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+The Project Gutenberg EBook of Delacroix, by Paul G. Konody
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Delacroix
+
+Author: Paul G. Konody
+
+Release Date: June 7, 2012 [EBook #39943]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DELACROIX ***
+
+
+
+
+Produced by Al Haines
+
+
+
+
+
+
+
+
+
+[Illustration: Cover art]
+
+
+
+
+  MASTERPIECES
+  IN COLOUR
+
+  EDITED BY
+  T. LEMAN HARE
+
+
+
+
+DELACROIX
+
+1798--1863
+
+
+
+
+
+=====================================================================
+
+PLATE I.--THE ENTRY OF THE CRUSADERS INTO CONSTANTINOPLE.  Frontispiece
+
+(In the Louvre)
+
+Painted in 1841 for the Gallery at Versailles, whence it was
+subsequently removed to the Louvre, this large, dramatic composition
+belongs to the period when Delacroix's palette, inspired from the first
+by Rubens and Veronese, had assumed increased richness under the
+influence of Eastern light and colour.  It is significant of the lack
+of appreciation shown to the master by his contemporaries, and even by
+his supporters, that the commission was accompanied by the request that
+the picture should not look like a Delacroix.
+
+[Illustration: PLATE I.--THE ENTRY OF THE CRUSADERS INTO
+CONSTANTINOPLE.]
+
+=====================================================================
+
+
+
+
+
+Delacroix
+
+
+BY PAUL G. KONODY
+
+  ILLUSTRATED WITH EIGHT
+  REPRODUCTIONS IN COLOUR
+
+
+
+[Illustration: Title page logo]
+
+
+
+LONDON: T. C. & E. C. JACK
+
+NEW YORK: FREDERICK A. STOKES CO.
+
+1911
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+    I. The Entry of the Crusaders into Constantinople . . . Frontispiece
+           In the Louvre
+
+
+   II. Algerian Women in their Apartment
+           In the Louvre
+
+
+  III. The Death of Ophelia
+           In the Louvre
+
+
+   IV. The Crucifixion
+           In the Louvre
+
+
+    V. The Bride of Abydos
+           In the Louvre
+
+
+   VI. Dante and Virgil
+           In the Louvre
+
+
+  VII. The Execution of the Doge Marino Faliero
+           In the Wallace Collection
+
+
+ VIII. Faust and Mephistopheles
+           In the Wallace Collection
+
+
+
+
+
+
+
+
+
+[Illustration: Delacroix]
+
+
+
+
+  "Delacroix, lac de sang, hanté de mauvais anges,
+  Ombragé par un daïs de sapins toujours vert,
+  Où, sous un ciel chagrin, des fanfares étranges
+  Passent comme un soupir étouffé de Weber."
+                    --Baudelaire, "Fleurs du Ma1."
+
+
+I
+
+To-day, as one examines the ten masterpieces by Delacroix in the Salle
+des États at the Louvre--ten pictures which may without fear of
+contradiction be asserted to form an epitome of the art of the man who
+is now generally acknowledged to be the fountain-head of all modern
+art--one can only with difficulty understand the bitter hostility, the
+fierce passion, aroused by these works when Delacroix's name was the
+battle-cry of the moderns, when Delacroix was the leader of the
+numerically small faction which waged heroic war against the inexorable
+tyrannic rule of academic art.  What was once considered extreme and
+revolutionary, has become what might almost be described as a classic
+basis of a revaluation of æsthetic values.  Even Manet's "Olympia," the
+starting-point of a more recent artistic upheaval, a picture which on
+its first appearance at the Paris Salon of 1865 was received with wild
+howls of execration, now falls into line at the Louvre with the other
+great masterpieces of painting.  It marks a bold step in the evolution
+of modern art, but it is no longer disconcerting to our eyes.  And
+Delacroix can no longer be denied classic rank.  To understand the
+significance of Delacroix in the art of his country, and the hostility
+shown to him by officialdom and by the unthinking public almost during
+the whole course of his life, one has to trace back the art of painting
+in France to its very birth.  It will then be found that the history of
+this art, from the moment when French painting emerges from the
+obscurity of the Middle Ages until well into the second half of the
+nineteenth century, is a history of an almost uninterrupted struggle
+between North and South.
+
+All the efforts of chauvinistic French critics have failed to establish
+the existence of an early indigenous school.  Nearly all the early
+painters who are mentioned in contemporary documents were Flemings who
+had settled in France.  Their art is so closely allied to that of the
+Northern Schools, that it is sometimes impossible to establish the
+origin of pictures that are traditionally ascribed to French painters.
+But at the same time, perhaps in the train of the Popes who had
+transferred their Court to Avignon, Italian art began to invade France
+from the South.  Simone Martini's frescoes in the Papal Palace at
+Avignon certainly left their mark upon the School that arose in the
+Provençal city; and gradually traces of Italian influence made
+themselves felt in an art that remained Northern in its essential
+features.  There is at the National Gallery an early French panel, a
+"Scene from the Legend of St. Giles" (No. 1419), which clearly shows
+the harmonious blending of the two currents.
+
+=====================================================================
+
+PLATE II.--ALGERIAN WOMEN IN THEIR APARTMENT
+
+(In the Louvre)
+
+This picture was one of the first-fruits of Delacroix's journey to
+Morocco with Count Mornay's mission.  It was painted in 1833, the year
+after his return to France, commissioned by the State at the price of
+3000 frs.  The handling of the upright figure of the negress suggests
+Spanish influence, and was in turn obviously well known to Manet when
+he painted his "Olympia."
+
+[Illustration: PLATE II.--ALGERIAN WOMEN IN THEIR APARTMENT]
+
+=====================================================================
+
+Italianism became paramount in French painting when, in the fourth
+decade of the sixteenth century, Rosso and Primaticcio followed the
+call of Francis I. and founded the School of Fontainebleau.  From about
+1532 right into the nineteenth century, the official art of France,
+that is to say, the art favoured by the rulers and encouraged by the
+Academy, was based on the imitation of Raphael and the Italians of the
+decline--an art that was essentially intellectual, cold, and dominated
+by drawing and design, not by colour.  In the reign of Louis XIV., when
+Le Brun became the art despot of his country, the foundation of the
+Academy, and subsequently of the French School at Rome, led to the
+formulating of definite canons of formal beauty and of the "grand
+style."  Evolution on these lines was impossible.  French art was only
+saved from stagnation by the influence of Northern art, from which it
+continued to derive its vitality.  It was saved by painters who, like
+Philippe de Champaigne and Watteau, had come from the North, or who,
+like the brothers Le Nain, Chardin, Boucher, Fragonard, and finally
+Delacroix, had drawn their inspiration either from the Dutchmen or from
+Rubens and the Flemings.
+
+During the "grand" century there are only isolated instances of
+painters who resisted the tyranny of academic rule and the exclusive
+worship of classic antiquity.  But whilst the professional painters
+meekly submitted to Le Brun's tyranny, the revolt which was to
+transform the art of painting in France in the eighteenth century was
+heralded, nay initiated, in the field of polemic literature.  A fierce
+battle was waged between the traditional advocates of the supremacy of
+line and the champions of colour, or rather of paint that fulfils a
+more vital function than the colouring of spaces created by linear
+design.  It was the battle of the "Poussinistes" and the "Rubénistes,"
+the two factions deriving their names from the great masters whose art
+was the supreme embodiment of the two opposed principles: Poussin and
+Rubens.  Félibien was the leader of those who espoused the cause of
+academic design with superimposed colour as a secondary consideration;
+and Roger de Piles became the chief defender of colour as a
+constructive element.
+
+The dawn of the eighteenth century, and the advent of Watteau, brought
+the signal victory of the Rubénistes.  The pompous style of the
+seventeenth century ebbed away with the life of the _grand monarque_.
+The new age demanded a new art--the graceful and dainty art of the
+boudoir.  At the very outset, Watteau carried the emotional
+expressiveness of pigment to a point where it could not be maintained
+by his followers and imitators.  He had never been to Italy; and though
+he had studied the works of the Venetian colourists, his art was mainly
+derived from Flemish sources.  But the Academy continued to send its
+most promising pupils to its branch school in Rome, where they were
+taught to worship at the shrine of Raphael and his followers, and
+whence they returned to continue the tradition of the School.  Thus
+Italianism did not die, though it became transformed by the ascendency
+of the Rubens influence and by the new social conditions.  Mythology
+and allegory continued to rule supreme in the art of Boucher, which is
+the most typical expression of the French eighteenth century, but they
+are adapted to the decoration of the boudoir, and colour and brushwork
+are no longer subordinated to design.  Boucher, the most French of all
+French painters, is inconceivable without two centuries of the Italian
+tradition of design and without Rubens's example of handling paint.  In
+the art of Fragonard, that great virtuoso of the brush, the influence
+of Rubens becomes absolutely paramount.  Only a few youthful failures
+recall his study of the Italians.
+
+Fragonard witnessed the end of the _ancien régime_ and the great
+political upheaval of the French Revolution.  With the monarchy died
+the sensuous art of the _fêtes galantes_.  The painting that flourished
+in the Napoleonic era was more formal, cold, and academic than at any
+previous epoch.  David and his followers sought their inspiration in
+Roman history, and set purity of line and the dogmas of the School
+higher than ever.  Their idealism was of a bombastic, rhetorical order;
+their painting absolutely uninspired tinting of pseudo-classic designs.
+At no period had French art sunk to such a level of dulness.  The death
+of David left his great pupil Ingres, the most perfect draughtsman of
+the nineteenth century, the undisputed leader of the School.  But the
+day of freedom was at hand--and the liberating word was to be
+pronounced by Delacroix.  The seventeenth-century war between the
+"Poussinistes" and the "Rubénistes" was to be resumed, although the two
+parties were now re-christened "Classicists" and "Romanticists."  But
+this time the war was one of deeds, and not of words.  Ingres was the
+leader of an army; Delacroix fought almost single-handed.  And, for
+once, victory did not favour the large battalions.
+
+
+
+
+II
+
+Eugène Delacroix, who was born on the 7th Floréal of the year VI., as
+the Republican calendar has it, or the 26th April 1798, according to
+our own reckoning, belonged to a distinguished family.  His father,
+Charles Delacroix, an ardent Republican, who had voted for the death of
+his king, took a very active part in the political life of his country,
+and filled successively the posts of Minister for Foreign Affairs,
+Ambassador to Vienna, Departmental Prefect, and Ambassador to the
+Batavian Republic.  His mother, Victoire, was the daughter of Boulle's
+pupil, the famous cabinetmaker Oeben, and was connected by family links
+with the even more illustrious Riesener.  His brother, Charles Henri,
+achieved fame in the Napoleonic campaigns, was created Baron of the
+Empire in 1810, and became Quartermaster-General in 1815.  The military
+career was also adopted by his other brother Henri, who fell at
+Friedland in 1807.  His sister married Raymond de Verninac, who became
+Prefect of the Rhône and subsequently Ambassador to the Swiss Republic.
+
+Delacroix was not an infant prodigy.  He showed none of that
+irresistible early impulse towards art which is so often discovered by
+posthumous biographers of great masters.  Indeed, his inclinations
+tended more towards music; and at one time he thought of adopting a
+military career.  Even when, at the age of seventeen, he left college
+to enter Guérin's studio, he was by no means determined to devote
+himself exclusively to painting.  There was not much sympathy between
+master and pupil.  The impetuous youth, with his keen sense of the
+dramatic and romantic, and his passionate love of music, even if his
+emotionalism was held in check by intellectuality, felt repelled by the
+icy coldness of the man in whom the teaching of David had stifled any
+personal talent he may have possessed.  And Delacroix soon found that
+he could learn more from copying Rubens, Raphael, and Titian at the
+Louvre than from Guerin's dry instruction.  Moreover, he had the good
+fortune of gaining the friendship of his fellow-student, Géricault,
+who, inspired by a spirit akin to that of Delacroix, had already broken
+away from the tradition of the School, and who heralded the dawn of a
+new era with his intensely dramatic and almost revolutionary "Raft of
+the Medusa."  Delacroix himself tells in his Journal that he was so
+powerfully impressed by the intense realism of his friend's work, that
+on leaving the studio he ran through the streets like a madman.  How
+much he benefited by Géricault's example became clear when his "Dante
+and Virgil" appeared at the Salon of 1822, raising its author with a
+single bound to fame.
+
+Delacroix's mother died in 1819.  His small heritage was swallowed up
+by a lawsuit.  His position would have been desperate, but for the help
+of Géricault, who procured him a commission for an altarpiece for the
+Convent of the Ladies of the Sacred Heart at Nantes.  There is no trace
+of his later Romanticist fire in this altarpiece, and in the "Vierge
+des Maisons" for the church of Orcemont, which dates from the same
+period.  Both pictures are based on the study of Raphael.  Among
+Delacroix's intimates of these early days was the English painter,
+Thales Fielding, from whom he not only acquired his knowledge of the
+art of water-colour painting--then scarcely practised in France--but
+who awakened or strengthened in him the taste for English literature
+and especially for Shakespeare and Byron.
+
+With the "Dante and Virgil" of 1822, Delacroix definitely dissociated
+himself from the frigid, lifeless tradition of the David School, of
+which Ingres was soon to become the acknowledged leader.  "That School
+of Ingres," Delacroix once expressed himself on one of those rare
+occasions when he broke through his habitual reticence concerning his
+critical views on his contemporaries, "wants to make painting a
+dependency of the antiquaries; it is pretentious archæology; these are
+not pictures."  "Cameos are not made," he wrote on another occasion,
+"to be put into painting; everything ought to keep its proper place."
+
+The "Dante and Virgil" was his first pictorial protest against the rule
+of cold classicism.  To-day we may be surprised that a picture so
+balanced in design, so sober in colour, so sculpturally plastic in the
+modelling of the human form, could have been considered in any way
+revolutionary and should have evoked such violent abuse as was showered
+upon it by the Davidists.  But turn from this "Dante" to David's "Oath
+of the Horatii" and "Leonidas," which may be taken to typify the
+artistic standard of the time, and you will grasp the full significance
+of Delacroix's bold step.  True, Géricault had already followed similar
+aims with his "Raft of the Medusa"; but this astounding picture, a
+record of a disaster which was then still fresh in the people's memory,
+was considered rather as a magnificent piece of pictorial journalism
+than as a work to be judged by the canons of the "grand style."
+
+=====================================================================
+
+PLATE III.--THE DEATH OF OPHELIA
+
+(In the Louvre)
+
+This is one, and perhaps the most successful of many slightly varying
+versions of the same subject, which the artist first lithographed in
+1834 and painted in 1838.  The Louvre picture was executed in 1838.
+Delacroix, from his school days to his death, was an ardent admirer of
+Shakespeare's genius, and was deeply impressed by the Shakesperian
+productions which he witnessed during his short sojourn in London.
+
+[Illustration: PLATE III.--THE DEATH OF OPHELIA]
+
+=====================================================================
+
+The case of Delacroix was different.  He had dared to bring passion and
+intense dramatic expressiveness into a subject taken from literature.
+He had chosen a mediæval poet, instead of going back to classic
+antiquity.  And he had used pigment as it was not used by any of his
+contemporaries.  He had used it in truly painter-like fashion, making
+the colour itself contribute to the emotional appeal of the drama and
+giving to the actual brushwork functional value in the building up of
+form.  The writhing bodies of the Damned surrounding the boat and
+gleaming lividly through the terrible gloom are painted with a superb
+mastery which recalled to Thiers "the boldness of Michelangelo and the
+fecundity of Rubens," and which made Gros exclaim, "This is Rubens
+chastened!"
+
+The outcry raised by the Davidists did not prevent the Government from
+purchasing the picture for the not very formidable amount of £50.  The
+artist thus honoured and acclaimed a genius by the most competent
+judges was in the same year placed last among sixty candidates in a
+competition for one of the School prizes!  Henceforth Delacroix
+abstained from exposing himself to such rebuffs.  Even Gros' tempting
+offer to prepare him at his studio for the coveted Prix de Rome could
+not shake his determination.  He continued to work independently,
+gaining his bare livelihood by caricatures and lithographic
+illustrations of no particular distinction.  He never went to Italy;
+and it is worthy of note that herein he followed the rare example of
+the two greatest _painters_ of his country: both Watteau and Chardin
+had kept clear of Rome and its baneful influence.
+
+The horrors of the Greek War of Independence provided Delacroix with a
+magnificent subject in the "Massacre of Scio," which he sent to the
+Salon of 1824.  Here was indeed rank defiance of those rules of "the
+beautiful" in art which had been formulated by the School of David, and
+which even in a scene of bloodshed and horror expected heroic poses and
+the theatrical grouping of the "grand style."  Delacroix had dared to
+depict hideous death in the agonised face of the woman with the child
+on the right of the picture, blank despair verging on insanity in the
+old woman by her side, the languor of approaching death in the limp
+form of the man in the centre.  He had arranged his composition
+contrary to all accepted rules; he had painted it with the fire of an
+inspired colourist.  The glitter of light and atmosphere was spread
+over the receding landscape and sky--Delacroix had seen Constable's
+"Hay Wain" and two other works by the English master at this very
+Salon.  They came to him as a revelation.  He obtained permission to
+withdraw his picture for a few days, and--so the story goes--completely
+repainted it with incredible rapidity.  The truth is probably that
+under the impulse of the profound impression created upon him by
+Constable's art, he added certain touches and extensive glazes to the
+background.  In this connection it is interesting to note that M.
+Cheramy, whose magnificent collection includes a superbly painted study
+of the dead mother and child for the "Massacre of Scio," has bequeathed
+this important fragment to the National Gallery, on condition that it
+shall hang "beside the best Constable."
+
+The "Massacre of Scio" was violently attacked as an outrage against
+good taste, but found a warm defender in the Baron Gérard, and was
+again bought by the Government for £320.  It may not be out of place
+here to state that there is but scant justification for the
+often-repeated assertion that Delacroix's rare genius did not receive
+official recognition until very late in the master's life, and that he
+was not given his fair share of official commissions.  We have seen
+that, in spite of the outcry raised by the academic faction, the
+Government encouraged the young artist by acquiring the first two
+pictures exhibited by him at the Salon.  At brief intervals he
+continued to receive important commissions: for the "Death of Charles
+the Bold," from the Ministry of the Interior; the great battle-piece
+"Taillebourg," for the gallery at Versailles; the decoration of the
+Chamber of Deputies, of the Libraries at the Luxembourg and the Palais
+Bourbon, of the Salon de la Paix at the Hôtel de Ville, of a chapel in
+the Church of Saint Sulpice; a wall-painting in the Church of St.
+Denis; the "St. Sebastian" for the Church of Nantua; and the ceiling of
+the Galerie d'Apollon at the Louvre--not to speak of the numerous works
+commissioned or bought from him by Louis-Philippe.  Thus, it will be
+seen, there was no lack of "official recognition," although it is quite
+true that to within a few years of his death he was generally forced to
+accept wholly inadequate prices for his paintings.
+
+
+
+
+III
+
+Delacroix's friendship with Thales Fielding and Bonington and his love
+of English romantic literature had awakened in him the desire to visit
+London.  He undertook the little journey in 1825.  He was much
+impressed by the immensity of London, the "absence of all that we call
+architecture," the horses and carriages, the river, Richmond, and
+Greenwich; and, above all, by the English stage.  He had occasion to
+admire the great Kean in some of his Shakespearian impersonations, and
+Terry as Mephistopheles in an adaptation of "Faust."  He was deeply
+stirred by these productions, which had a by no means beneficial
+influence upon his art.  To his love of the stage may be ascribed the
+least acceptable characteristics of his minor pictures and
+lithographs--exaggerated action, stage grouping, and a certain lack of
+restraint.  It is difficult to understand Goethe's highly eulogistic
+comment upon Delacroix's "Faust" illustrations, unless it was a case of
+_faute de mieux_, or that he had not seen the complete set.  To modern
+eyes, at any rate, they are the epitome of the master's weaknesses.
+The drawing is frequently inexcusably bad; the sentiment is carried
+beyond the merely theatrical to the melodramatic.
+
+Next to the stage, he was interested by the works of the contemporary
+British artists, with many of whom he entered into personal relations.
+In his letters he expressed the keenest admiration not only for
+Bonington (with whom he shared a studio in the following year),
+Constable, and Turner, whose influence upon the French School he
+readily admitted, but also for Lawrence--"the flower of politeness and
+truly a painter of princes ... he is inimitable"--and for Wilkie, whose
+sketches and studies he declared to be beyond praise, although "he
+spoils regularly all the beautiful things he has done" in the process
+of finishing the pictures.
+
+Unfortunately the principal work painted by Delacroix in the year after
+his return from England, the "Justinian Composing the Institutes," for
+the interior of the Conseil d'État, perished by fire in 1871.  The
+Salon was only reopened, after an interval of two years, in 1827, when
+Delacroix was represented by no fewer than twelve paintings, including
+"The Death of Sardanapalus," "Marino Faliero," and "Christ in the
+Garden of Olives."  The extreme daring, the tempestuous passionate
+disorder of the design of the large "Sardanapalus" alienated from him
+even the few enlightened spirits who had espoused his cause on the two
+former occasions.  The reception of the picture was disastrous.
+Delacroix himself admitted that the first sight of his canvas at the
+exhibition had given him a severe shock.  "I hope," he wrote to a
+friend, "that people won't look at it through my eyes."  The picture
+raised a hurricane of abuse.  His own significant dictum that "you
+should begin with a broom and finish with a needle," was turned against
+him by a critic who spoke of the work of an "intoxicated broom."
+Another described him as a "drunken savage," and yet another referred
+to the picture as the "composition of a sick man in delirium."  His
+other pictures were scarcely noticed, although they included a
+masterpiece like the "Marino Faliero" (now in the Wallace Collection),
+which Delacroix himself held to be one of his finest achievements, and
+which certainly rivals the great Venetians in harmonious sumptuousness
+of colour.  In this picture Delacroix is intensely dramatic without
+being theatrical.  Nothing could be more impressive than the massing of
+light on the empty marble staircase, the grand figure of the
+executioner, the statuesque immobility of the nobles assembled at the
+head of the staircase.  The picture was exhibited in London in 1828,
+when it was warmly eulogised, which is the more remarkable as Delacroix
+never seemed to appeal strongly to British taste--the scarcity of his
+works in our public and private collections may be adduced as proof.
+
+It was on the occasion of this 1827 Salon that the terms "Romanticism"
+and "Romanticists" first came into general use.  Their exact definition
+is not an easy matter.  Broadly speaking, the romantic movement in
+literature, music, and painting signifies the accentuation of human
+emotions and passions in art, as opposed to the classic ideal of purity
+of form.  Delacroix himself did not wish to be identified with any
+group or movement, but in the eyes of the public he stood as the leader
+of the Romanticists in painting, just as Victor Hugo, with whom he had
+but little sympathy, did in literature.
+
+=====================================================================
+
+PLATE IV.--THE CRUCIFIXION
+
+(In the Louvre)
+
+This small panel, which forms part of the Thomas Thiery bequest to the
+Louvre, is a picture of precious quality and soft colouring, painted
+for his friend, Mme. de Forget, who had exercised her influence in
+official quarters when Delacroix endeavoured to obtain the post of
+director of the Gobelins manufactory.  It was painted in 1848.  There
+are numerous replicas in existence.
+
+[Illustration: PLATE IV.--THE CRUCIFIXION]
+
+=====================================================================
+
+Delacroix's "Sardanapalus" led to humiliations that he felt more keenly
+than the abuse showered upon him by the Press.  He was sent for by
+Sosthene de la Rochefoucauld, then Director of the Beaux-Arts, to be
+advised in all seriousness to study drawing from casts of the antique,
+and to change his style if he had any aspirations to official
+encouragement.  The threat had no effect upon a man of Delacroix's
+strength of conviction.  He yielded never an inch.  He continued to
+follow the promptings of his artistic conscience which permitted no
+concessions, no compromise.  During the very next year, in spite of De
+la Rochefoucauld's threat, the State commissioned from him the painting
+of "The Death of Charles the Bold at the Battle of Nancy" (now at the
+Nancy Museum).  The picture was not finished and exhibited before 1834,
+when this magnificently conceived scene of wild conflict under a
+threatening winter sky--so different from the grandiloquous style of
+the painters of the Napoleonic epopee--met with the usual chorus of
+disapprobation for being historically incorrect, "as bad as could be in
+drawing," "incredibly dirty in colour"--the horses bad as regards
+anatomy, the sky impossible!
+
+Although Delacroix was too completely absorbed in his art, which--his
+one great passion--took up his entire life, to take any active part in
+politics, he was deeply stirred by the events of the July Revolution of
+1830.  "The 28th July 1830," or "The Barricade," one of the nine works
+by which he was represented at the Salon of 1831, was an unmistakable
+confession of his political faith.  Here, for once, Delacroix found his
+moving drama not in romance or in the history of the past, nor in the
+picturesque East which, owing to its comparative remoteness and
+inaccessibility at a time that did not enjoy the prosaic advantages of
+a Cook's Agency, was still invested with the glamour of romance; for
+once he devoted himself to the reality of contemporary life, even
+though the daring departure into realism was thinly veiled by the
+introduction of that rather unfortunate allegorical figure of Liberty
+with her clumsy draperies and badly painted tricolour flag.  The
+top-hat and frock-coat, hitherto considered incompatible with a grand
+pictorial conception, enter with triumphant defiance into the painter's
+art; and they detract nothing from the epic grandeur of this truly
+historical composition.  In many ways "The Barricade" was more daringly
+unconventional than any of the earlier pictures which had stamped
+Delacroix as a revolutionary.  Yet its success was immediate and final.
