The learned construction of such a crowded scene, the nobility and expressiveness of the figures, the fine treatment of drapery, the virile energy of the drawing, the sober and restrained colouring, and, above all, that indefinable beauty which genius stamps on all its creations, might well have silenced the adverse criticisms with which the artists and the public assailed this picture. Ingres suffered from these criticisms to a quite unreasonable extent. “I do not belong to this apostate century,” he exclaimed. He could not understand people’s objections, nothing could console him, and he cursed his epoch and the injustice of the public. He swore he would never exhibit at the Salon again. He wished to flee from Paris. He accepted as a deliverance the appointment of Director of the Academy of France in Rome, shut his studio, dismissed his pupils, and with an indignant and bitter spirit he quitted Paris again for the Eternal City. [Illustration: PLATE VII.--LE DUC D’ORLÉANS (Musée de Versailles) This grave and dignified portrait of the Duke of Orleans was ordered by the King in 1842. It is remarkable for the minuteness and care with which all the details of the uniform and the accessories are rendered.] But if Ingres doubted of human justice, he never doubted about his art. He devoted himself to it with renewed passion and enthusiasm. “The day I quitted Paris,” he wrote to one of his friends, “I broke for ever with everything that has to do with the public. Henceforth I will paint entirely for myself. I belong at last to myself, and I will belong only to myself.” But, as a fact, neither Ingres’ influence nor prestige suffered from the want of success of his “St. Symphorian.” As director of the French Academy at Rome he remained the guide, counsellor, and example of all the young talents of his time. His proud ideal could not fail to attract the enthusiasm of his younger contemporaries. His teaching and example were helpful to others besides the painters. What was essential in his doctrines was applicable to all the arts: to music, which moved him so profoundly; and to sculpture--for did he not use his pencil and brush like a chisel? Official favour also followed him in his angry retreat. The Duke of Orleans ordered a small historical picture from him, which gave him an immense deal of trouble but was at the same time a source of glorious compensation. He produced “Stratonice,” one of the most successful of his works.