or chimeras, nailed, scaled, tushed, hideously winged; guivres, taresques, gargoyles, asses' heads, apes' muzzles, all the strange bestiary of the Middle Age." Nanteuil furnished illustrations for the books of the French romanticists. "Hugo's Notre-Dame de Paris' was the object of his most fervent admiration, and he drew from it subjects for a large number of designs and aquarelles." Gautier mentions, as among his rarest vignettes, the frontispiece of "Albertus," recalling Rembrandt's manner; and his view of the Palazzo of San Marc in Royer's "Venezia la bella." Gautier says that one might apply to Nanteuil's aquarelles what Joseph Delorme* said of Hugo's ballads, that they were Gothic window paintings. "The essential thing in these short fantasies is the carriage, the shape, the clerical, monastic, royal, seignorial awkwardness of the figures and their high colouring. . . . Célestin had made his own the angular anatomy of coatsof-arms, the extravagant contours of the mantles, the chimerical or monstrous figures of heraldry, the branchings of the emblazoned skirts, the lofty attitude of the feudal baron, the modest air of the chatelaine, the sanctimonious physiognomy of the big Carthusian Carmelite, the furtive mien of the young page with parti-coloured pantaloons. . . . He excelled also in setting the persons of poem, drama, or romance in ornamented frames like the Gothic shrines with triple colonettes, arches, canopied and bracketed niches, with statuettes, figurines, emblematic animals, male and female saints on a background of gold. He entered so deeply into the sentiment of the old Gothic imagery that he could make a Lady of the Pillar in a brocade dalmatica, a Mater Dolorosa with the seven * Sainte-Beuve's "Confessions de Joseph Delorme," 1829. swords in her breast, a St. Christopher with the child Jesus on his shoulder and leaning on a palm tree, worthy to serve as types to the Byzantine painters of Epinal. . . . Nothing resembled less the clock face and troubadour Middle Age which flourished about 1825. It is one of the main services of the romantic school to have thoroughly disembarrassed art from this." Gautier describes also a manuscript piece of Nerval, for which he furnished a prologue, and which was an imitation of one of the Diableries, or popular farces of the Middle Ages, in which the devil was introduced. It contained a piece within the piece, in the fashion of an old mystery play, with scenery consisting of the mouth of hell, painted red and surmounted by a blue paradise starred with gold. An angel came down to play at dice with the devil for souls. In his excess of zeal, the angel cheated and the devil grew angry and called him a "big booby, a celestial fowl," and threatened to pull his feathers out ("Le Prince des Sots"). In France, as in England and Germany, the romantic revival promoted and accompanied works of erudition like. Raynouard's researches in Provençal and old French philology and the poetry of the troubadours (1816); Creuzé de Lesser's "Chevaliers de la Table Ronde"; Marchangy's "La Gaule Poétique." History took new impulse from that sens du passé which romanticism did so much to awaken. Augustin Thierry's obligations to Scott have already been noticed. It was the war chant of the Frankish warriors in Chateaubriand's "Les Martyrs " "Pharamond! Pharamond! nous avons combattu avec l'épée "— which first excited his historical imagination and started him upon the studies which issued in the "Récits Mérovingiens" and the "Conquéte d'Angleterre." Barante's "Ducs de Bourgogne" (1814-28) confessedly owes much of its inception to Scott. Michaud's "History of the Crusades" (1811-22) and the "History of France” (1833-67) by that most romantic of historians, Michelet, may also be credited to the romantic movement. The end of the movement, as a definite period in the history of French literature, is commonly dated from the failure upon the stage of Victor Hugo's "Les Burgraves" in 1843. The immediate influence of the French romantic school upon English poetry or prose was slight. Like the German school, it came too late. The first generation of English romantics was drawing to its close. Scott died two years after "Hernani" stormed the French theatre. Two years later still died Coleridge, long since fallen silent as a poet- and always deaf to Gallic charming. We shall find the first impress of French romance among younger men and in the latter half century. In France itself the movement passed on into other phases. Many early adherents of Hugo's cénacle and entourage fell away from their allegiance and, like SainteBeuve and Musset, took up a critical or even antagonistic attitude. Musset's "Lettres de Dupuis et Cotonet" turns the whole romantic contention into mockery. Yet no work more fantastically and gracefully romantic, more Shaksperian in quality, was produced by any member of the school than Musset produced in such dramas as "Fantasio" and "Lorenzaccio." *See vol. i., pp. 18-23. CHAPTER VI. Diffused Romanticism in the Literature of the Nineteenth Century. MOST of the poetry of the century that has just closed has been romantic in the wider or looser acceptation of the term. Emotional stress, sensitiveness to the picturesque, love of natural scenery, interest in distant times and places, curiosity of the wonderful and mysterious, subjectivity, lyricism, intrusion of the ego, impatience of the limits of the genres, eager experiment with new forms of art-these and the like marks of the romantic spirit are as common in the verse literature of the nineteenth century as they are rare in that of the eighteenth. The same is true of imaginative prose, particularly during the first half of the century, the late Georgian and early Victorian period. In contrast with Addison, Swift, and Goldsmith, De Quincey, Carlyle, and Ruskin are romanticists. In contrast with Hume, Macaulay is romantic, concrete, pictorial. The critical work of Hazlitt and Lamb was in line with Coleridge's. They praised the pre-Augustan writers, the Elizabethan dramatists, the seventeenth-century humorists and moralists, the Sidneian amourists and fanciful sonneteers, at the expense of their classical successors. But in the narrower sense of the word-the sense which controls in these inquiries-the great romantic generation ended virtually with the death of Scott in 1832. Coleridge followed in 1834, Wordsworth in 1850. Both had long since ceased to contribute anything of value to imaginative literature. Byron, Shelley, and Keats had died some years before Coleridge; Leigh Hunt survived until 1859. The mediavalism of Coleridge, Scott, and Keats lived on in dispersed fashion till it condensed itself a second time, and with redoubled intensity, in the work of the Pre-Raphaelite Brotherhood, which belongs to the last half of the century. The direct line of descent was from Keats to Rossetti; and the Pre-Raphaelites bear very much such a relation to the elder group, as the romantic school proper in Germany bears to Bürger and Herder, and to Goethe and Schiller in their younger days. That is to say, their mediævalism was more concentrated, more exclusive, and more final. We have come to a point in the chronology of our subject where the material is so abundant that we must narrow the field of study to creative work, and to work which is romantic in the strictest meaning. Henceforth we may leave out of account all works of mere erudition as such; all those helps which the scholarship of the century has furnished to a knowledge of the Middle Ages: histories, collections, translations, reprints of old texts, critical editions, Middle English lexicons and grammars, studies of special subjects, such as popular myths or miracle plays or the Arthurian legends, and the like. Numerous and valuable as these publications have been, they concern us only indirectly. They have swelled the material available for the student; they have not necessarily stimulated the imagination of the poet; which sometimes-as in the case of Chatterton and of Keats |