When the people began to admire, critics began to criticize. They said "Meissonier can depict homelike or ordinary scenes, but not historic." He said nothing, but soon brought out "Diderot" among the philosophers, Grimm, D'Alembert, Baron Holbach, and others in the seventeenth century. Then they said he can draw interiors only, and "on a canvas not much larger than his thumb-nail." He soon produced the "Portrait of the Sergeant," "one of the most daring experiments in the painting of light, in modern art. The man stands out there in the open by himself, literally bathed in light, and he makes a perfect picture." Then they were sure that he could not paint movement. He replied by painting "Rixe," two ruffians who are striving to fight, but are withheld by friends. This was given by Louis Napoleon to the Prince Consort. Meissonier also showed that he could depict grand scenes, by "Moreau and Dessoles on the eve of the battle of Hohenlinden," the "Retreat from Russia," and the "Emperor at Solferino." Into these he put his admiration for Napoleon the Great, and his adoration for his defeated country. In the former picture, the two generals are standing on a precipice, surveying the snow-covered battle-field with a glass; the trees are bending under a strong wind, and the cloaks of the generals are fluttering behind them. One feels the power of this picture. In painting the "Retreat from Russia," the artist borrowed the identical coat worn by Napoleon, and had it copied, crease for crease, and button for button. "When I painted that picture," he said, "I executed a great portion of it out of doors. It was midwinter, and the ground was covered with snow. Sometimes I sat at my easel for five or six hours together, endeavoring to seize the exact aspect of the winter atmosphere. My servant placed a hot foot-stove under my feet, which he renewed from time to time, but I used to get half-frozen and terribly tired." He had a wooden horse made in imitation of the white charger of the Emperor; and seating himself on this, he studied his own figure in a mirror. His studies for this picture were almost numberless,--a horse's head, an uplifted leg, cuirasses, helmets, models of horses in red wax, etc. He also prepared a miniature landscape, strewn with white powder resembling snow, with models of heavy wheels running through it, that he might study the furrow made in that terrible march home from burning Moscow. All this was work,--hard, patient, exacting work. It had now become evident to the world, and to the critics as well, that Meissonier was a master; that he was not confined to small canvases nor home scenes.