nd epoch. Official encouragement was not wanting
to the painters. Gros and Gerard received the title of Baron. There may
be seen to-day in one of the new halls of the French School at the
Louvre, the pretty picture by Heim, which represents Charles X.
distributing the prizes for the Exposition of 1824, where Le Vaeu de
Louis XIII. by Ingres had figured, and where the talent of Paul
Delaroche had been disclosed. In the Salon Carre of the Louvre, the
King, in the uniform of general-in-chief of the National Guards, blue
coat with plaits of silver, with the cordon of the Saint Esprit, and in
high boots, himself hands the cross of the Legion of Honor to the
decorated artists, among whom is seen Heim, the author of the picture.

Ingres, chief of the Classic School, and Delacroix, chief of the
Romantic School, shone at the same time. In 1827, the first submitted
to general admiration l'Apotheose d'Homere and Le Martyre de Saint
Symphorien. The same year Delacroix, who had already given in 1824 Le
Massacre de Scio, in 1826 La Mort du Doge Mariano Faliero, exhibited LE
Christ au Jardin des Oliviers, acquired for the Church of Saint Paul;
Justinien,--for the Council of State; and La Mort de Sardanapale.

When the Musee Charles X. (the Egyptian Museum) was opened at the
Louvre, the government ordered the frescoes and ceilings from Gros,
Gerard, Ingres, Schnetz, Abel de Pujol. M. Jules Mareschal says:--

"The right-royal munificence of Charles X. was not marked by
niggardliness in the appreciation of works of art any more than in the
appreciation of the works of science and letters. But, as is known, it
is not by interest alone that the heart of the artist is gained and his
zeal stimulated. They are far more sensitive to the esteem shown them,
to the respect with which their art is surrounded, and to the taste
manifested in the judgment of their productions. Now, who more than
Louis XVIII. and Charles X. possessed the secret of awakening lively
sympathy in the world of artists and men of letters? Who better than
their worthy counsellor seconded them in the impulses of generous
courtesy so common with them? Thus from this noble and gracious manner
of treating men devoted to art and letters, which marked the royal
administration of the Fine Arts under the Restoration, sprang an
emulation and a good will which on all sides gave an impetus to genius,
and brought forth the new talents."

In theatrical matters, the Viscount Sosthenes