Paul Baudry (1828-1886), though a disciple of line, was not precisely a semi-classicist, and perhaps for that reason was superior to any of the academic painters of his time. He was a follower of the old masters in Rome more than the _Ecole des Beaux Arts_. His subjects, aside from many splendid portraits, were almost all classical, allegorical, or mythological. He was a fine draughtsman, and, what is more remarkable in conjunction therewith, a fine colorist. He was hardly a great originator, and had not passion, dramatic force, or much sentiment, except such as may be found in his delicate coloring and rhythm of line. Nevertheless he was an artist to be admired for his purity of purpose and breadth of accomplishment. His chief work is to be seen in the Opera at Paris. Puvis de Chavannes (1824-[13]) is quite a different style of painter, and is remarkable for fine delicate tones of color which hold their place well on wall or ceiling, and for a certain grandeur of composition. In his desire to revive the monumental painting of the Renaissance he has met with much praise and much blame. He is an artist of sincerity and learning, and as a wall-painter has no superior in contemporary France. [Footnote 13: Died, 1898.] Hebert (1817-1908), an early painter of academic tendencies, and Henner (1829-), fond of form and yet a brushman with an idyllic feeling for light and color in dark surroundings, are painters who may come under the semi-classic grouping. Lefebvre (1834-) is probably the most pronounced in academic methods among the present men, a draughtsman of ability.