In the early part of the eighteenth century JOSEPH MARIE VIEN (1716-1809) returned to the classic style of painting, and created a feeling against the pretty manner which had been the chief feature of French pictures for some time. His pictures are very numerous in the churches and galleries of Paris. He was not a great painter, but he marks a change in the spirit of French painting. Vien was the teacher of JACQUES LOUIS DAVID (1748-1825), who was considered the first painter in modern art at the close of the eighteenth century. He was so devoted to the classic style that he took the remains of ancient art as models for the figures in his pictures. His groups are like groups of statues, and his flesh looks like marble, it is so hard and lifeless. During the time of the first Napoleon this style was carried to excess in everything connected with the arts. David was such a favorite with the emperor that after the return of the Bourbons he was banished, and his family were not allowed to bury him in France. He lived in Brussels, and executed many of his best pictures there. [Illustration: FIG. 68.--THE SABINE WOMEN. _David._] ANTOINE JEAN GROS (1771-1835) was a great admirer of David, and first attracted attention in 1801 by a picture of "Bonaparte on the Bridge of Arcola." After this Gros painted many such works, and principally represented military events. Many of his pictures are very coarse. The "Plague at Jaffa" and the "Field of Eylau" are of this type, and the first is disgusting. Among his best works is "Francis I. and Charles V. visiting the Tombs at St. Denis." But although he received many honors, and was made a baron by Charles X., he could not bear the criticism which was made upon his pictures, and finally drowned himself in the Seine near Meudon. PAUL DELAROCHE (1797-1856) was born at Paris, and studied under Baron Gros. He became a celebrated artist and was made a member of the Institute of France, a Professor in l'Ecole des Beaux-Arts, and an officer of the Legion of Honor. His principal works represent scenes of important historical interest, and he so arranged them that they appeal to one's sympathies with great power. Among these pictures are the "Condemnation of Marie Antoinette," the "Death of the Duke of Guise," "Cromwell Contemplating the Remains of Charles I.," and other similar historical incidents. His design was according to academical rules; but he was not entirely conventional, and in some of his religious pictures there was much expression and deep feeling. [Illustration: FIG. 69.--DEATH OF THE DUKE OF GUISE. _Delaroche._]