Had Gustave Dore entered the art world of Paris in the conventional way,
the master might have toned down his exuberance, taught him reserve, and
gradually led him along until his tastes were formed and character
developed. And then, when he had found his gait and come to know his
strength, the name of Paul Gustave Dore might have stood out alone as a
bright star in the firmament--the one truly great modern.

Or, on the other hand, would the ossified discipline and set rules of a
school have shamed him into smirking mediocrity and reduced his native
genius to neutral salts?

Who will be presumptuous enough to say what would have occurred had not
this happened and that first taken place?

* * * * *

Before Gustave Dore had been in Paris a year his father died. Shortly
after, the Strassburg home was broken up, and Madame Dore followed her
son to Paris. Gustave's tireless pencil was bringing him a better income
than his father had ever made; and the mother and three sons lived in
comfort.

The mother admonished Gustave to apply himself to pure art, and not be
influenced by Philipon and the others who were making fortunes by his
genius. And this advice he intended to follow--not yet, but very soon.
There were "Rabelais" and Balzac's "Contes Drolatiques" to illustrate.
These done, he would then enter the atelier of one of the masters and
take his time in doing the highest work.

But before the books were done, others came, with retainers in advance.