,,masterpieces ,,in ,,colour ,,edited ,,by - - ,t4 ,,leman ,,hare ,,ingres 7#aggh-ahfg7 8,,masterpieces ,,in ,,colour0 ,,series ,,artist4 ,,author4 ,,velazquez4 ,s4 ,l4 ,,bensusan4 ,,reynolds4 ,s4 ,l4 ,,bensusan4 ,,turner4 ,c4 ,,lewis ,,hind4 ,,romney4 ,c4 ,,lewis ,,hind4 ,,greuze4 ,,alys ,,evre ,,macklin4 ,,botticelli4 ,,henry ,b4 ,,binns4 ,,rossetti4 ,,lucien ,,pissarro4 ,,bellini4 ,,george ,,hay4 ,,fra ,,angelico4 ,,james ,,mason4 ,,rembrandt4 ,,josef ,,israels4 ,,leighton4 ,a4 ,,lys ,,baldry4 ,,raphael4 ,,paul ,g4 ,,konody4 ,,holman ,,hunt4 ,,mary ,e4 ,,coleridge4 ,,titian4 ,s4 ,l4 ,,bensusan4 ,,millais4 ,a4 ,,lys ,,baldry4 ,,carlo ,,dolci4 ,,george ,,hay4 ,,gainsborough4 ,,max ,,rothschild4 ,,tintoretto4 ,s4 ,l4 ,,bensusan4 ,,luini4 ,,james ,,mason4 ,,franz ,,hals4 ,,edgcumbe ,,staley4 ,,van ,,dyck4 ,,percy ,m4 ,,turner4 ,,leonardo ,,da ,,vinci4 ,m4 ,w4 ,,brockwell4 ,,rubens4 ,s4 ,l4 ,,bensusan4 ,,whistler4 ,t4 ,,martin ,,wood4 ,,holbein4 ,s4 ,l4 ,,bensusan4 ,,burne-,,jones4 ,a4 ,,lys ,,baldry4 ,,vig,e ,,le ,,brun4 ,c4 ,,haldane ,,macfall4 ,,chardin4 ,,paul ,g4 ,,konody4 ,,fragonard4 ,c4 ,,haldane ,,macfall4 ,,memlinc4 ,w4 ,h4 ,j4 ,j4 ,c4 ,,weale4 ,,constable4 ,c4 ,,lewis ,,hind4 ,,raeburn4 ,,james ,l4 ,,caw4 ,,john ,s4 ,,sargent4 ,t4 ,,martin ,,wood4 ,,lawrence4 ,s4 ,l4 ,,bensusan4 ,d,,rer4 ,h4 ,e4 ,a4 ,,furst4 ,,millet4 ,,percy ,m4 ,,turner4 ,,watteau4 ,c4 ,,lewis ,,hind4 ,,hogarth4 ,c4 ,,lewis ,,hind4 ,,murillo4 ,s4 ,l4 ,,bensusan4 ,,watts4 ,w4 ,,loftus ,,hare4 ,,ingres4 ,a4 ,j4 ,,finberg4 ,others in ,preparation4 ,illustration3 ,,plate ,i4--,,la ,,vierge ,l',,hostie 7,in the ,louvre7 ,this picture of 8,la ,vierge l',hostie0 is a repetition1 with variations1 of another painted by ,ingres in #ahdj for the ,czar ,nicholas1 in which he had represented on either side of the ,virgin the two patron saints of ,russia1 ,st4 ,nicholas and ,st4 ,alexander4 ,in the ,louvre picture1 which is signed 8,j4 ,ingres1 #ahed10 the two saints have been replaced by two angels4 ,probably in no other picture from his hand is the artist's passionate admiration for ,raphael so clearly displayed4 ,,ingres ,,by ,a4 ,j4 ,,finberg ,,illustrated ,,with ,,eight ,,reproductions ,,in ,,colour ,illustration3 ,,in ,,sempiternum4 ,,london3 ,t4 ,c4 ,e4 ,c4 ,,jack ,,new ,,york3 ,,frederick ,a4 ,,stokes ,,co4 ,,list ,,of ,,illustrations ,plate ,i4 ,la ,vierge l',hostie ,frontispiece ,in the ,louvre ,page ,,ii4 ,madame ,rivire #ad ,in the ,louvre ,,iii4 ,mademoiselle ,rivire #bd ,in the ,louvre ,,iv4 ,l',apotheose d',homere #cd ,in the ,louvre ,v4 ,m4 ,bertin #dj ,in the ,louvre ,,vi4 ,chrubini #ej ,in the ,louvre ,,vii4 ,le ,duc d',orlans #fj ,muse de ,versailles ,,viii4 ,jeanne d',arc #gj ,in the ,louvre ,jean-,auguste-,dominique ,ingres was born on the #bith ,august #aggh1 at ,montauban4 ,a stranger birthplace for a great artist could hardly be found4 ,all the passion not absorbed in the material cares of life there turns to fanaticism4 ,religious hatred runs high4 ,the municipal elections are fought out on religious grounds4 ,protestant and ,roman ,catholic hate but do not know one another4 ,each family lives for itself and by itself4 ,a visit is said to be considered as an indiscretion4 ,and nature there does nothing to soften the heart or the manners of man4 ,the soil is dusty on the surface and hard to dig4 ,the local colour is sombre1 the general aspect of things sad4 ,in the cold1 dull light the forms detach themselves without grace or sympathy4 ,the people have squat1 thick-set figures1 with round heads and heavy jaws4 ,their souls are as sombre and hard as their faces4 ,they have ardour1 but it is all concentrated and suppressed1 burning within them like a brazier without flames4 ,they show an extreme eagerness for work and gain2 a silent obstinacy is the leading trait of their character4 ,ingres' mother belonged to these parts and to this race1 and from her he seems to have derived a part of his stormy and inflexible1 his unquiet and haughty genius4 ,ingres' father came from ,toulouse4 ,little more than three miles separate ,toulouse from ,montauban1 but the chain of little hills which throws off1 to the left1 the river ,garonne1 and to the right the ,tarn and the ,aveyron1 serves as the dividing line of two profoundly different regions and races4 ,in contrast with the sterile and rocky regions of the ,north1 the plains of ,languedoc1 with their great river and verdant meadows1 seem a land of joy and enchantment4 ,it was at ,toulouse1 with its courts of love1 its floral ftes1 its contests of song and poetry1 that ,ingres' father was born4 ,if we may judge from the portrait which ,ingres painted of him 7it is preserved at the ,museum of ,montauban71 his father must have been an uncommon man4 ,as we see him in this portrait he has a fine forehead1 with big black eyes1 and a look full of frankness and penetration4 ,the evidence of this portrait is confirmed by the following letter1 written by ,ingres towards the end of his life1 to a gentleman who had asked him for information about his father3-- 8,sir1--,jean-,marie-,joseph ,ingres was born at ,toulouse 7in #agcd73 his father1 whom ,i saw in my childhood1 was a master tailor2 he lived to a great age4 ,my father when he was very young entered the ,academy of ,toulouse4 ,he had as master1 ,i believe1 ,m4 ,lucas1 a celebrated sculptor1 a professor of the said ,academy4 ,later he went to ,marseille1 then settled at ,montauban and married my mother1 ,anne ,moulet1 on #abth ,august #aggg4 ,he was very much loved and appreciated by the leading families of the city and by ,mgr4 de ,breteuil1 the ,bishop of ,montauban1 of whom he made a large medallion in profile4 ,this bishop employed my father a great deal at his palace and in his country house1 situated near the city4 8,my father was born with a rare genius for the fine arts4 ,i say the fine arts because he executed painting1 sculpture1 and even architecture with success4 ,i saw him construct an important building in our principal street4 8,if ,m4 ,ingres had had the same advantages which he gave his son1 of going to ,paris to study under the greatest of our masters1 he would have been the first artist of his time4 ,my father1 who drew perfectly1 painted also in miniature4 ,he also painted views of the country from nature4444 8,nothing came amiss to him4 ,in sculpture his work ranged from the sphinxes and figures of abbs reading1 which were placed in gardens1 to the colossal statues of ,liberty which he was forced to improvise in our temples for the ,republican ftes4 ,he made with the greatest facility ornaments of all kinds1 with which he decorated most tastefully the buildings of his time4444 ,finally1 he attracted everybody by his