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THE 
 
 Coe be Bia 
 
 OF 
 
 CONTEMPORARY ART 
 
 AN ILLUSTRATED REVIEW 
 
 OF THE RECENT ART PRODUCTIONS OF At i NATONS 
 
 BY 
 
 An MAN Do Siiev Eb Sa Re 
 
 EDITED BY 
 
 J. EUGENE REED, A.M. 
 
 PHILADELPHIA 
 
 GEBBIE & CO., PUBLISHERS 
 1884 
 
 COPYRIGHTED 
 
A COMBAT OF ‘Cocks 
 
 PAINTING IN THE MUSRUM OF THE 1 
 
 DURG. 
 
 Jean-Louis Giron, Pine. Gouri & Co., Gravure. 
 
 OCK-FIGHTING is a very ancient sport, and is supposed to have originated 
 among the Greeks. It is not ouly represented in vase-paintings and engraved 
 gems, but is expressly mentioned in written records. We are told, for 
 
 ] 
 
 2 ; 2 
 ¢ annual entertainment of cock-fights, which served greatly to popularize the 
 
 =x, example, that Themistocles, after his victory over the Persians, founded an 
 
 pastime. The breeding of cocks, consequently, became a matter of consider- 
 ES | J 
 
 able importance, the cities of Rhodes, Chalkis and Media rivalling each other 
 
 in the size and strength of the fowls that they bred. In order to increase 
 
 their rage the cccks were fed with garlic previous to the fight. In the 
 
 formal matches, sharp metal spurs were .attached to their legs; and very large sums were staked on 
 
 the issue by the owners and _ spectatc 
 
 This diversion furnished the subject of Géréme’s first picture. He was then a young man, lately 
 from the studio of Delaroche, and the picture was exhibited at the Salon of 1847. Before the evening 
 of the first day, we are told, the artist’s reputation was 
 
 medal of the third cla: 
 
 vblished. His work was honored with a 
 
 s, and was purchased by the government. 
 Morally, the scene presented is far from attractive; but it is a very truthful representation, not 
 only in respect to the deeply studied expressions of the human actors and the action of the fighting 
 
 co 
 
 ks, but also in its of the close relation that often subsists between luxurious indolence 
 
 and cruelty. This young couple, who might be supposed to lead an idyllic life, devoted to the sweet 
 
 amenities of love and beauty and innocen 
 
 cocks or of gladiators, in which the extreme suffering or death of one or both of the combatants is the 
 
 inevitable result. This passion for blood is the dark side of those ancient civilizations that are so 
 
 much and so justly admired for their perfection in all the fine and e 
 
 ant arts. 
 
 M. Gérdme is a commanding figure in contemporary art. Besides the third medal awarded to 
 “ial Medal of Honor. He is 
 
 rofessor in the Paris School of the 
 
 the present picture, he has received two second class medals, and a s 
 
 Pp. 
 it 
 
 Commander in the Legion of Honor, and since 1863 has | 
 
 Fine Arts. 
 
 reation, find, perhaps, their keenest delight in contests of 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 PUBUISEIHi Ss) bret PAG. 
 
 S the title of our work indicates, it will be devoted to the description and illustration of the 
 current Art of the present time. 
 As the Exhibition of 1876 influenced and marked “a new departure” in Industrial Art for 
 America, so we may date a New Era in Painting from the Universal Exhibition of Paris in 1878. 
 The great Hxposition Universale of 1878 contained the most brilliant collection of works of 
 Art that had ever been assembled. There, side by side, in honorable rivalry, appeared the produc- 
 tions of the leading painters and sculptors of every living school. Such an opportunity for compari- 
 son and study was as decided in interest as it was replete with instructive valne. 
 In that world-arena, of course, the great masters of the various schools were duly distinguished, 
 
 and the Jury, composed of eminent artists representing thirteen different nationalities, stamped with 
 
 honors and rewards the successful competitors. 
 
 But the world moves. New men are rising to distinction. Progress is the law of every 
 vital force, of personalities, of institutions, and of arts, and we now aim to record and _ illustrate 
 Tue Masters AnD Masterpieces or Arr or THE Present Time, influenced in perfection, largely, by the 
 grand lessons of the Exhibitions referred to. 
 
 The period of which our work treats is therefore chiefly of the present decade, and, as no 
 publication heretofore, has professed to furnish the public with such an illustrated review, we may 
 claim, at least, the quality of novelty. 
 
 The scope of selection is universal, The Salons of Paris, the Exhibitions of London, Munich, 
 Florence, Rome, St. Petersburg, Berlin, Brussels, Vienna, New York, Philadelphia, Boston, and other 
 American cities, will all contribute their quotas of notable paintings to take their places in The Gallery 
 of Contemporary Art. 
 
 We hope and trust that the patronage of our enterprise will be as extensive as its scope. 
 
 GEBBIE & CO. 
 
29 
 
 LIST OF PHOTOGRAVURES, 
 
 TITLE. 
 
 SIGNING THE DECLARATION OF INDEPENDENCE. 
 
 ARTIST. 
 
 CHARLEs-Epouarp ARMAND-DUMARESQ. 
 
 LAVATORY OF THE RESERVES, CHERBOURG. 
 
 ALBERT AUBLET 
 THE FUNERAL AT 
 THE INTERRUPTED SITTING. . 
 RIZPAH PROTECTING THE BODIES OF HER SONS. 
 
 Ae re eee eee GLE eA CON 
 
 . Jutes-FREp. BALLAVOINE, 
 
 Grorces BECKER 
 SUMMER EVENING . 
 A STREET IN CAPRI . 
 A FRIEND IN NEED. . 
 THE CLIFF... 
 DIVERSION OF AN ASSYRIAN KING 
 
 . JuLEs-ADOLPHE BrEron 
 Freperick A, BRIpGEMAN. 
 CONVERSATION . 
 
 AN EXCELLENT CONNOISSEUR 
 
 IN THE CORNER OF A GARDEN. . 
 BLINDMAN’S BUFF . 
 HENRY III]. AND THE DUKE OF 
 
 . JosePH CARAUD. 
 
 . Ayronio CASANOVA. 
 
 . C.-ALEX. CoESsIN DE LA 
 
 GUISE. 
 
 PrerRE-CHARLES CoMTE. 
 
 HERODIAS . . 
 POMPEIIAN 
 THE BAYADERE .. . 
 THE WAVE . 
 
 AN ALARM 
 
 A CORNER OF A STUDIO. 
 YOU ARE JEALOUS . 
 HOT-HOUSE FLOWER. 
 SPRING . act Ete eh ee 
 CORONATION OF BALDWIN I. 
 
 INTERIOR . 
 
 AT CONSTANTINOPLE. 
 
 Louis GALLAT?. 
 
 THE “QUARTER HOUR OF 
 A COMBAT OF COCKS . 
 A SLAVE MERCHANT . 
 “THE MOST BEAUTIFUL TO THE MOST VALIANT.” 
 
 ALFRED Guits 
 
 RABELAIS” . . JEAN GEOFFRoY. 
 . Jean-Louis Gerda. 
 
 . Victor GrIravup. 
 
 . JAN Van BEERs. 
 
 . . Beygamin Constant. 
 . . JosePH Coomans. 
 
 . Prerre-AuGustEe Cor. 
 . . GustAvVE CouRBE?. 
 fon-Lucren CouruRiEr. 
 
 1PH-EpOUARD DANTAN. 
 
 40 
 
 TITLE 
 THE FISH-WOMAN OF 
 TASSO AT FERRARA . . Ferpinanp Hernpure 
 EXERCISE ON THE ESPLANADE OF THE INVALIDES. 
 
 ARTIST. 
 
 DIEPPE . . Gores HaQuerrn 
 
 Pirree-Grorces Jp 
 THE DRUMMERS OF THE REPUBLIC 
 ANTECHAMBER OF A MINISTER. 
 AN AFTERNOON SEVILLE . 
 THE FINE PUMPKIN. 
 ON THE BANK OF THE RIVER. 
 HERCULANEUM . 
 METAMORPHOSIS 
 
 NNIOT 
 1790. . Luis JimEnnz. 
 . Luis Jimenez, 
 AT . . Jost JIMe: 
 
 - Mare: 
 
 ARANDA. 
 
 w Lapor 
 
 . . Heyer Lenore. 
 
 . Heoror Le Roux 
 
 OF CHRISTOPHER SLY. 
 CuEster Loomis. 
 FREDERICK BARBAROSSA AT THE FEET OF THE POPE 
 ALBERT MarGwan. 
 GOOD BOCK BEER . Epovarp Mayer 
 REPENTANT MAGDALEN ... 
 THE WATCHERS: DECEMBER, 1870 . 
 
 BETIENNE MARCEL AND THE DAUPHIN CHARLES. 
 
 epior Ms 
 
 . Eveiyn Méparp. 
 
 Lucren MELINGUE 
 
 SACRIFICE OF FAMILY TO COUNTRY. 
 
 Gnorers Morgav pr To 
 
 THE RETURN . 
 
 “GIVE US BARABBAS” . ae 
 PLACE DE LA CONCORDE, PARIS. . 
 HOMELESS... . 
 THE CONSCRIPT. . 
 THE FIRST TOOTH . 
 GUARD OF THE FLAG. . 
 UNMASKING.... 
 A GLOUD... 
 
 AN ARAB CHIEF... . 
 DECEPTION . 
 
 THE PAINTER’S REPOSE. . 
 ANTONY AND CLEOPATRA . 
 I WAS THERE . 
 VIEW OF VENICE. 
 
 . Henry Moster. 
 
 . OxartEs-Lovis MULLER. 
 . . JOSEPH DE Nirvis 
 
 . . Fernand PEnez 
 
 Lion I 
 
 1ILE PINCHART 
 
 . Paun-ALEXANDRE Prorats 
 g So Gop a . . Epovarp RicHrEr 
 
 . JEANNE RoncrEr 
 
 . ApotpHE Scour 
 
 . Gust 
 
 VE WE&RTHEIMER 
 
 . . Frorent WinLEMs 
 
 . Férrx Zrem 
 
LIST OF WOOD ENGRAVINGS AFTER PAINTINGS. 
 
 TITLE ARTIST PAGE TITLE, ART 
 
 PALACE OF THE LuxEMBouRG ..... - mee ron Fie Xue il Eros . oct Tear PORES xe . . B. Rosset-Granyer . 
 
 Hountatn DH Minprois; = 2 2 25. |. Jacques Desh 4 DECEMBER 1) ours ce saCin ge ir mar eee eeeM ac hel 
 WiASDRDN Gomi ns eit wee mmc smrte tarioks Albert Anker 5 | Ey Rovre ror rue Tempe or CE L. Alma-Tadema . . . 46 
 4 jugene Louis Lambert. 7 | A Par in tHE Woop......... Mitialanne. ... 47 
 * THE GIRONDISTS . rangois Mameng fms) Tue Hearn or Kr SHG so Camille Bernier. . . . 47 
 . CurnBERT: Triptich. . . . Ernest-Ange Duez. . .10 | Onp Wintows ar Wissant.... . E-A. Breton... . . 48 
 Aw Untuory Mpertine.... . oes J.-B. Gelibert. . . 11 DEPARTURE OF THE FIsHERWOMEN éne Feyen . . ce 0 
 G J.-M. Claude . . - . 12 | Towers or ru Sapies-D’OLonnes : H, L. Scott. . 5 50) 
 Tue Port or OsrenpE 5 5 . Paul-Jean Clays a alls! Part oF THE CANAL AT TREPORT Eugene Grandsire . . . 51 
 RETURN OF THE Fisnine Boats H.-W. Mesdag 1133 MArGuUERITE IN Prison . . . : . Benj. Ulmann. .« eee! 
 Tae Haunt of THE Heron. . . 5 Henri Saintin. . . . . 14 Porrrarr or Mix Host Enews Z4 . LG Brillowin . . . . 63 
 
 THe Ortcin or Powr 
 
 . L.-P. Sergent mnate te Sb) A Moor or Sus... gad Bon hac aoe Salih? Morales) 
 
 I WIFE. . Soca <3 . L. F. Schutzenberger. 16 | Portrait or Muiz, Guerpe... . Gustave Courtois . . . 54 
 a ERS oF WRECKAGE eae iets Woden se me tle | Portrait or ALPHONSE DE NEUVILLE Ange Duez.. . 54 
 PAGNe-A\OGLD EIN (hte cc) seein air a are . P-J. Dagnan-Bouverct.19 | La Roussorme...... . Phe iat Ha cidie Ee SGinuinie oir 2) sant DO! 
 a Ennile Dandoize =e. -820) hy SUNSHD (0. ye iey cee ate feu eyes sree “AuirelsterAllongé eave es DG 
 . J. Bastien-Lepage 21 IVABBIS! oa gee ee) eis Ue ontorceeMorsele 5 or 
 BrrorE tHE ALCADE 5 . Jules Worms... . . . 22 THe VIRGIN... . : eee AnH ANUS G07 Praacss eth oh esp OO) 
 DEPARTURE OF THE SQuADRON ‘ S SIAM e Meese ooh o eR Tue Duer . baat. OG ee Geo a Seb VEG TE. 4 5 5 5 fe0) 
 ADMONITION . . © oth Bao c C-E. Delort .. . 23 | Tum Por D THE Founrarn . E Thirion. . . . .61 
 Fete At THE Brrre or THE Great Conpf . A.-A. Lesrel : . 24 GeNERAL DAUMESNIL Av VINCENNES 5 . Gaston Mélingue 
 TAKING THE VEIL oF THE CARMELITES . . . J.-J. Rougeron. AT THE SEASHORE... . She 2 05 de wo AONE, Serna 
 CamInLE DEesMouLT THE PanArs—Royau . Fred.-Théo. Lia Uvanneiie 54 4 5 i we 2 oo eo WedBougueneale 
 THe Heart’s AWAKENING. . ae 4nat 26 Ture Man wuo Pursurs Forrunt ewil. . > = 68) 
 Tue Drint 2 6 od Gl Go th op op eed fal Eels 26 HT, Avril . cay . 63 
 HEBE At HOR) MAT co ee Hugues Merle Goncomle ee .: Hees ste Ae . Camille Bellanger . . . 64 
 Tue Barninc Hour: Trovvi.ur Heaton pee es Sunpay ArrErnoon: ALSACE Bin . . Martin Feuerstein . . . 64 
 \ Goon Borr albert. . 29 Tne Prisoners: AFRICAN CampaiGn, 1881. . Gaston Claris . 65 
 Tue Rerurn or tHE Hapsis é TRS AM TER TAG, to es, A) THR SIDENT DTATOGUE..) 5 je een a . Josef Israels . . 
 Prerrot GALLANT. . . 3 r Charles ginot FRouFrRoU.. ... oe tara eh 5 . Georges Clairin . . . , 66 
 Tue Lirrit Farw.. . ALS ‘ Tules-J. Veyra A Srar. . Léon Comerre. . . . . 66 
 REVERIE ruses Fe eee) ChamlessMoutlenior | A Dmparturr AT ScHEVENINGEN. .... .2.-P. Sawaige ... . 67 
 Love Conqueror . 2 lal. « . Léon Perrault, 2 32>| Tan Pisnwnims Av Dieppe 2 9 2 yn 2 4 ee MfiBeyle. EO 
 NOP REN Gary ese seen te Sy pees Sedan Bénédict Masson . WIEN Gener siete repens z See? . Théo, Weber . . Bee welts) 
 Music . . one orp ag ees . . . Raphael Collin LE OF Mme. BE. La Vi 68 
 Camille Bellanger eB NVILLE Fisuine § . Jules Masure : . 69 
 . Auguste Leloir.. . 8 Baenéror VattEy: November... . .. . Hugéne Grandsire . 69. 
 THe AMAZON Go 55 8 Ab o a ee deom Melanin elo Sah AuromMN HVENING.... - +... 2% LIAO Wie a & & 6 suri) 
 Bass DA an ‘ ee mck SuAcees ee es . . P. Carrier-Belleuse. . . 3: TisHERMAN’s Housp at PRazay 4 Charles Busson ee 5 Iki) 
 JOB eee ga bb 6g 6 o ae eben Youne Giris Gorne ro tHe Fountain . . . Jean Benner Anarene 
 THE Pusiic Bani Ded cen 2 haces Jean Béraud .... . 35 IRRECONCILABLES.. . . . a oe Gan aitennamdareless: a) se ae 
 
 Prers IN THE HaARpor OF BLANKENBERG . . Théo. Weber. . . .36 | Her Marrracre Trovss 
 Tur T 
 
 LW. 2 2 a Adolphe A 
 
 TUMPH oF CLOVIS... . . be) ee SUR EMTS oe os tag ee Winp Country 5 E oes = > os De Pums de Chavannes 
 
 THE GLORIFICATION or Law oe me Cm Ih Ile OrcHaRD In JuLy...... - > -. . . Mme. Marie Collart 
 
 COUNTRY aaa .8 A cae wens Se 6 6 ¢ Soe g 0 Obamas detanincel 5 6 24 Tue Hour or Return to ead . . Armand Beawais . . 73 
 Dreate or RicHarp Omur pe Lron.. . . A.-C-E. Steinheil . . . 42 Misstigh VERRACHN Joy Bares dese tore 3 . Emile Renouf. . . 74 
 A Bearer or DisPAtouss . 3 Ag { Weuville. . . . . 42 JANDROMAGHE ,. 7 4s = 4 . . . « Georges Rochgross 5 
 
 A Barrery. . . ae Suen . . . . « Bugéne Chaperon ALMA PARENS.. . SGaee . . W-A. Bougu 
 
 DratH oF AGRIPPINS .-. . . - .. ...d-F, Layraud . . 44 Norraup AND HER MorHeER . . . . Léon Baril 
 oy oy BEE GORY ayy. Tener ang J.-A, Rixens 
 
 AUTOMEDON .-G. Grandje 
 
View or THE Custom House 
 Tur Torn Trousers . . JJ. de Souza Pinto 
 A PuysIcran . 
 Tue Two SistTErs . . Charles Giron . 
 Exxcutios or GEN CHARETTE DE LA Contrik . Julien Le Blant . 
 . Henry Farrer . 
 
 _ NW, Koscheleff 
 
 7, Vereschaguine « 
 
 Tae VILLAGE PEDDLER 
 
 - Paul Dubois . . 
 Charles Lénoir 
 
 . G-J. Thomas . 
 
 . Auguste Suchetet . . 
 
 Frorentine Srncer, XVru Cenroury . 
 
 Youne Faun Causixe Two Cooxs to Fieut . 
 MoysEreNreur LANpRIoT 
 
 BIBLIS QHANGED INTO A Sprine 
 
 Fintan Lover . . Alfred Boucher 
 . J.-L. Gérome . 
 
 BEFORE THE AGE OF . Emile Carlier . 
 
 LIST OF WOOD ENGRAVINGS AFTER SOULPTURES. 
 
 TITLE: 
 
 Price ArrHur AND Huser 
 
 Hero AND LEANDER 
 
 An AuruMNAL RAMBLE BY THE SPEY 
 
 Forest or Parms NEAR MEMPHIS 
 Lepa . 
 
 PEnsivE GIRL 
 
 FEMININE ATTRACTION 
 
 Unote N 
 
 Bepouin at HIs DEvorions 
 
 D 
 
 Tue Srarr or AcE. 
 Time anp Sone. . 
 SERENITY .. 
 
 Enpymion Hun 
 
 NG. . 
 Tur GoLDEN WEDDING 
 Tue First FuNERAL. . 
 
 Cossacks or tHp Don 
 
 ARTIST 
 
 W. F. Yeames 
 
 » Hf, Keller. 
 . G. H. Boughton . 
 . L, H. Fischer 
 
 i. Hele. . 
 
 G. A Storey 
 Hans Dahl . 
 T. W. Wood 
 
 . Carl Haag 
 
 fi DOULPIURES. 
 
 . Jean Eseoula 
 
 Auguste Paris 
 
 . L.-A. Hrolin 
 . Jean Georgesco 
 
 - Mine. J-V. Velde 
 
 E.- 1, Barrias 
 
 . E Laneeray 
 
LIST OF PAINTERS AND SCULPTORS 
 
 Appema, Lovisr, 34, 67. 
 Apa, Emrin-Louts, 69 
 
 Artin, E., 81. 
 
 Rt-LEFEUVRE, Lou 
 
 ALE - 
 j-JosEpH, 41. 
 
 ALtar, ANT 
 
 ALLONGE 
 
 , Avauste, 51 
 Atma-Tapema, L., 48 
 
 Arrz, ADOLPHE, 
 
 AUSSANDON, 
 
 Y.-H., 48. 
 
 Ayrit, Epovarp-Henry, 66. 
 
 Barixtor, Lion, 80. 
 
 Baupry, Paur. 40, 66. 
 
 BEAUVAIS, ARMAND, 69. 
 Bourne, M., 81. 
 
 BELLANGE 
 
 CAMILLE, 
 
 Bernier, CAMILI 
 
 ron, ARMAND, 66. 
 Bertrand, Gorges, 43 
 Bryte, Prerre-Marip, 71. 
 Buano, Paun-Josrrn, 45. 
 Borsspav, Ewren-Anpre 
 Lion, 19, 
 
 Breton, H.-A 
 Breton, JuLEs 
 
 BrripGEM DERICK, 70. 
 Brrtioury, Louts-Grorars, 56. 
 
 Brovute 
 
 Hho. 51. 
 
 Buckovac, Buatss, 66. 
 
 RG Hewrt-J Acquss, 73. 
 Bussoy, CHarugs, 70. 
 
 CABANEL, ALE 
 
 NDRE, 55, 
 Carn, AuaustE-Nrconas, 43, 60, 
 AT. 
 Carurmr, E.-N.-J., 42. 
 Pir 
 
 Casanova, Antoxto, 56 
 
 Carn, GE 
 
 GES 
 
 Carrrer-BELLEt 
 
 RE, 34. 
 
 CHAMPAIGNE, PuILip bE, 1, 2. 
 
 REFERRED TO IN 
 
 CHapeEron, Rua 
 CHapu, H.-M.-A. 
 
 Cuarpentier, Louis-Eve 
 
 CLAIRIN, GEORGES, 71. 
 
 Cuaris, GAstoy, 68. 
 
 CLaupE, JrEan-Maxing, 22. 
 
 Cray: 
 
 C 
 
 Paun-JBAN, 20, 51. 
 1, 
 
 enter, Lk 
 
 Ly 
 
 Connart, Marr 
 
 Cotuin, RAPHAEL, 
 
 Comerre, Lton-Frangots, 46, 72, 76. 
 
 AMIN, 61, 63. 
 
 Coror, J.-B.-C , 10, 11 
 Courant, Maurics, 51. 
 Covrrat, Louis, 66. 
 
 Courtors, Gustave 
 
 Couturtizr, L 
 
 Dacnan-Bouver A-J., 29. 
 
 Daut, Hans, 8 
 Datov, Jues, 80. 
 
 DAMERON, 
 Damet, J: 
 Darporze, Exe 
 Davo, J.-L., 7. 
 
 DEBE 
 
 33, JAcQuEs, 1 
 
 Drecampes, A.-G., 11. 
 DELA 
 
 RoIx, F.-V.-E 
 
 Pau, 11. 
 
 DELAROCHE 
 
 Detopse, Frangors-ALFRED 
 
 Epovarp, 30, 68. 
 
 DeLort, CHARL 
 
 Dzsca, E., 81 
 
 DETrAILI 
 
 E., 44, 62 
 DEYROLLE, THEOPHILE 
 Diaz, N.-V., 11 
 
 Dort, Gustave, 42 
 Dunors, Pau, 59. 
 Dusvre, G., 62. 
 Ducuesyn, J.-B.-J., 1 
 
 Durz, ER 
 
 Dupray, Louis-Huyrtr, 34 
 
 Durrt, Jury, 49 
 
 Duran, CAROLU 
 
 Escouna, Jran, 59 
 
 Ercuerto, Frangors, 42 
 
 HE 
 
 Faeur: 
 
 Farrer, Hi 
 Fétrx, E., 86. 
 
 Frverstern, Martin, 
 
 Fryen, Eve 
 
 FEYEN-PERRIN, 
 Fiscuer, L.-H., 87. 
 
 FLA 
 
 , FRaa 
 
 coms, 18, 47. 
 FLAmENG, LEoporp, 19. 
 Fri 
 
 Friant, Emre, 62. 
 
 s, Epovarp-Prerre, 34. 
 
 RNIER, J. 
 Gautnuertn, JEAN, 41. 
 B 
 
 Gemito, VINCENTO, 59. 
 
 GELIBERT, 
 
 GEOFFROY 
 
 Grorcesco, Juan, 60. 
 
 Giréun, Jean-Lion, 42. 
 
 Gurvex, Henrt, 22 
 
 GrrarvET, Juus, 34. 
 
 Grron, CHarues, 76 
 
 GraNpDIEAN, Epmonp-Groress, 48. 
 
 GranpsirE, Eveb 52, 68. 
 Haae, Cart, 86. 
 
 Haczore, Aveusrs, 20. 
 
 Hanorzau, Hrcror 
 Haguetre, Gxorers, 56. 
 Harzison, Breen, 70. 
 
 Heaton, Augustus Gror¢ 
 
 HerLputa, FERDINAND, 56. 
 HE 
 
 Heryrrpaut, Hans, 73 
 
 JEAN-J Acgu 
 
 Hroxiy, Lovis-Aueuste, 59. 
 Hirscu, Anwx.-AuGuste, 33. 
 Huz, C-D.,, 2 
 Huet, Pavt, 10. 
 Hue 
 
 gms, JBAN-BAPTISTE 
 
 Iprac, M.-J.-A.-M., 58 
 Inares, J.-A.-D., 11. 
 Isaney, E., 11 
 
 Is 
 
 IsRaELs, Jos 
 
 ABLS, IsAAc, 68. 
 
 "9 
 72, 
 
 Jazet, Paut-Lron 
 
Keuer, F., 86. 
 
 KoscnE.er®, } 
 
 LANNE, Maxrme, 49. 
 
 LANCERAY, 
 Langon, Aurrep, 26, 58. 
 Lancoy, Auveusts, 68. 
 
 LANDELLE, CHARLES, 66. 
 L. 
 
 Laurens, J 
 
 EMMANt 
 
 NSYE 
 
 La Vitterre, Exnoprs, 71 
 
 Layraup, JosepH-Fortune, 46, 
 
 Juuren, 34, 63, 76. 
 
 EBVRE, JULES, 48, 75. 
 
 EFBVRE, Lours. 
 
 Lenoir, Aueus 
 Lemarre, Ht 
 
 Lenoir, CHARLI 
 
 Leprc, Lupovic, 
 Leroux, Hector, 47. 
 
 LesreL, AboLPHE-ALE: 
 
 LuerMir 
 
 Lrx, Freép.-THfo., 27 
 
 Loneprep, Louis-Groress, 58 
 
 Louminais, E.-V., 28, 77 
 
 Maprazo, Ricarpo bs, 
 Mat 
 
 Manet, Epovarp, 5 
 
 NAN, A., 
 
 Manewant, Pavu-Entts, 61 
 
 NRI, 77. 
 ret, 32. 
 
 Masourg, Juues, 71 
 
 Martin, He 
 
 Masson, Bry 
 
 MaresKo, JEAN, 3 
 Metssonter, J.-L.-E, 11. 
 Ma 
 ME 
 
 MeERrcrés 
 
 INGUB, Gagron, 64. 
 
 Merig, Hucurs, 32. 
 
 Mespac, Heyprrx-Wr.uem, 20. 
 
 LIST OF 
 
 ARTISTS REFERRED TO LN 
 
 Micnet, FRrancors-Ear 
 Mots, Rozert, 78. 
 Mone 
 
 Monernor, CHartes, 31, 
 
 BLON, XNAVIE: 
 
 Moror, Aimé-Nrconas, 
 
 MosyeEr, 
 Mors 
 
 Juan, 1 
 
 JDOUARD, 67. 
 
 Nayrevit, Pavt, 66. 
 
 NeuviLLe, ALPHON 
 
 Nozt, Towy, 81. | 
 
 Oat, Prerre-Marrr, 43. 
 
 Ourve, J.-B, 51 
 
 Paris, AuGustE, 26 
 FEE 
 
 SAND, 73, 
 
 Lion-Grr 
 E., 49. 
 
 PERRAULT, Lion, 32 
 
 PERAIRE, P. 
 
 Perret, Armer, 22 
 
 Nrooxas, 1. 
 
 Poussr 
 
 Prorats, P.-A., 45, 
 
 Puvis DE CHAvANNes, Pr 
 
 RRE 
 
 Reenautt, Heyer, 4 
 
 Reyovr, E., 77. 
 Ro , JEAN-ANDR 
 RopERT-FLEuRY, J.-N., 11. 
 
 Ropert-Figury, Tony, 63. 
 
 LOCHG ROS GEORGE 
 
 Ropriy, Aveu: 
 
 Roun, Au 
 
 ERT-PHILIPPR, 32, 6: 
 
 Nemr, Epovarp, 48. 
 
 RossEt-Gr: 
 
 Rovpavni, Ancrpe, 66. 
 
 IR 
 
 oN, JULE 
 Rousseau, Tuio., 10, 11. 
 
 Rusens, Perer Pavt, 2. 
 
 Sarntiy, Heyrr, 22. 
 
 Sarntty, Junes-Eait 
 
 Saryt-Marcraux, Reyé pe, 19, 26. 
 
 THE THXT. 
 
 Sargent, J.8., 73. 
 
 Sauvaice, Lovurs-Paor, 71. 
 
 ScaLBert, JuuEs, 31 
 
 Scnurz ERGER, Louis-Freperic, 21. 
 
 Scorr, Lovis-Hxwni, 51. 
 
 20, 
 
 , 78. 
 
 Sremuert, ApoLpHE-Epovarp, 4 
 
 Grorce A , 
 
 iZ 
 
 ort, WILLIAM, 70. 
 
 Sucuzrer, Aveustn 
 
 Turron, Evel 
 
 , 65, 
 
 Tuomas, GABRIEL-J UL 
 
 TROUILLEBERT, PAut, 66. 
 
 ULLMANN 
 
 Unmann, BENJAMIN 
 
 Van Hove, Epmonn, 79. 
 
 VARIN, QuENTIN, 1 
 
 Vauruier, Prerre-Lovis, 70. 
 
 , Horace, 11. 
 VERNET, JosEPH, 2. 
 
 Vernier, EmrE-Louvis, 20, 51. 
 Veyrassat, JuLEs JAcqt 
 
 VoILLEMor, CHARLE 
 
 VurLieFRroy, F. pz, 80 
 
 WaGREZ 
 
 Weser, Tho, 34, 71 
 W. 
 WERTHEIMER, GusTAVE, 66 
 Woop, Tuomas W., 88. 
 
 30. 
 
 KER, JosEPu, 63 
 
 Worms, JuLzs, 
 
 YEAME 
 Yeupo, J.-V., 81. 
 
 Yvon, ADOLPHE, 67. 
 
SSS tS 
 
 Sate 
 
 Lied a RES 
 
PAE eA ADE RE. 
 
 Prerrr-Aucustr Cor, Ping. Gourit & Co., Gravure. 
 
 .\ Nevery country and every age dancing has been practised; but its true home is the 
 dreamy and voluptuous East, where, however, the powerful and wealthy rarely 
 engage personally in the exercise, but prefer the indolent pleasure of wit- 
 nessing the graceful evolutions as performed by lithe, beautiful girls. No 
 
 oriental palace lacks its dancing girls which, in India, are named Baya- 
 
 deres. Houris,—dancing nymphs,—are one of the attractions of the Mo- 
 hammedan’s sensuous Paradise. 
 Dancing has not inaptly been called “the poetry of motion.” It 
 
 has a flowing measure and a rhythm that is strongly suggestive of poetry, 
 
 while its purpose to put in play every graceful movement of which the 
 human form is capable, constitutes another point of resemblance to the ornate diction of ‘melodious 
 
 numbers.” Apropos of this poetic simile, is a good story told of those intellectual lights, Ralph Waldo 
 
 Emerson and Margaret Fuller. They were witnessing, it is said, the famous danseuse, Fanny Hlsler. 
 After a period of rapt silence, Margaret whispered to her friend, “This is poetry,” to which Emerson 
 rejoined, “It is religion.” 
 
 In the Bayadere of our picture, we can readily fancy the Salome, who so captivated King 
 Herod by her surpassing grace of motion, as to evoke the rash and fatal promise which issued in 
 
 the murder of John the Baptist. 
 
 M. Cot was born at Bédarieux, France, in 1837, and studied under MM. Cogniet, Cabanel, 
 and Bouguereau. He received a medal in 1870, a medal of the second class in 1872, and a medal 
 of the second class at the Universal Exposition of 1878. In 1874 he was made Chevalier of the 
 
 Legion of Honor. 
 
\ 
 i 
 i 
 4 
 
ian Pincr “koerer 
 
 kMiIng Pincwart, Pine. Gouri & Co., Gravure. 
 
 OTHERS and fathers to the front! This is not a picture for the cynical 
 bachelor who can't, for his life, understand why people make so much fuss 
 over babies—who thinks they all look alike anyhow, and who votes them, at 
 the best, a necessary evil. Such an one may pass on, and make room for 
 oN those who acknowledge the empire of infancy. For truly infants are kings. 
 
 Their domain may be small, but their power is arbitrary and despotic, and 
 
 is rarely disputed. There may be attempts at resistance—as when the long- 
 suffering parent hesitates to leave a warm bed in the small hours of night, 
 
 0 pace the floor in scanty raiment with the young tyrant in his arms; but 
 
 a usually the rebellious parent surrenders at discretion, and soon learns to sub- 
 mit patiently to any imposition or outrage which the infant despot may choose to inflict. And the 
 
 remarkable thing about it all is, that the little autocrat doesn’t in the least alienate the affections of 
 his subjects by his outrageous behaviour. In the very act of receiving their most obsequious atten- 
 tions he will not hesitate to pull their hair, or slap their faces, or tweak their noses, or poke his 
 fingers in their eyes, while the victims—so perfect is their subjugation—seem rather to be com- 
 
 plimented by these peculiar attentions, and to thank him for his pains. After this it is easy to 
 
 believe that everything hat concerns the young autocrat is of the first importance. And so it is. 
 
 His toilets are the chief events of the day. Every word he utters, no matter how irrelevant, is as 
 
 e in Shakspeare. And when we come to that 
 
 rapturously applauded as if it equalled the finest pas 
 
 awfully interesting period when the young Augustus begins to cut his teeth, and the first httle ivory 
 
 actually comes into view, language fails to express the admiring thrills that agitate the whole king- 
 
 dom. This event becomes an occasion of frequent receptions and audiences, more or less formal and 
 extended. That exhibited in our picture is a very private one, restricted to the two chief function- 
 aries of his court, the high dignity of whose position may be thought to be somewhat depreciated 
 
 victims of his reckless tyranny. And yet, 
 
 by the fact that of all his subjects they are the worst 
 to look at them as they bend with smiling, complacent faces over their puny oppressor, we might 
 well judge that they were reconciled to their bondage, and even proud of it. Ah! this is an old, 
 old story—one of those “touches of nature that make the whole world kin.” 
 
 M. Pinchart is a pupil of Géréme, and this picture is one of his happiest efforts 
 
YOU ARE JEArous, 
 
 Ayton Hererrica Dinrrensacn, Pins. Gouri, & Co., Gravure. 
 
 F all dumb creatures the dog is the most jealous; and this is nothing to his dis- 
 paragement, but quite the contrary; for he is the most jealous simply because 
 he is the most affectionate and most constant of animals. While cats not 
 seldom evince a strong affection for their owners, they are as a rule so much 
 absorbed with their own comfort, that so long as that is secured they are not 
 fastidious as to the hand that ministers it, nor are they apt to be tormented 
 ny attentions lavished on companion pets in their presence. ‘Take, for instance, this fine Angora 
 yurring so happily on the lap of his young mistress; think you, if he were comfortably ensconced 
 
 ‘ 
 
 on the table or on a rug upon the floor, he would be a prey to the ‘green monster” simply because 
 us rival, Gip, was being carressed ? Not a bit of: it. The cat loves, it is true, but not with the 
 nassion of the dog. A dog has more sentiment in five minutes than the average cat has in a year. 
 
 Just at present Gip is a sad dog. He is evidently doing his best to apply the Stoic philosophy, 
 
 te) 
 
 ut it won't work. His effort to keep a stiff upper lip is a patent failure, for he is decidedly 
 down in the mouth;—he is in fact almost ready to burst into tears. Poor Gip! Be of good heart : 
 
 this trouble of yours will soon be over. Your little mistress will presently reward the trial of 
 
 your affection with some special. endearments that shall efface all memory of pain with an ecstasy 
 
 of joy. 
 
 Anton Heinrich Dieffenbach was born at Wiesbaden in 1831. He studied sculpture under Pra- 
 
 dier at Paris, and afterwards studied painting at Berlin, under R. Jordan. He spent much time in 
 
 Paris and Switzerland before settling at Berlin. Unlike the pleasing work before us, most of this 
 
 artist's subjects have been drawn from peasant life. 
 
\ 
 ‘ 
 t 
 } 
 i 
 
i 
 
 } 
 $ 
 t 
 i 
 H 
 
THE WATCHERS. 
 
 Euekine Mbparp, Pine Gourit & Co., Gravure. 
 
 “HE artist here presents an incident in the Franco-Prussian war of 1870: A 
 B ey, i detail of soldiers sent to watch some movement of the enemy. Their 
 j q position is critical. The discovery of their presence might not only defeat 
 their purpose, but expose them to death or capture. Yet it is needful that 
 they should know what is passing on the other side of the wall, which alone 
 
 separates them from the foe. One of the men has undertaken to make the 
 
 necessary observation—no enviable office, as he is liable to be rewarded for 
 his trouble by a bullet through the head. He means, nevertheless, to take a careful and deliberate 
 
 survey. The faces of his comrades, as they await his report, are remarkably expre 
 
 They are 
 intensely sober ; conscious of danger, yet resolute. The scene is vivid with the truest realism. These 
 soldiers are not posed models, they are the veritable men; and their expressions were not composed 
 for them, but are the very ones they unconsciously assumed on the occasion. The wall is a genuine 
 piece of masonry, just as the skeleton trees are real, as we see them in faithful perspective through 
 the cool early morning mist. 
 
 How fairly M. Médard has earned a place among the foremost military painters of the day, this 
 picture attests. He was a pupil of MM. Cornu, Cogniet, and Géréme. In 1879 his Retreat secured 
 for him a medal of the third class. It was purchased by the state, as was also his General 
 
 Lecourbe, defender of Belfort, 1815. The Watchers was exhibited in 1875. 
 
————— 
 
A FRIEND IN NEED. 
 
 @ ata al + ,, Q, 
 R. Bryscuiae, Pina, Gouri, & Co., Gravure. 
 
 =. | HE happy days of childhood have their tribulations, as this picture forcibly 
 
 ? 
 
 6 Our young hero, but a few minutes ago, was probably careering 
 round in the very exultaney of boyish pride and valor. ‘Tears! they are 
 for girls. Let the gentle, timid sister do the crying;—not any tears 
 for a brave man like me. Such was his feeling, no less real because 
 
 unconscious. But the little fellow has come to As we look at him 
 
 we think of Mark Antony’s speech over the fi “See what a 
 
 rent the envious Casca raade.”” Whether this 
 
 a 
 
 gaping mutilation of the small 
 clothes came from climbing a tree, or scaling a fence, or sliding down a 
 
 cellar-door; or whether the juvenile wearer was terribly scared, as well as 
 
 damaged in apparel, by a pursuing dog, we know not; but we know that life has lost its charm for 
 uim, and that a mournful change has come o’er the spirit of his dream. Our young friend looks like 
 
 a boy who is rather vain of his good appearance; in which case it is very humbling to think of the 
 
 figure he must cut in his present plight. With what derisive epithets the boys would assail him if 
 
 they should see him with so much white drapery exposed on this particular part of his person: 
 
 1ere is madness in the thought. 
 Ah! very differently now, he regards the gentle sister who cheers him with comforting words 
 while she also deftly repairs his damaged garment. And this suggests the sweet, wholesome lessons 
 
 When 
 
 1ey fall into the many troubles, little or great, which are sure to overtake them, their best helper, 
 
 hat come to boisterous boyhood, which is so apt to mistake noise and rudeness for manline: 
 
 re truest inspirer of their courage and fortitude, is the gentle mother, or the gentle sister; and thus 
 a boy who has in him the stuff out of which true manhood is made, learns to revere gentleness and 
 to recognize its high value as one of the great forces of life. 
 
 The artist has treated this simple incident in child-life with delightful natveté, in a picture whose 
 
 charms of color and chiaroscuro are likewise worthy of remark. 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 ti 
 
 roy 
 
 iu 
 
 VIEW OF THE PALACE OF THE LUXEMBOURG. 
 
 THE MUSEUM OF LUXEMBOURG. 
 
 HE Museum of the Luxembourg sustains a well-defined relation to that of the Louvre, of which 
 
 it has been aptly called the salle d’attente—the ante-chamber or waiting-room. While the 
 Louvre is designed to illustrate the progress of art from the earliest ages down to the present 
 
 ime, the Luxembourg is devoted to the representation of ling artists of the French school. Thus 
 he two great collections complement each other in the realization of an intelligent and compre- 
 hensive plan. But this leading idea of the Luxembourg was only reached after the Museum had 
 passed through a series of experiments marked by alternations of interest and neglect, of hope and 
 disappointment. 
 
 The Palace of the Luxembourg was built for Marie de Medicis, by the architect Jacques Des- 
 
 brosses, who began the work in 1615. On its completion, about five years later, a number of dis- 
 
 inguished artists were employed to decorate the interior. Among these were Duchesne, Jean Mosner, 
 
 Quentin Varin, and Philippe de Champaigne. Poussin, then in his youth, also executed some works 
 1 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 on ceilings and wainscots. But the greatest artistic glory of the Palace was a series of twenty- 
 four large canvases by Rubens, illustrating the birth, education, marriage, and reign of Marie de 
 Medicis. 
 
 The Palace derives its name from the Duke de Piney-Luxembourg, who built a mansion on 
 its site in the sixteenth century. Notwithstanding the vicissitudes and strangely varied uses of the 
 Palace, this name has clung to it throughout its entire history. During the Revolution the Luxem- 
 bourg was a prison, from whose walls Danton, Camille Desmoulins, and many others, went forth to 
 execution. Subsequently it became the Palace of the Directory; then the Palace of the Consulate ; 
 
 and still later, the Palace of the Senate Conservator. Under Louis XVIII. it was devoted to the 
 
 uses of the Chamber of Peers; and at this epoch also it was the place of Marshal Ney’s imprison- 
 ment, and its garden was the scene of his death. 
 In the art history of France, the Luxembourg holds a peculiarly interesting place, from the 
 
 fact that in its galleries the first public exhibition of paintings was opened. This was in 1750, at 
 
 which time Louis XV. authorized the transfer from Versailles of a number of the most precious 
 works in the Royal Cabinet, which were thrown open twice a week to the inspection of the people; 
 the celebrated canvases of Rubens being also exhibited at the same time. This exhibition continued 
 until about 1780, when the Palace became the property and residence of the Count of Provence, 
 
 and the King’s pictures went back to Versailles. But the exhibition was none the less the starting 
 
 point from which the great national gallery traces its rise. 
 
 In 1801, on the demand of the Senate, Chaptal, Minister of the Interior, instituted formal 
 
 measures for the creation of the Museum of the Luxembourg, and in January 1802, J. Naigeon was 
 
 appointed Conservator of the same, and set to work energetically to form a collection. At the head 
 of the list were the Rubens canvases; then came five pictures by Philippe de Champaigne. At Ver- 
 sailles Naigeon found Le Sueur’s pictures of the Life of St. Bruno; and in the Cloister of the Char- 
 treux he found the “Plan of the Chartreuse,’ and the ‘Dedication of the Church,” also by Le 
 Sueur. From Versailles he further secured a series of views of the Ports of France, by Joseph 
 Vernet and Hue. Such was the body of the collection, which the industrious conservator supplemented 
 by choice examples of the great masters gathered from various sources. 
 
 In 1815 France was obliged by the allies to surrender many of the masterpieces of art which 
 her victorious armies had brought from the conquered nations; and to fill up the voids thus created 
 in the Gallery of the Louvre, the chief treasures in the Luxembourg were taken, including the 
 pictures by Rubens and Le Sueur. That was a dark day for the Museum of the Luxembourg; and 
 yet this apparent disaster became the occasion of its successful establishment. A report of the Director 
 of the Museum, dated January 17, 1850, says: ‘In 1818, a royal ordinance appropriated these divers 
 collections (the Rubenses and the Le Sueurs) to the domain of the Crown. . . But in exchange, the 
 King, Louis XVIII, wishing to replace as far as possible in the Palace of the Chamber of Peers, 
 a Museum which contributed to its importance and enlivened the quarter of the Luxembourg, ordained 
 the formation in the same place of a Museum for the works of living artists.” Thus the true sphere 
 of this Museum was found. From this hour its permanence was assured and its true greatness 
 began. The Luxembourg could never hope to rival the Museum of the Louvre in the same field; 
 
 but it could fulfil a destiny of its own scarcely less important to the country, viz, provide a full 
 
 and brilliant representation of the ripest and rarest products of the living school of France, for 
 
 general emulation, instruction and delight. 
 
THH MUSEUM OF THE LUXEMBOURG. 3 
 
 “The Luxembourg has always been, since its new destination, a Museum of passage.” It is 
 the receptacle of the works annually purchased by the government on account of their distinguished 
 merit; and no higher compliment can be paid a living artist than the honor of a representation in 
 the Luxembourg. But this Museum sustains a close relation to the great historical Gallery of the 
 Louvre, as its feeder. Luxembourg pictures and statues of whom the artists have been dead a pre- 
 
 scribed number of years, are eligible for transfer to the Louvre; and thus a succession of French 
 
 masterpieces constantly moves, like a stately: panorama, through the Luxembourg, to meet the new 
 and supreme honor of a place in the Louvre. 
 
 Originally it was required that ten years should elapse after the death of an artist before his 
 works could be admitted to the Louvre; but the prescribed period of delay has latterly been abridged 
 
 in many cases, though not without earnest protest on the part of some who fear that the high 
 
 standard set up in the Louvre may be lowered unless ample time be allowed for ripened judgments 
 
 on the works admitted. In a memorial on this subject, addressed to a former Conservator of the Lux- 
 
 embourg, the case is thus stated : 
 
 “Ten years constitute a short space for the ripening of the judgment of posterity; and to lower 
 
 the exalted standard of the Louvre by the admission of mediocre works, is neither expedient nor patriotic. 
 
 The Luxembourg is the waiting room of the Louvre; hence the great and impassioned desire which arti 
 
 have to see their works admitted into the latter gallery; hence also the efforts, not less impassioned and 
 
 impatient, of the families and friends of the deceased artist, to carry his works beyond the barrier which 
 
 separates them from supreme consecration,—I had almost said, from apothe Between the profoundly 
 
 a 
 
 respectable and touching illusion of the children of the artist and of the pupils whose lives are governed 
 by his principles, and the judgment of impartial equity, which shapes itself so slowly in the public taste, 
 it was needful to fix a term. The tradition, in my opinion, was little in error: ten years scarcely suffice 
 to disengage the true value of a painter from the ephemeral admiration of his time or from the seduction 
 of his qualities and the bias of personal feelings.” Yet this rule, having been once relaxed, is not likely 
 
 to be again enforced. 
 
