eep in
tone was shared by all painters of Rousseau's time, and lingers still
in the minds of many, despite the fact that nature has created the
tea-rose as well as the orange. When, however, Rousseau was completely
successful--as, for instance, in the "Hoar-frost," in the Walters
gallery in Baltimore--the reward of his painstaking methods was
measurably great. In such works as this the rendition of effect, the
certainty of modelling, the sustained power throughout the work,
lift it beyond mere transcription of fact into the realm of typical
creations which appear more true than average reality.

[Illustration: A SHEPHERD AND HIS FLOCK. FROM A PAINTING BY CHARLES
EMILE JACQUE.

A typical example of the master, solidly painted, though, as was often
his habit, somewhat forced in effect.]

Of the life of Rousseau as the head of the little colony of painters
who for longer or shorter periods resided at Barbizon, much could
be said if space permitted. It is pleasant to think that the more
prosperous Rousseau helped with purse and influence his comrades, and
that, by nature sad and irritable, he was always considerate of them
in the many discussions which took place. Corot, ill at ease in the
revolutionary atmosphere, made an occasional appearance. Diaz, he of
meridional extraction, turbulent and emphatic, stamped his wooden leg,
and was as illogical in debate as in painting. Charles Jacque, with
the keen smile and the facility for absorbing ideas from the best of
them; Ziem even, who painted Venice for some years in the shades of
Fontainebleau; Dupre, whose nature expresses itself in deep sunsets
gleaming through the oaks of the forest; Daubigny, the youngest of the
group, and the more immediate forerunner of landscape as it is to-day,
then winning his first success; Decamps, who later sometimes left
the Imperial Court, domiciled for the moment at the palace of
Fontainebleau, and brought his personality of a great painter who
failed through lack of elementary instruction, among them; Daumier,
the great caricaturist, and possibly greater painter, but for the
engrossing character of the work which first fell in his way--all
these and more made up the constantly shifting group. The first
innkeeper of the place and his wife, whose hyphenated name,
Luniot-Ganne, commemorated their union, kept for many years on the
walls, the panels of the doors, and on odd cabinets and bits of
furniture, _souvenirs_ of the passage of all these