His fears proved to be unfounded. A contemporary of Chardin's has left an amusing account of what befell our timid artist. M. de Largillière entered the first room and carefully examined the pictures placed there by Chardin. Then he passed into the next room to speak to the candidate. "You have here some very fine pictures which are surely the work of some good Flemish painter--an excellent school for colour, this Flemish school. Now let us see your works." "Sir, you have just seen them." "What! these were your pictures?" "Yes, sir." "Then," said Largillière, "present yourself, my friend, present yourself." Cazes, Chardin's old master, likewise fell into the innocent trap, and was equally complimentary, without suspecting the authorship of the exposed pictures. In fact, he undertook to stand as his pupil's sponsor. When Louis de Boullogne, Director of the Academy and painter to the king, arrived, Chardin informed him that the exhibited pictures were painted by him, and that the Academy might dispose of those which were approved of. "He is not yet 'confirmed' (_agréé_) and he talks already of being 'received' (_reçu_)![2] However," he added, "you have done well to mention it." He reported the proposal, which was immediately accepted. The ballot resulted in Chardin being at the same time, "confirmed" and "received." On Sept. 25, 1728, he was sworn in, and became a full member of the Academy. In recognition of his rare genius, and in consideration of his impecunious condition, his entrance fee was reduced to 100 livres. "The Buffet" and a "Kitchen" piece were accepted as "diploma pictures." [Illustration: PLATE VII.--LE PANNEAU DE PÊCHES (In the Louvre) "Le Panneau de Pêches," (The Basket of Peaches) is a magnificent instance of Chardin's extraordinary skill in the rendering of textures and substances. Note the perfect truth of all the colour-values, the play of light and shade and reflections, such as the opening up of the shadow thrown by the tumbler owing to the refractive qualities of the wine contained in the glass. Note, also, the "accidental" appearance of the carefully grouped objects--the manner in which the knife-handle projects from the table. The plate is reproduced from the original painting at the Louvre in Paris.]