706 THE INSTITUTE OF FRANCE IN 1894, 



that is most extensive and richest in memories. It was there that 

 he fonnd the materials for his monumental compilation of Christian 

 inscrii)tions, in which he resurrects an epoch and a society in which we 

 take the liveliest interest. On these publications so fraught with usefnl 

 information, important discoveries and valuable analysis, I)e Kossi 

 set the first scientific foundation of Christian archaeology. But I must 

 desist, regretting my inability to follow in all its manifestations his 

 comprehensive genius, and his eminent mind adorned by the most noble 

 virtues. 



The Academy of Fine Arts has also had its share of mourning. It 

 was bereft, toward the end of January, of one of its oldest members, 

 M. Cavelier. Upon Ids leaving thfe Villa Medicis, the young sculptor 

 first gained celebrity by a statue of Penelope, a charming work which 

 at once revealed a substantial talent and that soundness of taste which 

 has ever since characterized the long list of his works. 



Our colleague held with immovable conviction throughout his life to 

 the noble conception he had formed of art and of its mission. While 

 an eclectic in the manner of execution, he endeavored always to repre- 

 sent nature under its most ideal form in a classic style. Cavelier has 

 left among his friends, his many pupils, and all those he had favored, 

 the memory of a distinguished artist, of a kind master, and of a devoted 

 colleague. His name, inscribed on many a sculptural composition by 

 which our public buildings are adorned, is assured of going down to 

 posterity, and of being cited as one of those that have reflected honor 

 and brilliancy upon French art. 



Federico Madrazo, the painter, whose recent death was a national 

 bereavement for Spain, was doubly ours, as a foreign associate and as 

 an artist trained in the school of the great masters who, in the first 

 half of the century, won glory for our country. France was the cradle 

 of his new-born talent; it was in our annual salons that he won the 

 awards by which fame was brought to his name. His historical pictures, 

 and chiefly his admirable portraits that embellish the finest galleries in 

 Europe, are the highest vindication of the honors which, at home as well 

 as abroad, crowned his long and glorious career. 



The French Academy was no more spared than that of the Fine Arts. 

 The death of M. Maxime du Camp has taken from the world of letters 

 and of inquiry an indefatigable worker, a refined writer, a vigorous 

 and honest polemist. Maxime du Camji leaves behind him extensive 

 and manifold works. The marks of the romantic youth of a tra\eler 

 and soldier are found in his first productions. But even during that 

 period of juvenile enthusiasm his exuberant nature knew how to sub- 

 mit to the delays of patient study. Maxime du Camp thus betokened 

 the eminent qualities that were to make the latter part of his life as a 

 writer illustrious. His great production on Paris, a city which, like 

 Montaigne, he loved down to its warts and blemishes, shows most 

 admirably his ability as an investigator and philosopher always equal 