 While the collections of the Luxembourg are devoted to the illustration of living Hrench art, 
 
 iG 
 
 a few works by artists of other nationalities haye, ‘as by chance,’ been admitted. It has hence been 
 suggested that a suitable apartment be expressly devoted to the reception of the contemporary works of 
 
 other schools. As far back as 1863, a Conservator of the Museum thus addressed the Superintendent of 
 
 the Fine Arts: ‘France has always been hospitable and generous to foreign artists. Her former Royal 
 
 Academy of Painting and Sculpture admitted to its membership, and by consequence, to its expositions, 
 
 the most illustrious of them. It is thus that the Louvre and Versailles possess certain works of 
 Lundberg, Panini, Roslin, Sergell, and of many others. or fifty years our expositions have not 
 ceased to be universal, in the sense that all works there presented, signed with a name of good re- 
 
 pute, whether English, Belgian, German, Italian, or Spanish, have been welcomed and studied with 
 
 avour. Yourself, Monsieur the Superintendent, have not closed any of the Salons opened under your 
 direction, without purchasing the most meritorious of the foreign works, which have been distributed 
 rom here among the best provincial Museums. But the Louvre, after the death of these artists, ran 
 the risk of not having, on its part, any examples of their talent; and you have justly thought that 
 
 a chamber in the Luxembourg would enable you to hold in reserve the most precious works of the 
 
 foreign artists which appeared in our exhibitions, whose place was marked in advance in the grand 
 
 history of art that the Louvre shows, and ought eternally to show, to Europe, So that while the 
 
4 THH GALLERY OF CONTEMPORARY ART. 
 
 Louvre would present the series of the former schools of all countries, the Luxembourg would offer 
 to the curious some happy types of the various living schools of those same nations. France, more- 
 over, so liberal a dispenser of her instructions, and whose great artists have spread their influence so 
 far beyond our frontiers, owes this reciprocity to neighbors who guard with courtesy in their public 
 galleries, among their national treasures, the works of our most excellent painters. Already a small 
 number of foreign works are found mingled with the French pictures in the Luxembourg; and when- 
 ever the number shall be sufficiently increased to form a respectable group, you have decided that a 
 
 special room shall be assigned to them, near those of our compatriots—a just distinction for the 
 
 foreigners—a precious study for us.” Subsequent Conservators and Superintendents have adopted these 
 sentiments, and a purpose so well fayored and so commendable, will, no doubt, be carried into effect 
 as soon as practicable. It will add new interest to a Museum the most complete and brilliant of its 
 
 class, 
 
 FOUNTAIN DE MEDICIS, IN THE GARDEN OF THE LUXEMBOURG. 
 
 DESIGNED BY JACQUES DESBROSSES. 
 
HISTORY OF THE SALON. 5 
 
 WAITING. (Salon of 1874.) 
 
 FROM THE ORIGINAL PAINTING BY ALBERT ANKER. 
 
 HISTORY OF THE SALON. 
 
 W* cannot more appropriately introduce our notices of French artists and their works, than by a 
 glance at the origin and growth of the Ganon, that famous institution in which nearly all these 
 painters made their début and have won their honors. As so commonly happens in matters of im- 
 portance, the beginning of the Salon was small: no one could have predicted from it, the greatness and 
 influence unto which it was destined to attain. The Salon has indeed reached its present state through a 
 gradual process of development, involving numerous experiments and not a few mistakes and failures. 
 
 To find the germ of the Salon we must go back to the time of Louis XIV. At the instance 
 
 of his minister, Colbert, the Royal Academy of Painting and Sculpture decided, on Dec. 24, 1663, to 
 celebrate every year the anniversary of its foundation by a public exhibition in which all the members 
 
 should be required to participate. But nothing appears to have been done for several years towards 
 
 the realization of this design; for the first exhibition did not occur till April 9th, 1667; and in the 
 meantime Colbert directed that the exhibition should be bienmal, in order to give the members of the 
 
 Academy time to produce new works from one exhibition to another. 
 
 Such was the Salon in embryo. We have no particulars concerning the number or the character 
 
 of the works displayed on’ this occasion;—the former was certainly small and the latter was probably 
 
 moderate: but the development of the idea was such that a century later Diderot wrote: 
 “Forever blessed be the memory of him who, in establishing this public exposition of pictures, 
 
THH GALLERY OF CONTEMPORARY ART. 
 
 excited emulation among the artists; prepared for every class of society, but above all, for men of taste, 
 
 a useful opportunity, and a delightful recreation; arrested the decadence of painting among us; and 
 
 rendered the nation more intelligent and critical in its appreciation of the fine arts! Wherefore did 
 
 the ancients boast such great painters and sculptors? 
 
 FLORENTINE SINGER, KVTH CENTURY. (Salon of 1865.) 
 
 FROM THE STATUE BY PAUL DUBOIS, IN THE MUSEUM OF THE LUXEMBOURG. 
 
 It was because talent was stimulated by rewards 
 
 and honours, and because the people, accustomed to observe nature and to compare therewith the produc- 
 
 tions of the arts, were qualified to understand 
 and criticize such works,” 
 
 The exhibitions were held every other 
 year until 1683, when a long interruption 
 ensued, caused by frequent removals of the 
 Academy, the insufficiency of its resources, and 
 the want of a suitable place in which to ex- 
 hibit. The first catalogue was printed in 1673. 
 The eighth exhibition was opened August 20, 
 1699 in the grand Gallery of the Louvre, and 
 the two succeeding exhibitions were held in 
 the same place. 
 
 During the reign of Louis XV. twenty- 
 five exhibitions occurred, from 1725 to 1773. 
 of 
 
 the Louvre, whence the name “Saton.” From 
 
 They were held in the grand Salon Curr 
 
 1731 to 1751 there was a Salon every year, 
 except 1744 and 1749. From 1751 to 1795 
 the Salons were again biennial. In 1777 the 
 commission charged with the examination of 
 works presented, were enjoined to be careful 
 that no works calculated to offend decency 
 were admitted. The artists named as most 
 
 likely to offend in this direction were those of 
 
 the school of Boucher. 
 
 On referring to the records of the thirteen 
 Salons held from 1737 to 1791 inclusive, we 
 find that the smallest number of exhibitors 
 in any year was forty-eight (in 1748), and 
 that the largest number was ecighty-nine (in 
 1787). The number of works exhibited fluc- 
 tuated between the extremes of one hundred 
 and forty-eight and five hundred and thirty- 
 six. The paucity of exhibitors is explained 
 by the fact that the Academicians, professors, 
 and others affiliated with the Royal Academy 
 were alone privileged to exhibit. This bane- 
 
 ful restriction was swept away by the Revo 
 
HISTORY OF THH SALON. a 
 
 lution, under which the doors of the Salon were opened wide. The painter David was one of the first to 
 move for the destruction of the privilege in question. As a member of the Convention he supported, in 
 1792, a petition of “free artists” demanding the suppression of the Academy. 
 
 In 1791 the Committee of Examination which had been instituted in 1746 was modified in a 
 liberal manner, To the officers of the Academy, who, till then, had the privilege of constituting this 
 
 Committee, were added an equal number of Academicians drawn by lot—six officers and six Academicians. 
 
 COVETOUSNESS. (Salon of 1872.) 
 
 FROM THE ORIGINAL PAINTING BY EUGEN 
 
 LOUIS LAMBERT. 
 
 In 1785 an important innovation was made in the arrangement of the Salon, viz, in the middle 
 of the period of the exhibition the pictures were rearranged so as to bring into a better position those 
 that were previously not well displayed. This usage has ever since been maintained. After having been 
 held yearly under the first Republic, the Salon was again made biennial under the Empire. The number 
 of exhibitors and of works now increased from year to year. Beginning in 1801 with two hundred and 
 sixty-eight exhibitors and four hundred and eighty-five works, there were in 1814 five hundred and seven 
 exhibitors and one thousand three hundred and fifty-nine works. The latter exhibition was opened after 
 the return of the Bourbons, who required that artists who had painted battles of the Empire should paint 
 
 the white cockade on the hats of the soldiers in place of the tricolor. As no artist was willing to sub- 
 
 mit to this ridiculous anachronism, battle-pieces were conspicuous by their absence that year. 
 
 In every year of Louis Philippe’s reign except 1832, an exhibition was held, and the Salon of 1831 
 
 surpassed all its predecessors in magnitude, the exhibitors numbering one thousand one hundred and eighty, 
 
 and the works three thousand two hundred and eleven. But shortly afterwards the numbers began to 
 
 dwindle, and the success of the Salon was seriously prejudiced by the conservatism and partiality of the 
 
THH GALLERY OF CONTEMPORARY ART. 
 
 Academic jury, which gave rise to many protests and to heated discussions. In order to understand this 
 trouble and the regulations applied by way of remedy, it will be well to take a connected view of the 
 rules under which the various Salons have been held. We have already seen that the rule which 
 admitted only members of the Academy as exhibitors was swept away by the Revolution. The works of 
 all French artists were admitted to the Salon of 1791 by virtue of a decree of the National Assembly, 
 
 which committed to the Directory of the Department of Paris the control of the exhibition, its chief 
 
 function being to see that the pictures submitted were not politically or morally offensive. 
 
 eC OUR T ocx, 
 
 YOUNG FAUN CAUSING TWO COCKS TO FIGHT. (Salon of 1875.) 
 
 FROM THE SCULPTURE BY CHARLES LENOIR. 
 
 In July 1793, the Convention, having suppressed all the Academies, established the ‘ Commune 
 Generale des Arts,’ which David almost immediately had transformed into a Jury of the Arts, charged 
 with judging the competitions in painting, sculpture and architecture opened by the State. This jury was 
 
 named November 15th of the same year, and was composed of sixty members, among whom were artists, 
 
I Was THERE. 
 
 Fiorent Witiems, Pins. Gouri, & Co., Gravure. 
 
 Oe life is two-fold: We live in the Present and in the Past. 
 Tl 
 
 the sorrows, the adventures, the achieve- 
 
 1e friendships, the j 
 
 ments of former years—how large a share of our thoughts and 
 
 feelings these engross! When we have said a word, or performed 
 
 an act, that is not the last of it. Its consequences abide, and its 
 
 memory endures, and in solitary hours we find ourselves constantly 
 
 recurring, with satisfaction or with regret, to the scenes of other days. 
 With what pleasure the successful merchant recounts the sagacious 
 ventures which bore him on to fortune; or the statesman the steps 
 by which he mounted to fame and influence. Above all, bow 
 fondly the hero of some decisive battle, dilates on the stratagems, the deeds of valour, the “hair 
 
 breadth ‘scapes,’ and the glorious victory that marked and crowned the day. And in after years 
 
 when the engagement is named in his presence, or when he sees it pictured in some work of art, 
 
 into the simple utterance, ‘““I was there.” And 
 
 what a volume of pride and dignity he compre 
 then follows the story if you betray a becoming interest. Sometimes, alas! these worthy heroes are 
 
 a trifle tiresome, especially when the tale is more than twice-told. Not every soldier is as successful 
 
 as Othello, either in his adventures or his narration of them; nor is he often favored with so good 
 
 te 
 
 a listener as Desdemona, who so fervently wished that ‘heaven had made her such a man.” 
 
 Our present hero, we are sure, will have an attentive hearer. He hasn’t yet begun his story. 
 
 Thought is busy. How vividly every incident of the scene of the painting which rivets his gaze, re- 
 turns to him, and as in fancy he re-acts his part in it his blood kindles, and his eyes flash with 
 the old fire. Give him an easy chair, and compose yourself to listen, and you wil have a good 
 
 story. 
 
 In his perfect historic knowledge of the period in which his scenes are laid, Willems suggests a 
 fies of race, are all perfectly 
 
 comparison with Meissonier. Dress, architecture, furniture, and characteris 
 larmonized, and the technical skill displayed in the rendition of textures, and the fine feeling for 
 
 color and light, added to historic accuracy, give a special charm to the pictures of this artist. A 
 
 still higher element of value, however, is the subtle truth of expression displayed in his characters, of 
 
 which the picture before us is a good example. There is as much expression in the back of this 
 
 man’s head as is usually found in a face. The whole figure of the man is, in fact, a triumph of 
 
 appropriate expression, and the lady is a fine reflex of the motive. 
 
 Born in Liége, Belgium, in 1823, Willems first studied his art at Malines, and afterwards in 
 Paris where, since 1839, he has resided. He has been the recipient of numerous medals, including 
 two of the first class, with a rappel of the same, and is Officer of the Legion of Honor, and member 
 
 of the Order of Leopold. 
 
| 
 
( 
 4 
 H 
 
THE CONSCRIPT. 
 
 Lion Perravuut, Pinz. Gouri & Co., Gravure. 
 
 the desolating effects of war be more touchingly suggested than in the 
 simple incident of this picture? We hear much of the glory of war; 
 and we catch glimpses of it in the flashing bayonets, the streaming 
 banners, and the martial music of an armed host as it advances to 
 battle, or celebrates the conqueror’s triumph. ‘There is also something 
 
 strangely stirring to the pulse in the picture of contending armies, 
 
 where, on smoky plains, swept by rattling musketry and belching 
 
 cannon, battalions meet in deadly shock, and squadrons rush madly to 
 
 he banquet of death. But the pageant is soon over; and the fierce 
 i ta, ? 
 
 excitement of battle, which incites to deeds of death-daring valor, soon 
 
 subsides. Then come the horrors of the ensanguined field, where the awful silence which succeeds the 
 din of shot and shell, is broken only by the groans of mangled and dying men. But even this tells but 
 half the story. The other half is vividly suggested by M. Perrault’s picture. Here lies the soldier with a 
 
 bullet in his brain. He had a wife, and she is now a widow; he had a child, which is now an orphan. 
 
 ? 
 
 The wife by this terrible shock is deprived of her dependence, and the child of its protector. This is how 
 
 war affects homes. It affects industry by smiting the artisan, while at the same time it fills the land 
 
 with widows and orphans. The dead soldier of our picture was not one who ‘sought the bubble reputa- 
 
 tion in the cannon’s mouth.” 4H 
 
 » was mobilized and sent without choice to fight his country’s battles. 
 
 His wife has found him lying alone in his snowy shroud, his white face upturned to the stormy sky, 
 
 where the carrion birds are hovering for their prey. And now the family are together once more. What 
 
 a meeting! Language can add nothing to the mute eloquence of the widow's hopeless grief, and the 
 
 pathos of the calm, sweet face o the innocent babe. 
 
 M. Perrault was born in Poitiers, France, in 1 and studied under Picot. His subjects have 
 ; ! 
 
 , 
 
 been drawn from religion, history, and allegory, and he has also exhibited some portraits. He received a 
 
 medal in 1864, and a medal of the second class in 1876. 
 
SIGNING THE DECLARATION OF INDEPENDENCE. 
 
 CHARLES-Hpouarp ARMAND-DuMmARES@, Pinz. Gourin & Co., Gravure. 
 
 |’ LIS is a subject peculiarly interesting to European Republicans, 
 being, in effect, the birth-moment of a great popular govern- 
 
 ment, whose history has confirmed a theory dear to the hearts 
 
 of all who have felt the pressure of despotic power, and has 
 furnished them with an example fraught with the inspiration of 
 
 rope. Between the American Republic and France, especially, 
 
 nere has always subsisted a bond of sympathy. When 
 
 1elp was most needed by our struggling sires, it was received 
 
 from France; and from the time of Lafayette to the present 
 
 a 
 
 ay there has not been wanting a numerous succession of illus- 
 rious Frenchmen, whose admiring regard for this government 
 
 has been heartily affirmed. ‘The spirited picture before us has clearly been a labor of love to the artist. 
 
 Entering into the subject with his whole soul, he has vivified the scene with the intense and lofty 
 
 5 
 
 sentiments appropriate to so critical and sublime an occasion. The actors are men of thought and 
 
 character and resolution. They are animated by no flickering impulse, no spirit of rash bravado. 
 They understand full well the grave interests that are at stake: they have counted the bitter cost as 
 
 well as the glory of success, and have not forgotten that a felon’s death is the penalty of failure. 
 
 In their Declaration, after reciting the grievous wrongs that drove them to this course, they dared to 
 say of the ruler with whom they were in conflict, ‘A prince whose character is thus marked by every 
 
 act which may define a tyrant, is unfit to be the ruler of a free people.’ Their final words,—brave, 
 
 resolute, devout, immortal words,—were these: “And for the support of this Declaration, with a firm 
 reliance on the protection of Divine Providence, we mutually pledge to each other, our lives, our fortunes, 
 and our sacred honor.’ And they kept the pledge. 
 
 Surely no scene in history is more worthy of the painter’s genius. M. Armand-Dumaresq’s breath- 
 ing canvas stirs every patriotic heart, and embalms the memory of one of the noblest events in the annals 
 of freedom. The picture was exhibited in the Salon of 1873. The artist was born in 1826, and studied 
 
 under Couture. He received a third class medal in 1861, and a rappel of the same in 1863. He was 
 
 made Chevalier of the Legion of Honor in 1867, and in 1881 was promoted to the grade of Officer. 
 
DCUNIEEUE A Saee 
 
 Henry Bacon, Pina. GoupiL & Co., Gravure. 
 
 Tan : ; : 
 UST to dust, ashes to ashes,” are words that smite a mourner’s ears with 
 
 inexpressible pain. But when a loved one’s dec: ying form is commit- 
 
 ted to the graveyard, there is at least a sad satisfaction in the 
 thought that we can revisit its last resting place and lay flowers on 
 a grave kept green by the tender offices of love. Moreover, in 
 times of bereavement, there is no place like home. f anything 
 can mitigate the desolating pain of death’s visitation, ib is the ministry 
 of sympathizing friends and the comforts and privacy of home, which, 
 at such a time is nothing less than a sanctuary. 
 
 But death and burial at sea are destituie of even these allevi- 
 - ations. ‘“ We, therefore, commit his body to the deep.’ The scene is pictured for us by the artist 
 
 with tender yet absolute realism. Who that has not tasted the bitter experience, can conceive the 
 
 agony of the moment, when the beloved form of the dead is launched into the abyss, to disappear 
 forever, while the ship plows on through the waves, carrying the weeping ones farther and farther 
 
 from a sacred spot unknown and unmarked, to which they can nevermore return. 
 
 “Unknown and unhonored, down deep in the main, 
 
 Full many a score fathom, thy form shall decay. 
 No tomb shall e’er plead in remembrance of thee, 
 
 Or redeem form or frame from the merciless surge; 
 
 But the white foam of waves shall thy winding sheet be, 
 
 And winds in the midnight of winter thy dirge.” 
 
 In this well-studied work nothing is wanting to the perfection of the graphic narrative. The 
 refined moderation of the treatment, gives to the picture the true pathos of reality. Mr. Bacon was 
 born in Haverhill, Mass., in 1839. He studied painting in Paris, at the School of Fine Arts and 
 in the studio of Cabanel, and subsequently at Ecouen, with Edouard Frére. He has since resided in 
 Paris. Among his works may be named Boston Boys and General Gage, Franklin at Home, Flirta- 
 tion—Behind the Wheelhouse, and Story of a Marine. 
 
Henney Ll AND THE DUKE OF GUISE 
 
 FROM THR ORIGINAL PAINTING IN THE MUS 
 
 UM OF THE LUXEMBOURG. 
 
 Prrrre-CHarLes Comte, Pinz, Goupit & Co., Gravure. 
 
 ENRY IIT. succeeded his brother, Charles [X., to the throne of France. His reign 
 was virtually a reign of unworthy associates, and his court has been 
 characterized as a mixture of bigotry and debauchery, of vice and folly. 
 Under his weak administration civil and religious wars desolated the land, 
 the King himself being the leader of a party which stood between the 
 party of the Leaguers under the Duke of Guise, and that of the Huguenots 
 
 under Henry of Navarre. At last Paris revolted in favour of the Guises, 
 
 when Henry caused the Duke of Guise and his brother, the Cardinal, to 
 
 be assassinated. Indignant at this baseness, many of the towns of France 
 rebelled; the Parliament of Paris instituted his trial; and the Pope ex- 
 
 communicated him. In this emergency, the King appealed to his enemy, Henry of Navarre, for 
 
 who generously accorded it, and together they laid siege to Paris. During the siege a 
 
 8, asse 
 
 Dominican monk named Jacques Clément, impelled by religious and patriotic feelin sinated Henry 
 
 fo 
 te 
 
 III. at St. Cloud, thus putting an end to the dynasty of the Valois, as Henry died without issue. 
 
 The picture before us illustrates the following text: ‘They met at the foot of the grand stair- 
 case of the Chateau of Blois, before going to the communion together at the Church of Saint-Sauveur, 
 
 December 22, 1588, the day before the Duke of Guise was assassinated.” The King, who occupies 
 
 the centre of the canvas, although on the way to Church to engage in the most solemn of religious 
 ’ 8 y 8 
 
 toate) 
 
 exercises, evidently has the murderous purpose in his heart, and his countenance is full of hatred and 
 suspicion. The Duke, who courteously salutes his sovereign, betrays no sense of the perfidious crime 
 
 of which he is so soon to fall a victim. The two characters are in very effective contrast. The 
 
 attitudes and faces of the followers on either side indicate the strength of their mutual animosity. 
 
 The picture is admirably composed, and the dramatic conception is realized in a masterly manner. 
 
 8 
 
 M. Comte was born in 1823, and studied under M. Robert-Fleury. His works, which are 
 
 almost exclusively of the class distinguished as historie genre, have justly won him extended fame. 
 
 and a rappel in 1857. At the Univer- 
 
 He received a third medal in 1852, a second medal in 1853 
 
 , 
 
 sal Expositions of 1855 and 1867 he received, respectively, a second and a third class medal. He 
 
 was made Chevalier of the Legion of Honor in 1857. 
 
HISTORY OF THE SALON. 9 
 
 ROLL-CALL OF THE GIRONDISTS, OCT. 30, 1793. (Salon of 1879.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY FRANQOIS FLAMENG. 
 
 magistrates, savants, actors, authors, soldiers and men of all the professions. Each member in voting was 
 required to state in writing the reasons for his action. 
 
 This Jury was superseded by the National Institute of the Sciences and Arts, created by the law 
 of October 25, 1792; but the new body had no authority in respect to the admission of works to the 
 Salon. 
 
 A ‘Jury of Censure” was instituted under the Empire, and was composed of six members, viz., 
 the Director of Museums, two amateurs, and three artists named by the government. This arbitrary 
 organization persisted under the Restoration, but the ‘ Dictators” (as they have been called), do not 
 appear to have abused their omnipotence. Only the works of new exhibitors were subjected to the 
 examination of the jury; other artists, and especially those who had received medals or decorations, 
 entered at will. 
 
 About the year 1824 the disciples of the ‘“ Romantic School’? began to feel the proscriptive 
 effects of the Jury’s conservatism; but in 1827 the doors had not been entirely closed against the 
 innovators. Immediately after the Revolution of 1830 there was much talk about restoring liberty to 
 the fine arts. Invited by the government to discuss the questions which especially interested them, 
 the artists united in a general assembly and named a commission which, after long discussion, adopted 
 an address to the King demanding “The organization of a special Jury of the fine arts composed 
 
 of artists elected in general assembly and renewed at each exhibition; which Jury should be called 
 
 to judge all the competitions of the School of Fine Arts; to designate candidates for the professor- 
 ships; to admit and place the works of art at the Salons; to propose the encouragements and rewards; 
 and, finally, to judge the competitions ordered by the State.” 
 
 This address was buried in a ministerial portfolio. The ‘reform’ actually made, consisted in 
 the conferring upon the entire Fourth Class of the Institute the powers which previously only a few 
 
 members of the academic corps had exercised. 
 
THH GALLERY OF CONTEMPORARY ART. 
 
 And now began an autocracy in art that was attended with all the abuses that grow out of 
 a management influenced by prejudice, personalities and uncompromising hostility to every innovation. 
 Although some of the most eminent members of the Fourth Class refused to be associated in their 
 acts, the remainder of the body appeared to be “but too happy to exercise their power, without 
 caring for the protests which their proceedings raised in the artistic world, nor for the bitter strictures 
 of the press.” The abuse, and a proposed remedy, are both expressed in the following extract from 
 a pithy article by G. Planche, printed in 1840: 
 
 “Tt has, in fine, come to pass that some eminent artists who do not share the opinions of 
 the Jury, find themselves excluded from the Galleries of the Louvre [where the Salons were held]. 
 There is a very simple means of quieting these complaints, namely: Admit indiscriminately all the 
 works presented; and, in order to confine the exhibit within reasonable limits, permit no artist to 
 present more than two works. So long as this plan is not adopted, artists will be exposed to in- 
 
 evitable injustice. It is impossible for M. Blondel to approve the painting of M. Delacroix; yet M. 
 
 Delacroix, in spite of his faults is an eminent painter, while M. Blondel is a painter absolutely nil, 
 
 even though he sit in the Fourth Class of the Institute. M. Bidault cannot approve the landscapes 
 
 of MM. Huet and Rousseau; yet MM. Huet and Rousseau have an incontestable value, while M. 
 Bidault signifies nothing in the history of his art, albeit he sit in the Fourth Class of the Institute.” 
 
 Theo. Thoré also delivered himself spicily in this connection : 
 
 “The old Academicians [he said] continue, without scruple and without responsibility, to give 
 career to their jealousies and to their caprices. . . This year twenty members have assisted at the 
 operations of the Jury. . . They assembled fourteen times for four hours, for the examination of 
 nearly 5000 works—about 100 per hour, or two pictures a minute. This would be just time to pass 
 before the file of pictures without pausing, supposing they were arranged in order. If the number 
 of exhibitors increases, it will be necessary to employ steam engines. The curule chair of each 
 Academician will then be fixed upon a locomotive.” After speaking of the impossibility of doing 
 
 justice even with an honest, impartial purpose, with such precipitation, and of the customary exclusion 
 
 of some distinguished artists, the writer says: “The animosity of the jury is too evident.” He then 
 
 SAINT CUTHBERT :—TRIPTYCH. (Salon of 1879.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ERNEST-ANGE DUEZ, 
 
HISTORY OF THH SALON. 11 
 
 proposes that a Jury be composed of “true painters,” enlightened amateurs, men of letters, and critics, 
 in which case, he adds, ‘‘the scandal of these proscriptions will not be renewed.” 
 
 The Revolution of 1848 swept away this Jury which had become notorious for proscribing 
 Decamps, Rousseau, Diaz, Corot, and many other able men of the contemporary school. Liberty, full and 
 entire, was now accorded to exhibitors. The 5,180 works presented to the Salon that year were admit- 
 ted without examination. The arrangement 
 and placing were confided to a commission 
 named by the general vote of the artists. 
 
 This Salon offered a curious spectacle—a 
 
 collection of works of the most incongruous 
 character, in which serious and valuable 
 
 pictures were in fellowship with paintings 
 
 truly grotesque. Partisans of restricted ex- 
 
 hibitions did not spare their ridicule of 
 
 this Salon “invaded by the artistic de- 
 mocracy.” 
 
 A. Jury of Examination was appoint- 
 ed for the Salon of 1849; but it was 
 entrusted to the election of the artists, and 
 its members included such men as Cogniet, 
 Delaroche, Decamps, Delacroix, H. Vernet, 
 Ingres, Robert-Fleury, HK. Isabey, Meisso- 
 nier and Corot. The number of works ad- 
 
 mitted was 2,586. The exhibition was held 
 
 in the Tuileries, and Louis Napoleon, Presi- 
 
 dent of the Republic, presided at the dis- 
 
 tribution of awards. 
 
 AN UNLUCKY MEETING. (Salon of 1879.) 
 
 In 1850 a Jury of Admission was ; : nines : 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES-BERTRAND GELIBERT. 
 chosen in the same manner as the previous 
 year, but for the selection of works for recompense, the government formed a special jury, of which 
 a part—but the weaker part—was taken from the Jury of Admission, while the other part was 
 nominated by the Minister of the Interior. This Salon was held in the Palais-Royal, in a large gal- 
 ery constructed expressly for the purpose. The works numbered 3,923. ‘This year, as had been 
 done for the first time in 1849, an admission fee of 1 franc was charged on Thursdays, the proceeds 
 being devoted to the purchase of works of art.” 
 “Tn 1852,” to quote a French writer, ‘the Man of December, having assassinated the Re- 
 public, F. de Persigny being his Minister of the Interior, and the sculptor de Nieuwerkerke having 
 
 een nominated Director General of the Museums, important modifications were made in the organiza- 
 
 ion of the Salon.” The Jury of Admission was composed one-half of members elected by artists from 
 among those who had had works admitted at previous exhibitions (except that of 1848), and one- 
 half chosen by the administration. The privilege previously accorded to medallists to enter their works 
 without submitting them to the Jury, was now reserved for Members of the Institute and artists 
 
 who had been decorated with the Cross of the Legion of Honor. Artists were restricted to three 
 
1) THE GALLERY OF CONTEMPORARY ART. 
 
 works each. The entrance fee for visitors was made one frane on Thursday, and five francs on 
 Monday; on other days admission was free. One of the best innovations was the separate exhibition 
 for one week, after the distribution of awards, of all the works recompensed and favorably mentioned. 
 
 The Salons were biennial from 1853 to 1863; but after the latter year they again became 
 annual. Various modifications in the rules were made during this period. The principle of govern- 
 ment interference was maintained, but the number of jurymen thus chosen was reduced. In 1863 
 three-fourths of the jurors were elected by the artists, and one-fourth were named by the adminis- 
 tration. In 1869 the government named two-thirds of the Jury; but the following year M. Maurice 
 
 Richard, Minister of the Fine Arts, restored to the artists the privilege of electing the entire Jury, 
 
 CONFIDENCE. (Salon of 1879.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JEAN-MAXIME CLAUDE. 
 
 An odd incident in the history of the Salon was the holding, in 1863 and 1864, of Salons 
 of the Rejected. These exhibits, consisting of the works denied admission into the official Salons, were 
 held alongside of the latter, and were under the auspices of the administration. They were certainly 
 interesting in their way, and were probably designed to satisfy the public of the justice of the judg- 
 ments of the Jury. Among the four or five hundred works displayed on each of these occasions, there 
 are said to have been about twenty in each exhibit, which might without impropriety have been admitted 
 into the Salon, but the others were weak, faulty, trivial and grotesque. 
 
 The tolerance in the Salon of very inferior works exempt from the inspection of the Jury because 
 presented by Members of the Institute and recipients of medals and of the Prize of Rome, was felt by 
 many to be an injustice; and this privilege of exemption was accordingly suppressed, in 1872, by M. 
 
 Charles Blanc, Director of Museums; and at the same time, the electors of the Jury of Examination 
 
 (which in 1870 comprised all artists whose works had been admitted to previous exhibitions) were limited 
 
 to French artists who had obtained at least one medal or the Prize of Rome. 
 
HISTORY OF THE SALON. 13 
 
 In 1874, however, the Marquis de 
 
 Chenneviéres, successor of M. Blane, reés- 
 tablished the exemption, and also re-claimed 
 for the administration the right of naming 
 a part of the jury. But, far from being a 
 reactionist in spirit, the Marquis de Chenne- 
 viéres established a Prize of the Salon in 
 favor of young painters who should be de- 
 
 signated by the jury as possessing “‘ qualities 
 
 most susceptible of benefit from a sojourn 
 
 of three years at Rome.” He also proposed 
 
 to confide to a general association of artists 
 i he ai 7 THE PORT OF OSTENDE. (Salon of 1879.) 
 
 the duty of organizing the Salons; of de- 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY PAUL-JEAN CLAYS. 
 signating the works deserving of recompense, 
 and of proposing to the administration all measures favorable to the prosperity and advancement of the 
 arts. But as the artists were slow to avail themselves of these excellent opportunities, they bore 
 little fruit. 
 
 In 1880 the doors of the Salon were so widely opened that the works of every class reached the 
 unprecedented number of 7,289. As some change in the management seemed desirable, the government 
 
 handed over the entire conduct of the Salon of 
 
 1881 to the Society of French Artists, organized 
 
 expr 
 
 y for this duty. A jury of that society, 
 composed of seventy-two members, representing 
 all classes of work, became, therefore, the con- 
 
 trollers and administrators of the ninety-eighth 
 
 rit 
 
 exhibition, The immediate effect of this change 
 
 - 
 
 i 
 
 of control was a reduction in the number of 
 4,959. As usual, 
 
 there were some complaints of injustice preferred 
 
 accepted works, from 7,289 to 
 
 by disappointed applicants. The Salon of 1882, 
 veld under similar auspices, contained 5,641 works, 
 classified as follows: Paintings, 2,722; Designs, 
 (including cartoons, water colors, pastels, minia- 
 ures, enamels, glass, porcelain and faience), 1,328; 
 
 Sculptures, 886; Medals and gem engravings, 51; 
 
 Architecture, 154; Engravings and Etchings, 471; 
 
 Public monuments, 29. 
 In connection with the Salon of 1882, the 
 government made a new departure of great im- 
 
 portance, which was, in effect, a modified exten- 
 
 sion of advantages similar to those afforded by 
 
 the Prize of the Salon. Hight Travelling Purses 
 
 RETURN OF THE FISHING BOATS. (Salon of 1879.) 
 
 7 7 OT r 0 fae 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY H. W. MESDAG (Bourses de Voyage) were awarded to exhibitors 
 
14 THE GALLERY OF CONTEMPORARY ART. 
 
 of meritorious works—three for paintings, two for sculptures, two for architecture, and one for engraving. 
 “These purses,” said the Minister of Public Instruction, ‘‘are available for one year, and are subject 
 to certain conditions and to a certain control. ‘Their object is to put young persons in communication 
 with the masterpieces shut up in Italy, Holland and Spain, and we exact the fulfilment of this condition. 
 The Superior Council of the Fine Arts has been created a jury for the distribution of these awards 
 of the State.” 
 
 The State has declared its purpose to hold Triennial Salons under its exclusive direction. The 
 first of these exhibitions will be opened in July 1883, in the Palace of Industry, immediately after the 
 close of the regular Salon. 
 
 SALON AWARDS. 
 These consist of— 
 1. The Mzpat or Honor, the highest 
 distinction conferred by the Salon. <A 
 
 Medal of Honor is awarded in each section, 
 
 viz., for Painting, Sculpture, Architecture, 
 
 and Engraving. The medal is awarded by 
 vote of all the exhibitors in the section, 
 in combination with the jury of the section. 
 
 2. Prize or THE Saton. This origi- 
 
 nally was an award of funds enabling the 
 recipient to spend three years in study at 
 Rome. In 1879, however, the rule was 
 so modified as to require the recipient of 
 the prize to spend one year at Rome, one 
 year in Spain, and one year in the Low 
 Countries. 
 
 3. Mepat or tHe First Crass. 
 
 4. Mzpat or tHE Sxconp Crass. 
 
 5. Mepan or tHe Tuirp Cass. 
 
 6. Honorasie Mention. 
 
 7. TRAVELLING Purses (Bourses de 
 
 Voyage). Described above. 
 
 An artist who has received a Medal 
 of the First Class is not entitled thereafter 
 
 FING) RUNING GID TeIRON, Gen a7 aD) to receive any medal except the Medal of 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY HENRI SAINTIN. Honor, and is therefore considered. Hors 
 Concours (beyond, or excluded from, competition). One who has received a Medal of the Second 
 Class is also Hors Concours, although he is still eligible to a First Medal or to the Medal of Honor. 
 
 [Rapren. This word, frequently recurring in the biographical notices of French artists, has in that 
 
 ih connection the meaning of “souvenir,” or “recall,” in the sense of calling to mind past honors, of 
 which the recipient has again proved worthy. It is an expression of the jury that the artist merits 
 
 a medal of a certain class, which they do not award for the reason that he has already received it 
 
 i 
 | | on some former occasion.| 
 
HISTORY OF THE SALON. 15 
 
 Cross or tHE Lugion or Honor. Besides the Salon awards, the government, on these occasions, 
 
 is accustomed to decorate with the Order of the Legion of Honor, the artists who are regarded as best 
 entitled to that distinction by the merit of their works, Artists already decorated with the first grade 
 of the Order,—that of Chevalier, 
 
 and last and highest, as Grand Officer of the Legion of Honor. 
 
 are subject to successive promotions, first as Officer, next as Commander, 
 
 MIGHT, UNIVERSAL SUFFRAGE. DIVINE RIGHT. 
 
 THE ORIGIN OF POWER. (Salon of 1879.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY LUCIEN-PIERRE SERGENT. 
 
 The Granp Prize or Roms, though an award of the School of Fine Arts, and not of the Salon, 
 
 is properly mentioned here, from the frequency with which it will be referred to in the course of our 
 work. This prize is restricted to Frenchmen who have taken medals in the School. The crowd of 
 competitors is reduced by giving them a subject to sketch in oil. The twenty or thirty who are most 
 successful in this trial, compete again among themselves on a figure in oil, whereby the number o 
 contestants is again reduced by the selection of the best ten. These ten final competitors go into private 
 studios provided at the School, when the final subject is given them, of which they must sketch their 
 idea in one day, which idea must not be departed from. n three months the pictures are submitted 
 
 idence at Rome, with an annual stipend o 
 
 for decision. The prize gives the holder a four years’ res 
 
 4000 frances, and cost of studio and models in addition. The holder is expected to send a picture to 
 
 the School every year, and is not allowed to leave Rome without special permission. By virtue o 
 
 another prize, founded by the munificence of Mme. Oaen, the holder of the Prize of Rome, on his return 
 
 to France, receives 4000 francs per annum for four additional years, so that he is relieved from pecuniary 
 care for eight years. 
 
 The English critic, John Forbes-Robertson, expresses the following opinion: 
 
 “Does the Salon of Paris exceed in importance every other individual exhibition held in Europe? 
 
 Must places of such historic culture as 1s associated with the names of Dresden, Munich, Vienna, 
 
16 THE GALLERY OF CONTHMPORARY ART. 
 
 Antwerp, Florence, and Rome yie 
 
 d in this, as in sundry other respects, their laurels to the city of the 
 
 Seine? Impartiality compels us to answer, most assuredly, yes, and to assert unhesitatingly that the 
 
 Paris Salon is the art-centre of the world.” 
 
 With another word from t 
 “After having made every 
 artists—whether in sculpture, pain 
 
 remains, that, in originality, inven 
 
 1e same writer, on French artists themselves, we conclude this sketch - 
 allowance for such significance and distinction as the works of foreign 
 
 ing, or any other kindred walk—confer on the Paris Salon, the fact 
 
 ‘ion, freedom of execution, and in all technical and academic qualities, 
 
 the French artists are facile principes. Without wishing to be invidious, or in any way to overstate 
 
 national art-relations, we may give it as our opinion, without any fear of being contradicted by any one 
 
 adequately authoritative, that for every half dozen artists of the highest mark in any other country, 
 
 France can produce at least half 
 
 a score; and that in almost every branch of the fine arts that can 
 
 be named. In short, taste among the French people is an inherited and national instinct, and their 
 
 artists are the true inheritors of 
 
 the glories of the Renaissance.” 
 
 POTIPHAR’S WIFE. (Salon of 1879.) 
 FACSIMILE OF A SKETOH FROM THE ORIGINAL PAINTING BY LOUIS-FREDERIO SCHUTZENBERGER. 
 
FREDERICK BARBAROSSA AT THE FEET OF THE POPE 
 
 Apert Maranan, Pine. Gouri, & Co., Gravure. 
 
 ROM Sismondi’s “ History of the Italian Republics” our artist has derived his theme. 
 
 The passage illustrated is the following: “The Pope awaited him under the portal 
 I g g I I 
 
 of Saint Mark’s. The Emperor of Germany prostrated himself . . . . and the 
 
 Pope said: ‘God has willed that an old man, who is only a priest, should triumph 
 over an emperor mighty and terrible.’” 
 The picture challenges and well rewards the most careful scrutiny. Faces and 
 
 figures are instinct with appropriate yet diversified expression. The attitude of the 
 
 Pope, dimly seen within the door, befits the words we seem to hear him utter. The 
 
 clenched hand of the Hmperor, who kneels uncovered and unshod before the Pontiff, 
 
 suggests the mental struggle involved in his humiliation, which probably does not 
 
 extend to the heart. The attendants who bear the imperial sword, crown, and banner, look gloomily 
 
 upon their master’s humiliation. The soldiers behind them betray a restive resentment; and the 
 
 countenance of the tall, mail-clad warrior at the door is a fine embodiment of dignity and pride 
 forced to an unwelcome task. The face of the old man to the right of him, and the mien and 
 port alike of the dignified citizen in the foreground admirably express the effect of the extraordinary 
 spectacle on sober, thoughtful minds. Equally well conceived is the man with long hair and super- 
 
 cilious face and arm a-kimbo; while nothing in the picture excels in subtle mastery of expression 
 
 the old man with clasped hands who leans against a pillar on the extreme right. A profound 
 satisfaction fills his breast. His devout and grateful emotion is almost too deep for words; but if 
 
 he showld speak, his utterance would doubtless be that of the aged Simeon: ‘ Now lettest thou thy 
 
 servant depart in peace, for mine eyes have seen thy salvation !’’ Oowls and the dim interior light, no 
 
 doubt, conceal exultant faces among the priests and monks who witness the Hmperor’s abasement. 
 
 The drawing is faultless; and the consummate modelling of the ficures imparts to them the 
 
 relief and solidity of nature. The superb architectural background—a splendid picture in itself—is 
 
 worthy of the scene it localizes and adorns. In fine, every feature of this remarkable painting 
 proclaims the hand of a master, and we are not surprised that it won for the artist a medal of 
 the second class in the Salon of 1876. 
 
 M. Maignan was born in Beaumont, France, and studied with J. Noél and with Luminais. His 
 Departure of the Norman Fleet for the Conquest of England (1874), is in the gallery of the Luxem- 
 
 bourg; and his Christ Calls to him the Afflicted (1879), was rewarded with a medal of the first class, 
 
RiZPAH PROTECTING THE BODIES OF HER SONS. 
 
 Grorces Brecker, Pinz. Gourm, & Co., Gravure. 
 
 ITTLE dreamed Kine Saul of the terrible retribution that his cruel treachery to 
 
 the Gibeonites entailed upon his sons. The subject of this startling picture is 
 derived from Holy Writ, being a part of the twenty-first chapter of IT. Samuel, 
 wherein we read: “Then there was a farnine in the days of David three years, 
 year after year; and David inquired of the Lord. And the Lord answered, It 
 is for Saul, and for his bloody house, because he slew the Gibeonites. (Now the 
 Gibeonites were not of the children of Israel, but of the remnant of the Amorites; 
 
 and the children of Israel had sworn unto them: and Saul sought to slay them 
 
 in his zeal to the children of Israel and Judah.) Wherefore David said unto 
 the Gibeonites, What shall I do for you? And wherewith shall I make the 
 
 atonement, that ye may bless the inheritance of the Lord? And the Gibeonites said unto him, We 
 
 will have no silver nor gold of Saul, nor of his house; neither for us shalt thou kill any man in 
 Israel. And he said, What ye shall say, that will I do for you. And they answered the King, 
 The man that consumed us, and that devised against us that we should be destroyed, . . . (let 
 seven of his sons be delivered unto us, and we will hang them up unto the Lord in Gibeah of Saul. 
 
 And the King said, I will give them. . . . The King took the two sons of Rizpah the 
 
 daughter of Aiah, whom she bare unto Saul, and the five sons of Michal the daughter of Saul, whom 
 
 she brought up for Adriel the son of Baraillai the Meholathite. And he delivered them into the 
 hands of the Gibeonites, and they hanged them in the hill before the Lord. . . . And Rizpah tcok 
 sackcloth and spread it for her upon the rock, from the beginning of harvest until water dropped upon 
 them out of heaven, and suffered neither the birds of the air to rest on them by day nor the beasts 
 of the field by night.” 
 
 This vast canvas, terrible in subject, sombre in tone, and highly dramatic in treatment, naturally 
 gave rise to discussions in which both strong encomiums and severe criticisms were pronounced upon 
 it. The latter, however, pertained more to the alleged unfitness of the subject for pictorial use, than 
 to any defect of composition or technic. Whatever else may be said of it, the work certainly evinces 
 great vigour and independence, and as a conspicuous example of an artist of rising fame, it deserves 
 a place in our gallery. The picture was first exhibited in the Salon of 1875, and the following year 
 it attracted marked attention at the Centennial Exhibition, Philadelphia. 
 
 M. Becker was born in Paris about 1845, and studied under Gérome. He received a medal 
 
 in 1870; a second class medal in 1872; and a medal at Philadelphia in 1876. 
 
 > 
 
CORONATION OF BALDWIN I. AT CONSTANTINOPLE. 
 
 Lovis Gauuarr, Ping. Gourin & Co., Gravure. 
 
 HE taking of Constantinople, at the beginning of the thirteenth century, by an 
 army of French and Venetian pilgrims, is one of the most stirring events 
 in history. The proclamation by Pope Innocent III. of a new crusade 
 for the deliverance of Jerusalem from Pagan hands, was responded to 
 by some of the noblest Frankish knights. Their army formed an alliance 
 with Venice, which contributed to the expedition a formidable naval arma- 
 ment. Instead, however, of proceeding at once upon their pious enterprise 
 in Palestine, these warrior pilgrims, influenced by the animosity, both 
 religious and political, which for ages had subsisted between the Greeks 
 and the Latins, became a party to the civil troubles of the [astern empire. spousing the 
 cause of the youthful Alexius, whose father, the Emperor Isaac, deposed by a usurping brother, then 
 languished in a dungeon, the pilgrims at acked Constantinople, which, through the negligence and 
 cowardice of the usurper, soon fell into their hands. One of the pledges whereby the young prince 
 
 had won the support of the Crusaders, was that the Latin ecclesiastical supremacy should be acknow- 
 
 ledged. The attempted fulfilment of this p edge met with bitter opposition and led to another and 
 
 fiercer battle for the possession of Constantinople; but the Crusaders were again victorious. And now, 
 
 the allies determined to place a Latin Emperor on the throne of the Eastern Empire. Among the 
 chief candidates for the imperial honor were Boniface, Marquis of Montferrat, the head of the army ; 
 Matthew of Montmorency; Simon of Montfort; Baldwin, Count of Flanders; and Dandola, the Doge 
 
 of Venice. Intense interest attended the election. ‘Without the Chapel of St. Sophia,” says Gibbon, 
 
 “the Barons expected the decision of the electors. It was announced by the Bishop of Soissons: ‘ By 
 
 our unanimous suffrage, Baldwin, Count of Flanders and Hainault, is now your sovereign and the 
 
 Emperor of the East.’ He was saluted with loud applause, and the proclamation was re-echoed 
 
 through the city by the joy of the Latins and the trembling adulation of the Greeks. 
 
 Baldwin was then thirty-two years old, and is described as ‘valiant, pious and chaste.’ His 
 > 5 
 
 reign, however, was short, and his fate untimely, for in less than a year he died a captive. The 
 
 coronation scene is given with fine dramatic effect by our artist. A study of the faces reveals the 
 
 contrasted emotions of the Latins and the Greeks. The foremost figure kneeling on the throne is 
 
 to) 
 
 probably Boniface of Montferrat; and in the aged kneeling figure in the foreground we recognize the 
 
 venerable and sightless Doge. 
 g 
 
 M. Gallait was born at Tournay, Belgium, in 1810, and studied under Celsthue and Henne- 
 quin. He received Salon medals of the second class in 1835 and 1848, and was made Chevalier of 
 the Legion of Honor in 1841. He is also Chevalier of the Order of the Crown of Oak of Holland, 
 Member of the Academy of Antwerp and of the Institute of France. The original of the picture 
 
 before us is in the Gallery of Versailles. 
 
TASSO AT FERRARA 
 
 Frerpinanp Hetieurs, Ping. Gourin & Co., Gravure. 
 
 HE best years of Tasso, the great epic poet, were spent 
 at the court of Alphonso II., Duke of Este, which rivalled 
 that of the Medici in splendor, and in its patronage of 
 letters and the arts. But the most wretched years of the 
 poet's strangely clouded life were also spent at Ferrara. Dur- 
 ing the ten years that he was honored and indulged by 
 Alphonso, he produced his great work, Jerusalem Delivered, 
 
 the drama Aminta, and numerous minor pieces. It was at 
 
 Ferrara that the poet met the beautiful Leonora d’Este, the 
 
 Duke’s sister, who inspired him with a romantic passion that 
 
 took resistless possession of his sensitive and ardent nature. 
 
 ’ 
 
 But while he dared not presume to the hand of a prince neither could he conceal his hopeless 
 affection, which found expression in impassioned sonnets. It is common y supposed that Tasso’s 
 misfortunes grew out of his love for Leonora, which was harshly resentec by the Duke. Whether 
 rom unrequited love or from other trials and vexations which pressed upon him, about the year 1575, 
 he balance of his delicately organized brain was disturbed, and in 1577 the Duke confined him 
 
 in a hospital for the insane. In a short time he escaped, and was permitted by Alphonso to return 
 
 o Ferrara, but was not restored to favor. He presently began to wander restlessly from city to 
 
 city ; but, drawn perhaps by his hopeless passion, he returned again to Ferrara, where, stung by the 
 cold neglect of the Duke, he expressed his resentment in violent language. Such an offence on the 
 art of an unhappy man accused of madness, might well have been overlooked or lightly visited ; 
 
 but on this petty provocation Alphonso covered his name with lasting infamy by consigning the most 
 
 rilliant intellect of the age to a mad-house, keeping him in that dreadful place for seven long 
 
 years. On his release the poet received distinguished attentions at several courts, and finally died at 
 
 Rome, whither he had been summoned for a coronation at the Capitol. 
 