lovable character1 his goodness1 his eminently artistic tastes4 ,every one was anxious to enjoy his society4 8,he often went to ,toulouse1 his native place1 to renew his strength1 so to speak1 in that large and beautiful city1 almost as rich then in monuments of art as ,rome1 which it greatly resembles4 ,he loved to find himself again with the friends of his youth1 all distinguished artists4 ,he took me often with him in these short journeys4 8,without being a musician1 my father adored music1 and sang very well with a tenor voice4 ,he gave me his taste for music and made me learn to play the violin4 ,i succeeded well enough with it to be admitted into the orchestra of the ,grand ,theatre of ,toulouse1 where ,i played a concerto of ,viotti with success44440 ,illustration3 ,,plate ,,ii4--,,madame ,,rivi,,re 7,in the ,louvre7 ,this portrait of 8,madame ,rivire0 is one of the most characteristic works of ,ingres' first period--the period 7#ahjj-ahjf7 of that six years' weary wait to depart for ,rome which the bankruptcy of the public exchequer compelled the young artist to submit to4 ,in a list of his works executed immediately before his first portrait of 8,bartolini10 painted in #ahje1 ,ingres mentions the portraits of 8,m4 ,rivire1 ,madame ,rivire1 and their ravishing daughter40 ,this fixes the date of these three portraits as about #ahjd4 ,these are often spoken of by ,french critics as typical specimens of the artist's 8,pre-,raphaelite manner40 ,all three portraits are now in the ,louvre4 ,in this glowing eulogy of his father there is doubtless a certain amount of pious exaggeration4 ,the man was a true ,toulousian1 a fine singer1 an occasional performer on the violin1 an improviser in everything1 with a natural gift for drawing and a plastic sense common among his compatriots4 ,that he would have been 8one of the first artists of his time0 if he had had the advantage of studying in ,paris is manifestly absurd4 ,his work shows a want of vigour1 of originality1 of invention4 ,he had a certain correctness of eye and skill of hand1 with some taste for arrangement and effect4 ,that was sufficient for the plaster decorations with which he was mainly occupied1 and even for the little portraits in miniature or red chalk which he undertook4 ,but he could not go beyond this1 and the only attempt to paint an important picture which he made marks clearly the limits of his talent4 ,his private life was somewhat irregular4 ,he was a great lover of the fair sex1 and towards the end of his life his wife was compelled to leave his home4 ,from the father1 then1 we may say1 ,ingres inherited the penetrating vivacity of his sight1 the agile suppleness and surety of his fingers1 and a certain voluptuous tendency which is particularly noticeable in his nudes2 while his immense powers of work1 his obstinacy and pugnacity1 came from his mother4 ,at a very early age his father began to teach him drawing and music4 ,he first achieved success as a violinist in the salon of the bishop1 but he was at least equally precocious with his pencil4 ,towards the age of twelve he was taken to ,toulouse4 ,he was at first placed with the painter ,vigan1 and worked under his direction at the ,acadmie ,royale4 ,then he went to the atelier of ,roques1 where he made rapid progress4 ,it was in ,roques's studio that ,ingres was converted to what he called 8the religion of ,raphael40 ,roques had brought back with him from ,rome a number of copies of the works of the great painters of the ,renaissance1 among them one of ,raphael's 8,vierge la ,chaise40 ,ingres was so impressed by the beauty of this work that he is said to have burst into tears before it4 ,the instruction at the ,toulouse ,academy1 with its insistence on minute accuracy of drawing1 also had a great influence on his future career4 ,at the end of his life ,ingres1 when talking of his early studies at ,toulouse1 was fond of affirming that he was still 8what the little ,ingres of twelve years had been40 ,at the age of eighteen he was sent to ,paris1 and had the good fortune--it was his own expression--to be admitted to the studio of ,louis ,david4 ,he quickly gained the esteem of his master1 and is said to have been employed to paint the accessories in ,david's famous portrait of ,madame ,rcamier4 ,but their good understanding did not last long4 ,ingres competed for the ,grand ,prix de ,rome in #agii1 and ,david awarded the prize to ,granger1 an older pupil of his1 while ,ingres1 to his great indignation1 was only awarded the second prize4 ,his picture was burnt during the ,commune4 ,the following year ,ingres carried off the prize4 ,the subject was 8,achilles receiving in his ,tent the ,envoys of ,agamemnon40 ,flaxman1 the ,english sculptor and illustrator of ,homer1 spoke so flatteringly of ,ingres' picture that1 according to ,m4 ,delaborde1 his master's hostility was still further increased4 ,this painting1 which is still preserved at the cole des ,beaux-,arts1 shows the young man's power of vivid and accurate drawing and his respect for the teachings of his master4 ,but under its external conformity to ,david's principles it is possible to trace the germs of an originality which was soon to separate the pupil1 almost in spite of himself1 from the school of his master4 ,for while ,david admitted the direct imitation of nature only in his portraits and studies of the nude1 he insisted on giving the first place to the search for the grand style in his historical compositions4 ,already in this picture we see that ,ingres was constitutionally incapable of sacrificing on any grounds his unconscious desire to imitate closely1 of copying nature4 ,in vain he tries to force himself to attain 8style0 in the group he has imagined4 ,his group is not harmoniously arranged4 ,it has no vital unity4 ,each of the figures appeared detached from the others2 but they are drawn individually with so much realistic exactitude that the whole has the bizarre aspect of a photograph of an assembly of artists' models trying different poses in a studio4 ,as ,m4 de ,wyzewa has well said1 the young painter had received from heaven at his birth a defect and a quality which remained intimately connected with each other4 ,the defect was a total absence of imagination1 invention1 or aptitude to raise himself above the reality directly offered to the painter by the sight present to his eyes2 and the quality--the very excess of which was the inevitable cause of the defect ,i have just denoted--the quality was a marvellous1 an absolutely exceptional power of seeing1 of understanding1 and of reproducing that reality4 ,no painter has ever had a more exact vision of the human figure1 nor hands more skilful to fix in its entirety