the Evangelists. All these are on a gold background with beautiful arabesques which recall the mosaic of Torriti at Santa Maria Maggiore. At St. Paul, Nimes (1847-49), he painted a lovely garland of virgin martyrs, a prelude to his masterpiece, the frieze in the nave of the church of St-Vincent-de-Paul in Paris. The last is a double procession, developing symmetrically between the two superimposed arches, without any exaggeration, a Christian Panathenæa, as it was called by Théophile Gautier. It might be shown how the ancient Greek theme is subjected, in the work of the modern painter, to a more flexible, less uniform, and more complex rhythm, how the melodic procession, without losing any of its grandeur or its continuity, is strengthened by silences, pauses, cadences. But it is more important to note the originality in the return to the most authentic sources of Christian iconography. Hitherto painters of this class hardly went back beyond the fourteenth or fifteenth century. But Flandrin turned to the first centuries of the Church, and drew his inspiration from the very fathers of religious thought. In the frieze of St-Vincent-de-Paul fifteen centuries of Christian tradition are unrolled. In 1855 the artist executed a new work in the apse of the church of Ainay near Lyons. On his return he undertook his crowning work, the decoration of the nave of St-Germain-des-Prés. He determined to illustrate the life of Christ, not from an historical, but from a theological, point of view, the point of view of eternity. He dealt less with facts than with ideas. His tendency to parallelism, to symmetry, found its element in the symbolism of the Middle Ages. He took pleasure in considering, according to this system of harmony and relations, the Old Testament as the prototype of the New, the burning bush as representing the Annunciation, and the baptism of Christ as prefiguring the crossing of the Red Sea.
It was, perhaps, the first time since the frescoes of Perugino and Botticelli in the Sistine Chapel, that Christian art returned to its ancient genius. The interrupted tradition was renewed after three centuries of the Renaissance. Unhappily the form, despite its sustained beauty, possesses little originality. It is lacking in personality. The whole series, though exhibiting a high degree of learning and poise, of grace, and even of strength, lacks charin and life. The colouring is flat, crude, and dull, the design neutral, unaccented, and commonplace. It is a miracle of spiritual power that the seriousness of thought, the truth of sentiment, more harsh in the Old Testament, and more tender in the Christian, scenes, glow through this pedantic and poor style. Certain scenes, such as "The Nativity", which strongly recalls that of Giotto at Padua, possess a sweetness which is quite human in their conventional reserve. Others, such as Adam and Eve after the Fall", and "The Confusion of Tongues", are marked by real grandeur. This was Flandrin's last work. He was preparing a "Last Judgment" for the cathedral of Strasburg, when he went to Rome, where he died.
Apart from his religious work, Flandrin is the author of some very charming portraits. In this branch of painting he is far from possessing the acute and powerful sense of life of which Ingres possessed the secret. Nevertheless, pictures such as the "Young Girl with a Pink", and the "Young Girl Reading", of the Louvre, will always be admired. Nothing could be more maidenly and yet profound. His portraits of men are at times magnificent. Thus in the "Napoleon III" of the Versailles Museum the pale massive countenance of Caesar and his dream-troubled eyes reveal the impress of destiny. An admirable "Study of a Man" in the Museum of the Louvre, is quite "Ingresque" in its perfection, being almost equal to that master's Oedipus. What was lacking to the pupil in order that the artistic side of his work should equal its merits from the religious and philosophic side was the power of always painting in the style displayed in this portrait.
Delaborde, Lettres et pensées d'Ilippolyte Flandrin (Paris, 1865); Blanc, Artistes de mon temps (Paris, 18-), 263; Gazette des Beaux-Arts, XVII (1864), 105, 243; XVIII (1865), 63, 187; XXIV (1868), 20; {Sc|Gautier}}, Les Beaux-Arts en Europe, 1855, I, 283; Maurice Hamel in Musée d'art, Paris, no date,II, 86.
Louis Gillet.
Flathead Indians, a name used in both Americas, without special ethnologic significance, to designate in infancy by artificial means. Curiously enough the tribes practising the custom of compressing the skull tribe best known under this name, the Salish or Flat- head proper of Western Montana, never practised the custom, the confusion arising from the fact that the early traders felt compelled to adopt the local Indian classification, which considered the prevailing com- pressed skull of the neighbouring tribes as pointed and The Salish or Flathead Indians of the mountain region the naturally shaped Salish skull by contrast as flat. of north-western Montana are the easternmost tribe of the great Salishan stock which occupied much of the Columbia and Fraser River region westward to the Pacific. Although never a large tribe, they have al- ways maintained an exceptional reputation for brav- ery, honesty, and general high character and for their friendly disposition towards the whites. When first known, about the beginning of the last century, they subsisted chiefly by hunting and the gathering of wild roots, particularly camas, dwelt in skin tipis or mat- covered lodges, and were at peace with all tribes ex- cepting their hereditary eneniies, the powerful Black- feet. Their religion was the ordinary animism of the Indians and they had a number of ceremonial dances, apparently including the Sun Dance. Having learned through the Catholic Iroquois of the Hudson Bay Company something of the Catholic religion, they voluntarily adopted its simpler forms and prayers, and in 1831 sent a delegation all the long and danger- ous way to St. Louis to ask of the resident government Indian superintendent that missionaries be sent to them. This was not then possible and other delega- tions were sent, until in 1840 the noted Jesuit Father Pierre De Smet (q. v.) responded and was welcomed on his arrival in their country by a great gathering of some 1600 Indians of the allied mountain tribes. In 1841 he founded on Bitter Root River the mission of St. Mary, which was abandoned in 1850, in conse- quence of the inroads of the Blackfeet, for the new mission of St. Ignatius on Flathead Lake. This still exists in successful operation, practically all the con- federated Indians of the reservation-Flathead, Pend d'Oreille, Kutenai, and Spokan-having been consis- tent Catholics for half a century. In 1855 the Flatheads made a treaty ceding most of their territory, but retaining a considerable reser- vation south of Flathead Lake and including the mis- sion. They number now about 620, the confederated body together numbering 2200 souls, being one of the few Indian communities actually increasing in popu- lation. They are prosperous and industrious farmers and stockmen, moral, devoted Catholics, and in every way a testimony to the zeal and ability of their reli- gious teachers, among whom, besides De Smet, may be named such distinguished Jesuit priests and scholars as Canestrelli, Giorda, Mengarini, Point, and Ravalli, several of whom have made important contributions to Salishan philology. The mission is (1908) in charge of Rev. L. Tallinan, assisted by several Jesuits, to- gether with a number of Christian Brothers, Sisters of Providence, and Ursulines. (Washington, 1906); CLARK, The Indian Sign Language (Phila- Director's Report of the Bureau of Catholic Ind. Missions delphia, 1885), RONAN, Sketch of the Flathead Nation (Helena, Mont., 1890); SHEA, Hist. of the Catholic Missions, etc. (New York, 1854); DE SMET, Oregon Missions (New York, 1847); IDEM, Western Missions and Missionaries (New York, 1863); STEVENB in Rept. of Com. of Ind. Affairs (Washington, 1854);
