Page:Encyclopædia Britannica, Ninth Edition, v. 13.djvu/86

 76 I N G I N G The Stratonice, executed for the duke of Orleans, had been exhibited at the Palais Royal for several days after its arrival in France, and the beauty of the composition produced so favourable an impression that, on his return to Paris in 1841, Ingres found himself received with all the deference that he felt to be his due. A portrait of the purchaser of Stratonice was one of the first works executed after this return ; and Ingres shortly afterwards began the decorations of the great hall in the Chateau de Dampierre, which, unfortunately for the reputation of the painter, were begun with an ardour which gradually slackened, until in 1849 Ingres, having been further discouraged by the irreparable loss of his faithful and courageous wife, abandoned all hope of their completion, and the contract with the Due de Luynes was finally cancelled. A minor work, Jupiter and Antiope, marks the year 1851, but Ingres s next considerable undertaking (1853) was the Apotheosis of Napoleon I., painted for the ceiling of a hall in the Hotel de Ville; Jeanne d Arc (Louvre) appeared in 1854; and in 1855 Ingres consented to rescind the resolution more or less strictly kept since 1834, in favour of the International Exhibition, where a room was wholly reserved for his works. In consequence of the effect which they produced, Prince Napoleon, president of the jury, proposed an exceptional recom pense for their author, and obtained from the emperor Ingres s nomination as grand officer of the Legion of Honour. With renewed confidence Ingres now took up and completed one of his most charming productions- La Source (Louvre), a figure of which he had painted the torso in 1823, and which seen with other works in London (1862) there renewed the general sentiment of admiration, and procured him, from the imperial government, the dignity of senator. After the completion of La Source, the principal works produced by Ingres were with one or two exceptions (Moliere and Louis XIV., presented to the Theatre Frangais, 1858; Le Bain Turc, 1859), of a religious character ; La Vierge de 1 Adoption, 1858 (painted for Mdlle. Roland-Gosselin), was followed by La Vierge Couronnde (painted for Mme. la Baronne de Larinthie) and La Vierge aux Enfans (Collection Blanc) ; in 1859 these were followed by repetitions of La Vierge a 1 Hostie ; and in 1862 Ingres completed Christ and the Doctors (Musee Montauban), a work commissioned many years before by Queen Marie Amelie for the chapel of Bizy. On the 14th January 1867 Ingres died, in his eighty-eighth year, having preserved his faculties in wonderful perfection to the last. For a moment only at the time of the execu tion of the Bain Turc, which Prince Napoleon was fain to exchange for an early portrait of the master by himself Ingres s powers had seemed to fail, but he recovered, and showed in his last years the vigour which marked his early maturity. It is, however, to be noted that the Saint Symphorien exhibited in 1834 closes the list of the works on which his reputation will chiefly rest ; for La Source, which at first sight seems to be an exception, was painted, all but the head and the extremities, in 1821 ; and from those who knew the work well in its incomplete state we learn that the after-painting, necessary to fuse new and old, lacked the vigour, the precision, and the something like touch which distinguished the original execution of the torso. Touch was not, indeed, at any time a means of expression on which Ingres seriously calculated : his con stant employment of local tint, in mass but faintly modelled in light by half tones, forbade recourse to the shifting effects of colour and light on which the Romantic school depended in indicating those fleeting aspects of things which they rejoiced to put on canvas; their methods would have dis turbed the calculations of an art wholly based on form and line. Except in his Sistine Chapel, and one or two slighter pieces, Ingres kept himself free from any preoccupation as to depth and force of colour and tone ; driven, probably by the excesses of the Romantic movement into an attitude of stricter protest, &quot; ce que Ton sait &quot; he would repeat, &quot; il faut le savoir l 6pde a la main.&quot; Ingres left himself, there fore, in dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorien, without the means of producing the neces sary unity of effect which had actually been employed in due measure as the Stanze of the Vatican bear witness by the very master whom he most deeply reverenced. Thus it came to pass that in subjects of one or two figures Ingres showed to the greatest advantage : in (Edipus, in the Girl after Bathing, the Odalisque, and La Source subjects only animated by the consciousness of perfect physical well- being we find Ingres at his best. One hesitates to put Roger and Angelique upon this list, for though the female figure shows the finest qualities of Ingres s work, deep study of nature in her purest forms, perfect sincerity of inten tion and power of mastering an ideal conception, yet side by side with these the effigy of Roger on his hippogriff bears witness that from the passionless point of view, which, as before said, was Ingres s birthright, the weird creatures of the fancy cannot be seen. A graplaic account of &quot; Ingres, sa vie et ses travaux,&quot; and a complete catalogue of his works, were published by M. Deluborde in 1870, and dedicated to Mme. Ingres nee Ramel, Ingres s devoted second wife, whom he married in 1852. Allusions to the painter s early days will be found in Delecluze s Louis David ; and amongst many less important notices may be cited that by Theophile Silvestre in his series of living artists. Most of Ingres s important works are engraved in the collection brought out by Magimel. (E. F. s. p.) INGULPHUS [INGULF], abbot of Crowland, for a long period believed to be the author of the Historia Monasterii Croylandensis, was born of English parents. The account of him given at the conclusion of the Historia has been shown to be incorrect in several particulars, but accord ing to the authority of Ordericus Vitalis, who visited Crowland three years after the death of Ingulf, lie became secretary to William, duke of Normandy, and after taking part in a pilgrimage to Jerusalem, lived as a monk in Normandy, where he rose to the rank of prior. After the accession of William to the throne of England, he in 1085 received the abbatial stall of Crowland, Lincolnshire, where he remained till his death, December 16, 1109. Through his influence with the Conqueror he secured for the abbey many valuable privileges and immunities, besides the reconstruction and enlargement of the building itself, which had been greatly damaged by the Danes in 870. The only manuscript of the History of Ingulf now known to exist is the Arundel manuscript, No. 178, in the British Museum, which breaks off at the same point as that published by Sir Henry Savile in the Scriptores Rerum Anglicarum post Bcdam, London, 1596. Other four manuscripts are known to have been at one time in ex istence ; and a more complete copy with a continuation by Peter de Blois was printed by Fulman in vol. i. of the Rerum Anylicarum Scriptores veteres, Oxford, 1684. The authenticity of this work was, however, disputed by Sir Francis Palgrave in the Quarterly Review for Septem ber 1826, and the errors which it contains show beyond doubt that it must have been written by a later author, and entirely destroy its value as an historical authority. The work, edited by H. S. Riley, forms vol. xxix. of Bohn s Antiquarian Library. Two elaborate papers by Mr Riley in opposition to its authenticity are contained in f he Arcliszological Journal, March and June 1862. A full account of it is also given in Hardy s Rerum Britan- nicarttm Medii ^Evi Scriptores, vol. ii., 1865.