mical bondage, is pitched in a key of color which takes us
to a world where the sun shines through smoke; where the clouds float
heavily, filled with inky vapors; and the light shoots from behind the
trees explosively. It is a grave, rhythmic world, however; and if it
lacks the dewy atmosphere of Corot, it has an intensity which the more
sanely balanced painter seldom reached. Dupre, born at Nantes in 1812,
and dying near Paris, at the village of L'Isle-Adam, in 1889, made
his first important exhibit at the Salon in 1835, after a visit
to England, where he met Constable. This picture, "Environs of
Southampton," was typical of the work he was to do. A long waste of
land near the sea, the middle distance in deepest shadow, and richly
colored storm-clouds racing overhead; the foreground in sunlight,
enhanced by the artificial contrast of the rest of the picture; a
wooden dyke on which, together with two white horses near by, the
gleam of sunlight falls almost with a sound, so intensified is all the
effect, make up the picture. Dupre's work is generally keyed up to
the highest possible pitch, and it is no little merit that, with the
constant insistence on this note, it is seldom or never theatrical.

Constant Troyon, from sympathy of aim, is commonly included in this
group, although it was gradually, and after success achieved in
landscape, that his more powerful cattle pictures were produced, which
alone entitle him to the place. Born at Sevres in 1810, where his
father was employed at the manufactory of porcelain, he was thrown in
contact with Dupre and Diaz. He first exhibited at the Salon in 1832,
and for nearly twenty years was known as a landscape painter. His work
at that time was eclectic, sufficiently in touch with Rousseau, whose
acquaintance he had made, to be of interest, but never revolutionary
enough to alarm the academical juries of the Salon. In 1849, after
a visit to Holland, he turned his attention to animal painting, and
became in that field the first of his time. In common with his quondam
comrades in the porcelain manufactory, Troyon delighted in warmth and
richness of tone and color; but in the rendering of the texture and
color of cattle the quality availed him greatly, and as objects in his
foreground the landscape environment gained in depth by its judicious
use. Troyon will be chiefly remembered by the pictures painted from
1846 to 1858. The later years of his life, until his death in 1865,
were pa