von Hammer-Purgstall is published in
_Jahrbuecher der Literatur_ (Vienna, 1826), Bd. 35 and 36; names of musical
instruments, Bd. 36, p. 292 et seq. See also R. G. Kiesewetter, _Die Musik
der Araber, nach Originalquellen dargestellt_ (Leipzig, 1843, p. 91,
classification of instruments).

[12] _The Seven Seas_, part i. p. 153; _Jahrb. d. Literatur_, Bd. 36, p.
294.

[13] Fr. Rueckert, _Grammatik, Poetik und Rhetorik der Perser, nach dem
7^{ten} Bde. des Hefts Kolzum_ (Gotha, 1874), p. 80.

BARBIZON, a French village, near the forest of Fontainebleau, which gave
its name to the "Barbizon school" of painters, whose leaders were Corot,
Rousseau, Millet and Daubigny, together with Diaz, Dupre, Jacque, Francais,
Harpignies and others. They put aside the conventional idea of "subject" in
their pictures of landscape and peasant life, and went direct to the fields
and woods for their inspiration. The distinctive note of the school is seen
in the work of Rousseau and of Millet, each of whom, after spending his
early years in Paris, made his home in Barbizon. Unappreciated, poor and
neglected, it was not until after years of struggle that they attained
recognition and success. They both died at Barbizon--Rousseau in 1867 and
Millet in 1875. It is difficult now to realize that their work, so
unaffected and beautiful, should have been so hardly received. To
understand this, it is necessary to remember the conflicts that existed
between the classic and romantic schools in the first half of the 19th
century, when the classicists, followers of the tradition of [v.03 p.0389]
David, were the predominant school. The romantic movement, with Gericault,
Bonington and Delacroix, was gaining favour. In 1824 Constable's pictures
were shown in the Salon, and confirmed the younger men in their resolution
to abandon the lifeless pedantry of the schools and to seek inspiration
from nature. In those troubled times Rousseau and Millet unburdened their
souls to their friends, and their published lives contain many letters,
some extracts from which will express the ideals which these artists held
in common, and show clearly the true and firmly-based foundation on which
their art stands. Rousseau wrote, "It is good composition when the objects
represented are not there solely as they are, but when they contain under a
natural appearance the sentiments which they have stirred in our souls....
For God's sake, and in recompense for the life He has given