Another picture “only excites ridicule.” “No. 353 caps all for absurdity, without even any of the redeeming qualities of the rest.” ... “the whole thing is truly ludicrous.”[11] Again of Turner, “This gentleman has on former occasions chosen to paint with cream, or chocolate, yolk of egg, or currant jelly--there he uses his whole array of kitchen-stuff.... We cannot fancy the state of eye which will permit anyone cognizant of art to treat these rhapsodies as Lord Byron treated “Christabel;” neither can we believe in any future revolution which shall bring the world round to the opinion of the worshipper, if worshippers such frenzies still possess.”[12] In 1877 the Impressionists held their third exhibition, again in Durand-Ruel’s galleries. This proved more audacious than the first. “It gave rise to an extraordinary outburst of laughter, contempt, indignation, and disgust. It became a notable event in Parisian life. It was talked about in the cafés of the boulevards, in clubs, and in drawing rooms, as some remarkable phenomenon. Numbers of people went to see it. They were not attracted by any sort of artistic interest; they simply went in order to give themselves that unpleasant thrill which is produced by the sight of anything eccentric and extravagant. Hence there was much laughter and gesticulation on the part of the visitors. They went in a mood of hilarity; they began to laugh while still in the street; they laughed as they were going up the stairs; they were convulsed with laughter the first moment they cast their eyes upon the pictures.” A critic in “La Chronique” said: They provoke laughter, and yet they are lamentable. They display the profoundest ignorance of drawing, of composition, and of color. When children amuse themselves with a box of colors and a piece of paper they do better. Cézanne was the one among them who both now and for a long time afterwards excited the most detestation. It is not too much to say that he was regarded almost as something monstrous and inhuman. After the close of the exhibition a sale was had at the Hotel Drouot. “Forty-five canvases of Caillebotte, Pissarro, Sisley, and Renoir realized only $1,522--an average of less than $34 each. The sale took place in the presence of an amused and contemptuous public, who received the pictures, as they were put up at auction, with groans. They amused themselves with passing several of them round from hand to hand, turned upside down.” Sixteen Renoirs brought $400. The next year “le Pont de Chateau” sold for $8, “Jeune fille dans un Jardin” for $6, and “La Femme au Chat” for $16.