During the Italian war of 1859, and in the German war of 1870, this wonderful artist was on the staff of Napoleon III. During the siege of Paris he held the rank of colonel, and he lost no chance to learn details of battles which he might use later, in making great pictures. Thus he gained the knowledge and inspiration to paint his picture "Friedland," which was bought by A. T. Stewart and is now in the Metropolitan Museum. He, himself, wrote of that picture: "I did not intend to paint a battle--I wanted to paint Napoleon at the zenith of his glory; I wanted to paint the love, the adoration of the soldiers for the great captain in whom they had faith, and for whom they were ready to die.... It seemed to me I did not have colours sufficiently dazzling. No shade should be on the imperial face.... The battle already commenced, was necessary to add to the enthusiasm of the soldiers, and make the subject stand forth, but not to diminish it by saddening details. All such shadows I have avoided, and presented nothing but a dismounted cannon, and some growing wheat which should never ripen. "This was enough. "The men and the Emperor are in the presence of each other. The soldiers cry to him that they are his, and the impressive chief, whose imperial will directs the masses that move around, salutes his devoted army. He and they plainly comprehend each other and absolute confidence is expressed in every face." This great work was sold at auction for $66,000 and given to the Metropolitan Museum. It is said that when he painted the "Retreat from Russia," Meissonier obtained the coat which Napoleon had worn at the time, and had it copied, "crease for crease and button for button." He painted the picture mostly out of doors in midwinter when the ground was covered with snow, and he writes: "Sometimes I sat at my easel for five or six hours together, endeavouring to seize the exact aspect of the winter atmosphere. My servant placed a hot foot-stove under my feet, which he renewed from time to time, but I used to get half-frozen and terribly tired." So attentive was he to truthfulness in detail that he had a wooden horse made in imitation of the white charger of the Emperor; and seating himself on this, he studied his own figure in a mirror. At last this conscientious man was made an officer of the Legion of Honour, having already become President of the Academy. Edmund About writes that "to cover M. Meissonier's pictures with gold pieces simply would be to buy them for nothing; and the practice has now been established of covering them with bank-notes." Meissonier seldom painted the figure of a woman in his pictures, but all of his subjects were wholesome and fine. One time an admirer said to him "I envy you; you can afford to own as many Meissonier pictures as you please!" "Oh no, I can't," the distinguished artist replied. "That would ruin me. They are a good deal too dear for me."