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Massacre of Scio, which he sent to the Salon of 1824. Here was indeed rank defiance of those rules of
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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
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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
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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
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Massacre of Scio, has bequeathed this important fragment to the National Gallery, on condition that it shall hang
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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
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Death of Charles the Bold, from the Ministry of the Interior; the great battle-piece
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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
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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
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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
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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
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Faust