a connecting link between Corot and the present-day impressionists. Michel (1763-1842), Huet (1804-1869), Chintreuil (1814-1873), and Francais (1814-) were all allied in point of view with this group of landscape painters, and among the late men who have carried out their beliefs are Cazin,[7] Yon,[8] Damoye, Pointelin, Harpignies and Pelouse[9] seem a little more inclined to the realistic than the poetic view, though producing work of much virility and intelligence. [Footnote 7: Died, 1901.] [Footnote 8: Died, 1897.] [Footnote 9: Died, 1890.] Contemporary and associated with the Fontainebleau painters were a number of men who won high distinction as PAINTERS OF ANIMALS: Troyon (1810-1865) was the most prominent among them. His work shows the same sentiment of light and color as the Fontainebleau landscapists, and with it there is much keen insight into animal life. As a technician he was rather hard at first, and he never was a correct draughtsman, but he had a way of giving the character of the objects he portrayed which is the very essence of truth. He did many landscapes with and without cattle. His best pupil was Van Marcke (1827-1890), who followed his methods but never possessed the feeling of his master. Jacque (1813-[10]) is also of the Fontainebleau-Barbizon group, and is justly celebrated for his paintings and etchings of sheep. The poetry of the school is his, and technically he is fine in color at times, if often rather dark in illumination. Like Troyon he knows his subject well, and can show the nature of sheep with true feeling. Rosa Bonheur (1822-[11]) and her brother, Auguste Bonheur (1824-1884), have both dealt with animal life, but never with that fine artistic feeling which would warrant their popularity. Their work is correct enough, but prosaic and commonplace in spirit. They do not belong in the same group with Troyon and Rousseau. [Footnote 10: Died, 1894.] [Footnote 11: Died, 1899.] [Illustration: FIG. 65.--ROUSSEAU, CHARCOAL BURNERS' HUT. FULLER COLLECTION.]