studio, it was a brave man who attempted to force an entrance. The
little, round-shouldered artist, generally good-tempered, would pour a
stream of verbal vitriol over the head of the unlucky impertinent.

In 1860 or thereabout he visited America, and in New Orleans he saw
the subject of his Interior of a Cotton Factory, which was shown as an
historical curiosity at the Paris exposition in 1900. While it is
implacably realistic there is little hint of the future Degas. The
name of the painter was in every French painter's mouth, and the
brilliant article of Huysmans concentrated his fame. Huysmans it was
who first saw that Degas had treated the nude as Rembrandt would if he
had been alive--making allowances for temperamental variations. Degas
knew that to grasp the true meaning of the nude it must be represented
in postures, movements which are natural, not studio attitudes. As
Monet exposed the fallacy of studio lighting, so Degas revealed the
inanity of its poses. Ibsen said the stage should be a room with the
fourth wall removed; Degas preferred the key-hole through which we
seem to peep upon the privacy of his ugly females bathing or combing
their hair or sleeping, lounging, yawning, quarrelling, and walking.
The simian and frog-like gestures and sprawling attitudes are far from
arousing amiable sensations. These poor, tired women, hard-working
laundresses, shopgirls, are not alluring, though they are not as
hideous as the women of Cézanne or Edvard Münch; but the veracity of
the "human document" (overworked phrase!) is there. Charles Morice has
said that to Cézanne a potato was as significant as a human
countenance. The pattern interested him in both. For Degas the beauty
of life lies in the moving line. He captures with ease the swift,
unconscious gesture. His models are never posed. They are nature
caught in the act. There is said to be a difference between the
epidermis of the professional model and the human who undresses only