sfortune; and inspired by her devotion, David made the
first sketch of the Sabine women.

Released from prison October 26, 1795, he returned to his art; and
in 1800 the Sabines was exhibited in a room in the Louvre, where it
remained for more than five years, during which time it constantly
attracted visitors, and brought to the painter in entrance fees more
than thirteen thousand dollars. Early in the career of Napoleon, David
had attracted his attention; and he had vainly endeavored to induce
the artist to accompany him on the Egyptian campaign. On the accession
of Napoleon as Emperor, therefore, we find in the Salon catalogues,
"Monsieur David, first painter to his Imperial Majesty," in place of
plain "Citizen David" of the Revolutionary years.

Napoleon ordered from David four great paintings. The Coronation and
the Distribution of Flags alone were painted when the overthrow of the
Empire, and the loyalty of David to his imperial patron, caused him to
be exiled in 1816. He went to Brussels, where, on December 29, 1825,
he died. The Bourbons, masters of France, refused to allow his body to
be brought back to his country; but Belgium gave him a public funeral,
after which he was laid to rest in the Cathedral of Brussels.

[Illustration: POPE PIUS VII. FROM A PAINTING FROM LIFE BY DAVID, NOW
IN THE LOUVRE.

Pius VII. was the Pope who, in 1804, consecrated Napoleon I. as
Emperor of France. Later he opposed Napoleon's aggressions, and was
imprisoned for it, first in Italy and afterwards in France. In 1814
he recovered his freedom and his dominions, temporal as well as
spiritual. The above picture is, perhaps, the best example of what may
be termed the official portrait (as the preceding picture is of the
familiar portrait) of David. It was painted in 1805, in the apartment
assigned to the Pope in the Tuileries.]

This dominant artistic influence of France in the first quarter of
this century is not entirely extinguished to-day. The classical spirit
has never been entirely absent from any intellectual manifestation of
the French; but in David and his pupils it was carried to an extremity
against which the painters of the next generation were to struggle
almost hopelessly. Time, which sets all things right, has placed
David in his proper place; and while to-day we may admire the immense
knowledge of the man as manifested in the great classical pictures,
like the Horatii, the Sabines, or the Leonidas at Thermopylae,
w