We revert to David whose Oath of the Horatii, 189, exhibited in 1785; and The Lictors bearing to Brutus the Bodies of his Sons, 191, exhibited in the fateful year 1789, hang skied on the R. wall. These paintings, hailed with prodigious enthusiasm, revolutionised the fashions and tastes of the day and gave artistic expression to the coming political and social changes. 200A on the same wall, The Three Ladies of Ghent, was painted during the artist's exile in Belgium, for the old Terrorist was naturally not a _persona grata_ to the restored Bourbons. Jean Auguste Dominique Ingres (1780-1857), the most famous of David's pupils, two of whose works we have seen in Room V., was the bitterest opponent of the new Romantic school and steadfast champion of his master's artistic ideal. To him more than to any other teacher is due the tradition of clean, correct and comely drawing that characterises the French school. It is somewhat difficult perhaps for a foreigner, observing the paintings by Ingres in this room, fully to comprehend[219] the reverence in which he is held by his countrymen. More than once Professor Legros has described to the present writer the thrill of emotion that passed through him and his fellow-students when they saw the aged master enter the Ecole des Beaux Arts at Paris. If, however, the visitor will inspect the marvellous Ingres drawings in the Salle des Desseins (p. 394), he will appreciate his genius more adequately. The master's chief work in the present room is 417, R. wall, Apotheosis of Homer, a ceiling composition in which the arch-poet, laurel-crowned, has at his footstool seated figures symbolising the _Iliad_ and the _Odyssey_, while the most famous poets and philosophers of the ages are grouped below him. The Odalisque, 422B, L. wall, is a characteristic nude, and a few other subject pictures will be noted. Among his portraits, 418, Cherubini; 428B, Bertier de Vaux, are generally regarded as masterpieces. Ingres despised colour, he never appealed to the emotions; his type of beauty is external and soulless, and he leaves the spectator cold. [Footnote 219: Whistler, while disliking his art, was wont to wish he had been his pupil.]