roses paints from reality as entirely as he who paints mud. Her principle was to choose among realities those which seemed best worth painting.
The amount of idealisation in her peasant sketches was naturally over-estimated by those who, never having studied the class, could not conceive of a peasant except conventionally, as a drunken boor. The very just portrait of Cecilia Boccaferri, the conscientious but obscure artiste in Le Château des Désertes, might seem over-flattered to such as imagine that all opera-singers must be persons of riotous living. The types she prefers to present, if exceptional, are not impossible or non-existent. An absolutely faultless heroine, such as Consuelo, she seldom attempts to bring before us, an ideal hero, never.
Further, even where the idealism is greatest the essence is true. Her most fanciful conceptions, most improbable combinations, seem more natural than do every-day scenes and characters treated by inferior artists. This is only partly due to the inimitable little touches of nature that renew the impression of reality at every page. Her imagination modified her material, but only in order the more vividly to illustrate truths positive and everlasting. So did Shakespeare when he drew Prospero and Miranda, Caliban and Ariel. Art, as regarded by George Sand, is a search for ideal truth rather than a study of positive reality. This principle determined the spirit of her romances. She
