Now, it is not simply by contrast with that pompous, declamatory, formal, and frigid painter against whom he revolted, that Ingres is a realist, but because he actually did draw his inspiration from reality, because he infused into his work the breath of life. His seeming coldness arises from the fact that it was through line alone that he sought for expression, reducing color to a subordinate rôle. The uniformity of which he is accused, as if he had made use of some one established mold, springs from the loftiness of his style. But his drawing, like his style, even in attaining the very acme of natural beauty, never deviates from the domain of truth, and invariably derives its inspiration from life itself. This is the case even with those celebrated canvases from which he seems to have voluntarily excluded all soul, in order that its everlasting restlessness, its turmoil, and its passion should not disarrange the grand harmony of the composition, those canvases in which his brush-work has the sharp precision of a chisel, and in which his art resembles sculpture almost more than painting. Even in these works, notwithstanding the superficial aspect of rigidity and immobility which strikes the eye, there is perceptible a conscientious submission to nature, and to truth. It was voluntarily and for a definite esthetic end that Ingres eliminated movement and color, so that line and attitude--in other words, all that which in human beauty least stirs the emotions and appeals most directly to the mind--might reign supreme. "Serenity," he used to say, "is to the body what wisdom is to the soul." Color possesses in itself resources which he despised as if they had been shams. To compose a picture for effect, to select some ingenious or powerful motive and offset it by a symphony of tones, seemed to him beneath the dignity of art. That is why he denounced Delacroix. To make use of light in a similar way, to dazzle the eye by astonishing effects of chiaroscuro, to bewilder the sight as an orchestra stuns the ear with the clangor of its brass, by breaking black shadows with vivid lights, was in his opinion artistic disloyalty. That is why he placed but a low estimate upon Rembrandt. To use color as if it were something plastic, to paint with what is called a "full brush," with exaggerated high lights, loaded paint, glazings, and visible brush-strokes, was to him blasphemous. That is why he did not assign a high rank to the Venetians--with the exception of Titian.