French art was then, as art usually is, the mirror of its time, reproducing such imaginative feeling as society could muster. When the Republic and the Empire came, and twenty years of battle and siege, then the art of the previous generation fell into a degree of contempt for which there is hardly a parallel. Pictures that had been the delight of the town and had brought fortunes to their painters, rotted on the quays or were sold for a few pence at low auctions. Fragonard, who had been the darling of his age, died in neglect and beggary. David and his hideous art of the Empire utterly effaced what had thrown the contemporaries of Diderot into rapture.[27] Every one knows all that can be said against the French paintings of Diderot's time. They are executed hastily and at random; they abound in technical defects of colour, of drawing, of composition; their feeling is light and shallow. Watteau died in 1721--at the same premature age as Raphael,--but he remained as the dominating spirit of French art through the eighteenth century. Of course the artists went to Rome, but they changed sky and not spirit. The pupils of the academy came back with their portfolios filled with sketches in which we see nothing of the "lone mother of dead empires," nothing of the vast ruins and the great sombre desolate Campagna, but only Rome turned into a decoration for the scenes of a theatre or the panels of a boudoir. The Olympus of Homer and of Virgil, as has been well said, becomes the Olympus of Ovid. Strength, sublimity, even stateliness disappeared, unless we admit some of the first two qualities in the landscapes of Vernet. Not only is beauty replaced by prettiness, but by prettiness in season and out of season. The common incongruity of introducing a spirit of elegance and literature into the simplicities of the true pastoral, was condemned by Diderot as a mixture of Fontenelle with Theocritus. We do not know what name he would have given to that still more curious incongruity of taste, which made a publisher adorn a treatise on Differential and Integral Calculus with amusing plates by Cochin, and introduce dainty little vignettes into a Demonstration of the Properties of the Cycloid. [27] Goncourt's _L'Art au 18ieme Siecle_, i.