This is the great picture with which Delacroix, then twenty-four years of age, made his debut at the Salon of 1822. The dramatic power of the central group and the frenzied movement and superb modelling of the nude figures clinging to the boat, caused an immense sensation with a public accustomed to the frigid classicism of the David School. Unfortunately the picture is now badly cracked and discoloured, probably owing to the use of bituminous pigment, which Delacroix only discarded at a later period. [Illustration: PLATE VI.--DANTE AND VIRGIL] ===================================================================== Whether it be due to his unshaken perseverance on the path he had chosen from the very outset, or to the waning interest caused by the wearing off of the novelty, Delacroix's art was now more readily accepted, or, at any rate, discussed without the bitterness of the early attacks. Nevertheless, even now, and indeed to the end of his life, he could only obtain wretched prices for his pictures, and the Academy remained implacably hostile, until the special collection of his principal works at the International Exhibition of 1855 brought him at last that general public applause that had till then been denied to him. Delacroix himself showed no bitterness to the Academy, and presented himself time after time for election, his claims being invariably couched in terms as modest as they were dignified. His first attempt was in 1837, when the votes were cast in favour of Schnetz. Two vacancies occurred in 1838, and on both occasions Delacroix knocked at the doors of the Academy, but Langlois and Couder were preferred to him. His next attempt was in 1849, when Cogniet secured the majority of votes. When he presented himself again in 1853, insult was added to injury, his very candidature being refused! Time has avenged the wrong; the names of Schnetz, Langlois, Couder, and Cogniet are all but forgotten, whilst Delacroix has become immortal. Encouraged by his triumph at the Universal Exposition of 1855, Delacroix presented himself for the sixth time when the next vacancy arose in 1857, and this time his perseverance at last found its reward--he was elected just before he entered upon the seventh decade of his life. But even now he was denied peaceful enjoyment of his tardy success. His next contributions to the Salon, in 1859, led to a renewed outburst of vituperative criticism and abuse, and this time Delacroix was hurt to the quick. He decided not to expose himself in future to the gibes of his detractors, and for the remaining four years of his life, although continuing his artistic activity to the very end, refrained from contributing to public exhibitions.