Two little stories of a Prodigal Son and his too late return, on either side of the doorway, with their violent theatrical passion and their excessive expression of impossible emotion, illustrate well this nascent tendency. They are attempts to feel where feeling was not really present. _David’s_ Paris and Helen introduces us, on the other hand, to the beginnings of the cold classicism which prevailed under the Empire. In order to continue the chronological examination of the French School the visitor must now return to the Salon Carré and traverse the vulgarly ornate Galerie d’Apollon by its side (which contains objects of more or less artistic interest in the precious metals and precious stones, many of which, especially those in the two last cases, deserve careful inspection. A morning should, if possible, be devoted later to this collection). A short connecting room beyond (with gold Etruscan jewelery) gives access next to the =Salle des Sept Cheminées=, which contains many stiff but excellent works of the period of the =Empire=. The most noticeable of these are by _David_, whose formal classicism (a result of the revolutionary revolt from Christianity, with its reliance upon Greek, and still more Roman, morality and history) is excellently exemplified in his large picture of the =*=Sabine Women Intervening between their Husbands and their Fathers. This is considered his masterpiece. Its frigid style, not very distantly resembling that of a bas-relief, and its declamatory feeling do not blind us to the excellence of its general technique and its real advance on the art of the 18th century. _David_ imitated the antique, but was always sculpturesque rather than pictorial in treatment. Among other fine examples of this =classic period=—the transitional stage between the 18th century and the distinctively modern spirit—attention may be called to _Gérard’s_ Cupid and Psyché, and to his fine portrait of the Marquis Visconti. =*_Mme. Lebrun’s_= charmingly animated portrait of Mme. Molé-Raymond, the comedian, is full of real vigour. Two good portraits by _David_, of himself and Pius VII, deserve close inspection. _Gros’s_ Bonaparte at Arcola, is also interesting. =_Mme. Lebrun’s_= earlier portrait of herself and her daughter is less beautiful than the one we have already examined. Several military portraits, such as Gros’s Fournier-Sarlovèze, reflect the predominant militarism of the epoch. _David’s_ huge canvas of the Coronation of Napoleon I in Notre-Dame is typical of another side of the great artist’s development. Gradually, the frigidity of the early revolutionary period gave way to the growing =romanticism= of 1830. _Géricault’s_ Raft of the Medusa (sighting a sail after twelve days out), strikes the first keynote of the modern romantic movement. It created a great sensation in its own day, and gave rise to endless discussion and animadversion. It marks the advent of the =emotional= in modern art.