sculpture." To consider emotion, color, or
light as the equal of form was monstrous, and to compare Rembrandt
with Raphael was blasphemy. To this belief he clung to the end,
faithfully reproducing the human figure, and it is not to be wondered
at that eventually he became a learned draughtsman. His single figures
and his portraits show him to the best advantage. He had a strong
grasp of modelling and an artistic sense of the beauty and dignity of
line not excelled by any artist of this century. And to him more than
any other painter is due the cultured draughtsmanship which is to-day
the just pride of the French school.

Gros was a more vacillating man, and by reason of forsaking the
classic subject for Napoleonic battle-pieces, he unconsciously led the
way toward romanticism. He excelled as a draughtsman, but when he came
to paint the Field of Eylau and the Pest of Jaffa he mingled color,
light, air, movement, action, sacrificing classic composition and
repose to reality. This was heresy from the Davidian point of view,
and David eventually convinced him of it. Gros returned to the classic
theme and treatment, but soon after was so reviled by the changing
criticism of the time that he committed suicide in the Seine. His art,
however, was the beginning of romanticism.

The landscape painting of this time was rather academic and
unsympathetic. It was a continuation of the Claude-Poussin tradition,
and in its insistence upon line, grandeur of space, and imposing trees
and mountains, was a fit companion to the classic figure-piece. It had
little basis in nature, and little in color or feeling to commend it.
Watelet (1780-1866), Bertin (1775-1842), Michallon (1796-1822), and
Aligny (1798-1871), were its exponents.

A few painters seemed to stand apart from the contemporary influences.
Madame Vigee-Lebrun (1755-1842), a successful portrait-painter of
nobility, and Horace Vernet (1789-1863), a popular battle-painter,
many of whose works are to be seen at Versailles, were of this class.

ROMANTICISM: The movement in French painting which began about 1822 and
took the name of Romanticism was but a part of the "storm-and-stress"
feeling that swept Germany, England, and France at the beginning of this
century, appearing first in literature and afterward in art. It had its
origin in a discontent with the present, a passionate yearning for the
unattainable, an intensity of sentiment, gloomy melancholy imaginings,
and a desire t