as dangerous as false knowledge. Gauguin's symbolical intentions, like
those of his pupil Emile Bernard, are sincere, but are badly served by
minds which do not agree with their technical qualities, and both
Gauguin and Emile Bernard are most happily inspired when they are
painters pure and simple.

Next to Gauguin, among the seniors of the present generation and the
successors of Impressionism, should be placed the landscapist Armand
Guillaumin who, without possessing Sisley's delicate qualities, has
painted some canvases worthy of notice; and we must, finally, terminate
this far too summary enumeration by referring to one of the most gifted
painters of the French School of the day, M. Louis Anquetin. His is a
most varied talent whose power is unquestionable. He made his _début_
among the Neo-Impressionists and revealed the influence upon him of the
Japanese and of Degas. It may be seen that these two influences
predominate in the whole group. Then M. Anquetin became fascinated by
the breadth and superb freedom of Manet's works, and signed a series of
portraits and sketches, some of which are not far below so great a
master's. They are works which will surprise the critics, when our
contemporary painting will be examined with calm impartiality. After
these works, M. Anquetin gave way to his impetuous nature which led him
to decorative painting, and he became influenced by Rubens, Jordaens,
and the Fontainebleau School. He painted theatre curtains and
mythological scenes, in which he gave free rein to his sensual
imagination. In spite of some admirable qualities, it seems as though
the artist had strayed from his true path in painting these brilliant,
but somewhat declamatory works, and he has since returned to a more
modern and more direct painting. In all his changed conditions Anquetin
has shown a considerable talent, pleasing in its fine vigour,
impetuosity, brilliancy and sincerity. His inequality is perhaps the