principle of mosaic, which is the principle _par excellence_ of mural
art.

The Pointillists have to-day almost abandoned this transitional theory
which, in spite of the undeniable talent of its adepts, has only
produced indifferent results as regards easel pictures. Besides Seurat
and Signac, mention should be made of Maurice Denis, Henri-Edmond Cross,
Angrand, and Théo Van Rysselberghe. But this last-named and Maurice
Denis have arrived at great talent by very different merits. M. Maurice
Denis has abandoned Pointillism a few years ago, in favour of returning
to a very strange conception which dates back to the Primitives, and
even to Giotto. He simplifies his drawing archaically, suppresses all
but the indispensable detail, and draws inspiration from Gothic stained
glass and carvings, in order to create decorative figures with clearly
marked outlines which are filled with broad, flat tints. He generally
treats mystic subjects, for which this special manner is suitable. One
cannot love the _parti pris_ of these works, but one cannot deny M.
Denis a great charm of naivete, an intense feeling for decorative
arrangements and colouring of a certain originality. He is almost a
French pre-Raphaelite, and his profound catholic faith inspires him
nobly.

[Illustration: THÉO VAN RYSSELBERGHE

PORTRAITS OF MADAME VAN RYSSELBERGHE AND HER DAUGHTER]

M. Théo Van Rysselberghe continues to employ the Pointillist method. But
he is so strongly gifted, that one might almost say he succeeds in
revealing himself as a painter of great merit in spite of this dry and
charmless method. All his works are supported by broad and learned