and especially the sorceress’ kitchen and the scenes on the Brocken.  Other painters of the romantic school were Camille Roqueplan, who treated motives drawn from “The Antiquary” and other novels of Walter Scott;[6] and Eugene Deveria, whose “Birth of Henry IV.,” executed in 1827, when the artist was only twenty-two years of age, was a masterpiece of colouring and composition.  The house of the Deveria brothers was one of the rallying points of the Parisian romanticists.  And then there was Louis Boulanger, who painted “Mazeppa” and “The Witches’ Sabbath” ("La Ronde du Sabbat” [7]); and the water-colour painter and engraver, Celestin Nanteuil, who furnished innumerable designs for vignettes, frontispieces, and book illustrations to the writers of the romantic school.

“Of all the arts,” says Gautier, “the one that lends itself least to the expression of the romantic idea is certainly sculpture.  It seems to have received from antiquity its definitive form. . . .  What can the statuary art do without the gods and heroes of mythology who furnish it with plausible pretexts for the nude, and for such drapery as it needs; things which romanticism prescribes, or did at least prescribe at that time of its first fervour?  Every sculptor is of necessity a classic.” [8] Nevertheless, he says that the romantic school was not quite unprovided of sculptors.  “In our inner circle (cenacle), Jehan du Seigneur represented this art, austere and rebellious to the fancy. . . .  Jehan du Seigneur—­let us leave in his name of Jean this mediaeval h which made him so happy and made him believe that he wore the apron of Ervein of Steinbach at work on the sculptures of Strasburg minster.”  Gautier mentions among the productions of this Gothic-minded statuary an “Orlando Furioso,” a bust of Victor Hugo, and a group from the latter’s romance, “Notre Dame de Paris,” the gipsy girl Esmeralda giving a drink to the humpback Quasimodo.  It was the endeavour of the new school, in the arts of design as well as in literature, to introduce colour, novelty, picturesqueness, character.  They studied the great Venetian and Flemish colourists, neglected under the reign of David, and “in the first moments of their fury against le poncif classique, they seemed to have adopted the theory of art of the witches in ’Macbeth’—­Fair is foul and foul is fair",[9] i.e., they neglected a traditional beauty in favour of the characteristic.  “They sought the true, the new, the picturesque perhaps more than the ideal; but this reaction was certainly permissible after so many Ajaxes, Achilleses, and Philocteteses.”

It is not quite so easy to understand what is meant by romanticism in music as in literature.  But Gautier names a number of composers as adhering to the romantic school, among others, Hippolyte Monpon, who set to music “the leaping metres, the echo-rimes, the Gothic counter-points of Hugo’s ‘Odes et Ballades’ and songs like Musset’s ’L’Andalouse’—­