+That the artist was awarded the Cross of the Legion of Honour, was
+perhaps a recognition of his political sympathies rather than of his
+artistry.  But this time Delacroix found favour with the public and the
+critics.
+
+At the same Salon was to be seen another of Delacroix's most striking
+masterpieces, "The Assassination of the Bishop of Liège," for which he
+had found the subject in Sir Walter Scott's "Quentin Durward," and
+which was painted for Louis-Philippe, then Duke of Orleans.  It is a
+marvellously vivid realisation of this terrific scene.  "Who would ever
+have thought that one could paint noise and tumult?" wrote Théophile
+Gautier in his enthusiastic appreciation of this work.  "Movement is
+all very well, but this little canvas howls, yells, and blasphemes!"
+The realisation of the wild and sanguinary orgy described by Scott is
+complete and absolute; and yet, in the long list of Delacroix's
+"illustrative" pictures, there is none that is so strictly pictorial in
+conception and less tied to the letter of the author's description.  It
+is not so much the detail, the personal action of each participator in
+the drama, upon which the artist depends to tell this ferocious tale of
+unbridled passion, but the atmosphere of vague terror, the mysterious
+gloom of the lofty hall, the flaring flames of the torches, the flashes
+of brilliant reflections thrown up from the luminous centre provided by
+the white tablecloth, of the importance of which Delacroix was well
+aware when he said one evening to his friend Villot: "To-morrow I shall
+attack that cursed tablecloth which will be my Austerlitz or my
+Waterloo."  It was his Austerlitz.
+
+=====================================================================
+
+PLATE V.--THE BRIDE OF ABYDOS
+
+(In the Louvre)
+
+A great reader of English literature, Delacroix found the inspiration
+for many remarkable paintings in the works of Byron, who was one of the
+idols of the French Romanticists.  As was his wont, Delacroix produced
+several versions of this subject, which shows Zuleika trying to prevent
+Selim from giving the signal to his comrades.  A smaller variant,
+painted like the Louvre picture in 1843, and measuring only 14 in. by
+10 in., realised the high price of £1282 at public auction in 1874.
+
+[Illustration: PLATE V.--THE BRIDE OF ABYDOS]
+
+=====================================================================
+
+"The Assassination of the Bishop of Liège" was painted in 1829, the
+same year to which we owe that superbly handled and strangely
+fascinating auto-portrait of the artist at the Louvre, which he left to
+his faithful servant, Jenny le Guillou, on condition that she should
+give it to the Louvre on the day when the Orleans family were to gain
+once more possession of the throne.  This event did not come to pass,
+but the picture nevertheless reached its final destination by gift of
+Mme. Durieu in 1872.  Delacroix's strangely fascinating personality is
+completely revealed in this masterpiece of artistic auto-biography.  In
+every feature it recalls that famous description of the master given by
+Baudelaire in his series of critical essays, "L'Art Romantique":--
+
+"He was all energy, but energy derived from the nerves and the will;
+for, physically, he was frail and delicate.  The tiger, watching its
+prey, has less light in its eyes and has less impatient quivering in
+its muscles, than could be perceived in our great painter when with his
+whole soul he flung himself on an idea or endeavoured to seize a dream.
+The very physical character of his physiognomy, his Peruvian or Malay
+complexion; his eyes which were large and black but had narrowed owing
+to the habit of half closing them when fixing an object, and seemed to
+test the light; his abundant and glossy hair; his obstinate forehead;
+his tight-drawn lips to which the perpetual tension of the will had
+given a cruel expression--in a word, his whole person suggested the
+thought of an exotic origin."
+
+It is interesting to note how completely this vivid description of the
+mature man tallies not only with the painted portrait of Delacroix at
+the age of thirty-one, but with another description of the adolescent,
+left by his college friend, Philarète Chasle, who speaks of him as "a
+lad, with olive-hued forehead, flashing eyes, a mobile face with
+prematurely sunken cheeks, abundant wavy black hair, betraying southern
+origin."
+
+
+
+
+IV
+
+The _légion d'honneur_ was not the only reward that attended
+Delacroix's success at the Salon of 1831.  He received permission to
+accompany, at the expense of the Government, Count Mornay's mission to
+Morocco, which set out in January of the following year.  To visit the
+East had been the dream of Delacroix's life.  Its fulfilment marked an
+important step in the evolution of his art.  Now at last he was brought
+into actual contact with that life and colour of the romantic East
+which had for so many years been pictured by his vivid imagination.  He
+was away altogether about six months, and much of this time was spent
+_en route_ and in Spain which he visited on his home journey, so that
+it was obviously impossible for him to undertake any works on an
+ambitious scale during his sojourn in Africa.  But he never interrupted
+his feverish activity, and brought back with him a whole series of
+sketch-books filled with pictorial and literary notes to which he had
+many an occasion to refer when, after his return to the daily routine
+of his Paris life, he proceeded upon embodying his new experience of
+brilliant light, sumptuous colour, and picturesque life in a long
+succession of paintings devoted to Eastern subjects.
+
+Delacroix's Moroccan sketch-books, which are among the treasured
+possessions of the Louvre, constitute one of the most interesting
+documents ever left by artist's hand.  There is always a peculiar
+fascination about an artist's self-revelations in moments when his mind
+is far away from the public to whom he directs his appeal in his
+finished pictures.  And these sketch-books were intended for no eyes
+but his own.  They contain a diary of his progress day by day, vivid
+impressions of land and people, interspersed with accounts and notes of
+purchases, and through all the pages run his swiftly sketched,
+brilliant pictorial notes, set down with the sureness of long
+experience and practice--sketches of scenery, life, types of natives
+and animals, architectural details and details of costumes, jotted down
+with any material that happened to be handy.  Some are sketched in pure
+colour-washes in bold flat masses, some in pencil or pen and ink
+heightened with strong blobs of water-colour, others in pure outline;
+and generally they are accompanied by explanatory notes hastily
+scribbled in pencil.  Throughout is to be noted the same swift
+impulsiveness and definiteness of purpose, the utmost expressiveness
+obtained by the greatest economy of means.  There are some slight
+thumb-nail sketches--I can recall one in particular of a galloping
+Bedouin Arab--that verge on the miraculous in the sense of life and
+movement, the summing up of all the essentials by means of a few
+strokes of the pen of almost niggardly paucity.
+
+But infinitely more important in its bearing upon his future work than
+all the tangible yield of this fruitful journey, was the retention by
+Delacroix's memory of the brilliant colour visions which had met his
+delighted eyes in the dazzling light of the East.  The result was an
+entirely new conception of chromatic effects and an infinitely more
+sensuous use of his pigments than is to be found in any of his earlier
+works.  Before his journey to Morocco, Delacroix, though already
+essentially a colourist in his method if compared with the draughtsmen
+of the David-Ingres School, paid but little attention to the quality of
+paint _per se_.  Colour served him to enhance the dramatic
+effectiveness of his compositions, and pigment had assumed a vital
+function in the building up of forms; but he was still addicted to an
+excessive use of bituminous browns and warm glazes and paid little or
+no attention to what the modern studio jargon terms the "preciousness
+of paint."  With the "Algerian Women in their Apartment," which he sent
+to the Salon of 1834, he entered upon an entirely new phase.  It is
+painted in a rich impasto of luminous colours which sparkle in unbroken
+strength through an ambient of soft silvery grey atmosphere.  The very
+choice of subject indicates a significant change.  In the place of
+dramatic climax or tempestuous movement and passion and violent
+emotion, we find here complete repose and the indolent lassitude
+engendered by the luxurious comfort and by the strong scent of burning
+spices in the Eastern harem.  In a subject of this kind the artist
+could allow himself to yield completely to the sensuous enjoyment of
+the rare and at the time entirely novel harmonies of pure, beautiful
+colour evolved by his brush.  The superbly painted negress on the right
+of the composition undoubtedly owes much to the Spanish masters whom
+Delacroix must have studied during his brief visit to the Peninsula;
+and there is as little doubt that she in turn became the progenitor of
+the wonderful negress in Manet's "Olympia."  Indeed, Delacroix at this
+stage must be considered Manet's precursor and source of inspiration.
+
+The "Algerian Women" was a State commission for which Delacroix was
+paid the absurdly inadequate sum of £120.  His indignation was great
+when he learnt that a higher value had been put upon a worse than
+mediocre picture by Decaisne.  He almost refused to deliver the
+picture, but was eventually reconciled by the placing with him of a
+more important commission, namely, "The Entry of the Crusaders into
+Constantinople" for the Gallery of Versailles.  He was given the
+commission--but he was at the same time informed that the King wanted a
+picture which did "not look like a Delacroix"!  This picture, which is
+now at the Louvre, was first shown at the Salon of 1841, and is
+undoubtedly one of the finest works of the master's maturity.  One has
+only to compare it with "The Massacre of Scio"--in many ways a kindred
+subject--to realise the master's prodigious advance during the
+intervening years.  The earlier picture, in spite of its undeniably
+fine qualities, cannot compare with "The Crusaders" as regards subdued
+splendour of colour.  Delacroix himself admitted that the idea of "The
+Massacre" came to him in front of Gros's "The Plague-stricken at
+Jaffa."  "J'ai mal lavé la palette de Gros," was the wording of his own
+confession.  There is no trace of Gros in the sumptuous scheme of "The
+Crusaders," and the violent expression of his youthful sense of the
+dramatic is toned down by a note of sympathetic sadness in the
+principal figure, accentuated by the unconventional massing of shadow
+over the group which occupies the centre of the composition.
+
+In the year after his return from Morocco, Delacroix was, largely
+through the influence of M. Thiers, entrusted with the decoration of
+the Salon du Roi, at the Palais Bourbon, and thus given the first
+opportunity for a display of his decorative genius which, whatever has
+been said to the contrary, was generously acknowledged by his
+contemporaries, and was given ample scope from 1833 to the time of his
+death in 1863.  But before discussing his architectural decorations it
+may be as well to sketch in brief outline the course of the remaining
+years of his life--a life of ceaseless productive energy, interrupted
+only by spells of illness, but otherwise strangely uneventful.  After
+the references in the preceding pages of the important pictures which
+constitute, as it were, the landmarks in Delacroix's career, it would
+be as impossible as it is superfluous to describe, or even to
+enumerate, the masterpieces produced year by year by his indefatigable
+brush.  A volume of considerable bulk would be needed for a mere list,
+for, according to Robaut's statement at the beginning of his catalogue:
+"Eugène Delacroix has left about 9140 works, of which number 853 are
+paintings, 1525 pastels, water-colours, or wash-drawings, 6629
+drawings, 24 engravings, 109 lithographs, and over 60 albums!"
+
+=====================================================================
+
+PLATE VI.--DANTE AND VIRGIL
+
+(In the Louvre)
+
+This is the great picture with which Delacroix, then twenty-four years
+of age, made his debut at the Salon of 1822.  The dramatic power of the
+central group and the frenzied movement and superb modelling of the
+nude figures clinging to the boat, caused an immense sensation with a
+public accustomed to the frigid classicism of the David School.
+Unfortunately the picture is now badly cracked and discoloured,
+probably owing to the use of bituminous pigment, which Delacroix only
+discarded at a later period.
+
+[Illustration: PLATE VI.--DANTE AND VIRGIL]
+
+=====================================================================
+
+Whether it be due to his unshaken perseverance on the path he had
+chosen from the very outset, or to the waning interest caused by the
+wearing off of the novelty, Delacroix's art was now more readily
+accepted, or, at any rate, discussed without the bitterness of the
+early attacks.  Nevertheless, even now, and indeed to the end of his
+life, he could only obtain wretched prices for his pictures, and the
+Academy remained implacably hostile, until the special collection of
+his principal works at the International Exhibition of 1855 brought him
+at last that general public applause that had till then been denied to
+him.  Delacroix himself showed no bitterness to the Academy, and
+presented himself time after time for election, his claims being
+invariably couched in terms as modest as they were dignified.  His
+first attempt was in 1837, when the votes were cast in favour of
+Schnetz.  Two vacancies occurred in 1838, and on both occasions
+Delacroix knocked at the doors of the Academy, but Langlois and Couder
+were preferred to him.  His next attempt was in 1849, when Cogniet
+secured the majority of votes.  When he presented himself again in
+1853, insult was added to injury, his very candidature being refused!
+Time has avenged the wrong; the names of Schnetz, Langlois, Couder, and
+Cogniet are all but forgotten, whilst Delacroix has become immortal.
+
+Encouraged by his triumph at the Universal Exposition of 1855,
+Delacroix presented himself for the sixth time when the next vacancy
+arose in 1857, and this time his perseverance at last found its
+reward--he was elected just before he entered upon the seventh decade
+of his life.  But even now he was denied peaceful enjoyment of his
+tardy success.  His next contributions to the Salon, in 1859, led to a
+renewed outburst of vituperative criticism and abuse, and this time
+Delacroix was hurt to the quick.  He decided not to expose himself in
+future to the gibes of his detractors, and for the remaining four years
+of his life, although continuing his artistic activity to the very end,
+refrained from contributing to public exhibitions.
+
+The years 1837-1841 mark a fruitful epoch in Delacroix's career.  The
+masterpieces that issued from his studio in these years would alone
+have sufficed to establish his lasting fame.  In 1837 he painted the
+magnificent "Battle of Taillebourg," which is the glory of the gallery
+of battle pictures at Versailles, but found so little favour with the
+jury of the Salon that it narrowly escaped being rejected.  The tumult
+and confusion of hand-to-hand fighting had never before been rendered
+with such force and such absence of heroic attitudinising.  To the next
+year we owe "The Enraged Medea," of the Lille Museum, and that
+extraordinary scene of fitful, jerky, furious movement known as "Les
+Convulsionnaires de Tanger," which, after having twice changed hands at
+public auction during the artist's lifetime, for £87 in 1852 and for
+£1160 in 1858, rose to £1940 at a sale held in 1869, and finally found
+a purchaser for £3800 in 1881.
+
+The "Jewish Wedding in Morocco," in which the painter's concern with
+true tone-values and beautiful quality of pigment is carried even
+further than in the "Algerian Women," and the intensely dramatic
+"Hamlet and the Gravediggers"--both are now at the Louvre--were his
+chief works in 1839; whilst in the following year he devoted his
+energies to the large "Justice of Trajan" (now extensively restored) at
+the Rouen Gallery, and the powerful "Shipwreck of Don Juan," surely one
+of the most tragic and impressive pictures ever conceived by human
+genius.  It bears the same relation to the "Dante and Virgil" that "The
+Crusaders" bears to "The Massacre of Scio."  And it is one of the most
+striking instances of Delacroix's power to make colour itself
+expressive of the mood of the drama.  The conception, though based on
+Byron's poem, owes little to the literary foundation--that is to say,
+it is not illustrative in the sense that acquaintance with the poem is
+essential for its appreciation.  It is just a vivid realisation of the
+combined horrors of shipwreck and starvation in which the tragic aspect
+of sea and sky is as significant as the ghastliness of the wretches
+whom hunger has turned into cannibals.  The sombre tonality and the
+flashes of livid light, recall El Greco in his later period.  To the
+year 1841 belongs "The Entry of the Crusaders into Constantinople," of
+which mention has already been made.
+
+At the Salon of 1845 appeared the large painting of "The Sultan of
+Morocco surrounded by his Guard," which was bought by the State for the
+Toulouse Gallery at the price of £160.  Baudelaire, ever an ardent
+admirer of Delacroix, draws attention to the peculiar quality of the
+colour harmony in this picture which, "notwithstanding the splendour of
+the tones, is grey, grey like Nature, grey like the atmosphere of a
+summer day, when the sunlight spreads like a twilight of vibrating dust
+upon every object."  "The Sultan of Morocco" was one of the last large
+canvases produced by the master, whose best energies were now absorbed
+by his gigantic decorative tasks, although he continued to paint an
+endless succession of easel pictures, many of which were variations of
+earlier compositions.
+
+
+
+
+V
+
+The decoration of the Salon du Roi, which occupied Delacroix from 1833
+to 1838, and for which he received the niggardly pay of £1200, was the
+first great task of this kind entrusted to him.  Nevertheless he knew
+how to adapt design and colour to the architectural conditions in a
+manner that could scarcely have been bettered by life-long experience.
+And these conditions were by no means favourable for pictorial
+decoration, since the walls of the square room are pierced all round by
+real and blind windows and doors, and the lighting is about as bad as
+could be.  Delacroix's scheme consists of eight large single figures in
+grisaille for the pilasters; a continuous band, with figure
+compositions, connecting the spandrils and forming a kind of frieze
+which is painted in delicate, tender tones, suggestive of faded
+tapestry, that lead up to the rich colouring of the eight panels in the
+ceiling and the surround of the skylight.  Unfortunately the ceiling is
+not domed, so that the strong light filtering through the round glazing
+does not reach the panels and only serves to dazzle one's eyes.  It is
+only by shutting out this central light and by the use of mirrors that
+it is possible to appreciate the noble, reposeful allegorical groups of
+_Justice_, _Agriculture_, _Industry_, and _War_, which fill the four
+oblong panels, and the four graceful Cupids carrying the corresponding
+attributes in the corners.  The frieze, which is divided from the
+moulding of the ceiling by an ornamental band with appropriate Latin
+inscriptions, is remarkable for the masterly skill with which the
+design of the figures and groups is adapted to the awkward shape of the
+spandrils between the semi-circular arches, and for the lucid clearness
+of the allegorical representations, the subjects on each wall being
+closely connected with those on the corresponding panels of the
+ceiling.  Thus under the "Justice" panel are to be seen Truth and
+Wisdom inspiring a greybeard composing the laws, Meditation
+interpreting the law, Strength with a tamed lion at the foot of three
+judges, and the Avenging Angel pursuing two culprits.  "Agriculture" is
+illustrated by a Bacchanalian Vintage Festival, a Harvest scene, and
+Arcadian figures.  "Industry" by allegorical scenes of Commerce,
+Navigation, and Silk-growing; and "War" by the Manufacture of Arms, and
+a group of fettered women being taken into captivity.  The heroic
+figures in grisaille on the pilasters are personifications of the
+Atlantic, the Mediterranean, and the six principal rivers of France,
+namely the Garonne, the Saone, the Loire, the Rhine (which then
+belonged to France as much as to Germany), the Seine, and the Rhône.
+
+Before Delacroix had completed the paintings in the Salon du Roi, that
+is to say in 1837, he was entrusted with the even more important
+commission for the decoration of the Libraries of the Chamber of
+Deputies at the Palais Bourbon, and of the Senate at the Luxembourg;
+three years earlier, in 1834, he had experimented in the technique of
+fresco painting, which he found more congenial than distemper, when
+executing three overdoor panels of Leda, Anacreon, and Bacchus, at
+Valmont, where they still remain _in situ_ in all their pristine
+freshness.
+
+The Library of the Palais Bourbon has been described by a well-known
+recent German critic as the "French Sistine Chapel."  To any one
+examining this vast work in an unprejudiced spirit it will be difficult
+to share this enthusiasm.  The cool and noble intellectuality which is
+at the basis of Delacroix's art, even where it is apparently most
+spontaneous and fugous, certainly renders these decorations supremely
+interesting.  But the appeal is intellectual rather than sensuous.  The
+beholder is filled with profound respect, instead of being thrilled by
+the emotional effect of colour.  Nor can this be entirely due to bad
+lighting and to the serious deterioration and indifferent restoring of
+the paintings, of which scarcely more than the design is by Delacroix's
+own hand, the execution being almost entirely due to Lassalle Bordes
+and other assistants, who are also largely responsible for the actual
+painting of the Luxembourg decoration.
+
+The work in the Library of the Chamber of Deputies consists of two
+hemicycles of "Peace" (Orpheus bringing Civilisation to Greece) and
+"War" (Attila bringing Barbarism back to Italy), and twenty
+pendentives--four in each of the five cupolas--with connecting
+ornamental bands and cartouches.  In the first cupola, Poetry is
+illustrated by "Alexander and Homer's Poems," "The Education of
+Achilles," "Ovid with the Barbarians," and "Hesiod and the Muse."
+Theology is the subject of the second dome: "Adam and Eve," "The
+Babylonian Captivity," "The Death of St. John," and "The Tribute
+Money."  Law of the third: "Numa and Egeria," "Lycurgus,"
+"Demosthenes," and "Cicero"; Philosophy of the fourth: "Herodotus,"
+"Chaldean Shepherd Astronomers," "Seneca's Death," and "Socrates"; and
+Science of the fifth: "The Death of Pliny," "Aristoteles,"
+"Hippocrates," and "Archimedes."  Each pendentive depicts, not a single
+figure, but an admirably composed scene of history or legend.  The
+series was commenced in 1837 and completed in 1847.  The two hemicycles
+are painted in the encaustic manner direct upon the wall, whilst all
+the rest is executed in oils on canvas.
+
+The decoration of the Library in the Luxembourg Palace took from 1845
+to 1847.  It consists of a fan-shaped hemicycle of over 30 feet in
+width, the subject of which is Alexander, after the Battle of Arbela,
+ordering the works of Homer to be enclosed in a golden casket captured
+from the Persians; and the paintings in the cupola--a composition in
+four parts but without division (Dante presented to Homer by Virgil, a
+group of Greek philosophers, Orpheus charming the beasts, and
+illustrious Romans), and four pendentives, St. Jerome, Cicero, Orpheus,
+and the Muse of Aristoteles.
+
+=====================================================================
+
+PLATE VII.--THE EXECUTION OF THE DOGE MARINO FALIERO
+
+(In the Wallace Collection)
+
+Delacroix himself considered this picture, which was painted in 1826,
+to be his masterpiece.  Exhibited first at the Salon of 1827, when "The
+Death of Sardanapalus" caused a veritable torrent of abuse to be
+showered upon the artist, it failed to attract the favourable attention
+which its nobly balanced design, brilliant colour, and intensely
+dramatic feeling would otherwise surely have commanded, and which was
+given to it in the following year by the London public.  "Marino
+Faliero" is unquestionably the finest example of Delacroix's art in
+England.
+
+[Illustration: PLATE VII.--THE EXECUTION OF THE DOGE MARINO FALIERO]
+
+=====================================================================
+
+Earlier in date than the Library of the Senate is the large mural
+painting in wax colours of the "Pietà" in the Church of St.
+Dénis-du-Saint-Sacrement.  It bears the date 1843, and is, apart from
+the passionate intensity of movement and expression, and its linear
+rhythm, interesting as an instance of the almost incredible rapidity
+with which Delacroix proceeded upon the actual execution of his
+paintings, once the scheme had taken definite shape in his mind.
+According to Moreau, who had this information from the artist himself,
+the whole painting of about 15 ft. by 11 ft. was finished in seventeen
+days, each day's progress being marked by Delacroix on the wall.
+
+The decoration of the two Libraries was scarcely finished when two new
+commissions of equal importance gave him further opportunity for the
+triumphant display of his decorative genius.  A few sketches and
+engravings are unfortunately all that is left to us of the circular
+centre, the eight shaped oblong panels and the eleven lunettes which
+constituted the pictorial decoration of the Salon de la Paix at the old
+Hôtel de Ville, since the building was destroyed by fire in May 1871 in
+the days of the Commune.  Delacroix worked on these designs from 1849
+to 1853, and was only paid £1200 for the whole series.
+
+If the labour and thought expended upon the Salon de la Paix were
+destined to lead to such short-lived results, the magnificent
+centrepiece of the ceiling in the Salon d'Apollon can be seen to-day in
+its unimpaired freshness--the most striking testimony to its creator's
+genius.  The decoration of this gallery was entrusted to Le Brun as far
+back as 1661; and it was Louis XIV.'s favourite painter who conceived
+the idea of paying homage to his master, the "Roi Soleil," by depicting
+"The Triumph of Apollo" in the centre panel, with appropriate subjects
+in the other ten compartments.  But his work was interrupted, when he
+was called upon to supervise the decoration of Versailles, before he
+had even sketched out the design for "The Triumph of Apollo."  The ten
+minor compartments remained neglected for over a century, and were
+allowed to get into a deplorable condition, until the restoration was
+taken in hand in 1848, the painting of the great centre being at the
+same time entrusted to Delacroix.  Apart from the fact that Apollo was
+to be the hero of the design, Delacroix had an entirely free hand, and
+chose to depict the god vanquishing the Python, with Diana, Mercury,
+Minerva, Hercules, Vulcan, Boreas, Zephyrus, Victory, Iris, and Nymphs
+as subsidiary figures.  Although the design offends against the
+fundamental rule of all ceiling decorations, that there should be no
+"above" and "below," and that the composition should be devised so as
+to be equally intelligible from every point of view, one cannot but
+admire the noble co- and subordination of the different groups and
+figures, the lucid clearness of the pictorial statement of an
+essentially intellectual conception, the astonishing colour-magic, and,
+above all, the manner in which the master has adapted his own work to
+the somewhat gaudy and over-decorated surroundings.  "Delacroix," says
+Robaut in his "Catalogue Raisonné," "has here shown himself as great in
+execution as in invention, and the Apollo ceiling is one of the most
+perfect works of art that reflect glory upon all the centuries"--a
+judgment which has been endorsed by two generations of artists and
+critics.  The ceiling, for which the master was paid the sum of £960,
+was finished in 1849.  About two hundred sketches and drawings for
+details of the composition figured in the sale held after Delacroix's
+death.
