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We are so unused to narrative painting today, that it would never occur to us that a legend might be a proper subject lor a painting. It is with considerable shock, then, that we i ealize Delacroix, the fiery insurgent of the first half of the 19th Century, made his reputation primarily on his narrative painting.
The Virginia Museum of Fine Arts’ “Amadis de Gaule,” for example, illustrates the legend of Amadis, the son of Period who was a mythical king of France. His mother was Elisene, the daughter of the king of Brittany. Amadis loved Oriane, a princess of Denmark, but, in order to gain her hand, it was necessary for him to triumph over many foes. Constant and triumphant he eventually won his princess.
In the 19th Century the legend became a part of the medieval cult of the romantics in France, just as stories of the Round Table influenced the English speaking romantics of the same century. Eugene Delacroix (1798-1863) was the ideal painter for the romantic movement and for legends such as
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