The less admirable side of Ingres’s talent is illustrated by the circular composition of the _Virgin of the Host_ (No. 416), a crude scheme of “Sassoferrato blue” and red, on entirely conventional lines; and by the _Apotheosis of Homer_ (No. 417), a tame Raphaelesque design in which Homer is seen enthroned in the centre, with allegorical figures of the _Iliad_ and _Odyssey_ seated on the steps of the throne, and a winged goddess placing a laurel wreath on his head. To the left of the central group are the figures of Hesiod, Æschylus, Apelles, Raphael, Virgil, Dante, Tasso, Corneille, and Poussin; to the right, Pindar, Plato, Socrates, Alexander, Camoens, Racine, Molière, and Fénelon. There is a touch of the grotesque in the combination of rather mechanical dry portraiture with trite allegory that constitutes the design of the terribly cracked _Portrait of the Composer Cherubini_ (No. 418). His failings as a colourist are most aggressively obvious in the _Christ handing the Keys to St. Peter_ (No. 415). Ingres died in Paris on the 14th January 1867. [Illustration: PLATE XLVIII.—JEAN AUGUSTE DOMINIQUE INGRES (1780-1867) No. 422.—THE SPRING (La Source) A nude figure of a fair-haired young maiden stands facing the spectator, the background being formed by a perpendicular rock partly overgrown with clinging plants. She raises her right arm over her head to hold the foot of a tilted vase, the mouth of which is supported by her left hand, and from which issues a streamlet of water that falls into a pool at the base of the rock, in which are reflected the feet of the maiden. Signed on a stone on the left:—“INGRES, 1856.” Painted in oil on canvas. 5 ft. 5 in. × 2 ft. 7½ in. (1.65 × 0.80.)] DELAROCHE AND SCHEFFER Among the painters who were influenced by Delacroix, and whose name was associated with the Romanticist movement, none rose to greater fame than Paul Delaroche (1797-1856), a pupil of Gros, and the Dutchman Ary Scheffer (1795-1858), who, like Delacroix, studied under Guérin. But neither of these artists managed wholly to shake off the trammels of the academic tradition, and both became popular for the very reasons for which a more critical generation has denied them the right to figure among the world’s great artists: Delaroche for the theatricality of his historical anecdotes, of which _The Death of Queen Elizabeth_ (No. 216) and _The Princes in the Tower_ (No. 217) are typical examples; and Scheffer for the sickly sentimentality displayed in such pictures as _St. Augustine and St. Monica_ (No. 841).