+
+We have seen that from the time when Delacroix began his work for the
+Salon du Roi in 1833 until the completion of the Salon de la Paix in
+1853, he had no sooner brought any of his monumental decorations to a
+successful conclusion when some other decorative work was entrusted to
+him.  And so again, in 1853, when he had just finished the Hôtel de
+Ville series, he was made to proceed immediately upon that great fresco
+decoration of the Chapel of the Saints-Anges at St. Sulpice, which,
+completed in 1861, was his last work of real importance, and is in many
+respects the crowning achievement of his great career.  Here, for once,
+Delacroix found himself able to work under conditions similar to those
+under which the Florentine masters of the quattrocento wrought their
+marvellous frescoes.  Here was no complete scheme of ornate
+architectural details, no sumptuous framework in which spaces had been
+left for the addition of painted panels that had to be treated in a
+more or less florid manner to fit into their rich surroundings.  Here
+everything was left to the painter's free will, checked only by the
+consideration of the fitness of the subjects for the site and by the
+architectural proportions of the little chapel.  And it is not too much
+to say that Delacroix solved the problem in more masterly fashion than
+any painter between the glorious days of the Italian Renaissance and
+the advent of Puvis de Chavannes, the greatest decorator of modern
+times.
+
+Like all true fresco decoration, the two large paintings of "Jacob
+wrestling with the Angel" and "Heliodorus driven from the Temple" do
+not attempt to give the illusion of plastic life, or of an opening cut
+through the wall, but duly accentuate the flatness of the surface.  The
+scale of colour adopted for this admirable decoration aims, without the
+least sense of monotony or dulness, at the exquisiteness of the greens
+and greys of a fine panel of faded Flemish tapestry, and has nothing in
+common with the rich, glowing palette which Delacroix had inherited
+from Rubens and the Venetian colourists.  The tapestry-like effect is
+particularly noticeable in the treatment of the trees which are so
+important a feature in the composition of "Jacob wrestling with the
+Angel," the figures being comparatively small in scale, though by no
+means subordinate to the landscape.  Nothing could be more impressive
+than the contrast of the terrific muscular exertion of Jacob and the
+easy grace with which it is made ineffective by his invincible
+supernatural opponent.  The group is one of the noblest creations of
+modern art--worthy of the brush of a Pollaiuolo or a Signorelli.
+
+In the "Heliodorus" the accidents of Nature's architecture are replaced
+by the equally imposing but deliberate and formal lines of the
+architecture created by human builders.  The general disposition of the
+design is not unlike that of the earlier "Justice of Trajan"; but there
+is this significant difference between the earlier work and the St.
+Sulpice fresco, that the very first glance reveals the essentially
+human element in the first, and the irresistible force of the
+supernatural in the second.  The tempestuous, sweeping onrush of the
+two flying angels contrasted with the calm consciousness of
+all-conquering strength expressed not only in the mounted heavenly
+messenger but in the very action of his noble horse--the horses in
+Delacroix's paintings invariably reflect the mood of the drama or
+tragedy that forms the subject of the picture--are a pictorial
+conception of unsurpassed grandeur.  The only unsatisfactory part of
+the St. Sulpice decoration is the ceiling, where St. Michael is
+depicted overthrowing the Demon.  Probably the execution of this oval
+composition was almost entirely the work of assistants, as Delacroix's
+failing health, aggravated by lead poisoning caused by the extensive
+use of white of lead paint in his large decorations, would not have
+allowed him to work under such fatiguing conditions as are unavoidable
+in painting a ceiling _in situ_.
+
+=====================================================================
+
+PLATE VIII.--FAUST AND MEPHISTOPHELES
+
+(In the Wallace Collection)
+
+It was probably during his visit to London in 1825 that Delacroix first
+realised the pictorial possibilities of Goethe's great drama.  His
+correspondence shows that he was deeply impressed with a performance of
+"Faust" which he witnessed in London, and which probably suggested to
+him the series of nineteen lithographs, published by Sautelet in 1828.
+Goethe himself referred to these lithographs in terms of exaggerated
+praise.  The catalogue of Delacroix's works includes quite a number of
+paintings illustrative of scenes from "Faust," of which the one in the
+Wallace Collection is one of the most successful.
+
+[Illustration: PLATE VIII.--FAUST AND MEPHISTOPHELES]
+
+=====================================================================
+
+The frescoes in the Chapel of the Saints-Anges were the swan-song of
+Delacroix's genius.  In the two years that followed their completion,
+he still continued to paint and to draw--the practice of his art was
+for him the very breath of life--but he produced nothing that need be
+considered in the record of his achievement.  In March 1863, the
+affection of his eyes, of which he had suffered intermittently for
+years, took a turn for the worse.  On the 26th of May he left Paris for
+Champrosay, but during the journey had a severe attack of hemorrhage of
+the lungs, which recurred five days later; and he had to be taken back
+to Paris.  His illness became worse and worse, and after a month he was
+taken back to the country, only to be sent back again to Paris on July
+14.  His days were counted.  He took to his bed immediately upon his
+arrival, and breathed his last at six o'clock in the morning on August
+13, 1863.
+
+
+
+
+VI
+
+How strangely Delacroix's art was misunderstood by his contemporaries
+who, nurtured on the tinted cartoons of the ruling School, stood aghast
+before the passionate utterance of the master's "intoxicated broom,"
+or, assuming the role of Beckmesser, marked with offensive rap of chalk
+on the blackboard of the public Press his sins against their dogmatic
+rules.  In their blindness they even went so far as to accuse him of
+being unable to draw!  What seemed altogether to escape their
+perception, was that the fiery impulse, the tempestuous _élan_ of
+Delacroix's romantic imagination was largely controlled by his cool
+intellectuality.  Delacroix was a thinker and a man of profound
+culture.  He had, moreover, the greatest respect for tradition.  If, in
+the actual painting of his pictures, he was carried away by his
+enthusiasm and worked like one inspired, he never started upon this the
+final stage without an enormous amount of preparatory sketches for
+every figure, every detail--never before the idea had taken firm and
+definite shape in his mind.  The sweep of the brush, the vitalising
+amplifications and elements of movement may have been left to the
+inspiration of the moment; but chance played no part in the disposition
+of the design and the arrangement of the colour-scheme.
+
+It was that amplification and exaggeration of forms, by which alone
+movement can be expressed in art, that led the unthinking to the belief
+that Delacroix "could not draw."  Of course, the application of
+Ingres's standard of classic perfection in drawing might justify the
+conclusion, but one need only glance at Delacroix's sketch-books and
+studies to realise that he was a great draughtsman, if drawing, as it
+was to him, is considered the means towards an end, and not an end in
+itself.  And his mastery of spontaneous, nervously expressive drawing
+was as complete as it could be, if mastery can be acquired through the
+curbing of impetuous genius by half a century's methodical, steady
+practice.  For Delacroix, from his early student days to his death,
+never started on his day's work without having first "got his hand in"
+by half-an-hour's practice in sketching or drawing, just as a pianist
+will first run through his finger exercises and scales, to make sure of
+his mastery over his instrument.
+
+Thus, by unremitting practice, Delacroix acquired such absolute command
+of the language of line and form that, in the pictorial expression of
+his ideas, he used it as an orator uses the language of words--in a
+steady flow, without doubts and hesitations.  His inspiration was not
+checked and weakened by the struggle for an adequate form of
+expression.  There was nothing in life and in nature that did not
+stimulate his artistic curiosity, and all his sketches betray the same
+passionate search for the really essential, the elements of life and
+movement and mood, which are often to be obtained only by the sacrifice
+of literal correctness.  He never tired of making drawings after
+Rembrandt's etchings, and he spent many hours at the Jardin des
+Plantes, in the company of the animal sculptor Barye, sketching and
+painting wild beasts from life.  Indeed, Delacroix was rarely rivalled,
+and probably never surpassed, as a painter of animals either in repose
+or in the very frenzy of movement.
+
+His astonishing rapidity of production has already been exemplified by
+his painting of the large "Pietà" at St. Dénis-du-Saint-Sacrement in
+seventeen days.  An even more striking instance is afforded by the
+"King Rodrigo losing his Crown," now in the Cheramy Collection.  A
+number of artists had agreed to contribute towards the decoration of a
+room in a villa taken by Alexandre Dumas père in 1830.  Delacroix was
+of their number; and the day agreed for the completion of the pictures
+was to be celebrated by a ball.  When Delacroix arrived at midday of
+the day in question he found that all the panels were in their proper
+places, leaving only an unexpectedly large gap for his own
+contribution.  "He had meant only to paint a few flowers.  'Listen,'
+said Dumas, 'I have just been reading something that will do for you,'
+and he described the first canto of the 'Romancero,' in which Rodrigo
+loses his crown.  Delacroix began at once, and had painted the whole
+scene by sunset, in the most unusual colours, a harmony in yellow,
+unique in his work.  Great was the enthusiasm in the evening when the
+friends saw the picture; Barye, in particular, who had contributed an
+excellent panel, is said to have been beside himself."[1]
+
+Delacroix's life, apart from his struggle for recognition--a struggle
+which he fought entirely with his brush, leaving the controversial side
+to others--was singularly uneventful.  His only passions were his art,
+his love of romantic literature, and his staunch friendship.  A few
+journeys and frequent spells of illness were the only events that broke
+the even tenor of his life.  As a writer, Delacroix has left a
+marvellous "Journal," which ought to be consulted and carefully studied
+by every artist, and a number of carefully constructed magazine
+articles on various æsthetic questions, which only reveal the cool
+intellectual side of his dual nature.  He was a man of great reticence,
+who rarely allowed himself to be drawn into criticising the art of his
+contemporaries.  In his critical comments on the masters--even on those
+whose style was diametrically opposed to his own temperament--he always
+proved himself keenly appreciative of their great qualities.  Strangely
+enough, Delacroix, who is considered the leader, and certainly was one
+of the main inspirers of the Romanticist movement, not only disliked
+the application of this term to his own art, but had little sympathy
+with the Romanticist literature of his own time and country.  His
+attitude towards Victor Hugo almost amounted to hostility; and he
+always treated Baudelaire, who had espoused his cause with keen
+enthusiasm, with the most calculated reserve.  In music his tastes were
+severely classical--"he refreshed himself with Mozart, was never quite
+able to convert himself to Beethoven, abhorred the modern French
+composers, and was the first to condemn Wagner."
+
+If Delacroix, except for a very brief period at the beginning of his
+career, never suffered real poverty, he, on the other hand, never
+received adequate pecuniary reward for his work.  To the very end he
+was forced to sell his finest pictures at ridiculously inadequate
+prices; and on some of his large decorative commissions he found
+himself actually out of pocket.  It was probably the conviction that
+posthumous justice would inevitably be done to his genius, which made
+him insist in his will upon the sale of his remaining works by public
+auction.  And events proved that he was right.  The sale, which was
+held from February 16-29, 1864, was estimated to produce about £4000,
+but resulted in a total of close upon £13,500.
+
+The instructions about his burial, left by Delacroix in his will,
+reflect something of his noble aloofness and his respect for great
+tradition in art.  "My tomb shall be in the cemetery of Père-Lachaise,
+on the height and in a place a little apart.  There shall be placed
+upon it neither emblem, nor bust, nor statue.  My tomb shall be copied
+very exactly from the antique, or Vignole, or Palladio, with very
+pronounced projections, contrary to all that is done in the
+architecture of to-day."
+
+
+
+[1] Julius Meier-Graefe, "Modern Art," vol. i.
+
+
+
+
+The plates are printed by BEMROSE & SONS, LTD., Derby and London
+
+The text at the BALLANTYNE PRESS, Edinburgh
+
+
+
+
+  "MASTERPIECES IN COLOUR" SERIES
+
+  ARTIST.                   AUTHOR.
+
+  VELAZQUEZ.                S. L. BENSUSAN.
+  REYNOLDS.                 S. L. BENSUSAN.
+  TURNER.                   C. LEWIS HIND.
+  ROMNEY.                   C. LEWIS HIND.
+  GREUZE.                   ALYS EYRE MACKLIN.
+  BOTTICELLI.               HENRY B. BINNS.
+  ROSSETTI.                 LUCIEN PISSARRO.
+  BELLINI.                  GEORGE HAY.
+  FRA ANGELICO.             JAMES MASON.
+  REMBRANDT.                JOSEF ISRAELS.
+  LEIGHTON.                 A. LYS BALDRY.
+  RAPHAEL.                  PAUL G. KONODY.
+  HOLMAN HUNT.              MARY E. COLERIDGE.
+  TITIAN.                   S. L. BENSUSAN.
+  MILLAIS.                  A. LYS BALDRY.
+  CARLO DOLCI.              GEORGE HAY.
+  GAINSBOROUGH.             MAX ROTHSCHILD.
+  TINTORETTO.               S. L. BENSUSAN.
+  LUINI.                    JAMES MASON.
+  FRANZ HALS.               EDGCUMBE STALEY.
+  VAN DYCK.                 PERCY M. TURNER.
+  LEONARDO DA VINCI.        M. W. BROCKWELL
+  RUBENS.                   S. L. BENSUSAN.
+  WHISTLER.                 T. MARTIN WOOD.
+  HOLBEIN.                  S. L. BENSUSAN.
+  BURNE-JONES.              A. LYS BALDRY.
+  VIGÉE LE BRUN.            C. HALDANE MACFALL.
+  CHARDIN.                  PAUL G. KONODY.
+  FRAGONARD.                C. HALDANE MACFALL.
+  MEMLINC.                  W. H. J. & J. C. WEALE.
+  CONSTABLE.                C. LEWIS HIND.
+  RAEBURN.                  JAMES L. CAW.
+  JOHN S. SARGENT.          T. MARTIN WOOD.
+  LAWRENCE.                 S. L. BENSUSAN.
+  DÜRER.                    H. E. A. FURST.
+  MILLET.                   PERCY M. TURNER.
+  WATTEAU.                  C. LEWIS HIND.
+  HOGARTH.                  C. LEWIS HIND.
+  MURILLO.                  S. L. BENSUSAN.
+  WATTS.                    W. LOFTUS HARE.
+  INGRES.                   A. J. FINBERG.
+  COROT.                    SIDNEY ALLNUTT.
+  DELACROIX.                PAUL G. KONODY.
+
+  _Others in Preparation._
+
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Delacroix, by Paul G. Konody
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+The Project Gutenberg E-text of Delacroix, by Paul G. Konody
+</title>
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+
+The Project Gutenberg EBook of Delacroix, by Paul G. Konody
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Delacroix
+
+Author: Paul G. Konody
+
+Release Date: June 7, 2012 [EBook #39943]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DELACROIX ***
+
+
+
+
+Produced by Al Haines
+
+
+
+
+
+</pre>
+
+
+<p><a id="chap00"></a></p>
+
+<p class="capcenter">
+<br /><br /><br />
+<a id="img-cover"></a>
+<img class="imgcenter" src="images/img-cover.jpg" alt="Cover art" />
+</p>
+
+<p class="noindent">
+<br /><br /><br />
+MASTERPIECES<br />
+IN COLOUR<br />
+<br /><br />
+EDITED BY<br />
+T. LEMAN HARE<br />
+<br /><br /><br />
+</p>
+
+<p class="t2">
+DELACROIX
+</p>
+
+<p class="t4">
+1798&mdash;1863
+<br /><br /><br />
+</p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl1-t"></a></p>
+
+<p class="t3">
+PLATE I.&mdash;THE ENTRY OF THE CRUSADERS INTO CONSTANTINOPLE.  Frontispiece
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+Painted in 1841 for the Gallery at Versailles, whence it was
+subsequently removed to the Louvre, this large, dramatic composition
+belongs to the period when Delacroix's palette, inspired from the first
+by Rubens and Veronese, had assumed increased richness under the
+influence of Eastern light and colour.  It is significant of the lack
+of appreciation shown to the master by his contemporaries, and even by
+his supporters, that the commission was accompanied by the request that
+the picture should not look like a Delacroix.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl1.jpg">
+<img class="imgcenter" src="images/img-pl1-t.jpg" alt="PLATE I.--THE ENTRY OF THE CRUSADERS INTO CONSTANTINOPLE." />
+</a>
+<br />
+PLATE I.&mdash;THE ENTRY OF THE CRUSADERS INTO CONSTANTINOPLE.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<h1>
+<br /><br /><br />
+Delacroix
+</h1>
+
+<p><br /></p>
+
+<p class="t2">
+BY PAUL G. KONODY
+</p>
+
+<p class="t3">
+ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR<br />
+<br /><br />
+</p>
+
+<p class="capcenter">
+<a id="img-title"></a>
+<img class="imgcenter" src="images/img-title.jpg" alt="Title page logo" />
+</p>
+
+<p class="t3">
+<br /><br />
+LONDON: T. C. &amp; E. C. JACK
+<br />
+NEW YORK: FREDERICK A. STOKES CO.
+<br />
+1911
+<br /><br /><br />
+</p>
+
+<p class="t3b">
+LIST OF ILLUSTRATIONS
+</p>
+
+<pre class="contents">
+Plate
+
+    I. <a href="#img-pl1-t">The Entry of the Crusaders into Constantinople</a> . . . Frontispiece
+           In the Louvre
+
+
+   II. <a href="#img-pl2-t">Algerian Women in their Apartment</a>
+           In the Louvre
+
+
+  III. <a href="#img-pl3-t">The Death of Ophelia</a>
+           In the Louvre
+
+
+   IV. <a href="#img-pl4-t">The Crucifixion</a>
+           In the Louvre
+
+
+    V. <a href="#img-pl5-t">The Bride of Abydos</a>
+           In the Louvre
+
+
+   VI. <a href="#img-pl6-t">Dante and Virgil</a>
+           In the Louvre
+
+
+  VII. <a href="#img-pl7-t">The Execution of the Doge Marino Faliero</a>
+           In the Wallace Collection
+
+
+ VIII. <a href="#img-pl8-t">Faust and Mephistopheles</a>
+           In the Wallace Collection
+</pre>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap01"></a></p>
+
+<p class="capcenter">
+<a id="img-009"></a>
+<img class="imgcenter" src="images/img-009.jpg" alt="Delacroix" />
+<br /><br /><br />
+</p>
+
+<p class="poem">
+"Delacroix, lac de sang, hanté de mauvais anges,<br />
+Ombragé par un daïs de sapins toujours vert,<br />
+Où, sous un ciel chagrin, des fanfares étranges<br />
+Passent comme un soupir étouffé de Weber."<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;Baudelaire, "Fleurs du Ma1."<br />
+<br />
+</p>
+
+<h3>
+I
+</h3>
+
+<p>
+To-day, as one examines the ten masterpieces by Delacroix in the Salle
+des États at the Louvre&mdash;ten pictures which may without fear of
+contradiction be asserted to form an epitome of the art of the man who
+is now generally acknowledged to be the fountain-head of all modern
+art&mdash;one can only with difficulty understand the bitter hostility, the
+fierce passion, aroused by these works when Delacroix's name was the
+battle-cry of the moderns, when Delacroix was the leader of the
+numerically small faction which waged heroic war against the inexorable
+tyrannic rule of academic art.  What was once considered extreme and
+revolutionary, has become what might almost be described as a classic
+basis of a revaluation of æsthetic values.  Even Manet's "Olympia," the
+starting-point of a more recent artistic upheaval, a picture which on
+its first appearance at the Paris Salon of 1865 was received with wild
+howls of execration, now falls into line at the Louvre with the other
+great masterpieces of painting.  It marks a bold step in the evolution
+of modern art, but it is no longer disconcerting to our eyes.  And
+Delacroix can no longer be denied classic rank.  To understand the
+significance of Delacroix in the art of his country, and the hostility
+shown to him by officialdom and by the unthinking public almost during
+the whole course of his life, one has to trace back the art of painting
+in France to its very birth.  It will then be found that the history of
+this art, from the moment when French painting emerges from the
+obscurity of the Middle Ages until well into the second half of the
+nineteenth century, is a history of an almost uninterrupted struggle
+between North and South.
+</p>
+
+<p>
+All the efforts of chauvinistic French critics have failed to establish
+the existence of an early indigenous school.  Nearly all the early
+painters who are mentioned in contemporary documents were Flemings who
+had settled in France.  Their art is so closely allied to that of the
+Northern Schools, that it is sometimes impossible to establish the
+origin of pictures that are traditionally ascribed to French painters.
+But at the same time, perhaps in the train of the Popes who had
+transferred their Court to Avignon, Italian art began to invade France
+from the South.  Simone Martini's frescoes in the Papal Palace at
+Avignon certainly left their mark upon the School that arose in the
+Provençal city; and gradually traces of Italian influence made
+themselves felt in an art that remained Northern in its essential
+features.  There is at the National Gallery an early French panel, a
+"Scene from the Legend of St. Giles" (No. 1419), which clearly shows
+the harmonious blending of the two currents.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl2-t"></a></p>
+
+<p class="t3">
+PLATE II.&mdash;ALGERIAN WOMEN IN THEIR APARTMENT
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+This picture was one of the first-fruits of Delacroix's journey to
+Morocco with Count Mornay's mission.  It was painted in 1833, the year
+after his return to France, commissioned by the State at the price of
+3000 frs.  The handling of the upright figure of the negress suggests
+Spanish influence, and was in turn obviously well known to Manet when
+he painted his "Olympia."
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl2.jpg">
+<img class="imgcenter" src="images/img-pl2-t.jpg" alt="PLATE II.--ALGERIAN WOMEN IN THEIR APARTMENT" />
+</a>
+<br />
+PLATE II.&mdash;ALGERIAN WOMEN IN THEIR APARTMENT
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+Italianism became paramount in French painting when, in the fourth
+decade of the sixteenth century, Rosso and Primaticcio followed the
+call of Francis I. and founded the School of Fontainebleau.  From about
+1532 right into the nineteenth century, the official art of France,
+that is to say, the art favoured by the rulers and encouraged by the
+Academy, was based on the imitation of Raphael and the Italians of the
+decline&mdash;an art that was essentially intellectual, cold, and dominated
+by drawing and design, not by colour.  In the reign of Louis XIV., when
+Le Brun became the art despot of his country, the foundation of the
+Academy, and subsequently of the French School at Rome, led to the
+formulating of definite canons of formal beauty and of the "grand
+style."  Evolution on these lines was impossible.  French art was only
+saved from stagnation by the influence of Northern art, from which it
+continued to derive its vitality.  It was saved by painters who, like
+Philippe de Champaigne and Watteau, had come from the North, or who,
+like the brothers Le Nain, Chardin, Boucher, Fragonard, and finally
+Delacroix, had drawn their inspiration either from the Dutchmen or from
+Rubens and the Flemings.
+</p>
+
+<p>
+During the "grand" century there are only isolated instances of
+painters who resisted the tyranny of academic rule and the exclusive
+worship of classic antiquity.  But whilst the professional painters
+meekly submitted to Le Brun's tyranny, the revolt which was to
+transform the art of painting in France in the eighteenth century was
+heralded, nay initiated, in the field of polemic literature.  A fierce
+battle was waged between the traditional advocates of the supremacy of
+line and the champions of colour, or rather of paint that fulfils a
+more vital function than the colouring of spaces created by linear
+design.  It was the battle of the "Poussinistes" and the "Rubénistes,"
+the two factions deriving their names from the great masters whose art
+was the supreme embodiment of the two opposed principles: Poussin and
+Rubens.  Félibien was the leader of those who espoused the cause of
+academic design with superimposed colour as a secondary consideration;
+and Roger de Piles became the chief defender of colour as a
+constructive element.
+</p>
+
+<p>
+The dawn of the eighteenth century, and the advent of Watteau, brought
+the signal victory of the Rubénistes.  The pompous style of the
+seventeenth century ebbed away with the life of the <i>grand monarque</i>.
+The new age demanded a new art&mdash;the graceful and dainty art of the
+boudoir.  At the very outset, Watteau carried the emotional
+expressiveness of pigment to a point where it could not be maintained
+by his followers and imitators.  He had never been to Italy; and though
+he had studied the works of the Venetian colourists, his art was mainly
+derived from Flemish sources.  But the Academy continued to send its
+most promising pupils to its branch school in Rome, where they were
+taught to worship at the shrine of Raphael and his followers, and
+whence they returned to continue the tradition of the School.  Thus
+Italianism did not die, though it became transformed by the ascendency
+of the Rubens influence and by the new social conditions.  Mythology
+and allegory continued to rule supreme in the art of Boucher, which is
+the most typical expression of the French eighteenth century, but they
+are adapted to the decoration of the boudoir, and colour and brushwork
+are no longer subordinated to design.  Boucher, the most French of all
+French painters, is inconceivable without two centuries of the Italian
+tradition of design and without Rubens's example of handling paint.  In
+the art of Fragonard, that great virtuoso of the brush, the influence
+of Rubens becomes absolutely paramount.  Only a few youthful failures
+recall his study of the Italians.
