Footnotes

Provenance
The artist.
Bought from the artist in 1865 by Adolphe Goupil for 2,500 French francs including frame.
Sold by Goupil on 29 June 1871, to art dealer Samuel Avery, of New York, for 2,500 French francs.
Probably the painting acquired on 7 March 1877, by Knoedler, New York (as Faust & Marguerite); according to the Knoedler account books, purchased for $2,500 'through N. Matthews for Edwin Tufts'.
Subsequently listed as 'Unsold, sent to Doll & Richards, Boston' (14 February 1879).
Sold through Leonard & Co. auctions at Williams & Everett's Gallery, Boston, 27-28 March 1879, lot 116 (as The Last Walk) for $900 to Bacon.
With James Glasgow.
Private collection, USA, by descent from the above.

Exhibited
Paris, Salon, 1863, no. 1802 (as Départ du fiancé).
London, French Gallery, 1864, no. 163?, (as The Departure of the Betrothed Soldier).
Manchester, Royal Institution, 1864, no. 54 (as Departure of a betrothed soldier).
New York, Goupil Gallery, 1866 (as Faust and Marguerite).

Literature
Explication des ouvrages de painture, sculpture, gravure, lithographie et architecture des artistes vivants exposées au Palais des Champs-Ėlysées le 1er Mai 1863, Paris, Musées imperiaux, 1863, pp. xv and 223.
Louis Auvray, Exposition des Beaux-Arts, Salon de 1863, Paris, A. Lévy Fils, 1863, p. 58.
Cham [Amédée Charles Henri, Vicomte de Noé], Cham au Salon de 1863, Paris, Maison Martinet, 1863, n.p., 'Episode de tableau 1802'.
Charles Gueullette, Les Peintres de Genre au Salon de 1863, Paris, Gay, 1863, pp. 49–50.
J. Girard de Rialle, A Traves le Salon de 1863, Paris, E. Dentu, 1863, pp. 144–145.
Théophile Thoré-Bürger, 'Salon de 1863', republished in Théophile Thoré, Salons de W. Bürger 1861 à 1868, Paris, Librairie de Jules Renouard, 1870, pp. 389–390.
'Exhibition of French and Flemish Pictures', Reader, 11 June 1864, p. 756.
'The Lounger at the Clubs', Illustrated Times, 16 July, 1864.
'Royal Manchester Institution Exhibition of Modern Paintings, Sculpture, &c.', Bolton Chronicle, 8 October 1864, p. 4.
'The Exhibition of Pictures at the Royal Institution', Manchester Guardian, 18 October 1864, p. 6.
'Royal Institution / Exhibition of Paintings', Manchester Courier and Lancashire General Advertiser, 20 October, 1864, p. 4.
Arthur Stevens, Le Salon de 1863, Paris, Librarie Centrale, 1866, p. 215.
Paletta, 'Art Matters', American Art Journal, 2 October 1866, vol. 6, no. 1, p. 7.
Edward Strahan, Ėtudes in Modern French Art, New York, Richard Worthington, 1882, pp. 50–51, with India proof of Goupil & Co. photogravure inserted opposite p. 49 (as The Exiles).
Edward Strahan, Modern French Art ... New and Enlarged Edition, New York, A. W. Lovering, 1883?, pp. 50–51, with steel engraving published by George Barrie (as The Exiles) inserted opposite p. 49.
Willard Erwin Misfeldt, James Jacques Joseph Tissot: A Bio-Critical Study, Washington University PhD thesis, 1971, reprinted by University Microfilms International, Michigan, Ann Arbor, 1984, fig. 17, pp. 44 and 335.
Willard E. Misfeldt, The Albums of James Tissot, Bowling Green, Bowling Green University Press, 1982, fig. I-23, p. 19.
Michael Wentworth, James Tissot, Oxford, Oxford University Press, 1984, pl. 13, pp. 38–38.
Krystyna Matyjaszkiewicz, 'Costume in Tissot's Pictures', in Krystyna Matyjaszkiewicz, ed., James Tissot, Oxford, Phaidon Press and Barbican Art Gallery, 1984, pp. 64–65.
Pierre-Lin Renié, 'Tissot, Bingham, Goupil: le peintre et ses éditeurs' in Cyrille Sciama, ed., James Tissot et ses Maîtres, Nantes, Musée des Beaux-Arts de Nantes, 2005, p. 118.
Krystyna Matyjaszkiewicz, 'Chronology' in Melissa E. Buron, ed., James Tissot, San Francisco, Fine Arts Museums of San Francisco/Delmonico Books-Prestel, 2019, pp. 253–254.
Tissot's Sales Notebook (Carnet de Ventes) in Buron, James Tissot, pp. 271 and 334 note 57.
Peter Trippi, 'Looking Beyond Paris: Tissot's Reception in England During the 1860s', in Buron, James Tissot, p. 41.

