GLEYRE, MARC CHARLES GABRIEL (1806-1874), a celebrated French painter, was of Swiss origin, having been born at Chevilly in the canton of Vaud, May 2, 1806. His father died, and then his mother, while he was yet a boy of some eight or nine years of age ; and he was brought up by an uncle at Lyons, who sent him to the industrial school of that city. Going up to Paris a lad of seventeen or nineteen, he spent four years in close artistic study - in Ilersent's studio, in Suisse's academy, in the galleries of the Louvre. To this period of laborious application succeeded four years of meditative inactivity in Italy, where he became acquainted with Horace Veruet and Leopold Robert ; and six years more were consumed in adventurous wanderings in Greece, Egypt, Nubia, and Syria. At Cairo he was attacked with ophthalmia, and in the Lebanon he was struck down by fever ; and lie returned to Lyons in shattered health. On his recovery lie proceeded to Paris, and, fixing his modest studio in the Rue de Universite, began carefully to work out the conceptions which had been slowly shaping themselves in his mind. Mention is made of two decorative panels - Diana leaving the Bath, and a Young Nubian - as almost the first fruits of his genius ; but these did not attract public attention till long after, and the painting by which he practically opened his artistic career was the Apocalyptic Vision of St John, sent to the Salon of 1840. This was followed in 1813 by Evening, which at the time received a medal of the second class, and after, wards became widely popular under the title of the Lost Illusions. It represents a poet seated on the bank of a river, with drooping head and wearied frame, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight. In spite of the success which attended these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his own artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1815, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Danse of the Bacchantes in 184-9. And yet he laboured steadily and was abundantly productive. He had an "infinite capacity of taking pains," and when asked by what method he attained to such marvellous perfeetion of workmanship, he would reply, "En y peasant toajour:;." A long series of years often intervened between the first conception of a piece and its embodiment, and years not marequently between the first and the final stage of the embodiment itself. A landscape was apparently finished ; oven his fellow artists would consider it done ; Gleyre alone was conscious that he had not "found his sky." Happily for French art this high-toned laboriousness became influential on a large number of Gleyre's younger contemporaries ; for when Delaroche gave up his studio of distraction he recommended his pupils to apply to Gleyre, who at once agreed to give them lessons twice a week, and characteristically refused to take any fee or reward. By instinct and principle he was a confirmed celibate : "Fortune, talent, health, - he had everything ; but he was married," was his lamentation over a friend. Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, indeed, under Louis Philippe, his studio had been the rendezvous of a sort of Liberal club. To the last - amid all the disasters that befell his coantry - he was hopeful of the future, "la raison finira Wien par iv/oil: raison." It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles fro al Alsace and Lorraine, that he suddenly dropped down and expired May 5, 1874. He left unfinished the Earthly Paradise, it noble picture, which Tahoe has described as "a dream of innocence, of happiness, and of beauty - Adam and Eve standing in the sublime and joyous landscape of a paradise enclosed in mountains," - a worthy counterpart to the Evening. Among the other productions of his genius are the Deluge, which represents two angels speeding above the desolate earth, from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought ; the Battle of the Lemanus, a piece of elaborate design, crowded but not cumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives ; the Prodigal Son, in which the artist has ventured to add to the parable the new element of mother's love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return ; Ruth and Boaz; Ulysses and Nausicaa ; Hercules at the feet of Omphale ; the Young Athenian, or, as it is popularly called, Sappho ; Minerva and the Nymphs ; Venus 7rdv87huos ; Daphnis and Chloe ; and Love and the Parem. Nor must it be omitted that he left a considerable number of drawings and water-colours, and that we are indebted to him for a number of portraits, among which is the sad face of Heine, engraved in the Revue des Deux .3fondes for April 1852. In Clement's catalogue of his works there are 683 entries, including sketches and studies. Gleyre is in great favour in Switzerland ; and a special exhibition of his works was held at Lausanne in the Arland Museum, August and September 1874.

limits of Russia. He also composed numerous songs and romances. In 1857 he went abroad for the third time, and died suddenly at Berlin, on February 14th of that year.