The companion piece is “The Convalescence,” and is undoubtedly one of Besnard’s _chefs d’œuvre_. The invalid, after her long and weary confinement, is being supported by tender arms into the sunlight; and it would be difficult to imagine a more expressive and suggestive subject for these walls. The picture is full of sunlight and mysterious half-tones, and is expressive of tenderness and sympathy and encouragement. In fact, these frescoes possess in a large degree the essentials of good decoration--simplicity of line--bold and correct drawing--impressive human sentiment and impressive subject. Again and notably, in the decorations of the Salle des Mariages in the Mairie du Louvre the subtlety of Besnard’s treatment of his task, the upleading and inspiring effect he has produced makes well worth a special description of these pictures. It will appear impossible to the dogmatic mind that a secular room, in a Republican Mayor’s office, can suggest an atmosphere of sacred beauty. This, however, has been rendered the case by the decorations with which Besnard has beautified this square, dark, conservative apartment. As one enters the apartment where civil marriages are performed in this particular quarter of Paris the eyes find on the wall opposite the door a graceful and agreeable picture of youthful love. The girl--an exquisite figure--is surrounded by flying birds and young doves. She is seated on a bank of flowers and above her a youth of age as tender as her own waves a branch of spring flowers. From this, one seeks the side wall and a large panel of bright and glowing colour. The subject is harvest time, and the fields are heavy with their burden of grain. On a sheaf of golden wheat is the figure of a woman, mature now although still young, and at her breast a child. Two other children play about her, and alongside the husband’s strong, vigorous figure wrestles with his refractory horse. This decoration, purely pastellic in impression, is so soft and plastic that the clear colour seems ready to come off at the touch. It is peculiarly velvet-like in quality and very high in tone. Already this square, unbeautiful room with its green-covered benches has altered in character. The greatest forces of the world, the greatest beauty of the world, have penetrated it through these interpretations of a master. But it is not to the exuberant and lovely expressions of life that the man and woman who come here to the Maire’s office [Illustration: THE FISHERMAN’S DAUGHTER]