on the paper or the canvas what his eyes saw4 ,a ,holbein even1 with all the fidelity of his realism1 was still troubled in his observation of the model by a shade of sthetic idealism1 by the preoccupation of an example to be followed1 or by a new process to employ3 between ,dominique ,ingres and his model1 so long as he had this model in front of his eyes1 no consideration of any kind could interpose itself4 ,the painter was as possessed by his vision1 as hypnotised by it1 and he was forced to copy it without changing anything4 ,he carried away1 indeed1 as the result of his stay in ,david's studio1 a body of doctrines to which he remained on the whole faithful all his life1 but nature had given him gifts which were entirely different from those which were needed to put these doctrines into practice4 ,and this explains why this great man1 in the ignorance he always remained in of the real source of his originality and greatness1 presents to us to-day the paradox of having been the most naturalistic of ,french painters1 while obstinately attempting to make himself the most idealistic4 ,illustration3 ,,plate ,,iii4--,,mademoiselle ,,rivi,,re 7,in the ,louvre7 ,this is the portrait of the 8ravishing daughter0 of ,monsieur and ,madame ,rivire already referred to4 ,having gained the much-coveted ,prix de ,rome1 ,ingres ought to have started at once for ,italy4 ,but the state of the public treasury was so miserable at this period of wars and internal crises that the young painter had to remain in ,paris for five years before the funds for his journey were forthcoming4 ,he was allotted apartments1 together with other artists1 in a deserted ,capuchin convent in ,paris1 where he resumed his studies and undertook any work that was offered to him4 ,the only official encouragement he received was an order to paint two portraits of ,napoleon4 ,the first of these portraits was finished in #ahje--the 8,bonaparte1 ,first ,consul10 for the town of ,lille2 the second1 of 8,napoleon1 ,emperor10 for the ,htel des ,invalides1 was finished in the following year4 ,to those years of anxious suspense belong the first ideas of many of the works which were afterwards to make him famous4 ,the dominant influences noticeable in his designs are said to be the works of ,flaxman and the paintings on antique ,greek vases4 ,the neighbouring studio at the convent was occupied by de ,gros1 who was engaged upon a series of immense canvases consecrated to the glory of ,napoleon's campaign in ,egypt4 ,it was filled with ,oriental bric--brac1 damascened arms1 costumes1 ,persian rugs1 ,turkish pipes1 and hangings of gold and silk--everything1 in short1 which would help the artist to paint the accessories of his pictures4 ,it was in this studio that ,ingres probably painted the studies of ,eastern carpets1 mosaics1 c41 which are still preserved at the ,museum of ,montauban1 and which he used afterwards in the 8,odalisques40 ,but the real strength of his personality is best seen in the series of portraits ,ingres painted at this time4 ,the first was a portrait of his father1 who came to visit him in ,paris in #ahja4 ,as was his custom1 he worked on this in the following years1 which explains the date1 #ahjd1 inscribed upon the painting4 ,it was exhibited at the ,salon in #ahjf1 and is now at ,montauban4 ,then he painted the portrait of himself which is now at the ,museum of ,chantilly4 ,these were followed by the three portraits of the ,rivire family1 now in the ,louvre4 ,two of these1 those of the mother and daughter1 have been reproduced in the present volume4 ,towards the end of #ahjf ,ingres was at length supplied with the necessary funds to proceed to ,rome4 ,once established in the ,villa ,medici fortune began to smile on him4 ,he received several important official commissions4 ,his talent also found private appreciators4 ,the ,general ,miollis1 a fanatical admirer of ,virgil2 ,m4 de ,norvins1 ,m4 ,marcotte2 ladies like ,madame de ,lavalette1 ,madame ,forgeot1 and ,madame ,devauay1 gave him orders for portraits and pictures4 ,joachim ,murat1 then ,king of ,naples1 also took an interest in the young painter who had been born in the same province as himself4 ,he commissioned the 8,dormeuse de ,naples0 and the 8,grande ,odalisque10 and invited him to his ,court to paint portraits of the members of his family4 ,so flourishing did the young artist's affairs look that he resolved to face the responsibilities of marriage4 ,he authorised a friend1 a ,m4 ,loral1 an employ of the ,french ,government in ,rome1 to find him a wife4 ,m4 ,loral's choice fell upon a ,mlle4 ,magdaleine ,chapelle1 a young ,frenchwoman of about the same age as the artist1 who was then acting as cashier in a caf at ,guret4 ,m4 ,boyer d',agen has recently published a letter from the young fiance to her sister announcing the approaching marriage4 ,it is dated #cjth ,august #ahac4 ,she starts by saying that just as she was beginning to despair of ever finding a suitable husband 8they had written to her from ,rome saying they had found exactly what she wanted40 8,you can judge of the pleasure the news gave me10 she exclaims quite frankly1 8and it made me feel ten years younger1 so that ,i now look only twenty years of age40 ,she promises to send her sister a portrait of her future husband on another occasion1 but says that for the present she must be satisfied with a verbal description4 8,he is a good-looking young man4 ,i always said my husband must be handsome40 8,he is a painter--not a house-painter1 but a great painter of history1 a great talent4 ,he earns from ten to twelve thousand livres a year4 ,you see that with that we shall not die of hunger4 ,he has a good character1 and is very gentle4 ,he is neither a drinker1 a gambler1 nor a rake4 ,he has no faults4 ,he promises to make me very happy1 and ,i love to believe he will40 ,the writer of this charming letter was married to the artist about three months after it was written4 ,the marriage was arranged entirely by the friends of the young couple4 ,they had not set eyes on each other before ,ingres went to the city gates to meet his affianced bride4 ,they met near the ,tomb of ,nero4 ,it was there that ,ingres first took the hand of the partner who was to caress and console him during the next thirty-five years4 ,this charming and laughing 8fille ,madame ,angot0 turned out to be the admirable companion which every artist dreams of but so rarely possesses3 one who will share all his hopes1 but never his doubts2 who believes and admires1 smiles and is patient1 and accepts all sacrifices for the glory of the one she loves4 ,almost immediately after his marriage ,ingres' luck changed4 ,murat was overthrown in #ahad4 ,his successor