The present work is one of the three major oil paintings by James Tissot that were accepted for exhibition in 1863 by the Paris Salon jury. Salon exhibitions in Paris at that time were biennial and none had been held in 1862. Tissot's other two pictures exhibited in 1863 were Retour de l'enfant prodigue (Return of the Prodigal Son), dated 1862, and Départ (de l'enfant prodigue à Venise) (Departure (of the Prodigal Son in Venice)), dated 1863, both now in the collection of Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Two studies for the Venice subject are in the Metropolitan Museum of Art, New York.

Christened Jacques-Joseph Tissot after his birth in 1836 at Nantes, on the north-west coast of France where the River Loire meets the Atlantic, the future artist was called James from early childhood, probably thanks to having an English governess. He was enrolled as James Tissot at the Jesuit College in Brugelette, Belgium, in 1848, continuing his education in France from 1850. At first he wanted to be an architect, according to his later recollections, but in 1856 embarked on fine-art studies in Paris. Seeing international paintings exhibited at the Paris 1855 Exposition Universelle is likely to have fuelled his decision. Many of the exhibited paintings made a sufficiently memorable impression on Tissot to be echoed in his early creations. Tissot studied in Paris with two artists from Lyon, Louis Lamothe (1822–1869) and Hippolyte Flandrin (1809–1864), both former students of Jean-Auguste-Dominique Ingres (1780–1867), who was renowned for portraiture and subjects relating to the ancient Classical world. Through his tutors Tissot acquired technical expertise in oil painting and absorbed their serious approach.

Tissot's first works accepted for exhibition by the Paris Salon jury were two paintings of paired saints in 1859, together with a historical-dress Promenade dans la neige (Walk in the Snow) and two small portraits (all untraced). The paired saints followed the style of Flandrin's mural decorations for Paris churches, while the Promenade drew on a painting by the Belgian artist Henri Leys (1815–1869) that had received much praise at the 1855 Paris exhibition: La Promenade hors les murs (A Walk Outside the Walls), 1854 (Museum of Fine Arts, Ghent). This work by Leys also inspired Tissot's Départ du fiancé and may have been seen by him close-up when visiting Leys at his Antwerp studio in 1859, on a trip through Flanders, Belgium, Switzerland and Germany to see Northern Renaissance art that was a source and model for Leys, as well as inspiring British 'Pre-Raphaelite' artists.

On his return to Paris Tissot developed a historical-dress Danse macabre (Dance of Death) composition, followed by a series of paintings based on composer Charles Gounod's operatic reinterpretation of Johann Wolfgang von Goethe's drama Faust and focusing on the heroine Marguerite. Three of Tissot's paintings accepted for the 1861 Paris Salon exhibition were on Faust and Marguerite themes. One of them, Rencontre de Faust et Marguerite (Meeting of Faust and Marguerite), 1860 (Musée d'Orsay, Paris), was bought from Tissot for 5,000 francs in 1863 by the French state, a rare accolade for an artist who had only exhibited twice at the Salon and had yet to win a medal there. Départ du fiancé would be read as a Faust and Marguerite scene when the painting was exhibited in New York at the Goupil gallery in 1866, although its story was interpreted differently at other times.

