the great masters. In order to paint Roman subjects and Roman manners, he sought his models in the ruins of ancient Rome; he studied the statues and bas-reliefs, and read Tacitus and Plutarch.

By the severity of his taste, by the admiration of noble thoughts and fine actions, he brought back art to dignity and true grandeur. He lived in Paris, and took part in the great Revolution, and passed many months in prison. But when the Empire had overthrown the Republic, David became painter to the emperor, and prefect of the department of the Fine Arts. After the fall of Napoleon, David took refuge in Brussels, where he continued to paint for many years.

His best works are to be found in the Louvre.

These works of David show all his good qualities and defects in the clearest light. On one hand, the fine subjects, noble sentiments, correct drawing, and chastened painting; on the other, an academic stiffness, making the living beings look as if cut out in marble; and in the execution a sad monotonous coloring.

Guillaume Guillon Lethière (1760-1832), one of David's pupils, is represented in the Louvre by those enormous pictures, the Death of Virginia and Death of the Sons of Brutus. These paintings were exhibited in London in 1816 and received with much applause.

Anne Louis Girodet de Roucy Trioson (17671824) gained the grand prix, and went to Rome.

The Oath of the Horatii was painted at Rome in 1784. Its appearance caused such sensation in the Parisian salons, that from this time we may date the commencement of the fashion for Roman forms in garments, hangings and furniture. The second Republican picture was Marcus Brutus, to whom the lictors are bringing the corpses of his two sons, whom he had condemned to death. It is dated 1789. He painted in 1799 the Sabine Women throwing themselves into the midst of the conflict between the Romans and the Sabines; and the Death of Marat, struck by Charlotte Corday; then, the Leonidas at Thermopyla. Although between this picture and the Sabines the whole interval of the Empire intervenes we may yet call them twin pictures.

His most important works may be found in the Louvre-the Sleep of Endymion; the Interment of Atala, describing a scene from Chateaubriand; a Scene from the Deluge.

François Gérard (1770-1837) was born at Rome. His celebrated group of Cupid and Psyche, and his Entrance of Henri IV. into Paris are in the Louvre. Baron Gérard, to whom many of the most illustrious characters of Europe sat for their likeness, was rather a portrait than an historic painter, and an intellectual man more than an artist of genius.

Antoine Jean Gros (1771-1835) suddenly quitted the usual track, to open a fresh career for himself. He formed his style on his own country and time, and painted the men and the things before his eyes;

to show how he treated the antique, and how he could impart as much poetry to cotemporary sufferings as to the fictions of mythology.

François Marius Granet (1775-1849), another mason's son, born at Aix-en-Provence, is celebrated for his Interiors, two of which may be seen in the Louvre, the Cloister of the Church of Assisi, and the Fathers of Mercy redeeming Captives. He animated his views of buildings by scenes from human life, and, like Pieter de Hooch, raised his less familiar subjects to the rank of historic pictures.

PAINTERS OF THE NINETEENTH CENTURY,

Jean Louis André Théodore Géricault (17911824) was a pupil of Carle Vernet and Pierre Guérin. As he died very young, it is difficult to understand how it happened that he played so important a part in French art, and exerted such influence on the whole school.

His works in the Louvre, the Chasseur de la Garde Imperiale and the Cuirassier Blessé, belong to the period when, following Carle Vernet, he was simply a painter of horses. It was not till toward the close of his life that Géricault executed the only great work of his life, the Raft of the Medusa. This picture was at first received with a storm of reproaches, but when exhibited in London it won much praise, and is now one of the treasures of the Louvre.

Jean Auguste Dominique Ingres (1780-1867), at the age of sixteen, chose art as his profession, and entered the studio of the stern classic master David, where he remained four years. In 1800 he won the second, and in 1801 the first Academic prize, and received a pension of one thousand francs. In 1802 he painted his first important work, Bonaparte passing the Bridge of Kehl, and in 1806 went to Rome, where he remained until 1820, when he removed to Florence, where he resided four years, painting the Entry of Charles V. into Paris, and the Vow of Louis XIII., now in a church at Montauban. 1824 he returned to Paris, to find the school of David supplanted by that of Delacroix. He then painted his Apotheosis of Homer, on a ceiling in the Louvre; in 1829 was elected Professor of Painting in the École des Beaux-Arts; and in 1834 Director of the French Academy in Rome. This appointment enabled him to return to the city of his affections, where, however, he painted but few pictures.

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He returned to France in 1841; in 1845 was nominated Commander, and in 1855 Grand Officer of the Legion of Honor.

Ingres left behind him, in addition to the masterpieces we have mentioned, several great works, including the Odalisque, which appeared in 1819; the Martyrdom of S. Symphorien, in the cathedral of Autun'; Roger rescuing Angélique; Stratonice; Christ delivering the keys to S. Peter; Edipus explaining the riddle of the Sphinx; La Source, the picture which attracted such universal admiration in the London exhibition of 1862; and La Baigneuse. The four last are all in the Louvre.

Emile Jean Horace Vernet (1789-1863), the son of Carle Vernet, was born in the Louvre, where his father had apartments. In 1806 and the following years he exhibited his famous Barrière de Clichy; the Capture of the Redoubt; the Entrance of the French Army into Breslau; the Defense of Paris, and the Massacre of the Mamelukes. In 1826 he was made a member of the Institute, and two years later he was elected Director of the French Academy in Rome. At Versailles, one whole gallery-the Constantine-was devoted to his works illustrative of the victories achieved by the French armies in Algeria. Of this series the most noteworthy for its merits, as well as for its size, is the Capture of the Smala of Abd-el-Kader.

