FINK ARTS IN 1802-'C3. 



307 



medals: Hippolyte Peyrol, Henry Vidal, Jacques 

 IVrrin, J(!aii Ossaye Mornbur, Joseph Ym:.slav 

 MyslU-k, Frederic Charles Veinon. Third-class 

 medals : Kugcnc Thivier. Augusto Seysses, Henri 

 (iivbcr, I'jiiii Ca[iellaro, Bttoeuict Rougelet, Fcnl- 

 inand Fuivre, Edouard Drouot, Louis C'onvers, 

 Paul Loimeau-RouMeau, Daniel Chester French. 



Section of engraving: Medal of liquor, I 'mil 

 Maurou. First-class medal: Augusto Houlard. 

 Second-class medal : Jean Patricot, Leon Louis 

 Chapou, Gustavo Fuchs, Albert Ardail, Hiiipn- 

 lyte Fauchon. Third-class medals: Emile Jean 

 Sulpis, Mile. Juliette Leluc, Jules Payrau, Henri 

 Dillon, Abel Mignon, Leon Perrichon fils, Mau- 

 rice Deville. 



Section of architecture: Medal of honor, 

 Louis Cordonnier. First-class medals: Charles 

 Nicolas Normand, Hector Espony. Second-class 

 medals: Georges Chedanne, Pierre Lafargue, 

 Paul Ilannotin, Marc Galda. Third-class med- 

 als: Albert Tissandier, Charles Nizet, Lucien 

 Tropey-Bailly, Hippolyte Boussac, Henri Loyan, 

 Nicolas Escalier. 



One of the pictures of the Salon of 1892 most 

 talked about was " Les Conquerants " of Pierre 

 Fritel, an immense canvas, occupying the place 

 held in 1891 by Rochegrosse's " Morte de Baby- 

 lon." Through the Valley of the Shadow of 

 Death, whose limits are obscured in darkness, 

 advance, hollow-eyed and remorseful, the con- 

 querors of all ages, marching in close ranks be- 

 tween a double row of corpses, stripped and 

 rigid, lying packed close together with their 

 feet toward the procession. The cortege is led 

 by Julius Caesar, mounted and laurel-crowned, 

 with Rameses on his right and Alexander on 

 his left, both in chariots. Behind ride Napo- 

 leon, Charlemagne, Attila, Tamerlane, Hannibal, 

 etc., each conqueror in the costume of his time, 

 the long line stretching backward amid a forest 

 of military weapons and standards until lost in 

 the obscurity. 



Among the military pictures Detaille's " La 

 Sortie de la Garnison de Huningue, 20 Aoflt, 

 1815," is remarkable. Gen. Barbanegre, who had 

 defended the place with 200 men against an 

 Austrian army of 30,000 under the Archduke 

 John, is represented as marching out with the 

 honors of war, at the head of a handful of tat- 

 tered soldiers, who defile through a double hedge 

 of applauding Austrians. In" the background 

 are the citadel and the ruined ramparts. 



Another large canvas is Albert Maignan's 

 "Carpeaux," which shows the great sculptor 

 seated dying in his studio, surrounded by the 

 finest of his creations, who have left the marble 

 for the semblance of life to console his last mo- 

 ments. The figures from his principal works 

 the fountain of the Observatoire, the " Danse " of 

 the opera house, the " Flore " of the Tuileries 

 are all around him, one of the nymphs bending 

 over to kiss him farewell. 



Henri Martin's " L'Homme entre le Vice et la 

 Virtu " represents a man, apparently in a state 

 of ecstasy, holding out his hand 'to a virgin 

 veiled in white who glides before him robed in 

 light, and turning his back upon a troupe of 

 girls attired so as to exhibit their forms, who 

 represent the Vices. 



Tlie central incident of the immense picture 

 "Entree de Louis XI A Paris, 30 Aoflt, 1461," by 



Francis Tattegrain, is best described by the quo- 

 tation on the frame from the "Chroniques de 

 Jehan de Troves el <le du Clerc " : " And at this 

 point the king stopped to gaze at the fountain 

 of Ponceau Saint-Denys, out of which rose three 

 fair women representing tiaked sirens," and sing- 

 ing to him motets and pastorals." Louis, seated 

 upon his horse under a canopy borne by four 

 men. is listening to the sirens," singing on the 

 right, while the great crowd of spectators is 

 pushed back by men at arms. Tne windows 

 and the roofs are. filled with people looking 

 down on the pageant. 



Among the noteworthy portraits of the year 

 are the " Renan " of Leon Bonnat, the " Leo 

 XIII" of Theobald Chart ran, and the "Glad- 

 stone " of John McLure Hamilton. 



Most remarkable among the sculptures is Ch- 

 rome's life-size "Bellone," the limbs of which 

 are of solid ivory, and the torso, head, and dra- 

 peries of colored gilt and jeweled bronze. The 

 " Goddess of War stands tiptoe upon the world, 

 with glaring eyes and wide-open mouth, as if 

 uttering a terrible cry, waving aloft her falchion 

 and buckler. Circled about her feet is a hideous 

 hooded snake, with its mantle expanded, rising 

 and hissing. The marble groups " Matho et 

 Salammbo, by Theophile Barrau, "Les Droits 

 de 1'Homme," by Honore Icard, and " Enleve- 

 ment d'Iphigenie," by Felix Soules, were awarded 

 first-class medals. 



Paris : Salon of the Champ de Mars. 1892. 

 The third annual exhibition of the Societe" 

 Nationale des Beaux Arts (May 10 to July 10), 

 comprised 1,770 numbers, of w'hich 1,086 were 

 paintings. 



Puvis de Chavannes exhibited a great deco- 

 rative canvas, " L'Hiver," a pendant to the 

 " L'Ete " of last year, now in the Hotel de Ville. 

 Carolus-Duran was well represented by several 

 characteristic portraits, and ('a/in by eight land- 

 scapes and by two decorative panels for the 

 apartment of the rector of the new Sorbonne. 

 Jean Beraud's principal contribution, "La De- 

 scent de Croix, is one of the most remarkable 

 of his remarkable productions. The body of the 

 Saviour, just lifted from the cross, is received into 

 the winding sheet by a group of persons in the 

 costume of Parisians of 1892. Hard by are a 

 workman in a blue blouse, a few artisans, and 

 some street boys, while at the left another work- 

 man shakes his fist at the city below. Of 

 American artists, Whistler was represented by 

 six works nocturnes and harmonies; Alexander 

 Harrison, by his " Baigneuses," nude women and 

 girls disporting on the borders of the sea, and 

 four other pictures : and J. S. Sargent by " Etude 

 de Femme " and " Carmencita, the latter ex- 

 hibited in 1891 at the Royal Academy, and now 

 in the Luxembourg. 



London: Royal Academy, 1892. The 

 twenty-third winter exhibition of works by the 

 old masters represented chiefly the English, 

 Italian, Flemish, Dutch, and German schools. 

 Among the principal attractions were the Italian 

 pictures from the Dudley Gallery, sold later in 

 the season. 



The one hundred and twenty- fourth (1892) 

 annual exhibition was up to the average in 

 merit, though some notable names were unrep- 

 resented. Sir Frederick Leighton's principal 



