encouragement
until he went to Rome to study.

Most of the paintings of that time were classical, including Greek
temples, shepherds, nymphs, or dryads, and such trees as cedars and
palms. That is why Millet's simple peasants and Corot's misty
landscapes were not appreciated.

At Rome, Corot became a great favorite among the students because of
his happy nature and the rollicking, jolly songs he could sing. But as
for his pictures,--they were considered very amusing.

However, one day as he sat sketching the Coliseum a friend who was
regarded as an authority on landscape painting praised his work. Corot
looked around expecting to be laughed at, but no,--the man was in
earnest. That evening, before all the other students, he remarked that
Corot might some day become the master of them all. This gave him
standing among the artists and was greatly appreciated by Corot, who
always felt that this praise was the beginning of his success. It was
not long after this that his pictures were exhibited and many honors
came to him.

Does it seem strange that Corot and Millet, looking upon the same
woods and people, living and painting so near each other, should
choose such different subjects? Corot saw the same poor, toilworn
peasants, and he helped them most generously when they asked him, but
as for painting them--he did not think of it. Millet saw the same
beautiful woods, fields, and sky, and loved them all, but to him the
peasant came first.

He said, "Corot's pictures are beautiful, but they do not reveal
anything new."

Corot said, "Millet's painting is for a new world; I do not feel at
home there. I am too much attracted to the old. I see therein great
knowledge, air, and depth, but it frightens me; I love better my
little music."

In speaking of another artist he said, "He is an eagle; I am only a
skylark. I send forth little songs in my gray clouds."

As success came to Corot he was most generous in helping others. Many
young artists came to study with him, but he would accept no pay for
his instruction and gladly did all he could to encourage and help them.

He did not have the heart to turn a beggar from his door, and often
had as many as twenty-five come to him in a day. The story is told of
a beggar who demanded a larger sum of money than Corot usually gave,
and was refused. After he left, the artist could not paint; his day
was spoiled. So he hurriedly ran out after the beggar, gave him the
money, and al