PAINTERS OF MILITARY SCENES, GENRE, ETC.: The art of Meissonier (1815-1891), while extremely realistic in modern detail, probably originated from a study of the seventeenth-century Dutchmen like Terburg and Metsu. It does not portray low life, but rather the half-aristocratic--the scholar, the cavalier, the gentleman of leisure. This is done on a small scale with microscopic nicety, and really more in the historical than the _genre_ spirit. Single figures and interiors were his preference, but he also painted a cycle of Napoleonic battle-pictures with much force. There is little or no sentiment about his work--little more than in that of Gerome. His success lay in exact technical accomplishment. He drew well, painted well, and at times was a superior colorist. His art is more admired by the public than by the painters; but even the latter do not fail to praise his skill of hand. He was a great craftsman in the infinitely little. As a great artist his rank is still open to question. The _genre_ painting of fashionable life has been carried out by many followers of Meissonier, whose names need not be mentioned since they have not improved upon their forerunner. Toulmouche (1829-), Leloir (1843-1884), Vibert (1840-), Bargue (?-1883), and others, though somewhat different from Meissonier, belong among those painters of _genre_ who love detail, costumes, stories, and pretty faces. Among the painters of military _genre_ mention should be made of De Neuville (1836-1885), Berne-Bellecour (1838-), Detaille (1848-), and Aime-Morot (1850-), all of them painters of merit. Quite a different style of painting--half figure-piece half _genre_--is to be found in the work of Ribot (1823-), a strong painter, remarkable for his apposition of high flesh lights with deep shadows, after the manner of Ribera, the Spanish painter. Roybet (1840-) is fond of rich stuffs and tapestries with velvet-clad characters in interiors, out of which he makes good color effects. Bonvin (1817-1887) and Mettling have painted the interior with small figures, copper-kettles, and other still-life that have given brilliancy to their pictures. As a still-life painter Vollon (1833-) has never had a superior. His fruits, flowers, armors, even his small marines and harbor pieces, are painted with one of the surest brushes of this century. He is called the "painter's painter," and is a man of great force in handling color, and in large realistic effect. Dantan and Friant have both produced canvases showing figures in interiors.