. Art in France. ards the middle of the century, sculpture had recovered fromthe Romantic emotion. Jehan du Seigneur and Preault had not suc-ceeded in subduing their material. Rude, indeed, had convulsedhis figures with modern passion, but for the most part he had pre-served the attitudes of antique heroism. Barye alone had adoptedfreer methods, because he had modelled the muscles of the largerwild beasts. But from Cortot to Pradier, and from Pradier toGuillaume, sculpture had retained the Graeco-Roman roundedmodelling and proportions. Eugene Guillaumes figures (1822-1905) seem to demonstrate
. Art in France. ards the middle of the century, sculpture had recovered fromthe Romantic emotion. Jehan du Seigneur and Preault had not suc-ceeded in subduing their material. Rude, indeed, had convulsedhis figures with modern passion, but for the most part he had pre-served the attitudes of antique heroism. Barye alone had adoptedfreer methods, because he had modelled the muscles of the largerwild beasts. But from Cortot to Pradier, and from Pradier toGuillaume, sculpture had retained the Graeco-Roman roundedmodelling and proportions. Eugene Guillaumes figures (1822-1905) seem to demonstrate that living forms are merely those of asomewhat imperfect ge-ometry ; he reduced themost irregular forms tosimple planes, and de-duced a generalised modelfrom the living cast beautiful Romantypes in bronze and likedto carve in marble curlingbeards and the pliant foldsof the toga. His works,which are marked by apure and somewhat colddistinction, are those ofa pupil of the his intelligence was. no. 000.— WIFE AND HER SISTERS. (The Luxembourg, Paris.) 436 NATURALISM
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