1798-1863), who is more
fully hung in this collection. Of the brilliant compositions which
with indefatigable industry he poured forth in the heyday of the
movement, we may note some excellent examples: 212, L. wall, The Wreck
of Don Juan; 211, L. wall, Jewish Wedding at Morocco; and, 213,
Capture of Constantinople by the Venetians and Franks. Earlier works
are, 207, R. of entrance, Virgil and Dante nearing the City of Dis,
executed with feverish energy in a few weeks for the Salon of 1822;
and 208, L. of entrance, The Massacre of Scio, a glowing canvas
painted in 1834. Jean Hippolyte Flandrin (1809-1864), the Lesueur of
the century, and like him uniting artistic genius and wide erudition
with profound religious faith and true modesty, is represented most
poorly of all; 284, Portrait of a Young Girl being the only example of
this master's work here. Flandrin can only be truly appreciated in the
church of St. Germain des Pres (p. 320). Before we turn to the
Barbizon painters, we note Gros' fine composition, 389, L. wall,
Napoleon at Eylau; and 390, R. wall, Francis I. and Charles V.
visiting the Tombs at St. Denis.

With Theodore Rousseau (1812-1867), the all-father of the modern
French landscape school, and chief of the little band of enthusiasts
who grouped themselves about him at Barbizon, we touch the greatest
artistic movement of the age. Jean Baptiste Camille Corot (1796-1875),
the ever-young and gentle spirit, the tenderest emanation of the
century; Jean Francois Millet (1814-1875), the inspired and cultured
peasant, mightiest of them all, grand and solemn interpreter of the
fundamental and tragic pathos of human toil, ever discerning God's
image in the most bent and ill-shapen of his creatures; Constant
Troyon (1810-1865), the grandest animal painter of his day; Narcisse
Diaz de la Pena (1809-1876), once a poor errand lad with a maimed leg,
painter of forest depths and of the rich hues of summer foliage;
Charles Francois Daubigny (1817-1878), latest of the little band,
faithful and tender student of nature, painter of the countryside, of
the murmuring waters of the Seine and the Oise--these once despised
and rejected of men have long won fame and appreciation. No princely
patronage shone on them in their early struggles nor smoothed their
path; they wrought out the beauty of their souls under the hard
discipline of poverty in loving and awful communion with Nature. They
have revealed to us new tones of colour in