es of varying value. In this respect he seemed
a connecting link between Corot and the present-day impressionists.
Michel (1763-1842), Huet (1804-1869), Chintreuil (1814-1873), and
Francais (1814-) were all allied in point of view with this group of
landscape painters, and among the late men who have carried out their
beliefs are Cazin,[7] Yon,[8] Damoye, Pointelin, Harpignies and
Pelouse[9] seem a little more inclined to the realistic than the
poetic view, though producing work of much virility and intelligence.

[Footnote 7: Died, 1901.]

[Footnote 8: Died, 1897.]

[Footnote 9: Died, 1890.]

Contemporary and associated with the Fontainebleau painters were a
number of men who won high distinction as

PAINTERS OF ANIMALS: Troyon (1810-1865) was the most prominent among
them. His work shows the same sentiment of light and color as the
Fontainebleau landscapists, and with it there is much keen insight
into animal life. As a technician he was rather hard at first, and he
never was a correct draughtsman, but he had a way of giving the
character of the objects he portrayed which is the very essence of
truth. He did many landscapes with and without cattle. His best pupil
was Van Marcke (1827-1890), who followed his methods but never
possessed the feeling of his master. Jacque (1813-[10]) is also of the
Fontainebleau-Barbizon group, and is justly celebrated for his
paintings and etchings of sheep. The poetry of the school is his, and
technically he is fine in color at times, if often rather dark in
illumination. Like Troyon he knows his subject well, and can show the
nature of sheep with true feeling. Rosa Bonheur (1822-[11]) and her
brother, Auguste Bonheur (1824-1884), have both dealt with animal
life, but never with that fine artistic feeling which would warrant
their popularity. Their work is correct enough, but prosaic and
commonplace in spirit. They do not belong in the same group with
Troyon and Rousseau.

[Footnote 10: Died, 1894.]

[Footnote 11: Died, 1899.]

[Illustration: FIG. 65.--ROUSSEAU, CHARCOAL BURNERS' HUT. FULLER
COLLECTION.]

THE PEASANT PAINTERS: Allied again in feeling and sentiment with the
Fontainebleau landscapists were some celebrated painters of peasant
life, chief among whom stood Millet (1814-1875), of Barbizon. The
pictorial inclination of Millet was early grounded by a study of
Delacroix, the master romanticist, and his work is an expression of
romanticism modified by an individual s