ble draughtsman of the
time. He was not classic but religious in subject, and is sometimes
called "the religious painter of France." He had a delicate beauty of
line and a fine feeling for form, but never was strong in color,
brush-work, or sentiment. His best work appears in his very fine
portraits. Gleyre (1806-1874) was a man of classic methods, but
romantic tastes, who modified the heroic into the idyllic and
mythologic. He was a sentimental day-dreamer, with a touch of
melancholy about the vanished past, appearing in Arcadian fancies,
pretty nymphs, and idealized memories of youth. In execution he was
not at all romantic. His color was pale, his drawing delicate, and his
lighting misty and uncertain. It was the etherealized classic method,
and this method he transmitted to a little band of painters called the

NEW-GREEKS, who, in point of time, belong much further along in the
century, but in their art are with Gleyre. Their work never rose above
the idyllic and the graceful, and calls for no special mention. Hamon
(1821-1874) and Aubert (1824-) belonged to the band, and Gerome
(1824-[6]) was at one time its leader, but he afterward emerged from
it to a higher place in French art, where he will find mention
hereafter.

[Footnote 6: Died, 1904.]

Couture (1815-1879) stood quite by himself, a mingling of several
influences. His chief picture, The Romans of the Decadence, is classic
in subject, romantic in sentiment (and this very largely expressed by
warmth of color), and rather realistic in natural appearance. He was
an eclectic in a way, and yet seems to stand as the forerunner of a
large body of artists who find classification hereafter under the
title of the Semi-Classicists.

PRINCIPAL WORKS: All the painters mentioned in this chapter
are best represented in the Louvre at Paris, at Versailles,
and in the museums of the chief French cities. Some works of
the late or living men may be found in the Luxembourg, where
pictures bought by the state are kept for ten years after
the painter's death, and then are either sent to the Louvre
or to the other municipal galleries of France. Some pictures
by these men are also to be seen in the Metropolitan Museum,
New York, the Boston Museum, and the Chicago Art Institute.

CHAPTER XIV.

FRENCH PAINTING.

THE NINETEENTH CENTURY (_Continued_).

BOOKS RECOMMENDED: The books before mentioned, consult also
Gen