their irritation, and of beguiling the weariness of their long, hard toil. It is not enough to guide them skilfully, to trace a perfectly straight furrow, and to lighten their labor by raising the plowshare or driving it into the earth; no man can be a consummate husbandman who does not know how to sing to his oxen, and that is an art that requires taste and especial gifts. To tell the truth, this chant is only a recitative, broken off and taken up at pleasure. Its irregular form and its intonations that violate all the rules of musical art make it impossible to describe. But it is none the less a noble song, and so appropriate is it to the nature of the work it accompanies, to the gait of the oxen, to the peace of the fields, and to the simplicity of the men who sing it, that no genius unfamiliar with the tillage of the earth, and no man except an accomplished laborer of our part of the country, could repeat it. At the season of the year when there is no work or stir afoot except that of the plowman, this strong, sweet refrain rises like the voice of the breeze, to which the key it is sung in gives it some resemblance. Each phrase ends with a long trill, the final note of which is held with incredible strength of breath, and rises a quarter of a tone, sharping systematically. It is barbaric, but possesses an unspeakable charm, and anybody, once accustomed to hear it, cannot conceive of another song taking its place at the same hour and in the same place, without striking a discord. So it was that I had before my eyes a picture the reverse of that of Holbein, although the scene was similar. Instead of a wretched old man, a young and active one; instead of a team of weary and emaciated horses, four yoke of robust and fiery oxen; instead of death, a beautiful child; instead of despair and destruction, energy and the possibility of happiness. Then the old French verse, “À la sueur de ton visaige,” etc., and Virgil’s “O fortunatos . . . agricolas,” returned to my mind, and seeing this lovely child and his father, under such poetic conditions, and with so much grace and strength, accomplish a task full of such grand and solemn suggestions, I was conscious of deep pity and involuntary respect. Happy the peasant of the fields! Yes, and so too should I be in his place, if my arm and voice could be endowed with sudden strength, and I could help to make Nature fruitful, and sing of her gifts, without ceasing to see with my eyes or understand with my brain harmonious colors and sounds, delicate shades and graceful outlines; in short, the mysterious beauty of all things. And above all, if my heart continued to beat in concert with the divine sentiment that presided over the immortal sublimity of creation.