Moderation the watchword of Louis Philippe's reign, in politics, literature, and art.--Jean Gigoux, a follower of Delacroix and an inexorable realist.--Eugène Isabey.--Middle position occupied by Ary Scheffer between the Classical and the Romantic schools; decline of his popularity.--Hippolyte Flandrin, as a religious painter a French counterpart to the Nazarenes.--Paul Chenavard, compared to Cornelius.--Théodore Chassériau; his short and brilliant career.--Léon Benouville.--Léon Cogniet and his pictures.--Transition from the Romantic school to the historical painters.--The great writers of history: renewed activity in this field: historical tragedies and romances.--Art takes a similar course: popularity and facility of historical painting.--Eugène Devéria; Camille Roqueplan.--Nicolaus Robert Fleury; Louis Boulanger.--Paul Delaroche; his popularity and its causes; his defects as a painter.--Delaroche's pictures.--Thomas Couture 255 CHAPTER XII THE POST-ROMANTIC GENERATION France under the Second Empire; the society of the period not represented in French art.--Continuation of the old traditions without essential change.--Alexandre Cabanel.--William Bouguereau.--Jules Lefébure.--Henner.--Paul Baudry: his pictures; decoration of the Grand Opera House.--Élie Delaunay: his pictures, decorative painting, and portraits.--The "Genre féroce"; predilection for the horrible in art.--Numerous painters of this school.--Laurens.--Rochegrosse and his pictures.--Henri Regnault 278 CHAPTER XIII THE HISTORICAL SCHOOL OF PAINTING IN BELGIUM Belgium to 1830.--David and his school.--Navez, Matthias van Bree.--Gustav Wappers, Nicaise de Keyzer, Henri Decaisne, Gallait, Bièfve.--Ernest Slingeneyer, Guffens and Swerts.--The Exhibition of Belgian pictures in Germany 301 CHAPTER XIV THE REVOLUTION OF THE GERMAN COLOURISTS Anselm Feuerbach, Victor Müller.--The Berlin school: Rudolf Henneberg, Gustav Richter, Knille, Schrader, and others.--The Munich school: Piloty, Hans Makart, Gabriel Max.--The historical painters and the end of the illustrative painting of history 317 CHAPTER XV THE VICTORY OVER PSEUDO-IDEALISM The Historical Picture of Manners as opposed to Historical Painting, an advance in the direction of intimacy of feeling.--The Antique Picture of Manners: Charles Gleyre, Louis Hamon, Gérôme, Gustave Boulanger.--The Picture of Costume from the sixteenth and seventeenth centuries.--France: Charles Comte, Alexander Hesse, Camille Roqueplan.--Belgium: Alexander Markelbach, Florent Willems.--Germany: L. v. Hagn, Gustav Spangenberg, Carl Becker.--The importance of Hendrik Leys, Ernest Meissonier, and Adolf Menzel as mediators between the past and ordinary life, between the heroic art of the first half of the nineteenth century and the intimate art of the second half 363