Scientific appreciation had not come with scientific intentions. Like most movements, it was left to other than the accredited innovators for its completion and perfection. That is why we find Cezanne working incessantly to create an art which would achieve a union of impressionism and an art like the Louvre, as he is said to have characterized it for himself. We know now how much Cezanne cared for Chardin as well as for Courbet, and Greco. There is a reason why he must have respected Pissarro, far more than he did at any time such men as Gaugin, the "flea on his back" as he so vividly and perhaps justly named him. There was far more hope for a possible great art to come out of Van Gogh, who, in his brief seven years had experimented with every aspect of impressionism that had then been divulged. He too was in search of a passionate realization of the object. His method of heavy stitching in bright hues was not a perfected style. It was an extravagant hope toward a personal rhythm. He was an "upwardly" aspiring artist by reason of his hyper-accentuated religious fervours. All these extraneous and one might even say irrelevant attempts toward speedy arrivism are set aside in the presence of the almost solemn severity of minds like Pissarro and Sisley, and of Cezanne, who extracted for himself all that was valuable in the passing idea of impressionism. The picture which lasts is never the entirely idiosyncratic one. It is that picture which strives toward realization of ideas through a given principle with which it is involved. So it seems then, that if Monet invented the principle of impressionism as applied to painting, Pissarro and Sisley assisted greatly in the creative idea for our lasting use and pleasure by the consideration of the intellect which they applied to it; just as Seurat has given us a far greater realization than either Signac or Cross have offered us in the principle of pointillism. The "test of endurance" in the impressionistic movement is borne out; the strength of realization is to be found in Pissarro and Sisley and not in the vapid niceties of Monet, whose work became thinner and thinner by habitual repetitive painting, and by a possible false sense of security in his argument. Monet had become the habitual impressionist, and the habitual in art is its most conspicuous fatality. The art of Monet grew weaker throughout the various stages of Waterloo, Venice, Rouen, Giverney, and the Water Lilies which formed periods of expression, at least to the mind of the observer. Monet's production had become a kind of mercerized production, and a kind of spurious radiance invested them, in the end. It remained for Pissarro, Sisley, Cezanne, and Seurat to stabilize the new discovery, and to give it the stamina it was meant to contain, as a scientific idea, scientifically applied. ODILON REDON