His pictures have been purchased widely on the Continent and in England and America. Time and space do not permit a catalogue of the canvases which have appeared in public and private collections. When Cazin died he was at work on two pictures destined for the State. They are symbolic subjects, and were intended for the walls of the Sorbonne. They go by the titles of “L’Ours et l’Amateur de Jardins,” and “La Maison de Socrate.” In the Luxembourg Museum are to be seen several good examples of Cazin’s work: “Agar et Ismaël,” “La Chambre de Gambetta,” a tragic representation of the room in which Gambetta died, two landscapes, a case of pottery, and a bust in bronze. Mrs. Potter Palmer of Chicago possesses the “Judith”; “Tobie” is in the gallery at Lille; “La Journée Faite” in the Lyons Museum; “Souvenir de Fête” in the Museum of the City of Paris; “Le Chantier” belongs to Monsieur May. Alexander Harrison, the American painter, said, in speaking of Cazin: “He is a striking contrast to _Courbet_, for example, whose manner of painting is insistent; whereas Cazin conceals, rather than displays, his technique. His qualities are subtle and elusive. He avoids realistic brutality; his delicacy is a semi-fastidiousness in contrast to the almost _féroce_ realism of Courbet, and the robust Troyon. “His attitude towards his ideal is reserved, caressing. Suavity, a certain suggestion of concealment distinguish his work. Sometimes the unvaried tone is monotony. “His subjects were not chosen from the great solitudes; and although figures are often absent from his canvases, the pictures always suggest the human element and are full of associations. “His townsfolk in the Norman village where he lived seldom saw Cazin at work during daylight; but belated fishermen, returning in the small hours of late night, would find him wandering along-shore, or pondering as he paced the high sand-dunes. “These reveries were part of Cazin’s science and art; he applied and developed the accumulated science of long study, and created the medium best fitted to express his ideas and the especial times of day he cared to paint. “His use of a _wax medium_ accounts for some of the quality of his work.” RODIN [Illustration: RODIN] In the vast presentation of subject, in the numberless examples of cause and effect, demand and supply, representative of the tide reached by commerce, industries, and arts in this nervous, intense modern civilisation, there is nothing worthier of note than the work of Rodin, the sculptor, to whom France at last has seen fit to give general recognition.