+</p>
+
+<p>
+Fragonard witnessed the end of the <i>ancien régime</i> and the great
+political upheaval of the French Revolution.  With the monarchy died
+the sensuous art of the <i>fêtes galantes</i>.  The painting that flourished
+in the Napoleonic era was more formal, cold, and academic than at any
+previous epoch.  David and his followers sought their inspiration in
+Roman history, and set purity of line and the dogmas of the School
+higher than ever.  Their idealism was of a bombastic, rhetorical order;
+their painting absolutely uninspired tinting of pseudo-classic designs.
+At no period had French art sunk to such a level of dulness.  The death
+of David left his great pupil Ingres, the most perfect draughtsman of
+the nineteenth century, the undisputed leader of the School.  But the
+day of freedom was at hand&mdash;and the liberating word was to be
+pronounced by Delacroix.  The seventeenth-century war between the
+"Poussinistes" and the "Rubénistes" was to be resumed, although the two
+parties were now re-christened "Classicists" and "Romanticists."  But
+this time the war was one of deeds, and not of words.  Ingres was the
+leader of an army; Delacroix fought almost single-handed.  And, for
+once, victory did not favour the large battalions.
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap02"></a></p>
+
+<h3>
+II
+</h3>
+
+<p>
+Eugène Delacroix, who was born on the 7th Floréal of the year VI., as
+the Republican calendar has it, or the 26th April 1798, according to
+our own reckoning, belonged to a distinguished family.  His father,
+Charles Delacroix, an ardent Republican, who had voted for the death of
+his king, took a very active part in the political life of his country,
+and filled successively the posts of Minister for Foreign Affairs,
+Ambassador to Vienna, Departmental Prefect, and Ambassador to the
+Batavian Republic.  His mother, Victoire, was the daughter of Boulle's
+pupil, the famous cabinetmaker Oeben, and was connected by family links
+with the even more illustrious Riesener.  His brother, Charles Henri,
+achieved fame in the Napoleonic campaigns, was created Baron of the
+Empire in 1810, and became Quartermaster-General in 1815.  The military
+career was also adopted by his other brother Henri, who fell at
+Friedland in 1807.  His sister married Raymond de Verninac, who became
+Prefect of the Rhône and subsequently Ambassador to the Swiss Republic.
+</p>
+
+<p>
+Delacroix was not an infant prodigy.  He showed none of that
+irresistible early impulse towards art which is so often discovered by
+posthumous biographers of great masters.  Indeed, his inclinations
+tended more towards music; and at one time he thought of adopting a
+military career.  Even when, at the age of seventeen, he left college
+to enter Guérin's studio, he was by no means determined to devote
+himself exclusively to painting.  There was not much sympathy between
+master and pupil.  The impetuous youth, with his keen sense of the
+dramatic and romantic, and his passionate love of music, even if his
+emotionalism was held in check by intellectuality, felt repelled by the
+icy coldness of the man in whom the teaching of David had stifled any
+personal talent he may have possessed.  And Delacroix soon found that
+he could learn more from copying Rubens, Raphael, and Titian at the
+Louvre than from Guerin's dry instruction.  Moreover, he had the good
+fortune of gaining the friendship of his fellow-student, Géricault,
+who, inspired by a spirit akin to that of Delacroix, had already broken
+away from the tradition of the School, and who heralded the dawn of a
+new era with his intensely dramatic and almost revolutionary "Raft of
+the Medusa."  Delacroix himself tells in his Journal that he was so
+powerfully impressed by the intense realism of his friend's work, that
+on leaving the studio he ran through the streets like a madman.  How
+much he benefited by Géricault's example became clear when his "Dante
+and Virgil" appeared at the Salon of 1822, raising its author with a
+single bound to fame.
+</p>
+
+<p>
+Delacroix's mother died in 1819.  His small heritage was swallowed up
+by a lawsuit.  His position would have been desperate, but for the help
+of Géricault, who procured him a commission for an altarpiece for the
+Convent of the Ladies of the Sacred Heart at Nantes.  There is no trace
+of his later Romanticist fire in this altarpiece, and in the "Vierge
+des Maisons" for the church of Orcemont, which dates from the same
+period.  Both pictures are based on the study of Raphael.  Among
+Delacroix's intimates of these early days was the English painter,
+Thales Fielding, from whom he not only acquired his knowledge of the
+art of water-colour painting&mdash;then scarcely practised in France&mdash;but
+who awakened or strengthened in him the taste for English literature
+and especially for Shakespeare and Byron.
+</p>
+
+<p>
+With the "Dante and Virgil" of 1822, Delacroix definitely dissociated
+himself from the frigid, lifeless tradition of the David School, of
+which Ingres was soon to become the acknowledged leader.  "That School
+of Ingres," Delacroix once expressed himself on one of those rare
+occasions when he broke through his habitual reticence concerning his
+critical views on his contemporaries, "wants to make painting a
+dependency of the antiquaries; it is pretentious archæology; these are
+not pictures."  "Cameos are not made," he wrote on another occasion,
+"to be put into painting; everything ought to keep its proper place."
+</p>
+
+<p>
+The "Dante and Virgil" was his first pictorial protest against the rule
+of cold classicism.  To-day we may be surprised that a picture so
+balanced in design, so sober in colour, so sculpturally plastic in the
+modelling of the human form, could have been considered in any way
+revolutionary and should have evoked such violent abuse as was showered
+upon it by the Davidists.  But turn from this "Dante" to David's "Oath
+of the Horatii" and "Leonidas," which may be taken to typify the
+artistic standard of the time, and you will grasp the full significance
+of Delacroix's bold step.  True, Géricault had already followed similar
+aims with his "Raft of the Medusa"; but this astounding picture, a
+record of a disaster which was then still fresh in the people's memory,
+was considered rather as a magnificent piece of pictorial journalism
+than as a work to be judged by the canons of the "grand style."
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl3-t"></a></p>
+
+<p class="t3">
+PLATE III.&mdash;THE DEATH OF OPHELIA
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+This is one, and perhaps the most successful of many slightly varying
+versions of the same subject, which the artist first lithographed in
+1834 and painted in 1838.  The Louvre picture was executed in 1838.
+Delacroix, from his school days to his death, was an ardent admirer of
+Shakespeare's genius, and was deeply impressed by the Shakesperian
+productions which he witnessed during his short sojourn in London.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl3.jpg">
+<img class="imgcenter" src="images/img-pl3-t.jpg" alt="PLATE III.--THE DEATH OF OPHELIA" />
+</a>
+<br />
+PLATE III.&mdash;THE DEATH OF OPHELIA
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+The case of Delacroix was different.  He had dared to bring passion and
+intense dramatic expressiveness into a subject taken from literature.
+He had chosen a mediæval poet, instead of going back to classic
+antiquity.  And he had used pigment as it was not used by any of his
+contemporaries.  He had used it in truly painter-like fashion, making
+the colour itself contribute to the emotional appeal of the drama and
+giving to the actual brushwork functional value in the building up of
+form.  The writhing bodies of the Damned surrounding the boat and
+gleaming lividly through the terrible gloom are painted with a superb
+mastery which recalled to Thiers "the boldness of Michelangelo and the
+fecundity of Rubens," and which made Gros exclaim, "This is Rubens
+chastened!"
+</p>
+
+<p>
+The outcry raised by the Davidists did not prevent the Government from
+purchasing the picture for the not very formidable amount of £50.  The
+artist thus honoured and acclaimed a genius by the most competent
+judges was in the same year placed last among sixty candidates in a
+competition for one of the School prizes!  Henceforth Delacroix
+abstained from exposing himself to such rebuffs.  Even Gros' tempting
+offer to prepare him at his studio for the coveted Prix de Rome could
+not shake his determination.  He continued to work independently,
+gaining his bare livelihood by caricatures and lithographic
+illustrations of no particular distinction.  He never went to Italy;
+and it is worthy of note that herein he followed the rare example of
+the two greatest <i>painters</i> of his country: both Watteau and Chardin
+had kept clear of Rome and its baneful influence.
+</p>
+
+<p>
+The horrors of the Greek War of Independence provided Delacroix with a
+magnificent subject in the "Massacre of Scio," which he sent to the
+Salon of 1824.  Here was indeed rank defiance of those rules of "the
+beautiful" in art which had been formulated by the School of David, and
+which even in a scene of bloodshed and horror expected heroic poses and
+the theatrical grouping of the "grand style."  Delacroix had dared to
+depict hideous death in the agonised face of the woman with the child
+on the right of the picture, blank despair verging on insanity in the
+old woman by her side, the languor of approaching death in the limp
+form of the man in the centre.  He had arranged his composition
+contrary to all accepted rules; he had painted it with the fire of an
+inspired colourist.  The glitter of light and atmosphere was spread
+over the receding landscape and sky&mdash;Delacroix had seen Constable's
+"Hay Wain" and two other works by the English master at this very
+Salon.  They came to him as a revelation.  He obtained permission to
+withdraw his picture for a few days, and&mdash;so the story goes&mdash;completely
+repainted it with incredible rapidity.  The truth is probably that
+under the impulse of the profound impression created upon him by
+Constable's art, he added certain touches and extensive glazes to the
+background.  In this connection it is interesting to note that M.
+Cheramy, whose magnificent collection includes a superbly painted study
+of the dead mother and child for the "Massacre of Scio," has bequeathed
+this important fragment to the National Gallery, on condition that it
+shall hang "beside the best Constable."
+</p>
+
+<p>
+The "Massacre of Scio" was violently attacked as an outrage against
+good taste, but found a warm defender in the Baron Gérard, and was
+again bought by the Government for £320.  It may not be out of place
+here to state that there is but scant justification for the
+often-repeated assertion that Delacroix's rare genius did not receive
+official recognition until very late in the master's life, and that he
+was not given his fair share of official commissions.  We have seen
+that, in spite of the outcry raised by the academic faction, the
+Government encouraged the young artist by acquiring the first two
+pictures exhibited by him at the Salon.  At brief intervals he
+continued to receive important commissions: for the "Death of Charles
+the Bold," from the Ministry of the Interior; the great battle-piece
+"Taillebourg," for the gallery at Versailles; the decoration of the
+Chamber of Deputies, of the Libraries at the Luxembourg and the Palais
+Bourbon, of the Salon de la Paix at the Hôtel de Ville, of a chapel in
+the Church of Saint Sulpice; a wall-painting in the Church of St.
+Denis; the "St. Sebastian" for the Church of Nantua; and the ceiling of
+the Galerie d'Apollon at the Louvre&mdash;not to speak of the numerous works
+commissioned or bought from him by Louis-Philippe.  Thus, it will be
+seen, there was no lack of "official recognition," although it is quite
+true that to within a few years of his death he was generally forced to
+accept wholly inadequate prices for his paintings.
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap03"></a></p>
+
+<h3>
+III
+</h3>
+
+<p>
+Delacroix's friendship with Thales Fielding and Bonington and his love
+of English romantic literature had awakened in him the desire to visit
+London.  He undertook the little journey in 1825.  He was much
+impressed by the immensity of London, the "absence of all that we call
+architecture," the horses and carriages, the river, Richmond, and
+Greenwich; and, above all, by the English stage.  He had occasion to
+admire the great Kean in some of his Shakespearian impersonations, and
+Terry as Mephistopheles in an adaptation of "Faust."  He was deeply
+stirred by these productions, which had a by no means beneficial
+influence upon his art.  To his love of the stage may be ascribed the
+least acceptable characteristics of his minor pictures and
+lithographs&mdash;exaggerated action, stage grouping, and a certain lack of
+restraint.  It is difficult to understand Goethe's highly eulogistic
+comment upon Delacroix's "Faust" illustrations, unless it was a case of
+<i>faute de mieux</i>, or that he had not seen the complete set.  To modern
+eyes, at any rate, they are the epitome of the master's weaknesses.
+The drawing is frequently inexcusably bad; the sentiment is carried
+beyond the merely theatrical to the melodramatic.
+</p>
+
+<p>
+Next to the stage, he was interested by the works of the contemporary
+British artists, with many of whom he entered into personal relations.
+In his letters he expressed the keenest admiration not only for
+Bonington (with whom he shared a studio in the following year),
+Constable, and Turner, whose influence upon the French School he
+readily admitted, but also for Lawrence&mdash;"the flower of politeness and
+truly a painter of princes ... he is inimitable"&mdash;and for Wilkie, whose
+sketches and studies he declared to be beyond praise, although "he
+spoils regularly all the beautiful things he has done" in the process
+of finishing the pictures.
+</p>
+
+<p>
+Unfortunately the principal work painted by Delacroix in the year after
+his return from England, the "Justinian Composing the Institutes," for
+the interior of the Conseil d'État, perished by fire in 1871.  The
+Salon was only reopened, after an interval of two years, in 1827, when
+Delacroix was represented by no fewer than twelve paintings, including
+"The Death of Sardanapalus," "Marino Faliero," and "Christ in the
+Garden of Olives."  The extreme daring, the tempestuous passionate
+disorder of the design of the large "Sardanapalus" alienated from him
+even the few enlightened spirits who had espoused his cause on the two
+former occasions.  The reception of the picture was disastrous.
+Delacroix himself admitted that the first sight of his canvas at the
+exhibition had given him a severe shock.  "I hope," he wrote to a
+friend, "that people won't look at it through my eyes."  The picture
+raised a hurricane of abuse.  His own significant dictum that "you
+should begin with a broom and finish with a needle," was turned against
+him by a critic who spoke of the work of an "intoxicated broom."
+Another described him as a "drunken savage," and yet another referred
+to the picture as the "composition of a sick man in delirium."  His
+other pictures were scarcely noticed, although they included a
+masterpiece like the "Marino Faliero" (now in the Wallace Collection),
+which Delacroix himself held to be one of his finest achievements, and
+which certainly rivals the great Venetians in harmonious sumptuousness
+of colour.  In this picture Delacroix is intensely dramatic without
+being theatrical.  Nothing could be more impressive than the massing of
+light on the empty marble staircase, the grand figure of the
+executioner, the statuesque immobility of the nobles assembled at the
+head of the staircase.  The picture was exhibited in London in 1828,
+when it was warmly eulogised, which is the more remarkable as Delacroix
+never seemed to appeal strongly to British taste&mdash;the scarcity of his
+works in our public and private collections may be adduced as proof.
+</p>
+
+<p>
+It was on the occasion of this 1827 Salon that the terms "Romanticism"
+and "Romanticists" first came into general use.  Their exact definition
+is not an easy matter.  Broadly speaking, the romantic movement in
+literature, music, and painting signifies the accentuation of human
+emotions and passions in art, as opposed to the classic ideal of purity
+of form.  Delacroix himself did not wish to be identified with any
+group or movement, but in the eyes of the public he stood as the leader
+of the Romanticists in painting, just as Victor Hugo, with whom he had
+but little sympathy, did in literature.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl4-t"></a></p>
+
+<p class="t3">
+PLATE IV.&mdash;THE CRUCIFIXION
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+This small panel, which forms part of the Thomas Thiery bequest to the
+Louvre, is a picture of precious quality and soft colouring, painted
+for his friend, Mme. de Forget, who had exercised her influence in
+official quarters when Delacroix endeavoured to obtain the post of
+director of the Gobelins manufactory.  It was painted in 1848.  There
+are numerous replicas in existence.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl4.jpg">
+<img class="imgcenter" src="images/img-pl4-t.jpg" alt="PLATE IV.--THE CRUCIFIXION" />
+</a>
+<br />
+PLATE IV.&mdash;THE CRUCIFIXION
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+Delacroix's "Sardanapalus" led to humiliations that he felt more keenly
+than the abuse showered upon him by the Press.  He was sent for by
+Sosthene de la Rochefoucauld, then Director of the Beaux-Arts, to be
+advised in all seriousness to study drawing from casts of the antique,
+and to change his style if he had any aspirations to official
+encouragement.  The threat had no effect upon a man of Delacroix's
+strength of conviction.  He yielded never an inch.  He continued to
+follow the promptings of his artistic conscience which permitted no
+concessions, no compromise.  During the very next year, in spite of De
+la Rochefoucauld's threat, the State commissioned from him the painting
+of "The Death of Charles the Bold at the Battle of Nancy" (now at the
+Nancy Museum).  The picture was not finished and exhibited before 1834,
+when this magnificently conceived scene of wild conflict under a
+threatening winter sky&mdash;so different from the grandiloquous style of
+the painters of the Napoleonic epopee&mdash;met with the usual chorus of
+disapprobation for being historically incorrect, "as bad as could be in
+drawing," "incredibly dirty in colour"&mdash;the horses bad as regards
+anatomy, the sky impossible!
+</p>
+
+<p>
+Although Delacroix was too completely absorbed in his art, which&mdash;his
+one great passion&mdash;took up his entire life, to take any active part in
+politics, he was deeply stirred by the events of the July Revolution of
+1830.  "The 28th July 1830," or "The Barricade," one of the nine works
+by which he was represented at the Salon of 1831, was an unmistakable
+confession of his political faith.  Here, for once, Delacroix found his
+moving drama not in romance or in the history of the past, nor in the
+picturesque East which, owing to its comparative remoteness and
+inaccessibility at a time that did not enjoy the prosaic advantages of
+a Cook's Agency, was still invested with the glamour of romance; for
+once he devoted himself to the reality of contemporary life, even
+though the daring departure into realism was thinly veiled by the
+introduction of that rather unfortunate allegorical figure of Liberty
+with her clumsy draperies and badly painted tricolour flag.  The
+top-hat and frock-coat, hitherto considered incompatible with a grand
+pictorial conception, enter with triumphant defiance into the painter's
+art; and they detract nothing from the epic grandeur of this truly
+historical composition.  In many ways "The Barricade" was more daringly
+unconventional than any of the earlier pictures which had stamped
+Delacroix as a revolutionary.  Yet its success was immediate and final.
+That the artist was awarded the Cross of the Legion of Honour, was
+perhaps a recognition of his political sympathies rather than of his
+artistry.  But this time Delacroix found favour with the public and the
+critics.
+</p>
+
+<p>
+At the same Salon was to be seen another of Delacroix's most striking
+masterpieces, "The Assassination of the Bishop of Liège," for which he
+had found the subject in Sir Walter Scott's "Quentin Durward," and
+which was painted for Louis-Philippe, then Duke of Orleans.  It is a
+marvellously vivid realisation of this terrific scene.  "Who would ever
+have thought that one could paint noise and tumult?" wrote Théophile
+Gautier in his enthusiastic appreciation of this work.  "Movement is
+all very well, but this little canvas howls, yells, and blasphemes!"
+The realisation of the wild and sanguinary orgy described by Scott is
+complete and absolute; and yet, in the long list of Delacroix's
+"illustrative" pictures, there is none that is so strictly pictorial in
+conception and less tied to the letter of the author's description.  It
+is not so much the detail, the personal action of each participator in
+the drama, upon which the artist depends to tell this ferocious tale of
+unbridled passion, but the atmosphere of vague terror, the mysterious
+gloom of the lofty hall, the flaring flames of the torches, the flashes
+of brilliant reflections thrown up from the luminous centre provided by
+the white tablecloth, of the importance of which Delacroix was well
+aware when he said one evening to his friend Villot: "To-morrow I shall
+attack that cursed tablecloth which will be my Austerlitz or my
+Waterloo."  It was his Austerlitz.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl5-t"></a></p>
+
+<p class="t3">
+PLATE V.&mdash;THE BRIDE OF ABYDOS
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+A great reader of English literature, Delacroix found the inspiration
+for many remarkable paintings in the works of Byron, who was one of the
+idols of the French Romanticists.  As was his wont, Delacroix produced
+several versions of this subject, which shows Zuleika trying to prevent
+Selim from giving the signal to his comrades.  A smaller variant,
+painted like the Louvre picture in 1843, and measuring only 14 in. by
+10 in., realised the high price of £1282 at public auction in 1874.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl5.jpg">
+<img class="imgcenter" src="images/img-pl5-t.jpg" alt="PLATE V.--THE BRIDE OF ABYDOS" />
+</a>
+<br />
+PLATE V.&mdash;THE BRIDE OF ABYDOS
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+"The Assassination of the Bishop of Liège" was painted in 1829, the
+same year to which we owe that superbly handled and strangely
+fascinating auto-portrait of the artist at the Louvre, which he left to
+his faithful servant, Jenny le Guillou, on condition that she should
+give it to the Louvre on the day when the Orleans family were to gain
+once more possession of the throne.  This event did not come to pass,
+but the picture nevertheless reached its final destination by gift of
+Mme. Durieu in 1872.  Delacroix's strangely fascinating personality is
+completely revealed in this masterpiece of artistic auto-biography.  In
+every feature it recalls that famous description of the master given by
+Baudelaire in his series of critical essays, "L'Art Romantique":&mdash;
+</p>
+
+<p>
+"He was all energy, but energy derived from the nerves and the will;
+for, physically, he was frail and delicate.  The tiger, watching its
+prey, has less light in its eyes and has less impatient quivering in
+its muscles, than could be perceived in our great painter when with his
+whole soul he flung himself on an idea or endeavoured to seize a dream.
+The very physical character of his physiognomy, his Peruvian or Malay
+complexion; his eyes which were large and black but had narrowed owing
+to the habit of half closing them when fixing an object, and seemed to
+test the light; his abundant and glossy hair; his obstinate forehead;
+his tight-drawn lips to which the perpetual tension of the will had
+given a cruel expression&mdash;in a word, his whole person suggested the
+thought of an exotic origin."
+</p>
+
+<p>
+It is interesting to note how completely this vivid description of the
+mature man tallies not only with the painted portrait of Delacroix at
+the age of thirty-one, but with another description of the adolescent,
+left by his college friend, Philarète Chasle, who speaks of him as "a
+lad, with olive-hued forehead, flashing eyes, a mobile face with
+prematurely sunken cheeks, abundant wavy black hair, betraying southern
+origin."
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap04"></a></p>
+
+<h3>
+IV
+</h3>
+
+<p>
+The <i>légion d'honneur</i> was not the only reward that attended
+Delacroix's success at the Salon of 1831.  He received permission to
+accompany, at the expense of the Government, Count Mornay's mission to
+Morocco, which set out in January of the following year.  To visit the
+East had been the dream of Delacroix's life.  Its fulfilment marked an
+important step in the evolution of his art.  Now at last he was brought
+into actual contact with that life and colour of the romantic East
+which had for so many years been pictured by his vivid imagination.  He
+was away altogether about six months, and much of this time was spent
+<i>en route</i> and in Spain which he visited on his home journey, so that
+it was obviously impossible for him to undertake any works on an
+ambitious scale during his sojourn in Africa.  But he never interrupted
+his feverish activity, and brought back with him a whole series of
+sketch-books filled with pictorial and literary notes to which he had
+many an occasion to refer when, after his return to the daily routine
+of his Paris life, he proceeded upon embodying his new experience of
+brilliant light, sumptuous colour, and picturesque life in a long
+succession of paintings devoted to Eastern subjects.
+</p>
+
+<p>
+Delacroix's Moroccan sketch-books, which are among the treasured
+possessions of the Louvre, constitute one of the most interesting
+documents ever left by artist's hand.  There is always a peculiar
+fascination about an artist's self-revelations in moments when his mind
+is far away from the public to whom he directs his appeal in his
+finished pictures.  And these sketch-books were intended for no eyes
+but his own.  They contain a diary of his progress day by day, vivid
+impressions of land and people, interspersed with accounts and notes of
+purchases, and through all the pages run his swiftly sketched,
+brilliant pictorial notes, set down with the sureness of long
+experience and practice&mdash;sketches of scenery, life, types of natives
+and animals, architectural details and details of costumes, jotted down
+with any material that happened to be handy.  Some are sketched in pure
+colour-washes in bold flat masses, some in pencil or pen and ink
+heightened with strong blobs of water-colour, others in pure outline;
+and generally they are accompanied by explanatory notes hastily
+scribbled in pencil.  Throughout is to be noted the same swift
+impulsiveness and definiteness of purpose, the utmost expressiveness
+obtained by the greatest economy of means.  There are some slight
+thumb-nail sketches&mdash;I can recall one in particular of a galloping
+Bedouin Arab&mdash;that verge on the miraculous in the sense of life and
+movement, the summing up of all the essentials by means of a few
+strokes of the pen of almost niggardly paucity.