refused all the pictures that had been commissioned from ,ingres1 and those which had been finished were sold although the artist had not been paid for them4 ,in a letter to his friend ,gelibert1 dated #gth ,july #ahah1 ,ingres complains that he has been able to put nothing aside1 that he has to live1 as it were1 from day to day4 ,he admits he has several orders on hand for pictures1 but 8as ,i paint only to paint well1 ,i take a long time over them1 and consequently earn little40 ,his chief resource was the making of chalk or pencil portraits1 for which his usual price was twenty-five francs4 ,but after each portrait1 as his wife told a friend in after years1 ,ingres declared that he would not do any more1 that he was a painter of history1 not a draughtsman of the faces of the middle classes4 8,nevertheless10 she added1 8it was necessary to live1 and ,m4 ,ingres took up his pencil again40 ,but as even this slender resource began to fail him at ,rome1 he resolved to leave that city and take up his residence at ,florence1 where his friend ,bartolini1 the sculptor1 was already settled4 ,illustration3 ,,plate ,,iv4--,l',,apotheose ,d',,homere 7,in the ,louvre7 ,this large and famous picture was commissioned to fill the ceiling of one of the galleries of the ,louvre4 ,it is signed 8,ingres pingbat1 anno #ahbg40 ,it cost the master more research and trouble than any of his other works4 ,this is proved by the number of painted studies1 some of them superior to the finished picture itself1 and the repeated references to it in his letters and note-books4 ,homer is being crowned by ,victory1 and the two beautiful female figures seated at his feet represent the ,iliad and the ,odyssey4 ,around ,homer are the painters1 sculptors1 and musicians whom the artist wished to glorify4 8,to his great regret10 he said he felt compelled to exclude ,goethe1 because he found too many 8faults0 in his writings4 ,but ,shakespeare and ,pope were admitted4 ,in his last version of this subject1 made in #ahfe1 ,shakespeare was also finally expelled4 ,to this period of ,ingres' first sojourn in ,rome 7from the end of #ahjf to #ahbj7 belong some of the artist's finest and most personal works4 ,we must give the first place to his portraits4 ,the delicious portrait of ,madame ,aymon1 known as 8,la ,belle ,zlie0 7now in the ,museum of ,rouen71 was immediately followed by what is on all hands regarded as his most beautiful work of this kind4 ,this is the 8,madame ,devauay10 of the ,museum of ,chantilly4 ,it is an admirable example of ,ingres' wonderful power of concentration and absorption in the thing seen4 ,disdaining the help of accessories1 he draws all his inspiration from the face and figure of his model4 ,he seizes the personality of his sitter with so much completeness and such perfect sympathy and understanding1 and places it on the canvas with so much authority and power1 that the portrait of the individual takes on all the scope of a permanent and absolute type4 ,the portrait of 8,madame de ,snonnes0 7now in the ,museum of ,nantes71 which was painted about #ahaj1 has the same intensity of spirit as the 8,madame ,devauay10 and the same exquisite perfection of modelling and design4 ,it is also marked by greater ease and freedom of handling1 a sign of the young master's growing confidence in his own genius4 ,it is generally regarded as ,ingres' masterpiece of feminine portraiture4 ,the well-known 8dipus and the ,sphinx0 was painted in #ahjh1 while the artist was still a pensioner of the ,school of ,rome4 ,it is hard for us to understand the horror and dislike which this picture provoked among the leading spirits of the school of ,david4 ,what seems to us a typical example of classic art struck the official representatives of ,classicism as the work of a revolutionary4 ,in his report on this picture1 ,m4 ,lethire1 the director of the ,school of ,rome1 regrets that ,m4 ,ingres1 in spite of his talent1 has failed to grasp the secret of the 8grand and noble style of the great masters of the ,roman school40 ,to appreciate the originality and daring of this work1 we must compare the figure of dipus with that of the ,roman heroes in ,david's 8,rape of the ,sabines40 ,david's figures are all cast in the same mould4 ,all the particularities of the individual model are ruthlessly eliminated4 ,when we turn from the vague and empty generalisations of ,david1 ,regnault1 ,grard and ,girodet1 and look at the narrow forehead1 the pugnacious upper lip1 the prominent cheek-bones1 the deep-sunk eye and the bushy eyebrows of ,ingres' figure1 we may begin to understand that the gulf which yawns between the two kinds of ,idealism--the abstract idealism of the ,davidian school and the concrete idealism of ,ingres--is quite as wide and impassable as that which separates them both from ,romanticism and ,naturalism4 ,illustration3 ,,plate ,v4--,m4 ,,bertin 7,in the ,louvre7 ,this portrait represents the famous 8,bertin ain1 the director of the ,journal des ,dbats40 ,it is signed 8,j4 ,ingres1 pinxit #ahcb10 and was exhibited at the ,salon of #ahcc4 ,the 8dipus0 was followed1 in #ahjh1 by the 8,seated ,bather0 7now in the ,louvre72 in #ahaa1 by 8,jupiter and ,thtis0 7now at the ,museum of ,aix71 a curiously ,flaxman-like design2 in #ahab1 by the 8,dream of ,ossian0 7now at ,montauban72 and in #ahad1 by a scene of real life1 8,the ,pope officiating among the ,cardinals in the ,sistine ,chapel0 7now in the ,louvre74 ,in this marvellous picture the artist has for once avoided the painful task of invention which he habitually imposed upon himself4 ,he abandoned himself completely to the imperious suggestion of what was actually before his eyes4 ,the truth1 life1 and richness of colour and tone of this little picture have led some of his recent admirers to speak of it as the most complete and perfectly balanced of all the artist's works4 ,the 8,grande ,odalisque10 exhibited at the ,salon of #ahai1 but painted in #ahad1 brought to a close for the time the admirable series of nude female figures which the artist had begun during his first years in ,rome4 ,his wonderful sketches of the 8,venus ,anadyomene0 and the 8,source0 had already been painted1 but the canvases remained unfinished in his studio1 the first till #ahdh1 the second till #aheh4 ,his love of female beauty reveals itself again in the principal figure of the picture he sent to the ,salon in #ahai4 ,this was the 8,roger delivering ,angelica10 a scene borrowed from the tenth song of ,ariosto's 8,roland ,furieux40 ,the picture is now in the ,louvre4 ,the young knight1 mounted on a hippogriff1 pierces with his lance a marine monster who was about to devour the beautiful young woman who is chained to the rocks4 ,the figure of the young knight1 his curious steed1 and the strange monster which is being killed1 provoked the anger and ridicule of the ,academic party4 ,in its quaint details the influence of ,perugino and of the earlier ,florentine and ,tuscan painters was clearly noticeable4 ,this was one of the first signs in nineteenth-century art of the ,gothic revival and of that stream of tendency which came afterwards to be described as pre-,raphaelitism4 ,the epithet 8,gothic0 was freely used as a term of reproach against ,ingres' picture4 ,but the lovely figure of ,angelica was a distinct creation of the painter's own genius4 ,in the 8,francesca da ,rimini0 of the same year 7now in the ,museum of ,angers7 the same pre-,raphaelite tendencies are even more strongly pronounced4 ,the figures of the two lovers might easily have been designed by ,rossetti or ,madox ,brown4 99 99 99 99 99 ,all these works in which the master's genius had approved itself with so much originality and fire had left their author to vegetate in poverty and obscurity1 while the mediocrities around him had risen rapidly towards fortune and celebrity4 ,ingres was now anxious to return to ,paris1 but his meagre resources would not allow it4 ,then1 tired of his hardships1 and feeling that the social atmosphere of ,rome was not favourable to him1 he rejoined his friend ,bartolini at ,florence1 hoping thus1 among new surroundings1 to re-establish his compromised career4 ,his hopes were falsified4 ,the four years passed in ,florence 7#ahbj-ahbd7 brought him only a fresh supply of hardships and mortifications4 ,less hospitable than ,rome1 ,florence brought him only two commissions for portraits1 those of ,m4 and ,mme4 ,leblanc 7#ahbc-ahbd72 but it was here that he met ,m4 de ,pastoret1 who was instrumental in getting him the commission which brought the artist his first striking and definitive success4 ,m4 de ,pastoret was so pleased with ,ingres' 8,entry of ,charles ,v4 into ,paris0 7painted in #ahba7 that he obtained for him a commission from the ,minister of the ,interior for a large picture of 8,the ,vow of ,louis ,,xiii40 for the ,cathedral of ,montauban4 ,this was begun in ,florence in #ahba and finished in #ahbd1 in which year it figured in the ,salon of ,paris4 ,it was one of his pictures with which ,ingres was most satisfied4 ,it is also one of the first in which the influence of ,raphael1 which was to play such a large part in all his future work1 is conspicuous4 ,in a letter written in #ahba1 ,ingres said that he was sparing no pains to make the picture 8,raphaelesque and his own40 ,there is really more of ,raphael in it than ,ingres4 ,the general arrangement of the design reminds one at once of ,raphael's 8,transfiguration10 8,the ,sistine ,madonna10 and the 8,mass of ,bolsena40 ,the figure of the ,madonna is a sort of amalgam of ,raphael's various ,madonnas4 ,there is also an evident want of faith and religious enthusiasm in the picture4 ,it marked the subjection of the artist to the ,academical party which he had fought till then with so much violence and bitterness4 ,the public which had frowned upon his vigorously personal and original works hailed this able imitation with enthusiasm4 ,the master's period of probation was at an end1 and he returned in triumph to ,paris to become the leader of the ,academic party against the rising tide of ,romanticism4 ,ingres' life was henceforward free from the material cares which had hampered his early career4 ,the ,parisians declared that such a picture as the 8,vow of ,louis ,,xiii40 was too good to be buried in the provinces4 ,the ,state wanted to retain it for ,notre ,dame or ,val-de-,grace1 and offered the artist a much larger sum of money for it than had been agreed upon4 ,but ,ingres refused these flattering offers4 ,he was determined that ,montauban should have it as an offering of his filial affection4 ,the picture was taken there from ,paris4 ,the artist was entertained at a banquet given by the ,municipality4 ,flattering speeches were made1 and the artist departed with the cheers of his admirers ringing in his ears4 ,and then the ,archbishop1 objecting to the nakedness of the infant ,jesus and the two amorini holding the tablet1 refused to permit the picture to be brought into the ,cathedral4 ,the artist's friends were indignant2 ,ingres himself was furious4 ,but prayers and threats could not move the ,archbishop4 ,it was only when large gilt fig-leaves had been placed to cover up the innocent nakedness of the charming little figures that he would allow the canvas to be hung in his church4 ,in #ahbd ,ingres was nominated ,chevalier of the ,legion of ,honour4 ,in #ahbe he was elected to the ,institute4 ,charles ,x4 commissioned him to paint his portrait in the royal robes1 and to decorate one of the ceilings of the ,louvre4 ,at the end of #ahbi he was made professor at the cole des ,beaux-arts4 ,illustration3 ,,plate ,,vi4--,,ch,,rubini 7,in the ,louvre7 ,this 8portrait picture0 was begun in ,rome in #ahci1 but was only finished in ,paris in #ahdb4 ,the painter's first intention was to represent only the figure of ,chrubini1 but afterwards he had the canvas enlarged to make room behind the musician for the figure of the 8,muse of lyrical poetry1 mother of the sacred hymns40 ,it is doubtful whether this addition is an improvement4 8,the ,apotheosis of ,homer10 the subject chosen for the ,louvre ceiling1 was begun and finished within the short space of a single year4 ,the amount of work involved in making the preparatory studies and carrying through a work of such importance was enormous1 and ,ingres had never before displayed so much energy and decision4 ,the conception of the picture was a noble one4 ,it was to represent the spiritual ties which bind one generation of human beings to the other2 to insist on the debt which each worker in the field of art and thought owes to his predecessors2 to celebrate the real immortality of genius by showing the incessant action which it exerts on all the individuals who are successively born and developed by its influence4 ,we must confess that ,ingres has found a worthy plastic formula to express his highly abstract conception4 ,he shows us the poets1 painters1 sculptors1 philosophers1 and great patrons of the arts grouped round the seat of the old blind poet4 ,each individual face1 each gesture and pose1 has been studied and thought out patiently1 and executed with masterly skill4 ,the terrible problem of grouping together so many different personalities and so many costumes of widely differing periods has been faced and overcome4 ,the whole produces an effect of incomparable simplicity and grandeur4 ,in no part of the pictures are ,ingres' marvellous