Louis Léopold Robert (1794-1835) was at first an

engraver, then a pupil of David at Paris. He went very late to Italy, where he painted subjects of history mixed with the scenes of nature. Three of his most important works are in the Louvre-the Italian Improvisatore, the Feast of the Madonna di Pie-di-grotta, and the Harvest Feast in the Roman Campagna. In 1835 he painted the Departure of Fishing Boats in the Adriatic, in which he seems to foretell a departure without a return, and which he completed at Venice just before he ended his own life.

LEOPOLD ROBERT.

Claude Marie Dubufe (1789-1864) was born in Paris, and took his first lessons in art in the studio

of the great classic master, David. His earliest works were historic, and included the well-known Roman Family dying of Famine, and Achilles taking Iphigenia under his Protection. They were succeeded by Christ stilling the Tempest; Apollo and Cyparissus; the Birth of the Duke of Bordeaux; Christ walking on the Sea of Galilee; and the Deliverance of S. Peter. In 1827 he changed his style and class of subjects; his Remembrances, Regrets, and the Slave Merchant, taking high rank as genre pictures. Of this class is his Surprise in the National Gallery.

and his religious subjects-Christ the Comforter; S. Monica, and the Temptation of Christ.

Jean Baptiste Camille Corot (1796-1875), one of the best of modern French landscape painters, was apprenticed to a draper, but determined to be a painter, and entered in 1822 the studio of Michallon. He afterward went to Italy, where he applied himself diligently to study landscape painting from nature. In 1827 appeared his first works, a View of Narni and the Campagna of Rome; in the Paris Exhibition of 1855 he exhibited Morning Effect and Evening,

His portraits, especially those of the Queen of the Belgians and the Duchess of Istria, are also greatly admired.

Ary Scheffer (1795-1858), who was born at Dordrecht of French parents, had the misfortune when quite young to lose his father. His mother took him in 1811 to Paris, and apprenticed him to Pierre Guérin, from whom he learned his art, though he acquired but little of that master's style. His best works are the Francesca di Rimini; his Gaston de Foix found dead-now in the Gallery at Versaillesand the four subjects taken from Goethe's Faust;

and in the same year received a first-class medal. These were followed by a succession of pictures which won him immense fame. "Corot was a poet, and his canvases are the expression of ideas, refined almost to sentimentality, full of fancy and imagination."

Paul Delaroche (1797-1856), the celebrated painter of historic scenes, was born in Paris. He studied art under Gros, and exhibited his first picture in 1819; but it was not till 1824 that he produced three paintings which earned him his celebrity-these were Vincent de Paul preaching; Joan

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of Arc examined in Prison; and a S. Sebastian. succeeding years he painted his well-known Death of Queen Elizabeth and the Children of Edward IV., both in the Louvre; the Death of the Duc de Guise, and many other equally celebrated pictures. His chief work, however, was the decoration, in encaustic, of the amphitheater of the Palais des BeauxArts-to which he devoted four years. In this stupendous work, known as the Hemicycle, Delaroche introduced seventy-five full-length portraits of the most eminent painters, sculptors, architects, and engravers.

Ferdinand Victor Eugène Delacroix (1799-1863) was born at Charenton Saint-Maurice, near Paris. When eighteen years of age he entered the studio of Guérin ; but, dissatisfied with that master's art, struck out a new path for himself and became the leader of the so

called "Romantic School." In 1830 he visited Spain, Algiers, and Morocco, and on his return was much patronized by M. Thiers, who procured for him the commission to paint numerous works in the Palais Bourbon, the Hôtel de Ville, the Luxembourg,

a member of the Legion of Honor; in 1855 he obtained one of the prizes of the French International Exhibition; and in 1861 was created an officer of the Legion of Honor. He is chiefly known in England by two pictures sent to the Exhibition of 1862 the Two Friends, a small but highly finished work, and A Square of Republican Infantry repulsing Austrian Dragoons. His most important pictures, however, are to be seen at Versailles and the Luxembourg, and include his Battle of the Alma, Painful Adieux, the Departure from the Cantonment, the Cuirassiers at Waterloo, the Battle of Fleurus, the Return from Elba, the Morning after the Battle of Jemappes, the Defile after the Victory.

the Louvre, and other public buildings as well as churches in Paris.

Eugène Delacroix is well represented by four works in the Louvre : Dante and Virgil, painted in 1822; the Massacre of Scio, in 1823; the Algerian Women, in 1834; and the Jewish Marriage in Morocco. These works were succeeded by the Bridge of Taillebourg, a Medea, the Shipwrecked Mariners, the Entrance of Baldwin into Constantinople, and many others.

Joseph Louis Hyppolyte Bellangé (1800-1866) was born in Paris, and took his earliest lessons in art from Gros. In 1824 he won a second-class medal for an historic picture; in 1834 he was made

Alexandre Gabriel Decamps (1803-1860), a pupil of Abel de Pujol, is chiefly celebrated for the pictures of Eastern subjects which he introduced to the Parisian public. The gallery of Sir Richard Wallace contains more than thirty paintings by this artistmany of which are Scriptural subjects. His Turkish School, the History of Samson, and the Defeat of the Cimbri, are among his most celebrated works.

Narcisse Virgile Diaz de la Peña (1809-1876), the son of Spanish parents, was born at Bordeaux, where, at ten years of age, he was left an orphan. During many years of poverty he learned to paint, and in 1844 gained his first medal at the Salon. After that time he was immensely successful. Diaz ridiculed the realistic school, and made color his principal charm, but he painted only a few figure pieces. His landscapes, full of the brightest autumnal tints, and lighted by golden sunshine, are his best works. His Forest of Fontainebleau sold in 1873 for £1,028.

Charles Gabriel Cleyre (1807-1874), was born in Switzerland. After studying in Paris, he went, in