And, beyond question, there is no resemblance to any other painter in that curious and remarkable picture known as _Jeanne d'Arc listening to the Voices_. Lorraine in heart and soul, Bastien-Lepage desired to pay his tribute, as so many had done before him, to the glorious heroine who, like him, had come from the banks of the Meuse. And he wished also to restore her to her natural setting, with the greatest degree of historic accuracy. Consequently it is in a Lorraine garden surrounding a Lorraine cottage that he shows us Jeanne, the shepherdess; around her are the familiar garden utensils such as peasants use to-day just as they did in the fifteenth century. She is standing in an inspired and attentive attitude, which gives to her whole countenance that forceful character which Bastien-Lepage imprints upon all his compatriots. For he wished to make her, in a certain sense, a composite type of the women of the Lorraine race, such as Theuriet has described: "The forehead low but intelligent, the eyes with drooping lids that half conceal the somewhat sullen glance; the bones prominent in cheek and jaw, the chin square, indicative of an opinionated race; the mouth large, with half parted lips, through which one perceives the passage of the deep-drawn breath." This head is always the same; under all the variations in physiognomy we always meet with the same local type: it is the head of the woman in _Hay-making_ and of the _Women gathering Potatoes_, and it is also that of the "good little mother," so fundamentally and emphatically representative of Lorraine. [Illustration: PLATE VII.--THE LITTLE CHIMNEY-SWEEP (Collection of É. Bastien-Lepage) This attractive picture, full of charm and vigour, belongs to the closing years of the artist's life, at the time when he was enjoying the flood tide of his talent. How much force and truth there is in this picture of the little chimney-sweep, and what graceful nimbleness in the movements of the cats that he is watching at play.]