Painting was modified in the same measure with
every other expression in the general _recueillement_ that followed the
extravagance in all social and intellectual fields of the Louis Quinze
epoch. But in becoming more chaste it did not become less classical.
Indeed, so far as severity is a trait of classicality--and it is only an
associated not an essential trait of it--painting became more classical.
It threw off its extravagances without swerving from the artificial
character of its inspiration. Art in general seemed content with
substituting the straight line for the curve--a change from Louis Quinze
to Louis Seize that is very familiar even to persons who note the
transitions between the two epochs only in the respective furniture of
each; a Louis Quinze chair or mirror, for example, having a flowing
outline, whereas a Louis Seize equivalent is more rigid and rectilinear.
David is artificial, it is to be pointed out, only in his _ensemble_. In
detail he is real enough. And he always has an _ensemble_. His
compositions, as compositions, are admirable.
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