As compared with the principles thus laid down, Ingres represents the revulsion towards that formalism which had borne sway over the greater part of the history of French art. "Painting is nothing more than drawing," said Poussin. "Had God intended to place colour at the same height as form," wrote Charles Blanc, "He would not have failed to furnish His masterpiece, Man, with all the hues of the humming-bird." Once more, instead of the glowing colour of the Romantic school, absorbing the form into itself, the firm stroke of the outline was set forth; instead of its pathos, breathing forth passionate emotion, men returned to study the chill tranquillity of stone. Once more dramatic composition and mastery over movement were held in abhorrence, as incompatible with that pursuit of plastic beauty which was the highest goal of art. The only point in question was, how to avoid the one-sidedness of Classicism. David, as a child of the Revolution, had naturally been limited to Ancient Rome; but now that the legitimate monarchy had been re-established there was no reason why one should not revere, not only pagan, but also Christian Rome, and in Raphael and Michael Angelo the maturest blossom of the latter. Thus the Classical school was enriched by Ingres with features of greater vivacity. He entered into a direct relationship with the great Italian masters, while David had none save with the rigid Roman antique. By him the Classical severity of David was relaxed, the refractory sharpness of the outlines relieved by a treatment of form which had the effect of making every figure appear to be worked in metal. [Illustration: INGRES. BERTIN THE ELDER. (_By permission of M. Jules Bapst, the owner of the picture._)] Ingres was born in 1781, under the _Ancien Régime_. As a young man he lived through the triumphs of the Empire and the Classical school, and it was only natural that he should become David's pupil. In 1796 he entered his studio, and studied there with such assiduity that he never noticed what was taking place in that of Gros. When he went to Italy he studied there the masters whom his own teacher had arrogantly despised. He learned from the Cinquecento how to draw and model more accurately, more firmly, and at the same time with a more intimate grasp of the subject than was usual in the school of David. This innovation made him a progressive Classicist, and gave him, during the early years of the Restoration, almost the appearance of an assailant and revolutionary. Himself the incarnation of the academic spirit, he had to resign himself to see his first works rejected by the Salon, a fact which did not deter him from continuing to work obstinately at his easel. "_Je compte sur ma vieillesse; elle me vengea._" And this revenge was granted him in the fullest measure.