elevated, heroic, or
historical theme, academic form well drawn, some show of bright
colors, smoothness of brush-work, and precision and nicety of detail.
In treatment it attempts the realistic, but in spirit it is usually
stilted, cold, unsympathetic.

Cabanel (1823-1889) and Bouguereau (1825-1905) have both represented
semi-classic art well. They are justly ranked as famous draughtsmen
and good portrait-painters, but their work always has about it the
stamp of the academy machine, a something done to order, knowing and
exact, but lacking in the personal element. It is a weakness of the
academic method that it virtually banishes the individuality of eye
and hand in favor of school formulas. Cabanel and Bouguereau have
painted many incidents of classic and historic story, but with never a
dash of enthusiasm or a suggestion of the great qualities of painting.
Their drawing has been as thorough as could be asked for, but their
colorings have been harsh and their brushes cold and thin.

Gerome (1824-[12]) is a man of classic training and inclination, but
his versatility hardly allows him to be classified anywhere. He was
first a leader of the New-Greeks, painting delicate mythological
subjects; then a historical painter, showing deaths of Caesar and the
like; then an Orientalist, giving scenes from Cairo and
Constantinople; then a _genre_ painter, depicting contemporary
subjects in the many lands through which he has travelled. Whatever he
has done shows semi-classic drawing, ethnological and archaeological
knowledge, Parisian technic, and exact detail. His travels have not
changed his precise scientific point of view. He is a true academician
at bottom, but a more versatile and cultured painter than either
Cabanel or Bouguereau. He draws well, sometimes uses color well, and
is an excellent painter of textures. A man of great learning in many
departments he is no painter to be sneered at, and yet not a painter
to make the pulse beat faster or to arouse the aesthetic emotions. His
work is impersonal, objective fact, showing a brilliant exterior but
inwardly devoid of feeling.

[Footnote 12: Died, 1904.]

[Illustration: FIG. 66.--MILLET. THE GLEANERS. LOUVRE.]

Paul Baudry (1828-1886), though a disciple of line, was not precisely
a semi-classicist, and perhaps for that reason was superior to any of
the academic painters of his time. He was a follower of the old
masters in Rome more than the _Ecole des Beaux Arts_. His