_Summer_ shows us a delightful and smiling landscape flooded with light; bathing women plunge their nude forms beneath the water, while a mother, seated on the grass, nurses her new born child. In this picture Puvis de Chavannes, who was a landscape painter of the first order, has surpassed himself; the work is a miracle of open air and grateful shade. Unfortunately, the room in which these two magnificent pictures are placed suffers from a deplorable want of light, and its scanty dimensions make it impossible to stand back at a sufficient distance to see them to advantage. The Hôtel de Ville should for its own credit assign them a place more in keeping with their worth. For the museum at Rouen, Puvis de Chavannes painted an allegory entitled _Inter Artes et Naturam_, charming in fantasy and poetic feeling. According to his habit, he has grouped together in synthetic form the various things which constitute the wealth or serve to mark the characteristics of the province of Normandy. Labourers heaping up architectural fragments preserved from all the various epochs proclaim the variety and antiquity of its monuments; its special art is represented by a young girl painting a tulip on a porcelain plate and by a lad carrying a tray of pottery; its principal agricultural richness is revealed by the action of a woman, bending down a branch of an apple-tree, in order that her child may reach the fruit. And at the bottom of the picture flows the Seine, rolling its flood past a long sequence of manufactories, and bearing in its course heavily laden boats. This picture is one of Puvis de Chavannes' most ingenious conceptions; furthermore, it possesses great charm of detail. In 1891, the trustees of the Boston Museum approached Puvis de Chavannes with a request to decorate the main staircase of that edifice. The negotiations were troublesome. In spite of his delight at having a new work to produce, in spite of the legitimate pride he felt in this homage paid to French art, Puvis de Chavannes hesitated to accept the commission. For the first time he faced the necessity of painting a canvas without having studied beforehand the physiognomy, the environment, the illumination of the space he was to decorate, and his artist's conscience suffered. Besides, certain misunderstandings had arisen between American trustees and the painter; several times relations were on the point of being broken off; and no definite agreement was reached until after the lapse of four years. Puvis de Chavannes began this work in 1895; he did not finish it until 1898. The surface to be covered was to be divided into nine large panels, three facing the entrance, three to the right, three to the left. The choice of subjects was left to him. For the central panel Puvis de Chavannes chose a theme already treated twice by him: _The inspiring Muses acclaim Genius, Messenger of Light_.