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Chrysler protested his own desire to listen. "We always like to hear about the old times," said young Le Brun, apologetically. "It's about a rascality of Zotique's, the droll boy, when we were young the delectable history of Mouton. Mouton, the servant of Père Galibert, who in those times was Curé, was a fat man, of the air of a tallow image. You know Legros the butcher's son, just like that.
More than once Professor Legros has described to the present writer the thrill of emotion that passed through him and his fellow-students when they saw the aged master enter the École des Beaux Arts at Paris.
To take the example nearest at hand: there was Monsieur Legros, the French master; well, Maria could twist him round her little finger. She only needed to pout her thick, red lips, or to give a coquettish twist to her plump figure, or to ogle him with her fine, bold, blue eyes, and the difficult questions in the lesson were sure to pass her by.
"Yes," said Theodore, and his voice sounded as if it came from a great distance and through cotton-wool, "I knew that you would be after that bracelet like a famished hyena after a bone, so I tied it securely inside the pocket of the blouse I was wearing, and left this with Legros, the landlord of the Trois Tigres. It was a good blouse; he lent me five francs on it.
It was to Legros he first addressed himself in a tone of strong indignation. "Monsieur," he said, "you can have no business to transact with a dying man, and your presence is not desired here. Might I request you to leave me alone with my patient?" "On my honour, Monsieur," cries the other, pale and stammering; "it was no doing of mine he would have it so."
The series of letters published as "Time and Tide by Weare and Tyne" were addressed to Thomas Dixon, a working cork-cutter of Sunderland, whose portrait by Professor Legros is familiar to visitors at the South Kensington Museum.
She was happy then, happier than she could ever be again, she thought despairingly, now that she had been taught so sore a knowledge of good and evil. The last evening of her father's life came suddenly before her; she seemed to hear again his last words to herself, to see the scene with Legros, the cards tumbling in a heap on the floor, his dying face.
At this despised Salon were to be found the names of Manet, Monet, Whistler, Bracquemont, Jongkind, Fantin-Latour, Renoir, Legros, and many others who have since risen to fame. Universal ridicule only fortified the friendships and resolutions of this group of men, and from that time dates the definite foundation of the Impressionist school.
These were printed on India paper, and mounted in the text, another process only possible in a magazine addressed to a few. The first volume also contained a very fine etching by M. Legros, and others by Cucinotta and Grenaud. Articles were contributed by Mr. F. T. Palgrave, Mr. Watkiss Lloyd, Mr. G. A. Simcox, and Mrs.
They were succeeded by inferior craftsmen, François Marchant of Orleans, and Nicolas Guybert of Chartres; and after them art went on sinking lower and lower, down to one Sieur Boudin, who had dared to sign his miserable puppets, down to the stupid conventionality of Jean de Dieu, Legros, Tuby, and Mazières, to the cold and pagan work of the seventeenth and eighteenth centuries.
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