In France. 277 Pradier, of Geneva (1792 — 1852), was especially success- ful in the treatment of the female figure, particularly in his Phryne (exhibited in the Great Exhibition of 1851), and his Psyche, Atalanta, and Niobe group in the Louvre. His power of representing force as well as beauty is well illustrated by his Prometheus Chained. Among the few who have been able, whilst retaining the correctness of the classical style, to combine it with boldness and freedom, Francois Rude, of Dijon (1 784 — 1855), is one of the fore- most. His bronze Mercury, in the Louvre, is full of energy and spirit, as are also his Young Fisherman playing with a Tortoise, in the same gallery, and the group in high relief of the Arc de Triomphe de l'fitoile, known as the Marseillaise, or the Departure (Fig. 114). Another great master of the same school is F. Duret (1804 — 1865), author of the Young Neapolitan Dancer, and the Neapolitan Improvisatore, both in the Louvre. As an upholder of the realistic style when most of his contemporaries had abandoned it, we must name Pierre Jean David, of Angers (1789 — 1856), author of the fine groups on the pediment of the Pantheon of Paris, which offer a remarkable contrast to the French sculp- ture of his day. General Buonaparte and the stern heroes of the Republic are represented in a natural and life- like manner on either side of a solemn ideal figure of their native land. David was especially successful with portrait-statues ; the most famous are perhaps those of Philopcemen in the Tuileries, of Conde at Versailles, of Corneille at Rouen, and of La Fayette at Washington. Our limits forbid us to do more than name Jouffroy, Charles Simart, Foyatier (author of the celebrated Spartacus
