and unmistakably the slipping away of French painting from classic
formulas as well as from classic extravagance, and the tendency to new
ideals of wider reach and greater tolerance--of more freedom,
spontaneity, interest in "life and the world"--of a definitive break
with the contracting and constricting forces of classicism. During its
next period, and indeed down to the present day, French painting will
preserve the essence of its classic traditions, variously modified from
decade to decade, but never losing the quality in virtue of which what
is French is always measurably the most classic thing going; but of this
next period certainly Prudhon is the precursor, who, with all his
classic serenity, presages its passion for "storms, clouds, effusion,
and relief."




II


ROMANTIC PAINTING


I

When we come to Scott after Fielding, says Mr. Stevenson, "we become
suddenly conscious of the background." The remark contains an admirable
characterization of romanticism; as distinguished from classicism,
romanticism is consciousness of the background. With Gros, Géricault,
Paul Huet, Michel, Delacroix, French painting ceased to be abstract and
impersonal. Instead of continuing the classic detachment, it became