ness, and an exaggeration of
dramatic effect, over every other quality. Nicolas Poussin's quiet
refinement of style became in Le Brun what is called academic
(conventionally learned), pompous, and grandiose, and men decidedly
preferred the degeneration. But later critics, who have not the natural
partiality of the French to the old master, return to their first loves,
and condemn Le Brun's swelling violence, both in the tints and poses of
his figures. Among his most famous works, which have been magnificently
engraved, are his 'Battles of Alexander.'

Antoine Watteau was born at Valenciennes in 1684. A very different
painter from Le Brun, he was yet as characteristic of French art in the
reign of Louis XIV. I think my readers must be familiar with his name,
and I dare say they associate it, as I do, not only with the fans which
were painted largely after his designs, but with mock pastorals and
Sevres china. I don't know if his birth-place at Valenciennes, with its
chief product of dainty lace, had anything to do with it, but the other
items of poor Watteau's history are considerably removed from the very
artificial grace which one connects with his name. He was the son of a
carpenter, and struggled up, by the hard instrumentality of third-rate
masters and of picture-dealers, to the rank which he attained among
artists, taking his stand from the first, however, as the painter of
well-bred, well-apparelled people--the frequenters of _bals masques,_
and _fetes champetres,_ who were only playing at shepherds and
shepherdesses.

Watteau was elected an Academician in 1717, when he was thirty-three
years of age, and he afterwards came to England, but did not remain
there. He died of consumption at Nogent-sur-Marne in 1721, when he was
thirty-six years of age.[34] Watteau's gifts were his grace and
brilliance on a small scale. He did not draw well; as to design, his
composition may be said to be suited to such a work as the collection of
'fashionable figures,' which he engraved and left behind him. Yet, if we
were to see at this moment some of his exquisite groups of ladies in
sacques and Watteau hats, and cavaliers in flowing wigs and lace,
cravats, I have no doubt that the most of us would admire them much, for
they are exceedingly pretty, and exceeding prettiness is attractive,
particularly to women. But I would have my readers to remember that this
art is a finical and soulless art, after all. I would fain have them
take