No. 2867.—THE POND (La Mare) Autumnal landscape with a pond in the middle distance on the left, bordered on the right, in the centre of the composition, by a group of oak trees. In the foreground some cattle and a cowherd. Cloudy sky. Signed on left:—“JULES DUPRÉ.” Painted in oil on canvas. 1 ft. 1 in. × 1 ft. 6½ in. (0·32 × 0·46.)] DAUBIGNY Of all the Barbizon painters and their artistic kinship, Charles François Daubigny (1817-1878) is the one who approached nature with the most reverent spirit. He is in a way the least subjective of them all, because his love of nature even in her simplest aspects prevented him from imposing his own personality upon her; and for this very reason he is more varied in his range of landscape subjects than any of the other masters of this important group. The most fugitive effects of light and atmosphere were seized by him with a masterly sureness which found expression in every touch of his summary brush. Every hour of the day, every season of the year, every mood of nature appealed to him with equal intensity, although the choice of his subjects is most frequently inspired by serene optimism. Daubigny belonged to a family of artists. He received his first instruction from his father, and afterwards studied under Delaroche. Before he began to paint landscapes in the neighbourhood of Paris, he gained his livelihood by painting sweet-boxes! He found his best subjects on the banks of the Oise, but worked also in other districts of France, in Italy, and in England. Of his sojourn in England we are reminded by _The Thames at Erith_ (No. 2821), one of the thirteen Daubignys bequeathed to the Louvre by Thomy Thiéry, which also include the sun-flooded _Weir Gate at Optevoz_ (No. 2818, Plate LI.), _The Pond with Storks_ (No. 2815), _Les Péniches_ (No. 2820), _Morning on the River_ (No. 2824), and _The Banks of the Oise_ (No. 2823). _The Vintage in Burgundy_ (No. 184), which was bought by the State at the ridiculously low price of £400, is a picture of unusually large dimensions for an artist who generally needed but a small surface to express his ardent worship of nature. The delicious _Spring_ (No. 185), with its blossoming apple trees and young grass, must be counted among his finest achievements. It is a picture that fills the heart of the beholder with the joy and contentment engendered by the blithe atmosphere of a bright spring day in the country. MILLET