In La Promenade hors les murs, Leys depicted Faust, from Goethe's eponymous drama, fatefully courting the virginal Marguerite on a walk outside their town walls, her family following the couple at a discreet distance, while the scheming Mephistopheles (Satan in disguise) observes the courtship's progress from a ringside bench seat. It is set in 16th-century Germanic lands, with figures dressed in costumes based on paintings and prints by or after Hans Holbein the Younger (1497/8–1543), Albrecht Durer (1471–1528), Lucas Cranach the Elder (1472–1553), and their German and Flemish contemporaries. The young couple echoes, in homage, the famous Holbein wood engraving, Die Edelfrau (The Noblewoman), from a series illustrating the Dance of Death, an iconic satire on human folly and death as leveller that was widely copied over centuries. Tissot's Départ du fiancé is broadly based on the Leys composition, with family keeping slight distance behind a young couple on the outskirts of a town. In the pose of his young couple Tissot pays homage to another master he admired, Ary Scheffer (1795–1858), basing the pose on Scheffer's Faust and Marguerite in the Garden, published as a photograph by Goupil, and in 1853 and 1855 as an etching and engraving by Auguste Blanchard. It may be this echo that led art dealer Michael Knoedler, at Goupil's New York gallery, to describe Tissot's pair as Faust and Marguerite when exhibiting it in 1866.

While echoing the Leys and Scheffer pictures, Tissot's Départ du fiancé also reflects the influence of outline etchings by Moritz Retsch illustrating the Faust story, which were very popular across Europe and much copied in prints that circulated widely. The costume of Tissot's fiancé derives from that of Retsch's Faust. Two other Tissot paintings exhibited in England with Départ du fiancé in 1864, The Duel and The Elopement (1861, whereabouts unknown), both echoed Retzsch Faust etchings.

Tissot's title for British exhibition of Départ du fiancé in 1864 was Departure of the Betrothed Soldier. The young man has a prominent signet ring on the third finger of his left hand and the young woman a plain gold band on hers. There were popular songs at the time on the theme of soldier's departure, like Le Départ du fiancé for baritone voice published in 1863 (with words by Maurice Baudel and music by Guillaume Bender), in which the soldier exhorts his tearful fiancée to have hope and console his poor old mother while he is away. The elderly couple in Tissot's painting could be the departing soldier's parents or the young woman's family. Parting with a fiancé who is leaving to seek work became increasingly common with industrialization and is frequently depicted in late-19th and early-20th-century popular French imagery of rural communities.

In his paintings Tissot provided clues, like the engagement rings, but generally left precise meanings ambiguous for viewers to interpret themselves. Edward Strahan and his publisher George Barrie titled their print reproduction of the painting The Exiles in an American book on modern French art. Strahan read the picture as an image of Protestant persecution by Catholics during 16th-century Reformation, 'when whole country-sides were depopulated, and the roads filled with expatriated subjects'. (A picture library more recently described Barrie's print as an image of 'Jews migrating into exile'.) If Tissot's figures are indeed exiles, they are leaving without baggage, or have baggage that is following them out of our sight. Maison Bingham titled their photograph of Tissot's painting Dernière promenade (Last Walk) on publication in May 1863.

Several elements of the Départ du fiancé link to Tissot's earlier Dance of Death' composition, exhibited at the 1861 Paris Salon as Voie des fleurs, voie des pleurs (Way of flowers, way of tears), 1860 (Museum of Art, Rhode Island School of Design, Providence). It featured people of all ages on the rocky path of life, oblivious to the inevitability of death. There is similar rocky terrain in both paintings; the young lovers near the front of 'life's parade' wear clothes like those of the betrothed couple, especially the young man in red; and a child with close-fitting cap pulls a wooden toy cart in both pictures. Voie des fleurs, voie des pleurs revels in the outlandish costumes of German 16th-century landsknecht or mercenary soldiers, with ribbon-like slashed ('paned') fabric on sleeves, bodices and breeches. Tissot would have been familiar with landsknecht from numerous printed images and based his figures on these. They lack the real-life substance of the people depicted in Départ du fiancé. For the latter, Tissot either borrowed theatrical costumes or had items tailored to order: clothes fit the figures in a realistic way and have the conviction of actual garments. Tissot would have made careful preparatory drawings of costumed models and drapery for Départ du fiancé (though none have yet been traced), as he did for the two Prodigal Son paintings (including a pencil drawing in the Metropolitan Museum of Art, New York).

