Nature and Art, April 1, 1867.] 
A FEW NOTES, HISTORICAL AND HERALDIC, ON THE LION. 
105 
all events, they were at the time of their pro- 
duction, though the knowledge of them has now 
reached the country of his birth. In 1820 M. 
Ingres moved to Florence, where he painted the 
Entry of Charles V. into Paris, and the Vow of 
Louis XIII., both of which are in the cathedral of 
Montauban. The Apotheosis of Homer , which is 
generally regarded as his master-piece, was painted 
when the artist was back again in Paris, in the year 
1827. Perhaps it represents, as well as any single 
picture can, the range and power of his genius — 
liis ideal composition, his correct drawing, his sober 
colouring. Yet the claims of this picture to praise 
were, at the time, fiercely contested ; though now 
the great classic artist had his own band of 
supporters, who made a good fight on his behalf. 
In Paris Ingres established a school, to which 
those young students who had the best judgment 
and taste, or the wisest advisers, quickly resorted. 
Hippolyte Flandrin joined this school on his arrival 
from Lyons ; and he was never slow to avow his 
obligations to its master. As a man the pupil 
loved M. Ingres : as an artist he almost adored 
him. And if we desire a more impartial testimony 
to the beneficial influence of Ingres than the 
favourite pupil and attached friend himself could 
give, we find it in the words used by the Vicomte 
Delaborde to describe that influence : — “ C’est un 
honneur pour le peintre de I’Apotheose d’Homere 
d’ avoir forme le peintre de Saint- Vincent de Paul, 
et cet honneur est d’autant plus grand que les 
exemples fournis au disciple ont, en instruisant 
celui-ci, moins denature son propre sentiment, 
moins compromis l’independance de sa pensee. M. 
Ingres a pu transmettre, et il a en eflet revele, a 
Flandrin les secrets de l’ampleur et de la finesse 
dans I execution, d’une correction severe dans les 
formes.” 
In 1834, and not five years before that date, as 
has been incorrectly stated, Ingres was appointed 
director of the French Academy at Pome, on the 
resignation of M. Horace Vernet. Some of his 
friends thought it a pity for him to leave France 
just as his name (so they thought) was becoming 
more famous and his teaching more honoured. 
But Ingres accepted the situation ; and, if the truth 
were known, he was probably glad to escape the 
endless and wearisome discussions to which his 
pictures gave rise, and which so long as he remained 
in Pai’is he could not altogether avoid. Truth was 
on his side. It was great, and he knew it would 
prevail. So he could afford to wait the issue, and 
give himself to work. It was from Rome, we 
believe, that M. Ingres sent his great picture of 
Stratonice — the famous picture bought first by the 
Duke of Orleans, then acquired by M. Demidoff. 
and afterwards in possession of the Due d’ Aurnale. 
About 1842, the painter returned to France, and 
from that time till 1855, he was busily engaged in 
painting. At the Universal Exhibition held in 
Paris in the last-mentioned year, he was fortunate 
enough to have a room assigned entirely to his own 
works ; and a noble display they made of all that 
is most graceful and pure in allegorical or in simply 
religious painting. 
Since 1855 M. Ingres has painted less than in 
the days of his middle life ; yet his brush has not 
been idle. The Source, a girl’s figure entirely 
“ undressed,” attracted the notice of everybody 
and the admiration of artists, at the International 
Exhibition held in London in 1862. It was said 
to be a portrait, very much “ idealized,” of the 
daughter of his concierge. 
In these latter days no voice has been lifted up 
to contest the great painter’s supremacy ; and, 
though many artists in his own country stray from 
the broad clear lines he has laid down for them to 
follow, there are few who would not admit the 
excellence of his teaching and of his own practice. 
King Louis Philippe named him a knight of the 
Legion of Honour, and subsequently a commander. 
A sovereign yet more apt to distinguish genius and 
to reward it, promoted him to the rank of Grand 
Officer in 1855. In 1862 that monarch named 
him a senator of France : he could bestow no 
higher compliment upon the veteran painter. 
Happy in his domestic relations, at peace with the 
world, and soothed with the thought that full 
recognition had after many days been made of his 
genius and laborious efforts, Jean-Auguste- 
Dominique Ingres died, in his eighty-sixth year, on 
the 14th of January, leaving the classicists, who 
had so long clustered round him, in grief and in 
embarrassment where to find a new ieadei. 
A FEW NOTES, HISTORICAL AND HERALDIC, ON THE LION. 
T HE probably wide spread existence of the 
Lion, in the early ages of man’s history, is a 
point which appears to us to have been somewhat 
overlooked by the numerous writers who have 
undertaken to describe the so-called “ Monarch of 
the Forest.” The intimate acquaintance with the 
peculiarities of these animals, which we observe 
in the works of ancient artists, and of writers 
sacred and profane, though it may not wholly 
determine, at least appears strongly to favour the 
supposition of such existence. The subject is an 
interesting one, both to the student of history and 
to the naturalist, as affording presumptive evidence 
of a former prevalence of the species which must 
have exerted an important influence on the ex- 
tension alike of the human family and of other races 
of the animal kingdom,* in regions wdrere all 
# M. Jules Gerard estimated the destruction of cattle by 
each lion in Algeria at ,£300 per annum. 
Another French writer (M. Chaissaing) calculates it at 
