mple of the art of Claude Michel (1738-1814), known as Clodion
whose popularity rivalled that of his master Pajou, and whose
prodigious output of marble and terra-cotta sculpture failed to keep
pace with the demands of his clients. 777 is Pajou's, The Forsaken
Psyche. By the seductive and sentimental Canova are 523 and 524,
variants of a favourite theme, Love and Psyche.[202] With some sense
of relief we enter the more invigorating atmosphere of Room VI., named
after the sturdy Francois Rude (1784-1855), who flung off the yoke of
the Roman classicists, and from whose simple, austere atelier issued
works instinct with a new life, such as the dramatic group, The
Departure of the Volunteers of 1792, on the E. base of the Triumphal
Arch of the Etoile. Rude, who rescued the art from the fetid
atmosphere of a corrupt society and emancipated it from a hide-bound
pedagogy, is here represented by his Jeanne d'Arc, 813; Maurice de
Saxe, 811; and 815, Napoleon awakening to Immortality, a model for a
monument to the Emperor. In the centre are 810, Mercury in bronze, and
the Neapolitan fisher lad (no number). Rude's contemporary and
fellow-liberator, David d'Angers (1789-1856), chiefly renowned for his
pediment sculpture on the Pantheon (p. 330) is here represented by
566, Philopoeman, the famous general of the Achaen League; busts of
Arago and of Beranger; 567 _bis_, Child and Grapes, and a series of
medals in the embrasures of the windows. Of Antoine Barye (1796-1875),
pupil of pere Rude and another victorious assailant of the "Bastille
of Classicism," this room exhibits three masterly works in bronze;
494, Centaur and Lapith; 495, Jaguar and Hare; and (no number), Tiger
and Crocodile. A later contemporary and excellent master was Jean
Baptiste Carpeaux (1827-1875), after whom Room VII. is named. Here
stand his models for the famous group, Dancing, which adorns the Opera
facade; and for The Four Quarters of the World, at the Fountain of the
Observatoire. Among others of his productions may be cited a bronze
group, Ugolino and his Children. In a new room (Salle Moderne) are
some more recent works transferred from the Luxembourg, among which is
Chapu's Joan of Arc.

[Footnote 201: _Copiez, copiez toujours et surtout copiez juste_ was
his favourite maxim.]

[Footnote 202: The best criticism passed on this facile artist was
uttered by Flaxman: "That man's hand is too great for his head."]

SECTION V

_The Louvre (continued)