 M. Heilbuth, who, though German born, is a naturalized Frenchman, has treated his subject with 
 notable refinement. The standing figure is that of the Duke. The ladies are his sisters, and the 
 one nearest the spectator—she who leans forward in pensive absorption—is the well-beloved Leonora. 
 
 In his Lament of Tasso, Byron puts these words in the mouth of the imprisoned poet : 
 
 Thou Ferrara! when no longer dwell To less than monarchs that thou couldst be dear . . . 
 
 The ducal chiefs within thee, shalt fall down, Thow when all that birth and beauty throws 
 And crumbling piecemeal view thy heartless halls, | Of magic round thee is extinct—shalt have 
 A poet’s wreath shall be thine only crown,— One half the Jaurel that o’ershades my grave. 
 
 A poet's dungeon thy most far renown... No power in death can tear our names apart, 
 And thou, Leonora! thou—who wert ashamed As none in life could rend thee from my heart. 
 
 That such as I could love—who blush’d to hear 
 
 Although born in Hamburg, M. Heilbuth is a naturalized Frenchman, and received his art education 
 in France. He received a medal of the second class in 1857, and rappels of the same in 1859 
 and 1861. He was made Chevalier of the Legion of Honor in 1861 and Officer in 1881. His 
 
 Le Monte de Piété is in the Museum of the Luxembourg. 
 
Wes Vey 
 
 FROM THE ORIC L PAINTING IN THE MUSEUM OF THE LUXEMBOURG. 
 
 I) 
 
 Gustave Courset, Pinz. Gourrt & Co., Gravure. 
 
 {E Wave! How simple, yet sublime a subject—too great for any but a master 
 
 hand. There is nothing in nature so awful as the Ocean in its immensity, 
 its might, and its eternal motion. From the dread which it so often in- 
 spires by the terror of its storms and the false security of its calms, the 
 Sea serves as a symbol of cruelty and treachery. It is the fittest natural 
 emblem of the infinite and the eternal, because so boundless, so inex- 
 
 haustible, and so superior to the shocks and decay of time. The Ocean, 
 
 too, is a most impressive figure of the great aggregate of humanity—“ the 
 sea of life,’ which, sometimes calm and unruffled, is anon swept by gusts 
 of feeling or lashed to fury by fierce tempests of passion. The individual lives are the waves that 
 
 come rolling shoreward, and which either prematurely break and sink unnoticed in the whelming flood, 
 
 or erect themselves proudly for a moment in crested beauty, then break and forever disappear: fit 
 
 type of the vanity of mortal pride and glory. 
 
 civen us a true picture of the Wave, and of the sea 
 
 g yea, and of the sea's 
 
 Courbet has 
 
 sister, the sky—that ocean of ether, with its floating islands and navies of cloud. So informed is 
 
 this work with the spirit of nature, that it kindles in us somewhat of the same rapture with which we 
 
 gaze upon the billowy main itself and hearken to its many voices: 
 “Tisten! the mighty being is awake 
 
 And doth, with his eternal motion, make 
 
 A sound like thunder everlastingly.” 
 
 M. Courbet was born at Ornans (Doubs), in 1819. He was destined by his father for the 
 bar, but forsook that profession for painting which he pursued with ardor, making his début in the 
 Salon of 1844. After this he received some instructions from MM. Steuben and Hesse. He painted 
 ably in almost every class of work—landscape, figures, portraits, historie genre, marine, animals, etc. 
 His complicity in the destruction of the Vendome Column during the Commune of 1871, caused him to 
 
 be first imprisoned, and afterwards heavily fined, by the government. He died in Switzerland, December 
 
 medal in 1849, and rappels in 1857 and 1861, 
 
 31, 1877. M. Courbet received a second cl: 
 
THE SALON OF 18 
 
 THE FISHERS OF WRECKAGE, 
 
 FACSIMILE OF 
 
 ‘Wiest 
 
 () 
 
 A SKETCH 
 
 FROM THE 
 
 E 
 
 k 
 
 UR reviews of the Salons may appropriately begin with the year 1879, for two reasons, chiefly : 
 
 That year is sufficiently recent to fall within the prescribed scope of our work, and 
 
 ALON 
 
 = 
 
 i$): 17 
 
 a a oe 
 
 AN 
 
 WAAR 
 
 (Salon of 1879.) 
 ORIGINAL PAINTING BY BMILE-LOUIS VERNIER 
 Quer Ilis7®). 
 
 il, 
 2. As it 
 
 immediately follows the Universal Exposition of 1878, it affords a fit and natural point of departure 
 
 which to advance to the 
 
 The 
 
 seventeen 
 
 from 
 
 whole number of 
 
 g 
 
 (includin 
 
 Catalogue). Of these works three t 
 seven were designs, water colors, 
 The large number of the works fw 
 
 caustic observation: ‘In good fait 
 country is not so favored by the 
 
 Si 
 
 y more, who will practice art as 
 
 very 
 
 works 
 
 latest. exhibitio 
 
 exhibited at 
 
 twenty-two works classified under “ Public Monuments,” 
 ' 
 
 fort 
 
 1ousand and 
 etc., anc 
 
 the 
 
 pastels, 
 ished critic 
 1, 
 
 There wil 
 
 a trade. 
 
 held in the Palace of Inc 
 present their pictures? A remnant 
 They feel then 
 
 are now 
 
 ment now possible ? 
 
 dustry ?” 
 
 Nevertheless, among the crowd of mediocre 
 
 large an assemblage, were a sufficient number of really superior works 
 
 respectable average of excellence. 
 
 One of the most remarkable pictures was Saint Cuthbert, a 
 
 oy 
 
 can there possibly be four thousand exhibiting artists? 
 
 When the 
 
 ustry|], how many of 
 
 art. 
 five 
 
 ns of French 
 
 this Salon was thousand nine hundred and 
 
 and not numbered in the 
 y were paintings, one thousand seven hundred and 
 six hundred and seventy-three were sculptures. 
 », Lucien Paté, with an occasion for the following 
 Our 
 always be three thousand five hundred, not to 
 
 d 
 
 ‘Ss wou 
 
 expositions were held in the Louvre [they 
 
 our present exhibitor d have dared to 
 
 of respect woulc 
 
 iselves so much 
 
 iM 
 
 they no 
 
 how is that senti- 
 
 Palace of Jn- 
 
 have restrained them. as | 
 
 at home: for are in the 
 
 most inevitably be found in so 
 
 to lift t 
 
 pictures that will a 
 
 collection to a very 
 
 riptych, by Hrnest-Ange Duez 
 
18 THE GALLERY OF CONTEMPORARY ART. 
 
 (see sketch on p. 10). The left compartment represents the Saint 
 
 in his youth, as a shepherd guarding sheep. Kneeling in prayer 
 one night he sees ascend to heaven the soul of his patron saint, 
 Aidan, the Bishop of Lindisfarn, who has just died. In the 
 central division St. Cuthbert, having become Bishop of Lindis- 
 farn, is depicted on a missionary journey in Great Britain, 
 attended only by a young boy. When they are ready to 
 sink with fatigue and hunger, the boy expresses his dis- 
 couragement, but the Saint says: ‘‘Let us hope in God; 
 he will never abandon those who trust in him.” Then 
 raising his eyes he adds, “Seest thou that eagle? IH God 
 will, he can make use of it to supply us with 
 food.” And they saw alight at their feet the 
 eagle, holding in- his talons a great fish that he 
 had just raised from the sea.” In the 
 third compartment, the Saint is seen 
 
 towards the close of his life, living in 
 
 retirement. He has just sown a field 
 
 with seeds, which birds began to de- 
 
 vour. ‘ Wherefore do you rob me of 
 
 MONSEIGNEUR LANDRIOT. (Salon of 1880.) 
 
 the fruit of my labor ?” says the Saint, FACSIMILE OF A SKETCH FROM THE ORIGINAL SCULPTURE BY GABRIEL-JULES THOMAS. 
 addressing the birds. If God has given 
 
 you permission, do as he has said; if not, go away! Then the birds took wing. Stories requiring so 
 childlike a faith for credence, would seem to demand for successful interpretation a simple and devout 
 mind, the natural product of an earlier age,—a mind, for example, like that of a Cimabue, a Perugino, 
 
 or a Fra Angelico. Yet, strange to say, the very modern and worldly Duez has achieved a high 
 
 degree of success in this work, so distinct in character from all his previous productions. It is simple 
 and spontaneous, and has a certain charm of naiveté. The favorable judgments of the crities were 
 confirmed by the Jury, who honored the artist with a medal of the first class. The picture was pur- 
 chased by the State. 
 
 Another picture of mark was The Roll-call of the Girondists, by Francois Flameng. (See sketch 
 
 on p. 9.) It represents an episode in the Reign of Terror, the scene being laid in the prison of the 
 
 : mp phere 
 
 BIBLIS CHANGED INTO A SPRING, (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL SCULPTURE BY AUGUSTE SUCHETET. 
 
my 
 ve TE, SA LL ON OF 1879. 19 
 Conciergerie the citiz 1 
 iergerie. The citizen purveyors of i CSoaa Gl ieia 
 ; — ; is y the guillotine form a group on the left, and one of them reads 
 In a loud voice > names of eG i ‘ 
 e the names of those condemned to die. Attentive, the Girondists stand or sit before 
 he table at which tk i ie 
 € é ley have taken their last r i tf 1 V 
 en the st repast. In the left foregro $ s0rps  Valazé 
 Ra et i! eft foreground is the corpse of Valazé, 
 E ster ; ght, various articles of table service; in the | 0 ; 
 val $e. he backor é ato 30n- 
 demned, cuarded by soldiers, Tl | . owe y ; é kground a file of the con 
 g ) 8. lough not escaping criticism for its slightly theatrical character and 
 or the liveliness of its 4g is w i 
 eliness of its tones, this work was greatly admired. It. secured the Prize of the Salon 
 and a med: 4 » Rete slasae oe : 
 g dal of the second class, and was purchased by the State. M. Flameng, who is a son of 
 
 he celebrated engraver and etcher, Leopold Flameng, studied under MM. Cabanel, Hédouin and J. P. 
 
 Laurens. When he achieve success] 
 li S en he achieved the success Just recorded, he was only twenty years old, having been 
 fo) Fi 
 
 yorn in 1859. 
 
 951 
 
 AN ACCIDENT. (Salon of 1880.) 
 
 FACSIMILE OF A SKETGH FROM THE ORIGINAL PAINTING BY P.-A.-J. DAGNAN-BOUVERET. 
 
 The Medals of Honor this year were awarded to M. René de Saint-Marceaux, sculptor, for his 
 
 powerful Geni Guarding the Secret of the Tomb, and M. Carolus Duran, for his Portrait of Mie. la 
 Comtesse V. Of the latter work, Olivier Merson says, it is ‘‘so completely worthy of praise that the 
 
 s itself obliged to lay down its arms. In effect, 
 
 most prejudiced and habitually hostile criticism confess 
 
 every wish is fulfilled in this beautiful painting,—in the taste of the ensemble, the choice of details, 
 
 the drawing, the color and the handling. Another remarkable portrait, quite different in style, was 
 
 M. Bonnat’s Victor Hugo. Nothing could be simpler in its elements than this picture. The poet sits, 
 
 1 face, beside a table, one end of which alone is visible, on which there is a large book. His 
 
 bow rests on this volume, and his hand supports his head. The right hand is thrust carelessly into 
 
 in fu 
 
 left e 
 
20 THH GALLERY OF CONTEMPORARY ART. 
 
 the opening of the vest. The expression is grave and thoughtful, and the eyes are cast down. ‘The figure 
 is relieved against a very dark background, with which the snowy hair of the poet is in strong contrast. 
 
 M. Auguste Hagborg (Swede) achieved a brilliant success by his High Tide in the Channel, 
 
 THE GREEN NIGHT, (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EMILE DARDOIZE. 
 
 which was purchased by the State and now has a place in the Museum of the Luxembourg. Paul- 
 Jean Clays (Belgian) advanced his reputation by two pictures, of one of which, Zhe Harbor of 
 
 Ostende, we submit a sketch (p. 13). It is left for the imagination to fill up this meagre memorandum 
 
 with tones and colors and a masterly handling that make the original less a picture than an actual scene. 
 
 The Feturn of the Fishing Boats—WScene on the dunes of the Scheveningen, by Hendrik-Willem Mesdag 
 
 (Holland), is another noteworthy picture. (See sketch on p. 13). Simply composed, the expanse of sea 
 and sky, and the buoyant craft, have the truth and freshness of reality. One can almost feel the briny 
 air, and see the motion of the waves and of the boats. 
 
 One more marine must be noticed, viz, The Mishers of Wreckage at Yoport, by Emile-Louis 
 Vernier. The profound sympathy with nature evinced in this picture is at once apparent, and the 
 strength of handling and the charm of chiaroscuro are well suggested in the sketch printed on page 
 17. It has been truly said that “one-half of the world does not know how the other half lives.” 
 
 This picture illustrates an humble means of subsistence exercised by the coast peasantry of France, 
 
 and perhaps of other countries. It consists of gathering up every article of the slightest value,—be 
 it moss, shells, drift-wood, or the more precious waifs from foundered ships,—that the waves bring 
 
 ashore. M. Vernier’s fine study of sky and water is thus invested with a peculiar human interest. 
 
 M. Lucien-Pierre Sergent’s Origin of Power (see sketch on p. 15), received marked attention. In 
 
 three compartments it represents the three chief sources of power which lie at the foundation of all gov- 
 
 ernment, viz., Might, which according to the apotheem, “makes right.” This is illustrated by the con- 
 
 queror whose triumph is being celebrated by his followers. Brute force is the simplest and earliest form 
 
THH SALON OF 1879. 21 
 
 of authority. Inasmuch as the very contestible claim of “ Divine right,” set up by kings, rests directly 
 on this early principle of sheer force, the third section of this canvas, which illustrates the so-called 
 “Divine right,” would logically have been the second. It exhibits a king, with complacent condescension 
 holding up his infant heir who is greeted with obsequious joy by fawning courtiers, The central compart- 
 ment (probably so placed as being in the artist's view the highest expression of social and political 
 authority), represents Universal Suffrage. The triple theme is clearly and forcibly treated. 
 
 Conspicuous among the works of historic genre is The Vife of Potiphar, by Louis-Frederic Schutzen- 
 
 berger. (See sketch on p. 16). The scene, of course, is from the history of the patriarch Joseph, and the 
 
 point of time chosen for illustration is found in Gen. xxxix., vs. 13, 14: “And it came to pass, when she 
 
 saw that he had left his garment in her hand and was fled forth, that she called unto the men of her 
 house,” etc. She is pictured in the act of raising her false and treacherous alarm on the vengeful impulse 
 
 of humiliated pride and baffled lust. The artist has availed himself of the opportunity afforded by his 
 
 subject for effective contrasts of light and shade and rich effects of color in the flesh, draperies and pic- 
 turesque accessories. It is needless to remark that a subject is not necessarily religious, because drawn 
 from Scripture. M. Schutzenberger, though bearing so German a cognomen, is a native of Strasbourg, 
 
 and a Frenchman. 
 
 JOAN OF ARC. (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES BASTIEN LEPAGE. 
 
22 THH GALLHRY OF CONTEMPORARY ART. 
 
 Among the landscapes, The Haunt of the Heron, by Henri Saintin (sketch on p. 14) is noteworthy 
 as an interpretation of one of the quiet moods of nature ;—a scene whose silence is unbroken save by 
 the purling brook, and whose solitude is relieved only by the solitary heron, 
 
 For felicitous truth of animal expression, 
 An Unlucky Meeting, by J. B. Gelibert, is justly 
 distinguished. (See sketch on p. 11.) ‘The 
 
 mingled feelings of regret and concern on the face 
 
 of the dog with the rabbit, and the fierce desire 
 
 and felonious purpose expressed alike in the faces 
 
 and attitudes of the other dogs are perfect in 
 
 character. ‘The artist has given a beautiful sylvan 
 
 setting to the scene. 
 
 Conjiclence, by Jean-Maxime Claude is de- 
 
 lightfully piquant. (See sketch on p. 12.) What 
 
 BEFORE THE ALCADE. (Salon of 1880.) 
 
 innocent surprise, what eager interest is written 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES WORMS. =) 
 on the face of the recipient of this delectable 
 and most secret communication; and with what mysterious care the imparter of it bends forward and 
 breathes it with whispers into her friend’s ear, as though she would guard the secret even from the 
 
 trees and the birds. M. Claude, who is distinguished for his equestrian portraits, gives us in this picture 
 
 an example of his taste and skill in that class of work. The action of the high-bred horses is free 
 
 and graceful, and the vista of the vaulted aisle of trees gives completeness to a beautiful and simple 
 
 composition. 
 
 1948 
 
 gave éclat 
 
 o this Salon were the Birth of Venus, by W. 
 
 Among other paintings which 
 
 A. Bouguereau; Jesus in the Tomb, by J. J. 
 Henner: Etienne Marcel and the Dauphin Charles, 
 by L. Mélingue; Zhe Héte Day, by J. A. Gar- 
 mer; Zhe Holy Viaticum in Burgundy, by Aimet 
 Perret; Freturn from the Ball, by Henri Gervex; 
 Deliverance of the Prisoners of Carcasonne, by J. 
 P. Laurens; Hpisode in the Battle of Haua-Sex- 
 tiennes, by A. N. Morot; and Christ calls to him 
 the Afflicted, by A. Maignan. 
 
 Besides the noble work of Saint-Marceaux 
 
 (Gem Guarding the Secret of the Tomb) already 
 referred to as the recipient of the Medal of Honor 
 
 in the group of sculpture, one other work in 
 
 marble must be cited, namely, the Young Maun 
 
 Causing two Cocks to Fight, by Charles Lenoir. 
 
 (See sketch on p. 8.) This group was first exhibited 
 
 in plaster at the Salon of 1875. Reproduced in 
 
 marble, it was purchased by the State. It is 
 DEPARTURE OF THE SQUADRON, (Salon of 1880.) 
 
 thoroughly, and in the best sense, antique in spirit. FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY PAUL-IAON JAZET. 
 
THE GALLERY OF CONTEMPORARY ART. 23 
 
 The whole number of paintings selected from the Salon, for purchase, by the administration, 
 was 66; works of sculpture, 30. The prices paid by the government are not usually published, as 
 they are apt to be much lower than those paid by private purchasers, the artists being willing to make 
 a liberal concession in consideration of the fact that it enhances their reputation to have their works 
 placed in a Museum or public edifice. It is known, however, that the price paid for Duez’s Saint 
 Cuthbert, was $1,600; for the Birth of Venus, $3,000; for the Deliverance of the Prisoners of Cuarca- 
 sonne, $2,400; and for the Etienne Marcel, $800. 
 
 rf 
 
 : 
 
 ‘ 
 
 AN ADMONITION, (Salou of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY CHARLES EDOUARD DELORT. 
 
24 THH GALLHRY OF CONTEMPORARY ART. 
 
 wt 
 
 i 
 / i 
 
 ! 
 
 j 
 
 iu 
 y 
 
 : 
 
 ii 
 ma 
 | 
 
 FETE AT THE BIRTH OF THE GREAT CONDE. (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ADOLPHE-ALEXANDRE LESREL. 
 
 THE SALON OF 1880. 
 
 HE Salon of 1880 was the largest on record, the aggregate number of works in all the sections 
 T amounting to 7,289. It would almost appear that nothing was refused. The character of many 
 of the exhibits recalled the famous Salon of 1848, when the so-called “invasion of the artistic 
 democracy” took place. Many of the French critics felt it their duty to protest loudly against a 
 laxity on the part of the jury of admission that threatened to disgust and banish the true artists 
 whose works alone gave value and distinction to the Salon. M. Eugéne Montrosier thus opened his 
 critique: “One must enter the chambers of the Exposition hatchet in hand if he wishes to make a 
 path for himself. Great gods! what disorder, what overrunning, what intersecting of wild shoots and 
 
 tufted branches; what a heart-rending pressure of works without inte ligence, without ability, without 
 
 talent, without imagination! No, even a hatchet would not suffice: fire alone would be able to de- 
 liver us from this scourge of peintwre-morbus. Ah! for pity’s sake, let us purify the air; for other- 
 wise French art, slowly but surely poisoned, will fall into languor and finally perish.’ An English 
 writer, Mr. Forbes-Robertson, says: ‘‘One great drawback to this unprecedented extension of hanging 
 
 space and apparently promiscuous admission of all comers, is the very great risk run by the casual 
 
 visitor, through having to wander over so many leagues of barren and unsuggestive canvas, of missing 
 
 altogether the many oases of fruitfulness and beauty, and coming to the impatient and false conclu- 
 
 ” 
 
 sion that the Salon this year is full of nothing but rubbish So very far from the truth is such 
 
 a conclusion, adds this writer, that ‘whatever of tenderness and beauty, simplicity, truth and dignity 
 
 the visitor has been accustomed to admire in the Salon will be found amply represented on its 
 walls in this current year of grace, whether we turn to landscape, genre, or history.” 
 
 Olivier Merson, critic of Ze Monde Tilustré, thus closes a somewhat lengthy prelude: ‘This 
 
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Goop Bock BEER. 
 
 Epovarp Manet, Pina. Gouri, & Co., Gravure. 
 
 ERE is a thorough-going materialist,—a man who doesn’t bother his head with 
 metaphysical speculations, and who has no aspirations that the present state of 
 
 existence cannot fully satisfy. Look at him. Why, not even a cat purring 
 
 on a soft rug before a glowing fire-place, could present a better picture of 
 
 perfect contentment than this lover of boc beer and tobacco. Indeed, so 
 deep and all-pervading is his present felicity that there is almost a touch 
 
 of pathos in it. What is he thinking of? Well, probably he is not think- 
 
 ing at all, but only revelling in the delicious languor of senses steeped in 
 
 satiety. Shakspeare makes Cesar say: 
 
 “Tet me have men about me that are fat; 
 Sleek-headed men, and such as sleep o’ nights; 
 Yond’ Cassius has a lean and hungry look; 
 
 , 
 
 He thinks too much: such men are dangerous.’ 
 
 By this token our lover of Bock is not a dangerous member of the community—unless, indeed, in a 
 time of scarcity, when his presence might well occasion grave concern. 
 
 M. Manet has been called the “high priest of ugliness” by some of the critics, and not without 
 cause, as certain of his pictures have exhibited a repulsiveness that was almost gratuitous; but other 
 
 ‘ 
 
 of his works are only objectionable on the grounds of ultra ‘impressionism’ and “realism.” He was 
 
 born in 1833 and finished his studies under Couture. His first exhibits were in the Salon of the 
 
 ‘Nydy/ 
 
 Refused in 1863. He exhibited in the Salons of the two following years, but in 1866 his works were 
 refused by the Jury. Since then he has exhibited regularly, although his Wana (1877) was rejected on 
 the ground of indelicacy. Mr. James Jackson Jarves says: ‘Manet is one of the eccentricities ‘of modern 
 art, as Whistler is another, but better, variety.’ Another writer expresses the opinion that Manet’s 
 
 Nana “shows his appreciation of grace and elegance” and that his portrait of Faure in “Hamlet” (1877), 
 
 proves him “the strong master of a noble style.” The Good Bock Beer was exhibited in 1873 and 
 
 was a popular success. In 1881 M. Manet was honored with a medal of the second class. 
 
AN ARAB CHIEF. 
 
 ApotPHE Scureyer, Ping. Gouri, & Co., Gravure. 
 
 O absolutely a master in this field of art is Schreyer, that his pictures of 
 Arabs are more than faithful representations,—they are types. This Sheik, 
 for example, is not a bronze-hued man sufficiently like an Arab to pass 
 unchallenged in the appropriate costume, but he bears the impress of 
 his race in every lineament. We see it in the lithe body, the sinewy 
 arm, the unemotional face, and the keen, unrelenting eye. The loose 
 
 the gun, the dagger, the saddle and harness are all precisely 
 
 draperi 
 
 n 
 
 uch as the Sheik would use, while the steed affords a model that may 
 safely be studied by those who would know the characteristic points of an Arabian courser. 
 
 The isolation of the subject of our picture leayes the imagination free to define his situation. 
 The Chief of a tribe of Nomads, has he halted in this refreshing oasis to await the coming up of 
 9 
 
 his followers, or to address to them some word of command? Or, in this lonely place, does he lie 
 
 in ambush for some unfortunate traveller who is marked as the victim of murder and pillage? 
 Apparently this Arab is equally capable of daring crime or of cruel treachery. However this may 
 be, the picture is animated with vital intelligence; and the leafy setting, whose cool shadows so 
 
 effectively contrast with the torrid sky, is grateful to the eye. 
 
 The Courrier Artistique pronounces this just comment: ‘Schreyer joims to a grand and hold 
 
 conception a profoundly poetic sentiment; this makes him both German and French. His manner as 
 
 well as his talent, has two natures; it recalls both Delacroix and Fromentin. His color is a happy 
 
 mingling of the dreamy tones of the one and the powerful colors of the other. And one should, 
 
 sted in this mingling... His lines, 
 
 above all, admire it for the incontestible originality thus manif 
 
 clear and vague at the same time, are, in spite of these two distinct qualities, strangely personal 
 
 with this artist.” M. Schreyer was born at Frankfort-on-the-Main in 1828. He took Salon medals 
 
 egular Cossacks and Charge of 
 
 in 1864, 1865 and 1867. Two of his pictures, viz, Horses of the 
 
 the Artillery of the Imperial Guard in the Crimea, are in the Museum of the Luxembourg. 
 
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THE DRUMMERS OF THE REPUBLIC. 
 
 Luts Jimenzz, Ping. Gourit & Oo., Gravure. 
 
 HE spirit of 1793 was no respecter of persons. ‘‘Citizen’’ was the highest title 
 that it recognized, and in its estimation a ragamuffin was as good as a king. 
 In the violent reaction against centuries of aristocratic oppression, the pen- 
 dulum of popular feeling swung to the opposite extreme, and for a brief 
 season the dregs of society wielded a power more despotic and more danger- 
 ous than that which the Revolution had overthrown. It was a dark and 
 bloody era; and yet its sharp transitions, and its grotesque mingling o 
 
 pomp and begeary, of luxury and dirt, of dignity and rags, presented some 
 
 ooar 
 ggar 
 
 salient features for the laughing cynic and even for the humorist. These 
 
 absurd contrasts are suggested by Jimenez’s picture of the ‘‘Drummers’—a scene whose truth o 
 
 tion is exceedingly piquant, and which is at the same time enlivened by the genial sarcasm 
 
 characteriz 
 
 of the motive. The gamins of Paris took an active part in the fierce commotions of this. period, 
 
 and the pride and self-importance of such of their number as were honored with definite and rec- 
 ognized positions may easily be conceived. Behold a company of them organized as a drum corps! 
 We are familiar with the “awkward squad’: This squad is not only awkward, but ragged. The 
 sans culottes (literally, ‘‘without breeches’—a term applied to ragamuflins and tatterdemalions) are well 
 represented. These young revolutionists are, indeed, all supplied with breeches,—such as they are,— 
 
 but one of them is hatless, another shoeless, and a third shiftless. Several well-dressed boys of 
 
 better circumstances mingle fraternally with their juvenile fellow-citizens from the slums. 
 
 A good deal of quizzical spirit is embodied in the figure of the drill-master who presents his 
 
 back to us. His expression is dubious. It may be that he regards with satisfaction the excellent 
 possibilities (as yet quite undeveloped) of his motley drummers; or, on the other hand, he may be 
 strugcling with doubtful success to conceal an irrepressible feeling of disgust at the choice example 
 
 of “Liberty, Equality and Fraternity” which stares him in the face. In the midst of the drill, one 
 
 mernber of the corps pauses unceremoniously to tie his shoe. On the stairway at the left, two lead- 
 
 ing citizens discuss the next banquet that shall be served to Death. This interesting picture was 
 
 exhibited in the Salon of 1877. The artist is a Spaniard. After studying in the Academy of Fine 
 
 Arts at Seville, he spent ten years in Italy, and then, in 1875, made Paris his home. 
 
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THE CLIFF. 
 
 JULES-ADOLPHE Breton, Pinz. Gouri & Co., Gravure. 
 
 . OOL and commanding is the eminence from which this peasant maiden gazes upon 
 3 the wide, wide ocean. What has brought her to this spot? We fancy 
 that she has quietly stolen away from her rude dwelling in the little 
 sea-side village, and climbed to this solitary place that she may be alone 
 with her thoughts. Let us not suppose that sentiment and poetic feeling 
 are monopolized by people of education and refinement. Not so; there are 
 times when the children of penury and toil are stirred by noble thoughts and 
 feelings which efface, for the time being, the consciousness of their untoward 
 
 surroundings. But too soon, alas! these seasons of exaltation suffer a rude 
 
 interruption, and the dreamers are recalled to the dull prose of existence by the hard necessities of their 
 
 ot. When the heart is first awakened by love, it is full of poetry; and often, when brought face to 
 face with the beautiful and the sublime in nature, a peasant’s soul is thrilled with mingled feelings of 
 tenderness and awe. 
 
 Perhaps this fisher-maiden’s heart is on the sea. She may not be able to detect a sail—much 
 ess the bark in which her loved one sails; but yet it is a comfort to watch and wait. And as she 
 
 silently sits here knitting, she weaves into her coarse, commonplace work, the delicate thread of her 
 
 hopes and fancies. Far below her the waves, dashing against the cliff, send up their deep, hoarse, yet 
 soothing murmur: 
 
 There is a rapture on the lonely shore, 
 There is society where none intrude, 
 
 By the deep sea. 
 
 At last the maiden throws aside her work and abandons herself to her day-dreams and to the fasci- 
 
 nation of the scene before her. What her thoughts are we cannot certainly divine. For ourselves, however, 
 
 we know that, as we gaze from this high eminence upon the apparently infinite ocean we are filled with 
 
 a sense of its awful grandeur, and are disposed to reveries that come to us only in presence of this 
 
 sublime spectacle. The artist has interfused his simple but noble composition with the very soul of 
 nature. The picture was exhibited in the Salon of 1874. 
 
 M. Jules Breton is one of the foremost painters of France. He was born in 1827, and studied 
 
 under MM. Drolling and M. F. Devigne. His works are everywhere admired, and he has been crowned 
 with the highest awards. He received a medal of the third class at the Universal Exposition of 1855; 
 a Salon medal of the first class in 1859, with a rappel in 1861; a medal of the first class at the 
 Universal Exposition of 1867; and the Salon Medal of Honor in 1872. In 1861 he was made Cheva- 
 
 lier of the Legion of Honor, and in 1867 was promoted to the grade of Officer. 
 g , 
 
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A SLAVE MERCHANT. 
 
 FROM THE ORIGINAL PAINTING IN THE MUSEUM OF THE LUXEMBOURG. 
 
 Victor Gtraup, Pine. Gourit & Co., Gravure. 
 
 a te ai : 5 
 SYERE is a scene that transports us, in imagination, back to the age of the early 
 
 gi 
 
 Roman Empire. Not that markets for the sale of slaves of either sex were 
 
 peculiar to that age, but because the details of the picture seem to connect it 
 with the period named. At that time Asia Minor, Egypt, and Africa, all bowed 
 to the Roman sceptre. The purchaser in the mart before us is a Roman 
 official, and from his haughty, almost tyrannous look, we infer that he is 
 sojourning in a conquered province of which he may be the governor. The 
 merchant is unquestionably a Greek, and we shall probably not be amiss if 
 we locate the market at Antioch, which, though the Syrian metropolis, was 
 a Greek in civilization, and largely so in population. It was one of the most 
 
 voluptuous and corrupt cities of antiquity, and its celebrated suburb, Daphne, was far-famed as the 
 
 scene of the most unbridled sensual excesses. The Roman in our picture has the lustful face of a 
 
 Nero; while the merchant exhibits a complaisance undisturbed by conscience or humane fecling, The 
 
 slaves themselves betray a variety of emotions. The foremost figure is evidently not lost to shame, 
 and cringes before her brutal inspector. The sitting woman in the immediate foreground wears a look 
 of stolid indifference: she is doubtless the mother of the infant beside her. The woman behind 
 her indulges a curious, half-smiling interest in the scene, while the one facing us in the background 
 is even primping, mirror in hand, as though she desired a purchaser. Between the two last named, 
 however, are a young African with sad countenance, and a crouching form whose attitude speaks of 
 grief and shame. In the background, on the right, are some male slaves guarded by a keeper, who 
 looks capable of using freely upon his unhappy charge the rod he holds in his hand. 
 
 Such is the picture, painful in subject, though brilliant in all the attributes of the painter’s art. 
 
 5 and a pupil of Picot, was one of that illustrious group of young painters 
 
 The artist, born about 
 who fell in the siege of Paris, his death occurring in January, 1871. He made his début in the 
 
 Salon of 1867 with the picture before us, whose excellence promptly made it the purchase of the 
 
 state. It is now in the Museum of the Luxembourg. M. Giraud’s subsequent pictures, The Hus- 
 band’s Return (1868), and Zhe Charmer (1870), were sufficiently meritorious to deepen regret at his 
 
 untimely death. 
 
THH SALON OF 1880. 25 
 
 Olivier Merson, critic of Ze Monde Iilustré, thus closes a somewhat lengthy prelude: ‘This 
 Exposition, of which the jury, blind and culpable by turns, has had the astonishing weakness to admi 
 so many horrible and idiotic works, also contains many pieces particularly estimable, and several tha 
 would do honor to a master... In this respect the present Salon is even one of the most remarkable 
 
 that has been opened for a long time, and the 
 
 number of paintings which claim regard and are 
 
 worthy of remembrance is in truth larger than 
 usual.” ‘This almost paradoxical declaration en- 
 
 courages us to proceed in our attempt to single 
 
 out some of the choice contributions, of which, 
 assuredly, the number is so great as to make the 
 
 task of selection a difficult one. 
 
 The Medal of Honor for Sculpture was 
 awarded to Gabriel-Jules Thomas, for his statue 
 
 of Archbishop Landriot, of which we give a 
 
 sketch on page 18. The disposition of this work 
 
 is masterly. The attitude is calm and _ noble, 
 FS TAKING THE VEIL OF THE CARMELITES. (Salon of 1880.) 
 
 — 
 
 1e portraiture 18 pertect, the folds of the EPISCO- — ExcsrMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES-JAMES ROU- 
 
 pal robe superb, and the rendering of flesh, tex- ore 
 
 tures, and ornaments leaves nothing to be desired. It is an achievement of the noblest style, worthy 
 
 of its high recompense, and an honor to the Cathedral of La Rochelle for which it was made. 
 
 To another work of sculpture, Jiblis 
 
 Changed into a Fountain, by Auguste Suchetet, 
 was awarded the Prize of the Salon. (Sketch 
 on p. 18.) This statue illustrates the follow- 
 
 ing lines: 
 
 Ye nymphs who behold her, are touched by her de- 
 spair. 
 Of the tears of Biblis, who grieves and wastes away, 
 
 You form a stream that evermore shall flow. 
 
 M. Suchetet has represented the beautifu 
 and unfortunate lover of Caunus lying on her 
 right side, her head resting on her right arm, 
 the hands gently interlaced, and one leg foldec 
 over the other. A sleep, deep and calm, sent 
 by Morpheus at the prayer of the Naiades to 
 mitigate her fatal sorrow,—sleep, precursor o 
 her transformation into a fountain,—invades her 
 
 and softly penetrates her weary limbs. The grace 
 
 and poetry of the ancient fable are rendered 
 
 with a verity and charm of expression very 
 
 picturesque. ‘The artist has sought nature,” 
 
 {OULINS AT THE PALAIS-ROYA Salon of 1880.) 
 
 CAMILLE 
 
 ene, Sa toy : pees E _ 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY FRED. THEO, LIX. says M. Merson, that is evident ; but as an 
 
THE GALLERY OF 
 
 THE HEART'S AWAKENING. (Salon of 1880.) 
 
 and bizarre contradiction, the public shows the 
 east taste for an art for which the French school 
 has the most aptitude, produces works of the 
 ’ highest artistic value, and surpasses all other con- 
 
 temporary schools. If a comparison be made be- 
 
 ween the living French painters and sculptors, 
 
 it will easily be seen that the advantage lies 
 
 with the latter, and that our school of sculpture 
 
 is superior to the school of painting.” 
 
 , the 
 
 following works of sculpture should be cited as 
 
 In addition to those already mentioned 
 
 prominent among those which lent distinction to 
 this Salon: Judith and Holofernes, by Alfred Lan- 
 son (first class medal); The Genius of LHvil, by 
 
 Emile-André Boisseau (second class medal); Or- 
 
 pheus and Hurydice, by Auguste Paris (this work 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ANATOLE VELY. 
 
 hence, it is always with a sentiment of respect and of sincere admiration that we pene 
 rall containing the works of French sculpture which, 
 
 art, but which, unhappily, are too indifferently and ungratefully regarded by the crowd. 
 
 CONTEMPORARY ART. 
 
 artist having the sentiment of beauty, reasoning 
 his subject and not copying indifferently that 
 which he has under his eyes. It is at once a 
 morceau. of study and of taste,—of study, which 
 does not neglect details, but moulds them agree- 
 ably into general forms; of taste without stiffness 
 or affectation.” The work was also rewarded by 
 
 a medal of the second class. M. Suchetet is a 
 young man, for whom this achievement prophe- 
 cies a brilliant future. 
 
 M. 
 
 but Platonic lovers. 
 
 Marius Vachon, 
 
 The State 
 
 “Sculpture,” says 
 “has scarcely any 
 alone purchases her works, and often pays for 
 them an absurd 
 
 the 
 
 price, bearing no proportion to 
 
 the sum o alents and labor and _ sacrifice 
 
 that they exacted. But in spite of that, in spite 
 
 of the prospect of bitter struggles—often with- 
 
 out victory,—of hard, ungrateful and incessant 
 
 labor, of profound discouragements, and, at times, 
 
 of extreme misery,—she still has a number of 
 
 faithful devotees, in whose souls burn the sacred 
 fire, who have a passion for art, who live for 
 
 And 
 
 rate the immense 
 
 it, and who do not fear to die for it. 
 
 each year, do so much honor to our national 
 
 By a singular 
 
 THE DRILL. 
 
 (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EDOUARD-PIERRE 
 FRERE. 
 
 was the foremost competitor with Biblis for the Prize 
 
 of the Salon); ve, by Alex. Falouiére; Harlequin, by René de Saint-Marceaux (whose Secret of the 
 
THE SALON OF 1880. 27 
 
 Tomb secured the Medal of Honor in 1879); First Joys and Thought, by Louis Lefevre (second class 
 medal); and The Lnon of Belfort, by Fred. Auguste Bartholdi. 
 
 In the section of painting the Medal of Honor was awarded to Aimé-Nicolas Morot, for his 
 
 picture of The Good Samaritan, which, “ technically” 
 and most triumphant tour de force. Light and shade 
 foreshortening and modelling captivate the artist’s eye, 
 while the sentiment of the incident ig realized in a 
 manner at once original and touching. The only other 
 picture eligible for the prize, and worthy of being com- 
 nared to it in tenderness of sentiment and in absolute- 
 ness of realization, is Jules Bastien-Lepage’s Joan of 
 Arc. (See sketch on p. 21.) He depicts her standing 
 vy a tree in her father’s garden, attired in the homely 
 weeds of early life, lifting her wan, saint-like face up- 
 
 wards, lost in the rapture of her vision. The heavenly 
 
 : 
 yeings who appear to her, promise by word or sign 
 guidance and success in the lofty mission which the 
 ove of country and of freedom has suggested to her 
 perfervid soul. The work, though homely and realistic, 
 is remarkably delicate in treatment and subdued in 
 
 one—drabs, grays and greens prevailing, and blending 
 
 here and there into a soothing olive. The artist, who 
 is quite a young man, is the master of many styles, 
 and is destined for great things.” This work received 
 consideration in reference to the award of the Medal 
 of Honor. It would doubtless have secured for the 
 artist another medal but for the fact that being Hors 
 Concours, he is eligible only to the Medal of Honor. 
 
 A work which, in point of technic, is compara- 
 ble with Zhe Good Samaritan, was the Job of Léon 
 Bonnat. (See sketch on p. 35). The patriarch is repre- 
 
 sented sitting in ashes and praying to God in his 
 
 misery. It is a masterly study of the nude, firm, severe 
 and learned in design, vigorous and sure in the model- 
 ing and extraordinary in color. It must be said, how- 
 
 ever, that the picture is repulsive in its effect, even 
 
 (we quote Mr. Forbes-Robertson) “is a perfect 
 are subtly and yet most tellingly treated. The 
 
 HEBE AFTER HER FALL. (Salon af 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY HUGUES 
 MERLE, 
 
 though the artist has not offended in respect to the rubbish on which his figure is seated, and has 
 
 considerately omitted the ulcers. On the other hand, his treatment of the subject is uncompromisingly, 
 
 even sternly, realistic. The uncomeliness of age,—the wrinkled skin, the wasted and cartilaginous form 
 
 of the sufferer are detached from the obscurity of the background by a fierce hght which gives them 
 
 a relief and emphasis exceeding reality. 
 
 Camille Desmoulins at the Palais-Royal, by Frédéric-Théodore Lix, presents an incident at the 
 
 beginning of the public career of one of the sanguinary leaders of the French Revolution. On the 
 
28 THH GALLERY OF CONTEMPORARY ART. 
 
 12th of July, 1789, after excitedly haranguing the people on the abuses of the court, Desmoulins gave 
 the first signal of revolt by discharging a pistol and advising all his hearers to arm themselves. He 
 tore off a small twig from one of the trees, an example that most of the multitude followed, which 
 
 led to the adoption of the green ribbon as the national cockade, afterwards replaced by the tricolor. 
 
 ch 
 
 He then moved out of the garden followed by thousands whom he instigated to the pillage of arms 
 which preceded the capture of the Bastile on the 14th of July. M. Lix’s picture is effectively com- 
 
 posed, and is infused with the appropriate spirit. It procured for him a medal of the third class. 
 
 Among other distinguished works in the historic vein, the following must not be overlooked: The Re- 
 bellious Sons of Clovis, by E. V. Luminais; Orestes, by J. OC. Wagrez; Cain, by F. Cormon; The 
 Flagellation, by W. A. Bouguereau; and The Lower Hmpire, by J. P. Laurens. 
 
 THE BATHING HOUR: TROUVILLE. (Salon of 1880 ) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY AUGUSTUS GEORGE HEATON, 
 
 “Contemporary of Greuze and of Chardin,” says M. René Delorme, ‘ Diderot signalized a century 
 ago the progress of genre and the decadence of historic painting. ‘It is the eternal battle between poetry 
 and prose which continues,’ said he; ‘it is, under another form, the antagonism of the every-day drama 
 and of tragedy.’ And the great critic, passing judgment upon these adversaries, adds: ‘Historic painting 
 demands more of elevation, of imagination, perhaps,—a poetry more foreign ; Genre painting more of truth.’ 
 Our epoch, which pushes the passion for truth to the extreme of realism, ought to produce and has 
 produced a school, if not very strong, at least very numerous, of genre painters. The old classification 
 
 of paintings has succumbed. Diderot recognized two ‘classes: history and genre. To-day we have a 
 
 dozen classes; for, if history has remained alone, genre is infinitely subdivided. Landscape has separated 
 itself to form a school apart, which, certainly, is not the least glorious. The portraitists, the military 
 painters, the painters of marine, the painters of animals, the painters of flowers, the painters of still- 
 life, have formed so many distinct families and have all been favored by fortune. But in spite of these 
 
 dissidences, genre painting has still an almost illimitable domain. It has reserved to itself, in effect, 
 
THE SALON OF 1880. 29 
 
 modern life, with its infinite variety of action, the 
 description of interiors, the recital of familiar 
 customs, scenes of the street and the country, the 
 representation of usages, fétes, ceremonies, ete., 
 etc... Thus the field is immense and the 
 workers are innumerable. That so small a frac- 
 tion of them produce works of sterling merit is 
 owing to a defect of that element of truth which 
 Diderot insisted upon. A faithful, intelligent 
 study of nature must be supplemented by true, 
 well-informed art.” 
 
 Among the works of genre most worthy of 
 
 attention in the Salon. of 1880, An Accident, 
 
 by P. A. J. Dagnan-Bouveret will first claim A GOOD BOTTLE, (Salon of 1860.) 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES SCALBERT. 
 
 attention. (See sketch on p. 19.) Of this work 
 
 René Delorme says: “It is among the pictures that satisfy me absolutely. The painter of ‘Manon 
 
 Lescaut’ has represented a family drama in the interior of a farm-house. In playing with an edged tool 
 the child has received a terrible gash on his wrist. Seated on a bench near a blood-stained basin, the 
 poor little fellow, quite pale, extends his arm to the doctor. All the family, including the laborers, 
 assist at the dressing of the wound. The father 
 stands with bowed head, very anxious and dis- 
 tressed at being unable to do anything for the 
 
 relief of his boy. ‘The sister weeps in a corner, 
 
 between the bed and the old clock. The mother 
 cannot remain seated. like her husband, she has 
 
 risen, and without removing her eyes from the 
 
 dear little one, she prepares the handkerchief that 
 
 will presently sustain the wounded arm. The pale 
 
 face of the child, who suffers, but will not cry, 
 
 is happily relieved against the black ground of the 
 
 high fire-place. The subject of this picture, and its 
 execution leaves nothing to be desired. Endowed 
 with remarkable gifts of observation and of com- 
 position, and a master of technic, M. Dagnan- 
 
 Bouveret, who had already distinguished himself, 
 
 has won this year a good place among our best 
 
 painters.” A first class medal was justly awarded 
 
 to this work. 
 M. Jules-James Rougeron’s Taking the Veil 
 
 of the Carmelites tells very distinctly its own story; 
 
 and a serious story it is. In a sense, this young 
 
 THE RETURN OF THE HADJIS. (Salon of 1880.) and beautiful girl, who apparently has everything 
 7ACS) SK ETC: PR rHE RIGINAL PAINTING BY ALEX,.-AUGUSTE & Hs * CNS , 
 BAS URIOY Ase Ta) i to live for, that friends and position and wealth 
 
 HIRSCH, 
 
PIERROT GALLANT. (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING 
 BY CHARLES MONGINOT. 
 
 of a second class medal. 
 
 mantic dreams is summoned before us. 
 
 than the deeper feelings of the heart. 
 
 The work secured for the artist the honor = 
 Reverie, by Charles Voillemot is a purely 
 idealistic and poetic treatment of the theme. (See 
 sketch on p. 31.) The incorporate spirit of ro- 
 
 bright, graceful vision that stirs the fancy rather 
 
 Before the Alcade, by Jules Worms (see 
 
 EERE GEACIG GAEL, Va OMEN O|OSN CTA SGI O irl ey Var Awe. 
 
 can offer, has voluntarily turned her back upon the world and 
 is now, practically, about to leave it forever. Attired like a 
 bride, she kneels before the dark portal of the cloister where 
 she is received by the ghostly figures of those who have 
 already lost their name and place in the world. Relatives and 
 friends have gathered to witness this solemn scene, and as the 
 
 bishop pronounces the sealing, farewell words, tears like those 
 
 that fall upon the dead, flow from eyes that behold the object 
 of their affection and their hopes, now leaving them forever, 
 This excellent picture obtained for the artist a medal of the 
 second class. M. Rougeron was born in 1842, and was a pupil 
 
 of Picot and of Cabanel. His death in 1880 cut short his 
 
 career in an early and brilliant prime. 
 
 The Admonition, by M. Charles-Edouard Delort is master. 
 ly in expression. (See sketch on p. 23.) The feeling proper 
 to each of the actors in the scene presented, is impressed upon 
 hig form as well as his features. No doubt this gay young 
 dragoon richly merits the unsparmg rebuke he is receiving 
 from his father confessor; and from his abashed and humbled 
 bearing, we may hope the lesson will not be lost upon bim. 
 Replete with refined sentiment is Anatole Vély’s The 
 
 Heart's Awakening. (See sketch on p. 26.) It inspires thought 
 
 rather than words. The dreamy mood of the maiden, and the deep, silent interest of the aged dame, 
 are alike infectious. This sweet girl will no longer move “im maiden meditation, fancy-free ;” perhaps 
 her sleep will not be so unbroken as it was, nor her mood quite so merry; but no matter: there will 
 
 be abundant compensation; for, if we may trust the poet, 
 
 “There’s nothing half so sweet in life 
 
 As love’s young dream.” 
 
