marvellously represented by the _Moulin de la Galette_, which is one of
his masterpieces. Degas figures with seven beautiful pastels, Monet with
some landscapes grand in style; Sisley and Pissarro appear scarcely to
their advantage, and finally it is to be regretted, that Manet is only
represented by a study in black in his first manner, the _Balcony_,
which does not count among his best pictures, and the famous _Olympia_
whose importance is more historical than intrinsic. The gallery has
separately acquired a _Young Girl in Ball Dress_ by Berthe Morisot,
which is a delicate marvel of grace and freshness. And in the place of
honour of the gallery is to be seen Fantin-Latour's great picture
_Hommage à Manet_, in which the painter, seated before his easel, is
surrounded by his friends; and this canvas may well be considered the
emblem of the slow triumph of Impressionism, and of the amends for a
great injustice.

It is in this picture that the young painter Bazille is represented, a
friend and pupil of Manet's, who was killed during the war of 1870, and
who should not be forgotten here. He has left a few canvases marked by
great talent, and would no doubt have counted among the most original
contemporary artists. We shall terminate this all too short enumeration
with two remarkable landscapists; the one is Albert Lebourg who paints
in suave and poetic colour schemes, with blues and greens of particular
tenderness, a painter who will take his place in the history of
Impressionism. The other is Eugène Boudin. He has not adopted Claude
Monet's technique; but I have already said that the vague and inexact
term "Impressionism" must be understood to comprise a group of painters
showing originality in the study of light and getting away from the
academic spirit. As to this, Eugène Boudin deserves to be placed in the
first rank. His canvases will be the pride of the best arranged
galleries. He is an admirable seascape painter. He has known how to