fierce that he was forced to resign as art critic from that journal.
The fight then began in earnest. The story is a thrice-told one. It
may be read in Théodore Duret's study of Manet and, as regards
Cézanne, in the same critic's volume on Impressionism. Cézanne
exhibited in 1874 with Manet and the rest at the impressionists'
salon, held at the studio of Nadar the photographer. He had earlier
submitted at once to Manet's magic method of painting, but in 1873, at
Auvers-sur-Oise, he began painting in the _plein air_ style and with
certain modifications adhered to that manner until the time of his
death. The amazing part of it all is that he produced for more than
thirty years and seldom sold a canvas, seldom exhibited. His solitary
appearance at an official salon was in 1882, and he would not have
succeeded then if it had not been for his friend Guillaumin, a member
of the selecting jury, who claimed his rights and passed in, amid
execrations, both mock and real, a portrait by Cézanne.

Called a _communard_ in 1874, Cézanne was saluted with the title of
anarchist in 1904, when his vogue had begun; these titles being a
species of official nomenclature for all rebels. Thiers, once
President of the French Republic, made a _bon mot_ when he exclaimed:
"A Romantic--that is to say, Communist!" During his entire career this
mild, reserved gentleman from Aix came under the ban of the critics
and the authorities, for he had shouldered his musket in 1871, as did
Manet, as did Bazille,--who, like Henri Regnault, was killed in a
skirmish.

His most virulent enemies were forced to admit that Edouard Manet had
a certain facility with the brush; his quality and beauty of sheer
paint could not be winked away even by Albert Wolff. But to Cézanne
there was no quarter shown. He was called the "Ape of Manet"; he was