 It is a 
 
 DOM si ¢ sine Snanis 70Q 
 sketch on p. 22), is an amusing Spanish scene. EMDR NE RARE ectonsa/ 1650) 
 Two women in dispute concerning a gallant, FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES-JACQUES 
 
 VEYRASSAT, 
 
 have brought him before the local magistrate, or 
 Aleade. Nothing could be more droll than the expression of the muleteer under the cross-fire of these 
 
 excited female tongues. Evidently he could be happy with either, or with neither, of the rival claimants. 
 
THH SALON OF 1880. 31 
 
 A Fine Bottle, by ae Glenlivet: (eee clk 90) : - : 
 ine Bottle, by Jules Scalbert (see sketch on p. 29), needs no explanation, The expressions 
 
 are exc . \ = Jee z A . A 
 
 are excellent. Somehow these “ ghostly advisers’ haye acquired a critical taste in respect to “creature 
 
 comforts” of the liquid variety. Apparently, too, this is not a fast day. 
 
 The Public Ball, by Jean Béraud (see 
 
 etch on p. 35), loses much by translation into black 
 and white, inasmuch as considerable of its interest consists in the careful study of the effects of light 
 upon the trees. A close scrutiny of the picture reveals the amount of intelligent labor bestowed ean 
 it. The scene is as faithful to fact, as though 
 it had been obtained from nature by instan- 
 taneous photography. It portrays a gay but 
 unhappy phase of Parisian life. In the motley 
 crowd, which moyes to ihe measvres of the 
 
 orchestra, the principal physiognomies of the 
 
 habitués of these balls may be recognized: ‘the 
 woman richly maintained and too elegantly 
 dressed; the girl who seeks a client; the one 
 who takes her sad life gaily and who amuses 
 rerself like a little fool; she also who makes 
 rer début, and whose character as a working- 
 girl discontented with the shop 1s revealed by 
 ier simple black dress and the sole adornment 
 of a ribbon in the hair. I will,’ says René 
 
 Delorme, ‘point out but one character whom M. 
 
 3éraud has forgotten. He has omitted in his 
 
 menagerie of nibblers the grossly sated ones, 
 who return hither from habit and from vice.” 
 
 In his Pierrot Gallant (see sketch on 
 p- 30), Charles Monginot gives us a reminis- 
 cence of the school of Watteau. This gallant, 
 
 armed with a mandoline and a profuse floral 
 
 offering, is well e uipped for an assault. on the 
 heart of his charmer, After a serenade he 
 
 seems to have been admitted to an interview 
 
 REVERIE. (Salon of 1880.) with the fair one. Happy lover! The fates 
 
 38 8 OF A SKETCH FROM THE ORIGINAL PAINTING BY CHARLES VOILLEMOT. cre 
 FACSIMILE OF A SKETCH FI ) ane sropitious. 
 
 To foreign eyes the nude would appear to have occupied in this Salon its usual relatively 
 large place; nor was there any marked decline in a department of painting in which French artists 
 are facile principes. And yet we find a French critic (M. Silvestre) lamenting as follows: ‘It is 
 with great inquietude that we witness the decadence of a form of art which will eternally remain the 
 
 most beautiful and the most elevated. No study, in fact, can replace that of the human form, in the 
 
 marvellous flexibility of his aspects, in the living delicacy of its tones, in the admirable harmony of its 
 
 proportions, and in the poise of its movements. Tt is not that the subject has grown stale; but our 
 
 painters have been turned from it by other preoccupations. 
 
 rat it alone lends itself to the exigencies of our apartments and to the 
 
 Genre painting has invaded 
 contemporary AE Is 5 c 
 
 everything, for the reason tl 
 
mediocrity of our tastes. 
 
 to portraits or to marine. 
 
 foreigners. 
 given us a companion to i 
 
 charming object of study. . . 
 
 individualities,”’ 
 
 to it.” And these, he tells us, are M. Puvis de Chavannes 
 
 and M. Henner. 
 
 LOVE CONQUEROR. (Salon of 1880). 
 
 ING BY LEON PERRAULT, 
 
 One artist who, like M. Feyen-Per- 
 rin, was a very remarkable painter of the nude, devotes himself 
 Another, who, like 
 promised to become a master of the human fig 
 Parisian life in such of its details as are bes 
 M. Roll, who showed us, last year, a beautiful 
 study of living flesh which made us think of 
 in the present Salon. 
 of the Villa Medicis are the first to desert this austere and 
 Two great masters, two powerful 
 
 adds M. Silvestre, “remain eternally faithful 
 
 M. Chavannes’ contribution to this Salon was a sketch 
 of a large decorative work entitled Patriotic Exercises. It 
 represents a number of young Picards exercising with the 
 lance, thus acquiring skill to be used in the defence of their 
 country. The accessories are appropriate and interesting, the 
 whole composition partaking of the true historic spirit. M. 
 Henner's picture was one of his characteristic subjects, a nymph 
 about to bathe in a fountain in the forest. 
 
 Hebe after her Full, by Hugues Merle, is another nota- 
 ble work in this class. (See sketch on p. 27.) The unhappy 
 goddess is drawn and modelled in a large and noble style. In 
 the background is a double vision of rejoicing gods, and of 
 
 rebels plunging into the infernal abysses. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINT- 
 
 32 THH GALLERY OF CONTEMPORARY ART. 
 
 [. Jean Béraud, 
 gure, now pursues 
 
 appreciated by 
 
 Rubens, has not 
 
 The pupils 
 
 M. Merle received 
 second class medals in 
 1863 and 1865, and 
 
 one of his pictures, 
 
 Rahat ve, 
 Beene, WislacPae > 
 
 SPRING, (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING 
 BY BENEDICT MASSON. 
 
 The Beggar Woman, has been admitted to the Museum of the 
 
 Luxembourg. 
 
 M. Bénédict Masson’s Spring is an able study of female 
 
 adolescence, full of the promise of mature beau y and vigor. 
 Graceful, airy, and festal in expression, it affords a striking type 
 
 of budding spring. (See sketch on p. 32.) 
 
 Love Conqueror, by Véon Perrault, presents a form of 
 
 subjugation that excites no repugnance. (See sketch on po2)) 
 
 The pleasing conception of the artist is well realized. Love 
 gilds even the chains of slavery, and transforms the pain of 
 
 humiliation into the eestacy of joy. 
 n his Féte at the Birth of the Great Condé (sce 
 24), Adolphe-Alexandre 
 
 spirited and picturesque representation of an interesting social 
 
 sketch on p. Lesrel has given a 
 
ETIENNE MARCEL AND THE DAUPHIN CHARLES (358). 
 
 FROM THE ORIGINAL PAINTING IN THE MUSEUM OF THE LUXEMBOURG, 
 
 Lucien Méuineun, Pina. Gourm & Co., Gravure. 
 
 FTER the battle of Poitiers (1356), in which the French King, Philip-le- 
 Bon, was taken prisoner, France fell into a condition of extreme disorder 
 and misery. In consequence of the King’s captivity the Dauphin Charles 
 (also known as the Duke of Normandy) assumed the regency. He was 
 then a youth of but eighteen years, and finding himself wholly unable 
 
 to meet the difficulties of the crisis, he assembled the Estates of the 
 
 realm. On certain conditions, which Charles was obliged to accept, the 
 
 Estates pledged themselves to levy taxes and raise another army. 
 
 Charles, however, played fast and loose with the representatives of the 
 
 people, and repeatedly violated his covenants. Dissensions were also 
 sown among the several orders of the Estates, and twice or thrice the whole body was dismissed, 
 
 only to be reassembled again by the Dauphin when the failure of his attempts to dispense with them 
 
 drove him to despair. These difficulties were further complicated by the arrival of envoys from the 
 
 captive King arbitrarily revoking all the concessions that the Dauphin had made to the Estates. 
 
 Meanwhile the confusion of public affairs had entailed so much misery among all classes of the people 
 
 that they were ripe for insurrection. Etienne Marcel, Provost of Merchants, a sagacious and resolute 
 
 man, was leader of the Commons, and possessed great influence with the citizens of Paris. When 
 
 every moderate measure for the remedy of the evils of misgovernment had failed, Marcel resolved, S 
 
 with the concurrence of his colleagues, to proceed to extreme measures. At this time a civil war, pre- 
 
 cipitated by the King of Navarre, was in progress. Paris was in a state of defence, and the people 
 
 under arms. As several factions were represented within the walls, Etienne Marcel directed his adherents 
 to wear, as a distinguishing mark, a hood made of red and blue—the colors of the City arms. In 
 this state of general alarm and distress Marcel made a last appeal to the Dauphin, and when this failed 
 he marched to the Palace with a large band of armed citizens who, at his command, slew, in the 
 presence of the Dauphin, two of the Councillors who had chiefly influenced the young ruler to his 
 perverse and disastrous course. In great terror, the Dauphin appealed to Marcel to save his life. ‘You 
 have nothing to fear,” replied the latter; at the same time placing his colored hood upon the Dauphin’s 
 head, while he himself assumed the hat of the Dauphin, which he boldly wore during the remainder 
 of the day. 
 
 Such is the subject treated in the work before us. The picture bears evidence of careful study as 
 
 to accessories, while in composition, characterization and dramatic effect it proclaims the hand of a master. 
 
 Tt was one of the pictures selected from the Salon of 1879 for purchase by the State. 
 
 M. Mélingue was born in Paris, in 1841, and studied with MM. Cogniet and Gérome. Although 
 
 still a young man, he is one of the foremost historical painters of the French school. His Morning 
 of the 10 Thermidor (1794) was a noted success of the Salon of 1877 and won for him a medal of the 
 
 first class. 
 
SACRIFICE OF FAMILY TO COUNTRY. 
 
 shes Sey sap! el Soares 
 Georges Morrau pe Tours, Ping. Gouriz & Co., Gravure. 
 
 \ATRIOTISM, next to Religion, has generated more deeds of pure and lofty self-sacrifice 
 than any other sentiment to which the human heart is subject. Strong and sacred 
 
 as are the ties of family, the love of country is a still holier passion, and pre- 
 
 sents yet higher claims to the 
 
 g ses and the lives of men. No more impres- 
 
 sive nor touching recognition of this claim can be afforded than when a wife or a 
 
 mother, triumphing over her sickening fears and her yearning affection, not only 
 
 consents that her husband or her son shall expose his life on the battle-field in 
 
 the defence of country, but when she incites his courage, and concealing a breaking 
 
 heart under a calm demeanor, bravely assists his equipment for the bloody fray 
 which may render her childless or a widow! 
 
 The mother of Coriolanus loved her son with a passion that was intensified by her pride in 
 VV 
 
 his heroic achievements; but when he appeared before Rome at the head of a hostile army, and 
 the bitter choice between son and country was forced upon her, she remained true to country, even 
 though Coriolanus had grievous wrongs to avenge. Going forth to the camp of the Volscians to plead 
 with her son in behalf of Rome, she identified herself entirely with the threatened city, and checking 
 
 the offered endearments of Coriolanus, she said: ‘‘ Let me know, before I receive your embrace, whether 
 
 I am come to an enemy or to a son.” Many another noble Roman matron showed an equal devotion 
 
 to country; but this lofty passion was not confined to the Romans, who might rival, but could not 
 excel, the patriotic devotion of barbarous tribes whose courage and valor they proved on many a bloody 
 field. The heroine of M. Moreau de Tours’ picture is not a Roman. She belongs probably to some 
 
 Gaulish tribe. W 
 of feeling, holds out to him his sword, and motions him away towards his companions in arms. The 
 
 hile her husband lingers to bid adieu to his family, she, repressing the natural flood 
 
 picture on the one side is full of martial stir, and, on the other, possesses the dignity and pathos of 
 
 noble suffering. It is a large work, decorative in character, and was executed for the mayory of the 
 
 Second Arondissement. It was first exhibited in the Salon of 1881. M. Moreau de Tours, who was 
 
 a pupil of Cabanel’s, received a medal of the second class in 1879. 
 
REPOSE OF THE PAINTER. 
 
 JmHan-GrorcEs ViBert, Pinz. Gouri & Co., Gravure. 
 
 ABOR not only gives sweetness to repose, but it may even be said to be a necessary 
 
 condition of true repose, which is essentially different from habitual 
 indolence. The artist in our picture has evidently been industrious 
 enough to enjoy his respite from labor, and to relish his cozy ¢éte- 
 a-téte lunch. Resting his arms upon the table and perching his feet 
 on the top rung of his stool, he is about as comfortable as he could 
 well be while engaged in the interesting exercise of repairing “the 
 
 waste of animal tissue,’—to borrow the language of science. His 
 
 countenance expresses a sense of quiet, restful enjoyment. The 
 
 ‘‘model,”’—who looks as though she had been draped for a Japanese 
 
 princess,—has finished her repast, and yields herself to a delicious 
 languor. The presence of the old-fashioned musical instrument in the 
 left foreground, and of the old clavichord with open music on the rack, indicate that our artist some- 
 
 times finds recreation in ‘the concord of sweet sounds.” And what a picturesque old room is his studio !— 
 
 Who can locate it? It may be some house in Brittany; or in the Low Countries;—it is not unlike 
 some English houses of the Tudor period, Whatever the architecture, or wherever the place, the room 
 is well suited to its use. How prettily the light plays among the curious timbers of the ceiling, and 
 how effective the contrast between the bright, sun-lit board floor and the dark shadows in the fore- 
 ground. To complete the picture, however, we need the colors. M. Vibert is a colorist, and those who 
 are at all familiar with his paintings, can readily conceive the charms of this picturesque interior, when 
 to the beauties of chiaroscuro are added the rich harmonies of color. 
 
 M. Vibert was born in 1840, and studied under MM. Barrias and Picot. He was one of the 
 artists who fought in the siege of Paris, and he received a wound in that struggle. He received Salon 
 
 medals in 1864, 1867, and 1868; a medal of the third class at the Universal Exposition of 1878; 
 
 and was made Chevalier of the Legion of Honor in 1870. One of his most remarkable works, the 
 
 Apotheosis of M. Thiers, is in the Museum of the Luxembourg. 
 
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AN EXCELLENT CONNOISSEUR. 
 
 Antonio Casanova, Ping. Gouri, & Co., Gravure. 
 
 r; EN of all sorts take a pride to gird at me,” said Falstaff. And likewise many 
 
 a jovial satirist—and there are satirists of the brush and the crayon as 
 
 well as of the pen,—have found delight in girding at monks and priests 
 of a certain type. How is it that the painters par emcellence of laughter 
 and of hilarity, so frequently make these gentlemen of the cloth the sub- 
 jects of their mirthful sallies? Is it because those sombrely-clad and most 
 sober-looking worthies are in truth the jolliest of mortals when you come 
 to know them?—or is it because the serye gown and other raiment in- 
 
 dicative of fleshly mortification, are not seldom grotesquely and sarcastically 
 
 associated with florid faces and other tokens of high living?—or, yet once 
 
 more, is it because the expression of hilarity is intensified by contrast with the gravity, not to say 
 sanctity, of the priestly garb? Whatever the reason, the fact remains that some of the most roguish, 
 jolly faces ever put on canvas for the amusement of mankind are capped with cowls, or set on priestly 
 shoulders. Two of the most noted examples are Léo Hermann’s “Good Story,” and Casanova’s picture 
 
 now before us. 
 
 No doubt this ‘“ Connoisseur,’'—this incarnation of jollity,—this priestly Bacchus,—is a prime judge 
 of beverages and of viands; and that he excessively enjoys the creature comforts and thrives on them 
 is as plain as the sun at high noon in fair weather. But, depend upon it, those cunning eyes were 
 never made to gleam so merrily from under their lids, nor those lips to part and pucker the face in 
 such ecstacy of sensuous mirth, by the mere gratification of the palate, however great that might be: 
 No, there is a joke in the case, beyond question—and a good one, too, as we should readily confess, 
 could we hear him tell it. 
 
 As a work of art, this head is a remarkable study, attesting the profound knowledge and lively 
 
 sympathy of the artist. M. Casanova is of Spanish birth, studied under MM. Loranzole and Madrazo, 
 
 and is a painter of rising fame. The original of An Excellent Connoisseur was exhibited in the Salon 
 
 of 1881. 
 
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Pea INTERRUPTED soll rune. 
 
 Jutes-FrREDERIC BALLAVOINE, Pinz. Gourit & Co., Gravure. 
 
 of the human figure,—of the nude,—which the French critics insist, is 
 not only the most beautiful but the most elevated form of art. As 
 for the ‘sitter,’ who might, on general principles, be supposed to be 
 seriously embarrassed on being discovered in a condition so free from 
 artificial adornment,—she evidently is not in the least disturbed. Con- 
 verting a shawl into an impromptu fig-leaf, she listens with interest 
 
 to the conversation, and serenely awaits the resumption of the sitting. 
 
 She is, of course, a ‘‘model,’ and her physical attractions are her 
 
 means of support. She may follow this trade and conserve her chastity; 
 but blushing, in such circumstances, is pretty sure to become a lost art. While the studies of figure- 
 painters are mostly made from models, paid by the hour or the day, it is a well known fact that 
 
 great artists have occasionally been favored with voluntary sittings by ladies of wealth and position, 
 
 proud of their charms, and willing to sacrifice the instincts of modesty upon the altar of high art. 
 
 M. Ballavoine has treated his subject with distinguished skill. The easy grace of the figure, the 
 
 firm yet elastic texture of the flesh, the vivid beauty of the skin, which is heightened by contrast 
 
 with the black shawl that partly covers it, are all perfect to a rare degree. The dark warm hang- 
 
 ings, the white fur rug, the rich draperies of the divan, the mandoline, and the palette, each adds its 
 
 quota to the sensuous charms of the picture. The work was exhibited in the Salon of 1880, where 
 
 it secured for the artist a medal of the third class. M. Ballavoine is a native of Paris, and studied 
 
 under Pils. 
 
THH SALON OF 1880. 33 
 
 observance, the well-studied details of costume, furniture, etc., 
 transporting the spectator to the period (seventeenth century) 
 in which the scene is laid. The numerous figures are naturally 
 
 and tastefully grouped and are animated by expressions suited 
 
 to the festal occasion. 
 
 M. Alex.-Auguste Hirsch has given, in his Return of 
 the Hadyis, an incident pertaining to the great Mohammedan 
 pilgrimage to Mecca, known as the “Hajj.” (See sketch on 
 p. 29.) Every Mohammedan, male or female, whose means 
 and health permit, is bound to perform this pilgrimage at least 
 
 once; not to do so, would be almost equivalent to dying a Jew 
 
 or a Christian. The return of the holy caravans is watched 
 
 everywhere with intense anxiety, and celebrated with great 
 
 pomp and rejoicings; and thenceforth the pilgrim never omits 
 to prefix the proud title of “ Hadji” to his name. The women 
 
 in our picture have been watching from their housetop the re- 
 
 turn of the pilgrims, and their excitement is explained by the 
 
 MUSIC. (Salon of 1880.) 
 
 HAGHIMTTE OMA cox ETGHIE TONE TEE ORIGINAL EER LCL that they have just discerned the caravan in the far dis- 
 
 Peer ae US: tance. The motive is admirably realized. 
 
 M. Camille Bellanger, in his Zdy/ (see sketch on p. 33), evinces thorough sympathy with his sub- 
 ject: not only the form, but the spirit of this idylic scene, borrowed from classic Greece, is manifest in 
 
 his charming picture. Among the ancient Greeks 
 
 tombs were preserved by the family to which they 
 belonged with the greatest care and were regarded as 
 
 among the strongest ties which attached a man to 
 
 his native land. So strong was the feeling on this 
 subject that when any citizen offered himself to the 
 suffrages of the people for a public office it was a 
 subject of inquiry whether he had kept in proper re- 
 
 pair the tombs of his ancestors. On certain days the 
 
 tombs were crowned with flowers, and offermgs were 
 
 po 
 a : P } 
 made to the dead, consisting of garlands of flowers \ 
 and various other articles. It is this pious act in i 
 eee 
 ais ereyol ie : SE Rtane Ababa FESPESIALENAITANL 
 which the young couple in our picture,—probably a tia 
 é ¢ AIAIQTENEYIPASIA 
 rother and sister,—are engaged. fs : 
 
 he 
 i 
 ! 
 
 A classic theme of quite a different character 
 is M. Auguste Leloir’s Silenus (see sketch on p. 34). 
 
 Tt is said that when this jovial god was drunk and 
 
 asleep, he was in the power of mortals, who might 
 
 compel him to prophesy and sing by surrounding 
 
 um with chains of flowers. The artist pictures him 
 
 as thus surprised by Chromis and Mnasyle, 
 
 a scene IDYL. (Salon of 1880.) 
 
 : : A . UN ote FACSIMILE OF A SKETCH FROM THE 3INAL PAINTING BY CAMILLE 
 described in the ‘‘ Bucolics” of Virgil. BELLAN 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 The Amazon, by Mlle. Louise Abbema (see sketch on p. 34), is probably a portrait, which by 
 
 the treatment is converted into an agreeable piece of genre. The lady, in equestrian habit, awaits her 
 
 horse. Her conquests are made with weapons quite different from those wielded 
 
 of antiquity. The title is a happy conceit. 
 
 by her warlike sisters 
 
 Intensely practical, and full of painful suggestions is 
 Pay-Day, by Pierre Oarrier-Belleuse (see sketch on p. 34). 
 A poor woman stands with her babes in front of the café 
 frequented by her husband, in hopes of preventing him from 
 
 wasting in drink the week's slender earnings. From her 
 
 intent look, and the attitude of the nearest child, we judge 
 
 that the man is approaching. It is an anxious moment for 
 
 the wife: she has all our sympathy. 
 
 Of M. Raphael Collin’s decorative panel, Musie (see 
 
 sketch on p. 33), Mr. Forbes-Robertson justly says: “It 
 
 illustrates with much classic feeling and grace the idea of 
 THE AMAZON. (Salon of 
 
 Music. There is a quality of refinement about this picture by 1880.) 
 : ; : SKETCH FROM THE PAINTING BY 
 no means so common in mural decoration as we could wish LOUISE ABBEMA. 
 
 to see it.’ This beautiful work was destined for the adornment of the theatre 
 
 PAY-DAY. (Salon of 1880.) 
 
 SKETCH FROM THE PAINTING BY PIERRE 
 
 CARRIER-BELLEUSE. 
 
 of Belfort. 
 
 Several of the most eminent military painters were absent from this Salon, viz., De Neuville, 
 
 Detaille, Protais and Berne-Bellecour. While they could not fail to be missed, that 
 
 class of work was by 
 
 no means without worthy representation. Among the most no able military canvases in this exhibition 
 were the following: Zhe Square Battalion, by Julien Le Blant; Zhe Unshod Horse, by Louis-Henri 
 Dupray; Zhe First Shots, Aug. 30, 1870, by Lucien-Pierre Sergent; Hpisode i the Siege of Saragossa, 
 
 by Jules Girardet; and The Departure of the Squadron, by Paul-Léon Jazet. To these may be added the 
 
 large canvas of the Polish painter Jean Matejko,—The Battle of Grimwald (1410 
 
 ). MM. Matejko is pro- 
 
 bably the most illustrious living representative of the grand style of battle painting, which is now nearly 
 
 a thing of the past. 
 
 granted. The bolder woman standing 
 
 encourage the man’s persistence and 
 
 The Drill, by Edouard-Pierre 
 
 mentioned in this category (see sketch 
 
 SILENUS. (Salon of 1880.) 
 
 SKETOH FROM THE ORIGINAL PAINTING BY AUGUSTE LELOIR: 
 
 The subject of M. Jazet’s picture (‘Departure of the 
 Squadron”) of which a sketch is given on p. 22, is of a 
 gallant nature. A sub-officer of cuirassiers, before leaving 
 a village where the squadron has halted, attempts to embrace 
 a pretty girl. From the mildness with which she defends 
 
 herself there seems little doubt but that his wish will be 
 
 beside them, seems to 
 
 the gir ’s consent. 
 
 Frére, should also be 
 
 1 on p. 26.) It repre- 
 
 sents with marked truthfulness and spirit a company of boys 
 
 learning the art and imbibing the spirit of war. In coming 
 
 years, perhaps, some of these lads will fight their country’s battles, while others 
 paint military pictures. 
 
 M. Théo. Weber's Piers in the Harbor of Blankenbergh (see sketch on 
 
 of their number may 
 
 p. 36), is a vigorous 
 
 work alike in drawing and handling, and shows the artist’s familiar knowledge of, and lively sympathy 
 
THE SALON OF 1880. 30 
 
 with his subject. It is an ordinary scene, yet 
 
 full of stir and interest. The sea lends a sort 
 
 of romance to everything connected with it. In 
 this picture the effects of light in the sky and 
 on the water are very beautiful. 
 
 The Bathing Hour: Trouville, by Augustus- 
 George Heaton, reproduces with pleasing realism 
 a bathing scene at a well-known French watering- 
 place (see sketch on p. 28.) Excepting the dress 
 
 of the peasant-woman in the left-hand corner, and 
 
 the clo 
 
 fitting bifurcated suits of some of the 
 lady bathers, the scene might readily pass for one 
 J g ; 
 
 upon our own shores. Mr. Heaton, who is a 
 
 Philadelphian, studied with Cabanel and Bonnat. 
 
 A work of rare beauty and depth of feel- 
 ing which may be named among the marines, 
 although chiefly a figure-piece, was M. Feyen- 
 Perrin’s Return of the Mishers at Low Tide. A 
 
 JOB. (Salon of 1880.) srocession of fishers bearing the utensils of their 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY LEON BONNAT. craft, advances towards the spectator in a long 
 file which stretches away in a curved line dimin- 
 ishing in the distance. The varied expressions of these men and women, the types of form and 
 feature, the fine perspective, the expanse of beach losing itself in the sea which in turn melts into 
 
 of art. 
 
 the sky,—all combine to lift this picture into a lofty sphe 
 
 A French critic (Daniel Bernard) says: “It is evident that the French are created for land 
 
 scape as the English are to colonize the five portions of the world, and as Spaniards are born 
 playing the guitar.’ Certainly a country that can boast of a Poussin, a Claude, and a Corot, 
 
 r] 
 
 may justly claim hi eminence, if not pre- 
 
 eminence, in this department of art. Among 
 the interesting contributions to the present 
 Salon which prove the existence of an in- 
 telligent sympathy with nature, combined with 
 superior technical resources we may name, 
 Morning, by Camille Bernier; Zhe First 
 Leaves, by Léon-Germain Pelouse; vening, 
 by Jules-Adolphe Breton ; The Lattle Farm, 
 J at; The Sleeping 
 
 Water, by Hector Hanoteau ; and The Green 
 
 by Jules acques Veyra: Se 
 
 THE PUBLIC BALL. (Salon of 1880.) 
 
 Might, by Emile Dardoize. The last named : 
 : i FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JEAN BERAUD. 
 
 sketch on p. 20), is a subtle study 
 
 work (see 
 in color. In the parlance of modern art criticism it might be called a “symphony” in green. M. 
 Bernard thus speaks of it: “M. Dardoize has observed a curious moonlight effect in a country that he 
 
 has not troubled himself to indicate. The ‘Green Night is a phenomenon that deserves the attention 
 
of fairy-land. One expects to see the 
 
 . : Sn ior es : 
 these transparent, ideal waters, which resemble liquid emerald.” The picture re 
 
 THE GALLERY OF CONTEMPORARY ART. 
 
 of the Institute, or at least the examination of a scientific commission. It might be called a scene 
 
 gold-fly go humming through these delicate branches and over 
 
 eived the compliment 
 Honorable Mention. 
 
 In The Little Hurm of M. Veyrassat, we are treated at once to a charming view of a harvest 
 
 field bathed in sunlight, and to a simple domestic scene (see sketch on p. 30.) The unequal yoke of 
 
 animals rest for a season, while the humble farmer partakes of the lunch that his faithful wife, accom- 
 
 oy their little boy, has brought for his refreshment. 
 The Salon of 1880 will be marked in history for two reasons: 1. As exceeding all its predecessors 
 
 number of exhibits; and 2. As being the last of the long series of exhibitions organized and 
 
 directed by the government. 
 
 PIERS IN THE HARBOR OF BLANKENBERGH. (Salon of 1880.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY THEODORE WEBER 
 
THE SALON OF 1881. 
 
 37 
 
 THE TRIUMPH OF CLOVIS. 
 
 (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY PAUL-JOSEPH BLANG. 
 
 THE SALON OF 1887. 
 
 HE flood of undiscriminated works that inundated the Salon of 1880, and the numerous complaints 
 
 preferred on that and on other grounds, decided the government to relinquish the direction of 
 
 these annual exhik 
 
 itions and to commit them to the control of the artists themselves. 
 
 Accordingly, by 
 
 a circular issued on the 27th of December, 1880, the French artists were invited to name a com- 
 
 mittee of 
 
 response 
 
 ninety members to organize, in concert with the administration, the exposi 
 
 ion of 1881. In 
 
 to this invitation a committee was promptly chosen by the artists, which committee, in accord- 
 
 ance with a supplementary circular from M. Turquet, Assistant Secretary of State for the Fine Arts, 
 
 formed themselves 
 
 quired for the discharge of their responsible functions. 
 
 face to face with 
 
 ted for three mor 
 
 into a corporate society legally authorized to receive from the Sta 
 
 The administration, therefore, 
 
 a chartered organization having a capital of 200,000 francs, to whose 
 
 iths the Palace of Industry; and, at the same time, a number o 
 
 e the powers re- 
 
 soon found itself 
 custody it remit- 
 
 attachés of the 
 
 Bureau of Fine Arts, experienced in these affairs, were detailed for the assistance of the Council of 
 
 Administration ch 
 
 disposa 
 
 (the executive committee not having been chosen until the 
 
 osen by the Society of Artists. Notwithstanding the shortness of 
 
 he time at their 
 
 2th of January, 1881), the Society 
 
 acted with so much energy and discretion that the Salon of 1881 was opened without any delay (May 
 
 2), and was in t 
 
 control was no lor 
 codperation with 
 
 The 
 the Salon. In 18 
 
 immec 
 
 he main so successful as to produce a conviction that the wisdom 
 
 anger an experiment. 
 
 he artists. 
 
 80 the whole number was 7,289; this year it was 4,959. In 
 
 of the change of 
 
 The government contributed efficiently to this result by its hearty 
 
 iate effect of the change was a great reduction in the number of works admitted to 
 
 his address in connec- 
 
 tion with the distribution of awards, M. Jules Ferry, Minister of Public Instruction and of the Fine 
 
 Arts, said upon t 
 
 are presented are 
 
 to be heaped together with neither choice nor distinction? Is the 
 
 nis point: “Are the Expositions to be regarded as vast bazars where all works that 
 
 commercial idea 
 
38 THE GALLERY OF CONTEMPORARY ART. 
 
 to predominate? I believe not; and I am im- 
 pressed by what your committee has done. Tt has 
 shown a courage that we did not possess. It has 
 limited the number of works, though perhaps not 
 yet rigidly enough. I am convinced that, in- 
 fluenced by the force of circumstances and the 
 pressure of public opinion, the next Jury will be 
 more severe, and will notably reduce the number 
 of accepted works.” 
 
 While the Salon of 1881 was more re- 
 
 | stricted than its immediate predecessor, the general 
 
 average of excellence in the contributions was not, 
 in the opinion of some critics, any higher. But, 
 assuming the correctness of this opinion, it does 
 1] not follow that the Jury of Admission was chiefly 
 
 responsible for the fact. M. Olivier Merson utters 
 
 he following jeremiad: ‘In spite of many works 
 
 hat one has been able to applaud in good faith, 
 
 | he Salon of 1881 witnesses the decadence of 
 
 French art. Manual skill becomes more general, 
 
 | without doubt; but if adroit workmen multiply, THE GLORIFICATION OF LAW. (Salon of 1881.) 
 | 9 Tc ry FACSIMILE A SKETCH FROM THE ORIGINAL PAINTING BY PAUL-JACQUES 
 | rue artists become more and more rare. How ose re Sea 
 
 few remain faithful to great principles at present ; 
 
 I} tow few work under the empire of valiant convictions! In a word, the school languishes. Independ- 
 | ence has been much preached to the painters; so each one draws to his own side; capacities scatter, 
 aptitudes disperse instead of concentrating; many forsake severe and devout study for convenient pro- 
 1 cesses, and cultivate truth of ugliness in preference to truth of beauty.” M. 
 Merson charges the responsibility for this state of things equally upon the 
 public, the critics, the State, and the artists themselves. 
 
 Daniel Bernard thus speaks, in L’Zxposition des Beaux-Arts: ‘We 
 shall confess, if we are pressed, that the Salon of 1881 has not completely 
 responded to our hopes. The Jury named by the artists has eliminated five 
 thousand pictures; but we were prepared to expect the last from the last, 
 
 the cream from the creain, something ideal and succulent, an extraordinary 
 
 assemblage of masterpieces, a Mohammedan paradise for the critic formerly 
 
 condemned to a true purgatory. It must be confessed we have been dis- 
 
 appointed. The Salon this year is not sensibly superior to that of the pre- 
 
 vious year.” 
 Eugéne Véron, in LZ’ Art, speaks with emphasis in favor of the gov- 
 
 ernment’s retirement from the control of the Fine Arts, even though the 
 
 advantages are not at once apparent. He says: 
 
 THE WRECKE! Sal 1881. <i] : . . 
 Bei Salom ofl sel:) “The State is no more competent to direct art, than to direct re- 
 SKETCH FROM THE ORIGINAL SCULP- 
 
 B oGh ligion, or philosophy, or literature. The men who are in the government 
 
 | 
 | 
 } 
 j 
 | 
 i 
 I 
 | TURE BY PIE! 
 i 
 | 
 } 
 | 
 
THE SALON OF 1881. 39 
 
 can have their preferences in all things, like others and with the same right; but their rdle does not 
 go beyond that. In the quality of rulers they have a duty prescribed, a special function which they 
 
 cannot overstep without danger to the public and inconvenience to themselves.” 
 
 In regard to possible evils that may result from the management of the Salons by the artists 
 themselves, M. Veéron gays: 
 “Tn any case, it is very certain that a Jury of artists, of whatever character they may be, will 
 
 never attain to the height of the scandals of official and academic Juries who honored with their 
 
 rejections Theo. Rousseau, Millet, Decamps, Corot, Delacroix, ete., etc. The Salon Juries of Admission 
 
 can no more be Juries of a coterie, and this, in our opinion, compensates every possible inconvenience. 
 
 They will admit bad things, but the good will not be systematically repulsed. That is the essential, 
 for that alone can suffice to assure the liberty 
 and the development of art,—by permitting all 
 
 innovators of talent to appear before the public. 
 
 Happen what will, there can from this day no 
 longer be an official, governmental art, which is 
 alone authorized to hold the public admiration, 
 and to mould to its image the succession of 
 
 artistic generations,—unless, indeed, the State 
 
 should take advantage of the inexperiences of a 
 
 first year to reclaim the concession it has made. 
 
 “This salutary reform,” continues M. 
 Véron, ‘will draw after it several others within 
 a time not distant: for example, that of the free 
 public studios of the National School of Fine 
 Arts, whose existence has the double effect of 
 suppressing in part the diversity of artistic 
 manifestations, and of destroying in advance all 
 opposition to the official art instruction by 
 attracting to that instruction by gratuitous and 
 ready admissions, a crowd of young persons, 
 some of whom might perhaps produce something 
 
 if they received a training less effete, while 
 
 others are born to make good pavers, or first 
 
 s make their 
 
 rate grocers... One of these clas 
 
 way with more or less success if they know 
 
 ANON 
 5 
 
 how to reinforce the talent which tliey have 
 
 not acquired at the school, by an adequate dis- FILIAL LOVE. (Salon of 1881.) 
 
 . a . FACSIMILE OF A SKETCH FROM THE ORIGINAL GROUP BY ALFRED BOUCHER, 
 cretion of conduct; the others die of hunger and 
 besiege with their cries the great bureau of benevolence in the Rue de Valois, until out of pity they 
 
 receive orders for canvases and busts which are concealed in corners after being paid for; or, perhaps, 
 
 these unfortunates, when patience is exhausted, are sent into the provinces to teach that which they 
 
 do not know... Wherefore retain such persons by a misguided compassion, in a profession for which 
 
 they are not fitted, and which the majority of them would quit for a useful occupation if they were 
 
ANACREON, BACCHUS AND LOVE. 
 (Salon of 1881.) 
 
 FROM THE ORIGINA 
 
 t+ 
 
 ULPTURE BY JEAN-LEON 
 GEROME. 
 
 THH GALLERY OF CONTEMPORARY ART. 
 
 not encouraged to count on the succor of the State? Would it not be 
 a thousand times better for art and for everybody, to buy beautiful 
 works, to decorate the public monuments, to procure for artistic in- 
 dustries the models that they need, and to employ for such objects the 
 sums that are now dissipated and lost in nourishing the idleness or 
 
 impotency of a crowd of mischievous parasites? 
 
 “Por my part, I am convinced that the double institution of the 
 free Salon, committed to the artists, and of choice Expositions organized 
 
 by the State, 
 
 if they be persisted in for some years,—will result in 
 
 securing a reform of the present situation, by the very fact that it 
 
 relieves the State from contact with a class of rapacious persons without 
 employment, which class was inevitably attracted by the system of 
 official intervention maintained until this day. When these close rela- 
 
 tions are broken up, it will be well understuod that a painter who does 
 
 not know how to paint, has no more right to live at the expense of 
 the nation than an incomprehensible poet, or a grocer who does not 
 know his trade; and, little by little, the State will deprive this men- 
 dicity of its last argument, by renouncing the responsibility of encour- 
 
 aging illusory vocations.” 
 
 Having passed in review some general impressions of the collec- 
 tive exhibit, let us now notice particularly some of the most prominent 
 works in this Salon: 
 
 The Medal of Honor for painting was, with remarkable unanimity 
 awarded to Paul-Jacques-Aimé Baudry for the fragment of his decora- 
 
 tion of the Court of Cassation (or Appeals), entitled The Glori 
 
 ation of 
 
 Law. (See sketch on p. 38.) By universal consent this work belongs 
 
 to the highest realm of art. So pre- 
 possessed in its favor were the Jury, 
 
 that they invited the artist to name 
 
 he position which he preferred to have it occupy in the Salon. We quote 
 
 + 
 
 ne following comments by M. Eugéne Montrosier: ‘It (the “ Glorification 
 of Law’’) is the master-work of the Salon of 1881; the work which, de- 
 
 spite the crowd of mediocrities which a bizarre Jury has permitted to 
 
 fo) 
 
 nter, will give celebrity to the Exposition of this year... We avow 
 that, from the first day, the ‘“Glorification of Law’’ has transported us 
 
 with joy and enthusiasm. We feel that the soul of a poet vibrates in 
 
 ct. 
 
 us colossal panel, and we are transported by it into the serene regions 
 of art... On an architectural throne Law is seated, clothed in a white 
 robe. She is young, and with a charming gesture extends the hand in 
 token of power. Above her, on either side, are two winged female 
 figures representing Justice and Equity, each bearing the proper attributes. 
 Below her stands a woman draped in a mantle of golden brocade. It is 
 
 Jurisprudence. She is the recipient of the decrees of Law. At the foot 
 
 BEFORE THE AGE OF STONE, 
 (Salon of 1881.) 
 FROM THE ORIGINAL SCULPTURE BY EMILE 
 CARLIER. 
 
CONVERSATION. 
 
 JosEPH Caraup, Pina. Gouri, & Co., Gravure. 
 
 Agovine and cheerful is the téte-d-téte so naively pictured on this canvas, Does 
 
 any hard-headed skeptic question whether cats can converse? We ask in 
 1 
 
 reply, What populous neighborhood on any clear summer's night, will not 
 furnish abundant evidence in the affirmative? Who has not listened,—sadly 
 unwilling, perhaps,—to the antiphonal utterances, pitched in every key of 
 sentiment,—from soft and tender to wild and despairing,—of many a feline 
 Sir Thomas and Lady Tabitha, sighing and wailing, and protesting, like so 
 many “amorous swains and nymphs responsive?” Oh, yes; certainly cats can 
 
 talk—or else they are accomplished make-believes. But the interviews which 
 
 they hold between themselves are le interesting to us than those which they carry on in a foreion 
 
 tongue, so to speak,—such a conversation, for instance, as that represented in our picture. Who can 
 
 look at this sweet girl and her pet Tabby, and doubt for an instant that they understand each other 
 
 perfectly? Though the expressions of the mistress may be brief and disconnected, and though the re- 
 
 ” 
 
 marks of puss may be restricted mainly to “mioux,” and “ourr-r yet these brevities are so well 
 
 ’ 
 
 supplemented,—on the maiden’s part by the glances of the eyes and the movements of the lips,—and 
 on Tabby’s part by the curving of the spine and the eloquent gestures of the tail—that not a word 
 
 is uttered but is perfectly intelligible; and what, we beg to ask, is this, if it be not conversation ? 
 
 It is altnost superfluous to call attention to the grace and perfection of drawing, the tasteful, 
 yet homely beauty of composition, and the exquisite truth of expression, which characterize this picture. 
 It was exhibited in the Salon of 1874. M. Caraud, who was a pupil of Abel de Pujol, has received 
 
 several medals, and has been decorated with the Cross of the Legion of Honor. 
 
BLINDMAN’S-BUFF. 
 
 JHARLES-ALEX. Ooxsstn pe LA Fossr, Pine. Gourtt & Co., Gravure. 
 
 TE merry at the expense of the poor “blind-man,” is this party of fun-loving girls 
 
 and gallants. Time and again, as he has triumphantly grasped a bonnet or some 
 
 soft lady’s-wrap, he has been piqued to find that he has in his arms only a 
 
 dummy, prepared for hig deception, instead of the glowing form of one of his 
 
 fair tormentors; and as his countenance falls, the merry jeers grow more lavish 
 
 give him time and the blind- 
 
 fe) 
 
 and tantalizing. But do not waste your sympathy ; 
 man will have his revenge. What lively memories this scene awakens! Who 
 has not at some time in his life participated in the rollicking mirth of this old, 
 
 old game! 
 
 “Blindman’s-buff” is one of those ancient, universal amusements, whose 
 origin is concealed in the remote ages of antiquity. It was known among the ancient Greeks and 
 Romans, and has been, and continues to be, played among most of the peoples of modern Europe. 
 Of course it figures under many different names. The Ostrogoths are supposed by some authorities to 
 have introduced the game into Italy, where it is called giuoco della cieca, or play of the blind. In 
 the Suio-Gothic, it is called dlind-boc (blind goat); in German, blind-kuhe (blind cow); in French, 
 colin-maillard (equivalent to Colin the buffoon). It is said that in his famous campaign against Austria, 
 the Swedish hero, Gustavus Adolphus, used to amuse himself in private in playing at blindman’s- 
 buff with his colonels. 
 
 The accomplished painter of our picture was a pupil of Picot. He received in 1873 a medal 
 
 of the third class. 
 
 Blindman's-Buff was exhibited in the Salon of 1879. 
 
| 
 
HERODIAS. 
 
 Brysamiyn Constant, Ping. Gouri & Co., 
 
 ERODIAS was the wife of Herod Philip, half-broth 
 
 trarch of Galilee, when the latter met her and avowed for her a guilty 
 
 rt of Herod Antipas, Te- 
 
 love. THerodias so fully reciprocated this passion that, in defiance of the 
 Jewish law, she procured a divorce from Philip and became the wife of 
 Antipas. The scandal of this act was aggravated by the fact that Heroc 
 
 Antipas was already married to a daughter of the King of Aretas, who 
 
 , 
 
 upon the advent of the new wife, indignantly quitted Herod and returned 
 
 to her father, who avenged his 
 
 aughter’s insult by a successful attack 
 
 upon the territories of Herod. 
 
 3ut this scandal would doubtless have faded from remembrance, anc 
 Herodias herself haye been unknown to later ages, were it not for the 
 dark tragedy that is associated with her illicit marriage. When John, the Messiah’s forerunner, ap- 
 
 peared, rebuking sin, and calling all men to repentance, he spared not the guilty occupants of the 
 
 throne. Undeterred by fear of royal wrath he told Herod plainly, “It is not lawful for thee to have 
 thy brother's wife.’’ Sin is intolerant: it will outrage humanity, trample upon law, and defy Heaven :— 
 but it will not endure reproof. The vengeful nature of Herodias was stirred by the Prophet's censure 
 and she resolved upon his death. Her husband shared her resentment, but was restrained from the 
 
 instant execution of his murderous design partly by a remnant of religious or superstitious awe, and 
 
 partly by fear of the people who recognized John as God’s prophet. He, however, seized John and 
 cast him into prison. Meanwhile the vindictive Herodias nursed her bloody purpose, and was prompt 
 to take advantage of an unexpected occasion for its accomplishment. 
 At a great feast given by her husband on his birth-day, Salome, Herodias’s daughter, came in 
 and danced one of those dreamy, voluptuous, Eastern dances, with such rare grace, that the King, in- 
 
 flamed with wine, rashly promised to accord her any gift that she might demand of him, even to the 
 
 half of his kingdom. Before availing herself of this extravagant offer, the maiden sought the advice 
 “The head of John 
 
 the Baptist.’ And so, worthy daughter of such a mother, Salome, with no apparent trace of reluctance, 
 
 of her mother. To her question, ‘‘What shall I ask?’—the quick answer came, 
 
 returned to the King and said, “I will that thou give me, in a charger, the head of John the Bap- 
 
 “ 
 
 . “ 4) + oord rad i fop is uP 
 tist.’ The King, unscrupulous as he was, recoiled from this sanguinary request; yet “for his oath’s 
 
 , 
 
 sake, and for their sakes which sat with him, he would not reject her.’ The Prophet, therefore, was in- 
 
 stantly beheaded, the head placed in a charger and given to the damsel who brought it to her mother. 
 The mother’s portrait, as conceived by our artist, is before us. ‘Behold the picture! Is it 
 
 like?” ‘Truly here is a woman formed for voluptuous dalliance, yet crafty as sin and remorseless as 
 
 rave. In her present mood, her face is as impassive as that of the sphynx. Her thoughts are 
 
 y 
 § 
 
 deeply engrossed with things not present, and her eyes are fixed on vacancy ;—but what tiger-like passi 
 
 on 
 
 lurks in those dark deep eyes, and those sensuous lips! The picture was exhibited in the Salon of 1881. 
 M. Constant was born in Paris in 1845, and was a pupil of Cabanel. Although still young he has 
 
 attained high eminence in his profession and received several medals and the Cross of the Legion of Honor. 
 
GIVE US BARABBAS! 
 
 Cuaruzs-Lours Mutter, Ping. Gouri, & Co., Gravure. 
 
 HIS is a scene in the world’s most terrible and august drama. Who is not familiar 
 
 with its painful details? The rulers of the Jews had resolved on the death 
 of Christ, and had passed sentence upon him after a form of trial in which 
 both law and justice were insulted; but, being a subject people, they lacked 
 authority to inflict capital punishment; and so they brought their victim to 
 Pontius Pilate, the Roman Governor, with a false charge of treason against 
 
 Rome. When Pilate, after examining the prisoner, “found no fault in him 
 
 at all,” and was minded to let him go, his blood-thirsty accusers, hypocritically 
 feigning zeal for a hated ruler, cried out, “If thou let this man go, thou art 
 not Cresar’s friend!’ It was customary at the feast of the Passover, for the Roman Governor to re- 
 
 lease some Jewish prisoner, as an act of grace, and Pilate therefore proposed to release Jesus in accord- 
 ance with this precedent; but, to his surprise, the proposal was greeted with fierce cries of “Away 
 
 Barabbas 
 
 and yet the frantic crowd yociferated their preference for him, mingled with imprecations on Christ, 
 
 with him! Crucify him!—not this man, but Barabbas !” was a robber and a murderer; 
 
 as though the ignominious death of a pure and holy benefactor and the liberty of 
 
 ado, were the two greatest boons in life. 
 In addition to its direct historic purpose, this picture of M. Miller’s may b 
 izing those critical choices between good and evil that are constantly being submi 
 
 s Christ stands for all that is good and beneficent and holy in life, so Barab 
 
 a murderous desper- 
 
 e regarded as symbol- 
 ted to human hearts. 
 
 bas typifies the base, 
 
 the lawless and the malevolent. In this motley crowd that have spurned Christ and madly affirmed 
 their preference for Barabbas, we discern the various classes of society and phases of human passion: 
 Ambition and pride are represented by the chief priests and the Pharisees; the spirit of lawlessness 
 and crime by the wretch with uplifted hands who stands screaming behind Barabbas; the gay women 
 in the throng are types of voluptuous excess, and the improvised Bacchus, in the right foreground 
 
 stands, of course, for the maddening pleasures of the cup. Every one who delivers himself up to the 
 
 dominion of a selfish and sinful passion, joins himself to this mad throng who reject Incarnate Virtue 
 
 and make choice of Barabbas. ‘The ominous presence of the prison in the background, points its own 
 
 moral, 
 
 M. Charles-Louis Miiller is one of the most illustrious of living French painters. Nearly all his 
 pictures are historical, and none of them perhaps is better known than the immense and thrilling canvas 
 entitled The Roll-Call of Victims in the Reign of Terror. ienhay 
 ceived the highest medals, is Officer of the Legion of Honor, and Member of the Institute. 
 
 of 1878. 
 
