ssels, 1825.]

at his studio in the Sorbonne, in order to see the magnificent picture of
the coronation, which had just been finished. Their Majesties' suite was
composed of Marshal Bessieres, an aide-de-camp of the Emperor, M. Lebrun,
several ladies of the palace, and chamberlains. The Emperor and Empress
contemplated with admiration for a long while this beautiful painting,
which comprised every species of merit; and the painter was in his glory
while hearing his Majesty name, one by one, all the different personages
of the picture, for the resemblance was really miraculous. "How grand
that is!" said the Emperor; "how fine! how the figures are brought out
in relief! how truthful! This is not a painting; the figures live in
this picture!" First directing his attention to the grand tribune in the
midst, the Emperor, recognized Madame his mother, General Beaumont, M. de
Cosse, M. de La Ville, Madame de Fontanges, and Madame Soult. "I see in
the distance," said he, "good M. Vien." M. David replied, "Yes, Sire; I
wished to show my admiration for my illustrious master by placing him in
this picture, which, on account of its subject, will be the most famous
of my works." The Empress then took part in the conversation, and
pointed out to the Emperor how happily M. David had seized upon and
represented the interesting moment when the Emperor is on the point of
being crowned. "Yes," said his Majesty, regarding it with a pleasure
that he did not seek to disguise, "the moment is well chosen, and the
scene perfectly represented; the two figures are very fine," and speaking
thus, the Emperor looked at the Empress.

His Majesty continued the examination of the picture in all its details,
and praised especially the group of the Italian clergy near the altar,
which episode was invented by the painter. He seemed to wish only that
the Pope had been represented in more direct action, appearing to give
his blessing, and that the crown of the Empress had been borne by the
cardinal legate. In regard to this group, Marshal Bessieres made the
Emperor laugh heartily, by relating to him the very amusing discussion
which had taken place between David and Cardinal Caprara.

It is well known that the artist had a great aversion to dressed figures,
especially to those clothed in the modern style. In all his paintings,
there may be remarked such a pronounced love for the antique that it even
shows itself in his manner of draping living persons. Now