One of these young men was M. Wichert, director of the Mannheim museum. He was the favourite disciple of M. Lichtwark of Hamburg, and had also been a pupil of the late celebrated von Tschudi, grand master of the artistic life of Germany. Von Tschudi, it may be mentioned in passing, of course had a quarrel with William II, just like Bismarck, just like Haeseler, and Bülow, just like all the clever men in the empire who were unfortunate enough to possess a vigorous individuality. M. Wichert was a friend of our consul, M. Deschars,[5] who arranged a meeting between us. Son of a poor officer, and orphaned while quite young, M. Wichert went through his course of studies as best he could. His life is a romance. Loneliness; poverty; chance encounter with a Mæcenas; sudden abandonment of science for art; renewed poverty; unexpected patronage by the great pontiffs of art, Tschudi and Lichtwark; appointment as sub-director of the picture gallery of Munich; appearance upon the scene of the Magian kings, a delegation of aldermen from the town of Mannheim, modernist before all, offering him carte blanche for the creation of a museum; for a start the young Messiah purchases in Paris Manet’s best work, “The Execution of Maximilian,” Daumier’s portrait of Michelet, and the “Man with the Pipe,” the most famous of Cézanne’s pictures; all Mannheim is terrified at its commissioner’s prodigality; he defends himself before the entire town council, silencing some by his boldness, winning over others by his disinterested violence, by the aspect of his threadbare coat, and the thinness of his slight but ardent figure; thus he arouses that municipal patriotism which is so keen in the fatherland, convincing the councillors that he will do nothing less than make of Mannheim the leading art centre of Germany, and at the point of the bayonet he wrests from them a vote of confidence; shortly afterwards, a wealthy Jew entrusts him with five million marks for the establishment of a museum; he founds an art school to enlighten the Mannheim bourgeoisie, which is upstart, elementary, but open-minded and full of goodwill; his lectures become fashionable in the town; he provides similar instruction for the common people; acting upon suggestions made by M. Osthaus, a rich bourgeois of Hagen, he establishes travelling exhibitions. In a word, Tschudi being dead and Lichtwark dying, M. Wichert allowed his own way at Mannheim, at twenty-five years of age figures in the role of co-ordinator, protector, inspirer of the artistic life of Germany. He has made up his mind to transform Mannheim—the Hanseatic city of traders and manufacturers, the mushroom town flaming red with its abundance of new bricks, an American city suddenly appearing in Europe—into a Jerusalem of the new art. He desires that the streets shall become beautiful, that their names shall have a poetic ring, that the squares shall be as harmonious as a house by Van de Velde or Niemeyer. He secures an order