 M. Miller was born in He has re- 
 
 Give us 
 the Salon 
 
 Barabbas was exhibited in 
 
| 
 | 
 
PUACz DEES CONCORDE —b ARIS 
 
 JoszepH pe Nirris, Pina. Govrin & Co., Gravure. 
 
 Ae among the beautiful features of the world’s most beautiful city, 
 is the Place de la Concorde. A painful historic interest attaches to the 
 site, from the fact that here was erected the guillotine on which perished 
 Louis XVI., Marie Antoinette, Philippe-Egalité and other victims of the 
 Revolution. But no trace of this remains; nought but objects of beauty and 
 superb vistas now greet the eye on this splendid and spacious area. We 
 view the scene from the south. Directly back of us (and, of course, not 
 shown in the picture), is the river Seine, which forms the southenta boundary 
 <6 of the Place, and is crossed at this point by the Bridge of Concord (Pont 
 
 de la Concorde). The two stately buildings which form the northern 
 boundary are the palaces of the Ministry of Marine and the Garde-Meuble. On the east (the right of the 
 picture) is the Garden of the Tuileries, and on the west, the Champs-Elysées, At the northern and 
 
 southern ends are two large and beautiful bronze fountains. That on the south (in the foreground of the 
 
 picture) is dedicated to River Navigation, and that on the north to Maritime Navigation. The obelisk 
 which rises in the centre of the Place was brought from Luxor, in Egypt, and was erected here in 1836. 
 
 Tt is eighty feet high, weighs 50,000 pounds, and is mounted on a solid block of Brittany granite thirteen 
 
 feet high and six feet wide. At the angles of the Place, are eight pavilions surmounted by colossal 
 
 statues representing the cities of Lyons, Marseilles, Bordeaux, Nantes, Rouen, Brest, Lille and S§ rasbourg. 
 
 We spoke of the superb vistas. Standing in the centre of the Place and looking northward the eye is 
 
 arrested by the front fagade of the beautiful church of the Madeleine, a Grecian edifice of white marble, 
 whose outline dimly appears in the picture. Looking southward, across the Seine, at the end of the bridge 
 
 which is directly opposite the street at the foot of which stands the Madeleine) the view terminates with 
 Y OPE 
 
 another splendid Grecian edifice of white marble—the Corps Legislatif. Turning now to the east the eye 
 
 ranges through the beautiful Garden of the Tuileries, with its fountains, statues, and noble trees, till it 
 
 pauses before the western front of the Palace of the Tuileries. Westward the view is, perhaps, the finest 
 of all; the eye sweeps through the Champs-Elysées, then along the broad Avenue des Champs-Elysées to 
 the Grand Are de Triomphe de I’Etoile, and, piercing that, away beyond, over the Avenue of the Grande 
 Armée until the vision loses itself in the distance. 
 
 The artist has presented the scene on a wet day—just after a shower. The view is eminently 
 aithful and characteristic. The picture was first exhibited at the Salon of 1875. M. de Nittis was born 
 
 at Barletta, Italy, and was a pupil of Géréme. He received a Salon medal of the third class in 1876; a 
 
 medal of the first class at the Universal Exposition of 1878; and the Cross of the Legion of Honor in 
 
 878. 
 
THH SALON OF 1881. 41 
 
 of the throne, on the left, stands Authority, holding a flag, that of Country. At the right, on the steps 
 of the temple, a casqued figure, Force, reclines. Her elbow rests upon a lion, and she watches over a 
 
 tion and destination 
 
 nude infant at her side, the image of Innocence. Finally, to emphasize the signifi 
 
 of his work, M. Baudry has introduced, with great decorative effect, the figure of a magistrate wearing 
 
 the red robe and the ermine of a President of the 
 
 Court of Cassation. This personage, who mingles 
 
 Ht 
 
 he tangible with the imaginary, the human with 
 
 fs 
 
 he symbolical, is of a proud fournure. Raising 
 his cap, he seems to bow before Law and to 
 salute her as one should salute the beneficent 
 
 goddess. . . This magistrate, with the dominante 
 
 of his red robe mingling with the etherial ensem- 
 ble of the composition, completes it in a happy 
 manner; the more so, as it is painted as a por- 
 trait, thus reminding the offenders against Law, 
 that however lofty the place of her habitation, 
 
 she has, in the all-fours of social existence, impec- 
 
 cable agents charged with the oversight and ex- 
 
 ecution of her decrees.” All the critics concur in 
 the lofty strain of eulogy adopted by M. Montro- 
 sier. Referring to this new triumph of M. Baudry, 
 in connection with his famous decorations of the 
 
 “ 
 
 Opera House, M. Merson says: ‘“ We may expect 
 
 everything from a man who never sleeps on his 
 
 laurels, nor allows himself to be made torpid by 
 
 COUNTRY. (Salon of 1881.) 
 
 triump mo 5 ee ceiling of M. Baudry ig one of FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY GEORGES BER- 
 ‘ TRAND 
 those noble works which make the glory and 
 
 legitimate the pride of a school.” 
 The Medal of Honor for sculpture was not at once conferred, as neither of the two favorites of the 
 Jury; M. Allar and M. Gautherin, had the requisite number of votes; but ultimately it was awarded to 
 
 M. André-Joseph Allar for his marble group, the Death of Alcestis. “ By its qualities of impassible correct- 
 
 ness,’ —says M. Vachon,—‘‘ by the merits of the composition learnedly elaborated, in which nothing shocks 
 nor surprises the spectator, the ‘Death of Alcestis’’ justifies fully the choice of a Jury who were only 
 embarrassed in their judgment by a work conceived in the same spirit of moderation—the Paradise Lost 
 
 of M. Gautherin.” Concerning the latter work, Mr. Forbes-Robertson says: ‘Adam is seated, and Eve [at 
 co) A , 
 
 his feet] leans her elbows on his legs, while he places his hands on her arm and shoulder lovingly and 
 
 consolingly. The grouping is remarkably happy.” 
 
 Another work prominently considered in connection with the Medal of-Honor, was The Defense of 
 Paris, by M. Barrias,—a large female figure wearing a turret-crown, holding a sword in one hand and a 
 flag in the other. At her feet is a soldier, wounded, but preparing to fire. It was designed for erection 
 at the round-point of Courbevoie. ‘ 
 The Prize of the Salon was awarded to M. Alfred Boucher for his plaster group entitled Filial Love, 
 
 which represents the Roman daughter whose filial piety impelled her to nourish from her own breasts her 
 
42 THH GALLERY OF CONTEMPORARY ART. 
 
 imprisoned and starving father. (See sketch on p. 39.) The father, an aged man, is seated, while the 
 daughter, standing, leans over him partly supporting herself by her hand placed on his shoulder. The 
 | work is simply and delicately conceived. Precisely the same subject was treated by another sculptor, 
 | H. Lemaire, in a manner somewhat more elaborate. 
 | A first medal was conferred upon Jean-Léon 
 
 Gérome, for his group in plaster, Anacreon, Bacchus 
 
 } and Love. ‘The old poet,” says M. Vachon, “ stands 
 draped majestically in his long robe as priest of 
 Venus, holding in his arms the two children, whom 
 he regards with a paternal smile, full of roguishness 
 and gaiety. It is the work of an artist divided be- 
 tween the brush and the chisel. The predilection 
 for the picturesque, in the translation of a complex 
 idea, at once philosophical and poetic, marks it 
 | more than the research and the regard for form 
 
 and beauty.” (See sketch on p. 40.) 
 
 | The Saint John, in marble, also procured for 
 
 its author, Jean Dampt, a first medal. The subject 
 
 is represented as a child, kneeling. It is severe, 
 simple, and elevated in character, and thoroughly 
 original. It was much admired. 
 
 Two notable works in plaster, by young men 
 
 of brilliant promise, were the Mrangors Villon, of 
 Frangois Etcheto, and Before the Age of Stone, by 
 
 E. N. J. Carlier. The former shows the poet as he 
 
 A BEARER OF DISPATCHES. (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ALPHONSE 
 DE NEUVILLE. 
 
 describes himself in the last verse of his “Petit Testament.” It is most sympathetic in conception and 
 admirable in execution, and won for the author a medal of the third class. Of the second work (see 
 sketch on p. 40), M. Vachon says: ‘A primitive man, one of those rude ancestors who have served 
 as types of Hercules and of Anteeus, is in con- 
 flict with a wolf, which he seizes vigorously by 
 the throat with one hand, while with the other 
 he breaks the animal’s jaw. The composition, 
 of a very energetic character, is yet neither over- 
 wrought nor commonplace. It attaches itself by 
 its noble manner to the best traditions of the 
 French school; and the execution presents qual- 
 ities of frankness and liberty in which we 
 
 recognize a well-conducted artistic education and 
 
 | a serious science.’ Both M. Etcheto and M. 
 
 q Carlier received from the State one of the 
 
 | Travelling Purses awarded for the first time at | 
 | iH DEATH OF RICHARD CCEUR DE LION. (Salon of 1881.) this Salon. 
 | | FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ADOLPHE-O.-E.- 5 
 
 i STEINHELL, A group by M. Gustave Doré, entitled 
 
 ‘| 
 
LIES IS ALIGOM (OF Wes. 43 
 
 Christianity, was generally admitted to be the best work in sculpture that this fertile artist had produced. 
 
 It represents a nun, or sister of charity, amidst the fire and smoke of a besieged city carrying a sick 
 companion to a place of safety. The work was much admired for its vivid expression and vigorous 
 execution. 
 
 The Wrecker, a statue in bronze by Pierre-Marie Ogé, is an able presentation of one of a wild 
 
 race of men inhabiting the rocky coast of Brittany where shipwrecks are frequent. They subsist not only 
 
 ls accidentally cast upon their shores, but are accused of luring ships to their 
 
 upon the spoils of ve 
 
 destruction by treacherous lights. The subject is treated with signal success by M. Ogé. The expression, 
 
 ta} 
 
 and the action of this brawny coastman as he is about to fling his grappling iron are admirable. (See 
 
 sketch on p. 38.) 
 
 A BATTERY (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EUGENE CHAPERON, 
 
 At least one more work of sculpture must be mentioned, viz., Lioness Changing her Flome, by M. 
 Auguste-Nicolas Cain,—a work which for profound knowledge of physiological character, and sculptural 
 forms of animal nature, as well as for its powerful lines and broad execution, is a masterpiece. 
 
 No first medals were awarded in the section of painting. 
 
 Among the recipients of second medals was M. Georges Bertrand, whose contribution, entitled 
 Country (see sketch on p. 41), won golden opinions and was marked by several prominent critics for the 
 Prize of the Salon; but, as we have seen, that prize was adjudged to a work of sculpture. Mr. Forbes- 
 Robertson thus speaks of M. Bertrand’s picture: ‘THis Country is a large canvas crowded with soldiers, 
 
 two of whom lead down a hill a wounded horse on which sits a wounded officer, who is kept with 
 
 i 
 
 mental flag 
 
 difficulty in his saddle. One of his mounted comrades tries gently to relieve him of the re 
 
 he has defended so well, but he presses it to his bosom with the tenacity of a death-grasp, and lies faint- 
 
 ing back in his saddle. Those who remember the Valasquez-like power of drawing and force of color 
 which characterized the lamented Henri Regnault, will have a very good idea of the qualities which make 
 
 this work, in my opinion, one of the most notable in the exhibition.” M. Bertrand is a young man. 
 
THH GALLHRY OF 
 
 DEATH OF AGRIPPINA. (Salon of 1881.) 
 
 souvenirs by the recital of the various episodes which signalized it. Incontestably a new school of 
 
 painters of soldiers was born from our disasters. 
 
 which were fraught with such surprise, such cruel deception, and brought with them such bitter lessons. 
 It is well that some of us should profit by all these sufferings, and that so much blood should not be 
 
 poured out in vain. Our school of military painting has been fortified and rejuvenated by the spectacle 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JOSEPH-FORTUNE LAYRAUD. 
 
 It was founded immediately after those terrible events 
 
 CONTEMPORARY ART. 
 
 He studied under MM. Yvon, Barrias, 
 and Bonnat. Besides a Salon second 
 medal, he received from the State, on 
 this occasion, one of the Travelling 
 Purses. 
 
 he famous military painters 
 whose absence from the last Salon 
 was so conspicuous, were all repre- 
 sented this year. ‘Military painting,” 
 says M. Gustave Goetschy, “holds an 
 
 important place in the Salon of this 
 
 year. It is a fact curious to note, 
 that the farther we recede from that 
 time of never-to-be-forgotten miseries 
 witnessed by the war of 1870, the 
 larger grows the number of artists 
 
 who have resolved to perpetuate its 
 
 of our defeats, and from past disasters it has won its present victories... This new school has not fol- 
 
 lowed the traditions left by our former painters of great battles—celebrators of victories for the mos 
 
 part,—whose chief aim appeared to be to assem- 
 ble, in vast compositions of doubtful reality, as 
 many triumphant Frenchmen and of discomfited 
 enemies as their canvases could contain. It is 
 more sincere, more concerned with truth, more 
 exact, and more humane. It endeavors to tell 
 that which it has seen, omitting nothing and 
 adding nothing thereto. It essays the history 
 of military facts after the documents that it has 
 preserved and the information it has gathered. 
 It narrates the war rather than the battle, and 
 is less occupied with interesting us in the event 
 than in the man. It applies to painting those 
 processes of rigorous observation and precise re- 
 
 search that are employed in the literature of 
 
 AUTOMEDON. (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EDMOND-GEORGES 
 
 GRANDJEAN. 
 
 our time. In a word, to borrow an expression which, though inaccurate, is generally accepted, it has 
 
 become that which M. Zola wishes the Republic to become—naturalistic.” 
 
 M. Detzaille’s contribution, The Distribution of Flags, is an immense canvas (about thirty feet 
 
 long, the largest in the exhibition), most of the figures being larger than life. Several passages are ex- 
 
THE SALON OF 1881. 45 
 
 ceptionally able and effective: but the work is unequal. It was executed on a commission from the State. 
 A French critic says of it: “This very important picture is at the present hour, in spite of some 
 light defects, a work of high and powerful artistic interest. It will soon become one of the most inter- 
 esting and authentic historic documents of the times.” 
 
 M. de Neuville contributed The Cemetery of Saint Privat, and A Bearer of Dispatches. The 
 subjects are both derived from the Franco-Prussian war. Of the former picture, which is a souvenir 
 
 of a heroic defence by the French against overwhelming odds, one critic remarks: “It will remain the 
 
 worthy pendant of ‘The Last Cartridges.’ Never has more poignant emotion been obtained by truer 
 
 means.’ In the second picture (see sketch on p: 
 
 42), is figured a French soldier who, disguised 
 
 as a peasant and seeking to convey dispatches 
 into Metz, is seized by the German patrols, and 
 rudely searched. Evidence enough to warrant his 
 death is already discovered. The doomed man 
 
 knows that he has but a few minutes to live. 
 
 Calm and courageous, however, he is a type of 
 patriotism that every Frenchman will behold with 
 emotion. The almost brutal sternness of his cap- 
 ors is not softened by the artist. MM. Detaille 
 
 and de Neuville were both advanced, this year, 
 
 o the grade of Officer of the Legion of Honor. 
 
 M. Léon Couturier was represented by 
 
 The Story (a wounded soldier relating his adven- 
 
 ture to a group of comrades); M. Berne-Belle- 
 cour by Zhe Attack on the Chateau of Mont- 
 beliard; M. Protais by The Flag and the Army, 
 a large work executed for a chamber of the 
 Ministry of War; and M. Eug 
 
 A Battery (see sketch on p. 48.) In the latter 
 
 ne Chaperon by 
 
 work we perceive a battery taking position in EROS. (Salon of 1881) 
 a village street. Ty 1e equipage and all the FACSIMILE OF A SKETCH FROM ea aan PAINTING BY EDOUARD ROSSET- 
 
 evolutions are according to the rules of war. 
 
 Some of the men are loading and pointing the guns; an officer, at his post of combat, calmly directs 
 the movements; while the commander, standing at the door of the house, interrogates the people of 
 the place and informs himself accurately concerning the position that he has just occupied. Already 
 the enemy, having detected the presence of the battery, has opened fire upon it, the effect of which 
 is seen in the horse in the foreground which lies in the agonies of death. The sureness of hand 
 
 with which the personages are put in place, and the truth and variety of their attitudes, denote an 
 
 observing and resolute mind, well versed in all that pertains to the military trade. 
 
 Among the works devoted to historic subjects none excited more remark than Paul-Joseph Blane’s 
 
 The Triumph of Clovis, a large frieze designed for the decoration of the Pantheon. It is in two com- 
 partments. In the first, Clovis is seen in procession with his chief associates, following Faith, who 
 
 elevates the chalice surmounted by the rayed Host. In the second compartment are ecclesiastics, martyrs, 
 
46 THE GALLERY OF CONTEMPORARY ART. 
 
 saints and neophytes. The latter section was regarded 
 
 as the most successful, and yet it evoked numerous 
 
 strictures for the reason that the actors in the scene 
 
 are portraits of contemporaries, some of whom, it was 
 
 insisted, are very improperly exhibited in a guise so 
 
 inconsistent with their actual professions. But the artist 
 
 has many authoritative precedents for his course, and 
 
 is absolved from censure by the best critics. The first 
 
 figure on the right of the picture, that of Aurelianus 
 
 (see sketch on p. 87), is a portrait of M. Gambetta; 
 
 the third figure (Saint Avitus), wearing a bishop’s mitre 
 
 and turning the leaves of a book, is a por rait of M. 
 
 Antonin Proust; the monk at his side (Saint Wast) is 
 
 the artist’s father; the sixth figure (Saint Volusianus), in 
 
 profile, with hands crossed behind, is M. Coquelin, Sr. ; 
 
 Galactorius, the sitting figure with a sword in his hand, 
 
 is a portrait of M. Clémenceau; the man who supports 
 him with his arms, is M. Paul Bert; the man in the 
 
 background wearing a cap and carrying a staff sur- 
 
 mounted with a cross, is M. Edouard Pasteur; the 
 
 soldier with a spear who bends over Galactorius, is M. 
 
 Lockray; the soldier whose head is covered by the two 
 
 svear-points is M. Antoine Mercié, the sculptor: : 
 pear-points is M. Antoine Mereié, the sculptor; and the ES Ri ee es 
 
 figure on the extreme left is the painter, M. Blane, FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY L. 
 himself. Of the figures in the first compartment, that a mi ese 
 
 of Faith is a portrait of Mme. Blanc; Mme. Edmond Adam appears in Saint Clothilde; and MM. 
 Aurelien Blanc and Eloi Beral, and Dr. Duval, figure respectively as a geni, a soldier, and Saint 
 
 Hilaire. Intrinsically, the work is learned and well- 
 
 balanced, and shows in many respects the qualities 
 of a master. 
 
 Samson and Delilah, by Léon-Frangois Co- 
 merre, challenged attention among works of the his- 
 torical class. The hero is studied with care after 
 good models, and the Delilah bears a physiognomy 
 
 in keeping with her treachery. Although the remain- 
 co) J (=) 
 
 der of the composition did not escape criticism, 
 
 the work was regarded by the Jury as of sufficient 
 excellence to entitle the artist to a second class 
 
 medal. 
 
 The Death of Agrippina is the subject of 
 
 two pictures by different artists. One of these (that 
 
 DECEMBER. (Salon of 1881.) by J. A. Rixens 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY FRANQOIS- o 
 
 {I 
 | i Fiamma. the other (by Joseph-Fortuné Layraud), presents a 
 
 , depicts the act of assassination ; 
 
THH SALON OF 1881. 47 
 
 scene after that act (see sketch on p. 44). In the 
 latter picture Nero, having commanded the murder 
 of his mother, is exhibited as gazing upon her corpse. 
 The artist has shown great moderation in his treat- 
 ment of the subject, for history records that Nero’s 
 inspection of his mother’s body was grossly indecent 
 and unnatural. 
 
 The Death of Richard Ceur de Lion, by 
 Adolphe-Edouard Steinheil (see sketch on p. 42), 
 illustrates the following passage from Martin’s history: 
 “He [Richard] commanded to be brought before him 
 Bertrand de Gourdon, who had wounded him, to 
 whom he said: ‘What wrong had I done thee? 
 Wherefore hast thou killed me? Thou hast killed 
 my father and my two brothers with thine own 
 hand, and now thou wouldst kill me also! Take 
 upon me the vengeance that thou wouldst; I will 
 
 suffer willingly all the torments thou canst imagine, 
 
 provided that thou thyself wilt die——thou who hast 
 A PATH IN THE WOOD. (Salon of / 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL DRAWIN 
 
 BY MAXIME caused so many and such great evils in the world. 
 LALAN 
 
 iy, 
 
 I pardon thee for my death. The work displays 
 
 much archeological erudition in the furniture and costumes, and imparts a truthful impression of the scene. 
 
 Among other works in this class that should not be overlooked are: The Conquerors of the Bastile, 
 by Frangois Flameng (who won the Prize of the Salon in 1879); Tribunal under the Terror, by Georges 
 Cain; and Herculaneum, by Hector Leroux. The latter presents a scene at the destruction of the city 
 
 A.D. 79 by an eruption of Ve- 
 
 suvius. A company of priest- 
 esses have fled, carrying with 
 them the sacred vessels. Once 
 out of danger they repose a 
 moment and survey the city 
 and its temples which disap- 
 near under the rising tide of 
 ava. ‘The group of these 
 women,” says M. G. Schéfer, 
 “Gs graceful and touching: 
 hey are alarmed, but not 
 
 wild with terror, and it is this 
 
 hat pleases us. The priest- 
 
 esses of M. Leroux exhibit 
 
 in exact measure the emotion 
 
 vhich the disaster that they 
 vida ee J THE HEATH OF KERRENIC. (Salon of 1881.) 
 
 witness should occasion them. FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY CAMILLE BERNIER. 
 
48 THE GALLERY OF CONTEMPORARY ART. 
 
 Among the ancients death was not regarded with terror. Moreover, the contempt of death was never 
 so universal as at this epoch of history.” 
 Among the allegorical and mythological subjects, Alma-Tadema’s Hn Route for the Temple of 
 Ceres—Spring, occupied a prominent place (see sketch on p. 46). We quote M. Saint-Juirs: “In the 
 foreground are a couple of lovers. The shepherd is Greek, the auburn-haired shepherdess is English, and 
 wears lightly one of those pretty costumes that 
 
 the Tanagra statuettes have revealed to us. A 
 
 long ¢ 
 
 g@ cortege which unrolls in the vast perspec- 
 
 tive follows the heroes of the féte. .. Ceres 
 
 will be well-féted. The execution of this can- 
 vas does great honor to M. Alma-Tadema. 
 The figures are unbued with a free and joyous 
 
 motion, and there are some exquisite details in 
 
 the sunlit landscape which decorates the pro- 
 cession of shepherds and shepherdesses.”’ 
 The ros of Edouard Rosset-Granger 
 
 (see sketch on p. 45), illustrates some lines of 
 
 G. Dubufe: “Seated at the edge of a wood, 
 on an ancient altar to which lovers are wont 
 to come, Hros, at the decline of day, accom- 
 panies his songs on a mock violin. The music 
 causes the birds to sing and human hearts to 
 suffer. All creatures hasten to the spot.” The 
 
 pleasing conception is realized with much spirit, 
 
 and with rich effects of color. The government 
 
 showed its appreciation of the work by award- 
 
 ing to the artist one of the Travelling Purses. 
 
 OLD WILLOWS AT WISSANT (Swon of 1881.) M. Rosset-Granger was a pupil of Cabanel, of 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EMILE-ADELARD p 
 ae Dubufe, and of Mazerolle. 
 
 Edmond-Georges Grandjean displays un- 
 usual vigor in his Automedon, the charioteer of Achilles. The horses are superbly designed and are 
 charged with a mettle befitting steeds which draw the chariot of so great a hero (see sketch on p. 44). 
 The picture received Honorable Mention. 
 
 In allegorical subjects the nude plays a prominent part. We observe a large number of Fountains 
 
 (or Springs), a swarm of Nymphs, and a lot of Auroras, without counting the Loves, the Dreams, the 
 
 (op) 
 
 eeps, and other symbols more or legs transparent. Henner’s Za Source, J. N. H. Aussandon’s Nymph 
 
 at the Tomb of Corot, J. Lefeyre’s Ondine, E. Benner’s Repose; and W. A. Bouguereau’s charming 
 
 Aurora, are among those which assert their claim to notice. 
 
 Apropos of the symbolic uses of the nude female form, M. Saint-Juirs pleasantly observes: ‘‘As 
 
 1e figure alone is not sufficiently intelligible, it is usually rendered more intelligible by means of some 
 significant accessories. Behold a nude woman: 
 “Tf she has some reeds at her feet she will be a Spring, or Fountain. 
 
 “If she is relieved against a background sown with stars, she will be Night. 
 
DECEPTION. 
 
 ALFRED Srevens, Ping. 
 
 Its story might be 
 who now, when the 
 
 count the cost. If she 
 
 Fn 
 
 a act whose alluring promi 
 
 eye, but turn to 
 that is impossible; and already she feels 
 haps her dupheity has entailed consequences that 
 and a blight on the happiness of a family. 
 
 her troubled face, and mark the desperate gestu 
 
 we feel like saying,—Oh! lady fair, your short-lived 
 
 M. Stevens is famous 
 
 of rich textures, of furniture and of bric-d-brae, 
 
 beautiful draperies in our picture are an excelle 
 
 excitem 
 
 he sting 
 
 Whate 
 
 can be more evident than that it has miserably failed to promote her happiness. 
 
 follow in the train of duplicity ? 
 
 could retrace her 
 
 se was as false as “dead-sea apples,’ 
 
 threaten to cast a 
 
 re of the 
 
 ie has few equals. 
 
 How 
 
 mt example. 
 
 a proud beauty 
 
 Gouri, & Co., Gravure. 
 
 steps, 
 
 ashes on the lips—oh! how gladly she would do so, 
 
 f=) 
 
 that lies concealed in every illicit pleasure. 
 
 stain on 
 
 hand that crushes some 
 riumph, your fleeting 
 as a painter of the elegancies of fashionable li 
 
 Of his 
 
 faithful 
 
 a queen of society: 
 
 if she 
 
 er ; < : : é 
 AY it not be fairly questioned whether any gratification that can be derived from 
 deception or treachery, is not overbalanced by the discomfort, the sense of 
 insecurity, the “suspicion” which “haunts the guilty mind,” the loss of self- 
 
 respect, and the lashings of conscience in lonely hours—all which evils naturally 
 
 M. Stevens's deeply-studied picture both asks and answers this question. 
 
 that of 
 
 who has 
 
 gained some momentary triumph at the expense of truth and sincerity, and 
 
 ent of the pleasure has subsided, is compelled to 
 
 could but recall the 
 ’"—which tempt the 
 But 
 Per- 
 fair name 
 
 the honor of a 
 
 ver the precise nature of her deception, nothing 
 
 As we look upon 
 
 ill-omened iissive, 
 pleasure, has cost you dear! 
 fe. In the perfect rendition 
 this the 
 
 skill in respect 
 
 y these superb fabrics are 
 
 represented, and how tasteful is their arrangement! M. Stevens, who is a Belgian, studied under Navez 
 
 in Belgium, and under Rocqueplan in Paris, so t 
 honors, including a first medal at Brussels in 
 and a second medal at the Salon of 1855; and 
 1867. 
 1878. 
 
 He was made Chevalier of the Legion o 
 
 IGHie ey, tonoxl 
 
 iat he represents both schools. 
 
 medal at 
 
 He has obtained many 
 
 he (Paris) Salon of 185 
 
 a first medal at the Universal Exposition (Paris) in 
 Honor in 1863, Officer in 1867, and Commander in 
 
 He has also been made successively a Chevalier and Commander of the Order of Leopold. 
 
H 
 ay 
 { 
 M 
 | 
 
“THE Most BEAUTIFUL TO THE Most VALIANT” 
 
 ALFRED Guts, Ping. GoupIL & Co., Gravure. 
 : 
 
 JOTWITHSTANDING the age of chivalry has departed nevermore to return, the 
 
 <I 
 poetry, the romance, the legendary lore, to which it gave birth and in which 
 
 the valorous deeds of knighthood are enshrined, will never cease to captivate 
 the fancy and to stir the blood of noble-minded men and women. When 
 will the tales of King Arthur and his Knights of the Round Table lose 
 their charm? or when will a romance like “Ivanhoe” fail to kindle gen- 
 
 erous souls ?—never, so long as men are courageous and strong, and women 
 
 M. Ler ‘ 
 Be are beautiful and pure. 
 
 The institution of knighthood, in the chivalrous sense, was an event of the middle ages, and grew 
 out of the disturbed condition of society and the necessity for the weak to be protected by the strong. 
 
 The feudal barons were at this time mostly marauding robbers, who were particularly given to plunder- 
 
 ing their neighbors of their women and their wealth. The Church, suffering largely from their predatory 
 excursions, turned the warlike spirit of the age to its advantage, and, by introducing the religious 
 
 element into the investiture of knighthood imparted to the ceremony a solemnity which created a special 
 
 bond of attachment between the two. ‘The latent spirit of respect for woman, which existed in the 
 middle ages, was made a powerful element in the foundation of the new order. The Virgin Mary, 
 became the special tutelary divinity of knighthood, and by parity of reasoning, the sex was added to 
 
 the Church in the esteem of the order, as being under its protection. This deference to woman and 
 
 oO 
 
 the Church became thereafter the chief impelling motive, under whose impulse the knights of the midd 
 
 *s were incited to deeds requiring the greatest daring, self-denial, and tenacity of purpose.” 
 
 ac 
 The knights were, naturally, objects of interest and admiration to the ladies, who were proud to 
 bestow upon them tokens of regard, such as penons, colors (or “ favors’), and the like; and these 
 
 ts 
 
 tokens were powerful incentives to valor, on the part of the knights, who would transfer to the obje 
 of their romantic devotion, the glory of their prowess. It is this sentiment that Cervantes immortally 
 burlesqued in the persons of Don Quixote and Dulcinea del Toboso. 
 
 Tournaments were devised to afford the knights an opportunity of exhibiting their valor and skill 
 
 in arms before the lovely fair of whose honor and beauty they were the proud champions. The title 
 of our picture— The Most Beautiful to the Most Valiant,’—was a favorite motto of knights contend- 
 ing in the lists in the sixteenth century. The prize of the tournament was bestowed upon the knight 
 
 to whom it was adjudged, by a lady chosen for her preéminent charms, and styled the lady of the 
 
 tournament, or the “queen of beauty.” This act of presentation is the subject of M. Gués, interest- 
 ing picture. The “lady of the tournament,” richly arrayed, has risen from her throne, and holds in her 
 hands the prizes she is to confer on the advancing hero, who will kneel at her feet, in token of the 
 homage due to the virtue and beauty of her sex. 
 
 In this refined, serious, and carefully studied picture M. Gués betrays marked “pre-raphaelite”’ 
 
 affinities. The work was exhibited in the Salon of 1881. 
 
ON: THE BANKS*Or tHe River 
 
 Hewrt Lerouin, Ping. Gouri, & Co, Gravure. 
 
 VENING is at hand. The sun has nearly set, leaving behind him that beautiful, 
 mysterious, cloud-reflected light which we call twilight. It is the narrow 
 boundary between day and night, when Nature becomes hushed, and com- 
 poses herself to rest. And the sensitive soul of man is influenced by 
 _ this quiet period; relaxing the busy toils of the day, he yields to thought 
 and reverie What indefinable power there is in a subdued landscape at 
 
 this magical hour!—then may the lover of nature reap 
 “The harvest of a quiet eye.” 
 
 How simple the bit of nature placed before us in this picture! A group of bare trees; a broad, 
 unruffled river; a few cattle being driven to the farm-yard; and two peasant women trudging silently 
 homeward in the gathering dusk. Every element of the simple composition is homely and common- 
 place: yet, it brings us under a sweet, subtle spell; it appeals to the heart and kindles brooding 
 
 thoughts within the brain. It partakes of the sentiment of Gray’s beautiful stanzas: 
 
 The curfew tolls the knell of parting day, 
 The lowing herd winds slowly o’er the lea, 
 The ploughman homeward plods his weary way, 
 
 And leaves the world to darkness and to me. 
 
 Now fades the glimmering landscape on the sight, 
 And all the air a solemn stillness holds, 
 Save where the beetle wheels his droning flight 
 
 And drowsy tinklings lull the distant folds. 
 
 It has a mute voice to tell of the toils and cares, and likewise of the quiet, peaceful lot of 
 earth's lowly ones; and thus too, it makes us feel the hollowness of the pomp and pride of life, 
 
 for such a scene is 
 
 Meek Nature’s evening comment on the shows 
 That for oblivion take their daily birth 
 
 From all the fuming vanities of earth. 
 
 M. Lerolle, whose picture proves his intimate and loving intercourse with Nature, was a pupil 
 of Lamothe. He received a medal of the third class in 1879, and one of the first class in 1880. 
 The present picture was exhibited at the Salon of 1881. 
 
SUMMER EVENING. 
 
 Jan Van Beers, Pinz. Gourit & Co., Gravure. 
 
 © ONCEALED from the outer world, this beautiful solitude, with its massy 
 walls of verdure, might well be one of nature's temples; and it requires 
 but a slight stretch of the imagination to people it with dryads, fauns 
 and satyrs drawn hither by the strains of the flageolet played by the 
 
 faun. But we are summarily re-called from the realm of 
 
 now headless 
 
 mythologic fancies to the realities of modern life by the elegant and con- 
 ventional young lady, who is the central attraction of the picture, and 
 by her fashionable equipage. And yet, if we mark her expression, this 
 pensive beauty is in thorough mental accord with her sylvan surround- 
 ings. She may not be one of those who find “sermons in stones,’ but doubtless she detects “tongues in 
 trees,” and can interpret the leafy whisperings that are wafted to her upon the summer breeze. After all, 
 though fashions change, men change but little. Human sentiments and passions are to-day pretty much 
 what they were ages ago, when, in the current belief, the forests were peopled by the fantastic creatures 
 of our mythology. The heart is natural, and its impulses are as lasting as mortality will permit; whereas 
 fashion is transitory and evanescent. Our heroine is for the time oblivious of fashion, having sur- 
 
 rendered herself to the genius of the spot; and here, brooding and dreamy as the summer eve, 
 
 “to the sessions of sweet silent thought, 
 
 She summons up remembrance of things past.” 
 
 It is natural to associate pensive, isolated maidens with thoughts of love. Apropos of this fancy, 
 has our artist, by the introduction of the headless figure, intended a gentle satire upon the unreasoning 
 god and his equally irrational votaries? Possibly. 
 
 Jan Van Beers is a Belgian painter of rising fame. Summer Evening was exhibited in the Salon 
 
 of 1880. 
 
i 
 } 
 ‘ 
 | 
 { 
 \ 
 
} 
 
 \ 
 i 
 i 
 i 
 i 
 
IN THE CORNER OF A GARDEN. 
 
 Antonio Casanova, Pinz. GouptL & Co., Gravure. 
 
 SORT of informal confession is here in progress. Where does M. Casanova get the 
 models for his monks? They are coarse but consummate types of the human 
 animal ;—good-natured and jolly; hearty feeders; heavy sleepers; and strangers 
 to nerves and dyspepsia. But they are not wholly “of the earth, earthy,’’—for 
 in that case they would elicit far less interest than they do. Take, for example, 
 the reverend Confessor now before us: how much of speculation there is in his 
 small merry eyes, and what abundance of shrewd and homely wit,—what keen 
 relish of fun and appetite for gossip is expressed in his coarse features. Though 
 we may be struck by the incongruity between the man and his calling, yet is he 
 the more interesting by reason of the incongruity. 
 
 Our jolly mendicant friar has been the rounds, receiving donations from the faithful; and these 
 donations, done up in a knotted kerchief, together with the old umbrella, give his reverence quite the 
 appearance of a tramp. ‘The pretty little Spanish donna had something on her mind or her heart, and so, 
 after bestowing an offering on the friar she begs him to tarry to hear her tale, and to give her some 
 
 ghostly counsel. Who could refuse such a request? Certainly not our curious and good-natured friar: and 
 
 accordingly they retire to the corner of the garden for privacy. The confession doesn’t appear to be of a 
 
 painful nature, but that it is highly interesting no one in his senses can doubt, after a glance at the friar. 
 
 What luxury of absorbing zest is betrayed by the inclination of his head; his face, which is one broad, 
 
 comprehensive smile -—his hands clasped as in ecstacy; and even his upturned toes! Ah! it is a rare 
 secret, 
 
 The delicate grace of the beautiful, high-bred girl is in striking contrast with the burly, rough-clad 
 monk; yet the figures are finely harmonized by a present bond of sympathy. ‘This masterly work was 
 exhibited at the Salon of 1881. 
 
 M. Casanova was born at Tortosa, Spain, and was a pupil of MM. Lorenzale and F. Madrazo. 
 
THH SALON OF 1881. < 49 
 
 “If she is detached from a rosy sky, she will be Aurora. 
 
 “Ts the sky grey? then she will become Twilight. 
 
 “I know a statue which has served by turns,—thanks to some insignificant changes in the acces- 
 sories,—as Abundance, Industry, Progress, France, Peace, Maternity, and the Bourse. Finally it was 
 sold under the title of ‘The Republic of San Salvador,” 
 
 One of the French critics begins his comments on the landscapes in this Salon with a lamenta- 
 tion. _ ‘‘Where,” he demands, ‘‘are the successors of Diaz, of Corot, of Theodore Rousseau, of Jules 
 Dupré, of Courbet, of Daubigny?” But if these masters are not represented by their equals, that is 
 not saying that this Salon did not contain some choice examples of a department of painting which the 
 French have carried to a high degree of perfection. Among many canvases worthy of note we can cite 
 only: Hay Harvest, by Julien Dupré (which was honored with a second-class medal); Morning Liffect at 
 the Pond of Mortefontaine, by P. E. Péraire; The Heath of Kerrenic, by Camille Bernier; Wood- 
 cutter's Hut, by C. I. Dameron; December, by Francois-Emile Michel; and Old Willows at Wassant, 
 by E. A. Breton. 
 
 M. Bernier’s Heath (see sketch on p. 47), “shows the artist,’ says M. Merson, “ painting with his 
 habitual talent that which he loves and which he knows.” Some large, pointed trees on the right and 
 
 in the background; and in the foreground a stretch of soil sown with wild flowers, furze, and rocks, are 
 
 "marsenaincnecamerscaraes ee 
 
 DEPARTURE OF THE FISHERWOMEN. (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIC E FEYEN. 
 
 NAL PAINTING BY EUC 
 
 the sole contents of this clear landscape; yet it has the interest of nature itself. M. Bernier, who 
 was a pupil of L. Fleury, received Salon medals in 1868 and 1869, the cross of the Legion of Honor 
 in 1872, and a medal of the second-class at the Universal Exposition of 1878. 
 
 The December of M. Michel (sketch on p. 46), shows a reedy pond, bordered by skeleton trees, 
 the loncliness of the scene being relieved only by the presence of a few heron. The expanse of 
 luminous sky, with its reflection in the water, affords an exquisite light, while the sentiment which 
 pervades the picture excites a sympathetic feeling in the beholder. 
 
 A Path in the Wood, by Maxime Lalanne (see sketch on p. 47), is a piece of nature full of 
 
50 THH GALLERY OF CONTEMPORARY ART. 
 
 beauty and repose. We have here the quiet of the forest without its gloom; for the warm, rich 
 sunlight penetrates the shadows and, broken into countless reflections, gives an indescribable charm to 
 the scene. The original is a crayon drawing. M. Lalanne is also a successful engraver. As 
 painter and draughtsman, he received a medal of the third class in 1873, and the cross of the Le- 
 gion of Honor in 1875; as engraver, he received medals in 1866 and 1874. 
 
 Emile-Adélard Breton’s Old Willows at Wissant (see sketch on p. 48) is a pleasing study. No tree is 
 more picturesque than the willow; and a row of old,’ gnarled willows growing beside a stream and bend- 
 
 ing over it by the force of affinity, not only delights an artist's eye, but has charms for every lover 
 
 TOWERS AT THE SABLES-D’OLONNES. (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY HENRY LOUIS scorT. 
 of nature. Who is not happily reminded by this picture of some lovely country walk, bordered 
 part way by just such a line of fine old willows? The writer's mind is carried fondly back by 
 this simple scene to a spot redolent with the blithe memories of boyhood. While this work of M. 
 Breton’s is, strictly speaking, merely a study, the felicitous choice of the point of view, the angle 
 of the line of trees; and the pleasant suggestiveness of the curving shore, and the group of farm- 
 houses vaguely seen in the background, give it much of the feeling and value of a composed pic- 
 ture. M, E-A. Breton is a brother of the still more celebrated Jules-Adolphe Breton, of whom he 
 was also a pupil. He received Salon medals in 1866, 1867 and 1868, and a medal of the first 
 class at the Universal Exposition of 1878. In the latter year he was made Chevalier of the Le- 
 gion of Honor. 
 
 “The Sea,’ says M. de Veyran, “has in all times inspired the souls of artists, who have 
 sought to reproduce on the canvas the impressions that they received in presence of this magnificent spec- 
 tacle. They have seen it by turns calm or terrible, under the sombre aspect of a stormy day, or spark- 
 ling with the light of the rising sun, or colored with the thousand fires of the sunset, varied unceasingly 
 and presenting to the view a multitude of tableaux. The artist has but to choose. Sometimes, more 
 touched by an effect of light, or by a picturesque site, he contents himself with depicting it without 
 emotion, with the fidelity of a photograph; or, making the sea secondary in importance, he represents 
 
 marine landscapes, cliffs, shores, sailors, and fishermen. He knows the technics of the craft, it must be 
 
THE SALON OF 1881. 51 
 
 confessed; he knows how to seize the movement of the waves, and is not ignorant of the details 
 of a ship—its masts, its sails, its rigging, its forms; he knows how to paint it going ‘under the 
 wind, and ‘against the wind;’ he represents admirably what is called the ‘furniture’ of marine painting. 
 But whatever his talent as a painter, he will not be able to move us unless he is himself moved 
 at the sight of the ocean’s splendid beauties: he will never be a marine painter. He will follow 
 the track of the naturalistic painters of Holland,—Backhuysen and Van der Velde, without ever rising 
 
 into the ideal. He will not seize the mysterious poetry of the s ss that science of in- 
 
 he will not pos: 
 
 finite horizons, of grand expanses of water and of sky, where the sun and the light expand themselves 
 
 upon the waves: all this will escape him. It is related that when Joseph Vernet saw the ocean for the 
 first time, his soul overflowed with enthusiasm. He seized his crayon, and continued to draw till over- 
 
 come by exhaustion. Then he sailed for Italy. Standing in the bow of the vessel, he could not with- 
 
 draw his eyes from the spectacle of the sea; he experienced a species of intoxication of genius, which 
 
 revealed to him his true vocation—that of a painter of marine.” 
 
 Among the pictures in this Salon that 
 
 betray the true marine feeling the following 
 
 should not pass unobserved: After the Tempest, 
 
 by Emmanuel Lansyer; A Vessel on the 
 
 j 
 | 
 Coast, by Thed. Broutelles; Alerte (represent- | ae : - eee 
 ing a party of fishermen going to the relief of | ; ee : 3 
 a vessel in distress), by Ludovic Lépic; Gath- |= = ~- fe | 
 erer of Wreckage, by Emile Vernier; The ; 
 Bark of Goddebi, by Maurice Courant; Zhe |-— £ 
 Scheldt at Antwerp, by P. J. Clays; Mack- : ae Sa 
 erel Fishers, by Théophile Deyrolle; Zhe Old ie 
 Port of Marseilles, by J. B. Olive, and the con- 
 
 tributions more particularly mentioned below. 
 
 It has been justly observed that a great 
 difficulty in marine painting is to give to the 
 sea, to the atmosphere, that true color, that 
 brilliant light, which not only serves to illu- 
 
 minate the objects that it surrounds, but which 
 
 is itself something—a subject that the artist 
 
 f ai gris 
 ought to express. Among the good marines : i : FABIAN ioc1% 
 z \ oe Wests vl WANT 
 in the present Salon, in which the light is a Wl Wage Sd 
 g a 
 
 SF 
 
 conspicuous motive, we may name the Sunset 
 of Auguste Allongé and Towers at Sables- PART OF THE CANAL AT TREPORT. (Sulon i 
 
 d’ Olonne, by Henri-Louis Scott. The former FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EUGENE GRANDSIRE. 
 (see sketch on p. 56) shows a bend of sea beach with some large boulders in the foreground in 
 strong relief against the sinking sun. In the middle distance, on the left, is a line of hills sloping 
 down to the water. The greater part of the canvas is filled with a sky lit up with the magnifi- 
 
 cent hues of the sun, whose orb is just disappearing below the watery horizon. The calm sea, flaming 
 
 like a mirror completes the glory of this splendid sunset. “Truly the light is sweet, and a pleasant 
 
 thing it is for the eyes to behold the sun.” 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 In M. Scott's picture (see sketch on p. 50) we behold a long pier stretching straight out into 
 the sea, and on its farther end is a lighthouse. On the left of the pier, advancing toward us, are 
 several men and women, hauling into port, by means of a rope, a small schooner. The sky is filled 
 with massive, cumulous clouds, some of which are ablaze with sunset fires, while others are dark and 
 lowering. Against the latter, the horizon line is sharply drawn by the brilliant surface of the sea. 
 The subject is treated with admirable taste. 
 The scene is one of moving interest, and the 
 effects of chiaroscuro are broad and delightful. 
 
 The Departure of the Hisherwomen, by 
 Eugéne Feyen (see sketch on p. 49), may be 
 classed with the marines, though it is essentially 
 genre in motive. It represents a number of 
 women streaming out from some neighboring vil- 
 lage, with their baskets, in which they daily 
 gather oysters for a livelihood. Having reached 
 the scene of their toil, they prepare for work 
 by shortening their skirts, so that they may be 
 
 able to wade through the shallow waters of the 
 
 beach without needlessly wetting their garments. 
 
 One of the women has thrown herself down for a 
 
 a 
 
 moment’s rest before proceeding to work. Another, 
 
 having tossed her basket in advance, steps rather 
 
 indolently down after it; while a hird lends a 
 helping hand to a comrade. The string of hum- 
 
 ches away till it loses itself in the 
 
 ® 
 
 ble toilers s 
 
 distant haze. The scene is admirably composed, 
 MARGUERITE IN PRISON. (Salon of 1881.) 
 
 is full of the homely sentiment of the subject, pscsnern 
 
 JAMIN ULMANN, 
 
 oF A SKETCH FROM THE ORIGINAL PAINTING BY 
 
 and of a sympathy for the sea. This picture, 
 
 together with Oyster Fishing, exhibited at the same time, procured for the artist the Cross of the 
 
 Legion of Honor. He had already received a medal in 1860, and a second-class medal in 1880. 
 
 Eugéne Grandsire’s Part of the Canal at Tréport (sketch on p. 51) is full of quiet charm: 
 
 a scene associated with human toil, yet presided over by the spirit of repose. There is something 
 
 in the picture that attests its ruthfulness, and also the sympathetic spirit of the artist, who, we are 
 
 sure, was touched not only by the poetry of nature, but also by ‘“the still, sad music of humanity.” 
 
 This black-and-white sketch quite fails, of course, to express the delicacy of color an handling which 
 are so marked in the original, M. Grandsire was made Chevalier of the Legion of Honor in 1874. 
 He studied under MM. Noél and J. Dupré. Turning to figures and portraits, M. Madrazo’s Moor of 
 Sus merits attention, (See sketch on p. 53.) “A thorough knowledge of race characteristics,—mental 
 
 and moral as well as physical,—is evinced in the portraiture of this Moor. The accessories, including 
 
 the African landscape, are all faithfully studied. The warm colors of the original must, however, be 
 supplied by the imagination in order to form a correct impression of this canvas. The artist, who is 
 
 a Spaniard, was born in 1841, and studied under Fortuny. He was awarded a medal of the first- 
 
 class at the Universal Exposition of 1878, and is a Chevalier of the Legion of Honor. 
 
