Greetings and farewells. How largely these enter into our unstable lives; but how infinitely they vary in their degrees of joy or of sorrow! This picture presents a critical incident in the Abbé Prévost's tragic romance of Manon Lescaut. Manon's idolatrous passion for her lover impels her to every sacrifice, even that of honor. Her devotion is ardently reciprocated. The parents of the young man, who is of excellent family, at length procure an order for Manon's transportation, with a view to the effectual separation of the lovers. But the Chevalier follows Manon from Paris to Havre, where he rejoins her at the moment of embarkation, and resolves to abandon every other tie and link his destiny to hers. In his well-studied and masterly picture, M. Delort portrays the scene in which the lovers look for the last time on their native land, which they are now to exchange for the unknown trials of the penal colony. Our attention is first arrested by the Transport-ship, a splendid specimen of the naval architecture of the last century. We next revert naturally to the passengers mounting the ship's side, and to those in the boats below, whose movements and exchange of greetings and adieus are so faithfully portrayed that the scene is made real to us. But soon our sympathetic regards are riveted upon the nearest boat, which is itself a picture of rare excellence and pathos. Here are the hapless lovers who, perhaps with all their present pain and anxious forebodings, little think how soon Death will remorselessly tear them asunder. The picture has deep, general interest, independent of its special motive. It won a medal in the Salon of 1875. The artist studied under Gleyre and Gerome.