ouvre; and though the sketch of this was exhibited in 1795, the
picture only took definite form in 1828.

[Illustration: THE ARRIVAL OF A DILIGENCE. FROM A PAINTING BY
LOUIS-LEOPOLD BOILLY.

This picture, now in the Louvre, is the only example of this artist's
work shown there, and is particularly interesting as showing the Paris
of 1803, when the streets had no sidewalks. The scene is laid at
the place of arrival and departure of the coaches which from Paris
penetrated into all parts of France, and were the only means of
transport or communication.]

Meanwhile Lethiere had travelled much in England and Spain, and had
been for ten years director of the French School of Fine Arts in Rome.
His life was adventurous, and it is told of him that he was often
involved in quarrels, and fought a number of duels with military
officers because, humble civilian that he was, he yet dared to wear
the mustache! In 1822 he returned definitely to Paris, where he was
made a member of the Institute and professor in the School of Fine
Arts, and where he died April 21, 1832. The quality of his work is
well characterized by Charles Blanc, who writes of it "as producing
the effect of a tragedy sombre and pathetic."

The picture of the Burial of Atala, from Chateaubriand's well-known
story, is interesting as showing the methods of the David school
applied to subjects of less heroic mould than the master and his
disciples were wont to treat. Anne-Louis Girodet de Roucy Trioson,
born at Montargis January 3, 1767, was one of the most convinced
adherents of his master David; and while competing for the Prize
of Rome, which he won in 1789, was accustomed each morning before
beginning his work to station himself in front of David's picture of
the Horatii as before a shrine, invoking its happy influence. Such
devotion received its official reward, and after five years spent
in Rome his great (and tiresome) picture of the Deluge met with
the greatest favor, and in 1810 was awarded the medal for the best
historical picture produced in the preceding decade. The Burial of
Atala, painted in 1808, is, however, a work of charm in composition
and sentiment; and though in color it is dry and uninteresting, is
not unworthy of the popularity which it has enjoyed from the vantage
ground of the Louvre for more than four-score years. Girodet died in
Paris, December 9, 1824, after having received all the official honors
which France can award to a painter.