After the Restoration David, who had been a revolutionist, and then an adherent of Napoleon, was sent into exile; but the influence he had left and the school he had established were carried on by his contemporaries and pupils. Of the former Regnault (1754-1829), Vincent (1746-1816), and Prudhon (1758-1823) were the most conspicuous. The last one was considered as out of the classic circle, but so far as making his art depend upon drawing and composition, he was a genuine classicist. His subjects, instead of being heroic, inclined to the mythological and the allegorical. In Italy he had been a student of the Renaissance painters, and from them borrowed a method of shadow gradation that rendered his figures misty and phantom-like. They possessed an ease of movement sometimes called "Prudhonesque grace," and in composition were well placed and effective. Of David's pupils there were many. Only a few of them, however, had pronounced ability, and even these carried David's methods into the theatrical. Girodet (1766-1824) was a draughtsman of considerable power, but with poor taste in color and little repose in composition. Most of his work was exaggeration and strained effect. Lethiere (1760-1832) and Guerin (1774-1833), pupils of Regnault, were painters akin to Girodet, but inferior to him. Gerard (1770-1837) was a weak David follower, who gained some celebrity by painting portraits of celebrated men and women. The two pupils of David who brought him the most credit were Ingres (1780-1867) and Gros (1771-1835). Ingres was a cold, persevering man, whose principles had been well settled by David early in life, and were adhered to with conviction by the pupil to the last. He modified the classic subject somewhat, studied Raphael and the Italians, and reintroduced the single figure into art (the Source, and the Odalisque, for example). For color he had no fancy. "In nature all is form," he used to say. Painting he thought not an independent art, but "a development of sculpture." To consider emotion, color, or light as the equal of form was monstrous, and to compare Rembrandt with Raphael was blasphemy. To this belief he clung to the end, faithfully reproducing the human figure, and it is not to be wondered at that eventually he became a learned draughtsman. His single figures and his portraits show him to the best advantage. He had a strong grasp of modelling and an artistic sense of the beauty and dignity of line not excelled by any artist of this century. And to him more than any other painter is due the cultured draughtsmanship which is to-day the just pride of the French school.