Boudin’s health, weakened by the long privations, had at last broken up. After several futile journeys he returned to his native Normandy, and, whilst working at his easel in his châlet near Deauville in 1898, died almost without warning. By his will he left a rich legacy of pictures to the gallery of his native town, Honfleur. Over one hundred of Boudin’s sketches can now be seen in the public gallery of Havre. Boudin’s connection with modern Impressionism is chiefly the influence generated by a strong enthusiasm for working “en plein air” and a deep love of Nature. His dominant colour, almost to the end of his life, was grey—a grey beautiful in its range and truthful in its effect. Personally Boudin had the head of an old pilot, with healthy ruddy complexion, white beard, and keen blue eyes. He spoke slowly in low monotonous tones, was doggedly tenacious of an idea, had strong artistic convictions. He was modest to a degree, and when he sought honours they were for brother artists, never for himself. His highest ambition was reached when the Town Council of Honfleur named a street “Rue Eugène-Boudin.” This street, long, narrow, hilly, with many rough places and occasional pitfalls, typifies the artist’s own life. After his death the town went further. Aided by M. Gustave Cahen, president of the “Société des Amis des Arts,” Honfleur erected a fine statue of its talented son by the jetty, where he had so often painted his favourite scenes of sea and shipping. Boudin has left a name which will be honoured in the annals of French art. He lived a long life, produced many works of which not one falls below his own high standard. His position, midway between two great schools, is perhaps one reason why he has not loomed more strongly in the public appreciation. Upon their merits his pictures cannot easily be forgotten. When it is remembered that he links Corot to Monet, was in fact the true master of the latter, it will be seen what an important niche he occupies in any history devoted to Modern French Impressionism.