabrics, all resplendent under the
+marvellous sky of the Orient.
+
+In the company of this intrepid, venturesome and observant traveller,
+we witness the passage of _Egyptian Recruits Crossing the Desert_, we
+are present at _Prayers in the House of an Albanian Chief_, we pause
+in the _Plain of Thebes_, not far from _Memmon and Sesostris_, and
+we watch the _Camels at the Drinking Trough_, so admirably realized.
+Gérôme, who had a gift for finding the right and pleasing phrase, gave
+this rather neat definition of a camel: "The Ship of the Sea of Sand."
+
+Similarly, the _Egyptian Straw-chopper_ (1861, again exhibited in
+1867, and purchased by M. Werlé) symbolizes, simply yet forcefully,
+agricultural Egypt, and all the varied shadings of her pastoral
+poetry. Then again, there is _The Prisoner_ (1863), in which a boat
+is making its way along the vast and pacific Nile. Two negro oarsmen,
+the master, a bashibazouk, are in the prow; and in the stern, beside a
+buffoon, who apparently derides him, while twanging the strings of a
+guitar, the prisoner lies cross-wise, fast bound, and abandons himself
+to his cruel destiny. There, in a setting of enchanted beauty, we have
+the chief actors in this original drama, in which dream and reality are
+blended.
+
+What a horde of types, some of them bizarre, others simply comic! There
+are, taking them as they come, a _Turkish Butcher in Jerusalem_ (1863),
+_The Alma_ (Professional Singing Girl--1864), _The Slaves in the Market
+Place_, _The Clothing Merchant at Cairo_, _The Albanians Playing Chess_
+(1867), The _Itinerant Merchant at Cairo_ (1869). Then there is the
+_Promenade of the Harem_, and still others, the _Santon_ (Turkish Monk)
+_at the Door of the Mosque_ and _Women at the Bath_ (1876), the
+_Arab and his Courser_ and _The Return from the Hunt_ (1878).
+
+[Illustration: PLATE VII.--THE VENDOR OF RUGS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+From his numerous journeys to the East, Gérôme brought back many
+curious memoranda of picturesque scenes, which he subsequently
+converted into brilliant canvases. He excelled in reproducing the
+caressing beauty of shimmering carpets and the rippling sheen of silken
+textures.]
+
+In the company of this experienced and reliable guide, we wander from
+_Jerusalem_ (1868) to the _Great Bath at Broussa_ (1885), from a
+_Corner of Cairo_ to _Medinet_ and _Fayoum_. Here we have the severed
+heads in the _Mosque of El Hecanin_, the nude woman in the _Moorish
+Bath_, all the barbarity and all the grace of the Orient,--and
+invariably the anecdote, whether agreeable or sinister, blends with the
+matchless splendour of the landscape.
+
+To this list must be added _Recreation in Camp, a Souvenir of Moldavia_
+(Salon of 1854), in which a soldier is dancing before his assembled
+comrades, to the sound of drums, fifes, and violins. A sentinel keeps
+watch. It is a picture taken in the act, and intensely real.
+
+It is easy to detect the historian, or, to adopt the expression of
+M. Jules Claretie, the "Memoir Maker," possessed of the true gift,
+agreeable and individual, lurking behind every one of the works of
+this authoritative orientalist. He dedicated himself quite naturally
+and with great success to the interpretation of history and of the
+historic and literary anecdote.
+
+His love of contrasts, his gift for depicting locality and somehow
+conveying the very atmosphere belonging to the varied scenes that
+are to be brought before the spectator's eye, give amplitude to such
+attractive little compositions as _Louis XIV. and Molière_ (1863),
+and _A Collaboration_ (1874); evoke the whole sombre tragedy of the
+death of Maréchal Ney, _December 7, 1815, Nine o'clock in the Morning_
+(1868); and appeal successively to our curiosity, our sympathy, or our
+admiration, with a Frederick II., conqueror of Silesia, playing on
+his flute, the _King Flutist_ (1874, purchased by M. H. Oppenheim),
+_His Gray Eminence_ (1874), in which the austere and dominant Father
+Joseph is making his way alone, down the stairway, in the presence
+of the obsequious courtiers; a Bonaparte day-dreaming before the
+Sphinx, _Oedipus_ (1886), a _Bonaparte at Cairo_ gazing at the town
+from the back of his Arab horse, a _Bonaparte in Egypt_, mounted on a
+white dromedary, dreaming of his omnipotence, of his conquest of the
+universe, and surrounded by his overdriven soldiers.
+
+As a matter of fact, Gérôme made a sort of hero-worship of Napoleon
+and the Napoleonic epic, resembling in this respect his friend, M.
+Frédéric Masson, the celebrated historian of the Emperor, who was
+better qualified than any other writer to pay an eloquent tribute to
+this _Bonaparte in Egypt_.
+
+"Bonaparte is no longer on the road to Syria, he is on the road to
+India; he is hesitating between the two halves of the world that he
+holds in his hands; he is weighing the destiny of Alexander against the
+destiny of Cæsar; he is asking himself whether Asia, to which he holds
+the key, is a fair exchange for Europe which he has just quitted; and
+while his dream embraces the universe, he leaves his human rubbish heap
+to suffer."
+
+Gérôme is wholly himself when he has an anecdote to give us, whether
+it be subtle, humorous, kindly, or dramatic, and even,--why not use the
+word?--melodramatic.
+
+Classified thus, _The Duel after the Masquerade_ fully deserves
+its brilliant reputation. Reproduced, not only in lithographs and
+engravings, but even transferred to the theatre (given at the Gymnase,
+in 1881, by Mme. Fould), its subject has become a matter of general
+knowledge. It is winter in the Bois de Boulogne. A number of people
+in fancy costume are bending over a wounded Pierrot, while one of the
+witnesses of this improvised duel is leading away the murderer, the
+Harlequin.
+
+One can see at once what a tremendous appeal a subject like this would
+have for the general public.
+
+This singular drama, taking place in the snow, all this joyousness
+ending in bloodshed and perhaps death, is so fantastic that it leaves a
+lasting impression. It was, by the way, as M. Guillaumin has explained,
+suggested by an actual duel that took place between Deluns-Montaud,
+the Harlequin, and the Prefect of Police Bortelle, the Pierrot.
+
+Undoubtedly there was, and still is, ground for criticism. Alexandre
+Dumas thought, not unreasonably, that serious-minded men of that
+age would not go out to fight each other in such a costume. Edmond
+About criticized the pose of Crispin supporting on his knee an
+entire group of spectators, along with the body of poor Pierrot. But
+Paul de Saint-Victor praised the "truthfulness of the postures, the
+etching-like precision of the heads, the wise planning of the whole
+composition."
+
+In order to appreciate better the daring fantasy and the wise and
+invariably picturesque inventiveness of Gérôme, we have only to study
+further such works as the Frieze destined to be reproduced upon a vase
+commemorative of the Exposition of London (1853), _Rembrandt Etching_
+(exhibited in 1867, purchased by M. E. Fould), which has been admired
+for its golden half-shadows and freely compared to Gerard Dow, the
+_Reception of the Siamese Ambassadors_ (1865), _The First Kiss of
+the Sun_ (1886), the _Poet_, _Thirst_ (1888), and fantasies, such
+as, _The Amateur of Tulips_, _Whoever you are, here is your Master_;
+anecdotal portraits throwing side lights on history, such as: _They are
+Conspiring_, or _Not Convenient_, _Louis XI. visiting Cardinal Balue_,
+_Promenade of the Court in the Gardens of Versailles_ (1896); animals
+full of life and prowess, such as: _The Lioness meeting a Jaguar_
+and _Ego nominor Leo_, a lion rendered life size; lastly, his studio
+interiors, in which he has chosen to depict himself exactly as he was,
+that is to say, a sincere, clear-sighted, and indefatigable workman.
+
+In the most recent of these studio pictures, he appears, wearing a
+sculptor's blouse and occupied in modelling a statuette of a woman.
+He astonished his friends and admirers, during his last years, by his
+earnest labours in sculpture. His two groups, _The Gladiators_ and
+_Anacreon, Bacchus and Cupid_, claimed the attention of the public at
+the Exposition of 1878; and it was the same with his marble statue of
+_Omphale_ (1887), his _Tanagra_, his _Dancing Girl_, his bronze _Lion_
+(1890, 1891), etc.
+
+His efforts to revive the art of coloured or polychrome sculpture, the
+so-called chryselephantine sculpture, which invokes the aid of various
+precious elements, constitute one of the most curious and important
+artistic experiments of modern times, even though the result did not
+always come up to the expectation.
+
+On February 2, 1892, in an unpublished letter addressed to M. Germain
+Bapst, who desired information concerning the artist's experiment,
+Gérôme wrote: "I have always been struck with a sense of the coldness
+of statues if, when the work is once finished, it is left in its
+natural state. I have already made some experiments and am continuing
+my efforts, for I am anxious to bring before the eyes of the public a
+few demonstrations that I hope will be conclusive. I know that there
+are a great many protests. The world always protests against anything
+which is, I will not merely say new, but even renewed; for it disturbs
+a good many people in their tranquillity and their routine." And after
+having first shown that ancient architecture was adorned with colours
+and that in chryselephantine sculpture the Greeks combined gold, tin,
+and ivory, that they painted the marble and united it with various
+metals, Gérôme added: "Shall I succeed? At least I shall have the
+honour of having made the attempt."
+
+In the interesting study which M. Germain Bapst devoted to this
+question, after having, as we have seen, consulted the artist himself,
+he recalled the fact that both in chateaux and in churches the Mediæval
+statuary was coloured. In Greece, the Minerva Parthenos contained a
+weight of gold equivalent to more than 2,200,000 francs in the French
+currency of to-day. The statue of Jupiter at Olympus was partly of
+ivory and partly of gold.
+
+[Illustration: PLATE VIII.--THE TWO MAJESTIES
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+In the mournful immensity of African solitudes, the king of planets
+mounts towards the zenith, darting his fires upon the arid land that he
+consumes, while the other king of the desert, the lion, contemplates
+the triumphant ascension of his rival in the sky. Gérôme has rendered
+the scene with an eloquence all the greater because he has employed
+such simple means.]
+
+Towards the middle of the nineteenth century, the Duc de Luynes
+undertook, in collaboration with the architect Dubau, to produce an
+example of chryselephantine sculpture, which cost him more than 500,000
+francs and was placed on view at the Exposition Universelle held in the
+Palais de l'Industrie in 1855.
+
+Gérôme in his turn made a like attempt, in his _Bellona_, in which,
+to remedy the cold immobility of the material, he coloured both
+the ivory and the marble and at the same time invoked the aid of
+silver, bronze, gold, and enamel. He had associated with him several
+experienced collaborators, such as M. Siot-Decauville, who was to cast
+the face of Bellona in bronze, Messrs. Moreau-Vauthier and Delacour to
+point the ivory, M. Gautruche to attend to the verde-antique and the
+electroplating. Lastly, Gallé, and M. Lalique as well, made a number of
+trial models for the little head of Medusa.
+
+Among the other examples of Gérôme's sculpture, mention must be made
+of _The Entrance of Bonaparte into Cairo_ (1897), _Bonaparte_, a
+bust (1897), _Timour-Lang, the Lion Tamer_ (1898), _Frederick the
+Great_ (1899), _Washington_ (1901), _The expiring Eagle of Waterloo_,
+_The Bowlers_ (1902), _Cupid the Metallurgist_, a statue in bronze,
+_Corinth_, a statue in polychrome marble and bronze (1904).
+
+
+
+
+THE ART OF GÉRÔME
+
+
+"If you wish to be happy," Gérôme used to say to his pupils, "remain
+students all your lives." For his own part he applied himself
+ceaselessly to his studies, trusting nothing to chance. He had an
+extraordinarily methodical and orderly mind, even in regard to the
+smallest details. It is related that, when he was absent on his
+travels, he would notify his models several months in advance, so that
+they would be on hand to pose for him in his studio, from the very day
+of his arrival.
+
+Being partly a traditionalist and partly an independent, he did not
+always possess the gift of pleasing the critics, and he loved them
+none too well. And when one of them asked him one day for a sketch,
+he replied, "I do not pay to be applauded." But he was exceedingly
+strict in his self-criticism. In one of his notes entrusted to his
+relative Timbal, he wrote: "I am my own severest critic.... I am under
+no delusion regarding my works."
+
+On the other hand, and it is well to dwell upon this in order to grasp
+his personality, Gérôme was far from being an eclectic. Of the work of
+Puvis de Chavannes he said with virulence: "It won't stand analysis,
+it is a series of mannikins set on the ground all out of plumb, and
+nothing seems to fit in." And he made a play upon words by employing,
+in place of Puvis, the Latin word _pulvis_, which signifies dust.
+
+After his appointment as professor at the École des Beaux-Arts, he did
+his best to have Manet banished from it. He couched his protest in the
+following energetic terms: "I am certain that Manet was capable of
+painting good pictures. But he chose to be the apostle of a decadent
+fashion, the scrap-work school of art. I, for my part, have been chosen
+by the State to teach the orthography of art to young students.... I
+do not think it right to offer them as a model the extremely arbitrary
+and sensational work of a man who, although gifted with rare qualities,
+did not develop them." In his opinion, it would have been more suitable
+to exhibit such works in a bar-room than at the Beaux-Arts. M. Coutil
+relates that Gérôme said further on this same subject: "The first merit
+a painting should have is to be luminous and alluring in colour, and
+not dull and obscure."
+
+He had, for that matter, no more tolerance for Millet than for Sisley,
+Monet, and Pissaro. On one occasion, he assured M. Jules Claretie that
+if Millet could return and again send his canvases to the Salon, he
+would refuse them over again! And, when his distinguished interlocutor
+protested, "Oh, come now, Gérôme, you don't mean that!" he declared
+unhesitatingly, "I mean just that, and nothing else."
+
+Messrs. Moreau-Vauthier and Dagnan-Bouveret have given some very
+accurate and useful details regarding his methods of instruction and
+of work. They have shown him to us at his task, both as painter and
+professor.
+
+He emphasized the importance of construction, and of the character
+of the form, rather than the form itself, which is a matter of
+temperament. He insisted that a scene must be visualized in its
+completeness, as a harmonious and fully significant whole. Emile
+Augier, for instance, with whom he felt no annoyance at being compared,
+the excellent comedian, Got, the younger Dumas, Gounod,--all of these
+he loved for their absolute clarity, and he demanded it of them. He
+declared that one has no right to paint off-hand, without a model; and
+he also held that one has no right to make hasty, careless sketches.
+
+His method was distinguished by its scrupulous and admirable precision.
+Impeccable order always reigned in his studio. M. Dagnan-Bouveret
+writes that his palette and brushes were scrupulously cared for.
+He used to overspread his canvases with a uniform foundation of
+half-tones more or less warm or cold, using preparations made by
+Troigras. He roughed in the whole picture very rapidly, and this
+first rough draft, according to connoisseurs, was always extremely
+interesting.
+
+In his paintings, he proved that the strength of colouring is in
+inverse proportion to the intensity of light. He had a marvellous
+faculty for making the delicate shadings of nature correspond with the
+psychological sentiments that their aspects evoke. From this comes his
+amazing variety.
+
+A man of wide reading and deep culture, Gérôme had a profound love for
+the truth, for reality just as it is, holding that it is the artist's
+first duty to know his place, his time, his episode, and the one
+special angle of vision that will give the rarest and most fruitful
+results.
+
+On the eve of his death, he was still lauding the merits of
+photography, which has the advantage of being able to snatch a document
+straight out of life, without falsifying it by giving it a personal
+interpretation that must always be more or less inaccurate.
+
+Whatever allowance must be made for what we may call the personal
+equation of an artist, his own individual temperament, it is not
+unprofitable to recall this opinion of Gérôme's, for it helps us to
+acquire a better conception of his art, based as it was upon accuracy
+and unwavering truth.
+
+Truth, which he once depicted in her well, killed by liars and
+mountebanks (_Mendacibus in histrionibus occisa in puteo jacet alma
+Veritas_, Salon of 1895), always charmed and inspired him. He rendered
+it more attractive by his admirable sincerity, by his chivalrous and
+imaginative spirit, as well as by his archeological and ethnographic
+learning.
+
+Thanks to this lofty conscientiousness in research, his work, erudite
+and entertaining at the same time, making distant and vanished
+civilizations live again, and reproducing atmospheres and local
+settings with a delicacy that at times is a trifle specious, but
+always incomparably picturesque, cannot fail to please and charm to-day
+as it did yesterday, and to-morrow as it does to-day.
+
+Accordingly, it is with good reason that M. Soubies has lauded his fine
+attention to detail, and that M. Thiebaut-Sisson has summed him up in
+the following terms: "The artist created his formula for himself. He
+extracted from it the maximum effect that it contained." And even while
+we glorify and venerate those painters gifted with a graver or more
+lyric vision, a bolder or more laboured craftsmanship, we must freely
+subscribe to the opinion of Edmond About when he said of Gérôme: "He
+is the subtlest, the most ingenious, the most brilliant ... of his
+generation."
+
+
+
+
+Transcriber's note:
+
+The following correction have been made:
+
+p. 17 honoured placed among -> placed changed to place
+
+Illustrations were moved to paragraph breaks and a missing comma
+was added. Everything else has been retained as printed (including
+ambiguous hyphens at the ends of lines). Italics is represented with
+underscore.
