Page:Cyclopedia of Painters and Paintings, 1887, vol 4.djvu/165

 SCHEFFER and the Duchcsse d'Orleans, to whom he was much attached. After attending the funeral of the latter he returned much broken to France, and shortly after died. In his earlier pictures Scheffer showed his sympathy with human suffering ; in those of his second period his love for the elevat- ing influences of the great poets; in his third his faith in the Christian religion, and his aspirations to a higher life. The works of his middle period, the Christ in the Gar- den (1839), the Macbeth, and the Fraucesca, are vigorous and deep in colour, while those of a later period, the Beatrice, the Tempta- tion, etc., are pale and somewhat monot- onous in tone. In both, however, there is a depth of feeling and a purity of senti- ment which characterized the man no less than the painter. Officer of the Legion of Honour, 1825. Works: Abel and Thirza (1812) ; Death of St. Louis (1817) ; Con- valescent Mother (1818), Pereire Collection, Paris ; Patriotism of Six Citizens of Calais, Socrates defending Alcibiades at Potidea (1819); The Tempest (1820); Soldier's Widow (1821) ; Young Orphans ; Christen- ing ; Burning of a Farm House ; The Shades of Francesca da Rimini and her Lover appearing to Dante and Virgil (1821) ; St. Louis visiting the Plague-Stricken (1822) ; Seaman's Family (1823) ; Baptism (1823), King of the Belgians ; Little Wood- cutter ; Return Home ; Mother with Two Children mourning (1824), Kiinigsberg Mu- seum ; War Scene in Alsace in 1814, Burial of young Fisherman (1824) ; Death of Geri- cault (1824), Louvre ; St. Thomas Aquinas encouraging People in a Storm at Sea (1824), Church of St. Thomas, Paris ; Gas- ton de Foix found among the Dead at Ra- venna (1824), Versailles Museum ; Greek Girls Praying to the Madonna, Last of the Missolonghi Garrison (1826) ; Suliote Wom- en (1827), Eberhard the Weeper (1831), Louvre ; Charlemagne submitting his first Capitularies to the Assembly of the Franks (1827), Charlemagne and Wittikind, Ver- sailles Museum ; Battle of Morat, Sister of Charity (1829) ; Leonora (1829) ; Fhuxt in his Study, Marguerite at the Spinning Wheel (1831), Baroness Rothschild, Paris ; Christ and the Children (1830, 1840) ; Martha and Marguerite (1830), King of the Belgians ; The Due d'Orleans (Louis Philippe) receiv- ing the First Hussars (2, 1831), Versailles Museum ; Marguerite at Church (1832), Samuel Ashton, London ; The Giaour (1832); Medora (1833) ; Ahasuerus (1834) ; Fran- cesca da Rimini (1834), Sir Richard Wal- lace, London ; replica (1855), Mme. Mar- joliu Scheffer ; Mignon regretting her Country (1836), Duchesso d'Ayeu ; Chrislus Consolator (1837), Museum Fodor, Amster- dam ; Victory of Clovis at Tolbiac in 49G (1837) ; Marguerite leaving Church (1838), Samuel Ashton, London ; The King of Thule (1838) ; Christ on Mount of Olives, Mignon aspiring to Heaven (1839), Du- chesse d'Ayen ; Charitable Child (1840), Nantes Museum ; Annunciation to the Shep- herds (1841); The Three Magi (1844), Princess Caroline Wittgenstein, Weimar ; Mignon and the Harper (1844), Queen of England ; Entombment, Mater Dolorosa (1845) ; Christ and the Holy Women, Christ bearing the Cross (1846) ; St. Au- gustine and St. Monica (1846), National Gallery, London ; Faust and Marguerite in the Garden, Faust's Vision (1846), Sam- uel Ashton, London ; The Holy Women returning from the Tomb (1847), Comte de Paris ; Cliristux Remunerator (1847) ; Heav- enly and Earthly Love, St. John writing the Apocalypse (1850) ; Magdalen in Ecstasy (1851) ; Ruth and Naomi (1855) ; St. Au- gustine and St. Monica (1855), Tempta- tion of Christ (1856), Louvre ; Jacob and Rachel, Ecce Homo, Christ and St. John, Kiss of Judas (1857) ; Ibust with the Cup (1858), Count Kucheleff ; Marguerite at the Fountain (1858), Sir Richard Wallace, Lon- don ; Figure of Calvin (1858) ; The Earthly Sorrows rising to Heaven (1858, last work), Mme. Marjolin Scheffer ; The Magdalen at the Foot of the Cross, Marseilles Museum ; A Philosopher, Montpellier Museum ; Death iv.-,