nter. An eye--nothing more, is CÚzanne. He refuses to see in nature either a symbol or a sermon. Withal his landscapes are poignant in their reality. They are like the grill age one notes in ancient French country houses--little caseate cut in the windows through which you may see in vivid outline a little section of the landscape. CÚzanne marvellously renders certain surfaces, china, fruit, tapestry.
Slowly grew his fame as a sober, sincere, unaffected workman of art. Disciples rallied around him. He accepted changing fortunes with his accustomed equanimity. Maurice Denis painted for the Champ de Mars Salon of 1901 a picture entitled Homage Ó CÚzanne, after the well-known hommages of Fantin-Latour. This homage had its uses. The disciples became a swelling, noisy chorus, and in 1904 the CÚzanne room was thronged by overheated enthusiasts who would have offered violence to the first critical dissident. The older men, the followers of Monet, Manet, Degas, and Whistler, talked as if the end