From the precision of his early manner Corot gradually advanced to freedom and airy looseness of touch; from statement of fact, to the suggestion of the very spirit and essence of nature in terms of paint that, more than any other artist’s work, justify the expression “colour music.” His later canvases are filled with the soft shimmer of vibrating atmosphere and with the tender poetry of dawn and dusk. Whilst retaining a truly classic sense of style, and adapting nature to his purposes by arrangement and generalisation, he never fails to convince the beholder of the reality of the scene represented. Even if his glades are peopled with dancing nymphs and satyrs, as in _A Morning_ (No. 138), these mythical beings no longer suggest classic statuary, but they belong as much to the landscape as do the trees and shrubs and clouds, as do the peasant woman and the cow in _The Dell_ (No. 2801, Plate XLIX.), or the piping shepherd in the exquisite _Souvenir d’Italie: Castel Gandolfo_ (No. 141B). Of the twenty-two paintings by the master at the Louvre, no fewer than twelve form part of the Thomy Thiéry Bequest to which the great French national collection owes so many of its chief treasures of nineteenth-century art. T. ROUSSEAU The real head of the Barbizon school was Théodore Rousseau (1812-1867), who was one of the first exponents of the “romantic” as opposed to the “classic” landscape. If Corot was the lyric, Rousseau was the epic poet of Nature. In his early works he was considerably influenced by Constable, but he failed for a long time to gain the approval of the public and of the Salon juries. Fourteen times in succession his pictures were refused admission to the Salon, and success only came to him late in life. In 1851, at about the same time as Millet, he settled at Barbizon, on the outskirts of the Forest of Fontainebleau, where henceforth he found the subjects for his pictures. Rousseau was a most conscientious artist, who “constructed a group of trees with the care that an Academician puts into the construction of a nude figure.” His love of accurate detail did not, however, make him lose sight of the general effect. His insistence on bold silhouettes made him favour the sunset hour when, as in his masterpiece, _An Opening in the Forest at Fontainebleau_ (No. 827), the trees would form effective dark masses against the glowing sunset sky. More characteristic of his favourite manner of composition is the imposing group of oak trees in the middle of a plain in the picture known as _Les Chênes_ (No. 2900). In this, as in _Marais dans les Landes_ (No. 830), which was bought in 1881 for £5160, and, indeed, in all the pictures where cattle are introduced, it will be noticed that the animals form part and parcel of the landscape, and are no longer individual “portraits” of animals, as they were apt to be in the pictures by the earlier Dutch cattle-painters.