+</p>
+
+<p>
+But infinitely more important in its bearing upon his future work than
+all the tangible yield of this fruitful journey, was the retention by
+Delacroix's memory of the brilliant colour visions which had met his
+delighted eyes in the dazzling light of the East.  The result was an
+entirely new conception of chromatic effects and an infinitely more
+sensuous use of his pigments than is to be found in any of his earlier
+works.  Before his journey to Morocco, Delacroix, though already
+essentially a colourist in his method if compared with the draughtsmen
+of the David-Ingres School, paid but little attention to the quality of
+paint <i>per se</i>.  Colour served him to enhance the dramatic
+effectiveness of his compositions, and pigment had assumed a vital
+function in the building up of forms; but he was still addicted to an
+excessive use of bituminous browns and warm glazes and paid little or
+no attention to what the modern studio jargon terms the "preciousness
+of paint."  With the "Algerian Women in their Apartment," which he sent
+to the Salon of 1834, he entered upon an entirely new phase.  It is
+painted in a rich impasto of luminous colours which sparkle in unbroken
+strength through an ambient of soft silvery grey atmosphere.  The very
+choice of subject indicates a significant change.  In the place of
+dramatic climax or tempestuous movement and passion and violent
+emotion, we find here complete repose and the indolent lassitude
+engendered by the luxurious comfort and by the strong scent of burning
+spices in the Eastern harem.  In a subject of this kind the artist
+could allow himself to yield completely to the sensuous enjoyment of
+the rare and at the time entirely novel harmonies of pure, beautiful
+colour evolved by his brush.  The superbly painted negress on the right
+of the composition undoubtedly owes much to the Spanish masters whom
+Delacroix must have studied during his brief visit to the Peninsula;
+and there is as little doubt that she in turn became the progenitor of
+the wonderful negress in Manet's "Olympia."  Indeed, Delacroix at this
+stage must be considered Manet's precursor and source of inspiration.
+</p>
+
+<p>
+The "Algerian Women" was a State commission for which Delacroix was
+paid the absurdly inadequate sum of £120.  His indignation was great
+when he learnt that a higher value had been put upon a worse than
+mediocre picture by Decaisne.  He almost refused to deliver the
+picture, but was eventually reconciled by the placing with him of a
+more important commission, namely, "The Entry of the Crusaders into
+Constantinople" for the Gallery of Versailles.  He was given the
+commission&mdash;but he was at the same time informed that the King wanted a
+picture which did "not look like a Delacroix"!  This picture, which is
+now at the Louvre, was first shown at the Salon of 1841, and is
+undoubtedly one of the finest works of the master's maturity.  One has
+only to compare it with "The Massacre of Scio"&mdash;in many ways a kindred
+subject&mdash;to realise the master's prodigious advance during the
+intervening years.  The earlier picture, in spite of its undeniably
+fine qualities, cannot compare with "The Crusaders" as regards subdued
+splendour of colour.  Delacroix himself admitted that the idea of "The
+Massacre" came to him in front of Gros's "The Plague-stricken at
+Jaffa."  "J'ai mal lavé la palette de Gros," was the wording of his own
+confession.  There is no trace of Gros in the sumptuous scheme of "The
+Crusaders," and the violent expression of his youthful sense of the
+dramatic is toned down by a note of sympathetic sadness in the
+principal figure, accentuated by the unconventional massing of shadow
+over the group which occupies the centre of the composition.
+</p>
+
+<p>
+In the year after his return from Morocco, Delacroix was, largely
+through the influence of M. Thiers, entrusted with the decoration of
+the Salon du Roi, at the Palais Bourbon, and thus given the first
+opportunity for a display of his decorative genius which, whatever has
+been said to the contrary, was generously acknowledged by his
+contemporaries, and was given ample scope from 1833 to the time of his
+death in 1863.  But before discussing his architectural decorations it
+may be as well to sketch in brief outline the course of the remaining
+years of his life&mdash;a life of ceaseless productive energy, interrupted
+only by spells of illness, but otherwise strangely uneventful.  After
+the references in the preceding pages of the important pictures which
+constitute, as it were, the landmarks in Delacroix's career, it would
+be as impossible as it is superfluous to describe, or even to
+enumerate, the masterpieces produced year by year by his indefatigable
+brush.  A volume of considerable bulk would be needed for a mere list,
+for, according to Robaut's statement at the beginning of his catalogue:
+"Eugène Delacroix has left about 9140 works, of which number 853 are
+paintings, 1525 pastels, water-colours, or wash-drawings, 6629
+drawings, 24 engravings, 109 lithographs, and over 60 albums!"
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl6-t"></a></p>
+
+<p class="t3">
+PLATE VI.&mdash;DANTE AND VIRGIL
+</p>
+
+<p class="t3">
+(In the Louvre)
+</p>
+
+<p class="caption">
+This is the great picture with which Delacroix, then twenty-four years
+of age, made his debut at the Salon of 1822.  The dramatic power of the
+central group and the frenzied movement and superb modelling of the
+nude figures clinging to the boat, caused an immense sensation with a
+public accustomed to the frigid classicism of the David School.
+Unfortunately the picture is now badly cracked and discoloured,
+probably owing to the use of bituminous pigment, which Delacroix only
+discarded at a later period.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl6.jpg">
+<img class="imgcenter" src="images/img-pl6-t.jpg" alt="PLATE VI.--DANTE AND VIRGIL" />
+</a>
+<br />
+PLATE VI.&mdash;DANTE AND VIRGIL
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+Whether it be due to his unshaken perseverance on the path he had
+chosen from the very outset, or to the waning interest caused by the
+wearing off of the novelty, Delacroix's art was now more readily
+accepted, or, at any rate, discussed without the bitterness of the
+early attacks.  Nevertheless, even now, and indeed to the end of his
+life, he could only obtain wretched prices for his pictures, and the
+Academy remained implacably hostile, until the special collection of
+his principal works at the International Exhibition of 1855 brought him
+at last that general public applause that had till then been denied to
+him.  Delacroix himself showed no bitterness to the Academy, and
+presented himself time after time for election, his claims being
+invariably couched in terms as modest as they were dignified.  His
+first attempt was in 1837, when the votes were cast in favour of
+Schnetz.  Two vacancies occurred in 1838, and on both occasions
+Delacroix knocked at the doors of the Academy, but Langlois and Couder
+were preferred to him.  His next attempt was in 1849, when Cogniet
+secured the majority of votes.  When he presented himself again in
+1853, insult was added to injury, his very candidature being refused!
+Time has avenged the wrong; the names of Schnetz, Langlois, Couder, and
+Cogniet are all but forgotten, whilst Delacroix has become immortal.
+</p>
+
+<p>
+Encouraged by his triumph at the Universal Exposition of 1855,
+Delacroix presented himself for the sixth time when the next vacancy
+arose in 1857, and this time his perseverance at last found its
+reward&mdash;he was elected just before he entered upon the seventh decade
+of his life.  But even now he was denied peaceful enjoyment of his
+tardy success.  His next contributions to the Salon, in 1859, led to a
+renewed outburst of vituperative criticism and abuse, and this time
+Delacroix was hurt to the quick.  He decided not to expose himself in
+future to the gibes of his detractors, and for the remaining four years
+of his life, although continuing his artistic activity to the very end,
+refrained from contributing to public exhibitions.
+</p>
+
+<p>
+The years 1837-1841 mark a fruitful epoch in Delacroix's career.  The
+masterpieces that issued from his studio in these years would alone
+have sufficed to establish his lasting fame.  In 1837 he painted the
+magnificent "Battle of Taillebourg," which is the glory of the gallery
+of battle pictures at Versailles, but found so little favour with the
+jury of the Salon that it narrowly escaped being rejected.  The tumult
+and confusion of hand-to-hand fighting had never before been rendered
+with such force and such absence of heroic attitudinising.  To the next
+year we owe "The Enraged Medea," of the Lille Museum, and that
+extraordinary scene of fitful, jerky, furious movement known as "Les
+Convulsionnaires de Tanger," which, after having twice changed hands at
+public auction during the artist's lifetime, for £87 in 1852 and for
+£1160 in 1858, rose to £1940 at a sale held in 1869, and finally found
+a purchaser for £3800 in 1881.
+</p>
+
+<p>
+The "Jewish Wedding in Morocco," in which the painter's concern with
+true tone-values and beautiful quality of pigment is carried even
+further than in the "Algerian Women," and the intensely dramatic
+"Hamlet and the Gravediggers"&mdash;both are now at the Louvre&mdash;were his
+chief works in 1839; whilst in the following year he devoted his
+energies to the large "Justice of Trajan" (now extensively restored) at
+the Rouen Gallery, and the powerful "Shipwreck of Don Juan," surely one
+of the most tragic and impressive pictures ever conceived by human
+genius.  It bears the same relation to the "Dante and Virgil" that "The
+Crusaders" bears to "The Massacre of Scio."  And it is one of the most
+striking instances of Delacroix's power to make colour itself
+expressive of the mood of the drama.  The conception, though based on
+Byron's poem, owes little to the literary foundation&mdash;that is to say,
+it is not illustrative in the sense that acquaintance with the poem is
+essential for its appreciation.  It is just a vivid realisation of the
+combined horrors of shipwreck and starvation in which the tragic aspect
+of sea and sky is as significant as the ghastliness of the wretches
+whom hunger has turned into cannibals.  The sombre tonality and the
+flashes of livid light, recall El Greco in his later period.  To the
+year 1841 belongs "The Entry of the Crusaders into Constantinople," of
+which mention has already been made.
+</p>
+
+<p>
+At the Salon of 1845 appeared the large painting of "The Sultan of
+Morocco surrounded by his Guard," which was bought by the State for the
+Toulouse Gallery at the price of £160.  Baudelaire, ever an ardent
+admirer of Delacroix, draws attention to the peculiar quality of the
+colour harmony in this picture which, "notwithstanding the splendour of
+the tones, is grey, grey like Nature, grey like the atmosphere of a
+summer day, when the sunlight spreads like a twilight of vibrating dust
+upon every object."  "The Sultan of Morocco" was one of the last large
+canvases produced by the master, whose best energies were now absorbed
+by his gigantic decorative tasks, although he continued to paint an
+endless succession of easel pictures, many of which were variations of
+earlier compositions.
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap05"></a></p>
+
+<h3>
+V
+</h3>
+
+<p>
+The decoration of the Salon du Roi, which occupied Delacroix from 1833
+to 1838, and for which he received the niggardly pay of £1200, was the
+first great task of this kind entrusted to him.  Nevertheless he knew
+how to adapt design and colour to the architectural conditions in a
+manner that could scarcely have been bettered by life-long experience.
+And these conditions were by no means favourable for pictorial
+decoration, since the walls of the square room are pierced all round by
+real and blind windows and doors, and the lighting is about as bad as
+could be.  Delacroix's scheme consists of eight large single figures in
+grisaille for the pilasters; a continuous band, with figure
+compositions, connecting the spandrils and forming a kind of frieze
+which is painted in delicate, tender tones, suggestive of faded
+tapestry, that lead up to the rich colouring of the eight panels in the
+ceiling and the surround of the skylight.  Unfortunately the ceiling is
+not domed, so that the strong light filtering through the round glazing
+does not reach the panels and only serves to dazzle one's eyes.  It is
+only by shutting out this central light and by the use of mirrors that
+it is possible to appreciate the noble, reposeful allegorical groups of
+<i>Justice</i>, <i>Agriculture</i>, <i>Industry</i>, and <i>War</i>, which fill the four
+oblong panels, and the four graceful Cupids carrying the corresponding
+attributes in the corners.  The frieze, which is divided from the
+moulding of the ceiling by an ornamental band with appropriate Latin
+inscriptions, is remarkable for the masterly skill with which the
+design of the figures and groups is adapted to the awkward shape of the
+spandrils between the semi-circular arches, and for the lucid clearness
+of the allegorical representations, the subjects on each wall being
+closely connected with those on the corresponding panels of the
+ceiling.  Thus under the "Justice" panel are to be seen Truth and
+Wisdom inspiring a greybeard composing the laws, Meditation
+interpreting the law, Strength with a tamed lion at the foot of three
+judges, and the Avenging Angel pursuing two culprits.  "Agriculture" is
+illustrated by a Bacchanalian Vintage Festival, a Harvest scene, and
+Arcadian figures.  "Industry" by allegorical scenes of Commerce,
+Navigation, and Silk-growing; and "War" by the Manufacture of Arms, and
+a group of fettered women being taken into captivity.  The heroic
+figures in grisaille on the pilasters are personifications of the
+Atlantic, the Mediterranean, and the six principal rivers of France,
+namely the Garonne, the Saone, the Loire, the Rhine (which then
+belonged to France as much as to Germany), the Seine, and the Rhône.
+</p>
+
+<p>
+Before Delacroix had completed the paintings in the Salon du Roi, that
+is to say in 1837, he was entrusted with the even more important
+commission for the decoration of the Libraries of the Chamber of
+Deputies at the Palais Bourbon, and of the Senate at the Luxembourg;
+three years earlier, in 1834, he had experimented in the technique of
+fresco painting, which he found more congenial than distemper, when
+executing three overdoor panels of Leda, Anacreon, and Bacchus, at
+Valmont, where they still remain <i>in situ</i> in all their pristine
+freshness.
+</p>
+
+<p>
+The Library of the Palais Bourbon has been described by a well-known
+recent German critic as the "French Sistine Chapel."  To any one
+examining this vast work in an unprejudiced spirit it will be difficult
+to share this enthusiasm.  The cool and noble intellectuality which is
+at the basis of Delacroix's art, even where it is apparently most
+spontaneous and fugous, certainly renders these decorations supremely
+interesting.  But the appeal is intellectual rather than sensuous.  The
+beholder is filled with profound respect, instead of being thrilled by
+the emotional effect of colour.  Nor can this be entirely due to bad
+lighting and to the serious deterioration and indifferent restoring of
+the paintings, of which scarcely more than the design is by Delacroix's
+own hand, the execution being almost entirely due to Lassalle Bordes
+and other assistants, who are also largely responsible for the actual
+painting of the Luxembourg decoration.
+</p>
+
+<p>
+The work in the Library of the Chamber of Deputies consists of two
+hemicycles of "Peace" (Orpheus bringing Civilisation to Greece) and
+"War" (Attila bringing Barbarism back to Italy), and twenty
+pendentives&mdash;four in each of the five cupolas&mdash;with connecting
+ornamental bands and cartouches.  In the first cupola, Poetry is
+illustrated by "Alexander and Homer's Poems," "The Education of
+Achilles," "Ovid with the Barbarians," and "Hesiod and the Muse."
+Theology is the subject of the second dome: "Adam and Eve," "The
+Babylonian Captivity," "The Death of St. John," and "The Tribute
+Money."  Law of the third: "Numa and Egeria," "Lycurgus,"
+"Demosthenes," and "Cicero"; Philosophy of the fourth: "Herodotus,"
+"Chaldean Shepherd Astronomers," "Seneca's Death," and "Socrates"; and
+Science of the fifth: "The Death of Pliny," "Aristoteles,"
+"Hippocrates," and "Archimedes."  Each pendentive depicts, not a single
+figure, but an admirably composed scene of history or legend.  The
+series was commenced in 1837 and completed in 1847.  The two hemicycles
+are painted in the encaustic manner direct upon the wall, whilst all
+the rest is executed in oils on canvas.
+</p>
+
+<p>
+The decoration of the Library in the Luxembourg Palace took from 1845
+to 1847.  It consists of a fan-shaped hemicycle of over 30 feet in
+width, the subject of which is Alexander, after the Battle of Arbela,
+ordering the works of Homer to be enclosed in a golden casket captured
+from the Persians; and the paintings in the cupola&mdash;a composition in
+four parts but without division (Dante presented to Homer by Virgil, a
+group of Greek philosophers, Orpheus charming the beasts, and
+illustrious Romans), and four pendentives, St. Jerome, Cicero, Orpheus,
+and the Muse of Aristoteles.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl7-t"></a></p>
+
+<p class="t3">
+PLATE VII.&mdash;THE EXECUTION OF THE DOGE MARINO FALIERO
+</p>
+
+<p class="t3">
+(In the Wallace Collection)
+</p>
+
+<p class="caption">
+Delacroix himself considered this picture, which was painted in 1826,
+to be his masterpiece.  Exhibited first at the Salon of 1827, when "The
+Death of Sardanapalus" caused a veritable torrent of abuse to be
+showered upon the artist, it failed to attract the favourable attention
+which its nobly balanced design, brilliant colour, and intensely
+dramatic feeling would otherwise surely have commanded, and which was
+given to it in the following year by the London public.  "Marino
+Faliero" is unquestionably the finest example of Delacroix's art in
+England.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl7.jpg">
+<img class="imgcenter" src="images/img-pl7-t.jpg" alt="PLATE VII.--THE EXECUTION OF THE DOGE MARINO FALIERO" />
+</a>
+<br />
+PLATE VII.&mdash;THE EXECUTION OF THE DOGE MARINO FALIERO
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+Earlier in date than the Library of the Senate is the large mural
+painting in wax colours of the "Pietà" in the Church of St.
+Dénis-du-Saint-Sacrement.  It bears the date 1843, and is, apart from
+the passionate intensity of movement and expression, and its linear
+rhythm, interesting as an instance of the almost incredible rapidity
+with which Delacroix proceeded upon the actual execution of his
+paintings, once the scheme had taken definite shape in his mind.
+According to Moreau, who had this information from the artist himself,
+the whole painting of about 15 ft. by 11 ft. was finished in seventeen
+days, each day's progress being marked by Delacroix on the wall.
+</p>
+
+<p>
+The decoration of the two Libraries was scarcely finished when two new
+commissions of equal importance gave him further opportunity for the
+triumphant display of his decorative genius.  A few sketches and
+engravings are unfortunately all that is left to us of the circular
+centre, the eight shaped oblong panels and the eleven lunettes which
+constituted the pictorial decoration of the Salon de la Paix at the old
+Hôtel de Ville, since the building was destroyed by fire in May 1871 in
+the days of the Commune.  Delacroix worked on these designs from 1849
+to 1853, and was only paid £1200 for the whole series.
+</p>
+
+<p>
+If the labour and thought expended upon the Salon de la Paix were
+destined to lead to such short-lived results, the magnificent
+centrepiece of the ceiling in the Salon d'Apollon can be seen to-day in
+its unimpaired freshness&mdash;the most striking testimony to its creator's
+genius.  The decoration of this gallery was entrusted to Le Brun as far
+back as 1661; and it was Louis XIV.'s favourite painter who conceived
+the idea of paying homage to his master, the "Roi Soleil," by depicting
+"The Triumph of Apollo" in the centre panel, with appropriate subjects
+in the other ten compartments.  But his work was interrupted, when he
+was called upon to supervise the decoration of Versailles, before he
+had even sketched out the design for "The Triumph of Apollo."  The ten
+minor compartments remained neglected for over a century, and were
+allowed to get into a deplorable condition, until the restoration was
+taken in hand in 1848, the painting of the great centre being at the
+same time entrusted to Delacroix.  Apart from the fact that Apollo was
+to be the hero of the design, Delacroix had an entirely free hand, and
+chose to depict the god vanquishing the Python, with Diana, Mercury,
+Minerva, Hercules, Vulcan, Boreas, Zephyrus, Victory, Iris, and Nymphs
+as subsidiary figures.  Although the design offends against the
+fundamental rule of all ceiling decorations, that there should be no
+"above" and "below," and that the composition should be devised so as
+to be equally intelligible from every point of view, one cannot but
+admire the noble co- and subordination of the different groups and
+figures, the lucid clearness of the pictorial statement of an
+essentially intellectual conception, the astonishing colour-magic, and,
+above all, the manner in which the master has adapted his own work to
+the somewhat gaudy and over-decorated surroundings.  "Delacroix," says
+Robaut in his "Catalogue Raisonné," "has here shown himself as great in
+execution as in invention, and the Apollo ceiling is one of the most
+perfect works of art that reflect glory upon all the centuries"&mdash;a
+judgment which has been endorsed by two generations of artists and
+critics.  The ceiling, for which the master was paid the sum of £960,
+was finished in 1849.  About two hundred sketches and drawings for
+details of the composition figured in the sale held after Delacroix's
+death.
+</p>
+
+<p>
+We have seen that from the time when Delacroix began his work for the
+Salon du Roi in 1833 until the completion of the Salon de la Paix in
+1853, he had no sooner brought any of his monumental decorations to a
+successful conclusion when some other decorative work was entrusted to
+him.  And so again, in 1853, when he had just finished the Hôtel de
+Ville series, he was made to proceed immediately upon that great fresco
+decoration of the Chapel of the Saints-Anges at St. Sulpice, which,
+completed in 1861, was his last work of real importance, and is in many
+respects the crowning achievement of his great career.  Here, for once,
+Delacroix found himself able to work under conditions similar to those
+under which the Florentine masters of the quattrocento wrought their
+marvellous frescoes.  Here was no complete scheme of ornate
+architectural details, no sumptuous framework in which spaces had been
+left for the addition of painted panels that had to be treated in a
+more or less florid manner to fit into their rich surroundings.  Here
+everything was left to the painter's free will, checked only by the
+consideration of the fitness of the subjects for the site and by the
+architectural proportions of the little chapel.  And it is not too much
+to say that Delacroix solved the problem in more masterly fashion than
+any painter between the glorious days of the Italian Renaissance and
+the advent of Puvis de Chavannes, the greatest decorator of modern
+times.
+</p>
+
+<p>
+Like all true fresco decoration, the two large paintings of "Jacob
+wrestling with the Angel" and "Heliodorus driven from the Temple" do
+not attempt to give the illusion of plastic life, or of an opening cut
+through the wall, but duly accentuate the flatness of the surface.  The
+scale of colour adopted for this admirable decoration aims, without the
+least sense of monotony or dulness, at the exquisiteness of the greens
+and greys of a fine panel of faded Flemish tapestry, and has nothing in
+common with the rich, glowing palette which Delacroix had inherited
+from Rubens and the Venetian colourists.  The tapestry-like effect is
+particularly noticeable in the treatment of the trees which are so
+important a feature in the composition of "Jacob wrestling with the
+Angel," the figures being comparatively small in scale, though by no
+means subordinate to the landscape.  Nothing could be more impressive
+than the contrast of the terrific muscular exertion of Jacob and the
+easy grace with which it is made ineffective by his invincible
+supernatural opponent.  The group is one of the noblest creations of
+modern art&mdash;worthy of the brush of a Pollaiuolo or a Signorelli.
+</p>
+
+<p>
+In the "Heliodorus" the accidents of Nature's architecture are replaced
+by the equally imposing but deliberate and formal lines of the
+architecture created by human builders.  The general disposition of the
+design is not unlike that of the earlier "Justice of Trajan"; but there
+is this significant difference between the earlier work and the St.
+Sulpice fresco, that the very first glance reveals the essentially
+human element in the first, and the irresistible force of the
+supernatural in the second.  The tempestuous, sweeping onrush of the
+two flying angels contrasted with the calm consciousness of
+all-conquering strength expressed not only in the mounted heavenly
+messenger but in the very action of his noble horse&mdash;the horses in
+Delacroix's paintings invariably reflect the mood of the drama or
+tragedy that forms the subject of the picture&mdash;are a pictorial
+conception of unsurpassed grandeur.  The only unsatisfactory part of
+the St. Sulpice decoration is the ceiling, where St. Michael is
+depicted overthrowing the Demon.  Probably the execution of this oval
+composition was almost entirely the work of assistants, as Delacroix's
+failing health, aggravated by lead poisoning caused by the extensive
+use of white of lead paint in his large decorations, would not have
+allowed him to work under such fatiguing conditions as are unavoidable
+in painting a ceiling <i>in situ</i>.
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p><a id="img-pl8-t"></a></p>
+
+<p class="t3">
+PLATE VIII.&mdash;FAUST AND MEPHISTOPHELES
+</p>
+
+<p class="t3">
+(In the Wallace Collection)
+</p>
+
+<p class="caption">
+It was probably during his visit to London in 1825 that Delacroix first
+realised the pictorial possibilities of Goethe's great drama.  His
+correspondence shows that he was deeply impressed with a performance of
+"Faust" which he witnessed in London, and which probably suggested to
+him the series of nineteen lithographs, published by Sautelet in 1828.
+Goethe himself referred to these lithographs in terms of exaggerated
+praise.  The catalogue of Delacroix's works includes quite a number of
+paintings illustrative of scenes from "Faust," of which the one in the
+Wallace Collection is one of the most successful.
+</p>
+
+<p><br /></p>
+
+<p class="capcenter">
+<a href="images/img-pl8.jpg">
+<img class="imgcenter" src="images/img-pl8-t.jpg" alt="PLATE VIII.--FAUST AND MEPHISTOPHELES" />
+</a>
+<br />
+PLATE VIII.&mdash;FAUST AND MEPHISTOPHELES
+</p>
+
+<p><br /></p>
+
+<hr />
+
+<p><br /></p>
+
+<p>
+The frescoes in the Chapel of the Saints-Anges were the swan-song of
+Delacroix's genius.  In the two years that followed their completion,
+he still continued to paint and to draw&mdash;the practice of his art was
+for him the very breath of life&mdash;but he produced nothing that need be
+considered in the record of his achievement.  In March 1863, the
+affection of his eyes, of which he had suffered intermittently for
+years, took a turn for the worse.  On the 26th of May he left Paris for
+Champrosay, but during the journey had a severe attack of hemorrhage of
+the lungs, which recurred five days later; and he had to be taken back
+to Paris.  His illness became worse and worse, and after a month he was
+taken back to the country, only to be sent back again to Paris on July
+14.  His days were counted.  He took to his bed immediately upon his
+arrival, and breathed his last at six o'clock in the morning on August
+13, 1863.