+
+
+
+
+
+End of the Project Gutenberg EBook of Gérôme, by Albert Keim
+
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+      Gérôme. Masterpieces In Colour, by Albert Keim. A Project Gutenberg eBook.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Gérôme, by Albert Keim
+
+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: Gérôme
+
+Author: Albert Keim
+
+Editor: M. Henry Roujon
+
+Translator: Frederic Taber Cooper
+
+Release Date: December 3, 2013 [EBook #44340]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GÉRÔME ***
+
+
+
+
+Produced by Sandra Eder, Sharon Joiner, sp1nd and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 578px;">
+<img src="images/cover.jpg" width="578" height="800" alt="Cover" />
+</div>
+
+<hr class="break-before" />
+
+<div class="major">
+<p>
+<span class="inc">MASTERPIECES<br />
+<span class="let-spac">IN COLOUR</span><br />
+EDITED BY - -</span><br />
+M. HENRY ROUJON</p>
+
+
+<p class="center vbig let-spac ma-top4">GÉRÔME</p>
+
+<p class="center">(1824&ndash;1904)</p>
+
+</div>
+
+<hr class="break-before" />
+
+
+<div class="major">
+
+<p class="center"><i>IN THE SAME SERIES</i></p>
+
+<ul>
+<li>REYNOLDS</li>
+<li>HOLBEIN</li>
+<li>VELASQUEZ</li>
+<li>BURNE-JONES</li>
+<li>GREUZE</li>
+<li>LE BRUN</li>
+<li>TURNER</li>
+<li>CHARDIN</li>
+<li>BOTTICELLI</li>
+<li>MILLET</li>
+<li>ROMNEY</li>
+<li>RAEBURN</li>
+<li>REMBRANDT</li>
+<li>SARGENT</li>
+<li>BELLINI</li>
+<li>CONSTABLE</li>
+<li>FRA ANGELICO</li>
+<li>MEMLING</li>
+<li>ROSSETTI</li>
+<li>FRAGONARD</li>
+<li>RAPHAEL</li>
+<li>DÜRER</li>
+<li>LEIGHTON</li>
+<li>LAWRENCE</li>
+<li>HOLMAN HUNT</li>
+<li>HOGARTH</li>
+<li>TITIAN</li>
+<li>WATTEAU</li>
+<li>MILLAIS</li>
+<li>MURILLO</li>
+<li>LUINI</li>
+<li>WATTS</li>
+<li>FRANZ HALS</li>
+<li>INGRES</li>
+<li>CARLO DOLCI</li>
+<li>COROT</li>
+<li>GAINSBOROUGH</li>
+<li>DELACROIX</li>
+<li>TINTORETTO</li>
+<li>FRA LIPPO LIPPI</li>
+<li>VAN DYCK</li>
+<li>PUVIS DE CHAVANNES</li>
+<li>DA VINCI</li>
+<li>MEISSONIER</li>
+<li>WHISTLER</li>
+<li>GEROME</li>
+<li>RUBENS</li>
+<li>VERONESE</li>
+<li>BOUCHER</li>
+<li>VAN EYCK</li>
+<li>MANTEGNA</li>
+</ul>
+
+<p class="center"><i>IN PREPARATION</i></p>
+
+<ul>
+<li>FROMENTIN</li>
+<li>PERUGINO</li>
+</ul>
+
+</div>
+
+<hr class="break-before" />
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/i_04h.jpg" id="plateI"><img src="images/i_04.jpg" width="400" height="277" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE I.&mdash;YOUNG GREEKS ENGAGED IN COCK FIGHTING</p>
+
+  <p>(In the Luxembourg Museum, Paris)</p>
+
+<p class="block">This was Gérôme's first picture. It was exhibited at the Salon
+of 1847, and achieved a brilliant success. Théophile Gautier, who
+was a critic hard to please, bestowed upon it some enviable praise.
+In later years the artist found much to censure in his early work;
+but the public, less severely critical, admired the graceful nudity of
+the young forms and the combative ardour of the two adversaries.</p>
+  </div>
+</div>
+
+
+
+<hr />
+
+<div class="titlepage">
+
+<h1>GÉRÔME</h1>
+
+<p class="inc">BY ALBERT KEIM</p>
+
+<p>TRANSLATED FROM THE FRENCH<br />
+BY FREDERIC TABER COOPER</p>
+
+<p class="inc let-spac">ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR</p>
+
+<div class="figcenter" style="width: 270px;">
+<img src="images/titlepage.png" width="270" height="254" alt="In Sempiternum." />
+</div>
+
+<p class="inc">FREDERICK A. STOKES COMPANY<br />
+NEW YORK&mdash;PUBLISHERS
+</p>
+
+</div>
+
+
+<hr />
+
+<div class="major">
+
+<p class="center">
+COPYRIGHT, 1912, BY<br />
+FREDERICK A. STOKES COMPANY
+</p>
+
+<p class="center ma-top4"><i>Printed in the United States of America</i></p>
+
+</div>
+
+
+<hr />
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS">CONTENTS</a><span class="pageno"><a name="Page_vii" id="Page_vii">vii</a></span></h2>
+
+
+<table summary="Table of contents">
+<tr>
+  <td colspan="2" class="r small">Page</td>
+</tr>
+<tr>
+  <td>Introduction</td>
+  <td class="r"><a href="#Page_11">11</a></td>
+</tr>
+<tr>
+  <td>Life of Gérôme</td>
+  <td class="r"><a href="#Page_17">17</a></td>
+</tr>
+<tr>
+  <td>The Artist's Work</td>
+  <td class="r"><a href="#Page_43">43</a></td>
+</tr>
+<tr>
+  <td>The Art of Gérôme</td>
+  <td class="r"><a href="#Page_72">72</a></td>
+</tr>
+</table>
+
+
+<hr />
+
+
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a><span class="pageno"><a name="Page_ix" id="Page_ix">ix</a></span></h2>
+
+
+<table id="loi" summary="List of illustrations">
+<tr>
+  <td class="small r">Plates</td>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">I.</td>
+  <td colspan="2"><a href="#plateI">Young Greeks Engaged in Cock Fighting</a></td>
+  <td class="smaller r">Frontispiece</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Luxembourg Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td colspan="4" class="small r">Page</td>
+</tr>
+<tr>
+  <td class="r">II.</td>
+  <td colspan="2"><a href="#plateII">Reception of the Siamese Ambassadors</a></td>
+  <td class="r">14</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Versailles Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">III.</td>
+  <td colspan="2"><a href="#plateIII">Anacreon, with Bacchus and Cupid</a></td>
+  <td class="r">24</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Toulouse Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">IV.</td>
+  <td colspan="2"><a href="#plateIV">Pollice Verso</a></td>
+  <td class="r">34</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">V.</td>
+  <td colspan="2"><a href="#plateV">The Prisoner</a></td>
+  <td class="r">40</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In the Nantes Museum)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VI.</td>
+  <td colspan="2"><a href="#plateVI">The Last Prayer</a></td>
+  <td class="r">50</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VII.</td>
+  <td colspan="2"><a href="#plateVII">The Vendor of Rugs</a></td>
+  <td class="r">60</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+<tr>
+  <td class="r">VIII.</td>
+  <td colspan="2"><a href="#plateVIII">The Two Majesties</a></td>
+  <td class="r">70</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="small">(In a Private Collection, United States)</td>
+  <td>&nbsp;</td>
+</tr>
+</table>
+
+
+<hr />
+
+
+<div class="chap-begin">
+<span class="pageno"><a name="Page_11" id="Page_11">11</a></span>
+  <div class="figcenter" style="width: 209px;">
+  <img src="images/i_12.png" width="209" height="299" alt="Portrait drawing of Gérôme" />
+  </div>
+</div>
+
+<h2 class="no-break"><a name="I" id="I">I</a><br />
+INTRODUCTION</h2>
+
+
+<p class="cap"><span class="upper">Gérôme</span> has his allotted place among the
+illustrious French painters of the Nineteenth
+Century. He achieved success, honours,
+official recognition; and he deserved them, if not
+for the compelling personality of his temperament,
+at least for his assiduous industry, his<span class="page"><a name="Page_12" id="Page_12">12</a></span>
+accurate, methodical, and picturesque way of
+seeing people and things, and the amazing and
+fertile variety both of his choice and his interpretation
+of subjects.</p>
+
+<p>He was a pupil of Paul Delaroche and seems
+to have inherited the latter's adroitness in seizing
+upon the one salient and emotional detail
+in a composition. Like that historian-painter
+of the <cite>Death of the Duc de Guise</cite>, Gérôme excelled
+in always giving a dramatic stage setting to
+the persons and the events which he knew how
+to conjure up with such learned and scrupulous
+care.</p>
+
+<p>In spite of his versatility, and notwithstanding
+that many a vast canvas has demonstrated
+his ingenious and resourceful talent, he takes
+his place beside Meissonier because of the extreme
+importance that he attached to accuracy
+and precise effects.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_15h.jpg" id="plateII"><img src="images/i_15.jpg" width="400" height="195" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE II.&mdash;RECEPTION OF THE SIAMESE AMBASSADORS</p>
+
+  <p>(In the Museum at Versailles)</p>
+
+<p class="block">This picture possesses a curious interest because it shows
+in what a picturesque manner Gérôme could execute a painting
+officially ordered. He received the commission in 1865, through
+the Imperial Household. He has rendered with much felicity all
+the pompous and highly coloured aspect of the scene, very effective
+in the sumptuous setting of the Salle des Fêtes at Fontainebleau.</p></div>
+</div>
+
+<p>Although it is some years since he passed
+away, Gérôme has left behind him living memories
+among his friends and pupils, many of<span class="pagenum"><a name="Page_15" id="Page_15">15</a></span>
+whom have in their turn become masters. Both
+as man and as artist he was and still continues
+to be profoundly regretted, independently of all
+divergences of opinion, method, and temperament.</p>
+
+<p>A master of oriental lore, a curious and subtle
+antiquarian, a chronicler of ancient and modern
+life, rigorous at times, but more often distinguished
+for his charm and delicacy,&mdash;such is
+Gérôme as he has revealed himself to us through
+the medium of his abundant works.</p>
+
+<p>Whether he paints us the men of the Desert
+and the almas of Egypt, or shows us the gladiators
+of the Circus, the death of Caesar, the leisure
+hours of Frederick II, the dreams of a Bonaparte,
+or takes us to the <cite>Winter Duel in the
+Bois de Boulogne after the Masked Ball</cite>, a
+picture that achieved much popularity, Gérôme
+never fails to catch and hold attention by startling
+contrasts of colour combined with a fine
+accuracy of line work.</p>
+
+<p>But what matter the means through which<span class="pagenum"><a name="Page_16" id="Page_16">16</a></span>
+an effect is sought if they prove successful
+both in the general impression produced by the
+work as a whole and in the charm of the separate
+details,&mdash;in other words, if the result justifies
+the effort?</p>
+
+<p>Effort, in Gérôme's case, meant literally a
+valiant and noble persistence. He was ceaselessly
+in search of something new. In spite of
+assured fame, he never repainted the same subject.
+During the later years of his life, his ambition
+was to be at the same time an illustrious
+painter and a sculptor of recognized merit; and
+in this he succeeded. His attempt to revive,
+after a fashion of his own, the precious lost art
+of antique sculpture, although greeted with a
+wide divergence of opinions, remains a noteworthy
+achievement.</p>
+
+<p>On the eve of his eightieth year and abrupt
+decease, Gérôme still laboured with the ardour
+and the splendid faith of youth. He sets an
+encouraging example, as fine and as stimulating
+as the best of his splendid pictures.</p>
+
+<hr />
+
+
+
+<h2 class="no-break"><a name="THE_LIFE_OF_GEROME" id="THE_LIFE_OF_GEROME">THE LIFE OF GÉRÔME</a><span class="pageno"><a name="Page_17" id="Page_17">17</a></span></h2>
+
+
+<p>Jean-Léon Gérôme was born at Vesoul on
+May 11, 1824. Throughout his life he retained a
+slight trace of the Franche-Compté accent, which
+gave a keener relish to his witty anecdotes and
+piquant retorts.</p>
+
+<p>He belonged to a family holding an honoured
+place among the bourgeoisie. His excellent
+biographer, M. Moreau-Vauthier, relates that his
+grandfather was on the point of taking orders
+when the Revolution broke out. His father was
+a watchmaker and goldsmith at Vesoul. As a
+child, he himself was in delicate health.</p>
+
+<p>Nevertheless, he proved himself a good student
+at the college in the city of his birth. While
+there he studied both Greek and Latin. His
+instructor in drawing, Cariage, having noticed
+his early efforts, gave him much good advice
+and encouragement.</p>
+
+<p>At the age of fourteen, he copied a picture
+by Decamps, which had found its way to Vesoul<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span>
+from Paris. The story goes that his father forthwith
+favoured the idea that he should take up
+the vocation of an artist. There is no use in
+exaggerating. As a matter of fact, his family
+dreaded the hardships of so hazardous a career.
+But, upon receiving his bachelor's degree at the
+age of sixteen, a degree which at that epoch
+was by no means common, he obtained permission
+to go to the capital and pursue his studies
+under the auspices of Paul Delaroche, to whom
+he was provided with a letter of introduction.</p>
+
+<p>It is pleasant to picture the young man setting
+forth alone by <em>diligence</em> and applying himself
+bravely to the task of acquiring talent and
+renown.</p>
+
+<p>He was most faithful in his attendance at
+the studio of Delaroche, who, being the son-in-law
+of Horace Vernet, possessed at that time
+not only a wide reputation as professor, but also
+an enormous influence both at the École des
+Beaux-Arts and at the court of Louis-Philippe.</p>
+
+<p>Delaroche, who has aptly been called the<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span>
+Casimir Delavigne of painting, a romanticist who
+stopped short of being a revolutionary, parted
+company with the cold traditionalists of the older
+school in the profound importance that he attached
+to accuracy and to the truth and interest
+of movement.</p>
+
+<p>Gérôme was destined to draw his inspiration
+from analogous principles. While interesting
+himself profoundly in costumes, in surroundings,
+in local colour, he always avoided excess and
+maintained an almost classic restraint even in
+the most modern of his fantasies.</p>
+
+<p>Delaroche's pupils were a lively set. Gérôme
+found life pleasant in the studio where Cham
+amused himself by passing himself off upon
+strangers as "the patron," and where his comrades
+were such men as Alfred Arago, Hébert,
+Hamon, Jalabert, Landelle, Picou, and Yvon.</p>
+
+<p>He won their regard by his flow of spirits
+and his caustic humour. At this period he supported
+himself by copying paintings and making
+drawings for the newspapers; but, although a<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span>
+small monthly income of a hundred francs assured
+him comparative security, he was uneasy.
+Although only eighteen, the young man was
+impatient to show what he could do. He was
+seeking his path.</p>
+
+<p>He took his first step towards finding it when
+he accompanied his teacher to Italy after the
+latter had closed his studio. He remained there
+for an entire year.</p>
+
+<p>Upon his return, he studied for a time under
+Gleyre, after which he worked for some months
+on Delaroche's <cite>Bonaparte Crossing the Alps</cite>.</p>
+
+<p>In 1847, Gérôme made his début at the Salon
+with a veritable master-stroke. At an exposition
+where Delacroix's <cite>Shipwrecked Bark</cite> and Couture's
+<cite>Roman Orgy</cite> monopolized the public gaze,
+the young artist attracted keen attention by his
+<cite>Young Greeks Engaged in Cock Fighting</cite>. Théophile
+Gautier enthusiastically proclaimed the
+merits of this work, which brought Gérôme much
+valued praise and some influential supporters.</p>
+
+<p>We shall revert again to this significant canvas,<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span>
+which since 1874 has hung in the Luxembourg
+Museum, and with which the artist, when
+he later attained full mastery of his art, found all
+manner of fault.</p>
+
+<p>The first meeting between this painter of
+twenty-three, upon whom renown had just begun
+to smile, and Gautier, magnanimous prince of
+criticism and poetry, took place under circumstances
+that deserve to be recorded.</p>
+
+<p>Gérôme was betaking himself to the offices of
+the <cite>Artiste</cite>, at that time presided over by Arsène
+Houssaye; in his hand he held a line drawing
+of his own recent idyll of classic times. On the
+staircase he encountered Gautier who had paused
+there, and who began to talk to him in glowing
+terms of the Salon and especially of a painting
+by a newcomer, named Gérôme.</p>
+
+<p>"But that is I, myself!" cried the young man
+with keen emotion, and he showed his drawing
+to the author of <cite>Enamels and Cameos</cite>.</p>
+
+<p>Continuing to draw his inspiration from antiquity,
+he set to work with a stouter heart, in<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span>
+a studio on the Rue de Fleurus, which he shared
+with Hamon and Picou, associating with artists
+and with musicians such as Lalo and Membrée.</p>
+
+<p>His labours were twice interrupted: first, by
+an attack of typhoid fever, through which his
+mother came to nurse him; and secondly, by the
+Revolution of 1848 when, in compliance with
+the expressed desire of his comrades, he was
+appointed adjutant major of the National Guards.</p>
+
+<p>It was about this same period that he received a
+first class medal and found himself well advanced
+upon the road to fame.</p>
+
+<p>"I have always had the nomadic instinct,"
+Gérôme used to declare, and complacently questioned
+whether he did not have a strain of gypsy
+blood among his ancestors. In his notes and
+souvenirs, which he entrusted to his relative and
+friend, the painter Timbal, he confesses, along
+with his various artistic scruples, his passionate
+love of travel.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_26h.jpg" id="plateIII"><img src="images/i_26.jpg" width="400" height="272" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE III.&mdash;ANACREON WITH BACCHUS AND CUPID</p>
+
+  <p>(In the Museum at Toulouse)</p>
+
+<p class="block">Gérôme had a magic brush that permitted him to undertake all
+types of painting with the same facility. This is how he so often
+happened to treat subjects taken from antiquity and was able to
+render them in all their classic beauty. It is not without interest
+to compare him, in this style of painting, with Nicholas Poussin,
+whom he admired, and with Puvis de Chavannes, whose method
+he execrated.</p>
+  </div>
+</div>
+
+
+<p>He was haunted by a longing to visit Greece,
+and more especially the Orient, with its marvellous<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span>
+skies, its resplendent colours, its barbaric
+and motley races of men.</p>
+
+<p>In 1853, in the company of a number of friends,
+he traversed Germany and Hungary, planning a
+lengthy visit to Constantinople. Owing to the
+war, he was forced to cut short his trip at
+Galatz. But he brought back a collection of
+energetic and striking sketches of Russian soldiers,
+which later served good purpose in his
+<cite>Recreation in Camp, Souvenir of Moldavia</cite>. And
+in like manner, in all his distant journeyings,
+he invariably showed the same eagerness to seize
+and transcribe his original documents, content
+to let them speak for themselves, without his
+having to distort them to fit the special purpose
+that he had in view.</p>
+
+<p>This painting found a place in the exposition
+of 1855, together with <cite>The Age of Augustus</cite>, a notable
+achievement in which Gérôme revealed the
+measure, if not of his true personality, at least
+of his lofty conscience and his integrity as an
+artist enamoured of accuracy and truth, even in<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span>
+the imaginary element inseparable from this type
+of allegorical apotheosis. Notwithstanding a few
+dissenting opinions, these two works were judged
+at their true value, and Gérôme received the cross
+of the Legion of Honour.</p>
+
+<p>At this time he was scarcely more than thirty
+years old. A most brilliant career henceforth lay
+open before him.</p>
+
+<p>Gérôme remains, beyond question, the unrivalled
+painter of Egypt, whose aspects, enchanting
+and sinister alike, he has reproduced in a
+series of pictures of finished workmanship and
+vibrant colouring.</p>
+
+<p>It was in 1856 that, together with a few
+friends, among others Bartholdi, then twenty-two
+years old, he undertook his long tour through
+Egypt. To-day, one can go to Cairo or up the
+Nile as casually as to Nice or Italy and with
+almost as little trouble. In those days it was
+not a question of a simple excursion, of which
+any and every amateur tourist would be capable,
+but of a veritable expedition.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">27</a></span>Unforeseen adventures appealed to Gérôme,
+for he was brave, energetic, and eager for
+new sensations. M. Frédéric Masson, the eminent
+historian, who was one of his companions
+through the desert, has since shown him to
+us, in a series of graphic recollections, as perpetually
+on his feet, indefatigable, ready to
+endure any and every vicissitude for the sake
+of sketching a site or a silhouette.</p>
+
+<p>His stay in Egypt was for Gérôme a
+period of enchantment. He has left, in regard
+to it, some hasty but expressive notes. He
+passed four months on the Nile, well filled
+months, consecrated to fishing, hunting, and
+painting, all the way from Diametta to Philae.