THH SALON OF 1881. 53 
 Carolus Duran’s A Future Doge was one of | ] 
 
 the successes of the Salon. It is a child in the rich oe ep 
 Venetian costume of the sixteenth century. The 
 ndiveté of the face and attitude pleases every eye. 
 In color, the picture is a study of red on red, and 
 is suggestive of the quality of Velasquez. Another 
 p 
 trait of Mlle. Guerde, by Gustave Courtois. (See 
 
 easing delineation of juvenile character is the Por- 
 
 sketch on p. 54.) This little girl sits on the edge 
 of a library table, where some loving hands may be 
 supposed to have placed her. Behind her is a vase 
 of flowers, and she is surrounded by books. Her dress 
 is quite modern, but tasteful. Sitting nearly in pro- 
 
 file, she turns her head towards us with an expression 
 
 of pleased interest very sweet and childlike. M. Cour- 
 tois was a pupil of Gérdme. He received a third-class 
 medal in 1878, and one of the second class in 1880. 
 Mme. Judie in the Character of La Rous- 
 
 sotte, by Jules-Emile Saintin, has a two-fold interest 
 
 —as a portrait and as the conception of a character. 
 
 The merry, roguish expression of the eyes and the 
 
 mouth are irresistibly moving: even the clasped Bs RASTER, (IE SAO (Chet air VE) 
 
 pee ave expressive. The attitude is ai oe a FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY RICARDO 
 (=) DE MADRAZO, 
 consciots ease. (See sketch on p. 55.) 
 
 The Portrait of M. Alphonse de Neuville, by Ernest Ange Duez, while faithful as a portrait, 
 was not regarded as equal in pictorial excellence 
 to the best works of the painter. It presents M. 
 de Neuville in his studio, standing before an easel 
 
 y a picture on which he is en- 
 
 regarding thoughtful 
 
 gaged. The attitude is easy, and the expression 
 
 characteristic. (See sketch on p. 54.) 
 Edouard Manet exhibited two portraits— 
 
 Henri Rochefort and M. Pertwise-—which are ‘re- 
 
 markable for their art-quality and vigor, and worthy 
 of ranking with the two painted by Léon Bonnat 
 (Léon Cogniet and Mme. la Comtesse P.)” Of M. 
 
 Bonnat, Mr. Forbes-Robertson says: ‘For down- 
 
 right power of pigment and force of projection the 
 
 PORTRAIT OF MINE HOST. (Szlon of 1881.) artist stands almost alone. His “ Léon Cogniet” 
 
 FACSIMILE OF A “TCH FROM THE ORIGINAL PAINTING BY LOUIS- 
 
 is a specimen of iconography which even Velas- 
 GEORGES BRILLOUIN. ’ ; : 
 
 quez never surpassed.” The contributions of M. 
 
 Manet secured for him a medal of the second class. This success is the more notable from the fact 
 
 that at former Salons (prior to 1867), some or all of his pictures had been refused by the Jury. M. 
 
54 
 
 Manet’s artistic merits and demerits have been the 
 
 He 
 
 appears to have no preference for beauty, and whose 
 iy, 
 
 subject of warm discussion. is a realist who 
 
 taste, indeed, sometimes leans to the side of ueli- 
 ? fo) 
 
 ness. ‘There subsists a strong sympathy between him 
 
 and M. Zola, the novelist; and, with some qualifi- 
 
 cations, M. Manet may be said to be in art what 
 M. Zola is in literature: but M. Zola is the greater 
 of the two. 
 
 A propos of portraits, the following observa- 
 tions will be read with interest: 
 
 Says M. Eugéne Guillaume, in the Revue des 
 
 Deux Mondes - 
 
 are which are interesting by virtue of their compo- 
 
 “Observe how few portraits there 
 
 sition. This is a common remark, and we encounter 
 
 it even in the foreign press. The objects which im- 
 
 mediately surround us,—the books, the tools, the in- 
 
 struments of work or of thought; flowers, a carpet, 
 
 a characteristic detail which aids in locating the 
 
 scene and gives a key to the tastes and dominant 
 
 habit of 
 
 the original,—these have been banished 
 
 PORTRAIT OF MLLE. GUERDE. 
 
 (Salon of 1881). 
 
 FACSIMILE OF A SKETCH FROM THE PAINTING BY GUSTAVE 
 
 RIGINAL 
 
 THE GALLERY OF CONTEMPORARY ART. 
 
 PORTRAIT OF ALPHONSE DE NEUVILLE. (Salon of 1881.) 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ERNEST- 
 
 ANGE D 
 
 the artists. Yes, the tradition of 
 
 Under that tradition 
 
 by 
 
 portraits is lost. 
 
 composed 
 art 
 The 
 
 posing him, 
 
 French 
 had a brilliant period in the last century. 
 
 manner of presenting a personage, of 
 of ammating his visage, of putting him in action, 
 
 of inter ssories which 
 
 sting by means of the ace 
 
 surrounded him, had reached a sort of perfection. 
 To-day the penury of the arrangements is extreme.” 
 Per contra, M. Charles Tardieu (in Z’ Art) 
 says: ‘Should we regret the loss of the tradi- 
 tion of composed portraits to which French art 
 Tf the tra- 
 
 dition is lost, is not that due to the fact that, 
 
 owes a glorious epoch? Perhaps. 
 
 having arrived at a sort of perfection, it had said 
 to] , 
 
 its last word, and no longer possessec vitality 
 enough to inspire a new and original work? If ac- 
 cessory is banished from portraiture, is it not be- 
 
 cause of the abuse that was made of it when the 
 
 tradition began to wear out, and, in consequence, to 
 
 systematize itself, seeking in the excess of its prin- 
 
 ciple the means of reacting against its exhaustion ? 
 “Tt was a painter, and a great painter,— 
 
 Sir Joshua Reynolds,—who erected accessory into a 
 
THE SALON OF 1881. 55 
 
 dogma. Had he to portray a great navigator, he was careful to trace on the wall the map of his 
 explorations and to place on a table a compass, or some professional instrument. Was his subject a 
 
 great physician, a skull replaced the compass, and the public was edified. But in the end we were 
 fatigued with a proces 
 
 which in the hands of less skilful artists bordered on puerility. Disdaining 
 the commentaries of accessory,—which, moreover, must not be confounded with composition,—portraitists 
 have attached themselves by preference to character, which they strive to express in the physiognomy 
 and the attitude, seeking interest in the natural, in the manifestation of the interior life, and in ob- 
 taining by the execution the desired simplicity of the mise en scene. The public taste has followed 
 them, and it is in this path that the French school of portrait painting has obtained its chief successes.” 
 
 It is not probable, however, that a principle 
 that has so long been applied with excellent effects, 
 will be generally abandoned. The reaction will direct 
 attention to the abuse of accessory in portraits, an 
 what is truly good in both systems will no doubt be 
 retained by judicious painters. 
 
 “Tt is assuredly genre painting,’ says Daniel 
 
 Bernard, ‘which obtains the most success, not only ai 
 the Salon of 1881, but in all the Salons possible an 
 imaginable. In order to be understood it does not 
 
 demand a long effort of intelligence, nor serious studies. 
 
 For the most part it amuses like a Vaudeville—i 
 diverts like an operetta. The great majority of visitors 
 at the Exposition will not confess that they feel for 
 grand art an indifference that is very close to con- 
 
 tempt,—so close, indeed, that the indifference and the 
 
 mW 
 
 contempt are identical. his is easily perceptible to 
 one who regards with what speed the elegant gentle- 
 men and the young girls in brigand hats, pass before 
 the immense ‘machines’ ordered by the State. A ma- 
 chine for making pins, or fresh nowilles, interests them 
 
 more. Poor grand classic art! thou art sick as the 
 
 Turkish credit, as unfashionable as the armoires of the 
 First Empire, as forsaken as a man once rich who has 
 
 no longer a sou! It is genre painting that is the heir 
 
 of the dowager called Academy, and that dissipates in 
 LA (Salon of 1881.) > . 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES- wild orgies of color and of fancy the ancestral tradi- 
 
 BMILE SAINTIN. tions.” 
 
 This half-earnest and half-playful deliverance is, of course, to be received in a spirit kindred 
 to that which prompted it. As to the simple fact that genre pictures are vastly the most popular, 
 there is no question; but it is equally undeniable that many lovers of art relish no less keenly 
 subjects of a more ideal and elevated character. Our space will restrict us to the mere mention of a 
 
 The Casket Scene, by Alexandre 
 Cabanel; Zhe Mendicant, by Jules Bastien-Lepage; La Becqueé, by Charles Monginot; La Pere 
 
 few of the many genre pictures that merit remark, We cite: Porti 
 
56 THE GALLERY OF CONTEMPORARY ART. 
 
 Mazure, by Georges Haquette; Zhe Children’s Class, by Jean Geoffroy; Fine Weather, by Ferdinand 
 Heilbuth; Jn the Corner of a Garden, by Antonio Casanova; Marguerite in Prison, by Benjamin Ul- 
 mann; and The Portrait of Mine Host, by Louis-Georges Brillouin. The last named work is thoroughly 
 characteristic of the artist, and is excellent to a rare degree. (See sketch on p. 53). he scene is an 
 episode in the life of Lantara, who, at one time a domestic, and afterwards an artist, was a devoted stu- 
 dent of nature and a true Bohemian. Having, with a party of friends, as impecunious as himself, ran up 
 a score at the inn, he settles the bill by painting the portrait of ‘‘ mine host.” The landlord stands very 
 complacently for his picture: as well he may, for he knows the talent of his unthrifty customer and feels 
 sure that he has made a shrewd and profitable arrangement with him. Some of the guests stand round 
 and watch the artist with absorbed interest as he dashes off his work; his friends, meanwhile, availing 
 themselves freely of the good cheer which costs them so little. M. Brillouin studied under MM. 
 Drolling and Cabot. He received medals in 1865, 1869 and 1870. 
 
 Goethe's heroine receives an appreciative delineation in B. Ulmann’s Marguerite. (See sketch 
 
 on p. 52.) Eternally fresh in interest is this profoundly moving type of betrayed innocence, of sin, 
 
 of suffermg, of penitence. The pale face of the sufferer is turned from the dungeon of her despair, 
 
 towards heaven; and the light that falls upon it from above foretokens the happy release that her spirit 
 
 is soon to enjoy. In technic the work exhibits a masterly solidity and assurance. M. Ulmann, though 
 
 German in name, is a Frenchman, being of Alsacian birth. He won the Prize of Rome in 1859, and 
 
 subsequently received several Salon medals, and the Cross of the Legion of Honor. 
 
 SUNSET. (Salon of 1881.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY AUGUSTE ALLONGE. 
 
1 
 | 
 } 
 4 
 | 
 i 
 
 { 
 
AeeSt REET. IN GAPRT 
 
 JEAN Benner, Pinz. Gourtt & Co., Gravure 
 
 IBRALTAR-like in its conformation is the historic island of Capri. Like the 
 mountain range which forms the southern boundary of the bay of Naples, 
 and of which it is, in fact, only a continuation, Capri consists wholly of 
 limestone, and is girt almost all round with precipitous cliffs of rock rising 
 abruptly from the sea, and in many places attaming a great elevation. The 
 western portion of the island is much the highest, sing to an altitude of 
 
 1600 feet above the sea, The eastern end also forms an abrupt hill, with 
 
 precipitous cliffs towards the mainland; but between the two is a depression, 
 
 or saddle, of moderate height, whereon stands the modern town of Capri. 
 
 The only landing-places are two little coves on either side of this. 
 
 Little is known of the history of Capri prior to the time of the Emperor Augustus, who, having 
 
 taken a fancy to the island, obtained possession of it as a part of the imperial domain, in exchange 
 
 for the wealthier island of naria. Capri, however, owes its chief celebrity to the Hmperor Tiberius, 
 who, in A. D. 27, made it his permanent residence. Here, secured alike from observation and danger 
 by the inaccessible character of the spot, Tiberius abandoned himself to those gross debaucheries which, 
 added to his cruelties, have made his memory eternally detestable. The remains of several of the twelve 
 
 sumptuous villas that he erected on the island are still visible. This island was also the scene of the 
 
 banishment and death of two Roman Empresses. One of these was Lucilla, widow of the Emperor 
 
 Lucius Verus and sister of Commodus; the other was Crispina, wife of the Emperor Commodus, of whose 
 
 vengeance both women were the victims. 
 Capri is well known to modern travellers by the ‘Blue Grotto,” a wonderful cavern to the west 
 
 of the town, entered from the sea by a narrow opening about three feet high. Inside, however, it is 
 
 of magnificent proportions, and of marvellous beauty, the rich blue color being produced by the re- 
 flection and refraction of the sun’s rays through the water. 
 
 M. Benner’s picture agreeably sug 
 
 sts the picturesqueness of the Caprian scenery. The palm 
 
 tree and the warm sunlight, witness to a semi-tropical climate; while the narrow streets and solid walls 
 of rock, tell of cool shadows. The charm of pose so often remarked in the Italian peasantry, is ex- 
 emplified in the comely girl who advances towards us, carrying a vase on her head. In Italy the 
 
 dwellings of the poor are not comfortable, and here, as on the mainland, the people spend much of 
 
 their life out of doors—as we are reminded by the girl knitting, and the old woman seated, by the 
 roadside. 
 M. Benner is a native of Mulhouse, Alsace, and studied under Pils. In 1872 he received a 
 
 medal of the second class. A Street in Capri was exhibited in the Salon of 1880. 
 
i 
 si 
 
UNMASKING. 
 
 Epovarp Ricutsr, Ping. Gourit & Co., Gravure. 
 
 TYROLESE hunter, Charles Frank, is the hero of Alfred de Musset’s 
 dramatic poem, ‘The Cup and the Lips.’ He is a bitter misanthrope. 
 A bastard son, with tastes and ambitions above his humble lot, he is a 
 prey to brooding cynicism, cursing his destiny and spurning all the 
 pleasures within his grasp. Suddenly deserting his native village he 
 travels far, until at last he sinks exhausted by a forest path and sleeps. 
 At early morn he is rudely accosted by a cavalier accompanied by a 
 beautiful lady. He defies the knight and slays him in combat. He 
 
 then attaches himself to the lady, Belcolore, who professes for him the 
 
 deepest love, while he is intoxicated by her charms. Finally he breaks 
 
 from this voluptuous dalliance, and goes to the wars, where his valor and disdain of death win for him 
 ; g ) 
 
 proud laurels. He returns an officer and a hero, but still a wretched misanthrope. 
 
 To test the sincerity of his military friends, he causes it to be reported that he was killed in a 
 
 duel, and brings into his house a bier with all the trappings of death, while he disguises himself as a 
 
 monk. He interrupts the eulogies of his comrades, and so adroitly parades the defects and even the 
 crimes of the supposed dead, that finally those who came to mourn and to laud, burst into execrations, 
 and then the cynic suddenly exposes himself, and with pitiless disdain bids them begone. When he is 
 thus left alone, Belcolore, who has heard of his return and come to seek him, enters and throws herself 
 
 down beside the bier. The seeming monk familiarly claims an acquaintance with her, which she con- 
 
 temptuously ignores. He begins then to make cool proposals for her love, which she scorns. He reminds 
 her that the dead are dead, and throws a profusion of gold upon the bier. She remains passive. He 
 confesses to her that he is of an unhappy and exacting disposition, but in so saying he throws another 
 
 purse on the coffin. Belcolore begins to betray an interest. He informs her that he has an ulcer on his 
 
 mouth, that he is thin and squint-eyed. She shudders. He throws a superb bracelet on the bier, while 
 
 he informs her that his teeth are broken, and that he has lost his eyebrows and his hair. She utters an 
 exclamation of horror. He casts a splendid necklace on the coffin, and recites yet other personal defects, 
 until she interrupts him with a shuddering appeal. ‘If you are going away,” he says, ‘return my 
 gifts.” But she goes not, and when she has consented thus to sell her love, Frank suddenly tears the 
 cover away and discloses the empty coffin. He then removes his mask and says to the horror-stricken 
 girl : 
 
 Begone, prostitute, thine hour is now come! 
 
 Begone, speak not! return no more! 
 
 This is the startling climax illustrated in the picture. The figures are disposed with dramatic pro- 
 priety, and the thrilling impress of the scene is deepened by the mysteries of chiaroscuro. The picture 
 was exposed at the Salon of 1879. M. Richter studied under MM. E. Hébert and Bonnat. 
 
POlieuse HuewEE 
 
 Mus. Aurx Enautt, Ping. Gourit & Co., Gravure. 
 
 far to seek is the poetic significance of this picture. We have, in 
 fact, presented to view, two conservatories adjoining, each devoted to 
 he cultivation of beautiful and fragrant flowers. As flowers of the 
 vegetable kingdom are screened by the conservatory from chilling winds 
 and blighting frosts, and surrounded with every influence favorable to 
 
 genial shelter of a 
 
 heir growth and perfect development,—so, in the 
 rue and well ordered home the far more precious flowers of humanity 
 are protected from the rude shocks of adversity and the withering con- 
 
 aminations of vice, and fitted to adorn and sweeten the varied re- 
 
 ations of life. 
 
 Such is the general suggestion of the picture. Yet, we take it, the artist has meant to give a 
 
 somewhat narrower meaning to her work. Her heroine is to be put in contrast with other maidens 
 
 of less tender nurture, just as hot-house plants are contrasted with the products of the open-air garden— 
 
 it is a contrast 
 
 between the positive and the superlative, so to speak. The garden flower enjoys the 
 
 constant care of the gardener, but the fresh winds, the frequent showers, and the nightly dews to which 
 
 it is exposed, constitute a discipline that imparts to it a certain independence and vigor. The hot-house 
 
 plant, on the other hand, though 
 
 peculiarly splendid in its beauty, is apt to be, through the excessive 
 
 tenderness of its culture, comparatively delicate and perishable. And so is it with the human hot-house 
 
 = 
 
 plant. Though it bloom with transcendent loveliness amidst the 
 
 o 
 
 helter provided for it by Love and 
 
 Affluence, it is too liable to droop and perish if exposed to the shocks to which every human life is 
 
 made liable by ‘the whirligig of time.” 
 
 The analogies between the human and the vegetable flora might be traced with interest. Ap- 
 
 plied to Eve's fair daughters, how apt are such similes as “lovely as a rose,” “fair as a lily,” 
 
 “delicate as a violet,” ‘‘sweet as mignonette.’’ Then, too, the resemblances of character are equally 
 
 manifest. Like their human antitypes, flowers have, respectively, the characteristics of stateliness, of 
 
 ostentation, of sweetness, of ingenuousness, of vivacity, of sobriety, of simplicity, of modesty, ete. Again, 
 
 some flowers, of each kingdom, 
 
 are destined to favor and admiration, while full many another 
 
 “Gs born to blush unseen, 
 
 And waste its sweetness on the desert air.” 
 
 Mme. Enault’s ‘“‘Hot-House Flower’ is a very lovely one, possessing one signal advantage over 
 
 the real flower: her beauty will not fade. She is, moreover, of a very sweet type of beauty; though 
 
 indulged, she is apparently not 
 
 spoiled; but, on the contrary, appears to be unaffected and amiable. 
 
 In the otherwise excellent translation of the picture, we miss, of course, the hues of the flowers, and 
 
 of the draperies, which add so much to its charms. The original was exhibited at the Salon of 1882. 
 
 Mme. Enault is a Parisian, and was a pupil of M. Florent Willems. 
 
DIVERSION OF AN ASSYRIAN KING. 
 
 Freperick A. Bripeeman, Ping. Gouri, & Co., Gravure. 
 
 INCE the very dawn of history the bow and arrow have been prominent as 
 implements of warfare and of the chase. Although employed by the 
 rudest savages, they have also been in favor among highly civilized nations, 
 both in the East and in the West. There are numerous allusions to the bow 
 
 and arrow in Holy Writ; and when Xerxes invaded Greece and approached 
 
 the pass of Thermopyle, Leonidas and his brave comrades were told that 
 such was the number of the foe that “their arrows would darken the face of the sun.’ “S 
 
 much the better,’ rejoined the hero, “for then we shall fight in the shade!’ In medixval history 
 
 William Tell shooting the apple from 
 
 and romance the bow and arrow figure prominently: witne 
 
 his son’s head; and Robin Hood and his Merrie Men of the long bow. Of Robin’s Mistress 
 Drayton says : 
 
 With bow and quiver arm’d, she wandered here and there 
 
 Amongst the forest wild; Diana never knew 
 
 Such pleasures, nor such harts as Mariana slew. 
 
 Among the ancient sovereigns who indulged in archery as a pastime, none is so conspicuous 
 as the vile Kmperor Commodus. He slew tens of thousands of wild beasts with the bow and arrow, 
 and was so dexterous that one day, at a show, observing a panther spring upon an unhappy wretch 
 destined to fight him, Commodus shot and killed the beast with an arrow without hurting the man. 
 Commodus stood behind a screen of net-work when shooting wild beasts, thus protecting his person 
 from all risk of danger. 
 
 In the Assyrian King of our picture we behold, perhaps, another Commodus, though let us 
 1ope, without the vices of the Roman. Braver than Commodus, the Assyrian faces his ferocious prey; 
 but, to guard against possible mishaps, a half dozen stalwart spearmen are in readiness to assist 
 heir master: The odds are heavy against the royal beast who stands in such majestic pose, roaring 
 
 defiance at his enemy before making his terrible onset. In the gallery of the theatre the royal 
 
 ill and 
 
 family, the courtiers, and the privileged subjects are admiring witnesses of the King’s 
 
 bravery. The King himself has so truly the semblance of an Assyrian, that we can almost fancy 
 
 es from an ancient bas-relief invested with life. The composition of the picture 
 
 1im one of the fig 
 is equally distinguished by knowledge and taste. The drawing is excellent, and the painting is in 
 rather a subdued key of color. 
 
 Mr. Bridgeman was born in Alabama in 1847. He began his professional work as an engraver 
 with the American Bank Note Company, New York, studying in his leisure hours in the Art Schools 
 of Brooklyn. In 1866 he went to Paris and became a pupil of Gérdme. He has since sojourned 
 
 for purposes of study, in the Pyrenees, Brittany, Algiers, Nubia, and Egypt. He resides at Paris. 
 
 In 1877 he received a Salon medal of the third class; and in 1878, at the Universal Exposition, 
 
 he received a second class medal and the order of Chevalier of the Legion of, Honor, 
 
| 
 | 
 | 
 | 
 | 
 
Ste 
 
EAVATORY OF THE RESERVES CU BREOURC. 
 
 ALBERT AUBLET, Pina. . Gouri, & Co., Gravure. 
 
 USTICE to the military life demands that at least one thing be placed to its 
 
 credit, viz., the system, the neatness, and the cleanliness, promoted and exacted by 
 
 the discipline of the camp and the barracks. Men who were never neat 
 
 and cleanly elsewhere, become so, of necessity in the army. ‘Their tents, or 
 their quarters, their arms and accoutrements, their personal apparel, are 
 all subjected to regular and rigid inspections; and as a careful regard to 
 these matters becomes associated with the qualities of a soldier, an emulous 
 observance of them is provoked among all who wish to stand well in their 
 
 calling. Of course these remarks apply to troops in regular quarters. In 
 
 the rapid changes and the vicissitudes of a campaign, these regulations are relaxed, it being assumed 
 that the proper habits acquired by the men in the orderly quiet of the barracks or the camp, will 
 be practised by them to a reasonable extent in the bustle of active service. Nor is the strict 
 attention paid by army regulations to the personal habits of the soldiers, a mere matter of form, or 
 
 even of good appearance. It has a most important hygienic object. Laxity in matters of cleanliness, 
 
 of camp, or tent, or person, where large numbers of men are brought into closest contact, would soon 
 be productive of sickness and pestilence. 
 
 The scene of M. Aublet’s picture is the Barracks at Cherbourg, France. The men are at 
 their regular morning ablutions in a large apartment fitted up with an ample basin of fresh water. 
 However reluctantly some of the men may have begun the habit of taking a good wash before 
 breakfast, they have apparently become reconciled to it. Evidently to most of these men the act is 
 
 a pleasant one. They go at it heartily, and do it thoroughly, being not sparing of the soap. Who 
 
 can doubt that they will all feel the better for it?—fresher, more elastic, and more healthful. 
 M. Aublet has obviously studied his subject with closest care, and has succeeded well in 
 
 imparting variety of attitude and expression to so many men engaged in a similar act. The picture 
 
 was exhibited at the Salon of 1879. M. Aublet was a pupil of MM. Jacquand and Géréme. He 
 
 received a medal of the third class in 1880. 
 
 i Re a ana ea 
 
THE SALON OF 1882. 57 
 
 RABBIS. (Salon of 1882.) 
 
 £ OF A SKETCH FROM THE ORIGINAL PAINTING BY EDOUARD MOYSE. 
 
 THE SALON OF 18 
 
 cs first Salon organized and directed by the artists themselves (that of 1881), showed a notable 
 decrease in the number of works admitted, and seemed to indicate a purpose on the part of the new 
 management to exercise a salutary rigor of discrimination in this particular, to the end of securing 
 a higher standard of excellence in the exhibits. It is true that there were numerous strictures upon 
 the judgments of the Jury, but much that otherwise might have been severely condemned was con- 
 doned by the somewhat sudden change of administration; it was felt that some errors would inevitably 
 attend the experimental stage of the new regime, and it was generally conceded that, all things con- 
 
 sidered, the first exhibition under the control of the Society of French Artists was a hopeful succes 
 
 The Salon of 1880, it will be remembered, was the largest on record, the whole number of ex- 
 
 In 1882, however, 
 
 hibits being 7,289. In 1881 the number was reduced to 4,959, a decrease of 3 
 the number took a decided rise, reaching an aggregate of 5,652, or 693 in excess of the previous year. 
 
 The exhibits were divided as follows: Paintings, 2,722; Sculptures, 886; Drawings, 1,328; Engravings 
 
 on medals and precious stones, 51; Architectural designs, 154; Hngravings, Etchings, and Lithographs, 
 471: Public Monuments, 40. The latter class (Public Monuments) includes statues, busts, mural paintings, 
 
 frescoes, etc., executed for churches and public buildings. 
 
 The Medal of Honor in the department of painting was awarded to M. Puvis de Chavannes 
 
 for his large decorative work, Young Picards exercising with the Lance, a sketch of which he exhibited 
 
 in 1880. M. Eugéne Montrosier thus speaks of the finished work: ‘‘The precision of the design; the 
 
 anatomical rectitude; the variety of the scenes represented; the amplitude of the conception; the contrast 
 
 offered by the rustic and familiar side and the epic side; the animated lines of a Virgilesque landscape ; 
 
 the extent of the receding horizon; the calm serenity of the atmosphere, make of this page a composition 
 
 it?—at once vehement and discreet; it attracts and it 
 
 quite superior. It is,—how shall we expre 
 
58 
 
 softens; it is august and it 
 discussion.” The work was destined for the Museum of Amiens. 
 
 A n oth er wor 
 
 marked, was, Jhild 
 
 tion of Arcadian li 
 
 The only ot 
 
 ings after Rembranc 
 
 The Prize of 
 pied for his plaster group, Jmmortality. It represents a dying 
 
 young man, of beautiful form, supported by an angel, 
 
 simple. We accept it without 
 
 A 
 
 y M. Puvis de Chavannes, also much re- 
 Country (“Doux Pays,”)—a beautiful concep- 
 fe, such as poets love to dream of. 
 
 rer Medal 
 
 on the English etcher, Charles Albert Waltner, for two fine etch- 
 
 the Salon was awarded to M. L.-G. Long- 
 
 of immortality, —w 
 
 number of names are inscribed. 
 
 Happy the elect of the gods who early falls, 
 If he see thee 
 If thy lips but touch him with a kiss sublime, 
 
 And if thy arms do bear him to posterity! 
 
 Apropos of 
 
 holds in one hand a tablet on which a 
 
 near him, holy Immortality,— 
 
 Medais of Honor we quote the following re- 
 
 GALLERY OF CONTHMPORARY ART. 
 
 Honor awarded was bestowed 
 
 the genius 
 
 The group illustrates the lines: 
 
 TIME AND SONG, (Salon of 1882.) 
 
 mark of M. Jules Cornte, in “ L’Illustration”: ‘The vote taken FACSIMILE OF A SKETCH FROM THE ORIGINAL 
 
 for the Medal of Honor in 
 
 SCULPTURE BY AUGUSTE PARIS 
 
 class of sculpture, has it not 
 
 shown us six competitors, each of whom has some serious title to this supreme recompense? This is 
 
 THE STAFF OF AGE. (Salon of 1882.) 
 FACSIMILE OF A SKETCH FROM THE 
 NAL SCULPTURE BY JMAN ESCOULA. 
 
 a remarkable fact which attests the superiority of our sculptors to our 
 
 painters: in a Salon which is not notably better than those of preced- 
 
 ing years, six artists have exposed works sufficiently marked to suggest a 
 claim to exceptional distinction. The originality of each of them is well 
 
 accentuated, moreover, and we need but to study these contributions in 
 
 order to obtain an almost complete view of the diverse tendencies of our 
 
 school.” The sculptors referred to, with their several contributions, are 
 as follows: M. Alfred Langon, represented by Zhe Age of Jron; M. Bar- 
 rias, represented by The Defence of Saint-Quentin; M. Chapu, by The 
 Genius of Immortality, M. Mercié, by Even Though! (Quand Meme/); 
 M. Falguiére, by Diana; M. Idrac, by the Salammbo. 
 
 First Medals were conferred upon the following sculptors: Jean 
 Baptiste Hugues, for his Gdipus at Oblonna (plaster) ; Louis-Georges 
 Longpied, for his Fisherman Drawing in his Net the Head of Or- 
 pheus,; Hector Lemaire, for his statue, Morning (plaster); and Auguste 
 Paris, for his Zime and Song (plaster). In the last named work (see 
 sketch on p. 58), Time, a venerable bearded figure, is represented sitting 
 on a low seat. One of his arms hangs by his side, while with the 
 other he clasps the form of a young maiden who is energetically 
 singing. One of her arms is outstretched in dramatic action; the 
 
 other supports a scroll of music upon which her eyes are fixed, her 
 
THH SALON OF 1882. 59 
 
 elbow resting on one of Time’s wings. Time’s scythe lies on 
 the ground at his feet, and his face wears an absorbed, introspec- 
 tive expression. The sentiment of the work appears to be, that 
 even remorseless Time can be beguiled and his flight arrested by 
 the divine enchantment of Song. 
 
 The Staff of Age (plaster), by Jean Escoula, which was 
 rewarded by a second class medal, evinces a close study of nature, 
 and is even realistic in treatment. (See sketch on p. 58.) An 
 
 aged peasant woman of tottering step, is carefully and ten- 
 
 derly assisted by a young girl, who looks up into her face with 
 a regard that gives assurance that the aid is most willingly and 
 lovingly rendered. The group is ennobled by its sincerity and 
 its purity of sentiment. 
 
 Of a high order of merit is the bronze bust of the 
 painter Jean Paul Laurens, by Auguste Rodin; and another 
 bust not unworthy of mention in the same connection, is that 
 of the celebrated painter Paul Baudry, by the equally illustri- 
 
 ous sculptor Paul Dubois. The bronze statuette L’ Acquiolo, by 
 
 ITY. (Salon of 1 the Neapolitan sculptor Vincento Gemito, and the group in plaster, 
 H FROM THE 0 sINAL SCULP- 
 
 Runners CONGCHte Hie Bread, by Louis-Etienne Albert-Lefeuvre, were ranked by the 
 
 o 
 to} 
 
 ian} 
 
 best critics among the choicest plastic products of the year. 
 
 atter work represents a young mother cutting bread for her two little children, who stand beside her 
 
 ooking up in eager expectation. While instinct with the tender feeling pertaining to the subject, there 
 
 is in this group a largeness and elevation that entirely removes it from the commonplace. The model 
 was purchased by the government. M. Albert Le- 
 euvre was the first winner of the Grand Prize of 
 Florence, offered by the art-journal, L’ Art. 
 
 Serenity, a marble statue by Louis-Auguste Hio- 
 in (see sketch on p. 59), was designed for the decora- 
 jon of a tomb. Whatever be the agitations, the vi- 
 cissitudes, the joys or the sorrows of life, these emo- 
 ions all subside in the tomb. There at least all is 
 
 quiet and serene. Of the most perturbed and tempest- 
 
 ossed of earth’s sons, when they have been laid in the 
 
 grave, it may be said, ‘After life’s fitful fever they 
 sleep well.” The pious care of loving survivors has 
 converted cemeteries into beautiful gardens, sanctuaries 
 whose quieting, restful influence is in strong contrast 
 
 with the turmoil and contention of the outer world. 
 
 Serenity therefore may be said to preside over those 
 
 hallowed precincts, and M. Hiolin’s simple, dignified 
 
 this quality, will fulfil a grateful min- ENDYMION HUNTING. (Salon of 1882.) 
 A cs FACSIMILE OF A SKETCH FROM TI ORIGINAL SCULPTURF BY JEAN 
 istry by its peaceful features and patient attitude. Rae 
 
 embodiment of 
 
THE 
 
 GALLERY 
 
 OF 
 
 THE VIRGIN. (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING 
 
 preciation of the signal ability of these works 
 
 BY A. SHON. 
 
 by promoting 
 
 M. Cain to the grade of Officer of the Legion of Honor. 
 
 No medals of the first class were awarded for paint- 
 
 While 
 
 ings. 
 
 it does not follow from this that 
 
 none of the 
 
 exhibits were worthy of that recompense, we are left to 
 
 infer that in the estimation of the Jury t 
 whose works would properly claim this reward 
 
 been placed ‘“ Hors Concours” by previous 1 
 
 he exhibitors 
 had already 
 
 nedals. 
 
 M. Xavier-Alphonse Monchablon contri 
 
 nunciation, a decorative work in the form of a 
 
 dicular panel. At the top, among the clouds 
 below Him some celestial beings, and in the 
 the angel and Mary. The latter stands er 
 clined head, and arms slightly outstretched 
 
 the elbow. 
 
 buted an An- 
 perpen- 
 , is Jehovah; 
 lower plane, 
 ect, with in- 
 
 from below 
 
 Rays of light from the emblematic Dove 
 
 CONTEMPORARY 
 
 ART. 
 
 Very different is Jean Georgesco’s 
 Findymion Hunting (see sketch on p. 59). 
 Here all is yigor and activity. Endymion, 
 
 the hero of numerous myths, is variously 
 described by the poets as a king, a shep- 
 
 In 
 
 most frequently treated as a shepherd, the 
 
 herd, and a poet. art he has been 
 
 most notable pictorial presentation of the 
 
 subject being Girodet-Trioson’s celebrated 
 
 painting in the Louvre. Endymion is chief- 
 the beloved of Selena 
 
 ly known as (or 
 
 Luna) the goddess of the moon, who caused 
 him to sleep that she might lavish her 
 
 him. M. 
 
 er, has depicted him 
 
 caresses upon Georgesco, concety- 
 
 ing his hero as a hun 
 in the act of hurling the spear at the 
 game he is pursuing. 
 
 and full of 
 
 The figure is well 
 t=) 
 
 modelled ife and motion. 
 
 Numerous other works in this class 
 
 challenge notice, but we can only mention 
 
 the two contributions of Auguste Cain, viz., 
 
 Lion and Lioness Disputing the Carcass of 
 a Boar and Rhinoceros Attacked by Ti- 
 gers. The administration attested its ap- 
 
 THE DUET. (Salon of 1882.) 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY 
 
 H.-J. BURGERS. 
 
THE 
 cover her with glory. The figures of Mary and 
 
 the angel are exceptionally fine, but the upper 
 vart of the composition has not escaped criticism. 
 
 The called ‘“ Holy 
 
 Family’) of A. Séon (see sketch on p. 60), is 
 
 Virgin (it might be 
 
 characterized by simplicity and dignity, and ex- 
 
 esses a religious feeling akin to that which we 
 
 an earlier epoch. The artist was a pupil of MM. 
 
 Puvis de Chayannes and Lehmann, yet in this 
 work we perceive in the Virgin’s pure, sweet face, 
 and‘ unconscious queenliness of pose, a reminiscence 
 of the Umbrian school, while in the holy children 
 iat we admire in 
 
 of Murillo. 
 
 are discernible the traits t 
 
 winning infantile delineations 
 
 Two artists not given to the choice of reli- 
 
 gious subjects have treated t 
 sacred themes, viz., the burial of Christ. 
 the brilliant painter of the rich 
 
 min Constant, 
 
 scenes of the Orient, contributes a Christ at the 
 
 SALON 
 
 are accustomed to find in the sacred paintings of 
 
 the 
 
 us year the gravest of 
 
 Benja- 
 
 61 
 
 OF 1882. 
 
 GENERAL DAUMESNIL AT VINCENNES. (Salon of 1882.) 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY GASTON 
 
 MELINGUE. 
 
 Sepulchre, which is not only excellent im compo- 
 
 sition but full of appropriate dignity and pathos. 
 
 a 
 
 1 
 \} | 
 } 
 
 \ Al I 
 
 i 
 {2 is 
 
 THE POET AND THE FOUNTAIN. (Salon of 1882. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EUGENE 
 ROMAIN THIRION. 
 
 The secular and fashionable Carolus Duran has gratified 
 
 a taste for novelty by producing an Hntombment 
 which is becomingly grave in character, and sufh- 
 pe 
 
 least the brilliant versatility of the author. 
 
 its 
 
 g in some of sages to prove at 
 
 ciently strikin 
 
 It is always pleasant to record the advent of a 
 
 talent. 
 
 young man of exceptiona 
 Return of the Prodigal 
 the French 
 
 geant, critic, 
 
 “We find here a little of 
 
 with I know not what 
 seduction. 
 ext of Christ’s parable. 
 
 in a green campagna, the 
 
 here are indications of 
 
 fields. The prodigal, 
 
 he left the plow turns up the 
 
 attenuated 
 
 fatigue, anxious concerning the reception that he 
 
 Speaking of The 
 Son, by Paul-Emile Man- 
 
 Eugéne Montrosier, says: 
 
 gé 
 
 he sobriety of M. Cazin, 
 
 of touching and pathetic 
 
 The young artist draws very near to the 
 
 We have under our eyes, 
 buildings of the farm. On 
 and 
 
 the 
 
 soil, and here 
 
 the healthy labors of 
 by 
 
 hunger and 
 g 
 
 will 
 
 1ave, has fallen upon his knees at the edge of a ditch. 
 Coming from the house, the father, full of compassion, 
 and inclined to pardon, advances slowly towards the 
 son whom he had believed forever lost. 
 
 One step 
 
THE GALDHRY OF COMPEMPORARY ABT, 
 
 more and he will open his arms, and his heart 
 will re-warm the heart of the wanderer who has 
 so much sinned and so much suffered. We salute 
 here a happy début, a promise of fruits for the 
 future.” M. Mangeant was a pupil of Gérome. 
 The same subject (Lhe Prodigal Son) was 
 treated by Emile Friant whose work received 
 Honorable Mention and was purchased by the 
 State. M. Friant was, at the time he painted the 
 picture, only nineteen years old. He was born in 
 Alsace, but when that province was annexed to 
 Germany he removed to Nancy in order to retain 
 his French citizenship. 
 Another work by a young artist may appro- 
 priately be mentioned, viz., Sacred and Profane 
 
 Music, by G. Dubute. It is a diptych, the large 
 
 size of which would alone serve to make it an 
 object of remark. One wing (the left) is devoted 
 
 to Profane Music, and is largely occupied with 
 
 voluptuous, dancing figures; the right wing reveals 
 angels engaged in worshipful song, and a woman 
 with a radiant nimbus (probably St. Cecelia) play- 
 
 ing an organ. In a narrow, central compartment 
 
 is a seated female figure in an attitude of listening. 
 
 Some of the details of this work evince decided 
 
 talent; 
 but asa 
 
 whole it 
 
 lacks the TWILIGHT. (Salon of 1882.) 
 strength FACSIMILE OF A ETCH FROM THE ORIGINAL PAINTING BY WILLIAM- 
 
 ADOLPHE BOUGUE 
 
 and ele- 
 vation that are demanded in epie themes. M. G. Dubufe, 
 who is about twenty-five years old, studied with his father 
 (E. Dubufe) and A. J. Mazerolle. 
 
 Of the historic class there are not a few choice ex- 
 aroples in the present Salon. One of the most interesting can- 
 vasses in the Salon, and by far the largest (it comprises 
 over seven hundred square feet of surface), is Alfred-Philippe 
 Roll’s July 14th, 1880. MM. Detaille and Roll were com- 
 
 missioned by the government to paint the celebrated Féte 
 
 at Longchamps. M. Detaille’s picture (also of immense pro- 
 
 AT THE SEASHORE. (Salon of 1882.) portions) was exhibited in 1881. It was entitled Zhe Dis- 
 FACSIMILE OF A SKE 
 JUL 
 
 3H FROM 1 ORIGINAL PAINTING BY 
 
 ival. 
 
 tribution of Flags, and gave the military side of the fes 
 
THH SALON OF 1882. 63 
 
 M. Roll has given the popu- 
 lar side, and has made a 
 much more effective picture. 
 The se 
 
 de la Republic, near the Bas- 
 
 is in the Place 
 
 @ 
 
 tille. The stir and bustle 
 and the picturesque confusion 
 peculiar to a popular demon- 
 
 stration are successfully repre- 
 
 sented. In the backeround 
 
 are the statue of liberty, fla 
 
 +. 
 
 poles, and trophies of flags, 
 
 while in the middle distance 
 
 troops are marching by. On 
 
 the left, on a raised platform, 
 
 a band of music is playing; THE MAN WHO PURSUES FORTUNE AND THE MAN WHO AWAITS HER IN HIS BED. (Salon of 1882.) 
 £ § é £5 
 
 ss e SIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY PAUL NANTEUIL 
 in the foreground are flower- 
 
 women and some men and women dancing with perhaps a little too much freedom. Some gamins run to 
 
 x of ladies and 
 
 o 
 te) 
 
 and fro selling knick-knacks and knots of ribbon; on the right, a mingled thron 
 
 gentlemen and artisans are on tip-toe to get a view of the procession, while some boys scale a scaffold- 
 ing for the same purpose; all is life and motion, light and color. 
 Of Tony Robert-Fleury’s Vauban giving the Plans of the For 
 
 says: “It is a beautiful page of history worthy of Belfort, which awaits it, and worthy of the beautiful 
 
 cations of Belfort, a French critic 
 
 past of a painter who counts masterpieces among his productions.” Among other notable works were The 
 Last Moments of Maximilian, Emperor of Mexico, by Jean-Paul Laurens; Preaching of St. John 
 Chrysostom, by Joseph 
 Wencker (a large canvas 
 which, in the words of one 
 of the 
 
 to a grand effort towards 
 
 “witnesses 
 
 the height of historic paint- 
 ing: It is a happy début), 
 Vitellius Drawn through 
 the Streets of Rome, by 
 
 jeorges Rochgrasse (re- 
 
 warded by a_ third-class 
 
 medal); Arrest of a Ven- 
 
 dean Leader, by Julien Le- 
 blant; and The Day after 
 a Victory, at the Alham- 
 bra, by Benjamin Constant. 
 
 M. Laurens’s Maximilian is 
 
 HUNTRE (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY BDOUARD-HENRI AVRIL. remarkable on several ac- 
 
THE 
 
 COUCOU! ‘Salon of 1882). 
 
 i FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY CAMILLE, 
 
 BELLANGER. 
 
 toric painting be forever destroyed by the black 
 \ century treat the great scenes of contemporary 
 i and resolved; for, after all, the end of 
 and tragical subjects have not failed, and 
 not within the reach 
 
 | and that is of every one. 
 
 It is that which M. Laurens has employed, viz., 
 
 Wea to cause the costume to be forgotten by the 
 
 | force of the situation and the energy of 
 
 the expression. The Mazimilian then is a 
 decisive work, not only because it is mov- 
 for those 
 
 ing, but because it is a model 
 
 who will have enough audacity of mind and 
 
 Behold 
 
 Unhappily it is rugged: in following 
 
 of hand to attempt modern history. 
 
 the road. 
 
 it, honor a! 
 In 
 
 iH (see sketch 
 
 one will be the recompense.” 
 
 General Daumesnil at Vincennes 
 
 on p. 61), by Gaston Mélingue, a 
 I 5 8 
 
 worthy subject receives effective treatment. 
 
 This brave French general lost a leg at the 
 
 our century will be as good to s 
 
 will not fail. 
 
 GALLERY OF CONTEMPORARY ART. 
 
 counts. We quote M. Gaston Schéfer: “On the 19th 
 of June, 1867, Maximilian, confined in a cell of the 
 Capucin Convent at Queretaro, saw the door of his 
 prison open. A Mexican officer came to announce that 
 his last moment was at hand. Maximilian bade adieu 
 to the Abbé Soria, and loosing himself from the de- 
 spairing grasp of his servant, went out with a firm 
 
 The 
 
 black 
 
 step to the place of execution. scene is of ex- 
 
 treme simplicity. A citizen in frock coat, a 
 
 priest, a servant, a soldier. It is little, but it is all. 
 This gentleman so correct is a man who walks to 
 
 death, this bourgeois is an emperor, an emperor of the 
 nineteenth century, without crown and without robe. 
 Nevertheless he is great; for in this unique moment, 
 in the hour of all weakness, he is strong: he consoles 
 the consoler. 
 
 He is about to die, and he is firmer 
 
 than those who are to live. M. Laurens has given 
 to this scene the austere energy of tragedy and has 
 oth of the 
 
 Apropos of the costumes, M. Schéfer adds: 
 
 achieved emotion.” 
 
 “ This 
 
 frock coat has astonished the public,—not that it was 
 
 great effects by the de 
 
 not well painted, but in a historic picture this prosaic 
 garment has surprised it. What does this signify? 
 Are galoon and embroidery indispensable, and will his- 
 
 coat and pantaloons? . How wi 
 
 1 painters of the next 
 history? . This pictorial problem must be attempted 
 udy as its commencement, 
 
 o turn the difficulty, 
 
 There is but one way 
 
 SUNDAY AFTERNOON 
 
 ALSACE, (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY MARTIN FEUERSTEIN, 
 
| 
 ! 
 
| i 
 | 
 
 | } 
 | j 
 } 1 
 iy 1 
 
METAMORPHOSIS OF CHRISTOPHER SLY. 
 
 Curster Loomis, Pine. 
 
 are returni 
 
 Lord. 
 or drunk ? 
 
 2 Hunter. 
 
 This were a 
 so sounc 
 
 O monstrous beast! how li 
 
 Lord. 
 
 fallen aslee 
 
 W. 
 
 were he not warmed with ale, 
 
 > upon the ground 
 
 ng from the chase. 
 
 1at’s here ? one dead, | 
 See, doth he breathe? | 
 
 Te breathes, my lord: 
 
 ed but cold to sleep | 
 
 ly. 
 
 ke a swine he lies! . .. 
 
 Sirs, I will practise on this drunken man. 
 
 What think you if he were conveyed 
 
 Wrapped in sweet clothes, rings pu 
 
 A most delicious banquet by his bed, 
 
 And brave attendants near him when he wakes, 
 
 Would not the beggar then forget hi 
 1 Hunter. 
 Lord. 
 
 Carry him gently to my fairest ¢ 
 
 Anc 
 
 Balm his foul head in warm disti 
 
 And 
 
 Believe me, lord, I t 
 
 ... Then take him up and 
 
 hang it round with all my v 
 led 
 
 “Behold the picture ! 
 
 pe Yr 
 
 skilfully grouped attendants. 
 
 ensemble. 
 
 nink he cannot choose. 
 
 hamber, 
 
 vanton pictures : 
 
 burn sweet wood to make the lodging sweet: 
 
 s it like?” 
 
 to bed, 
 
 upon his fingers, 
 
 mself ? 
 
 manage the jest:— 
 
 waters, 
 
 ect; and scarcely less admirable is the blending of obsequiousness and 
 
 | And 
 
 | This do and do it kind 
 | If it be husbanded wit! 
 
 The expr. 
 
 Gourtz & Co., Gravure. 
 
