The summit of his ability was reached in his last pictures from England. One knows the London fogs of November, which hover over the town as black as night, so that the gas has to be lit at noon, fogs which are suffocating and shroud the nearest houses in a veil of crape. Scenes like this were made for de Nittis' brush. He roamed about in the smoke of the city, observed the fashion of the season, the confusion of cabs and drays upon London Bridge, the surge and hurry of the human stream in Cannon Street, the vast panorama of the port of London veiled with smoke and fog, the fashionable West End with its magnificent clubs, the green, quiet squares and great, plainly built mansions; he studied the dense smoky atmosphere of fog compressed into floating phantom shapes, the remarkable effects of light seen when a fresh breeze suddenly drives the black clouds away. And again his eye adapted itself at once to the novel environment. It was not merely the blithe splendour of Paris that found an incomparable painter in Giuseppe de Nittis, but London also with its thick atmosphere and that mixture of damp, tawny fog and grey smoke. Piccadilly, the National Gallery, the railway bridge at Charing Cross, the Green Park, the Bank, and Trafalgar Square are varied samples of these English studies, which showed British painters themselves that not one of them had understood the foggy atmosphere of London as this tourist who was merely travelling through the town. "Westminster" and "Cannon Street," a pair of dreary, sombre symphonies in ash-grey, perhaps display the highest of what De Nittis has achieved in the painting of air. [Illustration: _L'Art._ ULYSSE BUTIN.] Born in Hamburg, though a naturalised Frenchman, _Ferdinand Heilbuth_ took up again the _cult_ of the _Parisienne_ in the wake of Stevens, and as he turned the acquisitions of Impressionism to account in an exceedingly pleasing manner he seems, in comparison with Stevens, lighter and more vaporous and gracious. He painted water-scenes, scenes on the greensward or in the entrance squares of châteaux, placing in these landscapes girls in fashionable summer toilette. He was particularly fond of representing them in a white hat, a white or pearl-grey dress with a black belt and long black gloves, in front of a bright grey stream, seated upon a fallen trunk, with a parasol resting against it. The bloom of the atmosphere is harmonised in the very finest chords with the virginal white of their dresses and the fresh verdure of the landscapes. His pictures are little Watteaus of the nineteenth century, as discreet in effect as they are piquant. [Illustration: _L'Art._ BUTIN. THE DEPARTURE.]