118 THE FINE ARTS. 
the Battle of Austerlitz. At the time of the Restoration, he painted almost 
all the sovereigns then in Paris; he afterwards painted the Entrance of 
Henry I'V., the Coronation of Charles X., &c. He died in 1837. He 
excelled his master in coloring and in truth to nature. 
Tn opposition to this classical school there arose another called the Roman- 
tic school, which distinguished itself from the former by its predilection for 
middle age subjects and forms. To this class of artists belong Abel de 
Pujol, Richard, Ingres, who make choice chiefly of religious subjects and 
Raphaelesque forms, Delacroix, Ary Schafer, and Delaroche. The four 
last, and foremost among them Delaroche, with Horace Vernet, are the 
corypheei of the French school of our day, whose performances in historical 
painting far excel those of the previous French schools and approach the 
solidity of the newest German art. 
One of the most highly esteemed painters of David’s school was Anne 
Louis de Girodet-Trioson, who was born at Montargis in 1767, and died 
in 1825. As early as 1790 he made himself a name by his repre- 
sentation of the Story of Joseph and his Brethren; and this gave him 
courage to paint another picture, the Sleeping Hndymion (pl. 18, 
jig. 13), which attained equal celebrity. Endymion slumbers in a 
charming posture, while Zephyr thrusts aside the overhanging branches, 
that Diana, in the shape of the Moon, may more easily let fall her rays 
upon the lovely sleeper. This chef d’ceuvre Girodet painted while in Rome 
in 1792. He likewise painted a scene from the Deluge, which together 
with the Endymion is preserved in the Luxembourg palace ; this was followed 
by the Surrender of Venice, the Revolt m Carro (in the Paris Museum), 
Pygmalion and Galathea (in the collection of Count Sommariva), and 
many others. Girodet’s drawing is faultless, his coloring beautiful, and the 
many portraits which he painted are striking likenesses. Antoine Jean 
Gros is another painter who reflects honor on the school of David. Of his 
portraits those of Mapoleon on horseback and Napoleon on the bridge of 
Arcole are the most celebrated ; his historical pieces are also excellent. 
Another artist of the classical school is Guérin, who as early as 1796 
exhibited two pictures, Geta murdered at the command of his brother 
Caracalla, and Coriolanus’s Delivery from Death, in which was discerned the 
great master that he afterwards became. His finest picture was exhibited 
in 1799 in the hall of the Louvre: it represents Sextus on his return home 
after having escaped the proscription of Sylla, when he finds his wife dead 
and his daughter weeping at her feet. The picture was purchased by a 
private individual for 10,000 frances. Guérin also executed some small pic- 
tures in a pleasing style, e. g. Two Lovers bound by Cupid, &e. His Or- 
pheus at the Grave of Hurydice is one of his last and finest works ; equally 
praiseworthy is his Phedra and Hyppolite after Racine, and the Offering 
brought to Aisculapius (jig. 5), the idea of which he took from one of 
Gesner’s idylls. Noble simplicity, purity of design, and a vigorous and easy 
sweep of the brush, are the excellences remarked in the works of Guérin. 
He is, however, not free from the theatrical affectation belonging to the 
school of David. 
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