the Spanish painter. Roybet
(1840-) is fond of rich stuffs and tapestries with velvet-clad
characters in interiors, out of which he makes good color effects.
Bonvin (1817-1887) and Mettling have painted the interior with small
figures, copper-kettles, and other still-life that have given
brilliancy to their pictures. As a still-life painter Vollon (1833-)
has never had a superior. His fruits, flowers, armors, even his small
marines and harbor pieces, are painted with one of the surest brushes
of this century. He is called the "painter's painter," and is a man of
great force in handling color, and in large realistic effect. Dantan
and Friant have both produced canvases showing figures in interiors.

A number of excellent _genre_ painters have been claimed by the
impressionists as belonging to their brotherhood. There is little to
warrant the claim, except the adoption to some extent of the modern
ideas of illumination and flat painting. Dagnan-Bouveret (1852-) is
one of these men, a good draughtsman, and a finished clean painter who
by his recent use of high color finds himself occasionally looked upon
as an impressionist. As a matter of fact he is one of the most
conservative of the moderns--a man of feeling and imagination, and a
fine technician. Fantin-Latour (1836-1904) is half romantic, half
allegorical in subject, and in treatment oftentimes designedly vague
and shadowy, more suggestive than realistic. Duez (1843-) and Gervex
(1848-) are perhaps nearer to impressionism in their works than the
others, but they are not at all advance advocates of this latest phase
of art. In addition there are Cottet and Henri Martin.

[Illustration: FIG. 68.--MEISSONIER. NAPOLEON IN 1814.]

THE IMPRESSIONISTS: The name is a misnomer. Every painter is an
impressionist in so far as he records his impressions, and all art is
impressionistic. What Manet (1833-1883), the leader of the original
movement, meant to say was that nature should not be painted as it
actually is, but as it "impresses" the painter. He and his few
followers tried to change the name to Independents, but the original
name has clung to them and been mistakenly fastened to a present band
of landscape painters who are seeking effects of light and air and
should be called luminists if it is necessary for them to be named at
all. Manet was extravagant in method and disposed toward low life for
a subject, which has always militated against his popularity; but he
was a