ed him to break the agreement
between the state and the Catholic bishops which he had signed at his
installation, and he was arrested by the Prussian government in November
1837. A battle of pamphlets raged for some time; Droste was not
re-installed but was obliged to accept a coadjutor. His chief works
were: _Uber die Religionsfreiheit der Katholiken_ (1817), and _Uber den
Frieden unter der Kirche und den Staaten_ (1843).

See Carl Mirbt's article in Herzog-Hauck, _Realencyk. fur prot. Theol._
v. 23.

DROUAIS, JEAN GERMAIN (1763-1788), French historical painter, was born
at Paris on the 25th of November 1763. His father, Francois Hubert
Drouais, and his grandfather, Hubert Drouais, were well-known portrait
painters; and it was from his father that he received his first artistic
instruction. He was afterwards entrusted to the care of Brenet, an
excellent teacher, though his own pictures did not take high rank. In
1780 David, who had just returned from Rome, opened a school of painting
in Paris, and Drouais was one of his earliest and most promising pupils.
He adopted the classical style of his master, and gave his whole time to
study--painting during the day, and spending a great part of every night
in designing. For weeks together it is said that he never left his
studio. In 1783 he was admitted to compete for the great prize of
painting offered by the Academy, the subject being the "Widow of Nain."
After inspecting the works of his fellow-competitors, however, he lost
hope and destroyed his own canvas, but was consoled by the assurance of
his master David that had he not done so he would have won the prize.
Next year he was triumphantly successful, the "Woman of Canaan at the
Feet of Christ," with which he gained the prize, being compared by
competent critics with the works of Poussin. He was carried shoulder
high by his fellow-students through the streets to his mother's house,
and a place was afterwards found for his picture in the Louvre. His
success making him only the more eager to perfect himself in his art, he
accompanied David to Rome, where he worked even more assiduously than in
Paris. He was most strongly influenced by the remains of ancient art and
by the works of Raphael. Goethe, who was at Rome at the time it was
finished, has recorded the deep impression made by his "Marius at
Minturno," which he characterizes as in some respects superior to the
work of David, his master. The last picture whi