is thoroughly of our time; and in this year, which is the centenary of his birth, it can be said that no other painter of the century, save the graver Millet, has held fast that which was good in the art of the past, and so enriched it by added truth and beauty as Corot. It was fitting that when he lay dying as cheerfully as he had lived, contented that he had "had good parents and good friends," beautiful landscapes flitted before his eyes, "more beautiful than painting." On the morning of February 22, 1875, his servant urged him to eat to sustain his strength; but he gently shook his head, saying: "Papa Corot will breakfast in heaven to-day." [Illustration: THE EDGE OF THE FOREST (FONTAINEBLEAU). FROM A PAINTING BY THÉODORE ROUSSEAU.] Eighteen years before, on December 22, 1867, there had died at Barbizon, Théodore Rousseau, who, born in Paris, July 15, 1812, had been the leader of the revolution in landscape painting, in which we to-day count Corot, Daubigny, Dupré, Troyon, Diaz, Jacque, and others who, with our mania for classification, we call the "Barbizon school." The fact that these men, more than any painters before their time, had, by direct study from nature, developed strongly individual characteristics, makes this title, localized as it is by the name of a village with which a number of them had slight, if any, connection, a misnomer. The French name for the group, "the men of 1830," is more correct; for it was about that time that their influence in the Salon began to be felt, as a result of the pictorial invasion of Constable. Lacking the poetic feeling of Corot, and more realistic in his aims, though not always in result, Rousseau met with instant success when he exhibited for the first time at the Salon in 1834. His picture, "Felled Trees, Forest of Compiègne," received a medal, and was purchased by the Due d'Orleans. The following year the jury, presided over by Watelet, a justly forgotten painter, refused Rousseau's pictures, and from that time until 1849, when the overthrow of Louis Philippe had opened the Salon doors to all comers, no picture by Rousseau was exhibited at the Salon. [Illustration: ON THE RIVER OISE. FROM A PAINTING BY CHARLES FRANÇOIS DAUBIGNY. A typical French river, with the familiar figures of peasant women washing linen in the stream. Probably painted during one of the voyages of his house-boat studio "Le Bottin," in which the painter passed many summers.] [Illustration: THE STORMY SEA. FROM A PAINTING BY JULES DUPRÉ. This powerful picture gives an idea of the dramatic force of one who has been fitly termed a symphonic painter.] [Illustration: A SUNLIT GLADE. FROM A PAINTING BY LÉON GERMAIN PELOUSE. A remarkable rendering of intricate detail without sacrifice of general effect, this picture, nevertheless, gives somewhat the impression of a photograph from nature.]