Many more poems and fragments were discovered after Latouche's publication, and were collected in later editions. Latouche also wrote an account of Chénier's last moments. Critical opinions of Chénier have varied wildly. He experimented with classical precedents rendered in French verse to a much greater extent than other 18th-century poets; on the other hand, the ennui and melancholy of his poetry recalls Romanticism. In 1828, Charles Augustin Sainte-Beuve praised Chénier as a heroic forerunner of the Romantic movement and a precursor of Victor Hugo. Chénier, he said, had "inspired and determined" Romanticism. Many other critics also wrote about Chénier as modern and proto-Romantic. However, Anatole France contests Sainte-Beuve's theory: he claims that Chénier's poetry is one of the last expressions of 18th-century classicism. His work should not be compared to Hugo and the "Parnassien" poets, but to "philosophes" like André Morellet. Albert Camus in 1951's The Rebel called Chenier "the only poet of the times". Paul Morillot has argued that judged by the usual test of 1820s Romanticism (love for strange literature of the North, medievalism, novelties and experiments), Chénier would have been excluded from Romantic circles. The poet José María de Heredia held Chénier in great esteem, saying "I do not know in the French language a more exquisite fragment than the three hundred verses of the "Bucoliques"" and agreeing with Sainte-Beuve's judgment that Chénier was a poet ahead of his time. Chénier has been very popular in Russia, where Alexandr Pushkin wrote a poem about his last hours based on Latouche and Ivan Kozlov translated "La Jeune Captive", "La Jeune Tarentine" and other famous pieces. Chénier has also found favor with English-speaking critics; for instance, his love of nature and of political freedom has been compared to Shelley, and his attraction to Greek art and myth recalls Keats. Chénier's fate has become the subject of many plays, pictures and poems, notably in the opera "Andrea Chénier" by Umberto Giordano, the epilogue by Sully-Prudhomme, the "Stello" by Alfred de Vigny, the delicate statue by Denys Puech in the Luxembourg, and the well-known portrait in the centre of Muller's "Last Days of the Terror".