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap06"></a></p>
+
+<h3>
+VI
+</h3>
+
+<p>
+How strangely Delacroix's art was misunderstood by his contemporaries
+who, nurtured on the tinted cartoons of the ruling School, stood aghast
+before the passionate utterance of the master's "intoxicated broom,"
+or, assuming the role of Beckmesser, marked with offensive rap of chalk
+on the blackboard of the public Press his sins against their dogmatic
+rules.  In their blindness they even went so far as to accuse him of
+being unable to draw!  What seemed altogether to escape their
+perception, was that the fiery impulse, the tempestuous <i>élan</i> of
+Delacroix's romantic imagination was largely controlled by his cool
+intellectuality.  Delacroix was a thinker and a man of profound
+culture.  He had, moreover, the greatest respect for tradition.  If, in
+the actual painting of his pictures, he was carried away by his
+enthusiasm and worked like one inspired, he never started upon this the
+final stage without an enormous amount of preparatory sketches for
+every figure, every detail&mdash;never before the idea had taken firm and
+definite shape in his mind.  The sweep of the brush, the vitalising
+amplifications and elements of movement may have been left to the
+inspiration of the moment; but chance played no part in the disposition
+of the design and the arrangement of the colour-scheme.
+</p>
+
+<p>
+It was that amplification and exaggeration of forms, by which alone
+movement can be expressed in art, that led the unthinking to the belief
+that Delacroix "could not draw."  Of course, the application of
+Ingres's standard of classic perfection in drawing might justify the
+conclusion, but one need only glance at Delacroix's sketch-books and
+studies to realise that he was a great draughtsman, if drawing, as it
+was to him, is considered the means towards an end, and not an end in
+itself.  And his mastery of spontaneous, nervously expressive drawing
+was as complete as it could be, if mastery can be acquired through the
+curbing of impetuous genius by half a century's methodical, steady
+practice.  For Delacroix, from his early student days to his death,
+never started on his day's work without having first "got his hand in"
+by half-an-hour's practice in sketching or drawing, just as a pianist
+will first run through his finger exercises and scales, to make sure of
+his mastery over his instrument.
+</p>
+
+<p>
+Thus, by unremitting practice, Delacroix acquired such absolute command
+of the language of line and form that, in the pictorial expression of
+his ideas, he used it as an orator uses the language of words&mdash;in a
+steady flow, without doubts and hesitations.  His inspiration was not
+checked and weakened by the struggle for an adequate form of
+expression.  There was nothing in life and in nature that did not
+stimulate his artistic curiosity, and all his sketches betray the same
+passionate search for the really essential, the elements of life and
+movement and mood, which are often to be obtained only by the sacrifice
+of literal correctness.  He never tired of making drawings after
+Rembrandt's etchings, and he spent many hours at the Jardin des
+Plantes, in the company of the animal sculptor Barye, sketching and
+painting wild beasts from life.  Indeed, Delacroix was rarely rivalled,
+and probably never surpassed, as a painter of animals either in repose
+or in the very frenzy of movement.
+</p>
+
+<p>
+His astonishing rapidity of production has already been exemplified by
+his painting of the large "Pietà" at St. Dénis-du-Saint-Sacrement in
+seventeen days.  An even more striking instance is afforded by the
+"King Rodrigo losing his Crown," now in the Cheramy Collection.  A
+number of artists had agreed to contribute towards the decoration of a
+room in a villa taken by Alexandre Dumas père in 1830.  Delacroix was
+of their number; and the day agreed for the completion of the pictures
+was to be celebrated by a ball.  When Delacroix arrived at midday of
+the day in question he found that all the panels were in their proper
+places, leaving only an unexpectedly large gap for his own
+contribution.  "He had meant only to paint a few flowers.  'Listen,'
+said Dumas, 'I have just been reading something that will do for you,'
+and he described the first canto of the 'Romancero,' in which Rodrigo
+loses his crown.  Delacroix began at once, and had painted the whole
+scene by sunset, in the most unusual colours, a harmony in yellow,
+unique in his work.  Great was the enthusiasm in the evening when the
+friends saw the picture; Barye, in particular, who had contributed an
+excellent panel, is said to have been beside himself."[<a id="chap06fn1text"></a><a href="#chap06fn1">1</a>]
+</p>
+
+<p>
+Delacroix's life, apart from his struggle for recognition&mdash;a struggle
+which he fought entirely with his brush, leaving the controversial side
+to others&mdash;was singularly uneventful.  His only passions were his art,
+his love of romantic literature, and his staunch friendship.  A few
+journeys and frequent spells of illness were the only events that broke
+the even tenor of his life.  As a writer, Delacroix has left a
+marvellous "Journal," which ought to be consulted and carefully studied
+by every artist, and a number of carefully constructed magazine
+articles on various æsthetic questions, which only reveal the cool
+intellectual side of his dual nature.  He was a man of great reticence,
+who rarely allowed himself to be drawn into criticising the art of his
+contemporaries.  In his critical comments on the masters&mdash;even on those
+whose style was diametrically opposed to his own temperament&mdash;he always
+proved himself keenly appreciative of their great qualities.  Strangely
+enough, Delacroix, who is considered the leader, and certainly was one
+of the main inspirers of the Romanticist movement, not only disliked
+the application of this term to his own art, but had little sympathy
+with the Romanticist literature of his own time and country.  His
+attitude towards Victor Hugo almost amounted to hostility; and he
+always treated Baudelaire, who had espoused his cause with keen
+enthusiasm, with the most calculated reserve.  In music his tastes were
+severely classical&mdash;"he refreshed himself with Mozart, was never quite
+able to convert himself to Beethoven, abhorred the modern French
+composers, and was the first to condemn Wagner."
+</p>
+
+<p>
+If Delacroix, except for a very brief period at the beginning of his
+career, never suffered real poverty, he, on the other hand, never
+received adequate pecuniary reward for his work.  To the very end he
+was forced to sell his finest pictures at ridiculously inadequate
+prices; and on some of his large decorative commissions he found
+himself actually out of pocket.  It was probably the conviction that
+posthumous justice would inevitably be done to his genius, which made
+him insist in his will upon the sale of his remaining works by public
+auction.  And events proved that he was right.  The sale, which was
+held from February 16-29, 1864, was estimated to produce about £4000,
+but resulted in a total of close upon £13,500.
+</p>
+
+<p>
+The instructions about his burial, left by Delacroix in his will,
+reflect something of his noble aloofness and his respect for great
+tradition in art.  "My tomb shall be in the cemetery of Père-Lachaise,
+on the height and in a place a little apart.  There shall be placed
+upon it neither emblem, nor bust, nor statue.  My tomb shall be copied
+very exactly from the antique, or Vignole, or Palladio, with very
+pronounced projections, contrary to all that is done in the
+architecture of to-day."
+</p>
+
+<p><br /><br /></p>
+
+<p class="footnote">
+<a id="chap06fn1"></a>
+[<a href="#chap06fn1text">1</a>] Julius Meier-Graefe, "Modern Art," vol. i.
+</p>
+
+<p><br /><br /><br /><br /></p>
+
+<p class="t4">
+The plates are printed by BEMROSE &amp; SONS, LTD., Derby and London
+</p>
+
+<p class="t4">
+The text at the BALLANTYNE PRESS, Edinburgh
+</p>
+
+<p><br /><br /><br /></p>
+
+<p><a id="chap07"></a></p>
+
+<p class="t3b">
+  "MASTERPIECES IN COLOUR" SERIES
+</p>
+
+<pre>
+          ARTIST.                   AUTHOR.
+
+          VELAZQUEZ.                S. L. BENSUSAN.
+          REYNOLDS.                 S. L. BENSUSAN.
+          TURNER.                   C. LEWIS HIND.
+          ROMNEY.                   C. LEWIS HIND.
+          GREUZE.                   ALYS EYRE MACKLIN.
+          BOTTICELLI.               HENRY B. BINNS.
+          ROSSETTI.                 LUCIEN PISSARRO.
+          BELLINI.                  GEORGE HAY.
+          FRA ANGELICO.             JAMES MASON.
+          REMBRANDT.                JOSEF ISRAELS.
+          LEIGHTON.                 A. LYS BALDRY.
+          RAPHAEL.                  PAUL G. KONODY.
+          HOLMAN HUNT.              MARY E. COLERIDGE.
+          TITIAN.                   S. L. BENSUSAN.
+          MILLAIS.                  A. LYS BALDRY.
+          CARLO DOLCI.              GEORGE HAY.
+          GAINSBOROUGH.             MAX ROTHSCHILD.
+          TINTORETTO.               S. L. BENSUSAN.
+          LUINI.                    JAMES MASON.
+          FRANZ HALS.               EDGCUMBE STALEY.
+          VAN DYCK.                 PERCY M. TURNER.
+          LEONARDO DA VINCI.        M. W. BROCKWELL
+          RUBENS.                   S. L. BENSUSAN.
+          WHISTLER.                 T. MARTIN WOOD.
+          HOLBEIN.                  S. L. BENSUSAN.
+          BURNE-JONES.              A. LYS BALDRY.
+          VIGÉE LE BRUN.            C. HALDANE MACFALL.
+          CHARDIN.                  PAUL G. KONODY.
+          FRAGONARD.                C. HALDANE MACFALL.
+          MEMLINC.                  W. H. J. &amp; J. C. WEALE.
+          CONSTABLE.                C. LEWIS HIND.
+          RAEBURN.                  JAMES L. CAW.
+          JOHN S. SARGENT.          T. MARTIN WOOD.
+          LAWRENCE.                 S. L. BENSUSAN.
+          DÜRER.                    H. E. A. FURST.
+          MILLET.                   PERCY M. TURNER.
+          WATTEAU.                  C. LEWIS HIND.
+          HOGARTH.                  C. LEWIS HIND.
+          MURILLO.                  S. L. BENSUSAN.
+          WATTS.                    W. LOFTUS HARE.
+          INGRES.                   A. J. FINBERG.
+          COROT.                    SIDNEY ALLNUTT.
+          DELACROIX.                PAUL G. KONODY.
+</pre>
+
+<p class="t4">
+<i>Others in Preparation.</i><br />
+</p>
+
+<p><br /><br /><br /><br /></p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Delacroix, by Paul G. Konody
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+The Project Gutenberg EBook of Delacroix, by Paul G. Konody
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Delacroix
+
+Author: Paul G. Konody
+
+Release Date: June 7, 2012 [EBook #39943]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DELACROIX ***
+
+
+
+
+Produced by Al Haines
+
+
+
+
+
+
+
+
+
+[Illustration: Cover art]
+
+
+
+
+  MASTERPIECES
+  IN COLOUR
+
+  EDITED BY
+  T. LEMAN HARE
+
+
+
+
+DELACROIX
+
+1798--1863
+
+
+
+
+
+=====================================================================
+
+PLATE I.--THE ENTRY OF THE CRUSADERS INTO CONSTANTINOPLE.  Frontispiece
+
+(In the Louvre)
+
+Painted in 1841 for the Gallery at Versailles, whence it was
+subsequently removed to the Louvre, this large, dramatic composition
+belongs to the period when Delacroix's palette, inspired from the first
+by Rubens and Veronese, had assumed increased richness under the
+influence of Eastern light and colour.  It is significant of the lack
+of appreciation shown to the master by his contemporaries, and even by
+his supporters, that the commission was accompanied by the request that
+the picture should not look like a Delacroix.
+
+[Illustration: PLATE I.--THE ENTRY OF THE CRUSADERS INTO
+CONSTANTINOPLE.]
+
+=====================================================================
+
+
+
+
+
+Delacroix
+
+
+BY PAUL G. KONODY
+
+  ILLUSTRATED WITH EIGHT
+  REPRODUCTIONS IN COLOUR
+
+
+
+[Illustration: Title page logo]
+
+
+
+LONDON: T. C. & E. C. JACK
+
+NEW YORK: FREDERICK A. STOKES CO.
+
+1911
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+    I. The Entry of the Crusaders into Constantinople . . . Frontispiece
+           In the Louvre
+
+
+   II. Algerian Women in their Apartment
+           In the Louvre
+
+
+  III. The Death of Ophelia
+           In the Louvre
+
+
+   IV. The Crucifixion
+           In the Louvre
+
+
+    V. The Bride of Abydos
+           In the Louvre
+
+
+   VI. Dante and Virgil
+           In the Louvre
+
+
+  VII. The Execution of the Doge Marino Faliero
+           In the Wallace Collection
+
+
+ VIII. Faust and Mephistopheles
+           In the Wallace Collection
+
+
+
+
+
+
+
+
+
+[Illustration: Delacroix]
+
+
+
+
+  "Delacroix, lac de sang, hante de mauvais anges,
+  Ombrage par un dais de sapins toujours vert,
+  Ou, sous un ciel chagrin, des fanfares etranges
+  Passent comme un soupir etouffe de Weber."
+                    --Baudelaire, "Fleurs du Ma1."
+
+
+I
+
+To-day, as one examines the ten masterpieces by Delacroix in the Salle
+des Etats at the Louvre--ten pictures which may without fear of
+contradiction be asserted to form an epitome of the art of the man who
+is now generally acknowledged to be the fountain-head of all modern
+art--one can only with difficulty understand the bitter hostility, the
+fierce passion, aroused by these works when Delacroix's name was the
+battle-cry of the moderns, when Delacroix was the leader of the
+numerically small faction which waged heroic war against the inexorable
+tyrannic rule of academic art.  What was once considered extreme and
+revolutionary, has become what might almost be described as a classic
+basis of a revaluation of aesthetic values.  Even Manet's "Olympia," the
+starting-point of a more recent artistic upheaval, a picture which on
+its first appearance at the Paris Salon of 1865 was received with wild
+howls of execration, now falls into line at the Louvre with the other
+great masterpieces of painting.  It marks a bold step in the evolution
+of modern art, but it is no longer disconcerting to our eyes.  And
+Delacroix can no longer be denied classic rank.  To understand the
+significance of Delacroix in the art of his country, and the hostility
+shown to him by officialdom and by the unthinking public almost during
+the whole course of his life, one has to trace back the art of painting
+in France to its very birth.  It will then be found that the history of
+this art, from the moment when French painting emerges from the
+obscurity of the Middle Ages until well into the second half of the
+nineteenth century, is a history of an almost uninterrupted struggle
+between North and South.
+
+All the efforts of chauvinistic French critics have failed to establish
+the existence of an early indigenous school.  Nearly all the early
+painters who are mentioned in contemporary documents were Flemings who
+had settled in France.  Their art is so closely allied to that of the
+Northern Schools, that it is sometimes impossible to establish the
+origin of pictures that are traditionally ascribed to French painters.
+But at the same time, perhaps in the train of the Popes who had
+transferred their Court to Avignon, Italian art began to invade France
+from the South.  Simone Martini's frescoes in the Papal Palace at
+Avignon certainly left their mark upon the School that arose in the
+Provencal city; and gradually traces of Italian influence made
+themselves felt in an art that remained Northern in its essential
+features.  There is at the National Gallery an early French panel, a
+"Scene from the Legend of St. Giles" (No. 1419), which clearly shows
+the harmonious blending of the two currents.
+
+=====================================================================
+
+PLATE II.--ALGERIAN WOMEN IN THEIR APARTMENT
+
+(In the Louvre)
+
+This picture was one of the first-fruits of Delacroix's journey to
+Morocco with Count Mornay's mission.  It was painted in 1833, the year
+after his return to France, commissioned by the State at the price of
+3000 frs.  The handling of the upright figure of the negress suggests
+Spanish influence, and was in turn obviously well known to Manet when
+he painted his "Olympia."
+
+[Illustration: PLATE II.--ALGERIAN WOMEN IN THEIR APARTMENT]
+
+=====================================================================
+
+Italianism became paramount in French painting when, in the fourth
+decade of the sixteenth century, Rosso and Primaticcio followed the
+call of Francis I. and founded the School of Fontainebleau.  From about
+1532 right into the nineteenth century, the official art of France,
+that is to say, the art favoured by the rulers and encouraged by the
+Academy, was based on the imitation of Raphael and the Italians of the
+decline--an art that was essentially intellectual, cold, and dominated
+by drawing and design, not by colour.  In the reign of Louis XIV., when
+Le Brun became the art despot of his country, the foundation of the
+Academy, and subsequently of the French School at Rome, led to the
+formulating of definite canons of formal beauty and of the "grand
+style."  Evolution on these lines was impossible.  French art was only
+saved from stagnation by the influence of Northern art, from which it
+continued to derive its vitality.  It was saved by painters who, like
+Philippe de Champaigne and Watteau, had come from the North, or who,
+like the brothers Le Nain, Chardin, Boucher, Fragonard, and finally
+Delacroix, had drawn their inspiration either from the Dutchmen or from
+Rubens and the Flemings.
+
+During the "grand" century there are only isolated instances of
+painters who resisted the tyranny of academic rule and the exclusive
+worship of classic antiquity.  But whilst the professional painters
+meekly submitted to Le Brun's tyranny, the revolt which was to
+transform the art of painting in France in the eighteenth century was
+heralded, nay initiated, in the field of polemic literature.  A fierce
+battle was waged between the traditional advocates of the supremacy of
+line and the champions of colour, or rather of paint that fulfils a
+more vital function than the colouring of spaces created by linear
+design.  It was the battle of the "Poussinistes" and the "Rubenistes,"
+the two factions deriving their names from the great masters whose art
+was the supreme embodiment of the two opposed principles: Poussin and
+Rubens.  Felibien was the leader of those who espoused the cause of
+academic design with superimposed colour as a secondary consideration;
+and Roger de Piles became the chief defender of colour as a
+constructive element.
+
+The dawn of the eighteenth century, and the advent of Watteau, brought
+the signal victory of the Rubenistes.  The pompous style of the
+seventeenth century ebbed away with the life of the _grand monarque_.
+The new age demanded a new art--the graceful and dainty art of the
+boudoir.  At the very outset, Watteau carried the emotional
+expressiveness of pigment to a point where it could not be maintained
+by his followers and imitators.  He had never been to Italy; and though
+he had studied the works of the Venetian colourists, his art was mainly
+derived from Flemish sources.  But the Academy continued to send its
+most promising pupils to its branch school in Rome, where they were
+taught to worship at the shrine of Raphael and his followers, and
+whence they returned to continue the tradition of the School.  Thus
+Italianism did not die, though it became transformed by the ascendency
+of the Rubens influence and by the new social conditions.  Mythology
+and allegory continued to rule supreme in the art of Boucher, which is
+the most typical expression of the French eighteenth century, but they
+are adapted to the decoration of the boudoir, and colour and brushwork
+are no longer subordinated to design.  Boucher, the most French of all
+French painters, is inconceivable without two centuries of the Italian
+tradition of design and without Rubens's example of handling paint.  In
+the art of Fragonard, that great virtuoso of the brush, the influence
+of Rubens becomes absolutely paramount.  Only a few youthful failures
+recall his study of the Italians.
+
+Fragonard witnessed the end of the _ancien regime_ and the great
+political upheaval of the French Revolution.  With the monarchy died
+the sensuous art of the _fetes galantes_.  The painting that flourished
+in the Napoleonic era was more formal, cold, and academic than at any
+previous epoch.  David and his followers sought their inspiration in
+Roman history, and set purity of line and the dogmas of the School
+higher than ever.  Their idealism was of a bombastic, rhetorical order;
+their painting absolutely uninspired tinting of pseudo-classic designs.
+At no period had French art sunk to such a level of dulness.  The death
+of David left his great pupil Ingres, the most perfect draughtsman of
+the nineteenth century, the undisputed leader of the School.  But the
+day of freedom was at hand--and the liberating word was to be
+pronounced by Delacroix.  The seventeenth-century war between the
+"Poussinistes" and the "Rubenistes" was to be resumed, although the two
+parties were now re-christened "Classicists" and "Romanticists."  But
+this time the war was one of deeds, and not of words.  Ingres was the
+leader of an army; Delacroix fought almost single-handed.  And, for
+once, victory did not favour the large battalions.
+
+
+
+
+II
+
+Eugene Delacroix, who was born on the 7th Floreal of the year VI., as
+the Republican calendar has it, or the 26th April 1798, according to
+our own reckoning, belonged to a distinguished family.  His father,
+Charles Delacroix, an ardent Republican, who had voted for the death of
+his king, took a very active part in the political life of his country,
+and filled successively the posts of Minister for Foreign Affairs,
+Ambassador to Vienna, Departmental Prefect, and Ambassador to the
+Batavian Republic.  His mother, Victoire, was the daughter of Boulle's
+pupil, the famous cabinetmaker Oeben, and was connected by family links
+with the even more illustrious Riesener.  His brother, Charles Henri,
+achieved fame in the Napoleonic campaigns, was created Baron of the
+Empire in 1810, and became Quartermaster-General in 1815.  The military
+career was also adopted by his other brother Henri, who fell at
+Friedland in 1807.  His sister married Raymond de Verninac, who became
+Prefect of the Rhone and subsequently Ambassador to the Swiss Republic.
+
+Delacroix was not an infant prodigy.  He showed none of that
+irresistible early impulse towards art which is so often discovered by
+posthumous biographers of great masters.  Indeed, his inclinations
+tended more towards music; and at one time he thought of adopting a
+military career.  Even when, at the age of seventeen, he left college
+to enter Guerin's studio, he was by no means determined to devote
+himself exclusively to painting.  There was not much sympathy between
+master and pupil.  The impetuous youth, with his keen sense of the
+dramatic and romantic, and his passionate love of music, even if his
+emotionalism was held in check by intellectuality, felt repelled by the
+icy coldness of the man in whom the teaching of David had stifled any
+personal talent he may have possessed.  And Delacroix soon found that
+he could learn more from copying Rubens, Raphael, and Titian at the
+Louvre than from Guerin's dry instruction.  Moreover, he had the good
+fortune of gaining the friendship of his fellow-student, Gericault,
+who, inspired by a spirit akin to that of Delacroix, had already broken
+away from the tradition of the School, and who heralded the dawn of a
+new era with his intensely dramatic and almost revolutionary "Raft of
+the Medusa."  Delacroix himself tells in his Journal that he was so
+powerfully impressed by the intense realism of his friend's work, that
+on leaving the studio he ran through the streets like a madman.  How
+much he benefited by Gericault's example became clear when his "Dante
+and Virgil" appeared at the Salon of 1822, raising its author with a
+single bound to fame.
+
+Delacroix's mother died in 1819.  His small heritage was swallowed up
+by a lawsuit.  His position would have been desperate, but for the help
+of Gericault, who procured him a commission for an altarpiece for the
+Convent of the Ladies of the Sacred Heart at Nantes.  There is no trace
+of his later Romanticist fire in this altarpiece, and in the "Vierge
+des Maisons" for the church of Orcemont, which dates from the same
+period.  Both pictures are based on the study of Raphael.  Among
+Delacroix's intimates of these early days was the English painter,
+Thales Fielding, from whom he not only acquired his knowledge of the
+art of water-colour painting--then scarcely practised in France--but
+who awakened or strengthened in him the taste for English literature
+and especially for Shakespeare and Byron.
+
+With the "Dante and Virgil" of 1822, Delacroix definitely dissociated
+himself from the frigid, lifeless tradition of the David School, of
+which Ingres was soon to become the acknowledged leader.  "That School
+of Ingres," Delacroix once expressed himself on one of those rare
+occasions when he broke through his habitual reticence concerning his
+critical views on his contemporaries, "wants to make painting a
+dependency of the antiquaries; it is pretentious archaeology; these are
+not pictures."  "Cameos are not made," he wrote on another occasion,
+"to be put into painting; everything ought to keep its proper place."
+
+The "Dante and Virgil" was his first pictorial protest against the rule
+of cold classicism.  To-day we may be surprised that a picture so
+balanced in design, so sober in colour, so sculpturally plastic in the
+modelling of the human form, could have been considered in any way
+revolutionary and should have evoked such violent abuse as was showered
+upon it by the Davidists.  But turn from this "Dante" to David's "Oath
+of the Horatii" and "Leonidas," which may be taken to typify the
+artistic standard of the time, and you will grasp the full significance
+of Delacroix's bold step.  True, Gericault had already followed similar
+aims with his "Raft of the Medusa"; but this astounding picture, a
+record of a disaster which was then still fresh in the people's memory,
+was considered rather as a magnificent piece of pictorial journalism
+than as a work to be judged by the canons of the "grand style."
+
+=====================================================================
+
+PLATE III.--THE DEATH OF OPHELIA
+
+(In the Louvre)
+
+This is one, and perhaps the most successful of many slightly varying
+versions of the same subject, which the artist first lithographed in
+1834 and painted in 1838.  The Louvre picture was executed in 1838.
+Delacroix, from his school days to his death, was an ardent admirer of
+Shakespeare's genius, and was deeply impressed by the Shakesperian
+productions which he witnessed during his short sojourn in London.
+
+[Illustration: PLATE III.--THE DEATH OF OPHELIA]
+
+=====================================================================
+
+The case of Delacroix was different.  He had dared to bring passion and
+intense dramatic expressiveness into a subject taken from literature.
