| GEROME.
permit it, or after you if you repel me. Since twelve hundred francs
keeps one alive at Paris, my allowance will keep me alive in Italy."
The master accepted the company of his pupil, and the two departed
together; the latter on this occasion remaining a year in Italy, copying
landscapes rather than the old masters, and returned with his health,
which had been tottering, firmly re-established. Meanwhile the family's
ambition for the youthful genius had taken a definite form. They wished
him to compete for the Prize of Rome, which permits the recipient to
pursue his studies in Italy at government expense. As it was necessary
for this to enter the studio of a particular master, he chose that of
the Swiss painter Gleyre, famous in Paris, and renowned for his picture
of the "Illusions Perdues." On reaching the age of twenty-one, however,
Gerome discovered that his Swiss master had little or nothing to teach
him in design, retired from his studio, and recommenced his labors with
Delaroche. His father was still, however, importuning him to compete
for the Prize of Rome, and the obedient son no longer withheld himself
from the test. Pupils for this selection are first judged according to
their crayon-drawings, and a class from those who have been medalled
for these is set to paint from a dictated subject, while imprisoned in a
range of secluded stalls. Repeatedly rewarded for his drawings, Gerome,
at the test, was judged inferior in his painting to his rivals, Gawk/ and
new struggles by painting from models that pair of admirable figures
now known as the group of the" Cockfight," and preserved in the Lux Benonville. He did not lose heart, however, and prepared himself for
embourg Gallery. "Decidedly," the reminiscences of the artist go on to
say, "it was needful for me to learn to draw and model the nude,
and it was with this intention of teaching myself that I executed my
first picture, the ' Young Greeks setting cocks to fight.' But I had a
the recommendation of the patron (Delaroche), that this canvas was sent
in. Although very badly hung, the painting had a great success-a
terror of the Salon, and was afraid of being rebuffed. It was only on
success that without any doubt was exaggerated, and at which the most
surprised person was the artist." This picture, he says again," has the
slender merit of being the work of a sober young workman, who, knowing
nothing, can find nothing to-do but rivet himself to nature."
This was the period (1847), when the Romantic School was sinking
into prettiness with the false—Delacroix of Roqueplan and Louis Boulanger. "At that epoch," records the author of the surprising " Cock-
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