unattainable until we place the marriage relation on that lofty level. That the French Government and people regard it thus is proven by the fact that they encourage marriage by every means, make it the most important act a citizen can perform and surround it with great pomp and respect, also with the utmost safeguards possible-under a government of common-sense liberty.

Nearly all the marriage halls in Paris are decorated with symbolic pictures or sculptures having reference to the family, home, labor, patriotism, etc. What singles out the decorations of the marriage hall in the thirteenth ward is the fact that Boulanger's decoration of "Marriage," here illustrated, is not only one of the largest but one of the noblest civic decorations made in recent days. At the time the writer was in Paris good photographs of these decorations could not be obtained in the shops. He was therefore compelled to get a special permission from the government and have it photographed at his own expense, and so far as known the decorations have not been reproduced in this country before.

Here we have supra-Academic art. That is to say: here we have the common-sense mingling of the personal with the impersonal, the individual with the universal; that is, a work showing the personal craftsmanship of the artist, capable of interesting the local public of Paris for a decade, and an impersonal style of composition and treatment that will interest the public of the world for centuries to come. Here we have an entire absence of any peculiarity of drawing or construction or painting, or of any self-parading by any fanciful or egotistic tricks of mannerism. Nothing has been introduced to weaken the supreme purpose the profound expression of the main idea. No weird, cryptic symbolism bewilders us. All is clear and understandable. Therefore the work operates freely upon our soul and thus quickly stirs our emotions-which is the first essential in all great art.

Properly speaking, this should be called Naturalistic art, because of the naturalness of every element in the entire work which lifts it above the merely "Academic." It meets entirely Bacon's definition:

Art is man added to nature.

Also it fills Shakespeare's demands:

To hold, as 'twere, the mirror up to nature.

In other words, as a mirror does not reflect nature exactly in the way it appears to our eyes, as it is impossible to reproduce nature by any means exactly as it appears, here we have that relative truth to nature of which we have so often spoken, without being photographic truth. Here we have just enough "departure from the truth of nature and the commonplace" to give to the work as a whole and to every figure a certain modest and fine style, but not enough of a departure to invest it with any extravagance of style. It is in fact one of the finest examples of what the French call the Grand Style. Everything is so natural that one feels that the entire action might be going on in real life as it does in the picture. Yet we feel that

the action is going on in another world, on a higher plane, in an ideal environment.

Here we have an absence of that "highfalutin” art with a big A upon which the ego-maniacal "individualists" set so much store-bespattered all over with catspaw marks of the song-and-dance technical stunting of the artist-the absence of which in such work as this makes them scorn it as "academic"-the meaning of which word they do not understand. In reality we have here the highest kind of art, that is: art which conceals art, and spurns all artifices of "deformation of the form," etc., such as make the cultured layman gape and ask himself: "Am I insane or is the artist crazy?"

Here we have a work that looks as if any very great artist might have created it, because of the entire absence of any factitious peculiarities of brushwork or workmanship of any kind. And yet it does radiate a personal flavor, but one as delicate as a tea-rose and as charming. Because those who know Boulanger's work recognize this as his handiwork. It is that which gives it its universal and enduring character. Being above all technical faddisms it will outlive all fads and because of its unaffected naturalness be applauded a thousand years from now as much as it is to-day. Like Shakespeare's "Hamlet" it is

Not of an age, but for all time.

There is no work in the history of art in which the conception of the marriage relation is more lofty or spiritual. It is not a commonplace wedding, but an apotheosis of marriage by the enthronement on a marble throne of a couple clothed in marriage robes of white-the whole central part being white suggests the purity of the relation of marriage.

As a part of the conception notice the choice of a handsome, vigorous type of young Frenchman, the typical, charming French girl, the young girl on the left holding a basket with a distaff as a symbol of home-keeping, the boy on the right with book, hammer and sword to symbolize education, labor and defense of home and country. Note the fine types of the men who are witnesses to the marriage, the attractive women and that fine type of a little girl carrying two lilies, symbol of spirituality.

Observe that the marriage does not take place in a private house but in a public temple, intimating thereby that marriage is not a personal business but an affair of supreme importance to the Statewhich is the highest view to take of the relation. As a composition, it is on a par with the most beautiful friezes of Veronese. Here we have a savant combination of those three elements of beauty in composition: the angular and picturesque lines-which gently jostle and amuse us; the serpentine and graceful lines which gently cradle and delight us; and the pyramidal masses which lift and exalt us. Note the angular lines in the marble throne, the serpentine lines throughout the figures and how skilful, yet not over-obviously, Boulanger has pyramidalized not only the central group but the whole frieze, making out of it an exalting composition in spite of its being a friezea masterly intellectual feat.

