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A Guelf, a Ghibelline! A Delacroix, an Ingres! Meissonier sat quietly in the Louvre and copied Jan van Eyck's Madonna from Autun. And a Netherlandish
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did he remain all his days. He first earned his bread as an illustrator, but after 1834 he began to exhibit all manner of pieces from the time of Louis XIV and Louis XV--the
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Bourgeois hollandais rendant Visite au Bourgmestre of 1834, the
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Chess Players of Holbein's Time, 1835, the
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Monk at the Sickbed, 1838, the
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English Doctor and the
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Man Reading, 1840. The Salon of 1841 was for him what that of 1824 had been for Delacroix and Ingres, and that of 1831 for Delaroche: the cradle of his fame.
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The Chess Party (17 cm. high and 11 cm. broad) was the most celebrated picture of the exhibition. The great Netherlandish
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of the seventeenth century, till then scarcely known and little appreciated, were brought out for comparison.
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Has Terborg or Mieris or Meissonier done the greater work? was the question. People marvelled at the sharpness of this short-sighted eye which had a perception for the smallest details.
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Good heavens! look at the way that's been done, said the Philistine, taking a magnifying glass; and felt himself a connoisseur if the curator at his elbow called out,
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Not too near! Even his first pictures had an accuracy and finish which defies description. It seemed as if a most admirable Netherlandish painter in miniature scale had arisen. The execution of his design in colours was as slow, careful, and laborious as were his preparatory studies for costume: every touch was altered and altered again; many a picture which was almost ready was thrown aside, scraped out, and completely recast. Not hot-headed enthusiasts, but