powers of realisation more clearly displayed than in the three purely symbolical figures of the ,winged ,victory who places the crown of gold upon the forehead of the poet1 and those representing the ,odyssey and the ,iliad who sit at his feet4 ,what a distance separates these figures1 full of feminine charm and of exuberant life1 from the cold allegories of the other painters of his time6 ,look at the queenly grace of the ,victory2 the disdainful lips1 the contracted nostrils of the proud woman1 with hands nervously crossed upon her knee1 who sits on the poet's right2 and the dreamer who sits on his left1 with her mantle wrapped round her1 her hand upon her chin1 her half-closed eyes dreaming of the far-away adventures of ,ulysses4 ,this picture remained in the place for which it was destined for about twenty years4 ,then it was replaced by an excellent copy made by three of the master's pupils1 ,dumas and the brothers ,baize1 and the original was hung in the ,louvre1 where it could be better seen and admired by the public and more carefully studied by the painters4 ,such a display of his powers disarmed even the many enemies which ,ingres had made4 ,but the artist was never satisfied4 ,he thought he had not attained the supreme and definitive expression of his genius4 ,he thought he could do better1 that he could express himself with more force1 more persuasive energy and warmth1 in his next work4 ,this was a religious scene commissioned for the ,cathedral of ,autun--the 8,martyrdom of ,st4 ,symphorian40 ,before this work was finished he painted yet another of those superb portraits which he himself professed to regard as a waste of time1 but which posterity values more highly than the allegorical and religious subjects to which he devoted himself with such fierce energy and consuming ardour4 ,this was the portrait of 8,bertin ain10 which was exhibited at the ,salon of #ahcc1 and is now in the ,louvre4 ,the old man1 with turbulent grey hair1 with keen penetrating eyes1 with wary mouth1 seated so squarely in his chair with his hands on his knees--the whole bodily and spiritual presence of the man is placed so vividly upon the canvas that we seem to know him more intimately than we know our friends4 ,after being repainted several times1 the 8,martyrdom of ,st ,symphorian0 was exhibited at the ,salon the year after the portrait of ,m4 ,bertin had appeared there4 ,instead of bringing ,ingres a more complete victory than his 8,homer10 it brought him an unexpected check4 ,to us1 living as we do in a perfect anarchy of taste1 it is rather difficult to understand why this picture should have scandalised and alarmed the artists and public of the time4 ,the artist was accused of exaggeration1 of an abuse of power4 ,since ,michael ,angelo they had never seen in painting such muscles as those of the arms and legs of the lictors who are taking the saint to his place of torture4 ,the whole effect1 ,ingres' critics said1 was forced and improbable4 ,they did not understand that the artist had deliberately intended to force the contrast between the bestiality of the murderers and the moral superiority of their victim4 ,in spite of its want of atmosphere and other shortcomings1 the picture is a moving and impressive one4 ,there is nothing vulgar in those too robust figures4 ,the face of the young martyr1 illuminated with faith1 and the fanatical exaltation of the mother1 form the two moral centres of the drama4 ,between them the curiosity and emotion of the crowd are divided4 ,some gaze in stupor at this woman who sends her son to torture4 ,they do not understand that she sees him already in glory1 crowned with celestial beatitudes4 ,others are indignant with her1 like the young man who picks up a stone to throw at her1 or like the soldier behind the centurion who turns towards her a face full of astonishment and irritation4 ,a young woman presses her child in her arms in shuddering protestation4 ,others look at the man who is about to die for his faith4 ,their sentiments oscillate between hostility1 compassion1 indifference1 and horror4 ,the women are grieved4 ,an old man takes his head in his hands1 confounded by such inconceivable folly4 ,and1 dominating them all1 the centurion on horseback gives the order to march to the place of execution4 ,the learned construction of such a crowded scene1 the nobility and expressiveness of the figures1 the fine treatment of drapery1 the virile energy of the drawing1 the sober and restrained colouring1 and1 above all1 that indefinable beauty which genius stamps on all its creations1 might well have silenced the adverse criticisms with which the artists and the public assailed this picture4 ,ingres suffered from these criticisms to a quite unreasonable extent4 8,i do not belong to this apostate century10 he exclaimed4 ,he could not understand people's objections1 nothing could console him1 and he cursed his epoch and the injustice of the public4 ,he swore he would never exhibit at the ,salon again4 ,he wished to flee from ,paris4 ,he accepted as a deliverance the appointment of ,director of the ,academy of ,france in ,rome1 shut his studio1 dismissed his pupils1 and with an indignant and bitter spirit he quitted ,paris again for the ,eternal ,city4 ,illustration3 ,,plate ,,vii4--,,le ,,duc ,d',,orl,,ans 7,muse de ,versailles7 ,this grave and dignified portrait of the ,duke of ,orleans was ordered by the ,king in #ahdb4 ,it is remarkable for the minuteness and care with which all the details of the uniform and the accessories are rendered4 ,but if ,ingres doubted of human justice1 he never doubted about his art4 ,he devoted himself to it with renewed passion and enthusiasm4 8,the day ,i quitted ,paris10 he wrote to one of his friends1 8,i broke for ever with everything that has to do with the public4 ,henceforth ,i will paint entirely for myself4 ,i belong at last to myself1 and ,i will belong only to myself40 ,but1 as a fact1 neither ,ingres' influence nor prestige suffered from the want of success of his 8,st4 ,symphorian40 ,as director of the ,french ,academy at ,rome he remained the guide1 counsellor1 and example of all the young talents of his time4 ,his proud ideal could not fail to attract the enthusiasm of his younger contemporaries4 ,his teaching and example were helpful to others besides the painters4 ,what was essential in his doctrines was applicable to all the arts3 to music1 which moved him so profoundly2 and to sculpture--for did he not use his pencil and brush like a chisel8 ,official favour also followed him in his angry retreat4 ,the ,duke of ,orleans ordered a small historical picture from him1 which gave him an immense deal of trouble but was at the same time a