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Updated: June 15, 2025


This is an imitation, perhaps; as is a noble picture of "Jesus Christ and the Children," by Flandrin: but the artists are imitating better models, at any rate; and one begins to perceive that the odious classical dynasty is no more. Of this revolution, Monsieur Ingres has been one of the chief instruments.

He called M. Landrin M. Flandrin, and the gaiety became delirious. I was among those whom this gaiety made heavy at heart, for I seemed to hear the sobs of the people above these bursts of hilarity. During this uproar a list which was being covered with signatures and which bore an order of the day proposed by M. Dupont de l'Eure, was passed round the benches.

Marquet, with gifts equal to almost anything, is content, it seems, to remain a brilliant but superficial impressionist. Puy is a thoroughly sound artist, and so in a smaller way is Manguin. What has become of Chabaud, who was a bit too clever, and a little vulgar even? And what of Delaunay? And of Flandrin what has become of him?

Among the moderns, Corot's portrait of himself is one of the most memorable, but Fantin Latour, Flandrin, Leon Bonnat, and Lenbach are all strong and modest; which one cannot say of our own Leighton. Among the later English heads Orchardson's is notable, but Mr. Sargent's is disappointing.

Decamps, of whom I was a fanatical admirer, was just in his best period so too were Delacroix and M. Ingres; and all that pleiad of great artists, young then and in the full flush of their powers Leopold Robert, Horace Vernet, Delaroche, my own master Ary Scheffer, Flandrin, and the landscape painters Marilhat and Corot this last, in his first manner, dry and rectilinear, like that of Poussin.

"I will do my best," said Müller. "A thousand thanks. I will go now; for when I am gone he will be off his guard. You will find me in the den up to three o'clock. Adieu." Saying which, the stranger passed on, and went out. "That's Flandrin!" said Müller. "Really?" I said. "Flandrin! And you know him?"

Neither he nor his refined and sympathetic pupil, Flandrin, did aught to pave the way for the modern movement. Intimations of the shifting point of view are discoverable rather in a painter of far deeper poetic interest than either, spite of Ingres's refinement and Flandrin's elevation in Prudhon. Prudhon is the link between the last days of the classic supremacy and the rise of romanticism.

These were carefully measured and drawn by Baron Texier in 1835, and his work and that of MM. Flandrin and Coste are those from which the best information on this subject can be obtained. Persepolis is about 35 miles north-east of Shiraz, close to the main highway to Ispahan, at the foot of the mountain range which bounds the extensive plain of Nurdusht.

Something sufficiently interesting, at any rate, to give pause even to a critic in a hurry. His name must not go by unmarked. Flandrin was amongst the first to rebel against Impressionism against that impressionism, I mean, which remained implicit in post-impressionism. Resolutely he set his face against the prevailing habit of expressing an aspect of things, and tried hard to make a picture.

Examples of some of the greatest masters are here: Velasquez, Rembrandt, Rubens, Claude Lorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingres and Hippolyte Flandrin. Much might be said about these pictures, if space permitted, but they alone are worth making the journey from Paris or Couilly to see.

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