grata_ to the
restored Bourbons. Jean Auguste Dominique Ingres (1780-1857), the most
famous of David's pupils, two of whose works we have seen in Room V.,
was the bitterest opponent of the new Romantic school and steadfast
champion of his master's artistic ideal. To him more than to any other
teacher is due the tradition of clean, correct and comely drawing that
characterises the French school. It is somewhat difficult perhaps for
a foreigner, observing the paintings by Ingres in this room, fully to
comprehend[219] the reverence in which he is held by his countrymen.
More than once Professor Legros has described to the present writer
the thrill of emotion that passed through him and his fellow-students
when they saw the aged master enter the Ecole des Beaux Arts at Paris.
If, however, the visitor will inspect the marvellous Ingres drawings
in the Salle des Desseins (p. 394), he will appreciate his genius more
adequately. The master's chief work in the present room is 417, R.
wall, Apotheosis of Homer, a ceiling composition in which the
arch-poet, laurel-crowned, has at his footstool seated figures
symbolising the _Iliad_ and the _Odyssey_, while the most famous poets
and philosophers of the ages are grouped below him. The Odalisque,
422B, L. wall, is a characteristic nude, and a few other subject
pictures will be noted. Among his portraits, 418, Cherubini; 428B,
Bertier de Vaux, are generally regarded as masterpieces. Ingres
despised colour, he never appealed to the emotions; his type of beauty
is external and soulless, and he leaves the spectator cold.

[Footnote 219: Whistler, while disliking his art, was wont to wish he
had been his pupil.]

Meanwhile the new Romantic school of brilliant colourists grew and
flourished. Ary Scheffer, Delaroche, Delacroix, cradled in the storms
of the revolutionary period, are all represented around us. The
sentimental Ary Scheffer (1795-1858) is seen, L. wall, in 841, St.
Augustine and St. Monica, an immensely popular but affected and feeble
composition. Some portraits by this artist may be also found on the
walls. Greater than he in breadth of composition, opulence of colour
and artistic virtuosity, was Paul Delaroche, whose Death of Queen
Elizabeth, 216, end wall, now asserts itself. His greatest work,
however, and one which won him much fame, is his well-known Hemicycle
in the Beaux Arts (p. 319). A twin spirit with Gericault was the
impetuous Ferdinand Victor Eugene Delacroix (