He had learned to give to every face that profundity, to every scene that intensity of action, that constitutes his individual bigness. The arrangement of the _milieu_, the scrupulous devotion to realism that we noted in the opening lines of this study, the prodigious anxiety to give to every one of his personages such play of physiognomy, such expression, glance, and gesture as would best reveal their character and help us to know them better,--all these things combine and harmonize to produce an effect of remarkable power. [Illustration: PLATE VI.--THE PLAYERS AT BOWLS (In the Casa-Riera Collection) This curious composition represents some Spanish soldiers playing bowls outside the city wall. The painting, which is hardly larger than the accompanying reproduction, is a little masterpiece of actuality, and the people in it move in a thoroughly faithful landscape, lit by the warm sunlight of Spain.] Those among Meissonier's contemporaries who had assured taste and artistic insight were impressed by the number of qualities revealed in such limited space. Let us listen to Théophile Gautier: "Meissonier," he wrote in an article published in the _Gazette des Beaux-Arts_, "composes his pictures with a science unknown to the Flemish masters to whom he is compared. Take, for example, a Smoker! The manner in which he is placed in the centre of the picture, one elbow resting on the table, one leg crossed over the other, one hand hanging idly by his side, his body sunk within his gaping waistcoat, his head bowed forward in revery, or jovially thrown backward,--all this forms a composition which, while not so apparent to the eye as some dramatic scene, nevertheless works its effect upon the spectator. The accessories cleverly play their part to throw more light upon the character of the central figure. Here is a Smoker, for instance, who is a worthy man, no doubt of it; clad in an ample coat of ancient cut, and of a modest gray, with a well brushed cocked hat upon his head; one foot swings free, encased in a good, stout shoe, with silver buckle; and, with the tranquillity of an honest conscience, he draws in a deep breath of tobacco smoke, which he allows to escape again in little clouds, wishing, thrifty man that he is, to make the pleasure last. Close at hand, upon a table with spiral legs, he has placed side by side a flagon and a pewter-lidded tankard of beer. An intimate satisfaction radiates from his face, which is furrowed by deep lines, a face expressive of foresight, orderly habits, and rigid probity. One could trust him with one's cash-box and account books. Here is another Smoker, clad in red; he also holds a pipe and performs apparently the same action; but his disordered garments, violently rumpled, buttoned askew, his three-cornered hat jammed down upon his eyebrows, his cuffs and frilled shirt crumpled by nervous fingers, his whole attitude