FINE ARTS. 



Jean Baptiste Olive, Albert Girard, Armand 

 Charnay, Casimir Destrem, Jean Jeffrey, Jules 

 Emmanuel Valadon, Achille Cesbron, Paul 

 Albert Baudouin. Third-class medals : Pha- 

 raon de Winter, Maurice Lelievre, Eugene 

 Berthelon, Edouard Vimont, L6on Euel, Jo- 

 seph Paul Mesle, Charles Perrandeau, Alexis 

 Marie Lahaye, Paul Sain, fidouard Gelhay, 

 Paul Grolleron, Alfred de Richemont, Enrique 

 Melida, Joseph Emile Gridel, Juan Luna, 

 Rene Gilbert, Louis Le Poittevin, Jules Ferry, 

 Hubert Vos, Charles Thomas, Francois Ri- 

 voire, Frangois Halkett, Joseph Bail, Leopold 

 Victor Durangel, Fernand Blayn. Henri Lau- 

 rent-Desrousseaux, Jnles Cav6, Laurent Gu6- 

 tal, Zakarian, Ernile Victor Prouve. 



Among the 57 "mentions honorables " in 

 the section of painting are the following 

 American artists : Miss Kathleen Greatorex, 

 John Smith-Lewis, Eugene Vail. Walter Mac- 

 Ewen, William Henry Howe, Herbert Denman, 

 Howard Russell Butler, and J. G. Melchers. 



Section of sculpture, no medal of honor 

 awarded. First-class medals: fimile Edmond 

 Peynot, Alfred Boucher. Second-class medals : 

 Louis Gossin, Victorien Bastet, Jean Coulon, 

 Vital Cornu, Ame"dee Loyseau, Maurice Fer- 

 rary, Georges Henri Lemaire (engraving on 

 precious stones). Third-nlass medals : Jacques 

 Perrin, Henri Desire Gauquie", Jean Marie 

 Mengue, Emmanuel Dolivet, Fre'de'ric Hex- 

 amer, Jean Carlus, Gabriel Faraill, fimile La- 

 porte, Benoit Lucien Hercule, Charles Al- 

 phonse Colle, Henri Auguste Jules Patey 

 (medal engraving). Among the " mentions 

 honorables " are two American sculptors, 

 John Donoghue and J. J. Boyle. 



Section of architecture : No medal of honor 

 awarded, and the only first-class medal was 

 given to Victor Auguste Blavette. 



Section of engraving: Medal of honor 

 awarded to Leopold Flameng, and the only 

 first-class medal to Alfred Brunet-Debaines. 



Among the noteworthy canvases was Ben- 

 jamin Constant's "Justinian," which filled a 

 large part of one wall in the first room. The 

 Emperor, in violet robes embroidered with 

 gold, and wearing a jeweled diadem, occupies 

 a marble throne in the center, between 

 porphyry pillars, with a bronze victory in a 

 golden niche above; the walls are of marble 

 paneling with mosaic borders, the floor of 

 varicolored marbles ; on each side of him are 

 three councilors, seated on gorgeous couches, 

 on the right ecclesiastics, on the left laymen ; 

 in the foreground a swarthy, half-clad scribe 

 reads from a papyrus. 



Opposite hung Puvis de Chavannes's " Vision 

 Antique " and " Inspiration Chre'tienne," two 

 decorative panels, intended, together with the 

 " Sacred Wood " of the Salon of 1884, for the 

 Lyons Museum. The " Antique Vision," in 

 which the painter has sought to depict the 

 idea of " form," represents several women 

 grouped in a landscape, watching a troupe of 

 phantom horsemen, apparently from the Par- 



thenon frieze, galloping into the background. 

 The "Christian Inspiration," which depicts 

 "sentiment," shows Fra Angelico and his 

 pupils engaged in painting mural pictures in a 

 cloister, while an audience looks on enrapt- 

 ured. Another allegorical picture by the same 

 artist, illustrative of the junction of the Rhone 

 and the Sa6ne, which hung between these two 

 panels in the Salon, has no connection with 

 them. 



Rochegrosse's "Madness of Nebuchadnez- 

 zar" is an enormous theatrical scene, repre- 

 senting the King in royal robes, groveling at 

 the foot of a long flight of steps, on which are 

 attendants and others. 



Ferdinand Humbert's "In War-Time "is a 

 scene in the bombardment of Strasburg. It is 

 intended for the Mairie of the Fifteenth Ar- 

 rondissement, Paris. 



"In Arcady,'' a picture by an American 

 painter, Alexander Harrison, which has won 

 much commendation, represents three nude 

 Arcadiennes disporting beside a stream in a 

 grassy meadow, under flowering trees bathed 

 in sunshine. Other noteworthy nudes were 

 the " Sang de Venus " of Antonin Merci6, the 

 " Flore"al " of Raphael Collin (bought for the 

 Luxembourg), "Love disarmed" of Bougue- 

 reau, "Diana at the Bath" of Jules Ferry, 

 " Nymph teasing Cupid " of Leon Perrault, 

 and " Solitude " of Ilencer. " Orpheline," 

 also by Henner, a pretty little face, enveloped 

 in a black veil, with woolen gloves on the 

 clasped hands, is a masterly picture. Achille 

 Cesbron's " Fleurs du Sommeil," representing 

 Sleep, a nude figure, rising out of a bed of 

 poppies, is a noteworthy piece of decorative 

 work. Juan Luna's "Spoliarium " represents 

 the vaulted apartment under a Roman amphi- 

 theatre where the clothing was stripped from 

 the bodies of the dead gladiators dragged 

 thither from the arena. It belongs to the 

 city of Barcelona. 



Albrecht de Vriendt's " Men of Ghent doing 

 Homage to Charles V when an Infant," de- 

 picts the several estates offering magnificent 

 gifts. ^ 



Henri Paul Motte's " Suffender of Vrcin- 

 getorix to CaBsar " represents an event which 

 occurred in B. c. 52, after the fall of Alesia, 

 which decided the subjugation of Gaul by the 

 Romans. 



Charles Gustave Hellquist's "Embarkation 

 of the Body of Gustavus Adolphus," at Wol- 

 gast, in 1633, in order to carry it to Stockholm 

 for burial, belongs to Oscar, II, King of Swe- 

 den. 



Henri Charrier's " Funeral of St. Stephen " 

 was painted for the Church of St. Stephen at 

 Fecamp. , 



Antonio Casanova's " St. Ferdinand, King 

 of Spain," represents Ferdinand III imitating 

 Christ in washing the feet of twelve poor per- 

 sons. 



Jean Paul Laurens's " Grand Inquisitor be- 

 fore the Catholic Kings " represents Torque- 



