. The list of these latter begins, if we except some
delightful decoration for one of the Champs-Elysees palaces, with a
statue called "La Brodeuse," which won for him a medal at the Salon of
1870. Since then his production has been prodigious in view of its
originality, of its lack of the powerful momentum extraneously supplied
to the productive force that follows convention and keeps in the beaten
track.

His numerous peasant subjects at one time led to comparison of him with
Millet, but the likeness is of the most superficial kind. There is no
spiritual kinship whatever between him and Millet. Dalou models the
Marquis de Dreux-Breze with as much zest as he does his "Boulonnaise
allaitant son enfant;" his touch is as sympathetic in his Rubens-like
"Silenus" as in his naturalistic "Berceuse." Furthermore, there is
absolutely no note of melancholy in his realism--which, at the present
time, is a point well worth noting. His vivacity excludes the pathetic.
Traces of Carpeaux's influence are plain in his way of conceiving such
subjects as Carpeaux would have handled. No one could have come so
closely into contact with that vigorous individuality without in some
degree undergoing its impress, without learning to look for the alert
and elegant aspects of his model, whatever it might be. But with
Carpeaux's distinction Dalou has more poise. He is considerably farther
away from the rococo. His ideal is equally to be summarized in the word
Life, but he cares more for its essence, so to speak, than for its
phenomena, or at all events manages to make it felt rather than seen.
One perceives that humanity interests him on the moral side, that he is
interested in its significance as well as its form. Accordingly with him
the movement illustrates the form, which is in its turn truly
expressive, whereas occasionally, so bitter was his disgust with the
pedantry of the schools, with Carpeaux the form is used to exhibit
movement. Then, too, M. Dalou has a certain nobility which Carpeaux's
vivacity is a shade too animated to reach. Motive and treatment blend in
a larger sweep. The graver substance follows the planes and lines of a
statelier if less brilliant style. It _has_, in a word, more style.

I can find no exacter epithet, on the whole, for Dalou's large
distinction, and conscious yet sober freedom, than the word Venetian.
There is some subtle phrenotype that associates him with the great
colorists. His work is, in fact, full of c