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of our faces scattered about the composition。 Day after day； when work
was over； we would hoist the big canvas by means of a system of ropes
and pulleys； from a perpendicular to the horizontal position it was to
occupy permanently； and then sit straining our necks and discussing the
progress of the work until the tardy spring twilight warned us to depart。
The year 1877 brought Carolus…Duran the MEDAILLE D'HONNEUR；
a crowning recompense that set the atelier mad with delight。 We
immediately organized a great （but economical） banquet to commemorate
the event； over which our master presided； with much modesty；
considering the amount of incense we burned before him； and the speeches
we made。 One of our number even burst into some very bad French verses；
asserting that the painters of the world in general fell back before him …
。 。 。 EPOUVANTES … CRAIGNANT EGALEMENT SA BROSSE ET
SON EPEE。
This allusion to his proficiency in fencing was considered particularly
neat； and became the favorite song of the studio； to be howled in and out
of season。
Curiously enough； there is always something in Carolus…Duran's
attitude when at work which recalls the swordsman。 With an enormous
palette in one hand and a brush in the other； he has a way of planting
himself in front of his sitter that is amusingly suggestive of a duel。 His
lithe body sways to and fro； his fine leonine face quivers with the intense
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study of his model； then with a sudden spring forward； a few rapid touches
are dashed on the canvas （like home strokes in the enemy's weakest spot）
with a precision of hand acquired only by long years of fencing。
An order to paint the king and queen of Portugal was the next step on
the road to fame； another rung on the pleasant ladder of success。 When this
work was done the delighted sovereign presented the painter with the
order of 〃Christ of Portugal；〃 together with many other gifts； among which
a caricature of the master at work； signed by his sitter； is not the least
valued。
When the great schism occurred several years ago which rent the art
world of France； Carolus…Duran was elected vice… president of the new
school under Meissonier； to whose office he succeeded on that master's
death； and now directs and presides over the yearly exhibition known as
the SALON DU CHAMP DE MARS。
At his chateau near Paris or at Saint Raphael； on the Mediterranean；
the master lives； like Leonardo of old； the existence of a grand seigneur；
surrounded by his family； innumerable guests； and the horses and dogs he
loves； … a group of which his ornate figure and expressive face form the
natural centre。 Each year he lives more away from the world； but no more
inspiriting sight can be imagined than the welcome the president receives
of a 〃varnishing〃 day； when he makes his entry surrounded by his pupils。
The students cheer themselves hoarse； and the public climbs on everything
that comes to hand to see him pass。 It is hard to realize then that this is the
same man who； not content with his youthful progress； retired into an
Italian monastery that he might commune face to face with nature
undisturbed。
The works of no other painter give me the same sensation of quivering
vitality； except the Velasquez in the Madrid Gallery and； perhaps； Sargent
at his best； and one feels all through the American painter's work the
influence of his first and only master。
〃TOUT CE QUI N'EST PAS INDISPENSABLE EST NUISIBLE；〃 a
phrase which is often on Carolus…Duran's lips； may be taken as the
keynote of his work； where one finds a noble simplicity of line and color
scheme； an elimination of useless detail； a contempt for tricks to enforce
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an effect； and above all a comprehension and mastery of light； vitality； and
texture … those three unities of the painter's art … that bring his canvases
very near to those of his self…imposed Spanish master。
Those who know the French painter's more important works and his
many splendid studies from the nude； feel it a pity that such masterpieces
as the equestrian portrait of Mlle。 Croisette； of the Comedie Francaise； the
REVEIL； the superb full length of Mme。 Pelouse on the Terrace of
Chenonceau； and the head of Gounod in the Luxembourg； could not be
collected into one exhibition； that lovers of art here in America might
realize for themselves how this master's works are of the class that typify a
school and an epoch； and engrave their author's name among those
destined to become household words in the mouths of future generations。
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CHAPTER 15 … The Grand Opera
Fad
WITHOUT being more curious than my neighbors； there are several
social mysteries that I should like to fathom； among others； the real
reasons that induce the different classes of people one sees at the opera to
attend that form of entertainment。
A taste for the theatre is natural enough。 It is also easy to understand
why people who are fond of sport and animals enjoy races and dog shows。
But the continued vogue of grand opera； and more especially of Wagner's
long…drawn…out compositions； among our restless； unmusical compatriots；
remains unexplained。
The sheeplike docility of our public is apparent in numberless ways； in
none； however； more strikingly than in their choice of amusements。 In
business and religion； people occasionally think for themselves； in the
selection of entertainments； never！ but are apparently content to receive
their opinions and prejudices ready…made from some unseen and
omnipotent Areopagus。
The careful study of an opera audience from different parts of our
auditorium has brought me to the conclusion that the public there may be
loosely divided into three classes … leaving out reporters of fashionable
intelligence； dressmakers in sear