"The Busiest Man in Paris."

The history of the French School of Painting can be traced almost as far back as the history of France itself, for even in the time of Charlemagne it was customary to cover the interior of the churches with paintings, "in order to instruct the people."

But the real history of French Art begins with the Renaissance. In Italy this revival began in the middle of the fifteenth century; in France, called "the pupil of Italy," it was not felt until the middle of the sixteenth century, one hundred years later.

Paris is the great art capital of Europe, though Munich and Berlin are pressing her hard, and are threatening to become formidable rivals. But the vastness and magnificence of Paris, its long-established organizations for the patronage of art, will enable Paris to give her rivals a long race yet.

The art of painting is natural to the French people. The eye for effect and color is apparent everywhere. The art galleries are crowded, especially on Sundays, by people of all classes and conditions.

The number of artists in the City of Paris is over 8000. This does not include a large army of students, both French and foreign. Many thousands more are engaged in the sale of art, in the manufacture of artists' materials, engravings, bronzes, statuary, etc., so art engrosses more people and employs more capital than does any other legitimate business in Paris, unless it be the hotels and cafes. The sale of paintings in Paris alone amounts annually to two millions of dollars. The French people seem to have realized for a long time that the art talent is the peculiar gift of their race, and the Government maintains a controlling hand over it.

There is a French Minister of Fine Arts as regularly appointed as the Minister of Foreign Affairs. "It is his business to superintend the whole question of art in the country, to regulate the Government patronage of art, to adorn the public squares with statuary, to purchase works for the national galleries, to preside over the national schools of art, and to pay the professors and to direct the annual exhibitions at the Salon." He is the busiest man in Paris. The annual Salon exhibition, held in May and June, is the great artistic event of the year. All artists, native and foreign, are invited to contribute, but the examining committee reject, as a rule, about three-fourths of the works contributed. This enhances the value of those received, and the honor of the medals awarded. As many as four thousand works have been displayed in one exhibition. The highest prize is the Medaille d'Honeur, which entitles the winner to send thereafter any work to the Salon without examination. The second is the Prix du Salon, and below this there are medals of three classes in the different departments of art. The Medalists of the Salon also receive in future years the decoration of the Legion of Honor.

The Government purchases many of the works exhibited in the Salon, and places them in the Luxembourg Gallery, which is essentially a permanent exhibition of the works of living artists, or of those deceased ten years. They are then removed to the Louvre.

There are many schools of art in Paris besides those under Government control, and leading artists have their own separate schools and followers.

The French people mediate between the North and South, partaking of the physical hardihood of the Germans and the passionate impulses of the Italian. The great eras of their national history mark very nearly the eras of French art. Under the Charlemagne French painters partook of the German school. In the Renaissance they were the pupils of Italy. But the French school proper opened under Francis I. (1515-1574), whose conquests in Italy brought valuable art collections to the French capital.