The figure-painting of Corot is comparatively little known, and it is a subject of too much importance to attempt to deal with adequately in small space. An enthusiastic critic claims that it includes the artist's "absolute masterpieces," but I doubt if many would agree, beautiful as some of these figures are. They show the same faculty of apprehending a sudden revelation of beauty as is shown by the more familiar landscapes, the same exquisite sense of graces in form and colour, which elude the eyes of most of us. But it is still in landscape that Corot is supreme. I have already stated my conviction that he was not greatly influenced by other artists, his predecessors, or contemporaries. Perhaps Constable, to mention but one name, helped to open his eyes, but once open he used them as his own. Again, the classicism which surrounded him in his youth left gentle memories that in his age were never quite forgotten; but it was worn as sometimes an elderly gentleman wears a bunch of seals, and had about as much to do with the essential personality of the wearer. He was always true to himself. His equipment was simple faith, definite purpose, and unflagging zeal. A clear eye, a dream-haunted brain, and a great loving heart--that was Corot. The plates are printed by BEMROSE & SONS, LTD., Derby and London The text at the BALLANTYNE PRESS, Edinburgh