+He remained the four succeeding months at Cairo,
+in an old dwelling that Suliman Pasha rented
+to the young Frenchmen. "Happy epoch!" wrote
+the painter, "Care-free, full of hope, and with
+the future before us. The sky was blue."</p>
+
+<p>He returned to Paris with an ample harvest
+of sketches, a supply of curious, novel, and striking<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span>
+themes to work up. M. Moreau-Vauthier
+shows him to us at that period of his existence,
+full of unflagging energy and pleasant enthusiasm,
+in the company of Brion, Lambert, Schutzenberger,
+and Toulmouche,&mdash;not to forget his
+monkey Jacques, who took his place at the family
+table arrayed in coat and white cravat, but would
+slink away and hide himself in shame when,
+as a punishment for some misdeed, they decked
+him out as a ragpicker.</p>
+
+<p>What jolly parties were held in that "Tea
+Chest," in which Gérôme then had his studio,
+Rue de Notre-Dame-des-Champs! It was the
+scene of many a festival, entertainment, and joyous
+puppet show, attended by spectators such
+as Rachel (whose portrait Gérôme painted in
+1861), her sister, George Sand, Baudry, Cabanel,
+Hébert, and others.</p>
+
+<p>This was, nevertheless, an epoch of prolific
+work and constant research. Gérôme passed
+ceaselessly from one type of painting to another;
+one might say that he rested from his exotic<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span>
+landscapes by evoking, with an ever new lavishness
+of detail, curious or affecting scenes from
+Greek and Roman antiquity.</p>
+
+<p>Thus rewards and successes multiplied, and
+he experienced all the joys of triumph. Already
+honorary member of the Academy of Besançon,
+he was appointed professor at the École des
+Beaux-Arts in 1863, and in 1865, member of the
+Institut, where he succeeded Heim.</p>
+
+<p>Meanwhile he fought a duel with revolvers
+and was gravely wounded. His mother hastened
+once again to his bedside and saved his life a
+second time. Since the ball had passed through
+his right arm, complications affecting his hand
+were feared. The artist declared that if necessary
+he would learn to paint with his left. No
+sooner was he cured than off he started again,
+bound for Egypt, whence he passed to Arabia
+and, more venturesome than ever, continued on
+his way, as one of his biographers phrased it,
+"making sketches clear to the summit of Mt. Sinai."</p>
+
+<p>He was destined to make still other journeys,<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span>
+notably that of 1868 in company of Messrs.
+Bonnet, Frédéric Masson, and Lenoir; and his
+companions paid tribute to his unfailing spirits
+and his powers of endurance. But at the age of
+forty he married. The bride was Mlle. Goupil,
+daughter of the well-known picture dealer.</p>
+
+<p>He was a thorough man of the world and a
+favoured guest of the Duc d'Aumale, who appreciated
+his ready wit and bought his <cite>After
+the Masquerade</cite> for the sum of 20,000 francs. In
+1865 he received from the Beaux-Arts and the
+Imperial Household an order for <cite>The Reception
+of the Siamese Ambassadors at Fontainebleau</cite>.</p>
+
+<p>Gérôme was also numbered among Compiègne's
+habitual visitors, along with Berlioz,
+Gustave Doré, Guillaume, Merimée, Viollet-le-Duc,
+and others. M. Moreau-Vauthier, who
+with pious zeal has collected the more interesting
+anecdotes of his life, relates that he had a
+special gift for organizing charades: he was
+scene setter and costumer. At Fontainebleau,
+he took the Empress out alone in a row-boat.</p>
+
+<p><span class="pagenum"><a name="Page_31" id="Page_31">31</a></span>Surrounded by devoted friends, such as Augier,
+Charles Blanc, Dumas, Clery, his brother-in-law,
+Frémiet, Gérôme continued his laborious
+and tranquil life in his vast atelier on the Boulevard
+de Clichy.</p>
+
+<p>His days were passed in drawing and painting
+in his canvases. Towards the end of the
+afternoon he would mount his horse and take a
+turn in the Bois. He exhibited annually up to
+the year of the war. After that, he lived in a
+sort of retirement until 1874, when, after a trip
+to Algeria with G. Boulanger and Poilpot, he
+won a medal of honour. <cite>A Collaboration</cite>, <cite>Rex
+Tibicen</cite> (The King Flutist), and <cite>His Gray Eminence</cite>,
+exhibited simultaneously, revealed him in
+full possession of his ingenious and many-sided
+art.</p>
+
+<p>New and resounding triumphs awaited him
+at the Exposition Universelle of 1878, where he
+first revealed himself as a sculptor. As a matter
+of fact, he had for a long time amused himself
+at modelling in clay. He used to go to Frémiet's<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span>
+studio to do his modelling, and Frémiet, by way
+of exchange, would come to paint in his. His
+two groups, <cite>Gladiators</cite> and <cite>Anacreon, Bacchus
+and Cupid</cite>, won him a second class medal to take
+its place beside the medal of honour he had previously
+received for his paintings. That same
+year, at the age of fifty-four, he was raised to the
+rank of Commander. Cham expressed the joy of
+all his friends by writing to him wittily: "I follow
+the example of your ribbon, I fall upon your neck."</p>
+
+<p>He was yet to gain still further honours: a
+first class medal as sculptor, in 1881; to be declared
+<i lang="fr" xml:lang="fr">Hors Concours</i> (Not entered for Competition)
+at the Expositions of 1889 and 1900; and to
+be named Grand Officer of the Legion of Honour.</p>
+
+<p>From 1880 onward, excepting for a few flying
+visits to Spain and Italy, Gérôme lived at his
+hotel in Paris, where he kept up a rather lavish
+establishment, including horses and dogs, up to
+the time of the successive deaths of his father
+and his son. It was the latter for whose tomb
+he carved a touching figure of <cite>Grief</cite>.</p>
+
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_37h.jpg" id="plateIV"><img src="images/i_37.jpg" width="400" height="269" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE IV.&mdash;POLLICE VERSO</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">The scenes from Roman antiquity repeatedly appealed to
+Gérôme's talent, notably in the case of the Games of the Circus,
+the dramatic value and brilliant colour of which he fully appreciated.
+In <cite>Pollice Verso</cite>, he shows us the victorious gladiator, who, in order
+to know whether or not he is to despatch his adversary, turns a
+questioning glance towards the Vestals, who invert their thumbs,
+decreeing death for the vanquished and gasping opponent.</p>
+  </div>
+</div>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">35</a></span>His studio at Bougival held him for many a
+long day, while the season lasted. While there,
+he worked with extraordinary assiduity, barely
+giving himself time enough to appear among his
+guests and hastily swallow a few mouthfuls of
+the mid-day meal. He owned at one time another
+country house at Coulevon, near Vesoul, but this
+he sold to one of his former pupils, Muenier. He
+remained none the less the chief pride of his
+native town, where, even during the artist's life,
+there was a street bearing the name of Gérôme.</p>
+
+<p>His favourite summering place, however, was
+in the heart of Normandy at Saint-Martin, near
+to Pont-Lévêque, where he possessed a delightful
+property.</p>
+
+<p>"He is a charming man, of rare integrity and
+fascination. Very simple, too, like all men of
+real power, who need not exert themselves in
+order to prove their strength." It is after this
+fashion that M. Jules Claretie sums him up in
+his exquisite study of <cite>Contemporary Painters and
+Sculptors</cite>. M. Frédéric Masson, his faithful<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span>
+friend, has drawn the following excellent portrait
+of Gérôme: "A head firmly set upon a long neck,
+features vigorously modelled in acute angles,
+sunken cheeks, complexion bronzed, eyes brilliant
+and strangely black, moustache obstinate
+and bristling, hair almost kinky, and sprouting
+in massive clumps, &hellip; a straight nose set
+in a lean face, &hellip; figure exceedingly slender
+and flexible, waist medium, but well modelled."</p>
+
+<p>Such he appears in his painting of himself as
+a sculptor in his studio, absorbed, in his alert
+and perennially youthful old age, by his new
+task of making polychrome statues. M. Aimé
+Morot, his son-in-law, has shown him to us in
+his intimate life, simple, natural, and at one and
+the same time alert and caustic. We find him
+also thoroughly alive in the fine bust by Carpeaux
+and in the medal by Chaplain, now in
+the Luxembourg.</p>
+
+<p>M. Dagnan-Bouveret saw him under another
+aspect. In the portrait he has given us, we
+have the master authoritatively proclaiming his<span class="pagenum"><a name="Page_37" id="Page_37">37</a></span>
+convictions. This distinguished artist, by the
+way, was formerly a pupil of Gérôme's. One
+day when he was complimenting the latter upon
+his method of teaching, Gérôme replied, in his
+loud, assertive voice: "When I undertake to do
+a thing, I do it to the very end. I am a man
+with a sense of duty."</p>
+
+<p>As professor at the École des Beaux-Arts he
+continued to fulfil his duty for a period of forty
+years. While conducting his classes he showed
+himself grave and stern, even sardonic when so
+inclined. In front of a canvas too thickly coated,
+he would exclaim: "The paint shop man will
+be pleased"; or perhaps he would move around
+to get a side view and then play upon his words,
+saying: "How that picture stands out!"</p>
+
+<p>He had a good many foreigners in his studio,
+Spaniards such as La Gandara, Americans like
+Bridgman and Harrison, and Russians such as
+the celebrated and courageous Verestschagen
+who, according to M. Léon Coutil, declared, in
+speaking of Gérôme, "Next to my dear Skobelof,<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span>
+he is the most resolute man that I have ever
+met."</p>
+
+<p>Gérôme was frank and unreserved in his
+opinions. Having become, so to speak, the official
+representative of French painting, he was
+exposed to repeated attacks. He did not hesitate
+to flout unmercifully and to pursue with a veritable
+hatred such artists as had adopted formulas
+opposed to his own,&mdash;and among them some of
+the biggest and the ones least open to discussion.
+M. Besnard, who was not a pupil of his, nevertheless
+owed him his Prix de Rome.</p>
+
+<p>Many were the circumstances under which
+he showed his energetic firmness; for example,
+when the Prince de la Moskowa wished to fix a
+quarrel on him and prevent him from exhibiting
+<cite>The Death of Mareschal Ney</cite>, he evoked this noble
+declaration from Gérôme: "The painter has his
+rights as much as the historian."</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_44h.jpg" id="plateV"><img src="images/i_44.jpg" width="400" height="231" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE V.&mdash;THE PRISONER</p>
+
+  <p>(In the Museum of Nantes)</p>
+
+<p class="block">Gérôme had travelled extensively in the East, for he loved its
+vigorous colouring and picturesque customs. Here is a scene
+glimpsed from the banks of the Nile, and he has transcribed it in this
+superb picture, vibrant with colour and harmonious in composition.</p>
+  </div>
+</div>
+
+
+<p>And when a prominent politician criticised
+the official curriculum without proposing anything
+to take its place, it was, according to M.<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span>
+Moreau-Vauthier, again Gérôme who replied:
+"Gentlemen, it is easier to be an incendiary than
+a fireman!"</p>
+
+<p>This firmness, however, did not prevent him,
+so this same biographer points out, from being
+sensitive to such a degree that he could not
+bear to watch a cat of Frémiet's preparing to
+devour a nest of sparrows. He used to bring
+champagne and dainty viands as presents to his
+pupils. His humour, so M. Moreau-Vauthier goes
+on to say, served as a mask to hide his sentiment.
+Poilpot, to whom Gérôme was destined
+later to give useful counsels for his panorama
+of Reischoffen, was working prior to 1870 in his
+studio. One day he went to show him some
+drawings. His master, having looked him over,
+inquired: "So, then, you have no shirt?" "No,
+patron," he replied, "I never wear any." The
+next day, Poilpot received a commission for a
+copy of an official portrait of Napoleon III,
+together with an advance payment of 600 francs.
+This pretty anecdote does as much honour to<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span>
+the pride of the one as to the delicacy of the
+other.</p>
+
+<p>Gérôme sincerely loved the youth, the fantasy,
+the gaiety of France, and more especially
+of Paris. One perceives it in reading the sparkling
+preface which he wrote for M. Miguel
+Zamacoïs' <cite>Articles of Paris</cite>, blithely illustrated by
+M. Guillaume. He was not too proud to appear
+at costume balls, nor to continue to take an interest
+in them even after he had ceased to attend
+them. He once put his name to a picturesque
+sign for a doll shop in the "Old Paris" exhibit at
+the Exposition. For an advertisement contest he
+painted a dog wearing a monocle, with this amusing
+inscription and play on words, "<i>O pti cien</i>"
+(<i lang="fr" xml:lang="fr">0 petit chien</i>, i.e., O little dog). He amused
+himself by sending to a toy competition, organized
+by the prefect of police, a little Pompeiian saleswoman
+holding a basket of various toys, and a
+diminutive police officer brandishing a white club.</p>
+
+<p>Gérôme had always wished for a sudden and
+brusque death, "without physic and without<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span>
+night-cap." He was spared both physical and
+moral decline. At the age of seventy-nine
+he climbed the stairs, four steps at a time, and
+sprang upon moving omnibuses running. He
+died suddenly of a cerebral congestion, on his
+return from a dinner which he had attended
+together with his colleagues of the Institut,
+January 10, 1904.</p>
+
+
+
+<hr />
+
+
+<h2 class="no-break"><a name="THE_ARTISTS_WORK" id="THE_ARTISTS_WORK">THE ARTIST'S WORK</a></h2>
+
+
+<p>It is difficult to enumerate in detail all the
+works of Gérôme, whose originality and energy
+were inexhaustible. Only a short time before his
+death he declared that with the help of the
+sketches contained in his cupboards he had
+material enough to keep him busy for twenty-five
+years longer.</p>
+
+<p>Instead of attempting to draw up a chronological
+list of his paintings, which would be only
+approximately correct, even if limited to the more
+important, it is more profitable to study this conscientious
+artist under his principal aspects.</p>
+
+<p><span class="pagenum"><a name="Page_44" id="Page_44">44</a></span>Although he made some talented attempts,
+Gérôme neither was nor wished to be a portrait
+painter, any more than a painter of modern life.
+He had, however, as has been pointed out, all the
+necessary qualities for this type which demands
+so much precision and assurance. In <cite>The Emperor
+Napoleon III Receiving the Siamese Ambassadors
+at the Palace of Fontainebleau</cite>, now in the
+museum at Versailles, there are eighty portraits.