 HRISTOPHER SLY, as we meet him in the prologue to Shakspeare’s ‘‘ Taming 
 
 of the Shrew,” is an ignorant 
 
 tinker, who having drowned his senses in ale and 
 , is thus discovered by a lord and his train, who 
 
 We quote: 
 
 Procure me music ready when he wakes, 
 To make a dulcet and a heavenly sound ; 
 Anc 
 And 
 Say,— What is it your honor will command ? 
 Let 
 Ful 
 Ano 
 
 if he chance to speak, be ready straight, 
 
 , with a low submissive reverence, 
 
 one attend him with a silver bason, 
 
 of rose water, and bestrewed with flowers ; 
 
 ther bear the ewer, the third a diaper, 
 
 say,— Will’t please your lordship cool your hands ? 
 Some one be ready with a costly suit, 
 
 And ask him what apparel he will wear ; 
 
 | Another tell him of his hounds and horse, 
 
 And that his lady mourns at his disease : 
 
 Persuade him that he hath been lunatic: 
 Anc 
 
 For he is nothing but 
 
 when he says he is—, say, that he dreams, 
 
 a mighty lord. 
 
 , gentle sirs ; 
 
 ly. 
 
 | It will be pastime passing excellent, 
 
 1 modesty. 
 
 sion of tickled bewilderment on the hind’s face, is 
 
 mirth in the bearing of the 
 
 The details are worked out with learning and taste and form an admirable 
 
 The picture was exhibited at the Salon of 1880. Mr. Loomis is an American, and studied with 
 
 M. Bonnat. 
 
| 
 | 
 \ 
 
AN AFTERNOON AT SEVILLE 
 
 Josh Jimmnez—Aranpa, Pina. Gouri & Co., Gravure. 
 
 VILLE is an ancient city, known to the Phenicians as Hispal, and to the Romans 
 
 as Hispalis, which name was corrupted by the Moors into Ishbilliah, from which 
 the modern name of Sevilla is supposed to be derived. Jn the height of its 
 prosperity, under the Moors, the city attained a population of about 400,000. 
 From the period of its conquest by Ferdinand III. of Castile, to the time of 
 Charles V. it was the capital of Spain. Held by the Moors for five centuries 
 and entirely rebuilt by them, Seville was long a purely Moorish city, and the 
 old Moorish houses, which time has but little impaired, are still the best houses 
 
 to be seen, The narrow, tortuous streets that kept out the sun, with their 
 wide, spacious mansions, with ample courts and gardens, so perfectly suited to the climate, are, however, 
 
 gradually yielding to broad straight streets, with small, hot houses open to the blaze of noon. 
 
 Our picture favors us with an interior view of one of the old-time mansions, The shadowy 
 
 openings seen through the arches, the dark verdure of the plants, and the fountain, which, though 
 invisible to us, no doubt cools the air and soothes the ear with its murmurous flow, are all peculiarly 
 
 suggestive of comfort in a land exposed to a burning sun. The party here assembled, have without 
 
 premeditation divided into severa groups. In the background we observe a cluster of elderly persons, 
 
 the chief of whom is a priest, who, inspired by the genial beverage that he sips, secures the rap 
 
 attention of his companions. In the right foreground two gentlemen are lost in the deep strategy of 
 
 chess, while two others overlook the game with almost equal absorption. The officer seated on the 
 left, however, is conscious of a stronger attraction elsewhere, as is evident from the wistful gaze that 
 
 he turns towards the group of donnas at the edge of the court, who, all else forgetting, yield them- 
 
 selves to the luxury of the latest gossip. The picture bears the impress of reality, and is no doubt 
 
 a faithful transcript of a phase of polite life in Seville at the present day. 
 
 M. Jimenez-Aranda is himself a native of Seville. The picture appeared at the Salon of 1881. 
 
THE FISH-VWOMAN OF DIEPPE. 
 
 Grorees Haquertz, Pinz. Gouri, & Co., Gravure. 
 
 TEPPE is one of the principal French ports of entry. Its wall and castle are 
 
 interesting relics of its ancient life; but to the majority of visitors at pre- 
 sent, the town is chiefly attractive as a watering-place. Marine and genre 
 painters have, however, discovered a rich quarry in the fishing suburb of 
 Pollet,—a little village, with no pretensions to beauty, but antiquated in 
 appearance, and exceedingly interesting from the fact that the inhabitants 
 differ in manners, language and costume from the rest of Upper Normandy 
 
 and are supposed to be descendants of those Saxons who settled on the 
 
 French coast during the period of the Merovingian kings. Among these 
 quaint people, living and looking like their ancestors of centuries ago, artists find abundant and _pre- 
 
 cious material for their studies. 
 
 Among those who have thus profited, is M. Haquette, whose ‘‘ Fish-woman” is now before us: 
 
 or, rather, we are before her, for the scene is so faithfully presented that but a very slight effort of the 
 
 imagination is required to persuade us that we are marketing in Dieppe, and that we have paused at 
 
 this woman’s stall. And, indulging this fancy, we can almost detect the odor of brine in the atmos- 
 
 phere, not to mention the smell of the fish, which, we hasten to add, are quite fresh. The voice of 
 
 the frank, good-natured woman, who has just replied to our demands, seems yet to vibrate in the air, 
 
 and the gesture with which she indicates the fish she has commended can hardly fail to bring us to 
 
 a favorable decision. 
 
 In this picture M. Haquette rivals the best Dutch painters in their own peculiar domain. It 
 would be a success as a work of genre merely; but the presence of the woman, so life-like and ex- 
 pressive, gives it a higher value and a deeper interest. The original was exhibited at the Salon of 
 1880, when it procured for the artist a medal of the third class. M. Haquette was a pupil of MM. 
 A. Millet and Cabanel. 
 
tne 
 ap SOME RE HES ENE 
 
 Be aren ae ORR 
 
7 CUO 
 
 Muze. Jnanne Roneter, Pina. Gouri, & Co., Gravure. 
 
 LOVER'S quarrel! As ‘the course of true love never did run smooth,” so, 
 
 changing the figure, it may be said with equal truth that the sky of 
 true love never was without clouds. The fair young couple in our 
 picture are now realizing this fact, possibly for the first time. Their 
 sweet romance, hitherto illumined by unbroken sunlight, has suddenly been 
 
 darkened by a cloud that has cast a chilling shadow upon their bliss. 
 
 It may seem to them that their dream is past, that the light of their 
 lives has gone out. But a moment ago, they could scarce remove their 
 love-laden glances from each other; but now their eyes are willingly 
 averted; and the cherished forms that seemed to be inseparable, are now divided by a barrier no less 
 real because invisible. All this unhappiness can a cloud occasion. But happily, clouds are not per- 
 4 
 
 manent: they go as well as come; and were it not for the shadows they cast upon us, we might 
 
 never duly appreciate the joys that gladden life. How beautiful is the day-dawn, after the night's 
 
 darkness! And so too, the sky, temporarily darkened by clouds is more beautiful and dear to us than 
 
 if it were always clear. We should have no superb sunsets, were there no clouds to reflect the light 
 
 and refract it into hues of matchless beauty. So the clouds that settle upon our spirits give variety 
 
 and depth and earnestness to our lives. 
 
 When the cloud passes and the warm sunlight again enfolds these lovers like a halo, they will 
 forget their sorrow in the ecstacy of reconciliation. Each will think the other more fair and more 
 precious than ever. Meanwhile the flowers have got to suffer:—the desperate swain, in his fierce 
 melancholy, is mowing them down with savage recklessness, and even the gentle lady is plucking them 
 to bits in the abstraction of her pain. 
 
 Mlle. Rongier is a pupil of MM. Harpignies and Luminais. This well composed and expressive 
 
 picture was her contribution to the Salon of 1879. 
 
i 
 1 
 4 
 | 
 { 
 | 
 i 
 
THE FINE PUMPKIN. 
 
 Marcettin Larorrn, Pinz. Gouri, & Co., Gravure. 
 
 RTISTS of an earlier age, when moved to portray scenes in monastic life, were led, 
 
 with rare exceptions, to present the serious and venerable aspects of a call- 
 ing that was deemed peculiarly beneficent and holy. The artistic tenaency 
 now-a-days is to seize upon the more secular and undignified aspects of 
 monkish life, such as the menial offices of the kitchen or the vegetable gar- 
 den; indulgence at table; or the recreative sports which sometimes by way 
 
 of reaction, succeed ascetic rigors. While for the most part the pictures of 
 
 the latter class are conceived in a very genial spirit, it cannot be denied 
 that they are characteristic of the utilitarian spirit of the age, which takes 
 
 nothing for granted and has little veneration for old institutions or old ideas, either religious or political. 
 
 In M. Laporte’s amusing picture, we have a signal instance of a seed that has fallen into good 
 ground. It seems as if the germ of this pumpkin was predestinated to fall upon a spot of earth richly 
 aden with all the elements conducive to the perfection of this useful member of the vegetable kingdom. 
 It is a triumph, a prodigy. No wonder the gardener is proud, or that his comrade who has come to 
 inspect the wonder, betrays so rapturous a surprise. The hands of the latter are raised as in benediction 
 yut whether to bless himself or the pumpkin we cannot tell. He is in robust health, his appetite is 
 rime, and he is grateful for the good things of life. He makes us think of the pious man and hear sy 
 
 ‘ 
 
 feeder, who being called on to “say grace” at a well-laden board, first made suitable allusion to the rich 
 
 and abundant fare, and then added: ‘‘ We thank thee for all these blessings, and” (laying his hands on 
 
 1is ample waistcoat) “for the capacity which thou hast given us for their enjoyment.’ Our friend in the 
 
 nicture, likewise, is not lacking in capacity. 
 
 M. Laporte studied under Cabanel, and The Fine Pumnkin was his envoi to the Salon of 1879. 
 
THH SALON OF 1882. 65 
 
 : AFRICAN CAMPAIGN, 1881 (Salon of 1882.) 
 
 TCH FROM THE ORIGINAL PAINTING BY GASTON CLARIS. 
 
 battle of Wagram. When the same enemy against which he there fought came to attack the fortress 
 of Vincennes, of which he was in command, and sent a messenger to demand its surrender, General 
 Daumesnil replied sturdily, “I will render up the place when you shall have restored to me my leg!” 
 
 M. Mélingue was a pupil of L. Mélingue and of Cogniet. 
 
 Turning now to works of an allegorical or mythic character, we may notice first of all, Eugene 
 Thirion’s The Poet and the Fountain (see sketch on p. 61). In the midst of a superb landscape the 
 symbolic fountain pours forth refreshing streams from a gracefully inclined urn. ‘This is the Castalian 
 ; | § 8 ) 
 
 fount, on the slopes of Parnassus, whose magical waters fill the minds of those who drink it with 
 joetic inspiration. The poet in the scene before us receives from the infant,—a typical streamlet,— 
 I i I , Yi ; 
 
 a cup of the supernal waters, which he will quaff as a prelude to an enchanting song. 
 
 A consummate example of idealization is The Twilight, of William Adolphe Bouguereau. (See 
 
 sketch on p. 62). This beautiful being, whose 
 
 gauzy drapery floats in the breeze, is not an 
 
 inhabitant of the earth. She belongs to the 
 world of spirits. She skims the surface of 
 the water with a tread as light as aur, and 
 
 her grace of motion is as free and undulous 
 
 as that of the waves. Her abstract and 
 dreamy look foretells the apporach of “ Niohty 
 sable goddess,” who ‘from her ebon throne” 
 will soon ‘stretch forth her sceptre o'er a 
 
 slumbering world.” 
 
 Camille Bellanger’s Coucou / (“ Cuckoo”) 
 
 is a playful and raceful illustration of the 
 
 o 
 ke) 
 
 THE SILENT DIALOGUE, (Salon of 1882.) 
 
 é 3 ra a f 
 proverbial blindness of love. (See sketch on p- FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JOSEF 
 
66 THE GALLERY OF CONTEMPORARY ART. 
 
 64). This young girl is being duly qualified for the proper 
 exercise of the “grand passion,’ by a mischievous Puck of a 
 cupid, who bandages her eyes. If the charge of blindness be 
 brought as a reproach against Love, he finds a defender in the 
 
 person of a lady in whose mouth Coleridge puts these words: 
 
 I have heard of reasons manifold 
 Why Love must needs be blind, 
 But this the best of all I hold,— 
 
 His eyes are in his mind. 
 
 What outward form and features are 
 He guesseth but in part; 
 But what within is good and fair 
 
 He seeth with the heart. 
 
 In the Huntresses of Edouard-Henry Avril (see sketch on 
 p- 63), we recognize Diana and her nymphs. The foremost figure 
 is as superior to the others in beauty and dignity as we -should 
 expect the goddess to excel her attendants. It is, indeed, a 
 
 form of charming proportions and contours, tall, lithe and agile. 
 
 FROUFROU. (Salon 
 
 FACSIMILE OF A SKETCH FROM THE 
 
 in a piquan manner the 
 
 favors. (See sketch on 
 
 The nude, of co 
 
 amples of high merit. 
 the following should be 
 
 Baudry ; A Waiad, by C 
 
 heimer; Might, by Aleid 
 Berton; The Odalisque, 
 
 BY GEORGES CLAIRIN, 
 
 The Man who Runs after Fortune, and the Man 
 
 who awaits her in las Bed, by Paul Nanteuil, illustrates 
 in which this much-worshipped divinity bestows her 
 
 astonishment and chagrin,—not to say disgust,—of the 
 unhappy man, who, after a long chase of the fickle 
 goddess, suddenly beholds her smilingly ensconced upon 
 the threshold of a man who rests lazily in his’ bed 
 without having given himself the least trouble to seek 
 
 her. Is not this a true characterization of Fortune ? 
 
 point of numbers at least; and certainly by some ex- 
 
 by Blaise Bukovac; The Siren’s Kiss, by Gustave Wert- 
 
 ae The nude figures find an effective relief against the dark foliage, 
 oniervan Parntine and the landscape that stretches away on the right is ver 
 8 y 
 
 beautiful. 
 
 arbitrary and whimsical fashion 
 
 p. 63.) We can appreciate the 
 
 urse, was well represented, in 
 
 Besides those already mentioned, 
 named: Truth, by Paul-Jacques 
 
 harles Landelle; The Grand Lea, 
 
 e Roubaudi; Zve, by Armand 
 
 by Louis Courtat. Emmanuel 
 
 A STAR. (Salon of 1882.) 
 
 Benner and Paul Trouil 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING 
 BY LEON COMERRE, 
 
 ebert each contributed an inter- 
 
THH SALON OF 1882. 
 
 67 
 
 esting group of Bathers. 
 Jean - Jacques Henner, 
 abandoning. for the mo- 
 ment his favorite nymphs, 
 exhibits Barra, a drum- 
 mer boy of the Republic, 
 who lies upon his back, 
 
 The 
 
 work is marked by the 
 
 nude and dead. 
 unique qualities of light 
 and color that character- 
 ize this master. 
 
 “ Portraiture,” 
 Edouard 
 
 the element that 
 
 says 
 
 Drumont, ‘is 
 
 Saves 
 
 De yh fal A DEPARTURE AT SCHEVENINGEN. (Salon of 1882.) 
 the least successful Sa- 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY LOUIS-PAUL SAUVAIGE. 
 
 lons. This fact is easily 
 
 explained. Our epoch has lost the sense of the ideal, and has become less and less skilled in the 
 expression and comprehension of abstract sentiments and of heroic and elevated thoughts; it seeks 
 
 satisfaction in the study of real life with a passion each day more lively and intense. Rarely has the 
 
 human personality been interpreted,—above all, in its physical aspects,—with more independence, frank- 
 ness and truth.” 
 
 The Rabbis of Edouard Moyse (see sketch on p. 57), while not portraits, yet belong to this 
 category. They remind us of the fondness of the old Dutch corporations for having themselves painted 
 in 
 
 groups. Excepting the central one, the features of these rabbins are not as distinctly Jewish as 
 
 they might be expected to be, but they are not lacking in individualization. The picture is painted 
 in a broad style and with a just propriety of color. 
 Among the’ notable portraits (which we can only name en passant) are those of I. Puvis de 
 
 Chavannes, by Léon Bonnat; of I Barbey d Aurevilly, by Emile Levy; of MW. Lhéritier, in the role 
 
 of Cordenbois in the Cagnotte; Dr. Sée, by 
 Adolphe Yvon; and the four panels of Mlle. 
 Louise Abbema, which, under the titles of Spring, 
 Summer, Autumn and Winter, are portraits, re- 
 
 , viz., Mlle. 
 
 Samary, Mme. Damala 
 
 spectively, of four favorite actresse 
 
 Blanche Barretta, Mme. 
 
 n 
 
 (Sarah Bernhardt), anc 
 each of these ladies ap 
 
 tume, amidst an appro 
 
 Mlle. Reichemberg,— 
 nearing in out-door cos- 
 
 riate landscape. 
 
 M.. 
 
 sketch 
 
 ules-Hmile Saintin’s On 
 62), M. Dru- 
 
 Is not this a portrait also,— 
 
 maid as re 
 
 Concerning 
 the Seashore (see on p. 
 mont observes: ‘ 
 
 this 
 
 dreamy and spiritual, who walks on the beach 
 
 ravishing child, with a smile, at once 
 
 THE FISHERIES AT DIEPPE. (Salon of 1882 
 
 FACSIMILE OF A § 
 
 KETO. 
 
 H FROM THE ORIGINAL PAINTING BY PIERRE- MARIE BEYLE, 
 
68 THH GALLERY 
 
 with a great umbrella? She has furnished 
 Saintin with an occasion for invoking, in a 
 harmonious suminer decoration, a sort of Pa- 
 risian Mignon.” M. Saintin was a pupil of 
 MM. Drolling, Picot, and Leboucher. 
 Military painting was ereditably rep- 
 resented, notwithstanding the absence of both 
 M. Détaille and M. de Neuville. The most 
 
 notable canvas 
 
 were: Maneuvre of Hm- 
 barkation, by Etienne Berne-Bellecour (the 
 argest and probably the finest work yet ex- 
 hibited by this artist); Waterloo, Episode of 
 the Farm of Hougemont, by Eugene Chape- 
 
 ron; Zhe Forge, by Louis-Kugéne Charpen- 
 jer; Milita 
 sraels; LHpisode of the Battle of Hpinay, by 
 
 y Funeral in Holland, by Isaac 
 
 Lucien-Pierre Sergent; Zuking of the Dutch 
 Fleet by the Hussars of the Republic, by 
 Charles-Edouard Delort; and The French be- 
 fore Bourget, by Auguste Langon. 
 
 The Prisoner, by Gaston Claris (see 
 sketch on p. 65), is a scene in the African 
 campaign of 1881. The prisoner, an ad- 
 mirable study, is likely to prove a difficult 
 subject for examination. Accustomed to set 
 not a very high price on human life, he 
 
 betrays little concern as to his own possible 
 
 fate. His imperturbability must be rather exe 
 
 with realistic fidelity. 
 
 THE SABLES: ISLE OF GROIX. (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY MME, ELODIE LA VILLETTE. 
 
 OF CONTEMPORARY ART. 
 
 TOWING. (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY THEODORE WEBER. 
 
 sperating to his captors. The scene is placed before us 
 
 Landscape occupies an increasingly im- 
 portant place. Not only is this manifest in 
 the number of works devoted primarily to 
 
 interesting and beautiful passages of natural 
 
 scenery; but it appears also in the care that 
 is lavished upon such scenery, employed as an 
 
 acce 
 
 ory in pictures generally. 
 
 Few painters have excelled M. Eugene 
 Grandsire as an interpreter of nature in her 
 quiet moods. A good example of his profound 
 sympathy with such subjects is afforded in his 
 Bagnérot Valley: November (see sketch on 
 p. 69). There is no feature of this scene 
 
 that can be called “salient.” It is not in 
 
THH SALON OF 1882, 69 
 
 any respect remarkable; and yet 
 there is in it something that can- 
 not fail to stir serious and noble 
 emotions in susceptible hearts. The 
 subtle sentiment of the scene has 
 been transferred to the canvas with 
 rare power. 
 
 Another November scene of 
 exceptional interest is Uhe Hour 
 of feturn, by Armand Beauvais. 
 (See sketch on p. 73.) It is a 
 landscape in Berry. Day is waning; 
 
 the sun, sunken below the horizon, 
 
 lights up the western sky with its 
 
 dying glory. The field and houses 
 GRANVILLE FISHING SMACKS. (Salon of 1882.) in the foreground and middle dis- 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JULES MASURE. 4 _ % 
 tance are in dark relief against the 
 glowing heavens. The approach of night causes the return alike of flocks and laborers to the friendly 
 shelter of the humble thatch-roofed cottage and stables. ‘The trees, nearly denuded of their foliage by 
 the chill autumn winds, loom weirdly, like 
 
 skeletons, against the light. The picture 
 
 is a serious, yet tender pastoral poem. It 
 
 procured for the author a medal of the third 
 class. M. Beauvais is a pupil of Desjobert 
 and of Géréme. 
 
 We have yet another autumn scene— 
 one of more universal interest, perhaps, than 
 either of the above, viz., Autumn Hening, 
 by Emile-Louis Adan. (See sketch on p. 70). 
 The elements of the picture are simple bu 
 
 engaging: A beautiful walk, bordered on 
 
 one side by a high hedge, and on the other 
 y a low wall, and shaded by a row o 
 
 noble trees,—the whole presented in a charm- 
 
 ing perspective. Beyond the wall is a quiet 
 
 andscape. he gnarled branches of the old 
 irees are relieved against the sunset sky. 
 
 A woman, pausing in her evening walk, 
 
 eans upon the wall and gazes pensively on 
 
 he peaceful panorama spread out before her. Paaine 
 . . . = % = JY f x a va 
 This human soul, moved by feelings kindred : suf 
 
 o our own, serves to subject us with aug- . 
 BAGNEROT VALLEY: NOVEMBER. (Salon of 1882.) 
 
 . , 
 mented power to the picture s gentle spell. FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EUGHNE GRANDSIRE. 
 
70 THH GALLERY OF CONTEMPORARY ART. 
 
 The work was justly recom- 
 pensed with a medal of the 
 
 second cla: M. Adan studied 
 
 with Picot and Cabanel. 
 
 The Fisherman's House, 
 by Charles Busson (see sketch 
 on p. 70), is a scene at Pra- 
 zay, near Montoire, in Loir- 
 et-Cher, in the neighborhood 
 of the artist’s birth-place. A 
 quiet and refreshing bit of 
 nature, comprehending forest 
 
 and stream, sky, sunlight and 
 
 shadow, with enough of man’s 
 
 art, in its simplest forms, to 
 
 accord with the scene and lend AUTUMN EVENING. (Salon of 1882.) 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EMILE-LOUIS ADAN. 
 
 it human sympathy. 
 
 The Orchard, in July (see sketch on p. 73), of Mme. Marie Oollart, is a charming summer idyl, 
 full of light and warmth, and pleasant suggestions of the hum of insects, the soft rustling of leaves, 
 and the chirp and carol of birds. 
 
 The critic, Victor Champier, observes: “The triumph that is accorded to originality in landscape, 
 has this year been reserved for some young and enterprising foreign artists.’ Among the foreign artists 
 thus referred to, are: Birge Harrison, of Philadelphia, represented by Movember; William Stott, of 
 England, by The Ferryman and The Bathers; Walter Ullmann, of London, by An Autumn Day (this 
 promising artist died during the exhibition); and Frederick Bridgman, of New York, by Planting Rape, 
 m Normandy, a work of excep- 
 tional power. 
 
 We cannot take leave of 
 this section of the exhibit with- 
 out at least naming the Hvening 
 im a Hamlet of Finisterre, by 
 Jules Breton, and the Port of 
 Saint-Bernard, Paris, by Pierre- 
 Louis Vauthier, which were among 
 the choicest works of their class. 
 Marine painting was worth- 
 
 ily represented by a number of 
 
 rtists who exhibited the ocean 
 
 9 
 
 in its many aspects, together with 
 the picturesque features and occu- 
 
 pations of the dwellers upon its 
 
 shores. Among the few works 
 
 FISHERMAN’S HOUSE AT PRAZAY, NEAR MONTOIRE, (Salon of 1882.) 
 
 FACSIMILE OF A SKETOH FROM THE ORIGINAL PAINTING BY CHARLES BUSSON. that we single out for remark, is 
 
THH SALON OF 1882. 71 
 
 Towing, by Théodore Weber. (See sketch 
 
 on p. 68). The magnificent: 
 
 Pe 
 
 y, the stately 
 motion of the ships drawn over the silvered 
 waves by the little tug, the amplitude of 
 space, the sense of atmosphere, the briny 
 water, unite to form a picture whose de- 
 lightful effect can be better felt than des- 
 eribed. M. Weber is of Saxon birth. 
 
 The Granville Fishing Smacks, of 
 
 Jules Masure (see sketch on p. 69), is 
 
 scarcely less remarkable for its beautifu 
 
 effect of light. Here a luminous sky, fleckec 
 
 with fleecy clouds, is duplicated by reflection 
 
 in the clear waters, and midway between 
 
 the two expanses, floats the little navy of 
 fishing smacks, stretched out picturesquely 
 along the line of the horizon. The other- 
 wise monotonous sea and sky are agreeably 
 contrasted with the rocks in the foreground. 
 
 M. Masure was a pupil of Corot. He 
 
 received medals in 1866 and 1881. 
 
 M. Louis-Paul Sauvaige sustains his 
 high reputation as a marinist, by his De- 
 parture at Scheveningen, Holland. (See 
 
 sketch on p. 67). The action of the near- 
 
 est barks, riding out into the roomy sea, is 
 
 rendered with great fidelity, and the perfect 
 = ee YOUNG GIRLS GOING TO THE FOUNTAIN: CAPRI. (Salon of 1882. 
 
 perspective gives illimitable depth to the FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY JEAN BENNER. 
 
 view. M. Sauvaige studied with Corot and Daubigny. 
 
 The Sables (see sketch on p. 68), by Mme. 
 
 Elodie La Villette, is a scene at the Isle of Groix, 
 consisting of a rocky inlet, whose natural obstructions 
 are at once interesting and dangerous to the navi- 
 gator. Mme. La Villette is a native of Strasbourg. 
 
 M. Pierre-Marie Beyle’s Fisheries at Dieppe: 
 Low Tide (see sketch on p. 67), is marked for its 
 rare perspective and vivid effect of reality. We see, 
 in the foreground, a group of women and children 
 
 loading their baskets with the results of the last 
 
 draught of the nets, and in the distance get glimpses 
 
 of other parts of the industry of the place. 
 
 Frou-Frou, by M. Georges Clairin (see sketch on p. 
 IRRECONCILABLES. (Salon of 1882.) * = 
 66), 1s well described as “a daring and delightful study 
 
 FACSIMILE OF A SKETCH FROM THE PAINTING BY FERNAND PELEZ. 
 
in white—a dainty female ficure, life size. 
 "Y RES) 
 
 Frou-Frou wears a ‘fussy’ white dress, 
 an indescribable confusion of satin, lace, 
 and pearls—low enough to show her ex- 
 quisite bare bust and arms, and not too 
 long to hide her well-turned ankles. Her 
 head, coquettishly posed, is bewitchingly 
 mischievous.’ M. Clairin was awarded a 
 Another success 
 
 was The Star, or Danseuse, of M. Léon 
 
 Comerre. The background is of white satin. 
 
 medal of the third class. 
 
 The danseuse is dressed wholly in white, 
 her gauze skirts being rayed with silver, 
 The picture is a triumph of drawing and 
 technic. (See sketch on p. 66). 
 
 In The Silent Dialogue (see sketch 
 on p. 65), Josef Israels displays the brilliant 
 union of art and sincere emotion that 
 
 characterize his works; and to attain this 
 result he has only required a poor interior, 
 in which a good old man is seated face to 
 The faith- 
 
 ful animal, with his eyes fixed on his mas- 
 
 face with his only joy, his dog. 
 
 ter, exchanges with him a silent dialogue. 
 
 THH GALLERY OF CONTEMPORARY ART. 
 
 FACSIMILE OF A SKETCH FROM .THE ORIGINAL 
 
 M. Israels is one of the foremost painters of Holland. 
 
 Sunday Afternoon: Alsace, by Martin 
 
 HER MARRIAGE TROUSSEAU. 
 
 (Salon of 1882.) 
 PAINTING BY ADOLPHE ARTZ. 
 
 Feuerstein (see p. 64), is a scene in a humble, but refined 
 
 home, in which a mother, perhaps a widow, reads to her daughter from the sacred volume which: tells 
 
 MILD COUNTRY. 
 
 (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY PIERRE PUVIS DE CHAVANNES. 
 
 of an eternal 
 home, where sep- 
 arations are un- 
 known. The ar- 
 ist, an Alsatian, 
 was a pupil of 
 Diez. Adolphe 
 Artz, a pupil of 
 
 J. Israels, demon- 
 strates his mas- 
 tery of light in 
 the calm interior 
 in which a fiancée 
 prepares her Mar- 
 riage Trousseau 
 
 (see p. 72). Of 
 
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STUVd ONY 
 
HOMELESS. 
 
 Frurnanp Prnnz, Ping. Goupin & Co., Gravure. 
 
 HIS is one of the most remarkable examples of realistic painting extant. 
 
 So true to nature is the group before us, that it might be a photograph 
 of an unfortunate family surprised in the extremity of their destitution: 
 yet the scene bears evidence of careful study in its composition. Again, 
 the drawing and the expressions are so absolute in their fidelity to truth 
 
 that the spectator readily forgets that this is a painted picture, but rather 
 
 deems himself in the presence of a real scene of woe. Unfeeling indeed 
 
 must be the heart that is not touched by such a scene: and yet how 
 
 multiplied is this form of misery in all our cities! 
 
 Three of the children, sleeping in their rags, enjoy a short forgetfulness of their cold and hunger. 
 The little fellow who sits on the left has a look of melancholy peculiarly touching in one of such 
 tender years. It seems as though a life-time of suffering had been compressed into his brief experi- 
 
 ence. The infant peacefully drawing nourishment from nature’s almost exhausted fountain, deepens the 
 
 pathos of the scene, by throwing into stronger relief the surrounding misery. The poor mother’s face 
 
 wears the look of one who has exhausted her last resource, and who, for the moment, at least, abandons 
 
 herself to a pitiless fate. As we contemplate her hopeless expression we involuntarily pray that this 
 Ig y Mf 
 
 dark hour may speedily usher in the dawn of a better day. 
 
 Alas! for the rarity 
 Of Christian charity 
 Under the sun! 
 
 O! it was pitiful! 
 Near a whole city full, 
 
 Home she had none. 
 
 How strongly this picture suggests the painful inequalities of human lots; and how eloquently 
 
 it pleads for those who amidst plenty are starving, and who, surrounded by dwellings, mansions and 
 
 palaces, are uncovered to every storm. It was one of the marked works at the Salon of 1883, and 
 
 was by some of the critics judged worthy of the Prize of the Salon. 
 
 M. Pelez was a pupil of MM. Cabanel and Barrias. He received a medal of the third class 
 
 in 1876, one of the second class in 1879, and one of the first class in 1880. 
 
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EXERCISE ON THE ESPLANADE OF THE INVALIDES. 
 
 Prerre-Grorces Jeanniotr, Pina. 
 
 liberal sprinkling of 
 
 Our picture represents a drill on t 
 
 Tt is a drill of corporals—the lowest official grade, 
 
 squads of private so 
 
 evidently somewhat raw in respect to his 
 
 no doubt time and 
 
 The composition reproduces exactly such a scene as may be wi 
 
 While t 
 
 to witness the evolu 
 
 Esplanade. 
 
 ways. 
 
 spicuous elevations o 
 
 The picture was exhibited at the Salon of 1883. 
 
 gay unl forms. 
 
 diers that properly 
 
 practice will do for 
 
 In the distance on the left, towers the gilded dome of the 
 
 the city. 
 
 conspicuous feature of street life. 
 
 exception to this rule. 
 
 orderlies dash t! 
 
 ne, soldiers are drilling, people of every class are pai 
 
 ions, while the majority, accustomed to the sight, 
 
 7 N all countries where standing armies are maintained, the military are 
 
 tional glory (so-called) are seen on every hand, in the great cities. 
 
 arough the streets; and no 
 
 1e spacious grounds in front o 
 
 designed to fit t 
 fall to their command. 
 
 official duties, as we judge 
 
 Goupm & Co., Gravure. 
 
 a 
 
 It need not be said that France is no 
 Under the Republic scarcely less than under the 
 
 Empire, the defenders of the national safety and the conservators of the na- 
 
 Barracks 
 
 are numerous; military guards stand sentinel over the public buildings; pa- 
 rades are frequent; detachments of troops march hither and thither on divers 
 
 missions; military bands discourse sweet music in the public gardens; mounted 
 
 hrong of people is without a 
 
 f the Hotel des Invalides, Paris. 
 
 hem for the charge of the small 
 
 The corporal in the foreground is 
 
 rom his awkward position; but 
 
 him what they have done for others. 
 
 nessed almost any day on the 
 
 ssing, some of whom may pause 
 
 quietly pursue their respective 
 
 pupil of M. A. Jeanniot, and has received an Honorable Mention. 
 
 nvalides, one of the most con- 
 
 M. Jeanniot was born in Geneva, was a 
 
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SPRING. 
 
 GaBRiEL Ferrier, Ping. Gouri & Oo., Gravure. 
 
 of youth and age, of Spring and Winter. M. Ferrier’s inspiration for 
 the beautiful decorative panel before us, was derived from the follow- 
 
 ing lines of Pierre de Ronsard (XVIth century: 
 
 Gather, gather the joys of youth 
 While your years do bloom 
 
 In their earliest freshness. 
 
 Age will tarnish your beauty, 
 
 As it doth that of the flowers. 
 
 Had the painter been English instead of French, he would probably have taken for his text 
 Herrick’s familiar lines: 
 Gather ye rosebuds while ye may, 
 
 Old Time is still a-flying, 
 
 And this same flower that smiles to-day 
 
 To-morrow will be dying. 
 
 The picture represents a troop of young girls, fair and joyous as the most beautiful month of 
 the year, their cheeks flushed, their eyes sparkling. In coming out of the woods they pass before an 
 old man seated by the roadside, to whom, smilingly, they speak, and offer flowers. The old man, with 
 flabby flesh and wrinkled skin, is nude, with the exception of a goatskin wrapped about his loins. The 
 
 thick forest is prolonged on the left by some isolated trees bathed in the mist which rises from the 
 
 neighboring lake; while scattered over the soil are wild flowers, plants and briars. The contrast between 
 the grace and beauty of youth and the decrepitude of age—types of Spring’s exuberance and Winter's 
 decay—is very impressive, and the landscape setting is truthful and charming to a rare degree. 
 
 The original painting was the subject of favorable comment at the Salon of 1881, where it was 
 
 first exhibited. M. Ferrier, who was a pupil of MM. Pils and Hébert, won the Prize of Rome in 
 
 1872, and received a medal of the second class in 1876, and one of the first class in 1878. 
 
THE “QUARTER Hour oF RABELAIS” 
 
 Jean Grorrroy, Pinz. Gourit & Co., Gravure. 
 
 T is related of Rabelais, that after indulging his social and convivial tastes at 
 
 his inn, he was observed to grow thoughtful, ge of sadness, as the 
 
 time of reckoning drew near. This representation of the great humorist may 
 or may not be truthful; but in either case it has so far been credited 
 as to give rise to a popular saying. It often happens that persons fond 
 of good cheer will thoughtlessly indulge themselves. The food is tooth- 
 
 some, the drink is delicious, Thought of expense is banished; care is 
 
 forgotten; all goes merrily, and the whole being is surrendered to the 
 
 delights of the moment. But all things earthly have an end; and be- 
 
 fore long the feast is over, and the voluptuary is brought face to face with the reckoning. The demand 
 is inexorable and his purse is short. Ah! this is quite a different matter. He grows very thoughtful 
 —even sad: it is “the quarter hour of Rabelais!” 
 
 M. Geoffroy has wittily applied this saying to the piquant scene before us. Three school children 
 approach a chestnut-stand, and as they regard the delicious nuts bursting with fatness, and sniff the 
 relishing odor, their eyes gleam and their mouths water with delight. But one thing is thought of, 
 
 and that is the pleasure of consuming some of those nuts. The eldest of the children impulsively 
 
 orders a package of them, determined at once to gratify himself and confer an exquisite pleasure upon 
 
 his young companions, The obliging but prudent vender, with that knowledge of human nature which 
 long experience is sure to bring, retains the package in one hand, while with the other he pleasantly 
 invites payment. Sure enough! The youth had scarcely thought of that. It is exceedingly doubtful 
 whether he has the wherewithal. His bright expression of anticipated enjoyment gives place to one 
 of anxious doubt: it is “the quarter hour of Rabelais!” 
 
 The picture tells its story with admirable directness and a charming truthfulness of expression. 
 It was exhibited at the Salon of 1881. M. Geoffroy was a pupil of MM. Adan and Levasseur, and 
 
 has received an Honorable Mention. 
 
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REPENTANT MAGDALEN. 
 
 epict Masson, Ping. Gourm & Co., Gravure. 
 
 few have troubled themselves to inquire into the origin of a name so 
 universally known and so sadly significant as that of Magdalen! In an- 
 cient times Palestine was studded with towers, built as outlooks, and for 
 defence. These towers were called Migdois; and as they were important 
 points, they not infrequently gave their name to the village or town that 
 
 grew up around them, some addition being made to the common name, 
 
 in order to distinguish one such place from another,—as Migdol-el, or Mig- 
 
 dol-g: 
 
 d. This name was, in process of time, modified into Magdala. The 
 
 New Testament Mary who has been so celebrated in religious art,—she 
 
 out of whom ‘seven devils’” were cast,—was from one of the towns so 
 named; and to distinguish her from the other holy Marys, she was called Mary of Magdala, or Mary 
 the Magdalen, which was finally shortened into Mary Magdalen, or simply the Magdalen. 
 
 There is no evidence that this Mary was ever a woman of impure life. She was probably a 
 
 ssion. Yet tradition has given her the character of a fallen woman, 
 
 victim merely of demoniac pos 
 
 penitent and reclaimed to a life of holy zeal. And so she stands eternally the type of a -class who 
 
 sin much and suffer much; and, let it be added, a precious example also of the possible reformation 
 of the most despised and hopeless of sinners. 
 
 The penitent portrayed in our picture is evidently not «a woman of the lower class. Every 
 
 ineament speaks of gentle breeding and refined grace;—and by so much is the contrast between her 
 
 ormer position and that to which she has sunken by sin, sharper and more painful. A prey to 
 remorse, she forsakes the haunts of sin, and in a lonely cave abandons herself to humiliation and 
 despair. She appears not yet to have reached that state of penitence in which the sin-sick soul turns 
 from a world beset with sinful allurements, and directs its gaze heavenward with longing aspirations 
 
 for pardon, purity and religious peace. The figure is superb in design and modelling, and in point of 
 
 echnic leaves nothing to be desired. The picture was exhibited at the Salon of 1881. M. Masson was 
 
 a pupil of MM. Delaroche and Chenayard. 
 
~I 
 ey) 
 
 THH SALON OF 1882. 
 
 Jean Benner’s Young Girls going to the Fountain: Capra 
 (see p. 71), Daniel Bernard says: ‘They are the daughters 
 of Alcinous that Ulysses met at the fountain. They have 
 the purity and the majesty of the Homeric type.’ M. J. 
 Benner was a student of Pils. 
 
 The Irreconcilables of Fernand Pelez (see p. 71), is 
 
 a pointed satire on the existing social and political order 
 
 —the irrepressible conflict between riches and poverty. M. 
 
 who studied under Cabanel and Barrias, has been 
 
 Pel Z 
 
 a 
 
 class medal. 
 
 1onored with a third, a second and a first 
 n The Duett by Henri-Jacques Burg 
 
 and to-day are pleasingly contrasted. A modern and modish 
 
 see p. 60) antiquity 
 
 ittle girl, encountering an antique sculptured faun, drops 
 
 rer basket of flowers, and with childish naiveté, endeavors 
 
 o accompany the imaginary music of the ancient flutist. 
 
 ORCHARD IN JULY. (Salon of 
 
 van parntixc by  M. Burgers is a native of Holland and represents the 
 
 FACSIMILE OF A SKETCH FROM THE OR 
 MME. MARIE COLLAR’ 
 
 Dutch school. Among other pictures of distinction were 
 The Spanish Dancers, by J. 8. Sargent; The Dying Child, by Hans Heyerdahl; The Intermediary, by 
 Jean Béraud; The Blacksmiths’ Strike, by Paul Soyer, and The Pay of the Harvesters, by Leon Lher- | 
 
 mitte—the latter being, in the judgment of Paul Leroi, the most notable painting in the exhibition, 
 
 THE HOUR OF RETURN: NOVEMBER IN BERRY. (Salon of 1882.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ARMAND BEAUVAIS: 
 
T was feared 
 
 be held by 
 
 general interest t 
 § 
 
 The marked tenc 
 
 be hoped that t 
 
 idealization from 
 
 but no evidence 
 
 which 2480 were 
 
 Georges Roche 
 
 of steps leading 
 
 the number of works of 
 
 many signs of ir 
 
 THH GALLHRY OF CONTEMPORARY ART. 
 
 THE PILOT. (Salon of 1883.) 
 
 IMILE OF A § H FROM THE ORIGINAL PAINTING BY EMILE 
 
 THH SALON OF 1888. 
 
 he government, in the autumn of the same year. But even if it be conceded 
 
 alted merit was disappointingly small, it will scarcely be denied, tl 
 
 us Salon compares favorably with its recent predecessors. The exhibits, moreover, 
 
 ndependence and vigor which must eventually issue in achievements of highes 
 
 g attention, is real 
 
 fo) 
 
 ency of the new men who are challengi 
 
 of an intention on the part of the artist-directors to adopt a less liberal policy towards foreign exhi 
 
 e paintings and 1048 sculptures. 
 is 8 I 
 
 and a pool of blood. B 
 
 dromache, Hector 
 
 he faithful and rigorous study of nature which such a tendency implies, will yielc 
 
 fruit, and will, in many instances, serve as a solid foundation for work that will receive an insensible 
 
 authors who are inflamed with a sincere passion for art. Reports have been ¢ 
 
 hat the Salon of 1883 would suffer in view of the Triennial Exposition announced to 
 ] 
 
 that 
 nat in 
 betray 
 
 value. 
 
 ic; yet it may reasonably 
 
 goo 
 
 urren 
 
 of such a change is yet apparent: the forei 
 
 eners, and note 
 
 represented, no less in quality than in quantity. The total number of exhibits was about 5,000, o 
 
 Perhaps the most striking, and the best discussed picture in the Salon was the Andromache of 
 
 e. (See sketch on p. 75). It represents a scene after the taking of Troy. 
 
 background is almost entirely filled by a section of the city wall, against which is built a long 
 
 to the top. Below these steps lie a number of nude corpses amidst smoking e 
 
 side them, a pile of human heads welter in their gore. On the steps 
 
 ‘s wife, struggles frantically with several Greek soldiers, one of whom has torn 
 
 her her little son Astyanax, who, by command of Ulysses, is to be hurled from the ramparts. 
 
 ly the Americans, are wel 
 
 itors; 
 
 The 
 flight 
 mbers 
 , An- 
 from 
 
 The 
 
 feet of a number of Trojans, gibbetted on: the wall, appear at the top of the picture on the left. It 
 
THH SALON OF 1883. 7 
 is a terrible-—even revolting,—scene, and yet with evident defects, such is its originality and tremendous, 
 though brutal, force, that the jury were unable to deny it the Prize of the Salon. M. Rochgrosse was 
 born in August, 1859, and was a pupil of J. Lefebvre and of Boulanger. 
 
 M. Jules Lefebvre, the former master of Rochgrosse, also contributes a remarkable painting,—a 
 
 work mature and finished,—a veritable masterpiece 
 
 It is a picture of Psyche, who sits upon a rock 
 on the brink of the river Styx, 
 looking out upon the black waters 
 and watching the passage of souls 
 to the gloomy shades. No medal 
 
 of Honor was awarded in the 
 
 section of painting; but this pic- 
 ture was thought by some of the 
 critics to be worthy of that dis- 
 
 tinction. 
 
 Another work of lofty merit 
 is Alma Parens, by William- 
 
 Adolphe Bouguereau (see sketch on 
 
 p. 76). A beautiful, queenly wo- 
 man symbolizing the earth, our 
 
 common mother, is seated on a 
 
 simple dais, and surrounded by a 
 number of nude children, types of 
 the various races of the human 
 family, who equally look up to her 
 for protection and support. The 
 face of the great mother is remark- 
 able for its serene dignity and 
 depth of expression, and is an ex- 
 ample of idealization scarcely ex- 
 celled by the artist himself. The 
 infantile forms are of surpassing 
 
 loveliness. M. Bouguereau also 
 
 exhibited Wight, a companion to 
 
 ‘5 “78 s 3 ANDROMACHE. (Salon of 1883. 
 his Twilight of the preceding year. ‘ Sars) 
 
 Jean-André Rixens’ Glory 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY GEORGES ROCHGROSSE, 
 
 ian, who has been toiling all his lifetime for fame, 
 
 (see sketch on p. 78) deserves remark. A musi 
 
 approaches the end of his career, and yet the ruling passion still is strong. Propped up in his chair 
 
 by pillows, his brain is still busy with inspired harmonies, and his weak but obedient fingers wander 
 over the keyboard, and record his last composition. At length all strength is gone; one hand drops 
 
 helplessly at his side; the fainting head falls back upon the pillow, and the wasted features are white 
 
 with the pallor of death. And now, in the supreme moment, comes the long-wooed genius of Glory. 
 
 Clasping his head with one arm, she imprints a kiss on his pale forehead, and with the other hand 
 
 His hopes at last are crowned; but life, alas, is gone. M. Rixens, who 
 
 holds aloft a leafy chaplet. 
 
76 THE GALLERY OF CONTEMPORARY ART. 
 
 was a pupil of Gérdme, received a third medal 
 in 1876. 
 
 Julien Le Blant contributed an im- 
 pressive view of the Hzecution of General 
 Charette de la Contrie, at Nantes, 1796 (sce 
 
 ketch on p. 81). General Charette was leader 
 
 n 
 
 of the insurgent peasants in 1793. He gained 
 several victories over the Republicans, and 
 maintained the contest after the other Vendean 
 
 chiefs had fallen. He was regarded by the 
 
 m7 
 
 royalists as the only man capable of restoring 
 
 5D 
 
 + 
 
 heir cause. It is said that General Hoche, 
 commander of the forces sent against him, 
 offered him a million francs to leave the country 
 
 in peace; but he disdained the offer. Finally, 
 
 med and violated a treaty, he 
 
 after having sig 
 was taken prisoner and shot. The last scene is 
 placed before us with quiet power by M. he 
 Blant. The last word is being said; the off- 
 cer is ready to give the fatal command. In 
 composition, design, color and handling, the 
 work is alike admirable. 
 
 The Two Sisters, by Charles Giron, pre- 
 
 sents an exciting scene on the Boulevard in 
 
 front of the Madeleine, Paris. The two sisters 
 
 have followed widely different paths. One of 
 
 ALMA PARENS. (Salon of 1883.) 
 
 them, richly dressed, is riding in an elegant 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY W.-A. BOUGUEREAU. 
 
 landau, at the fashionable hour of promenade; 
 but her luxuries are the price of dishonor. While driving thus in state, she encounters by chance, a 
 working-woman, accompanied by her husband and children. 
 It ig her sister, who, thinking only of the shame of the 
 erring one, and of the family disgrace, gives vent to her 
 honest indignation in bitter reproaches in the open street. 
 The scene is rendered with perfect naturalness, the drawing 
 is excellent, and the. grouping of equipages and pedestrians 
 
 is tasteful and effective. The picture has, however, been 
 
 criticised for its unnecessarily huge dimensions, the figures 
 being of life-size. It obtained for the artist, who is a 
 pupil of Cabanel, a medal of the second class. 
 
 The Christ Crucified of M. Aimé-Nicolas Morot 
 
 is one of the ablest nudes, and in all particulars one of 
 
 the finest paintings in the exhibition. M. Léon Comerre’s act GORE HERD: (GED) 
 
 Stlenus was also prominent, as well for its size (15 feet — racsrmun or as«mron FROM THE SCULPTURR BY MMB. J.-V, YELDO 
 
THE SALON OF 1883. 77 
 
 by 11) as for its fine drawing and color, The 
 sculptor, M. Antonin Mereié, attracted favor- 
 able attention by his painting of a Venus, 
 
 justly characterized as of a “superb tone and 
 
 consummate modelling.” 
 
