It is a strange fact that but for the generosity of La Caze, _The
Embarkation_ would be the only example at the Louvre of the greatest
master produced by France. The reason for this extraordinary neglect
may be found in the scant esteem in which Watteau was held until
his eclipsed fame was resuscitated by the de Goncourts. The superb
life-size painting of _Gilles_ (No. 983), one of ten pictures by or
attributed to Watteau in the La Caze collection, was sold at public
auction in 1826 for £26; whilst _L’Indifférent_ and _La Finette_
together realised the sum of £19 at the Marquis de Ménars’ sale! Of
the eleven pictures in the La Caze collection that were originally
attributed to Watteau, _L’Escamoteur_ (No. 622A, formerly No. 987) is
now acknowledged to be by his imitator Philippe Mercier (1689-1760),
who was born in Berlin of French parents, and spent the most productive
years of his life in London, where he died in 1760. The still-life
piece _Dead Game_ (No. 993), officially assigned to Watteau, has
rightly been doubted; but the aspersions thrown upon the authenticity
of the delicious _Pastoral_ (No. 992) do not seem sufficiently
justified. The profound influence of Rubens upon Watteau’s art is
nowhere more pronounced than in the sketch _The Judgment of Paris_ (No.
988), and in the beautiful oval composition _Jupiter and Antiope_ (No.
991), which has, however, also much in common with Titian. The superb
nude figure symbolising _Autumn_ (No. 990), and another _fête galante_,
entitled _Gay Company in a Park_ (No. 986), are no less creditable to
the master’s genius.