+The artist has represented himself, side by side
+with Meissonier, and the story is told that a certain
+general accorded him a sitting of only ten
+minutes.</p>
+
+<p>Besides the large and somewhat sombre portrait
+of Rachel, which adorns the Stairway of
+Artists at the Comédie-Française, and which was
+painted from existing likenesses and from memory,
+there is scarcely anything else to cite than
+the portrait of his brother while a student in the
+Polytechnic School, a <cite>Head of a Woman</cite> (1853,
+at the museum of Nantes), those of M. Leblond,
+at Vesoul, mentioned by M. Guillaumin, of<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span>
+M. A. T. (1864), of Cléry, the great lawyer, and of
+Charles Garnier, the celebrated architect of the
+Opéra.</p>
+
+<p>As a sculptor, Gérôme has left some admirable
+busts, among others those of Mme. Sarah Bernhardt,
+bequeathed to the National Museum, of
+<cite>General Cambriels</cite>, of <cite>Henri Lavoix</cite>, the <cite>Monument
+of Paul Baudry</cite> destined for La Roche-sur-Yon,
+and, most important of all, the <cite>Equestrian
+Statue of the Duc d'Aumale</cite>, which is now to be
+seen at Chantilly, and the model for which is
+at the museum of Besançon.</p>
+
+<p>Gérôme had a sincere and profound love for
+antiquity; with him it was not the enjoyment
+of a contemplative mind, a tranquil amateur art,
+but that of an historian, an archaeologist coupled
+with the instinct of a dramatist, a psychologue,
+let us say, who is eager to discover, in any scene
+whatever, in the graceful or violent gestures of
+such and such personages of bygone days,
+some general application. He was certainly
+most anxious to suggest interesting or amusing<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span>
+parallels to modern life, for, in spite of the dissimilarity
+of the settings, the tinsels, the decorations,
+over which the artist laboured with an
+almost devout care of minute detail, human
+nature to-day is always more or less close to
+the human nature of Greece or Rome.</p>
+
+<p>"Exhibit that picture, it will bring you honour,"
+said Paul Delaroche to his pupil, who had shown
+him, with much misgiving, the <cite>Young Greeks
+Occupied in Cock Fighting</cite>. "It shows originality
+and style." And that was his first success (1847).
+The grace of the young figures won much admiration.
+Planche praised the harmony of the composition
+as a whole. As to Théophile Gautier,
+he showed himself, as we have already said,
+highly enthusiastic; he declared that the features
+of the boy were drawn with extreme subtlety.
+"As to the cocks," he added, "they are true
+prodigies of drawing, animation, and colour;
+neither Snyders, nor Woenic, nor Oudry, nor
+Desportes, nor Rousseau, nor any of the known
+animal painters have attained, after twenty years<span class="pagenum"><a name="Page_47" id="Page_47">47</a></span>
+of labour, the perfection which M. Gérôme has
+reached at the first attempt." Let us note immediately
+that Gérôme was, as a matter of fact,
+a very great painter of animals. His dogs, his
+horses, and his lions are the work of a masterly
+observer.</p>
+
+<p>Closely following upon the <cite>Cock Fight</cite>, we
+must recall <cite>Anacreon with Bacchus and Cupid</cite>
+(1848, Toulouse Museum) which Gérôme himself
+characterized as a "lifeless picture," and which
+nevertheless earned him a second class medal.
+Later on he was destined to treat this same subject
+in marble (Salon of 1881). The polished and
+somewhat affected grace of <cite>Anacreon</cite> must have
+especially pleased the painter, because in 1889 he
+produced a whole series of compositions of delicious
+daintiness, entitled <cite>Cupid Tipsy</cite>. On the
+same order of ideas, mention must be made of
+<cite>Bacchus and Cupid Intoxicated</cite> (1850, Bordeaux
+Museum), and in addition to these, under the
+head of what may be called his Hellenic canvases,&mdash;in
+which he succeeded in conjuring<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span>
+up with magic skill the splendours and graces
+of that immortal mother of letters and arts,
+Greece beloved by the gods,&mdash;the following
+pictures, <cite>The Idyll</cite> (1853), full of charm and
+solid erudition; <cite>The Greek Interior</cite> (1856), of sure
+and penetrating art; <cite>King Candaules</cite> (1859), in
+which the sumptuous beauty of Nyssia illumines
+the bed-chamber of a Heraclid, 700 years B.C.,
+and in which the interest of the picturesque
+anecdote is enhanced by the artist's marvellous
+documentary knowledge.</p>
+
+<p>In the same group must be mentioned <cite>Phryne
+before the Tribunal</cite> (1861, reëxhibited in 1867),
+of charming subtlety, but with a little too much
+emphasis, perhaps, on the irony of its psychology;
+and, of course, <cite>Socrates Seeking Alcibiades
+at the House of Aspasia</cite>, analogous in inspiration,
+and, as it happens, belonging to the same year;
+and lastly <cite>Daphnis and Chloe</cite> (1898).</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_55h.jpg" id="plateVI"><img src="images/i_55.jpg" width="400" height="239" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VI.&mdash;THE LAST PRAYER</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">The amphitheatre is filled to overflowing with the crowd that has
+gathered to witness the martyrdom of the Christians. Around the
+vast circle, unhappy victims agonize upon the cross. In one
+corner of the arena, a group of men and women, condemned to die,
+confess their new faith in an ardent prayer, while from the opened
+subterraneous passage the ravenous beasts are advancing upon
+their human prey.</p>
+  </div>
+</div>
+
+
+<p>Italy also, with all her memories, furnished
+Gérôme with scenes of striking contrast, evoked
+from the vanished past, spectacles at once sumptuous<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span>
+and barbaric. He caught this atmosphere
+with rare felicity. <cite>Paestum</cite> (1851) commands attention
+because of its group of buffaloes, which
+the Goncourts praised for "their ponderous
+weight of head, the solidity of their huge bulk,
+the grouping of their attitudes, the shagginess
+of their coats, the prevailing sense of grateful
+coolness."</p>
+
+<p>It is necessary to assign a place apart, in this
+series, for the <cite>Augustan Age, Birth of Christ</cite>
+(1855, Amiens Museum). In his own private
+opinion, confided to his cousin Timbal, Gérôme
+held that this enormous composition, measuring
+ten metres in length by seven in height,
+lacked inventiveness and originality. It is true
+that the artist's personality is not clearly revealed
+in this picture, which is a sort of vast commentary
+on a phrase by Bossuet, and indisputably
+draws its inspiration from the <cite>Apotheosis of
+Homer</cite> by Ingres. Nevertheless, no one can dispute
+its noble qualities, and to borrow a phrase
+from Théophile Gautier, its "high philosophic<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span>
+significance." Beside Augustus Caesar deified
+appears Rome, in the form of a woman, helmeted,
+armed with a buckler, and clad in a red
+chlamys; then Tiberius, standing on the right,
+then statesmen and poets, Caesar, Cleopatra,
+Anthony, Brutus, and Cassius grouped together;
+lastly the throng of all nations on their knees,
+admirably rendered. In the centre, relatively
+unimportant in this immense assemblage, are the
+Virgin Mary, the Infant Jesus, and St. Joseph,
+treated in a curious fashion, modelled on the
+manner of Giotto. "It is the chief ornament of
+the Amiens Museum," Gérôme would say jestingly;
+for he had largely lost respect for this
+prolonged and important effort which represented
+two years' work of a serious and diligent
+student of history.</p>
+
+<p>The two flawless masterpieces of Gérôme, the
+eloquent interpreter of ancient Rome, are unquestionably
+his <cite lang="la" xml:lang="la">Ave Caesar, Morituri te Salutant</cite>
+(1859), purchased by Mathews, in which, in the
+presence of a bloated, overfed Vitellius, sitting<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span>
+pacifically in his imperial box, not far from the
+white Vestals, crowned with verbena, gladiators
+are fighting and dying in the circus, and <cite lang="la" xml:lang="la">Pollice
+Verso</cite> (1874) in which these same gladiators are
+represented, no longer as Roman soldiers, but
+in the exact costume that they wear at the
+moment when the Emperor and the crowd,
+ravenous for carnage, turn down their thumbs
+as signal for the death stroke. This work, published
+by Goupil, did not appear at the Salon.
+We must cite further <cite>Gaius Maximus</cite>, the <cite>Chariot
+Race</cite>, which aroused legitimate enthusiasm in
+America; The <cite>Wild Beasts Entering the Arena</cite>
+(1902) and we must not forget that Gérôme also
+expended his energy as a sculptor upon these
+same attractive gladiatorial figures.</p>
+
+<p>Striking and pathetic contrast is also earnestly
+striven for and strongly rendered in <cite>The Death
+of Caesar</cite> (1859, 1867). One almost needs to be an
+incomparable "stage manager" in order to show
+the body of Caesar after this fashion, in the
+foreground, in the chamber deserted by the<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span>
+Senators; one Conscript Father, as a touch of
+satire, has fallen asleep. The effect is powerful,
+even though it has been sought for with too
+obvious care. Undoubtedly Nadar had the laugh
+on his side when he compared the body of
+Caesar to a bundle of linen and called the picture
+"The Day of the Washerwoman." Gérôme
+appreciated the humour of this pleasantry. It
+is equally true that Baudelaire applauded the
+picture, exclaiming: "Certainly this time M.
+Gérôme's imagination has outdone itself; it
+passed through a fortunate crisis when it conceived
+of Caesar alone, stretched upon the
+ground before his overturned throne &hellip; this
+terrible epitome tells everything."</p>
+
+<p>The clever erudition of the painter, who had
+already revealed himself as an adherent of the
+so-called group of "Pompeiians," in the <cite>Gyneceum</cite>
+(1850),&mdash;in which we perceive a group of
+nude women in the court of a house in Herculaneum,&mdash;asserts
+itself once more, coupled with
+an incisive touch of epigram in <cite>Two Augurs Unable<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span>
+to Look at Each Other Without Laughing</cite>,
+and similarly in the <cite>Cave Canem</cite>, now at Vesoul
+(in front of a Roman house a slave is playing
+the role of watch dog), in the <cite>Sale of Slaves at
+Rome</cite> (1884), etc.</p>
+
+<p>A similar ingenuity, with greater amplitude,
+constitutes the charm and the surprise of <cite>Cleopatra
+and Caesar</cite> (1886). Cleopatra has had herself
+brought into Caesar's cabinet in the palace
+at Alexandria, concealed in a bundle of clothing.
+"Her appearance there," said Maxime du Camp,
+who also praised the interest of the accessories,
+treated with exquisite care, "is perfectly chaste, in
+spite of her nudity." All the details are executed
+with a masterly command of picturesqueness
+and accuracy.</p>
+
+<p>As a religious painter Gérôme has to his
+credit the <cite>Virgin, Infant Jesus, and St. John</cite> (1848),
+a youthful work imitated from Perugino, a <cite>St.
+George</cite>, in the church of Saint-Georges at Vesoul,
+a <cite>St. Martin Cutting his Mantle</cite>, in the ancient
+refectory of Saint-Martin-des-Champs, a <cite>Death<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span>
+of St. Jerome</cite> (1878) at Saint-Séverin, a <cite>Moses on
+Mt. Sinai</cite>, and <cite>The Plague at Marsailles</cite>, and, most
+important of all, <cite lang="la" xml:lang="la">Golgotha Consummatum Est</cite>, intensely
+lugubrious and symbolic in aspect, with
+Christ and the two thieves appearing, through the
+desolate atmosphere, like writhing shadows on
+the cross. This conception cost the author a violent
+diatribe from Veuillot, while Edmund About,
+although making certain reservations, wrote on
+the other side: "The entire sum of qualities that
+are distinctive of M. Gérôme will be found in
+this picture."</p>
+
+<p>As a painter of exotic life Gérôme remains an
+observer of the highest order. If he has not
+wholly revealed Italy to us in his <cite>Guardians of
+the Herd</cite> and his <cite lang="it" xml:lang="it">Pifferari</cite> (1855, 1857), he has at
+least done so in the case of Egypt, still deeply
+impregnated with an ancient and splendid civilization,
+naïve and at the same time venerable,
+Egypt before the advent of tourists, a luminous
+land where the Nile and the Desert reign supreme,
+a land of magnificence and of savagery. Landscapes<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span>
+of this Egypt of poetic mystery, and of
+Palestine as well, childish or perverse <i>almas</i>,
+rude Albanian Chiefs, Turbaned Turks,&mdash;one
+never wearies of these decorative effects, these
+clear visions, these scenes of animation, whether
+violent or delicate, the people, the vegetation, the
+fabrics, all resplendent under the marvellous sky
+of the Orient.</p>
+
+<p>In the company of this intrepid, venturesome
+and observant traveller, we witness the passage
+of <cite>Egyptian Recruits Crossing the Desert</cite>, we are
+present at <cite>Prayers in the House of an Albanian
+Chief</cite>, we pause in the <cite>Plain of Thebes</cite>, not far
+from <cite>Memmon and Sesostris</cite>, and we watch the
+<cite>Camels at the Drinking Trough</cite>, so admirably
+realized. Gérôme, who had a gift for finding
+the right and pleasing phrase, gave this rather
+neat definition of a camel: "The Ship of the Sea
+of Sand."</p>
+
+<p>Similarly, the <cite>Egyptian Straw-chopper</cite> (1861,
+again exhibited in 1867, and purchased by M.
+Werlé) symbolizes, simply yet forcefully, agricultural<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span>
+Egypt, and all the varied shadings of
+her pastoral poetry. Then again, there is <cite>The
+Prisoner</cite> (1863), in which a boat is making its
+way along the vast and pacific Nile. Two negro
+oarsmen, the master, a bashibazouk, are in the
+prow; and in the stern, beside a buffoon, who
+apparently derides him, while twanging the
+strings of a guitar, the prisoner lies cross-wise,
+fast bound, and abandons himself to his cruel
+destiny. There, in a setting of enchanted beauty,
+we have the chief actors in this original drama,
+in which dream and reality are blended.</p>
+
+<p>What a horde of types, some of them bizarre,
+others simply comic! There are, taking them as
+they come, a <cite>Turkish Butcher in Jerusalem</cite> (1863),
+<cite>The Alma</cite> (Professional Singing Girl&mdash;1864), <cite>The
+Slaves in the Market Place</cite>, <cite>The Clothing Merchant
+at Cairo</cite>, <cite>The Albanians Playing Chess</cite>
+(1867), The <cite>Itinerant Merchant at Cairo</cite> (1869).
+Then there is the <cite>Promenade of the Harem</cite>, and
+still others, the <cite>Santon</cite> (Turkish Monk) <cite>at the
+Door of the Mosque</cite> and <cite>Women at the Bath</cite><span class="pagenum"><a name="Page_61" id="Page_61">61</a></span>
+(1876), the <cite>Arab and his Courser</cite> and <cite>The Return
+from the Hunt</cite> (1878).</p>
+
+<div class="figcenter break-before" style="width: 313px;">
+<a href="images/i_66h.jpg" id="plateVII"><img src="images/i_66.jpg" width="313" height="400" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VII.&mdash;THE VENDOR OF RUGS</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">From his numerous journeys to the East, Gérôme brought back
+many curious memoranda of picturesque scenes, which he subsequently
+converted into brilliant canvases. He excelled in reproducing
+the caressing beauty of shimmering carpets and the rippling
+sheen of silken textures.</p>
+  </div>
+</div>
+
+
+<p>In the company of this experienced and reliable
+guide, we wander from <cite>Jerusalem</cite> (1868)
+to the <cite>Great Bath at Broussa</cite> (1885), from a <cite>Corner
+of Cairo</cite> to <cite>Medinet</cite> and <cite>Fayoum</cite>. Here we
+have the severed heads in the <cite>Mosque of El Hecanin</cite>,
+the nude woman in the <cite>Moorish Bath</cite>, all the
+barbarity and all the grace of the Orient,&mdash;and
+invariably the anecdote, whether agreeable or
+sinister, blends with the matchless splendour of
+the landscape.</p>
+
+<p>To this list must be added <cite>Recreation in Camp,
+a Souvenir of Moldavia</cite> (Salon of 1854), in which
+a soldier is dancing before his assembled comrades,
+to the sound of drums, fifes, and violins.
+A sentinel keeps watch. It is a picture taken in
+the act, and intensely real.</p>
+
+<p>It is easy to detect the historian, or, to adopt
+the expression of M. Jules Claretie, the "Memoir
+Maker," possessed of the true gift, agreeable and
+individual, lurking behind every one of the works<span class="pagenum"><a name="Page_62" id="Page_62">62</a></span>
+of this authoritative orientalist. He dedicated
+himself quite naturally and with great success to
+the interpretation of history and of the historic
+and literary anecdote.</p>
+
+<p>His love of contrasts, his gift for depicting
+locality and somehow conveying the very atmosphere
+belonging to the varied scenes that are to
+be brought before the spectator's eye, give amplitude
+to such attractive little compositions as <cite>Louis
+XIV. and Molière</cite> (1863), and <cite>A Collaboration</cite> (1874);
+evoke the whole sombre tragedy of the death of
+Maréchal Ney, <cite>December 7, 1815, Nine o'clock in
+the Morning</cite> (1868); and appeal successively to
+our curiosity, our sympathy, or our admiration,
+with a Frederick II., conqueror of Silesia, playing
+on his flute, the <cite>King Flutist</cite> (1874, purchased by
+M. H. Oppenheim), <cite>His Gray Eminence</cite> (1874), in
+which the austere and dominant Father Joseph is
+making his way alone, down the stairway, in the
+presence of the obsequious courtiers; a Bonaparte
+day-dreaming before the Sphinx, <cite>Oedipus</cite> (1886), a
+<cite>Bonaparte at Cairo</cite> gazing at the town from the<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span>
+back of his Arab horse, a <cite>Bonaparte in Egypt</cite>,
+mounted on a white dromedary, dreaming of his
+omnipotence, of his conquest of the universe, and
+surrounded by his overdriven soldiers.</p>
+
+<p>As a matter of fact, Gérôme made a sort of
+hero-worship of Napoleon and the Napoleonic
+epic, resembling in this respect his friend, M.