+He had chosen a mediaeval poet, instead of going back to classic
+antiquity.  And he had used pigment as it was not used by any of his
+contemporaries.  He had used it in truly painter-like fashion, making
+the colour itself contribute to the emotional appeal of the drama and
+giving to the actual brushwork functional value in the building up of
+form.  The writhing bodies of the Damned surrounding the boat and
+gleaming lividly through the terrible gloom are painted with a superb
+mastery which recalled to Thiers "the boldness of Michelangelo and the
+fecundity of Rubens," and which made Gros exclaim, "This is Rubens
+chastened!"
+
+The outcry raised by the Davidists did not prevent the Government from
+purchasing the picture for the not very formidable amount of L50.  The
+artist thus honoured and acclaimed a genius by the most competent
+judges was in the same year placed last among sixty candidates in a
+competition for one of the School prizes!  Henceforth Delacroix
+abstained from exposing himself to such rebuffs.  Even Gros' tempting
+offer to prepare him at his studio for the coveted Prix de Rome could
+not shake his determination.  He continued to work independently,
+gaining his bare livelihood by caricatures and lithographic
+illustrations of no particular distinction.  He never went to Italy;
+and it is worthy of note that herein he followed the rare example of
+the two greatest _painters_ of his country: both Watteau and Chardin
+had kept clear of Rome and its baneful influence.
+
+The horrors of the Greek War of Independence provided Delacroix with a
+magnificent subject in the "Massacre of Scio," which he sent to the
+Salon of 1824.  Here was indeed rank defiance of those rules of "the
+beautiful" in art which had been formulated by the School of David, and
+which even in a scene of bloodshed and horror expected heroic poses and
+the theatrical grouping of the "grand style."  Delacroix had dared to
+depict hideous death in the agonised face of the woman with the child
+on the right of the picture, blank despair verging on insanity in the
+old woman by her side, the languor of approaching death in the limp
+form of the man in the centre.  He had arranged his composition
+contrary to all accepted rules; he had painted it with the fire of an
+inspired colourist.  The glitter of light and atmosphere was spread
+over the receding landscape and sky--Delacroix had seen Constable's
+"Hay Wain" and two other works by the English master at this very
+Salon.  They came to him as a revelation.  He obtained permission to
+withdraw his picture for a few days, and--so the story goes--completely
+repainted it with incredible rapidity.  The truth is probably that
+under the impulse of the profound impression created upon him by
+Constable's art, he added certain touches and extensive glazes to the
+background.  In this connection it is interesting to note that M.
+Cheramy, whose magnificent collection includes a superbly painted study
+of the dead mother and child for the "Massacre of Scio," has bequeathed
+this important fragment to the National Gallery, on condition that it
+shall hang "beside the best Constable."
+
+The "Massacre of Scio" was violently attacked as an outrage against
+good taste, but found a warm defender in the Baron Gerard, and was
+again bought by the Government for L320.  It may not be out of place
+here to state that there is but scant justification for the
+often-repeated assertion that Delacroix's rare genius did not receive
+official recognition until very late in the master's life, and that he
+was not given his fair share of official commissions.  We have seen
+that, in spite of the outcry raised by the academic faction, the
+Government encouraged the young artist by acquiring the first two
+pictures exhibited by him at the Salon.  At brief intervals he
+continued to receive important commissions: for the "Death of Charles
+the Bold," from the Ministry of the Interior; the great battle-piece
+"Taillebourg," for the gallery at Versailles; the decoration of the
+Chamber of Deputies, of the Libraries at the Luxembourg and the Palais
+Bourbon, of the Salon de la Paix at the Hotel de Ville, of a chapel in
+the Church of Saint Sulpice; a wall-painting in the Church of St.
+Denis; the "St. Sebastian" for the Church of Nantua; and the ceiling of
+the Galerie d'Apollon at the Louvre--not to speak of the numerous works
+commissioned or bought from him by Louis-Philippe.  Thus, it will be
+seen, there was no lack of "official recognition," although it is quite
+true that to within a few years of his death he was generally forced to
+accept wholly inadequate prices for his paintings.
+
+
+
+
+III
+
+Delacroix's friendship with Thales Fielding and Bonington and his love
+of English romantic literature had awakened in him the desire to visit
+London.  He undertook the little journey in 1825.  He was much
+impressed by the immensity of London, the "absence of all that we call
+architecture," the horses and carriages, the river, Richmond, and
+Greenwich; and, above all, by the English stage.  He had occasion to
+admire the great Kean in some of his Shakespearian impersonations, and
+Terry as Mephistopheles in an adaptation of "Faust."  He was deeply
+stirred by these productions, which had a by no means beneficial
+influence upon his art.  To his love of the stage may be ascribed the
+least acceptable characteristics of his minor pictures and
+lithographs--exaggerated action, stage grouping, and a certain lack of
+restraint.  It is difficult to understand Goethe's highly eulogistic
+comment upon Delacroix's "Faust" illustrations, unless it was a case of
+_faute de mieux_, or that he had not seen the complete set.  To modern
+eyes, at any rate, they are the epitome of the master's weaknesses.
+The drawing is frequently inexcusably bad; the sentiment is carried
+beyond the merely theatrical to the melodramatic.
+
+Next to the stage, he was interested by the works of the contemporary
+British artists, with many of whom he entered into personal relations.
+In his letters he expressed the keenest admiration not only for
+Bonington (with whom he shared a studio in the following year),
+Constable, and Turner, whose influence upon the French School he
+readily admitted, but also for Lawrence--"the flower of politeness and
+truly a painter of princes ... he is inimitable"--and for Wilkie, whose
+sketches and studies he declared to be beyond praise, although "he
+spoils regularly all the beautiful things he has done" in the process
+of finishing the pictures.
+
+Unfortunately the principal work painted by Delacroix in the year after
+his return from England, the "Justinian Composing the Institutes," for
+the interior of the Conseil d'Etat, perished by fire in 1871.  The
+Salon was only reopened, after an interval of two years, in 1827, when
+Delacroix was represented by no fewer than twelve paintings, including
+"The Death of Sardanapalus," "Marino Faliero," and "Christ in the
+Garden of Olives."  The extreme daring, the tempestuous passionate
+disorder of the design of the large "Sardanapalus" alienated from him
+even the few enlightened spirits who had espoused his cause on the two
+former occasions.  The reception of the picture was disastrous.
+Delacroix himself admitted that the first sight of his canvas at the
+exhibition had given him a severe shock.  "I hope," he wrote to a
+friend, "that people won't look at it through my eyes."  The picture
+raised a hurricane of abuse.  His own significant dictum that "you
+should begin with a broom and finish with a needle," was turned against
+him by a critic who spoke of the work of an "intoxicated broom."
+Another described him as a "drunken savage," and yet another referred
+to the picture as the "composition of a sick man in delirium."  His
+other pictures were scarcely noticed, although they included a
+masterpiece like the "Marino Faliero" (now in the Wallace Collection),
+which Delacroix himself held to be one of his finest achievements, and
+which certainly rivals the great Venetians in harmonious sumptuousness
+of colour.  In this picture Delacroix is intensely dramatic without
+being theatrical.  Nothing could be more impressive than the massing of
+light on the empty marble staircase, the grand figure of the
+executioner, the statuesque immobility of the nobles assembled at the
+head of the staircase.  The picture was exhibited in London in 1828,
+when it was warmly eulogised, which is the more remarkable as Delacroix
+never seemed to appeal strongly to British taste--the scarcity of his
+works in our public and private collections may be adduced as proof.
+
+It was on the occasion of this 1827 Salon that the terms "Romanticism"
+and "Romanticists" first came into general use.  Their exact definition
+is not an easy matter.  Broadly speaking, the romantic movement in
+literature, music, and painting signifies the accentuation of human
+emotions and passions in art, as opposed to the classic ideal of purity
+of form.  Delacroix himself did not wish to be identified with any
+group or movement, but in the eyes of the public he stood as the leader
+of the Romanticists in painting, just as Victor Hugo, with whom he had
+but little sympathy, did in literature.
+
+=====================================================================
+
+PLATE IV.--THE CRUCIFIXION
+
+(In the Louvre)
+
+This small panel, which forms part of the Thomas Thiery bequest to the
+Louvre, is a picture of precious quality and soft colouring, painted
+for his friend, Mme. de Forget, who had exercised her influence in
+official quarters when Delacroix endeavoured to obtain the post of
+director of the Gobelins manufactory.  It was painted in 1848.  There
+are numerous replicas in existence.
+
+[Illustration: PLATE IV.--THE CRUCIFIXION]
+
+=====================================================================
+
+Delacroix's "Sardanapalus" led to humiliations that he felt more keenly
+than the abuse showered upon him by the Press.  He was sent for by
+Sosthene de la Rochefoucauld, then Director of the Beaux-Arts, to be
+advised in all seriousness to study drawing from casts of the antique,
+and to change his style if he had any aspirations to official
+encouragement.  The threat had no effect upon a man of Delacroix's
+strength of conviction.  He yielded never an inch.  He continued to
+follow the promptings of his artistic conscience which permitted no
+concessions, no compromise.  During the very next year, in spite of De
+la Rochefoucauld's threat, the State commissioned from him the painting
+of "The Death of Charles the Bold at the Battle of Nancy" (now at the
+Nancy Museum).  The picture was not finished and exhibited before 1834,
+when this magnificently conceived scene of wild conflict under a
+threatening winter sky--so different from the grandiloquous style of
+the painters of the Napoleonic epopee--met with the usual chorus of
+disapprobation for being historically incorrect, "as bad as could be in
+drawing," "incredibly dirty in colour"--the horses bad as regards
+anatomy, the sky impossible!
+
+Although Delacroix was too completely absorbed in his art, which--his
+one great passion--took up his entire life, to take any active part in
+politics, he was deeply stirred by the events of the July Revolution of
+1830.  "The 28th July 1830," or "The Barricade," one of the nine works
+by which he was represented at the Salon of 1831, was an unmistakable
+confession of his political faith.  Here, for once, Delacroix found his
+moving drama not in romance or in the history of the past, nor in the
+picturesque East which, owing to its comparative remoteness and
+inaccessibility at a time that did not enjoy the prosaic advantages of
+a Cook's Agency, was still invested with the glamour of romance; for
+once he devoted himself to the reality of contemporary life, even
+though the daring departure into realism was thinly veiled by the
+introduction of that rather unfortunate allegorical figure of Liberty
+with her clumsy draperies and badly painted tricolour flag.  The
+top-hat and frock-coat, hitherto considered incompatible with a grand
+pictorial conception, enter with triumphant defiance into the painter's
+art; and they detract nothing from the epic grandeur of this truly
+historical composition.  In many ways "The Barricade" was more daringly
+unconventional than any of the earlier pictures which had stamped
+Delacroix as a revolutionary.  Yet its success was immediate and final.
+That the artist was awarded the Cross of the Legion of Honour, was
+perhaps a recognition of his political sympathies rather than of his
+artistry.  But this time Delacroix found favour with the public and the
+critics.
+
+At the same Salon was to be seen another of Delacroix's most striking
+masterpieces, "The Assassination of the Bishop of Liege," for which he
+had found the subject in Sir Walter Scott's "Quentin Durward," and
+which was painted for Louis-Philippe, then Duke of Orleans.  It is a
+marvellously vivid realisation of this terrific scene.  "Who would ever
+have thought that one could paint noise and tumult?" wrote Theophile
+Gautier in his enthusiastic appreciation of this work.  "Movement is
+all very well, but this little canvas howls, yells, and blasphemes!"
+The realisation of the wild and sanguinary orgy described by Scott is
+complete and absolute; and yet, in the long list of Delacroix's
+"illustrative" pictures, there is none that is so strictly pictorial in
+conception and less tied to the letter of the author's description.  It
+is not so much the detail, the personal action of each participator in
+the drama, upon which the artist depends to tell this ferocious tale of
+unbridled passion, but the atmosphere of vague terror, the mysterious
+gloom of the lofty hall, the flaring flames of the torches, the flashes
+of brilliant reflections thrown up from the luminous centre provided by
+the white tablecloth, of the importance of which Delacroix was well
+aware when he said one evening to his friend Villot: "To-morrow I shall
+attack that cursed tablecloth which will be my Austerlitz or my
+Waterloo."  It was his Austerlitz.
+
+=====================================================================
+
+PLATE V.--THE BRIDE OF ABYDOS
+
+(In the Louvre)
+
+A great reader of English literature, Delacroix found the inspiration
+for many remarkable paintings in the works of Byron, who was one of the
+idols of the French Romanticists.  As was his wont, Delacroix produced
+several versions of this subject, which shows Zuleika trying to prevent
+Selim from giving the signal to his comrades.  A smaller variant,
+painted like the Louvre picture in 1843, and measuring only 14 in. by
+10 in., realised the high price of L1282 at public auction in 1874.
+
+[Illustration: PLATE V.--THE BRIDE OF ABYDOS]
+
+=====================================================================
+
+"The Assassination of the Bishop of Liege" was painted in 1829, the
+same year to which we owe that superbly handled and strangely
+fascinating auto-portrait of the artist at the Louvre, which he left to
+his faithful servant, Jenny le Guillou, on condition that she should
+give it to the Louvre on the day when the Orleans family were to gain
+once more possession of the throne.  This event did not come to pass,
+but the picture nevertheless reached its final destination by gift of
+Mme. Durieu in 1872.  Delacroix's strangely fascinating personality is
+completely revealed in this masterpiece of artistic auto-biography.  In
+every feature it recalls that famous description of the master given by
+Baudelaire in his series of critical essays, "L'Art Romantique":--
+
+"He was all energy, but energy derived from the nerves and the will;
+for, physically, he was frail and delicate.  The tiger, watching its
+prey, has less light in its eyes and has less impatient quivering in
+its muscles, than could be perceived in our great painter when with his
+whole soul he flung himself on an idea or endeavoured to seize a dream.
+The very physical character of his physiognomy, his Peruvian or Malay
+complexion; his eyes which were large and black but had narrowed owing
+to the habit of half closing them when fixing an object, and seemed to
+test the light; his abundant and glossy hair; his obstinate forehead;
+his tight-drawn lips to which the perpetual tension of the will had
+given a cruel expression--in a word, his whole person suggested the
+thought of an exotic origin."
+
+It is interesting to note how completely this vivid description of the
+mature man tallies not only with the painted portrait of Delacroix at
+the age of thirty-one, but with another description of the adolescent,
+left by his college friend, Philarete Chasle, who speaks of him as "a
+lad, with olive-hued forehead, flashing eyes, a mobile face with
+prematurely sunken cheeks, abundant wavy black hair, betraying southern
+origin."
+
+
+
+
+IV
+
+The _legion d'honneur_ was not the only reward that attended
+Delacroix's success at the Salon of 1831.  He received permission to
+accompany, at the expense of the Government, Count Mornay's mission to
+Morocco, which set out in January of the following year.  To visit the
+East had been the dream of Delacroix's life.  Its fulfilment marked an
+important step in the evolution of his art.  Now at last he was brought
+into actual contact with that life and colour of the romantic East
+which had for so many years been pictured by his vivid imagination.  He
+was away altogether about six months, and much of this time was spent
+_en route_ and in Spain which he visited on his home journey, so that
+it was obviously impossible for him to undertake any works on an
+ambitious scale during his sojourn in Africa.  But he never interrupted
+his feverish activity, and brought back with him a whole series of
+sketch-books filled with pictorial and literary notes to which he had
+many an occasion to refer when, after his return to the daily routine
+of his Paris life, he proceeded upon embodying his new experience of
+brilliant light, sumptuous colour, and picturesque life in a long
+succession of paintings devoted to Eastern subjects.
+
+Delacroix's Moroccan sketch-books, which are among the treasured
+possessions of the Louvre, constitute one of the most interesting
+documents ever left by artist's hand.  There is always a peculiar
+fascination about an artist's self-revelations in moments when his mind
+is far away from the public to whom he directs his appeal in his
+finished pictures.  And these sketch-books were intended for no eyes
+but his own.  They contain a diary of his progress day by day, vivid
+impressions of land and people, interspersed with accounts and notes of
+purchases, and through all the pages run his swiftly sketched,
+brilliant pictorial notes, set down with the sureness of long
+experience and practice--sketches of scenery, life, types of natives
+and animals, architectural details and details of costumes, jotted down
+with any material that happened to be handy.  Some are sketched in pure
+colour-washes in bold flat masses, some in pencil or pen and ink
+heightened with strong blobs of water-colour, others in pure outline;
+and generally they are accompanied by explanatory notes hastily
+scribbled in pencil.  Throughout is to be noted the same swift
+impulsiveness and definiteness of purpose, the utmost expressiveness
+obtained by the greatest economy of means.  There are some slight
+thumb-nail sketches--I can recall one in particular of a galloping
+Bedouin Arab--that verge on the miraculous in the sense of life and
+movement, the summing up of all the essentials by means of a few
+strokes of the pen of almost niggardly paucity.
+
+But infinitely more important in its bearing upon his future work than
+all the tangible yield of this fruitful journey, was the retention by
+Delacroix's memory of the brilliant colour visions which had met his
+delighted eyes in the dazzling light of the East.  The result was an
+entirely new conception of chromatic effects and an infinitely more
+sensuous use of his pigments than is to be found in any of his earlier
+works.  Before his journey to Morocco, Delacroix, though already
+essentially a colourist in his method if compared with the draughtsmen
+of the David-Ingres School, paid but little attention to the quality of
+paint _per se_.  Colour served him to enhance the dramatic
+effectiveness of his compositions, and pigment had assumed a vital
+function in the building up of forms; but he was still addicted to an
+excessive use of bituminous browns and warm glazes and paid little or
+no attention to what the modern studio jargon terms the "preciousness
+of paint."  With the "Algerian Women in their Apartment," which he sent
+to the Salon of 1834, he entered upon an entirely new phase.  It is
+painted in a rich impasto of luminous colours which sparkle in unbroken
+strength through an ambient of soft silvery grey atmosphere.  The very
+choice of subject indicates a significant change.  In the place of
+dramatic climax or tempestuous movement and passion and violent
+emotion, we find here complete repose and the indolent lassitude
+engendered by the luxurious comfort and by the strong scent of burning
+spices in the Eastern harem.  In a subject of this kind the artist
+could allow himself to yield completely to the sensuous enjoyment of
+the rare and at the time entirely novel harmonies of pure, beautiful
+colour evolved by his brush.  The superbly painted negress on the right
+of the composition undoubtedly owes much to the Spanish masters whom
+Delacroix must have studied during his brief visit to the Peninsula;
+and there is as little doubt that she in turn became the progenitor of
+the wonderful negress in Manet's "Olympia."  Indeed, Delacroix at this
+stage must be considered Manet's precursor and source of inspiration.
+
+The "Algerian Women" was a State commission for which Delacroix was
+paid the absurdly inadequate sum of L120.  His indignation was great
+when he learnt that a higher value had been put upon a worse than
+mediocre picture by Decaisne.  He almost refused to deliver the
+picture, but was eventually reconciled by the placing with him of a
+more important commission, namely, "The Entry of the Crusaders into
+Constantinople" for the Gallery of Versailles.  He was given the
+commission--but he was at the same time informed that the King wanted a
+picture which did "not look like a Delacroix"!  This picture, which is
+now at the Louvre, was first shown at the Salon of 1841, and is
+undoubtedly one of the finest works of the master's maturity.  One has
+only to compare it with "The Massacre of Scio"--in many ways a kindred
+subject--to realise the master's prodigious advance during the
+intervening years.  The earlier picture, in spite of its undeniably
+fine qualities, cannot compare with "The Crusaders" as regards subdued
+splendour of colour.  Delacroix himself admitted that the idea of "The
+Massacre" came to him in front of Gros's "The Plague-stricken at
+Jaffa."  "J'ai mal lave la palette de Gros," was the wording of his own
+confession.  There is no trace of Gros in the sumptuous scheme of "The
+Crusaders," and the violent expression of his youthful sense of the
+dramatic is toned down by a note of sympathetic sadness in the
+principal figure, accentuated by the unconventional massing of shadow
+over the group which occupies the centre of the composition.
+
+In the year after his return from Morocco, Delacroix was, largely
+through the influence of M. Thiers, entrusted with the decoration of
+the Salon du Roi, at the Palais Bourbon, and thus given the first
+opportunity for a display of his decorative genius which, whatever has
+been said to the contrary, was generously acknowledged by his
+contemporaries, and was given ample scope from 1833 to the time of his
+death in 1863.  But before discussing his architectural decorations it
+may be as well to sketch in brief outline the course of the remaining
+years of his life--a life of ceaseless productive energy, interrupted
+only by spells of illness, but otherwise strangely uneventful.  After
+the references in the preceding pages of the important pictures which
+constitute, as it were, the landmarks in Delacroix's career, it would
+be as impossible as it is superfluous to describe, or even to
+enumerate, the masterpieces produced year by year by his indefatigable
+brush.  A volume of considerable bulk would be needed for a mere list,
+for, according to Robaut's statement at the beginning of his catalogue:
+"Eugene Delacroix has left about 9140 works, of which number 853 are
+paintings, 1525 pastels, water-colours, or wash-drawings, 6629
+drawings, 24 engravings, 109 lithographs, and over 60 albums!"
+
+=====================================================================
+
+PLATE VI.--DANTE AND VIRGIL
+
+(In the Louvre)
+
+This is the great picture with which Delacroix, then twenty-four years
+of age, made his debut at the Salon of 1822.  The dramatic power of the
+central group and the frenzied movement and superb modelling of the
+nude figures clinging to the boat, caused an immense sensation with a
+public accustomed to the frigid classicism of the David School.
+Unfortunately the picture is now badly cracked and discoloured,
+probably owing to the use of bituminous pigment, which Delacroix only
+discarded at a later period.
+
+[Illustration: PLATE VI.--DANTE AND VIRGIL]
+
+=====================================================================
+
+Whether it be due to his unshaken perseverance on the path he had
+chosen from the very outset, or to the waning interest caused by the
+wearing off of the novelty, Delacroix's art was now more readily
+accepted, or, at any rate, discussed without the bitterness of the
+early attacks.  Nevertheless, even now, and indeed to the end of his
+life, he could only obtain wretched prices for his pictures, and the
+Academy remained implacably hostile, until the special collection of
+his principal works at the International Exhibition of 1855 brought him
+at last that general public applause that had till then been denied to
+him.  Delacroix himself showed no bitterness to the Academy, and
+presented himself time after time for election, his claims being
+invariably couched in terms as modest as they were dignified.  His
+first attempt was in 1837, when the votes were cast in favour of
+Schnetz.  Two vacancies occurred in 1838, and on both occasions
+Delacroix knocked at the doors of the Academy, but Langlois and Couder
+were preferred to him.  His next attempt was in 1849, when Cogniet
+secured the majority of votes.  When he presented himself again in
+1853, insult was added to injury, his very candidature being refused!
+Time has avenged the wrong; the names of Schnetz, Langlois, Couder, and
+Cogniet are all but forgotten, whilst Delacroix has become immortal.
+
+Encouraged by his triumph at the Universal Exposition of 1855,
+Delacroix presented himself for the sixth time when the next vacancy
+arose in 1857, and this time his perseverance at last found its
+reward--he was elected just before he entered upon the seventh decade
+of his life.  But even now he was denied peaceful enjoyment of his
+tardy success.  His next contributions to the Salon, in 1859, led to a
+renewed outburst of vituperative criticism and abuse, and this time
+Delacroix was hurt to the quick.  He decided not to expose himself in
+future to the gibes of his detractors, and for the remaining four years
+of his life, although continuing his artistic activity to the very end,
+refrained from contributing to public exhibitions.
+
+The years 1837-1841 mark a fruitful epoch in Delacroix's career.  The
+masterpieces that issued from his studio in these years would alone
+have sufficed to establish his lasting fame.  In 1837 he painted the
+magnificent "Battle of Taillebourg," which is the glory of the gallery
+of battle pictures at Versailles, but found so little favour with the
+jury of the Salon that it narrowly escaped being rejected.  The tumult
+and confusion of hand-to-hand fighting had never before been rendered
+with such force and such absence of heroic attitudinising.  To the next
+year we owe "The Enraged Medea," of the Lille Museum, and that
+extraordinary scene of fitful, jerky, furious movement known as "Les
+Convulsionnaires de Tanger," which, after having twice changed hands at
+public auction during the artist's lifetime, for L87 in 1852 and for
+L1160 in 1858, rose to L1940 at a sale held in 1869, and finally found
+a purchaser for L3800 in 1881.
