Meissonier's picture of Napoleon in 1814, only 30 in. by
20, has just been sold for £34,000, the highest price ever given for the work of a living artist. The art world naturally exults over this solid proof of appreciation; but we wonder whether it really benefits by these prices even in a pecuniary sense. We suspect not. It is found in the literary world that an overpowering demand for a single book arrests the sale of books in general, the reservoir of cash for buying books being in any one year a fixed quantity. If that economic rule extends to Art, M. Meissonier's phenomenal triumph just prevents thirty-four artists from receiving £1,000 apiece. That may be good or bad for Art—we are not deciding—but it limits sadly the number of art producers, among whom might be found, if we may in the teeth of the market suggest so audacious a possi- bility, even M. Meissonier's superior. That the huge price will help M. Meissonier to paint still better, is an assumption refuted by all art history.
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