Of the man Corot there are many portraits both in pen and pencil, that help to give an outward shape to the more intimate revelation of personality to be found in his work. One of the most interesting is a portrait by the artist of himself as a young man. He is sitting, a burly, broad-shouldered figure, before his easel. The face looks out from the canvas square and strong, but the full-lipped mouth is sensitive, almost tremulous, and betrays the nature of the man even more surely than the alert eyes; though these eyes, on the pounce, one may say, and the forehead drawn in the intense endeavour to _see_--these also tell their own story. A pen-portrait of later date by Silvestre describes the artist as "of short but Herculean build; his chest and shoulders are solid as an iron chest; his large and powerful hands could throw the ordinary strong man out of the window. Attacked once, when with Marilhat, by a band of peasants of the Midi, he knocked down the most energetic of them with a single blow, and afterwards, gentle again and sorry, he said, 'It is astonishing; I did not know I was so strong.' He is very full-blooded, and his face of a high colour. This, with the bourgeois cut of his clothes and the plebeian shape of his shoes, gives him at first sight a look which disappears in a conversation that is nearly always full of point, of wit, and matter. He explains his principles with great ease, and illustrates the method of his art with anything at hand; and that generally is his pipe. He so loves to talk about his practices in painting that, a student told me, he will talk in his shorts and with bare feet for two hours at a stretch without being once distracted by the cold." Many photographs are in existence to present to us Corot in his autumn time. Says M. Gustave Geffroy, examining one of these: "The features are clearly marked. The brow, high and bare, crowned with hair in the _coup de vent_ style, is furrowed with lines. His glance goes clear, keen, direct, from beneath the heavy eyelids. The nose, short and fleshy, is attached to the cheeks by two strongly marked creases. There is a smile on the lips, of which the lower is very thick--altogether a good, intelligent, witty face." In general appearance, I may add, these later portraits of Corot always remind me of the late Mr. Lionel Brough. To my mind there is something more in these photographs than M. Geffroy has called attention to. They are the portraits of a very happy man. A deep spiritual happiness and content make the old, wrinkled face a beautiful one. It is the face of one who, to use a lovely old phrase, "walked with God," and of whom it was said, "_c'est le Saint Vincent de Paul de la peinture_."