In Belgium _Eugène de Block_ first took up these lines. The artistic development of his character is particularly interesting, inasmuch as he went through various transformations. First he had come forward in 1836 with the representation of a brawl amongst peasants, a picture which contrasted with the tameness of contemporary painting by a native power suggestive of Brouwer. Then, following the example of Madou and Braekeleer, he occupied himself for a long time with quips and jests. At a time when every one had a type to which he remained true as long as he lived, Block chose poachers and game-keepers, and represented their mutual cunning, now enveloping them, after the example of Braekeleer, in the golden light and brown shadows of Ostade, now throwing over them a tinge of Gallait's cardinal red. But this forced humour did not satisfy him long; he let comicalities alone, and became the serious observer of the people. A tender compassion for the poor may be noticed in his works, though without doubt it often turns to a tearful sentimentalism. He was an apostle of humanity who thundered against pauperism and set himself up as spokesman on the social question; a tribune of the people, who by his actions confirmed his reputation as a democratic painter. This it is which places him near that other socialistic agitator who in those days was filling Brussels with his fame. [Illustration: _Hanfstaengl._ FLÜGGEN. THE DECISION OF THE SUIT.] It was in 1835 that a young man wrote to one of his relatives from Italy the proud words: "I will measure my strength with Rubens and Michael Angelo." [Illustration: HÜBNER. JULY.] Having gained the _Prix de Rome_, he was enabled to make a sojourn in the Eternal City. He was thinking of his return. He was possessed of a lofty ambition, and dreamt of rivalling the fame of the old masters. As a victor he made an entry into his native land, into the good town of Dinant, which received him like a mother. He was accompanied by a huge roll of canvas like a declaration of war. But he needed a larger battle-field for his plans. "I imagine," said he, "that the universe has its eyes upon me." So he went on to Paris with his "Patroclus" and a few other pictures. No less than six thousand artists had seen the work in Rome: a prince of art, Thorwaldsen, had said when he beheld it: "This young man is a giant." And the young man was himself of that opinion. With the gait of a conqueror he entered Paris, in the belief that artists would line the streets to receive him. But when the portals of the _Salon_ of 1839 were opened he did not see his picture there. It was skied over a door, and no one noticed it. Théophile Gautier, Gustave Planché, and Bürger-Thoré wrote their articles without even mentioning it with one word of praise or blame.