Born in 1738 at Nancy, the mother-country of so many artists, Clodion here received a solid education which he completed by a nine years' residence in Rome. How was it that such a long familiarity with the monuments of antiquity failed to influence his taste? How he returned to France, there to resume the spirit of the ideas then in vogue, and continue the line of development that had already set in? This is one of those phenomena that can no more be questioned than they can be explained. At the same time it cannot be denied that with the capricious elegance of Boucher, and the graceful pretti-ness of Watteau, Clodion knew how to combine a robust style not altogether lacking a certain energy. In his groups, occasionally somewhat wanton, as was the taste of the times, he contrived to give a vigorous ease and elegance to his fauns and bacchantes, while it is impossible to imagine anything more lovely than his nymphs within the sphere of the ethnical types of the period. If we here meet with the tall and slender figures, characteristic of the privileged classes at that time, in the sound treatment of the torso, and the delicate but firm modelling of the members and extremities, there is a supreme perfection leading us almost to suppose that the artist, as gifted as Praxiteles himself, had been enabled to choose his models from among the most famous beauties of rank and fashion.

Like all exceptional artists, Clodion did not enjoy his popularity. Appreciated by his compeers, he saw some of his works take their place in the cabinet of Francois Boucher, and in that of the celebrated amateur Julliennc, and he was also admitted to the Academy in 1773. But the price of his terra cottas, at first fairly remunerative, fell off with the modifications of taste. A revolution was being effected in art no less than in the social order, and the new school founded by David was already overthrowing all the others. Clodion, no doubt, attempted to adapt himself to the new ideas, but in doing so he ceased to be himself. Hence his works fell into such discredit, that after having been disposed of for nominal prices at public sales, they at last found no purchasers.

It is, however, but fair to add that at this period the panels of Boucher were also exposed for sale on the quays, that the purists of the re-action thought it objectionable to allow the " Departure for the Island of Cythera" to remain in the Louvre galleries, and that for a few sous one might purchase the crayons of the sixteenth century and the Gothic engravings of Albert Durer and of Aldegrever.

The present generation, however, has fully vindicated the fame of Clodion. His groups fetch more than their weight in gold, and are the ornament of the most sumptuous collections. Nothing is more admirable than the varied series belonging to Baron Gustave de Rothschild, and nothing better sets off the mahogany furniture enriched with those ormolu bronzes that are the glory of the period.

It would be unfair to isolate Clodion from his contemporaries, and pass over the names of Falconnet, Boisot, and La Rue, who moulded in clay or in porcelain biscuit groups, vases and delicate bas-reliefs. Marin still holds an honourable place amongst modellers, as do also Guibal of Nancy, Leveque and Sigisbert, who have left us some simple and graceful little groups. Nor should we forget Renaud, whose painstaking and firm hand modelled intricate little bas-reliefs to decorate the tops of snuffboxes.

Bacchantes, terracotta group by Clodion. (Baron Gustave Rothschild's Collection.).

To omit nothing that may interest connoisseurs, let us conclude with a few words on certain little Neapolitan figures known as Pastours (shepherds) which served at Christmas to form creches, or to represent the Adoration of the Magi. These figures, painted and heightened with gold, represent either the garb of the peasantry of the neighbourhood of Naples, or rich oriental costumes. Great truth in expression of the features, and a certain unstudied simplicity, not wanting in grace, have attracted some amateurs to the pieces marked by the names of the more famous modellers such as Balligliero, Vaccaro, San Martino, and Salvatore di Fiaco. Vassalo, Gennaio Leale and Schetuni modelled the animals intended to accompany the shepherds or to figure in the creche.

Vignette, after Salembier.