| GEROME.
and there found that hapless "Russian band," each man condemned to
play his on note forever, which the former has immortalized.
In 1855 the Orient' unlocked as gates for the tourist who was to
levy upon it such immense tribute, and bring back such remarkable booty.
After this sojourn on the Nile, "several pictures," he says, "were executed
at the close of this sojourn with the Father of Waters, among others,
'Cutting the Straw' (1861), which I think gives pretty well the pastoral
and farmer side of Egypt; then 'The Prisoner' (1863) now at the Nantes
Museum, which had an unanimous success, and was appreciated both by
critics and imbeciles. From the same starting point dates another. of
my paintings to which I gave but small value, 'The Masked Duel,' a com-
position rather in the English taste, the subject of which captivated the
public. Execution satisfactory—certain bits well treated." The, original
of this theme is in the Duke of Aumale's gallery, and a replica in the
Walters collection at Baltimore. "Later I exhibited the 'Ave Caesar'
(1859), which I consider, with the other canvas of the same kind ('Pollice
Verso') as my two best works. At the same time with the 'Ave Caesar;
namely, in 1859, issued from my studio the 'Death of Caesar,' which certain
amiable critics have christened 'The Washing-Day.' For myself, who ant
no enemy to the gambols of gayety, I Own and enjoy the comic sae of this
witticism; but this composition, setting aside all modesty, deserves a more
deliberate judgment. The presentment of the subject is dramatic and
original. It is a small canvas, capable of being executed on a more ample
scale without losing its character."
In 1859, Gerome, having just made a popular success with his pictures
of " The Masked Duel.' and "Ave Caesar, Morituri te Salutant;' presented
himself as a candidate for enrolment among the French Academicians.
He was refused, the preference being-given to M. Hesse, an official painter
and flatterer; as a compensation, a place was offered to Gerome as one of
the professors in the Beaux-Arts School, along with Cabanel and Pils.
He would be more lost and hidden there than in the Academic des Beaux Arts; but, on the other hand, he could render more distinct benefits and
imprint his learning more directly on the youth of France. He accepted
the place and has never renounced it,, though time detriment to his business
is enormous, and the trifling salary a derision. The desire to do good
has completely controlled the after-life of the Neo-Grec voluptuary of the
Chalet in the Rue Fleurus, whose every-man for-himself independence
was formerly so great, that in 1848 he headed a deputation to petition
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