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“Time passed—three years nearly. I was wintering in the south of France that year. There it was that I met her—Lucille. Old D’Avray, her father, and I had met before in Algeria. He was dying now. He left the child on his death-bed to me. The end was I married her. “Poor little thing! I think I might have made her happy—who knows? She used to tell me often she was happy with me. Poor little thing!
His art is less impressive for composite quality, than, for example, that of Mauve, who, in the same simple range of subject, sought to produce a perfect composition every time. In the “Lake at Ville d’Avray,” we have one of Corot’s happiest subjects, though not especially characteristic.
Auguste Bonheur’s large cattle-piece, Inness’ “Autumn Oaks,” Corot’s “Ville d’Avray,” Knaus’ “Madonna,” Cabanel’s kneeling female figure, Koybet’s “Card Players,” “Jean d’Arc,” by Bastian Lepage; “The Baloon,” by Julian Dupré; Wylie’s “Death of the Vendean Chief,” Leutze’s “Crossing of the Delaware,” Meissonier’s “1807,” the three pictures of Turner, “Milton Dictating to His Daughters,” by Munkacsy, and Knaus’ “Bow at a Peasants’ Ball.” This list contains the most important works of these collections, and others might easily be added.
If it appears there, the eye is thrown off of the elliptical track. If the reader will compare the “Lake at Ville d’Avray” by Corot with his “Orpheus and Eurydice,” the charm in the former may reveal itself more completely through the jar to which the latter subjects us.
“When old D’Avray came home to die, his daughter was just leaving her Paris pensionnat. All through his last illness he had seen no visitor but me, and Lucille had never quitted him. Besides, I had been there all the time. I presumed, then, that this man and she had met in Paris; and I believe they were only likely to have met at one of the half-dozen houses where the child would now and again be asked. I got a list of all these. One name only struck me; it happened to be a German name—Steinmetz. I wondered if Monsieur Steinmetz was my man. In the mean time, who was he? I had no trouble in finding that out: Monsieur Steinmetz was a German banker of good standing and repute, reasonably well off, and recently left a widower. Personally? Dame, personally Monsieur Steinmetz was a great man and a fat, with a big face and blond hair, and the appearance of what he really was—a bon vivant and a bon enfant yet n’avait jamais fait de mal
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