Truth, which he once depicted in her well, killed by liars and mountebanks (_Mendacibus in histrionibus occisa in puteo jacet alma Veritas_, Salon of 1895), always charmed and inspired him. He rendered it more attractive by his admirable sincerity, by his chivalrous and imaginative spirit, as well as by his archeological and ethnographic learning. Thanks to this lofty conscientiousness in research, his work, erudite and entertaining at the same time, making distant and vanished civilizations live again, and reproducing atmospheres and local settings with a delicacy that at times is a trifle specious, but always incomparably picturesque, cannot fail to please and charm to-day as it did yesterday, and to-morrow as it does to-day. Accordingly, it is with good reason that M. Soubies has lauded his fine attention to detail, and that M. Thiebaut-Sisson has summed him up in the following terms: "The artist created his formula for himself. He extracted from it the maximum effect that it contained." And even while we glorify and venerate those painters gifted with a graver or more lyric vision, a bolder or more laboured craftsmanship, we must freely subscribe to the opinion of Edmond About when he said of Gérôme: "He is the subtlest, the most ingenious, the most brilliant ... of his generation." Transcriber's note: The following correction have been made: p. 17 honoured placed among -> placed changed to place Illustrations were moved to paragraph breaks and a missing comma was added. Everything else has been retained as printed (including ambiguous hyphens at the ends of lines). Italics is represented with underscore. End of the Project Gutenberg EBook of Gérôme, by Albert Keim