+Frédéric Masson, the celebrated historian of the
+Emperor, who was better qualified than any other
+writer to pay an eloquent tribute to this <cite>Bonaparte
+in Egypt</cite>.</p>
+
+<p>"Bonaparte is no longer on the road to Syria,
+he is on the road to India; he is hesitating between
+the two halves of the world that he holds
+in his hands; he is weighing the destiny of Alexander
+against the destiny of Cæsar; he is asking
+himself whether Asia, to which he holds the
+key, is a fair exchange for Europe which he has
+just quitted; and while his dream embraces the
+universe, he leaves his human rubbish heap to
+suffer."</p>
+
+<p>Gérôme is wholly himself when he has an<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span>
+anecdote to give us, whether it be subtle, humorous,
+kindly, or dramatic, and even,&mdash;why not use
+the word?&mdash;melodramatic.</p>
+
+<p>Classified thus, <cite>The Duel after the Masquerade</cite>
+fully deserves its brilliant reputation. Reproduced,
+not only in lithographs and engravings,
+but even transferred to the theatre (given at the
+Gymnase, in 1881, by Mme. Fould), its subject
+has become a matter of general knowledge. It is
+winter in the Bois de Boulogne. A number of
+people in fancy costume are bending over a
+wounded Pierrot, while one of the witnesses of
+this improvised duel is leading away the murderer,
+the Harlequin.</p>
+
+<p>One can see at once what a tremendous appeal
+a subject like this would have for the general
+public.</p>
+
+<p>This singular drama, taking place in the snow,
+all this joyousness ending in bloodshed and perhaps
+death, is so fantastic that it leaves a lasting
+impression. It was, by the way, as M. Guillaumin
+has explained, suggested by an actual duel<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span>
+that took place between Deluns-Montaud, the
+Harlequin, and the Prefect of Police Bortelle,
+the Pierrot.</p>
+
+<p>Undoubtedly there was, and still is, ground
+for criticism. Alexandre Dumas thought, not unreasonably,
+that serious-minded men of that age
+would not go out to fight each other in such a
+costume. Edmond About criticized the pose of
+Crispin supporting on his knee an entire group of
+spectators, along with the body of poor Pierrot.
+But Paul de Saint-Victor praised the "truthfulness
+of the postures, the etching-like precision
+of the heads, the wise planning of the whole
+composition."</p>
+
+<p>In order to appreciate better the daring fantasy
+and the wise and invariably picturesque inventiveness
+of Gérôme, we have only to study further
+such works as the Frieze destined to be
+reproduced upon a vase commemorative of the
+Exposition of London (1853), <cite>Rembrandt Etching</cite>
+(exhibited in 1867, purchased by M. E. Fould),
+which has been admired for its golden half-shadows<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span>
+and freely compared to Gerard Dow, the
+<cite>Reception of the Siamese Ambassadors</cite> (1865), <cite>The
+First Kiss of the Sun</cite> (1886), the <cite>Poet</cite>, <cite>Thirst</cite> (1888),
+and fantasies, such as, <cite>The Amateur of Tulips</cite>,
+<cite>Whoever you are, here is your Master</cite>; anecdotal
+portraits throwing side lights on history, such as:
+<cite>They are Conspiring</cite>, or <cite>Not Convenient</cite>, <cite>Louis XI.
+visiting Cardinal Balue</cite>, <cite>Promenade of the Court
+in the Gardens of Versailles</cite> (1896); animals full of
+life and prowess, such as: <cite>The Lioness meeting a
+Jaguar</cite> and <cite lang="la" xml:lang="la">Ego nominor Leo</cite>, a lion rendered life
+size; lastly, his studio interiors, in which he has
+chosen to depict himself exactly as he was, that is
+to say, a sincere, clear-sighted, and indefatigable
+workman.</p>
+
+<p>In the most recent of these studio pictures, he
+appears, wearing a sculptor's blouse and occupied
+in modelling a statuette of a woman. He astonished
+his friends and admirers, during his last
+years, by his earnest labours in sculpture. His
+two groups, <cite>The Gladiators</cite> and <cite>Anacreon, Bacchus
+and Cupid</cite>, claimed the attention of the public<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span>
+at the Exposition of 1878; and it was the same
+with his marble statue of <cite>Omphale</cite> (1887), his
+<cite>Tanagra</cite>, his <cite>Dancing Girl</cite>, his bronze <cite>Lion</cite> (1890,
+1891), etc.</p>
+
+<p>His efforts to revive the art of coloured or
+polychrome sculpture, the so-called chryselephantine
+sculpture, which invokes the aid of various
+precious elements, constitute one of the most
+curious and important artistic experiments of
+modern times, even though the result did not
+always come up to the expectation.</p>
+
+<p>On February 2, 1892, in an unpublished letter
+addressed to M. Germain Bapst, who desired
+information concerning the artist's experiment,
+Gérôme wrote: "I have always been struck
+with a sense of the coldness of statues if, when
+the work is once finished, it is left in its natural
+state. I have already made some experiments
+and am continuing my efforts, for I am
+anxious to bring before the eyes of the public
+a few demonstrations that I hope will be conclusive.
+I know that there are a great many<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span>
+protests. The world always protests against anything
+which is, I will not merely say new, but
+even renewed; for it disturbs a good many people
+in their tranquillity and their routine." And after
+having first shown that ancient architecture was
+adorned with colours and that in chryselephantine
+sculpture the Greeks combined gold, tin, and
+ivory, that they painted the marble and united it
+with various metals, Gérôme added: "Shall I
+succeed? At least I shall have the honour of
+having made the attempt."</p>
+
+<p>In the interesting study which M. Germain
+Bapst devoted to this question, after having, as
+we have seen, consulted the artist himself, he
+recalled the fact that both in chateaux and in
+churches the Mediæval statuary was coloured.
+In Greece, the Minerva Parthenos contained a
+weight of gold equivalent to more than 2,200,000
+francs in the French currency of to-day. The
+statue of Jupiter at Olympus was partly of ivory
+and partly of gold.</p>
+
+<div class="figcenter break-before" style="width: 400px;">
+<a href="images/i_77h.jpg" id="plateVIII"><img src="images/i_77.jpg" width="400" height="220" alt="" /></a>
+<p class="ins">PIERRE LAFITTE &amp; CIE, PARIS</p>
+  <div class="caption">
+  <p>PLATE VIII.&mdash;THE TWO MAJESTIES</p>
+
+  <p>(In a Private Collection, United States)</p>
+
+<p class="block">In the mournful immensity of African solitudes, the king of
+planets mounts towards the zenith, darting his fires upon the arid
+land that he consumes, while the other king of the desert, the lion,
+contemplates the triumphant ascension of his rival in the sky.
+Gérôme has rendered the scene with an eloquence all the greater
+because he has employed such simple means.</p></div>
+</div>
+
+
+<p>Towards the middle of the nineteenth century,<span class="pagenum"><a name="Page_71" id="Page_71">71</a></span>
+the Duc de Luynes undertook, in collaboration
+with the architect Dubau, to produce an example of
+chryselephantine sculpture, which cost him more
+than 500,000 francs and was placed on view at
+the Exposition Universelle held in the Palais de
+l'Industrie in 1855.</p>
+
+<p>Gérôme in his turn made a like attempt, in
+his <cite>Bellona</cite>, in which, to remedy the cold immobility
+of the material, he coloured both the
+ivory and the marble and at the same time invoked
+the aid of silver, bronze, gold, and enamel.
+He had associated with him several experienced
+collaborators, such as M. Siot-Decauville, who
+was to cast the face of Bellona in bronze, Messrs.
+Moreau-Vauthier and Delacour to point the ivory,
+M. Gautruche to attend to the verde-antique and
+the electroplating. Lastly, Gallé, and M. Lalique
+as well, made a number of trial models for the
+little head of Medusa.</p>
+
+<p>Among the other examples of Gérôme's sculpture,
+mention must be made of <cite>The Entrance of
+Bonaparte into Cairo</cite> (1897), <cite>Bonaparte</cite>, a bust<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span>
+(1897), <cite>Timour-Lang, the Lion Tamer</cite> (1898), <cite>Frederick
+the Great</cite> (1899), <cite>Washington</cite> (1901), <cite>The expiring
+Eagle of Waterloo</cite>, <cite>The Bowlers</cite> (1902),
+<cite>Cupid the Metallurgist</cite>, a statue in bronze, <cite>Corinth</cite>,
+a statue in polychrome marble and bronze
+(1904).</p>
+
+
+
+<hr />
+
+
+<h2 class="no-break"><a name="THE_ART_OF_GEROME" id="THE_ART_OF_GEROME">THE ART OF GÉRÔME</a></h2>
+
+
+<p>"If you wish to be happy," Gérôme used to
+say to his pupils, "remain students all your lives."
+For his own part he applied himself ceaselessly to
+his studies, trusting nothing to chance. He had
+an extraordinarily methodical and orderly mind,
+even in regard to the smallest details. It is related
+that, when he was absent on his travels, he
+would notify his models several months in advance,
+so that they would be on hand to pose for
+him in his studio, from the very day of his arrival.</p>
+
+<p>Being partly a traditionalist and partly an independent,
+he did not always possess the gift of
+pleasing the critics, and he loved them none too
+well. And when one of them asked him one day
+for a sketch, he replied, "I do not pay to be applauded."<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span>
+But he was exceedingly strict in his
+self-criticism. In one of his notes entrusted to his
+relative Timbal, he wrote: "I am my own severest
+critic&hellip;. I am under no delusion regarding
+my works."</p>
+
+<p>On the other hand, and it is well to dwell upon
+this in order to grasp his personality, Gérôme was
+far from being an eclectic. Of the work of Puvis
+de Chavannes he said with virulence: "It won't
+stand analysis, it is a series of mannikins set on
+the ground all out of plumb, and nothing seems
+to fit in." And he made a play upon words by
+employing, in place of Puvis, the Latin word
+<i lang="la" xml:lang="la">pulvis</i>, which signifies dust.</p>
+
+<p>After his appointment as professor at the École
+des Beaux-Arts, he did his best to have Manet
+banished from it. He couched his protest in the
+following energetic terms: "I am certain that
+Manet was capable of painting good pictures.
+But he chose to be the apostle of a decadent
+fashion, the scrap-work school of art. I, for my
+part, have been chosen by the State to teach the<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span>
+orthography of art to young students&hellip;. I do
+not think it right to offer them as a model the
+extremely arbitrary and sensational work of a
+man who, although gifted with rare qualities, did
+not develop them." In his opinion, it would have
+been more suitable to exhibit such works in a
+bar-room than at the Beaux-Arts. M. Coutil relates
+that Gérôme said further on this same subject:
+"The first merit a painting should have is to
+be luminous and alluring in colour, and not dull
+and obscure."</p>
+
+<p>He had, for that matter, no more tolerance for
+Millet than for Sisley, Monet, and Pissaro. On
+one occasion, he assured M. Jules Claretie that if
+Millet could return and again send his canvases
+to the Salon, he would refuse them over again!
+And, when his distinguished interlocutor protested,
+"Oh, come now, Gérôme, you don't mean
+that!" he declared unhesitatingly, "I mean just
+that, and nothing else."</p>
+
+<p>Messrs. Moreau-Vauthier and Dagnan-Bouveret
+have given some very accurate and useful<span class="pagenum"><a name="Page_75" id="Page_75">75</a></span>
+details regarding his methods of instruction and
+of work. They have shown him to us at his task,
+both as painter and professor.</p>
+
+<p>He emphasized the importance of construction,
+and of the character of the form, rather than
+the form itself, which is a matter of temperament.
+He insisted that a scene must be visualized in its
+completeness, as a harmonious and fully significant
+whole. Emile Augier, for instance, with
+whom he felt no annoyance at being compared,
+the excellent comedian, Got, the younger Dumas,
+Gounod,&mdash;all of these he loved for their absolute
+clarity, and he demanded it of them. He declared
+that one has no right to paint off-hand,
+without a model; and he also held that one has
+no right to make hasty, careless sketches.</p>
+
+<p>His method was distinguished by its scrupulous
+and admirable precision. Impeccable order
+always reigned in his studio. M. Dagnan-Bouveret
+writes that his palette and brushes were
+scrupulously cared for. He used to overspread
+his canvases with a uniform foundation of half-tones<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span>
+more or less warm or cold, using preparations
+made by Troigras. He roughed in the
+whole picture very rapidly, and this first rough
+draft, according to connoisseurs, was always
+extremely interesting.</p>
+
+<p>In his paintings, he proved that the strength
+of colouring is in inverse proportion to the intensity
+of light. He had a marvellous faculty for
+making the delicate shadings of nature correspond
+with the psychological sentiments that their
+aspects evoke. From this comes his amazing
+variety.</p>
+
+<p>A man of wide reading and deep culture,
+Gérôme had a profound love for the truth, for
+reality just as it is, holding that it is the artist's
+first duty to know his place, his time, his episode,
+and the one special angle of vision that will give
+the rarest and most fruitful results.</p>
+
+<p>On the eve of his death, he was still lauding
+the merits of photography, which has the advantage
+of being able to snatch a document straight
+out of life, without falsifying it by giving it a<span class="pagenum"><a name="Page_77" id="Page_77">77</a></span>
+personal interpretation that must always be more
+or less inaccurate.</p>
+
+<p>Whatever allowance must be made for what
+we may call the personal equation of an artist,
+his own individual temperament, it is not unprofitable
+to recall this opinion of Gérôme's, for
+it helps us to acquire a better conception of his
+art, based as it was upon accuracy and unwavering
+truth.</p>
+
+<p>Truth, which he once depicted in her well,
+killed by liars and mountebanks (<i lang="la" xml:lang="la">Mendacibus in
+histrionibus occisa in puteo jacet alma Veritas</i>,
+Salon of 1895), always charmed and inspired
+him. He rendered it more attractive by his admirable
+sincerity, by his chivalrous and imaginative
+spirit, as well as by his archeological and
+ethnographic learning.</p>
+
+<p>Thanks to this lofty conscientiousness in research,
+his work, erudite and entertaining at the
+same time, making distant and vanished civilizations
+live again, and reproducing atmospheres
+and local settings with a delicacy that at times<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span>
+is a trifle specious, but always incomparably picturesque,
+cannot fail to please and charm to-day
+as it did yesterday, and to-morrow as it does
+to-day.</p>
+
+<p>Accordingly, it is with good reason that M.
+Soubies has lauded his fine attention to detail,
+and that M. Thiebaut-Sisson has summed him
+up in the following terms: "The artist created
+his formula for himself. He extracted from it
+the maximum effect that it contained." And
+even while we glorify and venerate those painters
+gifted with a graver or more lyric vision, a
+bolder or more laboured craftsmanship, we must
+freely subscribe to the opinion of Edmond About
+when he said of Gérôme: "He is the subtlest, the
+most ingenious, the most brilliant &hellip; of his
+generation."</p>
+
+<hr />
+
+<div class="transnote">
+<p><b>Transcriber's note:</b></p>
+
+<p>The following correction have been made:<br />
+
+<a href="#Page_17">p. 17</a> honoured placed among -> placed changed to place</p>
+
+<p>Illustrations were moved to paragraph breaks and a missing comma
+was added. Everything else has been retained as printed (including
+ambiguous hyphens at the ends of lines). Click on the plates to see larger images.</p>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Gérôme, by Albert Keim
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+</pre>
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+</body>
+</html>
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@@ -0,0 +1,1618 @@
+The Project Gutenberg EBook of Gerome, by Albert Keim
+
+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: Gerome
+
+Author: Albert Keim
+
+Editor: M. Henry Roujon
+
+Translator: Frederic Taber Cooper
+
+Release Date: December 3, 2013 [EBook #44340]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEROME ***
+
+
+
+
+Produced by Sandra Eder, Sharon Joiner, sp1nd and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  MASTERPIECES
+  IN COLOUR
+  EDITED BY - -
+  M. HENRY ROUJON
+
+
+  GEROME
+
+  (1824-1904)
+
+
+
+
+  _IN THE SAME SERIES_
+
+  REYNOLDS
+  HOLBEIN
+  VELASQUEZ
+  BURNE-JONES
+  GREUZE
+  LE BRUN
+  TURNER
+  CHARDIN
+  BOTTICELLI
+  MILLET
+  ROMNEY
+  RAEBURN
+  REMBRANDT
+  SARGENT
+  BELLINI
+  CONSTABLE
+  FRA ANGELICO
+  MEMLING
+  ROSSETTI
+  FRAGONARD
+  RAPHAEL
+  DUeRER
+  LEIGHTON
+  LAWRENCE
+  HOLMAN HUNT
+  HOGARTH
+  TITIAN
+  WATTEAU
+  MILLAIS
+  MURILLO
+  LUINI
+  WATTS
+  FRANZ HALS
+  INGRES
+  CARLO DOLCI
+  COROT
+  GAINSBOROUGH
+  DELACROIX
+  TINTORETTO
+  FRA LIPPO LIPPI
+  VAN DYCK
+  PUVIS DE CHAVANNES
+  DA VINCI
+  MEISSONIER
+  WHISTLER
+  GEROME
+  RUBENS
+  VERONESE
+  BOUCHER
+  VAN EYCK
+  MANTEGNA
+
+
+  _IN PREPARATION_
+
+  FROMENTIN
+  PERUGINO
+
+
+
+
+[Illustration: PLATE I.--YOUNG GREEKS ENGAGED IN COCK FIGHTING
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Luxembourg Museum, Paris)
+
+This was Gerome's first picture. It was exhibited at the Salon of 1847,
+and achieved a brilliant success. Theophile Gautier, who was a critic
+hard to please, bestowed upon it some enviable praise. In later years
+the artist found much to censure in his early work; but the public,
+less severely critical, admired the graceful nudity of the young forms
+and the combative ardour of the two adversaries.]
+
+
+
+
+  GEROME
+
+  BY ALBERT KEIM
+
+  TRANSLATED FROM THE FRENCH
+  BY FREDERIC TABER COOPER
+
+  ILLUSTRATED WITH EIGHT
+  REPRODUCTIONS IN COLOUR
+
+  [Illustration: IN SEMPITERNUM.]
