tury--and after! The critics were unanimous in their violent
condemnation of Delacroix's works: "the compositions of a sick man in
delirium," "the fanaticism of ugliness," "barbarous execution," "an
intoxicated broom"--such are some of the terms of abuse showered upon
him. The gentlest among them commiserate the talent which here and there
can be seen "struggling with the systematic _bizarrerie_ and the
disordered technique of the artist, just as gleams of reason and
sometimes flashes of genius may be seen pitiably shining through the
speech of a madman." The final touch to Delacroix's disgrace was given
by the Directeur des Beaux Arts sending for him and recommending him to
study drawing from casts, warning him at the same time that unless he
could change his style he must expect neither commissions nor
recognition from the State!

The year 1830 has given its name to that brilliant generation of poets,
novelists, painters and philosophers which, as Theophile Gautier says
with just pride, "will make its mark on the future and be spoken of as
one of the climacteric epochs of the human mind." The revolution of July
inspired Delacroix with one of his most interesting pictures. _Le 28
Juillet_ is the only one of his works in which he depicts modern life,
and was a striking refutation to those who complained that modern
costume is too ugly or prosaic to be treated in painting. "Every old
master," Baudelaire usefully pointed out, "has been modern in his day.
The greater number of fine portraits of former times are dressed in the
costume of their period. They are perfectly harmonious because the
costumes, the hair, and even the attitude and expression (each period
has its own), form a whole of complete vitality." _Le 28 Juillet_ gives
us the very breath and spirit of modern street fighting. Though the
public

[Illustration: PLATE XLVI.--JOHN CONSTABLE

THE HAY WAIN

_National Gallery, London_]

remained hostile and the jury bestowed none of its prizes, as before,
the Government acknowledged the artist's talent and politics by making
him a Chevalier of the Legion of Honour. Further, from 1833 to 1853 he
was intermittently employed in decorating the Chamber of Deputies, the
Senate, and other public buildings. In 1855 he showed at the Great
Exhibition a series of thirty-five of his most important pictures, the
effect of which was immense. For the first and only time in his life he
enjoyed a triumph, none the less great beca