. Art in France. on on sleeping villages (Figs. 837, 838, 841). JulesBretons peasant girls are, as Millet remarked, too pretty to stay intheir villages. They certainly do not lack coquetry, and the sun whenit sets throws a becoming light over these young girls, dressed in rags,who take the attitudes of canephorae. Lhermittes labourers havea kind of majesty. His sunburnt reapers and robust washerwomenare real rustic workers. Harpignies, an accomplished draughtsmanof branch and foliage, sup-pressed human figures in hislandscape, and painted simpli-fied oak-trees with a confidenceunknown to Rouss
. Art in France. on on sleeping villages (Figs. 837, 838, 841). JulesBretons peasant girls are, as Millet remarked, too pretty to stay intheir villages. They certainly do not lack coquetry, and the sun whenit sets throws a becoming light over these young girls, dressed in rags,who take the attitudes of canephorae. Lhermittes labourers havea kind of majesty. His sunburnt reapers and robust washerwomenare real rustic workers. Harpignies, an accomplished draughtsmanof branch and foliage, sup-pressed human figures in hislandscape, and painted simpli-fied oak-trees with a confidenceunknown to Rousseau (). The realistic spirit, makingitself felt in every branch of transformed history-paint-ing. Planned for the use ofa society of humanists, it hadnever ceased to be a recon-struction of the ancient growth of historical curi-osity, the discoveries of archae-ology, and finally the victoriesof the naturalistic painters,modified it greatly in the second half of the nineteenth centurv. 400. 8,^(1. Mil I IT. MOTHKR FEEDINO HER( HUP. (Musium, Marseilles.) NATURALISM
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