Like that of Monet and other Impressionist artists, Pissarro’s work now commands high prices, which are steadily advancing. Shortly after his death a landscape entitled _La Coté Sainte Catherine à Rouen_ was sold by public auction for 11,000 francs, an average present value for his canvases, although not a record figure. With the etching needle Pissarro has done some particularly interesting work little known in England. Students of this fascinating medium should look through the Rouen etchings, a masterly little set. Camille Pissarro was a man of commanding personality, and his handsome features and long white beard gave him a patriarchal appearance. Of charming disposition, with a mind of simple nobility, an excellent raconteur of droll stories chiefly drawn from his own interesting experiences, he will long be remembered as one of the most attractive of the great French artists of the nineteenth century. He lived and worked, as befitted a “paysagist,” in the midst of a beautiful stretch of country at Eragny, outside Gisors, not far from Monet’s residence at Giverny. Pissarro left a considerable amount of work behind, paintings in oil and water-colour, drawings in every medium, etchings, and lithographs. His art may be summed up as powerful. It possessed a healthy vitality and sentiment, and these will assure a lasting respect and admiration for his name. Many of the foregoing remarks apply equally to Pissarro’s close comrade and friend, Renoir. Auguste Renoir was born in 1841, and has always taken an important place in the Impressionist movement. His work forms an epitome of the whole school, and perhaps it is for that very reason that the artist has not attained a higher popular appreciation. During his forty years of continual labour he has produced landscapes, seascapes, large subject compositions, studies of still-life, portraits, and exquisite nudes. Critics, charged with enthusiasm, have found in his canvases the finest traits of Boucher, Fragonard, Greuze, Reynolds, and Hoppner.