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General Bonaparte is outside the door! Napoleon entered in a dark-blue coat
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Marat was the great work of his revolutionary, the
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Coronation of his monarchical period,--that colossal picture which, completed between 1806 and 1807, has handed down to posterity a true representation of the ceremonial pageants that took place in Notre Dame on 2nd December 1804. The moment selected is when Napoleon places the crown, which is carried on a velvet cushion by the Duc de Berg, upon the head of the Empress, who kneels before him in a white robe and a crimson mantle. The picture contains portraits of all the personages present at the ceremony, amongst them being David himself, as he stands on a platform and sketches at a small table. The whole composition of this picture and the grouping of the figures is full of stately gravity. Real energy and patience must have been required to paint this immense picture, though it shows not the least sign of fatigue. With the exception of Menzel's
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Coronation of William I, I know of no historical picture of the century of as high an artistic value, with the like noble sublimity of colour, with so tender, quivering a light. There are certain portions of the
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Coronation in which the white robes, the deep-red velvet of the mantles, and gold embroideries affect us like a symphony in colours. When the picture was completed Napoleon visited David's studio, accompanied by the Empress, his ministers, and his staff. The Court drew up, and the Emperor moved up and down in front of the picture, hat in hand, for more than half an hour, examining it in all its details. Finally, with one of those dramatic effects of which he was so fond, he lightly raised his hat:
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Three Fates
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The Death of Socrates,
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Brutus,
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The Oath in the Tennis Court, and
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The Rape of the Sabines,
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the same elevation, the same marble coldness and monotony of colour. _Jean-Baptiste Regnault_, and _François André Vincent_, whose studios were most frequented after David's, worshipped the same gods. After David's departure, _Guérin_, in particular, endeavoured to bequeath to the students those genuinely academic rules which his pupil, Delacroix, has summed up in these words:
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In order to make an ideal head of a negro, our teachers make him resemble as far as possible the profile of Antinous, and then say, 'We have done our utmost; if he is, nevertheless, not beautiful, we must altogether abstain from this freak of nature, with his squat nose and thick lips, so unendurable to the eyes.' When he had to paint his
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Insurrection in Cairo,