Pointelin has received the usual honours France awards to her most distinguished citizens.

He has been decorated with the Legion of Honour, is “Hors Concours” at the Salon, and received (amongst many other like trophies) the Gold Medals at the Exhibitions of 1889 and 1900. His work is to be found in many of the public galleries of the country, including the Luxembourg. The note of his art is a certain refinement and aloofness which is rarely found in contemporary Salons. Of him it may be said: “Through his brain, as through the last alembic, is distilled the refined essence of that thought which began with the gods, and which they left him to carry out.”

Some time ago the writer was painting by the edge of the Seine in company with Maxime Maufra, and the artist recounted the origins of his Impressionist tendencies.

This Brunnenmacher seems to have made up his mind that I was to become a climber like himself.

This testimony is interesting, as it comes from one of the leaders of the modern school of “La peinture claire,” the school of light, of life, and of movement. It is valuable in view of the fact that some of the artists who have profited most by the valuable example of our men of genius seem least inclined to acknowledge their debt. For instance, Pissarro writes: “I have read with great interest your article. I do not think, as you say, that the Impressionists are connected with the English school, for many reasons too long to develop here. It is true that Turner and Constable have been useful to us, as all painters of great talent have; but the base of our art is evidently of French tradition, our masters are Clouet, Nicolas Poussin, Claude Lorrain, the eighteenth century with Chardin, and 1830 with Corot.” This statement is somewhat at variance with facts as we know them, and does not agree with several letters from Pissarro in the writer’s possession previously quoted.