Meanwhile the new Romantic school of brilliant colourists grew and flourished. Ary Scheffer, Delaroche, Delacroix, cradled in the storms of the revolutionary period, are all represented around us. The sentimental Ary Scheffer (1795-1858) is seen, L. wall, in 841, St. Augustine and St. Monica, an immensely popular but affected and feeble composition. Some portraits by this artist may be also found on the walls. Greater than he in breadth of composition, opulence of colour and artistic virtuosity, was Paul Delaroche, whose Death of Queen Elizabeth, 216, end wall, now asserts itself. His greatest work, however, and one which won him much fame, is his well-known Hemicycle in the Beaux Arts (p. 319). A twin spirit with Gericault was the impetuous Ferdinand Victor Eugene Delacroix (1798-1863), who is more fully hung in this collection. Of the brilliant compositions which with indefatigable industry he poured forth in the heyday of the movement, we may note some excellent examples: 212, L. wall, The Wreck of Don Juan; 211, L. wall, Jewish Wedding at Morocco; and, 213, Capture of Constantinople by the Venetians and Franks. Earlier works are, 207, R. of entrance, Virgil and Dante nearing the City of Dis, executed with feverish energy in a few weeks for the Salon of 1822; and 208, L. of entrance, The Massacre of Scio, a glowing canvas painted in 1834. Jean Hippolyte Flandrin (1809-1864), the Lesueur of the century, and like him uniting artistic genius and wide erudition with profound religious faith and true modesty, is represented most poorly of all; 284, Portrait of a Young Girl being the only example of this master's work here. Flandrin can only be truly appreciated in the church of St. Germain des Pres (p. 320). Before we turn to the Barbizon painters, we note Gros' fine composition, 389, L. wall, Napoleon at Eylau; and 390, R. wall, Francis I. and Charles V. visiting the Tombs at St. Denis.