The betrothed young man in Départ du fiancé, resembling Tissot with the same moustache, wears a fur-trimmed bonnet that matches his red clothes, and has a soldier's helmet alongside a longsword, which is a hand-and-a-half type (for single-handed or two-handed use) and has dragon's-head ends to the cross-guard.. His paned-sleeve top, with red-covered shoulder buttons, reappears (with white chemise instead of black-and-red collar) in Tissot's painting of the returning Prodigal Son, at the center of a crowd packed onto a staircase. The elderly man's overcoat in Départ du fiancé, with strange false sleeves that have two openings clearly visible thanks to their white lining, similarly reappears in the Prodigal Son's return, worn by the Prodigal's father. In Départ du fiancé the elderly man is draped in warm shawls and has gloves, hat and cap, as well as thick brocaded jacket sleeves. His elderly wife wears the type of pleated cloak and apron found in countless 16th-century prints, with the addition of a checkered belt and richly-embroidered collar, details of the sort Tissot would have admired in paintings by Leys and made his own hallmark. The fiancée is resplendent in a creamy-white overskirt with embroidered floral design, similar to ones in several Leys paintings. Tissot used decorative elements like the embroidery to demonstrate his skill at painting drapery: pattern is broken and hidden by folds but remains intelligible. Beneath her overskirt she wears a pleated dark-green dress with elaborately decorated over-sleeves, again echoed from Leys.

Three children accompany the old couple, while a woman behind them, on the right, crouches with her back to us. She may be a servant or a family member and could be picking up a plant or handful of home-earth to take. Forlorn on the right is a boy with purse and penknife at his belt, an empty basket on his arm, indicating male adult responsibilities of family care soon to come. The child on the left appears to be waving goodbye to the huntsman aiming his crossbow at deer leaping over a low stone wall into the forest that surrounds the town, whose towers are just visible in the distance. He is oblivious to the drama of departure in the foreground, as subsidiary figures often are in Netherlandish paintings where life carries on regardless in the background. Gnarled roots of a tree behind the huntsman look a bit like hunting dogs.

Chalky terrain, woodland and distant rocky landscape all recall the Jura in south-eastern France where Tissot's family had a country house near the River Loue. That area saw much conflict during the 15th and 16th centuries between France and the Holy Roman Empire, and French wars of religion; it is thus an apt setting for Tissot's departing soldier. His saddened fiancée is very tenderly captured. One of Tissot's particular abilities was to empathise with and convey impressions of deep feeling in the women he portrayed. Another was his skill at painting dogs. The family's or departing soldier's hound stands obediently but alert, sinews strained, unlike the small black-and-white terrier on the left, with ribbon round its neck, probably yapping at the deer from a safe distance. This dog was originally painted by Tissot as a poodle with close-shaved back and curly front, as recorded in Maison Braun's photograph, Goupil & Co.'s photogravure and Barrie's engraving from the latter. Reviewers in France and England were critical of this dog: 'what is this wooden poodle, held upright on little bits of cut-out card?',¹ asked Charles Gueullette, while the Manchester Guardian reviewer commented that 'a man who can paint such a hound as is in this foreground can scarcely be excused for perpetrating such a thing as the poodle.' It also starred in an 1863 caricature of Départ du fiancé by Cham, captioned 'A hunting dog abandons his work in favour of tree roots that have borrowed canine form for the occasion'.² After the painting's return from Manchester exhibition and before its purchase by Goupil, Tissot must have retouched the work and changed the poodle into a terrier. He was clearly a dog-lover and dogs feature in many of Tissot's pictures; he was able to capture nuances of behaviour and appearance, and unsurprisingly was commissioned to paint portraits of several dogs.

Whilst French critics had praised the Belgian artist Leys for depicting his Flemish history in a serious and detailed manner, they questioned why Tissot, a French artist, should focus on a history that was not French. They remarked on his evident painterly talent — 'above all in the Départ du fiancé', according to Thoré-Bürger — and advised the artist to abandon historicizing 'medieval' worlds. They also criticized Tissot's inclusion of awkward poses and angular figures (such as the huntsman in Départ du fiancé). In these Tissot was emulating 15th and16th-century 'primitive' artists, just as some British Pre-Raphaelites did in their early works (for example John Everett Millais in Isabella, 1849, National Museums Liverpool, Walker Art Gallery), attracting similar adverse comment. Despite disliking Tissot's medieval themes, several French critics considered Départ du fiancé to be the best of his 1863 Salon pictures: 'a pretty thing, full of grace',³ said Girard de Rialle. By the time of the 1863 Salon exhibition Tissot had in fact turned his attention to painting modern life, whether as a result of adverse criticism is unclear. He exhibited modern-life paintings in Paris from 1864, although he continued to paint 'medieval-dress' oils for several more years.

