FINE ARTS IN 1890. 



313 



G0,000 ; Decamps, " Les mendiantes," 9,800. Dela- 

 croix, " Chasse an tigre," 76,000. Diaz, " La 

 ineute sous bois," 27,500. Jules Dupre, " La for- 

 et," 25,000. Fro men tin. " Une halte de cavaliers 

 Arabes," 42,000. Gericault, " Une charge d'ar- 

 tillcrie," 12,500. Meissonier, "Le guide," 177,- 

 000 ; " Le billet-doux," 43,500 ; " Moliere lisant," 

 35,000. Millet, " Une farnille de paysans," 20,- 

 500. Th. Rousseau, "Paysage," 30,500; "Les 

 chenes, 34,000. Alfred Stevens, " Ophelie," 29,- 

 500 ; " Fedora," 15,000 ; " Le masque Japonais." 

 15.000. Troyon, " Le garde-chasse et ses chiens," 

 40,000 ; " Depart pour le marche, 65,000 ; " La 

 vache blanche, 85,000. Rembrandt's " Portrait 

 of an Admiral," 106,500. Rubens's " Holy Fam- 

 ily," 12,000; "Portrait," 15,000; " Portrait of 

 Dame van Parys," 25,000 ; " Martyrdom of Saint- 

 Lievin," 27.500 ; " Lion Chase," 15.000. Nattier, 

 " Portrait of Mme. de Flesselles," 75,000. Paul 

 Potter, " Les Pourceaux," 32,200. Frans Hals, 

 " Violin Player," 46,500. 



Meissonier's " 1814," recently purchased in 

 Paris for 500,000 francs, has been sold to M. Cau- 

 chard, ex-manager of the Magasins du Louvre, it 

 is said, for 850,000 francs. It represents Napo- 

 leon in the campaign in France in that year, and 

 not " riding over the dreary Russian snow fields." 

 as said in the " Portfolio." The picture was 

 commissioned by M. de la Hante, who paid for 

 it 70,000 francs. After the Franco-German War 

 it was sent to London and offered for sale at 12,- 

 000, but found no purchaser, and was returned to 

 Paris. It was exhibited at the Exposition Uni- 

 verselle last year. M. Cauchard also is said to be 

 the purchaser of " The Angelus," soon to be re- 

 turned to France, at the price of 750,000 francs. 



Millet's " Les Glaneuses," bequeathed to the 

 French nation by Mme. Pommery, of Rheims, 

 has been placed in the Louvre on an easel. 



The Due d'Aumale has purchased from the 

 Earl of Carlisle a collection of 314 French draw- 

 ings in black and red chalk, portraits of per- 

 sonages associated with the courts of Plenri II, 

 Francois 11, and Henri HI. Among them are 

 portraits of Francois II and of Mary, Queen of 

 Scots. 



The equestrian statue of Jeanne d'Arc, by 

 Emmanuel Fremiet, exhibited at the Salon of 

 1889, has been presented by public subscription 

 to the city of Nancy, and erected in the Place 

 Carriere. The statue is a replica, with changes, 

 of the one in the Place des Pyramides, Paris. 



A monument to Eugene Delacroix, the work 

 of the sculptor Dalou, was inaugurated in the 

 garden of the Luxembourg, on the 5th of Octo- 

 ber. From the middle of a marble basin rises 

 an elegent stylobate crowned with a bronze bust 

 of the painter. The steps of the pedestal bear 

 various emblematic groups, also in bronze. 



A statue of Hector Berlioz, a reproduction of 

 the one in the Square Vintimille, Paris, was un- 

 veiled, Sept. 29, at Cote-Saint-Andre. 



A statue of Voltaire, by E. P. Lambert, has been 

 erected at Ferney, Switzerland. 



London : Royal Academy. The twenty-first 

 winter exhibition of works by the Old Masters 

 and by deceased British artists was noteworthy, 

 like the last one, in containing no pictures of the 

 Italian school, only Flemish, Dutch, and Spanish 

 masters being represented. Among the Flemish 

 and Dutch pictures were the Earl of Yarborough's 



Rembrandt, "Portrait of an Old Lady," and 

 Lord Ashburton's "Portrait of the Painter," 

 Vandyke's " Portrait of an Artist," and a group 

 of full-length portraits of the Vere family, most- 

 ly anonymous. Several famous portraits by Ve- 

 lasquez, from the Royal and other collections, 

 and works by Del Mazo, Zurbaran, and Murillo, 

 were in the Spanish section. The English school 

 was represented by Reynolds, Gainsborough, 

 Romney, Constable, and Turner. 



The one hundred and twenty-second annual 

 exhibition of the Royal Academy contained 2,119 

 numbers, including oil and water colors, pastels, 

 black and whites, and sculptures. 



Sir Frederick Leighton's " Solitude " repre- 

 sents a white-draped figure seated on a ledge of 

 rock, resting her cheek upon her hand, with a 

 background of rock and crag, and in the fore- 

 ground the brown, motionless water of a mount- 

 ain spring. No other figure is visible, and the 

 silence of death broods over the scene. 



" The Tragic Poetess," a companion picture, is 

 a life-size, full-length figure, clad in a pale-blue 

 pallium and a purple stola, seated in a marble 

 chair on a terrace high above the sea, the surface 

 of which is broken by long ridges of waves and 

 lines of foam. The hands of the poetess express 

 the passion of her mood, and her dreamy eyes 

 gaze beyond the world. These two pictures are 

 very poetical in design and execution. 



Sir Frederick's third picture, " The Bath of 

 Psyche," which has been purchased for the na- 

 tion with the Chantrey fund, represents a full- 

 length, life-size figure, partly draped, standing 

 nearly in profile at the side of a bath of white 

 marble. She is just dropping her last garment 

 before entering the water, where her form is 

 reflected. Her fair flesh is relieved by the 

 white linen, which is in contrast with the deep 

 purple of a curtain extending from column to 

 column behind her. Above the curtain is an in- 

 tensely blue sky with summer clouds. 



Alma-Tadema's principal contribution is en- 

 titled " The Frigidarium." The scene is the 

 dressing-room of a bath for ladies in the time of 

 Hadrian. The low room is lined, ceiled, and 

 paved with marble, the varied colors of which 

 harmonize with the prevailing white. Beyond is 

 an ante-chamber, partly screened by a richly 

 colored portiere, while in the distance is the bath 

 itself, lined with white marble and filled with 

 water, open to the sun and resplendent with 

 light. In the tiring-room stands a stately lady, 

 who has just left the tepidarium, in a loose robe 

 of pale gray-green, with an attendant stooping 

 to fasten her mistress's purple girdle. On the 

 floor are towels and a sponge, and on a shelf are 

 the lady's jewels. Another bather is coming for- 

 ward across the ante-room, a servant pulling back 

 the curtain to let her pass. Round the bath it- 

 self are seen the nude figures of several girls in 

 the sunlight. 



Luke Fildes sent a subject picture and three 

 portraits to the exhibition. The former, " A 

 Daughter of the Ghetto," is a life-size figure of a 

 slender young girl, in a pink dress with a red 

 shawl over her head, carrying a copper vessel and 

 passing a stall laden with fruit, the colors and 

 texture of which are painted as a contrast to 

 the maiden. 



Briton Riviere's " Rus in Urbe " represents a 



