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Room 15 shows some charming pieces, Lucien Simon's strongly contrasting work in the spiritual "Communicants" and his barbaric "Gondola" ; Domergue's "The Frog" , Besnard's glowing "Gipsy" , and Lemordant's "The Wind" . These last give a strong color to the room, relieved by Leroux' calm "Lake" , and Maury's delicate young girls . Room 16 is better balanced.

It has taken long years before such works were entrusted to Besnard, who, with Puvis de Chavannes, has given Paris her most beautiful modern decorations, but Besnard's work is the direct outcome of Claude Monet's harmonies. The principle of the division of tones and of the study of complementary colours has been full of revelations, and one of the most fruitful theories.

"But there is a shorter way," said Ricardo, running after him: "across the garden at the back and down the steps." "It will make no difference now," said Hanaud. They hurried along the drive and down the road which circled round the hotel and dipped to the town. Behind Hanaud's hotel Ricardo's car was waiting. "We must go first to Besnard's office.

For example, Sur la Terrasse, with its audacious crimson, like the imperious challenge of a trumpet; La Loge and its gorgeous fabrics; a Baigneuse in a light-green scheme; the quaint head of Jeanne Samary a rival portrait to Besnard's faun-like Réjane and a lot of Renoir's later experimentings, as fugitive as music; exploding bouquets of iridescence; swirling panels, depicting scenes from Tannhäuser; a flower garden composed of buds and blossoms in colour scales that begin at a bass-emerald and ascend to an altitudinous green where green is no longer green but an opaline reverberation.