and the skill shown in drawing; but the most telling criticism against
them was their defect in coloring. Dore could draw, but could not color,
and the report was abroad that he was color-blind.

The only buyers for his pictures came from England and America. Paris
loved art for art's sake, and the Bible was not popular enough to make
its illustration worth while. "What is this book you are working on?"
asked a caller.

It was different in London, where Spurgeon preached every Sunday to three
thousand people. The "Dores" taken to London attracted much
attention--"mostly from the size of the canvases," Parisians said. But
the particular subject was the real attraction. Instead of reading their
daily "chapter," hard-working, tired people went to see a Dore Bible
picture where it was exposed in some vacant storeroom and tuppence
entrance-fee charged.

It occurred to certain capitalists that if people would go to see one
Dore, why would not a Dore gallery pay?

A company was formed, agents were sent to Paris and negotiations begun.
Finally, on payment of three hundred thousand dollars, forty large
canvases were secured, with a promise of more to come.

Dore took the money, and, the agents being gone, ran home to tell his
mother. She was at dinner with a little company of invited guests.
Gustave vaulted over the piano, played leap-frog among the chairs, and
turning a handspring across the table, incidentally sent his heels into
a thousand-dollar chandelier that came toppling down, smashing every dish
upon the table, and frightening the guests into hysterics.