was best from both parties.
Inventing nothing, he profited by all invented. He employed the
romantic subject and color, but adhered to classic drawing. His
composition was good, his costume careful in detail, his brush-work
smooth, and his story-telling capacity excellent. All these qualities
made him a popular painter, but not an original or powerful one. Ary
Scheffer (1797-1858) was an illustrator of Goethe and Byron, frail in
both sentiment and color, a painter who started as a romanticist, but
afterward developed line under Ingres.

[Illustration: FIG. 63.--GEROME. POLLICE VERSO.]

THE ORIENTALISTS: In both literature and painting one phase of
romanticism showed itself in a love for the life, the light, the color
of the Orient. From Paris Decamps (1803-1860) was the first painter to
visit the East and paint Eastern life. He was a _genre_ painter more
than a figure painter, giving naturalistic street scenes in Turkey and
Asia Minor, courts, and interiors, with great feeling for air, warmth
of color, and light. At about the same time Marilhat (1811-1847) was
in Egypt picturing the life of that country in a similar manner; and
later, Fromentin (1820-1876), painter and writer, following Delacroix,
went to Algiers and portrayed there Arab life with fast-flying horses,
the desert air, sky, light, and color. Theodore Frere and Ziem belong
further on in the century, but were no less exponents of romanticism
in the East.

Fifteen years after the starting of romanticism the movement had
materially subsided. It had never been a school in the sense of having
rules and laws of art. Liberty of thought and perfect freedom for
individual expression were all it advocated. As a result there was no
unity, for there was nothing to unite upon; and with every painter
painting as he pleased, regardless of law, extravagance was
inevitable. This was the case, and when the next generation came in
romanticism began to be ridiculed for its excesses. A reaction started
in favor of more line and academic training. This was first shown by
the students of Delaroche, though there were a number of movements at
the time, all of them leading away from romanticism. A recoil from too
much color in favor of more form was inevitable, but romanticism was
not to perish entirely. Its influence was to go on, and to appear in
the work of later men.

ECLECTICS AND TRANSITIONAL PAINTERS: After Ingres his follower
Flandrin (1809-1864) was the most considera