its rose-coloured insipidity and its conventional bloom of the palette, when set against the downright veracity and the masterly painting of these works! [Illustration: _Kunst für Alle._ LEIBL. THE NEW PAPER.] In the same year he went to Paris, special occasion for the journey being given by a commission for a portrait which he received from the Duc Tascher de la Pagerie. There he painted "La Cocotte," the portrait of a fat Frenchwoman seated upon a sofa and watching the clouds of smoke from her clay pipe. In its massive realism, and in the exuberant power of its broad, liquid painting, it might have been signed "Courbet," and Leibl told afterwards with pride how Courbet slapped him on the shoulder when he was at his work, saying: "_Il faut que vous restez à Paris._" The breaking out of the war brought his residence in Paris to an end more quickly than he had foreseen, but though he was there only nine months that was long enough to give for ever a firm direction to the efforts of the painter. Leibl became the apostle of Courbet in Germany, and in his outward life the German Millet. Back once more in Bavaria, he migrated in 1872 to Grasolfingen, then to Schondorf on the Ammersee, then to Berbling near Aibling, and in 1884 to Aibling itself; he became a peasant, and, like Millet, he painted pictures of peasants. The poetic and biblical, the august and epical bias which characterises the works of Millet, is not to be expected in Leibl. A spirit bent upon what is great and heroic speaks out of Millet's pictures. A Rembrandtesque feeling for space, the great line, the simplification, the intellectual restraint from anecdotic triviality of form, are the things which constitute his style. Leibl is at his best when he buries himself with delight in the hundred little touches of nature. He triumphs when he has to paint the faces of old peasant women, full of wrinkles, and furrowed with care; the ruddy cheeks of girls, sparkling in all their natural rustic freshness; figured dresses, the material and texture of which are clearly recognisable; flowered silk kerchiefs worn round the neck, coarse woollen bodices, and heavy hobnail shoes. He is to Millet what Holbein is to Michael Angelo. [Illustration: _Seemann, Leipzig._ LEIBL. IN CHURCH.]