If Rodin can be said to possess a fault, it is _an occasional dominance of the grotesque_: a probable result of an intense personality, too great originality. Besnard’s over-desire is similar; and he is more frequently garish, over-audacious in his experiments and his expression. A striking contrast to these painters is Cazin. His art is timid, caressing, poetic and tender. He lacks the nobility of aim of Puvis de Chavannes. He is intimate, domestic, directly in _liaison_ with his painting. He treats his art as something dear to his heart, peculiarly personal. He loved to fondle nature in her _purring_ moments; in the soft hours of twilight, when the spirit of the landscape is moody, fleeting, gently sad submissive and persuasive. ALEXANDER HARRISON. CONCARNEAU, _April 1904_. CONTENTS PAGE PUVIS DE CHAVANNES 1 JEAN CHARLES CAZIN 31 RODIN 61 PAUL ALBERT BESNARD 105 STEINLEN 157 ILLUSTRATIONS PUVIS DE CHAVANNES: PAGE Puvis de Chavannes (_From a portrait by Léon Bonnat_) 4 Rhône et Saône (Lyons) 7 Ste. Geneviève Series (Panthéon) 11 Ste. Geneviève Series (Panthéon) 15 Ste. Geneviève Series (Panthéon) 16 Sorbonne Series, No. 1 19 Sorbonne Series, No. 2 20 “Le Repos” (Amiens) 23 “La Rivière” 24 “L’Hiver” (Salon d’Arrivée, Hôtel de Ville, Paris) 27 JEAN CHARLES CAZIN: The Windmill 35 A Picardy Village 39 The Death Chamber of Gambetta 43 Moonlight 47 The Village Street 51 The Holy Family 55 The End of the Village 57 RODIN: Rodin 64 “Le Frère et la Sœur” 67 Intérieur d’Atelier 71