During this period of study he was carefully considering under what master he should place himself. His choice unhappily fell upon Delaroche. To any one acquainted with the work of the latter master, a more unsuitable selection could not have been made. Delaroche and the painters who surrounded him can be appropriately described as constituting the back-wash of the Empire style, which had reached its climax with David. His subjects were always treated with academic reserve. No pyrotechnics were permitted; on the contrary, an everlasting and mistaken striving for finish was encouraged: originality was sternly suppressed. To paint human life as it really was, was too vulgar for any of the painters of this time. They held the public taste enslaved for years. An innovator such as Millet was destined to become found his position almost untenable. The band of critics and painters formed a monopoly which it seemed almost impossible to break down, and it was only after years of bitter and determined struggle that the school of nature finally routed its opponent. Delaroche doubtlessly found the peasant painter a little rude both in his person and in his ideas about art. He paid but little attention to the young man who had placed himself in his hands, and devoted all his time to students who were more amenable to his influence. A temperament so sensitive as Millet's was bound to notice this neglect, and consequently after a time he became so discouraged that he ceased to frequent Delaroche's studio. Another very good reason for this action was the lack of resources to continue his payments. Even during the time he had been with Delaroche he lost no opportunity of turning a few honest francs by painting the portraits of any who could be got to sit to him. Delaroche, however, had a more kindly heart than Millet imagined. He seems to have found out the real distress of the young artist, and to have assisted him pecuniarily in many ways, and there is no doubt that he appreciated the talent of the young Norman much more than he cared to own. Many of his remarks on record would serve to show that Delaroche already felt that his pupil was destined to be one of the leaders of the movement which was finally to overthrow his own style, and doubtlessly felt a great admiration for a man who had the courage and strength to swim against rather than with the current. [Illustration: PLATE VI.--SPRING (In the Louvre) It is probable that Millet wished this picture to be regarded rather as a symbolical representation of Spring, than as an actual study from Nature. The storm that has just passed over has been severe, but of short duration. The sun, breaking through the dense banks of clouds, reveals the splendours of the water-sodden landscape; the apple-trees full of bloom, the verdantly green grass, the young foliage on the distant trees, all reveal the benefit they have received from the downpour.] IV