+
+  FREDERICK A. STOKES COMPANY
+  NEW YORK--PUBLISHERS
+
+
+
+
+  COPYRIGHT, 1912, BY
+  FREDERICK A. STOKES COMPANY
+
+  _Printed in the United States of America_
+
+
+
+
+  CONTENTS
+
+
+                    Page
+  Introduction        11
+
+  Life of Gerome      17
+
+  The Artist's Work   43
+
+  The Art of Gerome   72
+
+
+
+
+  LIST OF ILLUSTRATIONS
+
+
+  Plates
+     I. Young Greeks Engaged in Cock Fighting  Frontispiece
+          (In the Luxembourg Museum)
+
+                                                       Page
+    II. Reception of the Siamese Ambassadors             14
+          (In the Versailles Museum)
+
+   III. Anacreon, with Bacchus and Cupid                 24
+          (In the Toulouse Museum)
+
+    IV. Pollice Verso                                    34
+          (In a Private Collection, United States)
+
+     V. The Prisoner                                     40
+          (In the Nantes Museum)
+
+    VI. The Last Prayer                                  50
+          (In a Private Collection, United States)
+
+   VII. The Vendor of Rugs                               60
+          (In a Private Collection, United States)
+
+  VIII. The Two Majesties                                70
+          (In a Private Collection, United States)
+
+
+
+
+I
+
+INTRODUCTION
+
+
+Gerome has his allotted place among the illustrious French painters
+of the Nineteenth Century. He achieved success, honours, official
+recognition; and he deserved them, if not for the compelling
+personality of his temperament, at least for his assiduous industry,
+his accurate, methodical, and picturesque way of seeing people and
+things, and the amazing and fertile variety both of his choice and his
+interpretation of subjects.
+
+He was a pupil of Paul Delaroche and seems to have inherited the
+latter's adroitness in seizing upon the one salient and emotional
+detail in a composition. Like that historian-painter of the _Death of
+the Duc de Guise_, Gerome excelled in always giving a dramatic stage
+setting to the persons and the events which he knew how to conjure up
+with such learned and scrupulous care.
+
+In spite of his versatility, and notwithstanding that many a vast
+canvas has demonstrated his ingenious and resourceful talent, he takes
+his place beside Meissonier because of the extreme importance that he
+attached to accuracy and precise effects.
+
+[Illustration: PLATE II.--RECEPTION OF THE SIAMESE AMBASSADORS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Versailles)
+
+This picture possesses a curious interest because it shows in what a
+picturesque manner Gerome could execute a painting officially ordered.
+He received the commission in 1865, through the Imperial Household. He
+has rendered with much felicity all the pompous and highly coloured
+aspect of the scene, very effective in the sumptuous setting of the
+Salle des Fetes at Fontainebleau.]
+
+Although it is some years since he passed away, Gerome has left behind
+him living memories among his friends and pupils, many of whom
+have in their turn become masters. Both as man and as artist he was
+and still continues to be profoundly regretted, independently of all
+divergences of opinion, method, and temperament.
+
+A master of oriental lore, a curious and subtle antiquarian, a
+chronicler of ancient and modern life, rigorous at times, but more
+often distinguished for his charm and delicacy,--such is Gerome as he
+has revealed himself to us through the medium of his abundant works.
+
+Whether he paints us the men of the Desert and the almas of Egypt,
+or shows us the gladiators of the Circus, the death of Caesar, the
+leisure hours of Frederick II, the dreams of a Bonaparte, or takes us
+to the _Winter Duel in the Bois de Boulogne after the Masked Ball_, a
+picture that achieved much popularity, Gerome never fails to catch and
+hold attention by startling contrasts of colour combined with a fine
+accuracy of line work.
+
+But what matter the means through which an effect is sought if they
+prove successful both in the general impression produced by the work as
+a whole and in the charm of the separate details,--in other words, if
+the result justifies the effort?
+
+Effort, in Gerome's case, meant literally a valiant and noble
+persistence. He was ceaselessly in search of something new. In spite
+of assured fame, he never repainted the same subject. During the
+later years of his life, his ambition was to be at the same time an
+illustrious painter and a sculptor of recognized merit; and in this
+he succeeded. His attempt to revive, after a fashion of his own, the
+precious lost art of antique sculpture, although greeted with a wide
+divergence of opinions, remains a noteworthy achievement.
+
+On the eve of his eightieth year and abrupt decease, Gerome still
+laboured with the ardour and the splendid faith of youth. He sets an
+encouraging example, as fine and as stimulating as the best of his
+splendid pictures.
+
+
+
+
+THE LIFE OF GEROME
+
+
+Jean-Leon Gerome was born at Vesoul on May 11, 1824. Throughout his
+life he retained a slight trace of the Franche-Compte accent, which
+gave a keener relish to his witty anecdotes and piquant retorts.
+
+He belonged to a family holding an honoured place among the
+bourgeoisie. His excellent biographer, M. Moreau-Vauthier, relates that
+his grandfather was on the point of taking orders when the Revolution
+broke out. His father was a watchmaker and goldsmith at Vesoul. As a
+child, he himself was in delicate health.
+
+Nevertheless, he proved himself a good student at the college in the
+city of his birth. While there he studied both Greek and Latin. His
+instructor in drawing, Cariage, having noticed his early efforts, gave
+him much good advice and encouragement.
+
+At the age of fourteen, he copied a picture by Decamps, which had found
+its way to Vesoul from Paris. The story goes that his father forthwith
+favoured the idea that he should take up the vocation of an artist.
+There is no use in exaggerating. As a matter of fact, his family
+dreaded the hardships of so hazardous a career. But, upon receiving his
+bachelor's degree at the age of sixteen, a degree which at that epoch
+was by no means common, he obtained permission to go to the capital and
+pursue his studies under the auspices of Paul Delaroche, to whom he was
+provided with a letter of introduction.
+
+It is pleasant to picture the young man setting forth alone by
+_diligence_ and applying himself bravely to the task of acquiring
+talent and renown.
+
+He was most faithful in his attendance at the studio of Delaroche, who,
+being the son-in-law of Horace Vernet, possessed at that time not only
+a wide reputation as professor, but also an enormous influence both at
+the Ecole des Beaux-Arts and at the court of Louis-Philippe.
+
+Delaroche, who has aptly been called the Casimir Delavigne of
+painting, a romanticist who stopped short of being a revolutionary,
+parted company with the cold traditionalists of the older school in the
+profound importance that he attached to accuracy and to the truth and
+interest of movement.
+
+Gerome was destined to draw his inspiration from analogous principles.
+While interesting himself profoundly in costumes, in surroundings, in
+local colour, he always avoided excess and maintained an almost classic
+restraint even in the most modern of his fantasies.
+
+Delaroche's pupils were a lively set. Gerome found life pleasant in the
+studio where Cham amused himself by passing himself off upon strangers
+as "the patron," and where his comrades were such men as Alfred Arago,
+Hebert, Hamon, Jalabert, Landelle, Picou, and Yvon.
+
+He won their regard by his flow of spirits and his caustic humour.
+At this period he supported himself by copying paintings and making
+drawings for the newspapers; but, although a small monthly income
+of a hundred francs assured him comparative security, he was uneasy.
+Although only eighteen, the young man was impatient to show what he
+could do. He was seeking his path.
+
+He took his first step towards finding it when he accompanied his
+teacher to Italy after the latter had closed his studio. He remained
+there for an entire year.
+
+Upon his return, he studied for a time under Gleyre, after which he
+worked for some months on Delaroche's _Bonaparte Crossing the Alps_.
+
+In 1847, Gerome made his debut at the Salon with a veritable
+master-stroke. At an exposition where Delacroix's _Shipwrecked Bark_
+and Couture's _Roman Orgy_ monopolized the public gaze, the young
+artist attracted keen attention by his _Young Greeks Engaged in Cock
+Fighting_. Theophile Gautier enthusiastically proclaimed the merits of
+this work, which brought Gerome much valued praise and some influential
+supporters.
+
+We shall revert again to this significant canvas, which since 1874 has
+hung in the Luxembourg Museum, and with which the artist, when he later
+attained full mastery of his art, found all manner of fault.
+
+The first meeting between this painter of twenty-three, upon whom
+renown had just begun to smile, and Gautier, magnanimous prince of
+criticism and poetry, took place under circumstances that deserve to be
+recorded.
+
+Gerome was betaking himself to the offices of the _Artiste_, at that
+time presided over by Arsene Houssaye; in his hand he held a line
+drawing of his own recent idyll of classic times. On the staircase he
+encountered Gautier who had paused there, and who began to talk to
+him in glowing terms of the Salon and especially of a painting by a
+newcomer, named Gerome.
+
+"But that is I, myself!" cried the young man with keen emotion, and he
+showed his drawing to the author of _Enamels and Cameos_.
+
+Continuing to draw his inspiration from antiquity, he set to work with
+a stouter heart, in a studio on the Rue de Fleurus, which he shared
+with Hamon and Picou, associating with artists and with musicians such
+as Lalo and Membree.
+
+His labours were twice interrupted: first, by an attack of typhoid
+fever, through which his mother came to nurse him; and secondly, by the
+Revolution of 1848 when, in compliance with the expressed desire of his
+comrades, he was appointed adjutant major of the National Guards.
+
+It was about this same period that he received a first class medal and
+found himself well advanced upon the road to fame.
+
+"I have always had the nomadic instinct," Gerome used to declare, and
+complacently questioned whether he did not have a strain of gypsy blood
+among his ancestors. In his notes and souvenirs, which he entrusted to
+his relative and friend, the painter Timbal, he confesses, along with
+his various artistic scruples, his passionate love of travel.
+
+[Illustration: PLATE III.--ANACREON WITH BACCHUS AND CUPID
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum at Toulouse)
+
+Gerome had a magic brush that permitted him to undertake all types of
+painting with the same facility. This is how he so often happened to
+treat subjects taken from antiquity and was able to render them in all
+their classic beauty. It is not without interest to compare him, in
+this style of painting, with Nicholas Poussin, whom he admired, and
+with Puvis de Chavannes, whose method he execrated.]
+
+He was haunted by a longing to visit Greece, and more especially the
+Orient, with its marvellous skies, its resplendent colours, its
+barbaric and motley races of men.
+
+In 1853, in the company of a number of friends, he traversed Germany
+and Hungary, planning a lengthy visit to Constantinople. Owing to the
+war, he was forced to cut short his trip at Galatz. But he brought back
+a collection of energetic and striking sketches of Russian soldiers,
+which later served good purpose in his _Recreation in Camp, Souvenir
+of Moldavia_. And in like manner, in all his distant journeyings,
+he invariably showed the same eagerness to seize and transcribe his
+original documents, content to let them speak for themselves, without
+his having to distort them to fit the special purpose that he had in
+view.
+
+This painting found a place in the exposition of 1855, together with
+_The Age of Augustus_, a notable achievement in which Gerome revealed
+the measure, if not of his true personality, at least of his lofty
+conscience and his integrity as an artist enamoured of accuracy and
+truth, even in the imaginary element inseparable from this type of
+allegorical apotheosis. Notwithstanding a few dissenting opinions,
+these two works were judged at their true value, and Gerome received
+the cross of the Legion of Honour.
+
+At this time he was scarcely more than thirty years old. A most
+brilliant career henceforth lay open before him.
+
+Gerome remains, beyond question, the unrivalled painter of Egypt, whose
+aspects, enchanting and sinister alike, he has reproduced in a series
+of pictures of finished workmanship and vibrant colouring.
+
+It was in 1856 that, together with a few friends, among others
+Bartholdi, then twenty-two years old, he undertook his long tour
+through Egypt. To-day, one can go to Cairo or up the Nile as casually
+as to Nice or Italy and with almost as little trouble. In those days
+it was not a question of a simple excursion, of which any and every
+amateur tourist would be capable, but of a veritable expedition.
+
+Unforeseen adventures appealed to Gerome, for he was brave, energetic,
+and eager for new sensations. M. Frederic Masson, the eminent
+historian, who was one of his companions through the desert, has since
+shown him to us, in a series of graphic recollections, as perpetually
+on his feet, indefatigable, ready to endure any and every vicissitude
+for the sake of sketching a site or a silhouette.
+
+His stay in Egypt was for Gerome a period of enchantment. He has
+left, in regard to it, some hasty but expressive notes. He passed
+four months on the Nile, well filled months, consecrated to fishing,
+hunting, and painting, all the way from Diametta to Philae. He remained
+the four succeeding months at Cairo, in an old dwelling that Suliman
+Pasha rented to the young Frenchmen. "Happy epoch!" wrote the painter,
+"Care-free, full of hope, and with the future before us. The sky was
+blue."
+
+He returned to Paris with an ample harvest of sketches, a supply of
+curious, novel, and striking themes to work up. M. Moreau-Vauthier
+shows him to us at that period of his existence, full of unflagging
+energy and pleasant enthusiasm, in the company of Brion, Lambert,
+Schutzenberger, and Toulmouche,--not to forget his monkey Jacques, who
+took his place at the family table arrayed in coat and white cravat,
+but would slink away and hide himself in shame when, as a punishment
+for some misdeed, they decked him out as a ragpicker.
+
+What jolly parties were held in that "Tea Chest," in which Gerome then
+had his studio, Rue de Notre-Dame-des-Champs! It was the scene of
+many a festival, entertainment, and joyous puppet show, attended by
+spectators such as Rachel (whose portrait Gerome painted in 1861), her
+sister, George Sand, Baudry, Cabanel, Hebert, and others.
+
+This was, nevertheless, an epoch of prolific work and constant
+research. Gerome passed ceaselessly from one type of painting to
+another; one might say that he rested from his exotic landscapes by
+evoking, with an ever new lavishness of detail, curious or affecting
+scenes from Greek and Roman antiquity.
+
+Thus rewards and successes multiplied, and he experienced all the joys
+of triumph. Already honorary member of the Academy of Besancon, he was
+appointed professor at the Ecole des Beaux-Arts in 1863, and in 1865,
+member of the Institut, where he succeeded Heim.
+
+Meanwhile he fought a duel with revolvers and was gravely wounded. His
+mother hastened once again to his bedside and saved his life a second
+time. Since the ball had passed through his right arm, complications
+affecting his hand were feared. The artist declared that if necessary
+he would learn to paint with his left. No sooner was he cured than off
+he started again, bound for Egypt, whence he passed to Arabia and, more
+venturesome than ever, continued on his way, as one of his biographers
+phrased it, "making sketches clear to the summit of Mt. Sinai."
+
+He was destined to make still other journeys, notably that of 1868
+in company of Messrs. Bonnet, Frederic Masson, and Lenoir; and his
+companions paid tribute to his unfailing spirits and his powers of
+endurance. But at the age of forty he married. The bride was Mlle.
+Goupil, daughter of the well-known picture dealer.
+
+He was a thorough man of the world and a favoured guest of the Duc
+d'Aumale, who appreciated his ready wit and bought his _After the
+Masquerade_ for the sum of 20,000 francs. In 1865 he received from the
+Beaux-Arts and the Imperial Household an order for _The Reception of
+the Siamese Ambassadors at Fontainebleau_.
+
+Gerome was also numbered among Compiegne's habitual visitors, along
+with Berlioz, Gustave Dore, Guillaume, Merimee, Viollet-le-Duc, and
+others. M. Moreau-Vauthier, who with pious zeal has collected the
+more interesting anecdotes of his life, relates that he had a special
+gift for organizing charades: he was scene setter and costumer. At
+Fontainebleau, he took the Empress out alone in a row-boat.
+
+Surrounded by devoted friends, such as Augier, Charles Blanc, Dumas,
+Clery, his brother-in-law, Fremiet, Gerome continued his laborious and
+tranquil life in his vast atelier on the Boulevard de Clichy.
+
+His days were passed in drawing and painting in his canvases. Towards
+the end of the afternoon he would mount his horse and take a turn
+in the Bois. He exhibited annually up to the year of the war. After
+that, he lived in a sort of retirement until 1874, when, after a trip
+to Algeria with G. Boulanger and Poilpot, he won a medal of honour.
+_A Collaboration_, _Rex Tibicen_ (The King Flutist), and _His Gray
+Eminence_, exhibited simultaneously, revealed him in full possession of
+his ingenious and many-sided art.
+
+New and resounding triumphs awaited him at the Exposition Universelle
+of 1878, where he first revealed himself as a sculptor. As a matter
+of fact, he had for a long time amused himself at modelling in clay.
+He used to go to Fremiet's studio to do his modelling, and Fremiet,
+by way of exchange, would come to paint in his. His two groups,
+_Gladiators_ and _Anacreon, Bacchus and Cupid_, won him a second class
+medal to take its place beside the medal of honour he had previously
+received for his paintings. That same year, at the age of fifty-four,
+he was raised to the rank of Commander. Cham expressed the joy of all
+his friends by writing to him wittily: "I follow the example of your
+ribbon, I fall upon your neck."
+
+He was yet to gain still further honours: a first class medal as
+sculptor, in 1881; to be declared _Hors Concours_ (Not entered for
+Competition) at the Expositions of 1889 and 1900; and to be named Grand
+Officer of the Legion of Honour.
+
+From 1880 onward, excepting for a few flying visits to Spain and
+Italy, Gerome lived at his hotel in Paris, where he kept up a rather
+lavish establishment, including horses and dogs, up to the time of the
+successive deaths of his father and his son. It was the latter for
+whose tomb he carved a touching figure of _Grief_.
+
+[Illustration: PLATE IV.--POLLICE VERSO
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The scenes from Roman antiquity repeatedly appealed to Gerome's talent,
+notably in the case of the Games of the Circus, the dramatic value and
+brilliant colour of which he fully appreciated. In _Pollice Verso_, he
+shows us the victorious gladiator, who, in order to know whether or not
+he is to despatch his adversary, turns a questioning glance towards the
+Vestals, who invert their thumbs, decreeing death for the vanquished
+and gasping opponent.]