source of glorious compensation4 ,he produced 8,stratonice10 one of the most successful of his works4 ,the tragedy of which ,stratonice was the heroine had haunted his imagination for years4 ,he had meditated long on the subject1 but had always conceived the picture on a large scale4 ,unfortunately1 the picture had to be the same size as ,paul ,delaroche's 8,death of the ,duke of ,guise10 to which it was to serve as pendant1 and ,ingres was constrained to transform his grandiose conception into a miniature4 ,ingres took six years to paint what he called his 8grand historical miniature40 ,and it is to be somewhat regretted that in his anxiety for archological exactitude he invited the collaboration of the architect ,hittorf4 ,hittorf was full of his rather excessive theories about the polychromatic architecture of the ancients4 ,he imposed his ideas so completely on the unfortunate artist that he was permitted to paint the background of the picture4 ,hence the debauch of local colour1 of coloured mosaics and bronzes1 which threatens almost to swamp the figures4 ,and what is worse1 later archologists have not failed to discover flaws in the pedantic architect's too insistent details--strange anachronisms like that of placing well-known ,pompeiian frescoes on the walls of the palace of ,antiochus1 together with motives borrowed from ,greek vases at least four hundred years earlier in date4 ,the example of this picture has had an important effect on the ,french school4 ,but in spite of these defects1 the picture imposes itself on the imagination4 ,the hopeless tragedy of the situation is admirably expressed without a trace of theatrical exaggeration4 ,we see a young man1 suffering from a grave and mysterious malady1 extended upon his bed of suffering4 ,the physician called in by his despairing father stands beside him and examines him4 ,the father himself1 overcome with grief1 bows his head over his son's couch4 ,at this moment in the chamber of death a young woman enters4 ,she is young1 charming1 and melancholy4 ,she is the second wife of the heart-broken father1 the mother-in-law of the dying son4 ,and as she walks through the room with languishing steps the physician guesses the horrible truth4 ,the man on the bed is dying of love4 ,by signs which cannot deceive him1 the man of science has divined the dreadful passion of the son for his father's wife4 ,such was1 in fact1 the history of ,stratonice4 ,the second wife of ,seleucus ,nicanor was loved by ,antiochus1 the king's son by his first marriage4 ,the doctor1 ,erasistratus1 having surprised this secret1 declared that the young man would certainly die if ,stratonice was not given to him1 and his father's love was great enough to enable him to make this sacrifice4 ,no other artist than ,ingres could have placed this poignant drama on canvas without exciting ridicule4 8,stratonice0 was exhibited by the ,duke of ,orleans in one of the galleries of the ,pavilion of ,marsan1 and the public were freely admitted to see it4 ,all the visitors were enchanted with it4 ,the dramatic character of the subject was not displeasing to the ,parisian public1 and the artists admired the delicate taste1 the pathetic grace1 and the impeccable style of the workmanship4 ,above all1 the charm of the svelte and supple figure of the heroine1 her head bowed under the weight of her culpable beauty1 touched all hearts4 ,another small picture1 known indifferently as 8,the ,odalisque with the ,slave0 or the 8,small ,odalisque10 was finished about the same time as the 8,stratonice40 ,this was painted for the artist's friend ,m4 ,marcotte1 but is now in the ,louvre4 ,in the 8,odalisque0 as in the 8,stratonice0 we find a profusion of the details dear to ,hittorf1 but the figure of the beautiful ,circassian curled up on the rich carpet of the harem is a masterpiece of plastic form4 ,in this lovely body the artist has symbolised something of that perverse melancholy1 that dangerous voluptuousness1 which has found such moving expression in some of ,baudelaire's poems4 99 99 99 99 99 ,in the spring of #ahda ,ingres returned to ,paris4 ,he found his reputation increased by the success of the 8,stratonice40 ,his brother artists hailed him as their leader4 ,a banquet was offered to him by all the artists present in the capital1 painters1 sculptors1 and architects1 the only prominent absentee being ,eugne ,delacroix1 the leader of the ,romantics4 ,delacroix did not wish to participate in the triumph of his rival1 and this triumph1 so unanimously accorded1 only served to widen the breach between the two masters4 ,henceforth the struggle between them became more bitter4 ,each party pursued the other without mercy1 neither disdaining to use any kind of weapon that came to hand4 ,fortified by the homage offered to him1 ,ingres returned to his work with renewed ardour4 ,the ,king asked him to paint a portrait of the ,duke of ,orleans1 and ,ingres1 grateful for the ,duke's kindness with regard to the 8,stratonice10 took much more pains over this portrait than he usually took with commissions of this kind4 ,this was the last male portrait that ,ingres painted1 with the exception of a small monochrome medallion of the ,prince ,jrme ,napolon1 which he executed in #ahee4 ,but1 on the other hand1 he became the favourite painter of the exalted dames of the ,monarchy of ,july and of the ,second ,empire1 though very much against his will1 for he regarded portrait-painting as a waste of time1 and wished to devote himself entirely to his grand historical and religious compositions4 ,nevertheless1 he painted some fine portraits of beautiful women--,madame d',haussonville in #ahde1 ,madame ,frdric ,reisat in #ahdf1 ,madame ,james de ,rothschild in #ahdh1 ,madame ,gonse and ,madame ,moitessier in #aheb1 the ,princess de ,broglie in #ahec1 a second half-length portrait 7the first was a full-length7 of ,madame ,moitessier in #ahef1 and finally1 in #ahei1 that of his second wife4 ,illustration3 ,,plate ,,viii4--,,jeanne ,d',,arc 7,in the ,louvre7 ,the picture of 8,joan of ,arc assisting at the ,consecration of ,charles ,,vii4 in the ,cathedral of ,reims0 was painted for the gallery of ,versailles1 but is now in the ,louvre4 ,it is signed 8,j4 ,ingres1 #ahed40 ,the figure1 the maid's squire1 standing immediately behind the kneeling priest1 is said to be a portrait of the artist himself4 ,soon after the portrait of the ,duke of ,orleans was finished he received another royal commission1 the 8,jesus among the ,doctors10 which the ,queen ,marie-,amlie wished to present to the ,chteau de ,bizy4 ,the work1 badly conceived at the beginning1 was still unfinished when the ,revolution drove from ,france the patroness who had commissioned