And so more than the expected happened. From the day of its exhibition till the Salon was closed, it was surrounded by admiring crowds, and every one said, “Who is this wonderful Greuze?” Those there were who replied that Greuze had not painted the picture himself, was incapable of such work, for the overweening personal vanity that marred Greuze’s character had already made for him many enemies; but the happy preacher-painter proved his position, and but gained additional interest from the discussions that raged round him. From this moment Greuze’s position was assured. He was made _agréé_ of the Academy, which among other privileges gave him the right to exhibit what he liked there in future. He sold the celebrated picture for a comparatively large sum to a Monsieur de la Live de Jully. He made hosts of friends, many of them influential. One of his new acquaintances offered to provide him with a studio. Another, l’Abbé Gougenot, invited him to accompany him to Italy to study art, an offer which was accepted. Greuze stayed two years in Italy, but except that some of his pictures have Italian names and show Italian costumes, this visit exercised no perceptible influence on his work, and in 1757 he returned to steady work in the Paris which was to be for him the scene of so many triumphs--and later, of so much despair. CHAPTER III GREUZE’S MORAL PICTURES The well-known “Village Bride,” or “L’Accordée du Village,” exhibited in 1761, was his second great success. “A Father handing over the Marriage-portion of his Daughter” was the first title of this picture, and one which better, if less poetically, explains the scene. The homely ceremony takes place in the picturesque living room of a big cottage or small farm, and twelve people take part in it. Backed up by the village functionary, who has drawn up the contract, the old father is evidently giving some good advice as he places the bag of money in the hands of his future son-in-law. The young man listens respectfully, the shy but proud young bride hanging on to his arm. The mother has taken one of her daughter’s hands, while a younger sister leans her head on the bride’s shoulder. Children play about in various attitudes among a family of fowls who feed in the foreground. Though it has some of the faults of those which followed it, this is undoubtedly the best subject-picture painted by Greuze. The composition is good, it is well drawn, full of a charming tender sentiment, and the head of the fiancée, foreshadowing Greuze’s future successes, is delicious, fully deserving Gautier’s eulogy: “It is impossible to find anything younger, fresher, more innocent, and more coquettishly virginal, if the two words may be connected, than this head.”