In the "Heliodorus" the accidents of Nature's architecture are replaced by the equally imposing but deliberate and formal lines of the architecture created by human builders. The general disposition of the design is not unlike that of the earlier "Justice of Trajan"; but there is this significant difference between the earlier work and the St. Sulpice fresco, that the very first glance reveals the essentially human element in the first, and the irresistible force of the supernatural in the second. The tempestuous, sweeping onrush of the two flying angels contrasted with the calm consciousness of all-conquering strength expressed not only in the mounted heavenly messenger but in the very action of his noble horse—the horses in Delacroix's paintings invariably reflect the mood of the drama or tragedy that forms the subject of the picture—are a pictorial conception of unsurpassed grandeur. The only unsatisfactory part of the St. Sulpice decoration is the ceiling, where St. Michael is depicted overthrowing the Demon. Probably the execution of this oval composition was almost entirely the work of assistants, as Delacroix's failing health, aggravated by lead poisoning caused by the extensive use of white of lead paint in his large decorations, would not have allowed him to work under such fatiguing conditions as are unavoidable in painting a ceiling in situ.
PLATE VIII.—FAUST AND MEPHISTOPHELES
(In the Wallace Collection)
It was probably during his visit to London in 1825 that Delacroix first realised the pictorial possibilities of Goethe's great drama. His correspondence shows that he was deeply impressed with a performance of "Faust" which he witnessed in London, and which probably suggested to him the series of nineteen lithographs, published by Sautelet in 1828. Goethe himself referred to these lithographs in terms of exaggerated praise. The catalogue of Delacroix's works includes quite a number of paintings illustrative of scenes from "Faust," of which the one in the Wallace Collection is one of the most successful.
The frescoes in the Chapel of the Saints-Anges were the swan-song of Delacroix's genius. In the two years that followed their completion, he still continued to paint and to draw—the practice of his art was for him the very breath of life—but he produced nothing that need be considered in the record of his achievement. In March 1863, the affection of his eyes, of which he had suffered intermittently for years, took a turn for the worse. On the 26th of May he left Paris for Champrosay, but during the journey had a severe attack of hemorrhage of the lungs, which recurred five days later; and he had to be taken back to Paris. His illness became worse and worse, and after a month he was taken back to the country, only to be sent back again to Paris on July 14. His days were counted. He took to his bed immediately upon his arrival, and breathed his last at six o'clock in the morning on August 13, 1863.