He had, for that matter, no more tolerance for Millet than for Sisley, Monet, and Pissaro. On one occasion, he assured M. Jules Claretie that if Millet could return and again send his canvases to the Salon, he would refuse them over again! And, when his distinguished interlocutor protested, "Oh, come now, Gérôme, you don't mean that!" he declared unhesitatingly, "I mean just that, and nothing else." Messrs. Moreau-Vauthier and Dagnan-Bouveret have given some very accurate and useful details regarding his methods of instruction and of work. They have shown him to us at his task, both as painter and professor. He emphasized the importance of construction, and of the character of the form, rather than the form itself, which is a matter of temperament. He insisted that a scene must be visualized in its completeness, as a harmonious and fully significant whole. Emile Augier, for instance, with whom he felt no annoyance at being compared, the excellent comedian, Got, the younger Dumas, Gounod,--all of these he loved for their absolute clarity, and he demanded it of them. He declared that one has no right to paint off-hand, without a model; and he also held that one has no right to make hasty, careless sketches. His method was distinguished by its scrupulous and admirable precision. Impeccable order always reigned in his studio. M. Dagnan-Bouveret writes that his palette and brushes were scrupulously cared for. He used to overspread his canvases with a uniform foundation of half-tones more or less warm or cold, using preparations made by Troigras. He roughed in the whole picture very rapidly, and this first rough draft, according to connoisseurs, was always extremely interesting. In his paintings, he proved that the strength of colouring is in inverse proportion to the intensity of light. He had a marvellous faculty for making the delicate shadings of nature correspond with the psychological sentiments that their aspects evoke. From this comes his amazing variety. A man of wide reading and deep culture, Gérôme had a profound love for the truth, for reality just as it is, holding that it is the artist's first duty to know his place, his time, his episode, and the one special angle of vision that will give the rarest and most fruitful results. On the eve of his death, he was still lauding the merits of photography, which has the advantage of being able to snatch a document straight out of life, without falsifying it by giving it a personal interpretation that must always be more or less inaccurate. Whatever allowance must be made for what we may call the personal equation of an artist, his own individual temperament, it is not unprofitable to recall this opinion of Gérôme's, for it helps us to acquire a better conception of his art, based as it was upon accuracy and unwavering truth.