+
+His studio at Bougival held him for many a long day, while the season
+lasted. While there, he worked with extraordinary assiduity, barely
+giving himself time enough to appear among his guests and hastily
+swallow a few mouthfuls of the mid-day meal. He owned at one time
+another country house at Coulevon, near Vesoul, but this he sold to
+one of his former pupils, Muenier. He remained none the less the chief
+pride of his native town, where, even during the artist's life, there
+was a street bearing the name of Gerome.
+
+His favourite summering place, however, was in the heart of Normandy
+at Saint-Martin, near to Pont-Leveque, where he possessed a delightful
+property.
+
+"He is a charming man, of rare integrity and fascination. Very simple,
+too, like all men of real power, who need not exert themselves in
+order to prove their strength." It is after this fashion that M. Jules
+Claretie sums him up in his exquisite study of _Contemporary Painters
+and Sculptors_. M. Frederic Masson, his faithful friend, has drawn
+the following excellent portrait of Gerome: "A head firmly set upon a
+long neck, features vigorously modelled in acute angles, sunken cheeks,
+complexion bronzed, eyes brilliant and strangely black, moustache
+obstinate and bristling, hair almost kinky, and sprouting in massive
+clumps, ... a straight nose set in a lean face, ... figure exceedingly
+slender and flexible, waist medium, but well modelled."
+
+Such he appears in his painting of himself as a sculptor in his studio,
+absorbed, in his alert and perennially youthful old age, by his new
+task of making polychrome statues. M. Aime Morot, his son-in-law, has
+shown him to us in his intimate life, simple, natural, and at one and
+the same time alert and caustic. We find him also thoroughly alive in
+the fine bust by Carpeaux and in the medal by Chaplain, now in the
+Luxembourg.
+
+M. Dagnan-Bouveret saw him under another aspect. In the portrait he
+has given us, we have the master authoritatively proclaiming his
+convictions. This distinguished artist, by the way, was formerly a
+pupil of Gerome's. One day when he was complimenting the latter upon
+his method of teaching, Gerome replied, in his loud, assertive voice:
+"When I undertake to do a thing, I do it to the very end. I am a man
+with a sense of duty."
+
+As professor at the Ecole des Beaux-Arts he continued to fulfil his
+duty for a period of forty years. While conducting his classes he
+showed himself grave and stern, even sardonic when so inclined. In
+front of a canvas too thickly coated, he would exclaim: "The paint shop
+man will be pleased"; or perhaps he would move around to get a side
+view and then play upon his words, saying: "How that picture stands
+out!"
+
+He had a good many foreigners in his studio, Spaniards such as La
+Gandara, Americans like Bridgman and Harrison, and Russians such as
+the celebrated and courageous Verestschagen who, according to M. Leon
+Coutil, declared, in speaking of Gerome, "Next to my dear Skobelof, he
+is the most resolute man that I have ever met."
+
+Gerome was frank and unreserved in his opinions. Having become, so to
+speak, the official representative of French painting, he was exposed
+to repeated attacks. He did not hesitate to flout unmercifully and to
+pursue with a veritable hatred such artists as had adopted formulas
+opposed to his own,--and among them some of the biggest and the ones
+least open to discussion. M. Besnard, who was not a pupil of his,
+nevertheless owed him his Prix de Rome.
+
+Many were the circumstances under which he showed his energetic
+firmness; for example, when the Prince de la Moskowa wished to fix a
+quarrel on him and prevent him from exhibiting _The Death of Mareschal
+Ney_, he evoked this noble declaration from Gerome: "The painter has
+his rights as much as the historian."
+
+[Illustration: PLATE V.--THE PRISONER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In the Museum of Nantes)
+
+Gerome had travelled extensively in the East, for he loved its vigorous
+colouring and picturesque customs. Here is a scene glimpsed from the
+banks of the Nile, and he has transcribed it in this superb picture,
+vibrant with colour and harmonious in composition.]
+
+And when a prominent politician criticised the official curriculum
+without proposing anything to take its place, it was, according to
+M. Moreau-Vauthier, again Gerome who replied: "Gentlemen, it is
+easier to be an incendiary than a fireman!"
+
+This firmness, however, did not prevent him, so this same biographer
+points out, from being sensitive to such a degree that he could
+not bear to watch a cat of Fremiet's preparing to devour a nest of
+sparrows. He used to bring champagne and dainty viands as presents to
+his pupils. His humour, so M. Moreau-Vauthier goes on to say, served
+as a mask to hide his sentiment. Poilpot, to whom Gerome was destined
+later to give useful counsels for his panorama of Reischoffen, was
+working prior to 1870 in his studio. One day he went to show him some
+drawings. His master, having looked him over, inquired: "So, then, you
+have no shirt?" "No, patron," he replied, "I never wear any." The next
+day, Poilpot received a commission for a copy of an official portrait
+of Napoleon III, together with an advance payment of 600 francs. This
+pretty anecdote does as much honour to the pride of the one as to the
+delicacy of the other.
+
+Gerome sincerely loved the youth, the fantasy, the gaiety of France,
+and more especially of Paris. One perceives it in reading the sparkling
+preface which he wrote for M. Miguel Zamacois' _Articles of Paris_,
+blithely illustrated by M. Guillaume. He was not too proud to appear at
+costume balls, nor to continue to take an interest in them even after
+he had ceased to attend them. He once put his name to a picturesque
+sign for a doll shop in the "Old Paris" exhibit at the Exposition. For
+an advertisement contest he painted a dog wearing a monocle, with this
+amusing inscription and play on words, "_O pti cien_" (_0 petit chien_,
+i.e., O little dog). He amused himself by sending to a toy competition,
+organized by the prefect of police, a little Pompeiian saleswoman
+holding a basket of various toys, and a diminutive police officer
+brandishing a white club.
+
+Gerome had always wished for a sudden and brusque death, "without
+physic and without night-cap." He was spared both physical and moral
+decline. At the age of seventy-nine he climbed the stairs, four steps
+at a time, and sprang upon moving omnibuses running. He died suddenly
+of a cerebral congestion, on his return from a dinner which he had
+attended together with his colleagues of the Institut, January 10, 1904.
+
+
+
+
+THE ARTIST'S WORK
+
+
+It is difficult to enumerate in detail all the works of Gerome, whose
+originality and energy were inexhaustible. Only a short time before his
+death he declared that with the help of the sketches contained in his
+cupboards he had material enough to keep him busy for twenty-five years
+longer.
+
+Instead of attempting to draw up a chronological list of his paintings,
+which would be only approximately correct, even if limited to the more
+important, it is more profitable to study this conscientious artist
+under his principal aspects.
+
+Although he made some talented attempts, Gerome neither was nor wished
+to be a portrait painter, any more than a painter of modern life. He
+had, however, as has been pointed out, all the necessary qualities
+for this type which demands so much precision and assurance. In _The
+Emperor Napoleon III Receiving the Siamese Ambassadors at the Palace
+of Fontainebleau_, now in the museum at Versailles, there are eighty
+portraits. The artist has represented himself, side by side with
+Meissonier, and the story is told that a certain general accorded him a
+sitting of only ten minutes.
+
+Besides the large and somewhat sombre portrait of Rachel, which adorns
+the Stairway of Artists at the Comedie-Francaise, and which was painted
+from existing likenesses and from memory, there is scarcely anything
+else to cite than the portrait of his brother while a student in
+the Polytechnic School, a _Head of a Woman_ (1853, at the museum of
+Nantes), those of M. Leblond, at Vesoul, mentioned by M. Guillaumin,
+of M. A. T. (1864), of Clery, the great lawyer, and of Charles
+Garnier, the celebrated architect of the Opera.
+
+As a sculptor, Gerome has left some admirable busts, among others those
+of Mme. Sarah Bernhardt, bequeathed to the National Museum, of _General
+Cambriels_, of _Henri Lavoix_, the _Monument of Paul Baudry_ destined
+for La Roche-sur-Yon, and, most important of all, the _Equestrian
+Statue of the Duc d'Aumale_, which is now to be seen at Chantilly, and
+the model for which is at the museum of Besancon.
+
+Gerome had a sincere and profound love for antiquity; with him it was
+not the enjoyment of a contemplative mind, a tranquil amateur art, but
+that of an historian, an archaeologist coupled with the instinct of a
+dramatist, a psychologue, let us say, who is eager to discover, in any
+scene whatever, in the graceful or violent gestures of such and such
+personages of bygone days, some general application. He was certainly
+most anxious to suggest interesting or amusing parallels to modern
+life, for, in spite of the dissimilarity of the settings, the tinsels,
+the decorations, over which the artist laboured with an almost devout
+care of minute detail, human nature to-day is always more or less close
+to the human nature of Greece or Rome.
+
+"Exhibit that picture, it will bring you honour," said Paul Delaroche
+to his pupil, who had shown him, with much misgiving, the _Young Greeks
+Occupied in Cock Fighting_. "It shows originality and style." And
+that was his first success (1847). The grace of the young figures won
+much admiration. Planche praised the harmony of the composition as a
+whole. As to Theophile Gautier, he showed himself, as we have already
+said, highly enthusiastic; he declared that the features of the boy
+were drawn with extreme subtlety. "As to the cocks," he added, "they
+are true prodigies of drawing, animation, and colour; neither Snyders,
+nor Woenic, nor Oudry, nor Desportes, nor Rousseau, nor any of the
+known animal painters have attained, after twenty years of labour,
+the perfection which M. Gerome has reached at the first attempt." Let
+us note immediately that Gerome was, as a matter of fact, a very great
+painter of animals. His dogs, his horses, and his lions are the work of
+a masterly observer.
+
+Closely following upon the _Cock Fight_, we must recall _Anacreon
+with Bacchus and Cupid_ (1848, Toulouse Museum) which Gerome himself
+characterized as a "lifeless picture," and which nevertheless earned
+him a second class medal. Later on he was destined to treat this same
+subject in marble (Salon of 1881). The polished and somewhat affected
+grace of _Anacreon_ must have especially pleased the painter, because
+in 1889 he produced a whole series of compositions of delicious
+daintiness, entitled _Cupid Tipsy_. On the same order of ideas, mention
+must be made of _Bacchus and Cupid Intoxicated_ (1850, Bordeaux
+Museum), and in addition to these, under the head of what may be
+called his Hellenic canvases,--in which he succeeded in conjuring up
+with magic skill the splendours and graces of that immortal mother of
+letters and arts, Greece beloved by the gods,--the following pictures,
+_The Idyll_ (1853), full of charm and solid erudition; _The Greek
+Interior_ (1856), of sure and penetrating art; _King Candaules_ (1859),
+in which the sumptuous beauty of Nyssia illumines the bed-chamber of a
+Heraclid, 700 years B.C., and in which the interest of the picturesque
+anecdote is enhanced by the artist's marvellous documentary knowledge.
+
+In the same group must be mentioned _Phryne before the Tribunal_ (1861,
+reexhibited in 1867), of charming subtlety, but with a little too much
+emphasis, perhaps, on the irony of its psychology; and, of course,
+_Socrates Seeking Alcibiades at the House of Aspasia_, analogous in
+inspiration, and, as it happens, belonging to the same year; and lastly
+_Daphnis and Chloe_ (1898).
+
+[Illustration: PLATE VI.--THE LAST PRAYER
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+The amphitheatre is filled to overflowing with the crowd that has
+gathered to witness the martyrdom of the Christians. Around the vast
+circle, unhappy victims agonize upon the cross. In one corner of the
+arena, a group of men and women, condemned to die, confess their new
+faith in an ardent prayer, while from the opened subterraneous passage
+the ravenous beasts are advancing upon their human prey.]
+
+Italy also, with all her memories, furnished Gerome with scenes of
+striking contrast, evoked from the vanished past, spectacles at once
+sumptuous and barbaric. He caught this atmosphere with rare
+felicity. _Paestum_ (1851) commands attention because of its group of
+buffaloes, which the Goncourts praised for "their ponderous weight of
+head, the solidity of their huge bulk, the grouping of their attitudes,
+the shagginess of their coats, the prevailing sense of grateful
+coolness."
+
+It is necessary to assign a place apart, in this series, for the
+_Augustan Age, Birth of Christ_ (1855, Amiens Museum). In his own
+private opinion, confided to his cousin Timbal, Gerome held that
+this enormous composition, measuring ten metres in length by seven
+in height, lacked inventiveness and originality. It is true that the
+artist's personality is not clearly revealed in this picture, which
+is a sort of vast commentary on a phrase by Bossuet, and indisputably
+draws its inspiration from the _Apotheosis of Homer_ by Ingres.
+Nevertheless, no one can dispute its noble qualities, and to borrow a
+phrase from Theophile Gautier, its "high philosophic significance."
+Beside Augustus Caesar deified appears Rome, in the form of a woman,
+helmeted, armed with a buckler, and clad in a red chlamys; then
+Tiberius, standing on the right, then statesmen and poets, Caesar,
+Cleopatra, Anthony, Brutus, and Cassius grouped together; lastly the
+throng of all nations on their knees, admirably rendered. In the
+centre, relatively unimportant in this immense assemblage, are the
+Virgin Mary, the Infant Jesus, and St. Joseph, treated in a curious
+fashion, modelled on the manner of Giotto. "It is the chief ornament of
+the Amiens Museum," Gerome would say jestingly; for he had largely lost
+respect for this prolonged and important effort which represented two
+years' work of a serious and diligent student of history.
+
+The two flawless masterpieces of Gerome, the eloquent interpreter of
+ancient Rome, are unquestionably his _Ave Caesar, Morituri te Salutant_
+(1859), purchased by Mathews, in which, in the presence of a bloated,
+overfed Vitellius, sitting pacifically in his imperial box, not far
+from the white Vestals, crowned with verbena, gladiators are fighting
+and dying in the circus, and _Pollice Verso_ (1874) in which these same
+gladiators are represented, no longer as Roman soldiers, but in the
+exact costume that they wear at the moment when the Emperor and the
+crowd, ravenous for carnage, turn down their thumbs as signal for the
+death stroke. This work, published by Goupil, did not appear at the
+Salon. We must cite further _Gaius Maximus_, the _Chariot Race_, which
+aroused legitimate enthusiasm in America; The _Wild Beasts Entering
+the Arena_ (1902) and we must not forget that Gerome also expended his
+energy as a sculptor upon these same attractive gladiatorial figures.
+
+Striking and pathetic contrast is also earnestly striven for and
+strongly rendered in _The Death of Caesar_ (1859, 1867). One almost
+needs to be an incomparable "stage manager" in order to show the
+body of Caesar after this fashion, in the foreground, in the chamber
+deserted by the Senators; one Conscript Father, as a touch of satire,
+has fallen asleep. The effect is powerful, even though it has been
+sought for with too obvious care. Undoubtedly Nadar had the laugh on
+his side when he compared the body of Caesar to a bundle of linen and
+called the picture "The Day of the Washerwoman." Gerome appreciated
+the humour of this pleasantry. It is equally true that Baudelaire
+applauded the picture, exclaiming: "Certainly this time M. Gerome's
+imagination has outdone itself; it passed through a fortunate crisis
+when it conceived of Caesar alone, stretched upon the ground before his
+overturned throne ... this terrible epitome tells everything."
+
+The clever erudition of the painter, who had already revealed himself
+as an adherent of the so-called group of "Pompeiians," in the
+_Gyneceum_ (1850),--in which we perceive a group of nude women in the
+court of a house in Herculaneum,--asserts itself once more, coupled
+with an incisive touch of epigram in _Two Augurs Unable to Look at
+Each Other Without Laughing_, and similarly in the _Cave Canem_, now at
+Vesoul (in front of a Roman house a slave is playing the role of watch
+dog), in the _Sale of Slaves at Rome_ (1884), etc.
+
+A similar ingenuity, with greater amplitude, constitutes the charm
+and the surprise of _Cleopatra and Caesar_ (1886). Cleopatra has had
+herself brought into Caesar's cabinet in the palace at Alexandria,
+concealed in a bundle of clothing. "Her appearance there," said Maxime
+du Camp, who also praised the interest of the accessories, treated with
+exquisite care, "is perfectly chaste, in spite of her nudity." All the
+details are executed with a masterly command of picturesqueness and
+accuracy.
+
+As a religious painter Gerome has to his credit the _Virgin,
+Infant Jesus, and St. John_ (1848), a youthful work imitated
+from Perugino, a _St. George_, in the church of Saint-Georges at
+Vesoul, a _St. Martin Cutting his Mantle_, in the ancient refectory
+of Saint-Martin-des-Champs, a _Death of St. Jerome_ (1878) at
+Saint-Severin, a _Moses on Mt. Sinai_, and _The Plague at Marsailles_,
+and, most important of all, _Golgotha Consummatum Est_, intensely
+lugubrious and symbolic in aspect, with Christ and the two thieves
+appearing, through the desolate atmosphere, like writhing shadows on
+the cross. This conception cost the author a violent diatribe from
+Veuillot, while Edmund About, although making certain reservations,
+wrote on the other side: "The entire sum of qualities that are
+distinctive of M. Gerome will be found in this picture."
+
+As a painter of exotic life Gerome remains an observer of the highest
+order. If he has not wholly revealed Italy to us in his _Guardians of
+the Herd_ and his _Pifferari_ (1855, 1857), he has at least done so
+in the case of Egypt, still deeply impregnated with an ancient and
+splendid civilization, naive and at the same time venerable, Egypt
+before the advent of tourists, a luminous land where the Nile and
+the Desert reign supreme, a land of magnificence and of savagery.