Départ du fiancé attracted mixed views when exhibited in England as Departure of the betrothed soldier in 1864. A Manchester Guardian critic praised Tissot's 'consummate skill' at painting figures, especially faces: 'The old man and woman are fine studies, full of character, and with that likeness to each other which those have who have interchanged thought and love so long as to have celebrated a golden wedding.' However, they considered the landscape 'intolerable. Such trees, such fields and stone heaps, such stag-hunting, and such a poodle were surely never seen on canvas since the earliest days of the revival of painting', advising Tissot to find a good landscape painter to collaborate with on figures. The Manchester Courier reviewer was less scathing: 'The background is a collection of sombre objects, some of them ill drawn, and some standing out from the canvas with almost a spectral aspect through the light thrown behind them and their own outré lines; yet there is a fascination about even this background, because of the light which so mysteriously permeates it, and because of the unity which, after all, is palpable in the work.' This reviewer thought the painting 'worthy of study', liking the 'manliness' of the 'brawny' soldier and 'thoroughly feminine character in the female by his side' but disliking their 'affectation and posturing . . . a reminiscence of Scheffer's Faust and Marguerite'. The painting gave the Illustrated Times critic 'a higher opinion of (Tissot's) powers' than 'formed from previous experience of his style', while the Reader reviewer was full of praise:

'In a finely-composed landscape, we meet a young sixteenth-century soldier walking with his betrothed a little in advance of her parents and other members of the family, who have come thus far on the road to bid him God-speed: the moment of separation is now at hand, and the lover's arm clasps his sweetheart, whose head leans on his breast. This incident, common to all times, has received in this picture a treatment that vividly recalls to us the past: even the face of the landscape bears the marks of medieval culture, and we detect nothing approaching to an anachronism in the whole composition.'

Evidence points to Departure of the Betrothed Soldier having been submitted by Tissot for exhibition at the Royal Academy (RA) in 1864 but rejected by the selection and hanging committee. Royal Academicians had been much criticized by British press and politicians in 1863 for picture rejections and had endeavoured in 1864 to accommodate more works by non-Academicians, especially younger artists. All the same, 58% of submissions were rejected. Tissot had sent his large Return of the Prodigal Son to the Society of British Artists (SBA) exhibition at the beginning of March, no doubt having been advised by artist friends in Britain that he would be more likely to get it shown there than at the RA. The Society welcomed work by non-members and the artist John Watkins Chapman (1832–1918), whose address Tissot gave for both his SBA and RA submissions, exhibited there regularly despite not being an SBA member. RA submission was scheduled a couple of days before the SBA exhibition opened at the start of April; RA rejections only became known at the end of April or when the RA exhibition opened in May. Departure of the Betrothed Soldier was a late addition to the 1864 exhibition of French and Flemish artists at the French Gallery, a commercial venture established on London's Pall Mall by art dealer Ernest Gambart: it was not included in the printed catalogue for the spring exhibition that opened mid-April and is not mentioned in reviews until June. A small Tissot painting had been squeezed in at the RA, 'close to the floor', according to the Times critic Tom Taylor, untitled in the first catalogue edition then titled At the Break of Day. Unusually for such a small work, Taylor described and praised it, indicating that he considered the artist to have been overlooked.

This little picture was sent by Tissot for exhibition in October at the Royal Manchester Institution, as The Duel, together with Departure of the Betrothed Soldier. The latter was hung in 'the centre of the left-hand side of the first room,' according to a Bolton Chronicle reviewer, 'the hangers evidently considering it worthy of its position'. Tissot's two SBA pictures, the large Return of the Prodigal Son and a small Elopement — pair to The Duel — were sent to the concurrent Liverpool Institution of Fine Arts exhibition. This reinforces the likelihood that the two Manchester pictures had both been intended for the RA. Rejection must have been a bitter experience for Tissot and, other than a few pictures shown at the dealer-run French Gallery in London, he did not submit any pictures for exhibition in Britain until 1871.

