ast, and illuminating its
poetry; and it is no wonder that some of the younger artists rejoiced
in the new world of anecdote and story that opened so richly before
them.

However it came about--whether his own interest in the antique life
communicated itself to his fellows, or whether they, all together,
simply shared in the interest taken in the subject by the world about
them--Gerome and some of his companions in Delaroche's studio showed
such a predilection for classic themes, that they were nicknamed by
the critics "The New Greeks." Among Gerome's fellow-pupils were two
young men, Hamon and Aubert, who later gained no small applause by
their playful and familiar way of treating classic themes. They are
well known to us by engravings from their pictures, which are in all
our shops. Hamon's "My Sister is not at home," and Aubert's various
pretty fancies of nymphs and cupids, while they are not great works of
art, are reasonably sure of a long life, due to their innocent
freshness and simplicity.

Delaroche's pupils were working all together in friendly competition
for the grand Roman prize which was to give the fortunate one the
right to four years' study in Rome at the expense of the state.
Gerome's studio was shared by his friends Picou and Hamon. Hamon,
writing in later years about his youthful days, says: "Companions and
rivals at the same time, we were all working together for the Grand
Prix de Rome. Gerome inspired us all with the love of hard work, and
of hard work to the accompaniment of singing and laughing."

But in the intervals of his hard work for the prize, Gerome was also
working on a picture which he hoped to have accepted for the Salon.
This was the picture we spoke of in the beginning of this notice: "Two
Young Greeks stirring-up Game-cocks to fight." When it was finished
Gerome showed it to his master with many misgivings; but Delaroche
encouraged him to send it to the Salon. It was accepted, and as we
have seen, won for Gerome a great success with the public. The next
year, 1848, he again exhibited, but the impression he made was less
marked than on the first occasion. His former picture had a subject
such as it was, of his own devising. The "Cock-fight" was not an
illustration of any passage in Greek poetry, and in spite of its
antique setting, it had a modern air, and to this, no doubt, its
popularity was largely due. But in 1848 he essayed an illustration of
the Greek poet, Anacreon, transla