It was on the occasion of this 1827 Salon that the terms "Romanticism" and "Romanticists" first came into general use. Their exact definition is not an easy matter. Broadly speaking, the romantic movement in literature, music, and painting signifies the accentuation of human emotions and passions in art, as opposed to the classic ideal of purity of form. Delacroix himself did not wish to be identified with any group or movement, but in the eyes of the public he stood as the leader of the Romanticists in painting, just as Victor Hugo, with whom he had but little sympathy, did in literature. ===================================================================== PLATE IV.--THE CRUCIFIXION (In the Louvre) This small panel, which forms part of the Thomas Thiery bequest to the Louvre, is a picture of precious quality and soft colouring, painted for his friend, Mme. de Forget, who had exercised her influence in official quarters when Delacroix endeavoured to obtain the post of director of the Gobelins manufactory. It was painted in 1848. There are numerous replicas in existence. [Illustration: PLATE IV.--THE CRUCIFIXION] ===================================================================== Delacroix's "Sardanapalus" led to humiliations that he felt more keenly than the abuse showered upon him by the Press. He was sent for by Sosthene de la Rochefoucauld, then Director of the Beaux-Arts, to be advised in all seriousness to study drawing from casts of the antique, and to change his style if he had any aspirations to official encouragement. The threat had no effect upon a man of Delacroix's strength of conviction. He yielded never an inch. He continued to follow the promptings of his artistic conscience which permitted no concessions, no compromise. During the very next year, in spite of De la Rochefoucauld's threat, the State commissioned from him the painting of "The Death of Charles the Bold at the Battle of Nancy" (now at the Nancy Museum). The picture was not finished and exhibited before 1834, when this magnificently conceived scene of wild conflict under a threatening winter sky--so different from the grandiloquous style of the painters of the Napoleonic epopee--met with the usual chorus of disapprobation for being historically incorrect, "as bad as could be in drawing," "incredibly dirty in colour"--the horses bad as regards anatomy, the sky impossible!