 Conspicuous among the historic can- 
 vases, was M. H.-V. Luminais’s Childerie IIL, 
 The Last of the Merovingians. The young 
 Childeric, bound hand and foot to a chair, is 
 in the hands of two monks, who are cutting 
 off his long locks prior to making him a monk. 
 The Francesea and Paolo of M. Henri Mar- 
 tin, obtained for him a first class medal. 
 Homeless, by Fernand Pelez, representing a 
 distressed and shelterless family, possesses merits 
 so pronounced that it was marked by some of 
 the critics as a hopeful competitor for the 
 Prize of the Salon. 
 
 The Pilot, by E. Renouf, is another 
 
 THE FIRST FUNERAL. (Salon of 1883.) 
 
 notable: picture (see sketch on p. 74). The 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL SCULPTURE BY E.-L. BARRIAS. 
 
 artist was engaged upon it for nearly eighteen 
 
 months, and it is so large that the government (for whom it was completed) had to give the artist a 
 
 special apartment in the Palais d’Industrie wherein to paint. The pilot stands at the stern of the boat, 
 which he at once steers and helps to propel. Four brawny men are at the oars. It is a chance if 
 the boat can live in this gale and amid these angry waves. Yet the brave sailors toil sturdily on, 
 
 hinking less of their own danger 
 
 ——— than of. that of the ship that is 
 
 eing driven to sure destruction. 
 
 Every part of this strong picture 
 
 ras been deeply studied: the ex- 
 pressions and attitudes of the men; 
 
 he driving wind, wet with spray ; 
 
 he plunging boat and straining 
 
 oars; the seething billows, the 
 
 ominous sky—all are truthful to 
 nature, and combine to produce a 
 vivid impression of actuality. M. 
 Renouf was a pupil of Boulanger, 
 
 J. Lefebvre and Carolus-Duran. 
 
 He received a second class medal 
 in 1880. 
 
 Tn contrast with M. Renouf’s 
 
 NOIRAUD AND HER MOTHER. (Salon of 1983). ee é , 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY LEON BARILLOT. stirring picture, is the peaceful, 
 
THH GALLERY OF 
 
 GLORY. 
 
 (Salon of 1883.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY J.-A. RIXENS. 
 
 day-dream. [ler knitting has been laid aside; a book 
 
 hes unread upon her lap; and the fingers of one hand 
 are pressed lightly against her chin in an attitude of 
 reverie. Her beautiful brown eyes are wide open, and 
 wear a fixed expression, but they are not looking upon 
 any object present to the view. 
 
 suffer 
 
 May her blissful dream 
 
 no rude dispelling. 
 
 The Torn Trousers, by José-Julio de Souza Pinto 
 (see sketch on p. 79) recalls the similar subject, ‘ His 
 The two 
 
 only Pair,” by the Scotch painter Thos. Faed. 
 
 are quite differently composed, however, and the present 
 picture certainly does not suffer in comparison with its 
 
 rival. What 
 ittle fellow 
 
 a remarkable effect upon the spirits of this 
 
 she temporary deprivation of his trousers has 
 nad! Why, but a few moments ago he was brimming 
 over with courage and self-assurance; but now the most 
 
 chicken-hearted little girl in the village is a lion to him. 
 
 He hides his face, which is miserably puckered, and the 
 
 CONTEMPORARY 
 
 AL Lay ME 
 
 sunny View of the Custom House at Venice, by 
 Robert Mols (see sketch on p. 79). The clear 
 water is dotted with picturesque sails and gon- 
 dolas. The peculiar structure with lantern and 
 
 columns, which projects upon the left of the 
 On 
 
 the further side of it flows the Grand Canal. 
 
 picture is, of course, the Custom House. 
 
 In the distance, loom the lofty tower of the 
 Campanile and the domes of St. Marks, while 
 to the right of these, abutting on the lagune, 
 is the wonderful ducal palace. The scene is 
 presented in its appropriate charms of light and 
 color. M. Mols is a Belgian painter, who has 
 twice borne away Salon medals—one of the third 
 class in 1874, and one of the second class in 1876. 
 
 Kindred to the work just named is A 
 Village Romance, by Frangois-Alfred Delobbe 
 (see sketch on p. 78). Here we have but a 
 single figure, that of a fair young girl, in nea 
 
 peasant garb, and bare-footed, sitting on a low 
 
 stone wall in a retired nook, indulging a swee 
 
 A VILLAGE ROMAN 
 
 (Salon of 1883.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY F.,-A. 
 DELOBBE. 
 
THE SALON OF 1883. 79 
 
 VIEW OF THE CUSTOM HOUSE, VENICE. (Sulon of 1883.) 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY ROBERT MOLS. 
 
 tears are flowing. Can he ever get over this humiliation? Perhaps just at this moment he thinks 
 
 not. The grandmother, however, doesn’t consider it a very serious matter 
 
 at least, not if she can get 
 her needle threaded. If little bare-legs will 
 only stay by the fire he will probably not 
 take cold, which, after all, is the thing most 
 to be feared. M. Souza-Pinto is a Portuguese. 
 
 After studying in his own country, he be- 
 
 came a pupil of M. Cabanel. 
 A Physician, by Edmond Van Hove 
 
 (see sketch on p. 80), is marked by that fi- 
 
 delity to detail which characterizes the Dutch 
 
 school. The face and expression are very 
 thoronghly studied, and the dress and acces- 
 
 sories give us, no doubt, a correct view of 
 
 the office of a Dutch physician of several 
 
 centuries ago. The doctor, whom we behold 
 
 in the act of compounding a prescription, has 
 a look of great wisdom, and is unquestion- 
 
 ably master of the medical lore of his age; 
 
 but the bat stretched upon the wall, over 
 the doctor’s head, is suggestive of the fanciful 
 
 conceits and downright superstitions that en- 
 
 tered so largely into the healing practice of 
 
 past ages. Van Hove is a native of Bruges, 
 
 THE TORN TROUSERS. (Salon of 1883.) 
 
 FACSIMILR OF A SKETCH FROM THE ORIGINAL PAINTING BY J. DE SOUZA PINTO. Belgium, and was a pupil of M. Cabanel. 
 
The eminent cattle painter F. ¢ 
 lefroy, contributed two pictures, yiz., 
 from the Pasture, and In the Meadow. 
 first is perhaps the finest work of i 
 in this Salon. 
 is remarked, 
 
 Barillot, whose progress 
 
 tributed an admirable piece, entitled, Moiraud 
 
 and her Mother (see sketch on p. 77). 
 is a pleasing incident in bovine fami 
 
 The mother cow, both proud and loving, 
 
 over her beautiful daughter, Noiraud, as 
 
 o protect as well as caress her. 
 
 race of coquetry, as t 
 
 of her superior attractions. 
 
 aithfully rendered. M. Barillot is a 
 
 THH GALLERY 
 
 s class 
 
 A younger painter, M. Leon 
 
 y life. 
 stands 
 hough 
 The pretty 
 
 reifer, belle of the herd, receives the endear- 
 
 e Vuil- 
 
 Coming 
 
 The 
 
 con- 
 
 It 
 
 ments as nothing new, and wears an expres- 
 sion, which, though gentle, is not without a 
 1ough already conscious 
 The forms are 
 accurate, and, the animal expression is most 
 
 native 
 
 of Lorraine, and a pupil of MM. Cathelineau 
 
 and Bonnat. 
 
 The medal of 
 
 awarded to Jules Da 
 
 They are entitled, respectively, The Republic and The States-General: Seance of June 
 
 former is a perpendicular panel. 
 
 while a third, kneeling, is in the act of breaking a sword across his knee. 
 
 nonor for sculpture was 
 
 OF CONTHMPORARY ART. 
 
 A PHYSICIAN. (Salon of 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL 
 
 right, 
 
 cluster 
 upper 
 the em 
 tended 
 bolic 
 loves 
 
 crowd 
 
 PAINTING 
 
 BY E, VAN HOVE. 
 
 ou for two alto-reliefs in plaster, designed for the decoration of the Corps Legislatif. 
 
 23, 1879. The 
 
 In the lower part two men embrace and exchange the fraternal kiss; 
 
 Back of him, on the 
 
 are men holding a 
 of standards. In the 
 part of the relief sits 
 lematic Republic, at- 
 by two other sym- 
 several 
 
 A 
 
 rejoicing people 
 
 figures, and 
 bearimg garlands. 
 
 of 
 
 men, women and children, 
 
 massed 
 
 lower 
 
 figures 
 
 THE TWO SISTERS. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY CHARLES GIRON. 
 
 (Salon of 1883.) 
 
 theme. 
 
 composition, 
 
 The other relief, which 
 
 on the right of the 
 plane, complete the 
 The principal 
 
 are nude, or nearly 
 
 so, and all palpitate with the 
 
 impassioned sentiment of the 
 
POMPEUAN INTERIOR. 
 
 JosrpH Coomans, Ping, Gourit & Co., Gravure. 
 
 OMPEIIAN scenes not unnaturally possess peculiar fascination for all who have ever 
 
 felt the spell of classic story. Much knowledge of the arts of Imperial Rome had 
 been gathered from historic records, from isolated ruins, and from utensils unearthed | 
 from time to time; but when Pompeii was redeemed from oblivion, and a city 
 of eighteen hundred years ago was uncovered to our view, so that we could tread 
 its streets, enter its houses, inspect its wall paintings, see the utensils of the toilet 
 and the kitchen almost in the act of use, our ideas of the old-time life attained 
 
 a clearness and vividness that could have been gained in no other way. 
 
 Prominent among the artists who have sought to repeople the solitude of 
 the deserted city and to reproduce the scenes of its domestic life, is Joseph Coomans, the painter of 
 the Interior now before us. The apartment presented to view is probably a portion of the Atrium, | 
 the principal apartment in most Roman houses—the room which contained the nuptial couch, the im- 
 plements for spinning and weaving, and, above all, the focus, or fire-place, which, in addition to its 
 practical uses, was also the household altar upon which fire was ever kept burning. While the focus 
 was commonly made of brick and stone, and thus was stationary, it was also not seldom made of bronze, 
 in the form of a tripod surmounted by a brazier in which the coals were placed. In this form (called 
 foculus) it was movable; but wherever it was placed it symbolized the religious faith of the house- 
 hold, and was an emblem of hospitality and protection. 
 
 The ancient shapes of furniture and jewelry have been so much imitated that the chair on which 
 the fair matron is seated is almost as familiar to us as is the pattern of the bracelet on her arm. 
 
 The wall decorations also, with their divisions of frieze, dado and panels, are well known to recent 
 
 fashion. ‘The basket, too, beside the chair, has served as a model for our modern scrap-baskets. The 
 books of that age were composed of leaves of parchment or paper, glued together so as to form a long 
 
 strip, to the lower extremity of which a cylindrical piece of wood was attached, upon which the strip 
 
 was rolled. From such a book is the mother in our picture instructing her child. 
 
 M. Coomans, who is a Belgian, was born in 1816, and studied under Van Hasselaere, De Keyser 
 
 and Wappers. Most of his works are kindred in subject to Zhe Pompetian Interior, which was exhibited 
 
 at the Salon of 1866. 
 
i 
 § 
 % 
 { 
 
AN ALARM. 
 
 Lron—Lucten Couturier, Ping. Gourtn & Co., Gravure. 
 
 OW wide the difference between the old and the new school of battle pic- 
 
 Ih 
 
 tures! Formerly we were almost inyariably presented with a view of 
 
 large numbers eng 
 
 ged in conflict. It was either the storming of a fort, 
 
 or of a city, or the struggle for the of a bridge; or, it was a 
 
 view of whole divisions or corps performing their mighty evolutions on 
 
 some extended plain, where thousands of corpses strewed the field, and 
 
 the fate of nations trembled in the balance. Such pictures are no doubt 
 
 impressive, but in a general way; just as the page of history that 
 chronicles the events of war, is impressive. The new school of military 
 
 painters have given an intense per: 
 
 onal interest to their pictures by representing some incident or episode 
 of a battle in which we are confronted with individual soldiers, and made to feel their alarms and suffer- 
 
 ings, their heroism and death. 
 
 M. Couturier’s picture is one of the numerous illustrations of the Franco-Prussian war. It repre- 
 sents a picket-post at the extreme front of the encamped army, and probably very. near the enemy’s lines ; 
 a position of responsibilty and peril. One man has been standing guard while his comrades, awaiting 
 
 their turn, were resting, under arms, in the dilapidated house in the foreground. he firing of a shot in 
 
 such circumstances has a thrilling effect. It means imminent danger,—perhaps death or capture. The 
 picket in our picture seems to have been surprised by the enemy’s skirmishers, and shot down before he 
 could signal his comrades. But they have heard the fatal reports, and seizing their muskets are rushing 
 out to face the danger, whatever it may be. It is idle to say more, in the presence of the picture itself. 
 
 Look at these men; scrutinize their faces; mark that prostrate form, and see the smoke of the deadly 
 
 rifles yet floating in the cool air, and you will get an impression of this thrilling scene more vivid than 
 
 pages of writing could impart. 
 The experience essential to the painting of a picture like this, was acquired by M. Couturier in 
 the war of 1870, in which he served as a soldier. After studying in the Lyons School of Fine Arts, 
 
 he became a pupil of M. Cabanel. He received a medal of the third class in 1881. An Alarm was 
 
 exhibited at the Salon of 1880, 
 
{ 
 \ 
 \ 
 } 
 | 
 4 
 
HERCULANEUM. 
 
 Hecror Ly 
 
 Roux, Ping. 
 
 the land 
 imagination 
 ing the su 
 blown over 
 
 Heret 
 
 The artist has represented the 
 
 eal, 
 
 while 
 
 have brought away with pious care, t 
 ine : : 
 having at length made their toilsome 
 
 to take a last despairing view of 
 
 Vesuvius, which, 
 three flourishing towns. 
 to an immense height, and, 
 pall, being the more terrible 
 ascending smoke, and cast 
 
 and 
 
 their perishing city. 
 
 GouPIL & 
 
 HIS canyas vividly impresses us with the terrors of that awful 
 
 on the 9th of August, in the year A. p. 
 
 treat 
 ng 
 
 spreadi 
 rom the tongues of fire that 
 sea were ali 
 can but meagre 
 
 den flight of t 
 
 1e inhabitants of 
 
 Pompeii, buried that city so deeply as to h 
 ulaneum was engnl by the molten lava. 
 light, from the latter 
 ie sacred vessels a 
 
 nd symbols committed to t 
 
 way to a place of comparative security, they 
 I y, ; 
 
 The lines of light that ap 
 
 mountain side, mark the stream of liq 
 
 be seen, rolling like ocean billows 
 
 picture is imbued with a profound appreciation of the great tragedy, 
 
 the simple power of truth, free from all extravagance or e 
 
 of 1881. 
 
 M. Hector Le 
 
 Roux received 
 
 second class in 1874; and a medal of the third class at the Universal Exposition of 1878. 
 
 made Chevalier of the Legion of Honor in 1 
 
 towards the fair city that it will 
 
 Sa 
 
 ud fire that is coursing down to the plain be 
 
 soon blot 
 
 Tt was exhi 
 
 ggeration. 
 
 lon medals of the third class in 1863 and 
 
 and 
 
 877. 
 
 Co., 
 
 volumes of smoke and ashes 
 
 urid glare upon the scene of 
 
 convulsed with violent earthquake shocks. 
 
 the doomed cities, 
 
 city, of a company of vestal virgins. 
 
 from existence. 
 
 which it bring 
 
 Gravure. 
 
 eruption of Mt. 
 
 79, overwhelmed 
 
 were shot up 
 
 out, hung over the earth like a heavy 
 , : MY 
 
 mingled with the 
 Meanwhile 
 The 
 
 woe. 
 
 icture the panic, confusion, and distress attend- 
 
 The 
 
 ide its very site; 
 
 ashes 
 
 They 
 1elr custody; and 
 pause to rest, and 
 pear on the dark 
 ow, where it may 
 The 
 before with 
 
 2S 
 
 us 
 
 bited at the Salon 
 
 864; one of the 
 
 He was 
 
\ 
 | 
 } 
 i 
 H 
 ! 
 i 
 i 
 
 { 
 
Ay CORNER TOPS. Suuie. 
 
 FROM THE ORIGINAL PAINTING IN THE MUSEUM OF THE 
 
 Jos 
 
 H-Hpouarp Danan, Ping. 
 
 the plastic art. 
 
 of love. 
 
 apartment, where we may learn of th 
 
 tH 
 
 fondness and fidelity the form of the father has been delineated in the 
 
 subject of the relief on which he is engaged will be recognized as that 
 
 girl, who is “model” for the nymphs introduced in 
 
 : 
 5 
 
 the sculptor sits a 
 
 gradually takes on the semblance of life. The small figure above her 
 
 of the picture suggest the anatomical studies of the sculptor; the variou 
 the walls are many of them fragments of antique art; the figure of t 
 the various busts that are here and there seen, represent his work in 
 in the right hand corner, are the tokens of a recent lunch. 
 all are essential to the faithful presentation of the scene, and all are ¢ 
 The painting is a graceful tribute of 
 
 idea, viz., the sculptor at work. 
 
 cellence, united to pronounced merits of composition and design, secured t 
 
 1e products of the chisel are brought to perfection, is fraught with interesting memories. 
 
 XEMBOURG 
 
 Goupit & Co, Gravure. 
 
 \ RANDSON, son,-and nephew of sculptors, M. Dantan comes legitimately by 
 i \ 
 
 his artistic gift, although he has div 
 
 erged from the particular path 
 
 trodden by his fathers, and has pursued the graphic in preference to 
 The picture before us was undoubtedly a labor 
 The studio, of which the artist shows us a corner, is asso- 
 ciated with his childhood and youth, for it is that of his father. Here 
 
 he spent many happy and profitable hours, and every feature of this 
 
 e patience and labor with which 
 With what 
 familiar attitude of work. The 
 Below 
 
 During 
 
 of the drunken Silenus. 
 
 the Bacchie procession, 
 
 an intermission of posing she watches the skilful operation of the artist, whereby the shapeless marble 
 
 read, and the skull on the right 
 s plaques and masks hung upon 
 1e child on the artist’s left, and 
 
 portraiture. On the little table 
 
 The picture is crowded with details, yet 
 
 uly subordinated to the central 
 
 filial regard. Its technical ex- 
 
 1e recompense of a second class 
 
 medal at the Salon of 1880, and the honor of a place in the Museum of the Luxembourg, M. Dantan 
 
 studied under MM. Pils and Lehmann. 
 
| 
 | 
 | 
 | 
 
ANTECHAMBER OF A MINISTER. 
 
 Luis Jimen 
 
 Ping. Gourit & Co., Gravure. 
 
 ) OOKING upon this picture, we are at first glance impressed with the rich architecture of 
 
 the palatial room: the superb canopy over the outer portal; the polished shafts and the 
 caryatides of the inner door; the lofty dado, with panels embellished with arms and quar- 
 
 terings; the ancestral paintings; the sumptuous ceiling; the marble floor—all these objects 
 
 of beauty agreeably detain the eye. But, after all, they are only accessories which sink 
 into comparative insignificance when once we have regarded the animated throng of 
 
 eople who await the convenience of the potentate whose fayor they desire. It would not be easy to 
 
 overpraise the patient study and the skill which have combined to produce such a masterly tableau 
 
 vivant. There are some thirty figures in this canvas, yet not one is lacking in individuality. Nor 
 
 1as_the great variety in action and expression been attained by any strained or theatrical artifice. On 
 he contrary, there is manifest a just moderation suggestive of the inexhaustible resources of nature, 
 As our attention wanders from one face to another, we see something different in each, and forgetting 
 that they are not real, we find ourselves curiously speculating on the probable errand of this one and 
 
 hat one: For example, the young woman on the left—whom we take to be a widow,—who has such 
 
 a thoughtful look; does she seek some favor for her hopeful boy? The dignified old man, approaching 
 
 on the right, appears to be an offic 
 
 whose fighting days are o'er; blind, and worn out with service, 
 
 ils wavering steps are guided by the shoulder of a maiden, who may be his grand-daughter. After 
 
 spending himself for country, has he been neglected in the helplessness of age? Seated by the door, 
 at the far end of the room, are a mother and daughter, brought here, it may be, by domestic trouble. 
 The two men with their backs toward us, are engaged in a warm discussion as they pace the floor, 
 Seated beside him who stoops to pick up a paper, is a man that whiles away the time by napping. 
 Well satisfied with himself, and apparently free from care, is the elegant young courtier, who pleasantly 
 chats with the lawyer and the officer of dragoons. But, whatever the circumstances and whatever the 
 errands of these waiting people, they have at least one interest in common: all of them are more or 
 less dependent on one man’s favor. Of how many destinies is a single individual sometimes the arbi- 
 ter! And he, too, perhaps, is dependent on some greater magnate, and may, himself, some day, have 
 
 cause to exclaim with the great Wolsey : 
 
 “O how wretched 
 
 Is that poor man that hangs on princes’ favors!” 
 
 M. Jimenez was a pupil of the School of Fine Arts, Seville. The Antechamber of a Minister 
 
 was exhibited at the Salon of 1880. 
 
is horizontal, illustrates the response of Mirabeau to the Marquis de Dreux-Brézé: 
 the will of the people, and we shall not go out save at the 
 the Mirabeau, the power of the popular wave which is rising, 
 
 divine right which allows no discussions and cannot credit the audacity of an open disobedience,” 
 
 panels,” continues M. 
 to see since 
 Not S80 
 
 of which 
 
 new, 
 
 was awarded the 
 
 THE 
 
 Dargenty, “are the most beautiful page of sculpture tha 
 
 but scarcely less notable, is Zhe First Funeral, by elk, 
 
 Medal of Honor in the 
 
 now in marble, it excites even greater admiration ; 
 
 into the 
 
 stricken, bear their 
 
 tragedy so unique as this, 
 
 profound pathos. 
 
 M. Tony Noel exhibi 
 
 which received and merits serious praise. 
 
 iarder substance, has gained appreciably i1 
 
 save that of Calvary. 
 
 ead son, death’s first human victim, to earth's earliest grave. 
 
 ed a large group, entitled, 
 
 Among ot 
 
 SALON 
 
 OF 1883. 81 
 “We are here by 
 point of the bayonet.” ‘We feel in 
 
 and in 
 
 es The Se 
 
 we have been permitted 
 
 the bas-relief of the Are de Triomphe was born under the magistral chisel of Rude.” 
 
 Barrias, the plaster model 
 
 Salon of 1878. (See sketch on p. 77). Exhibited 
 
 ‘or, contrary to the rule, the group, by its rendition 
 delicacy and in breadth. Our first parents, doubly 
 
 There has been no 
 
 The subject is treated with dignity, blended with 
 
 Episode of War, in the Time of the Greeks, 
 
 ier works worthy of mention, are: Zhe Hurricane, 
 
 by E. Desca; Marguerite, by HE. Aizelin; David, Conqueror, by M. Béguine, and, to name no more, The 
 
 Golden Wedding, by Mme. 
 representing the old couple 
 half century of wedded life. 
 
 spirit that assures us that 
 
 . V. Yeldo. 
 
 in the act of singing t 
 
 The latter 
 
 This couple have good 
 
 he glad memories of 
 
 ¢ 
 
 (see sketch on p. 76), is a very spirited twin-bust, 
 
 1e song that is expected of the celebrants of a 
 
 , honest faces, and enter into the festivity with a 
 
 he past are not marred by present discontent. 
 
 EXECUTION 
 
 FACSIMILE OF 
 
 A SKETCH FROM THE ORIGI 
 
 OF GENERAL CHARETTE DE LA CONTRIE. 
 
 (Salon of 1883.) 
 
 NAL PAINTING BY JULIEN LE BLANT. 
 
 the Marquis the old régime ot 
 
THE GALLERY OF CONTEMPORARY ART. 
 
 AUTUMN. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING 
 
 BY HENRY FARRER. 
 
 GLANCES AT OTHER EXHIBITIONS. 
 
 LTHOUGII the great body of this work has been devote: 
 
 to reviews of the French Salons, we 
 
 have not, meanwhile, forgotten the scope of our subject, Contemporary Art. The Salon is, in fact, 
 
 an Art Parliament, in which the painters and sculptors of all nations meet in emulous competition, and 
 
 its glory is sensibly enhanced by the foreign contributors, some o 
 
 to excellence. In the foregoing reviews are many allusions to 
 
 whom yearly bear away medals decreed 
 
 artists not French, accompanied by illus- 
 
 trations of their works. Some of our choicest plates, likewise, exhibit masterpieces of German, Belgian, 
 
 Spanish, English and American art. In this brief supplemental ¢ 
 
 hapter we shall limit ourselves to concise 
 
 notices of some of the principal galleries of various countries in which periodical exhibitions of new works 
 
 are held, accompanying our notes with a few illustrations of recent contributions thereto. 
 
 The Royal Academy of Arts, London, was founded in 
 
 direction. The active members are divided into Academicians, Associates, and Associate 
 
 number of members at present is, Academicians, 
 
 41. Associates, 27. Annual exhibitions are 
 
 1768, and is under royal patronage and 
 
 Engravers. The 
 
 held from May to August. All artists whose 
 works are up to the required standard, may 
 
 contribute, and from the exhibitors Associates 
 
 are chosen by the Academicians when vacancies 
 occur. The Academy sustains several excellent 
 schools, and possesses a valuable library. 
 
 The Society of British Art 
 
 was incorporated in 1824 for the annual ex- 
 
 , London, 
 
 hibition and sale of the works of living artists 
 § 
 
 of Great Britain. The schools it formerly main- 
 
 tained, have been discontinued. The number 
 
 THE VILLAGE PEDDLER. 
 of members is not restricted. Its exhibitions FACSIMILE OF A-SKETOH PROM THE ORIGINAL PAINTING BY N, KOSOHELEFF. 
 
GLANCES AT OTHHR HXHIBITIONS. 83 
 
 are held during the months of April, May, June 
 and July. 
 
 The Dudley Gallery, ondon, was formed 
 in 1864, It holds a spring exhibition of water 
 color paintings; a black and white exhibition in 
 June, and, during November and December, an 
 exhibition of cabinet paintings in oil. There is 
 no regular membership. 
 
 The Grosvenor Gallery, formed in 1877, is 
 
 open during the London season. It has no mem- 
 
 bership, and is under the management, chiefly, of 
 
 Sir Coutts Lindsay, its munificent patron. The 
 
 latest phases and tendencies of art are represented ABANDONED. 
 
 FACSIMILE OF A TCH FROM THE PAINTING BY B. V. 
 
 upon its walls. 
 The Society of Painters in Water Colors was organized in 1804. It is to water color art in 
 Great Britain what the Royal Academy is to the Fine Arts in general. It is composed of members 
 and associate exhibitors. Its exhibitions are 
 held in May, June and July. 
 The Institute of Painte 
 
 Colors, the result of a secession from the 
 
 in Water 
 
 older society, was formed in 1831. Its 
 membership is limited to 100. It has also 
 lady members and honorary members. 
 
 The Royal Hibernian Academy of 
 Painting, S 
 
 ulpture and Architecture, Dub- 
 lin, was founded in 1803. It is under 
 royal and vice-royal patronage, has a mem- 
 bership composed of Academicians, Associ- 
 ates and Honorary members, sustains well- 
 equipped schools, and holds annual exhibi- 
 tions 
 
 The Royal Scottish Academy, Edin- 
 burgh, began to hold exhibitions in 1808, 
 and was chartered in 1838. Its organiza- 
 tion is similar to that of the Royal Acade- 
 my, London. 
 
 The Bavarian Royal Academy, Mu- 
 nich, founded in 1808, sustains schools of 
 
 high rank, and holds exhibitions every four 
 
 years. The Kunstverein, an ciation of 
 
 Munich artists, holds weekly exhibitions. 
 
 PRINCE ARTHUR AND HUBERT. The Royal Academy of Fine Arts, 
 
 ap eae ‘el 3 se (eRe oe 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY W. F. YEAMES. Berlin, rivals Munich in the grade of its 
 
84 THE GALLERY OF 
 
 schools. Biennial exhibitions are held. The 
 large gold medal (restricted to native com- 
 petitors), entitles the recipient to two years 
 of travel and study. The other medals (one 
 gold and two silver) are conferred irrespective 
 of nationality. 
 
 The Imperial and Royal Academy of 
 Sciences and Fine Arts, Brussels, was established 
 in 1772. Its schools date from 1845. It 
 
 has a system of prizes and medals, and its 
 
 pupils, representing the “ Brussels school,” oc- 
 cupy an honorable place in contemporary art. 
 n Antwerp a triennial Salon is held. 
 
 The Royal Academy of Painting and 
 The 
 
 Sculpture, Madrid, was founded in 175 
 
 prizes are distributed every three years. 
 The Association of Viennese Artists have 
 
 organized a series International Expositions, to 
 
 be given every at Vienna four years. The first 
 of these was held in 1882. 
 
 The Imperial Academy of Fine Arts, 
 St. Petersburg, was founded in 1765. Until 
 the last two or three decades its schools were 
 completely under foreign influence. This fact 
 occasioned frequent secessions on the part of 
 independent students possessed of national feel- 
 
 ing, and led in 1871 to the formation of a 
 
 CONTEMPORARY ART. 
 
 HERO AND LEANDER. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY F. KELLER, 
 
 Society of Exposition, with the object of exhibiting their works, not only in the capital but in the 
 
 COSSACKS OF THE DON. 
 
 FACSIMILE OF A SKETCH FROM THE SCULPTURE BY E. LANCERAY, 
 
 provinces. In 1876 the artists belonging to 
 the Academy organized an annual exhibition. 
 The National Academy of Design, New 
 
 gin to the New York Acade- 
 
 York, traces its or 
 my of Design, established in 1802. The mem- 
 bers are Academicians and Associate Acade- 
 micians, the number being unrestricted. It has 
 also Honorary Members, and a body of Fellows. 
 It supports excellent schools and holds annual 
 exhibitions, 
 
 The Society of American Artists, New 
 York, was organized in 1877, chiefly by artists 
 educated in Europe, and of more progressive 
 art ideas than those cherished by the Academy. 
 
 Tt gives annual and occasional exhibitions. 
 
GLANCES AT 
 
 AN AUTUMNAL RAMBLE BY THE SPEY. 
 FACSIMILE OF A SKETCH FROM THE 
 BY G. H. BOUGHTON 
 
 IGINAL PAINTING 
 
 by the artless pleading of the innocent boy. 
 The fierce struggle between natural feeling 
 and the dread consequences of disobeying the 
 
 king, 1s powerfully exhibited in his face and 
 
 attitude. Mr. Yeames was born in 1835, in 
 
 , 
 
 Russia; was educated at Dresden, from 1843— 
 
 848; came to London in 1848; and re- 
 ceived his art instruction chiefly at Florence. 
 He is a member of the Royal Academy, and 
 his Prince Arthur was exhibited at the 
 Academy’s exhibition in 1882. 
 
 The Pensive Girl, by George A. Storey, 
 A.R.A. (see sketch on p. 86), was also ex- 
 hibited at the Royal Academy, London, in 
 1882. It is a graceful study of a pretty 
 maid, who perhaps is not quite “fancy free.” 
 Mr. Storey was born in London in 1834, and 
 studied art at the Royal Academy, of which 
 he is now an Associate member. 
 
 In Mr. George H. Boughton’s Aw- 
 tumnal Ramble by the Spey (see sketch on 
 
 p. 85) we see amidst a landscape full of the 
 
 OTHER HXHIBITIONS. 85 
 
 The American Water-Color Society, New York, 
 organized in 1866, holds its exhibitions in February. 
 
 The Pennsylvania Academy of the Fine Arts, Phila- 
 delphia, formed in 1805, began its regular annual exhi- 
 bitions in 1811. It possesses valuable collections of 
 paintings, sculpture, casts, and engravings, sustains well- 
 equipped schools, offers several prizes for competitive paint- 
 ings, and makes regular additions to its permanent col- 
 ection, by purchase at its exhibitions. 
 
 The Society of Philadelphia Artists also give in- 
 eresting exhibitions in the spring and autumn, The 
 exhibitions of Boston, Brooklyn, Baltimore, Chicago, Cin- 
 cinnati, and §t. Louis, would worthily claim more than a 
 passing word, if space permitted. We conclude with brief 
 notes upon our remaining illustrations, 
 
 Prince Arthur and Hubert, by W. F. Yeames, 
 R. A. (see sketch on p. 83), presents with great fidelity 
 o nature the moving scene pictured for us in Shaks- 
 peare’s King John, Act IV., Se. 1. 
 
 o burn out the young prince’s eyes; 
 
 Hubert has come 
 
 but he is unnerved 
 
 FOREST OF PALMS NEAR MEMPHIS. 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY L. H, FISCHER, 
 
o liv 
 
 since 1861. 
 
 ceives effec- 
 tive treat- 
 LEDA. 
 
 ment at the 
 
 hands of F. 
 
 Keller (see sketch, p. 84). Hero was a priestess of Venus at Sestus. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY EF. FELIX 
 
 Her lover, Leander, nightly swam the Hellespont to meet her; but 
 one stormy night the light which guided him to the shore was ex- 
 tinguished and he perished in the waves. In the morning his 
 corpse was washed ashore, and Hero on seeing it cast herself into 
 the sea. The drawing, modelling and expressions of the figures are 
 masterly, and the angry waves, the lowering sky and rocky shore 
 form an appropriate setting for the tragie romance. The picture 
 was exhibited at the International Exposition, Vienna, 1882. 
 
 i. Félix has ventured successfully upon the almost hack- 
 neyed subject of Zeda (see sketch on p. 86). The superb Leda 
 is seated in a beautiful natural bower, bordering a crystal rivulet. 
 
 The swan is finely studied, and in technic the picture is highly 
 
 han in patience.” 
 yy his parents in 1837. 
 London and in Paris. 
 at the Grosvenor 
 a pupil of Remdel, 
 
 nelius, at Munich. 
 
 Syria, he visited 
 
 He especially exce 
 
 THH GALLERY OF CONTEMPORARY ART. 
 
 London in 1834, but was brought to 
 He began his 
 without a master, but subsequently 
 
 He has residec 
 
 gense of nature, a refined and interesting person- 
 age that recalls Prof. Colvin’s comment on Mr. 
 Boughton’s delineations of women and children,— 
 “his types being never without grace of figure 
 and gesture, and having often for sentiment some- 
 hing of that reserved gentleness which belongs 
 s that have to be passed less in pleasure 
 
 Mr. Boughton was born in 
 
 his country 
 art studies 
 studied in 
 
 in London 
 
 The picture before us was exhibited 
 
 Gallery in 1882. 
 
 Carl Haag is of Bavarian bir 
 
 After a tour in 
 
 England, where he 
 
 PENSIVE GIRL. 
 
 th, and was 
 
 at Nuremberg, and of Cor- 
 
 Egypt and 
 
 became so 
 
 enamored of water-color painting that he has 
 since devoted himself to it, residing in London. 
 s in the treatment of oriental 
 themes, of which the Bedowin at his Devotions 
 (see sketch on p. 88) is an excellent example. 
 Tt was his contribution to the exhibition of the 
 Society of Painters in Water Colors, 1882. 
 
 The sad story of Hero and Leander re- 
 
 FACSIMILE OF A SKETCH FROM THE PAINTING 
 
 BY 
 
 A, STOREY. 
 
GLANCES 
 
 pleasing. It was exhibited at 
 the Vienna International Hx- 
 
 position, 1882. 
 
 At the same Exposition 
 
 appeared Hans Dahl’s pleasing 
 
 n 
 
 udy, Feminine Attraction (see 
 These smil- 
 
 winsome Dutch 
 
 2] 
 
 ketch on p. 87). 
 
 ing, lasses, in 
 
 the act of drawing some ob- 
 ject, appear to be types of the 
 drawing of their 
 
 It 
 to 
 
 ower 
 
 is a power quite superior 
 
 muscular strength. yen 
 
 Hercules, who could slay giants 
 and monsters, was as tractable 
 b under the potent 
 
 as a lam 
 
 charms of Omphale. 
 
 ALD OMMEUBTE 
 
 HXHIBITIONS. 
 
 87 
 
 FACSIMILE 
 
 In The Forest of Palms, near Memphis, 
 
 ustorie sites in the world. 
 
 The great city, once so magnificent and 
 
 UNCLE NED. 
 FROM THE P. 
 
 FACSIMILE OF A SKETOH 
 
 AINTING BY T. 
 
 Ww. 
 
 Woon. 
 
 oF 
 
 for its intrinsic beauty, its faithfulness to fact, and its association with 
 
 FEMININE ATTRACTION. 
 
 A SKETCH FROM THE ORIGINAL PAINTING BY HANS DAHL, 
 
 Hans Dahi is a representative of the Dutch school. 
 
 L. H. Fisher, we have a scene interesting, at once 
 
 one of the most remarkable 
 powerful, has little left to repre- 
 
 sent it, save those most durable of monuments, the 
 
 pyramids. ‘This picture was the artist’s envoi to the 
 Internationa 
 We 
 tists, exhibited at t 
 1882. 
 
 Vienna Exposition, 1882. 
 
 notice next three works by Russian ar- 
 1e National Exposition, Moscow, 
 
 of the Don, by E. Lanceray 
 
 in Cossack: 
 
 (see sketch on p. 84), is a good example of those 
 
 realistic groups in bronze, illustrating phases of the 
 
 popular life, that have given to Russian sculptors an 
 
 enviable fame. For truth of form and expression, 
 Abandoned, by B. V. Verescha- 
 
 guine (see sketch on p. 83), is a mournful page from 
 
 they are unexcelled. 
 
 form 
 
 eS 
 
 ne history of war's desolations. The decaying 
 
 of the soldier, the birds of prey, the bleak and 
 
 lonely landscape, produce a deep and painful im- 
 
 The author is one of the leading artis 
 The Village Peddler, by N. WKoscheleff 
 (see sketch on p. 82) is an animated scene in a 
 
 the 
 
 pression. 
 
 of Russia. 
 
 animals 
 The 
 
 the peddler’s 
 
 Russian tenement, in which domestic 
 
 appear to have the “privilege of the house,” 
 
 absorbed interest of the peasants in 
 wares, and the equal absorption of the calf in another 
 
 occupation, are rendered with genial humoristic spirit. 
 
THH GALLERY O 
 
 EF CONTEMPORARY ART. 
 
 The two remaining pictures were exhibited at the exhibition of the Water Color Society, New 
 
 York, in 1882.  Awtwmn, by Henry Farrer represents a portion of a reedy lake, nearly surrounded by 
 
 trees, through whose partly denuded branches 
 timent of that season of the year, whose beau 
 born in London, in 1843, but has passed his 
 
 Uncle Ned, by Thos. W. Wood, tells i 
 
 he sky is shining. It is a scene full of the sad sen- 
 ties are the signs of decay and death. Mr. Farrer was 
 
 professional life in New York. 
 
 s own story,—a very winsome one,—with great direct- 
 
 ness. The tired little one, who has been gathering eggs in the barn, clings with the sweet trustful- 
 
 ness of infancy to the good old ‘Uncle,’ whose black skin contrasts effectively with her fair complexion 
 iy ig , J I 
 
 and yellow hair. The expressions are perfect. 
 
 of the National Academy, and one of the ear 
 
 Mr. Wood is a native of Vermont. He is a member 
 
 y members of the Water Color Society. 
 
 BEDOUIN AT HIS DEVOTIONS. 
 
 FACSIMILE OF A SKETCH FROM THE ORIGINAL PAINTING BY CARL HAAG. 
 
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THE GUARD OF THE FLAG 
 
 P.-Atex. Prorats, Pina. FouPIL & Co., Gravure. 
 
 OURAGE can be subjected to no severer test than that of enforced inactivity 
 
 in the presence of extreme peril. . When one is exposed to danger of death, 
 
 even though he may not thereby escape the danger, it is easier to bear 
 it, if he can only do something that will mitigate the awful strain upon 
 the mind and the nerves. To stand silent and statue-like, amidst a death- 
 rain of bullets and shells is an ordeal far more trying than to be loading 
 and firmg or charging the enemy. And such is the position of these custo- 
 
 dians of the flag. An honored but solemn office is theirs. The loss of 
 
 those colors means for them either death or infamy. There they stand 
 The balls whistle about them, and they see their comrades fall on every side. What a relief, if they 
 too could ‘engage in the fray! But no: they must quietly face death, until that fluttering piece of 
 silk that symbolizes the honor of the regiment and the country is assailed, and then they must, if 
 
 need be, die in its defence. This is no position for a man of doubtful courage: the bravest of the 
 
 brave—men of heroic mould, are demanded for this high duty. And that quality is unmistakably 
 impressed upon the countenances, and expressed in the resolute, unflinching attitude of the guards in 
 our picture. 
 
 “ Protais,” says Mr. Hamerton, ‘‘has discovered new material in warfare, leaving to others the 
 purely military spirit, and studying soldiers, for the first time in the history of art, simply as human 
 beings placed in circumstances of great interest.” The resemblance of the men in the picture before 
 
 us is very noticeable. The four men in the near distance whose profiles are seen,—and the officer in 
 
 the left background, whose face is also in profile—are enough alike to be brothers; and the two 
 
 guards in the immediate foreground might even be twins. Does this denote poverty of invention on 
 
 the part of the artist? Speaking of Protais’s works, Edmond About says: “If you reproach him with 
 having exhibited the same troopers in 1864 as in 1863 and 1862, he will reply to you, not without 
 reason, that the troopers change little, that they resemble each other more or less; that the army, 
 like’ the convent and the prison, and all institutions outside of nature, is a mould, a gauffer-iron, in 
 
 which man models and forms himself anew on a uniform type.” 
 
 In the prosecution of his studies M. Protais has spared no expense of time or comfort. He 
 followed the army in the Crimea and in Italy, and mingled with troops in the Franco-Prussian war, 
 the present picture being a souvenir of the army of Metz. It was first exhibited in the Salon of 
 
 1876. M. Protais received Salon medals in 1863, 1864 and 1865, and a medal of the third class at 
 
 the Universal Exposition of 187 He was made Chevalier of the Legion of Honor in 1865, and 
 
 Officer in 1877. 
 
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THE RETURN. 
 
 FROM THE ORIGINAL PAINTING IN THE MUSEUM OF THE LUXEMBOURG. 
 
 Henry Mostsr, Pine. Gouri, & Co., Gravure. 
 
 HIS touching scene needs no interpreter. The erring boy who deserted his 
 home and his widowed mother, has sought again, friendless and ragged, the 
 scene of his happy boyhood, and the tender mother-love that 
 never failed him. But what anguish wrings his heart when, on 
 entering the cottage home, he beholds that mother cold in death. 
 The heart that so often ached for him, is at rest; the eyes 
 that wept over his waywardness, and the hands that were 
 lifted up in prayer for him, are peacefully composed. The 
 mother’s cares and sorrows are all past, and she lies now 
 
 calm and peaceful in a sleep that shall be unbroken till 
 
 the resurrection morn. It is now the prodigal’s turn to weep. Stricken with grief he falls to the 
 
 earth, while the priest who soothed the mother’s last hours, deeply commiserates the penitent and 
 remorseful son. The picture is strongly drawn and simply and most effectively composed, the interior 
 being that of a cottage in Brittany. 
 
 The artist was born in New York, of Silesian parents, in 1841. His first employment was 
 
 selling cigars, and after that, he engraved labels for cigar boxes. Removing to the West he learned 
 wood engraving, and subsequently studied art with James H. Beard. During the late war he was 
 employed as a war artist until 1863, when he repaired to Dusseldorf where he studied two and a 
 half years under Miicke and Kindler. After studying six months in Paris under Hébert, he returned 
 
 to America, spent eight years in Cincinnati and New York, and then studied in Munich for three 
 
 years under Piloty. In 1877 he went to Paris, where he has since resided. Zhe Return, which 
 was exhibited at the Salon of 1879, enjoys the distinction of being the first work by an American 
 
 artist ever purchased for the Museum of the Luxembourg. 
 
j 
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 } 
 1 
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 4 
 i 
 i 
 { 
 
3 
 
 VIEW OF VENICE 
 
 FROM THE ORIGINAL PAINTING IN THE MUSEUM OF THE T.UXEMBOURG, 
 
 Faux Ziem, Pinz. Gourit & Oo., Gravure. 
 
 O pictures of Venice are more universally or more deservedly admired than 
 Ziem’'s. ‘‘He excels,” says Edmond About, ‘in mirroring the most. brilliant 
 colors in a canal, ‘The least wind which perchance ruffles the face of the 
 water’ furnishes a delicious matter for his brush. His marines give us that 
 delectable little shivering with which we are seized when we step on a 
 boat.” Says another French critic (René Ménard): “He sees with indifference 
 
 the rocks, the plains, or the forests, and is arrested by choice in the great 
 
 maritime cities which mirror in the water their edifices gilded by the sun of 
 the south... Lost in the midst of the lagunes of the Adriatic, Venice, the city of enchantments, has 
 such a fascination for Ziem, that in contemporaneous art it has become a sort of monopoly for his talent.” 
 He loves to regard the Queen City as it is illuminated by the rich lights of the sinking sun, or as the 
 deepening twilight throws over its beauties the veil of mystery. Thus is it in the view before us. The 
 glories of the setting sun fill the sky, while night is settling upon the water. In the distance, in the 
 centre of the canvas, we discern the Ducal Palace, and beyond it the lofty Campanile, both melting in 
 
 the golden haze. The superbly painted fishing barks in the foreground, from which the sailors are spread- 
 
 ing their nets, are strongly relieved against the luminous sky; and a gentle breeze imparts to the water 
 
 that ripple which our artist so loves to paint. The scene is full of charm, alike for its fidelity, its 
 
 sentiment and its qualities of light and color and atmosphere. The original is in the Museum of the 
 
 Luxembourg. 
 
 M. Ziem was born in Beaune, France, about the year 1822. He received Salon medals in 1851 
 and 1852, and a medal at the Universal Exposition of 1855. In 1857 he was made Chevalier of the 
 
 Legion of Honor, and in 1878 he was promoted to the grade of Officer. 
 
ANTONY AND (CLEOPATRA. 
 
 GustavE WertTHEMER, Ping. Gouri, & Co., 
 
 ravure. 
 
 OUBTLESS the most imposing romantic tragedy ever enacted is that of Antony 
 
 and Cleopatra. Its stage was a mighty throne; its actors were a master 
 of the Roman world and a queen of peerless beauty; its audience was 
 the world; and the potency of its interest is as lasting as time itself, 
 Little wonder that it should so often animate the poet’s song 
 
 and inspire the brush of the painter. Antony was cast in the 
 
 mould of a hero. Commanding in stature, p< od of striking manly 
 
 beauty, brave, puissant, generous, illustrious, and a lover of pleasure, 
 
 he was a man to captivate, no less than to be captivated by, 
 8 
 
 the ‘glorious sorceress of the Nile.” The Egyptian queen was a 
 
 second Venus, wh 
 
 > seductive mental graves equalled the voluptuous 
 
 charms of her person. She had subdued Pompey and Cesar, while yet remaining, partly, at least, 
 mistress of her own affections; but in enslaving Antony, she was herself enslaved. From the time of 
 their first meeting to the final scene, excepting one or two short intervals of separation, they abandoned 
 themselves to an unbroken succession of pleasures that were diversified by fabulous extravagance and 
 prodigality, and infused with the intoxication of love. This career, in which honor and ambition were 
 alike forgotten, was at length disturbed by disaster and finally ended in ruin and blood. 
 
 The scene chosen by our artist for illustration, is the first meeting of Antony and Cleopatra. 
 
 Antony, returning with his army, from Asia, had summoned the queen to meet him at Tarsus, in 
 
 Cilicia, to answer at his tribunal certain accusations. After some delay Cleopatra obeyed the summons. 
 Her journey is thus described by Plutarch: ‘‘She sailed along the river Cydnus in a most magnificent 
 J 8 g 
 galley. The stern was covered with gold, the sails were of purple, and the oars were silver, These, 
 
 in their motion, kept time to the music of flutes, and pipes, and harps. The queen, in the dress and 
 
 ° 
 
 naracter of Venus, lay under a canopy embroidered with gold of the most exquisite workmanship; while 
 boys, like painted cupids, stood fanning her on each side of the sofa. Her maids were of the most 
 
 distinguished beauty, and, habited like the Nereids and the Graces, assisted in the steerage and conduct 
 
 a 
 
 of the vessel From this it is evident that, however fanciful the scene presented in the splendid 
 
 picture before us may appear to be, the painter has not exaggerated the facts. 
 
 Gustave Wertheimer is a native of Vienna, and this picture was exhibited at the Salon of 1883. 
 
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