+Landscapes of this Egypt of poetic mystery, and of Palestine as
+well, childish or perverse _almas_, rude Albanian Chiefs, Turbaned
+Turks,--one never wearies of these decorative effects, these clear
+visions, these scenes of animation, whether violent or delicate,
+the people, the vegetation, the fabrics, all resplendent under the
+marvellous sky of the Orient.
+
+In the company of this intrepid, venturesome and observant traveller,
+we witness the passage of _Egyptian Recruits Crossing the Desert_, we
+are present at _Prayers in the House of an Albanian Chief_, we pause
+in the _Plain of Thebes_, not far from _Memmon and Sesostris_, and
+we watch the _Camels at the Drinking Trough_, so admirably realized.
+Gerome, who had a gift for finding the right and pleasing phrase, gave
+this rather neat definition of a camel: "The Ship of the Sea of Sand."
+
+Similarly, the _Egyptian Straw-chopper_ (1861, again exhibited in
+1867, and purchased by M. Werle) symbolizes, simply yet forcefully,
+agricultural Egypt, and all the varied shadings of her pastoral
+poetry. Then again, there is _The Prisoner_ (1863), in which a boat
+is making its way along the vast and pacific Nile. Two negro oarsmen,
+the master, a bashibazouk, are in the prow; and in the stern, beside a
+buffoon, who apparently derides him, while twanging the strings of a
+guitar, the prisoner lies cross-wise, fast bound, and abandons himself
+to his cruel destiny. There, in a setting of enchanted beauty, we have
+the chief actors in this original drama, in which dream and reality are
+blended.
+
+What a horde of types, some of them bizarre, others simply comic! There
+are, taking them as they come, a _Turkish Butcher in Jerusalem_ (1863),
+_The Alma_ (Professional Singing Girl--1864), _The Slaves in the Market
+Place_, _The Clothing Merchant at Cairo_, _The Albanians Playing Chess_
+(1867), The _Itinerant Merchant at Cairo_ (1869). Then there is the
+_Promenade of the Harem_, and still others, the _Santon_ (Turkish Monk)
+_at the Door of the Mosque_ and _Women at the Bath_ (1876), the
+_Arab and his Courser_ and _The Return from the Hunt_ (1878).
+
+[Illustration: PLATE VII.--THE VENDOR OF RUGS
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+From his numerous journeys to the East, Gerome brought back many
+curious memoranda of picturesque scenes, which he subsequently
+converted into brilliant canvases. He excelled in reproducing the
+caressing beauty of shimmering carpets and the rippling sheen of silken
+textures.]
+
+In the company of this experienced and reliable guide, we wander from
+_Jerusalem_ (1868) to the _Great Bath at Broussa_ (1885), from a
+_Corner of Cairo_ to _Medinet_ and _Fayoum_. Here we have the severed
+heads in the _Mosque of El Hecanin_, the nude woman in the _Moorish
+Bath_, all the barbarity and all the grace of the Orient,--and
+invariably the anecdote, whether agreeable or sinister, blends with the
+matchless splendour of the landscape.
+
+To this list must be added _Recreation in Camp, a Souvenir of Moldavia_
+(Salon of 1854), in which a soldier is dancing before his assembled
+comrades, to the sound of drums, fifes, and violins. A sentinel keeps
+watch. It is a picture taken in the act, and intensely real.
+
+It is easy to detect the historian, or, to adopt the expression of
+M. Jules Claretie, the "Memoir Maker," possessed of the true gift,
+agreeable and individual, lurking behind every one of the works of
+this authoritative orientalist. He dedicated himself quite naturally
+and with great success to the interpretation of history and of the
+historic and literary anecdote.
+
+His love of contrasts, his gift for depicting locality and somehow
+conveying the very atmosphere belonging to the varied scenes that
+are to be brought before the spectator's eye, give amplitude to such
+attractive little compositions as _Louis XIV. and Moliere_ (1863),
+and _A Collaboration_ (1874); evoke the whole sombre tragedy of the
+death of Marechal Ney, _December 7, 1815, Nine o'clock in the Morning_
+(1868); and appeal successively to our curiosity, our sympathy, or our
+admiration, with a Frederick II., conqueror of Silesia, playing on
+his flute, the _King Flutist_ (1874, purchased by M. H. Oppenheim),
+_His Gray Eminence_ (1874), in which the austere and dominant Father
+Joseph is making his way alone, down the stairway, in the presence
+of the obsequious courtiers; a Bonaparte day-dreaming before the
+Sphinx, _Oedipus_ (1886), a _Bonaparte at Cairo_ gazing at the town
+from the back of his Arab horse, a _Bonaparte in Egypt_, mounted on a
+white dromedary, dreaming of his omnipotence, of his conquest of the
+universe, and surrounded by his overdriven soldiers.
+
+As a matter of fact, Gerome made a sort of hero-worship of Napoleon
+and the Napoleonic epic, resembling in this respect his friend, M.
+Frederic Masson, the celebrated historian of the Emperor, who was
+better qualified than any other writer to pay an eloquent tribute to
+this _Bonaparte in Egypt_.
+
+"Bonaparte is no longer on the road to Syria, he is on the road to
+India; he is hesitating between the two halves of the world that he
+holds in his hands; he is weighing the destiny of Alexander against the
+destiny of Caesar; he is asking himself whether Asia, to which he holds
+the key, is a fair exchange for Europe which he has just quitted; and
+while his dream embraces the universe, he leaves his human rubbish heap
+to suffer."
+
+Gerome is wholly himself when he has an anecdote to give us, whether
+it be subtle, humorous, kindly, or dramatic, and even,--why not use the
+word?--melodramatic.
+
+Classified thus, _The Duel after the Masquerade_ fully deserves
+its brilliant reputation. Reproduced, not only in lithographs and
+engravings, but even transferred to the theatre (given at the Gymnase,
+in 1881, by Mme. Fould), its subject has become a matter of general
+knowledge. It is winter in the Bois de Boulogne. A number of people
+in fancy costume are bending over a wounded Pierrot, while one of the
+witnesses of this improvised duel is leading away the murderer, the
+Harlequin.
+
+One can see at once what a tremendous appeal a subject like this would
+have for the general public.
+
+This singular drama, taking place in the snow, all this joyousness
+ending in bloodshed and perhaps death, is so fantastic that it leaves a
+lasting impression. It was, by the way, as M. Guillaumin has explained,
+suggested by an actual duel that took place between Deluns-Montaud,
+the Harlequin, and the Prefect of Police Bortelle, the Pierrot.
+
+Undoubtedly there was, and still is, ground for criticism. Alexandre
+Dumas thought, not unreasonably, that serious-minded men of that
+age would not go out to fight each other in such a costume. Edmond
+About criticized the pose of Crispin supporting on his knee an
+entire group of spectators, along with the body of poor Pierrot. But
+Paul de Saint-Victor praised the "truthfulness of the postures, the
+etching-like precision of the heads, the wise planning of the whole
+composition."
+
+In order to appreciate better the daring fantasy and the wise and
+invariably picturesque inventiveness of Gerome, we have only to study
+further such works as the Frieze destined to be reproduced upon a vase
+commemorative of the Exposition of London (1853), _Rembrandt Etching_
+(exhibited in 1867, purchased by M. E. Fould), which has been admired
+for its golden half-shadows and freely compared to Gerard Dow, the
+_Reception of the Siamese Ambassadors_ (1865), _The First Kiss of
+the Sun_ (1886), the _Poet_, _Thirst_ (1888), and fantasies, such
+as, _The Amateur of Tulips_, _Whoever you are, here is your Master_;
+anecdotal portraits throwing side lights on history, such as: _They are
+Conspiring_, or _Not Convenient_, _Louis XI. visiting Cardinal Balue_,
+_Promenade of the Court in the Gardens of Versailles_ (1896); animals
+full of life and prowess, such as: _The Lioness meeting a Jaguar_
+and _Ego nominor Leo_, a lion rendered life size; lastly, his studio
+interiors, in which he has chosen to depict himself exactly as he was,
+that is to say, a sincere, clear-sighted, and indefatigable workman.
+
+In the most recent of these studio pictures, he appears, wearing a
+sculptor's blouse and occupied in modelling a statuette of a woman.
+He astonished his friends and admirers, during his last years, by his
+earnest labours in sculpture. His two groups, _The Gladiators_ and
+_Anacreon, Bacchus and Cupid_, claimed the attention of the public at
+the Exposition of 1878; and it was the same with his marble statue of
+_Omphale_ (1887), his _Tanagra_, his _Dancing Girl_, his bronze _Lion_
+(1890, 1891), etc.
+
+His efforts to revive the art of coloured or polychrome sculpture, the
+so-called chryselephantine sculpture, which invokes the aid of various
+precious elements, constitute one of the most curious and important
+artistic experiments of modern times, even though the result did not
+always come up to the expectation.
+
+On February 2, 1892, in an unpublished letter addressed to M. Germain
+Bapst, who desired information concerning the artist's experiment,
+Gerome wrote: "I have always been struck with a sense of the coldness
+of statues if, when the work is once finished, it is left in its
+natural state. I have already made some experiments and am continuing
+my efforts, for I am anxious to bring before the eyes of the public a
+few demonstrations that I hope will be conclusive. I know that there
+are a great many protests. The world always protests against anything
+which is, I will not merely say new, but even renewed; for it disturbs
+a good many people in their tranquillity and their routine." And after
+having first shown that ancient architecture was adorned with colours
+and that in chryselephantine sculpture the Greeks combined gold, tin,
+and ivory, that they painted the marble and united it with various
+metals, Gerome added: "Shall I succeed? At least I shall have the
+honour of having made the attempt."
+
+In the interesting study which M. Germain Bapst devoted to this
+question, after having, as we have seen, consulted the artist himself,
+he recalled the fact that both in chateaux and in churches the Mediaeval
+statuary was coloured. In Greece, the Minerva Parthenos contained a
+weight of gold equivalent to more than 2,200,000 francs in the French
+currency of to-day. The statue of Jupiter at Olympus was partly of
+ivory and partly of gold.
+
+[Illustration: PLATE VIII.--THE TWO MAJESTIES
+
+  PIERRE LAFITTE & CIE, PARIS
+
+(In a Private Collection, United States)
+
+In the mournful immensity of African solitudes, the king of planets
+mounts towards the zenith, darting his fires upon the arid land that he
+consumes, while the other king of the desert, the lion, contemplates
+the triumphant ascension of his rival in the sky. Gerome has rendered
+the scene with an eloquence all the greater because he has employed
+such simple means.]
+
+Towards the middle of the nineteenth century, the Duc de Luynes
+undertook, in collaboration with the architect Dubau, to produce an
+example of chryselephantine sculpture, which cost him more than 500,000
+francs and was placed on view at the Exposition Universelle held in the
+Palais de l'Industrie in 1855.
+
+Gerome in his turn made a like attempt, in his _Bellona_, in which,
+to remedy the cold immobility of the material, he coloured both
+the ivory and the marble and at the same time invoked the aid of
+silver, bronze, gold, and enamel. He had associated with him several
+experienced collaborators, such as M. Siot-Decauville, who was to cast
+the face of Bellona in bronze, Messrs. Moreau-Vauthier and Delacour to
+point the ivory, M. Gautruche to attend to the verde-antique and the
+electroplating. Lastly, Galle, and M. Lalique as well, made a number of
+trial models for the little head of Medusa.
+
+Among the other examples of Gerome's sculpture, mention must be made
+of _The Entrance of Bonaparte into Cairo_ (1897), _Bonaparte_, a
+bust (1897), _Timour-Lang, the Lion Tamer_ (1898), _Frederick the
+Great_ (1899), _Washington_ (1901), _The expiring Eagle of Waterloo_,
+_The Bowlers_ (1902), _Cupid the Metallurgist_, a statue in bronze,
+_Corinth_, a statue in polychrome marble and bronze (1904).
+
+
+
+
+THE ART OF GEROME
+
+
+"If you wish to be happy," Gerome used to say to his pupils, "remain
+students all your lives." For his own part he applied himself
+ceaselessly to his studies, trusting nothing to chance. He had an
+extraordinarily methodical and orderly mind, even in regard to the
+smallest details. It is related that, when he was absent on his
+travels, he would notify his models several months in advance, so that
+they would be on hand to pose for him in his studio, from the very day
+of his arrival.
+
+Being partly a traditionalist and partly an independent, he did not
+always possess the gift of pleasing the critics, and he loved them
+none too well. And when one of them asked him one day for a sketch,
+he replied, "I do not pay to be applauded." But he was exceedingly
+strict in his self-criticism. In one of his notes entrusted to his
+relative Timbal, he wrote: "I am my own severest critic.... I am under
+no delusion regarding my works."
+
+On the other hand, and it is well to dwell upon this in order to grasp
+his personality, Gerome was far from being an eclectic. Of the work of
+Puvis de Chavannes he said with virulence: "It won't stand analysis,
+it is a series of mannikins set on the ground all out of plumb, and
+nothing seems to fit in." And he made a play upon words by employing,
+in place of Puvis, the Latin word _pulvis_, which signifies dust.
+
+After his appointment as professor at the Ecole des Beaux-Arts, he did
+his best to have Manet banished from it. He couched his protest in the
+following energetic terms: "I am certain that Manet was capable of
+painting good pictures. But he chose to be the apostle of a decadent
+fashion, the scrap-work school of art. I, for my part, have been chosen
+by the State to teach the orthography of art to young students.... I
+do not think it right to offer them as a model the extremely arbitrary
+and sensational work of a man who, although gifted with rare qualities,
+did not develop them." In his opinion, it would have been more suitable
+to exhibit such works in a bar-room than at the Beaux-Arts. M. Coutil
+relates that Gerome said further on this same subject: "The first merit
+a painting should have is to be luminous and alluring in colour, and
+not dull and obscure."
+
+He had, for that matter, no more tolerance for Millet than for Sisley,
+Monet, and Pissaro. On one occasion, he assured M. Jules Claretie that
+if Millet could return and again send his canvases to the Salon, he
+would refuse them over again! And, when his distinguished interlocutor
+protested, "Oh, come now, Gerome, you don't mean that!" he declared
+unhesitatingly, "I mean just that, and nothing else."
+
+Messrs. Moreau-Vauthier and Dagnan-Bouveret have given some very
+accurate and useful details regarding his methods of instruction and
+of work. They have shown him to us at his task, both as painter and
+professor.
+
+He emphasized the importance of construction, and of the character
+of the form, rather than the form itself, which is a matter of
+temperament. He insisted that a scene must be visualized in its
+completeness, as a harmonious and fully significant whole. Emile
+Augier, for instance, with whom he felt no annoyance at being compared,
+the excellent comedian, Got, the younger Dumas, Gounod,--all of these
+he loved for their absolute clarity, and he demanded it of them. He
+declared that one has no right to paint off-hand, without a model; and
+he also held that one has no right to make hasty, careless sketches.
+
+His method was distinguished by its scrupulous and admirable precision.
+Impeccable order always reigned in his studio. M. Dagnan-Bouveret
+writes that his palette and brushes were scrupulously cared for.
+He used to overspread his canvases with a uniform foundation of
+half-tones more or less warm or cold, using preparations made by
+Troigras. He roughed in the whole picture very rapidly, and this
+first rough draft, according to connoisseurs, was always extremely
+interesting.
+
+In his paintings, he proved that the strength of colouring is in
+inverse proportion to the intensity of light. He had a marvellous
+faculty for making the delicate shadings of nature correspond with the
+psychological sentiments that their aspects evoke. From this comes his
+amazing variety.
+
+A man of wide reading and deep culture, Gerome had a profound love for
+the truth, for reality just as it is, holding that it is the artist's
+first duty to know his place, his time, his episode, and the one
+special angle of vision that will give the rarest and most fruitful
+results.
+
+On the eve of his death, he was still lauding the merits of
+photography, which has the advantage of being able to snatch a document
+straight out of life, without falsifying it by giving it a personal
+interpretation that must always be more or less inaccurate.
+
+Whatever allowance must be made for what we may call the personal
+equation of an artist, his own individual temperament, it is not
+unprofitable to recall this opinion of Gerome's, for it helps us to
+acquire a better conception of his art, based as it was upon accuracy
+and unwavering truth.
+
+Truth, which he once depicted in her well, killed by liars and
+mountebanks (_Mendacibus in histrionibus occisa in puteo jacet alma
+Veritas_, Salon of 1895), always charmed and inspired him. He rendered
+it more attractive by his admirable sincerity, by his chivalrous and
+imaginative spirit, as well as by his archeological and ethnographic
+learning.
+
+Thanks to this lofty conscientiousness in research, his work, erudite
+and entertaining at the same time, making distant and vanished
+civilizations live again, and reproducing atmospheres and local
+settings with a delicacy that at times is a trifle specious, but
+always incomparably picturesque, cannot fail to please and charm to-day
+as it did yesterday, and to-morrow as it does to-day.
+
+Accordingly, it is with good reason that M. Soubies has lauded his fine
+attention to detail, and that M. Thiebaut-Sisson has summed him up in
+the following terms: "The artist created his formula for himself. He
+extracted from it the maximum effect that it contained." And even while
+we glorify and venerate those painters gifted with a graver or more
+lyric vision, a bolder or more laboured craftsmanship, we must freely
+subscribe to the opinion of Edmond About when he said of Gerome: "He
+is the subtlest, the most ingenious, the most brilliant ... of his
+generation."
+
+
+
+
+Transcriber's note:
+
+The following correction have been made:
+
+p. 17 honoured placed among -> placed changed to place
+
+Illustrations were moved to paragraph breaks and a missing comma
+was added. Everything else has been retained as printed (including
+ambiguous hyphens at the ends of lines). Italics is represented with
+underscore.
+
+
+
+
+
+End of the Project Gutenberg EBook of Gerome, by Albert Keim
+
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