be pitied.  I have had the honor to explain my position to Madame la Dauphine.  At the time of the marriage, it was a question of saving to the family a million of francs which my uncle had left by will to that person.  Happily, my wife took to drinking; at her death, I come into possession of that million, which is now in the hands of Mongenod and Sons.  I have thirty thousand francs a year in the five per cents, and my landed property, which is entailed, brings me in forty thousand more.  If, as I am led to suppose, Monsieur de Soulanges gets a marshal’s baton, I am on the high-road with my title of Comte de Brambourg, to becoming general and peer of France.  That will be the proper end of an aide-de-camp of the Dauphin.”

After the Salon of 1823, one of the leading painters of the day, a most excellent man, obtained the management of a lottery-office near the Markets, for the mother of Joseph Bridau.  Agathe was fortunately able, soon after, to exchange it on equal terms with the incumbent of another office, situated in the rue de Seine, in a house where Joseph was able to have his atelier.  The widow now hired an agent herself, and was no longer an expense to her son.  And yet, as late as 1828, though she was the directress of an excellent office which she owed entirely to Joseph’s fame, Madame Bridau still had no belief in that fame, which was hotly contested, as all true glory ever will be.  The great painter, struggling with his genius, had enormous wants; he did not earn enough to pay for the luxuries which his relations to society, and his distinguished position in the young School of Art demanded.  Though powerfully sustained by his friends of the Cenacle and by Mademoiselle des Touches, he did not please the Bourgeois.  That being, from whom comes the money of these days, never unties its purse-strings for genius that is called in question; unfortunately, Joseph had the classics and the Institute, and the critics who cry up those two powers, against him.  The brave artist, though backed by Gros and Gerard, by whose influence he was decorated after the Salon of 1827, obtained few orders.  If the ministry of the interior and the King’s household were with difficulty induced to buy some of his greatest pictures, the shopkeepers and the rich foreigners noticed them still less.  Moreover, Joseph gave way rather too much, as we must all acknowledge, to imaginative fancies, and that produced a certain inequality in his work which his enemies made use of to deny his talent.

“High art is at a low ebb,” said his friend Pierre Grassou, who made daubs to suit the taste of the bourgeoisie, in whose appartements fine paintings were at a discount.

“You ought to have a whole cathedral to decorate; that’s what you want,” declared Schinner; “then you would silence criticism with a master-stroke.”