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"If I recollect aright," said Marian, taking up his bantering tone with a sharper irony, "Delaroche's martyr shewed a fine sense of the necessity of having her wrists gracefully tied. I am about to follow her example by wearing these bracelets, which I can never fasten. Be good enough to assist me, both of you."
He had been introduced to us by Kietz, who studied with him in Delaroche's studio. He was the very antithesis of Kietz in every way, and obviously endowed with less talent, yet he grappled with the task of acquiring the art of oil-painting in the shortest possible time under difficult circumstances with an industry and earnestness quite out of the common.
"The Young Princes in the Tower," "The Execution of Marie Antoinette," "The Death of Queen Elizabeth," "Cromwell viewing the Body of Charles I." these were the kind of pictures on which Delaroche loved to employ himself. Millet, on the other hand, though also full of dignity and pathos, together with an earnestness far surpassing Delaroche's, did not care for these lofty subjects.
Delaroche's "Hemicycle" and his many historical tableaux are surely in the classic vein, however free they may seem in subject and treatment by contrast with the works of David and Ingres. They leave us equally cold, at all events, and in the same way for the same reason. They betray the painter's preoccupation with art rather than with nature.
Minna was even kind enough to help my sister with her luxurious shopping, and we were very anxious not to make them think we wanted to rouse their pity. In return my sister introduced me to an extraordinary friend of hers, who was destined to take a great interest in me. He had now been working in Delaroche's studio for about a year.
"The Young Princes in the Tower," "The Execution of Marie Antoinette," "The Death of Queen Elizabeth," "Cromwell viewing the Body of Charles I." these were the kind of pictures on which Delaroche loved to employ himself. Millet, on the other hand, though also full of dignity and pathos, together with an earnestness far surpassing Delaroche's, did not care for these lofty subjects.
Delaroche's pupils were working all together in friendly competition for the grand Roman prize which was to give the fortunate one the right to four years' study in Rome at the expense of the state. Gérôme's studio was shared by his friends Picou and Hamon.
"When I was a little boy, Marian," he said, gazing at her, "I used to think that Paul Delaroche's Christian martyr was the most exquisite vision of beauty in the world. I have the same feeling as I look at you now." "Marian reminds me of that picture too," said Conolly.
However it came about whether his own interest in the antique life communicated itself to his fellows, or whether they, all together, simply shared in the interest taken in the subject by the world about them Gérôme and some of his companions in Delaroche's studio showed such a predilection for classic themes, that they were nicknamed by the critics "The New Greeks."
An hour may profitably be spent on Sundays strolling through the rooms viewing the interesting collection of casts and reproductions of masterpieces of painting by the pupils of the school. Delaroche's famous Hemicycle, representing the great artists of every age, seventy-five figures larger than life, will be found in the theatre of the Musée des Antiquités entered from the second courtyard.
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