MILLET. 513 MILLET. gen-free extract, 57.4 ; tiiulo fibre, 9.5 ; and ash, 3.3. In tile ease of bariivanl luillet hay o'A j)er cwt., of the protein (i3.7 per ewt., of the nitrogen-free extract 51.0 per cwt., and of the crude fibre Gl.C per cwt. was on the average found to be digestible. Millet hay is a useful coar.se fodder for cows, but not more than si. or eight pounds should be fed daily. When fed to lambs care should be exercised, as millet hay causes scours unless fed in -small quan- tities. It has been observed that when horses were fed millet hay exclusively as coarse fodder, painful condiliuns called 'millet disease' were in- duced. It is believed that the trouble may be avoided by using this liay in limited quantities, and not continuously. It is also possible that millet grown in some regions is harmless, while that grown in others is harmful. The plant has been used for farm animals since very early times, and generally speaking has proved a satisfactory feeding stulT. See Colored Plate of Cereals. Consult United fStutes Depnrtment of Agricul- ture Year Booh for 1898 and Farmer's Bulletin 101. MILLET, inil'hV, Aime (18in-01). A French sculptor and painter. He was born in Paris, September 27, 1819. He received his first in- struction in painting from his father, and in 1842 exhibited three pictures in the Salon. He studied sculpture with David d'Angers, but after 1852 gave up painting entirely. For his work in sculpture he won first-class medals at the ex- ]K)sitions of 1857 and 1807, and a gold medal at the c.xjjosition of 1889. His most ambitious work was the erection for Xapoleon III. in 1805 of a colossal copjier statue of Vereingetorix, at Alise-.Sainte-Keine. His statues adorn several public buildings in Paris, among them an "Apollo" in bronze at the New Opera. His mythological statues and gi-oups include "Bac- chante" (1885): "Narcissus;" "Ariadne" and "Cassandra Under the Protection of Pallas," both in the Luxembourg. Among his portrait statues arc those of Denis Papin at Blois, Chateaubriand at Saint Malo, Gay-Lussae at Limoges, and Edgar Guinet at Bourg. He executed many portrait busts and statues in marble and bronze. His art is realistic in character, but theatrical in pose. He died in Paris. .January 13. 1891. Con- sult Dumcsnil, Aim6 Millet (Pari.s, 1891). MIL'LET, Francis Davis (1840—). An American genre painter, war correspondent, and author. He was born at ilattapoisett. Mass., November 3. 1840. He was educated at Harvard College and took part in the Civil War as a drnnmier and assistant surgeon. He was a pupil at the Royal Academy of Fine Arts at Antwerp. 1871-72, and also studied in France and Italy, at the same time writing illustrated articles for American periodicals. During the Russo-Turkish War (1877-78) he was engaged by the New York Herald and London Daili/ Xetrs as war corre- spondent, attached to General Skobelefl's staff. He was director of the decorations of the World's Fair at Chicago, where he also received a medal. The year 1898 saw him in the Philippines as the correspondent of the London Times and Harper's ir.'c/,-/.,/. Millet made his home in the village of Broad- way. Worcestershire, England. He is best known as a painter of genre subjects of England in the eighteenth century and of classic Rome and Greece, in which cuslume and interiors are studied with nuich detail, showing the inlluence of the Dutch school. His chief pauitings include the decorations of Trinity Church, Boston : "At the Inn," L'nion League Club, New York City; "A Cosy Corner," Metropolitan Museum; "Be- tween Two Fires," National Gallery of British -Vrt, London. He is a member of the Society of American Artists (1880), the National Acad- emy of Design ( 1885) , an<l the Institute of Paint- ers in Oil Colors, London ; received a second medal at the Paris Exposition of 1889; and holds several military orders. His literary works include a translation of Tolstoi's ticbuHtopol (1889); Capillary Crime and Other Stories (1892); The Damihe (1898). MILLET, miria', .Jean Fbajt^ois (1814-75). A French genre and landscape painter of the Bar- bison group. He was born at Gruehy, near Gre- ville (JIanche), October 4, 1814, and was the eldest son and second child of a peasant. Jlis father, who exercised a great influence upon JMil- let's life and character, was a man of refined and deeply religious nature, and of musical tastes, being cantor in the village church. As a boy. Millet w-as fond of books, and under the tuition of the village priest learned to read, but spent his early j-ears on the farm, trying, during hours of rest, to draw the familiar scenery and life about him. His father took him to the neighboring town of Cherbourg, where he studied under Mouchel. a pupil of the school of David, and Langlois. In 1837, aided by a small gift of money from the council-general of the depart- ment and by a small pension granted by the town council of Cherbourg, Millet went to Paris. He entered the studio of Delaroche, but, unable to endure his master's conventional methods, and constrained by poverty, he soon withdrew, ^'ith Marolle, a friend, he opened a little studio, giving his evenings to study and his days to painting cheap portraits and pastel imitations of Boucher and Watteau. He won some recognition with a portrait in the Salon of 1840, but soon returned to Normandy, where he married ( 1841 ) . There he supported himself by painting sign-boards, and also produced "Sailors Mending a Sail" and other genre works. In 1842 he returned to Paris, and in 1844 attracted the favorable attention of artists by his "Milkwoman" and "liiding Lesson." On the death of his wife he returned to Nor- mandy, but remarried and came again to Paris in 1845. His "Saint .Jerome," contributed to the Salon of that year, was rejected, and Millet painted over it "ffidipus L^nbound," a picture in the classical style. "The Golden Age," "The Bird Nesters," "The Bathers," and other works followed, and in 1848 "The Jews in Babylon" and "The Winnower," the last obtaining a' real suc- cess. Soon after the outbreak of the Revolution of 1848 he abandoned Paris for the village of Barbi- son, which he made his permanent home. Here the 'Norman peasant,' as he called himself, was surrounded by scenes he loved, and with the subjection of color to sentiment he gave up the mythological and the nude, confining himself to rustic art. "The Sower" (1850) was followed by "Man Spreading Manure" (1S52); "The Reapers" (1853): "A Peasant Grafting a Tree" (1855): "The Gleaners" (1857, Louvre), one of his very best works; "The Angelus" (1859);
