The founder of the modern or classical school of French painters. Pupil of Vien, with whom he passed several years in Italy. Returning to France in 1780, opened a school, which attracted many pupils. In 1784, paid a second visit to Italy, and on his return was hailed with the title of Regenerator of Art. Was now admitted into the Academy and lodged in the Louvre, with the appointment of “Painter to the King.” His pictures proved eminently successful. His drawing was perfect, and the correctness of his design revealed the pure antique fount from which he had quaffed his inspiration. For a time David forsook the easel, to take part in the fury of Revolutionary politics. He forgot his apartments in the Louvre, joined hands with Robespierre, to whom he was personally attached, and became one of the loudest clamourers for the blood of Louis XVI. The painter was present at the mock trial of the monarch, whom he grossly insulted as the wretched king passed in front of him. After the fall of Robespierre, David owed the preservation of his own neck solely to his great reputation as an artist. He ceased to be a politician to become a dictator in art. During the Consulate his influence was supreme. He not only immortalized some of its heroic passages, but he designed its official costumes. Buonaparte heaped favours upon his artistic panegyrist, and the painter added grace and dignity to the deeds of the First Consul. The last work of David in Paris was “Leonidas,” painted in 1814. In that year, it is written that Wellington, accompanied by some English officers, visited the artist’s studio, and expressed a wish to be painted. The story adds, that David replied coldly that “he did not paint Englishmen,” and turned his back upon his visitor. Upon the return of Napoleon from Elba, David was made Commander of the Legion of Honour. The next year he was banished as a regicide, and took up his residence in Brussels. “Napoleon crossing St. Bernard” and “The Coronation of Napoleon” are amongst his offerings to the triumphs of the Emperor. Classical and correct in design, David fails in colour, and in picturesque expression. His figures, too, have a hard and marble-like appearance. A large swelling at the side of his face was caused by a blow he received, when young. It has been justly said that opinions of David will vary, accordingly as they are expressed by Frenchmen or by foreigners. [From the marble in the Louvre, by Rude, 1831.] 210. CHARLES PERCIER. _Architect._ [Born in Paris, 1764. Died, 1838. Aged 74.] Known by his works in conjunction with Fontaine. The influence of the labours of both is matter of history in art. To them is due the completion of the Louvre and the erection of the arch in the _Place du Carrousel_ at Paris. Percier wrote several works on art. In his youth sent to Rome to study, where he gained the friendship of Flaxman and Canova. Modest and retiring; and in the pursuit of his art most persevering.