Gericault died early and left but a meagre product. Delacroix is _par excellence_ the representative of the romantic epoch. And both by the mass and the quality of his work he forms a true connecting link between the classic epoch and the modern--in somewhat the same way as Prudhon does, though more explicitly and on the other side of the line of division. He represents culture--he knows art as well as he loves nature. He has a feeling for what is beautiful as well as a knowledge of what is true. He is pre-eminently and primarily a colorist--he is, in fact, the introducer of color as a distinct element in French painting after the pale and bleak reaction from the Louis Quinze decorativeness. His color, too, is not merely the prismatic coloration of what had theretofore been mere chiaro-oscuro; it is original and personal to such a degree that it has never been successfully imitated since his day. Withal, it is apparently simplicity itself. Its hues are apparently the primary ones, in the main. It depends upon no subtleties and refinements of tints for its effectiveness. It is significant that the absorbed and affected Rossetti did not like it; it is too frank and clear and open, and shows too little evidence of the morbid brooding and hysterical forcing of an arbitrary and esoteric note dear to the English pre-Raphaelites. It attests a delight in color, not a fondness for certain colors, hues, tints--a difference perfectly appreciable to either an unsophisticated or an educated sense. It has a solidity and strength of range and vibration combined with a subtle sensitiveness, and, as a result of the fusion of the two, a certain splendor that recalls Saracenic decoration. And with this mastery of color is united a combined firmness and expressiveness of design that makes Delacroix unique by emphasizing his truly classic subordination of informing enthusiasm to a severe and clearly perceived ideal--an ideal in a sense exterior to his purely personal expression. In a word, his chief characteristic--and it is a supremely significant trait in the representative painter of romanticism--is a poetic imagination tempered and trained by culture and refinement. When his audacities and enthusiasms are thought of, the directions in his will for his tomb should be remembered too: "Il n'y sera place ni embleme, ni buste, ni statue; mon tombeau sera copie tres exactement sur l'antique, ou Vignoles ou Palladio, avec des saillies tres prononcees, contrairement a tout ce qui se fait aujourd'hui en architecture." "Let there be neither emblem, bust, nor statue on my tomb, which shall be copied very scrupulously after the antique, either Vignola or Palladio, with prominent projections, contrary to everything done to-day in architecture." In a sense all Delacroix is in these words. III