the effects of sunlight feebly piercing the prevailing grey.  His numerous pictures painted at the port of Havre are profoundly expressive.  Nobody has excelled him in drawing sailing-boats, in giving the exact feeling of the keels plunged into the water, in grouping the masts, in rendering the activity of a port, in indicating the value of a sail against the sky, the fluidity of calm water, the melancholy of the distance, the shiver of short waves rippled by the breeze.  Boudin is a learned colourist of grey tones.  His Impressionism consists in the exclusion of useless details, his comprehension of reflections, his feeling for values, the boldness of his composition and his faculty of directly perceiving nature and the transparency of atmosphere:  he reminds sometimes of Constable and of Corot.  Boudin’s production has been enormous, and nothing that he has done is indifferent.  He is one of those artists who have not a brilliant career, but who will last, and whose name, faithfully retained by the elect, is sure of immortality.  He may be considered an isolated artist, on the border line between Classicism and Impressionism, and this is unquestionably the cause of the comparative obscurity of his fame.  The same might be said of the ingenuous and fine landscapist Hervier, who has left such interesting canvases; and of the Lyons water-colour painter Ravier who, almost absolutely unknown, came very close to Monticelli and showed admirable gifts.  It must, however, be recognised that Boudin is nearer to Impressionism than to any other grouping of artists, and he must be considered as a small master of pure French lineage.  Finally, if a question of nationality prevents me from enlarging upon the subject of the rank of precursor which must be accorded to the great Dutch landscapist Jongkind, I must at least mention his name.  His water-colour sketches have been veritable revelations for several Impressionists.  Eugene Boudin and Berthe Morisot have derived special benefit from them, and they are valuable lessons for many young painters of the present day.

[Illustration:  JONGKIND

IN HOLLAND]

[Illustration:  JONGKIND

VIEW OF THE HAGUE]

We do not pretend to have mentioned in this chapter all the painters directly connected with the first Impressionist movement.  We have confined ourselves to enumerating the most important only, and each of them would deserve a complete essay.  But our object will have been achieved, if we have inspired art-lovers with just esteem for this brave phalanx of artists who have proved better than any aesthetic commentaries the vitality, the originality, and the logic of Manet’s theories, the great importance of the notions introduced by him into painting, and who have, on the other hand, clearly demonstrated the uselessness of official teaching.  Far from the traditions and methods of the School, the best of their knowledge and of their talent is due to their profound and sincere contemplation of nature and to their freedom of spirit.  And for that reason they will have a permanent place in the evolution of their art.