He came with his family to England in 1871, and remained there for three years. His original project was to form a school of art of which he should be master. This plan failing, he went instead to Fulham, where he personally directed the management of a pottery, and was thus enabled to carry out his desire to experiment in this plastic art. In this he was successful. His exhibition in 1882 at the Central Union placed him amongst the first masters in modern ceramics, and after his artistic display of clays, France gave him a decoration. There is a case of Cazin’s pottery in the Luxembourg Museum. He was received at first with a certain wonder. His drawing, intensely delicate, was forceful and striking because of its frank ingenuousness, its primitive simplicity. In his colouring harmonious and extraordinary tones ineffably soft, lights and shades indefinitely blended until at first the picture appeared through a haze, whilst under the eyes it slowly took form out of the mist; lines disengaged themselves, shapes grew distinct, and the perfect little picture fully declared itself. A good example of this is “Nuit d’Etè” (Seine et Marne). It will be readily understood that this novel technique, at the time of its appearance, did not pass unchallenged. It was evidently a manner, an eccentricity--a trick of colour, a playing with the public vision! Many endeavoured to understand and reproduce the “Cazin effects.” How was it done? And it was bruited by the baffled that M. Cazin painted behind locked doors! The sorcery of the master was not to be discovered, nor was there an élite who, behind the curtain out of gaping sight, learned the power that created “Moonlight on the Zuyder Zee.” Will amateurs learn one day that rules of rhetoric cannot teach the scribbler how to write a lyric?--that the atelier cannot impart the sign to make brush and palette create that which is none other than the _individuality_ of the painter? Cazin’s tender, mysterious treatment, Corot’s profound tranquillity, Turner’s golden flame, the genius of the masters, _are_ their technique. Cazin knew nothing of the common struggle of those artists who are obliged to ingratiate themselves into the public favour. He was accepted at once, and soon beloved--an uncommon biography. And his agreeable relations with the public, the atmosphere of [Illustration: MOONLIGHT] welcome and liking with which his work was met, his own family relations (of the most happy and genial kind), all is evident in his art. His pictures are full of the influence of the repose--“_la douceur infinie qui répand les âmes qui sont en paix_.”