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hit so hard and so fast that there was no need of us even helping him. It was a sight to see him at work, note that he was in a dress-coat, his favorite attire.” The incident of the Passage of the Red Sea is connected with Tabar. He, indeed, began a large picture of this subject, but the cost of models, costumes, etc., proved beyond his means. He resolved, therefore, to modify the composition of the picture, which worked out successfully figured in the Salon of 1842 under the title of Niobe and her children slain by the arrows of Apollo and Diana. It was a heap of fourteen corpses, Tabar having experimented on the devotion of his friends, who in modest undress posed in turn, and had the satisfaction of viewing their bodies in the Louvre wept over with oily tears by Niobe. Tabar continued his career not without success, and obtained a medal in the Salon of 1882 for his work. He died lately.

Colline was made up of Jean Wallon and Trapadoux, the former, a native of Laon, who was introduced into the circle by his fellow townsmen, Champfleury, supplying the outward model. He was a strongly built young fellow of middle height, wearing his hair long. Nadar wrote, “I can still see him as when we were young, with his unkempt chestnut hair under his broad brimmed hat, his long brown great coat of coarse cloth, his books under his arm.” Schanne adds, “His thin nose, grey-blue eyes, and plump hands, completed one of those envelopes in which mystic souls love to dwell. An hereditary rentier, he lived with his mother at the Ile Saint Louis, whither his stomach took him twice a day. Despite these advantages he was not lively, or else his liveliness was the reflection of that of others. His ecclesiastically-cut coat was stuffed with books at the four cardinal points, each of the pockets bore the name of one of our public libraries. It was from the shelf of Greek authors that he prompted me in my part during the