costume of his age he declares to be thoroughly prosaic and tiresome. It is revolting to painters and an offence to the educated eye. Art must necessarily seek salvation in the past, unless it is to wait, and give brush and palette a holiday, until that happy time when the costume of nations comes to its pictorial regeneration. Only one zone, the realm of blouse and military uniform, was beyond the domain of tail-coat and trousers, and still furnished art with rich material. Since it was by working on uniform that plastic artists first learnt how to treat contemporary costume, so it was the military picture that first entered the circle of modern painting. By exalting the soldier into a warrior, and the warrior into a hero, it was here possible, even in the times of David and Carstens, to effect a certain compromise with the ruling classical ideas. Gérard, Girodet--to some extent even Gros--made abundant use of the mask of the Greek or Roman warrior, with the object of admitting the battle-piece into painting in the grand style. The real heroes of the Napoleonic epoch had not this plastic appearance nor these epic attitudes. Classicism altered their physiognomies and gave them, most illogically, the air of old marble statues. It was Horace Vernet who freed battle painting from this anathema. This, but little else, stands to his credit. Together with his son-in-law Paul Delaroche, _Horace Vernet_ is the most genuine product of the _Juste-milieu_ period. The king with the umbrella founded the Museum of Versailles, that monstrous depôt of daubed canvas, which is a horrifying memory to any one who has ever wandered through it. However, it is devoted _à toutes les gloires de la France_. In a few years a suite of galleries, which it takes almost two hours merely to pass through from end to end, was filled with pictures of all sizes, bringing home the history of the country, from Charlemagne to the African expedition of Louis Philippe, under all circumstances which are in any way flattering to French pride. For miles numberless manufacturers of painting bluster from the walls. As _pictor celerrimus_ Horace Vernet had the command-in-chief, and became so famous by his chronicle of the conquest of Algiers that for a long time he was held by trooper, Philistine, and all the kings and emperors of Europe as the greatest painter in France. He was the last scion of a celebrated dynasty of artists, and had taken a brush in his hand from the moment he threw away his child's rattle. A good deal of talent had been given him in his cradle: sureness of eye, lightness of hand, and an enviable memory. His vision was correct, if not profound; he painted his pictures without hesitation, and is favourably distinguished from many of his contemporaries by his independence: he owes no one anything, and reveals his own qualities without arraying himself in those of other people. Only these qualities are not of an order which gives his pictures artistic interest.