Tom Taylor had in fact admired Tissot's work for some years and in August 1863 had been instrumental in gaining Tissot a commission from the publisher Alexander Macmillan to illustrate Breton ballads of Tissot's choice from ones collected by Théodore Hersart de la Villemarqué and translated by Taylor for publication by Macmillan in 1865. Tissot's drawings were translated into steel engravings by Charles Henry Jeens, drawings by other contributors being reproduced as wood engravings. Copies of the book were available for purchase in December 1864. The two images by Tissot were given pride of place on the title page and frontispiece, in preference to ones by Millais and such well-known Victorian illustrators as John Tenniel, Charles Keene and 'Phiz'. Tissot received 1,000 French francs for his two drawings. The Pre-Raphaelite artist Dante Gabriel Rossetti so admired them that he asked his friend Macmillan for a proof of each engraving and was given one of Tissot's original drawings by Macmillan.

Departure of the Betrothed Soldier or Départ du fiancé was bought from Tissot in 1865 by Paris art dealer Adolphe Goupil for 2,500 French francs including frame. He recorded receipt of the painting on November 14, 1865. In 1866 Goupil sent the painting to his New York gallery, managed by Michael Knoedler, but it did not find a buyer and was returned by Knoedler to Paris (probably in 1868). Not until June 29, 1871, was the painting sold, weeks after French government forces had crushed the Commune insurrection that had followed defeat in the Franco-Prussian war and months-long siege of Paris. The buyer was New York art dealer Samuel Avery, on the lookout for bargains in a city that had been starved by siege, pulverized by bombing and terrified by anti-Commune reprisals. He paid Goupil 2,500 French francs. No subsequent documentation of the painting has been traced until 7 March 1877, when Knoedler recorded purchasing a Faust & Marguerite that is probably this oil, for $2,500 'through N. Matthews for Edwin Tufts'. On February 14, 1879, the Faust & Marguerite was recorded as 'Unsold, sent to Doll & Richards, Boston'. Leonard & Co. auctioned the Départ du fiancé for an unnamed seller at Williams & Everett's Gallery, Boston, on 27–28 March 1879 (lot 116) as The Last Walk. It sold for $900 to 'Bacon', perhaps the artist Henry Bacon (1839–1912), who was an admirer of Tissot's modern-life pictures. The painting's most recent owner was artist, educator and collector James Glasgow, who died in 2024.

Tissot's watercolour of the Départ du fiancé (sold Christie's Online Auction 19029, October 2020, lot 51) has been described as a compositional study but is most probably the watercolour replica Tissot was commissioned to make in 1866 by Goupil's son, together with a small watercolour copy of The Confessional (untraced, copy of watercolour in Walters Art Gallery, Baltimore), receiving 250 French francs for each.

There is no Tissot oil painting of equivalent date, importance or size as the Départ du fiancé in any British, US, Canadian or Australian public collection. The two early, historical-dress Tissot paintings in US public collections — Voie des fleurs, voie des pleurs (Way of Flowers, Way of Tears), 1860 (Museum of Art, Rhode Island School of Design) and Promenade au remparts (Promenade on the Ramparts), 1864 (Cantor Arts Center, Stanford University, California) — are much smaller than Départ du fiancé, being 37.2 x 122.4 cm and 52.1 x 44.5 cm respectively, while Départ du fiancé measures 106 x 184 cm. It is slightly smaller and less detailed than the two paintings exhibited with Départ du fiancé at the 1863 Paris Salon, Retour de l'enfant prodigue (Return of the Prodigal Son) and Départ de l'enfant prodigue à Venise (Departure of the Prodigal Son in Venice), both now in the collection of Petit Palais, Musée des Beaux-Arts de la Ville de Paris. However, it is on a par, in terms of figures and costume detail, with the Musée d'Orsay's important Rencontre de Faust et Marguerite (Meeting of Faust and Marguerite), dated 1860 and smaller in size (78 x 117 cm), which was exhibited at the 1861 Paris Salon and bought from Tissot by the French state in 1863 for the considerable sum of 5,000 French francs. Although there is an early Marguerite in Church by Tissot in the National Gallery of Ireland, Dublin, there are no examples of Tissot's early historical-dress paintings in public collections outside Ireland and France. Several examples remain in private collections but none are of equivalent size or importance to the Départ du fiancé, which is a rare example of the large paintings with which Tissot sought to establish his reputation in the early 1860s.

We are grateful to Krystyna Matyjaszkiewicz for compiling this catalogue entry.