A most impressive picture is _Stratonice_ (Tribune), painted for the Duc d'Orléans, who desired it as a pendant for Delaroche's _Assassination of the Duc de Guise_. It was painted at the Villa Medici in Rome, where it aroused great enthusiasm. His princely patron generously gave him 63,000 francs for it, which was double the price agreed upon. Another greatly admired composition by him at Chantilly is a _Venus Anadyomène_, which bears close affinity to the famous _La Source_ in the Louvre. The genius of Paul Delaroche brings us into the nineteenth century. His style has been characterised as the _juste milieu_; for he neither affected the manner of the Neo-Classics nor did he lean too much toward the Romantics. Never was a cowardly and dastardly murder better depicted than in his treatment of the _Assassination of Henri, Duc de Guise_. The King, Henri III, pale and trembling, emerges from behind a curtain to gaze upon his slaughtered victim, whilst the hired assassins gloat over their ghastly deed. This picture, which hangs in the Tribune, was painted by Delaroche specially for the Duc d'Orléans. We now come to Eugène Delacroix, who, in company with Gericault, is considered as the pioneer of Romanticism. His _Capture of Constantinople by the Crusaders_ at Chantilly is a vividly composed representation of this important event. _The Two Foscari_ (Tribune) depicts one of the greatest tragedies in Venetian history. The Doge Francesco Foscari is shown to us sitting in judgment upon his own son, whom he is condemning to torture and banishment as a traitor to his country. The anguish of the son and the stern despair of the old father are suggested with wonderful skill. Delacroix's greatest efforts were, however, directed against the paralysing influences of Academism; and his paintings in the Palais Bourbon and in the Galerie d'Apollon in the Louvre prove him to have been the finest colourist of the later French School. Another artist of the Romantic School is Descamps, who is represented at Chantilly by no less than ten paintings and several water-colours. Amongst these a _Turkish Landscape_, painted during the artist's early period, is perhaps the most attractive. On one side of the picture all is mystery and darkness, whilst upon the other fall the rays of a golden sunset. The problems of light and shade, to which he devoted himself so earnestly up to the very end of his career, are here treated with great effect. The same idea pervades his painting of _Turkish Guards on their way from Smyrna to Magnesia_. A town with minarets is to be seen in the background; a dark blue sky flecked with luminous white clouds; camels and their riders; all breathing that dreamy oriental sensation which appealed to him so strongly, and which he was never weary of reproducing.