esh in
expression and feeling, and full of touching pathos and sentiment. He
has neither the youthful beauty with which the Italians represent him,
nor the worn and wasted features which the early Germans often gave him,
but a thoughtful, earnest, tender beauty. The predominant expression is
the love and tenderness born of suffering. Three of his finest
representations of the life of Jesus of Nazareth are, "The Christ
weeping over Jerusalem," the "Ecce Homo," and "The Temptation." The last
is as original in design and composition; it is noble in expression. The
two figures stand on the summit of a mountain, and the calm, still air
around them gives a wonderful sense of height and solitude. You almost
feel the frost of the high, rare atmosphere. Satan is a very powerful
figure,--not the vulgar devil, but the determined will, the unsanctified
power. The figure of Christ is simple and expressive,--even the flow of
the drapery being full of significance and beauty. Another composition
of great beauty represents a group of souls rising from earth, and
soaring upwards to heaven. The highest ones are already rejoicing in the
heavenly light, while those below seem scarcely awakened from the sleep
of death. The whole picture is full of aspiration; everything seems
mounting upwards.

Scheffer also painted a few pictures which can hardly be called his own.
Such are "The Battle of Tolbiac," and "Charlemagne dictating his
Statutes." These were painted by the command of Louis Philippe, who was
his constant friend and patron. The young princes were his pupils; and
Scheffer was careful to form them to better taste than that of the
citizen monarch who has lined Versailles with poor pictures. For the
King he painted "The Battle of Tolbiac," and we can only regret the time
which was thus wasted; _but for his pupils_ he designed "Francesca da
Rimini" and the "Mignons."

A few masterly portraits by Scheffer's hand indicate his power of
reproducing individual character. Among these we may name that of his
mother, which is said to be his finest work,--one of the Queen,--a
picture of Lamennais,--and another of Emilia Manin, to which we shall
again refer. He occasionally modelled a bust, and sometimes engaged in
literary labor, contributing some valuable articles on Art to "La Revue
Francaise."

It would be impossible for us to analyze or even enumerate all of
Scheffer's works. They are scattered throughout France and Holland, and
a few hav