+
+The "Jewish Wedding in Morocco," in which the painter's concern with
+true tone-values and beautiful quality of pigment is carried even
+further than in the "Algerian Women," and the intensely dramatic
+"Hamlet and the Gravediggers"--both are now at the Louvre--were his
+chief works in 1839; whilst in the following year he devoted his
+energies to the large "Justice of Trajan" (now extensively restored) at
+the Rouen Gallery, and the powerful "Shipwreck of Don Juan," surely one
+of the most tragic and impressive pictures ever conceived by human
+genius.  It bears the same relation to the "Dante and Virgil" that "The
+Crusaders" bears to "The Massacre of Scio."  And it is one of the most
+striking instances of Delacroix's power to make colour itself
+expressive of the mood of the drama.  The conception, though based on
+Byron's poem, owes little to the literary foundation--that is to say,
+it is not illustrative in the sense that acquaintance with the poem is
+essential for its appreciation.  It is just a vivid realisation of the
+combined horrors of shipwreck and starvation in which the tragic aspect
+of sea and sky is as significant as the ghastliness of the wretches
+whom hunger has turned into cannibals.  The sombre tonality and the
+flashes of livid light, recall El Greco in his later period.  To the
+year 1841 belongs "The Entry of the Crusaders into Constantinople," of
+which mention has already been made.
+
+At the Salon of 1845 appeared the large painting of "The Sultan of
+Morocco surrounded by his Guard," which was bought by the State for the
+Toulouse Gallery at the price of L160.  Baudelaire, ever an ardent
+admirer of Delacroix, draws attention to the peculiar quality of the
+colour harmony in this picture which, "notwithstanding the splendour of
+the tones, is grey, grey like Nature, grey like the atmosphere of a
+summer day, when the sunlight spreads like a twilight of vibrating dust
+upon every object."  "The Sultan of Morocco" was one of the last large
+canvases produced by the master, whose best energies were now absorbed
+by his gigantic decorative tasks, although he continued to paint an
+endless succession of easel pictures, many of which were variations of
+earlier compositions.
+
+
+
+
+V
+
+The decoration of the Salon du Roi, which occupied Delacroix from 1833
+to 1838, and for which he received the niggardly pay of L1200, was the
+first great task of this kind entrusted to him.  Nevertheless he knew
+how to adapt design and colour to the architectural conditions in a
+manner that could scarcely have been bettered by life-long experience.
+And these conditions were by no means favourable for pictorial
+decoration, since the walls of the square room are pierced all round by
+real and blind windows and doors, and the lighting is about as bad as
+could be.  Delacroix's scheme consists of eight large single figures in
+grisaille for the pilasters; a continuous band, with figure
+compositions, connecting the spandrils and forming a kind of frieze
+which is painted in delicate, tender tones, suggestive of faded
+tapestry, that lead up to the rich colouring of the eight panels in the
+ceiling and the surround of the skylight.  Unfortunately the ceiling is
+not domed, so that the strong light filtering through the round glazing
+does not reach the panels and only serves to dazzle one's eyes.  It is
+only by shutting out this central light and by the use of mirrors that
+it is possible to appreciate the noble, reposeful allegorical groups of
+_Justice_, _Agriculture_, _Industry_, and _War_, which fill the four
+oblong panels, and the four graceful Cupids carrying the corresponding
+attributes in the corners.  The frieze, which is divided from the
+moulding of the ceiling by an ornamental band with appropriate Latin
+inscriptions, is remarkable for the masterly skill with which the
+design of the figures and groups is adapted to the awkward shape of the
+spandrils between the semi-circular arches, and for the lucid clearness
+of the allegorical representations, the subjects on each wall being
+closely connected with those on the corresponding panels of the
+ceiling.  Thus under the "Justice" panel are to be seen Truth and
+Wisdom inspiring a greybeard composing the laws, Meditation
+interpreting the law, Strength with a tamed lion at the foot of three
+judges, and the Avenging Angel pursuing two culprits.  "Agriculture" is
+illustrated by a Bacchanalian Vintage Festival, a Harvest scene, and
+Arcadian figures.  "Industry" by allegorical scenes of Commerce,
+Navigation, and Silk-growing; and "War" by the Manufacture of Arms, and
+a group of fettered women being taken into captivity.  The heroic
+figures in grisaille on the pilasters are personifications of the
+Atlantic, the Mediterranean, and the six principal rivers of France,
+namely the Garonne, the Saone, the Loire, the Rhine (which then
+belonged to France as much as to Germany), the Seine, and the Rhone.
+
+Before Delacroix had completed the paintings in the Salon du Roi, that
+is to say in 1837, he was entrusted with the even more important
+commission for the decoration of the Libraries of the Chamber of
+Deputies at the Palais Bourbon, and of the Senate at the Luxembourg;
+three years earlier, in 1834, he had experimented in the technique of
+fresco painting, which he found more congenial than distemper, when
+executing three overdoor panels of Leda, Anacreon, and Bacchus, at
+Valmont, where they still remain _in situ_ in all their pristine
+freshness.
+
+The Library of the Palais Bourbon has been described by a well-known
+recent German critic as the "French Sistine Chapel."  To any one
+examining this vast work in an unprejudiced spirit it will be difficult
+to share this enthusiasm.  The cool and noble intellectuality which is
+at the basis of Delacroix's art, even where it is apparently most
+spontaneous and fugous, certainly renders these decorations supremely
+interesting.  But the appeal is intellectual rather than sensuous.  The
+beholder is filled with profound respect, instead of being thrilled by
+the emotional effect of colour.  Nor can this be entirely due to bad
+lighting and to the serious deterioration and indifferent restoring of
+the paintings, of which scarcely more than the design is by Delacroix's
+own hand, the execution being almost entirely due to Lassalle Bordes
+and other assistants, who are also largely responsible for the actual
+painting of the Luxembourg decoration.
+
+The work in the Library of the Chamber of Deputies consists of two
+hemicycles of "Peace" (Orpheus bringing Civilisation to Greece) and
+"War" (Attila bringing Barbarism back to Italy), and twenty
+pendentives--four in each of the five cupolas--with connecting
+ornamental bands and cartouches.  In the first cupola, Poetry is
+illustrated by "Alexander and Homer's Poems," "The Education of
+Achilles," "Ovid with the Barbarians," and "Hesiod and the Muse."
+Theology is the subject of the second dome: "Adam and Eve," "The
+Babylonian Captivity," "The Death of St. John," and "The Tribute
+Money."  Law of the third: "Numa and Egeria," "Lycurgus,"
+"Demosthenes," and "Cicero"; Philosophy of the fourth: "Herodotus,"
+"Chaldean Shepherd Astronomers," "Seneca's Death," and "Socrates"; and
+Science of the fifth: "The Death of Pliny," "Aristoteles,"
+"Hippocrates," and "Archimedes."  Each pendentive depicts, not a single
+figure, but an admirably composed scene of history or legend.  The
+series was commenced in 1837 and completed in 1847.  The two hemicycles
+are painted in the encaustic manner direct upon the wall, whilst all
+the rest is executed in oils on canvas.
+
+The decoration of the Library in the Luxembourg Palace took from 1845
+to 1847.  It consists of a fan-shaped hemicycle of over 30 feet in
+width, the subject of which is Alexander, after the Battle of Arbela,
+ordering the works of Homer to be enclosed in a golden casket captured
+from the Persians; and the paintings in the cupola--a composition in
+four parts but without division (Dante presented to Homer by Virgil, a
+group of Greek philosophers, Orpheus charming the beasts, and
+illustrious Romans), and four pendentives, St. Jerome, Cicero, Orpheus,
+and the Muse of Aristoteles.
+
+=====================================================================
+
+PLATE VII.--THE EXECUTION OF THE DOGE MARINO FALIERO
+
+(In the Wallace Collection)
+
+Delacroix himself considered this picture, which was painted in 1826,
+to be his masterpiece.  Exhibited first at the Salon of 1827, when "The
+Death of Sardanapalus" caused a veritable torrent of abuse to be
+showered upon the artist, it failed to attract the favourable attention
+which its nobly balanced design, brilliant colour, and intensely
+dramatic feeling would otherwise surely have commanded, and which was
+given to it in the following year by the London public.  "Marino
+Faliero" is unquestionably the finest example of Delacroix's art in
+England.
+
+[Illustration: PLATE VII.--THE EXECUTION OF THE DOGE MARINO FALIERO]
+
+=====================================================================
+
+Earlier in date than the Library of the Senate is the large mural
+painting in wax colours of the "Pieta" in the Church of St.
+Denis-du-Saint-Sacrement.  It bears the date 1843, and is, apart from
+the passionate intensity of movement and expression, and its linear
+rhythm, interesting as an instance of the almost incredible rapidity
+with which Delacroix proceeded upon the actual execution of his
+paintings, once the scheme had taken definite shape in his mind.
+According to Moreau, who had this information from the artist himself,
+the whole painting of about 15 ft. by 11 ft. was finished in seventeen
+days, each day's progress being marked by Delacroix on the wall.
+
+The decoration of the two Libraries was scarcely finished when two new
+commissions of equal importance gave him further opportunity for the
+triumphant display of his decorative genius.  A few sketches and
+engravings are unfortunately all that is left to us of the circular
+centre, the eight shaped oblong panels and the eleven lunettes which
+constituted the pictorial decoration of the Salon de la Paix at the old
+Hotel de Ville, since the building was destroyed by fire in May 1871 in
+the days of the Commune.  Delacroix worked on these designs from 1849
+to 1853, and was only paid L1200 for the whole series.
+
+If the labour and thought expended upon the Salon de la Paix were
+destined to lead to such short-lived results, the magnificent
+centrepiece of the ceiling in the Salon d'Apollon can be seen to-day in
+its unimpaired freshness--the most striking testimony to its creator's
+genius.  The decoration of this gallery was entrusted to Le Brun as far
+back as 1661; and it was Louis XIV.'s favourite painter who conceived
+the idea of paying homage to his master, the "Roi Soleil," by depicting
+"The Triumph of Apollo" in the centre panel, with appropriate subjects
+in the other ten compartments.  But his work was interrupted, when he
+was called upon to supervise the decoration of Versailles, before he
+had even sketched out the design for "The Triumph of Apollo."  The ten
+minor compartments remained neglected for over a century, and were
+allowed to get into a deplorable condition, until the restoration was
+taken in hand in 1848, the painting of the great centre being at the
+same time entrusted to Delacroix.  Apart from the fact that Apollo was
+to be the hero of the design, Delacroix had an entirely free hand, and
+chose to depict the god vanquishing the Python, with Diana, Mercury,
+Minerva, Hercules, Vulcan, Boreas, Zephyrus, Victory, Iris, and Nymphs
+as subsidiary figures.  Although the design offends against the
+fundamental rule of all ceiling decorations, that there should be no
+"above" and "below," and that the composition should be devised so as
+to be equally intelligible from every point of view, one cannot but
+admire the noble co- and subordination of the different groups and
+figures, the lucid clearness of the pictorial statement of an
+essentially intellectual conception, the astonishing colour-magic, and,
+above all, the manner in which the master has adapted his own work to
+the somewhat gaudy and over-decorated surroundings.  "Delacroix," says
+Robaut in his "Catalogue Raisonne," "has here shown himself as great in
+execution as in invention, and the Apollo ceiling is one of the most
+perfect works of art that reflect glory upon all the centuries"--a
+judgment which has been endorsed by two generations of artists and
+critics.  The ceiling, for which the master was paid the sum of L960,
+was finished in 1849.  About two hundred sketches and drawings for
+details of the composition figured in the sale held after Delacroix's
+death.
+
+We have seen that from the time when Delacroix began his work for the
+Salon du Roi in 1833 until the completion of the Salon de la Paix in
+1853, he had no sooner brought any of his monumental decorations to a
+successful conclusion when some other decorative work was entrusted to
+him.  And so again, in 1853, when he had just finished the Hotel de
+Ville series, he was made to proceed immediately upon that great fresco
+decoration of the Chapel of the Saints-Anges at St. Sulpice, which,
+completed in 1861, was his last work of real importance, and is in many
+respects the crowning achievement of his great career.  Here, for once,
+Delacroix found himself able to work under conditions similar to those
+under which the Florentine masters of the quattrocento wrought their
+marvellous frescoes.  Here was no complete scheme of ornate
+architectural details, no sumptuous framework in which spaces had been
+left for the addition of painted panels that had to be treated in a
+more or less florid manner to fit into their rich surroundings.  Here
+everything was left to the painter's free will, checked only by the
+consideration of the fitness of the subjects for the site and by the
+architectural proportions of the little chapel.  And it is not too much
+to say that Delacroix solved the problem in more masterly fashion than
+any painter between the glorious days of the Italian Renaissance and
+the advent of Puvis de Chavannes, the greatest decorator of modern
+times.
+
+Like all true fresco decoration, the two large paintings of "Jacob
+wrestling with the Angel" and "Heliodorus driven from the Temple" do
+not attempt to give the illusion of plastic life, or of an opening cut
+through the wall, but duly accentuate the flatness of the surface.  The
+scale of colour adopted for this admirable decoration aims, without the
+least sense of monotony or dulness, at the exquisiteness of the greens
+and greys of a fine panel of faded Flemish tapestry, and has nothing in
+common with the rich, glowing palette which Delacroix had inherited
+from Rubens and the Venetian colourists.  The tapestry-like effect is
+particularly noticeable in the treatment of the trees which are so
+important a feature in the composition of "Jacob wrestling with the
+Angel," the figures being comparatively small in scale, though by no
+means subordinate to the landscape.  Nothing could be more impressive
+than the contrast of the terrific muscular exertion of Jacob and the
+easy grace with which it is made ineffective by his invincible
+supernatural opponent.  The group is one of the noblest creations of
+modern art--worthy of the brush of a Pollaiuolo or a Signorelli.
+
+In the "Heliodorus" the accidents of Nature's architecture are replaced
+by the equally imposing but deliberate and formal lines of the
+architecture created by human builders.  The general disposition of the
+design is not unlike that of the earlier "Justice of Trajan"; but there
+is this significant difference between the earlier work and the St.
+Sulpice fresco, that the very first glance reveals the essentially
+human element in the first, and the irresistible force of the
+supernatural in the second.  The tempestuous, sweeping onrush of the
+two flying angels contrasted with the calm consciousness of
+all-conquering strength expressed not only in the mounted heavenly
+messenger but in the very action of his noble horse--the horses in
+Delacroix's paintings invariably reflect the mood of the drama or
+tragedy that forms the subject of the picture--are a pictorial
+conception of unsurpassed grandeur.  The only unsatisfactory part of
+the St. Sulpice decoration is the ceiling, where St. Michael is
+depicted overthrowing the Demon.  Probably the execution of this oval
+composition was almost entirely the work of assistants, as Delacroix's
+failing health, aggravated by lead poisoning caused by the extensive
+use of white of lead paint in his large decorations, would not have
+allowed him to work under such fatiguing conditions as are unavoidable
+in painting a ceiling _in situ_.
+
+=====================================================================
+
+PLATE VIII.--FAUST AND MEPHISTOPHELES
+
+(In the Wallace Collection)
+
+It was probably during his visit to London in 1825 that Delacroix first
+realised the pictorial possibilities of Goethe's great drama.  His
+correspondence shows that he was deeply impressed with a performance of
+"Faust" which he witnessed in London, and which probably suggested to
+him the series of nineteen lithographs, published by Sautelet in 1828.
+Goethe himself referred to these lithographs in terms of exaggerated
+praise.  The catalogue of Delacroix's works includes quite a number of
+paintings illustrative of scenes from "Faust," of which the one in the
+Wallace Collection is one of the most successful.
+
+[Illustration: PLATE VIII.--FAUST AND MEPHISTOPHELES]
+
+=====================================================================
+
+The frescoes in the Chapel of the Saints-Anges were the swan-song of
+Delacroix's genius.  In the two years that followed their completion,
+he still continued to paint and to draw--the practice of his art was
+for him the very breath of life--but he produced nothing that need be
+considered in the record of his achievement.  In March 1863, the
+affection of his eyes, of which he had suffered intermittently for
+years, took a turn for the worse.  On the 26th of May he left Paris for
+Champrosay, but during the journey had a severe attack of hemorrhage of
+the lungs, which recurred five days later; and he had to be taken back
+to Paris.  His illness became worse and worse, and after a month he was
+taken back to the country, only to be sent back again to Paris on July
+14.  His days were counted.  He took to his bed immediately upon his
+arrival, and breathed his last at six o'clock in the morning on August
+13, 1863.
+
+
+
+
+VI
+
+How strangely Delacroix's art was misunderstood by his contemporaries
+who, nurtured on the tinted cartoons of the ruling School, stood aghast
+before the passionate utterance of the master's "intoxicated broom,"
+or, assuming the role of Beckmesser, marked with offensive rap of chalk
+on the blackboard of the public Press his sins against their dogmatic
+rules.  In their blindness they even went so far as to accuse him of
+being unable to draw!  What seemed altogether to escape their
+perception, was that the fiery impulse, the tempestuous _elan_ of
+Delacroix's romantic imagination was largely controlled by his cool
+intellectuality.  Delacroix was a thinker and a man of profound
+culture.  He had, moreover, the greatest respect for tradition.  If, in
+the actual painting of his pictures, he was carried away by his
+enthusiasm and worked like one inspired, he never started upon this the
+final stage without an enormous amount of preparatory sketches for
+every figure, every detail--never before the idea had taken firm and
+definite shape in his mind.  The sweep of the brush, the vitalising
+amplifications and elements of movement may have been left to the
+inspiration of the moment; but chance played no part in the disposition
+of the design and the arrangement of the colour-scheme.
+
+It was that amplification and exaggeration of forms, by which alone
+movement can be expressed in art, that led the unthinking to the belief
+that Delacroix "could not draw."  Of course, the application of
+Ingres's standard of classic perfection in drawing might justify the
+conclusion, but one need only glance at Delacroix's sketch-books and
+studies to realise that he was a great draughtsman, if drawing, as it
+was to him, is considered the means towards an end, and not an end in
+itself.  And his mastery of spontaneous, nervously expressive drawing
+was as complete as it could be, if mastery can be acquired through the
+curbing of impetuous genius by half a century's methodical, steady
+practice.  For Delacroix, from his early student days to his death,
+never started on his day's work without having first "got his hand in"
+by half-an-hour's practice in sketching or drawing, just as a pianist
+will first run through his finger exercises and scales, to make sure of
+his mastery over his instrument.
+
+Thus, by unremitting practice, Delacroix acquired such absolute command
+of the language of line and form that, in the pictorial expression of
+his ideas, he used it as an orator uses the language of words--in a
+steady flow, without doubts and hesitations.  His inspiration was not
+checked and weakened by the struggle for an adequate form of
+expression.  There was nothing in life and in nature that did not
+stimulate his artistic curiosity, and all his sketches betray the same
+passionate search for the really essential, the elements of life and
+movement and mood, which are often to be obtained only by the sacrifice
+of literal correctness.  He never tired of making drawings after
+Rembrandt's etchings, and he spent many hours at the Jardin des
+Plantes, in the company of the animal sculptor Barye, sketching and
+painting wild beasts from life.  Indeed, Delacroix was rarely rivalled,
+and probably never surpassed, as a painter of animals either in repose
+or in the very frenzy of movement.
+
+His astonishing rapidity of production has already been exemplified by
+his painting of the large "Pieta" at St. Denis-du-Saint-Sacrement in
+seventeen days.  An even more striking instance is afforded by the
+"King Rodrigo losing his Crown," now in the Cheramy Collection.  A
+number of artists had agreed to contribute towards the decoration of a
+room in a villa taken by Alexandre Dumas pere in 1830.  Delacroix was
+of their number; and the day agreed for the completion of the pictures
+was to be celebrated by a ball.  When Delacroix arrived at midday of
+the day in question he found that all the panels were in their proper
+places, leaving only an unexpectedly large gap for his own
+contribution.  "He had meant only to paint a few flowers.  'Listen,'
+said Dumas, 'I have just been reading something that will do for you,'
+and he described the first canto of the 'Romancero,' in which Rodrigo
+loses his crown.  Delacroix began at once, and had painted the whole
+scene by sunset, in the most unusual colours, a harmony in yellow,
+unique in his work.  Great was the enthusiasm in the evening when the
+friends saw the picture; Barye, in particular, who had contributed an
+excellent panel, is said to have been beside himself."[1]
+
+Delacroix's life, apart from his struggle for recognition--a struggle
+which he fought entirely with his brush, leaving the controversial side
+to others--was singularly uneventful.  His only passions were his art,
+his love of romantic literature, and his staunch friendship.  A few
+journeys and frequent spells of illness were the only events that broke
+the even tenor of his life.  As a writer, Delacroix has left a
+marvellous "Journal," which ought to be consulted and carefully studied
+by every artist, and a number of carefully constructed magazine
+articles on various aesthetic questions, which only reveal the cool
+intellectual side of his dual nature.  He was a man of great reticence,
+who rarely allowed himself to be drawn into criticising the art of his
+contemporaries.  In his critical comments on the masters--even on those
+whose style was diametrically opposed to his own temperament--he always
+proved himself keenly appreciative of their great qualities.  Strangely
+enough, Delacroix, who is considered the leader, and certainly was one
+of the main inspirers of the Romanticist movement, not only disliked
+the application of this term to his own art, but had little sympathy
+with the Romanticist literature of his own time and country.  His
+attitude towards Victor Hugo almost amounted to hostility; and he
+always treated Baudelaire, who had espoused his cause with keen
+enthusiasm, with the most calculated reserve.  In music his tastes were
+severely classical--"he refreshed himself with Mozart, was never quite
+able to convert himself to Beethoven, abhorred the modern French
+composers, and was the first to condemn Wagner."
+
+If Delacroix, except for a very brief period at the beginning of his
+career, never suffered real poverty, he, on the other hand, never
+received adequate pecuniary reward for his work.  To the very end he
+was forced to sell his finest pictures at ridiculously inadequate
+prices; and on some of his large decorative commissions he found
+himself actually out of pocket.  It was probably the conviction that
+posthumous justice would inevitably be done to his genius, which made
+him insist in his will upon the sale of his remaining works by public
+auction.  And events proved that he was right.  The sale, which was
+held from February 16-29, 1864, was estimated to produce about L4000,
+but resulted in a total of close upon L13,500.
+
+The instructions about his burial, left by Delacroix in his will,
+reflect something of his noble aloofness and his respect for great
+tradition in art.  "My tomb shall be in the cemetery of Pere-Lachaise,
+on the height and in a place a little apart.  There shall be placed
+upon it neither emblem, nor bust, nor statue.  My tomb shall be copied
+very exactly from the antique, or Vignole, or Palladio, with very
+pronounced projections, contrary to all that is done in the
+architecture of to-day."
+
+
+
+[1] Julius Meier-Graefe, "Modern Art," vol. i.
+
+
+
+
+The plates are printed by BEMROSE & SONS, LTD., Derby and London
+
+The text at the BALLANTYNE PRESS, Edinburgh
+
+
+
+
+  "MASTERPIECES IN COLOUR" SERIES
+
+  ARTIST.                   AUTHOR.
+
+  VELAZQUEZ.                S. L. BENSUSAN.
+  REYNOLDS.                 S. L. BENSUSAN.
+  TURNER.                   C. LEWIS HIND.
+  ROMNEY.                   C. LEWIS HIND.
+  GREUZE.                   ALYS EYRE MACKLIN.
+  BOTTICELLI.               HENRY B. BINNS.
+  ROSSETTI.                 LUCIEN PISSARRO.
+  BELLINI.                  GEORGE HAY.
+  FRA ANGELICO.             JAMES MASON.
+  REMBRANDT.                JOSEF ISRAELS.
+  LEIGHTON.                 A. LYS BALDRY.
+  RAPHAEL.                  PAUL G. KONODY.
+  HOLMAN HUNT.              MARY E. COLERIDGE.
+  TITIAN.                   S. L. BENSUSAN.
+  MILLAIS.                  A. LYS BALDRY.
+  CARLO DOLCI.              GEORGE HAY.
+  GAINSBOROUGH.             MAX ROTHSCHILD.
+  TINTORETTO.               S. L. BENSUSAN.
+  LUINI.                    JAMES MASON.
+  FRANZ HALS.               EDGCUMBE STALEY.
+  VAN DYCK.                 PERCY M. TURNER.
+  LEONARDO DA VINCI.        M. W. BROCKWELL
+  RUBENS.                   S. L. BENSUSAN.
+  WHISTLER.                 T. MARTIN WOOD.
+  HOLBEIN.                  S. L. BENSUSAN.
+  BURNE-JONES.              A. LYS BALDRY.
+  VIGEE LE BRUN.            C. HALDANE MACFALL.
+  CHARDIN.                  PAUL G. KONODY.
+  FRAGONARD.                C. HALDANE MACFALL.
+  MEMLINC.                  W. H. J. & J. C. WEALE.
+  CONSTABLE.                C. LEWIS HIND.
+  RAEBURN.                  JAMES L. CAW.
+  JOHN S. SARGENT.          T. MARTIN WOOD.
+  LAWRENCE.                 S. L. BENSUSAN.
+  DUeRER.                    H. E. A. FURST.
+  MILLET.                   PERCY M. TURNER.
+  WATTEAU.                  C. LEWIS HIND.
+  HOGARTH.                  C. LEWIS HIND.
+  MURILLO.                  S. L. BENSUSAN.
+  WATTS.                    W. LOFTUS HARE.
+  INGRES.                   A. J. FINBERG.
+  COROT.                    SIDNEY ALLNUTT.
+  DELACROIX.                PAUL G. KONODY.
+
+  _Others in Preparation._
+
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Delacroix, by Paul G. Konody
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