As to its drawing, it is of that superb kind,

so free from all foolish peculiarities that we do not notice the drawing and found only in the finest works of the old masters-firm yet supple, true yet not photographic, full of the expression of that sense of movement in muscle and direction so difficult to obtain. How skilfully is the beautifully composed drapery drawn! How sculpturesque each figure!

The magnificence of the color scheme unfortunately we can not reproduce. But even the poor reproductions we give show a variety and a richness of color rivaling that of the greatest art of the past.

And as for technic or painting-even the reproductions show that throughout the immense canvas Boulanger maintained his values, and so well that the work has atmosphere-that is, one might be able to walk round each figure-so airy does the whole work seem, and this is the most difficult quality for a painter to achieve in a picture where there are many figures and details. Therefore technically it is from every point of view a great masterpiece of workmanship, impeccable in every detail.

Finally let us come to the element of expression the most important in any work of art. Here every face and figure expresses that which it is supposed to express, so that those who are studying the wedded couple self-respectingly submitting to the ordeal, and those who are engaged in their several actions, are simply alive. There is nothing fantastic about the drawing or painting to interfere with the completest expression of the idea by making us wonder why the painter resorted to this or that "personal" or extravagant mannerism. Thus each figure helps to tell the story simply, clearly and completely. But besides this perfect expression of each figure which we call primary expression-there is a secondary expression, that is the expression of the work as a whole. As to this, note first the air of dignity and at the same time a certain French restrained gaiety; but above everything else an allpervading purity and spirituality, which radiates not only from the entire work but especially from the central group and the circular sun-like back of the marble throne. On this we read:

HUSBAND AND WIFE OWE ONE ANOTHER MUTUAL FIDELITY, HELP AND ASSISTANCE.

As the women folk are carrying the good things and musical instruments for the wedding feast to follow after the ceremony, while the parents are signing the necessary legal documents, with what a lofty expression, as if decided to devote themselves to the higher interests of the racedoes this heroically beautiful couple face the world as they fondly grasp hands in a pledge that bespeaks a pure and spiritual love, loyalty and high devotion such as can not be found in any other allegory of marriage on earth!

Here we have perhaps the greatest example in the world of a sermon to all mankind which yet does not pretend to be, and is not suspected of being, a sermon-until after our soul has been lifted to the highest ethical point of view possible to a citizen. It is that which makes it all the more powerful as a sermon. Who will say after this that "art has

nothing to do with morals?" Who will hereafter stupidly pretend that one can not suggest and inculcate in art the loftiest lessons in life without being dull?

It is in front of this suggestive and spiritual sermon of exalting beauty that those who are married in this Hall and their friends are forced to sit

long enough to contemplate and absorb the elevated ideal of marriage which this picture symbolizes. And none can do so without resolving highly to mount to that lofty level, without asking for strength enough to reach and remain there.

The marriage-hall of this mairie, by reason of this great picture and the artist's other three: "The Family," "Labor" and "Patriotism" has been made a sanctuary, a veritable civic temple and a constant source of good citizenship. It was made so because Boulanger was not only a great artist, but a great citizen.

After sitting, in company with a friend, in long and silent contemplation of this sublime creation, we were more and more lifted into a poetic mood by the exalting atmosphere and exquisite beauty which radiated through the Hall until, when we softly asked our companion: "What do you think of it?" tears came to his eyes and to his lips just one word "Immortal!"

It may interest our readers to know that the faces of the men to the right of the picture are all portraits of famous artists. Among these we recognize the white-bearded Guillaume, great sculptor, holding the book of registration; next to him the painter Français; then, in profile, Flandrin, who painted the superb decorations in the church of St. Germain; then, full face, the white-bearded Cabanel looking at Gérôme; to his right Baudry who painted the decorations in the Paris Opera House; then the sculptor Falguière (?); then Garnier with the Indian-like profile, the great architect who built the Paris Opera House and Monte Carlo. The rest are problems except the last man, in profile: that is a good likeness of the artist Boulanger himself.

Dear Boulanger! how his pupils at Julien's, in spite of his severity, loved him! Because of his unfailing sincerity and sense of justice and an evident aim to lift art-that of his pupils as well as his own to the highest plane. And with joy we bring to him this posthumous tribute and say: "Dear Master, in giving to your country this sublime allegory of Marriage you have ennobled your Fatherland, helped to place France where she belongs in the forefront of civilization, and assured yourself of an ever-increasing affection in the hearts of mankind."

It is the continued creation by great Frenchmen, with an intellectual power and finesse rarely manifested in the past; it is the steady accumulation in France of such ennobling and immortal masterpieces of art, by the side of and above the byproduct of ephemeral things often so clever and charming, which render France so unfailingly interesting to people of culture, and make it the loved second fatherland of every man with eyes capable of seeing, a mind fitted to judge and a soul able to respond to exalting emotions.