orry enough, so
that in the future she will not be tempted to return to the fountain!"

The heroine of the broken pitcher is dressed in white, has blue eyes and
auburn hair, cherry lips, and pink-and-white complexion.

For twenty-five years Greuze was the fashion in Paris. With all his
faults, he was immeasurably superior to his French contemporaries, and
his work was a decided step towards a new era. With the great political
and social changes inaugurated in France early in the nineteenth
century, an entirely new style of art, literary and graphic, was made
possible, and a new school of painters arose to portray French peasant
life.

No modern artist has chosen a field which exactly corresponds to that of
Greuze, the tendency being rather to neglect the child element to which
he devoted so much energy. One painter may be mentioned, however, who
has contributed a few valuable additions to this department of
art,--William Adolphe Bouguereau.

The remarkable number of works which Bouguereau has produced since his
first great success in 1854 have made him distinguished for a large
variety of subjects; but the pictures by which he has touched the hearts
of the people are those in which he portrays the peasants of his own
sunny land,--sweet, shy, dark-eyed girls, with masses of black hair
pushed back loosely from their foreheads.

One is a Little Shepherdess, who stands with careless grace poising a
crook across her shoulders, while her eyes meet ours with a frank yet
modest gaze. Again the same girl rests from her labors, sitting on a
stone, lost in revery. Another sweet child is the girl seated by a well,
with a broken pitcher lying on the ground beside her. Her hands are
clasped on her knee, as she bends slightly forward in a pensive
attitude, her large eyes full of childish pathos. Cajolery also belongs
to this set, and is so named from the caresses with which a little girl
begs some favor of an older sister, whose merry eyes show that she
fully understands the secrets of child diplomacy.

Younger than any of these children is the bewitching little gypsy, whose
tangled curls frame a round, dimpled face, with rosebud mouth, and big
black eyes looking bashfully askance. There is a peculiar charm in the
child's shyness, as if, like some wild creature of the woods, she would
turn and flee before a nearer approach.

Bouguereau's work, academic in style, and always refined and elegant in
manner, has qualities of artist