Finally, about 1896, Degas has revealed himself as a dreamy landscapist. His recent landscapes are symphonies in colours of strange harmony and hallucinations of rare tones, resembling music rather than painting. It is perhaps in these pictures that he has revealed certain dreams hitherto jealously hidden. And now I must speak of his technique. It is very singular and varied, and one of the most complicated in existence. In his first works, which are apparently as simple as Corot's, he does not employ the process of colour-spots. But many of the works in his second manner are a combination of drawing, painting and pastel. He has invented a kind of engraving mixed with wash-drawing, pastel crayon crushed with brushes of special pattern. Here one can find again his meticulous spirit. He has many of the qualities of the scientist; he is as much chemist as painter. It has been said of him, that he was a great artist of the decadence. This is materially inexact, since his qualities of draughtsmanship are those of a superb Classicist, and his colouring of very pure taste. But the spirit of his work, his love of exact detail, his exaggerated psychological refinement, are certainly the signs of an extremely alert intellect who regards life prosaically and with a lassitude and disenchantment which are only consoled by the passion for truth. Certain water-colours of his heightened by pastel, and certain landscapes, are somewhat disconcerting through the preciousness of his method; others are surprisingly spontaneous. All his work has an undercurrent of thought. In short, this Realist is almost a mystic. He has observed a limited section of humanity, but what he has seen has not been seen so profoundly by anybody else. [Illustration: DEGAS HORSES IN THE MEADOWS]