it4 ,it remained almost forgotten in a corner of the artist's studio till #ahfb1 when ,ingres decided to finish it and present it to the museum of his natal city4 ,of all ,ingres' productions1 it is perhaps the only one where the inspiration and execution both seem feeble4 ,while he had been still in ,rome1 in #ahci1 ,ingres had received from the ,duc de ,luynes a commission to decorate the great room at the ,chteau of ,dampierre with two large mural paintings representing 8,the ,age of ,gold0 and 8,the ,age of ,iron40 ,he was delighted with the commission1 as he was always dreaming of reviving the great traditions of decorative painting4 ,he made numberless studies for these subjects1 many of them among the most beautiful of his drawings4 ,but as the painting had to be done actually on the walls at ,dampierre1 the work progressed very slowly4 ,years flew by1 and the artist's enthusiasm cooled4 ,the noble ,duke and the sensitive and proud painter could not get along well under the same roof4 ,ingres thought himself slighted on one occasion 7in #ahej7 and brusquely threw up the commission1 leaving his work unfinished4 ,there exists of this gigantic work only a sketch at ,dampierre1 an infinite number of drawings at the ,museum of ,montauban1 and a little painting executed from these drawings in #ahfb1 a very feeble representation of what the definitive work would have been4 ,as for 8,the ,age of ,iron10 we have only the preliminary studies4 99 99 99 99 99 ,as if to revenge himself for the loss of his promised masterpiece1 ,ingres now took up again a number of the works he had sketched in his youth and set himself to finish them or repaint them4 ,he also busied himself painting replicas of others which had passed out of his hands but with which he was not entirely satisfied4 ,he painted thus a repetition of the 8,apotheosis of ,homer10 adding a number of fresh figures and substituting others for some of the poets and artists of his first choice4 ,after much anxious reflection and discussion with his pupils1 he decided to banish ,shakespeare1 as he had already banished ,goethe1 from the group of the immortals4 ,he also painted replicas of his 8,sistine ,chapel10 of 8,roger delivering ,angelica10 and variations of his 8dipus0 and 8,stratonice40 ,he also painted four or five slightly different versions of the figure of the ,virgin in his early picture of the 8,vow of ,louis ,,xiii40 ,one of these developed into a picture of 8,the ,virgin between ,st4 ,nicholas and ,st4 ,alexander0--a subject the ,emperor of ,russia had asked him to treat4 ,we find another version of the same type in 8,the ,virgin with the ,host10 which forms one of our illustrations4 ,in no other work of ,ingres is his passionate admiration of ,raphael more clearly displayed4 ,one of the new works which caused the liveliest sensation was 8,the ,birth of ,venus0 or 8,venus ,anadyomene40 ,this had been begun forty years before1 at the time of the early 8,bathers0 and 8,odalisque40 ,the beautiful white body of the goddess detaches itself from the harmonious blue of the sea and sky1 and groups of amorini flutter round and caress her youthful form4 ,one of these delicious attendants offers her a mirror1 another kisses the feet of the young goddess1 while a third embraces her knees4 ,it would be difficult to imagine anything more graciously tender or more natural than the infantile figures4 ,the 8,venus ,anadyomene0 was finished in #ahdh2 in #ahea ,ingres painted his 8,jupiter and ,antiope10 and two years later he painted his 8,apotheosis of ,napoleon ,i410 a large subject for the decoration of one of the ceilings of the ,htel de ,ville1 at ,paris4 ,this was unfortunately destroyed by fire in the troubled days of the ,commune in #ahga4 ,in #ahed his 8,joan of ,arc assisting at the ,consecration of ,charles ,,vii40 was painted for the gallery of ,versailles4 ,we have now reached the last years of the artist's laborious life4 ,they were as busy as his earlier years1 but they were crowned with honour and glory4 ,in #ahee all ,europe flocked to ,paris to see the ,universal ,exhibition4 ,the life-work of ,ingres was gathered together in a special gallery4 ,it produced an immense impression4 ,all criticisms of detail fell before the magnificent affirmation of the artist's individual ideal4 ,one of the grand medals was given to him by the unanimous votes of the artists1 and the ,emperor made him an officer of the ,legion of ,honour4 ,then1 in the following year1 as if to crown his career by the evocation of a supreme masterpiece1 ,ingres finished the 8,source10 a subject which had been begun at the same time as the 8,venus ,anadyomene40 ,this beautiful figure was not a passing vision which had animated the brush of the aged painter2 it was indeed the daughter of his dreams1 an emanation of his own soul1 the slow growth of long meditations1 and which1 at last1 incarnated itself in an immortal form4 ,this calm and adorable figure seems a souvenir of our long-lost innocence4 ,that is perhaps why we love it so1 and why we bless the artist to whom we owe this divine dream4 ,ingres died in #ahfg4 ,he had finished his task1 had spoken the last word of his austere but profoundly human genius4 99 99 99 99 99 ,ingres has been spoken of as an ancient ,greek lost and bewildered in our modern times4 ,such a view of his character is misleading4 ,like all the great creators1 he expressed the aspirations of his race and his times4 ,he was not only the child of his century and his country1 but he represented them both in their classic reaction and in their impulse towards ,romanticism4 ,but the two tendencies were so nicely balanced in his temperament that he offended the extremists of both parties4 ,he paid in his lifetime for his detachment from parties1 for his exalted aims and sublime courage1 but he reaps his reward from posterity4 ,the creator of the immortal figures of dipus1 the ,odalisque1 ,angelica1 ,stratonice1 and the ,source to-day takes unquestioned rank among the great masters not only of ,french but of ,european art4 ,,bibliography ,the authoritative ,french accounts of ,ingres' life and work 7from which the foregoing sketch has been compiled7 are3-- ,comte ,henri ,delaborde4--,ingres1 sa vie1 ses travaux1 sa doctrine 7#ahgj74 ,charles ,blanc4--,ingres 7#ahgj74 ,henry ,lapauze4--,l'uvre de ,ingres 7in 8,melanges sur l',art ,franais10 #aije74 ,jules ,mommja4--,ingres 78,les ,grands ,artistes0 series74 ,t4 de ,wyzewa4--,l'uvre peint de ,jean-,dominique ,ingres 7#aijg74 ,boyer d',agen4--,ingres d'apres une ,correspondence indite 7#aiji74 ,the plates are printed by ,,bemrose ,,sons1 ,,ltd41 ,derby and ,london ,the text at the ,,ballantyne ,,press1 ,edinburgh