and one of the most complicated in existence. In his first works, which
are apparently as simple as Corot's, he does not employ the process of
colour-spots. But many of the works in his second manner are a
combination of drawing, painting and pastel. He has invented a kind of
engraving mixed with wash-drawing, pastel crayon crushed with brushes of
special pattern. Here one can find again his meticulous spirit. He has
many of the qualities of the scientist; he is as much chemist as
painter. It has been said of him, that he was a great artist of the
decadence. This is materially inexact, since his qualities of
draughtsmanship are those of a superb Classicist, and his colouring of
very pure taste. But the spirit of his work, his love of exact detail,
his exaggerated psychological refinement, are certainly the signs of an
extremely alert intellect who regards life prosaically and with a
lassitude and disenchantment which are only consoled by the passion for
truth. Certain water-colours of his heightened by pastel, and certain
landscapes, are somewhat disconcerting through the preciousness of his
method; others are surprisingly spontaneous. All his work has an
undercurrent of thought. In short, this Realist is almost a mystic. He
has observed a limited section of humanity, but what he has seen has not
been seen so profoundly by anybody else.

[Illustration: DEGAS

HORSES IN THE MEADOWS]

Degas has exercised an occult, but very serious, influence. He has lived
alone, without pupils and almost without friends; the only pupils one
might speak of are the caricaturist Forain, who has painted many small
pictures inspired by him, and the excellent American lady-artist Miss
Mary Cassatt. But all modern draughtsmen have been taught a lesson by