. McClure's magazine. d he had vainly endeavored to induce thestudy of form, that he acquired the mas- artist to accompany him on the Egyptiantery of drawing which served him so well campaign. On the accession of Napoleonwhen in the presence of nature; and with as Emperor, therefore, we find in the Salonno other preoccupation than to reproduce catalogues, Monsieur David, first painterhis model, he painted the people of his time to his Imperial Majesty, in place of plainand produced his greatest works. For by Citizen David of the Revolutionarya strange yet not unprecedented contra- years. dicti
. McClure's magazine. d he had vainly endeavored to induce thestudy of form, that he acquired the mas- artist to accompany him on the Egyptiantery of drawing which served him so well campaign. On the accession of Napoleonwhen in the presence of nature; and with as Emperor, therefore, we find in the Salonno other preoccupation than to reproduce catalogues, Monsieur David, first painterhis model, he painted the people of his time to his Imperial Majesty, in place of plainand produced his greatest works. For by Citizen David of the Revolutionarya strange yet not unprecedented contra- years. diction, Davids fame to-day rests, not Napoleon ordered from David four great upon the great classical pictures which paintings. The Coronation and the Dis- were the admiration of his time and by tribution of Flags alone were painted when which he thought to be remembered, but the overthrow of the Empire, and the on the portraits which, with his mastery of loyalty of David to his imperial patron, A CENTURY OF PAINTING. 149. POPE PIUS VII. PROM A PAINTING FROM LIFE BY DAVID, NOW IN THE LOUVRE. Pius VII. was the Pope who, in 1804, consecrated Napoleon I. as Emperor of France. Later he opposed Napoleonsaggressions, and was imprisoned for it, first in Italy and afterwards in France. In 1814 he recovered his freedom and hisdominions, temporal as well as spiritual. The above picture is, perhaps, the best example of what may be termed the officialportrait (as the preceding picture is of the familiar portrait) of David. It was painted in 1805, in the apartment assignedto the Pope in the Tuileries. caused him to be exiled in 1816. He wentto Brussels, where, on December 29, 1825,he died. The Bourbons, masters of France,refused to allow his body to be broughtback to his country ; but Belgium gavehim a public funeral, after which he waslaid to rest in the Cathedral of Brussels. This dominant artistic influence ofFrance in the first quarter of this century is not entirely extinguished to-day. Th
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