In these pieces an artistic eye which was now inexorable, now tender and full of fancy, has looked on nature, and, in flowing pencil-strokes, has caught with spirit and with the certain touch of direct feeling the real fulness of life in what he saw. These drawings, especially the portrait of Paganini and "The Forestier Family," show that Father Ingres possessed not only a highly cultivated intelligence and an iron strength of will, not only the genius of industry, but also a heart, a genuine, warm, and fine-feeling heart; that he was in his innermost being by no means the cold academician, the stiff doctrinaire he appears in his large pictures, and which he became by his opposition to the Romantic school. Here we have an enchanter such as the Primitives were and the Impressionists are, like Massys and Manet, like Dürer and Degas, like all who have looked Nature in the face. And while these drawings, at once occasional and austere, place him as a draughtsman on a level with the greatest masters in the history of art, they also show him, the reactionary, to be at the same time a man of progress, the connecting link between the great art of the first half and the familiar art which rules over the second half of the nineteenth century. CHAPTER XI JUSTE-MILIEU As is usually the case, the heroes were succeeded by a generation less heroic and more practical. In this, art was in keeping with the deliberate and tranquil course of the state itself, which had fallen back again into the old groove, and with the homely, Philistine character assumed in the course of years by the citizen monarchy of the tricolour. The _bourgeoisie_ which had effected the Revolution of 1830 was soon appalled at its own temerity. Even in literature it inclined towards a temperate and lukewarm mediocrity. It was astonished to find itself admiring Casimir Delavigne. It found in Auber and Scribe its ideal of music and comedy, as in Guizot, Duchâtel, Thiers, and Odilon Barrot its ideal of politics. The intellectual exaltation which had gone before and followed after the Revolution of July had calmed down, and that which was to rise out of the Revolution of February was as yet latent. The same elder generation which had looked upon Napoleon Bonaparte's stony Cæsarian eye, when, like a god of war, unapproachable in his power he rode by at the head of his staff, now saw the Roi Citoyen, the long-exiled ex-school-master, homely and fond of law and order, as every day at the same hour he passed alone on foot and in plain clothes through the streets of Paris, the famous umbrella in his hand, rewarding each "Vive le Roi!" with a friendly smile and a grateful hand-shake. The umbrella became the symbol of this deedless monarchy, and the word "Juste-milieu," which Louis Philippe had once employed to indicate the course to be followed, became the nickname of all that was weak and without energy, lustreless and undignified, in the age. The